r« S 



.^' 


























r* 





■a? ^ 











^^ * o ; o ^ ^^ o , 



















^oV^ 




^^ravad by,;c ^ulUv. jtoraaDagi 



uerreots-ve-byGur^^y^ 




BIOGRAPHICAL AND CRITICAL 



DICTIONAfiY 



OP 



PAifflRs, iGRims, mwm m mmwn, 



FROM ANCIENT TO MODERN TIMES 



WITH THE 



MOGRAMS, CIPHERS, AND MARKS USED BY DISTINGUISHED ARTISTS 

TO CERTIFY THEIR WORKS. 



BY 



SHEARJASHUB SPOONER, A.B., M.D- 





NEW-YORK: 

GEORGE P. PUTNAM & CO., 10 PARK PLACE. 

185 3. 






Entered, according to Act of Congress, in the year One Thousand Eight Hundred and Fifty-Three, by 
SIIEARJASHUB SPOONER, 
In the Clerk's Office of the District Court for the Southern District of the State of New York. 



JOHN J. REED, Printer, 

16 Spruce-streot. 






PREFACE. 



/In preparing this Dictionary, the author has aimed less at originaUty than utility. The 
office of the compiler of a biographical work must be mainly to collect facts from various 
sources, and to present them to the public in a convenient form. He trusts that an 
♦enthusiastic love of the fine arts, the possession of an extensive Hbrary of the best 
works on art, which has been his favorite study for twenty years, together with the 
advantage of consulting the various public libraries of the city, will give him some 
jlaim to public attention. He can in truth say, that though every article has been 
expressly written for the work, the mental labor of research and condensation has been 
many times as great. 

This work will be found to contain everything of importance embraced in the four 
English dictionaries, viz. : Cunningham's edition of Pilkington's General Dictionary of 
Painters ; Gould's Dictionary of Painters, Sculptors, Engravers, and Architects ; Strutt's 
Dictionary of Engravers ; and Stanley's edition of Bryan's Dictionary of Painters and 
Engravers, published in 1849. It contains above two thousand names of eminent 
artists not to be found in any of these works, besides a vast amount of information 
derived from French, English, and Italian authors. Much valuable information has 
been derived from the Dictionaire des Monogrammes, par J. F. Christy Berlin ; Le 
Peintre Graveur^ 21 tom.^ far Adam Bartsch, Vienna ; Dictionaire Biographique 
Universelle, Ancienne et Moderne, 84 to7n.j Paris ; all of which are works of immense 
research. It also contains many plates of monograms and ciphers, besides a multitude 
embodied in the work, which were the private marks of eminent painters and engra- 
vers, and which are of the greatest value to every collector of rare works of art. 

Less attention has been paid to elegance of language than brevity, which has been 
studied as far as perspicuity would admit, so as not to swell the volume to an incon- 
venient and expensive size. Each article has been carefully written and revised, and all 
useless disquisitions avoided, simply mentioning disputes and citing the best authorities ; 
and although the author has often preferred to give the ideas of the best writers in their 
own language, whenever it did not exceed the prescribed limits of the work, he has not 
hesitated to crop all redundancies and strike out irrelevant matter, taking care to omit 
nothing of importance. 

The author has endeavored to introduce system and classification as much as possi- 
ble, giving first a sketch of the artist's life, then a list of his principal works, where to 
be found, and a criticism on the same. He has given only brief sketches to artists of 



IV. PREFACE. 

little note, but to those of great renown, as lengthened a notice as the plan of the work 
would allow, taking care in all cases to give a true estimate of each one's merit. It is 
a little remarkable that most modern French and English dictionaries of the fine arts 
only treat of painters from the revival of the art in Italy by Cimabue. This work 
treats very fully of ancient artists, especially the Greek, and it will be seen that they 
excelled no less in painting than in sculpture and architecture, and that these notices 
are not less instructive than interesting. Numberless mis-spellings of proper names, 
found in the foreign dictionaries, have been corrected in this, by the assistance of gen- 
tlemen well versed in foreign literature. 

The want of such a work has long been felt in the United States, which has now 
become absolutely necessary to the healthful development of the rapidly increasing 
taste for the fine arts. The author has spared no pains or expense to render this work 
worthy of the favor of an enlightened public. 



INTRODUCTION. 



There is a natural love of painting implanted in 
the human breast. The North American Indians 
were delighted with Catlin's portraitures of them- 
selves, their manners and customs, and the wild 
scenery of their hunting-grounds transferred to can- 
vass. They treated him with the greatest respect, 
as a great Medicine Man. Their Chiefs also de- 
light to ornament their lodges, covered with buffalo 
robes, with rude sketches of their heroic exploits 
and daring deeds, which legends they themselves at 
least understand. "We may therefore conclude that 
the origin of painting is coeval with man. It was 
very anciently employed, not only for ornament, 
but for the communication of intelligence and the 
preservation of historical facts. The landing of 
Cortez in the harbor of Vera Cruz was immediately 
announced to the Emperor Montezuma, at the 
royal city of Mexico, by means of pictorial sketches. 
The most ancient history of Egypt is recorded in 
this manner on her monuments. Plato asserts 
that painting had been practised ten thousand ^^ears 
in Egypt, and that there remained in his time paint- 
ings of that high antiquity which were neither infe- 
rior to, nor very different from, those executed by 
Egyptian artists of the time in which he wrote. 
The testimony of the monuments of Egypt at the 
present day, more conclusively prove to us than the 
writings of Plato or Pliny, that painting was very 
anciently employed by the Egyptians, that they 
never made any progress in the art, and that 
neither their painters or sculptors arrived to any 
perfection in design or execution. They designed 
their sculptured figures in a stiff and formal man- 
ner, vrith the legs invariably closed, and the arms 
stuck close to their sides, as if they had consulted 
no other model than their bandaged mummies. This 
is not the place to enter into a lengthened disquisi- 
tion on the antiquity of the fine arts, or a history 
of ancient art. Suffice it therefore to say, that 
neither painting, sculpture, nor architecture, arose 
to any degree of perfection, in design or execution, 
worthy of our admiration or imitation, till the palmy 



days of Greece, when they suddenly sprang into 
such beauty and perfection, at least in sculpture and 
architecture, as to be the models of all succeeding 
ages. It is true that the antiquity of architecture 
(and rude painting and sculpture also) of the Egyp- 
tians, and other eastern nations, is sunk in fable ; 
yet these monuments of ancient grandeur astonish 
us by their magnitude, but we do not esteem them 
worthy of our imitation. We look upon them as 
monuments erected in those days when kings were 
gods and the people their slaves, whose chief ambi- 
tion was the conquest of the world, and the build- 
ing of gigantic temples, or mausoleums, to immor- 
talize their names. If we may credit ancient histo- 
rians, the Assyrians and Babylonians eclipsed even 
the Egyptians in the magnificence and grandeur of 
their works; but not having the advantage of last- 
ing materials with which to build, their glory has 
passed away. It is certain that art, throughout the 
east, has retrograded for three thousand years ; 
even in China the arts have not progressed for 
many ages. 

It has been a matter of admiration that the 
Greeks, in the course of three or four centuries, 
should have attained such perfection in every spe- 
cies of art that ennobles the human mind, as ora- 
tory, poetry, music, painting, sculpture, and archi- 
tecture. Two things explain the cause — freedom 
of action and certainty of reward. This is exem- 
plified in the whole history of the arts and sciences. 
The ancient eastern nations, among whom the free- 
dom of thought and action was forbidden, and every 
man was obliged to follow the trade of his caste, 
never made any progress ; nor will the moderns 
progress in those countries till caste is done away, 
and every man allowed to follow the inclinations 
of his genius. 

The Greeks were favored with a climate the most 
congenial for the perfect development of mental and 
physical powers, and beauty of form. Every man 
was at liberty freely to follow his favorite pursuits. 
They rewarded all who excelled in anything that 



VI 



INTRODUCTION. 



was useful or beautiful, and that with a lavish hand. 
The prices they paid their great artists were truly 
astonishing; in comparison to which, the prices paid 
to the greatest artists of modern times are small. 
Nor was this so great an incentive as the renown, 
the admiration, and the caresses they received. — 
[See Aristides and Apelles.'] The man of genius 
was sure of immortality and wealth. Their aca- 
demic groves and their games were the admiration 
and resort of all the surrounding countries. They 
decreed statues to their great men who deserved 
well of their country. To other powerful incentives, 
the Greek artists had the advantage of the best 
models before them, in their gymnastic exercises 
and public games, where the youth contended for 
the prize quite naked. The Greeks esteemed natu- 
ral qualities so highly that they decreed the first 
rewards to those who distinguished themselves in 
feats of agility and strength. Statues were often 
raised to wrestlers. Not only the first youth of 
Greece, but the sons of kings and princes sought 
renown in the public games and gymnastic exer- 
cises. Chrysippus and Cleanthus distinguished 
themselves in these games before they were known 
as philosophers. Plato appeared as a wrestler, 
both at the Isthmian and Pythian games ; and 
Pythagoras carried off the prize of Elis. The pas- 
sion which inspired them was glory — the ambition 
of having a statue erected to their memory, in the 
most sacred place in Greece, to be admired by the 
whole people. 

The advantages which a country derives from a 
cultivation of the fine arts are thus admirably 
summed up by Sir M. A. Shee, late President of 
the Royal Academy, London : 

" It should be the policy of a great nation to be 
liberal and magnificent ; to be free of her rewards, 
splendid in her establishments, and gorgeous in her 
public works. These are not the expenses that sap 
and mine the foundations of public prosperity, that 
break in upon the capital, or lay waste the income 
of a state ; they may be said to arise in her most 
enlightened views of general advantage ; to be 
amongst her best and most profitable speculations ; 
they produce large sums of respect and considera- 
tion from our neighbors and competitors, and of pat- 
riotic exultation among ourselves ; they make men 
proud of their country, and from priding it, prompt 
in its defense ; they play upon all the chords of 
generous feeling, elevate us above the animal and 
the machine, and make us triumph in the powers 
and attributes of men." 

The author deems the following observations not 
out of place in a work of this kind, and he gives 
them in a hope to awaken a more general attention 
to subjects which not only interest the connoiseur, 
but the community. During the last sixty years. 



a multitude of ancient paintings, and of rare old 
engravings, have been imported from Europe, most 
of which are now to be found in the collections of 
our citizens. Paintings have been sold in New 
York for a few dollars, which have been resold, 
after reparation, for more than a thousand ; and 
prints for a few shillings, worth as many dollars or 
guineas. The authenticity of an ancient painting, 
or of a rare old print, being once estabhshed, it wiU 
command a fixed price in London or Paris as read- 
ily as a bank note. Sir Thomas Lawrence expended 
£40,000 in making the rarest private collection of 
original drawings and rare engravings in Europe. 
In his will, he directed them to be offered to the 
British Museum for £18,000. This liberal offer 
being refused, his executors sold them to the Messrs. 
Smith, print dealers in London, ftr £20,000. This 
house, after classification, proceeded to exhibit, and 
then sell the collection, by which operation they 
cleared about £30,000. 

A friend of the author recently sold in London, 
a small but rare collection of prints for many times 
as much as they had cost him here. These facts 
show the value of a knowledge of rare works of art, 
beyond the personal gratification and pleasure 
which it affords. There are many persons who scout 
at the idea that there are fine original paintings 
by any of the Old Masters in this country, while 
others think that all they have purchased are gen- 
uine. This arises from a want of correct informa- 
tion on the subject. There can be no doubt in the 
mind of a person conversant with the facts, that we 
have many fine originals by very eminent masters, 
and that the United States present to the connois- 
seur a better field to make a rare collection of paint- 
ings and engravings than any other country in the 
world. The author means that for a certain sum, 
an American can obtain a more valuable collection 
at home than he can abroad, and for the following 
reasons: — It is only a few years, comparatively, 
since the taste for theso works of ancient art has 
become general among the wealthy in Europe, es- 
pecially in England, which latter country is exceed- 
ingly rich in the authenticated works of the Old 
Masters ; but they have poured out their gold like 
water in procuring them. Now, till within the last 
ten or fifteen years, the United States was the only 
safe market for the promiscuous shipment of old 
paintings. The duties in England were a positive 
prohibition (one shilling sterling per square foot 
being the duty there, without regard to value), 
whereas they were admitted duty free with us till 
the Tariff of 1842. New York then was the great . 
mart for old paintings. All continental Europe, 
especially Italy, Flanders, and Germany, was ran- 
sacked by persons engaged in the trade, usually 
Jews, for these treasures, which they picked up 



INTRODUCTION. 



in ale-houses, garrets, and wherever they could 
be obtained, for a mere trifle, and they consigned 
them without selection to !Mr. Aaron Levy (and 
to his father before him), to be sold at auction. 
There were men of taste and wealth, besides the 
many dealers in New York, sufficient to ensure 
ready and profitable sales. A few facts will illus- 
trate. Mr. Levy, now an octagenarian, has sold 
during his business hfe nearly a million imported 
paintings. He sold above forty-three thousand for 
a single Dutch importing house, still doing busi- 
ness in New York. So constant was the supply, 
that for a long series of years, he regularly sold a 
catalogue of one to two hundred paintings every 
"Wednesday and Saturday evenings, besides fre- 
quent day sales. The late Michael Paff dealt 
largely in these works. He had over one thousand 
paintings at the time of his death, many of which 
were of great value. His executors selected about 
one hundred, which Mr. Paflf had considered the 
most precious, and sent them to England. [For one 
^ of these. Susannah and the Elders, esteemed orig- 
P ' inal by Guido, they were offered $.3,000 before it 
was sent abroad, which sum they refused, it having 
been valued at $10,000.] The balance of the col- 
lection brought at public sale above $5 3,000. About 
eighteen years ago, a well known dealer bought of 
one of our consuls, then residing at Florence, twenty 
thousand old paintings, all of which he shipped 
direct to New York. A great many superb pic- 
tures were found in this collection. After repara- 
tion, the owner sold some of these at enormous 
prices. The author could multiply facts ad infini- 
tum, in proof of his position, well known at least 
to the trade, and well authenticated. He has 
I heard it asserted on the best authority, that paint- 
ings which only cost here a few doUars many years 
ago, have been sold in London for sums altogether 
incredible to persons not familiar with the present 
value abroad of genuine paintings. It is also cer- 
tain, though not less incredible, that more paint- 
ings have been shipped to London from New York 
than from Italy. There are a number of Eng- 
lish agents here who make it their business to at- 
tend the auctions, on the look-out for valuable 
paintings. The reason of this is plain. In Italy 
and Spain, the laws forbid any original works to 
be taken out of the country. In former times, no 
attention was paid to enforce the laws, when paint- 
ings were promiscuously shipped in quantities; 
but so many fine pictures have been taken out of 
those countries that the laws are now rigidly en- 
forced. One fact will illustrate. The easel pic- 
tures of Luca Giordano were probably more numer- 
ous than those of any other master, but they are 
now comparatively scarce in Italy. He was the 
son of a poor artist, who placed him under the tui- 



tion of Giuseppe Ribera. When he was thirteen 
years of age, he traveled with his father through- 
out Italy, studying the works of the best masters, 
and painting for their support. His works were 
so much sought after as to be a source of emolu- 
ment to his father, who constantly urged him on 
by repeating Luca, fa presto (hurry, Luca), by 
which appellation he was afterwards designated by 
his brother artists. He painted a large altar-piece 
for the -Jesuits in the Church of S. Francesco Xa- 
vier at Naples, representing a figure of that Saint 
surrounded by a glory of Angels, in one day and a 
half. [See Lmca Giordano.'] This picture is stiU 
the admiration of connoisseurs for the correctness 
of the drawing, and the wonderfully bold and rapid 
penciling. Salvator Rosa spent his early days in 
poverty and obscurity. He labored assiduously to 
support his aged father's family. He painted in 
an extraordinary^ free, bold and rapid manner, and 
sold his pictures to dealers and others for what- 
ever he could get for them, often the most paltry 
price. The same might be said of many other emi- 
nent masters. So many fine works, known to have 
been originals, have been taken out, or smuggled out 
of those countries, that the laws are now so rigidly 
enforced that it is almost impossible to get an orig- 
inal picture out of them. 

There are many private collections of ancient 
paintings in New York, and other Atlantic cities, 
truly magnificent. The author could mention sev- 
eral, were he at hberty so to do, that would vie 
with some of the richest private collections in the 
old country. Besides, almost every gentleman of 
taste, in New York especially, has his walls adorned 
with ancient paintings. Now these paintings have 
not been purchased in Europe by the present own- 
ers themselves, as some of them profess, but they 
have bought them at Levy's. The author has seen 
the most noted collectors, with sponge in hand (for 
these consignments were generally made in the 
pure state, as artists term it, i. e.. covered with the 
dust and smoke of many years ; often taken off the 
stretchers and shipped in roUs,). carefully exam- 
ining every painting in the collection, and then 
they would personally attend the sale, or give the 
auctioneer an order to purchase for them. 

The author is not so ignorant as to beheve that 
many paintings by RafFaelle, Rubens, and those 
great masters whose time was wholly employed 
by church or state, have been brought to the L"ni- 
ted States ; but that many by other very eminent 
masters have, he wiU show conclusively in a future 
work on the history of the fine arts. This subject 
has been his hobby for twenty years ; he has had 
extended opportunities for observation, with an in- 
timate acquaintance with many artists, and many 
persons engaged in the trade, whose opinions cor- 



VIU 



INTRODUCTION. 



roborate his own. He is positive that there are in 
this country, many of those early and beautiful 
sketches by Salvator Rosa, and Luca Giordano, and 
works by many very eminent Italian, Spanish, and 
Flemish masters ; and he is personally acquainted 
with many connoisseurs and men of taste who 
now possess them. He knows a gentleman who 
has two paintings esteemed genuine by Joseph 
Vernet, and what is extraordinary, these pictures 
bear the numbers of the two paintings supposed to 
be lost, as published in the catalogue of his pictures 
in the Louvre. 

Few old paintings are now imported, aind for 
these reasons: First, fine pictures have become 
scarce, and the price greatly augmented in the old 
country ; second, the difficulty of getting originals 
out of Italy and Spain ; third, the imposition of a 
high tariflf on all works of art for public sale here; 
and fourth, the greatly increased demand abroad, 
especially in England and France, arising from an 
increased love or estimation of them, and from its 
having become fashionable for e\eTy man of wealth, 
who makes any pretensions to taste, to have his 
picture-gallery or his walls adorned with paint- 
ings, and his portfolio of rare prints. 

It is also true that every great artist has imita- 
tors. It is a well-known fact that there are more 
paintings in the public and private galleries of Eu- 
rope, esteemed genuine by many great masters, as 
Eubens, Carlo Dolci, Gerard Douw, Teniers, and 
others, than it were possible for them to have exe- 
cuted. 

There is great liability to imposition in the pur- 
chase of ancient paintings, especially in the old 
country, where genuine paintings command enor- 
mous prices, to those who are uninitiated to the 
tricks of the trade. The styles of the best masters 
are so skillfully imitated that it is exceedingly dif- 
ficult to distinguish them from the originals ; or 
these paintings so imitated in style, may be original 
compositions. The Duke of Wellington and Sir 
Robert Peel were tricked in this manner. Even 
George III. would have been cheated had he not 
consulted Bartolozzi, when he was offered a copy 
for an original Zuccarelli. Americans have been 
fi-equently and grossly imposed upon. The author 
could mention a gentleman who bought in Naples, 
as an original Correggio, a small picture painted 
on copper, which he valued at |5,000, and which 
he smuggled out of the country : on cleaning, it 
proved nothing but a transfer. These imitations 
are most frequently painted on old copper plates, 
or old panels, often worm eaten, which were much 
employed by the Old Masters for cabinet-pictures. 
Then the modern Teniers, Gerard Douws, Cor- 
reggios, etc., are converted into originals by smok- 
ing and plentiful coats of varnish. The author has 



seen many such paintings sold here as originals, 
and the lucky possessor thinks he has got a perfect 
gem. A little spirits, gently applied on a corner, 
will tell the truth in a few moments — it will make 
it " jg-o," as the trade term it ; whereas a genuine 
painting, being hardened by age, will stand the test. 
If canvass is employed, an old and worthless pic- 
ture is covered up for the purpose, of the same age 
and quality of canvass as that employed by the old 
master imitated ; or the modern copy is lined and 
stretched. Another and more common way is to 
employ old paintings having some resemblance to 
the style of any one of the old masters ; these are 
cleaned, repaired, and signed with the monogram or 
signature of the master. Thus hundreds in the 
style of David Teniers have been sold as originals. 
This has been especially the case with paintings ex- 
ecuted by the best scholars of that master ; and so 
of many other masters, which we have i^ot room to 
specify. The paintings of Abshoven have become 
exceedingly scarce, having been converted into orig- 
inals by David Teniers, whose pupil he was, and 
whose style he closely imitated. [See AbsJiocen.] 
Immense fortunes have been made in Paris, Rome, 
and Naples, by these imitations. 

These facts do not militate at all against the au- 
thor's position : there were no pastiches or counter- 
feits (see Imitation and Pastiche, in Explanation 
of Terms), imported in former times. They are 
a modern invention to supply an increased demand, 
and they command high prices. It is only a few 
years, comparatively, that this increased demand 
abroad has arisen, from circumstances before men- 
tioned. Another thing, paintings ofifered for sale 
at auction in Italy, England, France, and Germany, 
as genuine originals, must be so specified, and the 
vouchers produced. Even the auctioneer is respon- 
sible, and in the catalogue he must state them to 
be original, or supposed to be original, or in the 
style of such a master. But here, the most wretched 
copies are advertised as original by the greatest 
masters, as Michael Angelo, Raffaelle, and Rubens, 
with impunity ; and some people buy and hang 
them up to show, and even invite the connoisseur 
to inspect them, as great treasures, to excite his 
pity or contempt. 

The author's object in making these statements 
is not to excite the credulity of people, for he 
rather expects their ridicule ; but to show men of 
taste that they need not go abroad to obtain valu- 
able paintings ; that if they possess the requisite 
knowledge, they can obtain them here at a tithe of 
present European dealers' prices ; that they will 
not be so liable to be imposed upon; that we 
should endeavor to retain all we possess ; and 
above all, that we should strive to encourage our 
own artists, and establish a school of our own, 



INTRODUCTION. 



IX 



instead of patronizing all that is foreign. The 
author is sorry to say, that the most ample expe- 
rience and observation has proved to him, that the j 
general taste is all foreign, from an enamelled tea- 
tray to an enamelled picture. There are almost 
daily sales in Wall-street of French pictures, man- 
ufactured, not painted, in the execution of which 
one makes the drawing, another puts in the sky, a 
third paints the trees, a fourth the figures. Then 
these pictures are highly varnished and put in 
laquered, or imitation gilt frames. And yet these 
pictures find a ready and profitable sale, while a 
better one by a native artist will be passed by in 
the same collection ; or if sold, the price will afford 
him less remuneration than the wages of a me- 
chanic. This is not the way to encourage art 
amongst us; our painters cannot compete with 
French girls. It is true we do patronize artists 
who have reached an enviable height in climbing 
the ladder of fame (and there are many such 
amongst us), but we do not encourage the youth- 
ful aspirant, nor the majority of artists. No class 
of the community are so poor and so ill-paid as the 
great mass of our artists, and were it not for their 
infatuation, or deep love of art, they would sooner 
abandon the profession for more lucrative employ- 
ment, than toil on, half starving in a garret. 

Our Academies and Art-Unions have done much 
to promote the advancement of the fine arts 
amongst us, and should be encouraged by every 
liberal man ; but they are capable of being made 
to do a great deal more. The English understand 
the value to a nation of offering every encourage- 
ment to the progress of the arts, sciences, manu- 
factures, and commerce, better than any other peo- 
ple ; therefore their institutions are worthy of study 
and imitation. Within little more than half a cen- 
tury, the fine arts in England have been brought 
from a low degree, to one of high perfection, and 
mainly through the influence of the Royal Acad- 
my, the British Institute, and the National Gal- 
lery ; and for this reason, the author deems a sketch 
of these institutions not out of place in this work. 

The students of the Royal Academy are provi- 
ded with an ample collection of casts from the best 
antique statues, from which they may study, day 
and evening, under the instruction and guidance of 
the Keeper, an artist of talent, appointed chiefly for 
this purpose, who receives a salary from the Acad- 
emy. There is also a school for the study of nature 
from living models, the expenses of which are con- 
siderable, and, like the antique Academy, admit of 
no intermission. 

There are professors appointed in the several 
branches, of drawing, painting, sculpture, architec- 
ture, anatomy, and perspective, who are bound to 
deliver periodical lectures to the students on the 



subjects connected with their respective appoint- 
ments ; and each of these has a salary from the 
Academy. Added to these, there are the salaries 
of the secretary and librarian, and the expenses 
connected with a well furnished library, to which 
the students have constant access. There are an- 
nual and biannual prizes distributed regularly to 
the successful candidates in painting, sculpture, 
drawing, and architecture, for which any student 
may offer himself, and which consist of gold and 
silver medals, and books on the subject of art, 
which are handsomely bound for the occasion. 

In addition to this liberal encouragement, there 
are constantly two of the students in Italy, where 
they are entitled to remain for three years at the 
sole expense of the Academy, from whom they re- 
ceive an allowance of £100 a year, besides a sum 
which is amply sufficient to defray all their trav- 
eling expenses, as well in returning as going abroad. 
The students sent to Italy are selected from those 
who have previously obtained the gold medal, 
either in painting, sculpture, or architecture. To 
all these advantages, students are admitted with- 
out any expense whatever to themselves, and the 
number received by the Academy is subject to no 
limitation. 

Pensions are given to the widows of such mem- 
bers of the Academy as may not have been able to 
provide for them ; and allowances to such of the 
members themselves, to whom age, infirmity, or 
misfortune, may have rendered such assistance 
necessary. 

All these expenses the Academy has defrayed 
from the profits of the annual exhibitions, without 
any assistance whatever from the Government, be- 
sides charitable donations to a large amount to 
needy artists not belonging to the Academy, or to 
their families. When we consider that a body of 
artists support by their own exertions, without 
any assistance from the Government of the coim- 
try, or from any other quarter whatever, the only- 
efficient School of Art in the kingdom for the gra- 
tuitous instruction of students, and unite in the en- 
deavor to encourage rising merit, and to call forth 
the talent of those who may eventually become 
formidable rivals to themselves, we are bound to 
applaud the liberality of sentiment, and the disin- 
terestedness of public spirit of the Royal Academy; 
which has in truth effected more for the arts in 
England, than the splendid establishments which 
other nations have founded under the immediate 
protection of their respective governments. [See 
Beechey's Life of Reynolds.'] 

The Royal Academy first opened their exhibition 
at the great room in Spring Gardens, May 9th, 
1761 ; price of admission one shilling. In 1780 it 
was removed to Summerset House by the per- 



INTRODUCTION. 



mission of the King. In 1828, William Wilkins, 
R.A., proposed a plan to Lord Goodrich, the Lord 
Chancellor, for the erection of a grand structure on 
the north side of Trafalgar Square for the Royal 
Academy and National Gallery, and Parliament 
voted £74,000 for the purpose. The Royal Acad- 
emy took possession of their room in this new 
structure in 1837. 

The British Government has been very liberal 
in appropriations to promote the encouragement 
of the fine arts in England. The National Gallery 
was commenced in 1824 by the purchase of the 
Angerstien collection by the Government for 
£60,000. It has been greatly augmented since by 
purchase, bequest, and presentation. The British 
Museum has been exceedingly enriched by Gov- 
ernment, especially in sculpture (antique marbles); 
first by the purchase of the collection of Sir Hans 
Sloane, in 1762, for £20,000 ; of Sir W. Hamilton, 
1772, for eight thousand guineas ; the first part of 
the Townley collection, in 1805, for £20,000 ; sec- 
cond part do., in 1811, for £8,200 ; the antique 
frieze from the Temple of Apollo, in 1815, for 
£19,000 ; the Elgin marbles, for £35,000. [These 
marbles cost Lord Elgin above £70,000.] Besides, 
large sums have been expended for other antiques 
and rare works of art. 

The Royal British Institution (it now occupies 
the buildings erected by Boydell for the Shaks- 
peare Gallery, Pail-Mall), under the patronage of 
the King, nobility and gentry, next to the Royal 
Academy, is the most serviceable establishment 
for the promotion of British art, and the encour- 
agement of native talent. This institution is not 
designed to rival the Academy, but to assist it in 
promoting the advancement of the fine arts in 
England. For this purpose it holds biannual exhi- 
bitions, the first of which opens the first week in 
February, and closes the first of April, when that 
of the Royal Academy begins. This exhibition 
differs from that of the Academy in the total ex- 
clusion of all portraiture ; original historical and 
poetical compositions and landscapes, the works of 



British artists, only bemg admitted. These works 
are allowed to be sold at private sale, which is 
transacted between the parties by the Keeper with- 
out charge, and a large number are thus sold every 
year to the great encouragement of artists. 

The second exhibition commences in June, after 
that of the Academy has closed, and is varied 
every year, so as to make it very interesting, attrac- 
tive, and instructive. Sometimes it is composed 
entirely of the works of the Old Masters, of the 
greatest value ; at others of the works of deceased 
British artists ; or of living artists of the highest 
reputation. The whole of these works are loaned for 
the occasion by the patrons, governors, and direc- 
tors (men always of the highest rank or talents), 
of the institution. At these exhibitions, artists 
are allowed every facility for copying and improv- 
ing themselves in art. The funds arising from the 
exhibitions, which are very large, are strictly ap- 
propriated to the advancement and encouragement 
of art, by the purchase of the best specimens of na- 
tive talent, rare works by the Old Masters, and 
liberal premiums awarded to the highest merit. 
See Taylor's History of the Fine Arts in Great 
Britain. 

The price of admission to all these institutions 
is one shilling sterling, which has been sufficient to 
give them ample funds to carry out their legiti- 
mate objects ; and with the National Gallery, the 
British Institution, and the British Museum, to 
add largely to their collections annually by pur- 
chase. The receipts of the British Museum for 
1850 amounted to the enormous sum of £50,000. 
The author takes this occasion to express his dis- 
approbation of Free Galleries of works of art. It 
is unjust to tax the artist half his gains (or what 
he should get for his works,) for public gratifica- 
tion. If such exhibitions are not worth paying for, 
they are not worth seeing; and certainly every 
man would be willing to pay a reasonable price, at 
least enough to pay the expense of his gratifica- 
tion, especially with the superior attractions which 
this course would place before him. 






ENGRAYING 



The author esteems the art of engraving of so 
much importance, especially in our extended coun- 
try, where we have few public Galleries of -paint- 
ings, and where the great mass of the community 
must therefore form their taste for the fine arts 
mostly from this branch, that he deems a some- 
what extended notice proper and profitable in this 
work. 

Engraving is not only a valuable assistant to 
painting by perpetuating the works of the great 
masters, but it also satisfies, to a great extent, that 
love for the arts possessed by many who have not 
the means of otherwise obtaining this gratification. 
It requires the possession of a large fortune to form 
even a respectable cabinet of pictures ; and it is 
further necessary that the purchaser should pos- 
sess a cultivated taste and discriminating judg- 
ment, and an intimate acquaintance with works of 
ai't, which are not easily acquired, in order to avoid 
the danger of imposition. But a knowledge of 
prints is obtained with far greater facility, and a 
taste for them may be gratified in almost every 
condition of life. Moreover, by means of this art, 
the conceptions of the great masters are diifused 
through every part of the world, and thousands 
who can never see the original work, may experi- 
ence refinement and exaltation of intellect from the 
contemplation of the engraving. Thus a love for 
the beautiful, the true, and the sublime, is widely 
disseminated, and the general taste of the people 
elevated ; art approaches nearer to its proper esti- 
mation, and artists, who, in this money-getting age, 
have at least no extravagant encouragement to 
hope for, gradually rise to their true position. 

Prints are known to be exceedingly useful in 
the instruction of youth, whose vivid imagination 
will catch with delight the depicted story at a 
glance, and rivet it in the memory ; whereas a writ- 
ten description will produce little effect. The pa- 
thetic stories of the Bible are rendered far more 
impressive by the delineations of those scenes by 
the Old Masters. Description gives but little idea 
of an animal, or a landscape, but a picture gives at 
once a correct one. Prints make a lively impres- 
sion on the imagination, and afford a means of re- 
creation highly entertaining and instructive — qual- 
ities rarely combined. They also afford an inter- 
esting amusement for every stage in life ; and next 
to the study of a fine painting or piece of statuary, 
there is no greater pleasure to a person of refined 
taste, than the contemplation of the beauties of a 
masterly engraving ; nor does this pleasure pall 



with repetition. As with a masterly painting, so 
with the engraving, more beauties will constantly 
be discovert ; so that a portfolio of fine prints is 
a source of endless instruction, amusement, and 
gratification, not only to the possessor, but to his 
friends and acquaintance. 

The following observations on the utility of 
engraving, from the pen of William Rosco, a gen- 
tleman well known to the literary world from his 
excellent taste, love of the arts, and scientific ac- 
quirements, are so admirable and just, that the 
author cannot forbear quoting them in this place. 

" Of all the imitative arts, painting itself not ex- 
cepted, engraving is the most applicable to general 
use, and the most resorted to from the necessities of 
mankind. From its earliest infancy, it has been 
called in as an assistant in every branch of know- 
ledge, and has, in a very high degree, facilitated the 
means of communicating our ideas, by representing 
to the sight whatever is capable of visible imitation, 
and thereby preventing that circumlocution which 
would ill explain, in the end, what is immediately 
conceived from the actual representation of the 
object. 

" From the facility of being multiplied, prints 
have derived an advantage over paintings, by no 
means inconsiderable. They are found to be more 
durable, which may, however, in some degree, be 
attributed to the different methods in which they 
are preserved. Many of the best paintings of the 
early masters have generally had the misfortune to 
be either painted on walls, or deposited in large and 
unfrequented, and consequently damp and destruc- 
tive buildings ; whilst a print, passing at distant 
intervals from the porte-feuille of one collector to 
that of another, is preserved without any great 
exertion of its owner. Hence it happens, that whil st 
the pictures of Raffaelle have mouldered from their 
walls, or deserted their canvass, the prints of his 
friend and contemporary. Marc' Antonio Raimondi, 
continue in full perfection to this day, and give us a 
lively idea of the beauties of those paintings, which, 
without their assistance, had been lost to us for- 
ever, or at least, could have only been known to us. 
like those of Zeuxis and Apelles, by the descrip- 
tion which former writers on these subjects have 
left us. 

" Perhaps there are no representations which in- 
terest so strongly the curiosity of mankind as por- 
traits. A high degree of pleasure, of which almost 
every person is susceptible, is experienced from 
contemplating the looks and countenances of those 



Xll 



ENGRAVING. 



men, who, by their genius or their virtues, have en- 
titled themselves to the admiration and esteem of 
future ages. It is only in consequence of the facility 
with which prints are multiplied from the same en- 
graving, that this laudable appetite is so frequently 
gratified. Whilst the original portrait is limited 
to the wall of a private chamber, or adorns some 
distant part of the world, a correct transcript of it, 
exhibiting the same features, and the same charac- 
ter, gives to the public at large the full representa- 
tion of the object of their veneration or esteem. 

" As the genuine paintings of the ancient masters 
have become extremely scarce, we are much indebted 
to prints for the truth of our ideas respecting the 
merits of such masters; and this is no bad criterion, 
especially when the painter, as is frequently the 
case, has left engravings or etchings of his own. 
With respect to the principal excellencies of a pic- 
ture, a print is equally estimable with a painting. 
We have there every perfection of design, composi- 
tion, and drawing ; and the outline is frequently 
marked with a precision which excels the picture ; 
so that where the merit of the master consists more 
particularly in the knowledge of those primary 
Dranches of the art, his prints may be better than 
his paintings, as was notoriously the case with 
Pietro Testa, who, possessed of every excellence of a 
painter, except a knowledge of the art of coloring, 
acquired that reputation by his etchings which his 
paintings never could have procured him. 

" A knowledge of the style and manner of the 
different masters is only to be obtained by a frequent 
inspection and comparison of their works. If we 
were to judge of Raffaelle himself from some of his 
pictures, we should be disposed to refuse our assent 
to that praise which he has now for some centuries 
enjoyed. Every master has at times painted below 
his usual standard, and consequently is not to be 
judged of by a single picture. And where is the 
collection that affords sufficient specimens of any 
of the elder masters, to enable a person to become 
a complete judge of their merits 1 Can we, from 
a few pictures, form an adequate idea of the inven- 
tion and imagination of a painter, of the inexhausti- 
ble variety of form and features, which is the true 
characteristic of superior excellence ? But let us 
look into a collection of prints after any eminent 
artist, engraved either by himself or others, and 
we shall then have an opportunity of judging of 
his merits in the first and indispensable qualifica- 
tions of a painter. If we find grandeur of design 
united with elegant composition and accurate draw- 
ing, we have the strongest testimony of superior 
abilities, and from a general comparison and accu- 
rate observation of a number of such prints, we 
may venture to form to ourselves a decisive opin- 
ion respecting the merit of such masters. On ex- 
amining the prints after Rafiaelle, we find that his 
first manner was harsh and Gothic ; in short, a 
transcript from Perugino, but that he afterwards 
adopted that subHme and graceful manner, which 
he ever retained. 

'• Wherever a painter has himself handled the 
graver, his prints are most generally impressed 
with the same character as his paintings, and are 
therefore hkely to give us a very accurate idea of 
his style. The prints of Albert Durer, Rembrandt, 
and Salvator Rosa, are all such exact counterparts 
of their paintings, that at this time, when the col- 
oring of their pictures is often so far changed as to 
answer little further purpose than that of light and 



shadow, they become in a manner their rivals; and, 
in the general acceptation of the world, the prints 
of some of these artists have been as highly valued 
as their paintings. 

" Independent of the advantages prints afford 
us, when considered as accurate representations of 
paintings, and imitations of superior productions, 
they are no less valuable for their positive merit, as 
immediate representations of nature. For it must 
be recollected that the art of engraving has not 
always been confined to the copying other produc- 
tions, but has frequently itself aspired to original- 
ity, and has in this light produced more instances 
of excellence than in the other. Albert Durer, 
Goltzius, and Rembrandt, amongst the Dutch and 
Germans ; Parmiggiano and Delia Bella, amongst 
the Italians ; and Callot amongst the French ; have 
published many prints, the subjects of which were 
never painted. These prints may therefore be 
considered as original pictures of those masters, de- 
ficient only in those particulars in which a print 
must necessarily be inferior to a painting. 

" The invention of printing, in the fifteenth cen- 
tury, was undoubtedly the greatest acquisition 
which mankind ever made towards the advance- 
ment of general science. Before that event, the ac- 
cumulated wisdom of ages was confined to the 
leaves of a few mouldering manuscripts, too expen- 
sive to be generally obtained, and too highly valued 
to be often trusted out of the hands of the owner. 
History affords many instances of the difficulty 
with which even the loan of a book was procured, 
and of sureties being required to be answerable for 
its return ; but the discovery of printing broke 
down the barriers which had so long obstructed 
the diffusion of learning ; and the rapid progress in 
civilization, which immediately took place, is itself 
the happiest testimony of the great utility of the 
invention. What printing has been, with respect 
to general science, engraving has been to the arts j 
and the works of the old Italian artists will be in- 
debted to engraving for that perpetuity which the 
invention of printing has secured to the Jerusalem 
of Tasso, and the tragedies of Shakspeare and Cor- 
neille." 

HISTORY OF ENGRAVING. 

The history of engraving is not only very int^" 
esting to the connoisseur, but is of the first import- 
ance to the collector of rare works of art, for which 
reason the author deems it necessary to give some 
account of its rise and progress. It is the art of 
producing designs upon blocks of wood, plates of 
metal, or other substances, by incision or corrosion, 
from which impressions on paper or other soft sub- 
stances are obtained. Priority of invention has 
been claimed by the Dutch, Germans, and Italians. 
According to Du Halde (Description, <f c, de V 
Umpire de la Chine), the Chinese knew the in- 
vention 1120 years before Christ ; but as they were 
not acquainted with the art of making paper till 
94 B. c, it was doubtless a much later discovery 
with them. It has been stated that this art was 
first introduced into Europe from China, through 
the intercourse of the Venetian merchants ; for it 
has been proved that wood engraving, which has 
priority over copper-plate engraving, was practised 
at Venice as early as the thirteenth century. The 
first wood engravings in Europe of which any- 
thing is known, were executed in 1285 by a brother 
and sister of a noble family, named Cunio. These 



ENGRAVING. 



prints represent the actions of Alexander the 
Great, and though Heineken doubts their authen- 
ticity, yet Mr. William Young Ottley, the author 
of a very elegant and learned history of engraving, 
thinks otherwise, and gives good reasons in sup- 
port of his opinion. In Germany, wood cuts were 
first employed by the card manufacturers to give 
the outline of the figures, to save the trouble of 
making a separate drawing for each card, which 
were afterwards colored by the hand. The Ger- 
man antiquarians have shown that these printed 
cards were in use as early as 1300. These card 
printers not only made and sold every variety of 
playing cards, but they stamped and illuminated 
various images of saints ; and it is the opinion of 
Breitkopf, in his Treatise of Engraving on Wood, 
that the impressions of these images preceded that 
of the playing cards. Heineken says that many 
of these illuminated wooden cuts of Saints are still 
preserved in several of the celebrated libraries of 
Germany, particularly in that of ^Yolfcnbattel. In 
the convent of the Carthusians at Buxheim, in Su- 
abia. is a wooden cut representing St. Christopher 
carrying the infant Jesus across an arm of the sea. 
It is of folio size, inscribed with Gothic letters, illu- 
minated in the same manner as playing cards, dated 
1423. The Venetians also claim to have practised 
all these things at a very early period ; and a Ve- 
netian architect, named Temanza, accidentally dis- 
covered a decree in the archives of Venice, dated 
October 11, 1441, which sets forth that the art and 
mystery of making cards and printed figures had 
fallen into decay, owing to their extensive impor- 
tation, and in order that the native artists might 
find encouragement rather than foreigners, it w^as 
ordained that no work of the said art, printed or 
painted on cloth or paper, viz. : altar-pieces or im- 
ages, and playing cards, and whatever other w^ork 
of said art is done with a brush and printed, should 
be allowed to be brought into that city on penalty 
of confiscation, besides a pecuniary fine. This de- 
cree plainly shows that, w^hatever may be the 
claims of the Venetians, the Germans had made 
such improvements, and obtained such facilities as 
to drive their competitors from the field. 

To these rude beginnings succeeded wood cuts of 
sacred history, accompanied with explanations in 
letters engraved on blocks. These carved blocks 
seem to have existed in Germany and the Low 
Countries as early as 1429 ; and it is clearly proved 
that they gave to John Guttenburg, the first idea 
of making moveable metallic printing types. Soon 
after the invention of printing, wooden cuts were 
used for illustrating books. The first wood engra- 
vers of whom we have any account were George 
Schapff, who practised the art as early as 1448, 
and Jacob Walch, the supposed instructor of Mi- 
chael Walgemut, who flourished about the same 
time. From this time the art was rapidly intro- 
duced into every part of Germany and the Low 
Countries ; and many of the books published w^ere 
illustrated with wooden cuts. The ' earliest book 
published is Guttenburg's Latin Bible, called the 
Forty-two-lined Bible, because each page had forty- 
two lines, finished about 1455. The author has' a 
copy of the celebrated Nuremberg Chronicle, or 
History of the World. It is a large, heavy folio in 
Latin, printed in black-letter, illuminated and em.- 
bellished with about two thousand wood cuts, some 
of which are remarkably well executed. The book 
dates 1492 on the last page, to which time the his- 



tory is continued (the title-page is missing), and it 
must have been several years in execution. But 
many illustrated books were published bcfoi-e this 
time. At Rome, in 1467, a book was issued from 
the press of Hans Ulric, entitled Mediiationes Jo- 
hannis de Turrecremata, embellished with wood 
engravings, in which great improvements in design 
and execution by Italian artists is evident. The 
illustrations of the works of Vitruvius, by Matteo 
Pasti of Verona published in 1472, evince consid- 
erable spirit and accuracy. Before the end of the 
fifteenth century, the art had been carried to great 
perfection, as is proved by the delicacy and purity 
of the designs engraved to illustrate the celebrated 
Hypnerotomachia of Colonna. Before this period, 
however, the discovery of copper-plate engraving 
had been made, and the priority of invention has 
been equally claimed by the Germans and the Ital- 
ians. The former rest their pretensions on the ex- 
istence of plates by their artists dated before those 
of the Itahans. Sandrart mentions one dated 1455. 
Zani and Ottley have, however, fully estabhshed the 
claim of Maso Finiguerra, a Florentine, to priority of 
invention ; and Bartsch admits its validity. Ottley 
describes a print by this artist, in his possession, 
dated 1445 ; and Zani notices a Coronation of the 
Virgin, dated 1452. From this period, wood and 
copper-plate engraving rapidly spread over every 
part of Europe. 

The Italian School. — Finiguerra was followed 
by Baccio Baldini, a goldsmith of Florence, who, 
according to Vasari, employed Sandro Botticelli to 
design for him. His works were numerous, and 
are much sought after by collectors. Botticelli, a 
native of Florence, was an eminent painter of his 
time, and from the success of Baccio, turned his 
attention to engraving. He engraved from his 
own designs a number of prints of prophets and 
sybils, and subjects illustrative of Dante. He died 
in 1515. , Contemporary with him flourished An- 
tonio del Palla Juolo ; and a little later, Gherado 
and Robetta, all of whom advanced the art, though 
it was still dry in execution, and more to be ad- 
mired for correctness of design and drawing than 
for any attempt at relief or effect. There can be 
no doubt that the art was practised at this period 
at Rome, though the Venetian States and the north 
of Italy furnished a more abundant supply of ar- 
tists ; among whom Francesco Squarcione. Andrea 
Mantegna, Girolamo Mocetto, Marcello' Fogolino, 
Bramante the architect, Altobello, Giovanni Bat- 
tista della Porta, Giovanni Maria, and Giovanni 
and Antonio di Brescia, were the most eminent. 

The appearance of Marc' Antonio forms the most 
important epoch in Italian engraving. He v\-as 
born at Bologna in 1488, and became the pupil of 
Raibolini. We first hear of him at Venice^ whither 
Albert Durer went to institute proceedings against 
him for pirating his prints, w^hich he had copied 
with such wonderful accuracy that they were ^old 
for the originals. Marc' Antonio soon wont to 
Rome, w^here his merit obtained the friendship of 
RafFaelle, then in the plenitude of his fame, by 
whom he was emplo3^ed to engrave after his de- 
signs. His engravings after Raffaelle are very nu- 
merous, and though wanting the blandishments 
of style, chiaro-scuro, and local color, which the art 
has received since his time ; yet such was his know- 
ledge of drawing, and such the beautiful character 
that pervaded his works, that he is esteemed one 
of the greatest engravers that ever lived. The 



XIV 



ENGRAVING. 



fame of his school attracted artists from all parts 
of Italy, and some from Germany and France re- 
sorted to Rome for the benefit of his instructions. 
His last print, the Battle of the Lapithaj, is dated 
1539. From his time, engraving may be said to 
have been practised in Italy m the highest perfec- 
tion, and a host of bright names follow on down to 
the present time. [See Marc^ Antonio Raimondi.'] 

The Dutch and German Schools. — In Germany 
and the Low Countries, the art of engraving had 
made extraordinary progress during the fifteenth 
century. Martin Schoen, or Schoengauer, is con- 
sidered the father of the German school of engra- 
ving. He was a native of Culmbach, in Franco- 
nia, and born about 1420. He began to practise 
the art in its infancy, and succeeded in carrying it 
to a great degree of perfection. He died at Col- 
mar in 1486. Vasari states that Michael Angelo, 
when young, was so much pleased with a print by 
Schoengauer, representing St. Anthony tormented 
by the Devils, that he copied it in colors. Albert 
Durer, the most celebrated of the early engravers 
of Germany, was born at Nuremberg in 1471. 
Skilled in many arts, and a painter of no ordinary 
powers, it is astonishing that in a life not exceeding 
fifty-eight years, he should have succeeded in car- 
rying the art of engraving to such perfection as has 
hardly been surpassed. He engraved both on wood 
and copper. Of his numerous works, his wooden 
cuts are the most free and masterly. The inven- 
tion of etching is also attributed to him. Follow- 
ing Durer were Aldegrever, his pupil, Hans and 
Bartholomew Beham, Altdorfer, Biuck, Goerting, 
Penz, Solis, and Hans Holbein, who, besides his 
celebrity as a painter, acquired great reputation 
by his numerous engravings ; the best of which 
are the series of fifty-two prints, called the Dance 
of Death, pubhshed in 1530. 

Of the Dutch and Flemish School. — Lucas van 
Leydcn must be considered at the head of this 
school. He was born in 1494 at Leyden, whence 
he takes his name. He was a contemporary and 
friend of Albert Durer, to whom, though inferior 
in design, he was superior in composition. He en- 
graved both on wood and copper. The Low Coun- 
tries furnished a host of engravers, among whom 
it is unnecessary to mention more than the Sad- 
elers ; Abraham Bloemaert, who laid the founda- 
tion of the principles upon which lines become 
capable of expressing quality, color, and chiaro- 
scuro, and which was subsequently improved by 
the Flemish engravers, Goltzius, Muller, and Lu- 
cas Kilian. The three last, though they handled 
the graver with great dexterity, fell into many ex- 
travagances and absurdities, which, however, were 
tempered and corrected by Mathieu and Saenredam. 
In the beginning of the seventeenth century, the two 
Bolswerts appeared, whose style was much im- 
proved by the instructions of Rubens. Voster- 
mans, Pontius, and Peter de Jode the younger, 
were all of this school, which is distinguished for 
the success and correctness with which it transfer- 
red the picture to the copper. Rembrandt, not- 
withstanding all his faults and absurdities, claims 
a high place as an engraver. The Descent from 
the Cross, and the " Hundred Guilder Print," are 
extraordinary efforts of the art. His portraits and 
landscapes are full of nature, expression, and char- 
acter, and it is diffiqult to say whether he is more 
successful in his sunshine clibrts, or in the sober, 
solemn twilight, with which his varied subjects 



are enveloped. Vandyck has left a few specimens 
of etchings worthy of his name. Jegher, Lutma, 
and above all, the Yisschers, exhibited great excel- 
lence in the art, which continued to advance under 
the hands of Waterloo, Jacob Ruysdael, and Paul 
Potter ; the last of whom, in his etchings of ani- 
mals, displays a scientific acquaintance with anat- 
omy before his time unknown. 

The Fretich School commenced about the mid- 
dle of the sixteenth century, with Noel Garnier, 
who was followed by many excellent artists ; but 
till the time of Louis XIV., it cannot be said to 
have been highly distinguished. At this period 
appeared Gerard Edelinck, and Gerard Audran. 
The former of these worked entirely with the gra- 
ver, and carried what is called color' in engraving, 
on which effect greatly depends, to a much greater 
degree of perfection than had ever before been prac- 
tised. His facility was amazing, and portraits and 
history were equally the subjects of his burin. 
The name of Audran is illustrious in the history 
of engraving, not less from the circumstance that 
the family has produced six famous engravers, than 
from the works of Gerard Audran, whose name 
will descend to posterity with great lustre for his 
engravings of the Battles of Alexander, after Le 
Brun, as weU as many exquisite specimens of the 
art after the Italian masters, particular!}^ Nicolo 
Poussin. Gerard Audran was born at Lj^ons in 
1640, and died at Paris in 1703. John Audran, 
the last of the family who exercised the art, was a 
nephew of Gerard, and died at Paris in 1756. 
Nanteuil, the three Drevets, of whom Peter was 
the most eminent, Le Clerc, Chereau, Cochin, 
Beauvais, Simoneau, Dupuis, and many other em- 
inent masters appeared about this period. Bale- 
chon and Wille, about the middle of this century, 
surpassed all their predecessors. Wille was a 
German, but his residence having been at Paris, 
he is always ranked with the French engravers. 
His extraordinary power of imitating particular 
objects, especially satins, the smoothness of the 
etlect he produced, and his remarkable cleanness in 
the use of the graver, entitle him to a place in the 
first rank of the French School, which since the 
time of Louis XIL, has been more distinguished 
for its great mechanical skill than for perfection in 
the higher departments of the art. 

The English School— Till the middle of the 
eighteenth century, England was principalljr in- 
debted to foreign artists for the embellishments 
bestowed upon her typographical works, as well as 
for such engravings as the taste of the nation re- 
quired. Most of the former were executed abroad, 
and brought to England to be printed ; the latter 
were imported in such quantities as to satisfy the 
demand. Some foreign artists came over to Eng- 
land, and found sufficient encouragement to induce 
them to take up their abode there. Payne, who 
died about 1649, and Faithorne, who executed many 
historical pieces and portraits in a reputable man- 
ner, are the first deserving of notice. William 
Faithorne, son of the latter, was the first who prac- 
tised mezzotint engraving in England, a species of 
engraving which the English attribute to Prince 
Rupert, but which Heineken claims for Lieutenant 
Colonel Siegen, a Hessian officer, from whom, he 
says. Prince Rupert learned the secret, which he 
carried to England on the return of Charles II. 
After the two Whites, father and son,' appeared 
Vertue. who was born in 1684. He executed a 



ENGRAVING. 



gi-eat number of portraits and landscapes, in a poor 
style, and died in 1757, leaving behind him his 
'• History of Painters and Painting in England," 
■".vhich was afterwards published by Horace Wa'- 
pole. in four quarto volumes. The works of Pond 
and Knapton can only be mentioned as continuing 
the history, and none are worthy of particular no- 
tice till the timeof WooUett, when the liberal en- 
couragement aiforded by Alderman Boydell, who 
has justly been termed the father of engraving in 
England, suddenly brought to notice a number of 
artists who did honor to the art. Among the 
bright names which grace this period of the Eng- 
lish School, are Woollett, Sir WilHam Sharpe, Sir 
Robert Strange, John Brown, Raphael Smith, Earl- 
om. Bartolozzi, Thew, Middiman, Basire, Rooker, 
Heath, Byrne, Bromley, Lowry, &c. ; till at length, 
the liberal encouragement which the English ex- 
tended to their artists, has brought the art of engra- 
ving, in every department, to the highest degree of 
perfection in that country. 

In this enumeration of masters, the name of 
Hogarth has been omitted, because his engravings 
partake more of the nature of pictures transferred 
at once to copper, often without proceeding through 
the intermediate stages, and that, as specimens of 
the art, separate from the invention of the master, 
they have little merit. It is the invention of Ho- 
garth, in which he is unrivalled, that gives the 
charm and value to his works. 

In Spain no particular school of engraving has 
been established for want of encouragement. They 
import all the fine works which the taste of the 
country requires. 

American School. — In the United States, bank- 
note engraving has been carried to the highest per- 
fection ! Little more can be said. TVe have not 
produced a work worthy as a model for a,n engra- 
ver, yet our engravers have evinced a talent equal 
to the task of executing works in the highest style 
of the art; but as long as the taste is for the 
cheapest works, we shall have machine-made prints 
in abundance ; and when we publish prints by lib- 
eral subscriptions, or feel willing to pay liberal 
prices, we shall have a school of our own worthy 
of the country . Till then, we must import all fine 
works, and pay as high prices for them as would 
sustain a school of our own. 

ENGRAVING ON COPPER AND STEEL. 

Etching. — The plates used in engraving are pre- 
pared by the manufacturer fit for use. In etch- 
ing, the ground is first laid, i. e., covered with a 
coating of wax or a kind of varnish capable of re- 
sisting the action of nitric acid. Next, the usual 
method is to lay the design, previously drawn on 
paper with a black-lead pencil upon the plate, (the 
paper being previously dampened and the design 
facing the ground); it is then passed through a 
rolling press, which transfers the design from tho 
paper to the ground. The lines of the desig-n are 
then scratched down to the metal with a sharp in- 
strument called an etching needle. A border of 
wax is run round the edge of the plate, diluted ni- 
tric acid poured on and allowed to remain a suffi- 
cient time to hite in, or corrode the lines made with 
the etching needle. When the lighter parts are 
sufficiently bitten, the acid is poured off", such parts 
stopped oitt with varnish, and the acid again ap- 
plied. This process is repeated till all the parts 
have a sufficient depth of color. The work is af- 



terwards completed with the gi-aver and the bur- 
nisher. 

Some of the old masters designed and etched on 
the ground at the same time, without any previous 
transfer of the design ; but this can only be done 
by a perfect master of design and drawing. Etch- 
ing with a soft ground is used to imitate chalk and 
black-lead drawings. For this purpose, a soft 
ground is prepared with wax and tallow, or lard, 
according to the temperature. The design is se- 
cured to the edge or corners of the plate. A point 
then traces the line^. and the soft ground under- 
neath, adhering to the paper, is removed with it. 

The characteristic of a masterl}^ etching is the 
unrestrained liberty of execution in which the 
point runs playfully over the plate as in orna- 
mental writing. Etching is admirably adapted for 
the imitation of drawings, and especially for the 
delineations of scenes from nature, as landscapes, 
in which the foliage, sky, ruins, distances, &c., re- 
quire the utmost lightness and freedom of hand. 
The slight inequalities of the lines, caused by the 
corrosion of the acid, add to the beauty of the 
effect. 

Etching is a very simple operation, and any one 
who can draw well, can etch. It is suprising that 
so few modern painters etch, as very many of the 
old masters did, and whose etchings are now so 
highly esteemed. It is true the necessities and 
incentives are somewhat done away by the facili- 
ties of modern engraving, and the great number of 
engravers ; but a poor engraving is not to be com- 
pared with a masterly etching, and a masterh^ en- 
graving costs so much that it will only pay to en- 
grave the best works of the best masters. Had 
the late Thomas Cole etched some of his exquisite 
landscapes, doubtless the sale would have been im- 
mense and the profits large, for thousands would 
have sought to possess such works by so gTcat a 
master, who could not afford to purchase his paint- 
ings. It is also a pleasant pastime to those who 
have the taste. Some noble amateurs have thus 
amused themselves in practising the art. It is 
worthy of notice that the Queen of England and her 
royal Consort sometimes amuse themselves with 
etching, and thus set an illustrious example that 
cannot fail to have a beneficial influence on the 
fine arts in England. 

■ Line Engraving. — In this method of engraving, 
the design is transferred as before described in 
etching, and the outlines only etched in. Then, the 
ground is removed, and the lines laid in, and cut in 
with the graver. This is the most difficult and te- 
dious, and the most expensive kind of engraving, re- 
quiring the greatest judgment, skill, and care. En- 
gravers have frequently wrought five or more years 
on a single plate, and some instances are recorded 
where they have spent ten or more years. Thus 
it will be perceived, that engraving is one of the 
most tedious and difficult of the arts, for if any ac- 
cident happens to the work, the part injured must 
be scraped out, the plate leveled by beating up on 
the back, and the parts re-engraved. 

Stipple Engraving. — The plate is first treated 
as before described in fine engraving. It differs 
from line engraving in this respect, that the work 
is produced by minute punctures or dots. These 
punctures, when made with the dry point, are cir- 
cular, and with the graver, triangular. The varia- 
tions and progressive magnitude of these dots give 
the whole effect of light and shade in stipple en- 



XVI 



ENGRAVING. 



graving. This method, next to line engraving, is 
the most tedious. Both methods have their ad- 
vantages, and are frequently combined, in modern 
prints. Large plates generally require a force and 
power of execution, to which the line is best adapt- 
ed. On the contrary, for carnations, and those 
delicate transitions of light and shadow, for satins, 
laces and silks, the stipple is preferable. 

In modern times, ingenious machines, especially 
the ruling machine^ have been invented to facili- 
tate the process of engraving. With the ruling 
machine, the skies, back-grounds, and even some 
parts of the figures are ruled in, saving thereby 
immense labor and expense. But such prints are 
not esteemed by connoisseurs as worthy a place in 
their portfolios. The old engravers used none of 
these things, and most modern engravers who work 
for reputation, seldom employ them. Delicate ru- 
ling has recently been introduced into the figures 
in mezzotint plates, which is an improvement. 

Mezzotint Engraving. — This style of engraving 
is executed by raising a barb on the surface of the 
plate with an instrument called a rocker, so as to 
give a black ground. In Europe, this is now done 
with machinery, and the plates, thus prepared, are 
sold to the engraver by the square inch. The 
engraver traces his outline upon the plates, and 
the light parts are scraped out, then the middle 
tints, so as to leave a portion of the ground. This 
branch of the art has been brought to the highest 
perfection in England, France and Germany. It 
is also practised in a very creditable manner by 
bur own artists. The advantages of mezzotint en- 
graving are, the facility of execution, and the deli- 
cate softness of the prints. It is admirably adapt- 
ed to represent the softness of the carnations, the 
light lloating of the hair, the folds of the draperies, 
the lustrous brilhancy of armor, and the imitation 
of the delicate coloring of a picture. This style of 
engraving will yield 500 or COO good impressions 
from copper plates, and 1500 to 2500 from steel 
plates, but the latter, by the frequent use of the 
rocker and burnisher, may be made to give a vast 
number of poor impressions. 

Aquatint. — In this mode of engraving the out- 
line is first etched, as before described. A solu- 
tion of Burgundy pitch or mastic, made in alcohol 
or spirits of wine, is then applied to the plate, 
which, by its rapid evaporation, forms a ground 
of a granular texture. The acid is then poured on 
as in etching, and when the lights are sufficient!}'" 
bitten they are stopped out, the acid again applied, 
and so on till all the parts have a sufficient depth 
of color. The method of laying the ground varies 
somewhat, as practised by dill'erent engravers, but 
the above is considered the best. This method 
was invented by St. Non, a Frenchman, about 
16C2. Paul Sandby introduced it into England 
about 1780, where the art has been brought to the 
highest perfection. By this mode of engraving 
drawings in India ink, blister, and other washes, 
are very successfully imitated. It is chiefly used 
for sporting pieces, horse-races, plans of cities and 
the hke. When colored they have a pleasing effect. 

Aquatints are sometimes printed in colors, i. e., 
two or three different colored inks are employed 
at the same time on the plate, as a blue for the 
skies, a neutral tint, as brown, for the rocks, hills 
and distances, and a green for the foreground when 
there is much foliage. The colors are carefully put 
on those parts of the plate, where they ai'e re- 



quired with ink-balls or dabbcrs, and the impres- 
sion taken in the ordinary way. The prints are 
then colored with the brush, by hand ; which pro- 
cess, the printing in colors greatly facilitates. 

Engraving in dots, called opus mallei. This is 
an antiquated mode of engraving, supposed to have 
been lirst practised by Janus Lutma. The design 
is lirst etclicd, then the plate is harmonized by the 
drtj point, struck with a small hammer, whence 
its name. It possesses no advantages to recom- 
mend its use. 

E Idling on Glass. — This is done by covering the 
glass with a thin ground of wax, tracing the de- 
sign with the point, and scraping away the wax so 
as to expose the glass to the action of h3'dro-fluo- 
lic acid. This is done by covering the part with 
pulverized Derbyshire spar mixed with sulphuric 
acid, which sets free the hydro-fluoric acid exist- 
ing in the spar, which acid will corrode glass. 

Zincography. — This is a method of engraving 
on zinc plates recentl}'- invented in Germany. It 
has not yet been introduced into this cGuntiy. It 
is done by etching and the use of acids, and the 
prints vary very httle in appearance from litho- 
graphs. 

Fentography. — This method is done by means 
of a ruling machine, so constructed that the lines 
are made to diverge and converge at the pleasure 
of the operator. The lights are produced by the 
widening or diverging of the lines, and the darks 
by approximating or converging them. This style 
is very well adapted to statuary or busts, when 
cheapness is an object. 

Engj^aving on Steel. — The same methods are 
now pursued in engraving on steel plates as on cop- 
per. The advantage of engraving on steel plates 
consists in their hardness, by which they are made 
to yield an almost indefinite number of impres- 
sions, whereas copper plates will wear out, espe- 
cially in fine work, in taking 1500 or 2000. Steel 
plates were first employed by our ingenious coun- 
tryman, Joseph Perkins of Boston, who took his in- 
vention to London, where he established himself and 
introduced it witli such eminent success, that it 
has superseded copper in all cases where a large 
number of impressions are required. Formerl}^, 
the plates were partially decarbonized, so as to 
render them soft, before engraving, and when the 
work was finished, the carbon was I'cstored, but this 
method is so liable to accident, from the scaling 
and blistering of the steel, that it has been aban- 
doned, except in engraving dies for the vignettes of 
bank notes. These dies are so hardened that all 
the embellishments of bank notes are transferred 
from them to copper or steel plates by pressure. 
An engraving on a steel plate, hardened, may be 
transferred in relief to a softened steel cylinder by 
pressure : this cylinder after being hardened may be 
made to again transfer the design to steel j)lates ; 
thus the work may be multiplied at pleasure. 

Printing Engravings. — This is an interesting 
process, and one of great importance, as much of 
the beauty of the prints depends upon the printer; 
for if the ink be too thin, or the plate too full, it 
will overrun, and devil or blur the print in taking 
the impression. In printing heav}^ work, the great- 
est care is required, or half the impression will be 
spoiled. A careless printer will also grind the 
plates, or wear them out much faster than an ex- 
perienced and careful workman. 

A plate printing press cannot well be described 



ENGRAVING. 



STll 



without a diagram. Suffice it to say that the bed- 
piece on which the plate is laid, is a heavy cast-iron 
plate two inches thick, the surface planed perfectly 
flat, which, by means of gearing, is made to run 
under a heavy cast-iron cylinder, six or eight in- 
ches in diameter, also turned perfectly smooth. 
This cylinder is placed above the bed-piece, is 
graduated by screws, and is turned by hand by 
means of levers. The cylinder, graduated accord- 
ing to the thickness of the plate to be printed, is 
covered next to the plate, with several thicknesses 
of heavy drab broadcloth, which move with the 
cylinder, and are kept in their place by means of 
pullies. The bed-plate being run out, the press is 
now ready for use. The plate, having been pre- 
viously warmed over a stove or steam-bed so as to 
soften the ink, is carefully filled with the ink roller; 
the ink is next removed from the surface of the 
plate by rubbing with a kind of soft crash manu- 
factured for the purpose, called rags; and the palm 
of the hand, rubbed on French whiting, is passed 
over the whole surface, so as to remove the whole of 
the ink except that contained in the engraved work ; 
(a thousand experiments have been tried without 
success to obviate this labor,) the plate is laid 
upon the bed-plate of the press, the paper, pre- 
viously softened by being wet down over night, is 
laid over the plate and passed under the cylinder, 
which subjects it to a pressure of many tons; and 
this pressure does not come upon the whole plate 
at once, but progrcssivel}", in one straight line 
across the plate, as it passes under the cylinder ; and 
the elasticity of the cloth cushion forces the soft 
paper down into the engraved work, which takes 
up the ink. Forty or fifty impressions from a 
heavy plate is a good day's work, and the price for 
printing is about $15 per hundred. After the day's 
work is finished, the prints are laid upon racks to 
dry, where they remain several days, when they 
are pressed. Plate printing is a very laborious 
kind of work. 

Engraving on Precious Stones. — This is ac- 
complished with the diamond or emery. The dia- 
mond possesses the peculiar property of resisting 
every body in nature, and though the hardest of 
all substances, it may be cut by a part of itself, and 
polished by its own particles. In order to render 
the diamond fit to perform the operation of a tool, 
two rough diamonds are cemented to the ends of 
handles, and rubbed together till that form is ob- 
tained for which they are intended ; the powder 
thus produced is preserved, mixed with olive oil, 
and used for polishing them in a kind of lathe with 
an iron wheel. Other stones, as rubies, topazes, 
and sapphires, are cut into various angles with 
diamond dust on a copper wheel, and then pol- 
ished with tripoli. A leaden wheel covered with 
emery wet with water, is preferred for cutting em- 
eralds, amethysts, hyacinths, agates, garnets. &c., 
and they are polished on a pewter wheel with tri- 
poh. Opal, lapis-lazuli, &c., are polished on a 
wooden wheel covered with buck-skin, with tripoli 
and rouge. 

Contrary to the method emploj-ed in turning 
metals, in which the substances wrought are fast- 
ened in the lathe, and the tools applied, the en- 
graver of gems fixes his tools in the lathe and 
holds the precious stone to them ; thus forming 
them to any shape he pleases by the interposition 
of diamond dust mixed with oil, or any other pow- 
dered material that is harder than the stone beinsr 



\ cut. After the stones are thus turned or cut into 
j the proper shape, the engraving of the devices, as 
I figures and armorial bearings. &c., is performed by 
means of small iron or copper wheels having a per- 
1 pendicular axis, which revolve in a lathe turnetl 
j by the foot, with diamond dust or other hard 
I substances. Tools of iron or copper are also cm- 
! ployed; these are of different and convenient 
shapes, as small chisels, gouges, points, round- 
heads, &c., worked with diamond dust, &c.; for the 
figures and delicate work. After the work is fin- 
ished the polishing is performed with wheel brush- 
es, fixed in a lathe, with polishing powders, mixed 
with olive oil. In this way cameos and intaglios 
are cut, which see in Explanation of Terms in this 
work. 

E7igraving on Stone, or Lithography. — This is 
a modern invention, the merits of which belong 
to Alois Senefelder, a musical performer of the 
theatre of Munich, about 1800. The following- 
are the principles on which the art of Lithography 
depends: First, the facility with which calcare- 
ous stones imbibe Avater ; second, the great dispo- 
sition oily and resinous substances have to adhere 
to them ; third, the affinity between oily and res- 
inous substances and the power they possess of 
repelling water, or bodies moistened with water. 
Hence where drawings are made on the polished 
surface of a calcareous stone with resinous or oily 
substances, they are so adhesive that nothing short 
of mechanical means will remove them from it; 
and whilst the other parts of the stone take up 
water poured upon it, the resinous parts repel it. 
Lastly, when an oily ink is rolled over a stone thus 
prepared, it will adhere to the drawings made as 
above, and not to the other parts of the stone. 
The stone employed is a kind of white lias which 
is found abundantly in France, Germany, and Eng- 
land. The ink and chalk of which the crayons are 
made are of an oily or suponaceous quality. After 
the drawing has been made upon the stone, and it is 
perfectly dry, a weak solution of sulphuric or other 
acid is put upon it, which slightly depresses the 
surface of those parts where there is no drawing, 
and prepares it for absorbing the water more 
freely. Weak gum water is then applied to the 
stone to close the pores and keep it moist. In 
taking the impression, the stone is first gently 
washed with a sponge and pure water, the ink 
rolled over, the paper applied, and run through the 
press ; this process is repeated for every print. 

Besides the method above described, the designs 
are sometimes drawn with the brush or pen. They 
are also occasionally engraved on the stone. En- 
gravings may also be transferred directly to the 
stone by dampening them and subjecting them to 
pressure, by which the ink is made to leave the 
print and adhere to the stone. This last method 
is principally used for maps, blank drafts and bills 
of exchange. The advantages of Lithography are 
the facility with which the drawings are made and 
the impression taken, and the extraordinary num- 
ber of prints that may be taken. This last de- 
pends altogether on the delicateness or strength of 
the drawing and the manner in which it is done. 
The works of some lithographers will wear much 
better than others. Fine ink drawings will vield 
1,000 to 2,000 ; strong ones generally 3,000 to S'^OOO. 
(14,000 is the highest number taken in the United 
States, which is considered an extraordinary num- 
ber.) Upwards of 80,000 are said to have been 



PHOTOGRAPHY. 



taken at Munich from one writing of a form for 
a regimental order. An engraved stone will wear 
longer than any other. Transfers will yield 500 
to 1000 impressions. Lithography has been car- 
ried to very high perfection in France, Germany, 
and England. Lithography may be made to 
produce prints having the appearance of highly 
colored engravings. For this purpose a series 
of stones is employed, as many as the number 
of tints required, and each print is subjected to 
a separate impression from each stone with its 
appropriate tint or colored ink. As many as 
eight stones have been employed. This method 
is practised to a considerable extent in Europe, but 
the finishing is generally done with the brush 
and hand. It has recently been greatly improved 
by Mr. Duval of Philadelphia, who, by employing 
eight stones, has produced an exquisite specimen 
of the work, which may be seen in the Patc^it 
Office Reports for 1850. He has given the name 
of Chromolithography to his method. 

Lithocromics, is the art of printing in oil colors 
upon stone, and taking impressions on canvass. 
This process, designed to multiply the master- 
pieces of painting, was invented about 1815, by 
M. Malapeau of Paris, who obtained a patent 
from the French government for his invention. 
The art has not been brought to such perfection as 
to realize the expectations of the patentee, or to 
produce any thing valuable. A similar, but much 
superior method, was invented by Scnefelder, the 
original inventor of Lithography, which he calls 
Mosaic impression. [See Senefelder-^ 

Wood Engraving^ or Xylography. — This, the 
easiest mode of engraving, is performed on blocks 
of wood, cut across the fibres, of the same thick- 
ness as the length of types for printing, usually 
of the box-wood, but sometimes the pear, apple, 
and mahogany are employed for cheapness. The 
subject is drawn on the block with a black-lead 
pencil, or with a pen and Indian ink. The whole 
of the wood is then cut away, except where the 
lines are drawn, which are left as raised parts. 
These raised lines give the darks, and the removed 
parts the lights, which are nothing more than the 
natural color of the paper. The impressions are 
taken on a common printing press. This art is of 
great importance for embellishing books and illus- 
trating scientific works, from its cheapness-. 

Some of the wooden cuts of the old engravers, 
as Albert Durer, Rembrandt, Aldegrever, &c., 
which are now so highly esteemed, were printed 
in chiaro-scuro, in imitation of chalk drawings — 
(see Chalk in Explanation of Terms) — the most 
esteemed, being original designs, partake of the 
nature of paintings. For this purpose, two, three, 
or more blocks are employed with inks of different 
shades or intensity; the first has the outline only 
cut upon it, the second is reserved for the dark 
shadows, the third for the shadows which termi- 
nate on the lights, &c. The blocks are substituted 
in turn, so that each print receives a separate im- 
pression from each block. Sometimes the outline is 
engraved in a bold style on copper ; then the 
blocks are used to produce the darker and lighter 
shades. A few years ago, Mr. Brewster of London 
invented and patented a process to produce fine col- 
ored prints from wood cuts. For this purpose he 
employed as many as eight blocks, each with a dif- 
ferent colored tint or ink, in imitating scenes from 
nature, or water colored drawings, with very great 



success; but as yet, the process is too expensive 
for illustrating books. In most foreign illustrated 
works re-published in this country, the engravings 
are transfers, i. e., the engraver, to save the trouble 
and expense of making a drawing after the original, 
transfers the engraving at once to his block by 
means of a solution of potash, which softens the 
ink so that it will give an exact impression of the 
print. The lights are then cut as before. Trans- 
fers are always the reverse of tJje originals. Wood 
cuts are printed with a common printing-press. 

PHOTOGRAPHY. 

Photography is the art and science of taking 
pictures of objects, by the action of solar light, on 
paper, metals, or other substances, prepared with 
metallic salts — usually one of the salts of silver, as 
the Nitrate^Chloride, Phosphate, Iodide, Bromide, 
&c., all of which are readily decomposed, or acted 
upon by light. The materials thus prepared, are 
first submitted to the action of light through the 
cainera-ohsciira, and when they are sufficiently 
acted upon in this instrument to produce the im- 
pression, or picture, it infixed, or rendered perma- 
nent, by the application of alkaline salts, or other 
substances, which cannot be detailed in this work 
further than to give a general idea of the principles 
of the science. 

Photography is a very interesting and impor- 
tant science, yet in its infancy. Great improve- 
ments have been made since its first promulgation, 
are still being made ; and many scientific men be- 
lieve that the great desideratum of making colored 
photographs, i. e., pictures having all the colors of 
natural objects, will be discovered. Indeed, such 
results have recently been announced as having 
been obtained by one of our own artists, though 
not yet made public. Photography is a science so 
interesting and instructive that the author deems 
a short notice of its discovery, and application to 
art, not out of place in this work. 

The action of light in producing pictorial effects 
on paper and metals, prepared with saline or other 
substances, had lorTg been known and experimented 
upon by the scientific world, with the belief that val- 
uable results might be obtained. For this purpose, 
experiments were instituted by philosophers in 
their researches on light; especially by Count 
Rumford, M. Seebeck, Dr. Herschel, Dr. Wollaston, 
Sir Humphrey Davy, and other eminent men. In 
1802, J\Ir. Wedge wood, the celebrated porcelain 
manufacturer, published "An Account of a Me- 
thod of copying Paintings upon Glass, and of 
making Profiles by the agency of light upon Nitrate 
of Silver ; with observations by H. Davy." They 
did not succeed in fixing the colors so that they 
retained any permanence. The pictures vanished 
as soon as they were exposed to the light, and the 
paper turned to a uniform dark color ; yet they 
employed the various salts of silver and the came- 
ra-obscura — the main things now employed. 

In 1814. M. Niepce, of Chalons on the Soane, 
commenced a series of experiments, with a view to 
render these pictorial effects permanent ; and in 
1824, M. Daguerre, of Paris, engaged in the same. 
In 1829, M. Niepce communicated to M. Daguerre 
the particulars of the process employed by him. 
and they entered into an agreement to pursue, for 
their mutual benefit, the researches which they had 
respectively commenced. In 1833, M. Niepce died, 
and a new arrangement was entered into betvreen 



A KEY TO MARKS FOUND ON ENGRAVINGS AND PAINTINGS. 



XIX 



his son, M. Isidore Niepce, and M. Daguerre. It 
is very doubtful if either of these gentlemen would 
have accomplished the desired result alone. At all 
events, M. Niepce has the priority of experimen- 
tal investigation, and had succeeded in accomplish- 
ing all except the facility and certainty of fixing 
the colors, which was chiefly effected through the 
skill and perseverance of M. Daguerre, to whom 
the invention is mainly attributed. 

In January, 1839, the discovery of M. Daguerre 
was reported, and specimens exhibited to the sci- 
entific world of Paris. The extreme fidelity, the 
beautiful gradations of light and shadow, the mi- 
nuteness, and the extraordinary character of these 
pictured tablets, took all by surprise, and the whole 
world was astonished that light could be made to 
delineate, on solid bodies, delicately beautiful pic- 
tures, geometrically true, of those objects which it 
illuminated. The French Government bought the 
secrets of the invention by conferring on M. Da- 
guerre a pension for life of GOOOf., and on M. Isidore 
Niepce one of 4000f., with one-half in reversion to 
their widows, and the process was published to the 
world ; Finance declaring that she purchased the 
secret of the process of the J)aguerreotype^for the 
glory of endowing the world of science and of art, 
loith one of the most surprising discoveries that 
honor her country. 

The great philosopher. M. Arago, who was at 
the head of the commission appointed by the Gov- 
ernment to report on the propriety of granting a 
pension to the inventors, thus speaks of the im- 
portance of the discovery : 

" To copy the miUions upon millions of hiero- 
glyphics which cover even the exterior of the great 
monuments of Thebes and Memphis, of Carnac, 
&c., would require scores of j^ears, and legions of 
designers. By the assistance of the Daguerreo- 
type, a single man could finish that immense work. 
Supply the Institute of Egypt with two or three of 
the apparatus of M. Daguerre, and upon most of 
the great plates in that celebrated work (the fruit 
of our immortal expedition) of the vast extent of 
real hieroglyphics, these instruments would re- 
place these fictitious or invented representations ; 
and the designs would surpass, above all concep- 
tion, in fidelity, and peculiarity of tint, the works 
of our most able painters. The photographic ima- 
ges, being subject in their formation to the rules 
of geometry, would, through the aid of a small 
number of data, admit of coming at the exact di- 
mensions of the most elevated and inaccessible parts 
of those edifices. 

'• These reminiscences, in which the savans and 
artists, so zealous and celebrated, who were at- 
tached to the army of the east, could not, without 
strange mistake, find the shadow of blame, will 
without doubt recall the thoughts to the works 
which are at present executed in our own coun- 
try, under the control of the commission of His- 
torical Monuments. At one glance any one will 
perceive the immense and important influence 
which the photographic processes are destined 
one day to exercise upon that great national en- 
terprise ; each will comprehend how much these 
novel modes of proceeding are distinguished by 
economy, a species of merit which rarely advances 
with the arts, in the perfecting of their products." 

In the meantime, the learned English philoso- 
pher, Henry Fox Talbot, F.R.S., without any know- 
ledge of the discoveries of Niepce and Daguerre, 



had been investigating the subject since 1834, and 
had made a series of experiments with a view of 
rendering the images of the camera-obscura per- 
manent, which resulted in complete success ; and 
in the most disinterested manner, he communica- 
ted the result of his researches to the Royal Soci- 
ety on the 31st of January, six months prior to the 
publication of M. Daguerre's process. It is but 
just to observe, that similar investigations had 
been made by some philosophers in the United 
States, particularly by Professors Hare and lire, 
and immediatel}^ after the publication of these dis- 
coveries abroad, the Americans availed themselves 
of them ; and it is acknowledged that they have 
brought the art to a higher degree of perfection 
than any other people. We will close this article 
with a brief explanation of the different names 
given to the art. 

It was first called Photography^ from two Greek 
words signifying writing by light ; also, photo- 
genic draiDing, or drawing occasioned or produced 
by light. jM. Daguerre gave it the name of Hell- 
ography^ or writing by the sun ; and the French 
Government named it a'fter its discoverer, DagV£r- 
reotype. Talbot called his process Calotype ; and 
as his experiments were made on prepared paper, 
pictures taken on paper by his process are called 
Calotypes, or after him, Talbotypes. Pictures 
taken on metallic plates are now usually called 
Daguerreotypes, and on paper Photograplis. 

A KEY TO MARKS FOUND ON ENGRAVINGS AND 
PAINTINGS. 

Monograms and Ciphers. — Monograms and ci- 
phers are the private marks used by painters and 
engravers to distinguish their works. A mono- 
gram is formed by combining two or more letters, 
usually the initials to a master's name. A cipher 
is any other mark, as a cross, a house, a tree, a 
bird, an implement, etc. Some of the old engra- 
vers combined both in the same plate. The prac- 
tice of using monograms was more common in 
former times than at the present, and it equally 
obtained both among painters and engravers. 

]Many of the old painters signed their names in 
full, as is the general practice at the present day; 
others emplo3'ed only their initials. Many great 
masters seldom or never signed their works, as 
Michael Angelo and Raflaeile. The latter was 
never known to attach his name but to three of his 
works. 

A monogram is no certain sign of authenticit}^ in 
a painting, as every great master has his imitators ; 
but it is generally a very certain one in an engra- 
ving. The monograms and ciphers used by the 
most distinguished Old Masters, both painters and 
engravers, will be found in the plates and scattered 
throughout this work. 

In engraving, the common custom is to write the 
painter's name in the left hand corner of the plate, 
and the engraver's in the right hand ; sometimes 
the name of the draughtsman appears in the centre, 
and occasionally that of the publisher. Thus, 
Carlo Cignani, Pinx. ; J. B. Michel, Scidp. ; G. 
Farrington, DeV ; J. Boy dell. Excu. ; signifies 
that Cignani was the painter, Michel the engraver. 
Farrington the draughtsman, and Boydell the pu]> 
lisher. 

The following marks are copied from old engra 
vings, and for this reason are given, though some 



XX 



A KEY TO MARKS FOUND ON ENGRAVINGS AND PAINTINGS. 



of them care incorrect. P., Pin., Pinx., Pinxt-^ 
PiiLvit., Painted; all of which mean the same 
thing— that the artist to whose name they are at- 
tached, painted the picture. 

Z>/., />e/'' Belt., Delin., Delint., Delineavit, 
Drew ; signifies the di-aughtsman who made the 
niodel or drawing for the engraver, after the orig- 
inal painting. 

Sc, Sc(-< ScuL, Sculp., Sculpt-> Sculpsit, En- 
graved ; signifies the engraver. 

Ex., Exc, Excu.. ExcucL, Excudit, signifies 
the publisher. 

Sometimes Depmxit and its contractions are 
used for Phixit ; also Exculpsit and Incidit, for 
Sculpsit. 

L, III., Inv., Inv^-1 Inven., Invenit, Invented; sig- 
nifies designed, and is frequently used to signifj^ 
the painter. 

F., Fe., F-^ Ft., Fef » Fee. Fecit, Made ; should 
signif)^ tlie print was designed, drawn, and engra- 
ved by the same artist ; but it is frequently used 
to signify the painter ; and sometimes the engraver 
incorrectly attaches it to his name for Sculpsit. 

A sculptor is signified by Inv. et Sculp., i. e., In- 
ventor ct Scidptor. 

Inv. et Delin. signify designed and drawn. 

Inv. et Scidp., designed, drawn and engraved. 

Ad viv., or ad vivum., signifies drawn or painted 
from the living model. 

Some of the old masters etched or engraved their 
own pictures, in which case they usually added to 
their names or initials pm:t\ et sculp., or fee, or viv. 

Some of the old painters and engra^-ers varied 
their signatures or monograms at diffeient times 
or periods of their lives. Thus A.C. P., or A. C, or 
Agos. C, or A. G. BononicB, all signif)^ Agostino 
Caracci of Bologna. Salvator Rosa signed his name 
in fall to his earlier works ; afterwards he used 
a monogram of his initials, an R entwined with 
an >S. 

There is no verb in the Latin language signifying 
to etch, which is rendered, aqua forti notas me- 
tallo factas corrodendas dare. Therefore some 
of the aforementioned terms are employed for the 
purpose. 

Sometimes engravings are marked with the ini- 
tials, or a monogram composed of the initials of 
both the painter and engraver ; sometimes with the 
initials or two first letters of the master's name, 
with P., I., or F. frequently added, to signify 
pinxit, invenit, or fecit. Thus, F. P. M. A. sig- 
nify that Francesco Primaticcio was the painter, 
and Marc' Antonio the engraver ; L. C, F. B., 
or Lod. C. /., Ft. Bri., signify that Lodovico 
Caracci was the painter, and Francesco Baccio 
the engraver. A. L. P., L, signifies that Antonio 
Licinio Pordenone designed the subject, B. F. 
v., F., Battista Francesco Veneti, fecit. 

Sometimes the place of nativity or residence is 
designated, as MI. AG., FLO., Michael Ang-elo, 
of Florence ; 10. AN., BX., Giovanni Antonio, 
of Brescia; F. B. V., I. or F., Federigo Baroccio 
of Urbino, invenit or fecit. 

Monograms are sometimes so composed as not 
only to designate the master's name, but his nick- 
name, or acquired name ; or his place of birth or 
nativity ; or of his instructor or publisher ; and 
occasionally marks are found which the artist him- 



self only understood ; and such prints, if the mas- 
ter is not positively known, are adjudged by con- 
noisseurs to such a master, by the exact resem- 
blance of the style. 

Some of the old masters employed singular or 
fanciful marks, as birds, animals, houses, etc., usu- 
ally having some reference or allusion to the name 
of the artist. Thus, Jerome Cock marked his 
plates with two cocks fighting ; 11. le Bles, with an 
owl on a branch, or in a cage; Hans Adam, with a 
naked figure under a tree, with his initials ; Martin 
de Vos, with a monkey and a fox, separated by a 
stream ; Hans Schaulflin with a small shovel, 
sometimes two, crossed, with his initials — his name 
signifying in German small shovel; Martin, with a 
little bird of that name ; Leech, with a bottle con- 
taining a leech. Zuccarelli's mark is always a 
pumpkin or squash of large size, growing on a vine 
upon a shepherd's cot or fence, or stuck with a 
stick on a rustic's shoulder ; his name signifying in 
Italian, little pumpkin. 

A monogram is not always a certain mark of 
authenticity, though it is with the few rare excep- 
tions where the works of renowned engravers have 
been counterfeited. Thus, Marc' Antonio copied 
the thirty-six prints representing the Life and 
Passion of our Saviour, by Albert Durer, so accu- 
rately that he sold them for the original prints, 
which induced Durer to go to Venice to prosecute 
him for the piracy. 

The value of a print depends upon its beauty 
and rarity. Many prints (fine impressions) by the 
Old Masters command enormous prices. Some by 
Albert Durer, Marc' Antonio, and others, are worth 
five to fifteen guineas in London. Sometimes prints 
are published by subscription, with the under- 
standing that the plate is to be destroyed after a 
certain number of impressions have been taken. 
Such prints are very high. Thus, the Transfigura- 
tion, by Raffaelle Morghen. after Raffaelle. is worth 
even in the United States, $250. Many prints were 
formerly published in England and other coun- 
tries in this manner. The first impressions from a 
plate always command the highest price. Thus, 
some of the old engravers designated the number 
of the impression by figures, letters, or other 
marks; thus, 1 might designate the first hundred, 
2 the second, and 3 the third ; and these marks are 
carefully noted by the connoisseur. 

Engravings are usually divided into prints, proofs, 
and proofs before the letter ; or first comes the 
proof before the letter, next the proof with the 
skeleton letter, and last the print. The price of 
the proof before the letter is usually three times 
that of the print, and the skeleton or second 
proof twice as much. Modern English prints are 
very high. The finest prints after the best mas- 
ters, as Wilkie. Landseer, and Martin, range from 
$20 to |60. The reason for this is that the first 
engravers are employed to execute such works, 
and the copy-right is very high. Sir David Wilkie 
Avould never sell his copy-rights, which were a 
source of great revenue to him. Sir Edwin Land- 
seer is said to have received £5,000 for the privi- 
lege of engraving one of his finest pictures. The 
English are willing to pay liberal prices for works 
of merit, and this is the way to make the Fine 
Arts flourish in any country. 



CRITICISM ON WORKS OF ART. 



IMPORTANCE OF CORRECT WRITING AND CRITICISM 
ON WORKS OF ART. 

An author who presumes to write on any sub- 
ject without possessing the requisite qualifications, 
justl}' lays himself open to severe criticism; be- 
cause, instead of rendering a benefit, he inflicts 
positive injury on the community ; but the critic, 
in justice to the public, as well as the author, 
should speak with candor and knowledge. It is a 
matter of the first importance to the advancement 
of the Fine Arts in our countr}'. where the press is 
a mighty engine that thinks for the great mass of 
the people, that critics on works of art should not 
only write with candor, but with that knowledge 
and judgment which constitutes the true connois- 
seur ; other\Aise they will often lacerate the heart of 
a young and promising artist, if they do not for- 
ever crush his hopes. The following observa- 
tions, on this subject, by the learned and judicious 
Pilkington, in the preface to his Dictionary of 
Painters, are worthy of attentive perusal and con- 
sideration : 

" The notion, advanced by some foreign critics, 
and which for a considerable time obtained too 
much credence, that either the atmosphere of Brit- 
ain, or the genius of its inhabitants, was unfavor- 
able to the formation of a School of Painting, has 
received a decisive refutation in the Royal Academy 
established by one monarch, and in the foundation 
of the National Gallery by his august and accom- 
plished successor. This triumph is not epheme- 
ral, but the result of energies properly directed, 
and of a patronage liberally conducted upon pat- 
riotic principles, for the public benefit, and not for 
the indulgence of a particular humor, or the acqi- 
sition of individual glory. Yet. gratifying as this 
spectacle is, we may reasonably hope that it is but 
the prelude to one still more brilliant, and that the 
time is not far distant, when the British School of 
Art will be as much the object of admiration as 
that of Rome was under Leo X. To accomplish 
this object, however, emulation must be continual- 
ly excited, and rising genius liberally encouraged ; 
just principles must prevail, and these cannot be 
attained without much study, and an habitual ac- 
quaintance with the sublimest models. It were 
therefore to be wished, that our artists, as well as 
our nobility and gentry, who either travel abroad 
for the improvement of their taste ; or inspect the 
capital collections of paintings in England, could 
prevail upon themselves to be more accurate in the 
observations they make, while they entertain them- 
selves by contemplating the works of the celebra- 
ted masters ; so as not only to be struck with ad- 
miration while they behold them, but also to pen- 
etrate the cause of so powerful an effect on the 
passions of their minds. 

•' To see and to admire a painting is not suffi- 
cient ; for even those of the meanest capacity, the 
illiterate and the unskillful, can readily arrive at 
such a degree of taste. But a refined taste can on- 
ly be formed by studiously examining the whole 
and every part of a composition ; by exploring the 
grandeur of the ideas ; the sublimity in the expres- 
sion ; the truth and elegance of the design; the 
grace diffused through the objects ; the resem- 
blance of nature in the coloring; and the magic 
touch of the pencil. 

" The true knowledge of the art of painting is 
not so easy an acquisition as too frequently it is 



accounted ; nor are all those who can plausibly des- 
cant on the perfections and defects of a piece of 
painting to be considered as solid or profound 
judges of the intrinsic merits of a performance. 

'• As painting is the representation of nature, 
every spectator, whether judicious or othcrwi.se, 
will derive a certain degree of pleasure from seeing 
nature happily and beautifully imitated; but, 
where taste and judgment are combined in a spec- 
tator, who examines a design conceived by the 
genius of a Raffaelle, and touched into life by his 
hand; such a person feels a superior, an enthu- 
siastic, a sublime pleasure while he minutel}^ traces 
the merits of the work ; and the eye of such a con- 
noisseur wanders from beauty to beauty, till he 
feels himself rising gradually from admiration to 
ecstacy. 

" To acquire a well-founded taste for painting, 
there are many essential requisites, without which 
it is scarcely possible to discern the real perfections 
of a performance. 

'• One requisite is, to be familiarly conversant with 
history, particularly the sacred, from which many 
of the subjects that animated the pencil of Raf- 
faelle and the best artists were composed. * * * 

" Another requisite is the study of profane his- 
tory, particularly that of Greece and Rome : and 
of Italy also, from the declension of the Roman 
empire. By such a course of study, an admirer of 
painting may qualif}' himself to fix on the parti- 
cular action represented by any artist, even at the 
first view (suppo.sing that action to be described 
in a suitable and masterly manner.) and be en- 
abled to judge whether the passion and expression 
be just ; whether the costume be properly ob- 
served ; whether the characters are marked agree- 
ably to historical truth, and the incidents judi- 
ciously introduced. 

"Another requisite is. to have a competent skill 
in drawing, and a knowledge of anatomy, that the 
connoisseur may form a steady judgment of the 
swell or depression of the muscles in different ac- 
tions and attitudes ; of the true proportions of the 
limbs and extremities of the figures ; of the ele- 
gance of the contours ; and whether the figures ap- 
pear justly balanced, in whatever attitude they are 
placed ; so that he will readily discern vrhere the 
artist has happily succeeded in liis imitation of 
nature, and in what respect his execution is de 
fective. 

" Another requisite is, to have studied nature, so 
as to have impressed on the memory beautiful and 
exact images of every object that can enter into a 
composition ; and to have accustomed the eye to 
distinguish what is gracefully natural, not only in 
the human form, but in trees, rocks, rivers, ani- 
mals, as well as those momentary incidents of 
fight, which agreeably diversify the face of nature. 

•• Another requisite (and that not the least dif- 
ficult) is, the study of the works of the most fa- 
mous masters ; to observe them with so piercing 
an attention as to discover their manner of pen- 
cilling, the force and delicacy of their touch, as 
well as their style of invention or composition; for 
every eminent artist has his peculiarities in com- 
position, expression, and design, as well as color- 
ing; which, when critically noticed, will distin- 
guish him from others, whether they be his equals 
or his superiors in merit. 

'• It is only by a frequent and studious inspec- 
tion into the excellencies of the artists of the first 



RESTORING PAINTINGS. 



rank, that a true taste can Toe established ; for, by- 
being attentively conversant with the elevated ideas 
of others, our own ideas imperceptibly become re- 
fined. We gradually feel a disgust at what is 
mean and vulgar ; and learn to admire what only 
is justly entitled to our commendation. It is 
scarcely possible that a judicious reader, who has 
improvingly studied the beauties of Milton, Shaks- 
peare, and the best writers, can descend to be de- 
lighted with compositions that are comparatively 
indifferent, although such compositions may have, 
in particular parts, a certain degree of merit. A 
polished pebble may be esteemed as a diamond by 
one who has never sufficiently attended to the na- 
tive lustre of that gem; but a critical eye will 
readily determine between the glitter of the one, 
and the lovely vivid beam of the other. Till, 
therefore, a lover of the art of painting arrives at 
such a degree of judgment and taste, as renders 
him incapable of being pleased with what is indif- 
ferent, he may conclude that his taste and judg- 
ment are still but imperfect. 

"Besides, by being familiarly conversant with 
the works of the best masters, not only the taste 
of an admirer of the art will be effectually estab- 
lished, but his judgment will proportionably be 
enlarged and confirmed. He will learn steadily 
to distinguish the ideas peculiar to each master, 
whether in respect of the invention or the disposi- 
tion ; he will be instructed to know one master by 
the airs of ' the head, or the attitudes ; another, by 
the dignity or grace of his figure ; another, by a re- 
markable muscular strength ; and others, by their 
elegance, simplicity, or astonishing management 
of the chiaro-scuro. 

"By examining the coloring and pencilling of 
different artists who were excellent, he will dis- 
cover what constitutes the manner peculiar to each, 
and qualify himself to judge with precision. He 
will perceive that almost every artist is remarkable 
for some one predominant tint of coloring ; he will 
observe that in some the yellow predominates, in 
others the brown, the violet, and the green. In 
some the black, as in Caravaggio, Spagnoletto, 
Manfredi, and Valentino ; in some a paleness, as in 
Vouet, and Nicolo Poussin ; the purple in the Bas- 
saus ; and in Teniers the grey. And by a nice ob- 



servation of these particulars, confirmed by a com- 
petent skill in the style of each master's composi- 
tion, a judicious person will, without much diffi- 
culty, qualify himself to judge with accuracy of 
the hands, as well as of the merits, of the different 
masters." 



RESTORING PAINTINGS. 

In repairing ancient paintings which have sus- 
tained injury from time or ill-usage, they should 
be carefully lined and stretched by a man whose 
trade it is, and who perfectly understands his 
business. The artist then cleans the painting 
by removing the old coats of varnish, and care- 
fully restores the injured parts. This is a nice 
operatioio, and requires great skill and a thor- 
ough knowledge of the palette, so as exactly to 
imitate the touch and colors of the original paint- 
ing. The great merit in restoring a painting, con- 
sists in its being so skillfully done as not to be 
apparent. Many artists proceed to paint the pic- 
ture all over, which deprives it of originality, and 
effectually destro3''S it in the estimation of the con- 
noisseur. Hence a good judge will give more for 
a fine picture in its "pure state, than after it has 
been restored in tHis manner. Many years ago, 
old paintings were imported in their pure state, but 
now, hardly a picture comes from the old country, 
especially from Holland.which has not been skinned, 
as the trade term it ; which means that the fine 
finish of the original painting has been removed 
with the varnish in the application of spirits, by 
unskillful persons. 

The author knows no man more competent to 
judge of the authenticity of paintings, by what 
masters they were executed, and to restore them 
when injured than his friend. Signer Nicolino 
Calyo, of New York. Signor Calyo is an ac- 
complished scholar, a skillful artist, bred up in the 
Academy of Naples ; a man who has travelled 
much, an acute observer and a true connoisseur ; 
and last, but not least in such matters, " an honest 
man." The author, from an intimacy of many 
years, takes pleasure in testifying to the virtues of 
his friend, and acknowledging his indebtedness to 
him for much valuable information in this work. 



BRIEF EXPLANATION 



PRINCIPAL TERMS USED BY WRITERS ON THE FINE ARTS. 



Accidents [^Accidenti di luce^ Italian] are those 
happy hits, or effects, which artists sometimes get 
by chance, or inspiration of the moment. The 
term is also apphed to those effects which result 
from chance (intentional or otherwise on the part 
of the artist), as the sun's rays passing through 
an opening or a window, and causing a strong re- 
flected light ; or, in a landscape, a partial shade or 
shadow, caused by a passing cloud. 

Accessories are the objects which an artist in- 
troduces into his works, independent of the princi- 
pal figures, and which,without being absolutely nec- 
essary to the subject, essentially contribute to the 
perfection, beauty, and energy of the picture. They 
supply the place of poetic detail. Thus, in a por- 
trait, when a painter introduces the furniture of a 
room, library, books, vases of flowers, domestic 
animals, etc., these, in the language of art, are 
called accessories. 

AcHROic, Achromatic. Wanting in color- 
whether naturally or by deprivation. 

A Bird'S'Eye View is a scenographic projection 
or view, taken from an elevated point in the air, 
from which the eye is supposed to look down up- 
on the objects. 

Aerial Perspective. See Perspective. 

ANTiauE. The term antique is applied to those 
precious works and relics of ancient times (especi- 
ally those executed in Greece, when the arts flour- 
ished in their greatest perfection), which have 
come down to us, such as statues, basso-relievos, 
and intaglios, or engraved gems. It has been 
doubted whether the finest works of antiquity have 
come down to us, but the principal of those which 
have been the admiration of modern connoisseurs 
and the guide of the most distinguished artists, are 
the Apollo Belvedere, the Laocoon, the Antinous, 
the Torso, the Gladiator, and the Venus de Medi- 
cis. The Elgin marbles, in the British Museum, 
form a treasury of knowledge of the Antique 
School. A profound study of the antique was the 
source from which the greatest artists of modern 
times, as Michael Angelo and Eaffaelle, drew the 
perfection which has immortalized their names. 



Attitude is the disposition of a figure or fig- 
ures, so as to portray the passions or sentiments 
supposed to be passing in the mind of the person or 
persons represented. It comprehends not only the 
position of the body, but the movements of the 
limbs. When Achilles is menaced with the loss 
of Briseis, it is not enough that rage darts from his 
eyes ; the action of the whole body, and of every 
limb, should participate in the feelings of the mo- 
ment. Attitude is a very difficult but essential 
part of the painter's art ; for it requires a perfect 
knowledge of ponderation, and whatever refers to 
the centre of gravity, a knowledge of the human 
heart, and the manner in which its feelings and 
passions are exhibited in the motions of the bod}^ : 
at the same time, he must be careful not to violate 
propriety, and to choose those positions which dis- 
play, as far as circumstances will permit, the most 
beautiful delineations of the figure. It is allowed 
that the choice of fine attitudes constitutes the 
greatest part of the beauties of grouping. 

Allegory, as a term applied to the arts, is a 
mode of communicating certain abstract ideas by the 
aid of symbolical figures. It is chiefly employed in 
fabulous and mythological representations. It is 
also successfully used in subjects taken from the 
poets, who have themselves made use of similar 
illusions. Allegory requires to be treated with 
great address, for if the meaning is not perfectly 
apparent, the artist has failed in his object. 

Air, as applied to the human flgure, has nearly 
the same meaning as look or carriage, as an air of 
dignity. In a literal sense, it is synonymous with 
the atmosphere which should surround the figures 
in a painting, so that the canvass is forgotten, and 
the figures appear as in actual space, and not as 
pasted on a flat ground. 

Airiness is that thin and delicate vapor which 
judicious artists throw over their works, and which 
so agreeably deceives the eye. 

Atmosphere is the column of air supposed to 
exist between the spectator and the objects depicted. 
This will be explained under the head of Perspec- 
tive. The works of the late Thomas Cole may be 



XXIV 



EXPLANATION OF TERMS. 



cited as instances in which atmosphere, or aerial 
perspective is carried to high perfection. 

Alto-relirvo. See Relievo. 

Ana(;hronism[, in painting, is the draping of an- 
cient })ersonagcs in modern costume, as practised 
by some of the old Dutch masters, or vice versa; 
or the grouping of Popes, Saints, and Cardinals, 
with the Savior and his Apostles, as occasionally 
practised by some of the first Italian masters to 
flatter vanity; also the introduction of modern 
buildings, ships, or inventions into ancient subjects, 
or vice versa. 

AauAREL [^Aquarelle^ Fr. ; Acquarella, Ital.], a 
term applied to painting in water colors. This 
mode of painting on paper is performed with colors 
so thin and delicate that they are gcnerall}^ little 
more than tinctures. Aquarel, or water painting, 
is carried to nmch greater perfection in England, 
Mdiere it is highly prized, than in any other countr}^. 
It is admirably adapted for sketching landscapes, 
and woodland scenery, and man}'' eminent artists 
make this branch of the art their exclusive busi- 
ness. 

Back-ground is a term applied to the field or 
space which surrounds the figures in a picture. 
The importance of an appropriate back-ground is 
not alwa3^s considered, even hy artists themselves, 
for much of the elfect of a jjicture depends upon it. 
It is of the greatest consequence that back-grounds 
should bo in unison with the figures, and that the 
objects introduced should be conformable to the 
time, history, and characteristics of ihe persons 
represented. Sometimes rich and embellished 
back-grounds are required, as in the display of ori- 
ental pomp, or of ancient temples and festivals ; at 
others, the solemnity of the subject demands an 
austere and unobtrusive simplicity, as in the gen- 
erality of subjects of devotion, or those descriptive 
of any pathetic or affecting scene, in which nothing- 
should appear that can diminish the interest in- 
spired by the event. 

Boldness, in art, is directly opposed to timidity, 
or labored execution. Very high finishing is apt 
to injure boldness, as well in drawing as in paint- 
ing, and this is the reason why the sketches of 
some masters please us better than their more la- 
bored pieces. But, both boldness of execution and 
finishing should be regulated by the nature of the 
composition, and its proposed situation. 

Breadth. This important term is applied both 
to design and coloring. Breadth Ls usually indica- 
tive of a master, as the want of it almost alwaj^s ac- 
companies the performance of an indifi'erent artist. 
When the lights in a picture are so arranged that 
they seem to be in masses, and the darks are massed 
to supi)ort them, so that tlie attention of the specta- 
tor is powerfully arrested, we have what is called 
breadth of effect^ or breadth of light and shade. 
Breadth con\ cys the idea of greatness,which is in di- 
rect opposition to the frivolous and mean. Breadth, 
therefore, partakes of the simple and the grand, and 
is admirably illustrated in the great works of Oor- 
reggio. Grandeur is his characteristic, and breadth 
his means. In the works of this great master, Ave 
discover breadth, because he has condensed his sub- 
jects as a whole, without interrupting the general 
simplicity by a minute attention to the details or 
subordinate parts. His masses of light and shadow 
are therefore broad and grand, producing one great 



and general effect : whereas, if they were broken 
and scattered, the eflfect would be spotty and dis- 
cordant. 

Biscuit [Bisquit French], a term applied to a 
recently invented species of Ectypes or images, 
made of feldspar and porcelain clay, and then 
baked like porcelain. The most beautiful are of 
a cream color, but they may be made of any color. 
These ornaments are as beautiful as alabaster, 
much less fragile, and can be afforded at a tithe 
of the expense. 

Bust, or Busto, is a term formerly applied in 
sculpture to a head with the shoulders and breast. 
Some modern artists apply the term bust-port7^ait 
to a portrait of the same. 

Cameo, or rather Cammeo. in its original sig- 
nification, is a gem or device cut out of a hard, la- 
minated stone, of a different color above from that 
beneath, so that in cutting a figure upon it, enough 
is removed to leave the ground of one color, while 
the figures, in a different one, stand out in relief. 
The term is now applied improperly to the same 
kind of work in shells. 

Carnations are the flesh tints in a picture. 

Cartoon [from the Italian. Cartone, a stout 
piece of paper.] Hence, the word came to be ap- 
plied by the Italians to the drawings or colored 
designs on paper, intended to be transferred to the 
walls in fresco painting, or wrought in tapestry. 
The word is scarcely used in English except when 
S})eaking of the Car-toons of Rajfaelle, which were 
designs for tapestry, executed for Pope Leo X., 
and which are now in Hampton Court. The Ital- 
ians generally make a cartoon of the same size of 
the painting to be executed, whether in oil or 
fresco. 

Charge, or Charged, is a term used in art to 
signify exaggeration, or something that exceeds na- 
ture. Some artists charge or exaggerate their out- 
lines in order to show a superior degree of skill, or 
to heighten the eltect. De Piles advises artists to 
avoid charging, and saj^s that the antique statues 
never have this pedantry or affectation ; that there 
is nothing of the kind in the works of those great 
masters who always imitated them, as Raffaelle, 
Ciiracci, Domenichino, Nicol6 Poussin, and others. 
Yet, he observes again, ''there are charged outlines 
that please, because they are above the lowliness 
of ordinary nature, and carry with them an air 
of freedom, with an idea of great taste, which de- 
ceives most painters who call such excesses the 
grand manner. And, although to such persons 
who have a true idea of correctness, simplicity, and 
elegance of nature, these excesses may seem super- 
fluous, as they only adulterate the truth, yet one 
cannot forbear to commend some things that are 
overcharged in works, when the distance from 
whence they are to be viewed softens them to the 
eye ; or when they are used with such discretion 
as makes the character of truth more apparent." 
Again : " If you would have the work produce a 
good efiect when it is elevated, both the colors and 
the lights must be a little loaded, but learnedly 
and with discretion." 

Chiaro-scuro, [Italian], light and shade. This 
term refers to the general distribution of lights and 
shadows in a picture, and their just degradation as 
they recede from the focus of light. '• It compre- 
hends," says Professor Phillips in his lectures, "not 



EXPLANATION OF TERMS. 



only light and shade, without which the form of no 
object can bo perfectly represented, but also all ar- 
i-anj^emcnts of light and dark colors in every de- 
gree ; in short, in accordance with the componnd 
word composing its name, which we have adopted 
from the Italian, the light and dark of a picture." 

Chiaro-scuro particularly refers to the great 
masses of lights and shadows in a i)a:nting, when 
the objects are so disposed by artful management, 
that their lights are together on one side, and their 
darks on the other. The best examples among 
the Italians are to be found in the works of Cor- 
reggio, Leonardo da Vinci, and Giorgione ; among 
the Dutch, in those of Rembrandt, Adrian Ostadc, 
and De Iloogc. 

A composition, however perfect in other respects, 
becomes a picture only by means of the chiaro- 
scuro, which gives faithfulness to tlic representa- 
tions, and therefore is of the highest importance 
to the painter ; at the same time, it is one of the 
most dilticult branches of the artist's study, because 
no precise rules can be given for its execution. 
Every art has a point where rules fail ; and this 
point, in the art of painting, is the chiaro-scuro. 
The drawing of a picture n)ay be correct, the col- 
oring may be brilliant and true, and 3'et the whole 
picture remain dry and hard ; as v»e find is the 
case in the works of painters who preceded Raffa- 
elle ; and it was one of the great merits of this 
sublime genius, that he left his masters far behind 
him in chiaro-scuro, though since his time many 
great artists have surpassed him in this respect. 
Chiaro-scuro requires great judgment and skill in 
execution ; and excellence in this branch of the art 
is only to be attained by a study of nature, and the 
works of the best masters. 

Clair-obscure [French.] has the same signifi- 
cation as chiaro-scuro. 

Chalky, in painting, is that cold or uny)lcasant 
effect which arises from an injudicious combination 
of colors that do not a^ree well together; thu.s, 
white mixed with vermillion. without being tem- 
pered with the ochres or burnt siena, will appear 
crude and chalky. 

The word chalk and its derivatives are frequent- 
ly used by writers on the fine arts. Chalk draw- 
ings are any kind of drawings made with white or 
colored crayons. Chalk engraving is the old name 
for stipple, in imitation of the delicate shadings of 
crayon drawings. 

CoLORisT is a painter whose peculiar excellence 
is his coloring — but not therefore his only excel- 
lence. An eye for color is a faculty, or a gift of na- 
ture, which is not acquirable by a painter who has 
not this natural gift, though study and practice may 
improve it. It is quite common for designers, who 
are deficient in this rarest excellence of the art, to 
speak of the deficiencies of the colorist with depre- 
ciation or contempt. When Michael Angelo was 
shown one of Titian's finest works, and his opin- 
ion asked of its merits, he only said, '• what a pity 
this painter is so deficient in design " — a mere col- 
orist. Yet nature, were she appealed to, doubtless 
would reply that Titian was more true to her than 
Michael Angelo. Titian had all the design that he 
considered essential to his purposes, and had he 
chosen the same range of subjects that Raffaelle 
did, and had he been able to express them with the 
same felicity, adding thereto his own peculiar ex- 



cellence, he would have been the Apelles of mod- 
ern art. 

Composition, is the general arrangement of in- 
dividual objects, which the imagination has con- 
ceived, so as to form an appropriate wltole. This 
is considered one of the greatest difficulties the 
artist has to encounter. In the composition of a 
picture, it is essential that nothing should be in- 
troduced which is not appropriate and analogous 
to the subject. Profusion has even been esteemed 
a vice, even in the most extensive subjects, for in- 
stead of adding to the beauty and expression of the 
work, it diminishes the effect of both. A compo- 
sition is sjwd to be confused Avhen it is loaded with 
objects which interfere Vvith each other by their 
disposition or multiplicity. A composition is said 
to be great, not from the number of figures intro- 
duced into it, but from the skill with which the ar- 
tist has djspo.sed enough to illustrate his story and 
leave no vacancy in the space which the eye re- 
quires to be occupied. A grand composition dif- 
fers from that which is usually designated rich, 
inasmuch as the former is characterised by simpli- 
city, and the latter by abundance. The compo- 
sitions of Raffaelle are said to be grand, those of 
Veronese rich, those of Poussin. classical, and those 
of Teniers natural. 

Connoisseur is a term applied to one who not 
only loves, but has a profound knowledge of art; 
whilst amateur- is applied to one who loves the 
same without being sure of bestowing his admira- 
tion wisel3\ and who generally practises it for his 
amusement only. They both love art, but the for- 
mer is the knower, the latter the lover, as the 
names imply. The Germans, who attach no vul- 
garity to their indigenous phrases, use indeed the 
very terms for distinction, kenner, (knower) for 
connoisseur, and liehhaber (lover) for amateur. 

Contour, or Outline, is the line which termin- 
ates and defines the figure or object. It requires 
great science and skill in an artist to get his con- 
tours correct; for in a classic composition, he m,ust 
not represent them as he finds them in nature, but 
in nature's ideal, or perfect form. A Dutch Ve- 
nus is the laughing-stock of the world, except to 
themselves, and perhaps the Turks. A fat man 
may make a very good model for a Falstaff^ might 
do for a Bacchus, but not for an Apollo. The 
Judgment of Paris by Rubens is a horrid viola- 
tion of this precept. 

Contrast. By contrast is meant the variety in 
the position and motion of the different figures or 
objects in a composition. There are several kinds 
of contrasts, distinct from each other. Thus, there 
is a contrast of figures; a contrast of the move- 
ments or action of the different figures, and even 
in the different parts of the same figure ; others, 
in the age, sex, or positions, of the different per- 
sonages, so that each figure is frequently in con- 
trast with others in the same group, and the sev- 
eral groups are also contrasted with each other ; 
there is also a contrast in the different qualities, 
and colors of the draperies; and another of light, 
and shadow, which constitutes chiaro-scuro. The 
judicious arrangement of this contrast or oppo- 
sition, forms one of the great requisites of a fine 
picture; because it is found in nature, and any 
other arrangement would appear stif, and forced, 
and excite our pity or disgust. 



XXVI 



EXPLANATION OF TERMS. 



Correctness. Correctness of design, as it re- 
lates to the beautiful in art, consists in the exact 
observance of the just proportions of the figure as 
established by the antique models, or statues, or by 
the most beautiful models selected from nature. 
It is further exem])lified. by giving more or less 
beauty, dignity, or grandeur to the figure, accord- 
ing to the age, sex, or condition of the personage 
represented. Correctness does not always require 
that the design should l)e beautiful, which Avill de- 
pend on the nature of the subject. It is sometimes 
sufficient that nature is perfectly delineated, even 
in her less perfect form, as in historical composi- 
tions, where portraits are introduced. 

Costume. In historical compositions, the laws 
of costume require that the subject should be treat- 
ed in accordance with history, with a strict regard 
to the scene and time of action, the customs, cha- 
racter, and habits of the people, or the country, 
where the event occurred. The same correct at- 
tention is also requisite to the buildings, animals, 
plants, (fee. The works of Nicol6 Poussin form an 
admirable illustration of the propriety of costume. 
Many of the Dutch masters have made their sacred 
and historical subjects ridiculous by laying the 
scene in their own countr}^, and draping the fig- 
ures in their own costume. 

Copy. "The central group of Lystra, (one of 
the Cartoons) is taken and adopted from an an- 
tique bas-relief in the Admiranda, and suggests the 
question whether it is justifiable to plunder in this 
way. Surely if you find any thing in the ancients 
suitable to your invention, it is justifiable. But 
there the praise must stop ; the utmost praise that 
can be given is that you have shown j^our skill in 
the adoption ; and what struck me with discour- 
ngement, in the Ijouvre (in the imperial collection) 
was the little original invention in the world. 
Even Rubens pilfered wholesale from the old 
Germans. * * * Reynolds was what Fuseli 
tei-ms a modern painter — a bold adopter." 

^' Remember adoption^ and copying^ are differ- 
ent things. To adopt and modify a figure requires 
skill and taste; but the merest dolt can copy." 
— Haydon. 

The human figure has been drawn and painted 
in almost every possible position, and Reynolds 
thought it not robber}^ to adopt from "the accu- 
nudatcd wisdom of ages," whatever was excellent, 
into his own compositions. Doubtless Raffaelle 
and Shakspeare were of the same opinion. The 
Italian artists have this proverb, '"11 saper rubbare 
non d peccato ;" (knowing how to steal well, is not 
wicked ;) i. e., an artist is justified in judicious 
adoption. 

Coup [Peindre an premier coup, Fr.; Alia pri- 
ma, Ital.,] is to paint and finish a picture at once, 
without returning to retouch it, a facility which 
many great masters have possessed, as Rubens, 
Salvator Rosa, Yandyck, and Luca Giordano, and 
which they practised on some occasions. 

Crude. Crudeness, is a rawness, or a want of 
knowledge, judgment and skill, which may ap- 
pear manifest in the coloring, design, or effect of 
a picture. 

Crust. A name given in ridicule by artists to 
a sorry picture. Crust is also used by some 
writers for an excessive, or clumsy impasting of 
colors. 



Design. This term is used in various senses, 
but its proper signification is a plan of a picture, 
or a representation of any thing, in outline. The 
term is often applied to a finished study, for a pic- ^ 
ture; but it is more commonly applied to a fin- 1 1 
ished drawing, made to be engraved, and the artist ' i 
is called a designer, to distinguish him from a 
painter. It is also applied to a sketch of one or 
more figures, and to sketches of inanimate objects, 
as plants, flowers, draperies, &c., intended to be 
introduced into a picture, in which sense it is 
termed a study. 

Dead Coloring. A familiar term used by ar- 
tists to signify the ground coloring, or laying in, 
of the first coat of color on the canvass. See First 
Painti7ig. 

Decision. Decision of form or outline, means 
that bold freedom of outline, which is only ob- 
tained by a skillful and practised hand. 

Degradation. [See Gradation.'] 

Demitints, are tints that are neither lights nor 
shadows, but hold the middle place between them. 
Hence, they are sometinies called middle tints — 
which is the best term. 

Details, are the minutia) of a picture; when 
carried to excess, they degenerate into mannerism ; 
and when they are not carried so far, they injure 
the effect, by diverting attention from the princi- 
pal objects or figures. 

Distemper, is a mode of painting with colors 
mixed with size, wliite of eggs, or any other glu- 
tinous substance. All ancient paintings were ex- 
ecuted in this manner, and modern paintings too, 
before the year 1460, when oil painting was first 
discovered. The celebrated Cartoons of Rafiaelle, 
were painted in distemper. 

Drapery. The art of casting, or disposing of 
the foldings of the drapery in the most effective 
and judicious manner, requires no inconsiderable 
part of the painter's skill and attention, as great 
judgment and taste are necessary to arrange it in 
such a manner as to display the form to the great- 
est advantage, and that the folds may correspond 
to the movements of the figure. In great histor- 
ical and sacred paintings, the folds should be large 
and few, because the grandeur of the forms pro- 
duce broad and simple masses of light and shadow, 
which adds greatly to the effect. Draperies should 
be suited to the age, character, and rank, of the 
figure. Stuffs of a light texture, and of gay colors, 
may be proper for females and j-outh ; those of a 
more sober hue and heavier substance for persons 
advanced in years. A person of a grave character 
should be habited different from a gay voluptuary, 
and a Roman matron should not be attired like a 
courtezan. Drapery should always be drawn from 
nature, and the artist who neglects it will be sure 
to fall into mannerism. 

Drawings. There are several kinds of draw- 
ings, which it is necessary to understand, or many 
passages in authors on the fine arts will appear ob- 
scure or unintelligible. In a general sense, draw- 
ing is applied to any kind of study or design made 
with black lead pencils. The drawings by the Old 
]Masters, so highl}'- prized, were often executed with 
black and white or colored crayons, as well as with 
black lead pencils. Chalk drawings are executed i 
with crayons. Printing in chiaro-scuro, as prac- ' 
tised by the old wood engravers, was done in im- 



EXPLANATION OF TERMS. 



itation of these chalk drawings. For this purpose 
three or more blocks were employed ; the first for 
the outline, the second for the dark shadows, and 
the third for the shadows that border on the lights. 
The process varied according to the number of 
blocks employed, and an effect was obtained that 
could not be produced by a single engraved block. 
The ink, also, used, was of different shades or in- 
tensity. 

When a picture is to be engraved, the engraver, 
or draughtsman, reduces the picture, or makes an 
exact drawing of the same size as the plate to be 
engraved. This is called the design. [See En- 
graving.'] For water colored drawings, see A- 
quarel. 

Dryness. This term is used by artists to ex- 
press the common defect of the early painters in 
oil, who had but little knowledge of the flowing 
contours, which so elegantly show the delicate 
forms of the limbs and the insertions of the mus- 
cles ; their coloring was also hard and formal, with- 
out mellowness or softness ; and their draperies 
concealed the limbs of the figures, without truth 
or elegance of choice. This defect is not always 
the result of a want of talent, for the early works 
of Raffaelle partake of the dry Gothic hardness of 
the masters who preceded him, though he after- 
wards acquired the grand and graceful style, by 
which his later and best performances are distin- 
guished. Thus we find that the defect of dryness 
may be corrected by study and practise. 

Dry Touching, is the going over a picture when 
it is dry, with light delicate finishing touches, to 
improve the character, or to give relief to those 
objects requiring it. 

EcTYPEs, impressions derived from moulds 
made on the originals, or types, (De Montabert,) 
from -the Greek word ectypos — a form or impres- 
sion moulded from the asche-type. Pliny Latin- 
izes the word, and uses ectypicm, for the copy or 
image moulded after the pattern, or cast, in the 
mould of what he calls the pro-typum, i. e., the 
first type, mould or pattern — the prototype. This 
is an elegant and classical word that may be used 
instead of cast. 

Effect. " By effect, in painting, is understood 
the energy and beauty of the optical results of the 
combinations, either accidental, or arising from cal- 
culations well understood, whether of the lines, of 
the tones, bright or dark, or again of the colors or 
the tints. But it is especially applied to the com- 
binations of the clair-obscure, that the effect owes 
its energy, its suavity, and its charm ; and what 
proves it, is the appearance of engravings, which 
offer color without much effect. Coloring indeed, 
does produce its particular effect, but it is op- 
tically subordinate to that which is obtained by 
the bright and dark, semi-bright and semi-dark 
masses, and we thus distinguish the efiect of Rubens, 
and the coloring of Titian. The pictures of Pous- 
sin, Duval, and Raffaelle, have but little effect; 
those of Vandyck, Velasquez, Gerard Douw, Rey- 
nolds, and Prudhon, have a great deal of effect." — 
De Montabert. 

Enamel. Painting in enamel is done by mix- 
ing mineral colors with a flux or vitreous base, and 
subjecting the work to the action of heat. 

E.xcAUSTic, from the Greek Enkaustikon. a kind 
of painting executed by the application of fire. 



This term has been applied exclusively to a method 
of painting practised by the ancient Greek artists, 
in which wax, in various ways, was combined with 
the colors, and the whole fused together by the appli- 
cation of heat. Pliny mentions three methods, but 
in such vague terms, that there is great uncertain- 
ty as to the precise practice of the ancients. The 
object aimed at was durability, as in mosaic paint- 
ing. Various processes have been published by 
the moderns, for the revival of the ancient art, one 
of which may be found in Hayter's Introduction to 
Perspective, invented by Mrs. Hooker, an English 
lady, for which she was presented with a gold pal- 
lette by the Society for the Encouragement of the 
Arts. Her account is printed in the tenth volume 
of the Society's Transactions, for 1792. The sub- 
juct has been deeply investigated by the Chevalier 
Lorgna, in a valuable work entitled Un Discorso 
Sulla Cera Punica. 

Elegance, in design, is a manner which em- 
bellishes objects, either as to their form or color, 
or both, without destroying or perverting truth. 
It appears most eminently in the antiques, and 
next, in those masters who have imitated them 
best, as in the works of Raffaelle. De Piles ob- 
serves, that elegance is not always founded on cor- 
rectness, as may be evident from the works of 
Raffaelle and Correggio, the latter of whom, not- 
withstanding liis frequent incorrectness of design, 
must needs be admired, for the elegance of his taste, 
and the turn which he gives to his actions. 

Expression, principally consists in representing 
the human figure in all its parts, in action, suitable 
to the occasion; and exhibiting in the face, the 
several feelings or passions proper to be expressed. 
Frequently the term Expression is confounded with 
that of Passion ; but the proper distinction be- 
tween them is, that the former implies a represen- 
tation of an object agreeably to its nature and char- 
acter, and the use or office it is intended to have 
in the work ; while the latter denotes a motion of 
the body accompanied with certain airs of the face, 
which make an agitated soul. So that every pas- 
sion is an expression, but not every expression a 
passion. 

Execution, is a term applied to the mechanical 
part of the arts, or mode of performance. It is 
also used to designate the management of the pen- 
cil, whether it be bold, free, rapid, delicate, soft, or 
timid. 

Finish. " Very great care to finish some parts 
of a picture is apt to injure the effect of others. It 
is apt, also, to weary the mind of the artist, and 
thereby ii^ure the liberty of his hand. But, when 
finishing is united to freedom, when it is delicate 
and light, its effects, especially for cabinet pieces, can- 
not be loo much appreciated." — Art. Repository. 

The Dutch and Flemish pictures are familiar il- 
lustrations of minute, and often exquisite finish. 
Gerard Douw spent five days in finishing a single 
hand. 

First Painting, is the ground coloring, or first 
coat of color, which some of the old Italian mas- 
ters were in the habit of laying on very thick, and 
putting the canvass aside till well seasoned, before 
the application of the fine coats of coloring, to ob- 
tain a better effect and greater permanence. 

Foxy, a term of ridicule applied by artists to 
a vicious and excessive warmth, or gaudiness of 



XXVlll 



EXPLANATION OF TERMS. 



color in a painting. The tints and tones of an ar- 
tist, who, without judgment or skill, attempts to 
imitate the glow of Titian, are very apt to bo foxy. 

Fresco, is a kind of painting performed on fresh 
plastered walls and ceilings. The mason covers 
no more space than the painter can execute in a 
day. The artist first traces the design, prepared 
on his cartoon, and then proceeds to lay on his col- 
ors, mixed with water, which strike into the plas- 
ter and become incorporated with it, so as to be as 
durable as the wall itself, and can only be effaced 
by its destruction. Those mineral colors only are 
employed which are not chemically acted upon by 
the lime. 

Fresco painting is, before all others, best adapted 
to those great works which form the embellish- 
ment of pubhc edifices, from the promptitude with 
which it is performed, as well as from its extraor- 
dinary durability. The sublime productions which 
have immortalized the names of Michael Angelo, 
RaCaelle, Correggio, and Giulio Romano, were 
painted in fresco. In this country, the term fres- 
co is improperly applied to distempered walls. 

Foreshortening, is the art of representing fig- 
ures and objects, as they appear to the eye, viewed 
in positions varying from the perpendicular. This 
art is one of the most difficult in painting, and 
though absurdly claimed as a modern invention, 
was well known to the ancients. Pliny speaks 
particularly of its having been practised by Par- 
rhasius and Pausias ; besides, it is impossible to ex- 
ecute any work of excellence without its employ- 
ment. In painting domes and ceilings, foreshorten- 
ing is particularly important. The meaning of the 
term is exemplified in the celebrated Ascension, in 
the Pieta de Tarchini, at Naples, by Luca Giorda- 
no, in which the body of Christ is so much fore- 
shortened, that the toes seem to touch the knees, 
and the knees the chin. 

Glazing, is the passing of extremely thin coats 
of transparent colors, largely diluted with ma- 
guilp, or other mediums, over certain portions of 
the picture, so as to allow the work beneath to ap- 
pear distinctly through them, but tinged with their 
color. The uses Of glazing are to strengthen such 
shadows as require it, or to give warmth or cold- 
ness to the hues ; and to subdue those fights that 
are too glaring, or to give additional force and 
richness to those that are too tame. 

When opaque colors are employed in the same 
manner, the process is called scumbling. The uses 
of scumbling are to weaken the force of colors that 
are too strong, or to give force to those that are 
too weak ; to give air and distance to objects that 
are too near, and to soften down and unite such 
tints on the surface of objects as may be too vio- 
lent for harmony, and breadth of effect. 

Glory, is the luminous ring, whether broad 
or narrow, radiated or open, or a circular disk, 
which crowns the head of a saint or a divine per- 
sonage. This glory, in very old paintings, is done 
in gilding. It also means the bright radiance that 
surrounds celestial beings when introduced into a 
picture. Nimbus, is the classical name for a glorij. 

Gradation, is the progression of tints by de- 
grees, whether up or down the scale of light and 
shade. Degradation, is the proper term for the 
scale downwards, or the gradual enfeeblement of the 
clair-obscure, in aerial-perspective. Degradation^ 



I 



is always gradation, but gradation is not neces- 
sarily degradation, for the former may be a step 
upwards, while the latter is always a step down- \ 
ward. This is a true distinction, but one rarely - 
observed by writers. 

Grace, principally consists in the turn an artist 
gives to his objects, to render them agreeable, even ^ 
to those that are inanimate. It is more seldom l 
found in the face, than in the manner; for our 
manner is produced every moment, and can create 
surprise. A woman can only be beautiful in one 
way, while she may be graceful in many. Grace \ 
can neither be described, nor measured, nor estab- ' 
lished hj any conventional rules. Each motion ■ 
may have its rules of beauty, but grace is the same 
in every country. It is not found in a constrained, 
or unaffected mai 
ease between the two extremes. 

Those compositions in which angels, females, 
children, and cupids, are introduced, may be termed 
graceful. The term cannot well be applied to bat- 
tle pieces, or grand historical works. The Char- 
ity of Correggio, may be cited as a model ot grace 
in composition and execution. Also, some of the 
works of Albano. 

Grandeur. Grand is applied in art to those 
great compositions, which are invested with a dig- 
nity above the generality of mankind — in which 
there appears an elevation of mein, air, and deport- 
ment, that indicates a corresponding elevation of 
thought, feeling, and sentiment. It is especially 
applied to the antique, and to the grand sacred 
subjects executed in fresco, by the most renowned 
Italian masters ; instance, the Last Judgment by 
Michael Angelo. 

GROTEsauE. This term was given by the Ital- 
ians to those whimsical or fanciful ornaments, with 
which the ancient Romans sometimes decorated the 
ceilings and friezes of their small apartments. It 
is said to have derived its origin from the discovery 
of those ornaments in some grottos, {grotte, hence 
grotesco, in Ital.,) by Raffaelle, (while the work- 
men were making some excavations under his di- 
rection,) who adopted them in decorating the Log- 
gie. These ornaments differ little from drabesque, 
except that the imagination, in all the wildness of 
inventive fancy, is exerted without any strict ad- 
herence to nature, truth or probability. They were 
originally composed of stalks and leave.*?, with com- 
ical, ugly, or distorted human faces, or masks in- 
terspersed or connected with the foliage, as if they 
grew out of it, just as we see them now-a-days, 
though infinitely improved in every point of grace 
by the elegant invention of Raffaelle. 

Ground Coloring. [See First Painting.} 

Group. Grouping is the arrangement of fig- 
ures or objects in natural and pleasing positions. 
It is observable in nature, that in a concourse of 
people, they form themselves into different compa- 
nies according to their ages, conditions or inclina- 
tions ; and these divisions are called groups. The 
best rules of art require, that when subordinate 
groups arc introduced into a picture, they should 
never interfere with the principal one, which should 
predominate, and all of them tend to unity. 

Harmony, is that congenial, accordant, and plea- 
sing effect in a picture, resulting from an intelli- 
gent distribution of light and shade, a judicious 
arrangement of color, and a consistency and pro- 



EXPLANATION OF TERMS. 



priety in composition. Mengs defines harmony to 
be " the art of preserving a just medium between 
two extremes, as well in design as in the chiaro- 
scuro and the coloring." Thus writers speak of 
different harmonies, as a harmony of composition, 
of design, of expression, of execution, of chiaro- 
scuro, of coloring-, &c. ; but all these must be com- 
bined in a perfect picture. 

Handling, is the manner in which an artist uses 
his pencil, as seen in the execution of his works. 
[See Majiner.1 

Hard, is a term applied either to design or col- 
oring. Thus, when an outline cuts too sharp on 
the ground of the object, it is said to be hard; _ 
when applied to the whole of a painting, it denotes 
a want of tenderness and truth in coloring. [See 
Dry and Decided.^ Hardness is often the result 
of a laborious effort to display high finishing. 

Hatching, is laying on the strokes of the crayon 
or graver in parallel lines. When these lines are 
crossed in the shadow parts, at angles more or less 
acute, it is called counter-hatching or cross-hatch- 
ing. 

High Art has been defined '"the epic of paint- 
ing," a ver}'- indefinite and partial explanation, as 
it might as well be termed the epic of scidpture. 
It simply means the most perfect works of art ; 
i. e., the grandest and the most beautiful, or perfect. 

History. Nothing can be more indefinite, even 
in the indefinite phraseology of painting, than this 
term. All the degrees of high art fall properly 
under this comprehensive term. It embraces the 
wide range of subjects, not onl)^ historical, but my- 
thological and poetical, as well as sacred or scrip- 
tural subjects. It is called the highest branch 
of the art because it requires in the artist a per- 
fect knowledge of every branch of the art, as well 
as a mind well stored with general information. 
[See Introduction — page xxi.] 

Horizontal Line, in perspective, is a line that 
marks the horizon, or the place of the supposed 
horizon, and which is always on a level with the 
eye. 

Ideal Beauty, is generally understood to ex- 
press that perfection which is never found in one 
person in nature, and can only be attained by a 
union of the various beauties selected from different 
forms. It is that perfection of beauty and form 
which we may suppose to have existed at the crea- 
tion of man. and to which the antique most nearly 
approaches, as in the Torso, the Apollo Belvidere, 
and the Yenus de Medicis. Ideal beauty in painting 
may be illustrated by the Juno of Protogenes. in 
which he combined the perfections of seven of the 
most beautiful damsels of Rhodes. 

Impressed with such ideas, the Greek artists 
strove to represent their gods and heroes by the 
movt faultless semblance of the human form, in- 
spired with those noble sentiments which they re- 
garded as di\ine. " It is this intellectual dignity," 
says Rejmolds. '■ that ennobles the painter's art — 
that lays the lines between him and the mere me- 
chanic, and produces those great effects in an in- 
stant, which eloquence and poetry are scarcely able 
to attain." 

^ Imitati ON. An imitator is an artist who makes 
his own designs, but adopts the style of his master, 
or of another, in his execution ; or he may adopt 



both the style of design and execution, when he is a 
mere copyist. 

But when artists or writers speak of imitating 
the antique, or the great modern masters, they do 
not mean that we should copy line for line what 
they painted, designed or sculptured, but that we 
are to form for ourselves a like idea of greatness 
and perfection, and work upon the same principles, 
and in the same taste. 

Some artists have the faculty of imitating other 
eminent masters so exactly, that their imitations 
will readily pass for originals by the masters imi- 
tated. The French call such pictures pastiches. 
De Piles advises '• all persons who do not wish to 
be deceived by pastiches, to compare the taste of 
design, the coloring, and the character of the pen- 
cil, with the originals, for there is always a per- 
ceptible difference on close comparison." [See Pas- 
ticcio.'] 

Impasto [Italian]. This word literally means a 
mixing, or impasting of colors. The Italians use 
it to designate the transitions of shades or colors, 
which should blend together like the colors of the 
rain-bow, so that the tints are distinct, though not 
harsh, producing a harmonious and pleasing effect. 
Writers say a good or bad, rich or poor impasto. 

Intaglios, are engraved gems or precious stones, 
often representing mythological subjects. The 
word is noAv generally applied in English to an- 
tique gems cut hollow, intended to give impres- 
sions in wax. Thus, intaglio is the reverse of 
cammeo. The Italians apply this name to works 
cut in wood, stone, or metals. 

Labored, is a term applied disparagingly to a 
work in which the pains taken in the execution is 
too perceptible. 

Lame, is a term applied to a figure or work in 
which the harmony of proportion has been neg- 
lected. 

Large. See Breadth. 

Linear Perspective. See Perspective. 

Loading, is a termi applied to laying colors in 
thick masses on the lights, so as to make them pro- 
ject from the surface, with a view to make them 
strongl}^ illuminated by the light that falls on the 
picture, and thus mechanically to aid in producing 
roundness and relief, or to give a sparkling effect to 
polished or glittering objects. 

Local Colors, are those which faithfully imitate 
a particular obj ect, or such as are natural and proper 
for each particular object in a picture. Color is 
also distinguished by the term local, because the 
place it fills requires that particular color, in order 
to give a greater effect, or character of truth to the 
several colors around it. 

A Contrast of Colors, is used in draperies, es- 
pecially in sacred subjects ; and the different person- 
ages are draped in different and appropriately col- 
ored garments ; or the dress of the same person 
is composed of different colors for harmony, and to 
heighten the effect. 

Manner, is that habitude which painters ac- 
quire, not only in the management of the pen- 
cil, but also in the principal parts of painting, as in- 
vention, design, coloring, &c. It is by the manner 
in painting, that connoisseurs decide to what 
school it belongs, and by what particular roaster 
of that school it was executed. Some masters 



XXX 



EXPLANATION OF TERMS. 



have had different manners at diiferent periods of 
their lives. Thus, RafFaelle acquired a much more 
elevated manner after he had left the school of 
Perugino and taken up his residence at Rome. 
Others have adopted and adhered to one maimer all 
their lives, which is so marked, that a person who 
has seen a few of their works will at once decide the 
master without any risk or mistake. The variety 
observable in the works of different artists arises 
from the manners of the schools in which they 
have received instruction, or of the artists under 
whom they have studied ; yet man}^ men of genius 
have divested themselves of partiality, struck out 
into a manner of their own, and arrived at excel- 
lence. 

Mannerism, is an affected style, contracted by 
an imitation of the peculiarities of some particular 
master, instead of a general contemplation of na- 
ture. The term mannerist is applied to an artist 
who, not having sufficient genius and skill to ac- 
quire distinction by the excellence of his perform- 
ances, vainly thinks to obtain it by an odd, labored, 
or affected manner. The Italians apply the term 
mannerist to any artist who deviates from the 
established or classic manner, jet whose merits 
may be great. 

Masses. Massing is the condensation of the 
principal lights and shadows in a picture, and so 
arranging them as to produce the greatest effect. 
To mass a part is to reject those minutias which 
cut it up into little pieces. [See Breadth.'] For 
a skillful application of this great principle of gran- 
deur, practice and enlightened observation must be 
added to diligent study. 

Metope. The Doric frieze is divided at equal 
intervals by ornaments called triglyphs. consist- 
ing of two vertical channels, or glyphs, with two 
half channels at the sides, separated from each 
other and the half channels, by three plane surfaces. 
The square spaces between each two of these tri- 
glyphs is called a metope, and is variously orna- 
mented with figures. The metopes of the Parthe- 
non represent the contests of the Centaurs with 
the Lapitha3, or companions of Theseus, and are 
supposed by connoisseurs to have been touched, in 
many instances, by the hand of Phidias himself, 
under whose superintendence all the reliefs of the 
temple are known to have been chiseled. These 
form part of the famous Elgin marbles, now in the 
British Museum, and hence their frequent mention 
by writers on the fine arts. 

Model, is a study. It is important not to em- 
ploy indifferently the word model. When Ave say 
the great models, we arc readily understood to 
mean the antique ; but when we say the model, it 
remains to be shown whether we mean the living 
model, a marble statue, or a plaster cast. In 
sculpture, the term is applied to a small study, as 
well as to a finished work in clay ready to be cut in 
marble ; sometimes also, in painting, to any study. 

j\IoNOCHROMATic. a term applied in ancient times 
to paintings executed with only one color ; in mod- 
ern times, to a species of crayon drawings. Engra- 
vings and drawings may be termed monochromatic 
pictures. In contradistinction, painting with a plu- 
rality of colors has been termed polychromatic. 
If there were any advantage to be derived from the 
adoption of such phraseology, we might always de- 
signate the exact number of colors employed in 



painting by one of the Greek numerals, as Mono- 
chrome, Dichrome, Trichrome, Tetrachrome, &c. 
Thus, Pliny says that Apelles was the first artist 
who painted Tetrachromes, or pictures with four 
simple colors. [See Apelles.] 

Mosaics, are ornamented works, made in an- 
cient times, of cubes of variously colored stones, 
and in modern, more frequently of glass of differ- 
ent colors. The art originated in the East, and 
seems first to have been introduced among the 
Romans in the time of Sylla. It was an ornament 
in great request by the luxurious Romans, especi- 
ally in the time of the Emperors, for the decora- 
tion of every species of edifice, and to this day, they 
continue to discover, in the ruins of the Imperial 
Baths, and elsewhere, many magnificent specimens 
in the finest preservation. In Pompeii, mosaic 
floors and pavements may be said to have been 
universal among the wealthy. 

In modern times, great attention has been be- 
stowed to revive and improve the art, with a view 
to perpetuate the works of the great masters. In 
this way, Guercino's Martyrdom of St. Petronilla, 
and Domenichino's Communion of the dying St. 
Jerome, in St. Peter's Church, which were falling 
into decay, have been rendered eternal. Also, the 
Transfiguration of Raffaelle, and other great works. 
Pope Clement VIII. had the whole interior dome 
of St. Peter's ornamented with this work. A 
grand Mosaic, covering the whole side of a wall, 
representing, as some suppose, the Battle of Platea ; 
as others, with more probability, one of the Victo- 
ries of Alexander, was discovered in Pompeii. This 
work, now in the Academy of Naples, is the admi- 
ration of connoisseurs and the learned, not only 
from its antiquity, but from the beauty of its exe- 
cution. The most probable supposition is, that it is 
a copy of the celebrated victory of Arbela, by Phi- 
loxenes. [See Philoxenes.] 

MoRBiDEZZA. The Itahans call whatever is del- 
icate and soft morbido, and in painting they use 
the term morbidezza to express that richness and 
softness of color which appears in the best imita- 
tions of beautiful nature, as in the carnations of 
women and children. The French use the bor- 
rowed word, morbidesse ; and Bouvier thus ex- 
plains its meaning : " The carnations of a 3'oung 
woman of very fine and fresh complexion, and 
those of a fine child, have a great deal of morbi- 
desse. They seem to the eye as though they ^ould 
be soft and velvety if touched." Rosy, or velvety, 
expresses the same meaning best in English. The 
French also say velouie, velvet-hke. Correggio 
possessed in an eminent degree this admirable 
quality. 

Olympiad, a period of four years connected with 
the celebration of the Olympic Games, by which 
the Greeks computed time. Most of the moderns 
reckon 304 Olympiads ; and place the first cele- 
bration of the Olympic Games b. c. 776, and the 
last A. D. 440, a space of 1216 years. By i-ecol- 
lecting the date of the first Ol3'mpiad, the reader 
will readily fix the time when ancient artists flour- 
ished if mentioned by Olympiads in this work, 
which the author has endeavored to avoid. 

Ordonnance, is the arrangement of the figures 
in respect to the whole composition ; orthe partic- 
ular disposition of the figures as to the different 
groups, masses, contrast, decorum, situation, &c. 



EXPLANATION OF TERMS. 



Outline. See Contour. 

Passion, in painting, is the representation of 
those actions of the body, and expressions of the 
face, which agitations of the mind naturally exhibit 
in them. 

Pastel Painting \_PasteUo, Ital ; Pastelle, Fr.] 
is a style of painting with colored crayons, which 
the French have brought to high perfection. Greuze 
and Boucher were particularly eminent in this 
branch of the art. 

Pasticcio [Ital. ; Pastiche, Fr.'], a word of con- 
tempt, meaning pasty, or pye, which the Italians 
apply to those patched-up compositions, where the 
artist steals or adopts one object or figure from 
one master, another from another, and so on 
through his whole composition. The French ap- 
ply this term to paintings which are imitations or 
counterfeits (not copies — see Imitation;) of emi- 
nent masters. Any quantity of pastiches, beauti- 
fully executed on old worm-eaten panels, can be 
had in Paris, painted to order of the speculator, and 
well calculated to deceive the unwary. You can 
thus get any quantity of paintings by the best 
masters, even originals by Rubens, Douw, and Te- 
niers. Some late English writers have adopted the 
French term with the French meaning. 

Perspective, is a science, the perfect under- 
standing of which requires a knowledge of mathe- 
matics, geometry, and optics. It is the art of copy- 
ing the appearance of objects as seen from a certain 
point of view. It is divided into mathematical, or 
Linear Perspective, and the perspective of color, 
or Aerial Perspective. Both are of the greatest 
importance to painters, engravers, sculptors, and 
architects. Without a correct observance of the 
rules of perspective, no picture can have truth or 
life, for it is required in delineating even the sim- 
plest positions of objects. 

Linear perspective is that which describes or 
represents the position, form, and magnitude of ob- 
jects, and their gradual diminution in proportion 
to their distance from the eye, according to fixed 
laws or rules. 

Aerial perspective is the degradation of the tones 
of colors, which throws off the distances of grounds 
and objects, and which judicious artists practise by 
4iffusing a kind of thin vapor over them, that de- 
ceives the eye agreeably. It shows the diminution 
of the colors of objects in proportion as they recede 
from the eye by the interposition of the atmos- 
phere between the eye and the objects. The pro- 
portion of this degradation is regulated by the 
piu-ity of the atmosphere. Hence, in a fog, it will 
be greater at the distance of a few feet, than in a 
clear sky, at as many miles. Distant objects in a 
clear southern air, appear to an eye accustomed to 
a thick northern atmosphere, much nearer than 
they really are. Thus, as the air changes, the 
aerial perspective must change. Morning, noon, 
evening, moonshine, winter, summer, the sea, &c., 
aU have their different aerial perspective. In ae- 
rial perspective, the weakening of the tints corres- 
ponds to the foreshortening of the receding lines in 
linear perspective. In the illuminated parts of 
objects, the tints are represented more broken and 
fluctuating, and the shaded parts are often aided 
by reflection. 

By aerial perspective, two results are obtained : 
1. Each object in a picture receives that degree of 



color and light which belongs to its distance from 
the eye. 2. The various local tones are made to 
unite in one chief tone, which last is nothing else 
than the common color of the atmosphere, and the 
light which penetrates it. The charm and har- 
mony of a picture, jDarticularly of a landscape, de 
pend greatly on a proper application of the laws ol 
perspective. 

Pentimento, Eepentance. The Italians apply 
this term to those alterations which artists some- 
times make in their works when they do not please 
them. Such alterations are frequently found in pic- 
tures which have been rapidly executed, and are cer- 
tain marks of originality in the work. ' Other signs 
of originahty, are the composition, freedom, decision, 
and manner of the penciling, which in copies are 
more timid and labored. In this countr}^, an en- 
graving of the same subject, if it is an old paint- 
ing, will always show it to be a copy. 

Reflected Lights, are the borrowed lights, or 
lights reflected from one object to another j and 
those reflected lights always partake of the tint of 
the object from which the light is reflected. Not 
only the atmosphere, but every object in nature 
reflects light. It is well illustrated by a confla- 
gration in a cloudy night, when not only the heav- 
ens, but the earth is illuminated. 

Relievo, or Relief, is a sculptured work raised 
above the surface with which it is connected. It 
has several gradations, which are thus distinguished 
in Italian, French, and English : 



ITALIAN. 

Basso-Kelievo, 
Mezzo-Pielievo, 
Alto-Relievo, 
Di Tutto-Relievo, 
Di Pleuo-RelievOj 
Altissimo-Eilievo. 



FRENCH. 

Bas-Relief, 
Demi-Relief, 
Haut-Relief, 
En Tout-Relief, 



ENGLISH. 

Low-Relief, 
Half-Relief, 
High-Relief, 
In Full-Relief, 



En Plein-Relief. Complete-Relief. 



These terms sufficiently explain their meaning, 
except the last, which refers to a later style of reliel". 
introduced by Algardi, in which the figures were 
so raised as to stand almost entirely oiit from the 
ground, which was covered with figures in low- 
relief. Relief is also applied, in painting, as when 
a figure appears to stand out from the canvass, as 
it were in relief, b}^ the judicious application of the 
principles of chiaro-scuro. 

Sketch, is sometimes used hr first color, which 
see ; again, to denote the small preparatoiy paint- 
ing which is to serve as a model in the execution 
of a proposed work, in which sense it is a study. 
It is more commonly and properly apphed to cbaw- 
ings in pencil, oil, or water colors, from nature or 
life, which are intended for studies. 

Studio, a painter's or sculptor's workshop, which 
the French call atelier. The Itahans appljr this 
term to any study from nature. 

Study, is a model which an artist has prepared 
to enable him to judge of the merits or effect of the 
work he proposes to execute. The term is applied 
to a single object, or to a whole composition. 

Style, in the lang-uage of writers on the fine arts, 
signifies the manner peculiar to a school or a mas- 
ter, in design, composition, coloring, expression, and 
execution. In art, it refers to the treatment or 
manner of the subject, whether grand and dignified, 
florid and ornate, simple and natural. It also re- 
fers to the peculiarities of any master. 

Still-Life. The representations of inanimate 



XXXI 1 



EXPLANATION OF TERMS. 



objects, as dead game, fish, vegetables, fruits and 
flowers, domestic animals of every description, mu- 
sical and sporting instruments, &c., when forming 
compositions by themselves, are called still-life. 
When living persons are principals, the introduc- 
tion of such things are called accessories. 

Tone is the harmony of coloring in a painting, 
or the harmonious effect produced by the proper 
degradation of light and shade, so as to cause all 
harshness and crudeness to disappear. 

Torso [an Italian word signifying the trunk,] is 
a statue mutilated of its members, and with or 
without a head. There are several torsos of great 
artistic value, but by the torso so often mentioned 
as the study of Michael Angel o is meant the torso 
of Hercules in the Vatican, called Belvidere. 

Vanishing-points, a term of perspective. There 
are several important terms of perspective, which 
may thus be briefly explained. The horizontal 
line is the line that marks the horizon, or the 
place of the supposed horizon, and is always on a 
level with the eye. The point in the horizontal 
line directly opposite the eye, is the point of sight ^ 
and the ray issuing from this point, which forms 
a right angle with the horizontal line, is called the 
jrnncipal visual ray. The point of distance, is 
the actual distance of the eye from the plane of the 
picture, as measured on the horizontal line, from 
the point of sight. Vanishing-points are the points 
in which parallel lines converge perspectively, 
which points, in level planes, are in the horizontal 
line, viz. : either in the point of sight itself, or more 
or less distant from it, according to the position 
of the observer. When, owing to the obliquity of 
the surface, these converging points do not meet in 
the horizontal line, but strike above or below it, 



they are called accidental points. [See Perspec- 
tive.'] 

Vehicle, is any liquid used to dilute colors, to ' 
render them of a proper consistence to spread on 
the canvass. 

There are many other terms recently introduced 
by German and French writers on the fine arts, 
some of which have been adopted by English 
writers, as well as others invented by themselves, 
which, no doubt, are very learned and recondite ; 
but as this Dictionary is intended for popular use, 
and as the explanations given are sufliciently full, 
such terms have been carefully avoided in this 
work, and their explanation must be left to those 
who employ them. 

NOTE TO TABLE OF NAMES — PAGE XXXIII. 

The Germans and Dutch use Derick or Dirk 
for Theodore, and Hans for John; the French 
Franc for Fran90is, Geraud for Gerard, Jeannot 
for Jean, Jacot or Jaquet for Jacques ; the Ital- 
ians, Jacopo for Giacomo, Peppe Peppo or Peppino 
for Giuseppe ; and the Spanish, Beppo for Jacob. 
The Italians also often use the diminutive, as Nico- 
lino for Nicola or Niccol6, Carlinofor Carlo. Emi- 
nent artists are frequently known by other than 
their real names, given them from the place of their 
nativity, perfection or defects of person, remarka- 
ble peculiarity of composition or coloring, or singu- 
larity of character. Thus, the name of Perugino 
is given to Pietro Vannucci, Correggio to Antonio 
Aliegri, Caravaggio to Michael Angelo Amerigi, 
and Veronese to Paolo Caliari, from the places of 
their nativity ; Bamboccio or Bombast to Peter de 
Laer, Giorgione, the giant, to Barbarelli, Tinto- 
retto, son of a dyer, to Jacopo Robusti, &c. 



! 

I 



♦TABLE OF CHRISTIAN NAMES. 



The following table will explain many apparent 
contradictions to be found in works on the fine 
arts, from the custom of writing indiscriminately 
the christian name of artists in the native or foreign 
tongue, thus : John. Jean, Johann, Johannes, Gio- 
vanni, Juan, all which names signify John in Eng- 
lish. The author designed to have rendered every 
foreign name into English ; but, on reflecting that 
this course might rather add to the confusion, from 
the custom before mentioned, and that foreign en- 
gravings generally bear the names of artists in 

ENGLISH. 

Alexander, 

Andrew. 

Anselm, 

Anthony, 

Archibald, 

Arnold, 

Baldwin, 

Baptist, 

Bartholomew, 

Benedict, 

Bertram, 

Charles, 

Cornelius, 



their native tongue, he has preferred to give a table 
of the most common names, having the greatest va- 
riation, in tlie languages of the six great schools of 
painting, viz: English. French, German. Dutch. 
Italian, and Spani.bh. It is to be observed also, 
that names are often Latinized, as Anthony, Anto- 
nius ; Georg^e^ Georghis ; G oltz, Goltziics ; John. 
Johannes; Jerome. Hi eronymiis ; William, GV/iie/- 
mus, &c. In deciphering monograms, also, regard 
must be had as to whether the initials represent 
the name in the native or Latin tongue. 



Daniel, 

Dominick, 

Dionysius, 

Edward, 

Edwin, 

Elijah, Elias, 

Elisha, 

Eugene, 

Ezekiel, 

Francis, 

Frederick, 

Geoffrey, 

George, 

Gerard, 

Hannibal, 

Henry, 

Hezekiah, 

James, 

Jasper, 

Jeremiah, 

Jerome, 

John, 

Toseph, 

Lawrence, 

Leo, 

Lewis, 

Luke, 

Magdalen, 

Matthew, 

Michael, 

Moses, 

Kicholas, 

Peter, 

Philip, 

Pius, 

Sebastian, 

Stephen, 

Walter, 

William, 



Alexandre, 

Andre, 

Ansel me, 

Antoine, 

Archambaud, 

Arnaud, 

Baudouin, 

Baptiste, 

Barthelemy, 

Benoit, 

Bertrand, 

Charles, 

Corneille, 

Daniel, 

Dominique, 

Denis, 

Edouard, 

Edouin, 

Elie, 

Elisee, 

Eugene, 

Ezechiel, 

Fran9ois, 

Frederic, 

Geoffroi, 

George, 

Gerard, 

Hannibal, 

Henri, 

EzecMas, 

Jacques. 

Gaspard, 

Jeremie, 

Jer6me, 

Jean, 

Joseph, 

Laurent, 

Leon, 

Louis, 

Luc, 

Madeleine, 

Mathieu, 

Michel, 

Moise, 

Nicolas, 

Pierre. 

Philippe, 

Pie, 

Sebastien, 

Etienne, 

Gautier, 

Guillaume, 



GERMAN. 

Alexander, 

Andreas, 

Anselm, 

Anton, 

Archibald, 

Arnold, 

Baldwin, 

Baptist, 

Bartholomaus, 

Benedict, 

Bertram, 

Carl, 

Cornelius, 

Daniel, 

Dominick, 

Dionysius, 

Eduard, 

Edwin, 

EHas, 

Elisa, 

Eugenius, 

Ezeckel, 

Franz, 

Friedrich, 

Gotfried, 

Georg, 

Gerhard, 

Hannibal, 

Heinrich, 

Hezechiah, 

Jacob, 

Kaspar, 

Jeremias, 

Jerome, 

Johann, 

Joseph, 

Lorenz, 

Leo, 

LudAvig, 

Lucas, 

Magdalena, 

Mathaus, 

Michael, 

Moses, 

Nicolaus, 

Peter, 

Philipp, 

Pius, 

Sebastian, 

Stephan, 

Walter, 

Wilhelm, 



DUTCH. 

Alexander, 

Andries, 

Anselm, 

Anthonie, 

Archibald, 

Arnoldus, 

Baldwin, 

Doop, 

Barthalomus, 

Benedictus, 

Berthram, 

Karel, 

Cornelus, 

Daniel, 

Dominick, 

Dionysius, 

Eduward, 

Edwin, 

EHas, 

Elisa, 

Eugal, 

Ezeckel, 

Frans, 

Frederick, 

Gotfried, 

George, 

Gerrit, 

Hannibal, 

Hein, 

Hezechiah, 

Jan 

Kaspar, 

Jeremia, 

Jerome, 

Johannes, 

Josef, 

Laurence, 

Leo, 

Levie, 

Lukas, 

Magdalena, 

Mattus, 

Machiei, 

Mozes, 

Klass, 

Pieter, 

Philip, 

Pius, 

Sebastian, 

Stephan, 

Walter, 

Wilhelm, 



ITALIAN. 

Alessandro, 

Andrea, 

Anselmo, 

Antonio, 

Archibaldo, 

Arnoldo, 

Baldovino, 

Battista, 

Bartolomeo, 

Benedetto, 

Bertrando, 

Carlo, 

Cornelio, 

Danielo, 

Domenico, 

Dionigio, 

Eduardo, 

Eduino, 

Elia, 

Eleazzaro, 

Eugenio, 

Ezechiel, 

Francesco, 

Federigo, 

Goffredo, 

Giorgio, 

Gerardo, 

Annibale, 

Enrico, 

Ezechia, 

Giacomo, 

Gaspare, 

Geremia, 

Girolamo, 

Giovanni, 

Giuseppe, 

Lorenzo, 

Leone, 

Luigi, 

Luca, 

Maddalena, 

Matteo, 

Michele, 

Mose, 

Nicola, 

Pietro, 

Filippo, 

Pio, 

Sebastiano, 

Stefano, 

Gualtiero, 

Guglielmo, 



SPANISH. 

Alexandro. 

Andres. 

Anselmo. 

Antonio. 

Archibaldo. 

Arnaldo. 

Baldovin. 

Baptista. 

Bartolome. 

Benito. 

Beltran. 

Carlos, 

Cornelio. 

Daniel. 

Domingo. 

Dionisio. 

Eduardo. 

Eduino, 

Elias. 

Eleazaro. 

Eugenio. 

Ezequlel. 

Francisco. 

Frederico. 

Godefredo. 

Jorge. 

Gerardo. 

Anibal. 

Henrique. 

Ezequias. 

Jacob. 

Gaspar. 

Jemerias. 

Genorimo. 

Juan. 

Jose. 

Lorenzo. 

Leon. 

Luis. 

Lucas. 

Maddalena, 

Mateo. 

Miguel. 

Moyses. 

Nicolas. 

Pedro. 

Fehpe. 

Pie. 

Sebastian. 

Esteban. 

Gualterio. 

Guillermo. 



* See note on page xxxii. By this Table names may be rendered from one language into either of the others. 



AN 



ALPHABETICAL LIST 



OF THE MOST EENOWNED 



PAINTERS, ENGRAVERS, SCULPTORS, AND ARCHITECTS. 



NATION. 

Italian. 

Danish. 

Ger. 

Ger. 

Greek. 

Greek. 

Greek. 

Greek. 

Greek. 

Greek. 

Greek. 

Greek. 

Italian. 

Italian. 

Italian. 

Italian. 

Greek. 

Ger. 

Italian. 

Italian. 

Italian. 

Amer. 

Span. 

Italian. 

Italian. 

Italian. 

Italian. 

Italian. 

Italian. 

Greek. 

Greek. 

Greek. 

Greek. 

Greek. 

Italian. 

Greek. 

Greek. 

French. 

Amer. 

French. 

Fiem. 

Italian. 

Eng. 

Flem. 

Italian. 



Abati, Nicold dell. . 
Abilclgaard, Nikolai 
Achen, John van. . . 
iElzheimer, Adam. . 

^tion , 

Agamedes, 

Agaptos 



NAME AND PROFESSION. BORN. 

Painter 1512 

Painter 1744 

Painter 1552 

Painter 1574 

Painter e. c. 320 

Architect b. c. 450 

Architect b. c. 

480 
450 
450 
450 
420 



Agatharcus, (Inv. of Perspective) Painter b. c 

Agasias, (Sc. of Fighting Gladiator in Louvre) . . . Sculptor b. c 

Agelidaa, Sculptor b. c 

Agesander, (Sc. of Laocoon,) Sculptor b. c, 

Aglaophon, Painter 

Albano, Francesco (Pa. of ' The Graces') Painter. 1578 

Alberti, Aristotle , Architect 1398 

Alberti, Leone Battista Pa., Sculp. ^ and Arch 1398 

Albertinelli, Mariotto Painter 1475 

Alcamenes, (pupil of Phidias) Sculptor b. c. 450 

Aldegrever, Henry Painter. 1502 

Alessi, (raleazzo Architect 1500 

Algardij Alessandro Sculptor and Architect 1598 

Allegri, Antonio (Correggio) Painter 1494 

Allston, Washington , Painter •. 1779 

Alvarez, Don Jose Sculptor 1768 

Ammanati, Bartolomeo Sculptor and Architect 1511 

Andrea, da Pisa Sculptor and Architect. . . . 1270 

Andreani, Andrea Painter and Engraver 1560 

Angelo, (Michael Buonarotti) Pa., Scidp., and Arch 1474 

Angelo, Michael Amerigi da Caravaggio Painter 1569 

Angosciola, Sofonisba Paintress 1530 

Antistates Architect b. c. 555 

Apelles, (the most celebrated of ancient i>a.m.teTs) . Painter b. c. 330 

Apollodorus, (the Athenian) Painter b. c. 440 

Apollodorus, (Arch, to Trajan) Architect 100 

Apollonius, (Sc. of the Torso Belvidere) Sculptor b. c. 100 

Appiani, Andrea ' ... .Painter 1754 

Arcesilaus, Sculptor b. c. 75 

Aristidcs, of Thebes Painter b. c. 340 

Audran, Gerard (six of this name) E7igraver 1640 

Audubon. John J. (Pa. of birds, animals, &c.) Painter 1775 

Avilcr, Augustin Charles Architect 1653 

Baptist, John M. (flowers, &c.) Painter 1633 

Baccio, Delia Porta (di San Marco) Painter 1469 

Bacon, John Sculptor 1740 

Balen, Henry van Painter 1560 

Bandinelli^ Baccio . . Sculptor 1487 



DIED. 

1571 

1809 
1615 
1620 

flour'd. 

flour'd. 

flour'd. 

flour'd. 

flour'd. 

flour'd. 

flour'd. 

flour'd. 
1666 
1472 
1472 
1520 

flour'd. 
1562 
1572 
1654 
1534 
1843 
1826 
1589 
1345 
1623 
1563 
1609 
1626 

flour'd. 

flour'd. 

flour'd. 

flour'd. 

flour'd. 
1818 

flour'd. 

flour'd. 
1703 
1851 
1700 
1694 
1517 
1799 
1632 
1559 



ALPHABETICAL LIST OF PAINTERSj ETC. 



XXXV 



NATION. 

Eng. 
Italian. 
Italian. 
Eng. 
Italian. 
Italian. 
•Italian. 
Italian. 
Italian. 
Italian. 
Eng. 
Italian. 
Ger. 
Italian. 
Dutch. 
Italian. 
Italian. 
Eng. 
Dutch. 
Dutch. 
French. 
Dutch. 
Flcin. 
Italian. 
French. 
Dutch. 
Dutch. 
French. 
Italian. 
Eng. 
[talian. 
Dutch. 
Flem. 
Flem. 
Dutch. 
Flem. 
French. 
Italian. 
Italian. 
Italian. 
Eng. 
Italian. 
Italian. 
Eng. 
Greek. 
Greek. 
French. 
Italian. 
Itahan. 
Italian. 
Italian. 
Italian. 
Italian. 
Italian. 
Italian. 
French. 
Italian. 
Span. 
Italian. 
Italian. 
Span. 
Flem. 
Eng. 
Greek. 
Italian. 
Italian. 
French. 
Greek. 
French. 
Amer. 
Amer. 



NAME AND PROFESSION. BORN. 

Banks, Thomas Sculptor 1745 

Baroccio, Federigo Painter 1528 

Barozzi, Giacomo (da Vignola) Architect 1507 

Barry, James Painter 1741 

Bartoli, Pietro Santo Engraver 1635 

Bartolomeo, Fra. (di San Marco) Painter 1469 

Bartolozzi, Francesco (resided in England,) Engraver 1730 

Bassano. Giacomo (six of this name) Painter 1510 

Batoni, Pompeo Painter 1708 

Beccafumi, Domenico Painter and Engraver 1484 

Beeche3^ Sir William Painter 1753 

Bella, Stefano della Engraver 1610 

Beham, Hans or John Engraver 1500 

Bellini, Gentile Painter 1421 

Berghem, Nicholas Painter and Engraver 1624 

Bernini, Giovanni Lorenzo Sculptor and Architect. . . . 1589 

Berrettini, (Pietro da Cortona) Painter 



1596 

Painter and Engraver 1757 

1564 
1603 



Blake, Wilham 

Bloemaert, Abraham Painter. . 

Bloemaert. Cornelius Engraver 

Boffrand, Germain Architect 1667 

Blooteling, xVbraham Engraver 1634 

Bolswert, Scheltius A Engraver 1586 

Bordone, Paris Painter 1500 

Borgognone, II (see Cortese) Painter 1621 

Both, John Painter 1610 

Both, Andries Painter 1612 

Bourdon, Sebastien Painter and Engraver. . . . 1616 

Borromini, Francesco Architect 1599 

Boydell, John Engraver 1719 

Bramante, di Urbino (1st of St. Peter's) Architect 1444 

Breemberg, Bartholomaus Painter 1620 

Breughel, Yclvet (several of this name) Painter 1560 

Brill, Paul Painter 1554 

Brower, Adrian Painter 1608 

Bruges, John of (John van Eyck) Painter 1370 

Br un, Charles Le Painter 1619 

Brunelleschi, Filippo Architect 1377 

Buontalenti, Bernardo Architect 1536 

Buonarotti, Michael Angelo Pa.. Sc. and Arch 1474 

Burnet, James Painter 1788 

Cagiiari, Paolo (Paul Veronese) Painter 1532 

Cairo, Cavalierc Francesco Painter 1598 

Calcott, Sir A. W Painter 1779 

Callicrates, (built Parthenon) Architect b. c. 459 

Callimachus Sculptor and Architect b. c. 540 

Callot, James Engraver 1593 

Canal, Antonio (Canaletti) Painter 1697 

Canova, Antonio Scidptor 1757 

Caracci, Lodovico Painter and Engraver. . . . 1555 

Caracci, Agostino Painter and Eng-raver. . . . 1558 

Caracci, Annibale Painter and Engraver. . . . 1560 

Caravaggio^ Michael Angelo Amerigi da Painter 1569 

Caravaggio, Polidoro Caldara da Painter 1495 

Carpi, Ugo da (Inv. of printing in chiaro-scuro) . .Painter and Engraver. . . . 1486 

Casas, Louis Francois Painter and Architect 1756 

Castiglione, Giovanni Battista Painter 1616 

Castello. Y Saavedra Antonio del Painter 1603 

Cavedone, Jacopo Painter 1577 

Cellini, Benvenuto .Painter and Engraver 1500 

Cespecles, Pablo de Painter 1538 

Champagne. Philip de Painter 1602 

Chantrey, Sir Francis Sculptor 1781 

Chares, (Sc. of Colossus of Rhodes) Sculptor b. c. 300 

Cignani, Carlo Painter 1628 

Cimabue, Giovanni (restorer of painting in lioXj). Painter 1240 

Claude Gelee (Claude Lorraine) Painter. . 1600 

Cleomenes, (Sc. of Yenus de Medicis) Scidptor b. c. 180 

Cochin, Charles Engraver 1688 

Cole, Thomas Painter 1802 

Copley, J. Singleton Painter 1737 



DIED. 

1805 
1612 
1573 
180G 

1517 
1813 
1592 
1787 
1549 
1839 
1664 

1501 
1683 
1680 
1669 
1828 
1647 
1680 
1754 



1570 
1676 
1650 
1645 
1671 
1067 
1804 
1514 
1660 
1625 
1626 
1640 
1441 
1690 
1444 
1606 
1563 
1816 
1588 
1674 
1844 

flour'd. 

flour'd. 
1635 
1768 
1822 
1619 
1601 
1609 
1609 
1543 

flour'd. 
1827 
1670 
1667 
1660 
1570 
1608 
1674 
1841 

flour'd. 
1719 
1300 
1082 

flour'd. 
1754 
1848 
1815 



XXXVl 

NATION. 
Ellg. 

French. 

Italian. 

Italian, 

Uoman. 

Eng. 

(Ircek. 

Greek. 

Dutch. 

G reek. 

Greek. 

French. 

French. 

Flcm. 

Gcr. 

Greek. 

Greek. 

Italian. 

Italian. 

Italian. 

French. 

Dutch. 

Greek. 

Eng. 

Fleni. 

Greek. 

Greek. 

Dutch. 

Flem. 

Eng. 

Flem. 

Italian. 

Dutch. 

Ger. 

Italian. 

Italian. 

Italian. 

Italian. 

Swiss. 

Flem. 

Italian. 

Eng. 

Flem. 

Italian. 

Italian. 

Italian. 

Italian. 

Italian. 

Span. 

Italian. 

French. 

Dutch. 

French. 

Dutch. 

French. 

Italian. 

Italian. 

Italian. 

Flem. 

Eng. 

Eng. 

Dutch. 

Dutch. 

Dutch. 

Eng. 

S^yiss. 

Ger. 

Greek. 

Span. 

Dutch. 

Dutch. 



ALPHABETICAL LIST OF PAINTERS, ETC. 
NAME AND PROFESSION. 

Constable, John Painter 

Cotte, Robert de Architect 

Correggio, Antonio Allegri da Painter 

Cortona, Pietro da Painter 

Cossutius Architect b. c. 

Cosway, llichard Painter 

Ctcsitas, (Sc. of Dying Gladiator) Sculptor b. c. 

Ctesiphon,( Temple of Diana) Sculptor and Architect. . . , 

Ouyp, Albert Painter 

Diijdalus, (built Cretan Labyrinth) Sculptor and Architect b. c. 

Daphnis, (Temple of Apollo) Architect b. c. 

David, Jacques Louis Painter 

Denon, Baron Dominic Vincent Designer and Engraver. . . 

Diepenbeck, Abraham Painter 

Dietrich, Christian William Painter 

Detrianus, (Arch, to Adrian) Architect 

Dinocrates, (builder of Alexandria) Architect b c. 

Dolci, Carlo Painter 

Domenichino, or Doincnico Zampieri Painter 

Donotello, or Donato Sculptor 

Dorigny, Sir Nicholas Engraver 

Douw Gerard, Painter 

Dionysius, of Argos Sculptor b. c 

Earlom, Richard Engi^aver 

Edelinck, Gerhard Engraver 

Epeus, (Trojan Horse) Sculptor b. c, 

Eupompus (founder of the school of Sicyon) Painter b. c. 

Everdingen, Albert van Painter 

Eyck John van (John of Bruges) Painter 

Flaxman, John Sculptor 

Flemael, Bertholet Painter 

Finiguerra, Maso (inventor of copper- plate eng.) . . Engi^aver 

Flink, Govaert Painter 

Fischers, Johann Bernard Architect : 

Fontana, Domenico Architect 

Fontana, Carlo Architect 

Franceschini, Baldassare Painter 

Franceschini, Marc' Antonio Painter 

Fuseli, Henry (resided in England) Painter 

Fyt, John Painter 

Fuga, Ferdinando Architect 

Gainsborough, Thomas Painter 

Genoels, Abraham Painter 

Ghisi, Giovanni Battista Painter and Engraver 

Ghisi, Giorgio Engi^aver 



Giorgione, or Giorgio Barbarelli Painter 

Giotto, di Boudone Painter 

Giovanbattista. di Toledo Architect 

Ghiberti, Lorenzo Sculptor 

Giraldon, Francois Sctdptor 

Goltz, or Gotlzius, Henry Painter and Engraver. . 

Goujon, Jean (the French Phidias) Sculptor 

Goyen, Jan van Painter 

Greuze^ Jean Baptiste Painter 

Grimaldi, Giovanni Francesco Painter 

Guercino, (^Gio. Franc. Barbieri) Painter 

Guido Rem, , Painter 

Hals, Francis Painter 

Haydon, Benjamin Robert Painter 

Heath, Charles Engraver 



Heem, John David de Painter , 

Hemling, John Painter and Engraver. . . ., 

Hobbema, Mynderhout Painter 

Hogarth, William Painter and Engraver 

Holbein, Hans Painter and Engraver 

Hollar, Winceslaus Engraver , 

Heraclides, (painter of marines) Painter b. c. 

Herrera, Giovanni d' Architect 

Hondecoetcr, Melchior (painter of fowls) Painter 

Honthorst, (Gherard delle Notti) Painter 



BORN. 


DIED 


177G 


1837 


1657 


1735 


1493 


1534 


1596 


1669 


200 


flour'd. 


1740 


1821 


370 


flour'd. 


460 


flour'd. 


1606 


1673 


1250 


flour'd. 


500 


flour'd. 


1748 


1825 


1747 


1825 


1607 


1675 


1712 


1774 


120 


flour'd. 


330 


flour'd. 


1016 


1686 


1581 


1641 


1383 


1466 


. 1657 


1746 


1613 


1674 


484 




1742 


1822 


1627 


1707 


1184 


flour'd. 


500 


flour'd. 


1621 


1675 


1370 


1441 


1755 


1826 


1614 


1675 


15th 


century. 


1614 


1660 


1650 


1738 


1543 


1607 


1634 


1714 


1611 


1689 


1648 


1739 


1741 


1825 


1625 


1671 


1699 




1727 


1788 


1640 


1703 


1500 




1524 




1632 


1705 


1477 


1511 


1276 


1336 




1567 


1378 


1456 


1630 


1715 


1558 


1617 




1572 


1596 


1656 


1726 


1805 


1606 


1680 


1590 


1666 


1575 


1642 


1584 


1666 


1786 


1846 




1849 


1600 


1674 


1450 




1611 




1697 


1764 


1498 


1554 


1607 


1667 


160 


flour'd. 




1597 


1636 


1695 


1592 


1660 



n 



ALPHABETICAL LIST OF PAINTERS. ETC. 



XXXVIl 



NATION. NAME AND PROFESSION. 

Dutch. Ilughtenberg, Johannes van Painter 

Amcr. Inman. Henry Painter 

Span. Ivara, Felipe Architect 

Greek. Ictinus, (architect of Parthenon) Architect b. c. 

Flem. Janssens, Abraham Painter 

Dutch. Jai'din. Carl du Painter 

Flem. Jordaen.s, Jacob Painter 

French. Jouvenet. -Jean Painter 

Swiss. Kaullhian. jMaria Angelica Painter 

Ger. Kneller, Sir Godfrey Painter 

Ger. Kilian. Lucas Painter. 

Dutch. Koljell, Jan Painter 

Dutch. Koning, Philip de Painter 

Dutch. Laer, Peter de (Bamboccio) Painter 

Dutch. Lairesse, .Gerhard Painter 

1 talian. Lanfranco, Cav. Gio Painter 

Eng. Lawrence. Sir Thomas Painter 

Ger. I-'Cly. Sir Peter Painter 

French. Lethiere, Guillaume Guillon Painter 

Dutch. Leyden. Lucas van Painter and Engraver. . . . 

Italian. Licinio, Gio. Anto. il Pordenone Painter 

Flem. Lievcns, Jan Painter and Engraver. . . . 

Ger. Lingelback. John Painter 

Flem. Lombard, Lambert Painter 

Italian. Longhi, Giuseppe Painter 

Ger. Loutherbourg, Philip James de Painter , 

Greek. Lysippu.s Painter b. c. 

Dutch. Maes. Nicholas Painter 

Ger. Mabuse, John de Painter 

Italian. Mantegna, Andrea Painter and Engraver. . . . 

Italian. Maderno, Carlo Architect 

French. jNIansard. Francois Architect 

French. Mansard, Jules Ilardouin Architect 

Italian. IMaratti, Carlo Painter 

Italian. ISIasaccio, jMaso Painter 

French. Masson Antoine .Engi^aver 

Flem. Metsys, Quintin Painter 

Italian. Mazzuoli Franceso (II Parmiggiano) Painter 

Ger. Mengs. Anthony Raffaelle Painter 

Dutch. Metzu, Gabriel Painter 

Dutch. Meulen, Anthony Francis vander Painter 

Swiss. Me3-er Felix Painter 

Eng. ]\Iiddinian, Samuel Engraver 

Flem. Miel Jan Painter 

Dutch. Mieris, Francis the elder Painter 

Dutch. Mieris, William Painter 

French. Mignard, Nicholas Painter 

French. Mignard, Pierre Painter 

Italian. Modena. Pellegrino da Painter 

French. Moine, Fran9ois le Painter 

Italian. Mola, Pietro Francesco Painter 

Dutch. Molyn, Peter ( Tempesta) Painter 

Flem. iNIonnoyer, Jean Baptiste (Baptiste) Painter 

Dutch. More, Sir Anthony Painter 

Italian. JMorghen, Raphael (preeminent) Engraver 

Eng. Morland, George Painter 

Dutch. Moucheron, Frederick Painter 

Dutch. Muller, John Engraver 

Span. jNIurillo, Bartholomew E Painter 

Greek. Mycon, (Temple of Theseus) Pa.. Sc, and Arch b. c. 

Greek. INIyron, (Sc. of the Discobolus) Sculptor b. c. 

French Nanteuil, Robert Engraver 

Flem. Neef, Peter Painter and Architect 

Dutch. Neer, Ardold vander Painter 

Greek. Nicias Painter b. c. 

Dutch. Netscher, Kaspar Painter 

Greek. Nichomachus Painter b. c. 

Eng. Nollekens, Joseph Sculptor 

Eng. 
Flem. 



Northcote, James Painter. 

Ommeganckj Bal. Paul Painter. 



born. 
1646 
1801 
1684 
450 
1569 
1640 
1594 
1644 
1742 
1648 
1579 
1782 
1619 
1613 
1640 
1581 
1769 
1617 
1760 
1494 
1484 
1607 
1625 
1500 
1766 
1734 
334 
1632 
1492 
1431 
1556 
1598 
1645 
1625 
1401 
1636 
1450 
1504 
1728 
1615 
1634 
1653 
1746 
1599 
1635 
1662 
1608 
1610 
1485 
1688 
1609 
1637 
1635 
1519 
1758 
1764 
1633 
1570 
1618 
500 
500 
1630 
1570 
1619 
450 
1636 
330 
1737 
1746 
1755 



DIED. 

1733 

1846 

1735 

fiour'd. 



1678 
1717 
1807 
1723 
1637 
1814 
1689 
1673 
1711 
1647 
1830 
1680 
1832 
1533 
1540 
1663 
1687 
1560 
1831 
1812 
llour'd. 
1693 
1532 
1506 
1629 
1666 
1708 
1713 
1443 
1700 
1529 
1540 
1779 
1658 
1690 
1713 
1818 
1664 
1681 
1747 
1668 
1695 
1523 
1737 
1665 
1701 
1699 
1588 
1833 
1804 
1686 

1685 

flour'd. 

flour'd. 
1678 
1651 
1683 

flour'd. 
1684 

flour'd. 
1823 
1831 
1826 



XXXVlll 



ALPHABETICAL LIST OF PAINTERS. ETC. 



NATION. 

Eng. 

Dutch. 

Dutch. 

French. 

Itahan. 

Italian. 

Italian. 

Greek. 

Greek. 

Greek. 

Greek. 

Amer. 

Span. 

French. 

Italian. 

Italian. 

Flem. 

Swiss. 

Eng. 

Greek. 

Italian. 

French. 

Italian. 

Greek. 

Italian. 

Dutch. 

Greek. 

French. 

Italian. 

Flem. 

Dutch. 

Italian. 

French. 

Italian. 

Greek. 

Italian. 

Italian, 

Greek. 

French. 

Greek. 

Greek. 

Greek. 

Greek. 

Scotch. 

Italian. 

Eng. 

Italian. 

Italian. 

Dutch. 

Italian. 

Eng. 

French. 

French. 

Eng. 

Italian. 

Italian. 

Dutch. 

Italian. 

Italian. 

Italian. 

Italian. 

Ger. 

Swiss. 

Flem. 

Dutch. 

Italian. 

Italian. 

Dutch. 

Dutch. 

Dutch. 



NAME AND PROFESSION. 

Opie, .John Painter 

Ostade, Adrian van Painter 

Ostadc, Isaac van Painter 

'Pajou, Augustine Sculptor 

Pallaclio, Andrea Architect 

Palma, J acopo (il Yecchio ) Painter 

Palma, Jacopo (il Giovine) Painter 

Pamphilus, (founder of school of Sicyojii) Painter b. c. 

Pantsenus, (Battle of Marathon) Painter b. c. 

Parrhasius Painter b. c. 

Pausias Painter *. b. c. 

Peale, Charles W Painter 

Pereda, Antonio Painter 

Perrault, Claudius (Sc. front of Louvre) Architect 

Perugino, Pietro (Master of Raifaelle) Painter 

Peruzzi, Baldassare Painter 

Peters, Bonaventura Painter 

Petitot, John (inv. of painting in enamel) Painter 

Philhps, Thomas Painter 

Phidias, (preeminent) Sculptor b. c. 

Picart, Bernard Engraver 

Pigalle, Jean Baptiste Sculptor 

Piombo, Fra. Sebast. del Painter 

Philesius, (Sc. Nine Muses) Sculptor 

Piranesi, Giov. Battista Engraver 

Poelemburg, Cornelius Painter 

Polycletus Sculptor b. c. 

Poill}^, Francois Engraver 

Ponte, Giacomo da (il Bassano) Painter 

Pontius, Paul Engraver 

Potter, Paul Painter 

Porta, Baccio della (Fra Bartolo. di S. Marco) . . . Painter 

Poussin, Nicholas Painter 

Poussin, Gaspar Painter 

Praxiteles Sculptor b. c. 

Primaticcio, Francesco Painter 



Protogenes Painter b. c. 

Puget, Peter Paul Pa., Sc, and Arch 

Pythagoras, of Rhegium Sculptor 

Polygnotus Painter 

Polycletus, (rival of Phidias) Sculptor b. c. 

Polydorus, of Rhodes (one of Sc. of Laocoon) Sculptor 

Raeburn, Sir Henry Painter 

Raffaelle Sanzio di Urbino Painter 

Raimback, Abraham Engraver 

Raimondi, Marc' Antonio Engraver , 

Ravenna, Marco da Engraver 

Rembrandt van Ryn Painter and Engi^aver. 

Reni, Guido Painter 

Reynolds, Sir Joshua Painter 

Rigaud, Hyacinth Painter 

Roland, Philip L Sculptor 

Romncy, George Painter 

Rosa. Salvator .Painter 

Romano, Giulio Painter 

Roos, John Henry Painter 

Rosso, il Painter 

Rota, Martino Engraver 

Robusti, Giacomo (Tintoretto) Painter 

Roncalli. Cristoforo (Pomcrancio) Painter 

Roos, Philip (Rosa da Tivoli) Painter 

Roubilli ac, Francis . . Sculptor 

Rubens, Peter Paul Painter 

Ruysdacl, Jacob Painter 

Sabbatini, Andrea (da Salerno) Painter 

Sacchi, Andrea Painter 

Sadeler, John Engraver 

Sadeler, Raphael Engraver 

Sadeler, Egcdius (Giles) Engraver 



BORN. 


DIED. 


17G1 


1807 


1610 


1685 


1G17 


1654 


1730 


1809 


1518 


1580 


16th cent. 


1541 


1628 


350 


flour'd. 


450 


fiour'd. 


420 




352 


flour'd. 


1741 


1827 


1599 


1669 


1613 


1688 


1446 


1524 


1481 


1536 


1614 


1671 


1607 


1691 


1770 


1845 


498 


432 


1663 


1733 


1714 


1783 


1485 


]547 


1707 


1778 


1586 


1660 


430 


flour'd. 


1622 


1693 


1510 


1592 


1596 




1625 


1654 


1469 


1517 


1594 


1665 


1613 


1675 


324 


flour'd. 


1490 


1570 


1520 


1591 


300 


flour'd. 


1623 


1695 


424 




432 


flour'd. 


1756 


1822 


1483 


1520 


1776 


1843 


1487 


1546 


1496 




1606 


1674 


1575 


1642 


1723 


1792 


1659 


1745 


1746 


1816 


1734 


1802 


1615 


1673 


1492 


1546 


1631 


1685 


1496 


1541 


1540 




1512 


1594 


1552 


1626 


1655 


1705 


1703 


1762 


1577 


1640 


1636 


1681 


1485 


1550 


1594 


1661 


1550 


1600 


1555 


1616 


1570 


1629 



ALPHABETICAL LIST OF PAINTERS, ETC. 



XXXIX 



NATION. 

Dutch. 

Italian. 

Italian. 

Italian. 

Italian. 

Italian. 

Roman. 

Ger. 

Dutch. 

Greek. 

Eng. 

Eng. 

Flem. 

Italian. 

Egypt. 

Italian. 

Dutch. 

Span. 

Flein. 

Italian. 

Dutch. 

French. 

Dutch. 

Dutch. 

Eng. 

Scotch. 

Eng. 

Araer. 

French. 

Ger. 

Italian. 

Italian. 

Flem. 

Flem. 

Dutch. 

Itahan. 

Danish. 

Greek. 

Greek. 

Italian. 

Greek. 

Itahan. 

Italian. 

Amer. 

Flem. 

Dutch. 

Dutch. 

Dutch. 

French. 

Dutch. 

Span. 

Flem. 

French. 

French. 

Italian. 

Itajian. 

Italian. 

Italian. 

Italian. 

Dutch. 

Flem. 

Italian. 

Greek. 

Itahan. 

Amer. 

Scotch. 

French. 

Eng. 

Eng. 

Dutch. 



NAME AND PROFESSION. 

Saenredam, John Engraver. 

Sammachini. Orazio Painter. . . 

San Michelli, Michele Architect. 

Sarto, Andrea Yannuchi del Painter. 



BORN. 

1565 

1532 

1484 

1488 

Scamozzi. Tincenzio Architect 1552 

Schedonc, Bartolomeo Architect 15C0 

Sevcrus, (architect to Nero) Architect 50 

Senefelder, Alois (inventor of lithography) Painter and Engraver. . . . 1771 

Schalcken,' Godfry Painter 1043 

Scopas Sculptor b. c. 460 

Sharpe, AYilliam Engraver 1749 

Smirke, Robert Painter 1752 

Snyders, Francis Painter 1579 

Solimena. Francesco Painter 1657 

Sostratus. (built Pharos) Architect 

Spada, Lionello Painter 1 576 

Spaendonck. Gerard van (fruit and flowers) Painter 1746 

Spagnoletto, il (.Josef Ribera) Painter 15S9 

Sprangcr, Bartholomew Painter 1546 

Stanzioni. Cav. Massimo Painter 1585 

Steen -Jan (very noted) Painter 1G36 

Stella, -James Painter 1596 

Stoop, Dirk or Theodore Painter 1612 

Stork, Abraham, (views, sea-pieces) Painter 1650 

Stothard. Thoinas (historical and portrait) Painter 1755 

Strange. Sir Robert Painter 1721 

Stuart, .James Architect 1713 

Stuart,' Gilbert (portrait) Painter 1754 

Sueur, Eustachius le Painter 1617 

S wanevelt, Herman Ladd Painter 1620 

Tatti, Jacopo (called Sansovino) Painter 1479 

Tempesta. Antonio Painter and Engraver 1555 

Teniers, David, the elder Painter 1582 

Teniers, David, the younger Painter 1610 

Terburg, Gerard Painter 1608 

Testa. Pietro Painter and Engraver. . . . 161 1 

Thorwaldsen, Albert Scidptor 1772 

Temanthes Painter b. c. 420 

Timanthes. (painter of Jupiter in Council) Painter b. c. 400 

Tibaldi, Pellegrino . . Painter 1527 

Timomarches Painter 

Tintoretto. Giacomo Robusti Painter 1512 

Titian, (preeminent) Painter 1477 

Trumbull, -John Painter 1756 

Vandyck, Sir Anthony Painter 1599 

Vandervelde, William, the elder Painter 1610 

Yandervelde, "William, the younger Painter 1633 

Vandervelde, Adrian Painter 1 639 

Vanloo, Carl ; Painter 1705 

Yanderwerf. Adrian Painter 1659 

Yelasquez de Silva, Don Diego Painter 1594 

Yenius. or Yan Yeen, Otho Painter 1556 

1714 

1758 

1446 

1488 

Yanvitellij'Luigi Architect 1700 

Yinci, Leonardo da Painter 1445 

Yeronese, Paolo (Cagliari) Painter 1528 

Yisscher Cornelius Engraxer 1610 

Yorstermans, Lucas the elder Engraver 1580 

Yignola. James Architect. 1507 

Yitruvius Architect b. c. 30 

Yolpato, Giovanni Engraver 1733 

West. Benjamin Painter 1738 

Wilkie, Sir David Painter 1785 

Wille, John George Engraver 1717 

Wilson Richard Painter 1714 

Woollett, William Engraver 1735 

Wouwerman, Phil Painter 1620 



Yernet, Joseph (marine) Painter. 

Yernet, Horace Painter . 

Yannucci, Pietro Perugino Painter. 

Yanuncchi, xlndrea Del Sarto Painter. 



DIED. 

1607 
1577 
1559 
1530 
1016 
1616 

fiour'd. 
1834 
1706 

llour'd. 
1824 
1845 
1057 
1747 

1622 
1822 
1656 
1023 
1656 
1689 
1647 
1686 
1708 
1834 
1792 
1787 
1828 
1055 
1690 
1570 
1630 
1649 
1694 
1081 
1050 
1849 
flour'd. 

1600 

1594 
1576 
1804 
1641 
1693 
1707 
1672 
1765 
1722 
1660 
1634 
1789 
1836 
1524 
1530 
1773 
1519 
1588 
1670 

1573 
flour'd. 

1802 
1820 
1841 
1807 
1782 
1785 
1668 



ALPHABETICAL LIST OF PAINTERS, ETC. 



NATION. NAME AND PROFESSION. BORN. DIED* 

Eng. Wren, Sir Christopher (St. Paul's) Architect 1632 1723 

Dutch. Waterloo, Anthony Painter and Engraver 1618 1691 

French. Watteau, Antoine Painter 1684 1727 

Dutch. Weenix, John Baptist Painter 1621 1660 

Dutch. Weenix, John Painter 1644 1719 

Dutch. Werf, Adrian Vander Painter 1659 1722 

Dutch. Wynants, John Painter. 1600 1670 

Italian. Zablia, Nicholas Architect. 1674 1750 

Greek. Zeuxis Painter b. c. 490 400 

Italian. Zuccaro, or Zuccheri, Taddeo Painter 1529 1566 

Italian. Zuccaro, or Zuccheri, Federigo Painter 1539 1619 

Italian. Zuccarelli, Francesco Painter 1702 1788 

Span. Zurbaran, Francisco Painter 1598 1662 



■AN 

ALPHABETICAL LIST 

OF THE 

NAMES ACQUIRED BY DISTINGUISHED ARTISTS, 

WITH THEIR SURNAMES. 

This List is important, because, in the history of art, eminent artists are frequently known only by 
their acquired names, given to them by their cotemporaries, from the place of their nativity, perfec- 
tion or defects of person, remarkable peculiarity of composition or coloring, or singularity of 
character. 



ACQUIRED NAME. SURNAME. 

Abey k, John van Eyck. 

Aguijbio, d', Oderigi da Gubbio. 

Aiguilles, Marquis d', ..J. B. Boyer. 

Ains, Giuseppe Ens. 

Albara, Gio.di, Bernardo Carboni. 

Albe, Baron d', L. A. G. Bacler. 

Alemagna, Giustodi, . .Justus of Ghent. 

Alesio, Perez d', Matteo da Lecce. 

Aliense, Antonio Vassilacchi. 

Ambrogiotto, Giotto. 

Amico, Maestro Aspertini. 

Ancinelli, dagli, Flaminio Torre. 

. ., ,, < Andrea Lilio. 

Anconitano, 1', I Qi^olamo Bonini. 

Angelico, Giovanni da Fiesole. 

Angelo, d', Gio. Bat. del More. 

Annunzio, Nonzio. 

Ans, Ausse. 

Antoni, degli, Antonello da Messina. 

Antoniano,Ferrarese,. . Antonio Alberto. 

Antonio, Marc' M. A. Raimondi. 

Aretusi, Pellegrino Munari. 

Arirainensis, Bartolomeo Coda. 

Aristotile, .Bastiano da Sangallo. 

Arpino, d', Giuseppe Cesari. 

Arrigoni, Giovanni Laurentini. 

Arsenio, Donate Mascagni. 

Asti, d', Gio. Carlo Aliberti. 

Athanasio, Pedro, Pedro Bocanegra. 

Attavante, Vante. 

Ausse, John van Eyck. 

Aviano, Girolamo da Trevigi. 

Baccio, Era Bart, della Porta. 

Bachiacca, Francesco Ubertino. 

Baciccio, Gio. Bat. Gaulli. 

Baeza, da, Gaspar di Becerra. 

Bagnacavallo, II, Bartolomeo Ramenghi. 

Ballerino, Gio. Bittonte. 

Balvay, J. G., Charles C. Bervic. 

Bamboccio, .Peter de Laer. 



ACaUIRED NAME. SURNAME. 

Baptist, J., J. B. Gaspars. 

Baptiste John Baptist Monnoyer. 

Barbalunga Antonio Riccl 

Barbiere, del, Alessandro Fei. 

Bartolet, Bart. Flemael. 

Bartolomeo, B. Breemberg. 

Bartolomeo, Era, F. Bart, della Porta. 

Basilicata, della, Matteo Paccelli. 

C Antonio Scaiario. 
Bassano, II, } Jacopo da Ponte. 

( David Teniers. 

Bastaro, del, Giuseppe Puglia. 

Bastaruolo, II, Filippo Mazzuoli. 

Bastianino, II, Bastiano Filippi. 

Batistiello, Gio. Bat. Caracciolo. 

Battaglie, dalle. M. A. Cerquozzi. 

Battaglie, Brescianino 

dalle, Francesco Monti. 

Bazzacco, Gio. Bat. Ponchino. 

Beard,Hans with the, . .John C. Vermeyen. 

Belladonna, , ..Lucilio Gentiloni. 

Belvidere, Andrea Abate. 

Benedetto, Gio., , Gio. B, Castiglione. 

Benvenuto, Gio. Bat. Ortolano. 

Bergamasco, II, Gio. Bat. Castelli, and Cas- 

tello. 
Bernard of Brussels,. .Bernard van Orley. 

Bertholet, B. Flemael. 

Betti, Bernardino Pinturicchio. 

Bevilacqua, D, Ventura Salimbeni. 

Biagio, Maestra, Biagio Pupini. 

Bibiena, Galli. 

Bicker, Oav. John Miel. 

Bigio, Francia, Marc' Antonio Francia. 

" II, Gio. Bat. Brazze. 

Bigolaro, II, ; .Francesco Bernardi. 

Bles, Henry de, Enrico Civetta. 

Bogaert, Martin vanderjDesjardins. 



xlii 



AN ALPHABETICAL LIST OP ACaUIRED NAMES. 



ACaUlRED NAME. 



SURNAME. 



Bologna, or Bolognese, 
da 



' Gio. Fran. Grimaldi. 

Jacopo Avanzi, 

Cristoforo Ferrari. 

Lattanzio Mainardi. 

Ercolino Ruggieri. 

Lorenzo Sabbatini. 

Pellegrino Tibaldi. 

B. Caterina da Vigri. 
LLorenzino di Fermo. 

Bologna. II, Bart. Ramenghi. 

Bonaccorsi, Pierino del Vaga. 

Bondone, di, Giotto. 

Borghese, Pietro dell a Francesca. 

T, Ti S Jacopo Cortese. 

Borgognone, II, ^ Guglielmo Cortese. 

Bosschaert, Thomas Willeborts. 

Bozzato, Gio. Battista Ponchino. 

Bramante, Donato di Lazzari. 

Brandi, Felichetto, Felice Ottini, 

Bravo, Francesco Montelatici. 

Brazzaco, Gio. Bat. Ponchino. 

Brescia, Luca di, Seb. Aragonese. 

( Francesco Monti. 
Brescianino, II < Giovita. 

( Vincenzio Foppa. 

Bresciano, Pietro Avogadro. 

Bresciano, Morone, . . .Pietro Moroni. 

Brixiensis, Brescia. 

Briziano Gio. Bat. Montovano. 

Brizio, Menichino del,.Domenico Ambrogi. 

Bronzino, Alessandro Allori. 

Bniggia, Gianesda, John van Eyck. 

Bruno, Buoni. 

Bruno, II, Silvestro Morvillo. 

Brusasorci, II, Riccio. 

Budrio, da, Giacomo Lippi. 

Buonaccorsi, Pierino del Vaga. 

Buonamici, Agostino Tassi. 

T> ,. . ^ Benedetto Crespi. 

Bustini, I n- c Tf- I,- 

' ( Pietro Bianchi. 

Oaccianemici, Francesco Cappelli. 

f Mattia.Preti. 
Calabrese, II, < Marco Cardisco. 

( Nicoluccio. 

Caliavari, Lura Oarlevariis. 

Caligarino, II. Gabriele Cappellini. 

Camaldolese, Don Lorenzo. 

Campidoglio, II, Michael Angelo. 

Oanaletto, II, Antonio Canal. 

Candido, II, Peter de Wit. 

Canozio, Lorenzo Lendinara. 

Capanigo, da, Martino Simazoto. 

Oapella, II, Francesco Dagiu. 

C^Pell-, \^'^!^^- 

Capodoro, Guglielmo Paganini. 

r«„«„„„„:„„ Ti S Bernardo Strozzi. 

Cappuccino, 11, J j^^^^j^^ Galantini. 

Caraccino, II, Qio. Ant. Mulinari. 

C Michael Ang. Amerighi. 
Oaravaggio, da, } Gio. Bat. Secchi. 

( Polidoro Caldara. 

Carbone, .^ Camillo Scacciani. 

Carnia, della, f . . .Nicola Grassi. 

Carpense, Bernardino Loschi. 

Carpi, Pellegrino da,. .Pellegrino Ascani. 

Carriera^ Rosalba. 

Ca?:a, delfa. Pietro Ant. Bernabei. 

C/asalini, LucIm Torelli. 

Cr«S!».no>>no, hncix Oarlevariis. 



ACaUlRED NAME. SURNAME. 

Castoldi Gio. Pietro Crespi. 

Cavagnuolo, II. Francesco Oavagna. 

Cavalori, Mirabello da Salincorno. 

Cavarozzi, Bartolomeo del Crescenzi. 

Cavazzoni, Gio. Pietro Zanotti. 

Cecchino, Francesco de Salviati. 

Cecco Bravo, .Francesco Montelatici. 

Cedaspe, Paolo Cespedes. 

Celano. Guelfo dal, Leonardo da Pistoia. 

Centino, II, Francesco Nagli. 

Cerano, II, Gio. Bat. Crespi. 

Ceri, de', Pierino del Yaga. 

Certosino, II, P. Stefano Cassiani. 

Cesare, Padre, Cesare Pronti. 

Cesio, da, Pellegrino da Cesena, 

Chafrion, Lorenzo,. . . .F. Matias de Valencia. 

Chenda, II, Alfonso Rivarola. 

Chiaveghino, II Andrea Mainardi. 

Chighi, Gio. Bat. Ghisi. 

Chiozzotto, II, Antonio Marinetti. 

Chisolfi, Giovanni Ghisolfi. 

Ciccio, L' Abate, Francesco Solimena. 

Cigoli Lodovico Cardi. 

Cimatore di Urbino,. . .Andrea Visacci 

Clementone, II, Clemente Bocciardo. 

Colonna, Girolamo Mengozzi. 

Conchillos, Juan Falco. 

Conegliano,Il, Gio. Bat. Cima. 

Consolano, Cristoforo Casolani. 

Conte, del, Guido Fassi. 

Conway, Anne Damer. 

Cook, the, Lucas Cornelisz. 

Coppa, Cav., Ant. Giarola. 

Coriario, : . . . Arto Leone. 

Cornelisz, Cornelius van Haerlem. 

Cornorano, II, > />«• t /^ , • 

Coronato,il, 5 Giulio Calvi. 

Corradini, F. Bartolomeo Carnevale 

Correggio, da, S Antonio Allegri. 

°° ' ' ( Antonio Bernien. 

Corticellis, II, Gio. Ant. Licinio. 

Cortona, da, Pietro Berrettini. ■ 

Cosci, Gio. Balducci. 

Cosimo, Padre, Paolo Piazza. 

Cosme da Ferrara Cosimo Tura. 

Cousinet, Catherine E. Lempereur 

Crabbetj'ie, John Asselyn. 

Cremonese. II, \ Francesco Bassi. ^ 

■ ' ( Giuseppe Caletti. 

Crescenzi, Bart. Cavarazzi. 

Crisolfi, Gio. Ghisolfi. 

Crivellone, II, Ant. Maria Crivelli. 

Crocifissaio, .Girolamo Macchietti. 

Crocifissi, da, Simone da Bologna. 

Croma, II .Giulio Cromer. 

Cronaca, II, Simone del Pollajuolo. 

Cngini Cungi. 

Cuticello, II. Gio. Ant. Licinio. 

Cutigliano, Biagio da Carigliano. 

Dalmazia, di, Federigo Bencovich. 

Danet, or Daris, Leon Daven. 

Danet, John, John Duvet. 

Daniello, II Cav., Daniel Snyder. 

Davanzo, Jacopo Avanzi. 

Dente, Marco Ravignano. 

Dentone, II, Girolamo Curti. 

Diatelevi, Tiberio di Assisi. 

Dielai, or Diolai Gio. Francesco Surchi. 

l^ietlinmr Thieraon. 

Cr.iccio, del Sero, Aghinetti. 



AN ALPHABETICAL LIST OF ACQUIRED NAMES. 



ACaUIRED NAME. SURNAME. 

Divino, El, Luis Morales. 

Doceno, II, Cristofano Gherardi. 

Domenichino, Dornenico Zainpieri. 

Donate, Donatello. 

Donelli, Carlo Vimercati. 

Donnabella, Lucilio Gentiloni. 

Droll, The, Peter Breughel. 

Duchino, 11, Paolo Camillo Landriani. 

Dulichio, da. Buschetto. 

Empoli, da. Jacopo da Chimenti, 

Engs, Giuseppe Ens. 

Ercole da Ferrara. . . . .Ercole Grandi. 
Ercolino di Guido,. . . .Ercole de Maria. 
Eremita di Monte Se- G. B. Stefaneschi. 

nario, 

Escalante. Romero Y.,. Juan de Sevilla. 

Espagnoletto, Giuseppe Ribera. 

Essen, Hans von, Johann Ladenspelder. 

Facciate, delle, Bernardino Poccetti. 

( Ferrau Fanzone. 
Faenza, da, < Giacomo Bertucci. 

( Marco Marchetti. 
Faenza, Figurino da, . .M. A. Rocchetti. 

Faes, vander, Peter Lely. 

Fattore, II, Gio. Francesco Penni. 

Federighetto, Federigo Bencovich. 

Ferrara, Oosme da,. . . Cosimo Tura. 
Ferraresino, II Camillo Berlinghieri. 

f Lodovico Pozzoserrato. 

FiamminffO II I ^berto la Longe. 

° ' 'i Paolo Franceschi. 

t Dionisio or Denis Calvart. 

Figurino, Marc' Antonio Rocchetti. 

Filattrano, Lucilio Gentiloni. 

Filippi, or Filipepi, Sandro Botticelli. 

Flora, Fed. d'Urbino,. .Federigo Baroccio. 

f Giuliano Bugiardini. 

■^--'--"^ is,^viia:r'- 

t Stefano. 

C Mario Nuzzi. 
Fiori, da, < Gaspero Lopez. 

( Carlo Voglar. 

Folignate, Niccolo Deliberatore. 

Fontaines, James Swebach. 

( Francesco Melozzo. 
Forli, da, ) Marco Palmegiani. 

( Livio Agresti. 

Fornaceriis, Tsaye Fournier. 

Fornaretto, II, Francesco Comi. 

Forner, El, Vincenzio Civerchio. 

Fossombrone,da, Gio. or Giuseppe Diaman- 

tini. 

Franceschiello, Francesco de Mura. 

Franceschino, t. .Francesco Caracci. 

Francia, Francis, Francesco Raibolini. 

Francisque Francis Mile. 

Franco Bolognese,. . . .Franco da Bologna. 

Fn-ink. Hans, John Lutzelburger. 

Frankfort, von, Jerome Greff. 

Frankfort, Adamo di.. .Adam Alzheimer. 

Frari, Francesco II, Ferrari Bianchi. 

Pj, . jj S F. Bartolomeo Dornenico 

' ' ) della Porta. 

Frate, Paolotto II, Fra Vittore Ghislandi. 

Fratiua, Giovanni di Mio. 

Fredeman, John, John de Vries. 



ACaUIRED NAME. SURNAME. 

Freschi, de', .Paolo Franceschi. 

Friano, Maso di San,. .Maso Manzuoli. 
Frieslander, The Noble, Wy brand van Gheest. ^ 

Frisius, John Vredeman de Vries. 

Friso, dal Luigi Benfatto. 

Friali, Porcia da, Francesco Apollodoro. 

Fumaccini, Orazio Samacchini. 

Gaeta. da, Scipione da Pulzone. 

Galanino, Baldassare Alloisi. 

Gallicus, Jo., John van Eyck. 

Gallo, Giovanni, or J 

Johannes, > Jean Salomon. 

Gallo, L' Infante, ) 

Garofolo, da, Benvenuto Tisio. 

Genova, Luchetto da,. .Luca Cambiasi. 

r, 11 1^ i. S Bernardo Strozzi. 

Genovese, II Prete,. . . ^ ^^^^^.^^ Galantine. 

r^ - T^ ^ Luigi Miradoro. 

Genovesino, II, ^ Giuieppe Calcia. 

Gentile, Luigi Primo. « 

Gentileschi, Orazio Lomi. 

Gerard of St. John, . . . Gerard of Haerlem. 

Gerupino, ..Luigi Scaramuccia. 

Gessi, G. B. del. Gio. Battista Ruggieri. 

Gessi, Ercolino del, Ercole Ruggieri. 

Gherardo, di Ser, Giacomo di Guglielmo. 

^, . , , . , , S Michelodi Ridolfo. 

Ghirlandaio, del, j Dornenico Corradi. 

Giacomone, Giacomo Bertucci. 

Giancarli, Poliphilos Zancarli. 

Gianella, Giorgio and Giovanni da 

Siena. 

Giles of Antwerp, Giles Coignet. 

Gino, di, Stoldo Lorenzi. 

Giorgio, II Maestro,. . .Ingles. 

Giorgione, Giorgio Barbarelli. 

Giottino Tommaso di Stefano. 

Giovanni, di San, Giovanni Mannozzi. ^ 

Girandole, dalle, Bernardo Buontalenti. 

Gismondi, Paolo Perugino. 

Giuda, Dottor, J. J. Cossiau. 

Giugni Francesco Zugni. 

Giunta, Pisano. 

Gobbino, II, Gio. Bat. Rossi. 

Gobbo, II. de' Caracci > p^^j^ ^^^^^ 

and da' Frutti, ^ 
^ , , ,1 J ^ S Antonio Caracci. 

Gobbo, II or del, j j^^^^^^-^ Solari. 

Gonzales, Coques. 

Gotfried, Christian, . . . Johann Schuman. 

Grano, del, '. . . .Giorgio Gandini. 

Gratella, Sebastiano Filippi. 

Gratiadei, da, Mariano da Pescia. 

Grazia, da, Lionardo da Pistoia. 

Graziani, da, Gio. Bat. Ballanti. 

Greche, delle, or El 

Greco, Dornenico Theotocopuli. 

Grechetto, II, Gio. Benedetto Castiglione. 

_ . T,, 5 Pedro Serafin. 

^"^g^3 ^'^ ■-} Dom. Theotocopuli. 

Grillandaio, del, Domenico Corradi. 

Grimani, Hubert Jacobsz. 

Groningen, Gio. di, Johann Schwartz. 

Grotesche, delle,. . Bernardino Poccetti. 

Gruembroech, II Solfarolo. 

Guardolino, Carlo Natali. 

Guargena, Dornenico,. .P. Feliciano da Messina. 
^ , , . , S Giorgio Andreoli. 

G^^b^^' ^^' \ Francesco Allegrini. 



xliv 



AN ALPHABETICAL LIST OF ACQUIRED NAMES. 



ACaUIRED NAME. SURNAME. 

Guercino,. . Gio. Francesco Barbieri. 

Gaillaume, Fra, Guglielmo da Marcilla. 

Haeften, N. van, Nicholas Walraven. 

Hanskin, Kleyn, Hans Vereycke. 

Harlingen. van, Peter Feddes. 

Hartcamp^ Ludolf Smits. 

Hawken, van, Fran9ois du Verdier. 

Heins, or Heinsius, . . .Giuseppe Ens. 
Hidalgo, Don Jose, . . . Jose Garcia. 

Holland, Nathaniel Dance. 

Hontanon, de, Juan Gil. 

Ibi, . > . Sinibaldo da Perugia. 

^ . , 5 Gr'O- Domenico Ferretti. 

imola, da, ^ Tnnocenzio Francucci. 

Imperiali, d', Francesco Fernandi. 

Impiccati, dagl', Andrea del Castagno. 

Ingegno, 1', . ^Andrea d- Assisi. 

Jacobs, Lucas, Lucas van Leyden. 

Jacopo, Nicola di, Gera. 

Jan, Langen, John van Bockhorst. 

Jomchim, Fra, Juncosa. 

Johnson, C, Cornelius Janssen. 

Jordano, Luca Giordano. 

Jorge, El Maestro,. . . .Ingles. 

Klaaszoon, Aart, Arnold Claessoon. 

Kleynhansken, Jan van Elbrucht. 

Koerten. Joanna Block. 

Kraus, Jane Sibyl Kusell. 

Lame, or Lamme, dalle, Biagio Pupini. 

Lapiccola, Niccola Piccola. 

Lapo, di, Arnolfo. 

Laurati, Pietro Lorenzetti. 

Leal. Don Juan de Valdes. 

Legnano, Gio. Francesco Barbieri. 

Leismann John A. Eismann. 

Leyden, Aartgen van,. . Arnold Claessoon. 
Licenciado Juan, El, . .Juan de las Roelas. 

Liefrinck, Hans Lencker. 

Liege, di, Egidius Ale. 

Lieto, Antonio Allegri. 

Lilio, A., Andrea Ancona. 

Lissandrino, Alessandro Magnasco. 

Llanos, Valdes. 

Lodi, di, . .Giuliano Capitani. 

Lodi, Callisto Piazza. 

Lodole, dalle, Giuseppe Franco. 

Lombardelli, Gio. Bat. della Marca. 

Lombardo, Lamberto. 

Lonardino, Leonardo Ferrari. 

Longo, Pietro, Peter Aertsen. 

Lorenese, Claudio, . Claude Gellee. 

Lorenzetto, Lorenzo Campanaio. 

Lorenzino di Guido.. . .Lorenzo Loli. 

Lorenzo, Fra, Bernardo Parentino. 

Louvain, Dirk of, Dirk van Haerlem. 

Loves, Giovanni, Giovanni Lys. 

Lovini Bernardino Luiui. 

Luca Fa Presto, Luca Giordano. 

Lucca, da. Michael Angelo Anselmi. 

Lucchese, II, Pietro Ricchi. 

Lucchesino. II, Pietro Testa. 

Luchetto, II, Luca Cambiasi. 

Luciano, .F. Seb. del Piombo. 

Lugano, Zoppo di, Gio. Bat. Discepoli. 

Luini, Pietro Gnocchi. 

Lunghi, de', Pietro Longo. 

Luzzo, Pietro da Feltro,Morto da Feltro. 
Maat, J. T. Blankhof. 



ACaUIRED NAME. SURNAME. 

Mabilde, J. 0. Cogels.^ 

Maccerius, Cesare Maggieri. 

Macedone Giulio G. Olovio. 

Macrino d' Alba, Gio. Giacomo Fava. 

f Lippo Dalmasio. 
Madonne. dalle, < Carlo Maratti. 

( Vitale Bologna. 

Magatta, Domenico Simonetti. 

Maire, le, Poussin. 

Majo, Hans, John C. Vermeyen. 

Malatesta Lionardo da Pistoia. 

Malinis, Henricus, Arrigo Fiammingo. 

Malosso, II, .' Gio. Battista Trotti. 

Manchino, II, Antonio dal Sole. 

Manco, El, Garcia de Miranda. 

Mankenhein, H. Andriessen. 

( Giorgio Ghisi. 
Mantovano, < Andrea Andreani. 

( Marcel lo Venusti. 

Marc' Antonio, Raimondi. 

Marchesi, Francesco da Cotignola. 

Marchigiano, Matteo Piccione. 

Marci, Gio. di Berto. 

Marescalco, II, Gio. Buonconsigli. 

Marinas, Henrique de ) 

las, > Henry de Vroom. 

Marine, Enrico delle, ) 
Martini, Simone da, . . . Simone Memmi. 

Masolino Da Panicale. 

Mastelletta, Gio. Andrea Donducci. 

Mayo, Hans, John C. Vermeyen. 

Mazzi, Ventura, Ventura Marzi. 

Mazzolino, II, Francesco Mazzuoli. 

MazzucLiiv::::::: ^•^''"■^^^'=° '""'''°'"- 

Mazzuoli, Mecherino,. .Domenico Beccafumi. 

Medola, or Medula Andrea Schiavone. 

Meer, vander, of Delft,. Jan Vermeer. 

Meglio, di, Jacopo Coppi. 

Melozzo, Francesco da Forli. 

Menabuoi, Giusto Padovano. 

Meneses, Francisco Osorio. 

Mengazzino, II, Domenico Santo. 

Menichinodel Brizio,. .Domenico Ambrogi. 
Messina, da, or Messi- 5 Onofrio Gabriello. 

nese, II, ( Giulio Avellino. 

Metensis, Cornelius Matsys. 

Micarino, Dom. Beccafumi. 

Micheli, Andrea Vicentino. 

f Gaudenzio Ferrari. 

I Carlo Valli. 
Milanese, i Cesare da Sesto. 

I Pier Fr. Cittadini. 

t Guglielmo della Porta. 

Milano, Andrea, Andrea Solari. 

Milano, Agostino, Agostino di Bramantino. 

Mille, or Millet, Francis Mile. 

Miller John S. Muller. 

Mirandolese, Giuseppe Peraccini. 

Modanino, II, Guido Mazzoni. 

f Antonio Begarelli. 
Tur^Ar.^^ A } Cristoforo Ferrara. 

^^^^°^' ^^' < Pellegrino Munari. 

(. Giovanni Guerra. 

Molduch. da, John Soens or Sons. 

Moliuaretto, II, Gio. Maria dalle Plane. 

Moncalvo, Guglielmo Caccia. 

Monchino. II, Antonio dal Sole. 



^ 



AN ALPHABETICAL LIST OF ACdUIRED NAMES. 



xlv 



ACQUIRED NAME. SURNAME. 

■ Mondino, II, Sigismondo Scarsella. 

Mone da Pisa, Gio. del Sordo. 

Monrealese, II, Pietro Novel]!. 

Montagne, M., Matthew PI attenberg. 

Montalto. Gio. Stefano Danedi. 

Montanoof Montenovo,Gio. Battista della Marca. 
Montepulciano, II, . . . .Francesco Morosini. 

Montfortde, Anthony Blocklandt. 

Monti, de', Giuseppe Franco. 

Moresini, Si mone Fornari. 

Moretto, II, Girolatno Mireti. 

Moretto da Brescia, II,. Alessandro Bonvicino. 

Morigi. M. A. Amerighi. 

Moro. II, Francesco Torbido. 

Morvillo, Silvestro il Bruno. 

Morzoni, P. Francesco Morazzone. 

Moses, Little, M. Uy tenbroeck. 

Mudo, El, Juan Fernandez Navarette. 

Mulato de Murillo, Seb. Gomez. 

Mulier, Pietro. Peter Molyn. 

Murano, da, Antonio Vivarini. 

Murenos, Sebastiano Munoz. 

Mustacchi, II, Gio. Battista Revello. 

Muto di Verona, II,. ..Francesco Comi. 
Mutodi Ficarole, II, ..Ercole Sarti. 

Muttoni, Pietro Vecchia. 

Nanni, Giovanni da Udine. 

Napolitano, II, Filippo di Angeli. 

Nauwincx, Henry Naiwinck. 

Nesiotes, Critias. 

Nicoletto, Niccolo Pisano. 

Nino, Don Juan, Don Juan Guevara. 

Nipote, II, Lorenzo Garbieri. 

Norsini, Lionardo Parasole. 

Nosadella, II, Gio. Francesco Bezzi. 

Notte, dalle, Gherardo Honthorst. 

Novara, da Gio. Bat. Ricci. 

Novellara, II, Lelio Orsi. 

Nunez, Matteo, ... Matteo Sepulveda. 

Nutini, II, Buoninsegna Duccio. 

Occhiali dalle \ Gaspare Vanvitelli. 

- ' } Gabriele Ferrantini. 

Oderigi, Oderigi da Gubbio. 

Oggione, da, Marco TJggione. 

Olandese Montagna of Holland. 

Omino, 1' Gio. Dom. Lombardi. 

Orbetto, 1', Alessandro Turchi. 

Organi, degli, Gnglielmo Forli. 

Orizzonte, Gio. Francesco van Bloe- 

men. 
Orta. Lo Spisanello di,. Vincenzio Spisano. 

Ortolano, Gio. Bat. Benvenuto. 

Pacecco, or Pacicco,. . .Francesco Rosa. 

Padova, dal, .' . . .Girolamo dal Santo. 

f Giovanni Cavino. 
Padovano, or Padova- ,' Gaspar ab Avibus. 

nino, \ Alessandro Varotari. 

[Ottavio Leoni. 
C Francesco Bassi. 

Paesi, da, ^ Girolamo Vernigo. 

( Girolamo Muziano. 
Paesi, II Monchino da,. Antonio dal Sole. 
Pagani, Lattanzio, . . . .Lattanzio Marca. 

Paganini, Guido Mazzoni. 

Paggio, II, Francesco Merano. 

Palamedes Anthony Staevaerts. 

Palmasanus.or Palmez- 

zano, Marco Palraegiani. 

Palomino, Don Antonio Velasco. 

Pan of Oldenburgh,. . .Giovanni Lys. 



ACQUIRED NAME. SURNAME. 

Panfilo, Nuvolone. 

Panico, Conte Ugo da,.TJgo da Carpi. 
Papiensis, Laurentius, .Lorenzo di Pavia. 

Paradiso, dal, Orazio da Castelfranco. 

Paradosso, II, Giulio Trogli, 

Paria, Francisco Perrier. 

Paris, di, Doraenico Alfani. 

Parma di J Fabrizio Parmiggiano. 

i-arma, ai,. j Cristoforo Oaselli. 

Parma, Rosa di, .Sisto Badalocchio. 

Parmensis, Battista Pensieri. 

( Francesco Mazzuoli. 
Parmiggianino, II, < Girolamo Scaglia. 

( Michele Rocca. 

Pasqualino, Pasquale Rossi. 

Pasqualotto, Pasquale Ottini. 

Passignano, Domenico Cresti. 

Patavinus, Gaspar ab Avibus. 

Pavese, Pier Francesco Sacchi. 

Pellegrino da Modena.-Pellegrino Munari. 
Pellegrino de' Pellegri- 
ni, Pellegrino Tibaldi. 

Perino, or Pierino, Pierino del Vaga. 

Pei'ugia, Perino da, . . .Pietro Cesarei. 

Perugino, Pietro Sante Bartoli. 

Perugino, Petruccio. . .Pietro Montanini. 

Perugino, 11. Cav., Gio. Domenico Cerrini. 

Pesaro, da, Si mone da Cantarini. 

Pescia, da, Valeric Baldassari. 

Pianoro, II, Bartolomeo Morelli. 

Piazza, Callisto da Lodi. 

Picchetti Francesco Picchiani. 

Pierino del Guido, Pietro Gallinari. 

Pietro, Lorenzo di, Pietro di Vecchietta. 

Pilgrim, .John Ulric. 

Pineda, de, Francisco Perez. 

Pino, da, Pino da Messina, 

Pio, Giovannino del, . .Giovanni Bonati. 

Piquot, Robert Picou. 

T,. ,,. S Vincenzio Spisano. 

P^^^^^"'' ) Giovanni Storali. " 

Pisani, Vittore Pisanelli. 

Pittor Bello, 11, Felice Pellegrini. 

Pittor da' Libri, II,. . . .Giuseppe Caletti. 

Pittor Santo, II, Gio. Bernardino Roderigo. 

Pittor Villano, II,. Tommaso Misciroli. 

Pizzica, II, ^ . Giovanni Zanna. 

Poccetti, Bern. Barbatelli. 

Poco e Buono, II, Girolamo Nanni. 

Polidore, John Glauber. 

Polidorino, II, Francesco Ruviale. 

C Niccolo and Antonio Cir- 
Pomerance, dalle, } cignani. 

( Cristofano Roncalli. 

Pommelaer, David Coninck. 

Ponte, da, Antonio Scaiario. 

Pontormo, da, Jacopo Carrucci. 

Pool, Rachel Ruysch. 

Poppi, da, Francesco Morandini. 

Por, de, Danielle da Parma. 

Porcia, da, Francesco Apollodoro. 

Pordenone, 11, Gio. Ant. Licinio. 

Porta, della, Guglielmo Milanese. 

Portelli, Carlo da Loro. 

Poussin, II Cav., \ ^f^no deTa^Valee. 

Prete, II Genovese, Bernardo Strozzi. 

Prospettive, II Miran- 

dolese dalle. Pietro Paltronieri. 

Raeven Peter van Serwouter. 



xlvi 



AN ALPHABETICAL LIST OF ACQUIRED NAMES. 



ACQUIRED NAME. SURNAME. 

{ Gio. Maria Bottala. 
Raffaellino, ^ R. dal Colle. 

I R. del Garbo. 
Rambrock, Lord of, . . . J. van Carapen. 
Raphael des Fleurs,. ..P. J. Redout. 

Ravenna, da, P. Cesare da Pronti. 

Reggio, da, Luca de Ferrari. 

Reggio, Raffaellino da.. RafFaello Motta. 

Regillo, II, Gio. Ant. Licinio. 

Ricamatore, Gio. da Udine. 

Ricci, Antonio Barbalunga. 

T,. . -T] 5 -^^^^^^ -^^^^s*^^' 

^^^°^^' ^^' } Bartolomeo Neroni. 

n- • J S Lattanzio Marca. 

^™'°^' ^^' I Bartolomeo da Coda. 

Rios, de los, Pedro Alonso. 

Riposo, Felice Ficherelli. 

Ritratti, da', Sante Vandi. 

Rivello, Cristoforo Moretti. 

Rd, Giovanni, John Rottenhamer. 

Roccadiranie, Angiolillo. 

Rodriguez di Messina,. \ vii?e^o Anhnola. 
,-, Ti S Antonio Catalani. 

^^"^^"^'^'' j Pierre Mignard. 

Romano, Giulio, Giulio Pippi. 

Romolo, Cincinnato. 

Rondolino, II, Terenzio Terenzi. 

Roos, Philip, Rosa da Tivoli. 

Rose, The, Nicholas Liemaeker. 

Rossetti, Gio. Mauro Rovere. 

Rossi, Francesco, Francesco de' Salviati. 

Rossi, I], Domenico Bianchini. 

Rotamer, Gio., John Rottenhamer. 

Rottermondt and Ro- 

termans, Rodermont. 

Roux, Maitre, II Rosso. 

Roverio, Bartolomeo Genovesini. 

Rubeis, de, Girol. and Ant. Rossi. 

Ruggieri da Bruggia,. .Roger of Bruges. 

Rumano, Girolamo Romanino. 

Rustichino, II, Francesco Rustici. 

Sabbionetta. II, Galeazzo Pesenti. 

Sabinese, II, Andrea Generoli, 

Sacchiense. Gio. Ant. Licinio, the 

Younger. 

Saint Andre, Simone Renard. 

Salerno, da Andrea Sabbatini. 

Salviati, del, Giuseppe Porta. 

Salvolini, Giustino Episcopio. 

San Bernardo,. ...... .Francesco Minzocchi. 

San Daniello, Daniel lo di Pellegrini. 

San Giovanni, Ercole da Maria. 

San Marchi, Marco Sammartino. 

Sansone, II, Gioseffo Marchesi. 

Sansovino, Jacopo Tatti. 

Sansovino, Da Monte,. Andrea Contuccio. 

Santo, da, Girolamo da Padova. 

Sarto.del, Andrea Vannucchi. 

Sarzana, II, Domenico Fiasella. 

Sassoferrato, II, Gio. Bat. Salvi. 

Savigliano, da, Gio. Ant. Mulinari. 

Savona, II Prete di, . . .Bart. Guidobono. 
Scamozzi, Ottavio Bertotti. 

Scannabecchi ^ Lippo Dalmasio. . 

bcannaoeccm, ^ r^^^^^^ xMuratori. 

Scarsellino, Ippolito Scaramuccia. 

Schioppi, Giuseppe Alabardi. 

Schivenoglia, Lo, Francesco Rainieri. 



ACQUIRED NAME. SURNAME. 

Sciameroni, Lo, Filippo Furini. 

Sciarpelloni, .Lorenzo di Credi. 

Semolei, or Sermolei, II, Battista Franco. 

Semplice, Fra, Semplice Verona. 

Senario, Eremita di, . . . G. B. Stefaneschi. 

Senis, Simone de,. Simone di Martini. 

Sermoneta, da,. .. ....Girolamo Siciolante. 

Servatius, Peter van Serwouter. 

Sepolcro, da Borgo S.,.P. della Francesca. 

Sestri, II Sordo di, Antonio Travi. 

Sevouter, Peter van Serwouter. 

Siciliano, II, Tommaso Lauretti. 

f Baldassare Peruzzi. 
c,. , } Marco da Pino. 

S'^°^' ^^^ ^, M. A. Anselmi. 

( Simone Memmi. 

Simonetti, Domenico Magatta. 

Smargiasso, Lo, Pietro Ciafferi. 

Smith, Magdalen, Gaspar Smits. 

Sobleo, Michele Desubleo. 

Sodoma, II, Gio. Ant. Razzi. 

Soiaro. II, Bernardo and Gervasio 

Gatti. 

Soius, Philip Sericcus. • 

Somachino, Orazio Samacchini. 

Sordillo de Pereda. Alonso delT Area. 

Sordo d' Urbino.. . Antonio Viviani. 

Sorg, Henry M. Rokes. 

Sozzo, Giuseppe Albini. 

Spadarino, Gio. Ant. Galli. 

Spadaro, Micco, Dom. Gargiuoli. 

Spagna, di, Henry Vroom. 

Spagnoietto, Lo, Giuseppe Ribera. 

Spagnuolo, Lo, Cav. Giuseppe Crespi. 

Stendardo, or Stand ard,Peter van Bloemen. 
Stomme van Campen, .Henry van Avercara. 

Studio, M., Henry van Lint. 

Stuerbout, Theodore,. .Dirk van Haerlem. 

Suardi, Bart. Braraantino. 

Suavius, Lambert Suterman. 

Surchi, Gio. Fran. Dielai. 

Talpino, II, Andrea Salmeggia. 

Tedesco, Gio. Paolo,. . .G. P. Scor. 

Temperello. II, Cristoforo Caselli. 

Tempesta, II Pietro Molyn. 

Tempestino, Antonio Tempesta. 

Teodoro, Mon.. Theodore Ilelmbrecker. 

Teoscopoli, Dom. Theotoeopuli. 

Tersan, Comte de, Charles Campion. 

Teste, II Borgognone 

dalle, J. G. Gonzalez. 

Tintoretto, II, \ Jacopo Robusti. 

' ' t Domenico Robusti. 

Tio, Francesco, Fran, da Fabriano. 

Tisio, Benvenuto da Garofolo. 

Tiziano and Tizianello.. Titian and Vecellio. 

Tiziano, di, Girolamo Dante. 

Todi, di, M. A. Ricciolini. 

Toledo, di, Giovanni Battista. 

Tolosano, Jean Baron. 

Tommaso di Stefano.. .Giottino. 

Torricelli, Antonio Buonfanti. 

Torrigli, Pietro Ant. Torri. 

Tournesol, Peter vander Hulst. 

Traino, Fr., Francesco Train i. 

Trevigi, da, Lodovico Pozzoserrato. 

Trevigiano, Giacomo Lauro. 

Tromba, II, Santi Rinaldi. 

Trompetta, Niccola da Pesaro. 



AN ALPHABETICAL LIST OF ACaUIRED NAMES. 



xlvii 



ACaUlRED NAME. SURNAME. 

Turk, The, John S. Liotard. 

Uberti, degli. Paolo Farinato. 

Uccello, Paolo Mazzocchi. 

Udine, Martino d', Daniello Pellegrini. 

Ugubio, Giorgio da,. . .Giorgio da Gubbio. 
Uil, or Uyl, I. Den.. . . J. den Vyl. 

Urbinas, ... Baccio Pintelli. 

Urbino, II Prete. Timoteo della Vite. 

Urbino, Sanzio d', ... .Raffaello. 
Urbino, Bramante d',. .Donato Lazzari. 
Urbino, Timoteo d', . . .T. Della Vite. 

Vaccellini, Vascellini. 

Vannucchi, Andrea del Sarto. 

Vannucci, Pietro Perugino. 

Varignana, Domenico Aimo. 

Vasanzio,. . , . Giovanni Fiammingo. 

Veen, Martin van, Hemskerk. 

Veen, Otho and Gilbert 

van, Venius. 

Veit, Hans, Johann Schnorr. 

C Agostino de Musis. 
Veneziano, < Sebastiano del Piombo. 

( Carlo Saracino. 

Venice, de, Roland le Fevre. 

Verchio, Vincenzio Civerchio. 

Vercruys, Kruger. 

Verona* da, Battista Zelotti. 

VpronP<5P J ^^^^^ ^^^'^" ^^ Oagliari. 

^^^^"®^^' I Claudio Ridolfi. 

Vetraro, II, Gio. Francesco Bembo. 

Vicaro. Francesco Vaccaro. 

Vicenza, Antonio da, . . Ant. Tognone. 
Vicenza, Magagno di, . Gio. Bat. Maganza. 

Vicenza, Zoppo da, Ant. de' Pieri. 

Vignola, da, Giacomo Barocci. 

Villano, II Pittor, Tommaso Misciroli. 

Vinci, del, Niccolo Appiano. 



ACaUIRED NAME. SURNAME. 

Visacci, II, Antonio Cimatore. 

Vite, Giovanni del,. . . .Cav, John Miel. 

Viviano, II, Viviano Codagora. 

xT^^J. T7- li. S Daniele Ricciarelli. 

\ olterra, or Volterrano, ^ galdassare Franceschini. 

VolterranOjDiana Civis,Diana Montovano. 

Vosmeer, James Wouters. 

Vuormace, Anthony von Worms. 

"Wallint, Francesco, . . . Henry van Lint. 
Waudevert, Enrico, . . . Vandevert. 

Westfalia, Gio. di, John Veldener. 

Wilborn, Nicholas Welbronner. 

Wilhelm, Meister, . . ? irriu i n i 

William of Cologne, ^^^^^^^™ ^«° ^^^1"' 

Ximenes, J. F., Juan Fernandez Navarette. 

Zaganelli, Francesco da Cotignola. 

Zanobrio. Luca Carlevariis, 

Zappi, Livia Fontana. 

Zarato, or Zaratto, Pietro Luzzo daFeltro. 

Zasinger, or Zatzinger, Matthias Zagel. 

Zeeman, Remy Nooms. 

Zenale, Bernardo da Trevilio. 

Zenobrio, Luca Carlevariis. 

■ZoTMri rio S Alticherio. 

^^^^^' "^' ( Stefano da Verona. 

Zimenes, J. F., Juan Fernandez Navarette 

Zinck, Matthias Zagel. 

Zingaro, II Giovane lo, Pietro Negrone. 

Zingaro, Lo, Antonio Solario. 

Zoagli, di, Teramo Piaggia. 

Zoane, or Zohan. Giovanni di Alemagna. 

Zoppo, Lo, Niccolo Micone. 

Zorg, Henry M. Rokes. 

Zotto, Lo, Antonio de' Pieri. 

Zuane, Giovanni Alemagna. 

Zuanluisi da Murano, . . Luigi Vivarini. 
Zuannino, Gio. da Capugnano. 



4 



AN 



ALPHABETICAL -LIST 



OP THE 



COPYISTS AND IMITATOES OF THE GEEAT MASTEES. 



-c, signifies conjectured 



s, scholar ; 1, copyist or 



ABBREVIATIONS: 

p. probable or probably , o, 

copied ; 2, imitator or imitated ; 3, that the artist 
copied or imitated the master so closely as to de- 
ceive common observers ; 3* do. connoisseurs ; 4, 
that more or less of his works are now attribu- 
ted to the master ; 5, that though the works of the 
imitator are far inferior to those of the master, yet 
they are often passed upon the unlearned in art 
for the genuine productions of the latter ; 6. that 
though the artist's style was founded on that of 
the master, and more-or less resembles it, 3'et he 
was not a servile copyist, and often, or generally, 
painted in an original style. The name of the mas- 
ter is first given in capitals ; then follow his imita- 
tors in text type; thus, ALZHEIMER, Adam; 
Jacob Ernest Thomann, s, 1, 2, 3*, 4, signifies, that 
Thomann was the scholar of Alzheimer, that he 
copied and imitated his works so closely as to de- 
ceive connoisseurs, and that more or less of his 
works are now attributed to that master. Note, 
that p4, and p5, are conjectured on the part of the 
author : he does not mean that more or less of 
the works of the imitator are to be found in the 
public galleries of Europe, attributed to the mas- 
ter, but in private collections; these marks serve 
to convey a more accurate idea, how near the imi- 
tator approached the master.* 



*This table has been prepared with great labor and 
care. In tbe body of tbe work, copyists and imitators 
have generally been treated as briefly as possible, to save 
space, the reader being referred to the master. Its value 
^vill at once be perceived. It shows in a brief, but com- 
prehensive manner, how liable are the unlearned in art, 
and even connoisseurs, to be deceived. An immense 
amount of valuable information on this subject may be 
found in Smith's Catalogue raisonne, 9 vols., London, 
1829—1842. 

Every eminent and popular master had numerous scholars, 
some of whom servilely copied and imitated him, while 
others struck out into a new style, founded on that of the 
master, but variously modified by their own genius. They 
also often had imitators, the names of many of whom are 
now nearly or quite sunk in oblivion. See Abshoven, 
Koene, the Da Ponte, and Romain de la Rue. "It of- 
ten happens that those masters who are mannerists, form 
scholars who confine their powers to the sole imitation of 



COPYISTS AND IMITATORS OF SINGLE MASTERS. 

ALZHEIMER, Adam. 

Jacob Ernest Thomann. s, 1, 2, 3* 4. 

Nicholas Moyaert, 1, 2, 3* p4, 6. 

Paul Juvenei, 2. 3, p4. 
ALBANO. Francesco. 

Giovanni Battista Albano, s, 1, 2, 3* 4. 

Cav. Giacinto Bellini, s, 2, 3, p4. 

Francesco Boccaccino, 2. 3, 6. 

Paolo Emilio Besenzf. 2. 3, 6. 

Girolamo Bonini, 1, 2, 3*. 4. 

Antonio Catalani. called II Romano. 2. 3. 

Virgilio Ducci. I. 2. 3, p4. 

Giovanni Maria Galli, called Bibiena. s, 1, 2. 3, p4. 



p4. 



their masters, and thus produce pictures that deceive the 
most experienced." See Lanzi, )S'^07-{a PiY'o?-ica, vol. ii., 
p. 49. Some painters have imitated others so perfectly 
as not only to deceive connoisseurs, but even masters ; thus 
Ercole Maria deceived Guido, and Andrea del Sarto, Giulio 
Romano. 

Scholars generally copy the works of their masters, more 
or less, during their pupilage ; hence the numerous copies of 
the works of the Old Masters. Some masters retouched the 
best of these, adding, perhaps, some variations, and sold 
them for their own productions. This was the case with 
Titian, Guido, Andrea del Sarto, and even Raflfaelle him- 
self. There are no less than eight portraits of Julius II., 
attributed to Raffaelle. See note, p. 758. 

The authenticated Avorks of the great masters command 
onormous prices, as may be seen by referring to BaflFaelle, 
Rubens, Titian. Guido, Rembrandt, Murillo, and others. 
Successful imitations are also very valuable. In many 
cases, it is utterly impossible to distinguish the works of 
the master, from those of some of his imitators. See Carlo 
Dolci, David Teniers, and even Rubens. ^ There are about 
1800 works, many of them grand historical compositions, 
considered genuine by the latter, in the different collections 
of Europe ! The number of works also attributed to Carlo 
Dolei, David Teniers, and others, is incredible. Besides 
these successful copies and imitations, there are hosts of 
others, of inferior merit, about the spuriousness of which, 
there can be no doubt, except perhaps, in the minds of the 
possessors, who, for the most part, are unlearned in art, and 
therefore liable to imposition. See Introduction, page 
viii. See also Pasticcio, p. xxxi. For marks of authen- 
ticity in old paintings, see Introduction, p. viii., Mono- 
grams and Ciphers, p. xix., and Copy, Imitation, Manner, 
Pasticcio, Pentimento, Style, &c., in Explanation of Terms 



AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C. 



Filippo Menzani, s, 1. 2, 3, p4. 
Giovanni Battista Mola, s. 2, 3* 
Bartolomeo Morelli, s, 2, 3* p4. 
Giacomo Parolini, 2. 3, 6. 



ALLORI, CRTSTOFORO. 

Lorenzo Oerrini, s, 1, 3, p4. 
F. Bruno Oertosino, s, 1, 3*. 4. 
Zanobi Rosi, s, 1, 2, 3* 4. 
Valerio Tanteri, s, 1, 2, 3* 4. 
Giovanni Battista Vanni, s, 1, 2, 3. 6. 

ANGELO, Michael, Buonarotti, never painted 
in oil, in the opinion of Mengs, Lanzi, and the 
best authorities, though there are many oil 
paintings attributed to him in the collections at 
Florence, Rome, Bologna, in the Imperial Gal- 
lery at Vienna, and elsewhere. These, they sup- 
pose to have been executed by his scholars and 
immediate followers, several of whom are known 
to have painted from his designs, under his super- 
vision, as Sebastiano del Piombo, Daniele da Vol- 
terra, Jacopo Pontormo, Francesco Salviati. Giu- 
liano Bugiardini. Lorenzo Sabbatini, and Mar- 
cello Venusti. He also had several copyists, 
and a host of followers and imitators, from the 
time of Pellegrino Tibaldi to that of Henry Fu- 
seli. See Lanzi, vol. i,, p. 142. 



BACKHITYSEN. Ludolph. 

Peter Coopse, 2. 3*, 4. 
Jan Dubhels. s, 2, 3* 4. 
Michael Maddersteg. s, 2, 3*, 4. 
John Klaasz Rietschoof s, 2, 3* 4, 



Henry Rietschoof, 1, 3*, 4. 
Arnold Stnit. 2. 3, p4. 
Wigerius Vitringa, cs. 



,2,3. 

BAGLTONE, Cesare. 

Lorenzo Pisanelli. s, 1, 2, 3. 
Giovanni Storali, s, 2, 3. 

BALESTRA. Antonio. 

Giovanni Battista Mariotti, s, 2, 3, p4. 
Giuseppe Nogari, s, 2, 3, 6. 
Carlo Salis, s, 1, 2, 3, 4. 

BARBALUNGA, Antonio Ricci, called II. 
Antonio Bova. s, 2. 3, p4. 
Onofrio GabrJello, s, 2, 3, 6. 
Agostino Scilla. s, 2, 3, 6. 
Domenico Marolli. s, 2, 3, 6. 

BAROOCIO, Federigo, established a school, 
taught many pupils, and had many imitators. 
Benedetto Bandiera, cs, 2, 3. 
Filippo Bellini, 2. 3, p4. 
Cav. Giuseppe Maria Orespi, 1, 3* 4, 6. 
Domenico Malpiedi, s, 2, 3, 6. 
Cristoforo Lanconello. 2, 3* p4. 
Ventura Marzi, s, 2, 3. 
Giorgio Picchi, cs, 2, 3. 
Ercole Ramazzani, 2, 3. 
Marc' Antonio Rocchetti, 2, 3, 6. 
Cav. Ventura Salimbeni. 2, 3, 6. 
Cav. Francesco Vanni, 2, 3, 6. 
Antonio Visacci, s, 1, 2. 3, p4. 
Alessandro Vitali, s, 1, 2, 3* 4. 
Antonio Viviani. s, 2, 3. 
Lodovico Viviani, 2, 6, 
Felice Pellegrini, s, 2, 3, p4. 
Vincenzio Pellegrini, s, 2. 



BARTOLOMEO, Fra, di San Marco. 
Mariotto Albertinelli, s, 2, 3, p4. 
Giovanni Francesco Bembo, 2, 3. 
Benedetto Cianfanini, s, 2, 3*, 4. 
Plautella Nelli, 1, 2. 
Fra Paolo da Pistoja, inherited and painted from 

the designs of Fra B.. 1, 2, 3* 4. 
Gabriele Rastici, 1, 2, 3. 

BASSANO, Jacopo, was the head of a celebrated 
school. He taught many pupils, and had a host 
of imitators. The works attributed to him are 
ten times more numerous than _ he could ever 
have executed. See Lanzi, vol. ii., p. 197. 
Jacopo Apollonio, 2. 3*, 4. 
Maderno da Oomo, 2, 3, p4. 
Peter Cornelius Deryck, 2, 3* 4. 
Jacopo Gnadagnini, 1, 3, 5. 
Giovanni Antonio Lazzari, 1, 2, 3* 4. 
LucaMartinelli, s, 2, 3. p4. 
Giulio Martinelli, s. 2, 3. p4. 
Francesco da Ponte. the Younger, s, 2, 3, p4, 6. 
Cav. Leandi-o da Ponte, s, 1, 2, 3, 4, 6. 
Giovanni Battista da Ponte. s, 1, 2, 3*, 4. 
Girolamo da Ponte, s, 1, 2, 3* 4. 
Antonio Scaiario, s. 1, 2, 3*, 4. 
David Teniers, the Elder, 2, 3* 6. ^ 
Giovanni Battista Zampezzo, 1, 2, 3*, 4. 

BEALMONT, Cav. Claudio, established a school 
at Turin, and educated many pupils, several of 
whom followed his style very closely. 
Vittorio Blanseri, s, 2, 3, 6. 
Mattia Franceschini, s, 2, 3. 
Antonio Milocco, s, 2, 3. 
Giovanni Molinari, s, 2, 3, 6. 
Pietro Lorenzo Spoletti, s, 2, 3. 

BELLINI, Giovanni, was the first Venetian paint- 
er in oil, and had many disciples and imitators. 
Marco Bello, s, 2, 3, p4. 
Bellin Bellini, 2, 3*, 4. 
Giovanni Battista Oima, 2, 3, p4. 
Carlo Cima, 2, 3, p4. 
Marco Marziale, cs, 2, 3. 
Girolamo Mocetto, s, 1, 2, 3, p4. 
Benedetto Montagna, 2, 3. 
Pellegrino di San Danielle, s, 2, 3, 6. 
Niccolo Rondinelli, s, 2, 3, p6. 
Antonio Rossi, deRubeis, 2,3. 

BERGHEM, Nicholas. 
Abraham Begyn, 2, 3*, 4. 
John vander Bent, 2, 3, p4.' 
Jan Bernard, 1, 3*. 

M. Blinkvleit, 2, 3* most of his works attribu- 
ted to B. 
Charles Codde, 1, 2, p5. 
Adam Coloni, s, 2, 3, p4. 
Theodore Maes, s, 2, 3, 6. 
John vander Meer. the Younger, s, 2, 3*, 4. 
J. F. Solemacker, 1, 2, 3, 6. 
John Sybrecht, 2, 3, p4. 
Augustine Tyssens, 2, 3, p4. 
Theodore Visscher, s, 2, 3, p4. 
Johu Wils, 2, many of his works attributed to B. 

BILI VERT, Xjiovanni, taught several pupils, and 
Lanzi says his works were greatly imitated and 
copied. 

Francesco Bonavita Bianchi, 1, 2, 3, p4. 
Orazio Fidani, s, 2, 3, p4. 
Bartolomeo Salvestriani, s, 1, 2, 3, p4. 



AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C. 



BLOEMEN, John Francis van, called Orizzonte. 
V. Giacciuoli, s, 2, 3, p4. 
Henry van Lint, ps, 2, 3. p4. 
Andrea Lucatelli. ps, 2, 3, p4. 
Gabriel e Ricciardelli, s, 2. 3. 

BORGOGNONE. Jacopo Oortese, called II. 
Girolamo Bruni, s. 1, 2. 3* 4. 
Antonio Calza. s, 2, 3* 4. 
Angelo Everardi. 2, 3. 
Graziano, s. 1. 2, 3, p4. 
Giannizzero. s. 1, 2. 3. p4. 
John Philip Lembke, 2, 3. 
Francesco Monti, called II Bresciano delle Bat- 

tac^lie, s, 2, 3* 4. 
Gugiielmo Capodoro Paganini, 2,3. p4. 
Joseph Parrocel, 2, 3, 6. 
Ignace Parrocel. 2, 3. 
Augustus Querfurt, 2. 
Pandolfo Reschi, s, 2, 3, p4. 
George Philip Rugendas, 2, 6. 
Francesco Simonini, 2, 3. 
Ilario Spolverini, 2, 3. 
Peter Tillemans, 1, 3, p4. 

BOTH, John. 

Charles Codde, 1, 2. p5. 

William van Drillenburg, s, 2, 3* 4. 

John Francis Ermels, 2. 3, 6. 

William de Heusch, s, 2, 3*, 4. 

Joljn Lap. 2. 

Nicholas Piemont. 2, 3, p4. 

Peter Portengen, 2, 3, 5. 

Remain de la Rue, 1, 2, 3* 4. 

BREUGHEL, John, called Velvet Breughel. 

Bartholomew vander xist, 2, 8. 
Peter van Bredael, 2, 3. 
Peter Gysen. s, 2, 3. p4! 
John van Kessel the Elder, 2, 3* 6. 
John van Oosten, 2, 3*, 4. 
Adrian van Stalbent, 2, 3, p4. 
John Jacob Schalch, 2. 
David Vinckenbooms, 2, 5. 
Lucas de Wael, s, 2. 3, p4j 5. . 

BRILL, Paul. 

M. Giron. 2, 3, p4. 
N. Knipbergen. 2, 3* 4. 
Baldassare Lauri, s, 2, 3, p4.- 
Wilham van Nieulant, s, 2, 3, 6. 
Cesare Piemontese. 2, 3. 
Agostino Tassi, s, 2, 6. 

BROWER, Adrian. ... 

Josse Craesbecke, s, 2, 3, p4. 
Abraham Diepraam, s, 2, 3, p4. 
Joseph Dora. 2, 3*. 
Bertram de Fouchier,2, 3. p4, 6. 
Egbert vander Poel, cs, 2. 3, 6. 
Cornelias Saftleven, 2, 3, 6. 

OAMPI, Bernardino. 

Sofonisba Angosciola, s. 2, 3, 6. 
Giulio de' Capitani, s, 1, 2, 3, p4. 
Ciistoforo Magnani, s, 2. 3, 6. 
Andrea Mainardi, Sj 2, 3, 6. . 
IMarc' Antonio Mainardi. s, 1, 2, 3, p4 
Coriolano Malagavazzo, s, 1. 2, 3, p4. 

CANALETTI, Antonio. 
Bernardo Bellotti, s, 2, 3* 4. 
Francesco Guardi, s, 2, 3*, 4. 
Giacomo Marieschi, 2, 3, p4. 



Gaspare Vanvitelli, 2. 3*. 
Antonio Vicentini, 2, 3*, 4. 
OANO, Alonso. 

Felipe Gomez, 2, 3, p4. 
Pablo Legdte, 2, 3* 4. 
Jose Risueno, s, 2, 3. 

CARDI, Lodovico. called Cigoli. 
Giovanni Bilivert, s. 2, 3. 6. 
Andrea Comodi, s. 1, 2, 3* 4. 
Aurelio Lomi, s, 2, 3, 6. 
Gregorio Pagani, s, 2, 3* 4. 
Pellegrino Piola, 2, 3*. 6. 

OARACCI, LoDovico. 

Francesco Brizzio, s, 2, 3*, p4. 

Lorenzo Garbieri, s, 2, 3*, p4, 6. 

Giacomo Lippi. s, 2, 3, 6. 

Florio Macchi,'s,'2, 3* p4. 
CARACCI, Annibale. 

Giovanni Battista Caraccinolo, 2, 3. 

Giacomo Cavedone, s, 2, 3*. 6. 

Michel Corneille, the Younger, 2, 6. 

Giovanni Francesco Grimaldi, s. 2. 3, 6. 

Giovanni Andrea Donducci, s, 2, 3*, 6. 

Lucio Massari, s, 1, 2, 3. 

Antonio Maria Panico, s, 2, 3, 6. 

Carlo Sellitto, s, 2. 

Innocenzio Tacconi, s, 1, 2 ; painted from the 
designs of Annibale. 

Giovanni Battista Viola, s, 2, 3*, in landscape, 

CARACCI, School of the. 
Cesare Baglioni, 2, 3, 6. 
Pietro Maria Crevalcore, 2, 3. 
Ferraft Fanzone, cs, 2, 3, 6. 
Lorenzo Franchi, 1, 2, 3* 4. 
Giuseppino da Macerata, s, 2, 3, p4. 
Pier Maria Porettano, s, 2, 3, p4. 
Aureliano Milani, 1, 2, 3* p4. 
Francesco Naselli, 1,3, p4, 6. 
MatteoRosselli,2, 3, 6. 
Orazio Talami, 2, 3, p4. 
Gio. Battista Secchi, s, 2, 3, p4. 

CaRAVAGGIO, Michael Angelo da. 

Giovanni Campino, 2, 3, 6. 

Angiolo Caroselli, s. 1, 2, 3, p4. 

Luciano Foti, 1, 2,3*.' 

Giovanni Francesco Guerrieri, 2, 3. 

Gerard Honthorst, 2, 3, 6. 

Adrian van Linschooten, 2. 3. 

Tommaso Luini. 1, 2. 3. 

Rutilio Manetti, 2, 3, 6. 

Bartolomeo Manfredi. s, 2, 3* 4. 

Juan de Montero, 1, 2, 3. 

Cav. Jose Ribera, s, 2. 3* 6. 

Francesco Ruschi, s. 2, 3, 4. 

Carlo Saracino, 2, 3, 6. 

Gerard Seghers, 2, 6. 

Giovanni Serodine, s, 2, 3, p5. 

Lionello Spada, s, 2, 3, 6. 

Andrea Vaccaro, 2, 3* 6. 

Moses Valentin, 1, 2, 3, p5. 

Claude Vignon. 2, 3. 

Simon Vouet, 2, 6. 

Francisco Zurbaran, 2, 6. 
CARAVAGGIO, Polidoro Caldara da. 

Aurelio Buso, s, 1, 2, p4. 

Marco Cardisco, cs, 2, 6. 

Deodato Guinaccia, s, 2, 3, p4. 

Giovanni Bernardo Lama, s, 2, 3* p4. 



lii 



AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C. 



Francesco Pagani, 
Antonio Paticchi, 1, 2, 3* 4. 
Tommaso Pelegret. s. 2, 3. 
Mariano Riccio, s, 2, 3*, 4. 
Antonello Riccio, s, 1, 2, 3, p4. 
Francesco Ruviale, s, 2, 3* p4. 

OARPAOCTO, ViTTORE, had several scholars and 
imitators, 

Giovanni Mansueti, 2, 3. 
Francesco Rizzo, s, 2, 3, p4. 
Lazzaro Sebastiani, s, 2, 3. 
Marco Veglia, 2, 3. 
Pietro Veglia, 2, 3. 

Lanzi says that Mansueti and Veglia were fol- 
lowers of Carpaccio, and not the Bellini. 

CASTIGLIONE, Giovanni Benedetto. 
Francesco Castiglione, s, 2, 3, p4. 
Salvatore Castiglione, s, 2, 3, p4. 
Abate Gio. Agostino Oassana, 2, 3. 
Giovanni Battista Cassana, 2, 3. 
Domenico Piola, 2, 3, 6. 

CESARl, Oav. Giuseppe, called Cav. D'Arpino. 
Francesco Allegrini, s, 2, 3, 6. 
Bernardino Oesari, s, 1, 2, 3*. 
Horace Leblanc, 2, 6. 
Luigi Roderigo, 2, 3, 6. 
Giovanni Bernardino Roderigo, 2, 3, p4. 
Bernardino Parasole, s, 2, 3. 

CIGNANI, Cav. Carlo. 
Filippo Bondi, s. 2, 3, p5. 
Andrea Bondi, s. 2, 3, p5. 
Federigo Bencovich, 2, 3, 6. 
Giovanni Girolamo Bonesi, 2, 3, 6, 
Matteo Bonechi, 2, 3. 
Giacomo Boni, cs. 2, 3. 
Pietro Donzelli, s, 2, 3. 
Antonio Fratacci, s, 2, 3, p4. 
Bonaventura Lamberti, s, 2. 3, 6. 
Alessandro Marchesini, s, 2, 3, p5. 
Giovanni Camillo Sagrestani, s, 2, 3. 
Sebastiano Savorelli, s, 2, 3. 
Maurelio Scannavini, s, 2, 3*. p4. 
Guido Signorini, s, 2, 3.. 
Emilio Taruffi, 2, 3*, p4. 
Matteo Zamboni, s, 2, 3. 

CLAUDE, Gelee, or Lorraine. 
Angeluccio, s, 2, 3, p4. 
John Asselyn, 2, 3, in landscape ; figures in the 

style of Berghem. 
Francesco Maria Borzone, 2, 5. 
John Both, 2, 3, 6. 
'Tean Domenique, s. 2. 3, p4. 
Henry van Lint, 2, 3, 6. See Wallini. 
Pierre Patel, 2, 3. p4. 
Bernard Patel, 2, 3. 
Hermann Swanevelt, cs, 2, 3, p4; approached 

him nearer than any other master. 
Francesco Wallint the Elder, 2, 3, p4. 
Francesco Wallint the Younger, 2. 3. 

CONCA, Cav. Sebastiano. 
Giovanni Conca, s, 2, 3, p4. 
Corrado Giaquinto, s, 2, 3. 
Gregorio Guglielmi, s, 2, 6. 
Gaetano Lapis, s, 2, 6. 
Salvatore Monosilio, s, 2, 3*, p4. 
Don Francisco Prcciado. s, 2, 3, p4. 



CORREGGIO, Antonio Allegri da. 
Pomponeo Allegri, s, 2, 3*, 4. 
Pietro Antonio Bernabei, 2, 3, p4. 
Antonio Bernieri da Correggio, s, 2, 3*, 4. 
Domenico Bologna, 2, 3. 
Antonio Bruno, 2, 3, p4. 
Andrea Comodi', 1, 3*, 4, G. 
Carlo Cornara, 1, 2, 3, p4. 
Cav. Giuseppe Maria Crespi, 1, 3*, 4, 6. 
Gregorio di Ferrari, 1, 2, 3, p4. 
Abate Lorenzo Ferrari, 2, 3. 
Giorgio Gandini, s, 2, 3, p4. 
Bernardo Gatti, s, 2, 3, p4. Lanzi says a great 
number of his works were taken to foreign coun- 
tries, where doubtless the}^ are now mostly attri- 
buted to his master. 
Gervasio Gatti, 1, 2, 3, p4. 
Girolamo Mazzuoli, 2, 3, p4. 
Ferdinando Porta, 1, 2, 3, p5. 
Ercole Procaccini the Elder, 2, 3, 6. 
Giulio Cesare Procaccini, 2, 3*, p4. 
Sebastiano Ricci, 2, 3*, 6. 

Francesco Maria Rondani, s, 2, 3* 4 ; he was 
Correggio's ablest scholar, and imitated him so 
closely that Lanzi says his works are extremely 
rare, bei"ng attributed to his instructor. 
Orazio Samacchini, 2, 3, 6. 
Bartolomeo Schidone, 2, 3*, 6. 
Maestro Torelli, s, 1, 2, 3, p4, 

CORTONA, Pietro Berretini da. Lanzi says, 
" the number of his scholars and imitators ex- 
ceeds belief" The works attributed to Cortona 
are " Legion." 

Giovanni Raflfaelle Badaracco, 2, 3, p4. 
Lazzaro Baldi, s, 2, 3, p4. 
Pietro Paolo Baldini, s, 2, 3. 
Giovanni Ventura Borghesi, s, 1, 2, 3, p4. 
Giovanni Maria Bottala, s. 2, 3. 
Francesco Bruno, s, 2, 3, p4. 
Giovanni Andrea Casella, s, 2, 3, p4. 
Padre Stefano Cassiani. 2, 3. 
Salvi Castellucci, s, 2, 3*, 4. 
Pietro Castellucci, 2, 3. 
Vincenzio Dandini, s, 2, 3, p4. 
Pietro Dandini, 1, 2, 3, p4. 
Nicolas Duval, s, 2, 3. ' 
Giro Ferri, s, 1, 2. 3*, 4. 
Camillo Gabrielli, 2, 3. 
Giuseppe Ghezzi, 2, 3. 
Tommaso Lanci si, 2, p5. 
Gio. Battista Lenardi, s, 2. p5. 
Giovanni Marracci, s, 2, 3* p4. 
Giovanni Battista Mercati, cs, 2, 3, 6. 
Gioseffo Maria Milani, 1, 2, 3, p4. . 
Giovanni Battista Natali. s, 2, 3, p4. 
Adriano Palladino, s, 2, 3, p4. 
Bartolomeo Palombo, s, 2, 3, p4. 
Pio Fabio Paolini, s, 2, 3, p4. 
Nicolas Pinson, 2. 3. 
Domenico Piola, 2, 6. 
Giovanni Francesco Romanelli, s. 
Bartolomeo Santi, 2, 3. 
Pietro Sigismondi, s, 2, 3. 
Cav. Raffaelle Vanni, 2, 3, p4. 

CUYP, Albert. 

Gautier van Dam, 2, 3. 
Bernard van Kalraat, s, 2, 3. 
Jacob van Stry, 2. 3*, 4. 



3*. 6. 



AN AKPPIABETICAL LIST OF COPYISTS AND IMITATORS, &C. 



DOLOI, Carlo. The works of few artists have 
been so much copied and imitated, as those of 
Carlo Dolci, and with a precision, too, in very 
many instances, that bids defiance to discrimina- 
tion. 

Agnes Dolci, s, 1, 3* 4. 
Alessandro Lomi, s. 1, 2, 3* 4. 
Bartolomeo Mancini, s, 1, 2, 3*, 4. 
Onorio Marinari, s, 1, 2, 3* 4. 

DOMENICHINO, or Domenico Zampieri. 
Abel, 2, 3* 4. 
Barbalunga, s. 2, 3*, 4. 
Francesco Cozza, s, 2, 3*. 
Andrea Camassei, s, 2, 3. 
Agnolo Canini, s, 2, 3. 
Francesco di Maria, s, 2, 3, 4. 
Vincenzio Manenti, s, 2, 3. 
Pietro del Po, s, 2. 3. 
Giovanni Battista Passeri, cs, 2, 3, p4. 

DOUW, Gerard. 
Louis Bernard Coders, 2, 3. 
G. van Heckel, cs, 2, 3. 
B. Maton, 1, 2, 3, 4. 
Francis Mieris the Elder, s, 2, 3*, 6. 
Louis de Moni, 2, 3, p5. 
Adrian de Passe, s, 2, 3, p4. 
Henry Potuil, 2, 3*, p4. 
Peter van Slingelandt, s, 2, 3*. 
John Adrian van Staveren, cs, 2, 3, p4. 
Paul and E. van Staveren, s, 2. 
Dominick van Tol, s, 1, 2, 3*, 4. 
Ptobert Tournier, 2, 3. 
Elizabeth Gertrude Wassemberg, 2, 3. 

DURER, Albert. 
Hans Baldung, 2, 3. 
Fernando Gallegos, 2, 3*, 
Gherardo, 2. 
Paul Juvenel, 1, 3, p4. 
Albert Altdorfer, cs, 2, 3. 

FALCONE, Aniello. 
Carlo Coppola, s, 2, 3*, 4. 
Domenico Garginoli, s. 2, 3*, 6. 
Andrea di Li one. s, 2, 3. 

FERRARI, Gaudenzio. 

Gio. Battista Cerva, s, 2, 3, p4. 
Bernardo Ferrari, s, 2, 3, p4. 
Bernardo Lanini, s, 2, 3*, p45 6. 
Antonio Lanetti, s, 2, 3. 
Giulio Cesare Luini, s, 2, 3. 

FRANCIA, Francesco. The works attributed to 
Francia are exceedingly numerous. Malvasia 
says the names of 220 pupils are to be found in 
his journals. 

Francesco Caprioli, s, 2, 3*, 4. 
Sim one Fornari. s, 2, 3*, 4. 
Giacomo Francia, s, 2, 3*, 4. 
Girolamo Marches!, s, 2, 3. 
Lodovico da Parma, s, 2, 3, p4. 

GABBIANI, Antonio Domenico. 
Giuseppe Baldini, s, 2, 3. 
Gaetano Gabbiani, s, 2, 3, p4. 
Ranieri Paci, s, 2, 3, p5. 
Tommaso Redi, s, 2, 6. 
Francesco Salvetti,s, 2, 3, p4. 

GAINSBOROUGH, Thomas. The works of this 
artist have been largely imitated, and many of 



these pasiiches have been brought to the Uni- 
ted Slates, and sold for originals. 
Gainsborough Dupont, s, 2, 3, p4. 
George Frost, s, 1,2, 3, p4. 

GIORDANO, LucA. 

Ferrante Amendola, s, 2, 3. 

Don Juan Antonio Boujas, s, 2, 3. 

Pedro de Calabria, s, 2, 3. 

Paolo de Matteis, s, 2, 3, 6. 

Andrea Miglionico, s, 2, 3. 

Matteo Paccelli, s, 2, 3*, p4. 

Aniello Rossi, s, 2, 3*, p4. 

Niccolo Maria Rossi, s, 1, 2, 3*, p4, 6. 

Giuseppe Simonelli, s, 1, 2, 3, p4. 

Francisco Tramulles, 2, 3. 

GIORGIONE, or Giorgio Barbarelli. 
Giovanni Cariani, 2, 3, p4. 
Vincenzio Catena, 2, 3. 
Lorenzo Lotto, 2, 3, 6. 
Marco Marconi, 2, 3. 
Rocco Marconi, 2, 3*, p4. 
Fra Sebastiano del Piombo, s, 2, 3*, 6. 
Pordenone, cs, 2, 3*, 6. 
Titian, 2, 3*, in his second style. 
Pietro Vecchia, 2, 3*, p4. 

GREUZE, Jean Baptiste. The works of this 
artist have been copied and imitated, ad infini- 
tum, but they lack the spirit of the originals. 

GUERCINO. or Gio. Francesco Barbterl 
Francesco Bassi, 1, 2, 3*, p4. 
Stefano Ficatelli, 1,2, 3*, p4. 
Ercole Gennari, s, 2, 3*, p4. 
Bartolomeo Gennari. s, 2. 3*, p4. 
Benedetto Gennari, s, 1, 2, 3*, p4. 
Cesare Gennari, s, 1, 2, 3, p4, 
Lorenzo Gennari, s, 1, 2, 3. 
Simone Gionima, 1, 2, 3. 
Lodovico Lana, 2, 3, p4, 6. 
Gio. Domenico Lombardi, 1, 2, 3, 6. 
Uberto la Longe, 2, 6. 
Giovanni Mutii or Mucci, s, 2, 3, p4. 
Francesco Nagli, s, 1, 2, 3, p4. 
Francesco Naselli, 1, 3* p4. 
Paolo Antonio Paderna, s, 2, 3*. p4. 
Francesco Paglia, s, 2, 3. 
Gio. Battista Piazzetta. 2, 3, 6. 
Padre Cesare Pronti, s, 2, 3. 
Cristoforo Serra. s, 2, 3, p4. 
Francesco Stringa, cs. 2, S, 6. 
Cristoforo Savolini, 2, 3. 

GUIDO, Reni, established one of the most popu- 
lar schools in Italy. Crespi says his " school at 
Bologna was frequented by more than 200 pu- 
pils." Probably the works of no artist have 
been more copied and imitated than those of 
Guido. 

Domenico de Benedettis, s, 2, 3* p4. 
Paolo Biancucci, s, 2, 3, p4. 
Giovanni Battista Bolognini, s, 2, 3, p4. 
Antonio Buonfanti^ cs, 2, 3. 
Guido Cagnacci, s, 2, 3. 
Tommaso Campana, s, 2, 3. 
Simone Cantarini, s, 1, 2. 3* p4. 
Francesco Carboni, 2, 3. 

Cav. Giovanni Domenico Cerrini, s, 2, 3* p4. 
Lanzi says that Guido retouched some of hi.^ 
pictures, and sold them for his own. 



liv 



AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C. 



Michele Desubleo, s. 2, 3*, p4. 

Luca de Ferrari, 1,2, 3. 

Lavinia Fontana. 2. 3. 

Pietro Gallinari, called Pietro del Signor Gui- 

do, s, 1, 2, 3. p4. Guide retouched some of 

his pictures, and sold them for his own. 
Francesco Gessi, s, 2, 3*, p4, in his best works. 
Antonio Giarola, s, 2, 3, p4. 
Giorgio Giuliani, cs, 1, 3 
Lorenzo Loli, s, 2, 3, p4. 
Uberto la Longe, 2, 6. 
Cav. Ercole Maria, s, 1, 2, 3* 4 ; deceived Guido 

himself. 
Padre Feliciana da Messina, s, 2, 3. 
Giovanni Battista Michelini, s, 2, 3. 
Carlo Francesco Nuvolone, called the Guido of 

Lomhardy^ 2, 3*, p4. 
Giovanni Battista Pesari, cs, 2, 3, p4. 
Marc' Antonio Riverditi, 2, 3, 6. 
Rollo, 2, 3*. 

Francesco di Rosa, 1, 2, 3. 
Giovanni Battista Ruggieri, 2, 3*, p4. 
Luigi Scaramuccia, s, 2, 3, p4. 
Giovanni Giacomo Sementi, s, 2. 3* p4. 
Guido Signorini. s. 1, 2, p4. 
Giovanni Andrea Sirani, s, 2, 3. 
Elizabetta Sirani, 2, 3. 
Giovanni Maria Tamburini, s. 2, 3. 
Sebastiano Taricco, 2, 6. 
Flaminio Torre, s, 1, 2, 3, p4. 
Andrea Vaccaro, 1. 2, 3, 6. 

HEFjM, John David de. 

Cornelius de Heem, s, 2, 3, p5. 

John de Heem, 2, 3, p5. 

Guillaume Klaasz Heda, 2, 3. 

Cornelius Kick, 2, 3, 6. 

JohnMoortel, 1, 3*,'6. 

Maria van Oosterwyck, s, 2. 3, 6. 

Peter de Ring, 2, 3. 

Jacob Roodtseus, s, 2, 3. 

Stomme, cs, 2, 3. 

Jacob Walscapelle, cs, 2, 3, 6. 

HEYDEN, John vander. 
Jan Ten Compe, 2, 3. 
Isaac Ouwater, 2, 3. 
John Peter Schoenmacker, 2, 3. 

HONDEKOOTER, Melchior. 
John van Alen or Olen, 1, 2, 3. 
Francis Peter Verheyden, 2, 3. 
0. Vonck, 2, 3. 

HUYSUM, John van. 
P. Faes, 2, 3. 

Jacob van Huysum, s, 1, 3*. 4. 
Margaret Haverman, s, 1, 2, 3, p4. 
Jan Evert Morel, 2, 3*. p4. 
John van Os, 2, 3, p4. 
Robart, cs, 2, 3. 

JARDIN, Karel du. 
John van Nikkelen, 2. 
William van Roraeyn. 2, 3. 
John Sybrecht, 2, 3. ' 
Walter John Troostwyck, 1, 2, 3. 

LAER, Peter de, called Bamboccio. 
xHichael Angelo Oerquozzi, 2, 3, 6. 
Andrew Both, 2, 3, 6. 
Jacob vander Does the Elder. 2. 3, 6. 
Bernard Graat, 2, 3, 6. 
Theodore Helmbrecker, 2, 3, 6. 



Roland van Laer, s, 2, 3, p4. 
Cav. John Miel. 2, 3, 6. 
Domenico Olivieri, 2, 3, p4. 
John or Josse Ossenbeck, 2, 3, p4. 
Peter Stoop, 2, 3, p4. 

LANFRANCO, Cav. Giovanni. 
Cav. Gio. Battista Benaschi, 2, 3. 
Giacinto Brandi, s. 2, 3, p4. 
Giacomo Giorgetti, s, 2, 3. 
Andrea Lanzani, 2, 3. 
Giovanni Francesco Mengucci, s, 2, 3. 

LIBERT, Cav. Pietro. Lanzi says his works 
have been largely copied and imitated by his 
son and scholars. 

LICINIO, Gio. Antonio, called II Pordenone. 

Pomponeo Amalteo, s, 2, 3*, p4. 

Francesco Beccaruzzi, s, 2, 3. . . 

Gio. Maria Calderari, s, 2, 3*, 4. 

Bernardino Licinio da Pordenone, s, 2. 3*, 4. 

Giulio Licinio da Pordenone, s, 2, 3*, 4. 

Gio. Antonio Licinio da Pordenone, called Sac- 
chiense, s, 2, 3* 4. All his vrorks are attri- 
buted to the Elder Pordenone. 

MANTEGNA, Andrea. Scholars and imitators 
very numerous ; Lanzi says a multitude of pic- 
tures, in the style of the Quattrocentisti (artists 
of the 14th century), are falsely attributed to 
him. 

Giovanni Carotto, 2, 3. 
Gio. Francesco Carotto. s, 1, 2, 3*. 4. 
Francesco Mantegna, s, 2, 3* 4. 
Carlo del Mantegna, s, 2, 3*, 4. 
Francesco Monsignori, s, 2, 3. 
Maestro Angelo Padova, 2, 3. 
Lauro Padovano, s, 2, 3*, 4. 
Bernardo Parentino, s, 2, 3, p4. 
Niccolo Pizzolo, 2, 3. 
Gio. Speranza, s, 2, 3, p4 

MARATTI, Cav. Carlo, established one of the 

most popular schools of his time. 

Giacinto Calandrucci. s, 2, 3. 

Domenico Calandrucci, s, 2, 3. 

Paolo Albertoni, s, 2, 3. . . 

Antonio Balestra, s, 2, 3, 6. 

Giuseppe Chiari, s, 2, 3* p4, 6. 

Tommai50 Chiari, s, 1, 2. 

Francesco Conti, 2, 3, p4. 

Placido Celi, s, 2, 3. 

Miguel Danus, s. 2, 3. 

Agostino Masucci. s, 2, 3, 6. 

Gio. Paolo Melchiori, s. 2, 3, p4. 

Girolamo Odam, s, 2, 3. 

Giuseppe Oddi, s, 2, 3. 

D. Tommaso Nardini, s, 2, 3. 

Giuseppe Passeri. s, 2, 3, p4. 

Pietro de' Petri, s', 2, 3, 6. 

Stefano Pozzi, s, 2, 3, 6. 

Theodore van Loon. 2, 6. 

Natale Ricci, s, 1, 2, 3. 

Ubaldo Ricci, s, 1, 2, 3. 

D. Angelo Rossi, 2. 3. 

Michele Semini, 1, 2, 3. 

Lodovico Trasi, s, 2, 3, 6. 

Cav. Girolamo Troppa, s, 2, 3* 

MASSEUS. or MARCELLIS, Otho. 

Mair, 2, 3* 4. 
- Peter Verhulst, 2, 3. 
Matthew Withoos. 2, 3*. 



AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C. 



Iv 



METZU, Gabriel ; style founded on that of Ter- 
burg. 

Jacob Achterveldt, s, 2, 3, p4. 
John van Geel, s, 2, 3* 4. 
W. Odekerken, 1, 3*. 
Renier de la Haye, 2, 3. 
Engel Sam, 2, 3. 

MIERIS, William. 

Abraham vander Eyk, 2, 3. 

B. Maton, 1, 3* 4. 

Francis Mieris the Younger, s, 2, 3, p5 

William Muys, 2. 

Jerome vander My, s, 2, 3, p4. 

Philip Vandyck, 2, 6. 

MIGNON, Abraham. 
John Moortel, 1, 3*. 
Ernest Stuven, s, 2, 3, p4. 
N. Verendael, 2, 3, p4. 

MIREVELT, Michael Jansen. 
Paul Moreelze, s, 2, 3, p4. 
Peter Thierry Kluyt, s, 2, 3, p4. 
John van Nes, s, 2, 3, p4. 
Peter Mirevelt, s, 2, 3* 4. 

MOLYN, Peter, the Younger, called II Tempes- 
TA, Cav. Tempesta, and Pietro Mulier. 
Scipione Oiguaroli, s, 2, 3, p4. 
II Montagna, cs, 2, 3*, 4. 
II Tempestino, s, 1, 2, 3* 4. 

MONNOYER, Jean Baptiste, called Baptiste. 
Jean Baptiste Blain, s, 2, 3, p4. 
Anthony Monnoyer, s, 2, 3, p4. 

MORE AND, George. His works have been im- 
mensely copied and imitated ; Stanley says 
"his brother Henry (Morland) kept a regular 
manufactory of them." 

MTJRILLO, Bartolome Esteban. 

Miguel del Aguila, 1, 2, 3, p4. 

Francisco Antolinez, s, 2, 3, p4. 

Sebastiano Gomez, called El Mulato de Murillo, 
s, 2, 3. 

Juan Garzon, s, 2, 3. 

Felipe de Leon, 1, 2, 3, p4. 

Don Bernardo German Llorente, 1, 2, 3, p4. 

Juan Simone Guttierez, s, 2, 3. 

Jose Lopez, s, 2, 3, p4. 

Esteban Marquez, 1, 2, 3, p4. 

Joya Fernando Marquez, 2, 3. 

Tommaso Martinez, 2, 3, p4. 

Don Pedro Villavicencio Nunez, s, 2, 3* p4. 

Francisco Ochoa, s, 1, 2,3* 4. 

Francisco Meneses Osorio, s, 1, 2, 3* 4. 

Francisco »le Pineda Perez, s, 2, 3, p4. 

Lorenzo Quiros, 1, 2, 3*. 4; was a famous copy- 
ist, and sold his pictures for originals. 

Jose Rubira, 1, 2, 3* p4. 

Don Alonso de Tobar, 1, 2, 3* 4 ; was a famous 
copyist and imitator, and sold his pictures for 
originals. 

NEEFS, Peter, the Elder. 
Theodore Babeur. s, 2. 3. 
Pierre la Fontaine, 2, 3* p4. 
Peter Neefs, the Younger, s, 2, 3, p5. 

NETSCHER, Gaspar. 
L Blyhooft, 2, 3, p4. 
N. Brant, s, 2, 3, p4. 



Daniel Haring, 2. 3, p4. 
Matthew Wytman, 2, 3, p4, 

OMMEGANCK, Balthasar Paul. His works 
have been largely copied and imitated. 
Jean Carol Carpenter©, 2, 3, 4. 
J. F. Lenzen, 1, 3* p4. 
Jacob Kouwenhoven, s, 2, 3, p4. 
Henry Arnold Myin, s, 2, 3. 

OSTADE, Adrian van. 
Cornelius Bega, s, 2, 3, p4. 
Jean Jacques Boissieu, 2, 3. 
John Molinaer, 2, 3. 
Nicholas Miense Molinaer, 2, 3. 
Bertram de Fouchier, 2, 3. 
Anthony Goebouw, 2, 3, p4. 
Giles van Schagen, 1, 2, 3, p4. 

PALMA, Jacopo, the Younger. 

Giacomo Alberelli, s, 1, 2, 3, p4 ; was his pupil and 
coadjutor for 34 years. 

Marco Boschini, s, 2, 3. 

Girolamo Gamberati, s. 2, 3*. 

Pietro Malombra, 2, 3, 6. 

Gio. Battista Novelli. s, 2, 3, p4. 

Santo Peranda, s, 2, 3, 6. 

Girolamo Pilotto, s, 2, 3, p4. 

Camillo Rama, s, 2, 3. 

Ascanio Spineda, s, 1, 2. 3* p4. 

Gio. Battista Tortiroli. 2, 6. 

Andrea Vicentino, 2, 3, 6. 

Boschini, who was Palma's pupil, enumerates 
six artists, viz. : Corona, Vicentino, Peranda, 
Aliense, Malombra, and Pilotto, '" whose man- 
ner so extremely resembles that of Palma, as 
to impose upon those who have not tact 
enough to detect the peculiar characteristics 
of each." 

PARMIGGIANO, or Francesco Mazzuolf. 
Pomponeo Amidano, cs, 2, 3* 4. 
Giacomo Bertoja, 1, 2, 3, p4. 
Francesco Borgani, 2, 3. 
Girolamo Mazzuoli, s, 2, 3, p4. 
Alessandro Mazzuoli, 2, p5. 

PERUGINO, Pietro, instructed many pupils, and 
Lanzi says a multitude of pictures are falsely 
attributed to him, which were executed by his 
scholars. 

Domenico Alfani, s, 2, 3, p4. 
Gio. Antonio d'Amato, 2, 3. 
Pietro Cesarei, 2, 3, 4. 
Carlo Crivelli, 2, 3*, p4. 
Eusebio di San Giorgio, s, 2, 3. 
Jacopo Pacchiarotti, 2, 3, 6. 
Gio. Niccolo da Perugia, s, 2, 3. 
Lorenzo Pittori, s, 2, 3. 
Antonio Semiui, 2, 3, p4. 
Niccolo Soggi, s, 2, 3, p4. 
Giovanni Spagnuolo, s, 2, 3, p4. 

POELEMBURG, Cornelius. 
Hattigh Jan Baak, cs, 2, 3. 
Abraham van Cuylenburg, 2, 3, 5. 
John van Haansbergen, s, 2, 3. 
Jan vander Lys, s, 2, 3*, 4. 
Wernard Rysen, s, 2, 3. 
G. Stenree, s, 2, 3, p4. 
Gysbrecht Thys, 2, 3, p4. 
Daniel Vertangen, s, 2, 3, 5. 
Francis Verwilt, s, 2, 3, 5. 



Ivi 



AN ALPHABETICAL LIST OF COPYISTS AiND IMITATORS, &C. 



POTTER, Paul. 

Jan Bernard, 1, 2, 3, p4. 

Adam van Borsum, 1, 2, 3. 

Camphu.vsen, 2. 3* p4. 

John ]e Due, s, 2, 3. 6. 

John van Gool, 2, p5. 

Jacob Janson, 1. 2, 3, p4. 

Jan Kobell. 1, 2. 3, p4. 

W. J. L. Spoor, 1, 2, 3, p4. 

Seghers or Zehers, 2, 3, 6. 

Walter John Troostwyck, 1, 2, 3, p4. 

POUSSTN, Nicholas. 
Giuseppe Bottani, 2, 6. 
Bernardo Cavallino, 2, 3. 
Gerard Lairesse, 2, 3, 6. 
Carlo Lodi, % 3. 
Nicolas Loir, 2, 3. 
Francis Mile, 2, 3, p4. 
Le Maire Poussin, s, 2, 3. 
Jacques Rousseau, 2. 3, 6. 
Peter Rysbraeck, 2, 6. 

POUSSIN, Gaspar. 

Francis Joachim Beisch, 2. 6. 
John Francis van Bloemen, 2. 3, 6. 
Gio. Domenico Ferracuti. 2, 6. 
John Anthony vander Leepe, 2, 6. 
Crescenzio di Onofrio, s, 2, 3* p4. 

RAFFAELLE. the great head and model of the 
Roman school, had many pupils, some of whom 
imitated him very closely. Some of his works 
were copied by his scholars, retouched by him- 
self, and now pass for originals or duplicates. 
See note, p. 758. 
Orazio Alfani ; some of his best works have 

been mistaken for the early productions of 

Raffaelle. 
Pedro Oampana, 2, 3. 
Polidoro da Caravaggio, s, 2, 3. 
Andrea Ooraodi, 1, 2, 3. 
Gaudenzio Ferrari, s. 2, 3. 
Vincenzio da San Gimignano, s, 2, 3. 
Salvo da Messina, 2, 3. 
Maturino, s, 2. 3. 
Pellegrino da Modena, s, 2, 3* 
Gio. Francesco Penni, s, 2, 3. 
Baldassare Peruzzi, s, 2, 3. 
Raffaellino del Colle, s, 2, 3. 
Bartolomeo Ramenghi, called II Bagnacavallo, 

s, 2, 3. 
Giulio Romano, 1, 2, 3*, 4. 
Andrea Sabbatini, s, 1, 2, 3. 
Lorenzo Sabbatini. 1, 2, 3. 
Enea Salmeggia, 2. 3. 
Andrea Semini, 2. 3. 
Ottavio Semini, 2, 3,* 4. 
Girolamo Siciolante, 2, 3. 
Pietro Martire Stresi, 1, 3. 
Benvenuto Tisio. s. 2. 3. 
Giovanni da Udine, s, 2, 3. 
Pierino del Vaga, s, 2, 3. 

REMBRANDT, van Rhyn. 

Nicholas van Bergen. 2, 3. 
Ferdinand Bol, s, 2, 3. 
Philip Jerome Brinckman, 2, 6. 
Solomon Coninck, 2. 3, 6. 
Benjamin Cuyp, 2, 3 
Jan Domer, 2. 3* 6. 



Heyman Dullaert, 1, 2, 3*, 4. 

Gerbrant vander Eeckhout, s, 2, 3. 

Govaert Flink, s, 2, 3. 

Arnold de Gelder, s, 1, 2, 3*, 4. 

Peter de Gelder, cs, 2, 3. 

Samuel Hoogstraeten, s, 2, 3, 6. 

Philip de Koningh, s, 2, 6. 

Nicholas Maes, s, 2, 3, 4, 

Jan Baptist van Mol, 1, 2, 3, p4. 

Horatius Paulyn, 2, 6. 

Adrian Verdoel, s, 2, 3. 

Jan Victor or Fictoor, cs, 2, 3*, 4. 

Gerard de Wet, s, 2, 3. 

Francis Wulf hagen, s, 2, 3. 

ROSA, Salvatore, had many scholars and imita- 
tors. Lanzi sa5^s, " the applause which Salvator 
Rosa received during his seven years' residence 
at Florence, induced many young men to copy 
and imitate him." 
Giulio Avellino, cs, 2, 3. 
Taddeo Baldini, s, 2, 3* p4. 
Jacob de Heusch, 2, 3. 
Alessio de Marchis, 2, 3. 
Lorenzo Martelli, 2, 3* p4. 
Evangelista Martinotti, s, 2, 3, p4. 
Francesco Martinotti, s, 2, 3. 
Gaetano Martoriello, 2, 3. 
Niccolo Massaro, s, 2, 3. 
Marzo Masturzo, s, 2, 3. 
Pietro Montanini, s, 2, 3, p4. 
Pandolfo Reschi, 2, 3, 6. 
N. Spierings, 2, 3* p4. 
Bartolomeo Torregiani, s, 2. 

ROMANO, Giulio. 

Teodoro (jhigi. s, 2, 3, p4. 
Gio. Battista Ghisi, s, 2, 3. 
Bernardino India, 2, 3. 
Rinaldo Mantovano, s, 2, 3. 
Benedetto Pagni, s, 2, 3. 
Giulio Tonduzzi, s, 2, 3. 

RUBENS, Peter Paul. " The works attributed 
to him are almost innumerable." Smith, in his 
Catalogue raisonne, describes about 1800, con- 
sidered genuine ; 1200 engraved ! 
Giles Backereel, 2, 3, 6. 
Giuseppe Bazzani, 2, 3. 
Matthias vander Berg, s, 1, 3. 
Theodore Boyermans, s, 2, 3, p4. 
Deodato Delmont, s, 2, 3, 6. 
Abraham van Diepenbeck, s, 2, 3, p4, 6. 
Justus van Egmont, s, 2, 3, p4. 
Gerard van Harp, s, 1, 2, 3*, p4. 
John van Hoeck, s, 2, 3*, p4. 
Jacob Jordaens, s, 2, 3*, p4. 
Godfrey Maes, 2, 3, p4. 
MiguefManrique, s, 2, 3. 
A. Marienhof, 1, 2. 3. 
Peter van Mol, s, 2, 3, 5. 
Daniel Mytens the Elder, cs, 2, 3. 
Gaspar James van Opstal, 1, 2, 3, 6. 
Erasmus Quell inus, s, 2, 3, 6. 
Cornelius Schut, s, 2, 3, p4. 
Gerard Seghers, 2. 3, 6. 
Peter Soutman, s, 2, 3. 
John Thomas, s, 2, 3. 
Theodore van Thulden, s, 2, 3* p4. 
Lucas Vanuden, 2. 3* 6, in' landscape. 
Simon de Vos, s, 2. 3* p4, 6. 
John Wildens, 2, 3* 6, in landscape. 



AN ALPHABETICAL LIST OF COPYISTS AND IMITATOES, &C. 



Ivii 



Jacob de Wit, 2, 3, 6. 
Francis Wouters, s, 2, 3, p4. 

RUYSDAEL, Jacob. 
Francis Decker, cs, 2, 3, 6. 
Cornelias Dubois, cs, 2, 3, p4. 
Jan van Kessel, 2, 3. 
Isaac Koene, s, 2, 3, 5. 
J. Rontbout, 2, 3, p5 
Henry vander Straeten, 2, 3. 
John Renier de Vries, s, 2, 3, 5 

SARTO, Andrea del ; works largely copied and 
imitated. 

Giuseppe Badaracco, 2, 3. 
Simone Balli, 2. 3,p4. 
Lodovico Buti. 2, 3. 
Jacopo Carrucci, s, 2, 3, 6. 
Domenico Conti, s, 1, 2. 
Felice Ficherelli, 1, 2, 3* p4. 
Jacone. s, 2, 3. 
N. Nannoccio, s, 1. 2, 3, p4. 
Pellegrino Piola, 2, 3* 6. 
Domenico Puligo, 1, 2, 3, p4. 
Andrea Sguazzella, s, 1, 2. 3*, 4. 

SOHALCKEN, Godfrey. 

Justus van Ben turn, s,2, 3*, 4; all his works are 

attributed to S. 
Arnold Boonen, s, 2, 3, p4j 6. 
R. Moris, s. 2, 3. 
Gerard Jan Palthe, 2, 3, p4. 
Robert Tournier, 2, 3, p4, 6. 
Anselm Weeling, 2, 3*, p4. 

SEGERS, Daniel. 
John Philip van Thielen, and his three daugh- 
ters, imitated Segers very closely. 

SLINGELANDT, Peter van ; imitator of Douw. 
John Filicus, s, 2, 3. 
Jacob vander Slays, s, 1, 2, 3, p4. 
Ary de Voys, s, 2. 3*, p4. 

SNYDERS, Fr/^ncis. 
Nicaise Bernaerts, s, 2, 3*, 4. 
Van Boekel, s, 2, 3, p4. 
Juriaen Jacobsz, s, 2, 3*, p4. 
Francis van Cuyck de Mierhop, 2, 3*, p4. 
Bernard Nicasius, s, 2, 3* 4; most of his 

works are attributed to S. 
Adrian van Utrecht, 2, 3. 6. 
Francis Peter Verheyden, 1, 2, 3, p4. 
C. Vonck, 2, 3, p4, 6. 
Paul de Vos, cs, 2, 3*. 

SOLE, Giovanni Giuseppe dal, instructed many 

pupils. 

Lucia Casalini, s, 1, 2. 3. 

Francesco Comi, s, 1, 2, 3. 

Gio. Domenico Ferretti, s, 2, 3, p4. 

Gio. Battista Grati, s, 2, 3. 

Girolamo Gregori, s, 2,3. 

Antonio Lunghi, s, 2, 3. 

Cesare Mazzoni, s, 2, 3. 

Francesco Monti Bolognese, s, 2, 3, 6. 

Teresa Maria Scannabecchi, s, 1, 2, 3. 

Mauro Soderini. s, 2, 3. p4. 

Felice Torelli, s, % 6. 

SOLIMENA, Cav. Francesco, had many scholars 

and imitators. 

Giuseppe Bonito, s, 2, 3*, p4. 

Scigione Cappella, s, 2,3. 



Carlo Corrado, s, 2, 3, 6. 
Francesco de Mura, s, 2, 3*, p4, 6. 
Oav. Giuseppe Petrini. 2, 3, 6. 
Giovanni Porcello, s, 2, 3. 
Ferdinando Sanfelice, s, 2. 

SPAGNOLETTO, Jose (or Giuseppe) Ribera \ 
style founded on that of M. A. Caravaggio ; 
works exceedingly numerous. Lanzi says his 
works have been largely imitated. "'We may 
rest assured that a great part of those in the 
collections (in Italy) attributed to him, are not 
justly entitled to his name, and ought to be as- 
cribed to his scholars." 
Giovanni Do, s, 2, 3*, p4. 
Francesco Fracanzani, s, 2, 3, 6. 
Cav. Pietro Novelli, 2, 6. 
Bartolomeo Passante, s, 2, 3*, p4. 

STANZIOxNII, Cav. Massimo. 
Agostino Beltrano, s, 2. 3. 
Paolo Domenico Finoglia, s, 2, 3. 
Andrea Malinconico, s, 2, 3, 6. 
Giuseppe MaruUo. s, 2, 3*, p4. 
Aniella di Rosa, s, 1. 2, 3. 

TENIERS, David, the Younger; his works have 
been immensely copied and imitated. 
Theodore van Abshoven, s, 2, 3*, 4 ; most of his 

works are attributed to Teniers. 
Francis du Chatel, s, 2, 3. 
Anthony Goebouw, 2, 3. 
Matthew van Helmont, s, 2, 3, 6. 
H. van Hont, s, 2. 3. 
Nicholas van Kessel, 2, 3*, p4. 
Arnold Maes, s, 2, 3. 
Theodore Michau, 2, 3, p5. 
John Andreas Nothnagel, 2, 3. 
Martin Henry Rokes, s, 2, 3, p4. 
Jacob de Roore, 2, 3*, p4 ; imitated the works 

of T, with immense success. 
Cornelius Saftleven, 2, 3, p4, 6. 
Matthew Scheitz, 2, 3. 
M. Schoevaerdts, 2, 3. 
Abraham Teniers, s, 2, 3, 5. 
John Thielens, 2, 3, p4. 
Giles Tilburg the Younger, s, 2, 3, 6. 
Peter Tillemans, 1, p4, 6. 

TERBURG, Gerard. 
Renier de la Haye, 2, 3. 
Gabriel Metzu. 2. 6. 

Eglon Hendrick vander Neer, 2, 3, p4, 6, 
John OchterveldtjCS, 2, 3* p4. 
John Tilius, 2, 3. 

TINTORETTO, Jacopo Robusti, called. ' 
Marc' Antonio Bassetti. 2, 3. 6. 
Melchiore Colonna, cs, 2. 3. 
Juan Antonio Escalante. 2, 3. 
Flaminio Floriano, L 2, 3* 4. 
Cesare dalle Ninfe, 2, 3* 4 ; works mostly at- 
tributed to T. 
Domenico Tintoretto, s, 1,2, 3* 4. 
Marietta Tintoretto, s, 2. 3. 
Antonio Vassilacchi, 2, 3, 6. 

TITIAN, the great head of the Venetian school, 
like Raffaelle, had a host of imitators and copy- 
ists. His works are very numerous ; above 600 
have been engraved. 
Gio. Battista Averara, 2, 3. 



Iviii . 



AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C. 



Alessandro Bonvicino, called II Moretto, s, 1, 2, 
3* p4. 

John van Calcar, s. 1, 2, 3*, p4. 

Giuseppe Caletti, called II Cremonese, 1, 2, 3*, 4. 

Domenico Campagnola, s. 2, 3, p4. 

Cav. Giovanni Contarini, 2, 3, p4. 

Lionardo Corona, 1, 2, 3*, p4. 

M. Ousin, 2, 3, in landscape 

Girolamo Danti, s, 1. 2, 3*, p4. 

Alexis Domenique, s, 2, 3*, p4. 

Lodovico Fumicelli, ps, 2, 3.. 

Gio. Battista Grassi, ps, 2, 3. 

Francesco Imparato, s. 2, 3. 

Gio. Battista Maganza the Elder, s, 2, 3, p4. 

Daraiano Mazza, s, 1, 2, 3. 

El Mudo, Juan Fernandez Navarette, called the 
Spanish Titian, s, 2, 3*. p4. 

Natalino da Murano, s, 1, 2, 3, p4. 

Gaspare Nervesa, s, 2, 3. 

Simone Peterzano, s, 2, 3 

Callisto Piazza, ps, 2, 3*, p4. 

Gregorio Porideo, cs, 2, 3. 

Domenico Riccio, called Brusasorci, imitated Ti- 
tian very closely in Venuses, Nymphs. &c. 

Pietro Rosa, s, 2, 3, p4. 

Girolamo Salvado. 2, 3. 

Giovanni Silvio, cs. 2, 3. 

Niccolo di Stefano, ps, 2, 3. 

Louis de Vadder, 2, 3. in landscape. 

Alessandro Varotari, 2, 3* p4. 

Francesco Yecelli. s, 2, 3* 4. 

Orazio Vecelli, s, 2, 3*, 4. 

Marco Vecelli, called Marco di Tiziano, s, 2, 3* 4. 

Polidoro Veneziano, s, 1, 2, 3, p5, 

Santo Zago, s, 2, 3. 

TROTTI, Cav. Giovanni Battista, called II Ma- 

LOSSO. 

Giulio Calvi, s, 2, 3. 

Stefano Lambri, s, 2, 3. 

Ermenigildo Lodi, s, 1, 2, 3* p4. 

Manfredo Lodi, s, 2, 3. 

Pier Martire Negrij s, 2, 3, 6. 

Panfilo Nuvolone, s, 2, 3, p4, 6. 

Euclide Trotti, s, 2, 3, p4. 

VANDYCK, Sir Anthony. 

John de Baan, 2, 3, p4, in portraits. 

David Beek, s, 2, 3, p4. 

John van Bockhorst, called Langen Jan, 2, 3. 

p4. 
Joseph Bokshoorn, 1, 3. 
Thomas Willeborts Bosschaert. 2, 3. 
Bernardo Carbone. 2, 3, in portraits. 
Adrian Hanneman, 2. 3. 
John Hayls, 1, 2. 3. 

John van Kessel the Younger, 2, 3, in portraits. 
Jansens vim Keulen, 2, 3* 4. 
Johannes Remigius Lange. s. 2, 3* 4 ; most of 

his works attributed to V. 
Peter Meert, 2, 3, in portraits. 
John de Reyn, s, 2, 3* 4. 
Hyacinth Rigaud, called the French Vandyck, 

2, 3, 6. 
Taco Scheltema, 1, 2 3, p4. 
Gysbrecht Thys, 2, 3* p4, in portraits. 
Peter Tyssens, 2, 3* p4. 
Cornelius de Yos, s. 2. 3. 
Robert Walker, 2, 3, in portraits. 
Weesop, 2. r . 4. 



Gerard Peter van Zyl, called the second 
dyck, s, 2, 3, p4. 

YELDE, William van de, the Younger. 
Bellevois, 1, 2, 3. 
Jan vander Cappelle, 2, 3, p4. 

YELDE, Adrian van de. 
Dirk van Bergen, s, 2, 3* 4. 
James Koning, s. 2, 3, p4. 
Peter vander Leeuw, 2, 3*, p4. 
Adrian Oudendyck, 1, 2, 3, p4. 
W. J. Troostwyck, 1, 2, 3, p4. 

YELDE, Isaac van de. 
Peter Deneyn, s, 2, 3. 
Palamedes Staevaerts, 2, 3, p4. 
J. Y. D. Stoffe, 2, 3, p4. 



Van- 



1 



VELASQUEZ, Don Diego Rodriguez de Silva 
Y., the great head of the Spanish school. 
Don Juan Y Gamon de Alfaro, s, 2. 3. 
Salvador Jordan, ps, 2, 3*, 4, in portraits. 
Don Diego de Lucena, s, 2, 3. p4. 
Don Juan Baptista Mazo, s, 1, 2, 3*, p4. 
Juan de Pareja, s, 2, 3*. in portraits. 
Antonio Puga, s, 2, 3*, p4. 

VERONESE, Paolo Caliari, or Cagliari, called ; 
instructed many pupils, and his works have been 
immensely copied and imitated. 
Michael Angelo Aliprandi, s, 2, 3. 
Ottavio Amiconi, or Amigoni, 2, 3. 
Gio. Battista Amigazzi, 1, 3. 
Gio. Andrea Ansaldi, 2, 3, p4. 
Luigi Benfatto, s. 2. 3, p4. 
Sebastiano Bombelli, 1, 2. 3*, p4. 
Agostino Bonisoli, 2, 3. 
Carlo Bononi, 2, 3, 6. 
Gio. Antonio Burrini, 2, 3, 6. 
Anselmo Canneri. s, 2, 3. 
Giulio Carpioni, 2, 3, 6. 
Gio. Paolo Cavagna, 2, 3, 6. 
Bartolomeo Cittadella, 2. 3. 
Giro da Conegliano, s, 2, 3*. p4. 
Antonio Foler, s, 2, 3, p4. 
Antonio Gandini, s, 2, 3, 6. 
Francesco Maffei, 2, 3, 6. 
Alessandro Maganza, 2, 3, 6. 
Parrasio Michele, s, 1,2, a* p4. 
Francesco Montemezzano. s, 2, 3, p4. 
Angelo Nardi, s, 2. 3, p4. 
John Erasmus Quellinus, 2, 3, 6. 
Romani da Reggio, 2. 3. 
Sebastiano Ricci, 2, 3* 6. 
Gio. Battista Riccio, s, 2. 3. 
Carlo Sacchi. 2, 3, p4. 
Sigismondo Scarsella, s, 2, 3. 
Ippolito Scarsella, 2, 3, 6. 
Gio. Battista Tiepolo, 2, 3, 6. 
Antonio Vassilacchi, s, 2, 3, 6. 
Battista Zelotti, 2, 3* 
Francesco Zucco, 2, 3*. 

VINCI, Lionardo da. 
Cesare Arbasia, 2, 3. 
Gio. Antonio Beltraffo, s, 2, 3, p4. 
Giuliano Bugiardini, 2, 3* 4. 
Lorenzo di Credi, 2, 3* p4 
John van Hemmessen. 1, 2, 3* 4. 
Bernardino Luini, cs. 2, 3*, p4. 



ALPHABETICAL LIST OF COx^YISTS AND IMITATORS, &C. 



lix 



Conte Francesco Melzi. s, 1, 2, 3* 4 ; painted 

from his designs. 
Andrea Salai, s. 1, 2. 3, 4 ; painted from Vinci's 

designs. 
Cesare da Sesto, s, 1,2, 3, p5. 
Gio. Antonio Sogliani, 2. 3, 6. 
Marco Uggione, s, 2. 3*, p4. 

WATTE AU, Anthony; works immensely copied 
and imitated. 
N. Anchilus, 1. 2, 3, p5. 
Nicolas Lancret. s, 2. 3*. p4. 
George vander M_yn, 2. 3, p4. 
Jean Baptiste Pater, s, 2, 3, p4. 

WEENIX. John. 
B. Admiraal. 2, 3, p5. 
Wybrand Hendriks, 2, 3, 6. 
Lelienberg, 2. 3 

John Joseph Ignatius van Straaten, 2, 3. 
Theodore Yalckenburg, s, 2, 3, p4. 

WERF, Adrian vander. 
N. van Heems, 1, 3, p4. 
Nicholas Juweel. 2. 3. 
Henrv van Limborgh, s, 2, 3, p4. 
Gerard Melder. 1. 2. 3. 
William Muvs. 2.' 
Engel Sara, 2. 3. 

John Christian Sperling, s, 2. 3, p4. 
John Abel Wassemberg, s, 2, 3*, p4. 
Elizabeth Gertrude TVassemberg. 2, 3. 
Peter vander Werf, s, 2, 3*, p4. 

WIT, or WITTE, Emanuel de. 

Daniel de Bliek, 2. 3. 
G. Hoekgeest, 2. 3, p4. 
Henrv van Streek. s, 2, 3, p4. 
Henry van Vliet, s. 2, 3* 4, 6. 
Jacob Xavery. s,' 2, 3, p4. 

WOUWERMAN, Philip. 
John van Breda. 1, 2. 3, p5. 
John van Doornick. 2. 3, p4. 
Charles van Falens. 2. 3. 
Barent Gaal. s, 2. 3, p4. 
William Kobel. 2, 3. 
Matthew Scheitz. s, 2, 3. 
Govaert Sinjeur. 2, 3, p4. 
Dirk Stoop. 2. o, p4. 
Peter Wouwerraan. s, 2. 3*, p5. 
John Wouwerman, s. 2, 3. p5. 
John Wyck, 2. 3, 6. 

general COPYISTS AND IMITATORS, OR ARTISTS 

WHO DID, OR COULD COPY SEVERAL 

MASTERS SO SUCCESSFULLY AS 

FREaUENTLY TO DECEIVE THE 

BEST JUDGES. 

AMIGAZZI, Giovanni Battista, 1, 3, p4, of 
Veronese, and others. 

ARETUST, Cesare, 1. 3* p4, of Correggio and 
others. 

BESSCHEY. J. F. 1. 3, in small, of Bubens, 
Vandyck. Rembrandt. Teniers. Gerard Douw, Ter- 
burg, Wynants, Pynacker. Moucheron. and others. 

BIST, Fra Bonaventura, 1, 3. in small of 
Corregcrio, Titian. Guido. Parmiggiano, and others. 

BOSELLI, Felice, 1, 3*, 4, of the old Italian 
masters. 

BOULLONGNE. Louis, the Elder, 1, 3*. 6. of 
the old Italian masters. 



BOULLONGNE; Bon, 2, 3* 6, of the old Ital- 
ian masters. 

CADES. Giuseppe. 2. 3* 6. of the designs of 
the great Italian masters. 

CAPPELLE, Jan vander, 2, 3, p4. of W. Van de 
Velde, de Vlieger, Ostade, vander Neer, and others. 

CAROSELLI, Angiolo. 1, 2, 3, p4, of M. A. Ca- 
ravaggio. and other great Italian masters. 

OARRE, Abraham. 1, 3. 5, of the Dutch mas- 
ters. 

CERRINI, Lorenzo, 2. of Cristoforo Allori, 
Guido, and others. 

CHIMENTI, Jacopo, 1, 3*. p4, of the Italian 
masters. 

COOLERS. Louis Bernard. 2, 3, p4, of Gerard 
Douw. and other eminent Dutch masters. 

COMODL Andrea, 1, 2, 3* 4, of Correggio. 
RafFaelle, and others. 

CORRADL Ottavio, 1, 3* 4, of Cavedone, 
the Caracci, Titian. Veronese, and others. 

CORTE, Davide, 1, 3*, p4, of the Italian masters. 

CREDI. Lorenzo di. 1. 3, p4. 6. of Lionardo 
da Vinci, and others. 

CRESPI. Cav. Giuseppe Maria. 1. 3*, 4, 6, of 
Correggio. Baroccio, the Caracci and others. 

DANDINI, Pietro. 1, 2. 3* p4, of Titian, Tin- 
toretto. Veronese, and others. 

DORA, Joseph, 1, 3*. 4. of Gerard Douw. Ter- 
burg. Francis Mieris. vander Werf. Teniers. and 
other Dutch and Flemish masters. 

FOTI, Luciano, 1, 3, p4, of M. A. Caravag- 
gio, Guercino. and others. 

FOUCHIER. Bertram de, 2, 3, p4, of Ostade, 
Brower, and others. 

GAREMYN, John, 2. 3, of Rembrandt, Teniers, 
and others. 

GIORDANO, LucA, 1, 2, 3* 6, of Rubens, Ten- 
iers, Bassano. and others; could imitate exactly 
every master. 

GOEBOUW, Anthony, 2, 3, p4, of Teniers, 
Ostade, and Lingelbach. 

INDIA, TuLLio, 1. 3; p4, of the Italian masters. 

JUVENEL, Paul, 2, 3, p4, of Adam .Alzhei- 
mer, Albert Durer, and others. 

LAZZARI, Giovanni Antonio, 2, 3* 4, of 
Bassano, and others. 

MAZO, Don Juan Baptista, 2, 3*, of Titian. 
Tintoretto. Veronese, Velasquez, and others. 

MELDER, Gerard, 1, 2. 3, p4, of vander Werf. 
Mieris, Rottenhamer, Rosalba, and others. 

MOYAERT. Nicholas, 1, 2, 3* p4, 6, of Adam 
Alzheimer, Rembrandt. Lievens, and others. 

ORIENT, Joseph, 2, 3, 6, of Breughel, Savery, 
Saftleven. and Griffier. 

PATICCHI, Antonio, 2, 3* 4, 6, of Polidoro 
da Caravaggio, and others. 

PIOLA. DoMENico, 2, 3. 6. of Castiglione. Pie- 
tro da Cortona, and Guercino. 

PIOLA. Pellegrino. 2, 3* p4, 6. of Lodovico 
Caracci, and Andrea del Sarto. 

RICCI, Sebastiano, 2, 3* 6, of Correggio, Ve- 
ronese. Guercino, and others; could imitate suc- 
cessfully every master. 



Ix 



AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C. 



RIVALZ, Antoine, 2, 3, 6, of the great Italian 
masters. 

RUE, RoMAiN DE LA, 2, 3* 4, of John Both, 
Hermann Swaneveldt, and John Asselyn; all his 
works are now attributed to those masters. 

ROSELLr, NiccoLo, 2, 3, of the Dossi, Garo- 
folo, Bagnacavallo, and others. 

RYCKABRT. "David, 2, 3, p4, 6, of Teniers, 
Brower, Ostade, Peter Breughel, and Schalcken. 

SABBATINI, Lorenzo, 2, 3, 6, of Michael An- 
gelo, Raflfaelle, and Parmiggiano. 

SARTO, Andrea del, 2, 3*, 6, of Rafiaelle, 
Correggio, Vinci, and others. 

SOHAGEN, Giles van, 1, 3, p4, 6, of Rubens, 
Rembrandt, Ostade, and others. 

SORETA, Charles, 2, 3* p4, of the Italian. 
Spanish, and Flemish masters, particular!)^ of 
Raff'aelle, Titian. Veronese, the Caracci, Guido, 
Domenichino, Lanfranco, Murillo, and Rubens. 

SPOOR. W-. J. L., 1, 3, p4, of Paul Potter, 
Cuyp, and other Dutch masters. 

STEFANESCHI, Giovanni Battista, 1, 3, in 
small, of Raifaelle. Correggio, Titian, Parmiggiano, 
Andrea del Sarto, Pietro da Corlona, and others. 



TARUFFI, Emilio, 1, 3, p4, of the great Ital- 
ian masters, particularly of Carlo Cignani, and Al- 
bano. 

TENIERS, David, the Elder, 1, 2, 3* 6, of 
Alzheimer, and Bassano. 

TENIERS, David, the Younger, I, 2, 3*, 6. 
of all the great masters of the Italian, Dutch, and 
Flemish Schools. 

TERENZI, Terenzio, 1, 2, 3* of Raffaelle. 
Baroccio, and others. 

TONI, Michael Angelo, 1, 2, 3, in small, of 
the great Italian masters. 

TORRE, Flaminio, 1, 3, p4, of the great Ital- 
ian masters. 

TREVISANI, Cav. Francesco, 1, 2, 3* 6, 
of the great Italian masters, particularly of Cor- 
reggio, Parmiggiano, Veronese, Guido, and Cignani. 

TROOSTWYCK, Walter John, 1, 2, 3, p4, 
of Paul Potter, Adrian Van de Velde, Karel du 
Jardin, and others. 

VANNI, Giovanni Battista, 1, 3. p4, of Cor- 
reggio, Titian, Veronese, and other great masters. 

VERHELST, Peter. 1, 2, 3, p4, of Gerard Douw, 
Mieris, Slingelandt, and others. 

VECCHIA, Pietro, 1, 2, 3* 4, of Giorgione, 
Titian. Pordenone, and others. 



AN ALPHABETICAL 



LIST OF AUTHORITIES 






Ireneo Affd. 



II Parmigiano Servitore di 

Piazza. 
Vita di Francesco Mazzuoli 
Trattato della nobilita dell a Pittura. — Alberti. 
Saggio sopra Pittnra. — Co. Francesco Algarotti. 
Opuscuii 'Eiv\\^\i\.— Giuseppe Allegranza. 
Memorie della vita di Pomponeo Amalteo. — Co. 

Federigo Altan. 
Memorie storiche su la vita di Lionardo da Vinci. — 

Carlo Amoretti. 
Anecdotes des Beaux Arts. 
Guida di Pescia. — Innocenzio Ansaldi. 
The Greek Anthology. 
Abrege de la Vies des plus fameux Peintres. — An- 

toine Dezallier W Argenville. 
Guida di Brescia. — Gio. Ant. Averoldi. 
Le pompe Senesi. — P. Isidoro Azzolini. 
Vitede'Pittori, Sculton, e Architetti. — Cav. Gio- 
vanni Baglione. 
Notizie de' Professori del Disegno, &c. — Filippo 

Baldinucci. 
Biographic des Peintres Flamands et Hollandais. — 

Balkema. 
Traite de Peinture. &c. — Dandre Bardon. 
Pitture e Sculture di Ferrara. — Cesare Barotti. 
Viaggio Pittoresco, — Giacomo Barri. 
Guida di Rovigo. — Francesco Bartoli. 
Le Peintre Graveur, 21 tomes. — Adam Bartsch. 
Le Vite de' piu insigni Pittori e Scultori di Fer- 
rara. — GiroL Baruffaldi. 
Dictionnaire des Graveurs. — Francois Basan. 
Guida di Pesaro. — Antonio Becci. 
Vite de' moderni Pittori, Scul- ;) ^. 

tori, e Architetti. f-Giampietro 

Vita di Cav. Carlo xMaratti. ) BeLiori. 
Guida di Eavenna. — Ah. Francesco Beltrami. 
Pitture e Sculture di Ferrara. — Cesare Benotti. 
Diccionario Historico de los mas illustres Profes- 

sores de las bellas Artes en Espana. — Cean 

Bermudez. 
Antichita di Aquileia. — Can. Gian Domenico Ber- 

toli. 
Risorgimento d' Italia negli studii, nelle arti, &c. — 

Ah. Saverio Bettinelli. 



Memorie della Vita di Gio. Bettino Cignaroli. — 
Ippolito Bevilacqua. 

Guida di Milano. — Carlo Bianconi. 

Direzioni per giovani Studenti in Architettura 
Civile. — Ferdinando Galli da Bihiena. 

Het Gulden Cabinet. — Cornelius de Bie. 

Biographic Universelle, 82 tomes. 

Delia nobilissima Pittura. — Biondi. 

Bellezze della citta di Firenze. — Francesco Bocchi. 

II Riposo. — Rajfaello Borghini. 

Carta del Navegar Pittoresco. ^ 

Le Ricche Miniere della Pit- > —Marco Boschini. 
tura. S 

Notizie alia Vite di Vasari. — Gio. Bottari. 

Dictionnaire des Monogrammes. — Brulliot. 

Galerie des Peintres Flamands, Hollandais et Al- 
lemands. — Le Brun. 

Guida di Mantova. — Giovanni Cadioli. 

Le Cronache di Cremona. — Antonio Campi. 

Le pubbliche pitture di Piacenza. — Carlo Carasi. 

Dialogos de la Pintura. — Vincenzio Carducho. 

Nuovo Dizionario istorico, Bassano, 1796. — Ah. 
Francesco Carrara. 

Vita di Benvenuto Cellmi.-^Benvenuto Cellini. 

Trattato della Pittura. — Andrea Cennini. 

The Works of Cicero. 

Storia della Scultura. — Count Leopold Cicognara. 

Dictionnaire des Monogrammes. — Prof. J. F. 
Christ. 

Serie de' Pittori di Verona, inserted in vol. iii. of 
the Cronaca dello Zagata. — Giamhettino Cig- 
naroli. 

Catalogo istorico de' Pittori e Scultori di Ferrara. — 
Cesare Cittadella. 

Voyage d' Italic, &c. — Charles Nicolas Cochin. 

Antichita Picene. — Ah. Giuseppe Colucci. 

Dictionnaire portatif des Beaux Arts. — Jacques la 
Combe. 

Vita di Raffaello di Urbino.— ^46. Comolli. 

Cabinet des Singularites. — Florentle Comte. 

Descrizione Odeporica della Spagna, &c. — D. An- 
tonio Conca. 

Vita di Michangiolo Buonarotti. — Ascanio Con- 
divi. 



Ixii 



AN ALPHABETICAL LIST OF AUTHORITIES 



Ristretto della Storia Bresciaua. — Lionardo Coz- 
zando. 

Vite de' Pittori Bolognesi, &c. — Luigi Crespi. 

Anecdotes of eminent painters in Spain. — Bich. 
Cumberland. 

Lives of the most eminent British Painters, Sculp- 
tors, and Architects. — Allan Cunningham. 

Guida di Cento. — Orazio C. R. Dandini. 

Vite de' Pittori Antichi. — Carlo Dati. 

Guida di Toi-ino. — Onoraio Derossi. 

Vies des Peintres Flamands, Allemands, et Hol- 
landois, — /. B. IJescam.ps. 

Manuel d'fconographie Chretienne. — Didron. 

Dialogo della Pittura. — Lodovico Dolce. 

Vite de' Pittori Napolitani. — Bernardo Dominici. 

Essai sur les Nielles. — Duchesne. 

Le Peintre Graveur Fran9ais. — Robert Dumesnil. 

History of the Arts of Design in the United 
States. — William Dunlap. 

Anecdotes of Paintei-s. — E. Edwards. 

Sculptura, or the History of Engraving on Cop- 
per. — /. Evelyn. 

Ravenna ricercata.— (riro/<777iO Fabri. 

Museum Lapid. Vicentinum. —PacZr^e Faccioli. 

De Viris Illustribus.— ^ar//io/. Facius. 

Monumenti Ravennati. — Co. Marco Fantuzzi. 

Memorie Trevigiane. — D. M. Federici. 

Entretiens sur les Vies des Peintres.— /. F. Fe- 
libien. 

Le Olassiche Stampe. — Giulio Ferrario. 

Handbook for Ti-avelers in Spain, — Ford. . 

La Teorica della Pittura. — Antonio Franchi. 

L'Art de Peinture. — Du Fresiioy. 

Guida di Ferrara. — Dott. Antonio Frizzi. 

Histoire des raeilleurs Artistes de la Suisse. — ./. C. 
Fuessli. 

Lectures at the Royal Academy. --iZe?zr// Fuseli. 

Dictionnaire des Artistes de 1' Ecole Fran^aise.- 
Gabet 

Inscriptiones Romance. — A. Galletti. 

Life and Studies of Sir Benjamin West. — John 
Gait. 

Guida di Volterra. — Ab. Antonjilippo Giachi. 

Vita Lamberti Lombardi. — liberties Goltzius. 

Lives of the Dutch Painters. — Johann van Gool. 

Thesaurus Veterum Dypticorum, &c. — Ant. Fran- 
cesco Gori. 

Memorie de' Pittori Messinesi. — Filippo Hackert. 

Tables historiques et chronologiques. — A. F. 
Harms. 

Handbook of the History of the Spanish and 
French schools of Painting. — Sir Edmund 
Head. 

Idee generale d'une collection d'estampes. — Baron 
Heineken. 

De Groote Schouburgh den Konst Schilders. — Ar- 
nold Houbraken. 

Manuel des Amateurs de I'Art. — Huber and Rost. 

De Levens en Werken der Hoi 1 andsche en Vlaamsche 
Kunstschilders. — Immerzeel. 

Treatise on Wood Engraving. — Tohn Jackson. 

Manuel de I'Araateur d'Estampes. — .Toubert. 
De Pictur&, Veterum. — Franciscus Junius. 

Handbook of the History of Painting, Parts 1 and 

2.— Dr. Kugler. 
Histoire de la Gravure en maniere noire. — La- 
bor de. 
Vies et (Euvres des Peintres 

les plus celebres, 21 vols. \ — Cha^. P. Landon. 
Annales du Musee, 33 vols. 



Storia Pittorica della Italia ; last edition, with cor- 
rections and additions by the author, pub- 
lished in 1809.— yl6. Luigi Lanzi. j 

L'Etruria Pittrice. — Ab. Lastri. 1 

Descrizione di Milano. — Serviliano Latuada. \ 

Dizionario istorico di illustri professori delle belle"* 
Arti in la citta di Urbino. — Arcip. D. Andrea* 
Lazzari. 

Sketches of the History of Christian Art. — Lord 
Lindsay. 

Vite de' piu celebri pittori, &c. — Ottavio Lione. • 

Trattato dell' arte della "J 

T3 J i"r\?* • Au y —Geo. Paolo Lomazzo. 
Idea del Tempio della / 

Pittura. J ' 

The Works of Lucian. 
Verona Illustrata. — Scipione Maffei. 
Felsina Pittrice. — Cesare Malvasia. 
Het Sciiilder Boek.— /fareZ van Mander. 
Guida di Rimino.---C. F. Marcheselli. 
Guida di L\.\ccix.— Vi?icenzio Marchio. 
DelicicB BataviccG varise elegantisque Picturas.— 

Jac. Marcus. 
Lettere Pittoriche Perugine. — Annibale Mariotti. 
Bologna perlustrata. — A. Paolo Masini. 
Le Reali Grandezze dell' Escuriale di Spagna. — D. 

Ilario Mazzolari. 
Origines Typographiciie.— G'erarrf Meerman. 
Vite de' Pittori Veneziani.MS. — Natale Melchiori, 
Memorie per le belle Arti, 4 vols., published al 

Rome from 1785 to 1788. 
Opere Diverse. — Cav. Antonio Raffaelle Mengs. 
Etudes sur I'Allemagne. ) 
Histoire de la Peinture Fla- > — Alfred Michiels. 

mande et Hollandaise. ) 
Vite dei piu celebri Architetti antichi et moderni. 

— Francesco Milizia. 
Vite de' Pittori Pcsaresi. — Gioseffo Montani. 
Pitture e Sculture di Perugia. — G. F. Morelli. 
Notizie istoriche, &c. — Ab. Domenico Moreni. 
Pisa illustrata nelle Arti del Disegno. — Alessan- 

dro da Morrona. 
Guida di Vicenza. — Francesco V. Mosca. 
Museum Florentinum. 

Neues Aligemeines Kunstler-Lexicon. — Nagler. ^ 
Thaumaturgus Opticus perfectissim^e Prospec- 

tivcB. — J. F. Niceronus. 
Voyage pittoresque de Naples et de Sicile. — Abbe 

de St. Nan. 
Life of Sir Joshua Reynolds. — James Northcoie. 

O;:"; Ul^lt \ '■' ''^- voIs.-M«rce«. OretH. 
Abecedario Pittorico.— P. Antonio Orlandi. 
Histoire de la Peinture en Italic. — Comte Orloff. 
Descrizione delle pitture d' Ascoli. — Bald. Orsini. 
Inquiry into the Origin and^ 

early History of En- 1 

graving. )■ — W. Y. Ottley. ^ 

Notices of Engravers and j 

their Works. J 

Trattato della Pittura e Scultura, &c. — P. Grian- 

domenico Ottonelli and P. da Cortona. 
Arte de la Pintura. — Francisco Pacheco. 
Las Vidas de los Pintores e Statuarios eminentes 

Espanoles.— Z). Antonio Palomino Velasco. 
Guida di Cremona. — Anton. Maria Panni. 
Annales Typographici ab Artis inventas Origine ad 

annum M. D. — G. W. Panzer. 
Traite historique de la gravure en bois. — J. B. 

Papillon. 



AN ALPHABETICAL LIST OF AUTHORITIES. 



Ixiii 



Vitc flc' Pittori, Scultori, e Ar- ^ 

chitctti moderni. _ y^Leone Pascoli. 

Vite fie' Pitton, Scultori, e Ar- j 

chiletti di Perugia. J 

•Vite de' Pittori, Scultori, e Architetti, &c. — Gio. 

Battista Passeri. 
Guida di Bergamo.— i9o^^. Andrea Pasta. 
Descriptiou oi- Itinerary of Greece. — Pausa- 

nias. 
Guida di Siena. — Gio. Antonio Pecci. 
Cabinet des Beaux Arts. — Charles Perrault. 
Cours de Peinture. ) 

Abrege de la Vies des Pein- > — R. de Piles. 

tres. ) 

Dialogo della Pittura Veneziana. — Paolo Pino. 
Lettere Pittoriche. 

The Natural History of Pliny., Book xxxv. 
The Parallel Lives of Plutarch. 
Vitede' Pittori, Scultori, e Architetti di Verona. — 

Bartolomeo dal Pozzo. 
Memorie istoriche di Antonio Allegri. — Pungile- 

oni. 
The Institutes of Qidntilian. 
Histoire de I'Art modern ) 

en Allemagne. > —Comte A. Raczynski. 

Les Arts en Portugal. ) 

Dissertation on Oil Painting. — Rodolph E, Raspe. 
Vite de' Pittori Genovesi. 
Vita di Cav. Ilaffaello 

Mengs. 

Della Pittura Friuliana, — Girolamo Renaldis 
Indice del Parnasso de' Pittori. — Seh. Resta. 
The Works of Sir Joshua- Reynolds. 
Le Maraviglie dell' arte, &o. — Carlo Ri.dolfi. 
Guida da Trevigi.— Z>. Amhrogio Rigamonii. 
Storia della Pittura I tali ana. — Rosini. 
Guida di Padua. — Gio. Battista. Rossetti. 
Guida di Parma. — Clemente Ruta 
Academia Artis Pictorise. — Toachim Sandrart. 
Venezia descritta. — Francesco Sansovino. 
L' Immortalita e gloria del pennello. — Agostino 

Santagostino. 
Guida da Napoli. — Ab. Pompeo Samelli. 
II Microcosmo della Pittura. — Francesco Scan- 

nelli. 
Le Finezze de' pennelli Italiani. — Luigi Scara- 

muccia. 
Serie dei pin celebri Pittori, Scultori, e Architetti. 

Florence, 12 vols. 
Regole Generali di Architettura. — Seb. Serlio. 
NoTlekens and his Times. — John T. Smith. 
Smith's Catalogue raisonne of the Works of the 

Dutch, Flemish, and French painters. 



— Cav. Carlo Giuseppe 
Ratti. 



Vite de' Pittori Genovesi. — Raffaello Soprani. 
Annals of the Artists of Spain. — W. Stirling. 
The Geography of Strabo. 
Biographical Dictionary of Engravers. — Joseph 

StrvM. 
Apparato degli uomini illustri di Ferrara. — Agosti- 
no Superbi. 
Descrizione del Vaticano. — Agostino Taia. 
Vite de' Pittori Bcrgamaschi.— Co. F. M. Tassi. 
De omni scientia artis pingendi. — Theophilus,Teo- 

Jilo, or Ruggiero. 
Dizionario degli Architetti, Scultori, Pittori. — Ste- 

fano Ticozzi. 
Notizie degli artefici Modenesi. — Cav. Tiraboschi. 
Guida di Roma. — Ab. Filippo Titi. 
Lettere Senese. — Guglielmo della Valle. 
Vite de' piu eccelenti Pittori, Scultori, e Architetti. 

— Giorgio Vasari. 
Vite de' Pittori, Scultori. e Architetti Modonesi. — 

Lodovico Vedriani. 
Verona Illustrata. 
Notices sur les principaux Peintres de I'Espagne. 

— Viardot. 
Trattato della Pittura. — Lionardo da Vinci. 
De Architecture. — Vitruvius. 
Anecdotes of Painting in England. — Walpole. 
Dictionnaire des Arts de Peinture. Sculpture, et 

Gravure. — Claude Henry Watelet. 
Supplement au Pemtre Graveur de Adam Bartsch. 

— Rudolph Wei gel. 
De Levens-Beschrivingcn de Konst Schilders. — J. 

Campo Weyerman. 
Storia delle Arti, &c. — Giovanni Winckelmann. 
Enciclopcdia Metodica delle Belle Arti. — Zani. 
Notizie istoriche de' Pittori Cremonesi. — Gio. Bat. 

Zaist. 
Memorie della citta di Brescia. — Bald. Zamboni. 
Della Pittura Veneziana. — Ant. Maria Zanetti. 
Storia dell' Academia Clementina di Bologna. — 

Giampietro Zanotti. 
Idea de' Pittori, Scultori, e Architetti. — Fed. Zuc- 

caro. 

Also, Rees' Cyclopedia, the Encyclopedias Brit- 
annica and Metropolitana, the Penny Cyclopedia, 
and the American Encyclopedia ; Chalmers' and 
Rose's Biographical Dictionaries ; the London Art 
Journal, and other periodical works relating to the 
Fine Arts, published more recently ; besides much 
important information concerning American Art 
and Artists, which has transpired within the 
knowledge of the author, during the past twenty 
years. 



i 



4 



MONOGRAMS. 



Plate I. 



p. Aartsen. 



EK-F 1677.0.^ 



H. Abbe. 



L. Abents. 



Adamo. 



Adam Alzheimer. 



John van Aken. 



?fe/.ffi/'P^-IB 



Cherubino Albert!. 



F. van Aken. 



H. Aldegrever. 



Alessandro Algardi. 



Huycb Allard. 



HI L\ I 



or 1 
Albert Altdorfer. 



l^-fil.»iK-W.-^.-j. A. 



Justus Amman. 



W -M. -M -Fl-F\,-]rk. 



Andrea Andreani. 



j:, 



Silv. Antonianus. 



Peter John van Asch. 



Hans or John Asper. 



Cfl-7i.-^, 



John Asselyn. 



John Walter van Assen. 



W. V. Assen. 



Audenaerd, or Oudena«rd. 



Henry van Avercam. 



®^o.^orGAS.F.o^(}.A.P.K 

ovGASPAR,P. F., otGASPABJ., ot G ASP.f., or GAS. f. 
Gaspar Avibus, or Patavius. 



/>y.Ai»i.Ay.^ 



Peter van Avont. 



lAl DB 

Francis de rf\ Babylone, 
or Jacob da Barbary. 



^ 



Alessandro Badiali. 



Hi 
Antonio Badile. 



William Baillie. 



Hans Baldung, 



Antonio Balestra, 



® E)^oD. F. 

Domenico del Barbiere. 



i5^or A. F. 

A, F, Bargas, 



F. B. V. F. 

Federigo Baroccio di Urbino, 



©"■^B-w^^-^^B. D. 

or Barriere Gallus, in. et del. 
Dominique Barriere, 



H. B. or H.B. fee. 

Heinrich Bary, 



John William Baur, 



MONOGRAMS. 



Plate n. 



P. B. Fs ^"^ P S. B. F. °' Petr. Ss. Bart, Sc, RomcB. 
Pietro Sante Bartoli, called II Perugino. 



Niccolo BeatricijOf Lorraine. 



•N. B. L. F. or N. B. L. or N. B. F. or jy,B. E^ma,orB.Rom<e. 

Niccolo Beatrici, of Lorraine, 



"B^ 



or Micarino, fee. 



Domenico Beccafumi, called 
Micarino. 



^ Bartholomew Beham. 



lSfi;°'^ISP 



Hans Sebald Beham. 



M 



Mathew Beitler. 



Stefano Bella Bella. 



M.B. pinant. 
Marco Bello. 



YfdrJB 

J. Vander Bent. 



l^'SiJ. orJ\f^,''r<^e^rc^ie^Ofec.,<.rN.B.fec. 



Class, or Nicholas Berghem. 



3.-I. G. B. 1730. 

J. G. BergmuUer. 



B 



rolomon Bernard. 



IBM"-^ 



J. B. Bertani, Britano, or Ghisi. V ^ 




(7. jB« ^*^^- «^ 5C- 
Charles Bertram. 



Joachim Beuckelaer. 



LB. 



James Beutler. — James Binck and 
Hans Burgkmair used these initials 



Bibiena, or Galli. 



Adrian de Bie. 



James Binck. 



LB.1529orl5L B.27 

James Binck. 



B.B.1656. 

Bartolomeo Biscaino. 



3f 

John de Bischop. 



F.B.B.F.iesi. 

Fra. Bona Bisi. 



^ 'T<T>-'P. V.B.I. f. 1751. 



Peter van Bleck. 



CP.F^^.I.G.B.1638. 
J. G. Blecker. 



Henry de Bles. 



or AB. BL., in., or A. BL., in., or A. BLOEM., in. 

Abraham Bloemaert. 



F»B» ^"^ FiBt^'""- ^"^ F.Bi->^^'*^/^^-^^^^^- 

or A. BLOEM., inv., F. B.JiliiLs fecit. 
Frederick Bloemaert. 



C. Bl orC. Blo. ox Corn. Bio. Sc. RomcB. 

Cornelius Bloemaert. 



^ 



orFVB 

1702 

Peter van Bloemen. 



i 



i 



MONOGRAMS. 



Plate III. 



M^^^j!^ 



1610. 



Micliael Blond. 



Lansloot Blondel. 



Abraham Blotelmg 



RY.B. 

F. van Bocholt. 



^/- 



Geo. Bockman. 



2^1770.^^0. B. 1777. 

Jean Jacques de Boissieu. 



E. 



^^Renatus, fecit. 
Rene Bovin. 



F. B.f. or F. Bol,f. 1644. or Boljec, 1643. 

Ferdinand Bol, 



Jrijol, or H. B. inv. 

Jolin or Hans Bol. 



,yJlH)^1560. 

Niccolo Boldrini. 



tJjr f^^ ^\D*^^ ci^C dam jQolsvert, or jy^olsuerd. 



or B. a. Bolswert, Sc. 
Boetius Adam Bolswert, or Bolsuerd. 



or /S. A. Bolswert, sc. 
Scheltius A. Bolswert, or Bolsuerd. 



i^-wr-B-I.B.orB.F.o^LF.B. 



Giulio Bonasoni, 



Julio B.F. or /. V.Bonaso, or Julio Bonaso. or Julio Bolognese, fee, 154^6. 

Giulio Bonasoni. 



B 



or/?, Bona,^fec. 

Domenico Bonavera. 



P5 



Peter vander Borcht. 



m 



Henry vander Borcht. 



P. Bordone. 



^^or[|=;g^or 



(§B.orpy3,<^^iB. 



Orazio Borgiani. 



Jerome Bosche, or Bos. 



Jj« j5» or J5» Jd« r* ^^ Jac. bb. or Jac. Bos.,f. or Jacobus Bossius, Belgia, incid. 



Jacob Bossius, or Bos. 



Andrew Both. 



X B. f. or J. Both, fee. 
John Both. 



P. D. B. inv. et incidit, 1631. 



p. de Brauwere. 



Jacob de Bray. 



Pierre Brebiettie. 



^-B-B.B.F.orB. 

Bartholomew Breemberg. 



'M 



D. V. Bremden. 



MONOGRAMS. 



Plate IV. 



ffl-#B46B 



Hans Bresang. 



Jbr. Jo. JMa. ijrix. ^^ -tr. Jo. J^jlaricB J>rixensis. 

Fra, Giovanni Maria da Brescia. 



\R'^ 



or Jo. An. Br., or Jo. An. BJC., or Jo. An, EX., or L A. Brix^, or Jo. Anton. Brixian. 

Giovanni Antonio da Brescia. 



M 

Abraham Breughel. 



Ph. Urinck. del et fee. 

Philip Jerome Brinckman. 



c]0(B.«<:^B/:-i- 



Crispin vanden Broeck. 



Crispin, inv., B., fecit., 

or Barbara filia CHspini, sc, or B.Jilia, sc, or B.fil., sc. 
Barbara vanden Broeck. 



J tJJ^'t /i3 / a.^ de ^J. 



John van Bronkhorst. 



gjorj^or g g, 1540 or IsH, B.45. 



Hans Brosamer. 



/M/' 



IWF 



John vander Brupro-en. 



^BC-PR .-JW I.V. B. R 0^ VV.^BR..FE, orj.v. Brug, f. 



John vander Bruggen. 



or Ah. Brim., or Bruynus. 
Abraham de Brayn. 



/S^PINX. or ^,o.|^ 0. 1^ 

Nicholas de Bruyn. 



f^i&.¥B'-m'^-9rmT 



Nicholas de Bruyn. 



p^.-ITBo^ITBFE. 

John Theodore de Bry, or Brio. 



/^ J. Theodore, fee, or J. T. de Bry, inv, etfec, 

.John. Theodore de Bry, or Brie. 



Bv." T. d. B.f. 

or de Bry^ fee. 
Theodore de Bry, or Brie. 



Michael Burghers. 



KBorj^o.^ 'ib'^-S.B.o^I.B. 



Hans or John Burgkmair. 



Cfte.o^ Aordl.oreB-CvB. - S or C. B. 













MONOGRAMS 


. 




Plate V. 


J" B- «r John Busse. 

John Busse. 


William de Buytenweg. 

1 


ML AG. FLO. 

Michael Angelo Buonarotti. 


V. C» 1530. 

Vincenzio Caccianemici, 


c^orD.C.or ! 

DO. CAMP. 1517. 
Domenico Campagnola. 


invent, fee, or Jac. Callot, inv. etfec. 

Jacques Callot, 


C. C. or C.C. fecit, or C.P.C.deT.fec. 

Charles Campion, Comte de Tersan. 


Alonso Cano, 


Bemigio Cantagallina, 


aS'. C. daPesare,fec., or 

G. Henus, inv. etfec. 
Simone Cantavino, or Simone da Pesaro, 


1 Doni. Ma. Can. fee. ^ 

or Canutus, Sc. 
Domenico Maria Canuti, 


SCjA C. '' L. C. G. «■• LO. C. °'Z. c. f. i584. 

or Lod. Car., inv. or fee. 
Lodovico Caracci, 


A. (j.°^(j. A.°'-AUG. F. ovAgos. a ibst. 

Agostino Caracci, 


A.C. or^. Cinv. etfec. 1606. 

Annibale Caracci. 


(t'^^F. 0.1^.1621. 

Francesco Caracci. 

1 1 


1 

(B or (K^ 1553. or J. J. Caraglia Veronese, 1553, 

or Jacobus Veronensis, or R. J. Jacobus, Ver.fec. 
Giovanni Giaeomo Caraglio, or Caralius, 


i.-»^.CIV.F.INV. 

Lodovico Cardi, or Cigoli. 


oO \j^ LTV 

Bernardo Castelli. 


M^^^io^ovT^.ovGio. Bene. Cast. Gen.Jec, 1658, 

or Castiglione,fec. 
Giovanni Benedetto Castiglione, called Benedetto. 


Giovanni Battista Cavalleriis. 


1 r 

Frangois Chaveau. 


^^^Imc. Clam. Ui'hi., I. V. Doctr. del. et sculp. 1609. 

or Imcos Ciamherlanus. 
Luca Ciamberlano. 


or Henricus Clivensis, fecit, or Henri a Cleve. 
Henry van Cleef. 


^S«-M.V.CLE.Inuent. 

or an Ape. 
Martin van Cleef. 



7 



m 



MONOGRxiMS. 



Plate VI. 



or Johann Clein. 



or F. Cleyn^ fecit ^ 1645. 

Francis de Cleyn, or Kleyn. 



-&• 



Herman Coblent. 



Nicholas Cochin. 



or Hieronymus Coccius^ invent, or H. Cock, fecit, or inv. etfec. 
Jerome or Hieronymus Cock. 



Thomas Coekson. 



£. 



or S. Colbenius, fecit. 
Stephen Colbenschlag. 



Hadria. Coll. sculp. 
Adrian CoUaert. 



M'-ieE-H.C.F. 



or 



Hans CoUaert, fecit, or Johannes CoUaert, sc. Romce. 
Hans or John CoUaert. 



Hieronymus Colleo. 1555. 



Grirolamo CoUeoni. 



Jan de Cologne. 



X 



Cosimo Colombini. 



(for CO. F. 

Cammillo Congio. 



C Koning^fec. et exc, 

or C. Koninck, scut, et exc. 
Cornelius Coninck or Koninck. 



>S^. Koninck^ 1628. 

or Sal. Koning, invent. 
Solomon Coninck or Koninck. 



A. Conradusjfec, 

or sculp. 
Abraham Conrad. 



B. C. Sc. RomcB^ or 

G. R. ; B. C. Sc. Romce. 1647. 
Bartolomeo Coriolano. 

C Cf. 1568. 

or In. Venetia, Corn. Cort. fee. 1571. 
Cornelius Cort. 



J. jB. C. Sc. or // Coriolanojfec* 

or J. B. Coriolanus, sc. 
Giovanni Battista Coriolano. 



jr. C.fec. 

or Giac. Cortese,fec. 
Jacopo Cortese, or II Borgognone. 



L 



Peter Cottart. 



S^ 



Jean Couvay 



MICHEL FLA 

MINGO I N- 

VE NTVR. 



Michael Coxcie. 



£.ori.y.c.B. 

Jesse Craesbecke. 



e<^ ^ -*^-L-6orLc.w. 



Lucas Cranach, or Kranach. 



^ 



Johann Creutzfelder. 



or T. Cruger. sc. 1618. I or Mat Ci'Uger, sc. 

Dirk or Theodore Cruger or Kruger. j Matthias Cruger or Kruger, 



croockIi- 

Hubert de Croock. 



MONOaRAMS. 



Plate VIL 



^ .0^ ^7^uyl, del. et sad. 1665. 



Levinus Cruyl. 



Dirk or Theodore van Cuenliert. 



I ^ Co^EV.C. 



Hans or John Culmback or Kulmback. 



^ 



,01'^. C.sc. 1645. 

Benardino Curti. 



pfcori). C.SC. 1954 

or i^. Custodis, inv. etfec. 
Dominick Gustos. 



C. D. sc. or C. van Dalen, sc, 

Corneliug van Dalen. 



Pierre Darct. 



L. D. sc. or scul. or fec 

Leon Daven. 



C.D.F.orO.D. 

or C. D. sc. or C. David, sc. 
Charles David. 



BF" HT-/^"H.D. F. or ID. F. 



or H. David, St. 
Jerome (Hieronymus) David. 



Louis David. 



Jerome Davilloo. 



© 



Cornelius Docker. 



Charles Decker. 



(fe"'^ 



or G. J. Delphius, sc. or fec. 

William (Guillaume) James Delft. 



VM) 



or 



Nicholas Manuel Deutsch. 



Rodolphus Manuel Deutsch. 



or 5. Dolendo, inv. etfec. 
Bartholomew Dolendo. 



f)°'Za. Z»o. scmZ. oxZaBo/ciX. 1581. 

Zachary Dolendo. 



Dosso Dossi. 



BSL 



Albert Durer. 



,I@or^or|>,orI.]),i530. 

Jean Duvet or Danet. 



Sir Ant. Vandyck. 



G.Y.D.1646. 

Gerb. vanden Eeckhout. 



R. E. 1620. 

Benold Elstracke. 



Peter vander Elst. 



C. Engelbrechstein. 



J- E./ec. 

John Evelyn. 



I 4 













MONOGRAMS. 




Plate VIII 


1 

A.y.E. or /D/ 

Albert van Everdingen. 


HL^ 1652. 

Csesarvan Everdingen. 


ii 

T.f: 

William Faithorne. 


Domenico Falcini. 


F.V.F. 

F. V. F. Sc. 1613. 
Frederick van Falckenbourg. 


Antonio Fantuzzi. 


P.RorP.y.F. 

or Paul Farinat,/. 
Paolo Farinato, of Verona. 


P. F. in., Ho. F. V.fec. 

or Ho. F. F. f. Paul Fa. V. I. 
Orario Farinato. 


Capricci fatti ver F.F, 

Paul Francis Ferg. 


Si 

Odoardo Fialetti. 


Maso Finiguerra. 


Jacommetto de Flor. 1409. 

or Jacobello de Flore. 1432. 

Jacobello del Fiore. 

1 


Albert Flamen. 


Francis Floris. 


1 

Vincentius Brixiensis, fecit, 1455. 

Vincenzio Foppa of Brescia. 


M 

David Antonio Fossato. 


In the Museo Fiorentino, 

plates marksd V. F., are by 

Vincenzio Francescbini. 


Hi R R 1617. 

Jerome Franck 


Francis Frederick Franck. 


B.F.y.F. 

Battista Franco. 


J. Franco RomoB, sc. 

Giacomo Franco. 


S. P fecit, 

or >S^. F7'isius,fec. 
Simon Frisius. 


J^^"" aS: Fulcarus, 

or S. Furck.f. 
Sebastian Furck or Fulcarus. 


Peter Fumius. 


Barent (JaaL 


Gio. Bat. Galestruzzi. 


Philip Oalle, 


Theodorus Galleus, M, D, C, 

Theodore Galle, 


B.G. 

Bernardo Gallo. 


Gamperlin. 


Antoine Gamier. 


m 


Noel Gamier. 


To. Jacobi Gavitii opus, 

or Jacobus Gavatius de Bergamo P. 
Giovanni Giacomo Gavasio. 



MONOGRAMS. 



Plate IX. 



1 

Augustinus de Gavazzis, 

Civ. Berg., pinxit anno 1527. 

Agostino Gavasio. 


Leonar. Gaiter., fecit, 1581, or L. Gaultier, sc. 
Leonard Gaultier. 


Arnold de Gelder. 


Sigismund Gelenius. 

1 


^orA.G. 

or A. Genoels, fee. 1684. 
Abraham Genoels. 


I lA 

Andrew Gentsch. 


IE^°'^'WrT'i6i7°'-ife 

or J. de Ghein^ inv. etfec. 
James de Gheyn, or Ghein. 


Jacob de Gheyn. 

1 


William de Gheyn. 


G 






Giorgio Ghisi. 

i 


[iWn 


io. Bat. Ghisi. 


Adamo GhisJ. 


II. V . 1. Diana Mantuana. 

Diana Ghisi. 


Giacinto Gimignani. 


Joan, Qeorgius Patavii 

Giovanni Giorgio. 


Albert Glockenton. 

i 


1 Van Goar. 

1 


i^°'H. Goltzjec. 

or Henricus Goltziusjec. or sc. 
Henry Goltz. 


CI, Goyrand, Gall'', sc. jRonice. 

Claude Goyrand 


4-ffr 

James Grandhomme. 


or Jerome von Franckfort. 
Jerome Greff. 


M. Greischer. 


Matthew Greuter. 


Hans Grunewald. 


Joan. Fr. Cent., 

or Joan. F. Barbieri,/. 
Giovanni Francesco Guercino. 


Hans Guldenmmidt. 


i 
Cornelius van Haerlem. 


(H 1614 - ^°'- dH''' GrrUL^ J\ 

Cornelius van Haerlem. 


Count Hagedom. \ 



MONOGRAMS. 



Plate X. 



John van Hagen. 






Jolin V. Halbeck. 



FllH 

Francis Hals. 



A. B. du Hamel. 



John Haver. 



ill 

Niccolo Francesco Haym. 



JoHANis. Hemline ^^"^'^^'H. 



John Hemmelinck. 



^ 



Martin van Hemskerk. 



JAl 

Augustine Hirschfogel. 



Nicholas Hirschfogel. 



H 

George Hoefnagel. 



(HorCH 

Ot. Hoekgeest. 



To. Hogen^ fecit 

John Hogen. 



Jlogenbergius, sculpsit 

Remigius Hogenberg. 



Franciscus Hogenhergius^ sculpsit, 

Francis Hogenberg. 



or HANS. HOLE. 

Hans Holbein. 



Sigismund Holbein. 



EUas Hon. 



S "Wm^-'WI"^^^. 



Wenceslaus Hollar. 



MD-H 

Melchior Hondecooter. 



or Jodocus Hondius. 
Jost de Hondt or Hondius. 



or H. Hondius, or H. H. fee, 1598. 
Henry de Hondt the Elder. 



or W. Hondius, fecit. 
William de Hcndt. 



no^PDH 

Peter de Hooge. 



M°'-StH 

Samuel van Hoogstraeteix. 



pjijio'-pjH 

David Hopfer 



Jerome Hopfer. 



LH. 

Lambert Hopfer. 



$. 



John Hoskins the Elder. 



LH, 

John Hoskins the Younger. 



WI 



William Howard. 



John van Hugtenburg. 



MONOGRAMS. 



Plate XI. 



sw 



Simon Huter 



R 

Peter Isselburg. 



A. D. I. F. 

Antoine de Jacquart 



Christopher Jamitzer. 



H. Janssens. 



K.D.Lor^Z>. f^Z/ec. 

Karel du Jardin. 



Gl 

Christopher Jegher. 



Pet. de Jode^ scidp. or fee. 1606. 

Peter de Jode, the Elder. 



P. de Jode, fee. 1659. 

Peter de Jode, the Younger. 



I I. D. I 

J. M. de Jonge. 



M 



A.vander Kahel, or Cabel. 



m 



or M. Kager, fecit. 
Matthew Eager. 



or Marius Kartarius RomcB. 1567. 
Marius Kartarus, or Kartarius. 



Ang. K.fec. 1764. 

Maria Angelica Kauffman. 



George Keller. 



^^or.|for[^orJ.)[^_ 



James Kerver. 



^/fC or T. V. K. 

Theodore van Kessel. 



JIt-'K 



or Adrianus Thomce Keii, fecit. 1575. 
Adrian Thomas Key. 



Theodore de Keyser. 



or 



James Kierinss or Cierincx. 



James Kierings or Cierincx. 



Wolfgang Kilian. 



K. F. RomcB., 

or J. Ch. Klenghel, f 1771. 
John Christian Klenghel. 



HC'HC 



Hans Klim. 



L K. or/./ir,1520. 



AK. 



James Kobel. 



1609. 

Andrew Kohl. 



M 



John Ulrich Kraus. 



W 



Lucas Krug or Krugen, 



or T. Cruger, sc. 
Theodore or Dirk, Kruger or Cruger, 



Matthias Kruger. 



J. S. K. 

Jane Sibyl Kusell. 



J. L. y. E. s. 

Johann von Ladenspelder 



MONOGRAMS. 



Plate XII 



P. V. Laer, f. 

or P. D. Laer.f. Romce ; or P. de Laer. Bomce. 1636. 
Peter de Laer, called Bamboccio. 



68 



orff \' orfta or 



s 



Gerard de Lairesse. 



£ 



Vn/U-tyTttoy" 



or 



J).^' L'^'dcu ^- Ji..-G Ic^. 



or 



aire 



Gerard de Lairesse. 



ML,°'<E,»'a»i 



Gerard de Lairesse. 



Ahasuerus Landfield. 



(j, L. 



Cav. Gio. Lanfranco. 



Toinette Larcher, 

Antoinette L archer. 



DL-F.L. 

Nicholas de Larmessin. 



Marcellus Laroon. 



IVL 



Michel Lasne. 



P.L. 



Peter Lastmann. 



Nicola Petri, sc. 1648. 

or Nicol. Lastmann. 
Nicholas Lastmann. 



S.-S.F. 

or S. fecit, or Stephanus fecit. 
Stephen Laulne. 



a 



IS58 



or 



^¥ 



Henry Lautensack. 






or 






Hans Sebald Lautensack, 



a-'EL. 

Hans Lederer. 



i5l 

rrn 

James Lederlia. 



D. Leeuio^fec, 

or J. de Leeuw, sc. 
John de Leeuw. 



^f^.ory^f 

William de Leeuw. 



G. Leone J fee, 

or G. V. Leeuw fee. 
Gabriel vander Leeuw. 



t, 



Godfrey Leigel. 



M"'HLN 

or Hans Lencker Nurem- 

hergensis. 

Hans Lencker. 



m 



to 



LuccLS van Ley den. 



Joh.Antonius Corticellis.P. 1520. 

or Joh. Antonius Regilhis, P. 1535, 

or Lnjcinius P. 

Giovanni Antonio Licino, called II Pordenone. 



I.L. 



or Joannes Lyvyns, fecit. 
Johann Lievens. 



H.V.L. 



Hans van Lin. 



tJFr 

JLits Linck. 



£,o,g,»\^.,Pv:L jL 



Peter van Lint. 



Kene Lochon. 



W. 



■\ViUiam Lodpre. 



4 



• 




MONOGRAMS. 






Plate XIII. 


1 'LLLF. 

or Lo. F. or Laur. Lol. 
Lorenzo Loli. 


RF. 

Pierre Lombard. 


Ahasuerus van Londersell. 


or J. Lond. or J. Londer. fee. 
John Londersell. 


Melchior Lorich. 


Michele Lucchese, or 
Michele Lucensis of Lucca. 


Anto. Fra,n. Lucini. 


Gerrit Lundens. 


Jan vander Lys. 


A 

Peter Maes. 


or Johannes Melbogius, or Jooes Malhogius, or Johannes Malbodius, 
or Jodes Malhogi. pingebat, or Joan Mabusius. 

John de Mabuse, or Malbeugius. \ 


Jos. Ma.faciebat. 1630. 

Giuseppino da Macerata. 


J. Mains ^ in. et fee. 

or Joh. Mains, fee. 1600. 
Giovanni Maggi. 


Jbr. or Jorma, sculp. | 

Thomas Major. 


MHR1499. 

Main 


ms^ 1660. 

Alexander Mair. 


D. M. F. 16^. 

Daniel Manasar. 




0, Masseus, pinxit 

Otho Marcellis. 


M'M.-PM 

Peter Marchand. 


VV> 4 


Andrea Mantegna. 


Jacob Matham. 


Th. M. fecit or sculpsit, or Th. Matham, fee. 

Theodore Matham. 


or Corn. Met. or Cornelius Metensis. 
Cornelius Matsys, Metsys or Metensis, 


Christopher Maurer. 


I. V. M. 

or Israhel V. M. or Israhel M. 
Israel von Mecheln or Meckenen. 


J. V, der Meer de Jonghe, fecit. 1683. 

John vander Meer the Younger. 

i 


or Meldolle, or Andrea MeldoLla. 
Andrea Meldolla. 



i 



1 



I 



MONOGRAMS. 



Plate XIV. 



CM. 

or a Mel or CI Mell. 
Claude Mellan. 



Opus Melotii Foroliviensis. 



Melozzo da Forli. 



Simon de Senis. 

Simone Memnii. 



j^"i[«m."iW"7mi6 



10 



Matthew Merian the Elder. 



Matthew Merian the Elder. 



Antonellus Messaneus^ fecit. 1494. 

or Antonius Messinensis. 
Antonello da Messina. 



tailor ^or y^ 

Andrew Meyer. 



m^ M^^99r ^^F.^'-'M 



Dietrich Meyer. 



mY. 

Rodolph Meyer. 



FR 



Francis Mieria. 



DLP'M-D^ 



Daniel Mignot. 



Francisque inv. or jP. M. in. 

Francis Mile or Millet. 



S^'^'9a-G^}M 



Giuseppe Maria Mitelli. 



ftROM,- ffiROM °^ flCRO M °' feR^M 



Girolamo or Hieronymus Mocetto. 



Girolamo or Hieronymus Mocetto. 



F^?'"^#''M^-°'[^''iii' 



or 



Nicoletto da Modena. 



or Nicoletti de Mutina. 
Nicoletto da Modena. 



M. M. inv. or fee. 

Martin von Molitor. 



or P. de Molynfec, or P. Molyn fecit. 
Peter Molyn the Elder. 



H.M. 



Hendrick Mommers. 



ill' 



or 



J. M.fec. 

J. Moni. 



B.l.or[BM: 

or Benedetto Montagna. 
Benedetto Montagna. 



Jacopus Montagnana. 1495. 

Giacomo or Jacopo Montagnana. 



3'-'^ 



&i,eetii^e. 



Paul Moreelze. 



MONOGRAMS. 



Plate XV. 



B, A, del Moro, fee. 

Grio. Bat. d'Angeli Moro. 



C. L. Moyart. 



t-'AMrN^Fe'-f' 



Hermann MuUer. 



M\ °^ A°4. V. 1521, 

Agostino do Mtuis, called Veneziano. 



yve. 



or Pet. Merecinus, sc. 
Peter Myriginus. 




Nadat. 



or P. N.fec. or P. Na. fee. 
Peter NageL 



or Mich. Natalis^fec. 
Michael Natalis. 



T, N, : Paris. 1657. 



Thos. Neale. 



)^Bi,-laxQi»^ 



Arnold vander Neer. 



JVicolo JVelli Veneziano^ f. 1568. 



Niccolo Nelli. 



G^ 



or A. E. Neyts. 

Giles Neyts. 



W?z. 



Nicole. 



D. Nicole. 



G. or Gtiil. JVieulant^ fecit. 

or Guilielmus van Nieulant, fecit. 
William van Nieulant. 



M\ 



or B. M. N. fecit, 

Balthasar Meneius Nimecius, 



J^.,pi^.ri?ye 



Peter Nolpe. 



7vfo»M0- 



Mauro Oddi. 



Matthew Oestereich. 



Hieronymus OlgiatuSjf 1572. 

Girolamo Olgiati. 



P. G. V. O. f. or />. G. van Os, fee, et exc. 

Peter Gerard van Os. 



NOrM-'-Jf-'-J^ 



Adrian van Ostade. 



Pascf, Otti\ Ver\ inv. 

Pasquale Ottini 



Ozanne^ fee. 1724. 

Nicholas Ozanne. 



J. F. Ozanne. 

Jane Frances Ozanne. 



M. J. Ozanne, 

Mary Jane Ozanne. 



H. L. Padtbrugge. 






LP.f. 

Leo. Pallavicini. 



Jacopo Palma, or il Giovino. 



Palma Ludovicus Liisitanus^f, 

Lodovico Palma. 



MONOGKAMS. 



Plate XVI 



Paimezzano, or Palmasanus^ or Palmisanus^ 

or Palmezanus Pinsebat. 
Marco Palmegiani da Forli. 



J. P. 

John and Julius Parcelles. 



Augustinus Parisinus. 



Jacobus Parmensis. 

Jacopo da Parma. 



J. B, Centensis, 

Gio. Battista Pasqualini. 



^ 



or C. van Pass, inv. 1589. 
Crispin de Passe, the Elder. 



Crisp. Passeus^ Jan., or C. de Passe JUius fee, 

or Crispinus Passeus, or C de Pas, inv. etfec, or sculp. 
Crispin de Passe, the Younger. 



W 



or W. Pass./., or Will. Passe, fecit. 
"William de Passe. 



or Simon de Pas. 
Simon de Passe. 



y^Je.orjy[T^-j^ 



Magdalene de Passe. 



8^ 



Bernardino Passeri. 



fforB.P.orP.R 

or B. Pasarot, or B. Passaroto. 
Bartolomeo Passerotti. 



a P, Pinx. 1665. 

Christopher Paudits. 



LP. or Lie P. 1684. 



Jean le Pautre. 



u . I . or Georges Peham Monachi, 

George Peham. 



If 



,/ec., or Palais^ fee, 

Michel Pelais. 



WW 

!, Xich, Frangois Pellier. Hispel Pen or Penn. 



P /'^vPt^'^S^ <tajc)e D Gjor J\^ 



Luca Penni. 



Bajjtista Parmensis, fec.^ deL^ or formis^ or Battista da Parma^ or 

Battista Pensieri Parmensis, fecit, or BapiistcB pensier parmensis, formis, 

or Baptista panzera, formis. 

Battista Pensieri da Parma, or Parmensis. 



f-^ 



or Gregmi Peins, 

or Georgius Pentz. 
Gregory Pentz. 



P-O.P.D.O. 

or Opus Peregrini de Ces. 
Peregrini da Cesena. 



5D»'ra 



Stephen Perac. 



I 



PerJQcouter. 



@orgor|) 

or J. PerHssim, or /. Per sinus fecit. 
Jacques Perisin. 






MONOGRAMS. 



Plate XVII 



F 



_ or Paria, fecit, 

or Franciscus Perrier, Burgundus, 
pinx. et sculp. 
Frangois Perrier. 



R. a Persyn^ sculp, ox fee, 1642. 

or Regnerus a Persyn. 
Regnier de Persyn, 



B.B. 

or Bal. Sen. 
Baldassare Peruzzi. 



D.P. O.D.P.F. orD.P.P.R 

or Dom. P. F., or D. P.f., or D. P. f. AnconcB, or 
DoTTiM^- Pa^nus. AnconcE. 
Domenico Peruzzini. 



Opus, Eq. Jo. P. 

Cav. Gio. Peruzzini, 



Calixtus Laudensis. 1524. 

Callisto Piazza. 



P. Picault, BlesensiSj sculp. 

Pierre Picault. 



/?. P. fee., 

or R. Picou,fe. Romce. 
Robert Picou or Piquot, 



J? 

Thomas Picquot. 



fioM/ 



John IJlric Pilgrim. 



N.P.Inf 

Nicolas Pinson. 



^ 



Alexis Pimraum. 



Leonardus Gratia Pistoriensis. 

Leonardo da Pistoja. 



G.B.P.V. 



or Johannes BaptistaPitonus Vicentinum fecit. 
Giovanni Battista Pittoni. 



M. Montagne, in. et f 

or M. Montaigne or Montagnefecit. 
Matthew van Plattenberg. 



JVicholas de Platte Montague. 

Nicholas van Plattenberg. 



Martin Pleginck. 



AND. P. 

or And. P. in etfec. 
Andrea Podesta. 



Martin Poeham, 



K y. p. 

Egbert vander Peel. 



Opus Antonii Pollajoli Flarentini. 

Antonio Pollajuolo, 



S.P.F. 

Sylvius Pomarede. 



Franciscus Bassanus, Pinxit 

Francesco da Ponte, the Elder. 



t 



Francis Porbus. 



W-n^-n^ 



Peter Porbus. 



Giuseppe Salviati, 



or Joseph Porta Garfagninus, or Joseph Garfagninus, 

Anno 1542. 

Giuseppe Porta, called Salviati. 



J.B, 



and a Bird, 

or Gio. Bat. del Porto. 
Giovanni Battista del Porto. 



Ellas Forzel. 



P. P.f. 

or Paulus Potter f. or in etfec. 
Paul Potter. 



3 



ii 



MONOGRAMS. 



Plate XVHL 



Andreas. Ber. Pin. 

or Andreas Bergomensis, pinxit. 
Andrea Previtale. 


Peter Quast. 


A.Q. 

Artus Quellinus. 


H.Q. 

Hubert Quellinus. 


I. Quatre Pomme. 


G. D. L. Q. 1680. 

GuiUaume de la Quewellerie. 


lo, Babel Bellonacus. 

Jean Rabel. 


S.Y.R. 1 

Servatiua Raben. 


Bernardino Radi Cortonese. 

Bernardino Radi. 


P.R. 

or P. Raefus. 
P. Raefe. 


R.S.\^.P. 

Raffaelle Sanzio. 


Marc' Antonio Raimondi. [ 


Marco da Ravenna. 


F.K 

Franz Rechberger. 


Valerian Regnard. 


Wendell Reich. 


B.R.orB.R.F. 

/r B. Bart. Barthome, or Bartholome Rciter, 

Beitter, Renter, or Reyter. 

Bartholomew Reiter. 


M 

Rembrandt. 

t 


GX 

Charles Remshard. 


Guido Reni. 


C. Reverdinus. 


F. de la Mare, fee, 1650. or F, J. B. L. Mare, inv. sculp. 1655. 

F. J. d© la Mare Richart. 


(h 

Gothard Ringgli. 


RB-T-A- or R- BTA. or RBTA. or 

^ ROBTA. or ROBETA. or ROBET'l'A. 

Robetta. 


William Rogers. 


P.EOL.F. 

Peter RoUos. 

i 


Hieronimi Rumani, or Hier, Roman, 

or Hieronimus Rumanus. 
Girolamo Romano. 

II 



MONOGRAMS. 



Plate XIX. 



Christian Romstedt, 



H-Jv 



Salvator Kosa. 



iVW®" M. 

or Martinus Rota, 1569. 
Martino Kota, 



J. M. K R 

Giovanni Mauro Rovere. 



^or(gor(E>j; 



Guido Ruggeri. 



c* 



or Gasparo^ f. 

Gasparo Ruina. 




Prince Rupert. 



RforaRforKCB. 

or Rupprecht,fec. 
Freiderich Carl Rupprecht. 



Jacob Ruysdael. 



I 



John Sadeler 



John Saenredam. 



>> <<^ or p P or C 0-sj 



Cornelius Saftleven. 



Hermann Saftleven. 



]k 



^( nr ^ 



or J^' or 

Anthony Salaert, 



h 



Andrea Saljnincio. 



P»f 



P. Saltzburger. 



Hugues Sambin. 



John Jacob von Sandrart. 



JuL Sanutus or Sannutus, Venet. fee. 
or Julius Sannutus F. 

Oiulio Sanuto. 



i. 



Lawrence Sauberlich. 



D. S. So. 

Daniel Savoye. 



Scalabrinus Pistoriensis. 

Lo Scalabrino. 



J&X 



or Raphael Schiamonossi Schiaminossi, or Schaminossius. 

Raffaelle Scaminossi. 



H. L. Schaerer. 



Hans Schaeuflein the Elder. 



Hans Schaeuflein the Younger. 



Mattheus Schaffnaburgensis. 

Matthew Grunewald. 



TiTiANO V. Andrea Schiaonf. 

Andrea Schiavone. 



I 



Gabriel Schnellboltz. 



N\^SrI\^SrM tS.-N\ tSr?^2 



Martin Schoen. 



Bartholomew Schoen. 



MONOGRAMS. 



Plate XX. 



E 



Erhard Schoen. 



J.MS.B 

J. H. Schoenfeld. 



TrjT ' 



og 



J. F. Schorer. 



P.S. deE. 
Peter Schubart, 



or 



w 

H. van Schuppen. 



M-O.N.S. 



C. N. Schurtz. 



Ph, Soye^ or de Soye^ fee, 

or P.J Ph.^ or PhUippits Sericcus, Sericeus, Serious, Syticics, 
or Sytius fecit. 
Philip Sericcus, or Soye. 



Peter Serwouter. 



Ccesar Magnus , f. 1533. 

Cesare Sesto. 



Hercules Septimus j 

or H. S. 1570. 
Ercole Setti. 



Y.S. 



Valentine Sezenius. 



"^ 



or Ch. V. Sichem fecit, or C. van SicTiem, so. 
Christopher van Sichem. 



ichem. ichem. 

Charles van Sichem. 



Lucas Coritius^ or 

Lucas Aegidii Signorelli Cortonensis. 1502 
Luca Signorelli. 



A. 



Anthony Silviua. 



G. A. S./ec. or I. A. S./ 

Gio. Andrea Sirani. 



15. b* f . or Elbta. Sirani, /., 

or Elisabetta, or Elisaheiha Sirani, F.,f. or fee. 
Elizabeth Sirani. 



^ 



P. van Slingelandt. 



Antonius da Solario VenetuSj f, 

Antonio Solario. 



r 



J. E. Solemacker. 



y^oryor^. 



Virgil Solis. 



I. V. s. 



Mathias van Somer. 



% 



/6 



i-t 




or ^MRS or ■ WViBVM or 
John van Somer. 



>|^o,^ 



Lionello Spada. 



i&„*. ff"^"/-i^.. ^P-M-'s: 



Giuseppe Ribera, called II Spagnoletto. 



If. (Hieronymus) Sperling, 

j Jerome Sperling. 



m 

Hans Springinklee. 



cf 



Palamedes Staevaerts. 



1 






MONOGRAMS. 



Plate XXL 



M STALBEIT, 

or Adrianus van Stalhant. 
Adrian van Stalbent. 



D^^Vor 




or 



D^V 



Dirk yan Staren. 



jro'c/«zi^ 



Jan Steen. 



'VI 



Henry Stoenwyck. 



R S. F. 

Pietro Stefanoni. 



Tobias Stimmer. 



P.S. 

Peter Stent. 



J. C. Stimmer. 



I. 



Lawrence Stoer. 



f^S 



Francis Stoss. 



V. S. F., or V. S. I. F., or VES. ST. I. FE., or 
Vesp. Stra. I. F., or Vespasiano St. 1. F. 

Vespasiano Strada. 



£ 



Lorenz Strauch. 



^ 



Jurian van Streek. 



E 



Peter le Sueur the Elder. 



P. L S. 

Peter le Sueur the Younger. 



L. S. 1544. 

Lambert Suterman. 



m 

Hermann Swanevelt. 



S-XF-X-IA.- 



Antonio Tempesta. 



T)"© 



David Teniers. 



®-(B.-ai) 



Gerard Terburg. 



Pietro Testa. 



T^orjJf.orJJ^Y. 



Moses Thim. 



John James Thoumeyser. 



L !• F- 1568. 

John Thufel. 



Giles Tilburg. 



F. T. F. or G. K T. 

riaminio Torre. 



M:"m-'ix-tx 



1543. 



Martin Treu. 



HiERONiMus Trevisius P. or 
Hier, Tarvis. Pict Faciebat 1533. 

Girolamo da Trevigi. 



JT 



Hans Troschel. 



P.T. 

Peter Troschel. 



I. T. F. 

James Troschel. 



TSi 



MONOGRAMS. 



Plate XXII 



1 



IK' 



Andrew Trost. 



Bernard Vaillant. 



■isi-Eai-^ 



Wallerant Vaillant. 



Sebastiano U VL,^ 

oiD'Val. Ut. 
Sebastiano D' Val, or Valentini. 



Gio, Lnigi Valesio. 



M 
W. 

Martin van Valkenberg. 



D. V. Dyck^ L or in, et fee, 

Daniel vanden Dyck. 



Sir Anthony Vandyck, 



Ssais van de Velde. 



A. V. V. or A. V. V. F. or A. V. V./ or A. v. V. 

or A V. Velde J, 



Adrian van de Velde. 



Alex, Verat,^pinx, 
Darius JiliuSj sculp, 

Dario Varotari. 



Joan, Vena/ntius Pisaurensis, F, 1687. 

Giovanni Veuanzi. 



Ginlio Cesare Venenti. 



A"li™ 



or 



Adrian vander Venne. 



V, Bcxym, f, 

or A. Verboom, Pino;. 
Abraham Verboom. 



9 



John Comeliua Vermeyen. 



j\^orff. V.f. 

Henry Verschuring. 



BapiistaP, F, F. 

Baptiata Vicentino, or Pittoni. 



Joseph Nicolaus Vicentini^ 

or Nic. S. Vicentino, I. 
Gioseffo Niccolo Vicentino. 



Kl.orML 



or Aenea Vice. Parmense. 
Enea Vico or Vighi. 



J^' 



or /r-vTi 



F. Y. F, 

Francesco Villamena. 



RP 



JkLvid Vinckenbooaia. 



^ 



Nicholas John Visscher. 



M. V.F. or iff rtssellet,F. 

M, VisseUet. 



John George van Vliet. 



^ 



Henry Voghter. 



Dominicas V, F, 

or Dom. Vitus, fee, 
Domenico Vitus. 



Giovanni Renard, 

Giovanni Volpato. 



Lucas Vostermans the Elder. 



Monkey and Fox, 

Martin de Vos. 



V 



Sebastian Vouillemont. 



MONOGRAMS. 



Plate XXIII. 



Aryde Voys. 



V 

/bill 



S. Vranx, or Franks. 



Revfii. Vuibertj 

or Bemigius Vuibert Gallus Sculpsit Ki. An. 1663 



Remi Vuibert, or Wibert. 



/ den Uilj 

or /. den Uyl. 
J. den Vyl. 



Mo. V, VytJ. or Mo. V. VyJ. or M. V, B. 1620, 

or M. V. Brouck, or M. V. Brouck, Mo. V., M. r., or M. V. Uytenbroeck, 

Vtenbrouck, Wtenhrouck, c^c. 

Moses Uytenbroeck, called Little Moses. 



Evv°''fil 



John Ulric. 



or Lucas de Urbino, F. 



Luca di Urbino. 



Jf 



W 



or 



Hans Erhard Wagner. 



J. Wa.^fec, 

James Wagner. 



Jacob Walch. 



Jk Warnir, or Jh. ^^1636 

John Wamir. 



ywv»'j^Ayi^"'A.w. 



/• 



Anthony Waterloo. 



H^ 



Henry Watman. 



H. W. .545 
Hans Weigel. 



IW 



Hans Weinher. 



s.w.^ 

Samuel Weishun. 



WENCESLAVS DE OLOMVCZ. 
Wenceslausof Olmutz. 



T.W.orT.M.W. 



Telman van Wesel. 



(w<W 



Gabriel Weyer. 



N.>567W. 
Nicholas Weyer. 



I.W-F.orLH.W.F. 

John Wierix, or Wierinx. 



ft W-itW- Hi.W,orHi.W.F. 

or J. HiERONIMUS, W. Fe. 

Jerome Wierix or Wierinx. 



J. W. fecit, 

or Joan. Wild., or /. Wild, invent. 
John Wildens. 



^ 



Vander Wilt. 



J. w. w. 

J. W. Windier. 





or -J.,—, or 

Josse van Winghen 




Jbhannis Wirzii Roma, ^c. 

John Wirz. 



t)^ 



Peter WithooB. 



W-W 

Michael Wolgemut. 



Peter Woeiriot. 



or Anthonium de Vormacia. 
Anthony von Worms. 



1 



MONOGRAMS. 



Plate XXIV. 



or W.fec. 1643. 
Philip Wouwerman. 




John Wynants, 



%# 



1546. 
Qio. Francesco Zabello. 



B.Z. 



1581. 
Bernard Zaech. 



Matthias Zagel. 



5: 



Theodore Zagel. 



B.Z 



1571 

Bernard Zan. 




Antonio Maria Zanetti. 



g /<u4.orp^D.2. 



fee 



Paul de Zetter. 



Z. A 



Andrea Zoan. 



Jacob Zuberlein. 



Anckerde Zwoll. 



N. B. — For an explanation of these Plates^ see Key to Marks found on Engravings 
and Paintings^ in Introduction^ pctge xix. 



BIOGRAPHICAL AND CRITICAL DICTIONARY 



OF 



PilNTERS, ENGRAVERS, SfLILPTORS, AND ARCHITECTS. 



» 



AA. H. Yaxder. a Dutch cngTaver of little note. 
He -was related to Peter Yander Aa. the celebra- 
ted publisher of Leyden. for whom he executed, in 
line, some frontispieces, portraits, and other book 
plates, in a coarse, heavy style. In the collection 
of portraits entitled Pi^incipinn et illustvmm 
Viroriun Imagines, there are two or more by this 
artist, sijined H. V. dcr Aa. del. et scuJpsit. He 
engTaved the title-pajre of the Index Batavicus, by 
Adrian Pars, published at Leyden, 1701. 

AA. Thierry Va.nder, a Dutch painter, born at 
the Hague, in 1731. He was a pupil of I. H. 
Keller ; after quitting this master, he painted in 
concert with G. ]Metzu. His works consist chiefly 
of genii, iiowcrs, fruit, birds, and other ornamental 
decorations, in which he exhibits much skill. 

AALST. See Aelst. 

yyi "D AARTSEN, p. [often mis-spelled 
xXx.,^^ <L> * Aartgens, or Aertgens]. a Dutch 
historical painter of eminence, born at Leyden, in 
1498. He was bred by his father to his own 
trade, that of wool-carder ; but disliking this busi- 
ness, he turned his attention to painting, and 
placed himself under the instruction of Cornelius 
Eng-elbrechts. He acquired so great a reputation 
that the most distinguished artists honored him 
with their friendship ; and Francis Floris, who had 
carefully studied the works of Michael Angelo, 
attracted by his fame, went on purpose to Leyden 
to see hini. and iinding him living in poverty, 
oflered him a handsome maintenance if he would 
settle at Amsterdam, which he refused, not liking 
to leave his pot companions. He was accidentally 
drowned, in 15 61, as he was returning home late 
one night, in a state of intoxication. 

ABACCO, ANTONIO, a scholar of Antonio da 
San Gallo. an eminent architect of Rome, where 
he followed the same profession with reputation. 
In 1558. he published a valuable work on archi- 
tecture, entitled hihro dWntonio d\ibacco. appar- 
tencnte alVarcJiitettura. nel quale si figurano 
alcune nohili antichitd di Roma, vrhh. fine iprints 
engraved by himself. He also executed the prints 
of the plans of St. Peter's from the designs of his 
master. 



ABARCA. Maria de, a Spanish paintress, who 
flourished at Madrid in the middle of the seven- 
teenth century, and executed portraits in a style of 
such peculiar excellence as won the approbation 
of those great masters, Rubens and Velasquez, 
who honored her with their friendship. 

ABATE. Andrea [called Belvedere], a Neapo- 
litan artist, who excelled in painting fruit, flow- 
ers, vases, and other inanimate objects. His pen- 
ciling was free, and his coloring bold, which, with 
his admirable chiaro-scuro, gave a noble relief to 
the vases and other ornaments with which ho 
enriched his designs. He was one of the artists 
employed by Charles II., of Spain, at the recom- 
mendation of Luca Giordano, to assist him in 
painting the Escurial. He died in 1732. Fuseli 
says there was another artist of this name, and 
that there is a fine picture of a Carita. executed by 
him. in the Palazzo Zambecari, at Bologna ; but 
doubtless it was painted by one of the Abati. 

ABATI, NiccoLo [or Niccolo dell'], an eminent 
historical painter, born at Modcna, in 1512. He 
was a scholar of Antonio Begarelli, an old de- 
signer and sculptor, from whom he learned the 
first principles of the art. It is supposed, also, 
that he had the advantage of instruction from 
Correggio, which is supported by his superior 
knowledge of foreshortening, and the boldness of 
his relief At the age of thirty-five he painted his 
celebrated work, the" Martyrdom of St. Peter, for 
the Church of the Benedictines, now in the Dres- 
den Gallery, which brought him into immediate 
notice. He afterwards painted, in the Candiano 
palace, twelve pictures illustrating scenes from the 
twelve books of the ^neid. of which Lanzi says, 
that •• in the correctness of the figures, the beauty 
of the landscapes, the architecture, and the animals, 
thev merit every praise that can be bestowed on 
a distinguished follower of the style of Raflfaelle." 
These pictures are now in the Florentine Gallery. 
In the prime of life he went to Bologna, where he 
executed, in the Palazzo Leoni, in fresco, a Xativitv, 
an admirable performance ; and at the Institute, 
four subjects in a frieze, representing musical 
assemblies and conversations, designed and com- 



ABAT. 



ABET. 



posed with such taste and elegance, that they 
became the admiration and the models of the 
Oaracci — in proof of which, it is only necessary to 
mention that Agostino 0. wrote a sonnet in his 
praise, in which, in the flowery language of a poet, 
he attributes to him the symmetry of Raffaelle, 
the sublimity of Michael Angelo, the truth of 
Titian, the greatness of Correggio, and the grace of 
Parmiggiano. Such was the excellence of his prac- 
tice in fresco painting, that it is said he never had 
occasion to retouch his work when dry, which 
gave an uncommon purity and splendor to his col- 
oring. When Primaticcio was invited to the court 
of France, by Francis L, to decorate the royal gal- 
leries and apartments at Fontainbleau with fresco 
paintings, he selected Abati, as the most efficient 
coadjutor he could find, to assist him in the execu- 
tion of the great works he was commissioned to 
perform. He was, in fact, the great operator, 
while Primaticcio designed. He died at Paris, in 
1571. Of his numerous fresco paintings, but four 
have escaped the ravages of time, and his oil pain- 
tings are extremely rare. His great works at 
Modena and Bologna have been engraved by Do- 
menico Cunego. [See Primaticcio.] 

ABATI, PiETRo Paolo, born at Modena, was a 
brother of Niccolo A. He excelled in painting 
battle pieces, which he executed with a spirit and 
energy unequalled in his time. Some of his works 
are placed with distinction in the Galler}?- at Flor- 
ence. Vidriani says he flourished about 1550, and 
Zani places his death in 1555. 

ABATI, Ercole, grandson of Niccolo A., was 
born at Modena, in 1563. He possessed an extra- 
ordinary genius, which he disgraced by the deprav- 
ity and intemperance of his conduct. Like most 
artists of this character, he dashed oif his works 
with negligence and haste, but with such ingenuity 
of composition, and spirit of execution, as to make 
us lament his idleness and dissipation. There is 
a fine picture by this artist, the Marriage at Cana, 
in the Gallery at Florence. In connection with 
Schidone, he painted some pictures in the Council- 
Hall at Florence. He died in 1613. He had a son 
named Pictro Paolo, who painted several pictures 
at Modena, which have been highly commended. 
This artist died in 1630, aged 38. 

ABATINI, GuiDO IJbaldo, a distinguished pain- 
ter of history in fresco. He was born, according 
to Passeri, at Citta di Castello, and flourished 
about 1650, in which year he was admitted into the 
Academy at Rome. He was a disciple of Oavaliere 
Giuseppe Cesari. One of his principal works is 
on the ceiling of the chapel of St. Theresa, in S. 
Maria della Vittoria, at Rome. He died in 1656, 
aged 56. 

0\ ,^"^ ABBE, H., an engraver, who, accord- 
XIL \-l ' ing to M. Christ, was born at Antwerp, 
where some prints by him were published in 1670. 
Heineken also states that he executed some designs 
for the Metamorphoses of Ovid,' published by Bar- 
rier, marked as above. 

ABBIATI, FiLippo, a historical painter, born at 
Milan in 1640. He was a scholar of Gioseffo 
Nuvolone, and rose to great eminence in his pro- 
fession. His invention was ready and fertile, his 
drawing correct, and his execution remarkable for 
an uncommon boldness and freedom of touch. He 



painted with great rapidity, and with equal beauty 
in fresco and in oil. In competition with Fede- 
rigo Bianchi, he painted the great vault of S. Ales- 
sandro Martre at Milan. One of his works, St. 
John preaching in the Wilderness, was painted in 
fresco at Sarono. He died at Milan, in 1715. 

ABBIATI, GuisEPPE, a Milanese designer and 
engraver of little note, who lived about the begin- 
ning of the eighteenth century. He etched some 
small prints of battles, and allegorical subjects 
after his own designs. 

ABBIATI, P. M. The name of this engraver is 
affixed to a fine portrait of Girolamo Cornaro, 
procurator of St. Mark, without date or name ol 
the painter. 

ABBOTT, Lemuel, a distinguished English por- 
trait painter, born in Leicestershire. He was a 
pupil of Francis Hayman. His merit consists in 
faithful likenesses. His portraits of the poet 
Cowper, and Lord Nelson, are esteemed the best 
ever executed of those great men. He died in 1803, 
aged 40. 

ABEL, Hans, a German painter, born at Frank- 
fort. He is supposed to have painted some of the 
beautiful windows which adorn the Cathedral and 
other churches in that city. He flourished about 
1494. 

ABEL, Joseph, a German painter of great merit, 
who died at Vienna, in 1818. He was instructed 
in the school of Fijger, at Vienna, and distinguished 
himself at an early age. He went to Rome, in 
1802, where he resided for six years, and painted 
several pictures from ancient history and the Greek 
poets, which gained him much applause. On his 
return to Vienna, in 1808, he painted portraits and 
history with great success till the time of his death. 

ABEL, Ernst August, a German painter in oil 
and crayons, born at Zerbst ; flourished about 
1780 ; studied under Rudolph la Fontaine. He 
practiced some years in London, Paris, and Ham- 
burg, where he finally settled. He painted por- 
traits and miniatures, chiefly the latter, being more 
successful in that branch. 

j^BEL, . In Malvasia this name occurs as 

a French artist, who in 1650, so successfully copied 
the Communion of St. Jerome, by Domenichino, 
that he sold it for the original. 

ABENTS, Leonard, an engraver, a native 
of Passau, in Bavaria, who flourished about 
1580. He engraved some book plates ; also the 
plan of the city of Passau, for Braun's Typogra- 
phy. He marked his plates wdth a monogram of 
his initials, A. and L. 

ABEREGNO, Giacomo, a Venetian painter of 
little note, who lived about 1400. 

ABERLI, John Louis, a German painter and 
engraver, born at Winterthur, in 1723. He was a 
pupil of Henry Meyer, and painted portraits and 
landscapes with success. He published a series 
of colored prints— views in Switzerland— which 
were so much admired that a great number of imi- 
tators sprang up. He died in 1786. 

ABESCH, Anna Barbara, a Swiss paintress on 
glass, daughter of Peter Anton Abesch, also a pain- 
ter on glass. The celebrated Benedictine Monas- 
tery of Muri, in the canton of Aargau, contains 
many specimens of her ability. She died in 1750. 



ABIL. 



3 



ACEV. 



ABILDGAARD, Nikolai, a Danish historical 
painter of great merit, born at Copenhagen, in 1744. 
Ele is esteemed the best painter Denmark has pro- 
duced. His principal subjects were taken from the 
ancient poets and historians. Some of his best 
works were destroyed in the fire that consumed 
the palace of Christianburg, in 1794. Fuseli states 
that this calamity had such an effect on his mind 
that he scarcely painted afterwards. He was an 
excellent scholar. Five years study in Italy com- 
pleted the education which he had received in the 
Academy at Copenhagen. The creations of his 
productive imagination were sometimes of a gloomy, 
yet alwaj^s of a grand and solemn character. A 
considerable number of his works still exist in 
Denmark. Nearly all his works are those of an 
artist favored by the study of the ancients and the 
remains of antiquity. Nothing escaped his obser- 
vation. He was likewise a distinguished lecturer 
on art, of v/hich he was director and professor in 
the Royal Academy in his native city, and has left 
several disciples, painters as well as sculptors, who 
do honor to their master, as well as to their coun- 
try. He wrote some excellent essays, the object 
of which was to correct a false taste in regard to 
the arts. He died at Copenhagen, in 1809. 

ABONDIO, Antonio, an Italian sculptor, who 
lived about the beginning of the sixteenth century. 
He was called L'Ascona, from the place of his birth 
on the Lago Maggiore. Torri says he executed a 
group of Venus and Apollo for Francis I., of France; 
also the eight colossal statutes that adorn the 
fagade of the house at Milan that formerly be- 
longed to the celebrated sculptor Leone Leoni, the 
f\ivorite of the Emperor Charles V. Fuseli men- 
tions a basso-relievo, in wax, of Cupid kissing 
Venus, who is reclining on a couch, which is 
attributed to this artist. He was probably the 
father of the elder Alessandro Abondio. 

ABONDIO, Alessandro, a Florentine painter; 
lived about 1650 ; was the son of a painter of the 
same name, who was a pupil of Michael Angelo, 
and excelled in representations in wax. They 
were both contemporary with Sandrart, who 
speaks of them with praise. The younger lived 
in Munich, where Sandrart made his acquaintance. 
He had been with his father in the service of the 
Emperor Rudolph II., at Prague, but after the 
death of his father in that city, had entered into 
the employment of the Elector Maximilian, of Ba- 
varia, at Munich. Sandrart acknowledges himself 
indebted to "the celebrated Alessandro Abondio" 
for valuable aid in compiling his great work on 
the arts and artists of Germany. 

ABRAMSON, Abraham, a German medal en- 
graver, born at Potsdam in 1754. Nagler says he 
acquired very great reputation as one of the ablest 
medalists of modern times, both from the superior 
stjde of his execution, and the poetical imagina- 
tion and classic taste displayed in his designs. His 
works are very numerous : Mensel gives a cata- 
logue of the principal, of which the series of por- 
trait medals of the eminent literati of Germany, 
haA^e probably mostly contributed to his fame. He 
was appointed Royal Prussian Medalist, and was 
elected member of various academies. He died in 
1811. 

ABRIL, Bartolome. a Spanish sculptor of 
Valencia, who lived at Toledo about 1600. He 
was employed by Juan Battista jMonegro to ar- 



range the marbles of the celebrated chapel del 
Sagrario, in the cathedral of that city. He was 
employed, also, with others, in the monastery of 
Gaudaloupe, in 1618. See Bermudez. 

ABRUZZI, , a Roman landscape painter ; 

lived towards the end of the last centurj-. Some 
of his earlier works, according to Winckelmann, 
were much admired. 

ABRIL, Juan Alfonso, a Spanish painter, who 
lived at Valladolid about the middle of the seven- 
teenth century. Little is known of him. He 
painted for the convent of the Dominicans, in that 
city, the Conversion of Saul, said to have been an 
admirable performance. 

ABSHOVEN, Theodore Van, a Flemish pain- 
ter, born at Antwerp, was the favorite disciple of 
David Teniers, the younger, and the most success- 
ful follower of his style — so much so, that his 
works have often been mistaken, by good judges, 
for those of his master ; and unprincipled dealers 
have been in the habit of obliterating his name for 
this purpose. Balkema calls his name Theodore 
Van Abshoven, and states that he was born at 
Antwerp, in 1648, and died in 1690 ; by other 
authors he is named F. Van A. His pictures, like 
those of his master, represent scenes in low life — 
village festivals ; interiors of taverns and ale-hou- 
ses, with peasants dancing, regaling, and amusing 
themselves ; corps-de-gardes ; chemists' laborato- 
ries, &c. The works of this painter are frequently 
met with in Flanders, where they are esteemed 
worthy of being placed in the best collections. 
His touch is uncommonly light and spirited, and 
his coloring clear and silvery. 

ACCAMA,Bernard, a distinguished Dutch por- 
trait painter, born at Leuwarde, in 1697, where 
he died in 1756. His works were greatly esteemed 
by his own countrymen. 

ACCAMA, IMatthew, was also a native of Leu- 
warde, born in 1702, and died in 1783. He went 
to Italy to study the old masters, where he resided 
several j^ears, and made some fine copies. On his 
return to his native place, he painted historical, 
allegorical, and emblematical subjects with reputa- 
tion. 

ACCERI, Cesare Antonio, an Italian land- 
scape painter, who lived about 1609, and was es- 
teemed an artist of talent. His works are not 
known out of Italy. 

AC cms, CiESAR A., a Flemish engraver of little 
note. Hcineken is the only author who notices 
him, and describes a print of a landscape and fig- 
ures by him, inscribed, Caesar Ant. Accius, fecit et 
in. A. D. 1609. 

ACEVEDO, Cristobal de, a Spanish painter, 
born at Murcia, about 1560. He studied under 
Bartolomeo Carducci, then in the employment of 
the king of Spain. He rose to eminence, and pain- 
ted many pictures for the convents in [Madrid. 
His subjects were chiefly scriptural or religious, of 
large size, and executed with a nobleness and cor- 
rectness of design that placed him among the best 
professors of his time. The time of his death is 
not recorded. 

ACEVEDO, D. Manuel, born in Madrid, in 
1744. He began by diligently copying the works 
of the best masters, and rose to considerable emi- 
nence. He painted historical and religious sub- 
jects in the grand style, and was much employed 



ACHE. 



AOHT. 



in decorating the churches and convents of his 
native city. 

ACHEN, or AOH, John Van, an eminent his- 
torical and portrait painter, born at Cologne, in 
1552, and died at Prague, in 1615, aged 63. Wri- 
ters variously state the times of his birth and 
death, but the above are copied from the monument 
erected to his memory at Prague. His father, 
being in easy circumstances, was desirous of edu- 
cating him for one of the learned professions, but 
the bent of his genius exhibited itself so strong in 
early life, that he was induced to comply with the 
wishes of his son, and he placed him under the tui- 
tion of Jerrigh, a reputable portrait painter of 
Cologne, with whom he studied six years. He 
next applied himself to study the works of Bar- 
tholomew Spranger. "When he was twenty-two 
years of age he went to Italy, and first stopped at 
Venice, where he passed a sufQcient time to get a 
thorough knowledge of the great works of art in 
that famous school. He next went to Rome, where 
his first performance was an altar-piece of the 
Nativity, for one of the chapels of the Jesuits. 
Here he also painted a picture, into which he in- 
troduced the portraits of the celebrated musician. 
Madonna Venusta, playing on a lute, and of him- 
self, holding a goblet of wine, which has been con- 
sidered one of his best performances. From Rome 
he went to Florence, where he painted the portrait 
of the famous poetess, Madonna Laura. The Elec- 
tor of Bavaria now invited him to Mufiich, where 
he executed his most capital work, the Resurrec- 
tion, which has been admirably engraved by Raffa- 
elle Sadeler ; also the Finding of the True Cross, 
by the Empress Helena. He painted the por- 
traits of the Electoral family with so much satis- 
faction to his employer, that he liberally rewarded 
him, and presented him with a gold chain and 
medal, in token of his esteem. By the invitation 
of the Emperor Rodolphus, he went to Prague, 
where he executed several compositions, particu- 
lar!)^ a picture of Venus and Adonis, designed and 
executed with a taste then unknown in Germany, 
so much to the satisfaction of that monarch that he 
retained him in his service as long as he lived. 
John Van Ach captivated Germany by the intro- 
duction of a new style, compounded of the princi- 
ples of the Venetian and Florentine schools. It is 
much to his credit that he was one of the first Ger- 
man artists who attempted to reform the stiff and 
gothic taste of his country, and although he did 
not entirely divest himself of it, yet he went as far 
as he judged prudent. 

ACHEN, Arnold Van, a German engraver, 
who lived about 1700, and is only noticed as the 
etcher of some small plates and frontispieces for 
publishers. He had a brother, a painter, called 
Tailor Van Achcn, from his expeditious manner 
of draping the figures of various portrait painters 
of the day, who employed him for this purpose. 

ACHTSCHELLING. Lucas, a landscape pain- 
ter, born at Brussels, about 1571, and died 1631. 
He studied with Lewis de Vadder, under whose 
instruction he became one of the ablest artists of 
his time. His manner is broad and bold, the foli- 
age of his trees lightly touched and apparently in 
motion, his scenery delightfully grand and diversi- 
fied, his distances recede with a pleasing grada- 
tion, and his coloring is remarkably transparent. 
In the Collegiate Church of St. Gudule, at Brus- 



sels, are three large landscapes by this author, 
admirably executed. 

ACHTERVELDT, Jacob, a Dutch painter; 
flourished in the last half of the seventeenth cen- 
tury ; studied under Metzu, and acquired consid- 
erable reputation, according to Nagler, by some 
of his pieces in the style of that master. He died 
in 1704. 

ACIER, Michel Victor, a French sculptor, born 
at Versailles in 1736 ; studied in the Academy at 
Paris, and early distinguished himself. He resi- 
ded chiefly at Burgundy, where he built a chapel 
and adorned it with some great statues. Fuseli 
says he was subsequently appointed master of the 
China manufactory at Meissen, in Saxony, for 
which he made many beautiful groups. His mas- 
ter-piece was the Death of General Schwerin, in 
alto-relievo. He died in 1799. 

ACK, JoHANN, a Flemish painter on glass ; 
lived at Brussels about 1546. at which time he exe- 
cuted the celebrated paintings of the windows of 
the chapel of the Sacrament, in the Collegiate 
Church of St. Gudula at Brussels, which have been 
attributed to Rogier Van Briissel. He painted also 
some windows in the church. The designs consist 
of portraits of Charles V. and his family and rela- 
tives, who presented the windows to the church. 
Reiffenberg says the effect of the compositions is 
very rich ; the folds of the draperies are cast in a 
bold and grand manner ; the coloring is brilliant, 
and the architectural ornaments designed and dis- 
posed with great taste. 

ACKER, Peter, an ingenious painter on glass ; 
was employed at Nordlingen about 1450, Some 
of his works are still preserved in the St. George's 
Church of that cit}^. 

ACKERMANN, Rudolph, now the most fa- 
mous publisher of prints in the world, was born at 
Schneeberg, Saxony, in 1764. His father was a 
saddler, and brought his son up to the same trade, 
but by his assiduity he contrived to obtain a good 
education at the Latin School in his native city. 
When he attained his majority, he travelled about 
Germany as a journeyman saddler, carefully lay- 
ing by his earnings, and looking out for some higher 
and more profitable employment. In the mean- 
time, he devoted his leisure in cultivating and im- 
proving his natural taste for the fine arts, and be- 
came a very good painter and lithographer. After 
residing several years in Paris and Brussels, he 
went to London, where he became acquainted with 
one Faius, a German, who had undertaken to con- 
duct a periodical of fashions {Journal des Modes), 
which met with considerable success. Ackermann 
soon after began to publish, in the same manner, 
drawings of coaches, curricles, and other vehicles, 
invented, drawn and painted by himself. The nov- 
elty and excellence of his works excited universal 
attention, and he received orders for drawings 
from all quarters. This was the beginning of a 
trade in works of art, which gradual!}^ increased 
by his talents, attention and precision in business, 
to its present form and prosperity. He soon after 
married an English woman, became a citizen of 
London, and founded the establishment now known 
as the Repository of Arts, at 90 Strand, in the cen- 
tre of London, which is one of the curiosities of the 
British capital. Some idea of the amazing busi- 
ness now carried on by the house of Ackermann & 
Co., may be drawn from the fact that they con- 



AOQU. 



ADAM. 



stantly employ more than 600 m^en in London 
alone. They publish illustrated works and engra- 
vings, the former frequently in the different mod- 
ern languages, as English, French, German, and 
Spanish, which they send to every part of the 
world, and thus not only enrich themselves, but 
bestow honor and wealth on the country. They 
also exert a powerful influence in promoting and 
encouraging the fme arts, by the ample employ- 
ment thay give to many artists, and by introducing 
them to the public through then- works, and by 
dilFusing a love of art. 

ACQIJA, Cristofano dell', an Italian engra- 
ver, vviio lived at Vicenza, near the close of the 
last century. Heineken says he executed a por- 
trait of Frederick the Great; also a larger print 
from the picture of " Merit Crowned by Apollo," 
by Andrea Sacchi ; a portrait by the same artist 
of Antonio Resqualini ; and some plates for the 
edition of the works of Metastasio, published at 
Venice in 1 7 8 1 . He worked chiefly with the graver, 
in a feeble manner. 

ACQUISTI, LuiGi, an Italian sculptor, born at 
Forli in 1744. He early visited Bologna, where he 
was much employed on bassi-rilievi ; some of 
which he executed for the steps of the Brachi Pal- 
ace, which gained him considerable credit. He 
aV;o executed the sj^bils of the cupola of the church 
Delia Vita. From Bologna he went to Eome, 
whore he executed many works, among which 
were several Venuses. In the early part of this 
century he was employed at Milan, where, in 180G, 
he prepared some of the statues and bassi-rilicvi 
for the cathedral arch of the Simplon. His mas- 
ter-piece is considered his group of Venus pacify- 
ing Mars, in the Villa Sommariva, on the lake of 
Como, 1805. In 1816 he returned to Bologna, 
where he died in 1824. 

AOQUARELLI, G., a Neapolitan painter of 
merit, who excelled in architectural jDieces. His 
compositions are said to be grand and imposing, but 
they are not known out of his own countrj^ He 
flourished about the middle of the seventeenth 
century. 

_ ACQUISTABENE, Maestro, a painter and de- 
signer of architecture, born at Brescia. He flour- 
ished about the middle of the seventeenth century. 

ADAM, Jacob, an engraver born at Vienna, in 
1748. He was brought up in the Imperial Acad- 
emy in that city. He executed the plates for the 
Vienna Pictorial Bible, called the Bilder Bible, 
which gained him much credit. In conjunction 
with John Ernest Mansfield, he engraved a series 
of portraits of the eminent personages of Austria, 
which are executed with great neatness and finish 
— that of the Empress Maria Louisa is accounted 
the best. 

rj\ , ADAM, Hans, or Jan Van, a German 
iiT^ engraver, who lived about 1730. Heine- 
ken describes six landscapes engraved by this 
artist, marked with a monogram of his initials, and 
a naked figure under a tree. He also supposes 
that some paintings, having the same monogram, 
were executed by him. 

ADAM, Egbert, a British architect of consid- 
erable eminence, born at Kirkaldy, in Fifeshire, 
Scotland, in 1728. His father, also an architect, 
gave him a thorough education at the University 
of Edinburgh, and then sent him to Italy to study, 



where he remained several years. On his return 
he was appointed architect to the King, which ofiice 
he resigned on being elected a Member of Parlia- 
ment for the county of Kinross, in 1778. He did 
much to reform and improve the architecture of his 
country. He was a man of science and great taste, 
but his style was too diffuse and ornamented for 
exterior grandeur. In 1764, he published a valua- 
ble work, entitled "Ruins of the Palace of Diocle- 
tian, at Salpatro, in Dalmatia," with seventj'-one 
well engraved plates from his own drawings. The 
new Universit}'- buildings in Edinburgh, and other 
public works, were erected after his designs. He 
died in 1792, and was interred among the worthies 
in Westminster Abbey. 

ADxiM, James, brother to Robert, was also an 
architect of eminence, and elected architect to the 
King on the resignation of that office by his brother. 
The Adelphi buildings and Portland Place, in Lon- 
don, are favorable specimens of his taste and abili- 
ties. 

ADAM, Lambert Sigisbert, a celebrated French 
sculptor, born at Nancy in 1700, the eldest son of 
Jacob Sigisbert Adam, also a sculptor, from whom 
he acquired the elements of the art. He went 
young to Paris and entered the Academy, where, in 
1723. he obtained the first prize, and was accord- 
ingly sent as royal pensioner to Rome, where he 
remained ten years, apphed himself constantly to 
the study of the antique, and gained great reputa- 
tion, liis design for the fountain of Trevi was 
accepted by Clement XH., in preference to those of 
sixteen other sculptors. Cardinal Polignac pur- 
chased, and employed Adam to restore, the muti- 
lated statues which were dug up from the supposed 
Villa of ]Marius, about five miles from Rome. 
Adam also restored man)^ other ancient statues, 
and executed several original works while at Rome. 
In 1732 he was elected a member of the Academy 
of St. Luke. In 1733 he set out for Paris by the 
King's desire, and. visiting Bologna on the way, 
was elected a member of the Academy of St Clem- 
ent. His first great work at Paris was the colos- 
sal group, in stone, over the cascade of St. Cloud. 
He made at Versailles, in concert with his brother 
Nicolas, the Triumph of Neptune and Amphitrite; 
also several other works for the Ro5'-al Gardens, 
which were remarkable for their extreme fi.nish. 
and gained for Adam a popular reputation surpass- 
ing all the sculptors of his time. The figure of St. 
Jerome, in the Invalides, is considered also one of 
his best works. Adam excelled in working in 
marble, but devoted more attention to the execu- 
tion than to the conception of his works. In 1744 
he was appointed Professor in the Royal Academy 
at Paris ; and in 1754 he pubhshed at Paris a folio 
work entitled. " Recueil de Sculptures Antiques^ 
Grecqucs et liomaines" engraved after his own 
designs. He died in 1759. 

AD AIM, Nicolas Sebastien, an eminent French 
sculptor, born at Nancy in 1705 ; was the younger 
brother of Lambert Adam, whom he greatly sur- 
passed in all the higher qualities of art. He vis- 
ited Paris when very young, and soon evinced 
great talents. In his nineteenth year he was em- 
plo3^ed to adorn the four fagades of a mansion at 
Montpellier, at the conclusion of which undertak- 
ing he set out for Rome, where he joined his bro- 
ther Lambert in 1728. In 1728 he obtained the 
first prize of the Academy of St. Luke, and at- 
tracted the notice of Benedict XIII. He also 



ADAM. 



ADLE. 



restored some mutilated statues. After a nine 
years stay at Rome, he returned to Paris with the 
reputation of one of the best sculptors of the age. 
One of the first and best works he executed at 
Paris, was a basso-relievo in bronze, for the Roj^al 
Chapel of Versailles, representing the I^Iartyrdom 
of St. Victoria. He assisted his brother Lambert 
in the Triumph of Neptune and Amphitrite, and 
executed other works for the Royal Gardens ; also 
various pieces for religious orders and for public 
edifices. His Prometheus chained, executed in 
1763, is accounted his best statue ; but his greatest 
work is the monument of the Queen of Poland, 
executed by the orders of King Stanislaus Lec- 
zinski, her husband, and placed in the church of 
Bonsecours, near Nancy. Nicolas Adam was also 
appointed professor of sculpture in the Academy at 
Paris. He occasionally occupied himself with paint- 
ing. Frederick the Great sent an emissary to 
invite this great artist to his court, but his brother 
Lambert, to whom the King's agent applied, intro- 
duced (as is said, out of jealousy,) his brother Gas- 
pard (a sculptor of some merit, according to D'Ar- 
genviile.) as the younger Adam, who thus unknown 
to Nicolas, received the appointment and salary 
intended for his brother. Nicolas, however, is said 
to have treated the imposition with perfect indiffer- 
ence. He died in 1778, aged 73. See D''Argenville. 

ADAMO, , an Italian engraver, who 

.flourished at jNIantua, about the middle of 
the sixteenth century. He engraved a series of 
seventy-six plates after the works of Michael An- 
gelo ; also some plates after other masters not 
mentioned. He usually marked his plates with 
this monogram, which means, Adaruo sculpsit. 

ADAMS, Peter, an English engraver, who lived 
about 1700. He engraved some plates for books, 
and etched some landscapes, which have little artis- 
tic merit, and are only worthy of being noticed as 
early specimens of the art in England. He marked 
his plates with a monogram of his initials, P. A. 

ADAMS, Robert, an eminent English architect 
of the time of Queen Elizabeth, who appointed him 
Surveyor of the Board of Works, and Architect to 
the Queen. His works are not mentioned, but there 
are two plans of his extant which he published : the 
one is a large print of Middleburgh ; the other is 
entitled, " Tamesis Descripto," showing by lines 
across the river, how far, and from whence, cannon 
balls may obstruct navigation, in case of an inva- 
sion, from Tilbury to London, with proper distan- 
ces marked for placing the guns. He died in 1595, 
and was buried in the church at Greenwich, vrith 
this inscription: ^'Egregio viro Roberto Adams, 
operum regiorum supervisori, architecturce, peri- 
iissimo, ob. 1595. 

ADAMS, Robert, an English engraver, who 
drew and engraved representations of the several 
actions that took place while the Spanish Armada 
was on the British coast. These prints were pub- 
lished by Augustine Ryther, in 1589. The archi- 
tect and the engraver of this name are doubtless the 
same person. 

ADDA, CoNTE Francesco d', a Milanese noble- 
man, and amateur painter, who studied under Leo- 
nardo da Vinci. He painted small cabinet pictures 
in the style of his master. There is an altar-piece 
in the Church of the Dominicans at Milan, attribu- 
ted to him. He died in 1550. 



ADLER, Philip, a painter, and some say, engra- 
ver, born at Nuremberg, in 1484. His fame is not 
worth much disquisition. Two prints, St. Chris- 
topher carrying the infant Jesus, and an altar- 
piece representing the Virgin Mary crowned, with 
a female saint holding the infant Christ, attributed 
to him by Florent Le Comte and Mr. Strutt, are 
now a.scertained to have been engraved by David 
Hopfer ( whose mark the perfect impressions bear), 
after this artist. 

ADMIRAAL, B., a Dutch painter of merit, who 

flourished about 1662, and whose style is some- 
what analagous to Weenix, but with a less free and 
delicate pencil. 

ADOLFFS, . All that is known of this 

artist is, that he engraved a beautiful portrait of 
the Duke de Biron, Marshal of France, on horse- 
back, which is now very scarce. 

ADOLFI, four Italian painters, father and three 
sons, born at Bergamo, where they lived and died. 
Little is known of Benedetto Adolfi, the father, save 
that he instructed his sons in his own profession. 
According to Tassi, Giacomo A. was born in 1C82, 
and died in 1741. He painted history with repu- 
tation. He also painted sacred subjects for il'e 
churches, convents and monasteries of Bergamo. 
The Crowning of the Virgin, in the Church of the 
Monastery del Paradiso, and the Adoration of the 
Magi, in the Church of S. Alessandro dellu Croce, 
are considered his best productions. Ciro A. was 
born in 1683. He possessed a more fertile genius, 
and greater facility and freedom of execution than 
his brothers, and distinguished himself by some 
excellent fresco paintings in the public edifices at 
Bergamo and in the state. His principal work.«3 
are, the Four Evangelists, in the Church of S. Ales- 
sandro della Croce ; the Deposition from the Cross, 
in S. Maria delle Grazie ; and the Decollation of 
St. John, in the parochial Church of Colognola. 
He died in 1758. Nicola A. was born in 1688. 
He excelled in painting battle pieces — time of his 
death not recorded. 

ADRIANO, , a Spanish monk of tlie order of 

the Barefooted Carmelites, w^ho lived at Cordova, and 
died in 1650. He possessed an extraordinary tal- 
ent for painting, which he practised only for amuse- 
ment. He took lessons from Pablo de Cespedes. 
He was so diflBdent of his performances that he 
used to destroy or deface them as soon as they 
were finished, in consequence of which practice, his 
paintings are extremely scarce and valuable. Some 
of his best works were preserved by the interces- 
sion of his friends, through the holy fraud of res- 
cuing souls from purgatory. His chief work is a 
Crucifixion, now in the Convent of the Carmelites, 
at Cordova. Pacheco, who knew him well, speaks 
of him as a great artist ; and Palomino says that a 
INIagdalen of his in the Convent, was considered by 
many as a genuine work of Titian. 

ADRIANSEN, Alexander, a Flemish painter, 
born at Antwerp, about 1625. He painted fruit, 
flowers, vases, &c., in an admirable manner. He 
was particularly excellent in painting fish, to which 
he gave such a surprising appearance of truth and 
nature, as to produce perfect illusion. His works 
in this way are esteemed worthy of a place in the 
choicest collections. His works are designed Avith 
great taste, highly finished, and extremely well 



AELS. 



AENE. 



colored, with a judicious management of chiaro- 
scuro, which gives them a remarkable transparency. 
AELST, or AALST, Evert Van, a Dutch pain- 
ter of still-hfe, born at Delft, in 1602. He excelled 
in painting dead game, birds, armor, vases of silver 
and gold, and other inanimate objects, which he 
represented with such delicacy and truth as gained 
him great reputation. His works are carefully fin- 
ished, his pencil is clear and flowing, and all his 
objects are disposed in a very pleasing and pictu- 
resque manner. He v^^as very, particular in copying 
from nature. He sometimes painted on a clear 
white ground in a manner that produced a singu- 
larly natural effect. He died in 1658. 

AELST, Paul Van, was a natural son of Peter 
Koeck, who adopted the name of Aelst. He was 
a good painter of fruit and flowers. He practised 
at Middleberg and Antwerp. 

AELST, or AALST, William Van [called in 
Italy Gulielmo], was the son of a notary, born 
at Delft, in 1620. He was instructed in painting 
by his uncle. Evert Van Aelst, whose stj^le and 
subjects he adopted, though he greatly excelled 
him. His penciling is light, his touch deli- 
cate in a wonderful degree, and he wrought up his 
pictures to an extraordinary finish. He spent 
four years in France, and seven in Italy, where 
the exquisite polish and finish of his works gained 
him great reputation. The Grand Duke of Tus- 
cany invited him to Florence, gave him commis- 
sions, rewarded him liberally, and presented him 
with a gold medal and chain as a mark of his es- 
teem. He returned to Delft in 1656, but soon 
settled in Amsterdam, where his works were so 
much admired that he could with difficulty exe- 
cute all the orders he received, at an}^ price he 
pleased to charge for them. He died at Amster- 
dam, in 1679. 

AELTS, Nicholas Van, an engraver, born at 
Brussels. xit an early age he established him- 
self at Rome, in 1550, where he carried on a con- 
siderable commerce in prints for fifty years. He 
frequently omitted the names of the painter and 
engraver in the prints he published, inserting his 
own Avith the word formis, to denote that he Vv'as 
the publisher. Some of them, however, have 
fecit, or sculpsit, instead of formis. Heineken 
notices a set of twelve plates of birds by this 
artist. 

A ^ J^.LZHEIMER, Adam [Elsheimer, EIz- 
-jl VjL-' heimer]. This eminent painter, called 
by the Italians, il Tedesco, was born at Frank- 
fort, in 1574. His father, a tailor, finding an un- 
conquerable predilection for painting in his son, 
placed him under the tuition of Philip Offenbach, 
a reputable painter of that city. His extraordi- 
nary talents soon enabled him to surpass his 
master, and thirsting for knowledge in his pro- 
fession, he set out for Italy, where he took up his 
abode, studying the best masters with great assi- 
duity. At length he struck out into a style of 
painting peculiar to himself, which won him 
lasting reputation. His pictures are usually of 
cabinet size, some of them, ver}^ small ; the sub- 
jects landscapes, decorated with figures from 
mythology or ancient history; sun-setting or 
sun-rising; night-pieces by candle-light, torch- 
light, or moonlight. He was a close observer of 
nature, and drew all his designs from that never- 



failing fountain of truth. Iloubraken says that 
he exceeded all the artists of his time in the cor- 
rectness and neatness of his designs, the dravv'- 
ing of his figures, the admirable management of 
his lights and shadows, the airiness, spirit, and 
delicacy of his touch, and the excellence of his 
, coloring. His works are so carefully finished 
I that the remotest parts will bear the most criti- 
I cal inspection, and the whole taken together, 
appear exquisitely beautiful. And j'-et this artist 
passed his days in poverty and neglect. He re- 
ceived but a comparatively trifling compensation 
for works that have since been sold for their 
weight in gold. He could scarcely support his 
family, became embarrassed and was thrown into 
prison, which, together with a want of apprecia- 
tion of his works, had such an effect on his sensi- 
tive mind, that he died soon after his release in 
the prime of life, in 1620. 

JSlzheimer designed entirely from nature, and 
possessed such a retentive memory that he could 
copy from it, with perfect accuracy, any view he 
had seen. It was thus that he painted the Villa 
Madonna from memory alone, in which nothing 
was omitted. The trees and buildings were accu- 
rately drawn, and even the shadows of the diiier- 
ent objects were represented according to the pre- 
cise hour he meant to describe. He bestowed so 
much labor on his works that they are not nu- 
merous, and command enormous prices. His 
most capital works are, the Flight into Egypt ; 
a Night Scene, in which he has introduced the 
moon and stars with wonderful effect, now in 
the Louvre ; the Angel with Tobit, drawing the 
fish out of the water ; the Beheading of St. John 
in Prison ; the Angel with Tobit, crossing a brook ; 
Baucis and Philemon entertaining Jupiter and 
Mercury ; Ceres Drinking out of a Pitcher ; Latona 
and her Sons, and the Death of Procris. There 
are several of his pictures in the Gallery at Flor- 
ence. The Earl of Egremont has a collection of 
ten paintings of small size by this artist, the sub- 
jects of which are, St. Peter; St. Paul ;' St. John 
the Baptist ; Tobit and the Angel ; an Old Woman 
and a Girl ; an Old Man and a Boy ; a Capuchin 
Friar, with a model of a convent in his hand; 
Visit of Nicodemus to Christ; and the Interior of 
a Brothel by fire and candle-light. The best de- 
scription of his pictures will be found in the vrorks 
of Iloubraken, and Sandrart. Alzheimer is sup- 
posed to have etched some plates of similar sub- 
jects, but this is not authenticated. His mono- 
gram is composed of A. and M. diptbong. or of A, 
A. F. i. e. Adam jElzheimer fecit. Some of his 
best works have been engraved by Ills friend and 
patron. Count Goudt, which see. 

AENEAS, P., an obscure German engraver of 
portraits in mezzotint, some of whose works are 
described by Heineken. 

AERTS, Richard, a Dutch painter, born at 
Wyck, North Holland, in 1482. When a boy he 
lost one of his legs, and during a long and tedious 
confinement, he amused himself in sketching what- 
ever objects presented themselves to his view, in 
which he exhibited such an extraordinar}-' talent, 
that his father was persuaded to send him to 
Haerlem, and place him under the tuition of John 
Moestaert, the elder, a painter of note. Here he 
made surprising progress, soon surpassed his 
master, and became one of the ablest artists of hife ] 



AERT. 



8 



AGAR. 



time. He afterv/ards settled at Amsterdam, was 
received into the Academy in 1520, and continued 
to practise his profession with distinguished suc- 
cess to an advanced age. He died in that city, in 
1577, at the great age of 95. 

AERTSEN, Peter, mis-spelled AERTGEN, or 
AERTGENS, [called by the Italians, Pietro 
LoNGO, from his tall figure], an eminent his- 
torical painter, was born at Amsterdam, about 
1519. His father was a stocking weaver, and first 
placed his son under Alaert Claessen, a reputable 
portrait painter of that place; but he did not re- 
main longer with him than was necessary to obtain 
the rudiments of the art ; for, at the age of eighteen, 
he had greatly improved himself by copying some 
capital pictures in the cabinet of Bossu, in liain- 
ault, and about this time he painted some pictures 
of interiors of kitchens with culinary utensils, and 
the like subjects, executed with great taste and 
spirit and extremely well colored. NotAvithstand- 
ing these successful eiforts, which gained him 
much credit, he aspired to a higher branch of the 
art — historical painting — in which he gained much 
celebrity. It is no slight proof of his ability, that 
when ]^iichael Coxcie, of Mechlin, was applied to 
for an altar-piece for the new church at Amster- 
dam, he declined the commission ; observing that 
they had no occasion for his services, when they 
possessed such a painter as Aertsen. His greatest 
work, the Crucifixion, at Alkmaer, was destroyed 
by a mob in 156G. 

At Delft are two pictures by this artist, a Na- 
tivity, and the Offering of the "Wise ]\Ien ; and at 
Amsterdam, in the Church of Our Lady, are three, 
viz: the Death of the Virgin Maiy, a Nativity, 
and the Adoration of the Magi, all of which are 
esteemed excellent performances. Aersten com- 
posed his subjects ingeniously, his drawing was 
correct, and his coloring warm and harmonious. 
He Avas skilled in perspective and architecture, 
and he enriched his grounds with animals and ele- 
gant ornaments ; his figures were well disposed, 
his attitudes had grace and variety, and his dra- 
peries judiciously chosen and properly cast. He 
died at Amsterdam, in 1573. He had three sons, 
Peter, Arnold, and Theodore, whom he instructed 
in his own profession. 

AESTHERIUS, an architect of Constantinople, 
during the reign of Anastasius. He erected a 
great saloon, called Calci, in the Imperial Palace. 
It is supposed that he built the wall erected for 
the defence of Constantinople, extending from Se- 
limbria to the sea. 

iETION, a Grecian painter, who, according to 
Pliny, having exhibited his picture, representing 
the nuptials of Alexander and Roxana, at the 
Olympic games, gained so much applause that 
Proxenidas, the President, rewarded him by giv- 
ing him his daughter in marriage. This picture 
was taU'en to Rome after the conquest of Greece, 
where it was seen by Lucian, who gave an accurate 
description of it; from which, it is said, Raffaelle 
skctclied one of his finest compositions. 

AFESA, Pietro, an Italian painter, called 
Delia J^asilicata, from his being a^native of a prov- 
ince of that name in the kingdom of Naples. His 
works are wholly religious subjects. Dominici, 
in his Lives of Neapolitan Painters, speaks of this 
artist in very favorable terms. His works are 



preserved in many of the churches and convents 
at Naples. In the chapel of the monaster}'- at Mar- 
sico Nuovo, is an altar-piece — the Assumption of 
the Virgin Mary, which is highly esteemed. He 
flourished about 1650. 

AGAR. Jacques d', a French painter, born at 
Paris, in 1640. He was a pupil of Simon Vouet. 
but on leaving this master, he applied himself 
solel)^ to portrait painting, in which he became 
eminent. He went to England in the reign of 
Queen Anne, and was much patronized by the 
nobility. From thence he went to Copenhagen, 
vrhcre he met with still greater success, being 
greatly patronized by the King and Court. He 
died at Copenhagen, in 1716. 

AGAMEDES, a Grecian architect, who lived 
B. c. 1400, and brother to Trophonius. who assisted 
him in erecting a temple to Apollo, on a mountain 
near Lebadea ; also the temple to Neptune, near 
Mantinea, and the renowned one of Apollo, at 
Delphos. 

AGAPTOS, a Grecian architect, who, according 
to Pausanias, invented the porticos around the 
square attached to the Greek stadii, for wbicli he 
gained so much honor, that in every stadium they 
were called the porticos of Agaptos. 

AGASIAS, a sculptor of Ephesus, the son of 
Dositheus, probably flourished about 450 b. c. 
He was the author of the well-known marble statue 
called the Fighting Gladiator, now in the Louvre, 
which was found among the ruins of a palace of 
the Roman Emperors, at Capo d'Anzo, the ancient 
Antium, where also the Apollo Belvedere was 
found, 

AGELADAS, an ancient sculptor in bronze, of 
Argos ; lived about 500 b. c. ; was especially cele- 
brated as the master of Myron, Polycletus, and 
Phidias. He was the author of a statue of Jupi- 
ter, in the citadel of Ithome ; also the statue of 
Hercules, which was placed in the great Temple at 
Melite, in Attica, after the great plague. Pausanias 
mentions a number of other works b}- him, vrhich 
appear to have been highly esteemed. 

AGELLIO, Giuseppe, an Italian painter, born 
at Sorento. He was a pupil of Cav. Cristoforo 
Roncalli, called Pomerancio. He excelled in land- 
scape and architecture, and was much employed 
by painters of his time, to paint the landscapes 
and backgrounds of their pictures. 

AGESANDER, of Rhodes, a sculptor who, accor- 
ding to Pliny, executed in concert with Polydo- 
rus and Athenodorus, a much admired group 
of liaocoon and his Sons, which was in the Palace 
of Titus, at Rome. There is scarcely a doubt 
that this group is the identical one now in the 
museum of the Vatican, discovered near the ruins 
of the baths of Titus, in 1506. 

AGGAS, Ralph, an English engraver of maps 
and plans of London, Oxford, Cambridge, Dulwich, 
&c., published about 1578. 

AGGAS, Robert, an English landscape painter, 
who, says Walpoie, was much employed by 
Charles tl., and died at London, in 1670. 

AGHINETTI, called Guccio del Sero, a Flor- 
entine painter who lived about 1331, and is ranked 
bv Italian writers among the best artists of his 



AGLA. 



9 



AGOR. 



time. He haxl a nepliew, called Maestro Guccio, 
who was also eminent, and died in 1409. 

AGLAOPHON. There were two Greek pain- 
ters of this name ; one of little note, who lived 
about 500 B. c, and was the father of Polygnotus 
and xVristophon ; the other of such merit as occa- 
sioned Cicero to say that Agiaophon, Zeuxis, and 
Apelles, though totally different, were yet all per- 
fect in their several styles. The' latter lived about 
420 B. c, and executed two allegorical pictures of 
Alcibiades, which he dedicated at Athens on return- 
ing as a victor from Olympia. 

AGLIO, Andrea Salvatore dell', an Italian 
painter, born at Lugano, in 173G. He is said to 
have been the first artist who discovered the me- 
thod of fixing colors on marble. He died in 178G. 

AGLIO, Claudio, an Italian engraver, who 
practised at Rome in the middle of the seventeenth 
century. 

AGNOLO, Aniello Fiore, a NeapoHtan sculp- 
tor of the fifteenth century ; executed two works 
in San Domenico Maggiore, at Naples, which, accor- 
ding to Cicognara, possess considerable merit in 
design ; one a basso-relievo, dated 1470 ; the other, 
a Virgin and Infant, with two Angels, on the 
monument of Mariano Alaneo. 

AGNOLO, Baccio d', a Florentine carver and 
architect of some merit, born in 1400. According 
to Yasari, he erected a part of the great Hall of 
Florence, also a palace for Giovanni Bartolini, in 
the Piazza of the Santa Trinita; and the lantern 
of the cupola of Santa Maria del Fiore. lie also 
designed a garden at Gualfondo, the Villa Borghe- 
sini on the Poggio, the Campanile of Santo Spirito, 
and that of San Majano. He died in 1543. 

AGNOLO, Gabriello d', a Neapolitan archi- 
tect, who lived about 1470, and built the church 
of S. Giuseppe, and that of Santa Maria Egiziaca, 
which gained him so much fame that D. Ferdinando 
Orsini, Duke of Gravina, chose him, in preference 
to San Severino, to construct his palace ; which, 
though built in bad taste, is, nevertheless, one of 
the best edifices in Naples. 

AGNOLO, Francesco, a Florentine painter of 
history, who flourished about 1550. No particu- 
lar account is given of his works. 

AGOSTINO, Di MiLANo, called Delle Pros- 
PETTiVE, a native of Milan, and flourished about 
1525. He was a scholar of the celebrated Bra- 
mante. He was a ver}^ skilful painter, and excelled 
in lerial and linear perspective, and imitated doors, 
steps, and windows, so perfectly as to deceive men 
and animals. He painted a piece in the Carmine, 
at Bologna, which for the foreshortening. Lomazzo 
instances, with the cupola of Correggio at Parma, as 
models of excellence. 

AGOSTINO, di San Agostino, an Italian en- 
graver, who is merely known b}^ a fcAv prints. 
There is a fine print by him after the Zingara of 
Correggio, representing the Virgin Mary in the dress 
of a Bohemian, sitting with the infant Jesus, in a 
landscape, and St. Joseph writing. 

AGOSTINO, and AGNOLO, of Siena, two bro- 
thers, distinguished as sculptors and architects, 
were born about the middle of the thirteenth cen- 
tury. They both studied under Giov. da Pisa, a 
sculptor of Siena, and executed several statues of 



prophets at Orvieto, which occasioned Giotto to de- 
clare them the most accomphshed sculptors cf their 
time. Vasari describes a number of their works. 
and among others, the tomb they executed for 
Guido, lord and bishop of Arezzo, in the Church 
of S. Sacramento, in that city. As architects, they 
erected a number of public edifices, mentioned by 
Vasari, the most important of which was the 
Palazzo di Novi, at Siena, which gained them the 
appointment of State Architects. 

AGORACBITUS, a celebrated Greek sculptor, a 
native of Paros ; flourished in the fifth century 
B. c. ; studied under Phidias, and was the favorite 
pupil of that great artist. His most celebrated 
work was the statue of Nemesis, at Bhamnus, 
which Avas considered one of the first productions 
of the art, and obtained him great celebrifc}'-. 

AGRATE, Marco Ferrerio, an Italian sculp- 
tor ; lived near the close of the fifteenth century. 
He executed several works in the cathedral at 
Milan, among which is the celebrated statue of St. 
Bartholomew flayed. It is worked in marble with 
extreme care and anatomical precision, but is devoid 
of taste. 

AGRESTI, Livio, an Italian painter, born at 
Forli, a town in the Roman territory. Lie studied 
under Pierino del Vaga at Rome, where there are 
many of his works in fresco and in oil. He rose to 
great eminence, and was employed by Pope Greg- 
ory XIIL, in the great works that were executed by 
his order in the Vatican. In the great staircase is a 
grand fresco painting by him, representing Philip of 
Arragon submitting his kingdom to the dominion 
of Pope Eugenius III. There are also several of 
his works in the churches and pubhc places at 
Rome. In S. Catarina di Funari, he painted St. 
Peter, St. Paul, and the Annunciation ; and in the 
chapel of S. Spirito in Sassia, a fine picture of the 
Assumption of the Virgin Mary. His best works 
are in his native city, Forli, where he painted in the 
chapel of the cathedral, the Last Supper, and some 
admirable figures of the prophets. He died at 
Rome about 1580. 

AGRICOLA, Christopher Ludwig, a German 
painter and engraver, born at Ratisbon in 16G7. 
He excelled in portraits and landscapes, but is 
chiefly known by his prints, particularly one of 
Diana and Acteon, signed Agricola fecit. 

AGROTE, Antonio, a Milanese painter of the 
last century. He painted one of the chapels of the 
Carmine at Milan; also the decorations of the 
church of Santa Maria, at Brescia, while Carloni 
painted the figures. He was living in 1750. 

AGUCCHIA, Giovanni, an old engraver, born 
at ^Milan. He engraved several plates representing 
the dome of the cathedral of that city, to which he 
affixed his name in full ; also some other plates of 
public buildings, signed with his name, or initials, 
G. A.Jecit. 

AGUERO, Benoit Manuel, a Spanish battle 
and landscape painter, born at Madrid. He was a 
scholar of Mazo Martinez, whose style he followed. 
He also endeavorad to imitate Titian in some his- 
torical compositions, but Avithout gaining much rep- 
utation. He died at Madrid in 1670. 

AGNELLI, Federigo, an Italian engraver of 
portraits, medals, and emblematical subjects. He 
also engraved a set of plates representing the dome 



AGUI. 



10 



AIMO. 



of tlie Cathedral at Milan, to which he affixed his 
own name, and that of the architect, Carolus 
Butins. 

AGUIAK, ToMMASO de, a Spanish painter, and 
disciple of Velasquez, who llonrished about the 
middle of tlie seventeenth centur}^ lie chiefly 
painted portraits, Avhicli were remarkable for free- 
dom of st3de and striking resemblance, lie painted 
tlie portraits of many distinguished persons at 
Madrid, among which was one of I>e Solis, the 
poet, who tuned his lyre in praise of the artist. 
He also painted small figure pieces in a style of 
excellence. 

AGUILA, Francisco di^.n, a Spanish fresco 
painter, who lived at JMurcia in the hitter part of 
the sixteenth century. He painted the beautiful 
mausoleum of Alfonso the Wise, in that city, in 
1570. 

xVGUILA, Miguel del, a Spanish historical 
painter, whose pictures are valued for their near 
a,])proach to the style of Murillo. He died at 
Seville in 173G. 

AGUILEllA, Iago, or Diego de, a Spanish pain- 
ter of sacred subjects, who practised at Toledo about 
1530 with reputation. lie was a man of concilia- 
ting manners, and a good judge of works of art. He 
was IVciiuentl}^ consultc'l 1)3'^ the nobility and others, 
as to the prices demanded by artists, and did jus- 
tice to both. Most of his paintings were destroyed 
by fire. Time of his death not recorded. 

AGUIRKE, Francisco de, a Spanish painter, 
and pupil of Caxcs. He resided at Toledo, and de- 
voted himself to portraiture and the restoration of 
paintings. He was emidoycd to restore the paint- 
ings in the cathedral, and gave abundant proofs of 
his ignorance and presumption, by altering them 
according to his own notions ; a practise that has 
been pursued by others since his time, to the ruin 
of many fine pictures by the best Spanish masters. 

AGUIRIIE, Juanes, a Spanish sculptor, born at 
Legovia ; was the scholar and son-in-law of Matteo 
Inverts ; executed the Ta1)ern;vc]c of the Church of 
Villacastin, with the statues of tlic Evangelists and 
six other Samts, in 1594, which, according to Ber- 
mndez, possess considerable merit. 

AICARDO, Giovanni, an architect ofCuneo, in 
Piedmont, who lived about 1000. Soprani says he 
built the public granaries of Genoa; carried the 
aqueduct of Calzolo a length of eighteen miles, 
over hills and vallics ; and built the choir of San 
Hominico and the Serra Palace. 

AIGEN, Karl, a (Jcrnum historical painter, 
born at Olmutz in 1094. He excelled in figures of 
a small size, executed with great care, among which 
Fuseli mentions a picture of St. Leopold, considered 
one of his best works. He died at Vienna in 1702. 

ATKIMAN, William, a Scotch painter of consid- 
erable eminence, born in Aberdeenshire in 1082. 
His father educated him for the law, but his predi- 
lection for painting was so strong, that on his leav- 
ing the University of Edinburgh he sent him to 
Italy, where lie resided some years. On his return 
to liis native country, he was greatly patronised as 
a portrait i)ainter. At length the Duke of Argyle 
induced him to remove with his family to London ; 
where, under his protection and influence, he ob- 
tained the patronage of some of the first families in 
tlie kingdom. In London he formed an intimacy 



with Sir Godfrej^ Kneller, whose tastes and studies 
w^ere congenial with his own, and w^hose style he 
largely copied. He possessed considerable literary 
acquirements, and was intimate with Allan llamsay, 
Thomson, and Mallet. He died at London in 1731. 
Mallet wrote his epitaph, and Thompson his elegy. 

AIMO, DoMENico, called Varignana, an Italian 
sculptor, lived in the early part of the sixteenth 
century ; executed several of the statues over the 
princi})al gate of San Petronio at Bologna. 

AIROLA, Donna Angela Veronica, an Ital- 
ian paintress, born at Genoa, According to So- 
])rani, she w^as instrr{cted in the art by Domenico 
Fiasella, called Sarezana. She acquired a consid- 
erable reputation, and painted some i)ictures for the 
churches at Genoa. She became a religious, and 
died in a convent in that city in 1070. 



thus : 



.flowers, and still-life. There is no pub- 
lished account of him. but his pictures have a mono- 
graiji of his initials, F. V.A., or his signature, F. v. 
Akcn. 

AKEN, John Van, a Dutch painter and engra- 
ver, who lived in the fh'st part of the seventeenth 
century. Ho is principally known by his prints, 
which are executed in a very masterly manner — 
particidarly his landscapes. He was a contempo- 
rary and friend of Peter de Laer. He marked his 
plates with J. V. A.^ or a monogram of his initials, 

v\- ^^ J^ki """^ ^^^ ^^ proper 

to caution the reader not to confound this artist 
with John Van Achen, born in 1550. 

AKEN, Joseph Van, a Dutch painter, who 
passed the greater part of his life in England. He 
was employed by some eminent landscape painters 
to introduce the figures into their pictures, at which 
he Avas ver}^ skilful. He also painted on satin and 
velvet so well as to attract considerable attention. 
He died at London in 1749. 

AKERBOOM, , a Dutch painter, who lived 

about the middle of the seventeenth century. He 
painted interiors of cities and villages, comical 
scenes, such as the exhibitions of mountebanks, 
fairs, &c., which he executed in a spirited manner, 
with a high finish. 

1'he author has seen several paintings by this 
artist bearing his signature. There are a multitude 
of paintings and engravings by the old Flemish, 
Dutch, and German artists in the United States. 
They frequently bear the signature or monogram of 
the painter. One Dutch house, still doing business 
in New York, has imported in past years over forty- 
three thousand paintings from the old country. 
The number of paintings w'hicli have been brought 
to the United States is incredible to persons not 
familiar with the subject. About eighteen years 
ago, a dealer brought w^ith him, from Florence, 
twenty thousand, which he has been selling ever 
since, at auction as w'ell as at private sale, and he 
has stacks of them yet unsold. 

AKERMAN, Andreas, a SAvedish engraver, 
born 1718 ; executed principally maps and por- 
traits ; also some plates for the M'-orks of Linnasus. 
He died in 1778. 

AKERSLOOT, William, a Dutch engraver, 
born at Ilaerlcm, about 1000. He engraved some 



AKRE. 



11 



ALBA. 



portraits and other subjects, among which the fol- 
lowing arc the principal : Frederick Henry, Prince 
of Orange; and Amelia, Princess of Orange, with 
her two Daughters, after A. Vander Venne ; Christ 
taken in the Garden, after //. Hondius ; Christ 
])Ound; and Peter denying Christ, after P. Molyn. 

AKREL, Frederick, a Swedish engraver, born 
ill the province of Sundermania, in 1748. He was 
iiistructed in the art of engraving by Ackerman at 
Upsal. In 1771 he settled at Stockholm. There 
is a set of ten well engraved portraits of Swedish 
personages by him, numbered from one to ten. 

ALABARDI, Giuseppe, a Venetian painter, 
who lived about IGOO. He is highly complimented 
in an epigram, by F. Ruggerius, for a picture repre- 
senting the amours of Mars and Venus. 

ALAMANNI, Gaetano, a Bolognese painter, 
who distinguished himself in architectural and 
ornamental painting. He died in 1782. 

ALAMANNI, Pietro, an Italian painter, born 
at Ascoli. He was a pupil of Carlo Crivelli, and 
painted history and portraits with reputation. He 
lived about 1480. 

ALBACINI, Carlo, a Roman sculptor, who 
lived near the close of the last centviry. He was 
much employed in the restoration of ancient sculp- 
ture, and Winckelmann praises him as one of tlie 
most successful in the restoration of the human 
figure. Albacini made a valua))]e collection of 
casts from the antique ; and, in 1780, executed two 
monuments for the Empress Catherine II., of Rus- 
sia. He was living in 1807. 

ALBANO, Francesco, an Italian painter, born 
at Bologna, in 1578, the son of Agostino Albano, a 
respectable silk merchant in that city. When 
very young, he showed a strong inclination for 
])ainting, and though his parents were extremely 
desirous that he should follow his father's profes- 
sion, yet through the influence of an uncle, who 
had a strong predilection for the art, they were 
induced to allow Francesco to follow his natural 
inclination; and at the death of his father, Avhich 
happened when he was twelve years old, he was 
placed under the tuition of Denis Calvart, Avhose 
school then held a high reputation. Guido lleni, 
who was then studying under Calvart, and the 
most proficient and ablest of his scholars, became a 
firm friend of the youthful Albano, and, in fact, 
his preceptor ; for Calvart drew only one profile 
for him, leaving him entirely to the management 
of Guido, under whose instruction he made rapid 
advances. Guido, having learned all that he could 
acquire from Calvart, entered the school of Lodo- 
vico Caracci, at that time the most famous in 
Lombardy; whither his friend Albano soon fol- 
lowed him. They studied there with great assidu- 
ity, accompanied by a spirit of emulation condu- 
cive to the advantage of both. Guido, on leaving 
the Caracci, went to Rome, whither Albano soon 
followed him. His genius soon gained him repu- 
tation at Rome, and Annibale Caracci, who fell 
sick while painting the chapel of St. Diego, in the 
national church of the Spaniards, designated Albano 
liis successor in the work ; and the greater part of 
it was completed by him in a manner that gained 
him much reputation. The Marquis Giustiniani 
employed him to adorn the gallery of his villa at 
Bassano, where he represented the story of Nep- 
tune and Galatea, and the fall of Phseton. He sub- 



sequently executed several important works in the 
Verospi Palace at Rome, where he represented 
subjects from Ovid in ti manner characterized by 
great science and ingenuity. These works estab- 
lished the lame of Albano throughout Italy. The 
Duke of Mantua invited him to his court, where 
he executed some pictures representing the story 
of Diana and Acteon, and Venus and Cupid. 

Returning to Rome, he executed the large works 
to be seen in the Tribune of the Madonna della 
Pace. In the Church of San Sebastiano is an 
altar-piiice representing the martyrdom of that 
saint, entirel}^ in the wtyle of the Caracci ; and a pic- 
ture of the Assumptioii, painted in conjunction with 
Guido lleni. Many others of his works arc in the 
most eligible localities of Rome. Among his best 
works at Bologna are the Baptism of Christ, in S. 
Giorgio ; the Annunciation, in S. Bartolomeo ; and 
the Resurrection in S. Maria de Galeria, His com- 
positions are ingenious and a))undant, his figures 
are both elegant and graceful ; but he must be "re- 
garded rather as an agreeable than a great painter, 
for his style is more beautiful than grand, and the 
soft and delicate forms of women and children were 
more suited to his powers than the delineation of 
the muscular movements of men. He generally 
chose the pleasing subjects of the fable, that admit 
of the graceful and amiable, rather than the liero- 
ism of history, that call for nobler exertions of the 
sublime and tciriMc. The landscapes in the back- 
ground of his pictures are exceedingly pleasing, 
touched with exquisite taste, and his fresh and 
delicate coloring charms the beholder, Lanzi calls 
him the Anacreon of painting : the fame the poet 
acquired from the charming fancy of his odes, the 
painter reached by the fascination of his cabinet 
pictures — as the one sung of Venus and the Loves, 
so the other chose the most tender and seductive 
subjects. He married at Rome, and intended set- 
tling there for life ; but losing his wife, he returned 
to jiologna and married again. His second wife 
was of good descent and \ery handsome. Alljano 
cherished for her the fondest alfection, and innde 
her the model of his graces, nymphs, and other 
female forms. She brought him several very beau- 
tiful boys, whom he made the models of his cup'ds j 
and it was fi'om them that the sculptors Flaiuand 
and Argandi modeled some of their cherubic statues. 
At Burghley House, the seat of the Marquis of 
Exeter, are some fine tapestries from his designs. 
Among his best works are the pictures of the four 
elements, painted for the Cardinal Maurice, and 
now in the gallery at Turin. They have l)een often 
copied, some so successfully as to pass for the orig- 
inals. Albano died at Bologna in IGCG, at the 
great age of 88. 

ALBANO, Giovanni Battista, the brother and 
scholar of Francesco Al])ano. He followed the 
manner of that master, and imitated him success- 
fully in historical subjects as well as landscapes, 
thereby gaining some reputation. He died in 10G8. 

ALB ANSI, Angelo, an Italian engraver, who is 
only known by some beautiful and spirited etch- 
ings of architectural ruins in and about Rome, 
which bear his name ; and from which it appears 
he flourished about the commencement of the sev- 
enteenth century. 

ALBERELLI, Giacomo, an Italian painter, bom 
at Venice, and lived about IGOO. "He studied under 
Jacopo Palma, the younger, and remained with that 



ALBE. 



12 



ALBE. 



master as a coadjutor for thirty-four years. lie 
was a reputable painter of history, and there are 
some of his works in the public edifices at Venice, 
the best of which is a picture of the Baptism of 
Christ, in the Church of the Ognissanti, or All 
Saints. He died about 1650. 

ALBERICI, EnricOj an Italian painter, was born 
at Vilniinorc, in the territory of Bergamo^ in 1714. 
and studied three years under Ferdinando Cairo of 
Brescia, Tassi, in his account of the Bergauiese 
painters, gives a particular description of some 
of his works, and says he was an ai-tist of dis- 
tinction. Among many others, he painted for the 
Church delle Miracoli at Brescia, the Woman of 
Samaria, the Parable of the Pharisee a]id the Pub- 
lican, the Raising of Lazarus, the Prodigal Son, and 
the Good Shepherd. He died in 1775. 

ALBERT, Simon, a noted Dutch historical pain- 
ter, born at Haerlem in 1523, studied under Jean 
Mostaert. He lived to a great age, but the year of 
his death is unknown. 

ALBERTI, Antonio, an Italian painter, of 
Ferrara, who lived about 1450 ; was a painter of 
portraits and biblical subjects, and gained much 
reputation. He had a son of the same name, who 
was also an eminent artist, hving about 1550. 
There are many painters mentioned of this name, 
but their genuine works it would be difficult to 
ascertain. 

ALBERTI, Aristotile, an eminent Bolognese 
architect of the fifteenth century. He removed the 
bell-tower of S. Maria del Tempio, at Bologna, with 
all the bells, to a place thirty-five feet distant. At 
Cento, in the Church of Biagio, he set the bell- 
tower upright, which inclined five tvnd a half 
feet ; and in Hungary he rebuilt the bridge over 
the Danube, and performed other great works, so 
that the King knighted him, and allowed him to 
coin money and stamp it with his own name. 
John Basilide, the great Duke of Moscovy, sent for 
Alberti, and commissioned him to build several 
churches. 

ALBERTI, Cherubino, a distinguished Ital- 
ian painter and engraver, born at Borgo S. Sepol- 
cro, in 1552. The family of Alberti is very 
eminent in art. His Hither, Michele Alberti, 
instructed him in the art. and he became distin- 
guished as a painter of history. At Rome he exe- 
cuted some important works, both in oil and in 
fresco ; the principal of which are in the church of 
S. Maria in Via. As an engraver, however, he 
was far more distinguished, and his works in this art 
are \ery extraordinary productions of uncommon 
genius, at a time when the art was far from its sub- 
sequent perfection. It is not known from whom 
he learned it; but from his manner, especially in his 
earlier works, it is probable he was a scholar of 
Cornelius Cort, and subsequently to ha^'C acquired 
a more correct and freer style by studying the 
works of Francesco Villamena, and Agostino Car- 
acci. His plates are executed entirely with 
the graver. His outlines, especially in the nude, 
are generally correct, and his heads have a pleasing 
expression ; but his draperies arc clum.sy and stiff. 
He has preserved in his prints some of the beauti- 
ful friezes by Polidore da Caravaggio, painted on 
the facjades of the public edifices, which have been 
destroyed Ijy time'. , 

Alberti executed a large number of prints. 



amounting to about 180, of which 75 are from his 
own designs ; the others are from jNI. Angelo, 
Raffaelle, Polidore da Caravaggio, Andrea del 
Sarto, and other great masters. He died at Rome 
in 1615. He generally marked his prints with one 
of these ciphers : 

C C C 

The following are his principal worlds : 

SUBJECTS FROM HIS OWN DESIGNS. 

Portrait of Pope Gregory XIII., oval with ornaments 
do. of Pope Urban AT., the same ; do. of Henry IV., ol 
France, oval, dated 1595 ; do. of Pietro Angelo Bargeo ; 
Judith with the Head of Holoforncs ; the Nativity, in.scvibed 
Dcus ormiipotens, &c. ; the Flight into Egypt, dated 1574; 
the Holy Family, with St. Elizabeth, dated 1571 ; another 
Holy Family, St. Joseph seated with a book ; the Body of 
Christ supported in the clouds by Angels, inscribed 3Iag- 
num pietatls opus, (^'C. ; the Virgin Mary and Inftlnt in 
the clouds, inscribed Reglna cceli ; Mary [Magdalen pen- 
itent, dated 1582 ; St. Catharine receiving the Stig- 
mata, dated 1574 ; St. Christian drawn out of the Sea ; St. 
Francis receiving the Stigmata, dated 1599 ; St. Charles of 
Borromeo, kneeling before the Virgin and Infant, dated 
1612 ; Six plates of Children or Cupids, for ceilings, dedica- 
ted to Cardinal Visconti, dated 1607. 

SUBJECTS FROM THE DESIGNS OF VARIOUS MASTERS. 

After Michael Angelo. — The Crucifixion ; St. Andrew 
beaiing the Cross, dated 1580 ; two other Figures, from the 
Last Judgment, elated 1591 ; St. Susanna, with a Sword, 
leaning against a. pedestal ; Prometheus devoured by the 
Vulture, dated 1580 ; Charon, with two other Figures, dated 
1775 ; and the famous Statue of Pieta. 

After Polidore da Caravaggio. — The Creation ; Adam 
and Eve subjected to Labor ; the Death of Niobe and her 
Children, in five sheets, for a frieze ; the Rape of the Sa- 
bines, do. ; the Triumph of Camillus, in the style of the 
antique ; Pluto holding a Torch, do. ; Fortune standing on 
a Shell, do. 

After RajfacUe. — The Resurrection, a gi-and composi- 
tion ; the Presentation ; the Holy Family, dated 1582 ; the 
Grraces and Venus leaving Juno and Ceres, dated 1582; 
Jupiter and Ganj'mede, dated 1580. 

After II Ros.io. — The Transfiguration ; the Adoration 
of the IMii.gi, dated 1574 ; Christ praying on the Mount, 
dated 1514 ; the Stoning of St. Stephen ; a piece of Archi- 
tecture in two sheets, dated Roma, 1575. 

After Andrea del Sarto. — The Baptism of. our Saviour, 
dated 1579 ; the Miracle of St. Philip Benizzio, very finely 
executed. 

After Taddeo Zucchero. — The Adoration of the Shep- 
herds, in two sheets, dated 1775 ; the Holy Family ; the 
Scourging of Christ ; the Conversion of St. Paul ',' the As- 
sumption of the A^irgin. 

After Fedcrigo Zuccliero. — The Assumption of the 
Virgin ; the Coronation of the A^irgin. 

After Pierino del Vaga. — Christ Praying in the Gar- 
den. 

After Pietro Tihaldi. — Tobit and the Angel, dated 
1575. 

ALBERTI. Durante, an Italian painter, horn 
at Borgo S. Sepolcro, in 1538. Baglioni says he 
visited Rome when young, during the pontificate 
of Gregory XIII. He soon gained eminence by 
several works he executed for the churches and 
other public edifices. In the Church of S. Girola- 
mo della Carita, one of the chapels is entirely pain- 
ted by him in fresco ; and the altar-piece, in oil, 
representing the A^irgin and Infimt, with St. Bar- 
tolomeo and St. Alessandro. In S. Maria de Monti, 
he painted the Annunciation ; and there are some 
of his works in several other Roman churches. 
His portrait is in the Academy of St. Luke. lie 
died in IGLS, and was buried with great honors, in 



ALBE. 



13 



ALBE. 



the Chiesa del Popolo, attended by all tlie princi- 
pal artists of Rome. 

ALBERTI, Giovanni, brother of Chenibino A., 
an Italian painter, born at Borgo S. Sepolcro, in 
1558, and was instructed in the art by his father, 
Michele Alberti. Baglioni says he visited Rome 
during the pontificate of Gregory XIII., and was 
employed by that pontiff in the Vatican. He was 
most distinguished in landscapes and perspective, 
Cherubino usually painting the figures. He was 
emplo3"ed by Clement VIII. to paint the Sacristy 
of St. John of Lateran. His portrait is in the 
Academy of St. Luke. He died in IGOI. 

ALBERTI, Leon Battista, an eminent Flor- 
entine architect, was born in 1398. According to 
Yasari, he was of noble descent and highly educa- 
ted, ile repaired the conduit of the Acqua Vir- 
gine. and made the fountain of Trevi, at the request 
of Nicolas V. He also designed a cover for the 
bridge of Sant' Angelo ; probably erected the prin- 
cipal fagade of Santa Maria Novella at Florence ; 
built the Tribune della Nunziata at Florence, the 
church of St. Andrea, and many other buildings at 
Mantua. He also commenced a beautiful addition 
to the old Temple of Rimini, and to rebuild the 
Basilica Vaticana, but did not complete either. 
Alberti deserves to be considered as one of the prin- 
cipal restorers of ancient architecture, though his 
I taste gives evidence of the obscure times from 
' whence he emerged. He died in 1-172. 

ALBERTI, Michele, an Itahan painter, proba- 
bly the brother of Durante, born at Borgo S. 
Sepolcro, about 1527. He studied under Daniello 
I Ricciarelli, called da Vollena. The name of Alberti 
is illustrious in art. He was the father of Cheru- 
bino and Giovanni A., and painted history with 
reputation. His chief work is a picture in the 
Church of the Trinita dell' Monti, representing the 
Murder of the Innocents. 

ALBERTI, PiETRO Francesco, an Italian pain- 
ter and engraver, born in 1584, and the son of 
Durante Alberti, in whose style he painted histor- 
ical subjects. He engraved a plate called Academia 
delle Pittori, a large print lengthways ; it has many 
figures, is etched with great spirit, and evidently 
done by a painter. It is marked, Pctrus Francis- 
cus Albert us^ inv. etfec. He died in 1G38. 

ALBERTINELLI, Mariotto. an Italian pain- 
ter, born at Florence in 1-475. He was the disci- 
ple and friend of Fra. Bartolomeo di S. Marco, 
whose style he followed, and whose merit he nearly 
approached. According to Vasari, he was of so 
jealous and unhappy a disposition, that on hearing 
some unfavorable criticisms on his works, he 
became so disgusted as to abandon the art for some 
time, and it was only upon the earnest persuasions 
of his friends that he returned to it. His works 
are almost wholly upon sacred subjects, and are 
considerably esteemed. Several of them are in the 
churches and convents at Rome, Florence, and 
Viterbo. In the Church of S. Silvestro a Monte 
Oavallo, is a picture by him of the Virgin and 
Infant on a throne, with S. Domenico, and S. Cat- 
erina da Siena ; and at Florence, one of his first 
productions, representing the Visitation, painted 
for the Congregazione de Preti^ but subsequently 
removed to the Tribune in the Florentine Gallery. 
He died in 1520. 

ALBERTOLLI, Giocondo, a distinguished Ital- 
ian architect, born at Bedano in 1742 ; studied at 



Parir^a and had the advantage of attending the lec- 
tures delivered at the Academy of Fine Arts in that 
citj^ In 1770 he was employed b}^ the Grand 
Duke of Tuscan}', to design the embellishments of 
one of his villas near Florence. He also visited 
Rome and Naples for improvement. At JNIilan he 
gained great reputation by the interior decorations 
of the Palazzo Reale. He also executed many other 
works, and wrote several valuable treatises, which 
contributed not a little to diffuse the author's rep- 
utation through Germany and France. By his 
own countrj'men he was considered as high author- 
ity in all matters of ornamental architecture. He 
was employed to design and execute the embellish- 
ments of the Imperial Villa at Monza, and v^as 
appointed Professor of Decorative Architecture in 
the Acadeni}^ of Fine Arts at ]\Iilan. He died in 
1840, at the advanced age of 98. 

ALBERTOLLI, Raffaello, son of the preced- 
ing, distinguished himself as an engraver both in 
mezzotint and etching, and executed many por- 
traits of individuals of note. He died in 1812. 

ALBERTONI, Paolo, an Italian painter, an 
imitator of Carlo Maratti, who lived about 1680. 
There are some pictures by him in the Church of 
San Carlo, in Santa Maria, and other churches of 
Rome. 

ALBERTUS, H. C, a German painter and en- 
graver ; born m Saxon}^ ; lived about IGGO. He 
painted a portrait of John Seckendorff, rector and 
professor at Zwickau, considered a fine work of 
art, which he afterwards ei^raved. Lie died in 
1680. 

ALBINI, Alessandro, an Italian painter, born 
in 1586 according to Zani, though others place his 
birth in 1575. Malvasia says he was a native of 
Bologna, and a talented scholar of the Caracci. He 
executed some designs for the funeral ceremony of 
Agostino Caracci, which gained him great distinc- 
tion. There is a painting b}^ Albini in the Church 
of S. jNIichele in Bosco, at Bologna, of the Sepulture 
of St. Valerian and St. Tiburtius ; and in S. Pietro 
Martyri, St. Peter, St. Catherine, and St. Cecilia. 
Zani sa^-s he died in 1646. 

ALBINI, Giuseppe, called Sozzo, a painter, 
sculptor, and architect, of Palermo; lived about 
1590 ; studied under Giuseppe Spatafora ; executed 
two statues placed on each side of one of the gates 
of Palerm.o, which gained him considerable reputa- 
tion. He also executed other works in his differ- 
ent capacities, for the Viceroy Colonna, and several 
other men of rank in Palermo. He died in 1611. 

ALBONI. Paolo [called Paolo Antonio by 
Oretti], a Bolognese landscape painter of the last 
century. After practising some time in Italy, he 
went to Vienna in 1710, where he remained about 
thirteen 3^ears ; but losing the use of his right side 
by paralj'sis, he returned to Bologna and com- 
menced painting with his left hand. Alboni fol- 
lowed the style of Ruysdael and other Dutch mas- 
ters. His later pictures are inferior to his earlier 
productions. He died in 1734. His daughter, 
Luigia JNIaria Rosa was also a distinguished land- 
scape paintress. 

ALBORESI, GiACOMO, a Bolognese painter, 
born in 1632, and a scholar of Agostino Metelli. 
He painted history, but was more distinguished for 
views of architecture. He worked chiefly in fresco. 
and in conjunction with Fulgenzio Mondini, painted 



ALBR. 

for the Church of S. Petronio at Padua, the Death 
and Canonization of St. Anthony. He painted 
some perspective pieces in the Church of S. Gia- 
como Maggiore, in which the figures Avcre execu- 
ted by Bartolomeo Passarotti. He died in 1GC7. 

ALBRION, DoMENiGO de, a Spanish sculptor ; 
lived near the close of the sixteenth centur}?- ; exe- 
cuted, in concert v^^ith Nicolas Larraut, the statues 
of Aaron and Melchisedeck in the Cathedral of 
Tarrajona, which are extolled by Pliny for their 
correctness of design, and the tasteful simplicity of 
their draperies. 

ALBBIZZI, or ALBERICI, Enrico, an Italian 
liistorical painter, born near Bergamo, in 1714; 
studied under Ferdinando Cairo, at Brescia, where 
many of his best works are preserved ; the Church 
delle Miracoli contains several. He died in 1775. 

ALCAMENES, one of the most eminent of the 
ancient Greek sculptors, was born at Athens, and 
a scholar of Phidias. He lived in the fifth century 
B. c. This eminent sculptor is distinguished for 
his works in marble, in bronze, and in the mixed 
materials so much in use at that time. His most 
celebrated production was the Venus of the Gar- 
dens ; a work of such extraordinary excellence that 
even Phidias himself assisted in finishing it. Alca- 
mcnes and Agoracritus executed two statues of 
Yenus, which were submitted to the judgment of 
the xVthenians. That by x\lcamenes obtained the 
prize ; not, we are told, from the superiority of the 
work, but because he was an Athenian, xigoracritus 
being a native of Pares. It has been a question 
whether this was the celebrated Yenus of the 
Gardens, but a strong argument against this sup- 
position is, that that work is always mentioned 
with unqualified commendation, while the other is 
admitted to have gained the preference merely for 
the reason above stated. One of his statues of 
jMinerva is said to have been executed in competi- 
tion with his master Phidias, and on a near view, 
that of Alcamenes was pronounced greatly supe- 
rior ; but when the statues were raised to the height 
for which they were intended, the Avork of Phidias 
far surpassed in beauty and grandeur that of 
Alcamenes. Cicero and Yalerius Maximus speak 
in very high terms of a statue by this artist of Yul- 
can, at Athens. The sculptor indicated the lame- 
ness of the god, but in so masterly a manner, that 
no positive deformity was discernible by which 
the general excellence of the work was impaired. 
Pausanias says that Alcamenes enjoj^ed a reputa- 
tion second only to Phidias. He mentions a num- 
ber of his works, among which are a statue of 
Dionysius, in ivory and gold, at Atlicns ; a statue 
of Mars, in the Temple of that god 5 two of JMi- 
nerva; a colossal statue of Hercules ; a statue of 
^sculapius, at Man tinea ; and the sculptures in the 
posterior pediment of the Temple of the Olympian 
Jupiter, illustrating the fable of the Lapitha3 and 
Centaurs. 

ALCDIACIIUS, a Greek painter wlio probably 
flourished about the time of Alexander the Great. 
He was celcljrated for a picture of tlie victory of 
the fiimous Athenian pancratiast, Dioxippus, who, 
at the Olympic Games, contended naked with a 
Macedonian completely armed, and vanquished him. 

ALCON, a sculptor who probably lived about 
800 B. c. Pliny says he executed an iron statue 
of Hercules, at Thebes. 



14 ALDE. 

ALDE, H. Yan, a Dutch painter and engraver, 
who lived about 1650. He painted a portrait of 
Gaspar de Charpentier, an ecclesiastic of Amster- 
dam, which he subsequently engraved. 

Mfjj^ ALDE GREYER, Henry, inoor 
or /gI rectly called Albert Aldegraef. 
a German painter and engraver, 
born at Zoust, in Westphalia, in 1502. Sandrart 
has called him Albert, misinterpreting his mono- 
gram. Charmed with the works of Albert Durer, 
he visited Nuremberg to study under that master. 
He followed Durer's style in both arts, and became 
very distinguished. Returning to Westphalia, he 
at first devoted himself to painting, and, according 
to Mr. Fuseli, executed some pictures for the 
churches and convents, which approach the merit 
of Durer. M. de Piles speaks very highly of a 
picture of the Nativity by Aldegrever. Some pic- 
tures by him are to be seen in the Galleries of 
Munich and Schleissheim, and at Berlin a remark- 
able one of the Last Judgment. After a few years 
he applied himself entirely to engraving, and be- 
came very clistinguished among that class called 
the little masters, from the small size of their 
plates. He worked entirely with the graver, in a 
style evidently founded on that of Albert Durer ; 
his execution is uncommonlj^ neat, and his plates 
are finished with great correctness and dehcacy. 
His design, though not incorrect, is evidently 
Gothic, though not more so than the artists of his 
country at that time. He usualh" marked his 
plates with a monogram. He executed a large 
number of plates, the principal of which are the 
following. Full descriptions may be found in 
Heineken, and Bartsch's '■ Peintre Graveur.''^ 

PORTRAITS. 

Portrait of himself, -vvithGut a beard, marked Aldegre- 
ver, ^tatis 27, 1530 ; another of hhnself with a thick 
beard, marked Aldegrever. Anno 1538, JEftatis sues 35 ; 
Bust of Martin Luther, dated 1540 ; do. of Philip Melane- 
thon, same date ; Portrait of Albert vander Ilelle, 1538 ; 
do. of John van Leyden, leader of the Anabaptists ; do of 
Bernard Knipperdolling, the fanatic ; do. of William, Duke 
of Juliers. 

VARIOUS SUBJECTS. 

Scriptural. — Six plates illustrating the Pall and Expul- 
sion of Adam and Eve from Paradise, dated 1540; four 
plates do. of the History of Lot, 1555 ; four do. of the His- 
tory of Joseph and his Brethren, 1528-32 ; seven do. of the 
History of Thamar and Absalom, 1540 ; four do. of the 
History of Susanna, 1555 ; four do. of the Parable of the 
Good Samaritan, 1554 ; five do. of the Rich Man and Laz- 
arus, 1554 ; David and Bathsheba ; the Judgment of Sol- 
omon, 1555 ; Judith with the Head of Hoiofernes, 1528 ; 
the Four Evangelists, 1539 ; the Adoration of the Shep- 
herds, 1553 ; the Virgin and Infant reposing under a tree, 
1527 ; the Virgin carrying the Infant Jesus, with a stan- 
dard, 1552. 

Historical and Mythological. — Marcus Curtius about to 
leap into the Gulf, dated 1532 ; Titus Manlius ordering his 
Son to be decapitated; Mutius Scajvola before Porsenna, 

I 1530; Tarq^uin and Lvicretia, 1539; Sophonisba taking the 

j Poison, 1553 ; the Coimt d'Archambaud destroying his Son 
bef(n-e his Death, inscribedPaier ne post suam mortem, d^^c, 
1553 ; the Battle between Hannibal and Scipio ; the Com- 
bat of Hector, a small frieze, inscribed Hector Trojanus, 

I 1552; Romulus and Remus exposed on the banks of the 
Tiber ; Medea and Jason ; seven plates of the Diviiiities 
that preside over the Planets ; thirteen plates of the Labors 
of Hercules, very fine and scarce; Orpheus and Euridice, 
an etching, and the only one known by this master, which 

} is very scarce. 

I Allegorical and Other Subjects. — Fourteen plates of alle- 

j gorical subjects, dated 1549 and 1550 ; seven do. of The Vir- 
tues, 1552; seven do. of The Vices, 1552; ci^Jt do. of the 

I Emjfire of Death over Humanity ; six do. of Death drag- 



ALDE. 



15 



ALEM. 



ging away Persons of all ages and both Sexes, 1562 ; twelve 
do. of the Procession of a Westpbalian Wedding, 1538; eight 
do. of a similar subject, 1551 ; a "Woman holding an Hour- 
glass, with a Skull and a Globe, inscribed Respice finevi, 
1529 ; a Woman with wings, hovering over a Globe, hold- 
ing the symbols of Tempei-ance and Prudence, 1555 ; an 
Officer carrying a Flag, 1540 ; a Man with a Sword, surpri- 
sing a Monk and a Nun, 1530 — very rare ; the Society of 
Anabaptists, with a number of Figures in the Water. 

The year of Alclegrever's death is not known, 
but there are prints by him dated as late as 1562. 

ALDEGXJELA, Josef Martin d', a Spanish 
architect, according to Bermudez, of considerable 
eminence ; born at Manzaneda in 1730 ; died at 
Malaga in 1802 ; studied under Josef Corbinos, of 
Valencia. Soon after quitting that master he was 
appointed to superintend the erection of the church 
and college, of the Jesuits at Teruel. which was so 
creditably done, that he was soon after engaged by 
the bishop of Cuenca to finish the Church of San 
Felipe Neri in that city. From this time his repu- 
tation was established. He subsequently erected 
a number of public edifices at Cuenca and else- 
where; constructed the. new aqueduct at Malaga, 
and completed the noted bridge at Ronda. 

ALDRICH, Rev. Henry, an English author 
and architect, born at Westminster in 1647. He 
designed Peekwater Square, at Oxford ; the chapel 
of Trinity College, and the Church of AH Saints of 
the same University. He died at Oxford in 1710. 

ALDROYANDINI, Mauro, an Italian painter, 
the uncle of Tommaso, whom he instructed in the 
art ; born in 1649 ; died in 1680 ; acquired a great 
reputation as an arcliitectural and scene painter, 
and although he died in his thirty-second year, he 
executed man}^ excellent works in various Italian 
cities. He decorated the town-hall of Forli in con- 
cert with Carlo Cignani. 

ALDROVANDINI, Pompeo Agostino, a cele- 
brated Italian painter, born in 1677. He executed 
many works for the palaces, theatres, and churches 
of Vienna, Prague, and Dresden; besides many 
admirable works in oil, fresco, and distemper. He 
died in 1739. 

ALDROVANDINI, Tommaso, an Itahan pain- 
ter, born at Bologna in 1653. His uncle, Mauro 
Aldrovandini, an eminent architect, taught him the 
elements of the art. He excelled in representing 
views of perspective and architecture, in which the 
figures were painted by Marc' Antonio Frances- 
chini, and Carlo Cignani. The principal work of 
this artist was the Council Chamber at Genoa, 
which he painted in conjunction with Franceschini. 
He died in 1736. 

ALE, Egidius, a Flemish painter, born at Liege; 
flourished in the latter part of the seventeenth 
centur}''. He went to Rome, adopted the grand 
style, and painted in conjunction with Morandi. 
Romanelli, and Bonatti. He executed an altar- 
piece in oil, and the ceihngs of the chapels in fresco, 
for the church of S. Maria dell' Anima at Rome. 
He followed the principles of the Roman school, 
and w^as noted for his purity of style. He died 
in 1689. 

ALEMAGNA, Giovanni, called Zohan, Zoane, 
ZuANE,a German painter, who practised at Venice 
from 1441 to 1451, in conjunction with Antonio 
Vivarini, called da Murano ; from which some have 
supposed that Zuane stood for Giovanni, a brother 
of Antonio ; but this cannot be true, as other pic- 



tures are inscribed Johannes de AJemania et Anfo- 
nius de Muriano pinxit, and Antonio de Muran e 
Zohan Alem.anus pinxit. He was a painter of 
merit. 

ALEMAGNO, Giusto di, a German painter, 
who practised at Genoa in the fifteenth century. 
In 1451 he executed an Annunciation in fresco, in 
a cloister of S. Maria di Castello ; which Zani 
says is a valuable picture. It is finished in the 
manner of the miniaturists, seemingly the precur- 
sor of the style of Albert Durer. 

ALEMAN, RoDRiGo, a sculptor, says Bermudez, 
of much celebrit}^ in his time, about the beginning 
of the sixteenth century ; he was probably'a Ger- 
man. He executed the figures and arabesque orna- 
ments of the stalls of the choir of the cathedral of 
Placenzia — an extraordinary work, rich in every 
kind of grotesque device ; also the stalls of the 
Church of Ciudad Rodrigo. 

_ ALEIMANS, N., a Flemish painter who generally 
lived at Brussels. He painted animals and minia- 
ture portraits. 

ALEN or OLEN, John Van. a Dutch painter, 
born at Amsterdam in 1651. He generally repre- 
sented fowls, landscapes, and still-hfe. Though 
inferior to Hondekoeter, he treated those subjects 
with great ability. Copies of Hondekoeter and 
other masters of the period, easily pass for original 
productions. He died in 1698. 

ALENI, Tommaso, an Italian historical painter, 
born at Cremona in 1500, and, according to Or- 
landi, a scholar of Galeazzo Campi, whose style he 
followed. He executed some works in competi- 
tion with Galeazzo, in the Church of S. Domenico, 
at Cremona, which are difficult to distinguish from 
those of that master. He died in 1560. 

ALEOTTI, GiAMBATTisTA, an architect and au- 
thor of Ferrara. who lived about 1615, and erected 
the citadel placed by Clement VIII. at Ferrara, also 
various public edifices at Mantua, Modena, Parma, 
and Venice. He was employed also in levelling 
land, and draining marshes. 

ALESIO, Matte Perez di, a Roman painter, 
who lived about 1585. The patronage Philip II. 
bestowed on the arts, induced him to remove to 
Spain, where he executed many fresco paintings 
for the churches of Seville, the principal of which 
is a colossal picture forty feet high, in the cathedral, 
representing St. Christopher carrying the infant 
Saviour on his shoulder. It is highly praised by 
Palomino Velasco. His design is characterized by 
the style of IMichael Angelo. After a few years 
he departed for Italy, declaring that a country pos- 
sessing so great a master as Luis de Vargas, stood 
in no need of his assistance. He died at Rome in 
1600. 

ALESSANDRO and JULIO, two Italian paint- 
ers of whom little is known, but they are alwaj^s 
mentioned together. They are said to have studied 
under Rafiaelle or Giovanni da Udine. They vis- 
ited Spain at the invitation of Charles V., and 
decorated the Alhambrawith paintings in the style 
of the Loggia of Raffaelle in the Vatican. Pacheco 
says. they executed the paintings in the house of 
Cabos, the emperor's secretary ; and Velasco men- 
tions several other works of their execution. 

ALESSANDRO, Innocenzio, an Itahan engra- 
ver, born at Venice about 1740, and studied under 



ALES. 



IG 



ALEX. 



F. Bartolozzi, before that master left Venice for 
England. He engraved several plates in aqnatinta, 
an:f in the crayon manner, of which the following 
are the principal : 

The Annunciation ; The Flight into Egypt ; after F. Lc 
Moliie. 

The Virgin Mary, with a Glory of Angels ; after Piaz- 
zctta. 

The Virgin Mary, with Gruardian Angels, releasing the 
Souls in Purgatory ; after Sebastian Riccl 

Two Landscapes, and a sot of twelve Landscapes ; after 
Murco Riccl. 

Four prints, representing Painting, Music, Astronomy, 
ansl Geometry ; after Domenico Majotto. 

ALESSI, Galeazzo, a ycrj celebrated Italian 
architect, was born at Perugia in 1500, and studied 
under Giambattista Oaporali, of Perugia, but after- 
wards went to Rome, M'here he became the friend 
of Michael A ngelo. lie completed the fortress of 
Perugia, and erected several of the finest palaces 
in that city, lie resided some years in Genoa, 
where he erected the si)lendid church of the Ma- 
donna ; extended the mole more than six liundred 
paces into the sea ; built the gate of the old mole, 
and a number of palaces for the nobility?". He left 
many designs and models which have been execu- 
ted hj the nobles, and have gained for Genoa the 
title of La Snpcrba. He executed many magnifi- 
cent works at Ferrara, ]3ologna and Milan, and 
various designs for buildings, lakes, fountains and 
baths in Naples, Sicilj^, France, Germany, and 
Flanders. Alessi became so famous that the King 
of Portugal declared him a cavalier, and the King 
of Spain sent for liim to execute some buildings, 
and loaded him with riches and honor. On return- 
ing to Perugia he was honored with a membership 
in the Cominercial GoUege, and sent to Paul V. on 
an important commission. lie sent a design for 
the monastery and Church of the Escurial, in Spain, 
which was preferred to those of all the architects 
of Europe, and he was requested by the King of 
Spain to execute it, but his age and indisposition 
pervented. Alessi was learned and agreeable, and 
of great ability. His family lias produced several 
illustrious men. lie died in 1572. 

ALEAVYN, W., a Dutch amateur painter of the 
present century, wlio made many designs after the 
works of the old masters. lie lived at Amster- 
dam and at Utrecht, where he died in 1839. 

ALEXANDER, John, a Scotch engraver, who 
practised at Rome, according to lleineken, about 
1718. Ilis plates are chielly after Raifaelle, slightly 
etched, incorrectl}^ drawn, and indifferently execu- 
ted. He engraved a set of six middle-sized plates, 
lengthways, dedicated to Cosmo III., grand duke of 
Tuscany, as follows : 

The Benediction of Abraham, dated 1717. 
The Sacrifice of Abraham. 1718. 
The Angel appearing to Abraham. 
The Departure of Lot from Sodom. 
Jiicob's Ladder. 1718. 
Moses and the Burning Bush. 1717. 

ALEXANDER, William, an English designer, 
born at ]\Iaidstone in 17(58. He accompanied Lord 
Macartney to China as draughtsman, and his draw- 
ings of the scenery and customs of the Celestial 
Empire, .served to 'illustrate Sir George Staunton's 
Narrative of the Embassy. lie published a work 
of the Costumes of China ; was teacher of drawing 
at the Royal JMilitary College at Great Marlow, 
and afterwards Keeper of the Antiques in the 



British iMuseum, where he executed the drawings 
of the marbles and terra-cottas for Taylor Combe's 
work in u vols. lie died in 1816. 

ALEXANDER, an Athenian painter who prob- 
ably executed the paintings on the four marble 
tablets which were found in 1746 at Ilerculaneum, 
and are now in the Museum at Naples. They 
evince considerable merit, and from their style arc 
apparently of a late date. 

ALFANI. Domenico di Paris, an Italian paint- 
er, born at Perugia, according to Pascoli, in 1483. 
He was a scholar of Perugino, whose style he sur- 
passed ; and his works are so much in the manner 
of Ratfaelle, that were it not for the delicac}?^ and 
sweetness of his coloring, they might be assigned 
to the school of that master. His reputation has 
suffered from that of his son Orazio, and even in 
Perugia some fine works were long ascribed to the 
latter, which are now restored to Domenico. They 
painted together some fine altar-pieces, which 
increases the difficulty of distinguishing their 
works ; especially one in the Church of the Con- 
ventional s at Perugia, mentioned by Mario tti. The 
same writer says he was living in 1536 j but Zani 
says he painted as late as 1553. 

ALFANI, Orazio di Paris, an Italian painter, 
the son of Domenico, a native of Perugia, and born, 
according to Zani, about 1510. He studied under 
Pietro Perugino., and followed the graceful style of 
Raffaelle so successfully that some of his best pic- 
tures have been mistaken for the early works of 
that master. He died about 1583. 

ALFARO, Don Juan y Gamon de, a Spanish 
painter, born at Cordova, in 1640. He first studied 
under Antonio de Castillo, but afterwards under 
Velasquez, whose style he imitated, especially in 
his portraits. In the Church of the Carmelites 
is a fine picture of the Incarnation by Alfaro ; and 
in the Church of the Imperial College at Madrid, is 
his famous picture of the Guardian Angel. He 
also painted the portrait of Calderon de la Barca, 
which was placed on the tomb of the poet in the 
Church of San Salvador at Madrid. He knew 
little of design, but became a good colorist from 
copying the works of Titian, Rubens, and Vandyck, 
while in the school of Velasquez. He died in 1680. 

ALFEN, EusEBius Johann, a Danish painter 
of the last century, who acquired a great reputa- 
tion in his own country, and in Germany, for his 
works in miniature, in enamel, and in crayons. 
His portraits, according to Nagler. are very spirited 
and brilliant in coloring. He resided sometime at 
Vienna, where he died in 1770. 

ALFIERI, Conte Benedetto, a Roman archi- 
tect, born in 1700 ; died in 1767 ; studied draw- 
ing at the Jcsnit College of Rome ; designed the 
fa9ade of a palace in the square at Alessandria, for 
the Marquis Ghilieri, which gained him so much 
reputation that Charles Emanuel III., of Sardinia, 
commissioned him to rebuild the Royal Opera- 
Ilouse at Turin, after the former structure had 
been burnt down ; and for this purpose sent Alfieri 
to exainine the principal European theatres. The 
new edifice was greatly admired, and has generallj'- 
been considered one of the noblest and most con- 
venient structures of the kind in Italy. He also 
erected a theatre and several palaces in Turin, and 
at his death left many noble architectural designs 
Avhichj says Vittorio, he would have been enabled 



ALFO. 



17 



ALIA. 



to execute, had liis royal patron been possessed 
of a deeper purse. 

ALFON", Juan, a Spanish painter, born at To- 
ledo, executed some rcliquaires for the cathedi'al in 
1418, which are still preserved. 

ALFORAE, NiccoLO Gugltelmi, a French en- 
graver, little known, was born in Lorraine, but 
lived at Rome, lie enjiravcd a set of twelve small 
upright prints of tiowers, which are executed in a 
very spirited and masterly manner. 

/ST or &1 .ALGARDI Alessandro, an 
v3^\_i/ .ir^L-^ eminent Italian sculptor and 
architect, born at Bologna, in 1508. lie first, 
studied under Giulio Ccsare Consenti, but after- 
wards in the Academy of Lodovico Caracci. In 
1G25 ho went to V^enice, and from tlience to Rome, 
where the Duke of Mantiia recommended him to 
Cardinal Ludovici, nephew of Pope Gregory XV., 
who was intent on renewing the magnificence of the 
Gardens of Sallust. Here he was employed in 
restoring mutilated antiquities, and in preparing 
original works of sculpture. Here he also became 
acquainted with several eminent artists, his coun- 
tryman Domenichino in particular. Ilis first great 
work was the statue of .St. Magdelen, for the Church 
of S. Silvcstro. on the Quirinal, which gained him 
such celebrity that cardinals and princes now availed 
themselves of his talents. The French Court solic- 
ited him to come to Paris, but the Prince Pamfili 
succeeded in retaining him at Rome. Here he 
erected the famous villa Pamfili, and other great 
works, for which he v/as presented with a golden 
collar, and the title of Oav. di Crito, l)y Innocent 
X. Ilis Flight of Attila^ a baf^so-relievo^ with fig- 
ures of the size of life, in marble, over the altar of 
St, Leo in St. Peter's church, is his most renowned 
work. His God of Sleep of Nevo-a?ttico, a rare 
kind of marble, in the villa Borghese, has often 
been taken for an antique. But with all his excel- 
lencies, he has been censured for an inclination to 
give to sculpture the effect of painting, attributed 
to the influence of the school of the Caracci over 
him. He died at Rome, in 1C54, aged 52. 

There are a few prints extant, executed with the 
graver, in the bold, free style of Agostino Caracci, 
marked with one of the above monograms, which 
have been attrilnited to Algardi, as follows : 

The Crucifixion — a large upright plate. 
The Souls delivered from Purgatory — oval ; and 
The Blind Beggar and his Dog ; after Caracci. 
Also, a set of eighty plater-', of the'Cries of Bologna, after 
Caracci, engraved in conjunction with Simon Guilian. 

ALGAROTTI, Conte Francesco, an Italian 
author and connoiseur of great note, a,nd an ama- 
teur engraver, born at Venice in 1712. Ileineken 
says he designed and engraved for his own amuse- 
ment several plates of heads, in groups ; among 
which is one in the antique style, containing thir- 
teen heads, dated 1744. He died at Pisa, in 1764. 

ALIAMET, FRAN9013 Germain, a French 
portrait and historical engraver, younger brother 
of Jacques, born at Abbeville in 1734. He studied 
in Paris, but afterwards went to London, and was 
for some time under Sir Robert Strange. His line 
is neat and firm, but his works do not equal 
those of his brother. The following are the prin- 
cipal : 

After Caracci. — The Adoration of the Shepherds. 
J^ter Guido. — The Circumcision j oval. 



Aflcr Le Moinc. — The Annunciation ; St. Ignatius 
Kneeling. 

After Le Sueur.— The Stoning of St. Stephen. 

After A. Sacc/ii.— The Sacrifice of Pa.n. 

After Wattcau. — Two plates : The Bathcr.'j. 

After Pine. — Canute reproving his Fhittorcrs; the Redac- 
tion of Calais ; Mrs. Pritchard in the character of llcrmione ; 
Portrait of Dr. Sharp. 

ALIAMET, JAcauES, a talented French cni^rn- 
ver, born at A])beville, in 1728. He studied with 
J. P. le Bas, and at first was emplo3^ed on vignettes 
for the booksellers ; but he soon made higher 
attempts, and acquired eminence from several 
plates he engraved after pictures of Vernet. He 
excelled especially in landscapes and sea-views. 
His style was extremely neat ; he used the graver 
and dry point; expressed the various shades of 
color with correctness, and carefull^^ avoided any 
oxaggeration of shadow. He died at Paris in 1788. 
The following is a list of his best prints : 

After Vernet. — A Firo in a Sea-port by night ; Tlic 
Storm ; The Fog ; two Sea-pieces — the Fisherman going to 
Sea, n,nd the Fioturn to Port ; four plates of the Four Times 
of Day — Homing, Evening, Noon and Night. 

After Bergkem. — A Landscape with Figures and Cattle ; 
a Landscape with a Stag-hunt ; the Port of Genoa ; the 
Female Villagers ; the Pleasures of the Villagers. 

After IVouicerman. — The Spanish Halt; a Guard of 
Iloulans. 

After A. Vander Neer. — A Night-«cene, with the Moon 
just rising ; a View of Boom, by Moonlight. 

After A. Vander Velde. — A Winter-piece, styled The 
Amusements of Winter. 

After Jeurat. — The Birth of Venus. 

After Tenicrs. — Two plates of the Sabbath. 

ALIBERTI, Giovanni Carlo, an Italian paint- 
er, born at Asti, in Piedmont, in 1G80. It is not 
known who instructed him. Lanzi says he exe- 
cuted some important works in fresco in the 
churches of Asti ; as in the Church of S. Agos- 
tino, representing that saint taken up to heaven, 
surrounded by angels ; and also another of St. 
Agostino baptising a number of children, and other 
figures. It is ingeniously composed, with a fine 
expression in the heads, and embellished with 
architecture. His style generally is distinguished 
by heads and feet like those of Guido or Domeni- 
chino, drapery of Veronese, colors of Guercino, and 
forms of the Caracci. He died in 1740. 

ALIBRANDI, Girolamo, a Sicilian painter, born 
at Messina in 1470. He studied under Gio. Bel- 
lini, at Venice, and was the friend of Giorgione. 
He S)ibsequently visited Milan, where he became 
a scholar of Leonardo da Vinci. Most of his works 
are at Messina, the principal of which is a large 
painting in the Chiesa della Candelora, represent- 
ing the Purification. He died of the plague in 
1524. 

ALIENSE. See Vassilacchi. 

ALIPRANDI, Michael Angelo, a Veronese 
painter of some merit, who lived in the sixteenth 
century, studied under Paolo Veronese, and painted 
in the style of that master. He executed several 
works of merit in Verona, among which are the 
facades of .several edifices painted in fresco, with 
subjects from sacred and profane history. 

ALIX, John, a French painter and engraver of 
the seventeenth century, and a scholar of Philip de 
Champagne. There are none of his paintings re- 
corded, but he practised the art for aimisemont. 
There is an etching by this artist of a Holy Fam- 
ily, after Raffaelle, executed in a very light, plea- 



ALIX. 



18 



ALLE. 



smg style. It is marked R. V. P., for Raffaelle 
Urbino pinxit. 

ALIX, P. M., a French engraver, born at Hon- 
tleur in 1752, and a scholar of Le Bas. He execu- 
ted with the roulette a set of portraits of eminent 
men, which were printed in colors. In 1801 he 
published in the same style a large portrait of 
Napolecin, in his coronation robes. He died in 
1809. 

ALLAN, David, a Scotch painter, born at Alloa 
in 1744. He was instructed in the principles of 
the art in the Academy at Glasgow, founded by 
Robert and Andrew Foulis, the printers. He vis- 
ited Italy to pursue his studies, and gained the 
prize medal given by the xVcademy of St. Luke for 
the best historical composition. It is said that he 
resided there for some years, and painted land- 
scapes in the manner of Gaspar Poussin ; but his 
etchings, and the engravings made by Paul Sandby 
of Allan's Sports of the Carnival, are poor affairs. 
His illustrations of Allan Ramsay's " Gentle Shep- 
herd" are much better. He died in 1796. 

xVLLARD, Abraham, an engraver and print- 
seller of Leydcn. Heineken mentions twelve 
plates of views of towns, engraved by this artist ; 
and among the miscellaneous prints of the British 
Museum, is a large print, lengthways, representing 
the Garden of Love. 

ALLARD, Charles, an engraver and print- 
seller. Heineken says he executed some mezzo- 
tin tos. In the loose prints of the British Mu- 
seum there are four engravings by this artist, rep- 
resenting the seasons, in half-length figures, execu- 
ted in a coarse, heavy style, with bad taste. 

r™lk or /A ^^LLARD, Huych, a Dutch 
JL J.2»w4 ^ jmLmj • portrait engraver. The prin- 
cipal of his works is the portrait of David Glaxin, 
I. V.D. ; and that of Adrianus Paw, Legate to Hol- 
land ; both signed with his name. 

ALLEGRAIN, Etienne, a French painter, born 
at Paris in 1G55, painted landscapes of considera- 
ble merit. He died in 1736. 

ALLEGRAIN, Gabriel, a French painter, son 
and scholar of Etienne, painted landscapes in his 
fatlier's style. He died in 1748. 

ALLEGRI, Antonio da Correggio, or, as he 
sometimes signed it, Antonio Lieto* da Correg- 
gio, an illustrious Italian painter, born at Correg- 
gio, a small town in tlie duchy of Modena, in 1494. 
The Padre Orlandi and Sandrart, assert that his 
family, named Allegri, was wealthy and noble; 
that he received a liberal education, and lived and 
died in opulence. On the contrary Vasari says he 
was the son of a laborer, and lived and died in pov- 
'■v'cy. Bryan asserts it as an " established fact," 
that " he died of a fever ^ brought on by his anxiety 
fo bring home to his family, in hot weather, on 
foot, a small sum paid to him at Parma, in cop- 

* At.legri and Lieto are synonymous, both signifying 
tlio same as Ljetvs in Latin. He used both signatures, 
but the latter evidently when writing to an intimate friend 
in a cheerful and jocund mood. His signature to contracts, 
receipts and other inrportant documents, was simply Aiito- 
nio, or Antonius mami propria, or Antonio manu pro- 
pria, liis other name, da Correggio, being inserted in the 
iriotniment. It is true that ho occasionally put Lieto on 
sinall pictures, perhaps to indicate that they were painted 
under the influence of pleasant feelings, and to oblige a 
friend ; but it is not known that any of his family used it as 
a name. 



j5e?v" adducing this in proof of his humble origin. 
This story is totally unworthy the attention of 
any reasonable man. The numerous public and 
private works he executed, and the liberal remu- 
neration he received for them, are strong argument"? 
against this supposition; and his virtuous course 
of life forbids the thought that he became poor 
through extravagance. Moreover, the researches 
and discoveries of the learned Tiraboschi, the in- 
domitable Dr. Michele Antonioli, and the zealous 
and impartial Padre Luigi Pungileoni, fully disprove 
the probability that his death happened in this 
manner. His father, Pelligrini Allegri, was a gen- 
eral merchant in Correggio, and held a respectable 
station among his fellow citizens. His mother's 
maiden name was Bernardina Piazzoli degli x\ro- 
mani. His father's circumstances were easy, and 
he intended his son for a learned profession ; but 
whether from natural vivacity of disposition, or 
that while very j^oung he felt an impulse for the 
arts, he did not so far apply himself as to make 
much advancement in the study of Latin. It is 
not certain with whom he studied. Some Italian 
writers state that he was instructed by Francesco 
Bianchi and Giovanni Murani, called II Frari. 
Others say that he was pupil to Leonardo da Yinci. 
and others still, to Andrea Mantegna ; of whicli 
there is no tangible proof. He may possibly have 
received some instruction from Bianchi in his fif- 
teenth or sixteenth year ; but it is most probable 
that he learned the rudiments from his uncle, 
Lorenzo Allegri, a painter who was very fond of 
him, and at his death left him half his property. 
Antonio Bartolotti. called Tognino, probably taught 
him the more erudite parts of design. In other 
matters of learning, it appears that he studied the 
elements under Giovanni Berni; eloquence and 
poetry under B. Marastoni ; ftiid anatomy and phi- 
losop'h}^ under Giambattista Lombardi, public pro- 
fessor at Bologna, and subsequently at Ferrara. 
But, however that may be, Correggio was little 
indebted to his teachers for the fame he afterwards 
acquired, and it does not appear that he ever vis- 
ited, Rome. His vronderful genius created such an 
admirable system of harmony, grace and grandeur, 
as his successors have never equalled. To his tal- 
ents the art owes one of its most effective illusions 
— the faculty of foreshortening — and he has carried 
the chiaro-scuro to its higbest perfection. His 
forms are exquisitelj'- soft and beautiful, and his 
heads are expressed with a graceful tenderness that 
is truly inimitable. His coloring is fully as pure 
and dehcate as that of Titian, with more of the 
impasto; and in grandeur of effect, he undoubtedly 
surpasses him. 

The principal work of Correggio is the great 
fresco painting in the cupola of the cathedral at 
Parma, completed in 1530 ; and it has ever been 
considered a most wonderful production. The cu- 
pola is octangular, and the subject, the Assump- 
tion of the Virgin. In the lower part he has rep- 
resented the Apostles admiring the event. In the 
upper part is the Virgin, surrounded by immense 
numbers of Saints and Angels, some throwing 
incense, others chanting, rejoicing, and triumph- 
antly applauding ; in their heads, the most angelic 
expression conceivable, whilst a magnificent efful- 
gence of light is spread over the whole, forming a 
spectacle truly celestial. Notwithstanding the un- 
favorable light, and the dusky hue this work has 
assumed from the smoke of candles continually 



ALLE. 



19 



ALLE. 



burning in the church, yet the grandeur of the 
forms, tlie inimitable design, and the magnificent 
cttect of light and shadow in this amazing work, 
continue to excite the wonder and admiration of 
every judicious beholder. The dome of the Church 
of S. Giovanni, of the Benedictines, at Parma, is 
another of his wonderful works. It represents the 
Ascension of our Saviour, with the twelve Apostles 
and doctors of the church ; which, from its copious 
and masterly execution, and its correctness and 
grandeur of design, may indeed be considered a 
model of perfection. Among his oil paintings, one 
of the mo:-5t celebrated is the St. Jerome of Correg- 
gio, representing the Virgin seated, with the Infant 
on her knee ; jNIary Magdalene kneeling, embraces 
the feet of the Saviour, while St. Jerome presents 
a scroll to an Angel. For the Church of S. Gio- 
vanni he painted two altar-pieces — one represent- 
ing the Descent from the Cross, and the other the 
Mart3'rdom of St. Placido. These three great paint- 
ings were torn from their venerable situations 
du]-ing the French revolution, and placed in the 
]\Iuseura of the Louvre. The French artists 
then residing at Rome, presented a memorial 
to the National Convention, characterized by ele- 
gance of composition as well as liberal senti- 
ment, in which they stated the injury the cultiva- 
tion of the art would receive from the removal of 
these grand works. Their memorial was disre- 
garded, but the work's Avere restored while the 
allies had possession of Paris. Corrcggio's famous 
work called La Notte, representing the Nativity, 
may be seen in the Gallery at Dresden ; and a 
beautiful little picture of the Magdalen reading. 

Writers dilfer widely as to whether Correggio 
engraved any plates. Pungilione mentions an 
extraordinary wood-print of St. Thomas, one of 
the iigures in the cupola at Parma, which measured 
four feet seven inches in height, and three feet four 
inches in breadth, French measure. This print, he 
says, was in the possession of Sig. Alfon.so Fran- 
ceschi, a painter, and it is said to have all the char- 
acteristics of originality; but he adds, it is unknown 
who engraved it, though it was certainly done in 
the sixteenth century. Signor Franceschi obtained 
it, with sketches by Correggio for the two cupolas, 
and cartoons by Jlondani, which vrere lying unob- 
served and decaying in the corner of a chamber of 
the cathedral of Parma. Zani and BruUiot men- 
tion two prints, each representing the Virgin and 
Infant, one of which has the figure of a heart with 
the word Regio over it as a rebus for Correggio ; 
the ot.icr a heart with a ducal coronet, and the 
word Invent over it. These marks are evidently 
fancies of the engravers, for he never signed his 
works in this manner. The same writers also 
mention some other prints ascribed to Correggio. 
but Avhich they think are from his pictures or de- 
signs b}'- engravers of a subsequent period. 

This great artist passed some time in IMantua, 
on two occasions, with the Marchese IManfredo, and 
the cele1>rated patroness of arts and letters, Vero- 
nica Gambara, relict of Gilberto, lord of Correggio. 
Here he had the advantage of examining the works 
of Andrea IMantegna ; the frescos of Cosso, Lion- 
Bruno, and Dosso ; also the grand collection of 
pictures, medals, cameos and antiquities of Isabella 
da Este. The authentic documents revealed by 
the three savans before mentioned, show that he 
was most highly esteemed by his cotemporaries. 
That he was cheerful and lively, may be inferred 



from the expression of a writer concerning him : 
"Z/a vivacUd e dal brio del nostro Antonio ;" yet 
affectionate and gentle, as is evident from his being 
sponsor on three occasions to infants of his friends 
(in 1511, 1510, and 1518), before he had reached his 
22d year. In 1520 he was admitted by diplo- 
ma, as a brother of the Congregation Cassinensi, 
in the monastery of St. John the Evangelist, at 
Parma — the fraternity to which the illustrious 
Tasso belonged. In the same year he married 
Girolama Merlini, a lady of good family, amialjle 
disposition, and great lieauty, who was his model 
for the Zingara, p^-oljably after the birth of his lirsfc 
child. By this lady he had one son and three 
daughters. In 1520, to his great affliction, she 
died, and was buried, by her own request, in the 
Church of St. John at Parma. Correggio did not 
marry again. He died suddenly on the 5th daj^ of 
jNIarch, 1534, aged 40 j^ears, and was buried with 
solemnities worthy of his great endowments, in the 
Church of San Francesco, at the foot of the altar 
in the chapel of the Arrivabene. 

ALLEGRT, Lorenzo, an Itahan painter, who 
lived about 1500; uncle to the famous Correggio, 
and his first instructor in the rules of art. A 
Madonna, painted in 1511, is supposed to have 
been done by Lorenzo, though ascribed to Antonio ; 
and although the style is but mediocre, it is softer 
in tone than many of its cotemporaries, and nearer 
to the modern manner. He died in 1527, leaving 
his effects to his brother Pellegrino, and his nephew 
Antonio, by whom lie was greatly beloved. 

ALLEGllL PoMPONEO, an Italian painter, the 
son of Correggio, was born in 1522, and learned the 
rudiments of the art from his iliustrious father, 
but was deprived of this advantage by the death of 
the latter when Pomponeo was only twelve years 
of age. It is said that he subsequently continued 
his studies under Francesco Maria Rondani, the 
most talented of Correggio's scholars. Pomponeo 
executed a fresco painting in the cathedral at Par- 
ma, representing Moses showing the Israelites the 
Tables of the Law, which is ftnely colored, with 
beautiful parts, and heads expressed entirely in 
the style of Correggio. 

ALLEGRINI, Francesco, an Italian designer 
and engr.aver, born at Florence about 1729. In 
1702 he published, in conjunction with his brother, 
cue hundred portraits of the family of the Medici, 
with a frontispiece engraved by himself. He exe- 
cuted a print of the image of St. Francis d'Assisi, 
which is highly prized in Florence; also fourteen 
portraits of emrnent Florentine poets, painters, and 
statesmen. 

ALLEGRINI, Francesco, called da Gubeig, 
a Roman historical painter, was born in 1587, and 
a scholar of Arpino. He executed some works for 
the churches and palaces at Rome, both in oil and 
fresco. He had a large number of scholars at 
Rome, among whom were his two sons, Flaminio 
and Angelo, who also painted history. He died 
in 1003. 

ALLEGRINI, Giuseppe, a Florentine engraver 
wlio lived about 1740. The following are his prin- 
cipal works : 

The Virgin Mary with tho Infant, half figures, inscribed 
Egrcdltur virgo dc rudice, <^c. ; the Circumcision, in- 
scribed Giiis. Allcgrini sculp, ^c; the Stoning of St. Ste- 
phen ; a small print of Einaldo and Armida ; a large Archi- 
tectural piece, lengthways ; after Chamont. 



x\LLE. 



20 



ALLO. 



ALLEGRETTI, Carlo, an Italian painter of 
Monte Prandone, of the early part of the seven- 
teenth century. Lanzi praises a picture of the 
Epiphany, in the cathedral of Ascoli, by this artist. 

ALLEMAND, Jean Baptiste, a French paint- 
er, and a pupil of Vernet, was living at Rome about 
1750, in which year he painted four splendid land- 
scapes in fresco, in the Corsini Palace. He de- 
signed the background to Greuze's Costumes of 
Italy. 

ALLEMAND. See L'Allemand. 

ALLEMANNI, Giuseppe, an Italian painter, 
of Correggio, and a scholar of Cignani, executed at 
Rimini, in the Church of the Minorites, a copy of 
the Conception by Maratti. A. Pietro Allemanni 
is said to be the earliest painter of Ascoli. There 
is a picture by him in Santa Maria della Carita. at 
Ascoli, dated 1489. Marolles mentions an old 
wood-engraver named Allemanni or Allemanna, as 
the author of some very excellent prints. 

ALLEN, Floppart Van, a German designer 
and engraver, who lived about 1686. He executed 
in that year a drawing of Vienna, which Muller 
engraved ; and he has himself engraved a large 
print of the city of Prague, with several figures, 
marked with his name. Van Allen. 

ALLET, Jean Charles, a French designer and 
engraver of portraits and sacred history, born at 
Paris about 1668. He sometimes marked his 
plates Charles, and sometimes Jean Charles, from 
which the collectors have thought there were two 
artists named Allot ; but the style is so similar, 
that it is now believed those plates are by the same 
hand. He seems to have imitated, though unsuc- 
cessfully, the style of F. Spierre and Corn. Bloem- 
aert. He lived many years in Italy, and probably 
died at Rome, in 1732. The following are his prin- 
cipal works : 

portraits. 

Pope Alexander VIII. ; after H. Calendrucci. J. C. 
Allet, sc. Roma, 1695. 

Two, St. Ignatius, and St. Aloyse Gonzaga ; after P. 
hucatdli ; oval. 

Cardinal Aloisio Amodei ; after J. M. Morandi. 1698. 

Ferdinand Charles de Gonzaga, Duke of Mantua ; after 
Antonio Lesma. 

Andrea Pozzo, painter and arcliitect, dated 1712. 

scriptural subjects. 

The Crucifixion ; after Andrea Pozzo. Oval. 

The Adoration of the Shepherds ; the Virgin Mary and 
St. Joseph adoring the Infant Jesus ; after S. de Pesaro. 

The Saviour brought before Pilate, after P. de Petris. 

Ananias restoring sight to St. Paul ; and the Vision of 
St. Paul ; after Pietro de Cortona. [The two last are con- 
sidered his best works on historical subjects.] 

St. Augustine, with a Child, getting water from the Sea ; 
after J. B. Leonardi. 

St. Ptosa, crowned by Angels; a small plate signed Car- 
olus Allet, del ct sculp. ; St. Andronicus, and St. Athana- 
sius ; a,ftcr F. B. Zucchelli. 

St. Gaetan, accompanied with a figure of Religion and 
Christ, holding a Cross ; after Laz. Baldi. 

The death of St. Stanislaus Kostka ; after P. le Gros, 
scidptor. 

The death of a Saint in the presence of the Virgin ; St. 
Joseph and St. Francis Xavier ; twelve plates illustrating 
the Life of Christ, executed in conjunction with A. V. 
"Wcsterhout. 

ALLIO, Matteo and Tommaso, two brothers, 
j\Iilanese sculptors of the seventeenth century. 
They executed some good bas-reliefs in the Church 
of San Antonio, at Padua, in 1653, and some very 



elegant pilasters which are highly praised by 
Cicognara. In the chapel of the Dominican Church 
at Padua, there is a statue of St. Lorenzo Giusti- 
niano hj Matteo, which being inferior to one of 
St. Antonio, by Brunelli, placed by the side of it 
in 1667, is said to have caused the artist's death 
through the serious way in which he took tl\e mat- 
ter to heart. By Tommaso Allio there are also, in 
the same chapel, two statues — one of Faith and 
the other of Hope ; in San Antonio also, one of 
Hope and one of Charity ; and some statues in a 
chapel of the Church of San Benedetto. 

ALLOISL See Galanino. 

ALLORI, Alessandro, called Bronzing, an 
Italian painter, born at Florence in 1535. He was 
the son of a painter, but losing his father when he 
was five years old, he was reared and instructed by 
his uncle, Agnolo Bronzino, who treated him with 
parental affection. Under Bronzino's able instruc- 
tion he advanced so rapidly, that when seventeen 
years old he designed and painted an altar-piece 
representing the Crucifixion, a composition of sev- 
eral figures, ingeniously arranged and finely col- 
ored. When he was nineteen he visited Rome, 
where he remained two years. The principal 
objects of his study in that city were the works 
of Michael Angelo, whose style is discernible in 
his pictures. He executed there some admirable 
pictures of horses. On returning to Florence, he 
had many commissions for the churches and pub- 
lic edifices, but occasionally painted the portraits 
of some of the most eminent men of his time, which 
are executed in a masterly style. His Sacrifice of 
Isaac, in the British Museum, is colored much in 
the Flemish style. In 1590 he published a book 
on the Art of Drawing the Human Figure, illus- 
trated with anatomical prints from his own de- 
signs. He had a fault, not uncommon to the age, 
that of introducing modern costumes in ancient 
histories. Lanzi sa^^s his talent appears to have 
been equal to every branch of the art ; but it was 
unequally exercised, and therefore unequally ex- 
panded. He died in 1607. 

ALLORI, Cristofano, called Bronzino, an 
Italian painter, the son of Alessandro, born at Flor- 
ence in 1577. He studied some time with his 
father, but subsequently under Santo di Titi. He 
became a good colorist by imitating the works of 
Lodovico Cardi, called Cigoli. He executed sev- 
eral reputable works for the churches and convents 
of Florence, and for the Palace of the Medici ; also 
many admirable portraits of the most eminent men 
of his time. The St. Julian of the Pitti Palace is 
the grandest of his productions, though his picture 
of Judith with the Llead of Holofernes is better 
known. Judith, so splendidl}^ attired, is a portrait 
of his mistress, the attendant is that of her mother, 
and the head of Holofernes is that of the artist. 
Many copies of this, and his other most famous 
works, are to be found throughout Italy, the pro- 
ductions of his scholars, Tanteri, Bruno, Certosini, 
and others. Owing to vicious indulgences that 
often seduced him from his labors, his works are 
extremely rare, and he himself comparatively little 
known. He died in 1621. 

ALLSTON, Washington. This eminent painter 
was born in South Carolina, in 1779. In his early 
boyhood he was sent to Newport, Rhode Island, 
that the healthful breezes of that place might invig- 
orate his naturally feeble constitution. Here he 



ALLS. 



21 



ALLS. 



resided till 1790^ when he was entered at Harvard 
University, and graduated in 1800. He then re- 
turned to Charleston and the scenes of his infancy, 
sold out his little patrimony, (Dunlap says, "sac- 
rificed to his love of the arts,") and in the follow- 
ing 3'ear embarked for London. In his infancy he 
exhibited a natural passion for the fine arts which 
showed itself in his sketching everything that 
struck his fancy ; and in after years he sought 
every opportunity, both at Newport and Cam- 
bridge, then extremely meagre, to obtain know- 
ledge of the art which he had resolved to make his 
future profession. On his arrival in London, he 
says he was received with the greatest kindness 
by Mr. West, then in the zenith of his fame, who 
took him cordially by the hand, and gave him free 
admission to his Gallery. He presented his draw- 
ings, was admitted a student at the Royal Acad- 
emy, and the following jenr exhibited three paint- 
ings in its Galleries, for one of which he received 
two applications, sold it, and obtained an order to 
paint a match piece. After remaining three years 
in England, he set out, with his friend Yanderlyn, 
for Paris. Here he was enchanted with the glori- 
ous works of the old masters, which Napoleon had 
collected in the Louvre. He stopped but a few 
months in Paris, and then went to Rome, where 
he entered a private academy Avith Vanderlyn and 
Thorwaldsen. He remained in Italy, chiefly at 
Rome, about five years, studying the works of the 
best masters with assiduity. Here he also became 
acquainted with Coleridge, formed with him a 
strict friendship, and was his constant companion 
in his daily walks among the ruins that environ 
Rome. He returned to the United States in 1809, 
married a sister of the lamented Channing, but 
finding little encouragement for art or artists in 
his own land, he again went to London, with his 
wife, in 1811, accompanied by his pupil, S. F. B. 
Morse, who has since made his name illustrious 
by his invention of the magnetic telegraph. 

His first great work was the Dead Man Revived 
by the Bones of Elisha. This painting drew the 
prize of the British Institution of two hundred 
guineas, and was afterwards purchased by the Penn- 
sylvania Academy for ^3,500. During the pro- 
gress of this work he was attacked b}' a danger- 
ous illness, and after some months of great suffer- 
ing, he went to Clifton, near Bristol, at the recom- 
mendation of his physician, in hopes that a change 
of air would hasten his convalescence. Here he 
painted the portraits of his friend Coleridge, and of 
Dr. King, his medical adviser; also some fancy 
pictures. Soon after his return to London from 
Clifton, he was visited with another calamity — 
the death of his wife — which again prostrated his 
weak and sensitive frame like a thunderbolt. He 
had just taken a house and collected about him 
some congenial spirits, as Coleridge, Southey, Les- 
lie, and other eminent persons. 

Allston remained in England till 1818, when, 
getting home-sick, to use his own expressive lan- 
guage, he returned to the United States, married a 
second wife — a sister of Dana the poet — settled 
himself first at Boston, and subsequently at Cam- 
bridge. 

The principal pictures which he executed in 
England are, the Dead Man, before mentioned ; the 
Angel Liberating St. Peter from Prison, painted 
for Sir George Beaumont ; Jacob's Dream, in the 
possession of the Earl of Egremont ; [there are a 



multitude of figures in this picture, which he con- 
sidered his happiest eifort ;] Elijah in the Desert ; 
[this he brought Avith him to the United States, 
but it was afterwards bought by Mr. Laboucl-'cre, 
M. P., and taken back ;] the Angel Uriel in the 
Sun, in the possession of the jNIarquis of Stafford. 
[This is a colossal foreshortened figure, that if 
standing upright would be fourteen feet high, but 
by the foreshortening it is only nine. The Direct- 
ors of the British Institution presented the artist 
one hundred and fifty guineas as a token of their 
approbation of Uriel.] All these paintings are of 
colossal size. He also executed many smaller pic- 
tures, as the jMother aiid Child ; Rosalie ; Rebecca 
at the Well ; JMiriam ; Lucretia ; Catherine and 
Petruchio ; Anna Page ; Beatrice ; Amy Robsart, 
&c. Before he left London he had made great pro- 
gress Avith Belshazzar's Feast, and intimated in a 
letter to a friend that he could finish it in a few 
months, which was neA'-er done. He executed but 
few large pictures after his return home ; the prin- 
cipal of them are, the Prophecy of Barach the 
Scribe ; the Witch of Endor raising the Spirit of 
Samuel before Saul ; and Spalatro's Vision of the 
Bloody Hand. But he painted many beautiful 
portraits and fancy pieces, both at home and abroad, 
so that it is eA'ident that the accusation of indolence 
made against him is not well founded, and cer- 
tainly it is not in accordance AAath his active tem- 
perament. In the Catalogue of the Boston Athe- 
nsem for 1850, is a list of forty-eight of his works 
then on exhibition. Nor is the charge of lack of 
appreciation and patronage true. The author has 
before him a letter of his to the late Wm. Haj^ward, 
dated Cambridge Port, 10th June, 1835, dechning a 
commission in the following language : " It Avould 
give me great pleasure to accept a commission from 
you at some future time ; but at present (and I sin- 
cerely regret it), I do not feel myself at liberty to 
enter into any ncAv engagements, having commis- 
sions on hand that Avill occupy me full two 3'ears, 
if not more. I have, indeed, of late been obliged to 
decline seA'eral applications for this reason." 

The citizens of Boston were ever proud of Alls- 
ton, and when a fitting occasion calls for their lib- 
erality and generosity, they enter into it with 
spirit. They got up an exhibition of his works 
Avhile living, for his benefit (in 1835), and after his 
death, for liis family. They also formed a joint- 
stock company and bought his Belshazzar's Feast, 
which he was to complete, for !g;10,000, which sum 
Avas paid him in advance. He Avas engaged on this 
picture, when death summoned him away. There 
has been needless disquisition and speculation on 
this subject. The truth is, the artist could never 
satisfy himself with his composition ; for in a let- 
ter to a friend; speaking of the work, he says : '' I 
could long ago have finished this and other pic- 
tures as large" had my mind been free ; for, indeed, 
I have already bestowed upon it as much mental 
and manual labor as, under another state of mind, 
would haA-e completed several such pictures." 
Allston had been embarrassed in his circumstan- 
ces, and when this was known, the Bostonians 
came generousl}^ forward, and put the means into 
his hands to enable him to complete the work. 

Allston Avas a perfect gentleman, of finished edu- 
cation, and a poet as well as a painter. He has been 
called the poet-painter, not only from his having 
contributed some of the best pieces to American 
poetic literature, but from the highly imag'natiAC 



ALMO. 



22 



ALON. 



qualities of his paintings. He was an enthusiastic 
admirer of nature, as all true poets are. As he 
was crossing the Alps by the pass of St. Gothard, 
he says: "1 passed a night and saw the sun rise 
on Lake JMaggiore. Such a sunrise ! The giant 
Alps seemed literally to rise from their purple 
beds, and putting on their crowns of gold, to send 
up hallelujahs almost audible." As a prose writer 
he is chiefly known as the author of " Monaldi," a 
book written in the true vein of poetic feeling. An 
edition of his lectures on art, with his poems, was 
published in Boston, in 1843. He was exceedingly 
affable in his deportment, and kind and generous 
to a fault. Like most intellectual men of nervous 
temperament, his spirits freshened at night ; when, 
all cares being banished, his conversation was sin- 
gularly attractive, and in the society of cherished 
friends, they " took no note of time." His personal 
appearance was remarkable. His figure was tall 
and slender, his countenance pale and serrated, his 
forehead lofty, his features regular and pleasing, 
his eyes large and of a hazel color, and his hair 
long and silverj^, falling gracefully down to his 
shoulders. He died very suddenly, without a 
struggle, as he was sitting conversing in his chair, 
in 1843, in the 68th year of his age. 

Many of his compositions are highly poetic and 
imaginative. He was considered one of the best 
colorists of his age. The Italians called him the 
American Titian, and his coloring is said to more 
closely approach that master than has been done 
by any other modern artist. But he was not a 
great designer. Pie never would have won immor- 
tality in grand historical painting, when put in 
competition with the great masters. His great 
forte, like Reynolds, lay in what the latter terms 
fancy pictures, and many of these are exquisite. 
Had he confined himself more closely to this class 
of paintings, his fame and success would have been 
greater. 

[For more extended information of American 
artists than space will allow in tliis work, readers 
are referred to Dnnlap's " History of Art and De- 
sign in the United States ;" " The Artists of Amer- 
ica," by 0. Edwards Lester ; " A General View of 
^.he Fine Arts," by D. Huntingdon ; and the "Arts 
and Artists of America," by A. 0. Tuckerman.] 

ALMELOVEN, John, a Dutch painter and 
engraver, born about 1G14. He is more known by 
several etchings of landscapes, executed with great 
lightness and intelligence, than by any thing he has 
left us a paiuter. He engraved quite a number of 
landscapes and other subjects, after his own designs 
and others, the principal of which are the fol- 
lowing : 

A set of twelve landscapes, signed J. Almeloven, inv. .et 
fee; six Mountainous Landscapes, with figures, Joan ah 
Almeloven inv. etfcc; ten Landscapes of the Four Sea- 
sons, after H. Sqftlecven; a portrait of Gisbert Voetius, 
signed J. Almeloven inv. etfec. 

ALMONACID, Sebastian de, an early Spanish 
sculptor, who executed in 1500, together with a 
Dutch artist named Copin, the statues of the great 
altar of the cathedral of Toledo. In 1509 and 
1510, according to Bermudez, he made several 
statues for the cathedral at Seville. 

ALMOR; Don Juan, a Spanish historical painter 
of tlic last century, who executed many pictures 
for the Carthusian Convent of the Conception, near 

Saragossa. 



ALOISIUS, an Italian architect who lived about 
495, and, according to Cassiodorus, was commis- 
sioned by Theodoric to restore several edifices at 
Rome and elsewhere, particularly the sumptuous 
Basilica of Ravenna. 

ALONSO, Giovanni, a Spanish architect, who 
erected the superb sanctuary of Guadaloupe. 

ALONSO, Pedro de Los Rios, a Spanish sculp- 
tor, born at Valladolid in 1650 ; died in 1700 ; stud- 
ied with his father, Francesco Alonso, at Valladolid. 
He afterwards established himself at Madrid, where 
he acquired considerable reputation, and executed 
a number of works ; several of which, according to 
Bermudez, are in various churches of that city. 

ALS, Peter, a Danish painter of history and 
portraits, born at Copenhagen in 1725. He gained 
the first great prize awarded by the Copenha- 
gen Academy in 1755. Directly after, he went to 
Rome, and entered the school of Mengs, where he 
occupied himself chiefly in copying the productions 
of Raffaelle and Andrea del Sarto, which he did 
with great success. On returning to Denmark he 
painted some good portraits, but his coloring was 
too tame to give a pleasing effect in his pictures of 
females ; and he also labored his works so much as 
frequently to deprive them of all animation. His 
want of success is an instance of the evil conse- 
quences that result from copying instead of study- 
ing the works of great artists. He died in 1775. 

ALSLOOT, Daniel Van, a Flemish landscape 
and portrait painter of merit ; born at Brussels in 
1550 ; and died in 1608. Little is known of him. 
Another artist of this name is mentioned, called 
Denis Van A., probably one and the same person, 
or else brothers. Several pictures bearing the sig- 
nature of Van Alsloot were brought to this coun- 
try many years ago. The touch was light and 
spirited and the coloring good. 

ALTAMONTE, or ALTAMONTI, Martino, 
a Neapolitan historical and architectural painter of 
considerable merit j was born in 1657, and died in 
1745. 

ALTDORFER, Albert, a German painter and 
engraver ; born at Altdorff", in Bavaria, in 1488, as 
proved by Heineken, though others assert that he 
was a native of Switzerland. From the resem- 
blance of his style to that of Albert Durer, both 
in their pictures and engravings, and especially in 
their wooden cuts, it is thought he studied under 
that eminent master, though he did not equal him 
in anything. There are several of his paintings at 
Ratisbon, which are much esteemed ; and in the 
town-house is a complete collection of his engra- 
vings. He was quite distinguished among that 
class of engravers called the little masters; and 
his wooden cuts approach the merit of Holbein. 
He executed over one hundred and seventy prints, 
of which the following are the principal. He gen- 
erally marked his prints with one of these mono- 
grams : 

1 a. 

PRINTS ENGRAVED ON COPPER. 

Scriptural and Religious Subjects. — The Virgin and 
Infant, with two Children, one holding a pot, dated 1507 ; 
the Virgin and Child in the niche of an Altar ; the Virgin 
with the Child standing on her knee with a Glory round 
the head ; the Virgin and Child dressed in the costume of 
Ratisbon ; the Repose in Egypt, the Virgin sitting with the 
Child on her knee, and St. Joseph standing by, with a statf 



ALTH. 



23 



ALTO. 



in his hand — both have hats on ; our Saviour on the Cross, 
\fiih several figures standing by ; St. Jerome in a Grotto, 
with an Altar, and a Book, and on a tablet over it the 
artist's monograin ; St. Jerome with the Lion — one of his 
beet prints ; St. George and the Dragon. 

Historical and Mythological Subjects. — The Death of 
Dido ; the Death of Lucretia, an etching ; Mutius Scfcvola ; 
Venus going into the Bath with Cupid, and Venus comuig 
out of the I3ath, both after Marc A ntonio ; Hercules and 
a Muse, sometimes called Apollo and Venus ; Cupid riding 
on a Sea-horse, attended by three Nymphs ; Amphion esca- 
ping from shipwreck on a Dolphin ; Pyramus and Thisbc ; 
a Woman holding a Sceptre, sitting on an Altar, surrounded 
by several Persons holding lanterns ; a naked Woman with 
Wings seated on a Star, with a Torch in one hand and an 
Escutcheon in the other, inscribed Lascivia ; a Man in 
Armour leaping into the Sea, with a Camp in the distance, 
and several Persons observing him ; a Man and Woman 
dancing ; six Children dancing, whilst three others are pip- 
ing to them ; tAvo Landscapes ; the Synagogue, inscribed 
Sinagogcs Judaiccs ; two ornamental plates. 

WOODEN CUTS. 

Scriptural Subjects. — Forty prints of the Fall and Re- 
demption of Man, very fine and scarce ; the Sacrifice of 
Abraham; the Annunciation, 1,513; the Purification; the 
Murder of the Innocents, 1511; the Decollation of St. 
John, 1512; the Resurrection, 1512; the beautiful Virgin 
of Ratisbon, after the picture in the cathedral — this is one 
of his best works, printed in chiaro-scuro ; Interior of a 
Church with the Virgin, a Pilgrim, and Angels ; St. Jerome 
kneeling before a Crucifix, in a Grotto : St. Christopher in 
the Water, stooping to take up the Infant, 1513 ; St. George 
and the Dragon, in a landscape, 1511. 

Mythological and Other Subjects. — Paris dying on 
Mount Ida, with Venus, Juno, and Minerva, 1511; a 
Knight sitting with a young Woman ; an Officer with a 
Flag, in a Landscape ; a Mountainous Landscape, with 
Buildings ; the Fa2ade of a Portico. 

ALTH AM, , a German painter, who lived 

about 1660. He painted landscapes and sea views 
with considerable ability. 

ALTICHERIO, or ALDIGIERI, da Zevio, an 
old Veronese painter of the fourteenth century. 
He was living in 1382. He seems to have been the 
first Veronese painter of any note. Vasari says he 
executcvd, with great judgment and skill, a single 
picture of the history of the Jewish wars, accord- 
ing to the account of Flavins Josephus, on the 
four walls of the great hall of the Palazzo de' 
Scaligeri. Above this picture, he painted a series 
of medallions, among which he introduced the por- 
traits of many eminent men of the time. He 
painted also, at Padua, in the old church of San 
Giorgio, the history of St. Jacopo, Avhich is still 
extant, painted in the style of Giotto. 

ALTLSSIMO, Cristofano dell', a Florentine 
portrait painter of great merit, who lived about 
1568, and studied under Bronzino. His fam- 
ily name was Papi. He copied a series of portraits 
of eminent men, in the possession of the Conte 
Giovio, for Cosmo I., of Florence. He paid more 
attention to the features than to the rest of the pic- 
ture, and they are very faithfully represented. 
His works generally are highly finished without a 
laborious appearance. 

ALTOBELLO, Francesco Antonio, a Neapo- 
litan painter of the seventeenth century. He 
studied under Stanzioni, and is probably the same 
as Antonio de Bellis, a talented artist who was a 
scholar of the same master, and died young in 
1656. Altobello is mentioned as using ultrama- 
rine excessively in his pictures ; de Bellis as fol- 
lowing the manner of Guercino, in whose works 
the same color abounds. Neither of them followed 



the style of their master. Both are inentioned as 
talented, correct in drawing, of readj^ invention, 
and skilful composition. 

ALTOBELLO, of Cremona, an Italian painter 
of the early part of the sixteenth century. Besta 
says he studied under Bramante. and Vasari extols 
him as superior to most of the Lombard painters 
of his time. He painted frescos in the cathedral 
of Cremona, and in a chapel of the Church of S. 
Agostino in that citj^. He painted also at Milan. 

ALTOMONTE, Andrea, an Italian engTa- 
ver, lived at Vienna about 1728. In concert with 
A. J. de Premier, he engraved the plates from the 
paintings in the Imperial Gallery, published in that 
year. 

ALTZENBACK, William, a German engra- 
ver, who, according to Heineken, hved at Stras- 
burg about 1650. In concert mth his son, he 
executed twenty plates of sacred history. 

ALUNNO. NiccoLO, an Italian painter, born at 
Foligno about 1450. He painted in distemper after 
the manner of artists before Perugino, and his col- 
oring still retains its original lustre. In the 
Church of S. Niccolo, at Foligno, is an altar-piece 
by this artist, of the Virgin and Infant, with 
Saints ; and also his picture of the Pieta, so highly 
praised by Vasari. He executed many works, and 
gained much reputation. He died about 1510. 

ALVAREZ, Don Jose, one of the most eminent 
sculptors of recent times, was born in 1768 at 
Priego, in Cordova ; died in 1826. His father was 
a poor stone-mason, and bred his son to the same 
business ; but Jose earl}^ evinced a great ability for 
design, and assiduously devoted his leisure mo- 
ments to the study of drawing. In his twentieth 
jea.r he entered the Academy at Granada, where 
he soon became distinguished for his skill in mod- 
ling. He executed a Lion destroying a Serpent, 
for the public garden of his native place, which 
attracted the notice of Don Antonio de Gongora, 
bishop of Cordova, who from that time became the 
patron of Alvarez, and caused him to be made a 
member of the Cordovan Academy, which he him- 
self had founded. Alvarez remained at Cordova 
till his twenty-sixth year, when he visited Madrid 
and entered the Academy of San Fernando, where, 
as '• the Andalusian," as he was called, he soon 
became distinguished above all his fellow students. 
He gained the first prize of the Academy for a 
bas-relief, representing Ferdinand I. and his sons, 
carrying upon their shoulders the miraculously 
discovered body of St. Isidore, into the Church of 
San Juan de Leon. In 1799 Alvarez was granted 
a pension of 12,000 reals, by Charles IV., to ena- 
ble him to prosecute his studies in Paris and 
Rome. In Paris he applied himself to the practi- 
cal study of anatomy, and made careful studies 
from the sculptures of the Parthenon, which Choi- 
seul Gouffier had brought from Constantinople. 
Soon after his arrival he obtained the second great 
prize in sculpture awarded by the Institute ; and 
in 1804 he made a statue of Ganymede for the 
Marquess of Almenara, which gained him the rep- 
utation of one of the first living sculptors. David, 
the celebrated painter, is said to have pronounced 
this statue equal to the antique. It is now in the 
Academy of San Fernando at Madrid. Napoleon 
visited the studio of Alvarez twice, and presented 
him with a gold medal valued at 500f. Alvarez 



ALVA. 



24 



AMAD. 



modeled also, at Paris, a colossal statue of x4cliillcs 
receiving the fatal arrow in his heel, which was 
greatly admired by competent judges, but was so 
large that it soon fell to pieces, and for some rea- 
son was never restored. , He soon received an addi- 
tion of 1G,000 reals to his pension, and left Paris 
for Kome. 

In Rome Alvarez added to bis already high 
reputation by four bas-reliefs, which he modeled 
for a hall in the Quirinal Palace ; but owing to 
political events, they were never executed in mar- 
ble. He made many other fine works at Rome, 
the best of which is the group of Antilochus and 
Memnon, modeled in 1818, and executed afterwards 
in marble for Ferdinand VII. ; it is now at Mad- 
rid. In 1818, Alvarez was appointed court 
sculptor; and in 1825, principal sculptor to the 
King of Spain, when he was presented with the 
Cross of the Order of Civil Merit. In 182G he 
visited Spain, and received the honorable commis- 
sion to select from all the royal collections in 
Spain, what he considered the finest works of art, 
for the purpose of having them placed in the splen- 
did ]\Iuseum of the Prado at Madrid. For a full 
list of his works see Bermudez. 

ALVAREZ, Don Manuel, a reputable Spanish 
sculptor of the eighteenth century, born at Sala- 
manca in 1727 ; died in 1797 ; studied in his na- 
tive city under Tome Gavilan, and subsequently 
under Alessandro Carnicero. He then visited 
Madrid, and entered the school of the King's 
Sculptor, Don Felipe de Castro, whom he assisted 
in executing in marble his statues of the Kings 
of Spain for the new Palace; those of Witerico 
and Waiia were executed by Alvarez. He made 
also, in stucco, three of the four Cherubim in the 
Royal Chapel, on account of the illness of Castro ; 
and, through the successful manner in which he 
executed these figures, he was appointed one of the 
sculptors to complete the works of the chapel. In 
1753 he obtained the second prize of the Academy 
of San Fernando, and in 1754 he obtained the first 
prize, and was entitled to a pension to enable him 
to prosecute his studies at Rome, but was pre- 
vented by ill-health. In 1757 he was elected an 
Academician, and in 17G2 Vice-Director of the 
Academy. He executed a model for an equestrian 
statue of Philip V., which was preferred before 
that of his competitors, but in consequence of the 
wars of Spain it was never executed. In 178G, 
Alvarez was elected Director of the Academy, and 
in 1794 was appointed sculptor to the King, ' His 
works are numerous in the palaces and public edi- 
fices of Spain, Many of them are at Toledo, Mad- 
rid, Salamanca, etc., for a full list of which, see 
Bermudez. 

ALVAREZ, Lorenzo, a Spanish painter, who 
studied at Valladolid and Madrid under B. Car- 
ducci. He settled at Murcia in 1G38, and executed 
some reputable works for the convents of that 
city. 

ALYPIUS, a learned architect who held many 
important offices under the Emperor Julian, called 
the Apostate. He was commanded by that mon- 
arch to rebuild the Temple at Jerusalem, with the 
avowed object of falsifying the prophecies of our 
Saviour with regard to that structure. It is said 
that while the workmen Avere excavating for the 
foundations, balls of fire issued from the earth and 
destroyed them. He lived about 3G3. 



AMADEI, Stefan 0, an Italian painter, born at 
Perugia in 1589 ; died in 1G44 ; studied under 
Ginlio Cesare Angeli. After paintnig several his- 
torical pieces, which are in the churches and pala- 
ces in and near Perugia, he commenced portrait 
painting in craj'ons, and acquired so much reputa- 
tion as to be invited to practise at Rome, He vis- 
ited that city and opened a school of design, which 
was well attended. He was well versed in math- 
ematics and perspective, and gave lectures on those 
subjects, 

AMADEO, or AMADEI, Giovanni Antonio, 
an excellent old Italian sculptor ; born at Pavia 
about 1400, His chief works arc the monuments 
of the Venetian General, Bartolomeo Colleoni, in 
a church at Bergamo ; and of his daughter, I\lcdea 
Colleoni, at Basella, near Bergamo ; which are 
highly praised by Cicognara. The same author 
mentions a number of the works of Amadeo, 
among which is a bas-relief of the Deposition from 
the Cross, which, he says, might be taken for a 
composition of Perugino or Francia. 

AMALTEO, GiROLAMO, the brother and scholar 
of Pomponio, was highlj^ gifted by nature, as ap- 
pears from his designs in small pictures, and in 
several mythological subjects, executed in fresco; 
and in altar-pieces which he painted for the Church 
of S. Vito, Ridolfi praises him greatly for his spir- 
ited manner ; and another old writer is of the opin- 
ion, that had he not died j^oung, he would have 
equalled the great Pordenone, He is styled by 
Graziano, in his poem of Orlando, '■'' Gii^olamo Amal- 
teo de' vita santo?'' 

AMALTEO, PoMPONEo, an Italian historical 
painter, born at S, Vito, a town in the Friuli. about 
1505, and, according to Ridolfi, was a relative and 
scholar of Pordenone, He executed some works 
in the churches and public places in the vicinity of 
Friuli ; also several pieces of Roman historj^ in one 
of the public halls at Belluno, The latter are 
probably the Three Judgments, in a loggia at Cen- 
eda, supposed by Ridolfi to have been painted by 
Pordenone, but in reality the work of Amalteo, 
completed in 153G. There is a picture signed with 
his name and dated 1577 ; Zani says he died in 
1588, 

AM AM A. , an ingenious German painter in 

water-colors, who lived near the close of the seven- 
teenth century. He painted landscapes, birds, and 
especially flowers, which he executed in miniature 
with remarkable delicacy. He lived at Altona or 
Hamburg, and was the first master of the cele- 
brated Balthasar Denner. 

AMANN, JoHANN, a Dutch engraver, who exe- 
cuted, according to Fuseli, a history of the Passion 
of Christ, in sixtv-four plates, published at Amster- 
dam, in 1G23. 

AMANN, JoHANN, called the Younger, a Ger- 
man engraver of Schafhausen, who lived in the 
carl)?- part of the last century. Fuseli says he ex- 
ecuted principally portraits ; among others, many 
of the clergy and other peoi^le of station of the 
cities of Berne and Zurich ; also a series of all the 
known ministers of the churches of Berne, Basle and 
Schafhausen, from the Reformation to the year 
1718. 

AMASTINI, Angelo Antonio, an ingenious 
Italian gem-engraver of the last century ; born at 
Fosombrone. He resided chiefly at Rome, where 



AxMAT. 



25 



AMBR. 



he was much occupied in copjnng and imitating 
ancient gems, which he did with so much skill 
that his works were often sold at prices as high as 
ancient gems ; a fact which may aid in accounting 
for the great abundance of ancient gems at the pres- 
ent time. 

AMATO, Francesco, an Italian painter and 
engraver. Little is known of him as a painter ; 
hut there are a few slight etchings extant, which 
are executed with spirit, in the stjde of Biscaino, 
among which are: St. Joseph seated, reading a 
book, with the Infant Jesus near him ; St. Je- 
rome ; and the Prodigal Son. These are upright 
prints, inscribed Francescits Amatus inv. 

AMATO, Giovanni Antonio d', called II Ycc- 
chio. a Neapolitan oil and fresco painter of consid- 
erable eminence, born about 1475. He studied 
under Silvestro Bruno, or Buono, an old Neapoli- 
tan painter then in repute; but his master d^dng 
while he was young, he afterwards studied the 
works of Perugino, and imitated his style. In S. 
Dominico Maggiore, in the chapel of the family of 
Carrafa, is a picture by Amato of the Holy Family. 
There are several of his works in the churches of 
Naples ; and he had a large number of scholars. 
His favorite study was theology, and he was noted 
for his exposition of many obscure parts of the 
Bible. He died in 1555. 

AjMATO, Giovanni Antonio d', the 5^ounger, 
a Neapolitan painter, born in 1535, and nephew of 
the preceding. His coloring was magnificent, 
some of his works being equal in this respect to 
those of Titian. His finest performance is the 
large altar-piece of the Infant Christ in the Church 
of the Banco de' Poveri, at Naples. He died in 
that city in 1598. 

AMATRICE, Cola dell', an Italian painter, 
who flourished in 1533. He lived in Ascoli di 
Picino, and had a high reputation throughout all 
that province. His manner was hard in his first 
productions, but his subsequent works showed a 
fullness of design, and an accomplished modern 
style. He is praised in the Guida di Ascoli for his 
picture in the oratory of the Corpus Domini, which 
represents the Saviour in the act of dispensing 
the Eucharist to his Apostles. 

AM AY A. , an historical painter ; scholar 

of Yincenzio Carducci ; executed at Segovia, in 
1G82, several paintings, correctly designed and 
well colored. 

AMBERGER, Christopher, a German painter, 
born at Nuremberg, according to jMichcl, in 1490 ; 
studied under Hans Holbein the elder. Fiorillo 
says he im.itated and copied the portraits of the 
younger Holbein so well, that many of them are 
considered originals. He executed a set of twelve 
pictures, representing the history of Joseph and 
his brethren, which gained him great cc'lcbrity; 
though he succeeded better in portraits than in 
history. In 1530, he painted the Emperor Charles 
v., wiio honored him with a gold medal and chain ; 
and, according to Sandrart, considered this portrait 
as equal to any painted of him by Titian. Zani 
says he died at Augsburg in 1503 ; others say in 
1550. 

AMBERES, Francisco de, a painter and sculp- 
tor of Toledo, the cathedral of which he adorned 
with his pictures in 1502. From 1508 to 1510, he 



painted in concert vrith Jean de Bourgogne and 
A^'illoldo, the arabesque chapel ; which still retains 
its attractions. 

AMBERES, jMiguel de, a Spanish painter, orig- 
inally of Antwerp, who lived about 1640. His 
portraits are said to be in the st3de of Yandyck. 
Some of his pictures are to be found in the churches 
and convents of Spain. 

AMBROGI, Domenico, called Menichino del 
Brizio, a Bolognese painter, who lived about 1050. 
]Malvasia says he acquired that name from his 
being the scholar of Fi-ancesco Brizio. He painted 
in oil and in fresco, and excelled in historical pieces, 
landscapes, perspective, and architectural views. 
He executed many works for the churches and pal- 
aces at Bologna. In S. Giacomo Maggiore, is a 
picture bj^ him of the Guardian Angel ; and in the 
Nunziata, another of St. Francesco, with a glory of 
Angels. In 1653, he published some wooclen cuts 
from his own designs, printed in chiaro-scuro, one 
of which represented a woman in a triumphal car, 
holding two flambeaux and a serpent, conducted 
by Neptune. 

AMBROZY, Wenzel Bernard, a German his- 
torical painter, born at Gottenburg, in Bohemia, 
in 1723 ; died in 1806 ; studied under his elder 
brother, Joseph Ambrozy, a miniature painter at 
Prague ; and afterwards acquired a knowledge of 
fresco painting from P. Sierdus. He executed at 
an early period some ordinary works in Prague 
and its vicinity, but changed his style on becom- 
ing acquainted with Reiner, whose gay and ele- 
gant coloring, resembling that of the Yenetian 
masters, he at once adopted, and executed many 
good frescos, and several good altar-pieces in his 
st3de. His compositions are spirited and w^ell 
arranged, and his heads have a good expression ; 
but his design is in very ordinary taste. Am- 
hrozj was also skilled in restoring pictures. Maria 
Theresa appointed him one of her court painters, 
and he w^as honored with the notice of the Empe- 
ror Joseph II. 

AMELSFOORT, Quirinus van, a Dutch painter 
of allegories, history, and remarkably truthful por- 
traits, was born at Bois-le-duc in 1760. and died 
there in 1820. 

AMEND OLA, Ferrante, a Neapolitan histor- 
ical painter, born in 1664; died in 1724; studied 
under the celebrated Solimena, in whose stjde he 
painted for some time, but afterwards imitated 
that of Luca Giordano. He painted many works 
at Naples, the best of which are tw^o altar-pieces 
in the Church of the Madonna di Monte Yirgine. 
Nagler mentions an ingenious picture, by this 
artist, of a Quack Doctor's Shop, in the Royal 
Gallery at Munich. Dominici says that Amen- 
dola's chief merit consisted in a practical facility 
of coloring, and that he completely failed in his 
attempt to imitate the masterly style of Giordano, 
cspeciall}^ in the draperies. 

AMICL Francesco, a modern Italian engra- 
ver. Heineken says he executed some small 
plates of sacred history, among which the best are, 
Christ praying in the Garden; Christ before 
Pilate ; and the Entombment of Christ. 

AMICONI, or AMIGONI, Ottavio, a distin- 
guished Italian fresco painter, who followed the 
style of P. Yeronese, was born at Brescia in 1605, 
and a scholar of Antonio Gandini. He executed in 



AMIC. 



26 



AMMA. 



the Carmelite Church of Brescia, an important 
work in fresco, in concert with Bernardino Gan- 
dini, the son of his master, which is highly praised 
by Averoldi. The subjects were from the hfe of 
St. Alberto. He died in 1661. 

AMICONI, or AMIGONI, Jacopo, a Venetian 
portrait and historical painter, born in 1675. His 
first works at Venice were two altar-pieces in the 
church of the fathers of the Oratorio, and a picture 
of St. Catherine and St. Andrew, for the Church 
of S. Eustachio. He subsequently went to Rom.e, 
and thence to Munich, where he remained some 
time; but his principal works are in England, 
where he went in 1729, and resided many years. 
His works were for some time in great celebrity, 
and several of the nobility emploj^ed him to adorn 
their houses. After leaving England he visited 
Spain, and died at Madrid in 1758. lie etched 
several prints in a spirited style, of which the 
following are the principal : Salvator Mundi, half 
length ; Jupiter and Calisto ; Zephyrus and Flora ; 
the Four Elements, in the style of iVatteau. 

AMIDANO, PoMPONEO, an Italian painter, born 
at Parma, and flourished, according to Lanzi, about 
1595. He is supposed to have studied under Par- 
miggiano. His heads have a noble and graceful 
mien; and he has imitated so successfully the style 
of that master, that good j iidges have mistaken the 
picture he executed in the Church della Madonna 
del Quartiere, for the work of Parmiggiano. Or- 
landi relates that many of the pictures of Amidano 
were purchased by foreigners ; and as his name is 
not mentioned in any catalogue of foreign collec- 
tions, it is probable that many pictures ascribed to 
Parmiggiano are by this artist. 

AMIGAZZI, Gio.Battista, a Venetian painter, 
and a scholar of C. Ridolfi. He excelled in copy- 
ing the works of other masters. In San Carlo 
there is one from a Supper by P. Veronese, finely 
drawn, and with colors fresh and vivid even at the 
present day. 

AMLING, Carl Gustavus, a German designer 
and engraver, born at Nuremberg in 1G51. The 
Elector of Bavaria took him under his patronage, 
and sent him to Paris, where he studied under "F. 
de Poilly. He followed the style of that master, 
and gained much celebrity, though he never attained 
his merit. He executed a large number of plates 
of historical subjects and portraits, the latter of 
which were most successful, many of them having 
great merit. In all of his prints, except the por- 
traits, there is a want of effect, and his drawing is 
incorrect, especially in the nude. The following is 
a list of all his prints, except some private plates, 
after tapesti-y, in the possession of the Elector of 
Bavaria, and the prints he executed for the Acad- 
emy of Sandrart. He died in 1701. 

PORTRAITS. 

Maximilian Emanuel, Elector of Bavaria, J. C. Cham- j 
pngne — a large upright plate, said to be one of his best, i 
Maximilian Emanuel, Electoral Prince ; after Thomas | 
Masculinus, dated 1670 — an oval, very scarce. Eques- j 
trian Statue of Maximilian Emanuel, Elector of Bavaria ; j 
Ainling, fee. Monachii — large plate. Ferdinand Maria, i 
Elector of Bavaria, 1676— large plate, oval. Henrietta j 
Maria Adelaide, Duchess of Bavaria; after Delamonce, 
1675— oval, large plate. John Count de Berlo de Bruss, { 
General, 1680 — large oval. Alexander Sigismund, Count t 
Palatine, &c. ; Hamilton, pin. Remain Liboriet, Abbot ' 
of St. TJlrich ; C. C. ab Amling, ad vivuvi del. et scul. j 
Monackii—a fine portrait, large plate. Petrus Marinus i 



Sormanus — in a medallion, large plate. Don Livio Odes- 
chalchi — in a medallion. Marcus ab Aviano — oval, 1680. A 
young Prince conducted to the Throne by Hercules and 
Nestor; on the Throne is inscribed, Ungaria — Amling, 
scul. Two plates of Statues, engraved for Sandrart's Acad- 
emy. 

sacred and historical subjects. 

The Virgin and Child, with two Poitraits, after J. A' 
Wolf, engraved by C G. ab Amling — a very large plate. 
The'lmage of the Virgin of Consolation ; C. G. Amling, 
sc, 1682 — large plate, oval. Vero Ritratto di S. Francesco 
d'Assisi, da Carlo Gustavo ab Amling — small folio. Image 
of St. Nicholas Toletin, 1691, large plate ; Vrai Portrait de 
St. John de S. Facundo — largo oval ; J. A. Wolf, pin. St. 
Godard kneeling before the Virgin ; J. Dreutwet, del. — 
folio. Ten plates in folio, of a Triumphal Arch in honor of 
the Elector Maximilian Emanuel; C. G. Amling, Mu- 
nich. Grand Thesis, dedicated to the Emperor Leopold, 
and his son Joseph ; R. P. Antonius Lumlinsky, del. ; 
C. G. Amling, fee. Another large plate, representing the 
Virgin Mary "treading on the Serpent, accompanied by the 
Four Doctors of the Church ; Ambling, fee. 

AMMAN, Justus, a Swiss painter and engra- 
ver, born at Zurich in 1539. Of his paintings we 
have no further account, except that his works in 
stained glass were richly and brilliantly colored. 
His pen-sketches are neat and spirited, and are 
highly prized. He has executed an immense num- 
ber of prints, upwards of five hundred and fifty ; 
many of whicli being of small size, he is classed 
with the liitle masters. He engraved both on 
copper and wood, the latter of which are by far the 
best. His manner is neat and decided ; his draw- 
ing is tolerably correct ; and his execution, espe- 
cially in his animals, is spirited. His copper 
plates generally bear his name, but his wood cuts 
are marked with one of the following monograms, 
usually composed of his initials. He died at Nu- 
remberg, 1591. 

copper plates. 

Twelve small plates arched, of illustrious Women, begin- 
ning Avith Eve ; title, Eva die Gebeverinn. Jost. Amman, 
fee.; Stef. Herman, e.vc. Eight figures of Wai'riors, small 
upright plates, marked Jost. Amman, Inventor ; Stefan. 
Herman, 1590. Eight plates, of Persons fighting with 
swords and sticks ; small plates, lengthwaj^s, marked with 
his cipher. Six very small plates of friezes, lengthways. 
Huntings. Eight small plates, lengthways, the Four Sea- 
sons, and the Four elements, 1569. Twelve small upright 
plates arched, of the Months of the Year, represented in 
full-length figures ; Jo. Amman, fee. A set of plates for a 
Bible published at Frankfort, 1571. The Bombardment of 
a Town; Jo. Amman, fee., 1570 — large plate, lengthway.?. 
Effigies Ca.sparis de Colignon ; fecit Norimbergce, Jost. 
Amman, Tigurinis, 1573. 

wooden cuts. 

The Creation, large print, marked J. A. An oval print, 
the Diet of the Empire — large, lengthways. The Marriage 
of Cana — middle-sized print, lengthways, J. A. A set of 
one hundred and fifteen prints of Arts and Trades, first 
printed under the title, Uavo-n-Xia, omnium liberalium 
viechanicarum, tf^c, printed at Frankfort in 1564. This 
edition is very scarce ; the book was reprinted in 1.574, and 
again in 1588. A set of one hundred and three punts of 
subjects from the Roman History, published at Frankfort in 
1572-73, with a portrait of S. Feyerabendt, the celebrated 
bookseller. A book of Huntings, entitled Ncue Figuren 
alter hand lagd, <|-e. Frankfort, 1582. A set of prints for 
a book, entitled Caii Plinii Secundi, cf-c. Frankfort, 1584. 
A set of one hundred and three prints of a work, entitled 
Cleri totius Romance EcclesicB suhjcdi, tf-c. Frankfort : 
Sig. Feyerabendii, 1564. A set of one hundred and twculy 
prints for a book, entitled Gynceceum. sive Tltcairitm 
Mulierum, tf-c. Frankfort, 1586. 



AMMA. 



27 



AMMO. 



AMMAN, John, a German engrayer, who Ha'ccI 
at Hanau about 1640. He engraved a set of small 
wooden cuts, representing the Passion of our Sa- 
viour, published at Amsterdam in 1G23, with Latin 
verses. They are executed in a neat and spirited 
style, and possess considerable merit. 

AMMANATI, Bartolomeo, an illustrious 
Florentine sculptor and architect ; born in 1511 ; 
was the son of Antonio da Settignano, who died 
when Bartolomeo was twelve years old. As his 
father left but a small estate, he chose sculpture 
for his profession, and studied first under the 
celebrated Baccio Bandinelli, and afterwards at 
Venice under the distinguished Jacopo Tatti,bet- 
ter known as Sansovino. Ammanati executed 
a colossal statue of Hercules at Padua, b}"- order 
of Marco di Mantova, a rich physician, and a 
great patron of the arts, who was residing in that 
city. He was also the author of the gigantic stat- 
ue of ]Mount Appenine. placed at the edge of a 
small lake at Pratolino, near Florence. At Ur- 
bino he was employed to make the monument of 
Duke Francesco Maria, in the Church of Santa 
Ohiara. At Naples he executed three statues for 
the monument of the poet Sannazaro. but owing 
to some disappointment he quitted Naples and 
returned to Venice, where he occupied himself on 
a colossal statue of Neptime for the Piazza di S. 
Marco. For Cardinal di iMonte, afterwards Julius 
III., he made a handsome monument, which still 
exists in the Church of S. Pietro, at JMontorio. 
He subsequently left Rome and visited his native 
city ; but afterwards was extensively employed at 
Eome by Gregory XIII., and Sixtus V. Many 
other of his works as a sculptor are mentioned by 
Vasari. 

As an architect, he designed and erected the new 
bridge of the Trinity over the Arno, at Florence, 
which is still remaining, and is admitted by com- 
petent judges to be one of the most elegantly de- 
signed and ingeniously constructed specimens of 
which the art can boast. Ammanati was also 
employed to complete the Pitti Palace at Florence ; 
and at Rom^e he designed the Palazzo Ruccljai, and 
the facade of the Collcgio Romano. lie also com- 
posed a large work entitled "La Cittd,^^ containing 
designs for all the edifices belonging to a well 
ordered city. "When Michael Angelo died, two 
painters, Agnolo Bronzino and Giorgio Vasari. and 
two sculptors, Benevenuto Cellini and Bartolo- 
meo Ammanati, were chosen for the honorable 
offi'^e of superintending the magnificent obsequies 
of that great man. In recording this fact, Vasari 
observes that they were '• all bright names, and 
illustrious in their respective arts." 

The high reputation of Ammanati contributed to 
gain him for his wife, the celebrated Laura Battiferri 
of Urbino. She was a poetess and a highly accom- 
plished lady, and her merit procured her election 
into the Society of the Intronati at Siena. A col- 
lection of her works was published in 1560, under 
the title of " Opere Toscaney 

Ammanati died in 1589, aged 78 years, and was 
buried near his wife, in a chapel he had entirely 
ornamented and dedicated to the patron saint S. 
Bartolomeo, in the Jesuits' church of S. Giovan- 
nino, to which society he bequeathed all his prop- 
erty. 

AMMON, Clement, a XQvy inferior German 
engraver, son-in-law of Theodore de Bry, the emi- 



nent engraver. His principal work was the con- 
tinuation of the collection of portraits entitled, 
Bibliotheca Calcographica, in six quarto vol- 
umes, published by Theodore de Bry, to which he 
added two volumes, the first dated Frankfort, A.D. 
1650, with his name, Sculptore Clemen. Ammon, 
junior, Calcograp.^ and the second published in 
1652, Sculptore Clemente AmmoJiio calcograp. 
Franc. 

AMMON, JoHANN, a German artist, born at 
Schaffhauscn. and lived about 1700. He executed 
several portraits, among which is one of the cele- 
brated John Locke. 

AMOROSI, Antonio, an Italian painter, born 
in the Communanza near Ascoli, and flourished 
about 1736. He executed several works for the 
churches at Rome, one of which is in S. Rocco ; 
but he is principal!}^ known as a painter of drolls, 
and fjincy subjects, in which he became quite emi- 
nent; so that Lanzi says, if his coloring had been 
a little more brilliant, his pictures would have 
equalled the similar productions of the Flemish 
school. 

xiMOUREUX, Abraham Cesar l'. a reputable 
French sculptor; born at Lyons in 1644; studied 
under N. Coustou the elder ; executed several ex- 
cellent bas-reliefs and other works in various 
churches at Lyons, distinguished for their fme com- 
position and expression. He was invited to Co- 
penhagen in 1682. where he executed the gilded 
leaden statue of Christian V., King of Denmark, 
which was placed before the RoA'al Palace in 1688. 

AMPHISTRATUS, a Greek sculptor, who is 
mentioned by Plin}' as the author of an admired 
statue of Callisthenes, which was in the ScrAilian 
Gardens at Rome. Tatian says he made a bronze 
statue of Clitus. This artist probably lived about 
the time of Alexander. 

AMSTEL, Cornelius Plods Van, an eminent 
Dutch engraver, born at Amsterdam in 1732. He 
executed a very interesting set of plates in imita- 
tion of the drav.-ings of the most noted Dutch mas- 
ters. The following is a hst of his principal 
works : 

Frontispiece, a Monument bearing a Latin inscrijotion, on 
AvliicU stanlsi a Genius holding an Escutcheon, in the middle 
a Fleur de luce ; Inventor Cornelius Ploos van Amstel, 
D. I Fchr., 1765. Two smnll Landscapes ; //. Zaft- 
Iceven, del; v. Amstel, fecit, 1766. A Landscape, with a 
Shepherd and Shepherdess with Cattle on the Banks of a 
Canal ; Ad. van de Velde, del; P. van Amstel, fecit. A 
"Woman looking out of a Door ; Rembrandt, del: P. van 
Amstel, fecit, 1764. A joung Man with a Hat on, looking 
out of a Door ; same inscription. These two arc fine imita- 
tions of Rembrandt. An Interior of a Dutch Cottage, with 
Peasants, one reading the Gazette ; Ad. v. Ostade, del, 
1673 ; P. van Amstel, fecit, 1766. A Frost Piece, with six 
Spanish Figures, one a woman with a Ma.sk ; Hendrick 
Avercavip, del, 1621 ; P. van Amstel, fecit. Portrait of 
Jan Josephzoon van Goyen; Ant. van Dyck, del, 1638; 
P. van Amstel, fecit, 17i39. A Landscape, with a Market 
at the Entrance of a Town ; Jan Josephzoon Goyen, del, 
1653 ; P. van Amstel, fecit, 1767. A similar subject with 
a Beast Market ; same inscription. A Lady seated at a 
Harpsichord; Ger. Dome, del, 1660; P. v. Amstel, fecit, 
1767. A Sea-piece, with Shipping ; Ludolf Bakhuysen, 
del, 1694; P. v. Amstel, fecit, 1769. Landscape, with a 
Woman riding on an Ass, with Cattle, by the side of a Ca- 
nal ; N. Berghem,fecit, 1764 ; P. van Amstel, fecit, 1769. 
A circular of the A^'irgin Mary, with the Infant Jesus ; Ab?'. 
Bloemaert, del. ; P- v. Amstel, fecit, 1769. An assem- 
blage of Peasants before an Alehouse, with a Man playing 
on the Violin, and another dancing ; Ad. v. Ostade, del, 
1612; P. V. Amstel, fecit, 1769— an imitation of the pic- 



AMST. 



28 



ANCH. 



tiire Portrait of a Young Lady, with a Book on a Table ; 
H. GoUzius, dd., 1612; P. v. Amstel, fecit, 1770. Por- 
trait of a Young Man, sitting on a Chair ; C. Visscher, del, 
1651 ; P.v. Amstel,fecit, 1771. Landscape, with a Man 
Isading a Horse, and in the foreground some Women wash- 
ing; P/i. Woiiwerman, del, 1660; P.v. Amsfxl, fecit, 
1772. The Inside of a Church, with a Man drawing ; E. 
Saenredcim, del, 1630 ; E. v. Amstel, fecit, 1774— very 
neatly finished. A Spanish Concert ; Karel van Mander, 
del, 1*603 ; P. V. Amstel, fecit, 1772. A Man seated, 
holdino- a Flute, with a Bonnet in the manner of Rem- 
brandt'; G. Flinck, 1643 ; PI van Amstel, fecit, 1773. 
A Sea-piece with Shipping; P. Coops, del; P. v. Amstel, 
fecit, 1773. An assembly of Peasants, one sleeping ; Ad. 
Brower, del, 1635 ; P. v. Amstel, fecit, 1775. A Man 
sitting at a Table, with Cards in his hand ; E. Mieris, 
del, 1663 ; P. v. Amstel, fecit, 1777. Two Dogs, small 
prints; similar inscription. Three Peasants, one with a 
Bottle; C. Dusart,del.; PI. van Amstel, fecit. A Young 
Lady taking a Beverage presented by a Boy, and a Physi- 
cian standing near her; Ger. Terberg, del; PI v. Am- 
stel, fecit, 1779. A Young Lady, Avith a Musical Instru- 
ment ; G. Netscher, del, 1664 ; P. van Amstel, fecit, 1781, 
oval. Two Sea-pieces ; Ludolf Bakhnysen, del; PI v. 
Amstel, fecit, 1781. The Judgment of Solomon; Lucas 
van Leyden, del, 1515; P. v. Amstel, fecit, 1782. A 
Landscape, with Ruins, and a Man with an Ass ; Tk. Wyk, 
del; P. V. Amstel, fecit, 1782. A A^'iew in Norway, with 
Figures; Aid. van Everdingen, del.; P. v. Amstel, fecit, 
1782. Five Dutch Magistrates, sitting round a Table ; J. 
de Bray, del, 1663; PI v. Amstel, fecit. The Attorney 
and his Clerk; J. Steen, del, 1672; P.v. Amstel, fecit. 
A Landscape, with Ruins, and a Shepherd with Sheep and 
Goats ; J. vander Does, del, 1699 ; P. van Amstel, fecit. 
A IMountainous Landscape, with Cattle ; J. v. der Meer, 
de Jonge, del, 1704: ; PI v. Amstel, fecit. The Carpenter 
and his Wife ; J. Saenredain, del, 1610; P. v. Amstel, 
fecit. The Inside of a Cottage, with Peasants ; Corn. 
Bega, del, 1684 ; P. v. Amstel, fecit. The Botanist, Avith 
Figures bringing him Plants ; G. v. den Eeckhout del. ; P. 
V. Amstel, fecit. A Landscape, with four Sheep ; K. du 
Jardin, del ; P. v. Amstel, fecit. The Chymist ; J. Lang- 
hans, del, 1711; P. v. Amstel, fecit. A Sea-piece with 
Shipping; J. Esselens, del, 1708; P. van Amstel, fecit. 

AMSTEL, Jan Van, a painter who is said, to 
have excelled in landscapes, which he enriched 
with numerous figures in the manner of Van 
Eyck ; but when or where he lived is not recorded. 
Guarienti, in his edition of Orlandi, mentions a 
picture by Amstel at Genoa, though it is conjec- 
tured that some more distinguished painter is dis- 
guised under this name. The painting represents 
the Crucifixion, and contains over two hundred 
figures admirably painted. 

AMULIUS. a Roman painter who flourished in 
the reign of Nero, and was principally employed 
by that emperor in decorating his golden palace. 
His best works, with the palace, were destroyed by 
fire. 

ANASTASI, Giovanni, an Italian historical 
painter, born at Sinigaglia in 1654 ; died in 1704. 
Lanzi says there are many of his works in that 
place ; the two from sacred history, in the church, 
della Croce, are reckoned among his best. In Santa 
Lucia of Monte Alboddo, there are three of his 
works ; and Marcheselli mentions a portrait by 
him of one of the Malatesta family, in the church 
of San Francesco at Rimini. His manner was 
easy and spirited, though not refined. 

ANAXAGORAS, a Greek sculptor of ^gina, 
who flourished about b. c. 475. Herodotus men- 
tions a bronze statue of Jupiter by this artist, 
which was fifteen Grecian feet in height. It was 
dedicated at Olympia by the States of Greece that 
fought at PlatcBa against the Persians. 

ANCHETA. Miguel, a Spanish sculptor of the 



sixteenth century; born at Pampcluna; studied 
in Florence, and soon after returning to his native 
place, he acquired, according to Bermudcz, the 
reputation of one of the best sculptors of his 
time. Ancheta made the beautiful stalls of the 
choir of the cathedral at Pampeluna, which are 
considered the finest in Spain. There are one hun- 
dred of them ; they are made of English oak. He 
also executed an Assumption for the principal altar 
of the parish church of Santa JMaria at Tafalla ; the 
equestrian statue in alabaster, of St. George killing 
the Dragon, at Saragossa; and in 1578, an Assump- 
tion for the great altar of the cathedral at Burgos, 
in which he surpassed Rodrigo del Ilaya, who, 
with his brother Martin, executed the other sculp- 
tures of the altar. 

ANCIIILUS, N., a Flemish painter, born at 
Antwerp in 1688 ; executed conversations and 
other subjects of some merit, in the style of Te- 
niers and Watteau. He went to London, and 
copied pictures by Snyders for Sir R. Walpole. 
He died at Lyons in 1733. 

ANCHINI, LuiGi, a renowned seal engraver, in 
the time of iNIichael Angelo, born at Ferrara. He 
was largely patronized by cardinals and princes. 
His Interview of Alexander the Great with the 
High Priest of Jerusalem, was pronounced by 
Michael Angelo to be the perfection of his art. 

ANOKER, JoHANN, an old copper-plate engra- 
ver of the fifteenth century ; supposed to have re- 
sided at Zwoll, in Holland. Bartsch mentions 
eighteen of his plates, the two largest of which are 
Christ on the Mount of Olives, and a Gothic Altar. 
The rest are all from the New Testament, or from 
subjects connected with the Romish Church. 

ANCONA, Andrea Lilio, an Italian painter of 
some eminence, born at Nella Marca ; flourished 
about 1595. He painted allegorical subjects, some 
of which have been engraved. Baglioni says he 
was employed by Sixtus V. on the ornaments of the 
Library of the Vatican ; also in St. John of Late- 
ran, where he painted in fresco in the Seal a Santa, 
Moses striking the Rock — a grand composition ; 
and Moses vrith the brazen Serpent. In a chapel 
of the Chiesa Nuova, he represented Michael driving 
the evil Spirits from Heaven ; also a fine fresco 
painting in S. jMaria ISIaggiore, representing our 
S-aviour washing the Feet of his Disciples. After 
the death of his patron, he was employed in the 
Roman churches and convents by Clement VIII. 

ANDERLONI, Faustino, an Italian engraver 
of some merit, was born at Brescia, and executed 
in 1786 and 1794, portraits of the distinguished 
Herder, Carlo Porta, and Schiller; also illustrations 
to several works of science, xifterwards he execu- 
ted a small but beautiful plate from the Dying 
Magdalene, by Correggio ; the Repose in Egypt, by 
N. Poussin ; and Mater Amabilis, by Sasso Ferrato. 

ANDERLONI, Pietro, a distinguished Itahan 
engraver, brother of the preceding, was born in 
1784, and manifested an early inclination for art. 
He first studied under F. Palazzi, but afterwards 
under his brother Faustino, who, perceiving be 
vacillated between painting and engraving, induced 
him to adopt the latter. After learning much from 
his brother, he entered the school of Longhi at the 
age of twenty, and remained there nine years. He 
assisted that master in the production of many 
admirable works, among which was Ezekiel's Vis- 



ANDE. 



29 



ANDR. 



ion. after RafFaclle. Longhi allowed his pupil to 
place his name to some of these, in acknowledg- 
ment of the share he had in their execution. In 
1824 he visited Eome for the second time, to make 
drawings of tlie Ileliodorus and Attila of Raffa- 
elle; and in 1831 succeeded Longhi in the superin- 
tendence of the Academy of Engravers at Milan. 
Anderloni usually succeeds in embodying the style 
of the master whose picture he engraves ; but he 
sometimes works his plates too far, and produces 
glossiness. He was a member of several acade- 
mics, and perhaps is now, for it is uncertain whether 
he is still living. His principal works are, Moses 
defending the Daughters of Midian, after N. Pou- 
sin; the Adoration of the Shepherds, after Titian; 
a Holy FainilyJIeliodorus, Flight of Attila, and In- 
cendio di ]3orgio, after Rajfaelle; St. John, after 
Liuni; a Magdalene, after Correggio; Portraits of 
Canova, Longhi, Appiani, and other eminent Ital- 
ians- 

ANDERTON, Henry, an Enghsh painter of 
history and portraits, who lived about 1650. He 
studied under Streater, but afterwards visited 
Italy. He executed a portrait of Mrs. Stuart, 
afterwards Duchess of Richmond, which gained 
him the patronage of Charles 11. He died about 
1GG5. 

ANDRATTA. JoAaum, an old Spanish painter. 
Kunstblatt mentions two pictures by him on wood, 
in the Escurial — the Miracle of the Loaves and 
Fishes, and St. Jerome with the Lion in the Wil- 
derness. The drawing, the draperies and the land- 
scape in these pictures are much in the style of the 
old German masters ; but the coloring is cold, and 
much less brilliant than the old Germans. 

ANDRE, or ANDREA, Dietrich Ernst, an 
able German historical and portrait painter; born 
at Mictau, in Kurland, and lived about 1700. He 
studied for twelve years under Gustav. Von Ben- 
tum, at KOnigsl^erg, and, according to Ileineken, 
was much superior to that master while still his 
pupil. That author speaks in high terms of sev- 
eral of his works at Brunswick. The Duke of 
Brunswick, perceiving his great ability, advanced 
him the funds necessary to enable him to visit 
Rome. The artist obtained permission to visit 
Holland first, and while there, was induced to go 
to England, where he forgot his engagement with 
the Duke. He married, gave himself up to a life 
of pleasure, and forsook the careful and elegant 
style of his early works for a gaudy and super- 
ficial manner. His habits involved him in difficul- 
ties that compelled him to quit England, and in 
1724 he went to Paris, where he died. 

ANDRE, Jean, a French painter of histor}^ and 
portraits, born at Paris in 1G62. He studied the 
works of M. Angelo and Raffaelle at Rome, under 
Carlo ]Maratti. and was a good designer and color- 
ist. He died at Paris in 175S. 

ANDREA, Alessandro, an Itahan engraver. 
Heineken says he executed in 1578 the portrait of 
Giles de Noailles, Abbe de St. Amand, French 
Ambassador to the Sublime Porte. 

ANDREA Pisano, a distinguished Italian 
sculptor and architect, was born at Pisa in 1270, 
and studied under Nicola and Giovanni Pisano. 
These artists, who may be justly termed the 
fathers of modern sculpture, had already efiected a 
great revolution in taste ; but, though sensible of 



the superior beauty of Grecian sculpture, they 
stopped far short of the real advantages they 
might have derived from it ; and it was left for 
Andrea to make that most important use of them 
which his m.asters (and it may be said even more 
modern artists) too often lost sight of. This was, 
to combine their excellencies with his own original 
ideas; not servilely to represent Greek subjects in 
Greek forms, nor to recur to ancient fable and my- 
thology because he found them set forth in the 
superior beauty of ancient sculpture ; but to adapt 
the finer forms of that more finished and perfect 
school of art, to illustrate and give effect to his own 
conceptions. His works are doubtless far from 
perfection, but his merit, to be fairly judged, should 
be considered in relation to what had been done by 
his immediate predecessors. He was the first 
artist who truly appreciated the value of the fine 
models of antiquity to modern art, and who made 
them subservient to the illustration of subjects of 
present interest. In this respect he is justly enti- 
tled to rank as one of the great improvers of de- 
sign. 

Andrea was employed at the Duomo of Pisa, as 
one of the assistants, or workmen, under Giovanni. 
Soon after, he was associated with his master in 
the execution of the bronzes at Perugia ; both their 
names appear together as the artists. After this, 
he was employed alone to execute some small fig- 
ures in marble for S. Maria al Ponte, at Pisa. His 
success in these works led to his being invited to 
Florence to assist in completing the fa9ade of the 
cathedral of S. Maria del Fiore. Andrea here 
formed the acquaintance of Arnolfo da Lapo, and 
Giotto di Bondone ; the latter is said to have fur- 
nished some of his designs. He executed a marble 
statue of Bonilixce YIIL, and two other statues of 
St. Peter and St. Paul, which were placed in the 
fa9ade, and gained so much admiration that he was 
commissioned to execute all the works required for 
the decoration of that edifice. Vasari says he vis- 
ited Venice, vrhere he remained about one 3'ear, and 
executed several small statues for the front of 
St. Mark's. He afterwards returned to Florence, 
where he executed the bronze relievi for the 
gates of the baptistery at Florence, which Cicog- 
nara correctly states to have been commenced in 
1331. and finished in 1339 ; though Vasari asserts 
they took 22 years for their completion. The sub- 
ject is the life of St. John, and the incidents are 
represented in twenty-two compartments. In 
other panels are smaller figures of the Virtues. 
The work deserves a high degree of praise for its 
simplicity, dignity, and sentiment, and it gained for 
the sculptor an immense reputation. The chief 
authorities, with the foreign ambassadors, went to 
visit it ; and the republic elected him a citizen of 
Florence. Andrea also executed many other works, 
of which the relievi in marble, for the Campanile 
of S. Maria del Fiore, at Florence, have consider- 
able merit. 

As an architect, he designed the castle of Scar- 
feria, the arsenal at Venice, and the Church of San 
Giovanni, begun at Pistoja in 1337. At Florence, 
by order of Guattieri, Duke of Athens, he fortified 
and enlarged the ducal palace, surrounded the city 
with towers and magnificent gates, and designed a 
small citadel. He died in 1345. 

ANDREA, Zoan, [Giovanni,] an Italian engra- 
ver of the beginning of the sixteenth century, co- 
temporary with Mantegna ; first noticed by Zani, 



ANDll. 



30 



ANDR. 



who explains the initials Z. A. by this name. lie 
copied and imitated the prints of ]\Iantegna, and of 
Burer : also apparently engraved from his own 
designs. Ilis works arc scarce. Some of them 
have great merit, and are sold at high prices. 
1 artsch enumerates thii'ty-tliree, ])ut Brulhot says 
1 here are moi-e. Tlie largest and most reraarka- 
l le of them is an allegory of Mercury and Igno- 
1 ancc. after jMantcgna. 

73r or M or /I /I. ANDREANI,And- 
Jlli- JL Jl- JJL f JL ]{]■] A . a Mantuan pam- 
tcr and very eminent engraver, born, according 
to Brulliot, in 15G0 ; though others say in 1540, 
lie is little known as a painter, and seems to have 
devoted his talents to engraving early in life, when 
he settled at Rome, some time after Hugo da Carpi 
fh'st commenced wood engraving. Ilis works arc 
confined to this branch. Ilis drawing is very cor- 
rect ; his execution neat and spirited, and done in a 
masterly style. Ilis cuts are printed in the chiaro- 
scuro, and he carried this department of the art to 
a much higher degree than he found it. His works 
have often been confounded with those of Altdor- 
fer, from his using a similar monogram. The fol- 
lowing are his principal works : 

The Portrait of Albert Durer, dated Siena, 1588. Eight 
pi-ints of the Pavomont of Siena, from a drawing by 
Franco Vannl, after the Design of Domenico Beccafumi, 
— very ycavcc, dated 1587. The Dchigo, hirgo print in four 
slieots, aft.cr rUlun, with his cipher. Pharaoh's Host de- 
stroyed in the Red Sea, a large print in four sheets, after the 
sa)ae, 1535, with his cipher. The Adoration of the Magi, 
after Parnili^-giano, 1585, with his cipher. The Purificvtion, 
after Sulviaii, with his cipher, 1G08. The Virgin and Child, 
witli a Bishop kneeling ; after A. Casolani, with his cipher, 
and the words, Andrea Mantuano, Pittorc Sancse, 1591. 
The Virgin and Ciuld, with St. John presenting a Bird, and 
a Female Saint holding a Lily ; after Giac. Ligozzi, with 
his name. Christ curing the Leper, after Parmiggiano, 
with cipher. Christ curing the Paralytic, after Franco de 
Nauto da Sabaudia. The Miraculous Draught of Fishes, 
after Paff'aelle, 1G09, with his cipher. Christ departing 
from Pilate, who is washing his hands ; after a basso-re- 
lievo of Giov. Bologna, with the name of the engraver, in 
two sheets. — [This is one of his most finished prints.] Christ 
bearing his Cross, after A. Casolani, with his cipher, and 
inscribed Andreant in Siena, 1591. The Entombing of 
Christ, after Gifis. Scolari, pittore eccellente, with his cipher. 
Another Entombing, half figures, after Raffaello da Reggio 
and the name of the engraver. St. Peter preaching, marked 
with the name Polidoro, and his cipher, 1608. St. Sebas- 
tian, marked Fridericus Barotius Urbinas, with his 
cipher, 1608. The lower part of the picture of St. Nicholas, 
hy Titian, with the cipher of Andreani, Intagliat. Mantu- 
ano. The Triumph of the Church ; Christi Triiimphus, 
largo frieze, in eight sheets, after Titian, dedicated to the 
Duke of Manltua in 1599, and published by Calisto Ferranti 
at Rome in 1608. An emblematical print, of a Christian after 
Life received into Heaven, and crowned by Jesus Christ ; 
marked B. F. for Baptista Franco, and the cijAcr of the 
engraver. vVn. INIDCX. INlantoua. The I'icturo of Human 
Life, represented by a Woman at the Foot of a Hock, as- 
sailed by the Passions, marked Jac. Ligotius, inv. et Andre- 
ani, 1585. Firenze. Three prints, after a marble group 
by Gio. da Bologna, seen on three sides, representing the 
Rape of the Sabincss, inscribed Rapta Sabiniim a Jo. Bolog. 
marm. c\-c. MDLXXXIIII. Another Rape of the Sa- 
bincs, after Gio. da Bologna, in three sheets, inscribed An- 
dreas Andrcanus Alant nanus aeri incidit, £J'«c., MD 
LXXXV. Florentio). Celia on Horseback, with one of her 
Attendants, going to cro.ss the Tiber, marked with the name 
of Maturino and his cipher, 1603. Mutius Sciwvoli, holding 
his hand over a Brazier, marked with the name of Bald. 
Peruzzi, and his cipher, 1608. The Triumph of Julius 
Cnesar, with the title, in ten sheets, after And. Alantcgna, 
MDXCVIIL— [It is difficult to meet with all these pieces 
of the same color, or equally good impressions.] Venus 
and Cupid, with Nymphs bathing, after Parmiggiano, with 



tlio cipher of Andreani, 1605. Circo giving Drink to the 
Companions of Ulysses, oval print, after Parmiggiano, with 
his name, 1602. A Woman warming herself before a Fire, 
murkad Bernard Malpitius, inv. ,\yith his cipher. The Scene 
of a Comedy represented before the Grand Duke Cosmo I., 
after a design of 7ia?-^ A''croni; largo piece, 1579. A Sep- 
ulchral Monument, representing a kind of Rock, on which 
are the three Fates, after Fortuna Fortunius, with the 
cipher of the engraver, 1588. 

ANDREASI, Ippolito, an Italian painter of 
some merit, who studied under Giulio Romano; 
assisted him in his cartoons, and executed pic- 
tures in S. Barbara and elsewhere. 

ANDREOLA, Filippo, a Neapolitan painter and 
scholar of Solimena ; painted arabesques and archi- 
tecture, in distemper and in fresco, in various 
churches of Naples. lie died, according to Domin- 
ici, in 1724. 

ANDREOLI, Giorgio, called Giorgio da Gub- 
i3io,or Maestro Giorgio, an Italian sculptor, and 
maiolica or delft painter, who settled, says Fiorillo, 
at Gubbio, in 1498. Passeri says he established a 
maiolica manufactory at Gubbio, about 1519, which 
he continued till 1538. During this time he painted 
many beautiful designs upon table service, and exe- 
cuted in this material two beautiful bas reliefs for 
altar-pieces ; one for the Church of San Domenico, 
and the other for the house-chapel of the Benti- 
vogli family. He was living in 1552. Ilis son, 
Vinccnzo, according to I^anzi, practised the same 
arts as his father. 

ANDRIESSEN, Antony, a Dutch painter of 
landscapes and iigurcs, which he executed in con- 
cert with his brothei' Jurriaan ; born at Amster- 
dam in 1740 ; (lied in ISl^. 

ANDRTESSEN, or ADRIENSES, Hendricks, 
surnamed Mankenhein, a Flemish painter, born at 
Antwerp in IGOO. He painted subjects from still- 
life with great skill of composition and finishing. 
He died at Zealand in 1G55. 

ANDRIESSEN, Jurriaan, a Dutch painter, 
born at Amsterdam in 1742, and studied under J. 
M. Quinkhart and A. Elliger. He executed in con- 
cert with Numan, the decorations of the new thea- 
tre at Amsterdam, in which branch of the art he 
excelled. He instructed several eminent living 
Dutch painters. He died in 1819. 

ANDERIOT, or HANDERIOT, Franz, or 
FRAN901S, a Parisian engraver, was born about 
1G55, and practised both in France and Italy, espe- 
cially at Rome. He imitated the style of Poilly, 
but is not to be classed with that master, though 
his works are much in demand in consequence of 
their subjects, and the masters after whom he en- 
graved. The most important are, a Magdalene, 
a Madonna and a Bambino, (7//er6^?m/o; the Hoi}' 
Family with a Rose, after Rajf'adle; two Annunci- 
ations, after Albano; the Good Samaritan, after 
Ponssin; the Orowniijg wSth Thorns, after Domen- 
ichino; and the same after A. Caracci. 

ANDRIOLI, GiROLAMO, a Veronese painter, 
whose name and the date 1606 are inscribed on an 
altar-piece of San Domenico, and other saints, in 
the Church of Santa Caterina di Siena, at Verona. 

ANDROCYDES, a painter of Cyzicus, is men- 
tioned by Pliny as a rival of Zeuxis ; he therefore 
lived about b. c. 400. Plutarch mentions a pic- 
ture he executed for the Thebans, representing the 
victory of Pelopidas and Epaminondas ; and another 



ANDR. 



31 



ANGE. 



of Scylla surroundcrl by fishes, in whioli tlic fish 
were so afhnirably painted as to be the principal 
objects in the picture^ to the great detriment of the 
figure of Scylla. 

ANDitONICTLS, an ancient Grecian architect, 
who, according to Vitruvius, erected the celebrated 
Tower of the Winds, which still remains entire 
among the ruins of Athens. 

AXDJIO.SI'HEXES, an Athenian sculptor, and 
a pupil of Encadrnus. lie was employed to com- 
plete the statues of Latona, Diana, Apollo, the 
Muses, the .Setting of the Sun, and a group of 
Bacchantes, in front of the temple of Apollo at 
Delphi, which had been b';gun by Praxias. but were 
left incomplete at the death of that artist. Pau- 
sanias supposes he hved about b. c. 420. 

AXDJtOUET Du Cerceau, JAcauES, a French 
architect, who erected at J^aris the i)alaces of Sully, 
Mayenne. and the Fermes Generaies. lla built the 
Poiit-Neuf by order of Jlenry lU.', and designed 
the great Gallery of the Louvre, built by lia^nry 

IV. He also wrote several architectural works. 

AXKDA; .XuAN DE, a painter of Burgos, who 
lived about 1505. and painted in concert with .Juan 
de Oca, some fine pictures which still remain in the 
cathedral. 

AXESr. Paolo, a Florentine painter, who flour- 
ished about 1720. His landscapes gained him con- 
sidera)>le reputation, and he painted ancient ruins 
in the style of P. Panini. Some of his works are 
to be found in the i)alaces and private collections 
at Florence anfl iiome. Francesco Zuccherelli stud- 
ied for some time under this master. 

AXFOSSO, Jacopo, a cclebrate^l gem engraver 
of Pavia. who lived in the sixteenth c^^ntury. 
Though little known, he seems to have been an 
artist of great ability, and was in favor with Pius 

V. and Gregory XI 11.. as appears from an epitaph 
in the Leliere PlUoric/ie. 

AXGAPtAXO, Ottaviano, a Venetian histori- 
cal jjainter of noble birth, who lived about 1C50. 
Zanetti says he acquired much reputation by a pic- 
ture he executed for the Church of S. Danielo, at 
Venice, representing the X'ativity. 

AXGE, Franco l'. di Annecv, an Italian painter 
of small pieces of sacrfi^l history, which arc com- 
raend(yl by Lanzi ; lK>rn in 1G75 ; studied under 
Crespi ; ber;ame a Phillippine monk at Bologna, and 
died in 1750. 

AXGEEI, FiLippo I)', called II X'apolitano, a 
Ptoman painter, born in 1000, was the son of an 
artist who was employefl by Sixtus V. He often 
painted architectural views, with a number of fig- 
ures arranged and composed with great ingenuity. 
He excelled in representing battles and landscapes, 
and, according to Baglioni, was much employed in 
ornamenting the pala^xjs and villas at Home. He 
died at Jiome in 1040. 

ANGELI, Giovanni Battista d'. See Moro. 

AXGELT. GruLio Cesare, an Italian painter, 
was bom about 1570. and studied under the Car- 
acci. He executed an immense work in the Church 
of S. Agostino at Perugia. His coloring was bet- 
ter than his design, and he excelle^l rather in the 
draped than in the nakc^l figure. He dial in 1030. 

AXGELI, Giuseppe, a Venetian painter of cab- 
inet pictures and altar-j)ieces, was lx>m about 1715^ 



I and studied under Piazetta, whose style he imita- 
I ted. His extremities are well drawn, and his 
[ heads have considerable expression. He was living 
I in ]70:i. 

I AX'GELI, NiccoLO, an Italian engraver, who 
! lived about 1035, and studied under liemigio (Jan- 
I tagallina. In concert with his master, he engraved 
a set of plates from the designs of Giulio Parigi, 
representing the festivals at Florence on the occa- 
sion of the marriage of the Prince of Tuscany. 

ANGELICO, Fra. Giovanni da Fiesoli. See 

FlESOLI. 

AXGELIXr, SorpiONE. an admirable Italian 
flower painter, was born in 1001 at Pei iigia accor- 
ding to Pascoli. though (Alters say at Ascoli. He 
practised at Home, and executed a large number 
of paintings which he sold to d(;alers, who exported 
them to England, Holland and France. lie died in 
1720. 

AXGELIS, DoMEXico d', a fresco painter, of 
considerable al^ility and reputation, living at Itome 
at the commencement of this century. He was one 
of the best scholars of M. Benefiale; was a mem- 
ber of the Academy of St. Jiuke, and exw;uted sev- 
eral public works at Jtome. He is praised in the 
work by Goethe. 

AXGFjEIS, Peter, a Dutch painter, was born 
at J)unkirk in 1085, and studied the elements of 
the art in his native place; after which he visited 
Flanders and Germany, remaining some time at 
Diisseldorf, where he gained some advantage from 
the Electoral Gallery. His subjects were generally 
conversations, and land.scapes with small figures, 
into which he often introduced fruit and fish. He 
visited England about 1712. where he was so 
much employed that he remained sixteen years. 
In 1728 he visited Italy, and passed three j'oars at 
Jlome. where hi;-; pictures Wi^ra admired. On leav- 
ing Italy he intended returning to England, but 
staying a while at Jlennes, in Bretagne. he met 
with so much encouragement that he settled in 
that city for life. His pencil is free, bright, and 
flowing, though bin wjloring is sometimes weak. 
His style is a mingling of Teniers and Watteau, 
with more gT;u;e than the former, and more nature 
than the latter. He was unostentatious and re- 
served, and exhibited his works with reluctance; 
his inclination being rather to the pursuit of his 
art than the advancement of his fortune. He died 
at Pvcnnes in 1734, aged 40. 

AXGELO, and AGOSTIXO, of Siena, Italian 
architw;ts, warn brothers, and the most illustri- 
ous disciples of the school of Giovanni of Pi.sa. 
Sansoni says that the latter, in 1308. designed a 
palace for the magistrates of Siena, and thereby 
acquired so much reputation that he and his brother 
were chosen to superintend the public edifices of 
the city. They era;ted the northern i'-dr^iulc of the 
cathedral ; made two new gates to the city; began 
the Church and convent of San Francesf-o, and the 
Church of Santa Maria ; and finishe^l the tower of 
the Public i^alacfi. They also erected the groat 
fountain in the square before the Hotel de Ville; 
the Hall of the Grand Council; and various other 
works in Assisi, Orvietto, Arczzo, and Bologna. 

AXGELO, LoRENTiNO d', a painter of Arezzo ; 
lived about 1550; was the scholar of Piero del la 
France.sca. and followed his style. He executed 
many original works in fresco at A^rezzo and its 



ANGE. 



32 



ANGE. 



vicinity, and completed several works in that city 
which his master had left unfinished at his death. 
ANGELO, Michael. See Buonarotti. 
ANGELO, Michael Amerigi, da Caravaggio, 
an Italian painter ; born at Caravaggio, a village in 
the ]\lilanese, in 1569 ; was the son of a mason, and 
while a lad, was employed to prepare plaster for 
the fresco painters of Milan. From seeing them 
often at work, he became inspired with the ambi- 
tion to become an artist ; and without instruction 
from any particular master, he became an excel- 
lent imitator of nature, and adopted a singular 
style, characterized by daring lights and shadows, 
which became highly popular. For some years he 
painted fruit, flowers, and portraits, which were 
remarkably faithful ; and so exact an imitator was 
this artist, that he copied nature even when de- 
formed, and followed the same slavish practise in 
historical painting. While young he lived at Ven- 
ice, where he greatly improved his coloring by 
studying the works of Giorgione. His early pic- 
tures are far better colored than his later works. 
He subsequently went to Home, and executed his 
first productions in that city in concert with Oav. 
Giuseppe Cesari. The novelty of his style soon 
became so popular that even Guido and Domeni- 
chino were unwillingly induced to imitate it, to 
gratify the public passion for the vulgar but at- 
tractive manner of Caravaggio. This did not, 
however, continue long; the popular taste soon 
returned to its true channel. His chief works at 
Home are the Crucifixion of St. Peter, in the Church 
of S. Maria del Popolo, and the Entombing of our 
Saviour, in the Chiesa Nuova. At Naples there is 
a fine picture by him of the Scourgmg of Christ ; 
and in S. Martino is another, representing Peter 
denying Christ — one of his most famous works. 
The merit of this artist consists in a fine coloring, 
and an astonishing effect produced by a strong 
contrast of light and shadow, which only belongs to 
nature in abstracted situations. To give it verac- 
ity, we must suppose the light to fall from a par- 
tial and prescribed aperture, which alone can sus- 
tain the illusion. He seldom ventured on grand 
compositions, to which his want of academic study 
rendered him totally inadequate. His works are 
characterized by wonderful vigor, and admirable 
distribution of light and shadow. He died at Rome 
in 1609. 

ANGELO, Michael Cergiuozzi, called Delle 
Battaglie, a Roman painter, born in 1600. When 
quite young he evinced an inclination for the 
art, and was placed under Pietro Paolo Bonzi. 
Like his preceptor, he first painted fruit and flow- 
ers ; but he soon left these for battle-pieces, the 
excellence of which gave him his surname. The 
productions of Peter de Laer, called Baml)occio, 
being at this time much in vogue at Rome, Angelo 
represented similar subjects, as fairs, and scenes of 
country festivity, in which he succeeded admira- 
bly, so that these are esteemed his best works. 
Bamboccio surpassed him in landscapes and chiaro- 
scuro, but he surpassed the Fleming in the charac- 
ter and taste of his design. He worked with 
amazing facility, never making any design for his 
pictures ; and he often painted a picture repre- 
senting some circumstance he had heard. His best 
works were the Four Seasons, painted for the Sal- 
viati Palace at Rome. He died in 1660. 



ANGELO, Michael Colonna, an Itahan paint- 
er, was born at Ravenna in ] 600, and first studied 
under Gabriello Ferrantino, but subsequently un- 
der Girolamo Ourti, called II Hentone. In concert 
with the latter, he executed some important works 
in fresco, in the churches and palaces at Bologna, 
in which Colonna painted the figures, and Hentone 
the architecture and perspective. Their most cel- 
ebrated works were a saloon in the Palazzo Gri 
maldi, and the grand perspective painted in S 
Michael Bosco. Colonna was invited to Madrid by 
Philip IV., where he executed some works in fresco, 
and was well rewarded by the kins:. He died in 
1687. 

ANGELO, called ANGELUCCIO, a talented 
Itahan painter, and a scholar of Claude Lorraine, 
whose style he followed, but died young. 

ANGELO, Michael, called II Campidoglio, 
from an office he held in the Campidoglio or Cap- 
itol of Rome, a Roman painter of fruit and flowers, 
was born in 1610, and a scholar of Fioravanti. 
There are many of his works in England, especially 
a fine one in the collection of the Duke of Marl- 
borough at Blenheim. Hi:^, coloring was full of 
harmony and richness, and his touch was light and 
spirited. He died in 1670. 

ANGERMANN, David, an able miniature 
painter established at Berlin, where, according to 
Nagler, he was living in 1810. He was born at 
Eger in 1763, and was the pupil of A. Graff. 

ANGIOLILLO, called Roccadirame, a Neapo- 
litan painter, who lived about 1450. He studied 
under Antonio Solario ; and Dominici says he 
painted some works for the churches at Naples, 
one of the best of which was a picture in the 
Church of S. Lorenzo, representing the Virgin and 
Infant, with Saints. He died about 1458. 

ANGOSCIOLA, or ANGUISCIOLA, Sofo- 
NisBA, a celebrated Italian portrait and historical 
paintress, of an ancient family, born at Cremona 
about 1530. She studied first under Bernardino 
Campo, but subsequently under Bernardo Gatti, 
called Sojaro. Her first work was a portrait of her 
father and two of his children, which gained her 
great reputation, and she was soon considered one 
of the most eminent portrait painters of her time. 
She also executed several admirable historical 
pieces. That great patron of art, Philip IL, invi- 
ted her to Madrid, where she arrived in 1561, with 
her three sisters. She executed a portrait of Queen 
Isabella, which was presented by the King to Pope 
Pius IV., a near relative of Sofonisba, accompanied 
with a letter from the artist, to which the pontiff 
replied, highly praising her talents, and assuring 
her that he had placed her work among his most 
valuable paintings. She executed a picture of the 
Marriage of St. Catherine, which is now in the 
Pembroke collection at Wilton ; also her own por- 
trait, playing on a harpsichord, which is at Althorp, 
in Northamptonshire. A portrait of one of her 
sisters, painted on a panel, was sold in 1801 at the 
sale of Sir William Hamilton'a pictures ; and Mr. 
Gough had a miniature of Sofonisba, inscribed: 
'"'■ Sophonisba Angussola, virgo, ipsius manic ex ^ 
speculo depicta, CremoncB." There was also a 
picture of her sisters playing chess, in the collec- 
tion of Lucien Bonaparte, which is now in England. 
Her sisters Lucia, Europa, and Anna Maria, also 



ANGO. 



33 



ANGU. 



painted, but tlic}' were f;i,r inTorior to .Sofonisba. 
She wiVA iiiurricd twice; fii'st to Don Fubrizzio di 
Monead;),. a ^Sicilian noblonian, after wliosc death 
she rctmiied to Jtal}' via fjcnoa. where she inur- 
ried Orazio LomelliiiO; the captain of the vessel in 
whicli she made tlie voyage. She subsequently 
becairie blind from strenuous ai>plication to the art, 
and in this state wa-s frequently visited by the 
groat Vandyck, A\'ho used to say that he had 
learned more of the practical prineii)les of the art 
from a blind woman, than by studyin;; all the 
works of the l)est Italian masters. Her country- 
men assert tliat she died in 1020^ aged 03 ; though 
Lanzi and Zani say, in J 020. 

ANGOULEME, JAcat'EH d', a French sculptor 
who lived at Kome about 1550, His works, ac- 
cording to Fuseli, were highly valued at Home. 
There are, or were, three figures in black wax by 
him in the J^apal Library; and in the grotto at 
Meudon, near- Faris. tliere was a fine statue of 
Autumn, in marble, by this artist. 

ANGUIER, FKAN901H, and Mfcni:!., two cele- 
brated French sculptors; l>orn at the town of Fu, 
in Normand}', Fran9ois in 1004, and Michel in 
1012. Their father was a carpenter, and taught 
them to carve in wood when very young. »Some 
of their productions having attracted the notice of 
a res))ectable citizen of Fu, he sent them to J*aris, 
and placed them under Simon Guillain, a good 
sculptor of that metropolis. They soon gave 
proofs of their a)>ility, and were in a few years 
enabled, by the fruit of their own exertions, to 
visit Koijie. Francois practised some time in 
England, and tlien went to Home, ^vhere he re- 
mained two years. He acquired the rej^utation of 
one of the fii'St sculptors of his age in France; his 
figures are remarkable for tlieir truth and beauty 
of expression. His Ijcst works are, a marble cru- 
cifix in the churcli of the Sorbonne; the mauso- 
louru of Cardinal de iierulle. in the church de 
I'Oratoire. Rue St. Honore ; tliat of M. de Thou, 
in the church St. Andre-des-Arcs ; and that of the 
last Huke of Montmorency, at Moulins, his great- 
est work; also four (igures at the tomb of the 
Duke do Longueville; and the tomb of the Duke 
of Jlohan, in the church of the C'elostines at Paris. 
] [e made also some copies after the antique. Louis 
Xill. gave him apartments in the jjouvre, and 
appointed him kee|)er of his cabinet of antiquities. 
liii died at Paris in lOO'i, aged 05 years. 

Michael Anguier visited F^ome in 1041,^ where 
he became the pupil of Algardi, some of whoso 
models he worked in marble; he also executed 
works for this sculptor, for St. Petei-'s, and for tlio 
palaces of several cardinals. This employment 
enabled liim to follow his pursuits at leisure, and 
he spent ten years in Rome, living on terms of 
friendship with Poussin, Algardi, and Du Quesnoy. 
In 1051 he returned to Paris, and assisted his 
brother in his works for the mausoleum of the 
Duke do Montmorency. He made in the same 
year a statue of Louis XIIL, which was cast in 
bronze at Narbonne. In 105'> he adorned the 
apartment of Queen Anne of Austria, in the Lou- 
vre, with several admirable works. He made also, 
for the same queen, the principal sculptures in the 
church of Val de Grace, of which the Nativity, in 
marble, placed over the altar, is considered his 
master-piece; also the sculptures of the great 
altar of St. Denis de la Chartrc. His last works 



were tlie statues and bas-reliefs of the Porto St. 
Denis; the statues of Holland anrl of the Rhine 
were after the designs of Le Rrun. 1'his artist 
was professor of the Academy of Arts at Paris, 
and wrote fourteen discourses on sculpture. He 
died at Paris in 1080, aged 70. 

ANGUILLA, Francesco Andrea, an Italian 
painter of Lucca, of the fifteenth century ; stud- 
ied under Giotto. Nagler says that his coloring 
v/as lively, his drawing correct, and the fohls of 
his draperies cast in good taste. 

ANGUS, AYiLLiAM, an English designer and en- 
graver of landsca[)OS nnd edifices, who lived at the 
commencement of the present century. He exe- 
cuted from his own designs, and those of Sandby, 
Da^'es, Samuels an<l othoj-s, many country views, 
which v/ero issued in the j>ublications of the day. 
Ho also engraved and })ublished many views of 
country-seats, in a very delicate and pleasing style. 

ANICHTNI, LuiGi, a celebrated cameo and gem 
engraver of the sixteenth century ; Ijorn at Fer- 
rara, but resided in Venice. According to Vasari, 
he surpassed all his cotemporaries, exce[jt Ales- 
sandro Cosari, called H Greco. Tlie praise that 
Vasari bestows on Cosari for his medal of Paid HI., 
wliich Michael Angelo pronounced perfe<^;t, Fuseli 
has given to Anichini, and lie appears to have led 
Dr. Nagler into the same error. 

ANICHINI, PiETRO, an Italian engraver of the 
seventeenth century, of whose works the Adlowing 
are the principal : A Holy Family, dated 1055 ; the 
Good Samaritan, two snnill plates, lengthways; 
the Portrait of Cosmos KLrurioi, P. Anicfdnus, fee. 

ANIMOLA, ViNCENzo, called Vincenzo Ro- 
mano, an Italian painter, born at Palermo. lie 
studied under Jlaffaollo, and went to Messina after 
the sacking of Rome, where he executed some 
paintings for the churclies and convents. 

ANJOIJ, Rene of, King of the Sicilies, Duke 
of Lorraine, and Count of Provence, was a painter 
of some merit. He executed miniatures in missals 
and on glass; painted a portrait of himself, which 
still remains in the Carmelite Chapel at Aix; and 
is supposed to have painted that of Charles Yli., 
of France. 

ANNA, Baldahhare n', born in Flanders, but 
of the Venetian school, who fknuished about 1010. 
He studied under Corona da Murano, some of 
wlioso pictures he finished after the death of that 
master. He al.so executed several originals for the 
Sorvi and other chiu-ches, which surpass those of 
Corona in the softness of the chiaro-scuro, and 
occasionally in its force, though inferior to his works 
in the selw;tion of forms. 

ANRA AT. Peter Van, a Dutch historical paint- 
er, born at Amsterdam in 1035. Ralkema says 
he was a painter of portraits, animals, and conver- 
sation-pieces. Iloubraken says ho was an artist 
of groat merit, and highly praises one of his works, 
representing the Last judgment, which was well 
designed, contained a multitude of figures, correct 
in the outline, and exer;uted with a free and bold 
pencil. Notwithstanding his talents, little is known 
of his works or of the events of his life. 

ANSALDI, Giovanni Andrea, a very di.stin- 
guished Italian oil and fresco painter, Ijorn, accor?'- 
ingto Soprani; at Voltri, a small town near Genoa, 



ANSA. 



34 



ANTE. 



in 1584. lie was a scholar of Orazio Cambiasi, but 
studied with great attention the splendid works of 
P. Veronese, and became an admirable colorist, 
especially in fresco. His principal work was the 
cupola in the Church of the Santissima Anunziata, 
at Genoa. There are many of his works in the 
churches and palaces of that city. Ilis invention 
was fertile, and his compositions ingeniously adorned 
with architecture and landscape. He died in 1G38. 

ANSALONI, ViNCENZio, a Bolognese historical 
paintcT of considera]l)le reputation, who, according 
to Lan'zi, ^Ived about 1015, and studied under Lo- 
dovico Cara'cci. Mai vasia extols an altar-piece by 
him, in tjie chapel of the family of Fioravanti, in the 
Church df S.^^tefaxib at Bologna, representing the 
Mar,tyrdom qf St. Sebastian ; and in the church of 
the Celestine monks is an admirable work repre- 
senting t^e Virgin ]pid Infant in the Clouds, and 
St. Roch and, St. Sebastian beneath. Zani says 
he died young. 

ANSBLIN, Jean Louis, a Parisian engraver ; 
born' in 1754'; studied under Augustin de St. Au- 
bin; and executed several good plates. The best 
are Adani and Eve, after Lebarblez, the elder, 
1808; the Siege of Calais, after Barthcleini; 
Madame de Pompadour, after Boucher; several 
Scenes of Bachanals, after Carcine; Moliere read- 
ing his''" " Tartulic" before Ninon I'Enclos and 
others, after Monsian^ 1814; Portrait of Lally- 
Tolendal, after Verhnlot; Sabinus discovered in 
his Retreat, after Taillasson, 1819 ; Anacreon, after 
Restout. He died in 1823. 

ANSELMI, Giorgio, a Veronese painter, born 
Ii> 1722 ; studied under Balestra ; painted the 
cupola of San Andrea, at Mantua, and other repu- 
\g.ble works iji fresco. He died in 1797. 

* AIS'SEMII, Michael Angelo, an Italian paint- 
er, was born^at Siena in 1491, and studied under 
Gio. Antonio Vercelli, called Sodoma. He lived 
l)rincii)ally ai Parma, where one of his first works 
was a large pai!iting, after a design by Giulio Ro- 
mano, representing the Crowning of the Virgin 
Mary. He also executed some pictures from his 
own designs for the churches of Parma, some of 
which resemble the style of Correggio. Lanzi says 
ivt died at Parma in 1554 ; but Zani, in 15G0. 
'* "Ali[SIx\UX, Jean Joseph Eleonora Antoine, 
an eminent French historical and portrait painter 
of tl5e present centur}-, was born at Liege in 17 04, 
and studied under Vincent. He executed portraits 
of sevei'al eminent statesmen and generals of Na- 
poleon, besides many works in sacred and pro- 
lane histor}', and poetical subjects. There are 
three pictures by him in the Church of St. Paul, 
at I^iego. He ranks among the first artists of the 
modern French school. He died in 1840. 

ANTELAMI, Benedetto degli, an old Italian 
sculptor, who practised at Parma from 1178 to 
1190. There is in the cathedral of that cit}^ a 
bas-relief by him, representing the Deposition 
from the Cross, which, though rather a rough per- 
formance, is, according to Lanzi and Nagler, per- 
haps unequalled by any of the Italian sculptors 
previous to Giovanni Pisano. It contains many 
figures, but is simple in composition. It is marked 
with his name and dvite, 1178. Antelami was like- 
wise an architect, and is said to have built the 
baptistery at Parma. 



ANTENOR, an Athenian sculptor, who lived 
about B. c. 500, and executed the bronze statues 
that were erected in honor of Ilarmodius and Aris- 
togiton, who delivered Athens from the rule of the 
Pisistratidse. These statues were carried away 
by Xerxes, b. c. 480 ; and were afterwards found 
at Susa b}'- Alexander, who sent them back to 
Athens. They were erected in the Ccramicus, 
near those that had been made by Critias to replace 
them, and were seen b}^ Arrian and Pausanias. 

ANTHEMIUS, an architect, was born at Tralles, 
a city of Lydia, in Asia Minor. Procope says he 
erected, in conjunction with Isidorus of jSlilctus, the 
famous Temple of St. Sophia, at Constantinople, 
by order of the Emperor Justinian. The Emperor 
was desirous of making it the most superb edifice 
in the world, and on its completion exclaimed with 
joy : " I have surpassed thee, Solomon !" 

ANTHERMUS and BUPALUS, two ancient 
Greek sculptors, who lived about b. c. 570, were 
the sons of Micciades, who Avas also a sculptor. 
There were many of the works of these artists 
in Delos and other Grecian isles, most of which 
were taken to Rome by Augustus, who placed 
them in various temples. Pliny mentions a stat- 
ue of Diana, which he saw in the Island of Chios, 
of such ingenious execution, that to those entering 
the temple, the goddess appeared of a serious coun- 
tenance, while she seemed to smile on those going 
out. They introduced great improvements in 
marble sculpture. Greece and Asia strove to pos- 
sess their works. On some of their statues were 
inscribed the following verse : " The sons of Mic- 
ciades will render thee, O Chios, moj-e renowned 
than thy vines have done.'''' 

ANTICHIO, Pietro, a Venetian painter of the 
eighteenth century. His pictures are remarkable 
for their high coloring. In the church of San Sal- 
vatore there are two of his works — the Pool of 
Bethesda, and Christ driving the sellers and money- 
changers from the Temple. Antichio visited Ger- 
many, and mot with considerable success in differ- 
ent parts of that country. 

ANTIDOTUS, a Greek painter, probably of 
xithens ; was the scholar of Euphranor. and is 
principally noted for having been the master of 
Nicias. lie was more severe in coloring than Eu- 
phranor, and more distinguished for the care with 
which he finished his works, than for their num- 
ber. Pliny mentions three of his paintings — a 
Warrior with a Shield, fighting ; a Wrestler ; and 
a Flute-player. 

ANTIPHILUS, a celebrated Egyptian painter, 
who is commonly supposed to have lived in the 
time of Alexander, and to have been the cotem- 
porary of the great Apelles. But the story of 
Lucian, in his treatise against Calumny, places him 
a century later, about b. c. 230 ; for the Apelles 
and Antiphilus there mentioned, were cotempo- 
rary with Ptolemy Philopator, the fourth of the 
Ptolemies, who lived about a century after Alex- 
ander. The time of Antiphilus cannot be inferred 
from his paintings of Philip and Alexander, which 
do not appear to have been portraits, and might 
have been painted at any period. Besides, he is 
noticed by Pliny after the scholars of Apelles. 
See Apelles of Ephesus. 

According to Quintilian, Antiphilus excelled in 
facility of execution, and he distinguished himself, 



ANTI. 



35 



ANTI. 



apparently in various styles. Pliny mentions sev- 
eral of his works which were preserved at Rome : 
Hesione ; Alexander ; Philip ; Minerva ; Bacchus ; 
Alexander as a boy ; Cadmus and Europa ; and Hip- 
polytus and his horses startled at the sight of the 
Sea-monster sent against them by Neptune. He 
also mentions Ptolemy hunting ; a Boy blowing 
a Fire, with the reflected light on his face; a 
"Work-room in which women were employed in 
knitting and weaving ; and a very celebrated pic- 
ture of a Satyr with a panther's skin hanging on his 
shoulder, holding his hands over his eyes, and look- 
ing into the distance. He excelled in paintings of a 
grotesque character, as is evident from the fact that 
such subjects were called Grylli, after a painting 
of his representing the clown Gryllus, with cap and 
bells. He also executed fire-light pieces admirably, 
and one such is especially commended ; that of the 
Boy blowing the Fire with his mouth, which was 
greatly admired for the fine effect of the reflected 
lights, 

ANTIMACHIDES. See Antistates. 

ANTIQUUS, John, a Dutch painter, born at 
Groningen in 1702. He acquired the art of glass- 
staining from Gerard Vander Veen, which he fol- 
lowed for several years, but subsequently studied 
for some time under John Abel Wassenberg, a his- 
torical and portrait painter of some merit. He 
afterwards visited Paris, where he obtained a 
plenty of employment ; but being desirous of vis- 
it^g Italy, he went to Florence, where he was em- 
ployed six years by the Grand Duke of Tuscany, 
and executed a large composition, called the Fall 
of the Giants, which was so much esteemed that 
a sketch of it was placed in the Florentine Acad- 
emy. He afterwards returned to Holland, where 
he was received with much honor, and was engaged 
by the Prince of Orange to execute several paint- 
ings for the Palace of Loo, among which is a large 
picture of Mars disarmed by the Graces. He 
painted with great facility, and was a good designer 
and colorist. In all his pictures may be seen the 
fine taste he acquired from the study of the old 
masters in Italy. He died in 1750. 

ANTISTATES, ANTIMACHIDES, CALLES- 
CHROS, and PORINUS, four Grecian architects, 
who lived b. c. 555, and, according to Vitruvius, 
were employed by Pisistratus to erect a temple 
to Jupiter Olympius, in the place of the one 
erected in the time of Deucalion, which the storms 
of a thousand years had entirely destroyed. They 
proceeded so far with it that Pisistratus was ena- 
bled to dedicate it, but after his death the work 
ceased ; and the completion of this temple, so 
magnificent and grand in its design that it im- 
pressed the beholder with wonder and awe, became 
the work of after ages. Perseus, King of Mace- 
donia, and Antiochus Epiphanes, nearly four hun- 
dred years after Pisistratus, finished the grand 
3iave, and placed the columns of the portico ; Cos- 
sutius, aRoman, being the architect. It was con- 
sidered, and with good reason, one of the four cel- 
ebrated marble temples of Greece; the other three 
were that of Diana, at Ephesus ; Apollo, at Mile- 
tus ; and Ceres, at Eleusis. The Corinthian order 
prevailed in its design. In the siege that Sylla 
laid to Athens, this temple was greatly injured, 
but the allied kings afterwards restored it at their 
common expense, intending to dedicate it to the 
genius of Augustus. Livy says that among so 



many temples this was the only one worthy of 
a god. Pausanius says the Emperor Adrian en- 
closed it with a wall, as was usual with the Grecian 
temples, of half a mile in circumference, which the 
cities of Greece adorned with statues erected in 
honor of that monarch. The Athenians distin- 
guished themselves by the elevation of a colos- 
sal one behind the temple. This enclosure was 
also ornamented with a peristyle one hundred 
rods in length, supported by superb marble Cor- 
inthian columns, and to this fa9ade were three 
grand vestibules which led to the temple. .Adrian 
dedicated it a second time. In this' temple was 
placed a splendid sta,tue of Jupiter Olympius, of 
gold and ivory ; and the courtiers added four stat- 
ues of the Emperor. This wonderful structure, 
which is said to have cost five millions ofseudi, is 
now in ruins. Sixteen Corinthian columns are 
standing, six feet four inches, and some six feet six 
inches, in diameter. The length of the temple, 
according to Stuart, upon the uppM- step, was 
three hundred and fifty-four feet, and it's breadth 
one hundred and seventy-one feet; the entire 
length of the walls of the peribolous is six hun- 
dred and eighty-eight feet, and the width four hun- 
dred and sixty-three feet. 

ANTISTIUS, Labeo, who had been a prsetor 
and even pro-consul of the province of Narbonne, 
is said to have amused himself in painting small 
pictures. He died at an advanced age, in the reign 
of Vespasian. His works do not appear to have 
gained him any reputation, but rather the ridicule 
of his cotemporaries. 

ANTOINE, Jacques Denis, a reputable Paris- 
ian architect, born in 1733. One of his earliest 
works was the completion of the alterations of the 
Palais de Justice in Paris, on which-J)esmaisohs 
had been employed. He also executed ^he portal 
in the court of the Hospice de la Chapite,^ In 1771 
he commenced the mint, and finished it in 1776. 
The principal fa9ade towards the .Qilai Conti and 
Pont Neuf, presents a fine unbroken mass 400 feet 
in extent. The edifice is characterized by a unity 
and simplicity that contrast very strongly with the 
false taste which then prevailed in the French me- 
tropolis. Antoinealso designed the mint at Berne, 
and a mansion for the Duke de Ber-vicq at Madrid. 
He ched in 1801. 

ANTOINE, Sebastien, a French engraver of 
little note, born at Nancy, in Lorraine. He execu- 
ted a representation of the jewelled crown used in 
the coronation of Louis XV., dated 1722 ; the. En- 
terprise of Prometheus, from the ceiling at Ver- 
sailles, painted by Mignard ; also a portrait of R. 
P. Augustin Calmet, a large oval plate, 1729. His 
style was slight and feeble, and he worked usually 
with the graver. 

ANTOLINEZ, Don Josef, a Spanish histori- 
cal and portrait painter, was born at Seville in 
1639. He studied, while young, at Madrid, under 
Don Francisco Rizi, one of the painters of Philip 
IV. Palomino commends two pictures by this 
master in the Church of La Magdalena, at Madrid, 
representing the Miraculous Conception, and the 
Good Shepherd. The landscapes he introduced 
into his pictures were much admired. He died 
at Madrid in 1676. 

ANTOLINEZ, DE SARABIA, Francisco, a tal- 
ented Spanish historical and landscape painter of the 



ANTO. 



86 



ANTO. 



seventeenth century, was a nephew of Joseph An- 
tohnez, and was educated at Seville for the law, 
but afterwards studied painting under Murillo, 
whose style he imitated. He went to his uncle at 
Madrid in 1672; but although he had acquired 
some reputation as a painter, he threw up the pen- 
cil and returned to his original profession for the 
purpose of obtaining a lucrative station at the bar ; 
a change which was greatly deprecated by the 
friends of art. Not succeeding, he was compelled 
again to return to painting as a means of support, 
and subsequently executed a number of small 
pictures from the Bible, and the life of the Virgin, 
which are highly esteemed for their invention, fa- 
cility of execution, and admirable color. He died 
in 1700. 

ANTONELLA, da Messina. See Messina. 

ANTONIANO, Ferrarese, or Antonio Al- 
berto, of Ferrara ; studied under Angiolo Gaddi, 
and was the most eminent painter of Ferrara in his 
time. About 1438, he executed several great works 
in the palace of Alberto d'Este ; he painted also, 
according to Vasari, many beautiful works at San 
Francesco d'Urbino, and at Citta di Castello. He 
died about 1450. 

iP ANTONIANUS, Silvanus, a Flemish wood 
C/i /engraver, who, according to Papillon, lived 
about 1567; and executed a set of cuts for a Book 
of Fables, pubHshed at Antwerp in that year. 

ANTONIiVSSO, a Roman painter of the begin- 
ning of the sixteenth century. Vasari, in his life 
of Filippino Lippi, states that Antoniasso, and 
Maestro Lanzilago of Padua, two of the best Ro- 
man painters of that time, were required to esti- 
mate the value of the frescos of Filippmo, painted 
for the Cardinal Caraffa, in his chapel in the church 
of the Minerva. Nothing further appears to be 
recorded of these artists. 

ANTONINUS, an ancient Roman architect, who, 
according to Pausanius, erected several temples in 
Epidaurus, an ancient city of Peloponnesus. He 
also built the bath of ^sculapius, and restored a 
portico called Coryos, constructed originally of 
unburnt bricks. 

ANTONIO, DI Federigo, a reputable Italian 
sculptor, who lived, according to Vasari, about 
1450. He executed three statues in the cathedral 
of Siena, which Delia Valle has assigned to Jacopo 
della Querela. He made also some of the works 
for the external embellishment of the cathedral. 
About 1457, he executed a statue of St. Peter. 

ANTONIO. FioRENTiNO, an Italian architect, 
who lived about 1560. He was born at Cava, near 
Naples ; studied at Rome ; established himself at 
Naples, and built there the Church of Santa Cata- 
rina a Formello. 

ANTONIO, Marc. See Raimondi. 

ANTONIO, Pedro, a Spanish painter, was 
born at Cordova in 1614, studied under Antonio 
del Castillo, and painted some pictures for the 
convent of St. Paul, at Cordova, which are finely 
executed, with excellent coloring. He died in 1675. 

ANTONIO, da Trento. See Trento. 

ANTONIO, Veneziano, one of the most emi- 
nent fresco painters of his time, was born, accord- 
ing to Vasari, in 1310, at Venice ; though Baldi- 
nucci concludes he was a Florentine. He studied 



at Florence with Angelo Gaddi, and followed his 
style. He painted several frescoes at Venice for 
the Signory, but was so ill-rewarded that he left 
that city in disgust. His chief works, now nearly 
all destroyed, were painted in Florence and Pisa, 
where he executed man}^ works of extraordinary 
merit for the period, according to Vasari, who prai- 
ses the force of his coloring, and the truth and har- 
mony of his cliiaro-scuro, in which he was scarcely 
equalled by any painter of his time. His design 
also was correct and graceful, and he was distin- 
guished for the choice of his attitudes, the elegance 
of his draperies, and the variety of his expression. 
One of his most celebrated works was the Miracle 
of the Loaves and Fishes, in the convent of S. 
Spirito, at Florence. In the Campo Santo, he com- 
pleted the series commenced by Simone Memmi, of 
the Life of San Ranieri, in which his own portrait 
is inserted. These works are still extant. He 
died in 1384. 

ANTONISSEN, Henry, a Flemish painter of 
landscapes and cattle, was born at Antwerp in 
1737. His manner was feeble, and his works are 
not in demand except in his own country. Om- 
meganck, and several popular artists of the present 
century, received instructions from this master. 
He died in 1794. 

ANTONISZE, Cornelius, a reputable Dutch 
painter and engraver of perspective and architectu- 
ral views, was born at Amsterdam about 1500. 
There is a picture by hini in the Treasury Cham- 
ber at Amsterdam, representing that city as it 
appeared in 1536. He subsequently painted twelve 
views of Amsterdam, with its principal public edi- 
fices, which he engraved on twelve blocks of wood. 
The prints from these are very scarce. 

ANVERSA, LiEviNO d', a Flemish painter. In 
an Italian work, published in 1800, by J. Morelli, 
this artist is said to have painted, in concert with 
Hans Hemling and Gerard of Ghent, one hundred 
and twenty-five miniatures in a beautiful MS., now 
in the Library of St. Mark, at Venice. 

ANWANDER, Johann, a Bavarian oil and 
fresco painter, born at Landsberg about 1700. He 
lived several years at Bamberg, and executed many 
works there, both in oil and fresco ; the latter are 
superior to the former. 

APARICO, — 
about A. D. 1000. 
cho the elder. King of Navarre, Castile and Arra- 
gon, a costly and elaborately ornamented tomb, to 
contain the remains of St. Millan. This tomb was 
seen by Bermudez, who describes it, in the monas- 
tery de Yuso, where it was placed in the year 
1053. 

APELLES, the most renowned painter of an- 
tiquity, was a native of Cos, according to Ovid and 
Pliny, but Suidas states that he was a native of 
i Colophon, and was made a citizen of Ephesus, 
which may account for his being called an Ephesian 
by Strabo. He lived in the latter half of the fourth 
century before Christ. He had, apparently, seve- 
ral masters, and he studied under Ephorus of 
Ephesus before he entered the school of Pamphilus 
at Sicyon, where Melanthius, or IMelanthus was his 
fellow-student, in which famous school the routine 
of study is said to have occupied ten years ; but 
Plutarch says he entered this school, and paid the 
fee of a talent (about $1000), not so much for the 



, a Spanish sculptor, who lived 
He constructed, for Don San- 



APEL. 



37 



APEL. 



improvement he might derive therefrom, as for the 
mere reputation of having studied in the school of 
Sicyon, 

Apelles appears, according to the general testimo- 
ny of the ancients, to have not only had the most 
brilliant success during his life time, but also after 
death to have eclipsed all other painters in reputa- 
tion. Painting is termed by some of the Romans, 
the Apellean art ; and PHny affirms that he alone 
contributed more towards perfecting the art than 
all other painters. He seems to have claimed the 
palm in elegance and grace, or beauty, the charis 
of the Greeks, and the venustas of the Romans ; a 
quality for which, among the moderns, perhaps 
Correggio is the most distinguished; but in the 
works of Apelles, it was unquestionably connected 
with a proportionably perfect design ; a combina- 
tion not found among the moderns. Pliny remarks 
that Apelles allowed that he was equalled by Pro- 
togenes in all respects save one, namely, in know- 
ing when to take his hand from the picture. From 
this we may infer that the deficiency in grace 
which he remarked in the works of Protogcnes, was 
owing to the excessive finish for which that painter 
was celebrated. Lucian speaks of Apelles as one 
of the best colorists among the ancient painters. 

Apelles was famed for his industry; he is said 
never to have allowed a day to pass without exer- 
cising his pencil. " Nulla dies sine linea,''^ is a 
saying that arose from one of his maxims. His 
principal works appear to have been generally sin- 
gle figures, and rarely of more than a single group. 
The only large compositions his execution that 
are mentioned by the ancient writers are, Diana 
surrounded by her Nymphs, in w^hich he was al- 
lowed to have surpassed the lines of Homer from 
which he took the subject ; and the Procession of 
the High Priest of Diana at Ephesus. 

In portraits Apelles was unrivalled. He is 
said to have enjo3'-ed the exclusive privilege of 
painting Philip and Alexander the Great, both 
of whom he painted many times. In one of his 
portraits of Alexander, which was preserved in 
the temple of Diana at Ephesus, he represented 
him wielding the thunderbolts of Jupiter : Pliny 
says the hand and lightning appeared to start 
from the picture ; and, judging from an observa- 
tion in Plutarch, the figure of the king was lighted 
solely by the radiance of the lightning. Apelles 
received for this picture, termed the Alexander 
Ceraunophorus, twenty talents of gold (about 
^200,000). The criticism of Lysippus, upon this 
picture, which has been approved by ancients and 
moderns, that a lance, as he had himself given the 
king, would have been a more appropriate weapon 
in the hands of Alexander, than the lightnings 
of Jupiter ; is the criticism of a sculptor who over- 
looked the pictorial value of the color, and of light 
and shade. The lightning would certainly have 
had little effect in a work of sculpture, but had a 
lance been substituted in its place in the picture of 
Apelles, a totally different production would have 
been the result. This picture gave rise to a say- 
ing, that there were two Alexanders, the one of 
Philip, the invincible, the other of Apelles, the 
inimitable. 

Competent judges, says Pliny, decided the por- 
trait of Antigonus (king of Asia Minor) on horse- 
back, the master-piece of Apelles. He excelled 
greatly in painting horses, which he frequently 
introduced into his pictures. The most celebrated 



of all his works was the Venus Anadyomenc. which 
was painted for the people of Cos, and was placed in 
the temple of J^sculapius on that island, where it 
remained until it was removed by Augustus, who 
took it in lieu of 100 talents tribute, and dedicated 
it in the temple of Julius Caesar. It was unfortu- 
nately damaged on the voyage, and was in such 
a decayed state in the time of Nero, that the Em- 
peror replaced it with a copy by a painter named 
Dorotheus. This happened about 350 years after 
it was executed, and what then became of it is not 
known. This celebrated painting, upon which 
every writer who has noticed it, has bestowed un- 
qualified praise, represented Venus naked, rising 
out of the ocean, squeezing the water from her 
hair with her fingers, while her only veil was the 
silver shower that fell from her shining locks. 
This picture is said to have been painted from 
Campaspe, a beautiful slave of Apelles, formerly 
the favorite of x\lexander. The King had ordered 
Apelles to paint her naked portrait, and perceiving 
that the painter was smitten with the charms of 
his beautiful model, he gave her to him, content- 
ing himself with the painting. He commenced a 
second Venus for the people of Cos, which, ac- 
cording to Pliny, would have surpassed the first, 
had not its completion been interrupted by the 
death of the painter : the only parts finished were 
the head and bust. Two portraits of Alexandei 
painted by Apelles, were dedicated by Augustus in 
the most conspicuous part of the forum bearing 
his name ; in one was Alexander with Castor and 
Pollux, and a figure of Victory ; in the other was 
Alexander in a triumphal car, accompanied by a 
figure of War, with her hands pinioned behind 
her. The Emperor Claudius took out the heads 
of Alexander, and substituted those of Augustus ; 
The following portraits are also mentioned among 
the most famous works of this great artist: Cli- 
tus preparing for Battle ; Antigonus in armor, 
walking by the side of his Horse ; and Archelaus 
the General, with his wife and daughter. Pausa- 
nias mentions a draped figure of one of the Graces 
by him, which he saw in the Odeon at Smyrna. A 
famous back view of a Hercules, in the temple of 
Antonius at Rome, was said to have been by Apel- 
les. He painted many other famous works : Pliny 
notices a naked figure by him, which he says, chal- 
lenged Nature herself. The same author says he 
covered his pictures with a dark transparent liquid 
or varnish, which had the effect of harmonising 
the colors, and also of preserving the work from 
injury. 

The celebrated contest of lines between Apelles 
and Protogenes. is a subject which has generally 
perplexed painters and critics ; and in fact, Car- 
ducci asserts that J»Iichael Angelo and other great 
artists treated the idea with contempt. Accord- 
ing to Pliny, Apelles visited Rhodes expressly to 
see the works of Protogenes, whose studio he 
sought immediately on his arrival. The Rhodian 
painter was not at home, but there was an old 
woman taking charge of a large panel, which was 
standing on the easel, prepared for painting ; who 
asked the stranger what name she should give to 
her master upon his return. " This,'' said Apel- 
les, at the same moment drawing upon the panel 
a line {linea) of great delicacy. When Proto- 
genes returned, he immediately exclaimed, " Apel- 
les has been here, for that was done by no other 
hand," and immediately drew upon the same line 



APEL. 



38 



APEL. 



or panel (in ilia ipsa) (linea or tabula ?) a still 
finer line in another color, and going away, left 
orders that if Apelles should return, to show him 
'^That," and tell him 'twas the one whom he 
sought. Apelles returned, and blushing to see 
himself surpassed, drew a line between or upon 
these two, (secuit lineas) in a third color, and at- 
tained the summit of subtihty, leaving no possibili- 
ty of being surpassed. When Protogenes returned 
a second time, he acknowledged himself van- 
quished, and immediatel}^ sought out Apelles. 
This panel, continues Pliny, was handed down, a 
wonder for posterity, but especially for artists, 
and notwithstanding it contained only those three 
scarcely visible lines (tres lineas) still it was the 
most noble work in the Galler}', though surround- 
ed by many finished paintings of renov/ned mas- 
ters. It was preserved in the Gallery of the Im- 
perial Palace on the Palatine, and was destroyed 
by the first fire that consumed that palace, in the 
time of Augustus ; it was therefore not seen by 
Pliny, and the account must be related by him 
from some other work. In regard to the vague- 
ness of PMny's account, one of the principal causes 
is undoubtedly the mutilation of the text ; but the 
whole thing is told with obscurity, and this great 
panel could not have contained only three simple 
lines, as it appears to have done, else how could it 
have been termed the most noble work in the 
Gallery, and the wonder of posterity ? 

The character of Apelles shows itself in a noble 
light in his conduct towards Protogenes ; for per- 
ceiving that the Rhodians did not appreciate the 
works of that great artist, he volunteered to pur- 
chase all the finished works he had hj him, at any 
valuation the latter might fix ; and Protogenes 
having estimated them far below their real value, 
Apelles generously offered him 50 talents (about 
^500,000) for the whole, and spread the report 
that he intended selling them as his own. He 
thus opened the eyes of the Rhodians to the merit 
of their painter, and they accordingly secured his 
works at a still higher price. Apelles left writ- 
ings on the arts, which he dedicated to his pupil 
Perseus, who, however, does not appear to have 
realized the expectations of his master. 

Pliny says Apelles was the first artist who 
painted tetrachromes, or paintings executed with 
four colors, viz : lamp black, white chalk, ruddle, 
and yellow ochre, yet, in describing his Venus 
Anadj^omene. he saj^s she was rising from the 
green or azure ocean under a bright blue &kj. 
Zeuxis painted grapes so naturally as to deceive the 
birds. Where got he his green and purple ? There 
has been a great deal of useless disquisition about the 
merits of ancient painters and the materials they 
employed. When we take into consideration their 
thorough system of education ; that the sister arts 
had been brought to such perfection as to render 
them the models of all succeeding times ; that these 
painters enjoyed the highest honors and admira- 
tion of their polished countrymen, who, it must be 
admitted, were competent to judge of the merits of 
their works ; that the Romans prized and praised 
them as much as the Greeks themselves; that 
there were in Rome in the time of V\\\\j many an- 
cient paintings 600 years old, still retaining all 
their original freshness and beaut}^, it can scarcely 
be doubted that the paintings of the great Greek 
artists equalled the best of the moderns ; that they 
possessed all the requisite colors and materials ; 



and, if they did not possess all those now known, 
they had others unknown to us. It is certain that 
they employed canvass for paintings of a tempo- 
rary character, as decorations; and that they treat- 
ed every subject, both such as required those 
colors suitable to represent the solemnity and 
dignity of the gods, as well as others of the most 
dehcate tints, with which to depict flowers f for 
the Venus of Apelles and the Flower Girl of Pau- 
sias must have glowed with Titian tints to have 
attracted such admiration. Colonel Leake, in his 
Topography of Athens, speaking of the Temple 
of Theseus, says that the stucco still bears the 
marks or stains of the ancient paintings, in which 
he distinctly recognized the blue sky, vestiges of 
bronze and gold colored armor, and blue, green, 
and red draperies. What then becomes of the 
tetrachromes of Apelles and the monochromes of 
previous artists, for Mycon painted the Theseum 
near 200 years before the time of Apelles. 

APELLES, an Ephesian painter, who flourished 
about B. c. 230. This artist stood high in the 
favor of Ptolemy Philopator, whose reign began 
B. c, 222, and according to Lucian, was false- 
ly accused by Antiphilus, a celebrated Eg3^ptian 
painter, of having participated in the conspiracy 
of Theodotus of Tyre. But upon his innocence 
being established, Ptolemy, who had listened to 
the accusation, presented Apelles with 100 talents, 
and condemned Antiphilus to be his slave. Apel- 
les, however, was not satisfied with this reparation, 
and on returning to Ephesus, painted in retalia- 
tion his famous picture of Calumny, in which 
Ptolemy acted a principal part. Lucian saw this 
picture and thus describes it : 

" On the right, is seated a person of magiste- 
rial authority, to whom the painter has given ears 
like Midas, who holds forth his hand to Calumny, 
as if inviting her to approach. He is attended by 
Ignorance and Suspicion, who stand by his side. 
Calumny advances in the form of a beautiful fe- 
male, her countenance and demeanor exhibiting an 
air of fury and hatred ; in one hand she holds the 
torch of discord, and with the other, she drags 
by the hair a youth personifying Innocence, who, 
with eyes raised to heaven, seems to implore suc- 
cor of the gods. She is preceded by Envy, a 
figure with a pallid visage and emaciated form, 
who appears to be the leader of the band. Ca- 
lumny is also attended by two other figures who 
seem to excite and animate her, whose deceitful 
looks discover them to be Intrigue and Treachery. 
At last follows Repentance clothed in black, and 
covered with confusion at the discovery of Truth 
in the distance, environed with celestial light." 

This sketch has been regarded as one of the most 
ingenious examples of allegorical painting which 
the history of the art affords. Raffaelle made a 
drawing from Lucian's description, which was for- 
merly in the collection of the Duke of Modena, 
and was afterwards transferred to the French Mu- 
seum. 

Professor Tolken, of Berlin, has shown that this 
Apelles was not the great cotemporar}^ of Alexan- 
der, for the persons mentioned in connection with 
the story, lived more than 100 5^ears after the death 
of Alexander — or about the 144th Olympiad. 

See Pliny, Plutarch, Lucian, Cicero, and Horace. 

APEZTEGVIA, Don Juan Felipe, a Spanish 
sculptor; born at Navarre about 1724; studied 



APEN. 



30 



APOL 



under Salvador Oarmona, and afterwards under 
Francisco Gutierrez. He made rapid progress, and 
executed several works of ability, by which, ac- 
cording to Bermudez, he acquired considerable rep- 
utation. There are some of his works in the church 
of San Gaetano. He was elected a member of 
the Academy of St. Ferdinand in 1777. 

APENS, C, a Dutch engraver of some merit, 
who lived at Groningen. He executed a number 
of plates, among which is the portrait of Samuel 
Maresius, theologian, dated 1673. 

APHRODISIUS, a sculptor, born at Tralles in 
Lydia; probably lived in the first century after 
Christ. Pliny mentions him as one of the artists 
who decorated the palace of the Caesars on the 
Palatine Hill at Rome, with some of its finest 
statues. 

APOLLODORO, Francesco, called II Porcia, 
a reputable Italian portrait painter, who was born in 
the Friuli, and resided at Padua about 1600. Ac- 
cording to Ridolfl and Lanzi, he painted the por- 
traits of nearly all the literati of Padua in his time. 

APOLLODORUS, one of the most celebrated 
of the ancient Greek painters, was born at Athens 
about B. c. 440. Pliny commences his sketch of 
the history of Greek painting with Apollodorus, 
terming him the first luminary of art ; but he 
mentions only two of his works — a Priest in the 
act of Devotion, and Ajax Oileus Wrecked — both 
remarkable works, not only in chiaro-scuro, but as 
to invention and composition. These paintings 
were preserved at Pergamos in the time of Pliny, 
600 years after they were executed This artist was 
the founder of a new school of painting ; or rather 
he made painting complete as an imitative art. 
Earlier artists had distinguished themselves for a 
certain degree of effect in chiaro-scuro, as Dionysius 
of Colophon ; but Apollodorus was the first who 
attained the perfect imitation of the effects of light 
and shadow invariably seen in nature. If we may 
depend upon the criticisms of ancient writers, the 
works of this master were not inferior in this 
respect to those of the most distinguished moderns. 
His pictures riveted the eye, not merelj^ from their 
general coloring, but also for a powerful and pecu- 
liar effect of light and shade ; on which account he 
acquired the surname of "the Shadower." He 
introduced great and rapid advances in the art of 
painting ; was the first to give varieties of character 
and expression to his figures, the advantages of 
breaking the colors and showing the value of 
light and shade, and the harmony of contrast. 
Pliny says of him, "I may well and truly say that 
none before him brought the pencil into a glori- 
ous name and especial credit." 

APOLLODORUS, an eminent ancient architect 
who lived, according to Pliny, about a. d. 100, and 
was born at Damascus. By his great genius he 
acquired the favor of the Emperor Trajan. He 
built the great Square of Trajan, to effect which he 
levelled a hill one hundred and forty-four feet 
high ; in the centre was raised the famous column, 
of the same height as the hill that had been re- 
moved, which commemorated the victories of Tra- 
jan, and served as a monument to that victorious 
Emperor. Around the square there was the most 
beautiful assemblage of buildings then known in 
the world, among which was the triumphal arch 
erected in memory of Trajan's victories. The mar- 



ble pavements of the square are fifteen feet below tha 
streets of modern Rome. Apollodorus also erected 
a College, a Theatre appropriated to Music, the ba- 
silica Nepia, a celebrated Library, the baths of Tra- 
jan, Temples, Aqueducts, and other important edi- 
fices in Rome. His most famous work was the 
stone bridge over the Danube, in Lower Hungaria, 
near Zeverino, where the river is narrowest and 
most rapid. On account of its great depth, it was 
necessary to make a foundation, by throwing into 
the bed of the river an immense quantity of ma- 
terials; on which were constructed twenty piers, 
(some parts of which still rem.ain) and twenty-two 
arches ; each pier was sixty feet wide, one hundred 
and fifty feet high, distant from each other one 
hundred and sixty feet ; the bridge was three 
hundred feet high, and a mile and a half long ; its 
extremities were defended b}^ two fortresses. Tra- 
jan had it constructed to facilitate the passage of 
his troops, but his successor Adrian dismantled it, 
fearing the barbarians would use it against the 
Romans. 

Pliny says that Apollodorus was imprudent 
enough to deride the young Adrian, presumptive 
heir to the throne, for wishing to show his know- 
ledge of architecture. After the latter had attained 
the crown, he erected a temple, from his own de- 
signs, and sent the drawings to the great architect, 
to shew him that he could erect a building without 
his assistance. Apollodorus answered that, " If 
the goddesses had a mind to rise and go out, they 
could not," Adrian was so enraged at the sar- 
casm, and the error he had committed, that he 
caused the architect to be murdered. 

APOLLONIO, Jacopo, an Italian painter, born 
at Bassano in 1584; was the grandson, and one of 
the most talented pupils of Jacopo da Ponte; 
and imitated his master with such exactness that 
the only difference in their works is, that those of 
the latter have a more lively touch and vigorous 
execution. His best work is the martyrdom of St. 
Sebastian, in the church dedicated to that saint. 
There is also a Magdalene in the dome of the Ca- 
thedral at Bassano, and a picture of St, Francesco, 
at the Riformati. He died in 1654. 

APOLLONIUS, and his brother TAURISCUS, 
the sons of Artemidorus, were the sculptors of 
a marble group of the size of life, representing 
Zethus and Amphion tying Dirce to the horns 
of a wild bull. This work was brought from 
Rhodes to Rome by Asinius Pollio ; and, accord- 
ing to Pliny, was formed of a single block of mar- 
ble. The group of this subject, now in the court 
of the Museo Borbonico at Naples, known as the 
Toro Farncse, from its having at one period be- 
longed to the Farnese family, is believed to be the 
work alluded to by Pliny. Tauriscus was a native 
of Tralles. in Lydia ; Apollonius of Rhodes. They 
probably lived in the second century before Christ. 

APOLLONIUS, an Athenian sculptor, the son 
of Nestor, who probably lived in the first centurj- 
before Christ. He executed the marble statue of 
Hercules, of which a fragment, well known as the 
Torso of the Belvedere (or the Torso of jMichael 
Angelo, from the high estimation in which it was 
held by that master), is preserved in the collec- 
tion of the Vatican at Rome. This monument, 
one of the finest specimens of Grecian art existing, 
is much mutilated ; the body and thighs alone are 
preserved. The figure was seated on a lion's skin. 



APPE. 



40 



APSC. 



This Torso was engraved in the Museo Pio Clem- 
entino. 

APPEL, Jacob, a Dutch painter, was born at 
Amsterdam, in 1680, and studied some time under 
Timothy de Graaf, but was afterwards instructed 
in landscape painting by David Yander Plas. Des- 
camps says that he at first followed the style of 
Tempesta, but afterwards that of Albert Meyering. 
His landscapes are of some merit, but he succeeded 
far better in portraits. He died in 1751. 

APPELDOORN, Jean, a landscape painter, 
born at Amersfort in 1765, and studied under 
Jordanus Hoorn. He executed a few pictures in 
oil, but his works were principally in water colors, 
and possess considerable merit. He died in 1838. 

APPELINS, Jean, a French painter of por- 
traits, history and landscapes, was born at Mid- 
dlebourg, and flourished about 1778. His compo- 
sitions are generally large, and possess considerable 
merit. 

APPELMAN, Bernard, or Barent, a Dutch 
painter, was born at the Hague, in 1640. It is not 
known under whom he studied, but he probably 
visited Italy, as his landscapes are taken from 
views in the vicinity of Rome. He adorned the 
hall of the palace of Soesdyk with several admira- 
ble portraits, and some landscapes which are finely 
pencilled and well colored. He often executed the 
landscapes and back grounds of the portraits of 
Jan de Baan and others. He died in 1686. 

APPIANI, Andrea, an Italian oil and fresco 
painter, born in the Upper Milanese, in 1754. He 
studied under Cav. Guidei with such ardor that he 
formed a graceful and original style that approaches 
Correggio. His best frescos are at Milan: his best 
oil paintings are Rinaldo in the garden of Armida, 
Venus and Love, and Olympus, which are works 
of great beauty and merit. Napoleon sat to him 
for his portrait, and appointed him his painter; 
this portrait is now in England. Rosaspina has 
engraved the frescoes he executed in the Royal Pa- 
lace at Milan. He was made a knight of the Iron 
Crown, and a member of the Legion of Honor. 
He suffered an attack of apoplexy in 1813, which 
rendered it impossible for him to paint; and he lost 
his pension at the restoration of the Bourbons ; so 
that he was compelled to sell his dra\^'ings and other 
valuables to obtain support. In 1818 a second at- 
tack of apoplexy terminated his life. 

APPIANI, Francesco, an Italian painter, born 
at Ancona in 1702. He studied under Domenico 
Simonetti, and subsequent!}^ at Rome in the time of 
S. Conca and Mancini, with whom he lived in in- 
timate friendship. His style was soft and harmo- 
nious, as is well shown in his Death of St. Dome- 
nico, painted for Benedict XIII ; for which he was 
honored with a gold medal and chain. He resided 
chiefly at Perugia, where he painted the vault of 
the cathedral and many other works, and con- 
tinued the practise of the art with great vigor till 
1792, when he died, aged 90. 

APPIANO, or APLANO, Niccolo, a Milanese 
painter who lived about 1510. He is said to have 
studied under Leonardo da Vinci. Cesariani com- 
pares him with the greatest masters of the age; 
but no other writer on the fine arts has mention- 
ed him, except Zani. His works may have been 
ascribed to some of his great cotemporaries. 



APSOII, Jerome Andrew, a German wood en- 
graver, born at Nuremberg about 1400, and assist- 
ed Hans Burghmair in engraving two hundred and 
thirty-seven wooden cuts for a book issued at Vi- 
enna, entitled the Wise King, containing the chief 
events of the life and reign of Maximilian I. He 
died in 1556. 

AQUILA, Francesco Far aone, an eminent Itai 
ian designer and engraver, elder brother of the dis- 
tinguished Pietro Aquila, was born at Palermo in 
1676, and settled at Rome about 1700. He exe- 
cuted numerous engravings, some of which are 
highly esteemed. In drawing and expression he 
is inferior to his brother. Some of his plates are 
done with the graver only, but they are b}'- no 
means equal to those where he used the point. 
Several of his prints are from his own designs. 
The following is a list of his works : 

A set of twenty-two large plates after Raffaelle, entitled, 
Picturce. Raphaelis Urbinatis ex aula et condavibuc Pa- 
latii Vaticani, (f'C. Franc. Aquilo, del. et incid. 1722. 
The Repose in Egypt, with St. Joseph at work in the back- 
ground. The Last Supper ; after Albano, inscribed unus 
ex vobis, f^c, 1711. The Dead Christ in the Lap of the 
Virgin Mary, with Mary Magdalene and St. Francis ; after 
Caracci. Our Saviour with a Glory, the Virgin Mary, St. 
Ambrose, and St. Charles Borromeo ; after Carlo Maratti. 
The Bark of St. Peter; after Lanfranco. St. Rosalie; 
from his own design. A Bishop announcing to the Virgin 
the arrival of the Body of St. Helena. The First Vault in 
the Vatican ; after Giro Ferri, 1696. Three large prints, 
of the Vault of St. Francis Xavier at Naples ; after Paolo 
de Mattei. Three Cupolas — one in the Chapel of the Holy 
Sacrament, one in the Church of St. Sebastian, and one in 
the Chiesa Nuova — all of them circular ; after P. da Cor- 
tona. The Battle of Constantine with Maxentius ; and the 
Triumph of Constantine ; after AndreaCamma-'fei. Venus 
showing the Arms to iEneas ; cfter Poussin. Mars with 
his Ax*ms hung on a Tree ; after his oicn design. Hercu- 
les, to whom Mars offers a Sword, and Minerva a Crown of 
Laurel ; after Ant. Benfiglio. Two Portraits — the Cardi- 
nal Casini, and Cardinal Joseph Maria de Thomasis ; after 
P. Nelli. Some of these plates are of very large size. 

AQUILA, Giorgio, a Florentine painter of some 
merit, who flourished from 1314 to 1325. Little 
is known of the events of his life. He is said to 
have been the first Italian artist who used the nut- 
oil in painting. 

AQUILA, Pietro, a reputable Italian painter and 
excellent engraver, the j^ounger brother of Frances- 
co, according to Baldinucci, was born at Palermo, and 
settled with his brother at Rome in 1700. While 
young he prepared himself for the priesthood, and 
on arriving at Rome, he became a monk, but still 
followed his natural inclination for the art. His 
plates are etched in a free, bold st3'le. and his draw- 
ing is extremely correct. Ilis best prints are those 
he engraved after the Caracci, which are very high- 
ly valued. The following are his principal plates, 
some of which are from his own designs. Heine- 
ken's Dictionaire des Artistes has a full catalogue. 

Subjects after Caracci. — The Holy Family ; the Adora- 
tion of the Magi ; the Flio-bt ir.to Egypt ; Lions fighting— 
an emblematical sul)ject, iiisL'vil)ed spe suscltat iras. 

After P. da Cortona. — The Sacrifice of Polyxena; the 
Triumph of Bacchus ; the Rape of the Sabines ; Diana re- 
turning from the Chase ; the Battle of Alexander and 
Darius. 

After Ciro Ferri. — Moses and the Daughters of Jethro ; 
Moses striking the Rock ; the Virgin Mary appearing to 
St. Alesio ; The Vestals keeping up the Sacred Fire. 

After Carlo Maratti. — The Virgin Mary with, five 
Saints ; the Triumph of Religion — an allegorical piece ; St. 
Luke showing the Virgin the Portrait he had painted of her 

After Gio. Marandi.— The Death of the Virgin. 



AQUL 



41 



ARCE. 



The Bible of RafFaello, a set of fifty-five plates ; entitled 
Imagines Veteris ac Novi Testarnentl, a Raphaele Sancf. 
Urbin. in Vaticano pictce, tf'c. — [The fii-st thirty-six of 
these plates were engraved by Cesare Fantetti ; the rest by 
Aquila in a very superior manner.] The Farnese G-allery 
in twenty-five plates, vrith the Statues and Ornaments. The 
Chamber of the Palace Farnese, in thirteen plates ; inscribed 
Imagines Farnesiani Cuhiculi. The Assembly of the 
Gods, in nine plates, after the painting by Lanfranco, in 
the Villa Pinciani at Rome, inscribed Deorum Concilium 
ab Eqnite Joanno Lanfranco, t^c Fourteen Portraits 
of Roiuan Emperors, from medals ; and a Portrait of Livio 
Odeschalchi, vrith ornaments. 

AQUILA, PoMPEo dell', an Italian painter, 
was born at xVquila. and lived about 1570. Padre 
Orlandi, in the Abbecedario Pittorico, says he was 
a very reputable historical painter, both in oil and 
fresco. He executed a fine painting in the Church 
of San Spirito at Rome, representing the Descent 
from the Cross, of which there is a print by Hora- 
tius de Sanctis, 1572. At Aquila, there are some 
considerable frescos by this master. 

AQUILES, Jdan de, a Spanish sculptor of Val- 
ladolid, who lived in the early part of the sixteenth 
century, and executed a number of works in the 
churches of that city and other towns of Castile, 
which, according to Bermudez, evince much ability. 

ARAGON, Juan de, a Spanish painter of his- 
tory, who resided at Granada in 1580, and was one 
of the eminent artists who adorned the monas- 
tery of St. Jerome, founded by the great Captain. 

ARBASIA, Cesare, an eminent Itahan painter, 
was born at Saluzzo ; flourished in the latter part 
of the 16th century; studied under Federigo Zuc- 
cheri, and imitated the style of Leonardo da Vinci. 
In 1579 he visited Spain, and executed a picture 
of the Incarnation, and some other works, in the 
cathedral at Malaga, for which he received 3000 
ducats. In 1583, he executed a splendid work in 
fresco in the Cathedral of Cordova, representing the 
martyrs who suffered in that city. He also painted 
the ceiling of the Church of the Benedictine monks at 
Saragliano. It is probable that he visited Rome in 
1588, with his former master, Federigo Zuccheri, 
who was the first president of the academy of St. 
Luke, of which Arbasia was one of the founders. 
He afterwards returned to Spain, where he died in 
1614. 

ARBULO. Marguevete Pedro, a Spanish 
sculptor of the sixteenth century. Bermudez says 
that from 1569 to 1574, he was occupied upon the 
altar and stalls of the choir of the Church of S. 
Ascensio, in the Rioja at Castile, which are execu- 
ted with great ability. He received for them 7,387 
ducats. He died at Briones in 1608. 

ARCE, Don Caledoro d', a Spanish sculptor, 
born at Burgos in 1739 ; studied under Fra. Greg- 
orio Barambio ; was elected a member of the Acad- 
emy of San Fernando at INIadrid ; and in 1788 
was appointed escultor de camera to Charles IV., 
King of Spain ; of whom he executed an equestrian . j 
statue in marble, which has been engraved by Sal- ' 
vador Carmona. In 1786, Arce published at Pam- 
peluna a work on sculpture. 

ARCE, Josef d', a reputable Spanish sculptor ; 
studied under Juan Martinez Montaiies, and execu- 
ted several works at Seville, among which are eight 
colossal stone statues over the balustrade of the 
Church of the Sanctuary, in the Cathedral. He 
flourished about 1657. 



ARCESILAUS, or ARCESILAS, a sculptor, 
who distinguished himself at Rome in the last 
years of the republic. He was the friend of Lu- 
cius Lucullus ; and his models or sketches, accord- 
ing to Varro, brought a higher price than the fin- 
ished works of other artists. An unfinished statue 
by him, of Venus Genetrix, was placed in the forum 
of Julius Caesar ; and at his death he left incom- 
plete a statue of Felicity, that he was making for 
Lucullus, and for which he was to receive 6,000,000 
sesterces (about $260,000). Varro had in his pos- 
session a group by Arcesilaus, of some winged Cu- 
pids plajang with a Lioness, sculptured out of a 
single piece of marble; and Octavius, a Roman 
citizen, paid him a talent for a model in plaster of 
a bowl or drinking cup. 

ARCHELAUS, a Greek sculptor of uncertain 
age, the son of Apollonius of Priene. This name 
is inscribed on the upper part of a bas-relief of the 
Apotheosis of Homer, formerly in the Colonna 
Palace at Rome, now in the British Museum. It 
was found in the Via Appia, near Albano, at a place 
called Alle Frattocchie, the ancient Bovillae, where 
the Emperor Claudius had a villa. It was pur- 
chased for the British Museum at the enormous 
price of $5000. 

ARCHITA, , an Italian painter of some 

merit; born at Perugia in 1560 ; died in 1635. He 
resided chiefly at Rome, where he executed a num- 
ber of works for the churches, among which are 
three frescos in S. Sebastiano, representing Saints 
Girolamo, Carlo, and Bernardo. 

ARCIS, Marc, a French 'Sculptor of Toulouse; 
studied under J. P. Rivalz, and in 1684 was elected 
a Royal Academician. There are several reputable 
works by him in the Church of the Sorbonne, and 
in the Gardens of Versailles. 

ARCIMBOLDI, Gioseffo, a Milanese painter, 
born in 1533, was favored for the greater part of 
his life with the patronage of the emperors Maxi- 
milian and Rodolphus. He excelled in painting 
interiors of kitchens with fruit, vegetables, culinary 
utensils, etc. ; and sometimes with grotesque fig- 
ures formed of flowers and fruit, which at a dis- 
tance appeared like human figures. He died at 
Prague in 1593. 

ARCO, Alonso dell', called el Sordillo de 
Pereda. a Spanish historical and portrait painter, 
born at Madrid in 1625 ; studied under Antonio de 
Pereda, and though deaf and dumb from his birth, 
acquired considerable eminence. Palomino men- 
tions several of his works, particularly the Mirac- 
ulous Conception, and the Assumption, in the clois- 
ter of the Trinitarios Descalvos at Madrid ; also a 
fine picture of St. Teresa in the Church of San Sal- 
vador. Bermudez mentions a large number of his 
works in the churches at Madrid, and other pub- 
lic edifices throughout Spain. He died at Madrid 
in 1700. 

ARDELL, James Mc, a reputable mezzotinto 
engraver, was born about 1710, and of Irish ex- 
traction. ' He executed a considerable number of 
plates, some of which are from historical subjects ; 
but the greater part are portraits of eminent per- 
sons after the principal painters of the time. He 
died in 1765. The following are his principal plates. 



portraits. 



After Reynolds.— George, Lord Anson ; Dr. 
the Countess of Berkley; Vice- Admiral Boscaw 



Dr. AshtonJ 
the 



ARDE. 



42 



ARDE. 



Countess of Essex ; Lady Fontcsque ; Jarae?, Karl of Wal- 
dcgravc — fine and scarce. 

After Hudson.— Matj, Duclicss of Ancaster; William 
lionn, Lord Mayor — scarce. 

After Vandyck. —GoorgG, Duke of Buckingham, and his 
Brother, from the picture at Kensington Palace— very fine ; 
Mary, the Countess of Coventry— scarce ; Francis du Ques- 
noy, called Flamingo, sculptor ; Kachael, Countess of South- 
ampton— very fine ; Lord John and Lord Bernard Stuart — 
very fine ; Ruben's Wife — fine and scarce. 

After Wilso7i. — Dr. Franklin — fine and scnrcc. 

After Zofany. — Mr. Carrick and Mrs. Cibber, in Jaflier 
and Belvidcra in Venice Preserved. 

After Hogartk. — Two of John Pino, painter — one with, 
and the other without hands ; Daniel Locke. 

Also, Archibald Bowcn ; (fter Knapton. Elizabeth, 
Duchess of ILimilton ; (fter Cotes. General Washington j 
after Pine. 

OTHER SUBJECTS. 

After Vandyck. — The Virgin and Child ; Moses found 
in the Nile ; Time clipping the AVings of Love. 

After Rembrandt. — An Interior, with a Woman reading, 
and a. Child in a Cradle ; tlie Tri))utc Money ; the Angel 
and Tobit ; Rembrandt's Mother reading ; the Student in 
Mathematics. 

After Murillo.—ThG Virgin, with a Glory cf Angels; 
St. Jerome kneeling before a Crucifix; St. Francis da 
Paola. 

After Rubens. — Rubens and his Family. 

All the above arc fine prints, and good impressions are 
very scarce. 

ARDEMANS, Don Teodoro, a Spanish painter 
and architect ; born at Madrid in 1GG4. His 
father was a soldier in the noble bod3--giiard, in 
which Ardemans served also for some time ; but 
his love for the arts led him to place himself under 
Olandio Ooello to learn painting. lie commenced 
at the same time to study mathematics and archi- 
tecture. In 1G89, -when in his twenty -fifth year, 
he contended at Granada with Boccaiicgra, then 
painter to the King, for the appointment of chief 
master to the Cathedral of that city. The artists 
were ordered to paint each other's portraits, and 
Ardemans, who w\as the first to begin, in less than 
one hoiir painted a very masterl}' likeness of Boc- 
canegra, which so discouraged the latter that he 
deferred his trial to another day, but not appearing 
on the day fixed, Ardemans obtained the appoint- 
ment. This defeat is said to have caused the death 
of Roccanegra. Ardemans remained several years 
at Granada, practising both painting and civil and 
hydraulic architecture. In 1004 he was appointed 
chief master of the cathedral of Toledo ; in 1700 
he received a similar appointment at Madrid ; and 
again in 1702, from Philip V., who placed him 
over the Alcaz4r and other palaces of Madrid, with 
a salary of 400 ducats per annum. In 1704, after 
the death of Ruiz, the King appointed Ardemans 
his cabinet painter. According to Rermudez, his 
pictures arc scarce, because he applied himself 
chiefly to architecture ; but that author praises a 
fresco by Ardemans, in the sacrist}^ of the chapel 
of tlie third order of Franciscans at Madrid. 

As an architect, Ardemans designed the decora- 
tions at tlie celebration of the funerals of the Dau- 
phin of France in 1711, and of the Queen ]Maria 
Louisa of Savoy in 1715, at the convent of the In- 
carnation at Madrid. In 1710 he designed the 
princijial part of the Palace and Gardens, the Colle- 
giate Cliurch, and the great altar of San Ildefonso ; 
and in 1722 the Church of San Millan at JNIadrid. 
He is known also as an architectural and scientific 
writer. It is probable that he was living in 17;>0, 
as he wrote the eulogy on his friend Palomino, 



prefixed to the second volume of the works of that 
author, who died in 172G. 

ARDENTE, Alessandko, a Piedmontese paint- 
er, who, from the dates on his pictur-es, probably 
flourished from 15G5, to 1502. At Turin, in the 
Monte della Pieta, is a picture by this master, of 
the Conversion of St. Paul, painted with such 
grandeur as might lead us to suppose he was of 
the Roman school. In the Church of S. Paolini, 
at Lucca, is a picture of S. Antonio Abate, dated 
1505 ; and at Moncaliere, near '^Furin. an altar-piece 
of the Adoration of the JNIagi, dated 1592, Ardente 
was painter to the Court of France, and died at 
Paris in 1575. 

ARDITI, Andrea, a Florentine sculptor, of the 
carl}^ l)art of the fourteenth century, who executed 
among other works, the silver head of San Zanobi, 
which, according to Yasari, gained him great cele- 
brity in his time. 

AREGIO, Pablo de, a reputable Spanish painter 
wlio lived about 150G, and executed in that j^car, in 
concert with Francisco Neapoli, the doors of the 
great altar of the cathedral of Valencia. Each door 
contains six pictures. The subjects are from the 
life of the Virgin, executed in the style of Leo- 
nardo da Vinci. Rermudez says they are admira- 
ble in respect to the design, style, and expression 
of ihc figures. Aregio received 3000 ducats for 
these works. 

ARELLANO, Juan de, a Spanish painter, born 
at Santorcas in 1014, studied under Juan de Solis. 
but not succeeding as a historical painter, he copied 
the subjects of Mario de Fiore, and by his assiduity 
became an excellent painter of fruit and flowers. 
Ilis pictures are in most of the collections of Spain, 
where they are highly esteemed. He died in 1676. 

ARELLIUS, a Roman artist of some celebrity, 
who flourished at the beginning of the reign of Au- 
gustus. From the manner in which he is mentioned 
by Pliny, he must have been an artist of ability, 
for the only fault he finds against him is that he 
selected as the models of his goddesses the most 
beautiful courtezans of his time ; a reproach which 
that author never thought of making against the 
greatest artists of Greece, who constantly availed 
themselves of this practice. 

ARENDS, or ARLENDS, Jan, a Dutch land- 
scape and marine paii^ter, born at Dort in 1738, 
studied under J. Ponse. His pictures are praised 
for their admirable perspective. There are a few 
prints by this artist which possess considerable 
merit. lie died at Dort in 1805. 

ARETINO. See Spinello. 

ARETUSI, Cesare, an eminent Italian painter, 
born at jNIodena, and lived about 1500. It is not 
known under whom he studied, but he formed his 
style from the w^orks of Bagnacavallo. Lanzi says 
he was an excellent colorist in the Venetian style, 
but of a weak and dull invention ; while Gio. Rat- 
tista Fiorini, was full of fine conceptions, but worth- 
less in his coloring. These two painters were in- 
timate friends, and by uniting their talents produced 
works of considerable merit, among which is the 
cupola of the cathedral of S. Pietro, at Bologna. 
However this may be, Cesare's merit as a por- 
trait painter equals that of many of his cetera - 
poraries, and his portraits possess a breadth and 
beauty of coloring, that approaches the excellence 



ARFI. 



43 



ARIS. 



of Corrcggio. He painted several of the most illus- 
trious men of the day. He surpassed all artists 
then living as a copyist of the works of great mas- 
ters, for he could assume the style of almost any 
painter, and even pass off his copies as genuine. 
In imitating Correggio, he was very successful, and 
received a commission to execute a copy of the 
celebrated Notte, by that master, for the Church 
of S. Giov. di Parma, where it still remains. Mengs 
declared that were the original at Dresden lost, it 
might be well supplied with so fine a duplicate. 
He gained so much reputation for this work that 
he was appointed to restore the painting executed 
by Correggio for the tribune of the same church, 
which had been removed to extend the choir. 
Ruta, in his Guida, says that so accurate was 
the imitation of the taste displayed in the original, 
of its conception and harmony, as to lead those 
unacquainted with the change, to suppose it the 
work of Correggio. Piingileone is of the same 
opinion. In the Church of San Giovanni del 
Monte at Bologna, is a fine altar-piece by this 
master, representing the Virgin and Infant with 
two female figures embracing each other. His 
principal patron was the Duke of Ferrara, whose 
favor he lost by an act of indiscretion. The prince 
commissioned Cesare to paint the portrait of a lady 
for himself, but on no account to divulge the secret 
to the fair one or any of her family. The artist 
accomplished his purpose, but from a feeling of 
vanity, shewed it to some of his acquaintances, and 
the secret soon transpired. The relatives of the 
lady were mucli enraged, and the duke at first 
threatened Cesare with death for his treachery, 
but he afterwards merely banished him. 

ARFIAN, Antonio de, a Spanish oil and fres- 
co painter of the school of Seville, studied under 
JNIurillo and L. de Vargas. He was employed on 
several important works, particularly the grand 
altar-piece of the cathedral, which he painted in 
1551, in concert with Antonio lluiz. He was liv- 
ing in 1587. 

ARIAS, Fernandez, a distinguished Spanish 
historical painter, was born at Madrid ; studied un- 
der Pedro de las Cuevas. At the early age of four- 
teen, he gained great reputation by the grand altar- 
piece he executed for the Carmelites at Toledo. He 
subsequently pursued his studies with great assi- 
duity, so that at the age of twenty-five, he was one 
of the best painters in Madrid, and was chosen by 
the Duke d'Olivarez to paint the series of portraits 
of the kings of Spain, which were in the saloon of 
the ancient palace. He is said to have died in a 
hospital, in IGSOj though some say in 1G84. 

ARISTIAS. The name of this artist, associa- 
ted with that of Papias, is found on two marble 
statues of Centaurs, which were formerly in the 
Furietti Palace, but are now in the Vatican. They 
were natives of Cyprus, and probably lived in the 
second century. 

ARISTIDES, of Thebes, one of the most celebra- 
ted painters of antiquity, a cotemporary of Apelles ; 
flourished from about b. c. 360 to 330; was the son 
of Aristodemus, and the brother and pupil of the 
celebrated Nicomachus. A painter named Euxe- 
nidas, was also his master. Pliny relates that 
when Alexander stormed Thebes, he was so struck 
with one of Aristides' works he saw there, that he 



ordered it to be sent to Pell a, his native city. It 
represented a Dying Mother, wounded at the sack- 
ing of a city, with a child at her bosom ; remark- 
able for the expression of agony in the mother, 
lest the child should suck blood from her breast 
instead of milk. Aristides painted an easel picture 
of a Persian Battle, for Mnason, tyrant of Elatca. 
containing 100 figures, for which that prince paid 
him 1000 minae (about $18,000) — an immense price, 
since being an easel picture, the figures were proba- 
bly small, and of many of them, only parts were 
seen. His works appear to have risen in value 
after his death. After the capture of Corinth by 
L. Mummius, b. c. 14G, Attalus III., of Pergamos. 
bought a picture of Bacchus and Ariadne by Aris- 
tides, for 000,000 sesterces, (about $26,000) so great 
a price that it excited the suspicion of Mummius, 
v»-ho withheld the picture, notwithstanding the 
complaints of x\ttalus, and sent it to Rome ; where 
it was dedicated in the temple of Ceres, which v/as 
afterwards destroyed by fire. The same king of 
Pergamos purchased another of the works of Aris- 
tides at the enormous price of one hundred Attic 
talents (about $100,000,) Pliny mentions many 
other works by this artist; — Running Quadrigae; 
Huntsmen with Game; a Suppliant whose voice 
you could almost hear ; portraits and other pieces 
in various styles. He notices also an unfini.shed 
picture of Iris, which was greatly admired. Polo- 
mon, in his work on the pictures of Sicyon, quoted 
by AtheniL'us, says he painted light subjects; and 
he is also denominated a Pornographcr, or painter 
of lascivious pieces. There was a picture in the 
temple of Apollo at Rome, of a tragic poet and a 
bo}^, by Aristides, which was destroyed by a pic- 
ture-restorer, to whom the prajtor M. Junius had 
given it to be cleaned, before the celebration of the 
Apollinaria, Pliny says Aristides had the power 
of impressing his forms with soul — of representing 
those impassioned actions of the body which result 
from violent emotions of the mind. So efTcctive 
was the earnestness of supi)lication portrayed ])y 
him, that the voice seemed to escape from the pic- 
ture, Temanthes first drew the line that separates 
terror from an excess or horror ; Aristides marked 
the boundaries which divide it from disgust. His 
picture of the Wounded and Dying Mother, shud- 
dering lest her starving infant should suck her 
blood instead of milk, was one of the most cele- 
brated pictures of antiquity. The expression of 
the principal figure, still alive, though mortally 
wounded, helpless, beautiful, and forgetting herself 
in her anguish for her child, excited the beholder 
to tears and produced an effect never since equal- 
led, although the same subject has frequently been 
handled by succeeding artists. He painted battle- 
pieces, hunting scenes and chariot races, for foreign 
princes and public halls, which commanded any 
price he pleased to ask for them. 

ARISTIDES, a Grecian sculptor, and pupil of 
Polycletus of Sicyon, who lived in the latter part 
of the fifth century before Christ. Pliny says ho 
was celebrated for his skill in making chariots, 
Quadrigae, and Bigse. These chariots were prob- 
ably constructed for some important purpose ; 
either to be presented as votive offerings to some 
temple, or to be used on particular occasions ; and 
being the work of an eminent artist, were decorated 
with designs of figures in relief, or enriched with 
foliage or other elaborate ornament. 



ARIS. 



44 



ARLA. 



ARISTOCLES, a Greek sculptor of uncertain 
age. who executed a group, dedicated at Olympia 
by Evagoras of Zancle, representing Hercules fight- 
ing an Amazon on horseback for her girdle. 

Another Aristoclcs executed a group represent- 
ing Jupiter and Ganymede, dedicated at Olympia 
by one Gnothis a Thessalian, 

ARISTOCLIDES, a Greek painter of uncertain 
age, classed by Pliny among artists of the second 
rank. He painted the temple of Apollo at Delphi. 

ARISTOGITON, a Greek sculptor, who was 
employed with Hyf)atodorus to execute some of 
the offerings dedicated at Delphi by the people of 
Argos. 

ARISTOLAUS, a celebrated Grecian painter, a 
native of Pausias. He was celebrated among the 
artists of his time for the grandeur and simplicity 
of his style. He seldom introduced more than one 
or two figures into his compositions, and he made 
choice of those eminent personages whose virtues 
and great exploits had endeared their memory to 
their countr}^. Among these were Theseus, Epam- 
inondas, and Pericles. 

ARISTOMEDES, a Theban sculptor, who lived 
about B. c. 500. Pausanias says he executed, in 
concert with his countryman Socrates, a statue of 
the goddess Cybele, which was dedicated by Pin- 
dar, and placed in her temple near Thebes. The 
statue and throne were made of Pentelic marble. 

ARISTOMEDON, a sculptor of Argos, who 
lived about b. c. 480, and executed for the Phoci- 
ans the statues of Apollo, of Tellias the Seer, of 
the Commanders in their army,, and also of the 
Heroes of their country ; all of which were dedica- 
ted at Delphi, in commemoration of the success 
obtained over the Thessalians. 

ARISTON, a sculptor of Laconia, who, with his 
brother Telestas, executed a marble statue of Ju- 
piter, about eighteen feet high, which was dedicated 
by the Oleitorians at Olympia, in commemoration 
of their victories. 

ARISTONIDAS, a sculptor, who is said by 
Pliny to have been so skillful in mixing the differ- 
ent metals he employed in his art, that he was 
able to express the various tints of the complexion. 
This was effected in the statue of Athamas, at 
Thebes, who was represented as overcome with 
grief for the death of his son Learchus. whom he 
destroyed in a fit of insanity. 

ARISTOTILE. See Bastiano San Gallo. 

ARLADI, Alessandro, an Italian historical 
painter, born at Parma about 1470, studied at Ve- 
nice under Giovanni Bellini, and painted in the style 
that Lanzi terms antico moderno. In the Church 
of the Carmelites at Parma, is a picture by this 
master, representing the Annunciation, which is 
highly praised by the critics. He died in 1528. 

ARLAUD, James Anthony, a Swiss painter, 
born at Geneva in 1668. His first practise was 
painting ornaments in miniature for the jewellers, 
but he subsequently attempted portraits, in which 
he was so successful, that when twenty years old 
he settled at Paris, and obtained the patronage of 
the Duke of Orleans, who condescended to become 
his pupil, and gave the artist apartments in the 
palace at St. Cloud. This patronage stimulated 
the efforts of Arlaud, so that he became one of 



the most ingenious portrait painters of his time. 
While at St, Cloud, he copied a Leda from the bas- 
relief of Michael Angel o, or, as others think, from 
the famous picture of Correggio ; which was univer- 
sally admired. The Duke de la Force purchased 
it for 12,000 livres, but happening to be a loser in 
the Mississippi scheme, he returned it to the artist 
with 4,000 livres for the use of it. He was favored 
with the patronage of the Princess Palatine, who 
presented him with her portrait, set v»'ith diamonds, 
and in 1721, when he visited England, she gave 
him a letter of recommendation to the then Prin- 
cess of Wales, afterwards Queen Caroline, whose 
portrait he painted. While in England, he sold a 
copy of his Leda for £600, but refused to part with 
the origmal. He painted several of the nobility, 
and was liberally rewarded. He returned to Paris, 
where he remained a few years, and, having ac- 
quired wealth, he settled in Geneva, his native city, 
where he died in 1743. 

ARLAUD, Bernardo, or Benjamin, a Genevan 
painter of miniature portraits of the last century, 
who lived at two different periods in London, where 
he met with considerable success, and was a fre- 
quent exhibitor at the Royal Academy. In 1801, 
he returned to his native city, where he suffered 
much from the depredations of the French. 

ARLER, Peter Von, a German architect, 
born in 1333. At the early age of twenty-three 
he was eyiployed to carry on the cathedral of St. 
Vitus at Prague, which had been commenced by 
Mathias Von Arrias in 1343. This edifice, which 
ranks as one of the finest specimens of the Gothic 
style in that period, occupied him for thirty years, 
from 1356 to 1386, when, though not fully comple- 
ted, it was left by him nearly in its present state. 
He also erected the Allerhelige Kirche ; began the 
celebrated Moldau bridge in the same city ; and 
built the church at Kollin on the Elbe. 

ARMAND, Charles, a reputable French paint- 
er of history and portraits, was born at Bar-le-duc 
in Lorraine, and died there in 1720. 

ARMAND, Jacques Fran90Is, a reputable Pa- 
risian historical painter, was born in 1739, and 
died 1769. 

ARMANI, Piermartino, an Italian historical 
painter, born at Reggio, in the Modenese, in 1613 ; 
died in 1669 ; studied under Lionello Spada, with 
whom, according to Lanzi, he painted some works 
in the Church of S. Maria at Reggio. 

ARMANNO, ViNCENZio, or Vincent Armann, 
a landscape painter, was born in Flanders, in 1598, 
and practised at Rome. His landscapes are truth- 
ful to nature, and have a certain stillness of color, 
pleasingly varied with light and shade. His fig- 
ures are excellent, and his invention abundant. 
According to Passeri, he was imprisoned by the In- 
quisition for eating flesh on fast-days, and that on 
his liberation he left Rome in disgust, and settled 
at Venice, where he died in 1649. 

ARMENINI, Gio. Battista, an Italian painter, 
born at Faenza, studied under Perin del Vaga, and 
published in 1587, a work entitled " True Precepts 
of Painting." 

ARMESSIN. See L'Armessin. 

ARNALDI, CoNTE Enea, of Vicenza, an Italian 
architect of noble birth, who was born in 1716, 
and superintended the restoration of the Palace of 



AEXA. 



45 



ARRE. 



Reason, which gained him much reputation. He 
also wrote two works on architecture. 

ARNAU, Juan, a Spanish historical painter, 
born at Barcelona in 1595 ; studied under Eugenio 
Caxes, and was chiefly employed in works for the 
churches and convents of Barcelona. In the Church 
of Santa de la Mar is a picture of St. Peter, to 
whom Angels are presenting the Keys ; and in the 
Augustine monastery there are several pictures 
representing- scenes from the life of St. Augustine. 
He died in 1G93. 

ARNOLD, or ARNOUL, Jonas, a designer and 
engraver, who drew the portraits and figures en- 
graved by Philip Kilian, and engraved among 
other plates, one of Louis le Grand seated on his 
Throne, and Louis Dauphin, after Antoine Dieu. 

ARNOLD. John, an engraver of little note, who 
executed, among other works, a . small plate of 
Daniel in the Lions' Den, after Fra. Xav. Palco. 

ARNOLDI, or DI ARNOLDO, Alberto, an 
eminent Florentine sculptor of the fourteenth cen- 
tury. He executed the colossal group in marble, 
of the Madonna and Child with two Angels, in the 
Church of S. Maria del Bigallo at Florence, which, 
until lately, has been ascribed to Andrea Pisano, 
through the error of Vasari. Arnoldi was engaged 
on it from 1359 to 13G4. 

ARNOLFO, a Florentine architect, was born in 
1232, studied under his father, Lapo, and acquired 
much reputation. He built the new walls of Flor- 
ence, and ornamented them with towers. In the 
same city he formed the square now called St. 
Michel ; the square of the Priors; the Abbey and 
Church of Santa Croce, four hundred eighty-two 
and a half feet long, and one hundred and thirty- 
three feet wide ; and designed the magnificent 
Cathedral. For these and other works, the Flor- 
entines elected him a member of the city council. 

ARNONE. Alberto, a Neapolitan painter of 
the end of the seventeenth century ; studied under 
Luca Giordano at Naples, and afterwards under 
Carlo Maratti at Rome, Dominici says he united 
the styles of those masters. He excelled in por- 
traits, and painted most of the Neapolitan gentry 
of his time. He was presented by Luca Giordano 
to Philip Y, as an excellent portrait painter ; the 
King sat to him, and rewarded him highly for the 
portrait that Arnone executed, with which he was 
well satisfied. He died at Naples in 1721. 

ARNOULLET, Balthasar, a French wood-en- 
graver, who lived at Lj^ons. Papillon says he exe- 
cuted a large print of the town of Poitiers. 

ARNOULT, N., a Parisian engraver, who gained 
some reputation by his portraits a la mode of the 
personages at Court. There is a set of six figures 
in folio, published in 1673 and 1674 ; also a por- 
trait of the ]\Iarquise d'Angeau at her toilet ; with 
several others, in a coarse, poor style. 

ARPINO, II Cavaliere d'. See Cesari. 

ARRAS, Mathieu d', a French architect, born 
at Arras about 1300, and died in 1352. In 1344 
he was summoned by John IV., King of Bohemia, 
to erect the new cathedral of St. Veitskirche, in that 
city. The corner-stone was laid with great solem- 
nity by John himself, but the structure was not 
completed until 1385. This fine edifice still ex- 
ists. Arras also superintended the construction 



of the royal castle called Karlstein, four leagues 
from Prague, commenced by the Emperor Charles 
IV. in 1348 ; but this also he did not live to com- 
plete. There is a bust of Arras in the cathedral at 
Prague. 

ARREDONDO,DoN Isidoro, an eminent Span- 
ish historical painter ; born at Colmenar de Oreja 
in 1653 ; studied first under Garcia, but subse- 
quently under Rizi, at whose death he was ap- 
pointed painter to the King b}^ Charles II., who 
gave him letters of nobility. Palomino, in descri- 
bing a number of his works, speaks in admiration 
of one representing the Incarnation. He died in 
1702. 

ARREGIO, or AREZZO, Paolo di, probably 
an Italian painter, though mentioned as Spanish. 
In 1506 he painted the doors of the great altar of 
the cathedral of Valencia, in concert with F, Nea- 
poli. The subjects are taken from the life of the 
Virgin, and possess the correct design, grandeur, 
and noble character that distinguished the school 
of Leonardo da Vinci, in which both these artists 
are supposed to have been instructed. 

ARRIGHI, Giuseppe, an Itahan historical 
painter of the latter part of the seventeenth cen- 
turj^, born at Volterra. He was, according to Lanzi, 
the favorite pupil of Baldassare Franceschini, whom 
he greatly assisted in his works. 

ARTEAGA Y Alfaro, Matias, an eminent 
Spanish painter and engraver, born at Seville. He 
studied under Juan de Valdes, and painted numer- 
ous perspective pieces, in which he represented sub- 
jects from the life of the Virgin. He was secretary 
to the Academy of Seville, and died in 1704. 

ARTEVELT, Andrew Van, a Flemish marine 
j)ainter, was born at Antwerp about 1570. His 
pictures of storms and rocky shores are executed 
with sublimity and grandeur. Vandyck admired 
his works, and painted his portrait among the cel- 
ebrated artists of his country. Artevelt resided 
several years at Genoa, but the time of his death 
is not recorded. 

ARTEMISIA, the Queen of Caria, was the wife 
of ]\Iausolus, and built the magnificent tomb for 
her husband, which was accounted one of the seven 
wonders of the world, and which has given a name 
to all structures of that description. 

ARTEMON, a Greek painter of uncertain age 
and birth-place, Pliny mentions the following 
works by him : Danae with the Infant Perseus 
discovered by the Corsairs or Fishermen of the 
Island of Seriphus ; Hercules and Dejanir a; Queen 
Stratonice ; and two pictures in edifices adjoining 
the portico of Octavia at Rome, which were his 
master- pieces ; the Apotheosis of Hercules from 
the summit of Mount O^ta ; and some part of the 
story of Hercules, Neptune, and Laomedon, King 
of Troy : probably the defivery of Hesione from the 
Sea-monster by Hercules. 

ARTEMON, a sculptor who lived about the time 
of Pliny, and according to that author, executed 
many works in the Palace of the Caesars on the 
Palatine Hill. 

ARTIGA, Francisco de, a celebrated Spanish 
landscape and historical painter. He was born at 
Huesca, and painted several Sibyls, Conceptions, 
and perspective pieces for the Spanish collections, 
which were remarkable for their fertile invention 



ARTO. 



46 



ASCO. 



fine coloring, and correct design. He was also an 
architect and a mathematician of considerable abil- 
ity, and an author of reputation. He died in 1711. 

ARTOIS, jAcauES, a celebrated Flemish land- 
scape painter, was born at Brussels in 1613. From 
his style he is supposed to have studied under John 
Wildens. His works are faithful delineations of the 
scenery around Brussels, and are often decorated 
with excellent figures by David Teniers, which ren- 
ders them much more valuable. His pencil is light 
and free, his skies and perspective are admirably 
managed, and his trees are of grand forms, with 
foliage that appears in motion. Writers generally 
place his death in 1665, but Zani says he was liv- 
ing in 1666. 

ARZERE, Stefano dell', an Italian painter, 
born at Padua. Ridolfi says he executed several 
paintings for the churches and convents of that 
city. In the Church of the Monastery of the Pa- 
dri de Servi, he painted the principal altar-piece ; 
and in the Chiesa degli Eremitani, subjects from 
the Old Testament, and two pictures of St. Peter 
and St. Paul, which possess considerable merit. 

A SAM, Co SMDs Daman, a Bavarian historical and 
portrait painter and engraver, who studied several 
years at Rome, and afterwards settled at Munich, 
where he was quite successful. He engraved some 
prints from his own designs, mtirkedCosmus Asam, 
among which are: a Franciscan monk kneeling, 
with the Virgin in the Clouds surrounded by An- 
gels ; and St. Joseph presenting a book to a Bishop. 

ASCANI, Pellegrino, da Carpi, a reputable 
Italian flower painter of the last century, who was 
educated in the Modenese school. He executed a 
number of fine pictures for the private collections 
at Modena, which are much esteemed. Little is 
known of the events of his life. 

ASCARUS, a Theban sculptor, who executed a 
statue of Jupiter crowned with Flowers, and hold- 
ing a Thunderbolt ; which was dedicated at Olym- 
pia by the Thessalians out of spoils taken from the 
Phocians. 

X>A orV/V ASCH, Peter John van, a 
^L\. . Vl. / Dutch painter, born at Delft, in 
1603. He excelled in painting small landscapes, 
which, according to Houbraken, were universally 
admired. It is said, that by his unremitted atten- 
tion to an aged father and mother, who were sick 
many years, he neglected his profession; which 
accounts for the scarcity of his works. He signed 
his pictures with a monogram of his initials, P. J. 
V. A. Time of his death is not recorded. 

ASCIANO, Giovanni d', a Sienese painter of 
the latter part of the fourteenth century ; studied 
under Bernardo da Siena, whom, according to Lanzi, 
he surpassed in coloring. In the parish church of 
Arezzo, he completed a series of frescos which his 
master had left unfinished. 

ASCIONE, Angelo, a talented Neapolitan fruit- 
painter of the latter part of the seventeenth cen- 
tury. Dominici says he studied under Gio. Bat- 
tista Ruoppoli. 

ASCLEPIODORUS, a celebrated Athenian paint- 
er, cotemporary with Apelles ; ranked by Plutarch 
with Euphranor and Nicias, and noticed by him as 
one of those artists who had done great honor to 
their country. He was of great reputation, for 
Mnason, a tyrant of Elatea, paid him for pictures 



of the twelve gods at the rate of 300 minae each, 
about ^5000. Phny says that Apelles yielded to 
Asclepiodorus in symmetry. There was a Greek 
sculptor of this name, who excelled in his statues 
of philosophers. 

ASCONDO, Francisco, a Spanish architect of 
considerable eminence ; born in the Province of 
Biscay in 1705 ; died in 1781. In 1731 he entered 
the convent of San Benito at Valladolid, in quality 
of lay brother, and also in his professional capac- 
ity. In 1742 he erected the churches at Hornija 
and Villardefrades ; also the Church of the Priory 
of S. Maria de Duero, near Tudela ; considerable 
portions of the monaster}^ of Fromesta, and of the 
nunnery of S. Pedro de las Duenas, near Sahagun; 
also a mansion for Viscount Valeria at Valladolid. 

ASENSIO — a Spanish portrait painter of some 
distinction, who practised the art at Saragossa, 
about the end of the seventeenth century. He 
executed a number of portraits of eminent person- 
ages in his time, which have received considerable 
commendation. 

ASHFIELD, Edmund, an English painter in 
crayons, who studied under Michael Wright. He 
has the credit of being the instructor of Lutterel. 

ASNE L'. See Michael Lasne. 

ASPER, Hans, a Swiss paint- 
/ er, born at Zurich in 1499, died 
in 1571. His drawings of flowers, birds and game 
were greatly admired. He was cotemporary with 
Holbein, and painted portraits in the style of that 
master, which gained him great reputation in his 
day, but he has been deprived of much of it by his 
portraits being ascribed to Holbein, and sold as the 
works of that master. He was so much esteemed 
that a medal was struck to record his merit, yet, 
according to Fuseli, he lived and died in indigence. 

ASPERTINO, GuiDO, a Bolognese painter, born 
about 1460, studied under Ercole di Ferrara, and 
became a distinguished historical painter. His 
chief work, which he completed in 1491, was the 
Crucifixion in the cathedral at Bologna. He died 
in the prime of life, much regretted, as he was an 
artist of great promise. 

ASPERTINO, Amico, a Bolognese historical 
painter of httle note, the j^ounger brother of Gui- 
do Aspertino, born in 1474, studied under Francis 
Francia, and according to Vasari, was called Amico 
da due Pennelli, from his being able to use both 
hands in painting with equal facility. He was of a 
capricious and whimsical disposition, sometimes ap- 
proaching mental derangement. He died in 1552. 

ASPETTI, TiziANO, an Italian nobleman and 
sculptor; born at Padua in 1565 ; died in 1607; 
was the nephew of Titian. He studied under 
Jacopo Sansovino at Venice, and executed many 
excellent works in marble and in bronze at Venice, 
Pisa, Padua, and Florence. There are several of 
his works in the Church of S. Antonio at Padua. 

ASPRUCK, Frantz, a German designer and 
engraver, who probably studied under R. Spranger, 
from the resemblance of st5de. There are a .few 
prints by him marked F. A., or, Franz Aspruck 
fecit — viz.: Four small plates, half-length fig- 
ures—of the Archangels Michael, Gabriel, Raph- 
ael, and Uriel; Cupid and Anteros, half-length 
figures, small plates. 



ASSC. 



47 



ASSE. 



ASSCHE, Henri van, a Flemish landscape 
painter, born at Brussels in 1775. In his infancy 
he showed an inclination for the art, and learned 
the elements of design and perspective from his 
father, who was an excellent artist. He subse- 
quently studied under De Roi, at Brussels, and 
made two journeys into Switzerland for improve- 
ment. There are several fine landscapes by him 
at Ghent, Lisle, Brussels, and Harlem, some of 
which are enriched with figures and animals by 
Ommeganck. He died in 1841. 

"73 or !9 or ^ ASSELYN, John, called 
dykj ^a ♦ ^JL- J Orabbetjie, a distin- 
guished Flemish landscape painter, born at Ant- 
werp, in 1610. He studied under Esaias Vander- 
velde, and went to Italy while young, where he 
remained several j^ears. He was called Orabbetjie 
by the Flemish artists at Rome, on account of a 
contraction in his fingers. His pictures represent 
views in the vicinity of Rome, enriched with ruins 
of edifices, and decorated with figures and cattle in 
the style of N. Berghem. In landscape he imita- 
ted Claude Lorraine ; his touch is free and firm, 
his coloring bright and clear, his skies warm, and 
his figures well drawn and judiciously clisposed. 
He also painted battle-pieces of considerable merit. 
His works are very highly esteemed, and justly 
merit the approbation they receive. He died 
in 1660. 

ASSEN, Jan van, a Dutch historical and land- 
scape painter of some eminence, born at Amster- 
dam in 1631. He was educated in Italy and adopt- 
ed the Italian style, especially that of Antony 
Tempesta. He died in 1695. 

[x^'TP I ASSEN, John Walther van, a Dutch 
^^^^^Iwood engraver, born in Holland about 
1490. He was Yery distinguished among the ear- 
ly wood engravers ; his prints are admirably exe- 
cuted, and are highly prized. His monogram is 
composed of the letters I. W. A. Little is known of 
this artist. There has been much discussion among 
connoisseurs to whom many prints and wood cuts 
bearing certain marks should be attributed. Brul- 
liot, in his Dictionary of Monograms, though he con- 
fesses these marks have always been attributed 
to Werner van Ossanen or Walter van Assen ; 
yet he says that Carl van Mander more properly 
calls this artist Jacques Cornelisz van Oostsanen, 
and thinks the real name should be Jacques Cor- 
nelisz, or Corneliszoon (which last signifies the 
son of Cornelisz.) But Bartsch on the other hand 
says, " these monograms, improperly explained as 
meaning Werner van Oossanen^ are generally at- 
tributed to J. Walter van Assen, an artist of 
whom little is known except that he lived in Am- 
sterdam in 1517." By carefully examining the 
character of the prints and the monograms, (for 
there are several forms of the latter, see plate 1,) 
we shall perceive them to be the work of one and 
the same artist, and without doubt Prof Bartsch 
is right in attributing them to J. W. van Assen, 
with whose initials the monograms accord, but have 
not the least reference to Cornelisz, or any other 
known artists. The following are his principal 
prints : 

A set of six prints, of a circular forra, about nine inches 
diameter, representing the Passion of our Saviour, marked 
with his cipher, and dated in 1513 and 1514, viz : 

Our Saviour Praying in the Garden, three of the Disci- 
ples sleeping below, and in the distance, Jews, conducted by 



Judas, entering the Garden — very fine. Jesus betrayed by 
Judas, is seized, and St. Peter cutting off the Ear of Mal- 
chus. The Scourging of Christ. Christ bearing his Cross. 
The Crucifixion, with St. John and the Marys at the Foot 
of the Cross. The Entombing of Christ. A set of six large 
prints, each containing six different subjects in architectu- 
ral compartments, and in the middle of the prints, the words, 
1. Superbia. 2. Luxuria. 3. Invidia. 4. Ira. 5. Gula. 
6. Avaritia ; and their opposite virtues. There is a small 
print by this artist, representing an armed Figure on Horse- 
back, inscribed St. Radrianus Amstelodamus in ^Edibus 
Donardi Petri, tf-c. 

ASSERRETO, Giovacchino, an Italian paint- 
er, born at Genoa in 1600, studied under Borzone 
and Ansaldo, and with such assiduity, that at the 
age of sixteen he executed a picture of the Tempta- 
tion of St. Anthony for the monks of that order. 
There are several of his works in the churches and 
convents at Genoa, which possess considerable 
merit. He died in 1649, leaving a son named 
Giuseppe, who painted history in the style of his 
father, but died young. 

ASSISI, Andrea Luigi di, an Italian painter, 
born at Assisi. Bryan makes him out a wonder- 
ful genius, and mentions several extraordinary 
works of his execution, but Von Rumohr has sat- 
isfactorily proved that the only known work by 
him is an inferior painting of a coat of arms in tlie 
town-house at Assisi, executed in 1484. 

AST A, Andea dell', a Neapolitan painter, born 
in 1673 ; studied in the school of Solimena, but af- 
terwards visited Rome, where he studied some 
time, and introduced something of an imitation of 
Raftaelle into the Neapoltian style. He returned 
to Naples, where his works were greath^ admired, 
particularly the Nativity, and the Adoration of the 
Magi, in the church of San. Agostino. Ho died at 
Naples in 1721. 

ASTLEY, John, an English portrait painter, who 
lived about 1750. born at Wemm, in Shropshire ; 
studied under Hudson, and afterwards visited Ita- 
ly. Bryan says his talents were of a high order, 
and on returning to England he was A^ery success- 
ful. The widow of Sir William Daniel, a lady of 
large fortune, sat to him for her porti-ait, and was 
so much pleased with the artist that she offered 
him her hand ; on his marriage he relinquished the 
profession. He was a lucky dog, and died in 1787. 

AST, Bartholomew Vander, a Dutch painter, 
born at Utrecht. He painted small fruit and flow- 
er pieces in the style of Breughel, in which he in- 
troduced shells, insects, drops of water, and other 
objects, which, though excellent by themselves, 
made a combination defective in ordonnance and 
harmony. In 1629 he presented a picture of fruit 
to the hospital of St. Job, at Utrecht. 

ATHANASIO, Don Pedro. Bocanegra. 

ATHENION, a celebrated Greek encaustic paint- 
er, of Maronea, in Thrace, cotemporary with Ni- 
cias of Athens, to whom, says Pliny, he was some- 
what preferred. He was the pupil of Glaucion 
of Corinth. That author mentions the following 
works by him: Phylarchus and the Athenian 
Assembly, called Sijngcnicon; Ulysses detecting 
Achilles in a female dress among the dauo-hters 
of Lycomedes ; and a Groom breaking in a JHorse, 
his most celebrated work. The first two were 
painted in the temple of Eleusis. This name is 
inscribed on a cameo in the Museo Borbonico at Na- 
ples, which is one of the best in that collection. It 
represents Jupiter in a chariot destroying two giants 



ATHE. 



48 



ATTI. 



with his thunderbolts. This artist was more 
austere in his coloring than Nicias, but in his aus- 
terity was more pleasing. Tlis pictures seem to 
have been less a display of pictorial effect than of a 
thorough knowledge and understanding of his sub- 
ject ; the distinction between the Roman and Ve- 
netian schools. 

ATTIENODORUS, a Greek sculptor of Clitor, in 
Arcadia, was a scholar of Polycletus. According 
to Pliny, he excelled in his Statues of noble Wo- 
men. Pausanias says he executed two statues of 
Jupiter and Apollo, which were dedicated at Delphi 
by the Lacedaemonians. 

ATT ALUS, an Athenian sculptor of uncertain 
age, who, according to Pausanias, executed the 
statue of the Lycian Apollo, which was in the 
Temple of Apollo at Argos. 

ATTIRET, Jean Denis, called Frere Atti- 
RET, a French painter, whose career is quite re- 
markable. He was born in 1702, in the Franche- 
Compte at Dole, where his father practised the art, 
and was his Ih^st instructor. The Marquis de 
Broissia sent him to Rome, where he completed his 
studies. After his return, Attirct attracted some 
notice by several pictures he painted at Lyons ; he 
subsequently went to Avignon, where he joined 
the Jesuits. During his novitiate, he painted four 
pictures for the cathedral at Avignon ; also some 
other works. About this time the French Jesuit 
missionary at Pekin Avished a painter to be sent to 
them from France ; and, accordingly, Attirct set 
out in 1737 to join his countrymen in China. Soon 
after his arrival he presented the Chinese Emperor 
Keen-Loong, with a picture of the Adoration of 
the Kings, which so pleased his Celestial Majesty 
that he ordered it to be hung up in his palace; and 
moreover, indicated his intention of entirely en- 
grossing the time of Attirct upon works according 
to his taste, and in water-colors, for he disliked the 
gloss of oil. He ordered Attiret to restore in dis- 
temper, a painting on a wall of one of the rooms 
of his palace, which, though an extraordinary honor 
to Attiret as a foreigner, was, through the ceremo- 
nies of the palace, an exceedingly tedious and an- 
noying task. Notwithstanding his difficulties, he 
completed the picture entirely to the satisfaction 
of the Emperor, assisted by the advice of Castigli- 
one of the Portuguese mission. The Chinese court 
painters became very jealous of Attiret, and know- 
ing his dislike of water-colors, they took care that 
he should be allowed to use no others. 

He soon had so many commissions from the 
Emperor as well as from the nobles, that he was 
obliged to employ Chinese painters. He made all 
the designs and executed the figures and other 
chief objects, and especially the carnations. He 
found that the Chinese painters executed the cos- 
tumes, the landscapes, and even the animals, with 
much greater facility, and even better than him- 
self. By conforming to the Chinese taste he be- 
came a great favorite, even with the painters, and 
was enabled to establish a drawing-school. Be- 
tween 1753 and 17G0, the Emperor obtained seve- 
ral victories over some Tartar hordes in distant 
provinces of the north-west of the empire ; and in 
1754, Attiret was oi-dered to follow, in order to 
hnmortalize the victories on the scene of their oc- 
currence. He made many accurate drawings of 
triumphs, processions, festivals, etc., in which he 
was assisted by Chinese artists ', and from these he 



painted several pictures, which, with portraits of 
the Emperor, so much pleased the monarch that he 
created Attirct a Mandarin, with all the appoint- 
ments ; a dignity which the painter declined. 
Some of these pictures were preserved in the pal- 
ace, and shown only by permission of the Empe- 
ror. No pains were spared to render them com- 
plete ; man}^ officers who distinguished themselves, 
travelled, according to Amiot, even eight hundred 
leagues to sit for their portraits. Sixteen of 
these, or similar drawings, were sent to Paris to be 
engraved at the Emperor's expense. The prints 
were on a mammoth scale, and are extremely 
scarce, for they were sent with the plates to China 
as soon as printed, a few impressions only being 
reserved, for the royal family of France, and for 
the Library of Paris. 

Attiret died at Pekin in 1768, aged sixty-six. 
The Emperor ordered two hundred ounces of silver 
to be given towards the expense of his burial. 

ATTIRET, Claude FRAN901S, a French sculp- 
tor, the nephew of the preceding; born at Dole in 
1728 ; studied under Pigal, and executed four stat- 
ues of the Seasons ; two of St. Andre and St. 
Jean ; and one of Louis XVI., the first ever erect ■ 
ed to that monarch, made for the city of Dole. 
He executed also the ornaments of the public foun- 
tain of his native city. 

AIIBERT, AuGUSTiN, a French portrait, histo- 
ricivl and landscape painter, born at Marseilles, in 
1781. His landscapes represent views in the vici- 
nity of his native city. His principal subjects are 
from sacred history, many of which are of large 
size. His works are held in considerable estima- 
tion in France. 

AUBERT, Jean, a French engraver. The fol- 
lowing are his principal works, which are little 
more than slight etchings, without much effect : 
Portrait of Gil lot, an upright plate ; A set of 
Academy figures, from E. Bouchardon; and a 
Book of studies for Drawing, after Baff'aelle, and 
other masters, from drawings by Bouchardon. 

AUBERT, Michel, a Parisian painter, and his- 
torical engraver, born in 1700. His style is slight 
and free ; in some of his historical subjects he 
seems to have imitated the manner of Gerard Au- 
dran, though not with much success. He died at 
Paris in 1757. His plates are : 

PORTRAITS. 

Elizabeth, Queen of England, 4to. Charles Emanuel, 
I)uke of Savoy, afte?- Vandyck. Victor Amadeus, King of 
Sardinia, after Ferrand. James I., King of England. 
Philip of France, Duke of Orleans, after Nocret. The 
Marchioness de Montespan. Louis, the Dauphin of France, 
on Horseback ; Louis XV. on Horseback, after Le Sueur. 
Two portraits, of the Dauphin and Dauphincss ; Charles 
Stuart, oval, after La Tour. A great many portraits for 
La Vie des pi us fameux Pemtres, by D'Argenville. 

SUBJECTS AFTER DIFFERENT MASTERS. 

The Circumcision, after Ciro Ferrl. St. Francis, after 
I Guido; arched. Pan instructed by Cupid, half-length fig- 
j urcs, after Caracci. St. George kneeling before the Virgin 
INLxry and Infant, after Parmiggiano. Mars and Venus 
bound by Love ; Mars disarmed by Venus, after P. Vero- 
nese., for the Crozat Collection. Vanity, an allegorical 
subject, after Bouchardo7i. Venus reposing with Cupid; 
the Deatii of Adonis, after Boucher. Laban seeking for 
his Gods ; the lleconciliation of Jacob and Esau, after Jeau- 
rat. The Promenade on the Ramparts ; the Rendezvous do 
Chasse, after Watteau. 

AUBIN, Augustin de St., a very ingenious 
Parisian engraver, born in 1720, studied under 



AUBI. 



49 



AUBR. 



Laurence Cars, and imitated his style. lie exe- 
cuted an immense number of plates, embracing his- 
torical subjects, portraits, frontispieces and other 
ornaments for books ; besides the collection of gems 
of the Duke of Orleans, and the collection of med- 
als belonging to M. Pellerin, which numbered about 
three thousand. He was a member of the Acad- 
emy of Painting. The following is a list of his 
principal works : 

PORTRAITS AFTER COCHIN LE FILS. MOSTLY IN QUARTO. 

Charles Nicholas Cochin, 1771; Anthony Bcn.ume, 1772; 
Joseph Anthony de Blanchavd ; Guillaume le Blond ; jMarie 
Joseph Lavalette de Buchclav; Jean Jacques Caffieri, 
sculptor; Guillaume Couston, sculptor; Autoino Depar- 
cieux ; Jacques Dumont le Komain, painter ; Madame de 
Norman d'Estiolles (Pompadour), 1764; Benjamin Frank- 
lin, with Spectacles ; Benjamin Franklin, reading a Paper ; 
L'Abbe Charles Ganzargiies ; Gucrin, famous surgeon ; 
Pierre Jeliot, etched by Cochin, and finished by St. Aubin ; 
Jean Antoine Ptigoly de Juvigny ; Joseph Mario Frangoi.? 
de Lassone, the Queen's Physician ; Pierre Jean Mariette, 
celebrated amateur ; J. F. Marmontel, of the French Acad- 
emy ; Jean Joseph Cassana de Mondonville ; Monet, Di- 
rector of the Comic Opera ; Sauveni Frangois Morard, sur- 
geon ; Jean Baptist PigJile, sculptor ; Guillaume de la 
Motte Piquet ; Alexis Piron, poet ; M. Philidor, the cele- 
brated chess player and musician ; L'Abbe Pommier, etched 
by Cochin, and finished by St. Aubin ; Jean Philip Kameau, 
musical composer ; L'Abbe Eaynal, the historian ; Roetiers 
le Pere ; Leonard le Roux, architect ; Charles des Brosses, 
Comte de Tournay ; Thomas Walpole ; George Washing- 
ton. 

PORTRAITS FROM HIS OWN DESIGNS, AND OTHERS. 

Le Prince Charles de Saxe, Due de Courland, 1769 ; 
Charles Henri de Ilcineken, amateur ; Linguet, fameux 
Avocat, 1774 ; P. L. de Belloy, author of the Siege of Ca- 
lais — an allegorical portrait ; Pierre le Gran<l, for M. de 
Voltaire's work ; Portrait de 51. Pellerin, famous anti- 
quary ; Le Due de Chevreu.se ; Buste de Languet de Guercy, 
1767 ; frovi his own designs. Claude Joseph Dorat ; Sal- 
omon Gesner, poet and painter ; Frangois Arrouet de Vol- 
taire; M.Worlock, English physician; after Dcnon. Denis 
Diderot; after J. B. de Greuze. Buste de Voltaire; 
Buste de Cvebillon ; after J. B. Le Moine, sadptor. Jean 
Jacques Rousseau ; cfter La Tour. Claude Adrien Hel- 
vetius ; after L. M.'Vanloo. Charles XII., King of Swe- 
den ; after Gardellc, for Voltaire's work. Portrait du Roi 
de Sardaigne; after J. P. Bouckerat. 

SUBJECTS FROM HIS OWN DESIGNS, AND OTHERS. 

Set of six prints, entitled Diferens jeux des petits po- 
lisons de Paris ; two prints for Pretot'.s Roman History ; 
from his own designs. Vertumnus and Pomona ; Am- 
phion saved by the Dolphin ; after Boucher. Four prints, 
of the Fountain of Grenelle ; after E. Bouchardon. Ve- 
nus on the Waves ; etched by M- L. du Ronserai, and fin- 
ished by St. Aubin. The Five Senses ; cfter P. Dumes- 
nil; engraved by St. Aubin, Le Vasseur, and Tillard. 
Concert of the Graces and Nymphs ; after Cochin. Venus 
and Adonis ; cfter D. Le Fexre. Custom of the Russians 
before and after Marriage ; after J. B. le Prince. Venus 
a la Coquille ; cfter Titian. Jupiter and Lcda ; after P. 
Veronese. A Battle in a mountainous Country in China ; a 
Chinese Camp. — [These two prints were engraved from two 
drawings sent to Paris by the Emperor of China. 

AUBIN, Charles Germain de St., a Parisian 
designer and engraver, brother of Augustin A., 
born in 1721. He executed several plates, from 
his own designs, of flowers and fancy subjects, 
which possess considerable merit. 

AUBIN, Gabriel jAauEs de St., a Parisian 
historical painter and engraver, brother of Augus- 
tin. born in 1724. He engraved some plates, from 
his own designs, the principal of which are : Six 
Statues — of the Christian Virtues ; View of the 
Louvre Exhibition of Paintings in 1753. 

AUBIN, Augustin de St., a skilful Parisian 
engraver, born in 1736. Besides compositions of 



his own, he engraved the works of several Italian 
and French masters, of which a list may be found 
in Heineken. His works are executed with the 
graver in a neat, clear, fine manner. 

AUBRIET, Claude, a French painter and de- 
signer, born at Chalons-Sur-Marne in 1651, and 
died in 1743. Having studied under Joubert, and 
acquired some reputation as a miniature painter, he 
was appointed to make drawings of objects of natu- 
ral history in the Jardin des Plantes at Paris. Here 
he formed the acquaintance of Tournefort, who 
thought so highly of his talents, that he proposed 
that Aubriet should accompany him on his journey 
to the Levant, which the latter accepted. On his 
return he v\-as appointed painter to the King at the 
Jardin des Plantes, as successor to Joubert ; where 
he was occupied many years in adding to that fine 
collection of Illustrations of Natural History, which 
was commenced at Blois by Nicolas Robert, by or- 
der of Gaston, Duke of Orleans. This collection, to 
which Joubert also contributed, amounts to sixty- 
six folio volumes, and is now in the library of the 
Jardin des Plantes. Aubriet's drawings in this 
collection are superior to those of Joubert, though 
not always equal to those of Robert. The plates 
which illustrate Tcurnefort's great work, Ele- 
ments de Botaniqye, or the Latin ecation Insti- 
tutiones Rei Ilerbarice, were from the designs of 
Aubriet. The plates accompanying Tournefort's 
account of his voj^age to the Levant, were after 
designs by Aubriet, drawn on the spot. On his 
return from the Levant, he commenced the draw- 
ings for Sebastian Vaillant's great work, published 
in folio, in 1727. In the Royal Library at Paris are 
five folio volumes of his designs. Aubriet was also 
an able botanist. 

AUBRY, Abraham, a German engraver, born 
at Oppenheim, and flourished about 1650. He en- 
graved eleven of the twelve plates representing the 
twelve months of the year ; after Sandrart j the 
other, the month of May. was executed by F. le 
Brun. He resided chiefly at Strasburg, where he 
dealt considerably in prints. 

AUBRY, Peter, a German engraver, born, ac- 
cording to Iluber, at Oppenheim in 1596. He was 
probably a relative of Abraham Aubry, and was 
also established at Strasburg as a print-seller. 
Heineken mentions a list of his portraits of em- 
inent persons of different countries, which are ex- 
ecuted with the graver in an indifferent style. 
Among others are the following: Oliver Crom- 
well ; Bernard, Duke of Saxe- Weimar ; Ferdinand 
Ernest, Count of "Wallenstein ; John Schmidt, 
Doctor of Theology; Michael Virdunga,, Profes- 
sor at Altdorf. 

AUBRY, John Philip, an engraver and print- 
seller, who lived at Frankfort about 1670, and was 
probably a relative of the two preceding artists. 
He executed a large number of plates for the book- 
sellers, as well as for his own collection ; consist- 
ing chiefly of portraits. They are executed in a 
very indifferent style. 

AUBUISSON, MARauis d', a reputable French 
painter. He exhibited in the Royal Academy from 
1812 to 1822, a number of poetical and historical 
pictures; namely, Paris taking leave of Helen; 
Hector forcing Paris to quit Helen; Alexander 
and Bucephalus ; and the Punishment of Hebe. 

AUDEBERT, Jean Baptiste, a French artist. 



AUDE. 



50 



AUDO. 



^ho united in a high degree the talents of an en- 
graver to the knowledge of natural history. He 
was born at Rochefort in 1759, and at the age of 
18 went to Paris, where he studied drawing and 
painting, and became an excellent miniature paint- 
er. In" 1789 he made the acquaintance of Gigot 
d'Orcy, a great lover and promoter of the science 
of natural history. D' Orcy possessed a very large 
collection, and employed Audebert to paint copies 
of the rarest specimens. He afterwards enabled 
the latter to visit England and Holland for im- 
provement, where he made a great number of de- 
signs from nature, some of which have been used 
in'Olivier's History of Insects. This occupation 
awakened in him a taste for natural history, and 
he immediately undertook some works which laid 
the foundation of his reputation. The first was 
VHlstoire Naturelle des Singes, des Makis et des 
Galeopjtheques, (Paris, 1800, folio), in which he 
shows himself an able draughtsman, engraver, and 
writer. With regard to coloring, so essential in 
natural historj^, he brought it to a high degree of 
perfection. Not satisfied with laying different col- 
ors on the same plate, he went even farther, and sub- 
stituted oil instead of water colors, as more dura- 
ble. He carried his art to still greater perfection 
by using gold in his impressions, the color of which 
he changed in different ways, in order to imitate 
the splendor of his models. Natural history was 
greatly benefitted by his work, the splendor of 
which is astonishing. He also rendered much as- 
sistance in the publication of Le Vaillant's African 
Birds. His Histoire des Colibris des Oiseaux- 
Moiiches, des Jacamars et des Fromerops, (Paris, 
1802. folio.) is esteemed the most complete work 
of the kind extant. Scarcely was it began, when 
Audebert formed new plans, the execution of which 
would have occupied the longest life. He died in 
1800, when he had scarcely commenced P Histoire 
des Grimpereaux et des Oiseaux de Paradis. 
Both works were admirably finished by Desray, 
who was in possession of the materials, and the 
process for carrying on the work. 

AUDENAERDE, or OUDENAERDE, Robert 
VAN, a Flemish painter and engraver, born at 
Ghent in 1663. He studied first under Francis 
van Mierhop; and subsequently with John van 
Cleef. At the age of twent3'-two he visited Rome, 
and studied with Carlo Maratti, under whose in- 
struction he became a reputable historical painter. 
He etched a few plates for amusement, whieh were 
shown to ]\Iaratti, who advised him to devote his 
energies entirely to that branch of art. He how- 
ever painted several pictures for the churches of 
Ghent, executed entirely in the style of Carlo Ma- 
ratti, among which is the great altar-piece in the 
Church of the Carthusians, representing St. Peter 
appearing to the monks of that order ; considered 
his best work. In the Church of St. James is a 
picture of St. Catherine refusing to worship the 
False Gods. As an engraver, his drawing shows 
a perfect knowledge of the human figure, and is 
extremely correct. Some of his plates are execu- 
ted entirely with the graver, but are considered in- 
ferior to those where he used the point. Most of 
his prints are after the pictures of Carlo Maratti. 
The following is a list of his principal works. He 
usually marked his plates with one of these mono- 



or 



m.-'vv.-'v^. 



The Cardinal Sacripanti, 1695 ; the Cardinal Turiisi ; the 
Cardinal Ottoboni ; after J. B. Gauli. The Cardinal F. 
Barberini ; after C. Maratti. The Cardinal Henry de la 
Grange d'Arquien; after S. Desportes, 1695. The Car- 
dinal Joseph d'Archinto, 1699; the Cardinal Andrea di 
Santa Croce ; after G. Passeri. The Father Francesco 
Caraccioli, adoring the Sacrament ; after A. Procaccini. 

SUBJECTS AFTER DIFFERENT ITALIAN MASTERS. 

After Carlo Maratti. — Agar in the Desert ; the Sacri- 
fice of Abraham ; Eebecca and the Serv-ant of Abraham ; 
David, with the Head of Goliah ; the Triumph of David ; 
Bathsheba in the Bath ; the Annunciation ; the Adoraticn 
of the Magi, etching ; the Flight into Egypt, same, A. v. 
Westerhout, exc. ; the Repose in Egypt, octagon ; our Sa- 
viour on the Mount of Olives ; the Crucifixion ; the Dead 
Saviour in the Lap of the Virgin, with the Marys and St. 
John ; the Death of the Virgin, 1728 ; the Assumption of 
the Virgin ; the Death of t^t. John, etching ; the Virgin 
Mary with the Infant Jesus, distributing Chaplets to Nuns ; 
Mai-y Magdalene, penitent ; the Martyrdom of St. Blaise ; 
St. Anthony of Padua, kissing the Infant Jesus ; St. Philip 
of Neri ; Janus, first King of Italy, received amongst the 
Gods ; Romulus and Remus ; Apollo and Daphne, in two 
sheets. 

After P. da Cortona. — The Nativity ; six etchings, of 
the Life and Death of St. Bibiena. 

After Bernini. — Ilippomenes and Atalanta, a groiip. 

After Gio. da Bologna. — The Rape of a Sabine Woman, 

After Giac. Brandi. — St. Facunda. 

After Ann. Caracci. — The Birth of the Virgin. 

After Domenichino. — The Scourging of St. Andrew ; St. 
Andrew conducted to his Crucifixion ; St. Andrew trans- 
ported to Heaven. 

After Marc. Antonio Pranceschini. — St. Luke painting 
the Portrait of the Virgin. 

After J. B. Gauli.— The Wrath of Achilles, in three 
sheets. 

The Pope Innocent XII. on his Throne, at his feet Heresy 
subdued, and the Four Quarters of the World prostrate. 

AUDOUIN, Pierre, an eminent Parisian en- 
graver, born in 17C8, studied under Beauvarlet, 
lie engraved for the collection of the Museum, 
published at Laurent, several of the finest works 
of the Italian and Dutch masters. The following 
are his best works : 

Jupiter and Antiope ; after Correggio. La belle Jar- 
diniere ; after Raffaelle. The two Portraits called Rafiaelle 
and his Fencing-master ; ascribed to Raffaelle. The En- 
tombment of Christ ; after Caravaggio. Charity ; after 
Andrea del Sarto. Melpomene, Erato, and Polyhymnia ; 
after Le Sueur. Two subjects, after Perburg ; one do., 
after Mieris ; and one do., after Netscher. The Portrait 
of Louis XVIII. ; after Le Gros. 

AUDRAN, Charles, a Parisian engraver, born 
in 1594. He was the first of the family of Audran 
that became eminent in this art, in which it holds 
so distinguished a rank. When very young he 
manifested a strong inclination for art. After re- 
ceiving some instruction in drawing, he went to 
Rome for improvement, where he executed some 
plates that attracted admiration, and encouraged 
him to fresh efforts. On returning to France, he 
settled at Paris, where he had great success, and 
died in 1674, aged 80. He used the graver exclu- 
sively ; his style resembles that of C. Bloemaert, 
but is more highly finished. He marked his prints 
during the earlier part of his life, with a C, until 
his brother Claude began to mark his own plates 
with the same letter, when he changed it for K., as 
the initial of Karl. The following are his principal 
works : 

PORTRAITS. 

Henry of Bourbon, with the Four Cardinal Virtues ; K. 
Audran, sc; oval. Andrew Laurent, Physician to Henry 
IV. ; oval. Peter Legier ; oval, with ornaments. An alle- 



AUDR. 



51 



AUDR. 



gorical subject, of two Portraits, with a Genius painting a 
third Portrait, inscribed on the palette, unus ex duobus ; 
signed C Audran, fecit. 

SUBJECTS AFTER DIFFERENT MASTERS. 

After p. da Cortona. — A set of twenty prints with the 
title, for the Gallery of the Great "Women, representing 
Anne of Austria, and nineteen other eminent women, with 
a subject from their life in the background. 

After Lodovico Caracci. — The Annunciation, inscribed 
Spiritus Sancfus, d^c; incorrectly attributed on the plate 
to Annibale; very fine. It is from the picture in the Ca- 
thedral at Bologna. 

After Ann. Caracci. — The Baptism of Christ, small oval, 
no name. 

After Melini. — St. Francis de Paola; marked CaW. Au- 
dran, sc. 

After the Younger Palma.—The Stoning of Stephen. 

After Stella. — The Conception of the Virgin Mary, in- 
scribed amat hanc, (^c; The Nativity, with David writing 
on a Tablet; The Holy Family, with St. Catherine and 
Angels, fine. 

After Titian. — The Virgin and infant Jesus, St. John 
presenting an Apple, and St. Catherine kneeling ; very fine. 

After G. L. Valesie. — The Virgin Mary and infant Je- 
sus treading on the Serpent. 

After C. Vignon. — A Thesis, representing Pteligion as 
the true knowledge, inscribed Noa judicamus, <^c. 

After Vouet. — St. Francis in ecstacy before the Sacra- 
ment, inscribed Tergeminus in terris ; Frontispiece for a 
Book, a Genius holding the Portrait of Cardinal Mazarin, 
inscribed Joliannes F'rancisci, <f*c. 

After Domenichino. — The Assumption of the Virgin; 
very fine. 

AUDRAN. Claude, a Frencli engraver, Lorn at 
Lyons in 1G39. He was the second son of Claude, 
the brother of Charles Audran, and studied draw- 
ing under his uncle Charle."} at Paris, but after- 
wards went to Rome. On his return to Paris he 
was engaged by Le Brun, whose style he imitated. 
He painted in fresco under the direction of that 
master, the chapel of Colbert's Chateau dc Sceaux ; 
the gallery of the Tuilleries ; the grand staircase 
at Versailles, and many other works. He also as- 
sisted Le Brun in his Battle of Alexander at the 
Passage of the Granicus, and the Battle of Arbela. 
His drawing was correct, and he had great facility 
of execution. He was appointed Professor of the 
Academ}'- of Painting, and retained this situation 
with much credit till his death, which occurred at 
Paris in 1G84. 

AUDRAN. Germain, a French engraver, born 
at Lyons in 1G3L He was the brother of Charles 
Audran, and studied under that master. Plis 
merit was considerable, though inferior to that 
of some others of his family. He engraved sev- 
eral plates, consisting of portraits, and a variety 
of ornaments, ceilings, vases. &c.. among which are 
the following : 

The portraits of Charles Emanuel II., and of Francis of 
Orleans, in an oval; after Caravaglia. The portrait of 
Cardinal de Richelieu, in an oval. The portrait of The- 
ophilus Reynaud ; Ger. Audran, sc. 1663. Six sheets of 
Ceilings; after George Charmeton. Six ornaments of 
Vases ; after N. Robert. A book of Friezes ; after La 
Jf^age. A book of Views in Italy; after Fancus. Six 
Landscapes ; after Gaspar Poussin. Thirty-one designs 
of Fountains, Friezes, &c. ; after Le Brun. 

AUDRAX. Gerard, a very celebrated French 
engraver, the son of Claude, and the nephew of 
Charles Audran, was born at Lyons in 1G40. He 
studied the elements of the art under his father, 
but afterwards went to Paris and remained sev- 
eral years under the tuition of his uncle. He af- 
terwards vi.sitcd Rome for improvement, and is 
said to have .studied under Carlo ^Maratti. He re- 
sided in that city three years, and executed a por- 



trait of Clement IX., and some other works, which 
gained him so much reputation that the great Col- 
bert, himself a liberal patron of the arts, invited Aud- 
ran to return to Paris. Soon after his arrival he 
was appointed engraver to the king, with apart- 
ments in the Gobelins and a considerable pension. 
He now applied himself with great assiduity, and 
formed an intimate connection with the celebrated 
painter Charles Le Brun, whose principal works 
are the subjects of some of his finest plates, and 
it may be said that the pictures of that great'mas- 
ter have been embeUished by the admirable graver 
of Gerard Audran. He may be said to have car- 
ried the art to its highest perfection, especially in 
his large historical plates. The Battles of Alex- 
ander will ever be regarded as a lasting monument 
of the fame of both artists. He died in 1703, aged 
G3. He executed a large number of plates, of 
which the following are the principal : 

PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. 

Pope Clement IX., of the family of Pv-ospigliosi ; Andrea 
Argolus, S. Marci Eques; Samuel de Sorbiere, engraved at 
Rome in 1667. Henry Amaud, Bishop of Angers ; Le Be- 
noit Langeois, capuchin; Fras. du Quesnoy, called Fla- 
mingo, sculptor ; St. Paul preaching at Athens, vignette, 
inscribed Non emin, tf-c; Wisdom and Abundance, above, 
two Genii with a Banner, inscribed i/o wis le Grand. Front- 
ispiece, 1680. 

.SUBJECTS FROM VARIOUS ITALIAN MASTERS. 

After Raffaelle. — Thirteen Ilieroglyphical Figures, in 
the Vatican. Fifteen plates, called emblems, or Cupid and 
Psyche, in a loggia in the Famese Garden, dedicated to 
Ctuirles Le Brun. Moses and the Burning Bush. St. 
Paul and Barnabas at Lystra. St. Paul beaten by De- 
mons ; after a drawing by Rubens, and not after Raffa- 
elle, as expressed on the plate ; it is St. Ignatius and not 
St. Paul. Jesus Christ giving the Keys to St. Peter in pres- 
ence of the Apostles ; a fine etching ; R. V., inv., G. Au., 
sc; very scarce. The Death of Ananias. The Descent of 
the Saracens in the Port of Ostia ; from a drawing by 
Rafaelle ; etching without his name. The Clemency of 
Scipio ; after a drawing ; an etching, without his name. 

After Domenichino. — .^neas saving his Father Anchi- 
ses. The Mystery of the Rosary, The Martyrdom of St. 
Agnes. The Temptation of St. Jerome. Four sheets, of 
the four Angels in the Church of St. Carlo de Catenari, 
representing Justice, Temperance, Prudence and Fortitude, 
Rome, 1675. 

After P. da Cortona. — Two Friezes, St. Paul preach- 
ing, and the Descent of the Holy Ghost, on one plate. Six- 
teen prints, of the History of ^neas, in the Pamphili Gal- 
lery, Three plates, of the Triumjjh of David, in the Sac- 
chetti Palace, 

After Ann. Caracci.— Tha Death of St. Francis. The 
Martyrdom of St. Sebastian. The Temptation of St. An- 
thony. The Discovery of Achilles disguised. 

After Guercino. — St. Hyacinth ; an etching. 

After Guido. — The Magdalene, half-length. 

After Lanfranco. — St. Peter walking on the Sea. 

After a Drawing of Palma.— The Nativity, a small 
plate. 

After GiuUo Romano.— Silenm Drinking; an etching 
The Rape of Dejanira. 

After Titian. — Ganymede ; an octagon, 

SUBJECTS FROM VARIOUS FRENCH MASTERS. 

After N. Poussin. — Moses taken out of the River Nile; 
engraved by Benoit and John Audran, and retouched by 
Gerard. St. John baptizing the Pharisees in the Jordan ; 
two sheets, very fine. The "Woman taken in Adultery; 
fine. St. Francis, a Roman Saint, kneeling before the Vir- 
gin Mary ; copied from a print by P. del Po. The Flight 
of Pyrrhus ; in two sheets, fine. Coriolanus appeased by 
his Family ; similar to the preceding. Furius Camillus 
delivering up the Schoolmaster to his PupiLs ; large jjlate. 
Rinaldo and Armida ; engraved by Gerard, assisted by 
John and Benoit Audran. Daphne changed into a Laurel. 
Narcissus, The Empire of Flora. The Plague at Rome. 
Time discovering Truth ; a ceiling. 

After Le Brun. — Moses and the Burning Bush, The 
Descent of the Holy Ghost. The'Stoning of Stephen. Four 



AUDR. 



52 



AUDR. 



sheets, of the Triumphal Entry of Coqstantine into Eome. 
Six sheets, of the Ceiling of the Chapel de Sanlx ; very fine. 
Four sheets, of the Pavilion of Saulx, called the Pavilion 
of Aurora ; dedicated to Louis XIV. Thirteen large sheets, 
making together the four prints of the Battles, &c., of Alex- 
ander: 1. The Passage of the Granicus. 2. The Defeat 
of Darius at Arbela. 3. Porus brought to Alexander after 
his Defeat. 4. The Triumphal Entry of Alexander into 
Babylon. To these are added, Alexander entering the tent 
of Darius ; engraved by Gerard Edellnck^ and Avhich will 
be noticed under his name. The best impressions of these 
superb prints, are those marked with the name of Goyton, 
the printer. 

After p. Mignard. — The Plague ; in the first impres- 
sions of this plate, the figure in the clouds is Juno with a 
Peacock ; in the latter, the figure is changed to the Exter- 
minating Angel. Christ bearing his Cross. Three plates, 
of the ceiling of the lesser Galleiy at Versailles ; Apollo and 
the Muses, Prudence and Vigilance. Six plates of the ceil- 
ing of the Val de Grace, representing the Felicity of the 
Blessed. 

After Le Sueur. — The Martyrdom of St. Laurence. The 
Martyrdom of St. Gervaise and St. Protais. The Aurora ; 
inscribed Lucerna pedibus. 

After L. Testellin. — Time and Truth dispersing the 
Clouds of Ignorance. 

After F. Verdier. — Pharoah's Host destroyed in the Red 
Sea. Flight into Egypt. 

After Borgognone. — Battle of the Saracens. Taking 
of the Town of Damieta. 

After Ant. Coypel. — The Judgment of Solomon. 

After La Page. — The Deluge. The Passage of the 
Red Sea. 

After the Marble by Girardon. — The Rape of Proser- 
pine. 

AUDRAN, Benoit. a French engraver, born at 
Lyons in 1661. He was the second son of Ger- 
main A., from whom he at first received instruc- 
tion. He subsequently studied under his uncle, 
the celebrated Gerard A., and though he never 
equalled that master, yet his admirable portraits 
and historical subjects have justly acquired for 
him great reputation. His drawing is very cor- 
rect, his heads have a fine expression, and his style, 
like that of Gerard, is clear and bold. He was a 
member of the Academy of Painting, and was ap- 
pointed engraver to the king, with a pension. He 
died in 1721, aged 60. The following are his prin- 
cipal works : 

PORTRAITS. 

Benoit Audran; Joseph Clement, Elector of Cologne 
Maximilian Emanuel, Elector of Bavaria ; after J. Vivien 
The Reverend Louis de Thomas de la Valette ; B. Au 
dran, fecit^ ad vivum.. The Reverend Father Renaud 
after Bonnet. Charles le Goux, Archbishop of Narbonne 
after B. de Boulogne. J. B. Colbert; after C. le Fevre 
oval. Henry de Beringhen ; Nauteuil, pin.; 1663; B 
Audran, sc. ; 1710. Samuel Frisching, General of the 
Swiss ; J. Huber, pin. ; Ben. Audran, sc. 1713. J. F. de 
Willading; 1718; J. Huber, pin.; B. Audran, sc. Eques- 
trian statue of Lous XIV.; after Desjardins ; by B. and 
J. Audran. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Baptism of Jesus Christ ; after Albano. The Rape 
of Dejanira; after Guido. David with the Head of Go- 
liah ; after a picture in the collection of the King of France, 
improperly attributed to Michael Angelo Buonarotti, but 
more probably the Avork of Daniello da Volterra ; two 
plates, engraved by B. and J. Audran, in 1716, 1717. A 
Bohemian, or Gipsey, telling Fortunes ; after M. Angelo 
da Caravaggio. Lot and his Daughters, for Crozat Col- 
lection ; a subject called Disgust; after P. Veronese. Mo- 
ses defending the Daughters of Jethro, engraved by John, 
and retouched by Benoit Audran ; the Espousals of Moses 
and Scphora ; Moses and the Brazen Serpent ; the Purifi- 
cation ; the Elevation of the Cross, 1706 ; the Descent from 
the Cross ; an allegorical subject, of Holland accepting 
Peace ; after Le Brun. Zephyrus and Flora ; after Ant. 
Coypel. The Baptism of Christ ; the Pleasures of the Gar- 



den, two friezes; after Mignard; engraved by Benoit 
and John Audran. The Saviour, with 5'Iartha and Mary ; 
St. Paul preaching at Ephesus ; Alexander drinking the 
Cup which his Physician presents him; after Le Sueur. 
Two fine prints for the Luxemburg Gallery, representing 
the Accouchment of Mary of Medicis ; after Rubens. Six 
plates, of the Twelve Months in the Year ; after Claude 
Audran, 

AUDRAN, Jean, a French engraver, born at 
Lyons in 1667. He was the brother of Benoit, 
and the third son of Germain Audran. He learned 
the elements of the art from his father, but was 
subsequently placed under the care of his uncle, 
the famous Gerard Audran. Before he was twenty 
years old he displayed unusual ability, and be- 
came a very distinguished engraver. In 1707 he 
was appointed engraver to the king, with apart- 
ments in the Gobelins. Great talent is evident 
in all his works ; and though he did not attain 
the perfection of Gerard Audran, his claim to ex- 
cellence is very great. This laborious artist prac- 
tised the art until upwards of eighty years of age, 
and died in 1756. The folloAving are his chief 
works : 

PORTRAITS. 

Louis XV., full length ; after Gobert. Portrait of a 
Prince, with his Page, full length ; Clement Augustus, 
Prince of Bavaria ; De la Motte Fenelon, Archbishop of 
Cambray ; after Vivian. J. B. Colbert, Marquis of Tor- 
cey; the Duke d' An tin, bust, oval; the Abbe Victor Maria 
d'Estrees, oval ; after Largilliere. The Cardinal Peter 
Ottobani ; after Trevisani. Peter Gillet ; after Tortebat. 
Francis Robert Secousse, sitting ; after Rigaud. Peter 
Paul Rubens; after Vandyck ; for the Luxemberg Gal- 
lery. Noel Coypel, Painter to the King ; his piece of re- 
ception at the Academy, 1708. Anthony Coyzevox, Sculp- 
tor to the King, 1708 ; the same ; after Rigaud. 

SUBJECTS AFTER VARIOUS MASTERS. 

Our Saviour in the Bark, pi-eaching ; after Raffaelle. 
The infant Saviour regarding the Cross presented by An- 
gels ; after Albano. The Nativity ; after P. da Cortona; 
oval. Tjic Good Samaritan ; after Aim. Caracci; arched. 
St. John administering the Sacrament to the Virgin ; after 
Lodovico Caracci. Our Saviour on the Mount of Olives ; 
after Domenichino. St. Andrew led to Crucifixion ; after 
Guido. The Martyrdom of St. Peter; after Guido) on 
the plate improperly called after Domenichino. St. Paul 
preaching at Athens; after Ciro Ferri; a small frieze. 
Galatea; after Carlo Maratti ; fine; for Crozat Collec- 
tion. The Miracle of the Loaves; after Claude Audran. 
Six plates, copies of the large Battles of Alexander; by G. 
Audran. St. Augustine ; after P. de Champagne. Sim- 
eon holding the infant Jesus ; after M. Cornellle. Moses 
saved from the Nile ; Jacob and Laban ; Athalia seeing 
Joas on the Throne ; the Resurrection ; Cupid nnd Pj^sche ; 
after Ant. Coypel. Our Saviour curing the Sick ; Christ 
beai'ing his Cross ; after Ant. Dieu. The Elevation of the 
Cross ; the Crucifixion ; after Vandyck. The French Par- 
nasus ; after the bronze by Gamier. The Miraculous 
Draught of Fishes ; the Resurrection of Lazarus ; the Queen 
Blanche inspired with the Holy Spirit ; after Jouvenet. 
Acis and Galatea; after F. Marot. Venus punishing 
P,ysche ; Pysche consoled by Cupid ; after J. M. Nattier. 
The dead Christ, with the Marys, St.' John, and Nicode- 
mus ; the Rape of the Sabines ; after Poussin, his most 
esteemed print. St. Scholastica at the point of Death ; after 
J. Restout. Andromace entreating for her Son ; after L. 
Silvestre. Henry IV. deliberating on his marriage ; Henry 
IV. preparing for the German War ; the Coronation of the 
Queen, very fine. 

AUDRAN, Louis, a French engraver, the young- 
est son of Germain Audran, born at Lyons in 
1670, studied under his uncle, Gerard A. He 
executed some copies of the large plates engraved 
by his relatives ; and a set of seven middle-sized 
plates of the Seven Acts of Mercy ; after Bourdon. 
He did not engrave many prints, but assisted his 



il 



AUDU. 



53 



AUDU. 



brothers in for^rarding theirs. He died at Paris 
in 1712j aged 42. 

AUDUEON, .John J. The author does not 
propose to write a biography of this extraordinary 
raan^ for all the space the plan of this work allows 
will be required to give even a brief sketch of his 
merits and works. He has himself written his 
autobiography, which will soon be published, un- 
der the supervision of his accomplished sons, which 
will not only contain the incidents of his remark- 
able life, but a fund of the most interesting and in- 
structive information. He has been called abroad 
the '-great American Ornithologist/' but in this 
work he should be spoken of as a great artist, as 
v/ell as a great naturalist. Most ornithologists 
and naturalists derive their information from cab- 
inets, as well as from a study of nature, and the}^ 
generally employ artists to depict the subjects 
of their researches. Therefore many of their works 
have the appearance oi nature dead; whereas Au- 
dubon studied and depictird nature licing. With 
his shot gun. faithful dog, and tin box, filled with 
painting materials, he has spent the greater share 
of his long life in exploring almost every part of 
North America in search of his favorite objects, 
and when he procured a new specimen, he imme- 
diately painted it to the life, with the scenery of 
its native haunts, and in the pursuit of its natural 
instincts. It is this that gives such an originality, 
truth, and value to his works. The drawings of 
his animals have not less merit than those of his 
more favorite birds. It is astonishing to contem- 
plate what his genius, enthusiasm, and indomitable 
energy of character has accomplished. His pub- 
lished Avorks form but a small part of his finished 
drawings, for he has left behind him stacks of ex- 
quisite pictures of insects, reptiles, plants, and 
flowers — ever}'^ thing, in short, peculiar to the 
Continent of America in animated and beautiful 
nature. 

Highly gifted by nature, and blessed with an iron 
( onstitution, Audubon possessed an enthusiasm for 
his favorite pursuits that knew no bounds, that 
stopped at no difficulties or dangers, and that 
quailed before no misfortunes. He first saw the 
Bird of Washington on the borders of the great 
Lakes, but failing to secure it, its image haunted 
his imagination, and it was the object of his pur- 
suit for ten long years, and when he got it on the 
coast of Labrador, his triumph of joy knew no 
bounds. When two Norway rats had gnawed a 
hole into a chest containing his finished draw- 
ings — the labor of many years, which they totally 
destroyed ; undismayed, like Newton under a like 
misfortune, he went bolclly forth and supplied their 
loss at an expense of three years time and labor. 
When he had resolved upon the gigantic enterprise 
of publishing his Birds of America, he made inef- 
fectual attempts to do this, both in New York and 
Philadelphia without meeting with any sympathy 
or encouragement. Your money makers look upon 
such men as wild enthusiasts. Then it was that 
he boldly set sail for Europe, where his great 
merits immediately won him the admiration, sympa- 
thy, and encouragemxcnt of the learned and the good ; 
and during a period of fourteen years, he toiled in 
erecting that glorious monument of his genius, 
which will prove more lasting than enduring mar- 
ble — the Birds of America. It is astonishing to con- 
template what he has accomplished. His Birds of 
America, in four volumes, thirty by forty inches. 



contain four hundred and thirty-five copper plates, 
comprising more than a thousand figures of birds, 
all drawn of the size of life, in their natural atti- 
tudes and circumstances, and colored to life, with 
five royal octavo volumes of accompanying Orni- 
thological Biography. The Birds of America in 
seven royal octavo volumes. The Quadrupeds 
of America, in three volumes, twenty-eight by 
thirty-two inches, contain one hundred and fifty 
plates — a work equal in point of execution and 
value to his great work on the Birds, and a mon- 
ument scarcely less glorious. The Quadrupeds of 
America in seven royal octavo volumes, now in 
process of publication. 

'• The hearts of all," says Prof. John Wilson, 
'• warmed towards Audubon, who was capable of 
conceiving the difficulties, dangers, and sacrifices 
that must have been encountered, endured, and 
overcome, before genius could have embodied these, 
the glory of its innumerable triumphs." Speak- 
ing of the exhibition of his drawings in Edin- 
burgh, he says, " The spectator instantly imag- 
ined himself in the forest. The birds were all 
there, of the size of life, from the wren and the 
humming-bird to the wild turkey, and the Bird of 
Washington. But what signifies the mere size ? 
The colors were all of life too, bright as when borne 
in beauty, through the woods. There too, were 
the attitudes and postures, infinite as they are as- 
sumed by the restless creatures, in motion or rest, 
in their glee and in their gambols, their loves and 
their wars, singing or caressing, or brooding or 
preying, or tearing one another to pieces. The 
trees on which they sat or sported, all true to 
nature, in bole, branch, sprig and leaf, the flower, 
shrub and the ground flowers, the weeds and the 
very grass, all American — as were the atmosphere 
and the skies. It was a wild and poetic vision of 
the heart of the New World, inhabited as yet al- 
most wholly by the lovely or noble creatures that 
' own not man's dominion.' It was indeed a rich 
and magnificent sight, such as we would not for a 
diadem have lost." 

Thus encouraged, Audubon went boldly forward 
with his vast undertaking, which would take him 
fourteen years to complete, and when the first 
drawings were put into the hands of the engraver, 
he had not a single subscriber. After three years 
spent in Europe in forwarding his work, he re- 
turned to his own country, leaving it in process of 
execution at Edinburgh. In 1830 the first volume 
of one hundred plates was issued. It was hailed 
with universal applause. Royal names headed his 
subscription list, which, at ^1000 each, reached the 
number of one hundred and seventy-six, of which 
eighty were Americans. His name was enrolled 
among the members of the learned societies of 
Great Britain and the Continent, as well as in 
America — the world claimed him as one of her 
great men. 

In the autumn of 1831, Audubon visited Wash- 
ington, where he received from Government, let- 
lers of protection and assistance, to be used at all 
the national ports, revenue and naval stations. 
The year following, he tracked the forests of 
Maine, and explored the shores of the British 
Provinces, returning with rich spofls in the un- 
tumn to spend the winter at Charleston, in the 
preparation of his drawings and descriptions. In 
1834, he pubfished the second volume. In 1835. 
he again went to Europe and spent that year and 



AUDU. 



54 



AUDU. 



the following till September, in London and Edin- 
burgh, in writing the biographies of the second and 
third volumes, and in forwarding his work, the 
third volume of which made its appearance in 1837. 
In September 1836, he returned to the United States, 
and spent near three years in exploring expeditions 
through the South, to Florida, and Texas, in ves- 
sels placed at his disposal hy the Government. In 
1838 he pubhshed the forth volume of the plates 
and the fifth of descriptions, which completed the 
work. 

In 1839, Audubon commenced in this country, 
the republication of his smaller work of the Birds 
of America, in seven royal octavo volumes, which 
were issued during the succeeding five years. Be- 
fore the expiration of this period, however, he had 
commenced the preparation of his Quadrupeds of 
America, which, with the assistance of his talent- 
ed sons, has recently been completed, in three large 
volumes. In the mean time, though upwards of 
sixty years of age, he projected an expedition to 
the Rocky Mountains, with all the enthusiasm of 
his youth. 

The concluding years of the life of this extraor- 
dinary man were passed on his beautiful estate of 
Minniesland, on the banks of the Hudson, some 
eight miles from New York, where he expired on 
the 25th of January, 1851, at the age of 76 years. 
We conclude this article with the following terse, 
but eloquent sketch from the pen of C. Edward 
Lester, Esq. : 

"When a copy of ' The Birds of America' was 
received by the Royal Academy of Sciences at Pa- 
ris, Baron Ouvier, to whom it was referred, said 
in his report : ' It can only be described b}^ call- 
ing it the most magnificent monument that Art 
has raised to Ornithology.' 

"Audubon was born of French parents, near New 
Orleans, in Louisiana. His father, an enthusiast 
for liberty, was with Washington at Valley Forge ; 
and the Audubon family still possess the portraits 
of both, painted in the camp ; that of Washington 
being the first ever taken of him. At a very early 
age Audubon was sent to France, and educated in 
Art and Science, under the best masters, among 
whom was David. The love for birds, which has 
been the passion of his life, manifested itself in in- 
fancy ; and when he returned from France, he be- 
took himself to his native woods, and began a col- 
lection of drawings, which made the germ of ' The 
Birds of America.' His father gave him a planta- 
tion on the rich banks of the Schuylkill ; and lux- 
ury and fortune offered their blandishments, to 
woan him from his love of adventure. But his 
heart was in the forests ; and in 1810, with a young 
wife, an infant son, and his unfailing rifle, he em- 
barked in an open skiff, on the Ohio, to find a new 
home. The mellow lights and shadows of our In- 
dian Summer had fallen along the shores of that 
queen of rivers. At long intervals, the axe of the 
early settler was beginning to disturb the solemn 
reign of nature. He settled in Kentucky ; and in 
the central region of that vast valley through which 
the Mississippi rolls on to the sea, he pursued his 
studies and roamings. We can hardly give an 
idea in these few words of the forest and prairie- 
life that he led. He has himself found place to do 
it but imperfectly, in his five ponderous volumes 
of Ornithological Biography. He has spent more 
years in the forests than most men live. Among 
the great Lakes of the North, he sees beyond the 



reach of his rifle, a strange gigantic bird sweeping 
over the waters. He hunts for that bird ten years, 
and finds it again three thousand miles from the 
spot where he saw it first. Meanwhile he has 
been chilled with extreme frosts, and burned with 
perpetual heats. He has slept many nights across 
branches of trees, waked by panther screams ; and 
many nights he has passed in canebrakes where 
he did not dare to sleep. He has seen the knife of 
the savage unsheathed for him ; stepped on ven- 
omed serpents ; started the cougar from his secret 
lair ; swam swollen streams, with his gun, amuni- 
tion, drawings and journals lashed on his head: 
on equatorial rivers, alligators stared at him as he 
landed ; in polar regions, the water turned to ice 
as it fell from his benumbed limbs when he struck 
the bank : his tongue has parched with thirst on 
deserts, and he has laid himself down famishing, 
to wait, like Elijah, till he was fed b}^ the birds of 
heaven. This was his history during the life of a 
generation. And yet, through this long pilgrimage 
of peril and suffering, which Caesar would not have 
borne, to have heard the tramp of his legions in 
three quarters of the globe, his courage never failed, 
his love for nature never cooled ; his reverence for 
God, whose illimitable universe he was exploring, 
deepened the longer he gazed. Nor did he lose a 
throb of human feeling for civilized men, from 
whose habitations he had exiled himself. 

"And yet this man had nobler pleasures, as well 
as nobler hardships, than other men. He had gone 
with one of his sons — both of whom from boyhood 
have been his forest companions and scholars — and 
with other young men of Boston, since distinguish- 
ed, on a voyage to Labrador for new birds. The 
expense would have buit a beautiful villa, A 
pleasant morning, they scared from her nest the 
Black Poll Warbler. ' The enormous expense of 
my voyage,' he says, ' was refunded in the sight.' 
A prouder triumph was reserved for the day when 
he at last captured the Washington Sea Eagle. 
' Not even Herschel,' he writes, ' when he dis- 
covered the planet which bears his name, could 
have experienced more rapturous feelings. As the 
New World gave me birth and liberty, the Great 
Man who ensured its independence is next ray 
heart'; and therefore he called the noblest of 
eagles after the noblest of men. Other ornitholo- 
gists had painted their birds after they were stuf- 
fed; Audubon made accurate drawings of his, in 
the forest, before the plumage had lost its bril- 
liancy, or the muscles their natural expression. 
He has exhibited in perfection the highest attri- 
butes of zoological painting never before attempted. 
He has depicted the passions and feelings of birds 
as tenderly and truthfully, as Claude Lorraine 
painted trees, flowers and skies. And so, after 
many years, his portfolio was enriched with a 
thousand finished drawings. His collection was 
entirely destroyed ! ' The burning heat,' says he, 
' which rushed through my brain when I saw my 
loss, was so great, that I slept not for several nights, 
and my days were oblivion. But I took up my 
gun, note-book and pencils, and went forth to the 
woods as gaily as if nothing had happened. I could 
make better drawings than before, and in three 
years my portfolio was filled.' 

" Hitherto he had wandered, studied and painted, 
only to gratify his love of nature. In 1824, Lu- 
cien Bonaparte proposed to buy his drawings, but 
he resolved to publish them himself. It could not 



AUER. 



55 



AUGU. 



be done in America, and he went to England, where 
Rosco received him with open arms. Men of rank 
and taste extended hospitality to the wondrous 
woodsman. His drawings were exhibited in Ed- 
inburgh. He passed the severest scrutiny of art 
and learning, and stood by the side of Herschel, 
Cuvier, and Humboldt, as a father of Science, and 
in Art, a master without a rival. "With Scott, 
Brewster, Wilson, and Jeffrey, for companions, he 
began the publication of his magnificent work. It 
was completed in London, in fourteen years ; and 
his fame was established. One hundred and sev- 
enty-five subscribers at $1000 each, most of them 
obtained by himself in person, and eighty of whom 
were his own countrymen, remunerated his vast 
undertaking. The learned societies of Europe 
proffered him their honors ; but he received with 
more pride than all, the crown of the Royal Soci- 
ety of London. He published a synopsis of his 
great work at Edinburgh : and finally, in 1839, 
weary with years and covered with honors, he re- 
turned home bringing with him all his original 
drawings. He republished the work in New York, 
in royal 8 vo., and with Dr. Bachman, the eminent 
zoologist, began ' The Quadrupeds of North Am- 
erica,' which was completed in 1849, with applause 
and success. In speaking of these works, particu- 
larly the last, mention should be made of his 
two sons, whose accomplishments in Art and 
Science have been so useful to their father. 

" The ornithologist is now reposing on a world- 
wide reputation, and few men are surer of lasting 
fame. It is not in the keeping of History alone. 
From every deep grove, the Birds of America will 
sing his name. The wren will pipe it on our win- 
dows ; the oriole carol it from the meadow grass ; 
the turtle dove roll it through the secret forests ; 
the many-voiced mocking-bird pour it along the 
evening air ; and the Bird of Washington, from his 
craggy home far up the Rocky Mountains, will 
scream it to the tempests and the stars." 

AUERBACH, Johann Gottfried, a German 
portrait painter, born at Miilhausen, in Saxony, in 
1697. He settled at Vienna, where he attained the 
rank of court painter. There are two pictures by 
him in the Gallery of the Belvidere, at Vienna — a 
full-length portrait of the Emperor Charles VL, as 
Knight of the Golden Fleece, and a large equestrian 
portrait of Prince Eugene of Savoy, in the room 
containing the pictures of his battles by Parrocel. 
Auerbach painted also the heads of Charles VI. 
and Count Althan, in Solimena's picture of that 
Emperor receiving from the Count the inventory 
of the Gallery. Several of his portraits have been 
engraved. He died at Vienna in 1753, aged 56; 
leaving a son, Johann Karl Auerbach, who was 
also a portrait painter. 

AUGUSTIN. Jean Baptiste Jacques, a dis- 
tinguished French miniature painter in oil and 
enamel, was born at St. Diez (Vosges) in 1759. 
In 1781 he established himself at Paris, where, 
from 1796 until his death in 1832, he exhibited a 
long succession of portraits, which, according to 
Gabet, are highly finished, correctly drawn, and 
finely colored. Among them are portraits of many 
of the most distinguished individuals of that event- 
ful period. In 1806 and 1821-. he obtained medals 
of the first class for the pictures he exhibited ; in 
1819 he was appointed principal miniature painter 
to Louis XVIII. : and in 1821 he was made a Chev- 



alier of the Legion of Honor. Augustin established 
and taught for a long time a school of drawing and 
painting, at which many of the best miniature 
painters of the present day were educated. 

AUGUSTINE, Jan, a Dutch painter, born at 
Groningen in 1725. He painted flower-pieces of 
considerable merit, and his portraits were consid- 
ered astonishing likenesses. He died at Haerlem 
in 1773. 

AULIZECK, or AULICZECK, Dominik, a Ger- 
man sculptor ; born at Policzka, in Bohemia, in 
1734, where he learned the elements of the art, 
but afterwards went to Vienna and studied for 
some time with an obscure sculptor of that city. 
He subsequently visited Paris and London, and 
finally Rome, where he studied some time with the 
architect Gaetano Chiaveri, and, according to Na- 
gler, became a reputable sculptor. He gained the 
prize in the Academy of St. Luke for the best 
model, and was made a Cavalier of the Golden 
Spur by Clement XIII. Aulizeck made several 
good statues while at Rome. Returning to Ger- 
many he was made superintendent of the porcelain 
manufactury at Nuremberg, and sculptor to the 
Court. He was connected with this establshment 
many years, until 1796, during which time it stead- 
ily increased in prosperity, and much of its present 
success is due to his able management. There are 
in the Royal Gardens of Nuremberg four good stat- 
ues, larger than life, by Aulizeck, of Jupiter, Juno, 
Pluto, and Proserpine. He died at Munich, accord- 
ing to Nagler, in 1807. 

AURIA, Giovanni Domenico d'. a distinguished 
Neapolitan sculptor of the sixteenth century ; 
studied under Giovanni da Nola; executed many 
works for the churches and city of Naples, which 
are still extant ; also some works for Palermo and 
other Italian cities. His master-piece is the Fon- 
tana Medina, in the Place of the Castelnuovo at 
Naples ; for which excellent work he received, ac- 
cording to Dominici, a pension from the King. 
D'Auria died in 1585. 

AUROUX, Nicholas, a French engraver, who 
flourished about 1650. Heineken mentions four 
portraits by him, and a print of the Virgin holding 
the Infant, with St. John Idssing his Foot, inscribed 
Sancta Mater, published at Lyons. 

AUSTIN, William, a London engraver of little 
note, born about 1740, studied under Geo. Bick- 
ham, and executed several landscapes, after Fancier 
Neer, Zuccharelli, and Ruysdael ; also a set of 
ten plates of Views of Ancient Rome, and the 
Ruins of Palmyra. 

AUSTRIA, Don Juan d', the son of Philip IV., 
and brother of Charles II., of Spain, was an ama- 
teur painter, but practised the art with the ardor 
of a professor. He studied under Eugenic de las 
Cuevas. The celebrated Carreno, seeing a paint- 
ing by Don Juan, said without flattery, '^ if he had 
not been born a prince, he might, with his talents, 
have lived like one." 

AUVRAY, Felix, a Parisian historical painter; 
born in 1800 ; died in 1833 ; studied under Baron 
le Gros, and, according to Gabet, was one of his 
most eminent scholars. That author mentions the 
following works by him: St. Louis, prisoner; 
Gautier de Chattillon defending St. Louis against 
the Saracens ; the Spartan Deserter ; and St. Paul 



AUWE. 



56 



AVEL. 



at Athens. The Art-Union of Douai decreed Au- 
vray a gold Medal of honor, but it arrived at his 
residence during the ceremony of his funeral. 

AUWERA, J. G. W. Von, a sculptor of the 
last century, mentioned by Jack as an Italian of 
noble birth. He was educated at Rome, but set- 
tled at Wtirzburg, in Bavaria, where he was ap- 
pointed court sculptor, and executed several mon- 
umental works for the cathedrals of Mainz, Bam- 
berg, and Wiirzburg. 

AUZON, Madame, a distinguished Parisian 
paintress of portraits and familiar subjects, born 
in 1775, and studied under Regnault. Some of 
her most interesting pictures were purchased by 
the French Government, the Duchess de Berri, 
and the Society of Friends to the Arts. Several 
of them have been engraved. 

AVANZI, Giuseppe, an Italian painter, was 
born at Ferrara in 1655, and studied under Cos- 
tanzo Oattanio. Guarini mentions four of his 
pictures, representing subjects from the life of S. 
Gaetano, in the Church of the Madonna della Pieta, 
at Ferrara ; also the Marriage of St. Catherine, in 
the Church of S. Domenico, which is considered 
his best work. He executed many pictures, few 
of which possess merit. He died in 1718. 

AVANZI, Jacopo, da Bologna, a Bolognese 
painter, who flourished about 1370, and studied 
under Franco da Bologna. Malvasia mentions 
several of his works in the Chiesa di Mezzaratta in 
that city, and says they were such admirable pro- 
ductions as to have received the praises of Michael 
Angelo and the Caracci. There is, however, much 
obscurity and conjecture in the various accounts 
of this painter. 

AVANZINO, , an Italian painter, born in 

1552 at Citta di Oastello; studied under Cig- 
nani, and assisted him in many of his works. He 
painted likewise numerous original frescos in vari- 
ous Roman churches, the principal of which are 
enumerated by Baglioni. 

AVEEN, Adrian, a Dutch engraver. He was 
born at Amsterdam, and practised the art about 
1700. He engraved a number of plates, among 
which are several views of the country-seats in 
Holland, executed in a neat but formal style. 

AVED, Jacques Andre Joseph, a distin- 
guished French portrait painter ; born at Douai in 
1702 ; studied first under Bernard Picart, the cel- 
ebrated engraver, then living at Amsterdam. Aved 
however, resolved to be a painter, and having vis- 
ited the principal cities of Holland and Flanders, he 
arrived at Paris in 1721, and entered the school of 
the eminent La Belle ; where he became intimate 
with Vanloo, Boucher, and several other young 
painters, who afterwards distinguished themselves. 
In 1734, Aved was elected a Royal Academician ; 
and about the same time was chosen by the Turk- 
ish Ambassador, Mehemet-Effendi, to paint his 
portrait, which he intended to present to Louis 
XIV. From the success of this work, he was 
shortly after appointed painter to the King. The 
picture was greatly admired, and was placed in the 
Chateau de Choisy. Aved is said to have suc- 
ceeded perfectly in representing the character of his 
sitters, and his portraits, with their draperies and 
accessories, were finished carefully and beautifully. 
He died at Paris in 1766. 



AVELINE, Antoine, a Parisian designer and 
engraver, born in 1662. He engraved a number 
of landscapes, and views of the palaces and chateaux 
of France and other parts of Europe, executed in a 
neat and agreeable style, of which the following 
are worthy of notice : 

Six landscapes, numbered, marked Aveline in : it fee. 
Twelve landscapes not numbered, same mark. Sixteen 
Views of Versailles. Twelve Views of the Koyal Palaces 
and Chateaux near Paris. Twenty Views of Cities and Ports 
in different parts of Europe. Twelve Views of the public 
Edifices in Paris. 

AVELINE, Pierre, a Parisian designer and 
engraver, born in 1710 and studied under John 
Baptist Poilly. His drawing, though tolerably 
correct, is stiff and formal. He gained, however, 
considerable reputation, and it is to be regretted 
that he employed a great portion of his time in 
trifling and insignificant works. The following 
are his principal prints : 

SUBJBCTS FROM HIS OWN DESIGNS. 

Four plates of the Seasons, represented by Children ; fivo 
plates of the Senses^ gallant subjects ; Venus at her Toilet ; 
Bacchus and Ariadne. 

SUBJECTS AFTER DIFFERENT MASTERS. 

The Cardinal de Eleury, accompanied by the Virtues ; 
after Chevalier. The Wrath of Neptune; after Albano ; 
inscribed Quos ego. Diana and Acteon ; after Bassan; 
for Crozat Collection. The infant JNIoses brought to the 
Daughter of Pharaoh ; after Giorgione. Jupiter and lo; 
after Schiavone ; for Crozat Collection. The Departure of 
Jacob ; Noah entering the Ai'k ; after CastigUone. The 
Death of Seneca ; after Luca Giordano. Christ healing 
the Sick ; after Jouvenet. A Landscape ; after Nicholas 
Berghem ; fine. The fortunate Accident ; after Van Fa- 
lens. Folly ; after a drawing by Corn. Viscsher. The 
Birth of Bacchus ; the Kape of Europa ; three subjects of 
Cupid ; La Belle Cuisiniero ; Venus and Cupid ; the Pru- 
dent Shepherdess ; after F. Boucher. The Rape of Helen; 
.^neas succored by Apollo ; after Deshayes. Hans Car- 
vel's Ring ; after J. L. Lorrain. La Place Maubert ; 
after Jeaurat. The Flemish Trio ; after Ostade. A Dog 
with Game ; after Oudry. A pair — one a Boy with a 
Mouse, the other a Girl with a Cat ; after C Parrocel. The 
Bath of Diana ; the Rape of Europa ; the Charms of Life ; 
Italian Recreation ; after Watteau. 

AVELINE, FRAN9013 Anthony, a Parisian en- 
graver, the cousin and scholar of Peter Aveline, 
born in 1718. His talent was inferior to that of 
his master. He worked chiefly for the bookseller 
in Paris, and afterwards went to London. Bassan 
says he died in indigence. He executed the fol- 
lowing plates : 

The Four Seasons ; copied from Peter Aveline. Six 
Chinese Figures ; the Chinese Bark; after Boucher. The 
Spanish Musician; after J. E. Evelsen. The Flemish 
Musician ; after Teniers. View of a Port in the Levant ; 
after Vernet. Six, of Chinese Figures and subjects ; after 
Pillement. London, 1759. 

AVELLINO, GiuLio, called II Messinese, a 
Sicilian painter born at Messina about 1645. He 
probably studied under Salvator Rosa, as he painted 
landscapes in the style of that master. He settled 
at Ferrara, where landscape painting since the time 
of Dossi had been almost abandoned, and was 
much employed by the nobility of Ferrara and 
Cremona. He enriched his landscapes with ancient 
ruins, architecture, and figures, admirably designed 
and touched with a masterly hand. There ar-i 
choice specimens in the collections of the Signori 
Cremona and Donati ; and the collections at Fer- 
rara and Romagna are not considered complete 
without some of his works. He died 1700. 



AVEL 57 

AVELLINO, Onofrio, a Neapolitan painter, 
born in 1674; studied under Solimena, but after- 
wards went to Rome, where he remained several 
years, and painted the vault of the Church of S. 
Frapcesco di Paola, which is considered his best 
work. In the Church of S. Maria de Montesanto 
is an altar-piece, representing a subject from the 
life of St. Alberto. He died in 1741. 

AVER, John Paul, a reputable German paint- 
er, was born at Nuremberg in 1636. He painted 
a number of historical subjects, portraits, and land- 
scapes, which possess considerable merit. He died 
in 1687. 

AVEMANN, Wolff, a German painter, born at 
Nuremberg, studied under Henry Steenwyck, and 
painted interiors of churches and other edifices in 
the style of that master which have considerable 
merit. He died in 1620. 

AVENDANO, Diego de, a reputable Spanish 
historical painter. He flourished at Yalladolid 
about 1660, where he executed a number of works 
of considerable merit for the churches and private 
collections. 

AVERARA, Giovanni Battista, an Itahan 
painter, born at Bergamo about 1508. It is not 
mentioned under whom he studied, but he formed 
his style of coloring from the works of Titian. 
Ridolfi praises some fresco paintings by him ; espe- 
cially two pictures in the Church of S. Francesco 
at Bergamo. He painted landscape and architec- 
ture, and became very eminent for his skillful rep- 
resentation of nature, not only in the scenery, but 
in the figures and animals which he introduced 
into his compositions. The nature in his land- 
scapes, the design of his infant figures, and the 
beauty of his coloring, all show that he aspired to 
the Titian style. Muzio, in his Teatro di Ber- 
gamo^ pronounces him an universal genius. He 
died in 1548. 

AVERBACH, John Gotfried, a reputable Ger- 
man painter, born, according to Heineken, at Mul- 
hausen in 1687. He was painter to the Emperor 
Charles VL, and executed a number of works for 
the Royal Palace which possess considerable merit. 
He designed and engraved a plate representing his 
own portrait painting that of his wife. He died 
at Vienna in 1743. 

IZH orW or I^AVERCAM, Henri VAN, 
JDTH j id jL I JLJL surnamed de Stomme 
VAN Campen, was born at Kampen about 1590, 
and lived and died in that city. His singular taci- 
turnity obtained for him the surname of the Mute. 
He executed many pictures, chiefly marine views, 
and landscapes ornamented with cattle ; but they 
have lost much of their value on account of a 
change of color. His drawings with the pen and 
in black chalk, are still highly valued. He marked 
his works with one of the above monograms. 

AVIANI, , an Italian painter, born at Vin- 

cenza, and flourished about 1630. He excelled in 
perspective and architectural views, in which the 
figures were usually executed by Giulio Carpioni. 
His pictures generally represent the most remark- 
able views in Venice, though he sometimes painted 
landscapes and sea-ports, which are held in consid- 
erable estimation. 

^Sl • orf^'A AVIBUS, Gaspar ab, or Pa- 
\3^^ Sa^W'TAViNUS, an Italian engraver, 



AVIC. 

born at Padua about 1530. From his style it is 
very probable he studied under Giorgio Ghisi, as 
his plates are executed entirely in the manner of 
that master ; and he has also copied some of his 
works. He sometimes signed his prints G.A.S.F., 
or G.A.P.F., and often marked them with his very 
curious monogram, formed of the letters which 
compose the word Gaspar. His principal work 
was a large volume in five parts, containing the 
full-length portraits of the Princes and Emperors 
of the House of Austria, engraved in the style of 
the Sadelers ; signed Gaspar Pataviiius, incisor. 
1569. The following are his best single prints. 
They are dated from 1560 to 1580. 

The Espousals of the Virgin Mary ; after P. Veronese; 
Gaspar ab Avibus, Citadelensis.fe., 1577. The Woman 
taken in Adultery ; Gaspar o Os'ello Padovano, f. The 
Scourging of Christ; Gaspar ab Avibus, Citadele'nsis.fec. 
Christ crowned with Thorns ; Gaspar Patavinus,/. 1566. 
The Last Supper ; after Lam. Lombard ; copied after a 
print by Mantuaiio, marked Gaspar P. F. 1564. Apollo 
and the Muses on Mount Parnassus ; after Penni, Gaspar, 
f. ; copied from Mantuano. Venus and Adonis, and its 
companion, a Youth carrying his Mistress on his Shoulder ; 
after L. Penni; co\)\Q(i. irom. Mantuano ; marked Gas., 
/., 1563. Venus Bathing; a/?eri/ie same; ditto. ; Gasp., 
/., 1564. 

AVICE, Chevalier, a French amateur engra- 
ver, who etched some plates in a slight though 
spirited style, after N. Poussin, and other mas- 
ters ; of which the best is a middle-sized plate of 
the Adoration of the IMagi, after Poussin. 

AVILA. Hernando d'. a native of Toledo, was 
painter and sculptor to Philip II., of Spain; and 
after the death of his former master, Francisco 
Comontes. in 1565, he was appointed painter to 
the cathedral of Toledo in his place. In 1568 he 
finished two altar-pieces for a chapel of that cathe- 
dral, representing St. John the Baptist, and the 
Adoration of the Kings. In 1576 he designed the 
principal altar of the nunnery of San Domingo el 
Antiguo at Toledo. 

AVILA; Francisco d'. a portrait painter of Se- 
ville, who was distinguished for the accurac}^ of 
his likenesses, and tlie sweetness of his coloring. 
There were several Spanish painters of this name 
in the sixteenth and seventeenth centuries, but 
their works are not sufficiently recorded to speak 
of them with certainty. 

AVILER, AuGUSTiN Charles d,' a distin- 
guished Parisian architect, was born in 1653, and 
evinced an inclinationfor architecture from infancy, 
He applied himself to its study with so much as- 
siduit3% that he passed his examination at the age 
of twenty, and was so fortimate as to be selected 
to go to Rome to study in the Academy. He em- 
barked at Marseilles, but the vessel was captured 
and the}^ were all carried prisoners to Tunis, where 
D' Aviler immediately commenced drawing, and de- 
signed a grand mosque, which is thought the best 
edifice in that city. After sixteen months slavery 
he arrived at Rome, where he remained five years. 
Returning to France, he placed himself under Har- 
douin ]Mansard. who employed him in executing 
many of his numerous undertakings ; but as he 
found that Mansard never allowed him to produce 
any of his own inventions, he went to Montpeliier, 
and executed the gate called La. Porte Perott, 
which D'Orbay had designed in the form of a tri- 
umphal arch. He also wrote a book entitled 
" Coiirs d^ Architecture.''^ and other works, which 



ATOG. 



SB 



AXTM. 



l.AYA 



have done him great honor. He erected the cele- 
brated Archi-episcopal Palace at Toulouse, and va- 
rious edifices at Carcassone, Beziers and Nismes, 
which gained him so much reputation that he was 
appointed architect of Languedoc ; but scarcely 
had he taken possession of this important post 
when he died in 1700, aged 47. 

AVOGADRO, PiETRO, called Bresciano, an 
Italian painter, was born at Brescia, and flourished 
about 1730; studied under Pompeo Ghiti, to 
whose style he adhered ; though in some respects 
he followed the Venetian school, especially in his 
carnations. His figures are remarkably graceful, 
and harmony prevails through all his pictures. 
His chief work is the Martyrdom of Sts. Crispino 
and Crispiano, in the Church of St. Joseph, at 
Brescia. Lanzi says, that in the opinion of many, 
Avogadro holds the first place after Bonvicino, 
Gambara, and Savoldo, the three great painters of 
Brescia. 

AYONT, Peter van der, a 
Flemish landscape painter and 
engraver, born at Antwerp about 1619. He enli- 
vened his pictures with figures well drawn, and 
painted with great animation. He frequently dec- 
orated the landscapes of Vinckenboom. As an en- 
graver, he was also distinguished. Brulliot says 
he sometimes marked his plates with a monogram 
of his initials reversed; but without doubt he cop- 
ied it as above from a transfer, instead of the print. 
The following are his principal works : 

The Virgin Mary, with the infant Jesus, St. John and 
St. Anne ; the Virgin suckling the Infant, with St. John 
and an Angel ; the Virgin and Infant in the Clouds, in- 
scribed Regini caeli ; the Magdalene ascending to Heaven, 
Pet. van Avont, inv. et exc, cf*c. ; twenty-four small plates 
of Children, on each plate a Child and an Angel- -they were 
published in the set entitled Pcedopegnion, by W. Hollar ; 
the Four Elements, represented by Four Children ; two 
Bacchanalian subjects of Children — one, Bacchus drawn in 
his Car, the other, Bacchus carried by Four Children, Pet. 
van Avont, inv., fee., et exc. 

AVRIL, Jean JAcauEs, a modern Parisian en- 
graver, born in 1744 according to Gabet. He stud- 
ied under J. G. Wille, and executed several plates 
of considerable merit. He died in 1832, aged 88. 
This laborious artist executed about five hundred 
and forty plates, some of large size ; among which 
are the following: 

Mars going to Battle ; Mars returning from Battle ; A 
Shepherd and Shepherdess, called the Croc-en-jambe ; 
after Rubens. Apollo with the Seasons, dancing ; after 
Poussin. Diana and Acteon ; the Bathers surprised ; after 
Albano. Venus revenging herself on Pysche ; after da 
Troy. Pigmalian and his Galatea ; after Marill'ier. St. 
Genevieve; after CVanioo. Fishermen Returning ; Trav- 
elers in a Storm ; the Shipwreck, dated 1775 ; after Vernet. 
The double Recompense of Merit, 1784 ; French Patriot- 
ism, 1788; after P. A Wille. The Taking of Courtray; 
after Vandermeulen, 1782. The Passage of the Rhine ; 
after Berghem. Catherine II., on her Travels ; after F'. 
De Meys, 1790. Ulysses and Penelope ; Combat of the 
Horatii and the Curiacci, 1787 ; after Barbier. 

AYRIL. Jean JAcauES, a Parisian engraver, 
son of the preceding, born in 1771. He was one 
of the principal artists employed in the work of 
Robillard and Laurent ; and also engraved many 
excellent plates of pictures by the old masters, 
and statues in the Louvre. According to Nagler, 
he died in 1831. 

AXARETO. See Asserreto. 
AXELT, .John, a German portrait engraver of 
little note, mentioned by Heineken. He engraved 



the following plates : The Emperor Joseph, after 
A. Hanneman ; George Frederick, Prince of Wal- 
deck ; a set of Portraits of the Kings of Spain, 
Hungary, and Bohemia, &c., and many of the plates 
in Freheri Tkeatrum Virorum Eruditione Claro- 
rum. 

AXTMANN, Leopold, a German painter, born 
at Fulneck, in Moravia, in 1700 ; studied under 
John George Hamilton of Vienna, and rivalled him 
in reputation. He excelled in painting horses and 
dogs, and there are several pictures of merit by 
him in Bohemia. He settled at Prague, where he 
died in 1748. 

AYALA, Barnabi, an historical painter of Se- 
ville, who studied under Zurbaran, and followed 
his style in his tints and draperies. Many of his 
pictures are probably passed off at this day as the 
work of his instructor. He was one of the foun- 
ders of the Academy of Seville in 1660, and at- 
tended there till 1671. It is supposed he died in 
1673, as his name does not appear with the subscri- 
bers to the statues in that year. 

AYBAR XIMENES, Pedro, a Spanish histori- 
cal painter, who studied under F. Ximenes, and im- 
itated his style. The pictures he produced at 
Calatyud, in 1682, are praised for their composi- 
tion, color, and design. There is no account of him 
after that year. 

AZZOLINI, or MAZZOLINI, Giovanni Ber- 
nardino, a Neapolitan painter, who flourished 
about 1510. He resided chiefly at Genoa, where 
there are several of his works in the churches and 
convents. In the Church of S. Giuseppe in that 
city, are two pictures by him, representing the An- 
nunciation, and the Martyrdom of St. Apollonia, 
which are highly praised by Soprani. He excelled 
in wax work, and modeled heads with an absolute 
expression of life. 



B. 



BAADER, Amalie, a German engraver, was 
born at Erding, in Bavaria, in 1763. She studied 
engraving under J. Dorner, the director of the Gal- 
lery at Munich, and practised it merely for amuse- 
ment. Her mark, an A and C, interlaced, is found 
on copies after Rembrandt and Schmidt, of Berlin, 
and some Italian masters. 

BAAK, Hattigh Jan, a painter of Utrecht, 
who lived in the middle of the seventeenth century, 
as we find by a picture in the hospital of St. -Job, 
in that city, 1642. It is a landscape and figures, 
so much in the style of Poelemburg, that we may 
conclude the artist was one of his scholars. 

BAAN, John de, an eminent Dutch portrait 
painter, born at Haerlem, in 1633. After receiv- 
ing some instructions from an uncle named Pie- 
mans, who followed the style of Velvet Breughel, 
he was sent to Amsterdam to study under Jacob 
de Backer, a reputable painter, with whom he re- 
mained till he was eighteen, assiduously using 
every means of improvement. After leaving that 
master, he soon became distinguished. His suc- 
cess in portrait painting was such, that he paid lit- 
tle attention to other branches of the art. He 
painted the portraits of the principal personages 
of his country. King Charles II., who had be- 
come acquainted with his talents while residing on 
the continent, invited him to England, where he 



BAAN. 



59 



BACA. 



painted the king, queen, and several of the nobili- 
ty. After remaining some time in England, he 
went to the Hague, and there painted a noble por- 
trait of the Duke of Zell, for which he received 
1000 Hungarian ducats, — about <£500. He next 
painted some pictures for the Duke of Tuscany, 
who placed De Baan's portrait in the Gallery of 
Florence, and sent him a handsome present in re- 
turn for it. His best work is the portrait of 
Prince Maurice, of Nassau-Ziegen. He painted 
many portraits of eminent persons of his time, 
some of which are not inferior to those of Yan- 
dyck. Louis the XIV., after conquering part of 
Holland, sent to Utrecht for De Baan, to paint his 
portrait ; but the painter excused himself by ob- 
serving, that, while his country was in mourning, 
he could not think it proper to trace the features 
of her conqueror. This, however, did not lessen 
him in the opinion of Louis, who frequently con- 
sulted him on the purchase of pictures. He was 
of an obliging disposition, and fond of the pleas- 
ures of the table. He was a great admirer of Van- 
dyck, and imitated his style. His portraits were 
much admired for the elegance of their attitudes, 
and for their clear, natural and lively tone of col- 
oring. He died at the Hague in 1702. 

BAAN, Jacob de, a Dutch painter, the son and 
scholar of John De Baan, was born at the Hague 
in 1673. At the age of twenty he went to Eng- 
land in the suit of William HI. His father's fame, 
and the favor of the court, procured him immediate 
employment, and he painted the young Duke of 
Gloucester, and several of the nobility. His strong 
desire to see Ital}^, induced him to abandon these 
bright prospects ; and he visited Florence, on his 
way to Rome, and was favored with the protec- 
tion of the Grand Duke, who showed him the por- 
trait of his father, John De Baan, which he greatly 
valued. On arriving at Rome, he applied himself 
with great diligence in studying the works of great 
masters, and painted some portraits and conver- 
sation pieces which were highly esteemed. Both 
in Rome and Florence he gained a great deal of 
money, but soon became dissipated. His pictures 
are finely handled, and he gave promise of surpas- 
sing his father ; but his irregular habits brought 
on a disorder of which he died in 1700, at the early 
age of 27. 

BABEUR, or BABUREN, Dirk or Theodore, 
a Dutch painter, was born in 1570. He generally 
painted figures of the size of life, and most of them 
at half length. He had a free and firm pencil, and 
his drawing is preferable to his coloring, which, 
though vigorous, is not pleasing, on account of a 
yellowish brown tint predominating through the 
whole. His expression is but indiiferent in any 
characters, excepting those which are mirthful ; 
and his pictures generally represent musickl as- 
semblies, card players, &c. He was a scholar of 
Peter Neefs, and he painted interiors of churches 
in the manner of that master. He died in 1G24. 

fBABYLONE, Francis de, an old engraver, 
who flourished about 1550. He has some- 
times been called the Master of the Cadii- 
ceics. His style was original, the plates be- 
ing all executed with the graver, with fine strokes, 
and not much crossed. His drawing of the figures 
is not very correct. His prints are esteemed for 
the neatness of their finish, and highly valued on 
account of their variety. The following is a list 



of his prints: Apollo and Diana; small upright 
plate. Three Men Bound ; the same. Virgin Ma- 
ry and Infant resting on the Stump of a Tree ; and 
St. Joseph resting his head on his hand; a square 
plate ; half length figures. Virgin Mary sitting at 
the foot of a tree, the Infant Jesus standing by 
her side, Elizabeth seated near him, and an Angel 
playing on a Musical Instrument ; St. Joseph on 
the right hand of the print. The Wise Men's Of- 
fering ; a small upright plate. St. Jerome writing, 
with a crucifix before him. Two small upright 
plates — one represents A Man carrying a Boat, and 
the other, A Woman with a Child in her Arms. 
Jerome Hopfer has engraved both these on one 
plate, larger ; and has surrounded the Head of the 
Woman with Stars and a Glory. A Sacrifice to 
Priapus ; a free subject; copied after Marc An- 
tonio. Recent discoveries have shown that the 
real name of this artist is Jacob Da Barbary. 
Brulliot, in his Dictionary of Monograms, men- 
tions two pictures by this master, one having the 
letters J, A, D, B, with a caduceus, and the other 
the name Jac. Da Barbary, with the caduceus, and 
the date 1504. Bartsch is inclined, from the style 
of his design, to consider him an Italian ; Zani, on 
the contrary, of Dutch or French origin. Bartsch 
enumerates twenty-four prints with his mark ; and 
Brulliot mentions four others, not described by the 
former, nor by himself. Otley, also, speaks of a 
Holy Family not mentioned by Bartsch. 

BACCARINI, Jacopo, an Italian painter, was 
born at Reggio, about 1630. He studied under 
Orazio Talami, and painted history in his style. 
Two of his best works are The Repose in Egypt, 
and the Death of St. Alessio, in the Church of S. 
Filippo in Reggio. He died in 1682, aged about 52. 

BAOCI, Antonio, an eminent Italian flower 
painter, was born at Mantua, or Padua, (for au- 
thorities diflFer.) He flourished about 1663, and 
painted many works of considerable merit, which 
are found in the private collections of Italy. 

BACCIARELLI, , a modern Italian en- 
graver of some merit, who flourished about 1760. 
He engraved a few portraits, among which is that 
of Augustus Stanislaus Poniatowski, King of Po- 
land. 

BACCICIO, See Gauli. 

BACCIO. See Fra. Bartolomeo Porta. 

BAOCIOCHI, Era. Ferrante, an Itahan paint- 
er, a monk of Ferrara, of the order of the Filip- 
pini. Some of his works are noticed in Barrotti's 
account of the Paintings and Sculpture at Ferrara. 
One of his best pictures was the stoning of St. Ste- 
phen, in the Church of S. Steffano, in Ferrara; and 
in St. Maria del Suflragio, there was a Holy Fam- 
ily by this master. 

BACHELIER, J. J., a French painter, born at 
Paris in 1724. He was an artist of only rep- 
utable talents, but he lived a long and useful 
life. He had amassed a fortune of 60,000 francs, 
and in 1763 consecrated all of it to the establish- 
ment of a free school of drawing for artists, which 
was afterwards consolidated, through his exertions, 
by government and private subscriptions. He was 
made director of the porcelain manufactory at Se- 
vres, and contributed greatly in improving its taste. 
He invented a kind of encaustic varnish, to pi e- 
serve marble statues from the action of the weath- 
er, and he assisted the Count de Caylus, a great 



BACH. 



60 



BACK. 



friend to the arts, in his researches to discover the 
ancient method of encaustic painting. He also 
wrote two excellent works, entitled Le Comeil de 
FamiUe. Octavo, 1774, and a Memoire Sur VEd- 
iicationdes Filles, Octavo, 1789, which last he 
presented to the National Assembly. He died in 
1805, aged 81. 

BACHELIER, Nicholas, a French sculptor 
and architect, born at Toulouse in 1496. In early 
life he went to Rome, and entered, according to 
Morei, the school of Michael Angelo, whose style 
he adopted. He possessed great taste, and on his 
return to his own country, he endeavored to im- 
prove the style of Sculpture and Architecture, which 
at that time, especially in the south of France, was 
mean and old fashioned, but he did not succeed, as 
is proved by the fact that many of his statues were 
gilded, after his death, an operation which destroyed 
to the eye, the grace of his outlines and the deli- 
cacy of his work. , He died at Toulouse in 1554. 

BACHELEY, Jacques, a French designer and 
engraver of some merit, born at Pont P Eveque, in 
Normandy, in 1712. He was a member of the 
Academy of Rouen, where he died in 1781, aged 
sixty-nine. The following is a list of his plates : 
A View in Italy ; a View on the Tiber ; View of 
the Bridge of Voges ; after Bart. Breemberg. A 
view of Amsterdam ; after Van Goyen. The Cas- 
tle of Ryswick ; and a View near Utrecht 5 after 
Ruysdael. A Storm on the Coast of Greenland ; 
after J. Peeters. The Redoubt of Schenck ; and 
Entrance of the Maes River; after B. Peeters. 
View of Havre de Grace ; after his own design. 

BACHIOOCI, Carlo, an Italian painter, a na- 
tive of Milan, according to Averoldi, who men- 
tions several pictures by him in the churches and 
convents of that city, particularly in the mon- 
asteries of S. Giacomo, and S. Fihppo. 

BACHMANN, George, a reputable German 
portrait painter, who flourished about 1660, and 
died in 1681. Little is known of the events of his 
life. His works are probably ascribed to some 
more eminent master. 

BACKER, or BAKKER, .JAcauES de, a Dutch 
historical painter, born at Antwerp in 1530. He 
was the son and scholar of an artist of no great 
celebrity. Having early lost his father, he was 
employed by one Palermo, a dealer in pictures, on 
account of which he was sometimes called Jacopo 
Palermo. He kept Backer incessantly occupied, 
and sent his paintings to Paris, where they were 
greatly admired, and sold quickly, at high prices; 
while the artist remained in o])SCurity and poverty. 
While in Palermo's employment, he gained great 
facility of handling, and became an excellent col- 
orist, from copying the old masters. He, however, 
painted several original historical pictures, three of 
which representing Adam and Eve, a Charity, and a 
Crucifixion, are highly praised by Karel vanMander, 
who represents him as one of the most promising 
young painters of his time. He died in 1560. 

BACKER, or BAKKER, Jacob de, a Dutch 
painter, born at Harlingen in 1608. He resided 
chiefly at Amsterdam, where he distinguished him- 
self as a painter of history and portraits. His fa- 
cility of hand and freedom of pencil were such, that 
Houbraken asserts he flnished the half-length por- 
ti-ait of a lady of Haerlem in one day, though 
adorned with rich drapery and loaded with jew- 



els. He gained much reputation as a painter of 
history, and executed among other good works, a 
fine picture of Cimon and Iphigenia. His pictures 
are extolled in poetry by Vondel, his countryman. 
In designing academy figures, his expression was 
so just, and his outline so correct, that he obtained 
the prize from all his competitors, and his works 
still bring high prices. In the collection of the 
Elector Palatine there is an excellent head of 
Brouwer, by this artist, and in the cathedral at 
Antwerp, he painted the altar-piece of the chapel 
of the fiimily of Plantin, representing the Last 
Judgment ; it is a grand composition, correctly 
drawn and finely colored. 

Bx4CKER, Adrian de, a Dutch painter, born at 
Amsterdam in 1643. He was sent to Italy while 
young, and acquired there a taste and correctness 
of design not very common among the artists of 
his country, which is discernible in all his pic- 
tures. His best work is in the Town House of 
Amsterdam, representing the Judgment of Solo- 
mon ; an ingenious composition, and painted in 
good style. He died at Amsterdam in 1686. 

BACKER, Nicholas de, a Dutch painter, born 
at Antwerp in 1648. After learning portrait paint- 
ing at home, he went to England, where he was 
employed as an assistant by. Knell er. He also 
painted perspective views of English churches. He 
is said to have died in England in 1689. 

BACKEREEL, William and Giles, were em- 
inent Dutch painters. The former painted land- 
scapes, and resided principally in Italy. The lat- 
ter was cotemporary with Rubens, and his man- 
ner resembled that master. He competed with 
Vandyck in an altar-piece in a church of Ant- 
werp, but, though both works were highly praised, 
the preference was never given in favor of either. 
In the Low Countries he adorned the churches 
with pictures which justly entitle him to the high- 
est rank among the artists of his count^3^ at a 
period when they were in the zenith of their fame. 
Some of his works may be compared with those 
of Rubens or Vandyck. In the cathedral at 
Burges. is an altar-piece by Giles, representing St. 
Charles Borromeo administering the Sacrament 
to a numerous group of persons attacked by the 
Plague. The composition of this fine picture is 
grand and striking; the drawing more correct 
than Rubens, yet bold and decided ; in coloring 
equal to the chaste and delicate tinting of Van- 
dyck. In the Church of the Augustines, at Ant- 
werp, is an admirable picture by him of the 
Crucifixion. At Brussels, in the Church of the 
Franciscans, is a splendid work of this master, re- 
presenting the Virgin Mar}^ and Infant Saviour, 
with St. Beatrice and other saints. He had a good 
taste for poetry, but b}^ exercising that talent too 
freel}^ in satires against the .Jesuits, he drew upon 
himself the revenge of that fraternity, who com- 
pelled him to fly from Antwerp. 

BACKHUYSEN, Ludolph, a German painter, 
born at Embden in 1631. He was of respectable 
family, and was intended by his parents for a mer- 
cantile profession, for which purpose he was sent 
to Amsterdam. But his time was more occupied 
in the society of painters than in the counting- 
house, and he at length became a pupil of Albert 
van Everdingen, under whom he remained some 
time. He acquired most of his knowledge by fre- 
quenting the rooms of different artists, and from 



BACK. 



61 



BACQ. 



one of these, Henry Dubbels, he learned more than 
from any other. His fondness for shipping led him 
frequently to the port of the city, where he made 
admirable drawings of the vessels with a pen, which 
were much sought after by the collectors, and were 
purchased at liberal prices. Several of his draw- 
ings were sold at 100 florins each. This success 
induced him to paint marine subjects. His first 
essays were successful, and his pictures universally 
admired. While painting, he would not admit his 
most intimate friends to his studio, lest his fancy 
might be disturbed. He hired fishermen to take 
him out to sea in the most tremendous gales, and 
on landing, he would run impatiently to his pal- 
ette to secure the grand impressions of the views 
he had just witnessed. He has represented that 
fearful element in its most terrible agitation, with 
a fidelity that intimidates the beholder. His pic- 
tures on these subjects have raised his reputation 
even higher than that of W. Vandervelde ; al- 
though the works of the latter, which represent the 
sea at rest, or in light breezes, are much superior, 
and indeed inimitable. His pictures are distin- 
guished for their admirable perspective, correct 
drawing, neatness and freedom of touch, and re- 
markable facility of execution. For the burgo- 
masters of Amsterdam, he painted a large picture 
with a multitude of vessels, and a view of the city 
in the distance ; for which they gave him 1,300 
guilders, and a handsome present. This picture 
was presented to the King of France, who placed 
it in the Louvre. The King of Prussia visited 
Backhuysen, and the Czar Peter took delight in 
seeing him paint, and often endeavored to make 
drawings after vessels which the artist had de- 
signed. At the age of seventy-one he engraved a 
series of views on the Y, an arm of the sea near 
Amsterdam. He died in 1709. 

BACKHUYSEN, Ludolf, a Dutch painter, 
grandson of the preceding, was born at Amsterdam 
in 1717, and died at Rotterdam in 1782. He 
painted horses and battle-pieces with considerable 
reputation. 

BACLER, Louis Albert Guillain, Baron 
D'Albe, a French painter, was born in 1761, at 
St. Pol [Pas de Calais.] He was general of brig- 
ade, and held other military and civic offices under 
Napoleon. He painted several views in Italy du- 
ring the incursions of the French, particularly the 
Battle of Lodi and the passage of the Po. The 
latter were painted under the inspection of Napo- 
leon. He afterwards commemorated several other 
victories of the French armies. He also painted 
classical subjects, such as the Death of Paris; 
OEdipus wandering in Greece, and several inter- 
esting landscapes. 

BACON, Sir Nathaniel, an English amateur 
painter, born in 1644. was the brother of the great 
Sir Francis Bacon. He studied in Italy, but painted 
in the style of the Flemish school. It is said that at 
Gorhambury, the family seat, there are some good 
pictures by him, consisting of a whole-length por- 
trait of himself ; a half-length of his mother, and a 
Cook-j\Iaid with Fowls. Several others are men- 
tioned at Culford, in Suffolk. His monument in 
the chancel of Culford Church 
his bust, a palette and pencils. 

BACON, John, an eminent English sculptor, 
born at Southwark, near London, in 1760. The 
history of this able artist is a beautiful illustration 



of the triumph of genius over adverse circumstan- 
ces. In 1755, he was bound an apprentice to a 
china manufacturer at Lambeth, where he was 
first employed in painting on the ware, but dis- 
covering a taste for modelling, he was soon em- 
ployed for this purpose, and in less than two j^ears, 
he modelled all the figures for the manufactory. 
Some sculptors were in the habit of sending their 
models to this pottery to be burnt, and from the 
sight of them, his ardent mind resolved on its fu- 
ture occupation. He made rapid progress, and 
received nine premiums from the Society for the 
Encouragement of Arts, &c. ; the first, in 1758, for 
a figure of Peace. Several of his earlier produc- 
tions — a Mars, a Venus, and a Narcissus, &c., are 
still to be found in the rooms of that Societj^ Du- 
ring his apprenticeship, he formed the idea of mak- 
ing statues in artificial stone, which he afterwards 
perfected, and which is still carried on at Lambeth. 
About 1768, he began to work in marble, and in- 
vented an instrument, now in general use among 
English sculptors, for transferring the form of the 
model (with a correctness before unknown) to the 
marble ; thereby rendering the executive part more 
of a mechanical operation, to be performed by as- 
sistants, and thus giving the sculptor more time 
for designing and modelling. In 1776, he received 
the first gold medal from the Royal Academy, and 
in 1770, he was elected an Associate of that Insti- 
tution. Bacon now rose rapidly in public estima- 
tion and favor. He was commissioned to execute 
a bust of the King for the Hall of Christ's College, 
Oxford, which he performed with such excellence, 
as to increase his reputation and secure the roj-al 
patronage. Soon afterwards he received a similar 
commission for the University of Gottingen. In 
1777, he executed the monument to the memory 
of Gay, the founder of Gay's Hospital, which was 
considered so admirable that the city of London 
engaged him to erect a liionument to the Earl of 
Chatham — a work esteemed his most capital per- 
formance. In 1778, he was elected a Royal Acad- 
emician, and completed the beautiful monument to 
the memory of Mrs. Draper, in the Cathedral 
Church at Bristol. Among his other principal 
works, are two groups, which embelhsh the top 
of the front of Somerset Place ; a Statue of Judge 
Blackstone, for All Soul's College, Oxford ; a Statue 
of Henry VI., for Eaton College ; the Monument 
of Earl Chatham, in Westminster Abbey; the 
Statues of Dr. Johnson, Mr. Howard, and Sir Wil- 
liam Jones in St. Paul's Cathedral. He died in 
London in 1799. 

BACQUOY. See BAauoY. 

BADALOCCHIO, Sisto, an Italian painter, was 
born at Parma in 1581, and studied under Anni- 
bale Caracci. He attended that master to Rome, 
and assisted him in some of his great undertakings 
in that city. His principal works are the two 
pictures he painted in the Verospi Palace at Rome, 
which have been engraved by John J. Frezza. 
They represent Polyphemus seated on a Rock, 
with Galatea and her Nymphs on the sea ; and 
Polyphemus hurling a Rock on Acis and Galatea. 
Badalocchio etched several plates in a free and 
masterly style, which are in general more finished 
than those by Guido Reni, though not quite so ele- 
gantly or so carefully drawn. He was an accom- 
plished designer, possessed an inventive genius, and 
would probably have proved one of the most rep- 



BADA. 



62 



BADI. 



utable painters of the Carraci's distinguished school, 
had he not died in the prime of life ; Zani sa,js in 
1647. His ordinary mark was S. B., f. We 
have the following plates by him : The Statue of 
Laocoon ; after the antique marble. Six plates 
of the Apostles from the cupola at Parma ; after 
Correggio. Fifty-one plates ; after Subjects from 
the Bible; painted by RalFaelle in the \atican, en- 
graved in conjunction with Lanfranco, and dedica- 
ted to Annibale Caracci. The Holy Family, with St. 
John ; after Schidoni, Sisto Badalocchio, fecit. 

BADARAOOO, Giuseppe, a Genoese painter, 
called II Sordo, from his being deaf He studied 
under Andrea Arjsaldi for some years, but upon 
leaving his school he visited Florence, where he so 
much admired the works of Andrea del Sarto, that 
he applied himself with assiduity to the studj^ of 
the pictures of that admired artist. He painted 
history with reputation, and executed several 
works for the churches and public edifices of Flo- 
rence, where he died in 1657. 

BADARAOOO, Giovanni Raffaelle, an Ital- 
ian painter, born at Genoa in 1648. He was the 
son and scholar of the preceding, but after study- 
ing some time with his father, went to Rome, and 
entered the school of 0. Maratti. Aiming at a 
freer and bolder style, he adopted the manner of 
P. da Oortona. There is gi-eat sweetness and a fine 
iinpasto in his coloring, which a profusion of ultra- 
marine has preserved in all its brilliancy. He was 
much employed in easel historical subjects ; of his 
large works, the most important are some pictures 
in the Oertosa at Polcevera. He died in 1726. 

BADENS, Francis, a Dutch painter, born at 
Antwerp in 1571. His father, an obscure artist, 
taught him the first principles of design. He af- 
terwards went to Italy, where he resided several 
years, and by close application became an accom- 
plished artist. Van Mander mentions him in very 
favorable terms as a painter of history and por- 
traits, and says that he excelled in conversation 
pieces and subjects of gallantry. His style of de- 
sign partook more of the Italian than of his native 
school, and his coloring was excellent. On his re- 
turn to Antwerp, his merit obtained for him con- 
stant employment, and gave him the soubriquet of 
the Italian painter. He died in 1603. 

BADENS, John, a Flemish painter, born at Ant- 
werp in 1576, was the younger brother of Francis 
B.. and was instructed by his father. He went to 
Italy while young, where he resided several years. 
He afterwards visited Germany, where his works 
were highly esteemed, both in history and por- 
traits. Several princes of the empire favored him, 
and he acquired there both fame and fortune. Re- 
turning home, where he intended passing the rest 
of his life in tranquillity, he was robbed by banditti 
of all he possessed. This event threw him into a 
state of despondency and languor, occasioning his 
death in 1613, aged 37. Balkema, Nagler, and 
Zani, state erroneously that he died in 1603, at the 
age of 27. 

^3^-P B ADIALI, Alessandro, an Italian paint- 
/ \j er and engraver, born at Bologna in 1626. 
He studied under Flaminio Torri, and painted sev- 
eral pictures for the churches and public edifices at 
Bologna. He etched several plates in a slight, free 
style. We have the following prints by him, 
marked with his monogram: The Virgin Mary 



seated with the Infant Jesus on her lap; a Bishop 
and Monk kneeling ; from his own design. The 
Holy Family, and Christ taken d^wn from the 
Gross ; after Flaminio Torri. The Virgin Ma- 
ry and Infant Ohrist; half-length. The Repose 
in Egypt. Another Repose in Egypt, where the 
Virgin is holding a linen to cover the Infant on her 
knee ; The two last prints are generally attrib- 
uted to Alessandro B. There is much discrepan- 
cy among various writers about the time of Badi- 
aldi's birth, but it is generally agreed that he died 
about the age of 45. 

//'^^\ ' BADILE, Antonio, an Italian historical 
JlB -^^ and portrait painter, born at Verona in t 

1480. Lanzi says he was the first Veronese paint- ■ 
er who divested himself entirely of the Gothic *^ 
manner that prevailed before him, and was supe- 
rior to his cotemporaries in the expression of his 
heads and the delicacy of his coloring. His pic- 
tures of the Raising of Lazarus, in the church of 
S. Bernardino ; and the Virgin and Infant in the 
clouds, with several Saints, in S. Nazaro, so high- 
ly praised by Ridolfi, tire worthy of the instruc- 
tor of Paolo Veronese and Zelotti. He died 
in 1560. 

BAEOK, John George, a German engraver, 
born at Augsburg, about 1700. He engraved 
a number of portraits, most of which are mention- 
ed by Heineken 5 and he also engraved some plates 
after other masters. His mark is B. fe. 

BAENER, John Alexander, a German en- 
graver of little note, who flourished about 1670. 
Among others, he engraved an emblematical sub- 
ject, executed with the graver in a coarse, heavy 
style, and representing a man kneeling at the feet 
of another man, with a book before him ; and a 
hand, holding a sword, is striking from the clouds 
at the latter. 

BAERSTRAETEN, or BAERSTRAET, John, 
a Dutch painter, who flourished about 1660. He 
sometimes painted marine views, but excelled in 
winter pieces, in which he has represented the 
principal chateaux near Amsterdam with a num- 
ber of figures skating, well drawn and neatly 
touched. These subjects he has treated with in- 
finite art, and they produce a wonderfully natural 
effect. He died in 1687. 

BAESTEN, Maria, a Flemish paintress, whose 
maiden name was Ommeganck. She usually paint- 
ed landscapes and cattle with reputation. She was 
a member of the Academy at Antwerp in 1784. 

BAGETTI, Oav., Giuseppe Pietro. This 
eminent artist was born at Turin, in 1764. He 
was educated for the church, but disliking the ec- 
clesiastical profession, he turned his attention to 
architecture, and afterwards placed himself under 
the instruction of Palmieri to learn the art of 
painting in distemper, or water-colors, in which he 
became preeminent. The King of Sardinia ap- 
pointed him his draughtsman, and sent him with 
his army. He soon afterwards appointed him Pro- 
fessor of Topography in the Military School at 
Turin. When the French took possession of Pied- 
mont in 1778, he Avas persuaded by his friends 
and General Dupont to enter the service of the 
French, and for this purpose he repaired to Paris, 
where he was well received, and attached to the 
War Department, as Topographical Engineer, with 
the grade of Captain, and was especially charged 



BAGL. 



63 



BAGL. 



to execute pictures representing the victories of 
the French army. In the space of eight years he 
painted eighty pictures, which are now in the gal- 
lery at Fontainbleau, and the War Department 
at Paris. Many of these were engraved by the 
order of Napoleon. Bagetti displayed all the re- 
sources of his art in executing pictures which 
should embrace an immense extent of country. 
For this purpose, obliged to dispense with the or- 
dinary rules of optics, he took his point of sight 
at a sufficient elevation to command a view of the 
remotest objects. In this manner he executc^r ri 
immense picture, now in the Royal Museu^u at 
Paris, which gave a general view of the whole of 
Italy as far as Naples, divided by the Alps. For 
this great work. Napoleon conferred upon him the 
Order of the Legion of Honor, and sent him to 
Naples to paint a general view of Italy as far as 
the Alps, of the same size, as a match to hang be- 
side it. But the war with Russia breaking out, he 
was recalled, and accompanied Napoleon in that 
fatal expedition, and this great work was never 
completed. After the restoration of the Bourbons 
in 1815, he was dismissed by the French govern- 
ment, when he returned to Turin, where the King 
conferred on him the rank of Major of Infantry, 
appointed him professor in the Military School, 
and made him change the Star of the Legion of 
Honor, for the Cross of Savoj^. He executed for 
the King a great work which showed the Alps and 
all Piedmont, as far as Lombardy. He also paint- 
ed several grand pictures of Battles in honor of the 
heroes of Savoy, for which he was decorated with 
the Cross of St. Maurice, and rewarded with 
a pension. He died at Turin in 1831, and a mon- 
ument was erected to his memory. Bagetti is 
ranked the first of painters in his line. He was 
a distinguished theorist, and wrote some admira- 
ble essays on Painting and the Fine Arts, pub- 
lished at Turin in 1827. The King of Sardinia, 
Charles Albert, in consideration of his distin- 
guished services and eminent abilities, on his death 
generously conferred a pension on his widow. 

BAGLIONI, Cesare, a Bolognese painter, was 
the son of an obscure artist who taught him the 
elements of design. He adopted the style of the 
Caracci, particularly in landscapes, in which he 
excelled; though he did not enter that school. 
He was a universal artist, painting history, ani- 
mals, fruit, &c., all of which, according to Malva- 
sia, possessed considerable merit. The principal 
works of this master were at Bologna and Parma, 
where they are highly esteemed. In the Church 
of the Madonna del Soccorso, is a picture of the 
Ascension ; and in S. Giorgio, an altar-piece, repre- 
senting St. Anthony and St, Martha, He was 
living in 1610, as is clearly shown by documents 
preserved by the Canon Trecasali, and recorded by 
Zani, to the effect that he was employed in that 
year by the Duke Ranuzio Farnese, to paint the 
church or oratory of Stirone, the foundation of 
which was laid in 1599. 

BAGLIONI, Cavaliere Giovanni, an eminent 
Italian painter, born at Rome in 1594. He studied 
under Francesco Morelli, and was employed in 
many considerable works at Rome during the 
pontificates of Clement VIII. and Paul V. In the 
Church of S. Maria delP Orto, he painted a chapel 
in fresco, representing the life of the Virgin ; and 
in S. Niccol6, in Carcere, there is a fine picture of 



the Last Supper. His best work is the pic of 
in St. Peter's, of that saint raising Tabitha L\q 
the dead. This production was greatly admirv , 
and gained for Baglioni the Knighthood of the Or 
der of Christ from Paul V. He wrote the Lives 
of the Painters, Architects, and Sculptors, who 
flourished at Rome, from Gregory XIII, , to tlrban 
VIII.— from 1572 to 1642. 

BAGNACAVALLO. See Ramenghi. 

BAILLE, Alexandre, an obscure French en- 
graver, who practised the art about 1764. He 
engraved, among other plates, one representing a 
half-length figure of St. Cecilia; after Francesco 
Fernandi. It is signed with his name, and the 
above date. 

BAILLEUL, F,, a French engraver, who resi- 
ded at Paris about 1722, and engraved part of the 
plates pubhshed in that year, representing the 
ceremonies of the coronation of Louis XV. 

BAILLIE, William, an Irish engraver, 
was born about 1736. During his early 
life he was connected with the army, which he left 
with the rank of captain of cavalry. Henceforth 
Jie was devoted to the arts, and long had the name 
of a very excellent connoisseur. His best works 
are those he executed in the style of Rembrandt, 
and his copies after the prints of the latter. He 
executed about a hundred plates, of which the fol- 
lowing are the principal, some of them marked 
with his name, and some with his monogram : 

Bust of an Old Man, with a gold chain, in the manner of 
Rembrandt ; two plates with, and without the chain. A 
Landscape, with a Stone Bridge, engraved 1764, scarce. A 
Landscape, with the Ruins of a Temple ; in the manner of 
Claude. The Portrait of Sofonisba Angusciola, paintress ; 
ipsa pinxit. A Landscape by moonlight ; after A. Cuyp. 
The Pencutter; the Lacemaker, and the Mother of G 
Douw ; after G. Douw. Susanna justified by Daniel ; after 
Ger. van Eeckhout. Four Officers, two playing at Trictrac ; 
after Gcrrards ; scarce. The Portrait of Francis Hals, 
Painter ; P. Hals, pinxit. The Portrait of Francis Mieris ; 
after himself. Peasants saying Grace ; and a Musical as- 
sembly ; after Moleiiaer. James, Duke of Monmouth, on 
Horseback ; after Netscher. Interior of a Dutch Chamber, 
with Peasants regaling, 1767; and another Interior, with 
Peasants smoking and drinking, 1765 ; after A. Ostade. 
Christ healing the Sick, called the Hundred Guilder Print, 
Rembrandt's original plate, purchased by Baillie in Hol- 
land, and exquisitely retouched by him. Beggars at the 
Door of a House ; the Gold-weigher ; The Three Trees, 
Landscape ; a Landscape, with a Horse lying; after Rem- 
brandt's prints. An Old Man, half-length, with a Beard 
and Cap ; W. Baillie, 1765 ; ajter Rembrandt. The En- 
tombing of Christ ; two plates varied ; an Old Man, half- 
length, with a large Beard, and his Hands in the Sleeve of 
his Robe, 1771, A Landscape, with a Horse lying. The 
Holy Family ; after Schedoni. Interior of an Ale-houae, 
with Figures regaling, fine ; after Tenters. A Student sit- 
ting before a Table with a Globe and Books ; and William, 
Prince of Orange, on Horseback; after Terburg. Sol- 
diers quarreling, half-length ; after Valentin. Three Sea- 
Pieces ; after drawings by W. Vandevelde. 

BAILLIO, David, a Dutch painter, born at Ley- 
den in 1584. His principal subjects were portraits 
and interior views of temples and churches. The 
correct hkeness and fine coloring of his portraits 
gained them much admiration. His architectural 
views are much admired, though inferior to those 
of Steenwyck and P. Neefs. He died in 1638. 

BAILLU, or BAILLIU, P. de, a Flemish en- 
graver, was born at Antwerp about 1614. After 
acquiring the elements of design, he visited Italy 
for improvement, where he studied with assiduity 
the works of the great masters and engravers, sev- 



BAIL. 



64 



BAKE. 



?K^1 good plates. Returning to Antwerp about 

?^J35, he engraved several works of celebrated Fle- 

^^aish masters, particularly Rubens and Vandyck. 

.'Although by no means equal to the works of Vorst- 

crmans, Bolswert, or Pontius, his prints are held 

in considerable estimation. The following are 

the principal: 

Pope Urban VIII. ; P. de Bailliu, exe. John Backer, 
Dutch pa.inter ; se ipse, del. John Byler, painter, of 
Utreciit; se ipse, pin. Albert, Prince and Count of Ar- 
enberglie ; Lucy, Countess of Carlisle ; Honore Urphee, 
Comte do Morel ; the Crucifixion ; the Virgin Mary in the 
Clouds ; Rinaldo and Armida ; all after Vandyck. Helio- 
dorus driven from the Temple by two Angels ; after a 
drawing by P. de Lint ; after Rafaelle, P. de Baillu. 
A dead Christ on the knees of the Virgin Mary ; after 
Caracci ; scarce. St. Michael vanquishing the Demon ; 
after Guido. The Reconciliation of Jacob and Esau ; 
Christ praying in the Garden ; Magdalene dying, sup- 
ported by Angels ; Combat of the Lapithoe ; all after 
Rubens. The Holy Family ; after Theodore Rombout. 
Susanna and the Elders; after Martin Repyn. The 
Scourging of Christ ; and Christ Crowned with Thoras ; 
after Diepenbeck. Discovery of the True Cross by St. Hel- 
ena ; and Theodosius carrying the True Cross before St. 
Ambrose ; after P. van Lint. Christ Bound to the Pillar, 
with Angels holding the Instruments of the Passion ; after 
J. Thomas. St. Anastasius reading ; after Rembrandt. 

BAILLU, or BALLIU, and also BALEAU, 
Bernard, a Dutch engraver, born about 1625. 
His plates are executed entirely with the graver. 
They consist chiefly of portraits, with some his- 
torical subjects. He engraved several plates for 
the collection of portraits of Cardinals, published 
at Rome; besides which we have the following: 

The Cardinal Ursini, afterwards Pope Benedict III., 1672 ; 
Canute, King of Denmark; Christ between St. d'Alcanta 
and St. Mary Magdalene of Pazzis ; B. Baillu, sc. St. 
Mary Magdalene of Pazzis, with the Virgio raising her 
Veil ; Virgin Mary appearing to St. Peter of Alcantaro ; 
all marked Lazzaro Baldi pinx., B. Baillu, sc. St. 
Louis Bertrandus; Cii-o Ferri pin., B. van Baleu. 
Five Saints canonized by Clement X. ; Cyrus Ferrus, 
inv. Franciscus Bruneis, del; Bernard de Baleu, 
sculp. 

BAILLY, J. The name of this ai'tist is at- 
tached to some spirited etchings after Callot^ in 
which the neat style of that master is imitated 
with considerable success. 

BAILLY, JAcauES, a French painter, born at 
Gragay in 1629. He settled at Paris, where he 
became a member of the Academy of Painting, and 
distinguished himself in miniature portraits. He 
died in 1682. 

BAJARDO. Giovanni Battista, an Italian 
painter, born at Genoa, about 1620. It is uncer- 
tain who instructed him, but he painted history 
with reputation, and executed several fine pieces for 
the churches and public edifices at Genoa, partic- 
ularly in the cloister of S. Agostino, and the por- 
tico of S. Pietro. His works are distinguished for 
their graceful design, judicious composition, and 
great facility of execution. Soprani says he died 
of the Plague, in 1657, aged 37. 

BAKER, John, an English painter of flowers 
and fruit, born about 1736. He was one of the 
original members of the Royal Academy. In the 
Council Chamber of Somerset House, is a credi- 
table specimen of his talents. 

BARKER, Baptist de, a Dutch engraver and 
painter, who flourished about 1770. He executed 
several plates of portraits and landscapes, in a neat 
and finished style. 



BARKER, N., a Dutch painter, born in 1648, 
He was instructed by Sir Godfrey Kneller, at Lon- 
don, where he died in 1689. He painted portraits 
and history, and had some reputation as a design- 
er and colorist. 

BALASSI, Mario, an Italian painter, born at 
Florence in 1604. He first studied under Jacopo 
Ligozzi, and after the death of that master, he be- 
came a scholar of Roselli, and afterwards of Pas- 
signani. He assisted the latter in the works he 
executed at Rome for Pope Urban VIII. He cop- 
i^ RafFaelle's Transfiguration for Don Taddeo 
BdFberini, who placed it in the Church of the 
Conception, at Rome. In the Church of S. An- 
drea, is a picture of St. Bernard, and in the Stig- 
mata, one of St. Francis ; both his compositions. 
He died in 1667. 

BALDI, Antonio, an Italian designer and en- 
graver, born at La Cava, in the kingdom of Na- 
ples, about 1692. After studying some time with 
Solimena, he entered the school of Magliar. He 
resided chiefly at Naples, where he executed a 
number of plates, chiefly from his own designs. 
Zani says he was living in 1760. The following 
are his principal plates : 

The Emperor Charles VI., oval ; Don Carlos, King of 
the Two Sicilies, oval ; Nicholas Cyrillus ; S*. Cyrillus, p. 
Maria Aurelia Caracioli, a Nun, oval ; St. Ignatius Loy- 
ola, oval; Ant. Baldi ex. Prototypo. The Monk Raf- 
faelle Manca, with an Angel, oval ; the Communion of St. 
Mary of Egypt ; A. Baldi, in. et sc. St, Philip of Neri in 
Heaven; inscribed Cui nomen dedit, &c. St, Emigdeo 
interceding for the Neapolitans ; Divo Emigdo in terras, 
&c. St. Gregory with the subjects of Miracles, 1738 ; Ant. 
Baldi fee. 

BALDI, Lazaro, an Italian painter, born at 
Pistoja, in Tuscany, in 1623. He went to Rome 
while very young, where he entered the school of 
P. da Cortona, under whose able instructions he 
became an eminent artist. He painted several 
pictures for the churches and public edifices at 
Rome, which are particularly described by the 
Abate Titi. There is a fine work by him in the 
Pontifical Palace at Monte Cavallo, representing 
David and Goliah ; and in the Church of St. Luke, 
an altar-piece of the Martyrdom of St. Lazaro. 
He died in 1703. 

BALDINI, Baccio, a Florentine goldsmith, 
born about 1436, who, according to Vasari, was in- 
structed by Maso Finiguerra in the art of engrav- 
ing. There is little known with certainty of him, 
except that he executed nineteen plates for Dante's 
Inferno, after the designs of Sandro Boticelli, 
printed at Florence, by Niccolo Lorenzo della 
Magna, in 1481. He died at Florence in 1515. 

BALDINI, Fra. Tiburzio, a Bolognese painter, 
who flourished about 1611. Averoldi says he ex- 
ecuted some paintings for the churches and con- 
vents at Brescia, the best of which were the Mar- 
riage of the Virgin with St. Joseph, and the Mur- 
der of the Innocents, in the Chiesa delle Grazie. 

BALDINI, Pietro Paolo, an Italian painter. 
According to Abate Titi, he was born at Rome, and 
was a disciple of P. da Cortona. He was a repu- 
table painter of history, and that author mentions 
several admirable works by him in the public edi- 
fices at Rome. He highly commends an altar- 
piece representing the Crucifixion, in S. Eustac- 
chio, finely composed, and very carefully and cor- 
rectly designed. 



BALD. 



65 



BALE. 



BALDIXI, YiTTORio, an Italian wood engraver. 
Papillon says he flourished about 1599, Among 
other works, he executed the wooden cuts for the 
frontispieces of the acts of Tasso's plaj of Aminta, 
published in 1599. 

BALDINUCOI, FiLippo, an Italian painter, 
sculptor, and author ; born at Florence in 1624. 
He chiefl}^ distinguished himself by a Biographical 
History of Painting, of which he only lived to pub- 
lish three volumes. He also wrote a treatise on 
engraving, with biographical sketches of artists, 
1686. 4to. He was a member of the Academy of 
Delia Crusca. He died in 1696. 

BALDOYINETTI, Alessio, a Florentine por- 
trait and historical painter, born, according to Vas- 
ari, in 1425. He painted in oil and in fresco, in 
the dry Gothic manner prevalent at that early 
day. He died about 1500. 

BALDREY, J., an English engraver, who lived 
about 1790. He executed some portraits, and 
other subjects, in the chalk style, among which 
the best are : The Finding of Moses; after Sal. 
Rosa. Diana and her Nymphs ; after C. Maratti. 
The Benevolent Physician ; after Penny. 

BALDRIGHI, Giuseppe, an Italian painter, 
born at Pavia in 1722. After studying for several 
years in Florence, under Yincenzio Meucci, he was 
I invited to the Court of Parma, where the Grand 
' Duke made him his principal painter. He estab- 
lished a successful school of painting in that city. 
One of his finest works is a picture of Prometheus, 
' in the Saloon of the Academy at Parma. He ex- 
I ecuted a large painting, representing the portraits 
, of the family of Filippo, Duke of Parma, b}^ which 
i he acquired much distinction. He died at Parma 
' in 1802, aged 80. 

i BALDUCCI, Giovanni, called Cosci, an Ital- 

ian painter. According to Baldinucci, he was born 
at Florence, and studied under Battista Naldini. He 
afterwards went to Rome, where Cardinal de Me- 
dici, afterwards Leo XL, extended him protection, 
and employed him for some time. At Rome and 
Florence, there are some of his works. Late in 
life, he visited Naples, where he painted some pic- 
tures for the churches, and died there in 1600. 
IJO orl^OCjBALDUNG, Johannes, or 
XA-J JL iJHANS, sometimes called Bal- 
DUNG Grun, a German painter and engraver, born 
about 1495. at Gemund, in Suabia. There are sev- 
eral of his paintings in the cathedral at Friburg ; 
i 1 a style similar to his cotemporary, Albert Durer. 
He engraved chiefly on wood, and his blocks are ex- 
ecuted in a free bold style, possessing great merit. 
The heads have a good expression, though the draw- 
ing is not very correct. His monogram is usually 
attached to his prints. Bartsch, Brulliot, and Zani, 
all agree that he engraved on copper. Bartsch 
mentions two of his copper plates, and Brulliot al- 
ludes to several. Zani maintains that Baldung and 
Bresang are one and the same artist. — (See Bres- 
ang.) — We have the following prints by him: 

Adam and Eve in Paradise, Eve plucking the apple ; 
the Fall of Adam ; inscribed on a Tablet. Lapsus humanis 
generis, 1511. Christ and the Twelve Apostles, 1514. 
13 plates. The Crucifixion, with St. John supporting the 
Virgin, and Mary Magdalene behind the Cross ; fine, in 
c/iiaro-scuro ; Bacchus drunk, near a Tun, a Cupid making 
water on him; an Incantation, in chiaroscuro, 1510. 
Two Landscapes, very scarce ; a Man with a Horse, large 
upright, no date ; four small upright prints, very fine ; 



Solomon's Idolatry ; Samson Delila; David and Baths ire : 
ba ; Aristotle and Phryne ; the Holy Family, with fc of 
Elizabeth and St. Catherine, half-length, 1512 ; two prini'-^Q 
of Horses in a Forest ; marked Baldung, 1534. 

BALECHOU, Jean Jacques, a distinguished 
French engraver, born at Aries in 1715. His ex- 
ecution was superior to that of any previous French 
engraver, as to the clearness of strokes, and bril- 
liancy of color ; but notwithstanding its charming 
effect, his flesh appears like marble, and his draw- 
ing is imperfect. His prints of history chiefly, and 
also some of his portraits, have this defect. The 
following are his principal works : 

Anne Charlotte Grauchler ; Mad. Aved ; Charles Henry 
Friso, Prince of Orange ; Prosper Jolyot de Crebillon, 1751, 
fine ; all after Aved. Jacques Gabriel Grillot ; after Au- 
treau. Jean de Julienne, celebrated amateur ; after de 
Troy. Charles Rollin, <fcc. ; Charles Coypel, painter ; af- 
ter Charles Coypel. Henry, Comte do Bruhl ; after L. 
Sylvester ; fine ; but it was ill retouched, and therefore 
probably not done by Balechou. Auguste III., Koi de 
Pologne ; after Rigaud. The first impressions are very 
fine, but the plate was subsequently much altered. Infan- 
cy and Youtli ; after D. Bardon. Five fancy subjects ; 
after E. Jeaurai. La Force ; the Portrait of Elizabeth 
of France ; after Nattier. St. Genevieve ; after C. Van- 
loo. The Storm ; the Calm ; the Bathers ; after Vernet. 

BALEN, Henry van, a distinguished Flemish 
painter, born at Antwerp in 1560. He studied 
under Adam van Oort, the master of Rubens. He 
afterwards went to Italy for improvement, where 
he remained several years, and executed several 
admirable pictures. On returning to Antwerp, he 
was so successful, that he could scarcely supply 
the demand for his works. He was among the 
first of the Flemish painter.s, who attained that 
pure coloring, which was perfected by Rubens and 
Yandyck. In his cabinet pictures, he often repre- 
sented Ovid's Metamorphoses, with small figures, 
well drawn and finely colored. The landscapes in 
these subjects were painted by John Breughel, 
though in some of his pictures, they were by Kier- 
ings. His works of this kind were highly prized. 
He also executed many fine works for the churches. 
There is an admirable altar-piece by van Balen in 
the Cathedral at Antwerp ; the centre-piece repre- 
senting the Yirgin with the Infant and St. John ; 
and on the two folding doors a choir of Angels. 
For another altar-piece in the same church, he 
painted St. John preaching in the Wilderness, with 
a number of figures, well composed and finely col- 
ored. Yan Balen was the first instructor of Yan- 
dvck, and one of the best artists of his country. 
He died in 1632. 

BALEN, John van, a Flemish painter, the son 
of the preceding, born in 1611. After studying 
some time with his father, he went to Italy, and 
remained several years at Rome. He seems to 
have followed the pleasing style of Francesco Al- 
bano. His works are distinguished for great free- 
dom of touch and admirable coloring ; but there 
is a want of taste, and a manifest incorrectness of . 
design. He was most successful in cabinet pic- 
tures. 

BALESTRA, Antonio, an Italian painter, 

born at Yerona in 1666. It is not known 

who first instructed him, but at the age of twenty- 
one he visited Yenice, and studied for three years 
under Antonio Belucci. He afterwards v/ent to 
Bologna, and to Rome, where he attended the Ac- 
ademy of Carlo Maratti, then in high reputation. 



BALL. 



66 



BAMB. 



utaba acquired considerable distinction, gained the 
had.ize of the Academy of St. Luke in 1C94, and 
16iVas employed to paint several pictures for the 
h churches and palaces of Rome. His manner is 
sweet and agreeable, not unlike that of Carlo Ma- 
ratti ; and there is a certain mingling of the beau- 
ties of Raffaelle, Correggio, and Caracci. His 
works are considerably esteemed, though he is not 
. thought a great painter. Balestra established a 
school in Venice, and though his style is by no 
means Venetian, yet his lectures and example pro- 
moted the fame of that school. His scholars, Ma- 
riotti and Nogari, were excellent imitators of his 
style. In the Church of Santa Maria Mater Dom- 
ini, at Venice, is one of his best works, represent- 
ing the Nativity ; and in the Church of S. Ignazio, 
at Bologna, is a picture by him of the Virgin and 
Infant, with St. Ignatius and St. Stanislaus. He 
etched some plates from his own designs in a free 
and masterly style, some marked with his name, 
and others with his monogram. We have by him 
the following: Two Soldiers, one standing, the 
other sitting ; the Virgin Mary in the Clouds, with 
St. John, inscribed Mater pulchrcB dilectionis. 
Antonius Balestrce, inv. et fec.^ 1702. The Three 
Angels with Abraham ; a Vignette with Two Fig- 
ures holding a Flag; Verona Fidelis ; Portrait 
of an Architect, Michele St. Michele. 

BALLI, SiMONE, a Roman painter, who lived 
about 1600, and adopted a style resembling that 
of Andrea del Sarto. He went to Genoa, where he 
practised the art under Pazzi. There are many 
small pictures on copper painted by this artist. 

BxiLLINI, Camillo, a Venetian painter and 
engraver, who lived, according to Zani about 1590. 
His father was a noted jeweller at Venice. Lanzi 
says he practised the art in that city during the 
age of the Mannerists ; but Zani says he was a 
talented artist, and Lodovico Dolce commends him 
for his assiduity. 

BALTEN, Peter, a Flemish painter, born at 
Antwerp in 1540. His subjects were generally 
fairs, village festivals, and landscapes, in which he 
followed the style of P. Breughel. His small fig- 
ures are neatly touched, and well drawn ; and his 
views in Flanders, like those of P. Breughel, are 
executed with great precision. He was chosen 
member of the Academy at Antwerp in 1579, and 
died in 1611. 

BALTZ, J. Georges, a painter of miniature 
portraits and landscapes on porcelain, born at 
Strasburg in 1760. There are many works of this 
kind to be found in cabinets, in England, Prus- 
sia, and France ; and it may be interesting to the 
possessors to know by whom they were painted. 

BALZER, John, a German engraver, born at 
Kukus, in Bohemia, in 1738. He chiefly resided 
at Prague, where he dealt considerably in prints. 
He engraved and published several works in concert 
• with his brother Matthew ; among which are the 
following : Fifty plates of Landscapes, Battles and 
Conversations; after Norhert Grund, an old Ger- 
man painter. Two sets of Portraits of Artists 
and Authors of Moravia and Bohemia, published 
at Prague in 1773, and 1775; the Portrait of 
Francis Edmund Weirotter, 1791 ; fine. 

BALZAC, M., a French architect and eminent 
designer, born at Paris about 1750. He was elect- 
ed a member of the Institute of France, and ap- 



pointed one of the members of the memorable 
Scientific Expedition which accompanied the 
French army to Egypt, and while there, his love 
for the arts and antiquity, induced him to visit 
ancient Thebes and to explore her monuments. 
On his return to France, he was appointed one of 
the commissioners charged with the collection and 
disposing of the materials for the great work on 
Egypt, which the government had resolved to pub- 
lish. Balzac enriched it with many precious de- 
signs of Egyptian architecture. In his leisure 
hours he cultivated poetry and literature, and 
some of his essays were published with success. 
He died at Paris in 1820, of apoplexy, deeply la- 
mented. He left in his portfolio an immense 
quantity of drawings, plans, and architectural de- 
signs. 

BAMBINI, GiAcoMO, an Italian painter, born 
at Ferrara about 1560, and a scholar of Domenico 
Mona. He painted historical subjects, chiefl}^ for 
the churches and convents of Ferrara, the principal 
of which are three altar-pieces in the cathedral, re- 
presenting the Annunciation, the Flight into Egypt, 
and the Conversion of St. Paul. He died in 1622. 

BAMBINI, NiccoLo, an Italian painter, born 
at Venice in 1651, where he was instructed by 
Giulio Mazzoni ; but afterwards he went to Rome, 
and studied under Carlo Maratti. Lanzi says he 
designed with correctness and elegance, and that 
his coloring was simple and chaste. Sometimes 
he imitated the style of Cav. Liberi, especiall)^ in 
the beauty of his female heads ; at others he fol- 
lowed the Roman manner, as in his picture of St. 
Stefano, painted soon after his return i'l cm Rome. 
His two sons, Giovanni and Stefano, painted in the 
style of their father. 

BAMBOCCIO. See Peter de Laer. 

BAMBESBIER, Jan, was a German portrait 
painter, and a scholar of Lambert Lombard. He 
went to Amsterdam, where for some time he gained 
much reputation as a portrait painter ; but in his 
latter days he fell into disrepute. He died in 1598. 

BANCK, Jan vander, a Dutch portrait painter, 
who flourished about 1745. He lived some years 
in London, where he painted numerous pictures ; 
some of distinguished persons, showing great fa- 
cility of execution. In many cases, however, they 
seem to have been hurried, and carelessly finished. 

BANCK, Peter vander. This engraver was 
born at Paris in 1649, but of Flemish parents. , || 
Under the instruction of Francis de Poilly, he ac- ' 
quired eminence. About 1674 he visited England 
with the painter Henry Gascar, where he engraved 
many portraits of distinguished persons intimately 
connected with English historj^, which on that ac- 
count will always possess great interest. His 
great neatness and finished execution, constituted 
his chief merit. He died in 1697. The follow- 
ing are his principal prints : 

Charles II., 1675; and the same, 1677; after Gascar. 
The Princess Anne ; the Princess Mary ; Prince George, 
of Denmark; Thomas, Earl of Ossory; Alexander, Earl 
of Moray, 1686 ; George, Viscount Tarbatt, 1692 ; Thos. 
Lamplugh, Bishop of York, fine ; James, Duke of Mon- 
mouth ; Richard, Lord Maitland, 1683; Sir Geo. Mac- 
kenzie ; Archibald, Earl of Argyle ; Frederick, Duke of 
Schomberg ; Ptobert, Earl of Yarmouth ; Sir Thos. Brown, 
M. D. ; J ohn, Earl of Strathnaver, or Earl of Sutherland ; 
William, Duke of Queensberry ; George, Lord Dartmouth; 
Sir Edmundbury Godfrey ; Sir Thos. Allen, large plate ; 



BAND. 



67 



BANK. 



James, Earl of Perth, 1683; Geo. Walker, who defended 
1 ondonderry ; Thos. Dalziel, a Scotch General, scarce ; 
.'ohn Locke ; Edmund Ilaller, Mt. 23 ; the same ^t. 70. 
James II. ; large plate ; Mary, his Queen ; King William ; 
and William, Lord Russell; all after KnelLer. King 
William ; Mary his Queen ; both after Wissing. Arch- 
bishop Tillotson ; after Mrs. Beale. ; the face has been 
defaced, and re-engraved by R. White. Archbishop Ten- 
ison; after the same. Sir Wm. Temple ; after Lely,\679. 
Lady Litchfield ; after Verelst. John Smith, writing 
master ; after Paithorne ; fine. The Virgin and Infant, 
with Elizabeth and St. John, and Christ praying on the 
Mountain ; after S. Bourdon. The Naval Ti-iumph of 
Charles II. ; from the Ceiling at Windsor, in two sheets ; 
and Mercury in the Air, bearing the Portrait of Charles 
II.; from the Ceiling at Windsor; both painted by 
Verrio. A set of Heads, for Kennet's History of England, 
designed by Lutterel. 

BANDIERA, Benedetto, an Italian painten 
born at Perugia in 1557. He is thought to have 
been a scholar of Federigo Baroccio, from the re- 
semblance of their works. He painted history 
with reputation, both in oil and fresco. He died 
in 1634. 

BANDINELLI, Cav. Baccio, a Florentine 
painter and eminent sculptor, was the son of a 
goldsmith, and born, according to Lanzi, in 1487. 
He early manifested a strong inclination for art. 
His father taught him the elements of design, and 
he also studied under Rustici, one of the best 
sculptors of the day. At this time Michael An- 
gclo was near the summit of his fame, and Bandi- 
nelli being constantly tormented with a desire to 
surpass that celebrated artist, turned his attention 
to painting, in which art he did not accomplish 
much, except that he proved a great designer. His 
principal works as a painter was the Murder of 
the Innocents, and the Martyrdom of St. Law- 
rence. He soon devoted himself again to sculp- 
ture, and executed a fine statue of St. Peter, in the 
Cathedral at Florence ; and that of Orpheus, in the 
Palazzo Pitti. The latter was a good imitation of 
the Apollo Belvidere. He executed a fine copy of 
Mercury, for Francis I. ; also a large number 
of other important works in sculpture, among 
which the mo.st esteemed is the colossal group of 
Hercules overthrowing Cacus, which is now at 
Florence, on the site of the old palace. Bandinelli 
was greatly noted for his admirable bas-reliefs, one 
of which he executed in bronze, and sent it to the 
Emperor Charles V., who named the artist a Chev- 
alier of St. Jacques. There are also a number of 
beautiful bas-reliefs in the cathedral at Florence 
by him, which have been engraved by the distin- 
guished Morghen. His last work was an admira- 
ble group of a Dead Christ supported by Nicodc- 
mus. He died in 1559, according to Zani and 
Lanzi, aged 72. 

BANKS, Thomas, an eminent English sculp- 
tor, born at Lambeth in 1738. He was appren- 
ticed to a wood carver, with whom he served 
his term of seven years. But he aspired to a 
higher employment, and on the Society for the 
Encouragement of the Arts, &c., offering prem- 
iums for models in sculpture, he set himself to 
study and modeling with that resolution which 
ensures success, and having honorably obtained 
several premiums of that Society, he entered him- 
self a student of the Ro3^al Academy, obtained their 
gold medal, which entitled him to go to Rome as 
their student for three years, with a salary of 
£100 per annum, and his traveling expenses paid. 
At Rome, he applied himself to study the antique, 



with the greatest assiduity, and executed scvcr^^ ' 
works which added greatly to his reputation, pa., 
ticularly Cupid catching a Butterfly, (emblematic^ 
of Love seizing the human Soul,) which was after- ' 
wards purchased by the Empress of Russia. (Cath- 
erine II,) and Caractacus brought prisoner to Rome, 
purchased by the Duke of Buckingham. Soon af- 
ter his return to England, he was elected a mem- 
ber of the Royal Academy. He now attempted 
to introduce a lofty and heroic style of sculpture 
into his native country, then so much in advance 
of the public taste that he met with no encourage- 
ment, and necessit}' compelled him to have re- 
course to the less pleasing but more lucrative em- 
ployment of monumental sculpture. The Empress 
of Russia now invited him to her Court, whither 
he went ; but not realizing his expectations, he re- 
turned after an absence of two years. But he never 
met with that encouragement which his talents de- 
served. He was a man of genius, and had he obtain- 
ed that liberal patronage which alone stimulates an 
artist to energy, by relieving his mind from anx- 
iety and embarassment, and enables him to pursue 
the natural bent of his genius, he would doubtless 
have become one of the brightest ornaments of his 
country. 

Banks rose to distinction by his genius, and 
untiring industry alone. His person was tall, 
his features noble, and his soul full of generos- 
ity and magnanimity. He despised to play the 
courtier, though his manners were engaging and 
persuasive. He was remarkably taciturn, except- 
ing in the society of kindred spirits. His admu'a- 
tion of the antique school was unbounded, and he 
delighted to mould his clay into the port of the 
gods and heroes of his favorite Homer. But he 
found no Mecaenas to extend to him a sympa- 
thising and a helping hand. His most beautiful 
works were never executed in marble. Cunning- 
ham, describing his model of the battle between 
Jupiter and the Titans, says : " Heaven is above — 
the earth is beneath ; in the former, all the gods 
and goddesses have come forth, while Jupiter, 
seated in the centre, personates not inaptly these 
noble lines, — 

* And from the middle darkness flashing out, 
By fits he deals his fiery bolts about ;' 

he holds a thunderbolt in his right hand, and with 
his eye fixed on the victim, seems ready to launch 
it. The god appears not to have taken up the 
matter a moment too soon. Beneath him, a sea 
of gigantic forms lie crushed and weltering — yet, 
some who have survived their brethren, are pre- 
paring with enormous rocks, to pile up a way 
from the mountain tops to heaven. Against these, 
the right hand of Jupiter is lifted up, and all the 
conclave of heaven sit composedly watching the 
result. The interest of the scene is not, however 
above — it lies wholly below. There we see no un- 
worthy image of that scene of desolation, described • 
so sublimely by Milton, where Satan and his com- ' 
panions are cast down to hell, confounded, though 
immortal— the linked thunder and the wrath of 
God pursuing still. We also see the germ of the 
' Fallen Titan' itself (a work previously described.) 
Looking at both, we cannot refrain from lament- 
ing, that a man capable of such things should have 
mourned three-fourths of his life over disappoint- 
ed hopes." 

Banks' most celebrated works in marble arc 



BANN. 



68 



BAR. 



utab3 Cupid and Moth, and tlie Caractacus, before 
hadentioned ; the Alto-relievo in front of the Shaks- 
16i)eare Galleiy, and which still adorns the same 
h bailding, now occupied by the Royal British Insti- 
tution; the monuuient to the only daughter of 
Sir Brooke Boothby, in Ashbourne church, (which 
irew tears from the spectators on its exhibition 
at the Royal Academy;) the monument of Sir 
Eyre Coot in Westminster Abbey ; the monuments 
of captains Westcott and Falconer, in St. Paul's 
Cathedral; the Death of a Giant, in the Council 
Boom of the Royal Academy, and some works he 
executed in Russia. His most capital perform- 
ance, a colossal statue, representing Achilles 
mourning the loss of Briseis, now in the Hall of 
the British Institution, was never executed in mar- 
ble, but remains a noble monument of his genius, 
and a reproach to his country. 

" The merits of Banks," says the author before 
quoted, " as an artist, are very high. He was the 
first of our native sculptors whose aims were uni- 
formly lofty and heroic ; and who desired to bring 
poetry to the aid of his compositions. The proofs 
of his genius must not be sought in those magni- 
ficent tasks called public monuments, where the 
subject matter is prescribed, and where perhaps 
the most that talents can hope for, is to escape 
public censure. Those who would have access to 
his happier inspirations must study his sketches — 
rough, it is true, but full of heroic feeling, and 
marked with a vigor of sentiment akin to the 
wondrous marbles of Greece. In these, the man 
comes fully out ; we see that he has surrendered 
his whole soul to those happier da3^s of sculpture, 
in which the human figure was free and unshac- 
kled, and the dresses as well as the deeds of men 
were heroic; that the bearing of gods was familiar 
to his dreams. But the cold welcome which his 
poetic groups received from his countr}^, prevent- 
ed him from expanding them into the size of life, 
and working them into enduring materials." 

BANNERMAN, Alexander, an Enghsh en- 
graver, born at Cambridge about 1730. He ex- 
ecuted some portraits for Lord Orford's Anecdotes 
of Painting, and several plates for Boy dell's collec- 
tion ; among which are : Joseph interpreting Pha- 
raoh's Dream; after Spagnolet ; The Death of 
St. Joseph; after Velasquez ; Children dancing ; 
after Le Nain. 

BAPTIST, J., a Dutch engraver, who lived at 
Amsterdam about 1720. He executed, in a very 
indifferent style, some of the plates for a collec- 
tion of prints published in that year at Amster- 
dam, entitled Figures de la Bible, from designs 
of Picart and others. 

BAPTIST. See Monnoyer. 

BAPTIST, J. See Caspars. 

BAQUOY, Maurice, a French engraver, who 
flourished about 1720. He engraved a set of vig- 
nettes for Pere Daniel's Ilistor}^ of France, from 
the design of Boucher. We have also by him a 
set of landscapes and views, and a naval combat, 
after P. D. Alartin. which was one of the four 
battles engraved at Paris for the Czar Peter. 

BAQUOY, Jean, a French engraver, the son 
of Maurice B., was born at Paris about 1730. 
Among other book-plates, he engraved a set of 
vignettes for the edition of Ovid's Metamorphoses 



published by Basan, wliich are executed in a neat 
and finished style. 

BAQUOY, Pierre Charles, a French engraver, 
born at Paris in 1760, was son and pupil of the 
preceding artist. He engraved a multitude of 
plates for the book publishers, execiited in a very 
beautiful manner. He engraved all the plates for 
the elegant edition of the works of Racine, after 
designs by Moreau and Monsian. Also for the 
superb edition of Roman History in quarto, after 
designs by Myris, published by the government 
for the instruction of the children of the Royal 
Family. His other principal works are : 

Two portraits, Charles Gravir, and the Count of Yergen- 
nes ; St. Vincent de Paul Receiving a Child ; Fcnelon suc- 
coring the Wounded Soldiers ; t-vvo plates, Diana and her 
Nymplis, and the Death of Adonis; after Poussin. Four 
Landscapes ; after J B. Bernard. La Ruine ; after 
Watteau. His greatest work is the martyrdom of St. 
Gerv-aise and St. Protais ; after Le Sueur. He died at 
Paris in 1829. 

BAR, Nicolas, a celebrated French historical 
painter, who was born in Barrels, but passed most 
of his life at Rome, where he was known by the 
name of Signor Nicoletto. He was a descendant 
of the Maid of Orleans, and flourished in the latter 
part of the 17th century. He is said to have 
painted a great many easel pictures of Virgins, 
Madonnas, &c., in a style of excellence. He also 
painted some pictures for the Primatial church at 
Nancy. He died at Rome, but the time is not 
mentioned. 

BAR, called Nicolas de Lys, was a son of the 
preceding artist, born at Rome and studied under 
his father. This artist took the name of de Lys, 
accorded to his ancestors by Charles YII.. in mem- 
ory of Joan of Arc. In 1710 he went to Lorraine, 
where he resided till his death, in 1732. This 
artist painted many pictures in the Italian style 
for the convents and churches of Nancy. There 
are also manj^ of his works in the private gal- 
leries of France, where they are highlj'^ esteemed. 

BARA, or BARRA, John, a Dutch engraver, 
born in 1572. He published some plates in Eng- 
land, dated 1624 and 1627. He seems to have 
imitated the works of the Sadelers, but he was 
far inferior to them. He worked entirel}" with 
the graver, in a stiff and labored manner. The 
following are his principal prints : 

Christian II.. Elector of Saxony ; J. Bara, fee. et txc. 
1605. Prince Maurice of Nassau-Orange ; Joachim, 
Count of Ortenbourg ; Lodowick, Duke of Richmond and 
Lenox, 1624 ; Bust of a Man, with Two Figures represent- 
ing Literature and Painting, 1622. A Landscape, with 
Phoeton demanding of Apollo the conduct of his Car, J. 
Bara, inv. et sc. The Hist, of Tobit, in three Landscapes ; 
Christ and his Disciples going to Emmaus ; a Landscape, 
with Susanna and the Elders ; Joh. Bara fecit, Lortdini, 
1627. A Landscape, with Two Men carrying the Trunk 
of a Tree ; Susanna and the Elders ; H. Goltius, inv., 
Barra, sc, 1598; scarce. Bath.sheba Bathing; after a 
painter whose initials are G. IV. The Parable of the 
Sower ; Ab. Bloemart, inv. ; Jo. Bara, sc. Herodias, 
with the Head of St. John ; after John ran Aken, inscribed 
Quid mater mali, (^c. Some grotesque ornaments,, /"ro/n 
Nicasius Rousseel, marked John Barra, sculp., Londini. 

BARABE, , a French engraver of some 

merit, who flourished about 1760. He executed 
some prints of architectural subjects. /)'Owi designs 
of G. M. Dumont. 

BARABBINO, Simone, an Italian painter, born 
near Genoa, about 1585. He studied under Ber- 



BARA. 



69 



BARB. 



nardo Castello, and manifested such great abilities 
that the latter became jealous and expelled him 
from his school. Directly after, he painted a picture 
of St. Diego for the Nunziata del Guatasto, which, 
according to Soprani, is equal to the works of Cas- 
tello. Not being sufficiently encouraged at Genoa, 
he went to Milan, wiiere he gained abundant en- 
couragement. One of his best works is the Dead 
Christ with the Virgin, St. Michele, and St. An- 
drea, in the Church of S. Girolamo. Zani saj'S he 
was living in 1664. 

BARATTI, Antonio, an Italian designer and 
engraver, born at Florence about 1727. He ex- 
ecuted some plates for a volume of prints, from 
the collection of pictures belonging to the Marquis 
Gerini, published at Florence in 1759. He also 
engraved a portrait of John Bettini Cignarolli; 
after Rosa. 

BARAUDIE, Le, an Italian engraver, a native 
of Florence, who hved about 16.38. He executed 
among other works, several plates of designs and 
ornaments for g-ardens. published at Paris in 1638, 
by jNIichael van Lochon. 

BARBALUNGA, Antonio Ricci. a Sicilian 
painter, born at Messina in 1600. He studied 
at Rome under Domenichino, whose admirable 
style he imitated with success. He executed two 
pictures at Rome for the church of the Theatines, 
representing St. Gaetano and St. Andrea Avellino, 
which are worth}' of the school of Zampieri. He 
returned to ]Messina. where he executed many ex- 
cellent paintings. He established a school in that 
city which produced several distinguished scholars, 
among whom were D. Marolli, 0. Gabriello. and 
Agostino Scilla. This artist ranked as one of the 
best Sicilian painters. 

BARBARELLI, Giorgio, called Giorgione, 
a distinguished Italian painter, born at Castel- 
franco. near Trevigi, in 1477. He early manifested 
a strong inclination for art, and was placed in the 
school of Giovanni Bellini, at Venice, where Titian 
soon after became his fellow student. He soon 
manifested great ability, and was the first of the 
Venetian painters that broke through the timid 
and constrained style that prevailed at the time 
of the Bellini, and introduced a freedom of out- 
line, a boldness of handling, and a vigorous effect 
of chiaro-scuro, which were unknown before him. 
His characters were dignified, his masses of light 
and shadow were broad and simple, his coloring 
rich and harmonious, and he was the first to intro- 
duce that admirable blending of tints, which con- 
stitutes the chief magic of Venetian coloring. He 
gained his principal improvement from the study 
of the works of Leonardo da Vinci; and from 
them he acquired the extraordinary breadth of ef- 
fect, and the wonderfi>l relief, for which his works 
are distinguished. His coloring was soft as well 
as vigorous, and in his carnations he sometimes ap- 
proached the tenderness and truth of Correggio. 
His pictures were greath- admired by Titian, who 
for some time followed his style, Giorgione was 
greatly distinguished for his admirable portraits. 
His works in this branch of the art are character- 
ized by grace, dignity, expression, and truth of 
character ; and he may be ranked among the great- 
est portrait painters. Most of his frescos have 
perished, and those which remain are greatly in- 
juredj so that little of their original excellence is j 



discernible. Of his oil paintings tne principal are : 
The picture of St. Omobono, in the School of 
Sarti, at Venice ; Christ bearing his Cross, in the 
Church of S. Roch ; and in the school of S. jMarco, 
a picture of that Saint appeasing the Tempest 5 at 
Trevigi, in the Monte di Pieta. is an admirable pic- 
ture of a Dead Christ. One of his most esteemed 
works is the Finding of Moses, in the archiepisco- 
pal palace at Milan. Giorgione died of the plague 
in 1511, aged 34 years. 

BARBATELLI, Bernardino, called Poccetti, 
an Italian painter, born at Florence, according to 
Moreni, in 1548. He studied under Michele Ri- 
dolfo del Ghirlandajo. but after leaving that school 
he went to Rome, and studied the works of Raffa- 
elle and other eminent painters. On returning to 
Florence he became quite eminent. His works 
were distinguished for richness of composition, ele- 
gance and grace ; and the draperies, fruit and flow- 
ers, landscapes, and other accessories which he in- 
troduced into his historical pieces, have been highly 
praised. But few of his works remain in Florence, 
except frescos ; and in this branch of the art he 
equalled many Italian painters. P. da Cortona said 
it was surprising that he wais not sufficiently es- 
teemed in his day ; and whenever Mengs went to 
Florence, he carefully studied his works. He is 
said to have been of a whimsical disposition, choos- 
ing his companions from the lowest societ)\ assim- 
ilating himself to them, and treating the higher 
classes with insolence or contempt. He died in 
1612. 

BARBAULT, Jean, a French painter and en- 
graver, born, according to Nagler, at Paris. He 
lived at Rome about 1760. Little is known of him 
as a painter, but Basan says he engraved a set of 
prints of the antiquities of Rome, and a few etch- 
ings, among which is the Martyrdom of St. Peter, 
after Peter Suhleyras. 

BARBE, , a Flemish engraver, born at Ant- 
werp about 1585. He is supposed to have studied 
under the Wierixes, from the great similarity of 
their styles. He visited Italy and became proficient 
in drawing, which may account for his surpassing 
most Flemish engravers in this respect. After his 
return home, he executed some small and middle- 
sized plates, in a very neat and agreeable style. 
Vandyck painted his portrait, which was engraved 
by Bolswert. The following is a list of his prints : 

SUBJECTS FROM HIS OWN DESIGNS. 

The Annunciation; inscribed Spiritus sanctus. The 
Nativity ; inscribed Peperit filium. The Virgin Mary and 
St. Joseph arriving at Bethlehem ; inscribed Et reclinavit 
turn, t^c. The Virgin suckling the Infant Jesus, in a gar- 
land of flowers ; inscribed Beatus venter, <^c. Christ on 
the Mount of Olives ; In diebus, <^c. Christ and the Dis- 
ciples at Emmaus ; Kt apertl sunt, d^c. The Crucifixion ; 
Prohefili, tf-c. St. Ignatius kneeling before an Altar. 
Four Emblematical Subjects of the Christian Virtues. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Repose in Egypt, St. Joseph presenting an Apple to' 
the Infant ; after J. B. Paggi. The Holy Family, -with 
the Infant Jesus embracing St. Joseph ; after Rubens ; fine 
and scarce before the name of Rubens. Twenty-six plates 
of the Life and Miracles of Father Gabriel Maria, founder 
of the Annunciades ; entitled Theatrum vitam, virtutes, 
cf«c., with his Portrait ; after Ab. van Diepenbeck. The 
Virgin seated on a Throne, holding the Infant, with a Bird; 
after Franciscus Franck. 

BARBELLO, Gio. Giacomo, an Italian painter, 
born at Cremona in 1590. Pasta praises him 



BARB. 



70 



BAEB. 



greatly for his paintings in the churches at Ber- 
gamo, especially for an altar-piece in S. Lazaro, 
representing the titular Saint, commendable for its 
dignity of character, and decision of hand. 

BARBIANI, Andrea, an Italian painter, born 
at Ravenna about 1680. Lanzi thinks he studied 
under P. Oesare Pronti, in whose style he painted 
subjects of history. There are some of his works 
in the churches and pubhc edifices at Ravenna and 
Rimini, which stamp him a good artist ; the best 
of them are the Four Evangelists, in the vault of 
the cathedral at Ravenna. He died in 1754, aged 
about 74. 

BARBIANI, Gio. Battista, an Italian painter, 
born at Ravenna, and flourished about 1G35. From 
his style it is thought he studied under Bartolo- 
meo Cesi. His finest oil paintings are at Bologna, 
being two of St. Andrea and St. Giuseppe at the 
Franciscans ; and St. Agata in the church of that 
name. His best fresco painting is the Assump- 
tion of the Virgin, in the dome of the chapel of Our 
Lady del Sudore, at Ravenna, which Lanzi says 
will compare favorably with the cupola in that city, 
painted by Guido. 

BARBIER-WALBONNE, jAcauEs Luc, a 
French historical and portrait painter, born at 
Nismes in 1769. He studied under David. He 
executed a number of historical works, besides 
several portraits of the famous French generals. 

BARBIERE, Domenico del, an Italian painter 
and engraver, born at Florence about 1506. He 
was instructed by il Rosso, who took him on a 
visit to France, where he was invited by Francis I. 
to adorn the palaces Fontainbleau and Meudon, 
in which his pupil greatly assisted him, Barbiere 
was employed, after the death of Primaticcio, to 
execute some fresco paintings after the designs of 
that master. His plates, though valued for their 
rarity, have little merit, for they are sometimes 
executed entirely with the graver, in a clumsy, 
awkward manner ; and his etchings are no bet- 
ter. He is occasionally confounded with Domen- 
ique Barriere, from the similarity of name ; but 
their styles are so totally different that the error 
will easily be corrected. He sometimes marked 
his plates with Domenico del Barbiere^ Fioren- 
tino. sometimes D. F., and sometimes- with one 
of the following monograms : 



B 



del., inv., or 



B)F.,org). 



The following are his principal prints : 
An Angel standing on a Globe, holding two Trumpets ; 
inscribed Domenico del Barbiere Fiorentir.o. The Re- 
pose in Egypt, with some Angels, marked D. F. The 
Stoning of Stephen ; Domenico Fiorentino. Christ taken 
down from the Cross ; after Salviati, without the name of 
the painter, marked with his cipher. Amphiara raising a 
Storm against iEneas ; after Primaticcio, without the 
name of the painter ; inscribed Amphirao. Venus, Mars, 
and Cupid ; after il Rosso, marked D. F. A Banquet ; 
after Primaticcio, signed Dom. Fiorentino. 

BARBIERI, Francesco, called Da Legnano, 
an Italian painter, born in a fortress called Leg- 
nano, near Brescia, in 1623. He was intended for 
the military profession, but sliowing great taste for 
painting, he was placed under Bernardino Gandini, 
whom he soon left, and entered the school of Pietro 
Ricchi, a pupil of Guido Reni, under whose instruc- 
tion he acquired eminence. He painted landscapes 
and history both in oil and in fresco. All his 



works showed a ready invention, and wonderful 
facility of execution. Orlandi says he died at Ve- 
rona in 1698. 

BARBIERI, Paolo Antonio, an Italian painter, 
born at Cento, a village near Bologna, in 1596. He 
was the brother of Gio. Francesco B., called Guer- 
cino. He usually painted flowers, fruit, and game, 
and he represented fish in the most truthful man- 
ner. He died in 1640. 

BARBIERI, Giovanni Francesco, called 
GuERCiNO, an Italian painter of great eminence, 
was born at the village of Cento, in the country of 
Ferrara. in 1590. Malvasia says he was called 
Gucrcino from having lost his right eye during in- 
fancy, by an accident occasioned by the negligence 
of a nurse. Before he was ten years old, he painted 
a figure of the Virgin on the fa9ade of his father's 
house, which would have been thought a very re- 
markable production even at a more advanced age. 
It is asserted that he studied under the Caracci ; 
but this can hardly be true, both from the time in ■ 
which he lived, and the wide difference in their " 
styles. Lanzi says he was not a scholar of the 
Caracci, but that he was instructed by two obscure 
painters, Gio. Battista Cremonini, and Benedetto 
Gennari the elder. Barbieri was a self-taught 
artist. He often spoke very highly of the great ■ 
work of Lodovico Caracci at the Capuchins at I 
Cento, and piobably derived much advantage from ■ 
its study. At different periods of his Hfe he fol- 
lowed three different styles. In early life he seems 
to have imitated Michael Angelo Caravaggio in his 
violent contrasts of light and shadow, the works 
of that master being then highly esteemed ; and 
though always superior to him in design, and in 
dignity of character, yet his first works were char- 
acterized by the false principles, and something of 
the vulgarity of the latter. After visiting Bologna, 
Venice, and Rome, he chose a style distinguished 
by a grander and more elevated taste of design, 
more amenity and sweetness in the coloring, the 
heads finely expressed, with a wonderful relief^ free 
from harsh or violent contrast. Such are his cele- I 
brated pictures of St. Petronilla, formerly in St. » 
Peter's ; the Aurora, in the Casino at the villa Ln- 
dovisi ; St. Philip of Neri, in the Chiesa Nuova, at 
Rome ; the Resurrection, at Cento ; and S, Elena, 
at the Mendicanti, in Venice. It was at this pe- 
riod, in the middle of his life, that he commenced 
his stupendous work of the dome of Piacenza, 
which from the beauty and strength of its color- 
ing, the boldness of the foreshortning and the 
magic of its relief, may be called the perfection 
of fresco painting. The cupola has eight compart- 
ments, in the upper part of which are the Prophets, 
accompanied by Angels, and in the lower, the Sibyls, 
and subjects from the New Testament. These 
wonderful performances stamp him one of the 
greatest artists of his time. But in his finest 
works we find no graces of ideal beauty, and by no 
means the purest choice of nature. There is gen- 
erally something lacking in the expression of his 
heads, and his figures have neither dignity of form, 
or nobleness of mein; but his powerful coloring 
counteracts this in a great measure, and his brilliant 
lights, tender demi-tints, and strong shadows, pro- 
duce an extraordinary effect. His drawing is bold 
and frequently correct, and his facility of execution 
is most wonderful, as is evident from the great 
number of his works. Malvasia gives a list of one 



BARB. 



71 



BARD. 



hundred and six altar-pieces for the churches, one 
hundred and forty-four large historical pictures, 
besides his great fresco works, and numerous Ma- 
donnas, portraits and landscapes in private collec- 
tions. Later in life, after the death of Guido, the 
great fame of that painter induced him again to 
change his style ; but in attempting the elegance 
and grace of Guido's forms, and the delicacy of his 
coloring, he fell into feebleness and languor, losing 
that powerful energy which characterizes his best 
works. In this weak style he painted most of his 
works for the churches at Bologna, also the Marriage 
of the Virgin, in S. Paterniano, at Faro j the An- 
nunciation, at Forli ; and the Prodigal Son, in the 
Royal Palace of Turin. He left an immense num- 
ber of excellent drawings, which are highly valued. 
King George IV. possessed a large collection of 
these drawings, some of which have been finely 
engraved by Bartolozzi. He died in 1606. There 
are some etchings by this artist, executed with 
great freedom and spirit, among which are the fol- 
lowing : Bust of a Man, with a cap and beard ; Bust 
of a Woman ; Bust of a Man, in oriental costume ; 
St. Peter, Joan F. Barhieri.f. ; St. Jerome, with 
a Crucifix, same mark; St. John, Joan Fr., Cent.; 
St. Anthony, saine mark. 

BARBIERI, LucA, a Bolognese painter of land- 
scapes and architecture, and a scholar of Alessan- 
dro Tiarini. He executed several important works 
for the palaces and public buildings at Bologna, in 
concert with Francesco Carboni, who painted the 
figures. 

BARCA, or BARCHI, Cav. Giambatista, an 
Italian painter, who lived about 1650. He was 
born at Mantua, but became a citizen of Verona. 
His works were replete with grace and beauty, 
and both Lanzi and Zani give him credit for great 
ability. Some have supposed him to have studied 
under D. Feti, but this is not known with cer- 
tainty, as his style varied at different periods. 

BARCA, Don Vincente Calderon de la, a 
Spanish painter, born at Guadalaxara in 1762. He 
studied under Don Francesco Goya, and gained 
distinction foi- his portraits and historical subjects, 
in the former of which he especially excelled. The 
Birth of St. Norbert in a college at Avila, is his 
best historical work. He died in 1794, aged 32. 

BARCO, Alonso del, a Spanish landscape 
painter, born at Madrid in 1645. He studied un- 
der Antolinez ; Palomino Velasco says he was 
a distinguished painter of landscapes, many of 
which are in the palaces and private collections 
at Madrid. He died there in 1685. 

BARDIN, Jean, a French historical painter, 
born at Montbar in 1732. He was first instructed 
by the elder Lagrenee, but finished his studies at 
Rome. He was sent by his parents to Paris to 
learn a trade, but his genius guided him to the pro- 
fession for which nature had intended him. On 
returning to Paris, he acquired considerable emi- 
nence; and his picture of Christ disputing with 
the Doctors, gained him admission into the Acad- 
emy of France in 1795. His subjects partake of 
poetry, history, and religion. He taught David 
and Regnault the principles of the art. He died 
in 1809. 

BARDON, Michel FRAN901S D' Andre, a 
French historical painter and engraver, born at 
Aix, in Provence, in 1700, and died at Marseilles 



in 1783. He studied in the school of Vanloo. 
Heineken speaks of some prints engraved by this 
artist. 

BARDUCCI, v., an Italian engraver, who flour- 
ished about 1768, and executed, among other 
works, a portrait of Pascal Paoli, the Corsican 
general. 

BARDWELL, Thomas, an English portrait 
painter. He executed several portraits of the em- 
inent men of his day, and wrote a book called 
The Practice of Painting and Perspective made 
Easy. He died about 1773. 

BARENTSEN, Dirk, a Dutch painter, born at 
Amsterdam in 1534, was the son of an obscure 
artist, who taught him the elements of design. At 
the age of twentj^-one, he visited Venice, where the 
famous Titian received him into his school, and fa- 
vored him with his kindness and friendship. He 
executed a fine portrait of that great master, whicli 
gained him much reputation. Having remained 
under his tuition for seven years, he returned to 
Holland, where he met with great success as a por- 
trait painter ; and executed several works for the 
churches. The style he had acquired from Titian, 
was a great advantage to him in portrait painting ; 
and in this branch of the art, he was thought the 
best Dutch painter of his time. Among his finest 
works of history was an altar-piece, which he exe- 
cuted for the great church of Amsterdam, repre- 
senting the fall of Lucifer. During the religious 
troubles of Holland this painting was destroyed. 
Van Mander says he died in 1592. 

BARGAS, A. F.. a Flemish designer and engra- 
ver, who lived about 1700. He etched a set of six 
landscapes from his own designs. A. F. Bar gas. 
inv. etfec; and a set of four landscapes after Peter 
Bout, which are sometimes marked with the name 
of Bargas, and sometimes without it. 

BARGONE, GiACOMO. an Italian painter, born 
at Genoa, and studied under Andrea and Ottavio 
Semini. The outline of his figures was full of 
beaut}^ and grace, his pencil rapid and free, and his 
dra\ving very correct. His genius excited the envy 
of Lazaro Calvi, a rival artist, who, according to 
Soprani, invited him to an entertainment, and gave 
him poisoned wine, causing his death in the piime 
of life. 

BARKER, Samuel, an English painter. Lord 
Orford sa3^s he was a relative of John Vanderbank. 
who instructed him in the art; but having a fine 
genius for painting fruit and flowers, he imitated 
Baptist, and would probably have become eminent 
in that branch of the art, had he not died young, 
in 1727. 

BxARKER, Robert, an English painter of the 
last century. He invented and painted many pan- 
oramic views, the first of which was a view of Ed- 
inburg, exhibited in that city in 1788, and in Lon- 
don in 1789, where it excited httle attention. He 
next produced a view of London, which was highly 
praised by Sir Joshua Reynolds and others. 

Bx^RKER, Benjamin, an English landscape 
painter, born in 1766. His pictures are principally 
views taken from the vicinity of Bath. His skies 
are warm, and his chiaro-scuro is managed with 
considerable intelligence. He practised the art 
with success, and in the latter part of his life he 
published a volume of forty-eight views, executed 
in aquatinta by Thos. Fielding. He died in 1838. 



/ 



BARL. 



72 



BARKER, Thomas, an English painter, was 
born in 17G9, in Monmouthshire. He was taken 
under the protection of My. Spanckman, an opu- 
lent coach builder at Bath, who gave him every 
opportunity to follow the bent of his inclination. 
At the age of seventeen, he painted a picture of the 
Woodman, which was greatly admired, and was 
afterwards sold to Mr. Macklin for 500 guineas. 
At the age of twenty-one, Spanckman sent him to 
Rome, where he remained several j^ears ; and after 
his return, he practised the art at Bath for many 
years with considerable success. He was an occa- 
sional exhibitor at the Ro3^aI Academy for about 
fifty years, during which period he sent nearly one 
hundred pictures. His best work is thought to be 
the fresco painting on the wall of his own house in 
Bath, representing the Inroad of the Turks upon 
Scio, in April, 1822. Barker died in 1847. 

BARLOW; Francis, an English painter and 
engraver, born in Lincolnshire, about 1G26, and 
the pupil of Sheppard, a portrait painter of little 
note. He painted fish, animals, and birds with 
great accuracy of design ; and had his touch and 
coloring been as good, his reputation in this branch 
would have been very great. The landscapes in 
his pictures are very well executed. Hollar en- 
graved a set of thirteen plates representing hunt- 
ings, &c., from designs of Barlow, which were very 
correctly drawn. Barlow executed some of the 
plates for Edward Benlow's divine poems, called 
Theophila, published in 1652. There is a print 
by him representing an eagle in the air, with a cat 
in her talons, from a scene he witnessed in Scot- 
land. He published a translation of Esop's Fables, 
with 110 plates, from his own designs. He often 
marked his plates F. B., sometimes enclosed in a 
circle. 

BARNUEVO, Don Sebastian de Herrera, a 
Spanish painter, sculptor and architect, born at 
Madrid, according to Palomino, in 1611. His fath- 
er, Antonio Herrera, was a sculptor, and taught 
him that art ; but as he manifested a taste for paint- 
ing, he was placed under Alonso Cano, and became 
quite distinguished in painting, sculpture, and ar- 
chitecture. Man}'' of his productions are to be 
found in the churches and convents at ]Madrid, the 
best of which among the paintings are the Beatifi- 
cation of St. Augustine, in the great chapel of the 
Augustine Recolets ; and the Nativity, in the 
Church of St. Geronimo. He died at Madrid in 
1671. 

BAROCCIO, or BAROCCI, Federigo, an Ital- 
ian painter of eminence, born at Urbino in 1528, 
died in 1612. His father was Ambrogio Baroccio, 
a somewhat noted sculptor. His uncle, Bartolo- 
meo Genga, taught him the rules of perspective, 
and he studied under Battista Yeneziano until twen- 
ty years old, when he visited Rome, where Car- 
dinal della Rovere favored him with his pro- 
tection, and received him into his palace, where 
Baroccio executed some fresco paintings, and the 
portrait of his patron. Having spent four years 
in Rome, he returned to Urbino, where he execu- 
ted a picture of St. Margaret for the confraternity 
of the Holy Sacrament. This performance gained 
for him so much celebrity, that he was invited b}^ 
Pius IV. to paint some ornaments in the Belve- 
dere palace, where he represented the Virgin and 
Infant, with several Saints ; and the Annunciation, 
on a ceiling in fresco. After finishin"; these and other 



BARO. 

works, he returned to Urbino, where he executed 
an admirable painting of the Descent from the 
Cross, for the Cathedral of S. Loren/.o at Peru- 
gia. During the pontificate of Gregory XFiL, he 
returned to Rome and painted two fine pictures 
for the Chiesa Nuova. representing the Visitation 
of the Virgin to Elizabeth, and the Presentation 
in the Temple, which are thought his greatest ef- 
forts ; also a picture of the Last Supper, for the 
Chiesa della Minerva. Baroccio's works are ex- 
ecuted with elegant taste, and there is great amen- 
ity and harmony in his coloring. He seems to 
have imitated Correggio ; and though his figures 
are graceful, j^et his style is somewhat affected, 
and cannot for a moment be compared with the 
simple, touching beautj^ of that great master. The 
following is a list of his plates, which are correct- 
ly designed and beautifully expressed, though not 
executed in a finished manner : 

The Virgin holding the Infant Saviour; a small plate, 
of which the lower part is left unfinished ; the Virgin in 
the Clouds, with the Infant Jesus ; marked F. B. Y. F 
The Annunciation ; on the left of the print a Cat sleeping ; 
fine. St. Francis receiving the Stigmata ; the Virgin and 
our Saviour appearing to St. Francis ; a large plate, arched. 
This is his principal plate. 

BARON, Bernard, an eminent French en- 
graver, born at Paris about 1700. He studied 
under Nicholas Henry Tardieu and followed his 
style. He executed several plates for the Crozat 
collection, and afterwards visited England, where 
he remained till his death, in 1762. His plates, 
though coarsely engraved, have considerable merit. 
The following are his principal works : 

portraits. 

King Charles I. on Horseback, with the Duke d'Eper- 
non, 1741 ; Charles I. and Queen, with two children ; the 
Nassau Family, after Earl Cowper's picture ; the Pem- 
broke Family, after the picture at Wilton ; Robert, EarJ 
of Caernarvon, in the same collection; Anna Sophia, 
Countess of Caernarvon; after Vandyck. Henry VIII. 
granting the Charter to the Surgeons' Company ; after 
Holbein. The Family of Vandyck ; after the Earl of 
Pembroke' s jncture. George, Prince ot" Wales, on Horse- 
back ; after Adolph. Corneliils Tromp, Vice-Admiral of 
Holland"; after J. Vanderbank. Doctor Mead ; the Lord 
Chancellor Hardwick ; after A. Ramsmj. The Chief Jus- 
tice Eeve ; after J. Amiconi. The Coniaro Family ; af- 
ter Titian; the picture is in Northumberland House. 
Dr. Benjamin Iloadly, Bishop of Winchester; after Ho- 
garth. 1743. 

SUBJECTS after various MASTERS. 

Nine plates of the Life of Achilles, with the titles ; after 
JRubens ; dedicated to Dr. Mead. Bclisarius ; incorrectly 
called after Vandyck. Charles I. escaping from Hampton 
Court; after J. d'Angelis. Jupiter and Antiope ; after 
T'itian ;' for the Crozat collection. This is considered his 
best performance. Pan and Syrinx ; after Nic. Berlin. 
The Card-players ; the Temptation of St. Anthony ; after 
D. Teniers. The Italian Comedians ; the Companion ; 
the Two Cousins ; Soldiers plundering a Village ; the 
Peasants revenged; after Watteau. St. Cecilia; after 
Carlo Dolci. Moses exposed on the Nile ; after le Sueur. 

BARON, Jean, or BARONIUS, a French 
engraver, born at Toulouse in 1631, and some- 
times called Tolosano. from his birth-place. He 
resided chiefly at Rome, where he engraved several 
plates of history and portraits, executed entirely 
with the graver, in a neat but dry manner, and in- 
correctly drawn. The following are the principal : 

PORTRAITS. 

John de Planter et de la Pause, Bishop of Loudun ; the 
Cardinal Aquaviva ; Leonardo Alberti, architect ; Vito do 



BAPtO. 



73 



BARR. 



Braraante, architect; Giovanni Francesco Rustici, sculptor ; 
Marc' Antonio Raimondi, engraver; RafFaelle d'Urbino; 
Leonardo da Vinci. 

SUBJECTS AFTER VARIOUS MASTERS. 

Tlie Stoning of Stephen ; the Martyrdom of St. Andrew ; 
after Nicolo dell Abate. St. Peter and St. Paul in the 
Clouds ; after Ann. Caracci. The Virgin in Adoration ; 
after Guido Reni. The Virgin ; a small plate ; after 
Bernini. St. Ptomualdo, and Monks ; after Andrea Sac- 
chi. The Plague ; after N. Poussin. 

BARONI, Cav. Gaspare Antonio, a reputable 
Italian painter, born at Roveredo in 1682. He was 
a pupil of Balestra, whose style he adopted. He 
executed five admired works in fresco, for the choir 
of the Church of the Carmelites in that city. The 
Count Venetti has written his life, and given an 
account of his works, published at Verona in 1781, 
8vo., in which he extols him as an extraordinary 
genius ; but other authors class him only as an 
artist of the third order. He had the faults of 
Balestra without possessing his talents. His best 
works are the prophets Elijah and Elisha, and the 
Last Supper, which last is in the Church of Notre 
Dame di Loretto. He died in 1759. 

BARONI, Giuseppe, a Venetian engraver, who 
flourished about 1720. He engraved some large 
plates in a coarse heavy style, after the Venetian 
masters. 

BAROZZI DA VIGNOLA, Giacomo, an Ital- 
ian architect of great eminence, was born in 1507, 
at Vignola, in the territory of Modena. His father, 
Clemcnte Barrozzi, a resident of Milan, had left that 
city in consequence of its civil discords, and retired, 
with his wife, to Vignola. Giacomo, while young, 
studied painting at Bologna, but not succeeding, 
he turned his attention to perspective, and at 
length collected all the rules on that subject into 
one treatise, which is well known. At the same 
time, he studied architecture ; and visited Rome, 
where he measured nearly all the ancient edifices 
that still remained in that city. In his latter days, 
he produced a valuable treatise on the five orders 
of architecture, which has become the alphabet 
of architects. While pursuing these studies, he 
resumed his pencil for support, but received so 
little profit from it, that he became disgusted with 
painting, and undertook to make drawings for the 
use of the new Academy of Architecture at Rome. 

II Primaticcio having arrived from France to col- 
lect antiquities, Vignola gave him a number of 
drawings of ancient monuments, and returned with 
him to France, where he resided several years, and 
made many designs for edifices, which, in conse- 
quence of the civil wars, were never executed. On 
returning to Bologna, he made a design for the 
fa9ade of San Petronio, which was preferred to 
many others, and received the commendations of 
Giulio Romano, Cristofaro Lombardo, architect of 
the cathedral at Milan. He erected a magnificent 
palace at Minerbio, near Bologna, for the Count 
Isolani ; the house of Achille Bochi ; the beautiful 
fa9ade of the bank, and the canal of Navilio at Bo- 
logna. Not being adequately rewarded for the lat- 
ter wbrks, he withdrew to Piacenza, where he de- 
signed the ducal palace ; and, after laying the foun- 
dations, left it to the execution of his son Giacinto. 
Vignola erected the churches of Mazzano di Sant' 
Oreste, and della Madonna degli Angeli, in Assisi ; 
and the elegant chapel in the Church of San Fran- 
cesco, at Perugia. 

On his returnino; a second time to Rome, 



Giorgio Vasari presented him to Julius III., who 
had known Vignola at Bologna when legate to that 
city. He appointed him his architect, gave him the 
direction of the waters of Trevi, and ordered him 
to decorate his villa. Vignola erected a small 
temple on the Via Flaminia, in the antique style, 
called Sant' Andrea di Ponte Molle. He improved 
for the Signori de' Monti, the palace which after- 
wards became the property of the Grand Duke of 
Tuscany, and commenced another palace for the 
same nobleman. The cardinal Alessandro Farnese 
was much attached to Vignola, and employed him 
in the Farnese Palace ; also to erect the beautiful 
Corinthian door at San Lorenzo and Damaso. He 
designed the magnificent church of the Jesuits, and 
carried the edifice up as far as the cornice. The 
Caparola Palace was erected by Vignola, and is the 
most stately and magnificent work of this great 
man. It is about thirty miles from Rome on the 
Viterbo side, in a mountainous and desolate region. 
After the death of Michael Angelo, he Avas ap- 
pointed architect of St. Peter's, and erected the 
two beautiful lateral cupolas. 

The Baron Martirani had collected twenty-two 
designs hj the most eminent architects of the age, 
for the Palace of the Escurial. While at Rome, 
he shewed them all to Vignola, who, by combining 
their various excellences, and uniting his own 
ideas, produced so beautiful a whole, that Philip 
II. immediately decided upon it, and invited him 
to Spain to execute it, but his advanced age pre- 
vented. 

Pope Gregory XIII. employed Vignola to settle 
the difference between him and the grand duke 
concerning the boundaries of their estates near 
Citta di Castello, which he executed with judgment 
and integrity. He had scarcely returned to Rome 
when he died, aged 66. His body was carried, 
with great honors, by the members of the Acad- 
emy of Drawing, to the Pantheon. "It is but 
just," says Aviler, " that the greatest admirer of 
ancient architecture should have his sepulchre in 
the most magnificent edifice of antiquity." 

Vignola formed a system, and prescribed rules 
of architecture that have been of immense advan- 
tage to the science. He was fertile in invention, 
elegant in his ornaments, and majestic in his ar- 
rangements. As to his personal disposition, he 
was prompt to assist others, patient, cheerful, and 
sincere. 

BARRA, or BARA, John, a Dutch painter and 
engraver. His initials, preceded by the Cross of 
Lorraine, are found on prints engraved after Nic- 
olas Roussel, which represent arabesques. Heine- 
ken describes several of his works, dated from 1598 
to 1632; and some of his prints have the word 
Londini. where he died, according to Walpole, 
in 1634. ' 

BARRABAUD, Pierre Paul, was born at Au- 
busson in 1767. He was one of the most distin- 
guished painters of birds and natural history that 
France has produced. He was the son of a poor 
man, a workingman in a carpet manufactory. At 
an early age he exhibited a remarkable disposition 
for drawing, and at sixteen years of age went to 
Paris, where he entered the studio of Malaine, de- 
signer and painter for the Gobelins ; but he soon 
surpassed his master, and taking nature for his 
guide, he rose to the highest excellence. The cel- 
ebrated traveler and naturalist, Le Vaillant, em- 



BARR. 



74 



BARR. 



ployed him to draw and paint his birds, and he 
painted all the parrots and birds of paradise for 
that savan's History of the Birds of Africa. He 
now found himself overwhelmed with commissions ; 
but laborious, and working with extraordinary fa- 
cility, he was enabled to furnish all the designs, 
colored to life, for Buffon's Natural History, pub- 
lished by Sonnini; also for Latreille's Natural 
History of Insects. He also rendered important 
services in getting out the great work on Egypt, 
published by the Government. He executed nu- 
merous designs for the porcelain manufactory at 
Sevres, which greatly contributed to its reputa- 
tion. He painted a portable cabinet for Joseph 
Buonaparte which was greatly admired, and he 
was ordered by Napoleon to decorate the dining 
room at St. Cloud. In 1808, he obtained a gold 
medal for two birds, which he placed in the exhi- 
bition, and which were bought by the Empress 
Josephine for Malmaison. In 1809, a decree of 
government appointed him professor of the School 
of Arts, at Lyons, where he fell sick and died soon 
after his arrival, October 1, 1809, aged 42, deeply 
lamented. 

BARRAS, Sebastien, a French engraver, born 
at Aix, in Provence, in 1680. Ileineken says that 
the first edition of the collection of B oyer d? Aiguil- 
les contained twenty-two plates in mezzotinto, en- 
graved by this master, and that they were replaced 
in the second edition by engravings of Coelmans. 
These are very scarce. 

BARRET, George, an eminent landscape paint- 
er, born at Dublin in 1728, died in 1784. His 
protector, i\Ir. Burke, introduced him to the pa- 
tronage of the Earl of Powerscourt, and during 
much of his youth, he studied and designed 
the scenery around Powerscourt Park. He soon 
after gained the prize offered by the Dublin Ac- 
ademy, for the best landscape ; and in 1762 went 
to Iiondon, where, two years after, he gained the 
£50 premium offered by the Society for the En- 
couragement of Arts, &c. He was one of the 
prime movers, and earliest members of the Royal 
Academy. His works are faithful delineations of 
nature, and executed with admirable taste; his 
coloring is excellent, and he has perfectly repre- 
sented the richness and ^awj freshness of Eng- 
lish scenery. This sometimes tempted him to use 
colors rich and beautiful when first applied, but 
which no art can render permanent, His land- 
scapes are to be found in several collections of the 
nobility ; but his chief works are in the possession 
of the Dukes of Portland and Buccleugh ; and the 
great room of Mr. Lock, at Norbury Park in Sur- 
rey, which is a continuous scene painted entirely 
round. He executed a few spirited etchings of his 
works as follow: A View of the Dargles near 
Dublin 5 a set of six Views of Cottages near Lon- 
don; a large landscape, with Cottages; a View of 
Ha warden Castle ; dated 1778. 

BARRETT, Ranelagh, an English painter, 
mentioned by Lord Orford as an excellent copy- 
ist. He was favored with the patronage of Sir 
Robert Waljjole. and succeeded well in copying 
Rubens. He copied several works for Walpole's 
collection; also for those of the Duke of Devon- 
shire, and Dr. Meade. He died in 1768. 

BARRI, GiAcoMo, a Venetian painter and en- 
graver, who lived about 1650. He etched a slight 
free plate of the Nativity, after P. Veronese ^ also 



some plates from his own designs; and in 1651, 
he published a work of some merit, entitled Viag- 
gio Pittoresco cV Italia. 

Tri\BARRIERE, DoMiNiauE, an ingenious 
jjj y French engraver born at Marseilles, about 
1622. He resided chiefly at Rome, where he ex- 
ecuted a considerable number of prints, in a very 
agreeable style, after Claude and other landscape 
painters. They are neatly executed, in the style 
of Stephen della Bella. He sometimes signed his 
plates with his name Dominicus Baniere Massi- 
liensis, and sometimes with his monogram, which 
is the same as that used by Domenico del Bar- 
biere ; which has often occasioned mistakes, though 
their stjdes are totally different. The following 
are his principal works : 

Portrait of John de la Valette ; marked D. B. ; scarce. 
A set of six Landscapes ; Rossi exc. A set of twelve Land- 
scapes ; dedicated to Lelio Orsini. 1651. Seven Views 
of the Villa Aldobrandini, 1649 ; Dominicus liarrierc 
Massiliensis. A Landscape, with the Zodiac ; inscribed 
Viin prqf'ert uhi, &c. A View of Frascati ; Pontana 
Tnagiore nel Giardino di Tixoli, with his cipher. Eigh- 
ty-four Views and Statues of the Villa Pamphili ; Rossi, 
cxc. Four; entitled Catafalco e aparato ndla chiesa, 
&c. Sepulchral Monument of N. L. Plumbini; Domini- 
cus Barriere Galliis, in. ex. del. et seal. Hercules, after 
a basso relievo in the Medicean Garden. A large plate ; 
entitled Circum Urbis Agonalibus, &c., with many Fig- 
ures, 1650 ; Dominicus Barriere., Mass. del et scul. Sev- 
eral plates of the History of Apollo ; after the pictures by 
Domenlchino and Viola. 

BARROSO, Miguel, a Spanish painter and archi- 
tect, was born at Consuegra in 15o8. As an archi- 
tect he is little entitled to consideration. He stud- 
ied painting in the school of Becerra, according to 
Palomino, and executed for Philip II., in the prin- 
cipal cloister of the Escurial, the Resurrection, 
Christ appearing to the Apostles, the Descent of 
the Holy Ghost, and St. Paul Preaching. His 
compositions are copious, and his design correct, 
with great intelligence of chiaro-scuro. Bermudez 
says he was occasionally deficient in vigor and 
knowledge of chiaro-scuro ; but that his forms are 
those of Correggio, and his color that of Baroccio. 
He died at Madrid in 1590. 

BARRY, James, an eminent historical painter 
of the British school, born at Coi-k, in Ireland, in 
1741. He was the son of a shipmaster, and edu- 
cated in the school of Mr. West, at Dublin, where, 
at the age of twenty-two, he gained the prize for 
a historical picture, representing the arrival of St. 
Patrick on the coast of Cashel. His merit gained 
him the friendship of Mr. Edmund Burke, who 
induced him to go to London, and afterwards fur- 
nished him the means to go to France and Italy, 
where he studied with great assiduitj^, and painted 
some excellent works which gained him consider- 
able reputation. While at Bologna, he was made 
a member of the Clementine Academj^, on which 
occasion he painted his picture of Philoctetes in the 
isle of Lemnos. He returned to England in 1770, 
i and exhibited in the Royal Academy, his Adam 
I and Eve ; and the year following, his Venus Ana- 
dyomene, both of which were greatly admired. 

Barry was a singular genius, with an enthu- 
siasm for art that knew no bounds, and with an 
independence that brooked no dictation and sub- 
mitted to no slight or indignity ; therefore it may 
be foreseen that his path through life would not be 
a flowery one. The patronage he met with af- 
forded him but a scanty maintenance; but his 



BARR. 



75 



BARS. 



wants were few, and nothing daunted his energy. 
When the members of the Royal Academy refused 
to accept the proposition made by the Society for 
the Encouragement of Art, &c., to decorate their 
new Room in the Adelphi, on condition that a pub- 
He exhibition should remunerate the artists for 
their pictures, Barry, without a shilling in his 
pocket, stept boldly forward and offered his ser- 
vices to do the work. He gratuitously spent three 
years in the execution of those great paintings in 
fresco, living in a garret, and subsisting on the 
coarsest fare, by the sale of an occasional drawing. 
At the completion of this noble work, the Society 
called an extraordinary meeting to view the pic- 
tures, which were highly api)roved ; and they 
passed a resolution, '• that the series of paintings 
illustrating in their design, the Progress of Human 
Knowledge and the Advancement of useful and 
elegant Arts, from a very early period to the pre- 
sent, is a work of great execution and classical 
information, and must be deemed a national orna- 
ment, as well as a monument of the talents and 
ingenuity of the artist," and they voted him their 
thanks, and gave a public exhibition for his remu- 
neration, which brought the painter <£503 2s ! Dr. 
Johnson, speaking of these pictures said, " they 
show a grasp of mind that you will find no where 
else." During the time of the exhibition, he pub- 
lished a dc'cription of them entitled. An account 
of a series of Paint ing-s in the Great Room of 
the Society of Arts, Manifactures^ and Commerce, 
at the Ariel pi, by James Barry, It. A., Professor 
of Painti7ig to the Royal Academy, 1783. 

Barry was elected a Royal Academician in 1777, 
and Professor of painting in that Institution, on 
the resignation of Mr. Penny, in 1782. But his 
natural independence, which led him to use intem- 
perate language when excited, made a rupture be- 
tween him and the President, Sir Joshua Reynolds, 
which caused his removal from office, and finally 
his expulsion from the Academy. Barry strug- 
gled with his evil genius, poverty, and neglect, and 
died in the greatest indigence at London, Feb. 22d, 
1806. A short time before his death, the Earl 
of Buchan and other persons, who appreciated 
Barry's genius, raisc^l a sum, by subscription, 
with which they purchased of Sir Robert Peel, a 
small annuity for Barry, of which intelligence was 
brought to the unfortunate artist in his dying mo- 
ments ! His body was now laid out in state, in 
the Great Room of the Adelphi ; his funeral was 
attended Vjy many eminent men, and his remains 
interred in St. Paul's Cathedral, with a tablet 
bearing this inscription : 

The 
Great Historical Painter, 

James Barry, 

Died 22d February, 1806, 

Aged 65. 

The principal works of this great artist are the 
series of great pictures in the Adelphi, which are 
best described by himself in his pamphlet, and 
which he terms a Series oj Pictures on the Human 
Culture. The first represents the story of Or- 
])heus ; the second, a Harvest Home, or thanksgiv- 
ing to Ceres and Bacchus; the third, the Victors 
at'Olympia; the fourth, Navigation, or the Tri- 
umph of the Thames; the fifth, the distribution 
of Premiums in the Society of Art.s, &c. ; the sixth, 
the Elysium, or the state of final retribution, mak- 



ing three of the subjects poetical, the others his- 
torical. The Elysium and the Victors at Olym- 
pia are forty-two feet in length ; the other four, 
fifteen feet six inches long ; the height of all of 
them is eleven feet six inches. His other best 
works arc Jupiter and Juno; Venus Anadyomene; 
Job reproved by his Friends; the Conversion of 
Palemon ; King Lear, in the Shakspeare Gallery; 
the Archangel's triumph over Satan ; Satan rising 
from the fiery gulph and hurling defiance at the 
vault of Heaven ; Battle of Satan and Death, Sin 
interfering ; Adam and Eve ; Temptation of Adam : 
Adam and Eve after the Fall ; Birth of Venus ; 
Milton dictating to Ahvood, the Quaker, &c. Bar- 
ry etched on copper most of his works. 

BARSAFIT, Mauco del Friuli, was a descend- 
ant of a Greek family of Friuli, and an eminent 
painter of his time. In the church of S. Giobbe 
is a picture of Christ praying in the Garden, paint- 
ed in 1510, highly extolled by Ridolfi and others. 
There are several of his works in the churches of 
Friuli, and one in particular, of the Vocation of St. 
Peter, in the church of the Certosa, which Lanzi says 
is one of the most beautiful pictures of the age. 
There is a duplicate of this picture in the Imperial 
gallery at Vienna. 

BARTELS, Gerard, a Dutch historical and 
portrait painter of some merit, born in 1570. His 
works are probably ascribed to some more emi- 
nent master. 

BARTOLET. See Bart. Flemael. 

BARTOLT, PiETRO Sante. caUed Perugino. an 
Italian painter and engraver, born at Perugia about 
1635. In the early part of his life lie practised 
painting, but afterwards devoted himself cntirel}^ 
to engraving. His plates are etched in a very free 
and masterly style. He sometimes marked his 
prints with the initials of his name, with an F. for 
fecit, as P. B., F.; and more frequently with an 
abbreviation of his name, as Ptr. Ss. Bart., sc, 
Romce. His prints number over a thousand, a co- 
pious list of which may be found in Nagler's Kiin- 
stler Lexicon. The following are his principal 
works : 

various ANTiaUITIES. 

Admiranda Romanorum AntiquUaturn. ac veteris 
Sculptures Vestigia ; eighty-three phites. Romanos 
magnitudinis Monumenta ; one hundred and thirty-eight 
plates. Veteres arcus Augustorum triicmphis insignes ; 
fifty-two plates. Colonna di Marco Aurelio, d^c. : the 
Antonine Column ; seventy-eight plates. Colonna Tra- 
jana, di Alfonso Ciacconi ; one hundred and twenty-eight 
plates. Sepolcri antichi Romani cd Etruschi trovati in 
Roma; one hundred and twenty-three plates. The Aque- 
duct that brings the Water from Civita Vocchia ; four 
large plates. The Sepulchral Urn, in the Court of tho 
Capitol. The Antique Painting, called the Noce Aldroban- 
dini ; two sheets. Le Pittnre antiche delle grotte di Ro- 
ma, (^c. ; assisted by F. Bartoli ; ninety-four plates, 1680 
and 1706. Lc antiche Lucerne sepolchrali in Roma, 1691 
and 1704 ; one hundred and nineteen plates. Antiquissimi 
Virgiliani Codicis fragmenta et picturcB. 

SETS OF PRINTS AFTER VARIOUS MASTERS. 

After Raff'aelle.—A set of friezes, subjects from the Bi- 
ble, "twelve plates ; another set of friezes from the mmc, fif- 
teen plates ; another set of friezes, in.scribed Leonis X., (if-c., 
fifteen plates ; a set of ornaments and figures, inscribed 
Parerga. atque ornamenta in Vaticani, d^c, forty-three 
plates. 

After Giulio Romano. — Four, of Jupiter, Mars, Mer- 
cury, and Diana ; a set of friezes ; Jupiter fulminating tho 
G-iants. 



BART. 



76 



BART. 



After Lanfranco.—A. set of several plates of the Life of 
St. iPeter. 

SINGLE PRINTS AFTER VARIOUS MASTERS. 

After Rqfaelle.— The Adoration of the Magi, in three 

SflBCtS. 

After Giulio i?om.ano.— Jupiter nursed by Amalthea ; 
Hyias carried off by Nymphs ; Sophonisba before Massi- 
nissa ; the Continence of Scipio. 

After P. F. Mola. — St. John preceding Christ in the 
Wilderness. 

After Albano.—The Birth of the Virgin. 

After Nicolo Berretoni. — The Marriage of the Virgin. 

After P. da Cortona. — Daniel in the Lions' Den. 

After L. Caracci. — The Virgin and infant Christ in the 
Clouds, with Saints. 

After Ann. Caracci. — The Family of Coriolanus at his 
Feet ; St. Charles Borromeo led by an Angel. 

SUBJECTS FROM HIS OWN DESIGNS. 

St. Stephen with the Crown of Martyrdom ; St. Bernard 
enchaining the Devil ; Theatre erected in St. Peter's for the 
Canonization of two Saints ; the sepulchral Monument of 
Pope Urban VIII., Petr. Sanct. Bartol., del. et scul. ; an 
ancient Mausoleum. 

BARTOLINI, GiosEFFO Maria, an Italian 
painter, born at Imola in 1657- He 'first studied 
under Passinelli, whose style he somewhat im- 
itated. He possessed great facility of execution, 
and Lanzi says there are many of his works in the 
churches of his native city and throughout Ro- 
magna, where they are highly esteemed. He died 
about 1730. 

BARTOLO, DoMENico, an Italian painter who 
flourished in 1436, was the nephew and disciple of 
Taddeo Bartolo, and greatly improved on the style 
of that master. His works display much freedom 
from the dryness of former artists ; his design and 
perspective are better ; his compositions are execu- 
ted in a masterly style, with the great richness 
and variety common to the artists of his school. 
Raffaelle and Pinturicchio, while painting at Siena, 
adopted mSLiij ideas of national costume, and per- 
haps some other particulars, from the pictures of 
Bartolo in the Pilgrim's Hospital. 

BARTOLO, Taddeo, an historical painter of 
the Sienese school, born at Florence, flourished in 
the early part of the fifteenth century. The chief 
merit of his works lies in their dignity and origi- 
nality. Some of his pictures still exist in a good 
state of preservation at Pisa, Yolterra, and Padua. 
Some of his small pictures are of more merit than 
his larger works, and show an imitation of Am- 
brogi, his great prototype, and also the subdued 
and agreeable style of the Sienese school. He died 
in 1436. 

BARTOLOMEO. See Breemberg. 

BARTOLOMEO, Era. See Porta. 

BARTOLOMEO, Maestro, an Italian painter, 
who flourished at Florence about 1236. In the 
church of the Servi in that city, according to 
Lami and Lanzi, is an Annunciation painted in 
1236, still in good preservation, which is held in 
the highest veneration. It possesses much orig- 
inality, and is inscribed Ecce Virgo Concipiet, 
&c. The same religious fraternity have other an- 
cient paintings executed in the thirteenth century, 
some of which are supposed to be by this artist. 
They arc painted on panels prepared with a coat 
of gypsum, and the vehicle of color was the white 
of eggs. 

BARTOLOZZI, Francesco, a celebrated Flor- 
entine designer and engraver, born in 1730 j was 



instructed in drawing by Hughfort Ferretti, at 
Florence, and studied engraving under Joseph 
"Wagner, at Venice. His first productions were 
some plates after Marco Ricci, F. Zuccherelli, and 
others, engraved while in the emploj^ment of Wag- 
ner. His principal works, however, were executed 
in England, v/here he arrived in 1764. His etch- 
ings, after drawin^gs of the most eminent painters, 
represent admirably the fire and spirit of the orig- 
i-nals ; and he was not less successful in the ex- 
quisitely finished plates he produced in the various 
styles he practised. He died at Lisbon in 1813. 
This laborious artist has left an immense number 
of plates, the principal of which are the following : 

PLATES WITHOUT THE NAME OF THE PAINTER, SOME 
FROM HIS OWN DESIGNS. 

Abraham and the Angels, an etching ; the Miracle of the 
Manna, the same ; Job abandoned by his Friends ; Char- 
ity, an oval, inscribed Ipse fecit ; the Origin of Painting, 
1787 ; the Virgin and Infant, circular. 

PLATES AFTER VARIOUS MASTERS. 

St. Francis of Sales triumphing over Heresy ; after Am- 
iconi. Rebecca hiding the Idols of her Father ; Laocoon 
attacked by the Serpents ; after P. da Cortona. St. Luke 
painting the Portrait of the Virgin ; after Cantarini. The 
Bust of Michael Angelo. The Portrait of Annibale Car- 
acci ; after a drawing by himself. Roland and Olimpia; 
Clytie, circular ; after An. Caracci. The Adulteress before 
Christ ; after Agosf^ Caracci. Prometheus devoured by 
the Vulture ; after M. Angelo. The Parting of Achilles 
and Chriseis ; Hector taking leave of Andromache ; Chri- 
seis restored to her Father ; the Death of Dido ; Jupiter 
and Juno on Mount Ida ; Venus presenting the Cestus to 
Juno ; Venus attired by the Graces ; Tancred and Hermi- 
nia ; Tancred and Clorinda ; Shak.speare crowned by Im- 
mortality ; after Cipriani. The Virgin and Infant ; after 
Carlo Dolci. Socrates in Prison ; Penelope lamenting 
Ulysses ; Telemachus and Mentor in the Isle of Calypso ; 
Paulus Emilius educating his Children; Coriolanus ap- 
peased by his Family ; the Interview of Edgar and Elfrida 
after her Marriage with Athelwold; after Angelica 
Kaufman. — The last plate was begun by the unfortunate 
Mr. Ryland, and was finished by M. Bartolozzi for the ben- 
efit of his widow. King John ratifying Magna Charta ; 
after Mortimer ; the companion engraved under the same 
circumstances. The Portrait of Carlo Cignani ; the Por- 
trait of Pietro da Cortona ; after C. Maratti. Cornelia, 
Mother of the Gracchi; after B. West. Mary, Queen 
of Scots, and her Son ; after Zuccliero. A collection of 
Gems, designed by various artists, engraved by Bartolozzi. 
A set of eight subjects ; after Ben. Castiglione. A set 
of thirteen plates from the paintings by Domenichino ; in 
the cloister of Grotta Ferrata. Twenty-three plates, 
making a part of eighty-one, from drawings by Guercino ; 
in the King's collection. A set of Portraits of illustrious 
Persons of the time of Henry VIII. ; after drawings by 
Holbein. Two Portraits of Henry and Charles Brandon, 
sons of the Duke of Suffolk ; after two miniatures by Hol- 
bein., executed in colors, very fine. A set of six plates ; 
after original drawings by the Caracci; in the King's col- 
lection, in imitation of the draAvings. A large plate of the 
Death of Lord Chatham; after Mr. Copley. Several 
plates for the Shakspeare Gallery. 

BARTSCH, Adam, a modern Viennese engra- 
ver, born in 1757. He was principal keeper of the 
Imperial Gallery at Vienna. He published that 
excellent work Le Peintre Graveur^ torn. 22, 
which is the most reliable account of prints extant. 
He executed for this work a series of fac-similes of 
extremely rare etchings by Dutch and Flemish 
artists in which the touch and spirit of the orig- 
inals is admirably represented. He also published 
a catalogue of the etchings by Rembrandt and his 
scholars, Avhich exhibits great accuracy and perse- 
verance. His son. Frederick de Bartsch, published 
in 1818, a Catalogue Raisonne of all the prints by 



BART. 



77 



BASA. 



his father, amounting to 505 pieces ; among them 
are the following : 

PORTRAITS. 

Adam Bartsch. John Christian Brand, painter. A 
young Lady in a Nightcap, 1785. IVIichael Wolgemut, 
painter. Antonio Allegri, Co7-rei^o"io; after Carlo Maratti. 
Madame Tscida. A Girl reading by Candlelight, said to 
be after Guido. The Marriage of Alexander and Roxana ; 
after Parmiggiano. A set of thirty-nine plates, in imita- 
tion of the drawings of several masters, in the Imperial col- 
lection. Twelve studies of animals ; after J. H. Roos ; 
four on each plate. A Traveler passing a Forest, with a 
Boy holding a Lantern ; engraved in the manner of Rem- 
brandt. The Obsequies of Publius Decius Mus, large plate ; 
I after Rubens. 
BAETSCH,orBARTASCH,GoDFRiD,aGerman 
!| engraver, who executed a small collection of prints 
! 'rom the pictures in the gallery at Berlin. He 
also engraved the following : The Holy Family ; 
after Vandyck. Meleager presenting the Head of 
fche Boar to Atalanta ; after Rubens. 
' BARY. Henry, a distingui.shcd Dutch engrav- 

! er, born about 1626. His style resembles that of 
Cornelius Yisscher. There are several plates by 
him of portraits and various subjects, executed 
very neatly with the graver, which have great 
merit, though by no means equal to the works of 
Visscher. He usually marked his plates with his 
name, and sometimes H. B. The following is a 
I list of his principal works : 

PORTRAITS. 

Dirk and Walther Crabeth, glass-painters, Adrian 
Heerebord ; 1659. Hieronymus van Bivernink. Desid- 

' erius Erasmus. William Joseph Baron of Ghent, admiral 
of Holland. Rombout Hagerbeets. Anitius Manlius Sev- 

' erinus Boetius. Jacobius Taurimis. Count John de Wald- 

i stein. The Dutchess de la Valiere : marked H. B. fee. 

, Hugo Grotius ; after M. Mlrevelt. Cornelius Ketel, paint- 
er ; seipse.pinx. 1659. Jacob Backer, painter ; G.Ter- 
burg, pinx. ; oval. John Schellhammer, pastor ; Esco- 
pius, del. John Zas, pastor ; Chr. Pierson pinx. Jacob 
Batiliere, Predicant; Westerbaem, pinx. Arnold Gest- 
eramus. Predicant ; Westerbaem, pinx. Michael Ruyter. 
admiral ; after F. Bol. Admiral Vlugh ; after B. Van- 
der Heist. Leo Aitzema, historian ; after John de Baan. 
George de Mey, theologian ; after C. van Diemen. 

SUBJECTS AFTER VARIOUS MASTERS, AND AFTER HIS 
DESIGNS. 

Neptune, emblematical ; H Bary, fee. Allegorical title 
for the work of Leo ran Aitzema ; ' H. Bary, fee. A 
IMother suckling her Child, without the name of the'painter. 
Two Drolleries ; after Brower ; H. Bary, fee., without 
the name of the painter. A Peasant Family ;' after Peter 
Aertsen ; Hendrich Bary, sc. Summer and Autumn, in 
one plate, represented by two Children, one holding a 
handful of Com ; after Vandyck A young Woman lean- 
ing on a Table sleeping, and a young Man laughing ; af- 
ter the same. A young Lady sitting at a Table, with a 
Hat and Feather ; after Terburg. 

BAS, James Philip le, a celebrated Parisian 
engraver, born in 1708 ; studied under A. Tardieu, 
and was one of the most ingenious painters of his 
time. He excelled in landscapes and small fig- 
ures, which he touched with infinite spirit and 
neatness. He availed himself much of the freedom 
and facility of etching, which he harmonized in an 
admirable style with the graver and dry point. 
His reputation gained him a number of scholars, 
who were employed in advancing the plates which 
he afterwards finished and published with his 
name. He died in 1782. Le Bas executed over 
a hundred plates after Teniers, which are copied 
with uncommon success. His plates are very 
numerous, among which are the following : 



The Portrait of Robert de Lorrain, sculptor ; engraved 
for his reception into the Academy in 1741. Tlxe Portrait 
of P. J. Cazes, painter; the same. 1741. Four — of the 
Times of the Day ; the Embarkation ; after Berghem. 
The Environs of Groningen ; the Environs of Guelder ; 
after Ruysdael. David Teniers and his Family, fine ; 
the Works of Mercy ; the Prodigal Son, fine ; a large Flem- 
ish Festival, with Teniers and his Family ; after Teniers, 
fine. The Italian Chase ; the Milk-pot ; the Boar-hunt ; af- 
tei Woiiwerman, Four large Huntings; after ran Falens ; 
fine. The Port of Messina; an Italian Landscape ; af- 
ter Claude Lorraine ; fine. An Italian Sea-port ; Fish- 
ermen going out ; thirteen of the Ports of France ; after 
Vernet ; the etchings are by Cochin. 

BAS, or BASSE. Martin, a Dutch engraver, 
who flourished about 1660. and engraved some 
portraits in the style of the Wierixes. 

BASAITI, Marco, a Venetian painter, born in 
the Fiiuh. but of Greek parents ; flourished about 
1510. He was a rival of Gio. Bellini, and if he 
did not equal that master in every respect, there 
are some things in which he surpassed him. His 
compositions were happier, and his grounds har- 
monized better with his figures. According to 
Ridolfi, his best work is at the Certosa, repre- 
senting the call of Peter and Andrew. There is a 
fine picture of Christ praying in the Garden, and 
Lanzi mentions favorably a Descent from the 
Cross, by this master, at Sesto. 

BASAN, FRAN9ois, a Parisian engraver, born 
in 1723 ; studied under Stephen Fessard and Jean 
Daulle. He was chiefly occupied in printselling, 
and published a Dictionaire des Graveurs in 
1767. The following is a fist of his plates : 

Louis XV., with Diogenes ; after Le Maine. Cardinal 
Prince de Bohan. Christophe Lemenu de St. Philibert ; 
after Le Fcvre. Carle Yanloo. An Ecce Homo ; after 
Caravaggio. St. Maurice ; Bacchus and Ariadne ; af- 
ter L. Giordano. Christ breaking the Bread ; after Car- 
lo Dolci. The Card-players ; an Incantation ; after Ten- 
iers. The Gothic Songster; after A. Both. The Female 
Gardener ; after Fras. Miers. 

BASCHENIS, EvARisTO, a Bergamese paint- 
er, born in 1617 and died in 1677. He arranged 
upon tables, covered with the most beautiful 
cloths, all kinds of musical instruments, mu- 
sical books, leaves, boxes, fruit, vases, flowers, 
inkstands, &c., from which he painted pictures so 
exquisitely executed as to deceive the beholder. 
Lanzi says his works are found in the best collec- 
tions, where they are highly prized, and that there 
were eight of them in the library of San Giorgio, 
the ingenuity of which was highly commended by 
Zanetti. 

BASILI, Pier ANGiOLO,an Italian painter, born 
at Gubbio, and died in 1624. He studied under 
Damiani and afterwards Roncalli, whose delicate 
manner he adopted. There are some pieces by 
him in the choir of S. Ubaldo, highly esteemed 
for the variety and grace of composition. In the 
church of S. Ma?zziale, is a picture of Christ pray- 
ing, with a beautiful portico in perspective, and 
a multitude of auditors, which Lanzi says is full 
of energy, variety and grace, and appears to have 
been painted in competition ; the figures are small 
as seen in the compositions of Albert Durer. 

BASIRE, James, a London engraver, born in 
1740 ; little is known of his life. He executed the 
following plates : 

Captain Cook; after Hodges; J. Basire, se. 1777. 
Lady Stanhope, as the Fair Penitent ; after B. Wilson. 
1772. Lord Camden; after Reynolds. Orestes and Py- 



BASS. 



78 



BASS. 



lades before IpMgcnia ; after West. The Field of the 
Golden Cloth, or the Interview between Henry VIII. and 
Francis I., after the picture at Windsor, engraved in 1774, 
the largest print that has been engraved on one plate, 
about twenty-seven inches by forty-seven inches. 

BASSAN, or BASSANO. See Ponte. 

BASSANO, Alessandro, a learned gentleman 
and architect of Padua, who, according to De La 
Lande, built the loggia and hall of the Senate 
House, in the Square of the Signory, at Padua. 

BASSANO, Cesare, a Milanese painter and 
engraver, born about 1584. As a painter, we have 
no account of his works, but he engraved the fol- 
lowing plates : The Portrait of Gaspar Asselius ; 
Bassanus, fee. A Funeral Frontispiece of Fran- 
cesco Piccolomini ; same mark. The Nativity; 
no mark. 

BASSx4.N0, Leandro, an Italian historical and 
portrait painter of some merit, denominated Cav. 
Leandro, from his having been made a Knight of 
the Order of St. Mark, by the Doge of Venice. 
He was born in 1558 and died in 1632. 

BASSEN, B, VAN, a Flemish painter, who flour- 
ished about 1650. He painted interiors of churches 
and other public edifices, which are executed with 
admirable perspective and livel}^ coloring. The 
figures in his pictures are frequently by eminent 
painters of his time, to whom he returned the 
compliment by painting architecture in their com- 
positions. His works have been little regarded 
when called by his name ; but prized, when as- 
cribed to eminent artists. Neither the date of his 
birth or death is recorded. 

BASSEPORTE, Frances Magdalene, a French 
paintress, born in 1701, died in 1780 ; studied un- 
der the famous Robert, and executed some ad- 
mirable subjects of natural history, in water-col- 
ors, In 1732 she succeeded Obriette as painter 
of natural history in the royal gardens, with a 
salary of one hundred pistoles a year. She also 
engraved some plates for the Crozat and other 
collections. We have by her ; The Martyrdom 
St. Fidelio de Sigmaringa ; after P. A. Robert. 
Diana and Endymion ; after a design of Sehas- 
tlano Conca. There are also three books of flow- 
ers, drawn from nature, by this lady, engraved by 
Acril. 

Bx\SSETTI, Marc' Antonio, an eminent Ver- 
onese historical painter, born in 1588, died in 1630, 
studied under Felice Riccio, but afterwards visited 
Venice, where he became attached to the style of 
Tintoretto. On leaving Venice, he went to Rome, 
where he remained a considerable time. On re- 
turning to Verona, he painted several pictures for 
the churches and public edifices of that city, which 
are mentioned by Ridolfi. Among them is a pic- 
ture of St. Peter and other saints, in the church 
of S. Toinmaso ; and the Coronation of the Virgin, 
in S. Anastasia. His works are highly esteemed, 
but he left very few, it being a maxim with this 
artist, that painting ought not to be practised as a 
mechanical art, but with the leisure which is be- 
stowed on literature for the sake of the pleasure it 
affords. 

BASSI, Antonio, a reputable Italian painter, 
who executed in the church of S. Giovanbattista 
of Fcrrara, a Repose in Egypt, and our Saviour at 
the well of Samaria; also in the church of S. 
ClcmentinOj the Virgin, St. Ann, and St. Jaochim. 



BASSI, Francesco, the Elder, a painter of Crem- 
ona, born in 1642, died about 1700. He acquired 
the name of il Cremonese da Paesi, from his excel- 
lent landscapes, which were touched with great 
spirit, and at the same time sufficiently finished. 
He decorated them with figures and animals, tol- 
erably drawn, and neatly painted. Many of his 
works are in the private collections at Venice. 

BASSI, Francesco, the Younger, a Bolognese 
painter, born in 1664, died in 1693, and studied 
under Pasinelli : although he died at the early age 
of twenty-nine, he left some Avorks of great merit 
in the public edifices at Bologna, the best of which 
is a picture of St. Antonio taken up to Heaven by 
Angels. Bassi was a distinguished copyist and 
imitator of Guercino. 

BAST, Dominic de, a Flemish painter, born at 
Ghent in 1782. He was an amateur painter of 
landscapes and cattle, and also of marine subjects, 
in which he excelled, having had the advantage of 
many voyages by sea as a merchant. His pictures 
are chiefly at Ghent, in private collections. 

BASTARNOLO, il, or Filippo Mazzuoli, a 
Ferrarese painter, who lived about 1575, is de- 
scribed by Lanzi as a learned, correct and graceful 
artist. He was not so well skilled in perspective 
as in other branches, and he injured his reputa- ■ 
tion at first, by designing figures in too large pro- \ I 
portion. His second manner, however, was of a ■ 
grander design, and more studied coloring. The 
foundation of his taste is drawn from the Dossi ; 
in force of chiaro-scuro, and in his heads, he seems 
to have followed Palma ; in the natural flesh-tints, 
he approaches Titian ; and from Veronese he seems 
to have derived the magnificence of his draperies. 
He executed two very beautiful altar-pieces, re- 
presenting the Annunciation, and the Crucifixion, 
in the Church of Gesu. The Ascension, at the 
Cappuccini, is a magnificent work ; and an altar- 
piece of the titular Saint, with half figures that 
seem to breathe, at the Zittele of S. Barbara, is 
extremely beautiful. This artist was drowned 
while bathing; he deserves to be known more 
generally, beyond the limits of his own country. 

BASTARO, Giuseppe del, a Roman painter, 
who, according to Baglioni. flourished about 1690. 
He painted several pictures for the churches of 
Rome, the most admired of which is the Assump- 
tion in S. Maria Maggiore. In S. Girolarao is 
a Descent from the Cross, and the Death of St. 
Jerome. *. 1 

BASTIANINO. See Sebastiano Filippi. f I 

BATRAROHUS, an ancient Lacademonian 
architect, who, according to Pliny, erected in con- 
junction with his countryman, Saurus, at their 
own expense, certain temples at Rome, which were 
afterwards enclosed by Octavius. Not being al- 
lowed to inscribe their names, they carved on tho 
pedestals of the columns a hzard and a frog, which 
indicated them. 

BATTEM, Gerhard van, a Dutch landscape 
painter, who practised from 1650 to 1700. His 
subjects are mountainous landscapes, with travel- 
ers or banditti, and hunting pieces. Several of his 
pictures are somewhat in the style of Rembrandt. ■ 

BaTTONI, Pompeg, an Italian painter, born Ml 
at Lucca in 1708, according to Lanzi and Nagler. 
He was the son of a goldsmith, and was intended 
by his father for that business ; but after work- 



BAUD. 



79 



BAUR. 



ing at it some time he relinquished it, and under 
the patronage of some eminent friends at Lucca, 
he was sent to Rome, where he studied under Se- 
bastian Conca and Agostino Masucci, His pleas- 
ing style of coloring, and the agreeable expression 
of his heads, gained him much popularity, and his 
works were held in considerable estimation through- 
out Europe. It was fortunate for the reputation 
and success of Battoni that he lived at a period 
when the arts were in a very low state in Italy. 
Mengs, his only rival, and his superior, was chiefly 
employed in Spain, and Battoni was the only paint- 
er in Rome of the least pretensions, and conse- 
quently met with great encouragement. He was 
more employed in portraits than historical works, 
although there are several of his pictures in the 
public edifices at Rome. In S. Maria Maggiore is an 
altar-piece of the Annunciation ; in the pavilion at 
Monte Cavallo are five pictures, one of which is con- 
sidered his best performance, representing Christ 
giving the keys to St. Peter ; and in the Church 
of S. Girolamo, there is a Madonna, with saints 
and angels. He died at Rome in 1787. 

BAUDET, Stephen, an eminent French en- 
graver, born at Blois about 1620. He first stud- 
ied at Paris, but afterwards went to Rome, and 
seems to have adopted the style of 0. Bloemart in 
his earliest plates, which are executed entirely with 
the graver. On returning to Paris, he altered his 
manner, and calling in the assistance of the point, 
executed his best works, which nearly approach 
the style of John Baptist Poilly. His subjects 
are well chosen, and are from the works of some of 
the most eminent Italian and French painters. He 
was a member of the Royal Academy of Paris, 
where he died in 1691. The following are his 
principal works : 

PORTRAITS. 

Pope Clement IX. Charles Perrault ; Carol. Le Brun, 
pinx., 1665 ; Stef. Baudet, sc. Acad. Reg. Pici., d^c. 
Louisa, Duchess of Portsmouth, as Venus caressing a Dove ; 
H. Gascar, pinx. ; St. Baudet, sculp. Bust of the Em- 
peror Adrian, from the Antique ; S. Baudet, sc, 1678. 
Bust of a Roman Lady ; St. Baudet, 1680. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Virgin teaching the Infant Jesus to read ; tho "Wom- 
an of Samaria ; four plates of the Loves of Venus and Ad- 
onis ; engraved at Rome in 1672 ; four circular plates of the 
four Elements ; after Alhano. 1695. The dead Christ on the 
Knees of the Virgin Mary ; The Stoning of Stephen ; after 
Ann. Caracci. 1677. Adam and Eve ; after Domeni- 
chino ; very fine. The Nativity ; after J. Blanchard. 
The Holy Family; six Landscapes; after S. Bourdon; 
round. Six — Of the great Staircase at Versailles ; after 
Le Brun; that of the ceiling is engraved by C. Simmon- 
eau. The Tribute of Monej'- ; after Valentin. The Com- 
munion of the Primitive Christians ; after C de la Fosse. 
Moses treading on the Crown of Pharaoh ; Moses striking 
the Rock; the Worshipping the Golden Calf; the Holy 
Family ; Venus reposing ; dated 1666 ; four grand Land- 
scapes ; dedicated to the Prince of Conde ; dated 1684. 
Four other grand Landscapes ; dedicated to the King of 
France ; after N. Poussin. 

BAUDOUIN, S. R., a French amateur engrav- 
er, and an officer in the Guards. He engraved 
some plates of battles, after the pictures of Charles 
Parrocel ; a set of small landscapes after Michau 
and others ; and a set of etchings from his own 
designs, representing the military exercise of the 
French infantr3^ 

BAUDUINS, Anthony Francis, a Flemish 
painter and engraver, born at Dixmude in 1640 ; 
studied painting under F. A. Vandermeulen, but 



subsequently devoted himself entirely to engrav 
ing. His prints are chiefly after designs by Yan- 
dermeulen, and are etched in a free bold style, with 
good effect. He died at Paris in 1700, aged 60. 
His works are as follow : 

Six Landscapes, with Figures ; middle-sized plates. Six 
large Landscapes ; dedicated to Ph. de Champagne. Eight 
Landscapes, with Buildings. Two Stag-hunts ; one dedi- 
cated to the Marquis de Louvois. A large Landscape, 
with the march of the King to Vincennes ; dedicated to 
Ch. Le Brun. A large Landscape, with the Queen going to 
Versailles ; dedicated to the Duke de Noailles. Six Views 
of Towns in France. Two Views of Versailles ; as it was, 
and as it is. View of the Castle of Vincennes. View of 
the Palace of Fontaiubleau ; two sheets. Two Views of 
Gardens in Italy ; after A. Genoels. 

"^"/"ZJbAUR, John Wm., a German painter 
VaL^ and engraver of considerable note, born at 
Strasburg in 1600. He studied under Brentel, and 
before long surpassed his instructor. On leaving 
that master, he went to Rome, where he remained 
several years, and painted views of that city and en- 
virons, with small figures, neatly touched, which 
were much admired. His pencil is very neat and 
spirited, and his coloring warm and glowing, though 
his design is not very correct. The Prince Gius- 
tiniani gave him his protection ; as did also the Duke 
di Bracciano, who gave him apartments in his pal- 
ace. As an engraver, he was quite distinguished, 
and executed a great number of prints from his 
own designs, the best of which are from the Met- 
amorphoses of Ovid. They are slightly etched, 
and finished with the graver in a very spirited 
style, resembling that of Callot. In 1637 he left 
Rome and went to Venice, where his works were 
greatly admired. He afterwards visited Vienna, 
and was employed by Ferdinand III., in whose 
service he died in 1640, aged 40. The following 
are his principal prints : 

Portrait of Don Paolo Giordano II., Orsino Duca ii 
Bracciano ; oval ; dated 1636 ; scarce. A sot of Habili- 
ments of different Nations, with his Portrait; eighteen 
prints. A set of Battles ; entitled Caprici di varie bat- 
aillie ; fifteen prints. Another set of Battles ; fourteen 
prints, with the title. A set of Landscapes, among which 
are the Four Elements ; twelve prints. Twenty of Bat- 
tles, for the History of the Belgic War ; by F. Strada. The 
Metamorphoses of Ovid ; one hundred and fifty prints, pub- 
lished at Vienna after his death, in 1641. 

BAUR, Nicolas, a Dutch painter, born at 
Harlingen in 1767, died in 1822, the son of An- 
thony Baur, a portrait painter. He painted land- 
scapes an4 views of cities, also moonlight and 
winter scenes, and was very successful in marine 
views. Two of the latter were purchased by the 
King of Holland in 1807, and placed in the Mu- 
seum. There are many of his works throughout 
Holland, and he is considered one of the best of the 
modern Dutch marine painters. 

BAUREINFEIND, George William, a Ger- 
man painter and engraver, born at Nuremberg. 
He went to Copenhagen and learned the art of en- 
graving under John ;Martin Priesler. In 1759, he 
obtained the grand prize from the Royal Academy 
of Copenhagen, for an engraving, the subject of 
which was Moses and the burning Bush. In 1760, 
Frederick V. of Denmark appointed him to accom- 
pany the Scientific Expedition to Arabia, in which 
service he died in 1763. He made the designs for 
the Icones rerum naturalium of Forskal. In the 
"Voyages of Niebuher in Arabia," are many plates 
engraved after his designs. 



BAUS. 



BAZZ. 



BAUS A, Gregg RIO, a Spanish historical paint- 
er of some eminence, born at Mallorca, near Val- 
encia, in 1596. He studied under Francisco Ribal- 
ta, and executed the principal altar-piece in the 
church of St. Filippe at Valencia, representing 
the martyrdom of that saint; also several pic- 
tures in the monastery of Los Trinitarios in that 
city. He died in 165G. 

BAUSE, John Frederick, a modern German 
engraver born at Ilalle, in Saxony, in 1738. He 
is said to have learned the art without the instruc- 
tion of a master, and to have imitated the admira- 
ble style of J. G. Wille. His plates are chiefly ex- 
ecuted with the graver, which he handled with great 
purity and freshness. He died at Weimar in 1814. 
He executed a considerable number of plates, ac- 
cording to Nagler, the following of which are the 
principal : 

The Good Housewife ; after G. Dow ; dedicated to J. 
G-. Wille. The Old Confidante ; after Kupetshj. Artemisa ; 
after Guido. Venus and Cupid ; after Carlo Cignani. 
Michael Ehrlich; after B. Denner ; a mezzotinto. Three 
Apostles ; after Caravaggio ; etching. Damon and Mu- 
sidoro, subject from Thomson; a moonlight; after Bach. 
The Repentance of St. Peter ; after Dietriaj. The Sac- 
rifice of Abraham; after Oeser. The Head of Christ; 
after Guido. The Magdalene ; from a drawing by Bachy 
after Battoni. Bust of a Girl ; after Greuze. Bust of 
a Girl, with a Basket of Roses; after Netsc/ier. La pet- 
ite Rusee ; after Reynolds. Cupid feeling the Point of an 
Arrow ; after Mengs. 

BAYEU, Y SuBiAs, Don Francisco, a mod- 
ern Spanish painter, born at Saragossa in 1734, 
died in 1795. He was instructed by an obscure 
painter of his native city, and having gained the 
premium at the Academy, he was allowed a pen- 
sion to enable him to visit Madrid, where he en- 
tered the school of Antonio Gonzales Velasquez. 
His own merit, and the discernment and liberality 
of Raffaelle JNIengs. the principal painter to the 
King, recommended him to the patronage of Charles 
III., who emploj^ed him in the Prado, and in the 
palaces of Madrid and Aranjuez. He also painted 
several pictures for the churches, among which, 
those of the life of St. Bruno, at the Carthusians, are 
considered his best works. Bayeu profited much 
by the advice and instruction of Mengs. In 1765 
he was received into the Academy at Madrid, and 
in 1788, according to Bermudez, was made painter 
to the King. He had a brother named Don Ray- 
mond Bayeu, born at Saragossa in 1746 ; studied 
under his brother, and assisted him in his fresco 
works. He died in 1793. 

BAZIN, Nicholas, a French engraver, born at 
Troyes, in Champagne, in 1636 ; studied under 
Claude Mellan, and established himself at Paris as 
an engraver and print-seller. He worked chiefly 
with the graver, in rather a stiff, dry manner, and 
published several plates executed partly by him- 
self, but chiefly by the younger artists whom 
he employed. The following are his principal 
works : 

PORTRAITS. 

Madame Ilclyot, an abbess ; Baztn, del. et. scul. 1686. 
Madame Guyon, a celebrated visionary. John du Hous- I 
say de Chaillot, a hermit. Father Emanuel Irlagnan. j 
Father Anthony Verjus, a Jesuit; J. P. Cany, pinx. I 
John Crasset, a Jesuit. St. Francis Xavicr. St. Ignatius 
de Loyola, founder of the Jesuits. Louis XIV., on horse- 
back; A''. Bazin, sc. 1682. Louis, Dauphin of France; 
after Martin, N. Bazin. 1686. 

VARIOUS SUBJECTS. 

The Portrait of the Virgin. The Annunciation. Christ 



crowned with Thoras. The Crucifixion. St. Jerome and 
St. Peter, two plates ; after Lichery. St. Francis receiv- 
ing the Stigmata ; after Baroccio. St. Isabella, foundress 
of the Abbey of Longchamps ; after Ph. de Champagne. 
St. Ann teaching St. Elizabeth to read ; St. Mary, of Egypt, 
and St. Zozima ; after Le Brun. The Virgin Mary suck- 
ling the Infant ; after Corrcggio. Two Ladies, one going 
into a Bath ; after J. Dieu. 

BAZZANI, Giuseppe, an Itahan painter, born 
at Beggio in 1690, according to Lanzi; studied un- 
der Gio. Canti. His talents were superior to those 
of his master, and were well cultivated. Lanzi 
says he studied the works of Bubens at Mantua, 
and followed his style. Many of his fresco paint- 
ings are at Mantua, and in the convents in its 
vicinity, composed in an admirable style, and 
painted with great freedom and spirit. He was 
director of the Academy at Man-tua, where he died 
in 1769. 

BAZZIACALUVE, or BEZZICALUVA, Er- 
coLE, an engraver of Florence, or Pisa (for he 
is described as of both.) flourished about 1640. 
Bartsch describes seven of his prints, and Brulliot 
several others. 

BEALE, Mary, a reputable English portrait 
paintress, born in Suffolk in 1632, and the daugh- 
ter of a clergyman. Manifesting a great inclina- 
tion for the art, she was placed under Sir Peter 
Lely, and soon gained distinction. She copied sev- 
eral portraits by Vandyck, by which she acquired 
a purity and sweetness of coloring which distin- 
guish her portraits. Bdng of an estimable char- 
acter and very agreeable manners, she was pat- L I 
ronizcd by many of the most distinguished persons " | 
of her time, and lived in great respectability. Her 
husband was also a painter, but of little note. She 
died in 1697. 

lV"Ror\RT BEATRIOI, Niccolo, an em- 
J. \3 J\J JLa inent French engraver, born at 
Thion-ville, in Lorraine, about 1500. He went to 
Rome while quite young, and, from the dates of 
his plates, must have lived there from 1532 to 1562. 
His style resembles that of Agostino Veneziano. 
His works are inferior to those of that master, and 
are principally valued for their subjects. He 
marked his plates with one of his monograms, or 
the letters N. B. F., or, N. B. L. P. Heineken 
has inserted in his Dictio7iaire des Artistes, after 
the prints known to be by this master, a list of 

but 

these are much superior to the others, and are j I 
probably by Bartel Beham, under whose article * | 
they will be found. The following is a hst of 
most of his works : 

PORTRAITS. I 

Bust of Pius III., inscribed Nicolaus Beatricius Lota- I 
ringus, &c. Pope Paul III., an ovol, inscribed Paul. III. ' 
Pont. Pope Paul IV. ; dated 1558. Pope Pius V. Hen- 
ry II. King of France ; marked with the monogram N. B. ; 
Lot. f 1558. Another Portrait of Henry II. ; dated 1556. . , J 
Hippolita Gonzago. John Valverdus, Spaniard. Don Ju- , I 
an of Austria, an oval, on a monument ; inscribed Gener- 1 
ale delta Lcgha. The Genealogy of the twelve first Em- 
perors and Empresses, with their Portraits, from medals ; 
two sheets. The Kings of Poland, in medallions ; inscribed 
Reges Polonice. 

SUBJECTS OF SACHED HISTORY. 

Cain killing Abel; inscribed Fratricidium Abelis, A.S. 
ex. 1540. N. B. F. Joseph explaining the Dream ; af- 
ter Raffaelle; marked with the monogram, N. B. F., and 
his name ; one of his best plates. The Nativity of the Vir- 
gin ; after Baccio Bandinelli ; inscribed Nicolaus Beu' 



i 



BEAU. 



81 



BEAU. 



tricius restituit et formis suis exc. The Annunciation ; 
with the names of M. Angela and Beatrici. The Ador- 
ation of the Magi ; after Parmiggiano, N. B. L. F. The 
Holy Family, with St. John ; Jeram. Mutian, pinx. Ni- 
colaus Beatricius Ltotharingus, incidit, cf'c. The Good 
Samaritan; Michele Ansrelo, inv. Christ on the Mount of 
Olives; after Titian, marked N. B. F. The Crucifix- 
ion, with the Virgin, Magdalene, and St. John ; with the 
Sun and Moon on each side ; MurAanus Brixianus, inv. 
Nicolaus Beatricius, d^c. exc. The Mater Dolorosa; af- 
ter Michele Angela, N. B. Roma:. 1547. The taking down 
from the Cross; after Circignani; marked B. Romas, 
Christ delivering the Souls from Purgatory ; with the 
names of Raffaelle and Beatrici. The A.?cension ; after 
Rqfaelle, with his cipher. 1.541. The Conversion of St. 
Taul; M. Angela, pinar., (^c, marked N. B. St. Michael 
overcoming the Evil Spirit ; after Raffaelle ; marked N. 
B. L. The Virgin seated on a Throne, distributing Bos- 
aries ; inscribed Nicolaus Beatricius, (^-c. exc, oval. The 
Cross worshipped all over the world ; arched plate, marked 
with the monogram, N. B. F., and inscribed Crux illustris, 
i^c. MDLvii. The prophet Jeremiah ; after M. Angela ; 
with names of painter and engraver. St. Jerome kneeling 
before a Crucifix; after Titian; marked X. C. L. F. St. 
Elizabeth, Queen of Hungary, relieving the distressed; af- 
ter Mutiano. TheLast Judgment; q/iferM.^no^eZo. Da- 
ted 1562. In nine sheets. 

SUBJECTS OF PROFANE HISTORY. 

The Sacrifice of Iphigenia ; on the altar is in.scribed Iph- 
igenia; it is marked N. B. L. F. Ganymede, inscribed 
Ganimedes juvenis, d^c. ; the Fall of Phaeton, retouched 
by Beatrici; Titius devoured by a Vulture, Ant. Salam- 
ancha, ex. Silenus carried by children, N. Beatrice, fee. ; 
the Dream of Human Life, emblematical subject ; Shoot- 
ing at a Target; after 3fichael Angelo. Vertumnus and 
Pomona ; cifter Pontormo. Reason combatting Love ; 
after B. Bandinelli; with his cipher. A Combat between 
five Men and fiveWild Beasts' ; after Glulio Romano. 1532. 
The Battle of the Amazons; after a basso relievo; in- 
scribed Amazonum pugna, tf'c. 1559. The Battle of the 
Dacii ; after the basso relievo of the Arch of Constantine ; 
marked ]^. B. and inscribed Tabula Marmora, cf-c. The 
Emperor Trajan Triumphant; after a basso relievo 1560. 
The Pantheon of M. Agrippa ; marked X. B. F. The 
Temple of Fortune ; after a drawing brj Raffaelle ; marked 
with the monogram, X. B. F. The great Circus ; marked 
N. Beatrizet hotaringice ; two sheets. The Front of the 
Faniese Palace ; after the design of M. Angelo. 1548. 
Statue of Moses; after M. Angelo ; inscribed May sis in- 
gens, (^c. Statue of Jesus Christ ; after M. Angelo ; with 
his name. Equestrian Statue of M. Aurclius. 1558. Stat- 
ue of a Philosopher reading; inscribed Anaximenes, <^c. ; 
the plate was afterwards retouched, and the Philosopher 
changed into St. Paul. The Castle of St. Angelo. The Siege 
and taking of Thionville ; Nic. Beatrizet Lotaringas, in- 
cidit. 1558. 

BEAU, Pierre Adrien le, a French engraver, 
■wa,s born at Paris in 1744, and executed several por- 
traits, and other subjects, among which are: 

Louis XVI. King of France. Marie Antoinette, Queen 
of France. Louis Philippe, Duke of Orleans. Hyder Ali; 
after J. Year. Madlle. de Rancour, actress. Abbe Ter- 
ray, comptroller of finance under Louis XV. A. R. J. 
Turgot, comptroller under Louis XVI. Xecker, director 
of finances under Louis XVI. 

BEAUBPtUN, Henry, a French portrait paint- 
er of merit, was born at Amboise in 1603, and 
died at Paris in 1077. His brother, Charles Beau- 
brun, who was bom in 1605, distinguished him- 
self in the same branch of art, and died in 1692, 

BEAUDOUIN, Pierre Antoine, a French 
miniature portrait painter of some merit, was born 
at Paris in 1719, and died in 1709. 

BEAULIEU, Sebastien Pontaulet de, a cel- 
ebrated French military architect, engineer, and 
field-marshal under Louis XIY, He published 
plans, views, and details of all the sieges, battles, 
(fcc, of that monarch, to which he annexed lectures 
on the art. He died about 1674. 
9 



BEAUMONT, Cav. Claudio, a painter of lu- 
rin, born in 1694. After studying some time in 
his native city, he visited Rome, where he applied 
himself to copying the works of Raffaelle. Guido, 
and the Caracci. He seems to have thought little 
of the Roman painters of his time, except Trevi- 
sani, whose manner he followed in the vigor of his 
coloring. On returning to Turin, he was employed 
in decorating the Royal palace, where he painted in 
fresco, in the library, various symbolical subjects, 
relative to the Royal Family of Sardinia ; and in 
the other apartments he represented the Rape of 
Helen, and the Judgment of Paris. In the Chicsa 
della Croce, is a fixi--; picture of the Descent from 
the Cross. The King of Sardinia conferred on 
him the honor of knighthood, in whose service he 
died in 1766. 

BEAUMONT, Claude Etienne, an eminent 
French architect, born at Besan9on in 1757. He 
went to Paris at an early age, and placed himself 
under the instruction of Dumont, professor in the 
Academy. After finishing his course, he entered 
the office of Couture, w^ho was commissioned to 
continue the construction of the Madeleine Church. 
B., perceiving that his new master, in modifying 
the original plan, had dispensed with the rules of 
art, deemed it his duty to inform him, for which he 
j was discharged. He immediately published a let- 
ter as coming from Dulin, an eminent architect 
lately deceased, containing a just criticism on the 
new plan of the Madeleine, which was suppressed 
by the order of the council, at the instigation of 
Baron de Breteuil, protector of Couture. On the 
erection of the new department at Paris, B. was 
attached as architect to the Bureau of Domains, 
and merited, by his zeal and talents, the esteem 
of the Administration. He constructed the Palais 
de Justice, the House of the Sisters of Charity, the 
Institution for the Deaf and Dumb, and the Hall 
of the Tribunal, which last was pronounced hy a 
connoisseur, the most perfect edifice which had 
been erected by the authorities since the revolu- 
tion. The government, having decided to convert 
the Madeleine into the Temple of Glory, ordered a 
competition of plans. The plan of B. was preferred 
by the architectural class of the In.stitute. but his 
enemies reversed the decision by showing that he 
had appropriated his principal ideas from the letter 
of DuWi, without knowing that he was the au- 
thor, and they adjudged the prize to another archi- 
tect. B., having disproved the charge of plagiar- 
ism brought against him. obtained an indemnity 
of lO.OOOf.. but the chagrin he felt at being so un- 
justly deprived of the honor of attaching his name 
to so grand a monument, consigned him to the 
grave soon afterwards. Among other works, the 
Theatre of the Varieties was built after his de- 
signs. He died at Paris in 1811. 

BEAUMONT, Pierre FRAN901S. a Parisian en- 
graver, born about 1720 ; executed several plates 
after T. Breughel and Ph. Wouwerman : 
I Three Views in Flanders ; after Breughel. The An- 
gel appearing to the Shepherds; the Thirsty Traveler; 
Running at the Ring; the Swimmers; Cavalry defiling; 
Halt of Cavalry ; the Blacksmith ; after Wouicerman, 
Four Hunting Pieces ; after N. N. Coypel 

BExVUMONT. Sir George Howland. was born 
in 1753. and died in 1827. Descended from an 
ancient and illu.strious house, he has rendered his 
name still more illustrious by his liberal patron- 



BEAU. 



BECC. 



age of art and public munificence. He was a great 
lover of the fine arts, and acquired considerable 
skill in painting scenes from nature. Pilkington 
says, '• In his landscapes there is less of the line, 
fresh glow of nature than might be expected from 
the hand of one trained in that academy, yet he 
had the soul and eye of a painter ; his scenes are 
finely imagined, and there are glimpses of gran- 
deur, but little that was wrought out in the spirit 
of the conception. He was delicient in the practi- 
cal skill, which his line fortune hindered him from 
acquiring from that rough old teacher, necessity." 
He delighted in the society of artists, and the walls 
of his liouse in Grosvenor Square were covered 
with some of the choicest works of Claude, Wil- 
son, and Reynolds. He was one of the principal 
founders of the British National Gallery. When 
Parliament were debating the propriety of buying 
the Angerstein Collection for £00,000, he advoca- 
ted the measure with enthusiasm, and exclaimed, 
" Buy this collection of pictures for the nation, and 
I will give you mine." And this he nobly did, not 
in the form of a bequest, but he transferred them 
at once as soon as the galleries were prepared for 
their reception, with the exception of one little 
gem, with him a household god, which he retained 
till his death. This picture was a landscape by 
Claude, with figures representing Hagar and her 
child, and he was so much attached to it that he 
took it with him as his constant traveling compan- 
ion. When he died, it was sent to its place in the 
Galler}'-. Such instances of noble gcnerosit}^ for 
public benefaction, deserve to be held in grateful 
remembrance, and to be written in "letters of gold 
on enduring marble," for the imitation of mankind. 
Sir George, in a letter to Lord Dover on the sub- 
ject of the purchase of the Angerstein collection, 
speaking of the benefit which a country derives 
from the possession of the best works of art. says : 
" My belief is that the Apollo, the Venus, the Lao- 
coon, &c., are worth thousands a year to the coun- 
tr}'^ that possesses them." 

BEAUVAIS, Nicholas Dauphin de, a Parisian 
engraver, born about 1687 ; studied under John 
Audran, and gained considerable reputation. He 
probably resided some time in England, as he en- 
graved part of the Dome of St. Paul's, after Sir 
James Thornhill. He had a son named Charles 
Nicholas Dauphin de, who was born in 17G4, stud- 
ied under his father, and executed several plates. 

The Virgin with the Infant Jesus, upon a, Pedestal, with 
several Saints below ; after Correggio. St. Jerome ; after 
Vandyck. Mary Ma'gilalcne in the Desert ; after B. 
Lutti; for the Crozat collection. Bacchus and Ariadne; 
after N. Poussin. Cupid stealing Jupiter's Thunder ; 
after Le Sueur. The Burning of ^neas's Ships, and their 
Metaniorphoscs into Nymphs ; the Companion, a Subject 
from the Life of ^neas ; after Coypcl. The Resurrection ; 
the Four Seasons ; four plates, engraved conjointly with 
Dcsplaces ; after P. J. Cazes. The Descent of the Holy 
Ghost ; All Saints ; after J. Andre. Monument in honor 
of William, Earl Cowper. 

BEAUVALLET, C. Nicholas, a French sculp- 
tor of considerable eminence, born at Havre in 
1749, and studied under Pijou. In 1784 he was 
appointed keeper of all the works of sculpture in 
the Chateau of Compiegna ; and some remarkable 
works which he executed for the hall of the Guards 
commenced his reputation, and procured him ad- 
mission to the Koyal Academy of Painting and 
Sculpture at Paris in 1789, at a time when, like 
most artists, he espoused the cause of the revolu- 



tion. During these times, he executed many busts 
and statues of the principal leaders and patriots, 
some of which were multiplied prodigiously in 
plaster, and procured his admission into the various 
popular societies, and gave him a high place in the 
administration of public works, and finally brought 
him so near the guillotine, that he thought it pru- 
dent to retire, and devote himself exclusively to the 
cultivation of his profession. Among his most 
esteemed works are a statue of Narcissus, one of 
Pomona, one of Susanna in the Bath, and one of 
General Moreau. His works are said to be very 
graceful, but defective in character and expression. 
He succeeded best in the grand style, wrought with 
great facility, and the French regret that so much 
of his time was lost in politics. He died in 1828. 
BEAUVARLET, James Firmin, an eminent 
modern French engraver, born at Abbeville in 1733. |'l 
He visited Paris while young, and was instructed * | 
in the art by Charles Dupuis and Laurence Cars. 
His first productions were in a free, bold style, and 
these are preferred to those more highly wrought 
plates which he afterwards engraved, although they 
are executed with great neatness and delicacy. — 
The following are his principal plates : 

PORTRAITS. 

The Abbe Nollet ; after La Tour. Edme Bouchardon, 
sculptor; after Drouais, 1776. Jean Baptist Poquelin do 
Molierc ; after S. Bourdon. The Marquis de Ponibal ; 
after Roslin and Vernet. Catherine Princess de Gali'/in; 
medallion. Prince Ferdinand of Brunswick ; &c. 

SUBJECTS AFTER VARIOUS MASTERS. 

Lot and his Daughters ; Susanna and the Elders ; Per- jm I 
sens combating Phineus, shows the Head of Medusa ; Acis 1. J 
and Galatea ; the Judgment of Paris; the Rape of Europa; " 
the Rape of the Sabines ; after Luc. Giordano. Susanna 
and the Elders ; after Guido Cagnaci. The Sewers ; after 
Guido ; very highly finished. The Incredulity of Thomas ; 
after Calabrese. Venus lamenting the Death of Adonis ; 
after A. Turchi, called Veronese. La Rusec ; after C. 
Vega. The Double Surprise ; after Ger. Doiiw. The 
Fisherman ; after H. Carre. The Tric-trac Players ; tho 
Bagpiper; after Teniers. The Burgomaster; after Os- 
tadc. Diana and Acteon ; after Rottenhammer. The 
Bathers ; tho Trap ; the Dreamer ; Cupid chained by the 
Graces; ajter Boucher. The Children of tho Count de 
Bethune ; after Drouaia. Le Colin Maillard ; after 
Fragonard. The Chastity of Joseph ; after Nattier. 
Susanna and the Elders; The Offering to Venus; The 
Offering to Ceres ; after Vien. A Sul)ject from an An- 
tique Painting of the Ilerculancum. Cupid holding his 
Bow ; La Confidence ; La Sultana ; Lecture Espagnole ; 
Conversation Espagnole ; after C. Vanloo. Telemachus 
in the Island of Calypso ; after Raoux. Tho Toilet, and 
the Return from the Ball ; two companions ; after De 
Troy. Seven prints of the History of Esther ; 'after J. 
F. de Troy. 

JV^BECCAFUMI, Domenico, called Mica- 
JL/ RiNO, an eminent Italian painter, sculptor, 
and engraver, born at Siena in 1484. When a boy, 
he was employed in watching sheep, but manifest- 
ing an inclination for art, he was removed from 
that humble station, and placed under an indiffer- 
ent painter, called Capanna, but afterwards under 
Giovanni Antonio Yercelli. He subsequently vis- 
ited Rome, where he studied the works of Angelo 
and Ilalfaelle ; and on returning to Siena, pro- 
duced several admirable works, both in sculpture 
and in painting, particularly a number of bronze 
statues and bas-reliefs ; and the celebrated mosaic 
of the pavement of the cathedral of Siena, which 
has been engraved by Andrea Andreani. He also 
painted several pictures for tlie churches, both in 
oil and in distemper. Zani denies that he ever 



BECC. 



83 



BECK. 



engraved on wood ; but he executed some plates, 
both etched and with the graver only, which show 
considerable abilit}^ He was living, according to 
Lanzi, in 1551. He sometimes marked his prints 
with his name, Micarino,fe., and sometimes with 
liis monogram. The following are his principal 
works : 

Paulus III. Pontifex Maximus ; without a name. 1515, 
a plate. An Old Man Standing, and a Young Man lying 
down; Micarino,fec. ; a plate. Three Academy Figures ; 
without a name ; a plate. The Nativity ; after Titian ; 
a wooden cut, fine The Virgin embracing the infant Je- 
sus ; a wooden cut, three tints. St. Peter holding a Book 
and the Keys ; a wooden cut, in chiaroscuro. St. Philip 
holding a Book and a Cross ; do. St. Andrew, with his 
Cross ; do. A Philosopher, with a Cloak, sitting ; do. St. 
Jerome kneeling before a Crucifix ; a wooden cut. Ten 
subjects of Alchymy, on the first is inscribed Mecarinus 
de Sicnis inventor. 

BECC A.RUZZI, Francesco, an Italian painter, 
born in the Friuli, studied under Pordenone, and 
followed his style. Ridolfi mentions many repu- 
table works, both in oil and in fresco, by this 
master, in the churches and convents at Trevigi ; 
one of the best was the picture he painted for the 
Franciscans at Conigliano, representing St. Francis 
receiving the Stigmata, with several Saints. 

BECERRA, Gaspar, an eminent Spanish 
painter, sculptor, and architect, born at Baiza, in 
Andalusia, in 1520;- died in 1570. The patronage 
bestowed on the arts by Philip XL, induced him to 
visit Rome at a time when Michael Angelo was in 
the zenith of his fame, and Palomino says he 
studied under that master. On his return, he was 
taken under the protection of the Emperor, and 
executed several works in fresco in the palace at 
Madrid, which were greatly admired. lie became 
one of the first reformers of the Spanish school, 
by introducing a superior style, founded on that 
of Buonarotti. His designs arc very rare, and are 
highly esteemed for the great care he bestowed on 
them. His chief work as a sculptor is a statue of 
the Virgin, made by order of his patroness, Isa- 
bella de Valois. He exercised the three arts in the 
screen of the cathedral of Astorga ; and in the 
Church of the Scalze Reali at Madrid, he erected 
the great altar with two orders of columns, and a 
variety of sculptures much admired. As an archi- 
tect he only practised the ornamental parts. Many 
of his works, according to Bermudez, are in the 
public edifices at Madrid, Astorga and Zamora. 

BECHON, J., a French engraver, flourished 
about 1670 ; executed several plates of landscapes 
in a clear, neat manner. 

BECKER, Philip Christopher, a celebrated 
engraver of dies and precious stones, was born at 
Coblentz about 1675. He was successively ap- 
pointed engraver of medals to the Emperors Jo- 
seph I., and Charles VI., of Austria, the latter of 
whom conferred upon him titles of nobility. Peter 
the Great also invited him to St. Petersburg to 
engrave the Imperial seals and new dies for his coin. 
Having called upon the Emperor one day while he 
was at dinner, the Czar ordered a cover to be 
brought, and made him dine with him. The merit 
of this artist consists in the exquisite design and 
finish of his works. He engraved coats of arms 
with wonderful precision, some of them of the 
smallest size and very complicated. He died at 
Vienna in 1750. 

BECKER, Philip Jacob, a German painter, 



born at Pfouzheim in 1750. lie was an excellent 
scholar ; went to Italy in 1776, where he resided 
some years ; acquired a thorough knowledge of 
art, and returned to his native country, where he 
was taken into the service of his sovereign, Charles 
Frederick, Grand Duke of Baden, whose portrait 
he painted, and tho.se of the ducal family, who ap- 
pointed him his court painter, director of his Gal- 
lery, and instructor to his children. B. painted 
landscapes, portraits, and animals with equal fa- 
cility. He painted the portraits of many eminent 
personages of his time. One room in the Gallery 
of Carlsruhe is devoted to his works, among 
which are a great many exquisite drawings and 
studies. He was very eminent as an instructor, 
and some of the most distinguished modern Ger- 
man artists studied under him. He was a man of 
estimable character, and died universally beloved 
in 1829. 

BECKET, Isaac, one of the earliest English 
mezzotinto engravers, born at Kent in 1653 ; was 
apprenticed to a calico-printer, but becoming ac- 
quainted with Luttercl, who had made some pro- 
gress in the art, he learned from him the process 
and executed a number of plates, of which the fol- 
lowing are the principal : 

portraits. 

Sir Godfrey Kneller ; from a picture by himself. Charles 
II. ; James, Duke of York ; after Kneller. Henry, Duko 
of Grafton ; after T. Hawker. The Duchess of Grafton ; 
Charles Melford ; after Wissing. Sir Peter Leiy ; Se ipse, 
pinx. George, Prince of Denmark ; Henry, Lord Bishop 
of London ; .John Maitland, Duke of Lauderdale ; after 
Riley. Christopher, Earl of Albemarle ; after Murray 
George, Duke of Buckingham ; after Verhelst. Henry, 
Duke of Norfolk ; Becket, fecit et exc. Thomas Cart- 
wright, Lord Bishop of Chester ; very scarce. Lady Wil- 
liams ; full length, Adrian Eeverland ; drawn from a 
statue. 

SUBJECTS after VARIOUS MASTERS. 

The Virgin Mary and St. Joseph, with the infant Jesus 
asleep, with two Angels ; without the name of the painter. 
Time cutting the Wings of Love ; the same, J. Becket, exc. 
A Landscape, with a Shepherd and Shepherdess ; J. Beck- 
et., exc. The Dutch Schoolmaster ; after Hemskerk. The 
Village Barber Surgeon ; after J. hingleback. 

BECKMAN, Sir Martin, an English amateur 
painter, who lived about 1685. He studied under 
John Wyck, while that artist resided in England, 
and was distinguished for his sea-pieces and ship- 
ping. He was engineer to Charles II., and de- 
signed the fortifications of Tilbury Fort, and the 
works at Sheerness. 

BEDAS, a Greek sculptor, whg flourished about 
(122 Olymp.,) b. c. 288. Pliny ^ays he was the 
pupil of Lysippus, and the brother of Laippus. 
Among his works is the statue of a man in pro- 
found adoration, of which the Adoring Boy at Ber- 
lin, accor 
ful copy. 

BEDEL, Pierre, a reputable French architect, 
who flourished about 1558. He went to Spain, 
and executed there a number of good works, men- 
tioned by Bermudez. They are the Aqueduct of 
Teruel ; the celebrated Mina or Breakwater, at 
Daroca ; and the church at Fuentes de Ebro, in 
the Gothic style. He also restored the cathedral 
and the Dominican church at Albarracia, where he 
died in 1567. 

BEDUSCHI, Antonio, an Italian painter, born 
at Cremona in 1576 ; studied under Campi, and 
imitated his style. P. Carasi praises two pictures 



BEEG. 

l>ainted b}' him in his twenty-sixth year, for their 
promise of future excellence ; one is the Stoning 
of Stephen, and the other a Pieta for St. Sepolcro, 
in Piacenza. He was living in 1607. 

BEECHEY, Sir William, an English portrait 
]>ainter of considerable eminence, was born at Bur- 
ford, in Oxfordshire, rii 1753. He was originally 
intended for the legal profession, but an acquaint- 
ance which he formed with some of the students 
in the Royal Academy served to develope his taste 
for art, and in 1772 he was admitted as a student 
of that institution. His first objects of study were 
tlie works of Beynolds ; after which he practised, 
and then studied from nature. Some of his ear- 
liest works are the portraits of Dr. Strachey, 
Archdeacon of Norwich, and his family ; the Chev- 
alier lluspini and his fiimily; and the Duke and 
Duchess of Cumberland ; that of the Ruspini fam- 
ily is supposed to be the first the artist exhibited 
at the Royal Academy. From London. Beechcy 
^vent to Norwich, where he began painting small 
conversation pieces, in the manner first practised 
by Hogarth, and afterwards by Zoffany. Five 
years after, he returned to the metropolis, where 
he soon became generally known and extensively 
emplo3'ed. In 179:> he was elected an Associate 
of the Royal Academy, and the same 3'ear painted 
a full length portrait of Queen Charlotte, who ap- 
pointed him her portrait painter. In 1797 he was 
elected a Royal Academician. In 1798 he paint- 
ed his large composition representing a Review 
of the Horse Guards by King George III., the 
Prince of Wales, and the Duke of York, which is 
now in Hampton Court, and is esteemed one of 
Beechey's best works, and gained him the honor 
of knighthood. Soon after this, Beeche}^ painted a 
set of portraits of the royal princesses, for the 
Prince of Wales, and then a series of whole-lcmrth 
liortraits of the royal family, for the Gothic Pal- 
ace, then erecting atlvew. there is also an apart- 
ment at Frogmore Lodge, entirely decorated with 
portraits by his hand. Besides the liberal pat- 
ronage of the royal family, Beechey enjoyed a 
very large share of public patronage and support. 
His portraits are almost numberless, many of 
wdiich are of a very high cl ass of excellence. Those 
of the King, Prince of Wales, and Duke of York, 
in the picture before )nentioned. evince a power of 
liandling. and breadth of effect, as well as an ac- 
curacy of resemblance, which deserve great praise. 
In his porti-aits of men, he seems to have been 
deeply imbued with a command of character and 
expression ; and in those of ladies, ^rrace and beau- 
ty are ever pervading. Of the former, mav be in- 
stanced those of Nelson and Lord St. Vincent ; 
and of the latter, tho.se of Miss de Yisine, Mis.s 
Rudd, and ]Miss Lushington as a Bacchante, are 
good specimens. Beechey executed but i^cw works 
besides portraits. Among his other productions 
was a picture of Iris bearing to Sommus the com- 
mand of Juno to warn Alcyone, by a dream, of 
the fate of her husband Ceyx, p;iinted on his first 
arrival at London. He died in 1839. aored 86 years. 

BEECK. Jan. a Flemish painter, born at Looz; 
Avas a monk of the convent of St. Lawrence, near 
Liege, of which he became the abl)ot in 1509. He 
painted the greatest number of the pictures in the 
church of his convent, and is considered, after the 
brothers Van Eyck, to be the most eminent 
among the ancient painters of Liege. He died in 1516. 



84 BEEK. 

BEEKERK. Hermann Walter, a Dutch paint- 
er, was born, according to Nagler, at Leeuwarden, 
in 175G. He studied under J. van Dregt, and 
painted several good pictures for the Town Hall 
of his native place. 

BEERESTRATEN, A. van, a Dutch painter 
of much merit, who is supposed by van Eynden to 
have .'Studied in Italy. His marine views are full 
of striking effects, the water painted in a most ad- 
mirable manner, and appearing to move on the 
canvass. They represent Dutch and Italian sea- 
ports, but are very scarce. The Galler}^ at Dres- 
den and the Museum at Amsterdam, pos.sess some 
of the best ; and M. le Brun paid 1600 livres at 
Paris for one of the works of this artist. 

BEEK, David, an eminent Dutch portrait paint- 
er, born, according to C. de Bie, at Delft in 1621, 
though others assert, that he was a native of Arn- 
heim^ in Guclderland. He studied under the great 
Yand^-ck. and was the most successful, if not one 
of his ablest scholars. Charles I. favored him with 
his patronage, and he was appointed to instruct 
the Prince of Wales and Duke of York in drawing. 
His pencil was remarkably rapid, v.diich occa- 
sioned the King to say pleasantly, wdiile sitting for 
his portrait, that he believed he could paint while 
riding post. After passing several years in Eng- 
land, he visited Sweden, where he was received 
Avith distinction by Queen Christina, who appointed 
him her principal painter and chamberlain. Not- 
withstanding the flattering protection he received 
from the Qneen, his desire of revisiting his native 
land prompted him to solicit permission to return 
to Holland, which he with difficulty obtained, un 
der a promise to return. His attachment to his 
native country prevented his fulfilling his engage- 
ment, and he died at the Hague in 1656. 

BEELDEMAKER, John, a Dutch painter, born 
at the Hague in 1636. It is not recorded imder 
whom he studied ; but he gained distinction by his 
Huntings of the Boar and Stag, w^hich are treated 
with great ability, and painted with a suitable fire 
and spirit. They are frequently seen in England, 
usually of .small dimensions. 

BEELDEMAKER, Francis, a Dutch historical 
and portrait painter, the son of John B., born at 
the Hague in 1669 ; studied first tmder his father, 
but preferring another branch of the art, he was • 
placed under William Doudyns, an historical 
painter of considerable note. He improved so rap- 
idh' under his instruction, that before long he de- 
termined to visit Italy, and while at Rome was 
vcr}' assiduous in the study of the works of the 
great masters. After several years, he returned to 
Holland, where he met with great emploj^ment, and 
gained considerable reputation. He was admitted 
a member of the Academy at Hague, and died in 
1717. 

BEER. Jo.SEPH DE. a Dutch painter, born at 
Utrecht in 1550, studied under Francis Flori.s, and 
painted histor^^ with some success. He was pat- 
ronized b)' the Bi.shop of Tournay, for whom he 
painted several admirable pictures. He died in 
1590. 

BEERINGS, Gregory, a Flemish painter, born 
at jMalines in 1500; studied in Italy, where he ac- 
quired a fine taste ; produced some good pictures 
of landsca]>es and architectural ruins, and might 
have gained great distinction, but he fell into indo- 
lence and dissipation, and died in 1544. 



BEGA. 



85 



BEGN. 



BEESTEN, A. H. van, a Dutcli painter of por- 
traits and bassi-relievi, in which he is said to have 
excelled ; but being a man of great modesty, he 
suffered others to profit by his talents. 

BEGA, Cornelius, a Dutch painter, born at 
Haerlem in 1620, studied under Adrian Ostade, and 
became the ablest painter of his school. His pic- 
tures, like those of Ostade, represent Dutch peas- 
ants regaling and amusing themselves, and the in- 
teriors of Dutch cottages. These subjects are 
treated with a most humorous delineation of char- 
acter ; and his works, though not equal to the ad- 
mirable productions of Ostade, have sufficient merit 
to rank him among the most interesting artists of 
his country, and are deservedly placed in the 
choicest collections. After some years, he fell into 
a dissipated course, and became so depraved that 
his father, a sculptor, named Peter Begeyn, dis- 
owned him. whence he changed his name to Bega ; 
his earlier pictures being marked with one and his 
latter works with the other. Whatever may have 
been his conduct in the earlier part of his life, his 
death was occasioned by a circumstance which 
proves that his profligacy had not extinguished the 
affections of his heart. A younj^: person to whom 
he was fondly attached, and whom he was about 
to marry, was attacked by the plague, which vis- 
ited Holland in 1G64. Though every one aban- 
doned her, 3^et Bega remained by her side, and con- 
tinued the most assiduous attention even to the 
last moment. He caught the infection and died, 
aged 44. As an engraver, he has executed about 
thirty-five etchings touched with great spirit and 
ingenuity. Among them are the following : 

An interior of an Alehouse, with three Peasants, one with 
a Goblet in his Hand ; a sketch of tAvo Peasants and a Boy ; 
the interior of a Dutch Cottage, a Man with a Pitcher in his 
Hand, with another Peasant with a Woman and a Child, 
fine ; a Man leaning on a Table, and his Wife suckling a 
Child ; a Company of five Men and Women regaling ; an- 
other Company regaling, a Woman pouring out a Glass of 
Liquor ; an Assemblage of eight Peasants, of which two are 
playing at Cards, very scarce. 

BEGARELLI, Antonio, called Antonio da 
MoDENA. an eminent Italian designer and modeler, 
from whom the most eminent painters and sculp- 
tors of his day, gained instruction and advantage. 
He was born at Modena in 1499. and studied un- 
der Gio. Abati. He practised chiefly at Parma. 
Mantua, and other cities. He was associated with 
Correggio in the decorations of the cathedral at 
Parma. They were ever on the most friendly 
terms, and naturally assisted each other. Bega- 
relli made the models from which Correggio painted 
many of his floating figures, and instructed his 
friend in the art of modeling. They were nearly 
of the same age, and their conceptions of the grand 
and beautiful were very similar. Begarelli sur- 
vived Correggio many years, and produced many 
figures, larger than life, of Avhich the monastery 
and church of the Benedictines preserved a noble 
collection. Vasari extols him for the fine air of 
his head.s, exquisite proportions, beautiful drapery, 
and color like marble. But the great IMichael An- 
gelo declared, '• If this clay were only to become 
marble, wo betide the ancient statues. ^^ Begarelli 
acted as a master in design and modeling, hence 
he greatly influenced the art of painting ; and to 
him are we to attribute in a great measure that 
rehef correctness, foreshortening, and grace, ap- 



roaching so near to Raffaelle. of which the Lom- 



bard painters boast so large a share. He died in 15G5. 



; BEGNI, GiULio Cesare. an Italian painter. 
} born at Pcsaro. He studied under Antonio Cima- 
I tori. He was a follower of the Venetian school, 
I and painted in a bold, rapid, and unfinished style, 
I but with a fine effect. There are many of his 
works in Pesaro and Udine, He died about 1680. 

{ BEGYN, Abraham, a Dutch painter, born in 
: 1050, painted landscapes and cattle hi the style of 
Berghem ; his pictures on those subjects are very 
justly admired. His pencil was light and free, and 
} his coloring ver}'' agreeable. He resided chiefly at 
j Berlin, where his works were greatly esteemed. 
I Houbraken saj'S he was principal painter to the 
Elector of Brandenburgh. In several collections in 
Holland, his works are placed among those of the 
I most admired painters ; and they are held in con- 
siderable estimation in England, but his best pro- 
I ductions are there ascribed to Berghem, and are 
I altered so as to more clearly resemble the works 
I of that master. He died about 1710, 

! BEIIAM, B artel, a German painter, and very 
! distinguished engraver, born at Nuremberg about 
I 1496. He was the elder brother of the eminent 
j Hans Sebald Behara, and. according to Orlandi. re- 
I sided chiefly in Italy, and studied under jNIarc' xVn- 
I tonio Baimondi, at Rome and Bologna. Sandrart 
! mentions several of his paintings, which in his tiffie 
j were in the Galler}^ of the Elector of Bavaria, at 
! Munich and in the collection of the Prince of Xeu- 
j bourg. As an engraver he was more eminent, and 
I was one of the most successful imitators of the fine 
I style of Marc' Antonio, His heads have a fine ex- 
I prcs.sion. and his drawing is masterly and correct, 
I Many of his plates have no mark, which has some- 
times occasioned difficulty. Those which bear his 
signature are marked B, B,, and are dated from 
1520 to 1533. 

PORTRAITS. 

William, Duke of Bavaria. Bust of Erastus Balderman. 
1535. Bust of Leonard van Eck. The Emperor Charles 
V. ; marked BB Ferdinand I. ; same mark. 

VARIOUS SUBJECTS. 

Adam and Eve, and Death before the Tree. Judith sit- 
ting on the body of Holofernes. 1525. The Virgin suck- 
ling the infant Jesus ; very fine. A Sibyl reading, and a 
Boy holding a Torch. BB. Susanna brought before the 
Elders ; after Giulio Romano. Lucretia. Cleopatra. 
1520. The Judgment of Paris. A Battle-piece ; a friese ; 
inscribed Titus Gracchus. Another Battle-piece ; a friese. 
A soldier caressing a Woman. A Child playing with a 
Dog. 1525. A Child sleeping, with a skull. A Woman 
sleeping under a Tree, with a Child and a Lamb near her, 
and in the background a Wolf with a Sword in his Jlouth. 
pursuing a Goose ; inscribed Der Welt Lauf. 

There are some prints marked with a B on a dye, 
/~2| and sometimes with the dye only, which 
IbJF have been by some attributed to Nicholas 
Beatrici. but are now with more probability sup- 
posed to be by Bartel Beham, as they are everj 
way much superior to the usual style of Beatrici. 
and are nmch in the manner of B. Beham. They 
are as follow : 

PRINTS WITH THE B ON THE DYE. 

Apollo causing ]Marcyas to be flayed ; Christ giving hU 
Charge to St. Peter ; after Rafaelle. A Naval Combat. 
A Landscape, with Animals lying about a Tree, and at the 
Top of the Tree a Phoenix setting fire to her Nest. Pour 
frieses, with Boys playing, and Festoons of Flowers; 
PtAPli. VRB. IN. Ant. Laferii Formis. 

PRINTS WITH THE DYE WITHOUT THE LETTER. 

Apollo and the Python. Apollo and Daphne. 



BEHA. 



86 



BEIN. 



KB, 



or John Sebald, 

an eminent German engraver, born at Nuremberg 
in 1500 ; the younger brother of Bartel B., who, 
according to Sandrart, instructed him in the art. 
This, however, was probably only the case previous 
to Bartel 's goi'ng to Italy, as the style of John re- 
sembles that of H. Aldegrever. He engraved on 
wood and copper, and a few etchings have been at- 
tributed to him. His copper plates are executed 
entirely with the graver, in an unusually neat and 
delicate manner ; his wooden cuts are uncommonly 
free and spirited ; his drawing of the figure is gen- 
erally correct ; and the expression of his heads and 
figures is of great merit. He possessed consider- 
able genius and a ready invention. In the early 
part of his life he resided at Nuremberg, durhig 
which time he marked his plates with a cipher 
composed of the three letters, H. S. P., dated from 
1519 to 1530. He afterwards lived at Frankfort, 
when he changed his mark to a cipher composed 
of H. S. B., dated from 1531 to 1549. His copper 
plates, according to Bartsch, are very numerous. 
The following are the principal : 

PLATES WITH THE CIPHER ISP. 

Engraved at Nuremberg, and dated fyovfi 1510 to 1530. 
The Portraits of Sebald Beham and his Wife, and in the 
middle the Cipher, with a Wreath of Laurel ; this is also 
engraved by Hollar. Adam and Eve in Paradise ; two 
small plates. 1519. St. Jerome, with a Cardinal's Hat 
and the Lion. 1519. The Virgin suckling the infant Je- 
sus. 1520. The Virgin, with a Glory, standing, holding 
the infant Jesus. 1520. The Death of Dido ; Regince 
Didonis imago. 1520. St. Anthony, Hermit, writing. 
1521. St. Sebald seated between two Trunks of Trees, and 
holding in his right hand the Model of a Church. 152L 
Two Peasants playing on the Flute and Bagpipe ; very 
small. Two Peasants, Man and Woman, dancing. 1522 ; 
very small. A Triton carrying a Nereid on his shoulders. 
1523; very small. A Woman sitting on a Lion. 1524. A 
Young Man and Woman embracing. 1528. The Death 
of Cleopatra. 1529. A Vase, a Model for a Goldsmith, 
with a German inscription. 1530. Combat of the Greeks 
and Trojans ; very small frieze. Combat of Achilles and 
Hector J same. 

PLATES WITH THE CIPHER I-S-B. 

Engraved at Frankfort, and dated from 1531 to 1549. 
A Vase, embellished with sculpture, with two Syrens. 
1531. Adam and Eve, behind them a Stag. 1536. Adam 
and Eve in Paradise, with the Serpent presenting the Ap- 
ple. 1543 ; very fine. The Emperor Trajan, with his 
Army, listening to the complaint of a Woman against his 
Son. 1537. Melancholy; in.scribed Melancolia. 1539; 
after Albert Durer. Patience ; inscribed Patentia ; on 
a tablet is written, Sebaldus Beham, Noricus faciebat. 
1540. Fortuna ; a Woman holding a Wheel. 1541. In- 
fortunium ; a Woman stopped by an Evil Genius with a 
Lobster. 1541. A Young Woman, with a Buffoon, pre- i 
senting Fruit ; an etching. 1540. Four very small plates 
of the Four Evangelists, with Wings. 1541. Twelve ' 
small plates of the Labours of Hercules ; inscribed 
AerumntB Hercidis ; dated from 1542 to 1548. An En- I 
sign and a Drummer. 1544. The Roman Charity, with a 
German inscription. 1544 ; fine. The Arms of Beham. j 
1544. Bust of Domitia Calvilla, with the Emperor Tra- 
jan ; after Antique Medals. 1546. The Twelve Months 
of theYear, each represented by a Man andv Woman danc- 
ing; two months on one plate; six small plates. 1545. 
The Judgment of Paris ; Judicium Paridis. 1546 ; fine. 
Death seizing a Young Woman ; inscribed Omnem in ho- 
mine, <^c. 1547 ; fine. A Man trying to pull up a Tree ; 
inscribed Impossibile. 1549. The Virgin holding the in- 
fant Jesus in her Arms, with a Parrot and an Apple ; tS*. 
Maria. 1549 ; after Bartel Beham. 

WOODEN CUTS, 

Which are sometimes marked with the one and some- 
times with the other of his two ciphers. \ 
Portrait of Beham ; with aCap. 1546. Eight prints 



of the Passion of our Sa\-iour. The Holy Family- St. 
Joseph plucking the Branch of a Tree. The Virgin with 
the infant Jesus on her Knee. St. Jerome with a Book and 
Crucifix. A Young Man and Woman. A Female with 
Wings, with a Crown and Stars, with a Skeleton at her 
Feet — a Child with Wings holds a part of her drapery. 
1548. The Baptism of the Anabaptists ; circular ; scarce. 
Another of the same subject; large print of four sheets; 
very scarce. A Village Fair, with a Steeple and a Clock ; 
large frieze; very scarce. A March of Soldiers; large 
frieze, in four sheets ; very scarce. Biblicae Historise — 
Comprising three hundred and forty-eight prints, of which 
the greater part have figures on both sides. 

BEINASCHL See Benaschi. 

BEISCH, Joachim Francis, a German painter 
and engraver, born at Munich in 1665, was the son 
of AVilliam. Beisch, a painter of little note, who 
was a native of Ravensburg, in Suaba, but resident 
at Munich, from whom he received instruction 
in the art. He excelled in landscapes and battle- 
pieces. His be.st works are in the palaces of the 
Elector of Bavaria, in whose employment he re- 
mained for several years ; among which are sev- 
eral large pictures of the battles fought in Hun- 
gary by the Elector Maximilian Emanuel. With 
the consent of his patron he visited Italy, and made 
many designs from the beautiful scenery of that 
country. His landscapes are very pleasing, and he 
seems to have followed the style of Gaspar Pous- 
sin in the arrangement of his pictures. As an en- 
graver, he executed four sets of landscapes, with 
figures and buildings, amounting to twenty-six 
plates, etched with great facility and spirit. 

BEISSON, Etienne, a French engraver, born 
at Aix ; studied under Wille ; executed several 
subjects after the Italian masters for the Galerie 
du ]\Iusee, and Susanna at the Bath, after San 
terre. He died in 1820. 

Qs/f BEITLER, M., a German engraver, lived at 
± X Augsburg about 1616 ; engraved in a very 
neat style, according to Prof. Christ, several small 
plates of landscapes. His monogram was an M 
and a B reversed. 

BEL, John Baptist le, a Flemish painter, 
who flourished, according to Nagler, about 1750. 
He painted mostly heads of old men and women, 
as well as portraits of his own composition. His 
portrait, according to Fiorillo, is in the Florentine 
Gallery, where several of his pictures are to be 
found. 

BELANGER, Francois Joseph, a French ar- 
chitect, born at Paris in 1744. He studied at 
the University, and distinguished himself by 
obtaining a gold medal, in competition, for a de- 1 
sign for a triumphal column. Before the revo- I 
lution, he was a fashionable artist, and had charge 
of all the public fetes, spectacles, and funeral shows 
given by the court. He was also distinguished for 
the elegance of his designs for country villas, &c., 
and in the employ of the Duke d'Artois, he ac- 
quired a brilliant reputation and an ample fortune. 
Being strongly attached to the crowTi, he lost all 
these advantages by the revolution, was imprisoned 
and his property confiscated, and he afterwards 
presented to the government claims to the amount 
of 350,000f He is particularly worthy of notice as 
the first projector of the Abattoirs of Paris, which 
were constructed after his designs. He died at 
Paris in 1818. 

BELANGER, Thierry, a celebrated French 
painter, born at Nancy about 1596. He was 



BELB. 



87 



BELL. 



a friend of Callot, Leclerc, Chasseul, and all those 
artists who threw so much eclat on the peaceful 
reign of Charles III.. Duke of Lorraine. He first 
studied under Henriot, a distinc^uished Champenois 
painter, but not liking his st3'-le, he went to Paris 
and placed himself under the tuition of Vouet, 
where Le Brun, Le Sueur, and Mignard were his 
fellow students. He now entered the service of the 
Duke of Lorraine, and executed for him a great 
mau)^ works. He painted in fresco the grand hall 
of the convent which was destroj^ed in 1718 ; the 
twelve Caesars, in colossal grandeur, for the chat- 
teau de Morainville ; a Conception of the Virgin in 
the Church of Notre Dame. But his greatest 
works are in the Church of the Minimes, at Nancy; 
among these are a Figure of Christ ; the Virgin 
on her death-bed, surrounded by the Apostles and 
Cherubims ; the Assumption * of the Virgin— a 
grand composition, extending from the bottom of 
the choir almost to the cupola of the sanctuary, in 
which are introduced as spectators, the portraits 
of Charles and the ducal familj^. '' This majestic 
assemblage forms an oval, surrounded with a rich 
border in which the passion of the Saviour ; and the 
life of the Virgin are represented a work which alone 
is sufficient to rank his name among the most cele- 
brated masters of his time." This however is 
French praise ; the picture, as described by the 
author from which this is taken [See Dictionaire 
Biographit Universelle] is a gross piece of flat- 
tery. He possessed a fertile imagination and 
wrought with great facility. He died at Nancy 
about 1660. 

BELAU, Nicholas Bruno, a German painter, 
was born at Magdeburg in 1684. He studied at 
Berlin under Augustine Zerwesten. and afterwards 
went to Italy for improvement, where he passed 
several years. On his return, he practised the 
art at Berlin, Anspach, Vienna, and other parts 
of Germany. Heineken mentions by him, the 
portrait of Gottlieb van Haesseler, privy coun- 
sellor to the King of Prussia, engraved by Berni- 
geroth ; also an equestrian portrait of Charles VL, 
to whom a gentleman on his knees is presenting 
a book. It has been eno:raved in folio b}- G. A. 
Muller. Belau died in 1747. 

BELBRULE, T., a French wood engraver, flour- 
ished about 1580. Papillon mentions some orna- 
mental cuts of flowers by him very delicately ex- 
ecuted. 

BELE.JAMBE, Pierre, a modern French engra- 
ver, born at Rouen in 1752. He executed some 
fancy subjects after the cotemporary painters of 
his country, and a few prints for the collection of 
the Palais Royal. Among others are the follow- 
ing: 

Portrait of Pilatre de Rosier. Cupid reposing on the 
breast of Psyche ; after J. B. Renaud. La petite Jean- 
ette ; after J. B. Greuze. The Circumcision ; after Gio. 
Bellini ; for the Orleans Collection. The Adoration of the 
Magi; after Carlo Cagliari; do. The Holy Family; 
after M Angela ; do. 

BELIDOR, Bernard Forest de, a celebrated 
Spanish architect, mathematician, and engineer, 
born in Catalonia in 1695. He was an engineer in 
the service of France, member of the Academies 
of Sciences at Paris and Berlin, and of the Royal 
Society of London. Besides his several designs 
and erections, he is well known by his able works 
on mathematics, architecture and engineerino:. 



BELKNAP, Jan van, a Dutch painter, who 
practised chiefly in England, where he was much 
employed in copying the pictures in the Royal col- 
lection. At Drayton there were formerly por- 
traits of Henry VII. and VIII. copied from large 
pictures by Holbein, which were burnt at White- 
hall, and some of his works are still in the Royal 
Collection. He died in England in 1653. 

BELL, -John, one of the most distinguished of 
the Scotch anatomists and surgeons, was born at 
Edinburgh, in 1762. Professor of Anatomy and 
Surgery in the L^niversity, and overwhelmed with 
an extensive practice, yet he found time to culti- 
vate a taste for the fine arts. He learned engra- 
ving to enable him to illustrate his works with a 
truth and fidelity which he could not obtain to his 
satisfaction. He is particularly worthy of men- 
tion in this work as the designer and engraver of two 
quarto volumes of plates, illustrative of his works 
on anatomy, which are etched with wonderful 
freedom and truthfulness to nature. He died at 
Rome in 1820. whither he had gone in hopes to 
repair his energies, worn out by a life of constant 
professional labor. While in Italy he wrote some 
admirable criticisms on works of art, which were 
published in Edinburgh in 1825, after his death. 

BELL, Lady, the sister of J. Hamilton, R. A., 
received instructions from her brother and Rey- 
nolds. She succeeded very well in copying the 
works of the latter, and also copied some pictures 
by Rubens, in Carlton Palace, among which was a 
fine Holy Family. She died in 1825. 

BELL, William, an English painter, born at 
Newcastle upon Tyne. He went to London about 
1768, and was among the first to enter as student 
of theRoj-al Academy. In 1771 he obtained the 
gold medal for a picture representing Venus solic- 
iting Vulcan to forge arms for iEneas. He was 
much patronized by Lord Delaval, for whom he 
painted two Views of Seaton Delaval, and the por- 
traits of the family. He died at Newcastle about 
1800. 

BELLA, Stefano della, a 
13' distinguished Florentine engra- 
ver, born in 16l0, was the son of a goldsmith, and 
intended for that profession, but manifesting a 
genius for drawing, he was placed under Cesare 
Dandini to learn painting ; but a decided inclina- 
tion for engraving induced his father to place him 
under CantagaUina. who was also the master of 
Callot. He at first followed the manner of the lat- 
ter, but soon abandoned it and adopted a style of 
his own. He designed his pieces with wonderful 
taste, his execution is admirable, and his prints pro- 
duce a clear and brilliant effect. Some of his prints 
are shghtly, though spiritedly etched ; but this is not 
surprising, as the number of the whole is upwards 
of fourteen hundred. He visited Paris in 1642, 
where he executed some plates for Henriet, the 
uncle of Israel Sylvestre. Cardinal Richelieu em- 
ployed him to make drawings of the siege and 
taking of Arras by the royal army, which he sub- 
sequently engraved. On returning to Florence, he 
was appointed by the Grand Duke to instruct 
his son Cosmo in "drawing, with a suitable pension. 
He died at Florence in 1664, aged 54. The fol- 
lowing are his principal works: 

VARIOUS SUBJECTS. 

Portrait of S. Delia Bella, in a Persian costume, after 
his design. Sigismond Boldoni, a noble Milanese. — 



BELL. 



BELL. 




Mount Joie, St. Denis, Kin? at Arms, very scarce. Hora- 
tius Gonzales, oval, very scarce. Ferdinand, King of the 
Romans. Bernardo Ricci on Horseback, Buffoon to Ferdi- 
nand II., 1637. St. Antonine kneeling in the Clouds, said to 
be his first plate. St. Anthony mounted on a Monster with 
two Heads, inscribed Super aspideni, tf-c. Jacob and Ra- 
chel leaving Laban. Jacob's Journey to Egypt, to find Jo- 
seph. Battle of the Amalekites. St. John Baptist, with a 
Lamb. St. John Baptist getting Water with his Cup. The 
Virgin, with the infant Jesus on her Knee. The Virgin, with 
the infant Jesus standing on her Knee. The Virgin suck- 
ling the infant Jesus. The Virgin suckling the infant Jesus, 
with St. Elizabeth and St. John. The Virgin sitting, with 
the Infant standing on her Knee, oval. The Virgin suckling 
the Infant, Caracci inv. A small plate of the Flight into 
Egypt, St. Joseph leading the Ass. A round plate of the 
Flight into Egypt, with the Heads of Angels. The Repose in 
Egypt, a round plate. The Repose in Egypt, Avith St. Jo- 
seph reading, leaning against a Tree. The Holy Family, 
with St. John and St. Elizabeth, with a Flower-pot. The in- 
fant Jesus explaining the Writings to the Virgin and St. 
Joseph, very rare. BflBlgie del glorioso Martyre Sto. Bene- 
detto, very scai-ce. The Finding of the miraculous Image 
of our Lady, near Florence, 1633. The Triumph of the 
Church. St. Prospero descending from Heaven, very scarce. 
The tyrant Phalaris ordering Perillus to be put into the Bra- 
zen Bull, 1634. A Basso-relievo, antique, after Poli- 
doro. Lucretia, after Parmegiano. Three Children car- 
rying a Plateau, after Guido, A basso-relievo, antique, a 
Woman stopping a Bull. Clovis on Horseback, carrying off 
Clotilda, scarce. A Seaman, of whom a Beggar is asking 
Charity. A Seaman, with his Hand on the Head of his Dog, 
and other Figures. A Child teaching a Dog to sit up. Four 
Turks, half-length figures. Three Turks, with a Boy and a 
Negro. A Polonese, with his Battle-axe. A Soldier, with his 
Musket, and holding a Fowl, and a Woman on Horseback, 
with a Child. A Florentine Sportsman, Avith his Gun, and a 
Girl spinning. A Lady holding a Dog, marked twice S. D. 
Bella. Mount Parnassus, very fine. An Eagle devouring a 
Fowl, with its Wings extended, and below two Horses and a 
number of spectators. The Rock of the Philosophers, fine and 
scarce. The Fair, representing a Festival on the Arno, oval, 
— this plate was a long time attributed to Cailot. Perspec- 
tive View of the Catafalco of the Emperor Ferdinand II., 
with the Arms of the Medici. A Thesis, on the Canonization 
of Francis Solanus, 1639. Plan of the Siege of La Rochellc, 
(S. Del. Bella, del. etfec. Plan of the Siege of Arras, for 
the Cardinal Richelieu, marked Stefano Delia Bella, inv. 
etfec. The Reposoir, or Fete Dieu, lengthways — it is sel- 
dom a good impression of this plate can be met with. The 
View of the Pont-neuf— the first impressions of this plate 
are without the weathercock on the steeple of St. Germain 
r Auxerrois. View of the Castle of St. Angelo. 

VARIOUS SETS OF PRINTS. 

Two Landscapes ; in one, a Peasant carrying a Basket 
at the end of a Stick ; and in the other, a Peasant carry- 
ing a Package on his Head. Two Landscapes, one with' a 
Man leading Dogs ; and the other, a Man leading a Horso 
loaded with Sheep. Six Views of the Port of Leghorn. 
1655. The Four Seasons ; four figures in ovals. The 
Four Elements, Landscapes and Marines. Eight Marines 
in the style of Cailot ; dedicated to Lorenzo de Medici. 
Six — Of Vases. Six Landscapes ; circular. 1656. Four 
charming Landscapes, with Figures. Four Views of Ro- 
man Ruins. Three Battle-pieces ; largo plates. 1622, 
1627, 1641. Eleven — Of Moors, Hungarians, Asiatics, 
and Africans. Sixteen small square plates — Of Soldiers, 
Hunters, Fishermen, Peasants, Children, &c., which some 
attribute to Cailot. Eighteen ; entitled Raccolta di vari 
capricci. 1646. Twenty-four Views of Edifices ; publish- 
ed by Israel Sylvestre. Twenty-two Sketches. Ac, by 
Stef. Delia Bella. The Five Deaths ; ovals ; the last of 
his works. The sixth Death, plate begun by Delia Bella, 
and finished hj J. B. Galestrucci his scholar, after his death. 

BELLANGE. Jacques, a French painter and en- 
graver, born at Chalons about IGIO ; studied un- 
per Claude Henriot, a painter of Nancy, and after- 
wards visited Paris, where he became a pupil of 
Simon Vouet. As a painter, little is known of 
him. His plates, though executed in a rather 
singular manner, possess con.siderable merit ; his 
point is free and masterly, and the chiaro-scuro is 



e- 



managed with more than usual intelligence. Ilia 
drawing is incorrect, and there is an appearance of 
affectation in the turn of his ligurc-s. The follow- 
ing are his principal plates : 

The Annunciation ; The Holy Family, with St. Cathe 
rine and St. John ; The Adoration of the Magi ; The R 
surrection of Lazarus ; Christ bearing his Cross ; The dead 
Saviour lying on the Knees of the Virgin i\Iary ; The Three 
Marys going to the Sepulchre ; The Magdalene, half- 
length ; St. John the Baptist in the Wilderness; The Mar- 
tyrdom of St. Lucia ; The Death of Virginia ; Adonis 
carrying Diana on his Shoulders. 

BELLANGER, J. A., a French amateur engra- 
ver, mentioned by Bassan as having etched some 
plates from his own designs with considerable i.i 
taste, intelligence, and correctness ; also a few 1 I 
plates after Kaffaelle. among which are the iSIiracle ' ' 
of the Loaves and Fishes, and the School of iVthens. 

BELLE, Clement Louis Marie Anne, a 
French historical painter of eminence, born at 
Paris in 1722. His father, Alexis Simon Belle, a 
reputable painter, and member of the Royal Acad- 
emy, instructed him in the art, and after his death, 
his mother placed him with Le Moine, and after- 
wards sent him to Italj^ to perfect his education. 
Soon after his return to Paris he was admitted a 
member of the Academy, and afterwards appointed 
Assistant, then Professor, and finally, in 1785, 
Rector to the Academy. In 1775 he was appointed 
inspector of the manufactory of the Gobelins. 
Though his time was much emploj^ed in the dis- 
charge of these various duties, he executed some 
excellent works for the public edifices. He died at 
Paris in 1806. He was a man of talents, a thor- 
oughly educated artist, of large scientific acquire- 
ments, which, together with his high moral quali- 
ties, and amiable disposition, peculiarlj^ fitted him 
for the instruction of pupils, who regarded him 
with affection. He left a son, Avho succeeded him 
as inspector of the manufactory of the Gobelins. 

BELLE, AuGUSTiN Louis, a French painter, son 
of the preceding, born at Paris in 1757 ; was 
instructed by his father, whom he assisted in 
the Gobelins manufactory. He painted many pic- 
tures from subjects of sacred and profane history, 
and the ancient poets. He was living in 1831. 

BELLE. Nicholas Simon Alexis, an eminent 
French portrait painter, born in 1674; studied un- 
der F. de Tro}^ ; was patronized by the King of 
France and several other sovereigns and had an 
excellent practice in his da}^ He died in 1734. 

BELLEYOIS, , a Flemish marine painter. 

It is not mentioned by whom he was instructed, 
but he was a respectable artist in this branch, and 
his works are to be found in many of the Flemish 
collections. He followed the style of W. Vander- 
velde and Backhuysen. He resided at Hamburg, 
where he died in 1684. 

BELLI, James. According to Basan, this en- 
graver was born at Chartres. but resided chiefly in 
Italy. He executed some plates after An. Caracci, 
and also the following, supposed to be from his 
own designs : Jupiter and Juno ; Venus and 
Adonis ; Hercules and Omphale ; Diana and En- 
dymion, dated in 1641. 

BELLICARD, .Jerome Charles, a French ar- 
chitect, born at Paris in 1726. After obtaining 
the prize for a grand frieze, he Avent to Italy to 
study. Shortly after his return, he was appointed 
professor in the Academy of Architecture at Paris. 



BELL. 



BELL. 



He was a man of talents, and might have gained 
an honorable distinction, had not dissipation de- 
stroyed his fortunes, and ended his life in misery, in 
1786. II(! published a work on the antiquities of 
Hcrculaneuui, or ancient painting and sculpture, 
illustrated with thirty-three plates, etched by him- 
self. 

BELLING, Joseph Erasmus, a German en- 
graver of Augsburg. Among other works by this 
artist, lleineken mentions a portrait of Clement 
XIII., folio ; and a number of devotional subjects. 

BELLINI, Jacopo, an old Venetian painter, 
born about 1405 ; studied under Gentile Fabriano, 
and is said, by Ridolfi, to have been one of the 
most reputable painters of his day. He was an 
eminent portrait painter, and executed several pic- 
tures of the principal personages of the republic, 
and others, one of which is mentioned by Ridolfi, 
that of Jacopo Lusignano, King of Cyprus, who 
was beheaded at Venice. That author mentions 
several of Bellini's works in the public edifices at 
Venice, which were highly esteemed at the time, 
especially in the Church of the Confraternity of 
St. John the Evangelist, representing different sub- 
i ects from the lives of our Saviour and the Virgin. 
lie died in 1470. 

BELLINI, Cav. Gentile, a Venetian painter, 
born in 1421, was the eldest son of Jacopo B.,whom 
he assisted in some works for the government, in 
which he manifested such abilit}^ that he was en- 
gaged to adorn the great council-chamber at Ven- 
ice, for which he painted several large pictures rep- 
resenting the most celebrated achievements of the 
Venetian Republic ; of which a particular descrip- 
tion is given by Ridolfi. These, and other works 
for the nobility, gained him great reputation. He 
afterwards executed some sacred subjects, for the 
Confraternity of S. Marco. Some of Bellini's pic- 
tures were carried to Constantinople by Turkish 
merchants, and shown to the Sultan, Mahomet II., 
who applied to the Senate of Venice to permit 
Bellini to visit his court, where he was received 
with great favor, and painted the portraits of the 
Sultan and Sultana, which were regarded as prod- 
igies by the Turks. He painted for the Sultan a 
number of pictures ; among others, one represent- 
ing the Decollation of St. John, who is highly re- 
vered by the Turks. The picture pleased Mahomet 
exceedingly, except the execution of the skin of the 
neck at the part where it is severed, and the mon- 
arch, in order to prove his position, ordered imme- 
diately the head of a slave struck off in the paint- 
er's presence, who was so shocked at the barbar- 
ous spectacle, that he could not be easy till he ob- 

I tained his dismissal. This request was at length 
granted, and Mahomet presented him with a gold 

j chain and medal, and wrote letters to the Senate in 

I his favor, which procured him an honorable stipend 
for life, and the knighthood of the Order of St. 

I Mark. He died in 1501. 

' BELLINI, Bellin, an Italian painter, of the 

I school of the Bellini, and one of their family, who 
I flourished about 1500, and imitated their style with 
great exactness. He painted Madonnas for pri- 
vate collections, and Lanzi says they are usually 
attributed to either Gentile or Giovanni Bellini. 

BELLINI, Giovanni, a Venetian painter, the 
j younger son of Jacopo B., and the brother of Gen- 
tile, born in 1422. He learned the elements of the 



art from his father, and for some time assisted his 
brother in the work he was executing for the 
Council-chamber at Venice. Ridolfi says he was 
the first Venetian who ever painted in oil, and that 
he learned it of Antonello da Messina. He was 
not long satisfied with the dry, Gothic style pre- 
vailing in the Venetian school, and was the first 
of his countrymen that tried to reform it, by sim- 
ply following nature, though his design was still 
characterized by the stiffness and formality of 
the time. Many of his works are in the Vene- 
tian churches, and some of his smaller pictures 
are in the foreign collections. Bellini was very 
industrious, and has the credit of having instruct- 
ed two of the greatest painters of the Venetian 
school. Giorgione and Titian. Bryan says he died 
in 1512, aged ninety, but Lanzi says he was living 
in 1516. In that year he was visited by Albert 
Durer, who pronounced him the best painter of 
his time. Mechel mentions a picture in the Im- 
perial Gallery at Vienna, in which a young lady 
nearly naked, is seated arranging her hair before 
a mirror. At the lower part of the picture is 
Johannes Bellinus faciebat MDXV. It would 
seem that he continued to employ his talents to 
the last, as there remains in the gallery of Santa 
Giustina of Padua, a Madonna, dated 1516, and 
Brandolesi mentions another at Padua with the 
same date. 

BELLINI, FiLippo, an Italian painter, born at 
Urbino, and flourished about 1594. Lanzi sa)^s he 
possessed unusual abilit3^ although he is little no- 
ticed in the annals of art. He was a successful 
imitator of Federigo Baroccio, as appears in his pic- 
ture of the circumcision in the Basilica of Loretto, 
and in the marriage of the Virgin, in the dome at 
Ancona. Among his principal works are the mar- 
tyrdom of St. Guadenzio in the Conventuali di M. 
Alboddo; and fourteen pictures of the works of 
Charity, in the Chiesa della Carita at Fabriano. 

BELLINI, Cav. Giacinto, a Bolognese paint- 
er, born about 1600 ; studied under Francesco Al- 
bano, and on leaving the school of that master, 
was taken under the protection of Count Odoardo 
Pepoli, by whom he was sent to Rome for im- 
provement, with Francesco Caracci. While in that 
city, Bellini soon manifested so much ability that 
he gained the patronage of Cardinal Tonti, who 
employed him for some time, and according to 
Malvasia, was so much pleased with his works, 
that he procured him the Knighthood of the Order 
of Loretto. He followed the manner of Albano, 
and his pictures have much of the graceful stjde 
of that esteemed master. He was living in 1660. 

BELLINIANO, Vittore, a Venetian histori- 
cal painter ; flourished, according to Ridolfi about 
1526. Several of his works are in the confrater- 
nity of St. Mark's, at Venice, and in the neigh- 
boring towns. 

BELLIS, Antonio de, a Neapolitan painter of 
great genius, who died young at Naples, in 1656. 
He painted several subjects for the church of S. 
Carlo in that city, partaking of the styles of Guido 
and Guercino. 

BELLU, Alexis Simon, a reputable French 
portrait painter, born at Paris, according to llein- 
eken, in 1674. He studied under Francis de Troy, 
and was elected a Royal Academician. He prac- 
tised the art at Paris for many years with good 
success, and died in 1734. 



BELL. 



90 



BELT. 



BELLIVERT. See Bilivert. 

BELLO, Marco, au Italian artist, born at 
Argenta, and studied under Giovanni Bellini. At 
Rovigo, in the jDOssession of the noble family of 
Carsalini, is a picture of the Circumcision by this 
artist, signed Opus Marci Belli, discipuli Johan- 
nis Bellini, and Lanzi says he was a good disciple 
of this master. He mentions another picture at 
Argenta by him, signed with his initials, M. B. 

BELLOTTI, Bernardo, a modern Venetian 
painter and engraver, born in 1724, died at War- 
saw in 1780 ; studied under his uncle, the cele- 
brated Antonio Canal, called Canaletti. In im- 
itation of the latter he painted perspective and 
architectural pieces which possess considerable 
merit. He resided chiefly in Germany, and has 
etched, from his own designs, several views in 
Dresden, Vienna, and Warsaw, and other subjects, 
as follow : A set of six Landscapes and Views, 
engraved at Vienna. A set of twelve architectu- 
ral Ruins ; the same. Fifteen Views in Dresden. 
Eight Views in the environs of Dresden. Three 
Views in Warsaw. 

BELLOTTI, PiETRO, a Venetian painter, born 
in 1625 ; studied under Girolamo Forabosco, un- 
der whom he became an excellent colorist. He 
painted some historical subjects, but was more em- 
ployed in portraits, in which he was very success- 
ful. He died at Venice in 1700. 

BELLUCCI, Antonio, a Venetian painter, born 
in 1624 ; studied under Domenico Difnico, from 
whom he acquired an admirable style. Orlandi 
says he painted several altar-pieces for the churches 
at Venice and Vienna. There are several pictures 
by him in the Dusseldorf Gallery ; some of the 
landscapes of Tempesta are enriched with figures 
by Bellucci ; and in the church of the Ascension 
at Venice, is a line picture of the Nativity. The 
Emperor Joseph I., invited him to his court, sat 
to him for his portrait, and appointed him his 
principal painter. After remaining some years at 
Vienna, he obtained permission to retire, and en- 
tered into the service of the Elector Palatine, 
where he lived a long time, highly respected for 
his talents. He died at Trevisa in 1726. 

BELLUNELLO, Andrea, one of the old Vene- 
tian painters, born at San Vito, where he flour- 
ished in the latter half of the fifteenth century, 
and where he was considered the Apelles of the 
age ; for in the Cathedral at Pordenone, under one 
of his altar-pieces is this inscription : 

" Andreas Zeuxis nostraeque aetatis Apelles, 
Hoc Bellunellus nobile pinxit opus." 

In one of his paintings, dated 1490, he signs himself 
Andrea Bellone. Lanzi says his master-piece is a 
Crucifixion in the Council-chamber at Udine, and 
that his works, though possessing merit for the 
age in which he lived, have neither beauty of form 
nor color. 

BELLUNESE, Giorgio, a painter of the Ven- 
etian school, who flourished at San Vito, in the 
Friuli, about 1550. Cesarini says he was an able 
artist, especially in painting portraits, freezes, and 
minute ornaments. 

BELTRAFFO, Gio. Antonio, an Italian paint- 
er, born at Milan in 1467, and died in 1516. He 
studied under Leonardo da Vinci, and is said to 
have succeeded him in the direction of the Acad- 
emy. His works partake of the style of his mas- 



ter, and though rare, a few of them still exist in 
Milan, Bologna, and other places. Lanzi com- 
mends one in the Misericordia at Bologna, repre- 
senting the Virgin between St. John the Baptist 
and St. Bastiano, with the figure of Girolamo da 
Cesio, kneeling at the foot of the throne. The pic- 
ture bears the signature of the artist, dated 1500. 

BELTRAND, Hernando Domingo, sculptor 
and architect, born at Vittoria, in Biscay, about 
1500, studied in Italy, became so skillful that Palo- 
mino Velasco did not hesitate to place him above 
the most famous artists of his time. He was 
formed by studying Michael Angelo, and many 
statues of Christ, of natural grandeur, executed 
by Beltrand, appear worthy of being attributed 
to the illustrious master he had chosen. The 
Escurial, the Imperial College at Madrid, (which 
before had belonged to the Society of the Jesuits, 
of which Beltrand was a member) the Chapel of 
the same city, and the great altar of the college of 
Alcala de Herarez, were decorated with these 
statues. Beltrand died in 1590. at a very advanced 
age. 

BELTRANO,Agostino. and his wife, Aniella, 
Neapolitan painters, and scholars of Massimo, of 
whom Aniella was the niece : they are mentioned 
together, as they painted alike, and jointly pre- 
pared many pictures which Massimo afterwards 
finished. They both possessed more than ordin- 
ary merit, as is shown by many altar-pieces and 
cabinet pictures. Some, however, are the work 
of Aniella alone, and are highly prized ; Massimo 
is supposed to have had a considerable share in 
their execution. However this may be, her origi- 
nal designs prove her talents, and her co tempora- 
ries, both artists and authors, highly praise her 
abilities. She was murdered by her husband in a 
fit of jealousy, in the year 1649, at the age of 36. 
He died in 1665. 

BELVEDERE, l' Abate Andrea, a reputable 
Neapolitan painter of flowers and fruit ; studied 
under Ruoppoli. He quitted painting for the pur- 
suit of literature, in which he held a respectable 
rank. 

BEMBO, BoNiFAZio, an Italian painter, born 
at Cremona. Lanzi says he was employed by the 
Court of Milan in 1467. He painted several of 
the compartments in the Duomo of Cremona, 
which are characterized by spirited attitudes, mag- 
nificent drapery, and splendid coloring. 

BEMBO, Giovanni Francesco, a painter of 
the Cremonese school, the brother of Bonifazio, 
flourished about 1520. His works have shght 
traces of the antique, and resemble Fra Bartolo- 
meo in point of coloring, though inferior to that 
master in the drapery, and dignity of figures. 
Lanzi mentions an altar-piece by him at the Os- 
servanti, dated 1524, and says he has not observed 
anything of a similar taste in Cremona or its vicin- 
ity. Rosini mentions a print of a votive picture 
which is designed with much of the dignity and 
grace of Rafi'aelle. 

BEMMELL, Wm. van, a Ducth painter, born 
at Utrecht in 1030 ; studied under Herman Zacht- 
leeven, and, like his master, excelled in landscapes. 
On leaving him, he visited Italy, where he passed 
several jj-ears in designing after the finest views in 
the vicinity of Rome. These studies furnished 
him vrith excellent material for his future works. 



BEMM. 



91 



BENE. 



and his pleasing manner of painting landscapes, 
with waterfalls, ruins and vestiges of Roman ar- 
chitecture, gained him much reputation. On leav- 
ing Italy, he settled at Nuremberg, where he met 
with great encouragement. His works are rarely 
to be seen but in the German collections. He 
etched six plates of landscapes, dated 1654, which 
are executed with great ability. He died in 1703, 
aged 73. John Geo. van Bemmell, his son, a paint- 
er of battle-pieces, was born at Nuremberg in 
1669, and died in 1723. 

BEMMELL, Peter van, a German painter and 
engraver, born at Nuremberg in 1689 ; painted 
landscapes. His pictures are little known, except 
in his native city. He etched six plates of land- 
scapes, lengthways, published at Ratisbon; J. H. 
Osterhag^ exc. He died in 1723. 

BERNANI, Francis, a very old Italian painter, 
by whom there is a whole length picture of St. 
Jerome holding a crucifix in his hand. It pos- 
sesses all the characteristics attributed hj Lanzi 
to Italian painting in the 13th century. It is 
marked Franciscus Bernanus, Filius Petri Ahla- 
da. The size of this work is twenty-six by thirty- 
two, and it is painted on panel covered with gyp- 
sum. 

BENASCHI, or BEINASOHI, Oav. Gio. Bat- 
TiSTA, a Piedmontese painter, born, according to 
Lanzi, in 1036. He visited Rome while quite 
young, where he studied under Pietro del Po, but 
formed his style after Lanfranco. His chief per- 
formances are at Naples, where he painted several 
ceilings, and other works in fresco. He possessed 
a ready invention, and was an able designer. There 
is an etching by Benaschi, of the Holy Family, 
after Domenico Cerini, his intimate friend. He 
died in 1688, aged 72. 

BENASEOH, Peter Paul, a London engrav- 
er, born about 1744 5 studied under Vivares, and 
according to Basan, practised some time at Paris, 
but returned to England. The following are his 
principal works : 

Peasants playing at Bowls ; after A. Ostade. Fisher- 
men ; Return from fishing ; a Calm at Sea ; Morning ; 
after Vernef. Four large Landscapes ; after Dietricy ; 
engraved in 1770 and in 1771. These are his finest prints. 

BENAVIDES, Don Vincente de, a Spanish 
painter, born at Oran in 1637 ; studied under 
Francesco Rizi, at Madri^. He did not succeed in 
the figures, but excelled in fresco painting, and was 
much employed in theatrical decorations. He was 
appointed painter to Charles I., in 1691, and died 
in 1703. 

BENCOYIOH, Federigo. This painter was 
born in Dalmatia, but educated at Bologna, and 
flourished about 1753. He executed a number of 
excellent works at Bologna, Venice, and Milan. 
In the church of la Madonna del Piombo at Bo- 
logna, is an altar-piece, representing the crucifix- 
ion of St. Andrew. He was a good theorist, cor- 
rect in his design, and vigorous in his light and 
shadow ; he seems to have studied the style of 
Carlo Cignani, whose firmness of design he ap- 
proached more than the softness of his coloring. 
He was more emploj^ed on easel pictures than 
large works, many of which are in Germany, 
where he lived many years. 

BENEDETTI, Mattia, an Italian painter, 
born at Reggio; studied under Orazio Talami. 
Averoldi says he flourished about 1700, and was 



considerably esteemed as a fresco painter. One 
of his best works was the ceiling of the church 
of San Antonio, at Brescia, which is highly com- 
mended. 

BENEDETTIS, Domenico de, a Piedmontese 
painter, born in 1610 ; went to Naples while young, 
and studied for some time under Fabrizio Santa- 
fede; after which he visited Rome, and studied 
under Guido, whose graceful and elegant style he 
imitated with success. On returning to Naples, 
he was favored with the patronage of the King, 
whose palace he ado^-ned with several pictures. He 
executed several works for the churches, the best 
of which, according to Dominici, is the Dome of 
the Chiesa di D. Regina, where he has represented, 
in the different compartments, subjects from the 
life of the Virgin, entirely in the manner of Guido. 
He died in 1678. 

BENEDETTO, Giovanni Benedetto. See 
Castiglione. 

BENEDETTO, da Rovezzano, so called from 
the place of his nativity, near Florence. This em- 
inent sculptor was born in the latter part of the 
fifteenth centur3^ About the year 1500, he ex- 
ecuted the fine monument to Pietro Soderini and 
Oddo Altoviti, in the church of the Carmine 
at Florence. He was employed conjointly with 
Sansovino and Baccio Bandinelli, on the works of 
sculpture in the cathedral of that city ; the beauti- 
ful marble statue of St. John was entirely executed 
by him. In 1515, he was employed by the monks 
of ValP Ombrosa to erect a superb monument to 
the memory of St. Jean Gualbert, the founder of 
their Order. This work, which it took him ten 
years to complete, was composed of several 
statues in bas-relief It was executed at the 
house occupied by the General of the Order, out- 
side of the city walls, and was totally destroyed 
during the war that happened about that time, 
when Florence was besieged. It is said that Ben- 
edetto went to England at the invitation of the 
King, who munificently rewarded him. But it is 
probable that he was emploj^ed by Cardinal Wol- 
sey to erect the splendid monument which Henry 
Vill. appropriated to himself, after the downfall 
of that prelate, and that he afterwards continued 
some time in the service of that monarch. He 
became blind, and passed the rest of his days, in 
competency, in his own country, where he died 
about 1550. 

BENEDETTO, da Majano, an eminent Floren- 
tine architect, who flourished about 1450. He had 
a brother named Julian, and they both excelled in 
sculpture as well as architecture. They executed 
a number of fine works, among which the colossal 
and majestic Strozzi palace stands preeminent. 
It w^s commenced by Benedetto in 1450, but was 
completed by Simone Pollajolo, called Cronaca, 
about 1500. It forms an almost imperishable 
monument of the genius of Benedetto, and is the 
finest instance of the power of architecture speak- 
ing to the imagination. 

BENEDICTO, Roque, an historical painter of 
Valencia, and scholar of Gaspar de la Huerta. His 
best work was the Miracle of St. Francis de Paul 
feeding the three thousand persons with a few 
loaves of bread. His coloring was better than his 
design. His works are often taken for those of 
his master. He died at Valencia in 1735. 

BENEFIALI, Oav. Marco, a reputable Roman 



BENI. 



92 



BENT. 



painter, born in 1684. In the Academy of St. 
Luke, is a fine picture of Christ at the Well of 
Samaria; in the church of the Stigmata, the Fleg- 
ellation ; in the Palazzo Spada, there is a saloon 
painted entirely by this artist, which is thought 
one of the finest works of his time, where are also 
preserved the cartoons for his great fresco work, 
of the dome of the Cathedral at Viterbo. He re- 
ceived the honor of knighthood from the Pope, and 
died in 1764. 

BENET, EL Padre Geronimo, a reputable 
Spanish painter. He was distinguished for pictures 
of the Virgin and Christ, to which he gave consid- 
erable expression. He died at Valladolid in 1700. 

BENFATTO, Luigi, a Veronese painter, born 
in 1551 ; was the nephew and scholar of Paolo 
Veronese, from whom he acquired a bold, vague, 
and vigorous style. Ridolfi says he supported the 
fame of the school, and the splendid system of col- 
oring established by Paolo, for some time after the 
death of that great master. The same author 
mentions many of his works in the public places 
at Venice ; among which is a grand composition in 
the church of St. Nicholas, representing the as- 
cension of that saint to Heaven, attended b}^ a 
choir of angels and emblematical figures. In the 
Chiesa di S. Marta, are several pictures by him 
of the life of that saint. He died in 1611. 

BENINI, SiGisMONDo, an Italian landscape 
painter, born at Cremona about 1675 ; studied 
under Angelo Massarotti. His pictures are high- 
ly finished and very agreeably colored ; his light 
and perspective are well managed ; but his talent 
was confined to landscapes, for when he introduced 
figures of his own, the work always diminished in 
value. 

BENINCASA, Gio., a Neapolitan architect, who 
lived about 1520, and in conjunction with Ferrante 
Maglione, erected under the Viceroy of Toledo, 
the royal palace in that city, now called the Old 
Palace. 

BENNINGS, LiEVENE, a celebrated Flemish 
paintress, daughter of Simon Benichius, or Ben- 
nings, a miniature painter of Bruges, who in- 
structed her in the art. She became so distin- 
guished that Henry VIII. invited her to his court, 
and procured for her a rich and noble husband. 
Her works were equally admired in the reigns of 
Mary and Elizabeth ; with the latter she was in 
great favor in 1570. 

BENOIST, or BENOIT, Wm. Philip, a French 
engraver, born at Coutances, in Nor man d}^, in 1725. 
He executed some portraits and other subjects in 
a very neat style. During the latter part of his 
life he resided at London, where he died about 
1780. The following are his principal plates : 

PORTRAITS. 

Gralilee Galilei; ajter F. Villamena. The President 
de MontesquieiT. Alexander Pope. Rosen de Ptosenstein, 
physician. Sir Isaac Newton. Blaise Pascal. Albert 
Haller. 

SUBJECTS. 

Jupiter and Juno ; after Giuliano di Parma. Beth- 
sheba bathing ; after Bonnieu. 

BENOIST, Madame, a French paintress, born 
about 1770. She executed many interesting fa- 
miliar subjects, and the portraits of several distin- 
guished persons, among whom are Napoleon and 
his wife Maria Louisa. Her maiden name was 



Delaveile Leroux, and Desmoustier addressed to 
her "Z/e5 lettres sur la Mythologie,''^ under the 
name of Emilie. 

BENOZZO, , a Florentine painter, born in 

1539 ; died in 1617. Little is known of the events 
of his life. He painted history and portraits with 
considerable reputation. 

BENSHEIMER, J., a German engraver. There 
are a number of plates by this artist, among which 
are a set of portraits of the Electors of Saxony, 
which possess some merit. He usually marked 
his plates with his initials, J. B. 

BENSO, GiULio, a Genoese painter, was born 
about 1600. He studied under Gio. Battista Pag- 
gi, and excelled in subjects of histor}^, and arch- 
itectural representations. He was patronized by 
the noble family of Doria, and executed several or- 
namental works in their palaces. His most es- 
teemed performance is the coronation of the Virgin, 
painted in fresco, in the Nunziata, which has been 
greatly admired. He also painted a number of pic- 
tures in oil for the churches, of which that of S. 
Domenico is highlj^ esteemed. Soprani says that 
Benso also gained distinction as an architect, but 
none of his works are mentioned. He died in 1668. 

o/vD vLJcJ f pamter, born at Amsterdam in 
1650 ; studied first under Peter Wouwerman, but 
afterwards under Adrian Vandervelde. His style, 
both in landscapes, figures, and cattle, resembles 
that of Nicholas Bcrghem, much more than that 
of either of his instructors, and his works may 
easily be mistaken for those of that master. His 
works may be often found in English collections, 
and they are deserving of estimation, though not 
equal to those of the artist above mentioned. 
He died in 1690. 

BENTUM. Justus van, a Hutch painter, bom 
at Leyden in 1670. He studied under Godfrey 
Schalcken, and followed the style of that master. 
His works are probably all attributed to Godfrey. 
He died in 1727. 

BENVENUTO, Gio. Battista, called L'Orto- 
LANO, an Italian painter, born at Ferrara about 
1490; studied a few years in his native cjty, and ■ 
then visited Bologna, where he became a pupil of J I 
Bartolomeo Bagnacavallo. Barotti describes sev- ' ■ 
eral of his works at Ferrara, where they are highly 
esteemed ; among which is a picture of the Virgin 
and Infant, with Saints, in the Church of S. Nic- 
colo, 1520 ; in S. Maria de Servi he painted a Na- 
tivity; and in S. Lorenzo, the Adoration of the 
Magi. He died at Ferrara in 1525. 

BENWELL, Mary, an English paintress of some 
merit, who lived about 1770. She executed por- 
traits in oil, crayons, and miniature, and was a 
regular exhibitor at the Royal Academy, from 
1762 to 1783. 

BERAIN, or BERRAIN, Jean, a Parisian en- 
graver, born about 1636. He etched several plates, 
mostly from his own designs, in a very neat style, 
though rather stiff and formal, of which the fol- 
lowing are the principal : 

Twelve plates — Of the ornaments of painting and sculp- 
ture, which are in the gallery of Apollo in the Louvre. 
Three plates — Of ornaments invented and engraved by J. 
Berain. The Mausoleum for the Funeral of Maria Anne 
Christine Victorie de Baviere. Devices for a Funeral Cer 
emony ; Berain^ fee. 



BSRA. 



93 



BERG. 



BERARDI, Fabio, an Italian engraver, born 
at Siena in 1728 ; visited Venice while young, and 
studied under Wagner. He has executed several 
historical and other subjects, chiefly after the mod- 
ern Venetian painters, of which the following are 
the principal : 

St. Seraphinus wovshipiiing the Cross, half-length ; fron- 
tispiece. 1767. A Woman sleeping, surprised by a Sports- 
man ; after Piazetta. Isaac blessing Jacob, and the Sac- 
rifice of Gideon; after J. B. P'lttoni; F. Berardi Vene, 
scul. Jacob and Rachel ; after J. Varotti. Agar and 
Ishmael in the Desert ; after J. Varana. Six Views in 
Venice ; after Canaletti ; engraved by Berardi and Wag- 
ner. 1742. Four Pastoral subjects ; after Piazetta. 

BERCHEM. See Berghem. 

BERCHET, Pierre, a French painter, born in 
1659 ; studied under Ohas. de la Fosse, till he ac- 
quired sufficient ability to execute some works in 
the palaces of France. He visited England in 
1681, where he was much employed in adorning 
the houses of several of the nobilit}^. His best 
work is the ceiling of the chapel of Trinity Col- 
lege, Oxford, where he has represented the Ascen- 
sion. He died in 1720. 

BERG, Magnus, born in Norway in 1666. In 
his youth he was a valet, but his talent for sculp- 
ture procured for him a recommendation to King 
Christian V., who placed him under the court 
painter, Anderson. He afterwards visited Italy 
at the King's expense, where he gained much im- 
provement from the study of the great masters. 
On returning to Norway, he was much employed, 
and executed a number of works, both in painting 
and sculpture. He excelled in coloring on ivory. 
He died in 1739. 

BERG, Matthias vander, a Flemish painter, 
born at Ypres in 1615. Descamps says that his 
father had the management of Rubens' estates, 
near Ypres, who took Matthias under his protec- 
tion, and instructed him in his academy. He was 
an able and diligent designer, but was unequal to 
the arrangement of an original c-omposition ; either 
from a lack of talent, or from having too long ac- 
customed himself to the servility of a copyist. He 
distinguished himself by some admirable copies 
of Rubens' works. Zani says he died in 1685 ; 
Balkema, in 1687 ; and Brulliot, following Des- 
camps, in 1647. 

BERG, Nicholas vander, a Flemish engrav- 
er, probably born at Antwerp. He etched several 
plates of some merit, after Rubens, marked N. V. 
D.Berg; among others, the portrait of Justice 
Lipsius ; and the portrait of a devout person, with 
a crucifix, half-length. 

BERGAMASO, Guglielmo, a reputable Italian 
architect, who erected the Cappella Emiliana de 
Camaldolesi, at Murano ; the public palace of the 
Camerlinghi, at the foot of the Rialto ; the Tacca 
palace in Portagruaro, at Friuli ; the grand gate, 
called the Portello, at Padua, and that of San 
Tommaso at Treviso. 

BERGE, Peter vander, a Dutch engraver of 
little note. He executed several portraits, one of 
which is a Jew Rabbi, with a Hebrew inscription, 
marked P. V. D. Berge ad vivum del. et fee; 
and the Triumph of Galatea, after A. Coy pel. His 
principal work was a set of plates for a folio vol- 
ume of prints, published at Amsterdam, entitled 
Theatrum HispanicB, or. Views of the Towns, 



Palaces, &c., of Spain. They are etched in a de- 
cided manner, but stiff and formal. 

BERGEN, Dirk, or Theodore van, a Dutch 
painter of landscapes and cattle, born at Haerlem 
about 1645 ; died in 1689 ; studied under the cel- 
ebrated Adrian Vandervelde, whose charming stjde 
he followed, and was his ablest scholar. Some of 
his finest works are little inferior to those of Van- 
dervelde, and are often ascribed to that master ; 
although in some instances, there is a darkness 
of the shadows, which renders the effect of his 
pictures abrupt and harsh. His cattle, without the 
correctness of Vander v^elde, are spiritedly touched, 
and his pencil is free and firm. 

BERGEN, Nicolas van, a Dutch painter, born 
at Breda, in 1670 ; died in 1699 ; painted histor- 
ical subjects, interiors, and conversations, in the 
style of Rembrandt, which have considerable 
merit. 

BERGER, Daniel, a Prussian engraver, born 
at Berlin in 1744 ; studied under his father, who 
was an artist of little note. In 1787 he was ap- 
pointed Professor of Engraving in the Academy 
of Berlin. He has executed several portraits of 
the Royal Famil}^ of Prussia, and other eminent 
personages, principally after the painters of his 
country ; among which are the following : 

A Bust of a Man with a gold chain ; after G. van Eck- 
hout. The Virgin and Child ; after Correggio. The Vir- 
gin Mary; after Paffaelle. Servius Tullius ; after An- 
gelica Kaufman. The Death of Major de Kleist; after 
D. Chodowiecke. The Death of Schwerin ; after J. C. 
Frisch. 

BERGERET. Pierre NoLAsauE, an eminent 
French historical and landscape painter, a native 
of Bordeaux, and a pupil of David. His subjects 
are of the most interesting kind, and many of his 
works have been placed in the Luxembourg, and 
other royal palaces. He executed four of the por- 
traits for the Hall of the Chancellors ; made de- 
signs for the medals struck at the mint, and for 
the bas-reliefs on the column of the Place Venddme. 
Many of his pictures have been engraved, and serve 
as illustrations to the splendid editions of Boileau, 
La Fontaine, and other French classics, 

BERGHEM, or BERCHEM, Nicholas, a cele- 
brated Dutch painter, born at Haerlem in 1624; 
died in 1683 ; was the son of Peter Class van 
Haerlem, (Class being the family name) a painter 
of little note. It is difficult to say how the name 
Berghem, or Berchem, originated. This artist 
first studied under his father, and subsequently 
under John Van Goyen, and also John Baptist 
Weeninx. His earlier works are somewhat in the 
style of the latter, though touched vrith more del- 
icacy. Like the pictures of that master, they 
represent sea-ports, and embarkations. He after- 
wards formed to himself an original manner, re- 
presenting landscapes of most delightful scenery, 
decorated with pleasing groups of figures and cat- 
tle, and enriched with architectural ruins. Berg- 
hem's style was very expeditious, yet his pictures 
are well finished. His compositions are admirably 
arranged, and he has given to every figure, as much 
of ease and elegance as it would admit. The light 
floating of his clouds, the transparency of the wa- 
ter, and his admirable perspective, are not surpass- 
ed by any of his countrymen. The management 
of light and shadow, and the distribution of his 
masses, are conducted with great skill. There 



BERG. 



94 



BERK. 



seems to have been some degree of rivalry bc- 
tween Berghem and his countryman, John Both, 
who was also a very eminent painter, M. Van- 
derhulk, the Burgomaster of Dort, a great en- 
couragsr of art, engaged both artists to paint each 
a pictm-e, for which he agreed to pay them a lib- 
eral remuneration, and a certain sum as a prem- 
ium, to the artist whose work should be esteemed 
preferable. Berghem exerted his utmost powers, 
and produced an admirable work, representing a 
magnificent mountainous landscape, enriched with 
cattle and figures of every description. Both was 
not less successful — he produced a beautiful Italian 
scene, glowing under the clear atmosphere of that 
delightful country, and pencilled in the charming 
style peculiar to hiniself. The works were both 
so admirable, that their patron could not decide on 
preferring either, and assured them that, as they had 
both reached perfection in the art. they were both 
entitled to the premium. Berghem has executed 
a large number of exquisite drawings and etchings, 
the latter of which are in a much more fin- 
ished manner, than would be expected from a 
painter. The following are the principal: for a 
full list see the catalogue published by Henry de 
Wintner, at Amsterdam, in 1767. 

SETS OF PRINTS ETCHED BY BEHGHEM. 

Six plates of Cows, with the title, called the Milkmaid ; 
C. Berghem, fee. et exc. 1634 to 1644. Six of Sheep; 
in the title print, a woman sitting on a stone. Six Goats ; 
in the title print, a man sitting with a dog. Eight of Sheep ; 
in the title print, a woman standing near a rock. Eight 
of Sheep and Goats ; in the title print, a man. Five larger 
plates upright, one dated 1652 ; all marked Berghem, fee. 
Four smaller plates of different animals, lengthways; 
marked N. B, Six of the Heads of Sheep, Goat, &c. ; 
small ; scarce. 

SINGLE PRINTS ETCHED BY BERGHEM. 

A Cow drinking ; Berchem, fee. 1680. A Cow water- 
ing ; C. P. Berghem, inv. et fee. ; fine and rare. A 
Landscape with two Cows lying, and one standing ; Ber- 
ghem fee. A Landsape, with Cows, and a man riding on 
an Ass; N. Berghem, fee. A Landscape, with a Woman 
bathing her Feet in a Brook, and a Man behind leaning 
on a Stick, with Animals and Figures, and a Ruin in the 
distance. A Boy riding on an Ass, speaking to another 
Boy, who is playing on the Bagpipes, called the Bagpiper; 
fine. A Landscape, with a Man playing on the Flute, and 
a Womnn sitting ; scarce ; without a mark. A Landscape, 
with a Man standing, and a Woman seated suckling a child ; 
without a mark ; very scarce. 

>^ BERGMULLER, John George, a German 
K^-^ * painter and engraver, born at Dirkheim, 
m Bavaria, in 1688, died in 1762 ; studied under 
Andrew Wolff; painted portraits and history; 
some of his works may be seen in the churches 
at Augsburg, where he resided. He is chiefly 
known by his engravings, which are from his own 
designs ; the following are the principal : 

Four; the Baptism of Christ, the Transfiguration, the 
Resurrection, and the Ascension. The Conception. The 
Virgin Mary caressing the infant Christ. The Death of St. 
.Joseph ; inscribed S. Joseph vioriens. Christ on the 
Mount of Olives. Sancta Catherina Victrix. St. Sebas- 
tian, Martyr. The Virgin and infant Jesus presenting the 
Rosary to St. Dominick. St. Francis kissing the Foot of 
the infant Jesus^ An emblematical subject on the Mis- 
fortunes of the Times ; inscribed Tumultum adduxit tem- 
pus. JnstiGO a,nd Pqucg ; Justitia et Pax, &c. The Four 
Seasons. 1730. 

BERGONZONI, Lorenzo, a Bolognese painter, 
born in 1646 ; died about 1700 ; studied first un- 



der Gio. Battista Bolognini, and afterwards under 
Guercino. He at first attempted historical sub- 
jects ; but having painted the portraits of several 
distinguished persons of Bologna, he met with such 
encouragement that he devoted himself entirely to 
this branch of the art, and became a reputable por- 
trait painter. 

BERKHEYDEN, Gerard, a Dutch painter, 
born at Haerlem in 1645 ; was the younger broth- 
er of Job Berkhe5^den, and was encouraged to the 
study of painting by the success of that artist, who 
assisted Gerard by his instruction. His works are 
chiefly select views of the interior of the principal 
towns of Holland and Germany, painted with 
great neatness, and finely colored ; they are some- 
times enriched with figures by Job, who sur- 
passed his brother in this branch of the art. These 
two artists seem to have been inspired with a laud- 
able emulation, and a desire of contributing to 
each others celebrity, so affectionate was their at- 
tachment. Gerard died at Amsterdam in 1693. 

BERKHEYDEN, Job, a Dutch painter, born 
at Haerlem in 1643. It does not appear that he 
had any instructor, but from a natural inclination 
for the art, he occupied his leisure hours, while 
young, in making sketches of the environs of Haer- 
lem. The praises which his first eflbrts received, 
induced him to adopt it as a profession. He paint- 
ed chiefly landscapes, and views of the Rhine, ex- 
ecuted in a ver}'^ pleasing manner. He enriched 
his landscapes with small figures tolerably drawn, 
and very neatly touched. His careful study of 
Nature enabled him to give an appearance of air 
and sunshine to his pictures, producing a very 
agreeable effect. He sometimes painted village 
feasts and merry-makings, which have consider- 
able merit. In company with his brother Gerard, 
he made the tour of Germany, and was for some 
time in the employment of the Elector Palatine, 
who ordered him to execute several pictures, and 
presented him with a gold chain and medal. He 
subsequently returned with his brother to Hol- 
land, where he met with great encouragement. In 
1698, he was accidentally drowned in a canal at 
Amsterdam. 

BERKMANS, Henry, a Dutch painter, born at 
Klundert, near William stadt, in 1629 ; studied for 
some time under Boschaert, and afterwards under 
J. Jordaens. On quitting that master, he painted 
some historical pieces with reputation, but the en- 
couragement he met with in portraits, induced him 
to devote himself entirely to that branch of the 
art. He painted the Count of Nassau, the Admiral 
de Ruj^ter, and many of the most distinguished 
persons of his country. So great was the demand 
for his works, that he could scarcely fulfil his en- 
gagements. His most celebrated work is a large 
picture of the company of Archers, in the town- 
house at Middlebourg. He died in that city in 
1690. 

BERLINGHIERI, Bonaventura, an old Ital- 
ian painter, born at Lucca. In the Castle of Gui- 
glia, near IModena, is a picture of St. Francis by 
this artist, dated 1235, still in good preservation, 
which the Abbe Bettinelli describes as a work of 
great merit for that age. 

BERLINGHIERI, Camillo, called II Ferra- 
RESiNO, a painter of Ferrara, born about 1596; 
died in 1635 ; studied under Carlo Bononi, and be- 
came an excellent historical painter. His works 



BERN. 



95 



BERN, 



are chiefly at Ferrara, and at Venice. In the church 
of S. Niccolo, at Ferrara, is a fine picture by him, 
of the Miraculous Descent of Manna; also the An- 
nunciatioUj in S. Antonio. 

BERNABEI, Pietro Antonio, called Bella 
Casa, an Italian painter, born at Parma; flourished 
about 1550. It is not known under whom he 
studied, though he appears to have followed the 
style of Correggio. There are several considerable 
works by this artist in Parma, among which his 
great work of the Cupola in la Madonna del Quar- 
tiere, proves him well deserving a rank among 
the ablest Lombard fresco painters of his time. It 
represents a Multitude of the Blessed, a grand 
composition, copious, without confusion ; the fig- 
ures in the style of Correggio, with great relief and 
a vigor of coloring, that still preserves its original 
freshness. There are other important works by 
this master, in the convent of the Carmelites and 
other public edifices at Parma. 

BERNAERTS, Nicaise, a Flemish painter, 
born, according to Nagler, in 1608 ; studied under 
Francis Snyders. The subjects of his pictures are 
the same as those of his master, and bear a great 
resemblance to them. His pictures have been sold 
as the genuine productions of Snyders, and some 
writers assert that they are very little inferior to 
the works of that master. Nagler says he died in 
1678. Zani says he was born in 1593, and died 
in 1663 ; thus both make him of the age of 70. 

BERNARD, Jan, a Dutch painter, who excelled 
in copying the works of Paul Potter, and Berghem ; 
born in 1765; died in 1833. He was a member 
of the Institute, and of the Academy of Fine Arts 
at Amsterdam. 

BERNARD, of Brussels. See van Orley. 

BERNARD. Samuel, a Parisian painter and en- 
graver, born in 1615 ; died in 1687; studied under 
Simon Vouet, and for some time painted large por- 
traits in oil and fresco, but meeting with little suc- 
cess, he devoted himself to miniature painting, in 
which he acquired considerable reputation. His 
merit procured him a professorship in the Royal 
Academy of Painting at Paris. There are a num- 
ber of plates engraved with the point and in mez- 
zotinto, which are proved by Heineken to have 
been all by this artist, though Basan and Strutt 
have divided them between two artists of this 
name. 



Charles Louis, Duke of Bavaria ; after Vandyck ; S. 
Bernard. 1657. Louis Grarnier, sculptor 'and painter. 
Philip, Count of Bethune. Anne Tristan de la Beaume de 
Luze, Archbishop of Paris ; after de Troy. The Appa- 
rition of St. Peter and St. Paul to Attila ; after Raffaelle. 
The Young Astyanax discovered by Ulysses in the Tomb 
of Hector ; after Bourdon. The Crucifixion ; the Virgin 
Mary, with the dead Christ ; the Ascension ; after Ph. de 
Champagne. An allegorical subject of Concord. The 
Flight into Egypt ; after Guido. 

MEZZOTINTOS. 

The Portrait of Louis XIV. ; oval. Sebastian, le Prestre 
de Vauban ; after F. de Troy. The Nativity ; after 
Rembrandt. A Herdsman driving Cattle. An, Ox Mar- 
ket; after B. Castlglione. The Repose; called Zra .Zm- 
gara', after Correggio. 

B BERNARD, Solomon, or Little Ber- 
/Nard, a French engraver, born at Lyons in 
1511. He is said to have acquired this surname from 
the small size of his prints. He wrought chiefly for 
the booksellers, and his plates are well designed, 



and executed in a very neat and spirited style. 
The best are those he executed for the Bible which 
was published at Lyons, at different times, from 
1550 to 1580. Brulliot says he was living in 1598. 
The following are his principal cuts : 

A set of prints for the Metamorphoses of Ovid ; published 
at Lyons, in 1557. A set of Medals for the Epitome of the 
Antiquities of Ciacomo Strada, of Ma.ntua ; published at 
Lyons, in 1553. Thirty-four of the History of Psyche ; 
with Italian verses. Eighteen of Baths ; printed at Lyons, 
in 1572. A set of prints for the Golden Ass of Apuleus ; 
published at Lyons, in 1558. A set of vignettes for the 
French Translation of Virgil ; published at Lyons, in 1560. 
The seven Planets, represented by the Figures of Heathen 
Divinities. Twenty-tv.-o of Theatrical Decorations. A sot 
of oval prints for a Book of Hymns ; printed at Lyons, 
in 1560. 

BERNARDI, Francesco, called Bigolaro, a 
Veronese painter, born in 1622 ; studied under 
Domenico Feti. Averoldi says he painted history 
with reputation. His principal works were in the 
churches of Santa Croce and S. Giovanni, at 
Brescia. 

BERNASCONI, Laura or Lucia, a Roman 
paintress, was a scholar and imitator of Mario da 
Fiori. Her works, like those of her preceptor, 
have lost much of their original beauty, owing to 
the use of some treacherous material that gave 
brilliancy at first, but in the lapse of years has 
changed to opacity, giving them a black appear- 
ance. 

BERNAZZANO, a Milanese painter, who flour- 
ished about 1536. He painted animals, fruit, and 
landscapes, in which he excelled, especially in the 
coloring. The figures in his landscapes are usu- , 
ally by Cesare da Sesto, a pupil of Leonardo da 
Vinci. 

BERNETZ, Christian, a German painter of 
fruit and flowers ; born at Hamburg, in 1658, and 
died in 1722. This artist resided a long time at 
Rome, where, according to Pascoli, his works were 
so highly esteemed, that Carlo Maratti employed 
him in ornamenting his pictures, and in return, 
enriched the works of Bernetz with Children and 
Cupids which rendered them invaluable. " His 
fruit and flowers appear newly plucked, and spark- 
ling with dew-drops." 

BERNIERL Antonio, da Correggio, was born 
at Correggio in 1516, and died there in 1563. He 
was descended from a noble family, and studied 
under the great Correggio, who, dying when he was 
only 18 years of age, he inherited in a measure 
the appellation of Antonio da Correggio, which has 
given rise to several historical doubts and inaccu- 
racies. According to Landi and Pietro Aretino he 
painted cabinet pictures in the style of Correggio, 
and was one of the most distinguished miniature 
painters of his time. Lanzi thinks that some pic- 
tures attributed to Correggio were rather executed 
by this artist. 

BERNIGEROTH, Martin, a German engraver, 
born at Ramelsboug in 1670 ; died at Leipsic in 
1733. He resided in the latter city, where he en- 
graved a great number of portraits, executed with 
the graver in a tolerably neat manner, among 
which are : Prince Leopold of Anhalt-Dessau, on 
horseback, with a Battle in the back-ground. Fred- 
erick Augustus II., King of Poland. 

BERNIGEROTH, John Martin, a German 
engraver, the son and pupil of Martin, born at 
Leipsic in 1713 ; died in 1767. He executed a 



BERN. 



96 



BERN. 



number of plates for the booksellers, but is prin- 
cipally known as an engraver of portraits, which 
are neatly executed in the style of his father, the 
principal of which are : 

Frederick Augustus III. King of Poland. Frederick 
Christian, Prince Reg. Poland. John Adolphus, Duke of 
Saxe Weissenfeld. 1645. This is esteemed his best plate. 
Sebastian Felix, Baron von Schwannenberg. Christianus, 
Prince of Denmark. John Gottfried Richter, Antiquary. 

BERNINI, PiETRO, an Italian painter and sculp- 
tor, who is chiefly known as the father of the 
Cavalier Giovanni Lorenzo B. He was born in 
Tuscany about 1670, and early went to Rome to 
improve himself; from thence to Naples, where 
he married and practised his profession with repu- 
tation. His son, before mentioned, having ex- 
hibited the most extraordinary precocity of talents, 
he took him to Rome in 1708, in order to give him 
every advantage, and by his own able instructions 
and shrewd management, greatly contributed to 
his son's future fame and glory. 

BERNINI, Giovanni Lorenzo, called il Cav- 
ALiERE Bernini, whose renown filled all Europe 
in the 17th century, was born at Naples in 1598. 
He was called the Michael Angelo of the age, be- 
cause like him he united, in an eminent degree, the 
three great branches of art — Painting, Sculpture, 
and Architecture ; though he was chiefly re- 
nowned in the two last. Richly endowed by na- 
ture, and favored by circumstances, he rose supe- 
rior to the rules of art, creating for himself an 
easy manner, the faults of which he knew how to 
disguise by its brilliancy ; yet this course, as must 
ever be the case, did not tend to a lasting reputa- 
tion, for his style did not long survive the artist ; 
and his works, though possessing great merit, are 
not looked upon by artists as worthy of imitation. 
His talents were exceedingly precocious, and al- 
most from his infancy he exhibited a passion for 
the fine arts, which was carefully cultivated by 
his father ; and at eight years of age he is said to 
have executed a child's head in marble which was 
considered a wonder. This doubtless was fiction, 
or rather accomplished through the assistance of 
his father. Yet certain it is that he was wonder- 
fully precocious ; and this, in a great measure, laid 
the foundation of his splendid fortunes. His fa- 
ther took him to Rome, where he had some com- 
missions to execute, that he might have every pos- 
sible advantage, and his fame having already been 
bruited abroad, the Pope Paul V. wished to see the 
prodigy Avho at ten years of age was the astonish- 
ment of artists, and on his being brought into his 
presence desired him to draw a figure of St. Paul, 
which he did in half an hour, so much to the satis- 
faction of the pontiff that he recommended him to 
Cardinal Barberini. a great connoisseur and pa- 
tron of the arts. " Direct," said he, " the studies 
of this child, who will become the Michael Angelo 
of this centmy." One of his first works in mar- 
ble was the bust of the prelate Montajo, which 
was so striking a resemblance that some one said, 
" It is Montajo petrified." He next executed busts 
of the Pope and several Cardinals. He was not 
yet 18, when he produced the Apollo and Daphne 
in marble — a master-piece in grace and execution, 
which he himself, towards the end of his life, on 
looking at this group, declared one of his best 
works, and that " he had made very little progress 
since the time it was produced." His manner 
was indeed more chaste and less affected than at a 



later period of his life. Gregory XV. recognized 
his merit, and made him Knight of the Order of 
Christ ; but the Cardinal Mafiio Barberini, the 
successor of Gregory XY. under the name of Ur- 
ban VIII., gave the finishing touches to his for- 
tune. He said to Bernini, on his calling to offer 
his congratulations to his benefactor, " If the Cav- 
aliere Bernini esteems himself happy in seeing me 
his sovereign, I am more glorified that he lives un- 
der my pontificate ;" and he immediately charged 
him with the execution of those great works 
which have immortalized both their names, at a 
salary of 300 crowns a month. Among the great 
works which he executed under this pontificate, 
may be mentioned the Baldachin, or great altar of 
St. Peter's, in bronze and gilt, under the centre 
of the dome; the four colossal statues which fill 
the niches under the pedatives ; the pulpit and can- 
opy of St. Peter's ; the Campanile ; the circular 
place before the Church, and the Palace Barberini. 
For these services the pope gave the artist 10,000 
crowns, increased his salary, and extended his fa- 
vor to his brothers. In the year 1644, Cardinal 
Mazzarini, in the name of the King of France, of- 
fered him a salary of 12,000 crowns, to enter the 
service of that monarch, but he declined the invi- 
tation. His reputation extended more and more, 
and Charles the First, of England, engaged him to 
execute his statue for 6,000 crowns. For this pur- 
pose he sent to Rome three portraits, in which 
Vandyck had represented him in different aspects, 
and by this means Bernini made a striking like- 
ness, which so much pleased the King that he sent 
him a diamond ring worth 6.000 crowns more. On 
the death of Pope Urban VIII. the envy and jealousy 
which B.'s merits and the favors bestowed upon 
him had engendered, broke forth, and for a time 
eclipsed his glory ; but he regained the favor of 
Pope Innocent X., by a model for a fountain. 
About the same time, he erected the paLice of 
Monte Citorio, and the magnificent monument to 
the memory of his benefactor, Pope Urban VIII. 
Alexander VII., the successor of Innocent X., who 
was a liberal patron of the arts, emploj'ed him to 
embellish the piazza of St. Peter's ; and the admi- 
rable colonnade, so beautifully proportioned to the 
Basilica, was executed after his plans and under his - 
direction. He also built the Palace Odescalchi, the ; ■ 
Rotunda della Riccia ; and the House for Novices, a 
for the Jesuits. Louis XIV. having made him 
the most flattering invitations, through the great 
Colbert, to come to Paris and direct the works of 
the Louvre. Bernini with great difficult}^ obtained 
permission of the Pope, and set out from Rome at 
the age of 68, accompanied by one of his sons and 
a numerous retinue. Never did an artist travel 
with so much pomp, and under so many flattering 
circumstances. He was received everywhere on 
his way with the honors of a prince, and on his 
arrival at Paris he received the most honorable re- 
ception from the King. He was first employed in 
preparing plans for the Louvre, which were never ' 
executed. He executed a bust of the King, and 
suddenly returned to Rome, after an absence of 
eight months, in consequence of the effects of envy I 
and jealou.sy, notwithstanding the high esteem | 
which he enjoyed at Paris. He took leave of the 
King, who made him a present of 10,000 crowns, 
gave him a pension of 2,000, and one of 400 to his | 
son, and a command to execute an equestrian statue f 
of himself (Louis XIV). This work, of colossal ' 



BERN. 



97 



BERR. 



proportions, in marble, was finished in four years 
after his return to Rome, and sent to Versailles, 
where it was afterwards converted into Marcus 
Cartius, and where it still remains. The King 
also defrayed the expenses of his journey, and to 
immortalize his voyage had a medal struck with 
the portrait of the artist, and on the reverse the 
Muses of the Arts, with this inscription : '• Singu- 
laris in singularis ; in o^nnibus, Uiiicus." On 
his arrival at Rome, B. was received with great 
demonstrations of joy ; the Pope showed him the 
most marked favors and named his son Canon of 
S. Maria Maggiore, and provided him with seve- 
ral benefices. Cardinal Rospigliosi having been 
elected pope on the death of Alexander VII., Ber- 
nini was still charged with great works, among 
which were the splendid tomb of Alexander VII. 
and the decorations of the Bridge of St. Angelo. 
He died at Rome in 1680, at the great age of 82, 
loaded with riches and honor, and was buried 
with great pomp and magnificence in the Church 
of S. Maria Masrgiore, To his children he left a 
fortune of 400.000 Roman crowns (about $700,000). 

His most eminent disciples were his brother, 
Pietro Bernini — who was an eminent statuary, ar- 
chitect, and mathematician, and who assisted him 
in the execution of these great works — Matthia 
Rosse. Fran9ois Duquesnoy, surnamed the Flem- 
ing and Borronini. 

Bernini was a man of ordinary stature, very 
dark complexion, lofty forehead, black piercing 
eyes, aquiline nose, with a countenance full of en- 
ergy and expression, which became terrible when 
animated with anger. Of a temperament all fire, 
he could not endure the rays of the sun without 
inconvenience. His health was feeble to forty-two 
years of age, when it became robust, and he could 
endure the greatest fatigue. His life was one of 
continued exertion, and he designed and wrought 
with great facility. He spoke of the works of 
others with discretion and liberalit}^ and of his own 
with modesty. His favorite maxim was '• Chi non 
esce talvolta delta regola, non passa maV^ Thus 
he was of opinion that in order to excel in the arts 
a man must rise above all rules, and create a style 
peculiar to himself. This he accomplished with 
rare good fortune, but the influence of his style 
was transient. Theconfessionof this artist, when 
near the close of life he reviewed his first works, 
is the' voice of truth disabused of self-love. — 
He then recognized that he had departed from the 
true principles of nature and the antique, and fall- 
en into the affected ; that he had mistaken the fa- 
cility of execution for the inspiration of genius ; 
and that he had injured grace and beauty by affec- 
tation and excessive ornament. That admirable 
Italian critic and connoisseur, Lanzi, says : '• The 
Cavaliere Bernini, the great architect and skillful 
sculptor, was the arbiter and dispenser of all the 
works at Rome under Urban VIII. and Innocent X 
His style necessarily influenced those of all the art- 
ists, his cotemporaries. He was affected, parti- 
cularly in his drapery. He opened the waj/ to ca- 
price, changed the true principles of art, and sub- 
stituted for them the false. At different times, 
the study of painting has taken the same vicious 
course ; above all, among the imitators of Pietro 
da Cortona, some of whom went so far as to con- 
demn a stud}^ of the works of Raffaelle. and even 
to decry as useless the imitation of nature." 

He executed an astonishing number of works at 
Rome, among which the following are the most re- 
10 



I markablc — some of them have previouslj^ been men- 
tioned : 

The great Altar of St. Peter's, in bronze and gilt ; the 
four colossal statues of St. Chrysostom, St. Atlianasius, St. 
Augustin, and St. Ambrose, cast in bronze ; the Belfry of 
St. Peter's ; the basso relievo in the portico of St. Peter's, 
representing Christ saying to St. Peter, " Feed my sheep ;" 
the noble Fountain near the Piazza da Spagna ; some fine 
statues for the churches of St. Francesco and B. V. M. 
di Loretto : a beautiful Canopy over the statue of the Vir- 
gin Mary, in the church of St. Agostino. He built the 
sumptuous chapel in the church of S. Maria della Vitto- 
ria, dedicated to St. Teresa, with a fine marble statue of 
that Saint ; the Church and grand Altar of St. Bibiano ; 
a great part of the Church of St. Anastasia ; the principal 
part of the Barbieri palace ; some addition to the pontifi- 
cal palace of Monte Cavallo ; the celebrated Chigi palace, 
built for the Cardinal Flavio Chigi, nephew of Pope Alex- 
ander VII ; the Collegio Urbano di propaganda Fide ; part 
of the Church of St. Andrea del Noviziato, and many oth- 
er architectural and sculptural works. 

BERNINI. Pietro. was a brother of the pre- 
ceding artist, under whom he studied, and with 
whom he remained through life, and was his most 
able assistant, He was an eminent sculptor and 
architect, capable of undertaking great works. 
He was also an eminent mathematician. But his 
brother's fame enabled him to monopolize all the 
great works executed at that time, so that Pietro 
had no chance to distinguish himself, otherwise 
than as his assistant. 

BERRETINI. Pietro, called da Cortona, an 
illustrious Florentine painter and architect, born 
at Cortona in 1596. At the early age of 14 he 
visited Rome, where he studied under Baccio Ci- 
arpi. but gained more advantage from the study 
of the works of Raffaelle and Caravaggio. "While 
5^et at an early age. he painted two pictures for 
the Cardinal Sacchetti, representing the Rape of 
the Sabines, and a Battle of Alexander, which 
gained him so much celebrity that Pope Urban 
VIII. commissioned the young artist to paint a 
chapel in the church of St. Bibiena, where Oiam- 
pelli, a reputable artist, was employed. The lat- 
ter regarded with contempt the audacity of so 
young a man attempting so important a public 
work ; but Cortona had no sooner commenced it 
than Ciampelli was satisfied of his ability. His 
success in this performance gained him his cele- 
brated work of the ceiling of the Grand Saloon in 
the Palazzi Barberini, which is considered one of 
the greatest productions of the kind ever executed. 
Its harmonious coloring, splendid style, rich com- 
position, and skillful chiaro-scuro, render it one of 
the most perfect specimens of ornamental art. It 
has been said of it that the draperies have not the 
appearance of nature, and that the drawing is in- 
correct ; but its general charm is so attractive that 
it is impossible to view it without admiration. 

Cortona made the tour of Lombardy, went to 
Venice, and in returning visited Florence, where 
he was engaged by the Grand Duke Ferdinand II. 
to paint the s.aloon and four apartments in the Pa- 
lazzo Pitti, where he represented the Clemency of 
Alexander to the Family of Darius, the Firmness 
of Porsena the Continence of Cyrus, the History 
of Massanissa. and other subjects. Disgusted by 
the intrigues of some artists who were jealous of 
his reputation, he left Florence abruptly, before 
he had finished his works, and could never be per- 
suaded to return. They were completed by Giro 
Ferri. On arriving at Rome, he continued to re- 
ceive many commissions, and was employed by 



BERR. 



SSrvxv* 



Alexander VII., who honored him with the Order 
of the Golden Spur. Oortona's principal works 
at Rome are, the Saloon in the Barberini, and a 
gallery in the Pamphili ; the Cupola and Vault in 
the Tribune of the Chiesa Nuova. and the Conver- 
sion of St. Paul at the Capuccini, one of his cele- 
brated works. There is an admirable picture of 
St. Paul healed by AnaniaSj in the Church of the 
Conception, 

The' compositions of this great artist were some- 
times crowded with unnecessary figures, and he 
was rather intent upon producing a magnificent 
whole, than careful execution in detail ; but it is 
generally admitted that his compositions are copi- 
ous and ingenious, and if he does not address him- 
self always to the mind, he fascinates the eye by 
a grand and imposing spectacle. His genius was 
especially adapted to great fresco works, which he 
executed with a force and brilliancy that might 
almost vie with oil painting. His coloring, though 
not always chaste, is constantly pleasing. The 
heads of his females are not strictly beautiful, 
but they invariably have a grace and loveliness 
that overcome those deficiencies, and his works 
generally exhibit a most fertile invention, and 
great facility of execution. 

As an architect, Cortona erected a number of 
important edifices, among which is the Church of 
Santa Maria Martina, rebuilt by the Barberini 
princes. He restored the Church della Race, and 
adorned the fa9ade with a graceful portico, so much 
to the satisfaction of Alexander VII. that he de- 
clared Cortona a cavalier, and gave him a munifi- 
cent reward. He erected the facade at Santa ]\Ia- 
ria in A^ia Lata, which is universally admired ; 
also the chapel of the Conception in San Lo- 
renzo and Damaso ; and made a design for the 
palace of the Louvre, in concert with Bernini and 
Rianaldi, which Louis XIV. highly approved, and 
sent Cortona his picture richly set in jewels. 
This eminent artist died at Rome, in 1669. 

BERRETONI, Nicolo, a reputable Italian his- 
torical painter, born at Montefeltro, near Macerata, 
in 1627 ; studied under Carlo Maratti, and was 
one of his ablest scholars. His earlier works, 
after leaving that master, are much in the style of 
Guido. One of his best pictures is an altar-piece 
in the Church of S. Maria de Montesanto at Rome, 
representing a subject from the life of St. Francis. 
He was elected an Academician at Rome in 1675, 
and died in 1682. 

BERRUGUETTE, Alonso, an eminent Span- 
ish painter, sculptor, and architect ; born, accord- 
ing to Palomino, at Parados de Nava, in Castile, 
in 1480. He had already made some progress in 
the art of painting when the fame of the great 
Michael Angelo induced him to visit Italy, and he 
had the advantage of studying under that great 
master. He was the cotemporary and friend of 
Andrea del Sarto, and made such improvement 
during his stay in Italy, that he returned to Spain 
an eminent proficient in painting and sculpture. 
The emperor Charles V. immediately appointed 
him one of his painters, and employed him in many 
considerable works at Madrid, in the Palace of the 
Prado, and in the Alhambra of Granada, which es- 
tablished his reputation, and for which he was 
amply remunerated by his patron. As a sculptor 
he was very distinguished. He executed a bas- 
relief of the Transfiguration, in the Choir of the 
Cathedral of Toledo : also a statue of San Seoca- 



diu in that city, and a number of bas-reliefs in the 
Choir of the Church of Sillas. There are a great 
number of his works in Toledo, the best of which 
is the marble sepulchre of the Cardinal di Fa- 
bera. As an architect, he erected the gate of S. 
Martino. at Toledo : the palace of Alcala, belong- 
ing to the bishop of Toledo ; and a great portion 
of the Cathedral of Cuenca. Berruguette was one 
of the most distinguished artists of his time, and 
was favored with the patronage of Charles V. and 
his son, Philip 11. He was highly respected by 
all, and acquired great wealth by his genius. He 
died rich at Alcala, in 1561, and was buried with 
the greatest magnificence at the expense of his 
sovereign. 

BERRY, William, an eminent Swiss engraver 
on precious stones, born about 1730. He went to 
England, where he received considerable employ- 
ment among the nobility as a seal engraver. He 
bestowed so much labor on his works that the pri- 
ces he received afforded him but a poor remunera- 
tion. Pickler, a celebrated engraver in the same 
line, pronounced him the best gem engraver of his 
time. Some of his intaglios are said to equal the 
antiques, particularly a Hercules and a Julius Cae- 
sar. While in England, he cut the heads of Crom- 
well, Newton, Thompson, and others, said to be 
surprising likenesses. He died in 1783. 

BERSOTTI, Carlo Girolamo, an Italian paint- 
er, born at Pavia in 1645. According to Padre 
Orlandi, he studied under Carlo Sacchi. and painted 
landscapes and figures in a style of excellence. 
There are many of his works in the collections at 
Pavia. 

BERTANO, or BRETANO. See Ghisi. 

BERTAUD, Marie Rosalie, a Parisian female 
engraver, born about 17G0; was instructed by St. 
Aubin and Choifard, and has executed several 
plates, the best of which are after Vernet, entitled 
Orage impetueux, an oval plate ; La Peche a la 
Ligna; Le Roclier perce : La Barque mise aflot; 
La Peche au clair de la lune ; Les Pecheurs Ital- 
iens. 

BERTAUX, Ddplessis, a French engraver. 
His etchings are somewhat in the style of Callot. 
They are quite numerous, and many of them illus- 
trate Choiseul's Travels in Greece and Italy, and 
his work on Egypt. He died in 1813. 

BERTELLI, Cristofano, an old Italian engi'a- 
ver, born at Rimini, in the duchy of Modena, about 
1525 ; executed a few plates with the graver, in 
rather a stiff manner, among which are : 

The Portrait of Ottavio Faraese, Duke of Parma ; the 
Conversion of St. Paul, marked Per me Cristofano Ber- 
telli ; theVirgin and Infant, with St. Sebastian, St. Francis, 
and St. Roch, after Correggio. The Virgin and Infant, 
with St. Augustine, St. Sebastian, and St. Helena, with 
St. Joseph sleeping, inscribed Per mi Ckristofano JSer- 
telli. The Virgin and Child, with St. George' and other 
Saints, inscribed the same. The different Ages of Man ; 
Christofano Bertelli, sc. 

BERTELLI, Ferrando, a Venetian engraver, 
born about 1525 ; executed some plates after the 
Venetian painters and others, of which are the fol- 
lo\^'ing : A print entitled omnium fere gentium,., 

Ven., 1569. Christ curing the sick ; Farinati. 
pin.v. ; F. Bertelli, ex.. 1566. The Crucifixion; 
after Grinlio Romano. Venus and Cupid ; after 

Titian; etched by F. Bertelli; Nic. Bertelli^ 
e.rc., 1566. Speccliio della vita humana; in Vene- 
zia per F. Bertelli. 1566. 



BERT. 



99 



BERT. 



BERTELLI, Lucas, a Venetian engraver, prob- 
ably a relative of the preceding. He is said to have 
been a print-seller. He has executed a number of 
plates after the great Italian masters, some of 
which are very scarce. Among them are : 

A Bust of Hippolita Gonzaga, Daughter of Ferdinand, 
Lucas Bertelli, ex. The Israelites tormented by Serpents, 
after M. Angela. The Baptism of Christ, L. Bertelli, with 
an inscription, Non isti Christum latices, d^c. Christ 
washing his Disciples' Feet, Lucus, sc. The Flagellation, 
inscribed Et fui Jlagellatus, tj^c, Lucce Bertelli. The 
Crucifixion, marked M. A. Luces Bertelli formis. The 
Descent from the Cross, Lucce. Bertelli formis, fine. The 
Four Evangelists, after Coxcie, Lucice Bertelli formis. 
The Last Judgment, after J. B. Fontana, Lucas Bertelli 
formis. A Woman and Children, warming themselves by 
a Fire, after Titian, Lucoe Bertelli, ex. 

BERTERHAM, or BEXTERHAM, J., a Flem- 
ish engraver, who practised the art at Brussels, 
according to Strutt, about the end of the sev- 
enteenth century. He engraved a few plates of 
devotional subjects, which are executed with the 
graver, in a stiff, tasteless style, and very incor- 
•rectly drawn. Among them is a print represent- 
ing St. Roch, with other figures, signed /. Berter- 
ham,sculp., Brux., 1696. without the name of the 
painter. 

BERTHAULT, Louis Martin, a French archi- 
tect, born at Paris in 1771. He first attracted at- 
tention at Paris for his skill in designing parks and 
gardens, and the Empress 'Josephine employed him 
to arrange the gardens at Malmaison, which he ex- 
ecuted in such exquisite taste, that Napoleon took 
him into his emplo3^ment, and appointed him ar- 
chitect to the Chateau de Compeigne. He restored 
this palace, and Girodet and others decorated it 
with painting. Many architects had tried in vain 
to arrange the gardens ; the plantations had per- 
ished on account of the quality of the soil ; but 
he renewed them, and by planting suitable trees, 
rendered them most delightful. He made an ar- 
bor there half a league in length. On the birth 
of the King of Rome, Napoleon conceived the idea 
of building, in the capitol of the Catholic world, a 
palace that should be worthy, by its magnificence, 
as a home for the future heritor of his throne ; so 
he made B. a member of the Legion of Honor, and 
•sent him to Rome to build the palace. On his ar- 
rival, having millions of money and thousands of 
workmen at his command, he went to work, and 
astonished the Italians with the colossal grandeur 
of his plans; but the reverses of Napoleon de- 
stroyed the finest embryo palace and royal gardens 
in the world! On his return to Paris, B. was 
employed to construct or remodel many chateaux, 
which he executed in excellent taste. '' All the 
countries of Europe demanded plans of him, which 
were afterwards executed by other architects." 
He acquired an ample fortune, and died in 1823. 

BERTHELEMY, Jean Simon, a French paint- 
er, born at Laon in 1743 ; died at Paris in 1811 ; 
studied under N. Halle. He painted the ceilings 
of the Palace of Fontainbleau, the Luxembourg, 
and the Museum ; also a number of historical and 
poetical subjects, which have been engraved. He 
was a director of the School of Design, and a Royal 
Academician. 

BERTHOLET. See Flemael. 

BERTIN, Nicholas, an eminent Parisian paint- 
er, born in 1667 ; died in 1736 ; studied while very 
young under -Jean Jouvenet, and afterwards under 
the elder Boulogne. His progress was so rapid, 



that when eighteen years old he gained the first 
prize of the Academy, and was accordingly sent to 
Italy for improvement, with the royal pension, 
where he remained four years. On returning to 
Paris, he gained eminence by several historical 
works. He was employed by Louis XIV. in the 
chateau of Trianon, where he painted Vertumnus 
and Pomona, and other works. There is a fine pic- 
ture by him, in the Abbey of St. Germain des Pres, 
representing the Baptism of the Eunuch of tho 
Queen of Candace. His most celebrated work was 
the ceiling of the church at Plessis St. Pierre, in 
Normandy. He was elected a Royal Academician 
in 1703. 

BERTOJA, GiAcoMO, or Jacopo, an Italian 
historical painter, born at Parma. He was" a suc- 
cessful imitator of Parmiggiano, and there is little 
doubt that many of his easel pictures are ascribed 
to that artist. Orlandi says he died in 1558 ; 
but Padre Aifo has conclusively shown that he 
was living in 1573, and Zani has cited authorities 
to prove that he died at a great age, in 1618. 

BERTOLOTTI, Giovanni Lorenzo, a reputa- 
ble historical painter of Genoa ; born in 1640 ; 
died in 1721 ; studied under Francesco Castigli- 
one. Ratti praises a picture by him in the Church 
of La Visitazione, at Genoa, representing the Vis- 
itation of Mary to Elizabeth, a fine composition, 
with great sweetness and transparency of coloring. 

BERTOTTI, Ottavio, called Scamozzi, an Ital- 
ian architect, born at Vicenza in 1726. He pub- 
lished an edition of the works of Palladio, vrhich 
possesses great merit. He designed and erected sev- 
eral edifices at Vicenza, and at Castel-Franco in 
Trevigiana, he erected a gallery for the Cardinal Gi- 
ovanni Cornaro, with a dormitory for strangers 
annexed to it. He also constructed at Scantripo, 
in the Vicenza territory, a palace for the Counts 
Trissini, and another, with a beautiful loggia, at 
Alpiero, for the Counts of Schio ; also a house with 
a loggia, for the Franciscans, in Arcugnano. Ber- 
totti was so highly esteemed, that the Marquises 
Capra, executors of Scamozzi, awarded to him tlio 
use of the property of that nobleman, which he had 
left in his will, with the obligation of assuming his 
name, to the one who should rank as the first ar- 
chitect of his native city. 

BERTRAND, Philip, a reputable French sculp- 
tor, born at Paris in 1664. He was employed 
chiefly in embellishing with statuary the Parisian 
churches and the royal palaces. He was received into 
the Academy for a fine group in bronze, represent- 
ing the Rape of Helen. He executed, among other 
works, a group of Strength and Justice, in the 
choir of Notre Dame ; St. Satyrus, in the Invalides ; 
a statue of Air, in the chateau of Trianon ; a Fig- 
ure of Christ, in the Samaritaine, on the Pont 
Neuf ; also, the bas-reliefs for the Triumphal Gate, 
erected by the city of Montpelier in honor of Louis 
XIV., highly commended. He died at Paris in 
1724. 

BERTRAM, , a Dutch engraver, who lived 

about 1690, and executed several plates in a very 
neat style, representing views and public edifi.ces. 

BERTRAND, P., a modern French engraver of 
some merit, who executed a number of portraits, 
among which is one of Pope Clement X. 

BERTUSIO, Giovanni Battista, an Italian 
historical painter ; born at Ferrara in 1G44. Ho 
studied under Denis Oalvart at the same time witJi 



BERV. 



100 



BEST. 



Guido and Albano, and followed their example in j 
leaving Oalvart to place himself under the Caracci. 
His figm-es have a graceful turn, and are correct!}^ 
drawn. He endeavored to imitate Guido, but | 
failed decidedly : his coloring is chalky and cold. 
Malvasia mentions a number of his works in the 
churches at Bologna ; among which is a picture of 
the Virgin and Infant with saints, in S. Giovanni 
in Monte ; also St. Guiliana, in S. Stefano ; and 
the Death of St. Joseph, in S, Doraenico, His 
name is usually written Bertucci, and there are 
several a 
Bologna. 

BERYIO, Charles Clement, or Jean Guil- 
LAUME Balvay, One of the most eminent French 
engravers, was born at Paris in 1756, and studied 
under J. G. Wille, whom he equalled in the bril- 
liancy and exquisite finish of his works. He was 
elected a member of the Roj^al Academy in 1784, 
and subsequently many learned societies and in- 
stitutions in Europe elected him an honorary 
member, especially the Academies of Berlin. St. 
Petersburg, Copenhagen, Amsterdam, &c. In 1819. 
the King of France made him a Chevalier of the 
Legion of Honor. His most capital work was the 
Laocoon and his Sons, engraved for the Musee 
rran9ais, pronounced by connoisseurs the finest 
representation of a marble group ever executed. 
Proof impressions of this print have been sold in 
London as high as £30. His last work was the 
Testament of Endamidas, which was finished by 
his favorite pupil, Paolo Toschi, of Parma, Bervic 
having lost his sight before its completion. He 
died in 1822. The following is a list of his prin- 
cipal works : 

Portrait of Louis XVI ; after Callet. Por+rait of Jean 
Senac de Melihan ; after Duplessis. Portrait of M. d'An- 
giviller, Architect. Charles Linnasus, the great Natural- 
ist ; after JRoslin. Portrait of Michael Letellier ; after 
amodelhy Nanteuil. 1773. The Little Turk; from a 
design by Wille. 1774. Portrait of Massaiki, Bishop of 
Wilna. 1780. Innocence ; after Merimee. A bust of 
Napoleon; from a drawing by Lefebvre. Portrait of 
Louis XVIII. ; after Augustin. The Repose, and the 
Demand Accepted ; after Lepicier. The Education of 
Achille ; cfter Regnaidt ; and the Laocoon and his Sons ; 
after the Antique ; both for the Musee Frangais. St. John 
in the Desert ; after Rafaelle ; 1791 ; for the Gallery of 
Florence. The Rape of Dejanira ; after Guido. This 
work was considered his chef d'ouvre, and the decennial 
Convention adjudged it the prize before all the engravings 
that had appeared from 1800 to 1810. It was engraved be- 
fore the Laocoon, which put a seal to his reputation. Fine 
impressions of his works are very rare and valuable. 

BESENZT, Paolo Emilio, an Italian painter, 
was born at Reggio in 1G24. He was the friend 
and companion of Lionel lo Spada, but did not fol- 
low his style, preferring the gi'acefid manner of 
Albano. He painted a namber of works for the 
churches, of which those in S. Pietro are most es- 
teemed, and deserve considerable commendation. 
Besenzi is said to have also distinguished himself 
as a sculptor and architect ; but none of his works 
are mentioned. He died in 166G. 

BESOZZI, Ambrogio, a Milanese painter and en- 
graver, born in 1648 ; died in 1706. lie studied 
undei" Giuseppe Dancdi, and afterwards under 
Ciro Ferri. He excelled in painting architectural 
views, friezes, bas-reliefe, and other works of dec- 
oration. He etched the portrait of Correggio, and 
the Apotheosis of a princess, in which the por- 
trait was by Bonacina ; after Cesare Fiori. 

BESSCHEY, or BISCHEY, J. F., a Flemish 



painter, born at Antwerp in 1739 ; died in 1799. 
He executed small copies of the works of Rubens 
and Vandyck in an admirable style. He also made 
copies of Rembrandt, Teniers, Moucheron, Pyn- 
acker, Wynants, Terburg, Gerard Douw, and 
others. 

BESTARD, a Spanish painter, who lived at 
Pal ma about the end of the 17th century. He 
decorated several public edifices in that city, which 
exhibit proofs of his knowledge of composition, 
color and chiaro-scuro. For the convent of Monte 
Sion at Palma, he executed a grand composition, 
which is considered one of the wonders of that city. 
It represents Christ in the Desert attended by an- 
gels, measuring nine feet in length. 

BETTELINI, Pietro, a very eminent Italian 
engraver, born at Lugano in 1763. At an early age 
he applied himself to the art, and studied under 
Gandolfi and Bartolozzi, though in his subsequent 
works he inclined to the style of R. Morghen. In 
1848 he was employed on the Judgment of Solo- 
mon, after Raffaelle. His engraving of the En- 
tombment, after Andrea del Sarto, in the Floren- 
tine Gallery, is his master-piece. It exhibits all 
the beauties of the original, and deserves a place 
among the best specimens of the art. His sub- 
jects are executed with taste and spirit, and he is 
peculiarly successful in light and elegant forms, 
though not so much so as in those of a sombre 
or forcible character. He does not aim at brilliant 
effect, but works with great care and delicacy, cor- 
responding with the style of the original. Thor- 
waldsen highly esteemed him, and emploj'ed him 
to engrave several of his finest statues and bassi- 
relievi. The following are a part of his excellent 
productions : St. John, after Domenichino ; As- ' I 
cension of the Virgin, after Guido ; Magdalene, * ^ 
after Schidone ; Sibylla Persica, after Guercino ; 
Madonna and sleeping Infant, after RaffaeUe ; 
Madonna col devoto. and Ecce Homo ; after Cor- 
reggio ; the Portraits of Poliziano, Macchiavelli 
and Galileo. 

BETTETS, John and Thomas, two brothers, 
English miniature painters. John studied under 
the elder Hilliard, and painted the portrait of 
Queen Elizabeth. 

BETTI, Padre Biagio, an Italian painter, born 
at Pistoja in 1545 ; studied under Daniello da Vol- 
terra. Shortly after the death of that master, he 
became a monk of the Order of Theatines. His 
works are chiefly confined to the monasteries of 
that Order at Rome ; among which is Christ Dis- 
puting with the Doctors, in the library ; and in 
the Refector3% the INIiracle of the Loaves and Fishes. 
Baglioni says he was a monk for fifty years, and 
died in 1615. 

BETTINI, Domentco, a Florentine painter, 
born, according to Orlandi, in 1644; died in 1705. 
He studied under Jacopo Vignali, but subsequent- 
ly visited Rome, where he became a scholar of 
Mario Nuzzi. His pictures, like those of his mas- 
ter, repi'esent fruit, flowers, birds, and fish, and 
are well painted. 

BETTINI, Pietro, an Italian engraver, who 
etched a few plates, in a slight manner, among which 
are the following : Christ appearing to Peter ; 
after Domenico Campelli; marked Pietriss. Bet- 
thiiis, del. et scul. 1681. The Martyrdom of St. 
Sebastian; after Domenichino. 



BETT. 



101 



BEYE. 



BETTOLI, Oajetani, a Venetian painter lit- 
tle known, who flourished in the latter part of the 
17th centur}^. He etched some plates in a free and 
artistic style, among which is the Death of St. Jo- 
seph ; after Cav. Marc' Antonio Franceschini. 
signed with his name. 

BEVILA.QUA. See Salimbene. 

J-^^ / ^f)t) BEUOKELAER, Joachim, a Flem- 
-tri'*^ '-^ ish painter, born at Antwerp m 
1530 ; died in 1570. He was the nephew of Peter 
Aertsen. who instructed him in the art. He paint- 
ed fairs, market-places, and interiors of kitchens, 
with dead game, fish, fruit. &c., which were much 
admired. Descamps says he was ill rewarded for 
his works, and that he died in poverty. 

BEURS, Wm., a Dutch painter, born at Dort 
in 1G56 ; died about 1G90. He studied under W. 
Drillenburg, and gained some reputation for his 
portraits, flowers^ and landscapes. 

BEUSEKOM, F. van, a Dutch engraver, who 
flourished in the middle of the 17th century. He 
was principally employed in engraving portraits 
for the book publishers. 

BEUTLER, Clemrnt, an eminent Swiss land- 
scape and historical painter, born at Lucerne. There 
are many of his works in his native city, where they 
are highly esteemed. In the church of the Capu- 
chins is an admirable picture, representing St. An- 
thony preaching on the sea shore. Also the Gar- 
den of Eden, and the Flight of the Rebellious 
Angels, which are considered masterly perform- 
ances. The last picture was destroyed through 
the prudery of a woman, who, offended at the nu- 
dity of the figures, cut it in pieces. He flourished 
in the first part of the 18th centur}^ — time of birth 
or death not recorded. 

BEUTLER, James, a German engraver, who, 
according to Prof. Christ, was born at Ravensburg, 
and flourished about 1593. He is classed with the 
little masters, his prints being generally ver}^ small. 
They are usually marked with his initials, I. B. ; 
and since these letters were occasionally used by 
other German engravers, especially James Binck 
and John Burgkmair, who lived about the same 
time, it requires great attention to distinguish 
their works. 

BEYENUSE, Antonio. Lanzi thinks this ar- 
tist was a native of Bavaria, for which reason, and 
his early return to his own country, he is not 
kno"wri in Italy as his merits deserve; that he was 
a disciple of the Bolognese school, and that in the 
college of the Nunziata, is a picture of the Mar- 
riage of the Virgin, which displaj^s great accuracy 
of design, superiority of forms, and an admirable 
chiaro-scuro. 

BEVILACQUA, Ambrogio, a Milanese painter, 
who flourished in the latter part of the fifteenth 
century. Lomazzo says that there are several 
of his works in the churches at Milan, and that 
his style was good, and his drawing and perspec- 
tive excellent. In the church of S. Stefano is a 
fine picture by him, representing St. Ambrogio with 
Sts. Gervasio and Protasio standing by his side. 
He had a brother named Filippo, who assisted 
him in his works. 

BEWICK, Thomas, an eminent English wood- 
engraver, born in Northumberland in 1753 ; died 
in 1828. He was apprenticed at the age of four- 



teen to Ralph Beilby. a copper-plate engraver of* 
Newcastle. jNIr. Charles Hutton, (after uards Dr. 
Hutton) applied to Beilby to engrave on copper the 
illustrations of his work on mensuration, who ad- 
vised that they should be engraved on wood. The 
young apprentice was employed to execute many 
of these ; and the excellence of the cuts led his 
master strongly to advise him to devote his atten- 
tion to this neglected art. Soon after the expira- 
tion of his apprenticeship, he entered into partner- 
ship with Beilby ; about which time Bewick com- 
menced the cuts for an edition of Gay's Fables ; of 
A\'hich the Old Hound gained the premium of the 
Society of Arts, in 1775; though the work was 
not published till 1779. In 1770 he published his 
'•History of Quadrupeds," which established his 
reputation. He also executed a number of copper- 
plate illustrations: and the wood cuts for an 
edition of Goldsmith and for Parnell's Llermit, 
published in 1795 ; besides a number of illus- 
trations for the publications of the day. He 
was very industrious. His brother John as.sisted 
him in some of his publications, and is said in some 
respects to have exceeded Thomas, but he died at 
the age of 35 ; his best engravings being published 
in 1795. 

BEYER, Jean de, a Swiss painter, born at 
Aran in 1705. He settled in Holland, w^here he 
painted landscapes ; but he was an able draughts- 
man, and was distinguished for the accuracy of his 
drawings of cities, public buildings, chateaux, &c., 
many of which ha\e been engraved. 

BEYER, Jean de, an eminent Swiss medalist, 
born at Basle. He had a thorough knowledge of 
medals, and displayed much taste in their execu- 
tion. He died at Berne, at a great age, in 1738. 

BEYLBROUCK, M,, a Flemish engraver who 
lived in England in 1713, where he executed a 
plate representing the Death of Dido, after Sebas- 
tian Bourdon. It is neatly executed, but in a 
stiff, formal style, without much effect. 

BEZZI, Gig. Francesco, called II Nosadella, 
a Bolognese painter, and pupil of Pellegrino. Mal- 
vasia says there are many of his works at Bologna, 
and other cities, executed in the style of his mas- 
ter, with more power, but less care. He died at 
Bologna, in 1571. 

BEZZICALUVA, Ercole, a native of Pisa, who 
according to ^Morrona, flourished at Pisa about 
1640. where his works were highly esteemed. 
Lanzi mentions a picture in the Choir of the 
Church of S. Stefano, at Pisa, representing seve- 
ral saints, as an excellent performance. He also 
says he was a good engraver, but does not spe- 
cify any of his works in this line, nor mention the 
time of his death. 

BIANCA, Giovanni, an Italian architect, born 
at Pesaro, in 1571. According to Milizia, he was 
also an engineer, and a citizen of Rome. He erected 
several good edifices, among which is the Santa 
Casa at Loretto. He also wrote an excellent work, 
entitled Manuale di Architettura, which was cor- 
rected and enlarged in 1772, by Leonardo de Vegni, 
of Siena. 

BIANCHI, Baldassare, a Bolognese painter, 
born in 1614 ; died in 1679. He studied under 
Gio. Paclerna, and subsequently under Agostino 
Metelli. He was patronised for many years by 
the Dukes of Modena and Mantua, whose palaces 



BIAN. 



102 



BIAN. 



he adorned with a great number of paintings. Or- 
landi says he had a daughter named Lucrezia, who 
was also distinguished as an artist. 

BIANCHI, Oav. Tsidoro, a Milanese painter, 
who lived about 1626; he studied under Pier 
Francesco Mazzuchelli, called Morazzone, whose 
style he followed with great credit. His works 
in fresco surpassed those in oil as appears from his 
paintings in S. Ambrogio at Milan, and in differ- 
ent chul-ches at Oomo. He was appointed by the 
Duke of Savoy to finish a grand saloon at Ri- 
Toli, which Mazzuchelli had left unfinished at his 
death. He was subsequently chosen court-painter, 
and was knighted in 1631. 

BIxiNCHI, Federigo, a Milanese painter, and 
a relative and scholar of Giulio Cesare Procaccini. 
Orlandi says that when seventy years old he paint- 
ed three frescos in the cloister of the monastery 
of Padre Zoccolanti at Milan ; also several other 
works in that city. The Duke of Savoy greatly 
patronized him, and honored him with a gold me- 
dal and chain. 

BIANCHI, Frances(;o, called II Frari, an 
Italian painter, born at Modena in 1447 ; died in 
1510. Vidriani says he instructed Correggio, and 
that his works were highly esteemed in his time, 
for their graceful design, and line impasto of color. 
BIANCHI, Giovanni, a Milanese painter, who 
died at Florence in 1616. He was a celebrated ar- 
tist in a kind of mosaic work, which was then in 
groat repute all over Europe. Francesco I., medi- 
tating the erection of a magnificent chapel for the 
sepulture of the royal family, in the Church of S. 
Lorenzo, and ornamenting it with views and altars 
wrought in mosaic, invited Bianchi to his court in 
1580, and committed these works to his direction. 
This art was carried to very high perfection, in va- 
rious towns in Italy about this time, especially 
at Florence and Milan. For this purpose every 
species of hard stones, as agate, jasper, &c., were 
sawed into small pieces, having every variety of 
color, and in the execution of the work, the tints 
were lowered, heightened, and managed so as to al- 
most rival painting. In this manner tables, cabi- 
nets and coffers were ornamented with small land- 
scapes, architectural pieces, portraits, and even my- 
thological and historical pieces, which proved an 
acceptable and coveted present to foreign princes. 
In one of the Cabinets of the Ducal Gallery is an 
exquisite octagonal table, the central part of which 
was designed by Pocetti, and the border by Li- 
gozzi. The work was executed by Jacopo An- 
telli; who, with numerous assistants was employed 
sixteen years in its execution, and finished it in 
1649. A small picture, executed for the same 
prince, after the designs of Vasari, by Bernardino 
di Porfirio, of Leccio, cost 20,000 crowns. During 
the sixteenth and seventeenth centuries, many ex- 
cellent artists were employed in this kind of work. 
Since the invention and substitution of ctibes of 
colored glass for stones, and the method of multi- 
plying the pictures by sawing into thin slabs, mo- 
saics are less prized, and less attention is paid to 
the art. 

BIANCHI, Orazio, a reputable Roman histo- 
ri'^al painter. His best work, according to Abate 
Titi, was the Marriage of the Virgin, in the Church 
of S. Giuseppe. 

BIANCHI, Paolo, an Italian engraver, who 



flourished about 1670. He worked chiefly for the 
booksellers, and his plates are neatly executed 
with the graver, but in a stiff, tasteless style. He 
engraved several of the portraits for Prioratd's 
History of Leopold^ among which are those of 
Cardinal Flavio Chigi, nephcAV of Alex. VII., and 
Luigi de Benevides Carillio. 

BIxVNCHI, Pietro, a Roman painter ; born in 
1694, and died in 1740. He first studied under 
Baciccio and then Benedetto Luti, whom he sur- 
passed in the excellence of his manner, especially 
in large compositions. Lanzi says his extreme fas- 
tidiousness and his early death prevented him from 
leaving many works. A few of his pictures are 
found in the churches at Rome. At Gubbio, is 
his picture of St. Chiara, with the Angel appear- 
ing, a work of grand effect, from the powerful dis- 
tribution of light and shade. The sketch of this 
picture was bought by the King of Sardinia at a 
liigh price. He painted a picture for the Church 
of St. Peter, so excellent that it was copied in mo- 
saic, in the altar of the Choir. The original is in 
the Certosa, which was finished by Cav. Mancini, 
Bianchi having died leaving it in an unfinished state. 
Orlandi mentions another Pietro Bianchi, called 
Bustini, who flourished at Como in the 18th cen- 
tury, and whose manner was powerful yet elegant. 

BIxlNCHI, BoNAViTA Francesco, son and pu- 
pil of the preceding, a Florentine painter, who died 
in 1658. Baldinucci says he was chiefly employed 
by the court to paint ancient pictures to present to 
foreign princes. He also executed many small his- 
torical pictures for the cabinets, painted on jasper, 
agate and other hard stones, the spots on which 
assisted in forming the shadows — a kind of paint- 
ing then in great request beyond the Alps. Many 
such were formerly brought to the United States. 
It is probable the author above cited is mistaken 
as to the kind of Avork chiefly executed by this ar- 
tist. Like his father, he was doubtless employed 
by the Duke in mosaics. 

BIANCHI, Sebastiano, an Italian engi^aver 
who lived about 1580. He executed several plates 
of devotional subjects ; among which is a print 
representing the emblems of our Saviour's suffer- 
ings, with angels, &c. ; inscribed Sebastiano Bian- 
chi. fee. 

BIARD, or BIART, Pierre, a French sculptor 
and architect, according to Florent le Comte, was 
born at Paris in 1559. He went to Rome, where 
he remained several years, studying the best mod- 
els of ancient art ; after which he returned to Pa- 
ris. He resided there many years, and executed 
various works both in sculpture and architecture, 
by which he gained considerable reputation. That 
which did him most honor was a grand bas-relief, 
representing Henry IV. on horseback, designed in 
admirable taste. It was placed over the grand 
gate of Hotel de Ville, but Avas unfortunately de- 
stroyed in a popular tumult. Biard died in 1609. 
There was an engraver of this name, who resided 

I at Paris about 1627, and is said to have executed a 
set of twelve plates, the subjects of which are not 

j mentioned. He also engraved an emblematical 

; subject, into which he has introduced many figures. 
It is etched in a bold, spirited style, somewhat re- 
sembling that of Antonio Tempesta, and is in- 

I scribed Petrus Biard, fecit^ 1627. 

! BIANCHINI, a family of eminent artists, who 



BIAN. 



103 



BICC. 



■vri'ought mosaic pictures at Venice in the sixteenth 
century. Of these, the most eminent were Yin- 
cenzio' who flourished from 1517 till his death in 
1552 ; Domcnico. his brother ; and Giovanni Anto- 
nio, his son. Zanetti also mentions Marco, Luci- 
ano, and Rizzo, brothers of Vincenzio. They found 
abundant employment in the churches at Venice. 

The art of Mosaic work had at this time been 
brought to such perfection at Venice, that Vasari 
declared " that it would not be possible to effect 
more with colors." Lanzi observes that "the 
church and portico of St. Mark remain an invalu- 
able museum of this kind of work ; where, com- 
mencing with the eleventh century, we may trace 
the gradual progress of design belonging to each 
age, up to the present, as exhibited in many works 
in mosaic, beginning from the Greeks and contin- 
ued b}- the Italians, They consist chiefly of histo- 
ries from the Old and New Testaments, and at the 
saine time, furnish very interesting notices of civic 
and ecclesiastical history." There are a multitude 
of mosaic pictures in the chui-ches, galleries, and 
public edifices of Ital}', especially at Florence, jNIi- 
lan, Rome, and Venice, and some of the greatest 
artists were employed to furnish designs for them ; 
and in later times, some of the grand paintings by 
the greatest masters have been copied in mosaic for 
their preservation, as the Transfi.^uj'ation by Raila- 
c'ile, and the Communion of , St. Jerome, b}^ Domen- 
ichino, in the Vatican. It will be sufficient to men- 
tion the chapel of the jNlascoli. at Venice, which con- 
tains the famous. series of pictures of the Life of 
the Virgin, executed with extraordinary care by I\Ii- 
chele Zambono, after designs in the best taste of 
the Vivarini. The Church of San Marco contains 
some of the finest specimens ever executed. The 
Ducal Gallery at Florence is also ver}^ rich in spe- 
cimens of this art. 

BIANCO, Bartolomeo, an eminent Italian ar- 
chitect, born at Como. about 1600. Soprani says 
that the republic of Genoa consulted this artist as 
to the most convenient manner of enclosing the city 
with a new wall. His plans were adopted and im- 
mediatel}' put in execution under his direction. 
He was also em.pl 03'ed to fortify the new mole. 
Among other works at Genoa, he built the Strada 
Balbi ; the College for the Jesuits, a superb edifice ; 
and a palace for Gio. Agostino Ealbi. This pal- 
ace has since passed to the Durazzo family. Ac- 
cording to Milizia. he died at Genoa in 1656. He 
had two sons, Pietro Antonio, and Giovanni Bat- 
tista. both of whom possessed great talents. Pietro 
died quite 3'oung. Giovanni had already acquired 
a high reputation as a sculptor, when he died at 
Genoa of the plague, which ravaged that city in 
1657. His most celebrated work was a statue of 
the Virgin surrounded with xVngels. cast in bronze. 
He received several commissions for statuarj^ from 
France, and among others, a marble figure of Bac- 
chus gained him great reputation. He also studied 
painting. 

BIANCO, Del Baccio, a Florentine painter, 
'born in 1604. and died in 1656. According to 
Baldinucci, he studied in the school of Bilivert, 
went into Germany with Pieroni, the imperial ar- 
chitect, of whom he learned perspective, returned 
to Florence, where he established a school for 
young artists, and taught with applause. He also 
exercised his pencil, especially in fresco, and small 
fanciful, subjects in oil, in the style of the Caracci. 



Naturally facetious, he became distinguished for 
his burlesques, which he chiefly executed with the 
pen. 

BIANCUCCI, Paolo, an Italian painter ; born 
at Lucca in 1583 ; died in 1653 ; was a distin- 
guished scholar of Guido, and followed the beauti- 
ful style of that great master. He executed a rep- 
resentation of Purgatory, in the Church of the 
Suflragio ; and an altar-piece of several saints in S. 
Francesco. His works closely resemble those of 
Sassoferrata. 

BIBIENxi. Se« Galli. 

BICCI, Lorenzo di, a Florentine painter of 
great reputation in his day, born in 1400, and died 
at Florence about 1460. He studied under Spi- 
nello, and executed many works in fresco and in 
oil. which show great facility of design and celeri- 
ty in execution. The private cloister of the Church 
of S. Croce contains several pictures b}^ him in fres- 
co, representing the legends of St. Francis ; on the 
front is also an Assumption, in the execution of 
which he was assisted by Donatello, while still a 
young man. Lanzi sa3^s his best frescos are in 
the Church of S. Maria Nuova, built by Martin X. 
He had a son named Neri, who painted in the 
style of Giotto, and executed some excellent works, 
but died young. 

M\JJ>\ , ^\ BIE, Adrian de. a Flemish paint- 
/riuil ^ c/DJ er, born at Liere, near Antwerp, 
in 1594; died about 1640; studied under Wou- 
ter Abts, an obscure artist. At the age of eighteen 
he visited Pai'is, and studied some time under his 
countryman. Ptodolph Schoof, painter to Louis XIII. 
He afterwards visited Rome, where he remained 
eight years. In 1623 he returned to Flanders, and 
was much employed for the churches and in paint- 
ing portraits. His best work was a picture of St. 
Ely, in the Collegiate Church of S. Gommer, at 
Liere. 

BIE, James. See Bye. 

BIE, Jacob Van, an eminent Flemish engraver 
of coins, antiquities, &c.. born at Antwerp in 1581. 
His prints rank with the works of the best old 
Flemish engravers. The principal works that he 
])ublished were Imperatorum Roman.Niimismala, 
Numismata Grecice. and La France Metallique. 

BIENAIME. Pierre Theose, a French archi- 
tect, born at Amiens in 1765, where he studied 
under the Abbe Delille. and acquired a thorough 
knowledge of the sciences and arts relative to ar- 
chitecture. He went to Paris while young, to per- 
fect himself ; studied eight years in the Academy, 
and drew several prizes. He drew many prizes in 
competition with other eminent architects, for va- 
rious public improvements. He was made a mem- 
ber of various learned societies m France and Italy, 
and passed a life of usefulness in public and pri- 
vate employment. He died at Paris in 1826. 

BIESELINGHEN, Christian John van, a 
Dutch painter, born at Delft about 1550. Little 
is known of his history. Descamps says that he 
drew from memory such a striking likeness of Wil- 
liam L. Prince of Orange, in 1584, after the assas- 
sination of that prince, that Gerrit Pot preferred it 
to all the portraits of the prince, for the large pic- 
ture he painted for the City Hall of Delft. B. 
went to Spain, where he was appointed painter to 
the king. He afterwards returned to his own 
country ° and died at Middlebourg, aged 42. The 



BIGA. 



104 



BILL. 



author above cited makes no further mention of 
his works. 

BICrART, ViTTORio, a Bolognese painter, who 
executed many pictures for the public edifices of 
his native city. In the Pitture di Bologna are 
mentioned several of his works ; among which is a 
Gallery in the Palazzo Aldrovandini, in which he 
lias I'epresented the principal ti'ansacLions of that 
noble family. In the Church of the Madonna del 
Soccorso, is an admirable picture by him of the Vir- 
gin and Infant, with Saints. 

BIGI, Felice, an Italian painter, born at Rome, 
according to Orlandi, and at Parma, according to 
Lanzi. He established at Verona, where he taught 
and painted till his death, about 1680. 

BIGIO, Marco, a Sienese painter, who flour- 
ished about 1530, and whom Lancillotti reckons 
"among the most famous painters of his time." 
His works were usually small historical pictures. 

BIGIO, Francia, a reputable Florentine painter 
of architecture, landscapes, and animals ; born in 
1445, or 1483 (for writers differ) ; died in 1525. 

BIGNON, FRAN901S, a French portrait engraver, 
born in 1690. His plates are generally executed 
with the graver, though he occasionally used the 
point. His style is neat, but there is a want of 
harmony in the effect. We have by him : Thir- 
ty-five portraits of the Plenipotentiaries assembled 
at the Peace of Munster, and a set of portraits of 
the Illustrious Personages of France, after the 
pictures of Vouet in the Palais Royal, engraved in 
concert with Zachary Heince, 1690. 

BILIA, Bella, Gig. Battista, a Roman paint- 
er, who, according to Vasari, flourished about the 
middle of the sixteenth century, and executed some 
frescos at Citta di Castello, near Fratta in Urbi- 
no. There was another artist of this name who 
was employed in the Palazzo Vitelli. probabl}'- a son 
of the former, 

BILIVERT, Giovanni, a Florentine painter; 
born in 1576 ; died in 1644 ; studied under Cigoli, 
and blended the style of that master with that of 
Paolo Veronese and Titi. He finished several 
works which Cigoli left imperfect at his death, and 
executed a number of pictures in S. Gaetano and 
S. Marco. Of these the Elevation of the Cross is 
much admired, and is considered his master-piece. 
The Chastity of Joseph, in the Florentine Gallery, 
is another admired work of this painter. Many 
copies of the latter work are to be found in Flor- 
ence, and in foreign collections. 

BILLI, or BILLY, Niccolo and Antonio, two 
Italian engravers, who lived about 1734. They 
engraved several portraits and historical subjects, 
executed with the graver in a stiff, dry manner, 
Niccolo engraved some plates for the INIuseum Flo- 
rentinum. The following are their principal plates : 

Fredericus Zuccharus. Hans Holbein ; se ipse pinx. 
Pietro Leone Ghezzi ; se ipse del. Giova,nni Morandi ; 
se ipse del. The Cardinal Pompeo Aldrovandi ; G. Berti, 
pinx., N. Billy. The Carduial Spinelli ; Dom. Dupra, 
pinx.N. Billy, 1734. The infant Jesus sleeping ; oval; 
Nic. Billy, scul. Romce. St. Philip Neri kneeling before 
the Virgin, ajter S.Conca. The Holy Family ; after Ca- 
racci ; half-length figures. The Flight into Egypt ; after 
Guido. 

BILTIUS, Francis, a Dutch painter who 
lived about 1650, and was distinguished for his 
representations of dead game, fowling-pieces, pow- 



der horns, and other sporting implements, which 
he painted on a white ground, as if attached to a 
wall, and with such wonderful fidelity as to cause 
a perfect illusion. He was living in 1671, as ap- 
pears by that date and his nam.e attached to a pic- 
ture mentioned by Zani. 

BILLONI, GiAMBATTisTA, a painter of Padua, 
born in 1576 ; died in 1636. He painted history, 
landscapes, and portraits, and excelled in the latter. 

BIMBI, Bartolomeo, a Florentine painter, 
born in 1648 ; died in 1725, He was admired for 
his fruit and flower pieces, which were admirably 
executed. 

i-<l_0 BINCK, James, a German engraver, 
Jl ^13 inborn at Cologne, in 1504, He studied 
under Durer, and afterwards visited Rome, where, 
according to Sandrart, he became a scholar of 
Marc' Antonio, and engraved some plates after 
Raffaelle, under his direction. Some of his plates 
lesemble those of Durer, and he holds a distin- 
guished rank among the little masters. His style 
is ver}^ neat, occasional!}^ resembling II, Aldegre- 
ver, but his plates evince greater facility of execu- 
tion ; his drawing is more correct, and there is 
a more agreeable taste in the turn of his figures. 
There has been much confusion about the marks of 
the artists of this period, particular!}^ those whose 
name commences with a B. The worlds of Binclc 
are usually marked I. B.. or with his monogram. 
The style of his plates will also distinguish them. 
The following are the principal : 

The Portrait of James (or Jacob) Bink, Avith a Cap, a 
Skull in his Cloak, and a Cup in his right hand. The Por- 
trait of Lucas Gassell ; I. B. 1529 ; inscribed Imago 
ab Jacob Binck ad vivum delineata. Portrait of Fran- 
cis I. ; Franciscus rex Francioi. Portrait of a young 
Princess. 1526. Christiernus II. Danorum Rex. 1525. 
Elisabeta, Danorum Regina. Bust of Martin Luther. 
Bust of Philip Mela.ncthon ; inscribed Si Deus pro nobis, 
(^c. St. Jerome, with the Lion. Marcus Curtius on 
Horseback, going to throw himself into the Gulf. The Tri- 
umph of Bacchus ; a frieze. 1528. Infant Bacchanal- 
ians, Children pressing Gra.pes ; friese. 1529, The Seven 
Planets, represented by figures. 155S. /. B. The Sev- 
en Virtues, of Faith, Hope, Charity, Justice, Patience 
Fortitude, and Temperance ; marked I. B. An emblem- 
atical subject of Four Women forging a flaming Heart on 
an Anvil; marked 15 I. B. 29. An emblematical subject 
of Hope, Envy, Tribulation, and Forbearance ; 15 I. B, 
29 ; the two last from the designs of B. Plrkheimer. An 
armed Man at the Foot of a Tree. An emblem of Histo- 
ry, represented by a Woman writing on a Tablet ; circular. 
A Lady and her Servant, buying a Duck of a Peasant. A 
Peasant selling Vegetables to a Woman. Twenty plates, 
representing the ])ivinities ; copied after Caralius, who 
engraved these plates after II Rosso. 

THE FOLLOWING ARE MARKED WITH THE CIPHER BE- 
FORE MENTIONED. 

Adam holding the Branch of a Tree. Eve, with a 
Branch with Two Apples. Lot and his Daughters ; circu- 
lar ; marked twice. Da'\nd, with the Head of Goliah. 
L526. Judith, with the Head of Holofernes, St. Michael 
vanquishing the Evil Spirit. The Virgin Mary .and St. 
Joseph adoring the infant Jesus in the Manger. The Vir- 
gin Mary and Infant crowned by an Angel. 1526. The 
Massacre of the Innocents ; copied after lilarc' Antonio ; 
very scarce. The Descent from the Cross ; suiTOunded 
with other little subjects. St. John sleeping, with his 
Lamb. 1526. St. George and the Dragon. Mercury ; a 
circular. A Man lying near a Pedestal, and a Woman ar- 
ranging Flower-pots. A Woman approaching a M.an with 
surprise, seated near a Pedestal, on which is a Child and 
some Vases ; after Raffaelle, engraved under the direction 
of Marc' Antonio. A Woman beating and driving away 
the Devil with her Crutch. 1528, An Old Man embrac- 
ing a Girl. 1525, A Soldier and a young Woman. A 



mk 



BINE. 



105 



BISC. 



Pe:i.sant carrying a Basket of Eggs. A Peasant and Wo- 
man dancing. A Child leading a Blind Man. A vignette, 
four Cupids mounted on Dolphins. A Vase, ornamented 
with the Heads of two Unicorns. 

BTNET. , a French engraver who lived about 

1760, and executed several plates of landscapes, 
after Vernet and others. 

BINNEMAN, Walter, an English engraver of 
little note, who practised the art about 1675. 
Among other portraits, he executed one of Robert 
Chamberlaine, an arithmetician, prefixed to his 
Accountants^ Guide. 

BIORD, Peter. This artist engraved, among 
other plates, an etching of Cupid and Psyche. It 
is executed in a bold, spirited st^de, and is appa- 
rently the production of a painter. 

BIRCK, Paul. This engraver is mentioned by 
Strutt, who saj'-s he executed four plates, and a ti- 
tle, representing the four Elements, in circles, sur- 
rounded with ornaments, which appear to be pat- 
terns for the goldsmiths. They are executed with 
the graver in a style resembling Theodore de Bry. 
On the title is inscribed. Quatuor Mundi Ele- 
mcnta. Elegantibus figuris sen Lnaginibus Ar- 
tific'iosa*expressa. Paulus Birck, F. 

BIRCKAERT, or BTRCKART, Anthony, a 
German engraver, who lived at Prague about 1680, 
and executed a print mentioned by Basan, repre- 
senting the martyrdom of forty Portuguese Jesu- 
its, after Borgognone ; also several large prints 
of architectural views, with figures executed with 
the graver in a stiff, formal style ; inscribed Birck- 
art. sculp. Prag. 

BIRCKENIIULT, Paul, a German engraver 
and print-seller, who lived about 1670. He pub- 
lished a set of small plates, representing warlike 
trophies, with figures, etc. ; executed with the gra- 
ver in a neat but formal style. 

BIRD, Wm.. an English painter, born at TVolver- 
hampton in 1772 ; died in 1810. lie was appren- 
ticed to a tea-tray manufacturer at Birmingham, 
who employed him to embellish the trays with 
various fanciful designs. At the expiration of his 
apprenticeship, he set up a drawing-school in Bris- 
tol, and by tcachinc:,' others improved himself in 
the art. He excelled in humorous subjects and 
scenes from low life, which attracted so much at- 
tention that he was elected a Royal Academician. 
Bird had little power of imagination, and his Em- 
barkation of Louis XVIII. was so total a failure 
that it received only general derision. He how- 
ever, executed twoJiistorical pieces of some merit: 
the Surrender of Calais, and the Field of Chevy 
Chace ; the latter of which has been much ad- 
mired. 

BIRD. Francis, an English sculptor, born in 
1667. He executed, among other works, the sta- 
tue of Queen Anne, in the front of St. Paul's ; the 
Conversion of St. Paul, on the pediment ; and the 
bas-reliefs under the portico. His most important 
work, however, was the fine monument of Dr. 
Busby, in Westminster Abbey. He died in 1731. 

BIRKHxART, Anthony, a German engraver, 
born at Augsburg in 1677 ; died at Prague in 
1748. Dlabacz gives a full catalogue of his plates. 

BIROZNE, Clementino, an Italian engraver 
on precious stones, born at Milan about 1550. To 
him we owe the invention of graving on the dia- 
mond. Philip II., king of Spain, invited him to 



his court, and emploj^ed him to engrave the arms 
of Spain for his private seal. He also engraved, 
in this manner, an exquisite portrait of Don Car- 
los. He M-as held in high reputation at the court 
of Spain, where he met with much encouragement 
from the Spanish grandees. 

BISCIANO, Bartolomeo, a Genoese painter, 
born in 1632; studied under his father, Gio. An- 
drea Biscaino, and subsequently under Yalerio 
Castelli. At an early a&e he manifested uncommon 
talent, and before his 25th 5^ear he had executed 
many considerable works, when his career was cut 
short by the plague, which visited Genoa in 1657. 
There are three of his works in the Gallery at 
Dresden. He etched several plates, finely com- 
posed and elegantly drawn, in a stjde somewhat 
resembling Benedetto Castiglione, but in a more 
finished manner. He marked his plates B. B. 
The following are the principal : 

Moses in the Bulrushes. Susanna and the Elders. The 
!N'ativity, with Angels. The Circumcision. The Wise 
Men's Offering. Herodias, with the Head of St. John. 
The Virgin Mary and infant Jesus, with Angels. The 
Virgin suckling the infant Jesus, with St. Joseph. The 
Virgin suckling the Infant, with St. Joseph, and St. 
John with his Lamb. The Virgin adoring the infant Je- 
sus. The Virgin with the infant Jesus on her Knee, St. 
John kissing lua Foot, and St. Joseph behind. The Vir- 
gin, with tlie infant Jesus standing on her Knee, stretching 
out his Arm to St. Joseph ; half-length figures. The Holy 
Family, with St. John holding a Cross. The Repose in 
Egypt, with Angels in the Clouds. The infant Jesus re- 
posing on the Globe. St. Joseph, with the infant Jesus ; 
half-length. St. Christopher .giving his Hand to the infant 
Jesus. St. Christopher, with the infant Jesus. Mary 
Magdalene in the Desert; dated 1656. A Bacchanalian 
subject. 

BISCATXO; Giovanni Andrea, a Geonese 
painter, who executed landscapes in a bold and 
spirited style; but. according to Soprani, he was 
obliged to paint with dispatch in order to support 
a mniierous famil}", which prevented his bestowing 
the necessary care and attention upon his works. 
He died in 1657. 

BISCHOP, Cornelius, a Dutch historical and 
portrait painter of little note, born at Dort, in 
1630 ; died in 1674. He studied under Ferdinand 
Bol, and followed his style. He had a son, named 
Abraham, who was eminent as a painter of birds. 

^f BISCHOP, John de, a Dutch designer and 
Cj2/ engraver, born at the Hague in 1646 ; died 
in 1686. He practised drawing merely as an 
amusement ; being, according to Houbraken, an 
advocate at the court of Holland. He excelled in 
copying the pictures of the best masters, in small 
colored drawings, correctly drawn and highly fin- 
ished. As an engraver he is more deserving no- 
tice, and he has "left a great number of plates, 
principally etched, and harmonised with the gra- 
ver, in a free and pleasing style. There is great 
relief and richness in his prints. His principal 
work was a set of prints for a book, of which the 
first edition, published by Bischop. contains 102 
plates ; the second, published by Nic. ^^isscher, 
contains 113 plates. It is entitled, Paradigmata 
graphices variorum artiphicum, tabulis ceneis. 
Pars /, et 11. Hagce, 1671, fol. He latinized his 
name, assuming Episcopus for Bischop, and mark- 
ed his plates with a cipher composed of the letters 
J. E. There are other prints by him, among 
which are the following : 

Christ and the Samaritan Woman ; after An. Caraccl 



BISE. 



106 



BITT. 



Joseph distributing Corn to the Egyptians ; The Martyr- 
dom of St. Lawrence ; after B. Breemberg. 

BTSET, Charles Emanuel, a Flemish painter, 
born at Antwerj^ in 1C33. It is not recorded b}^ 
whom he was instructed. When young he visit- 
ed Pari-^, where he succeeded admirably, his pic- 
tures beinc; adapted to the taste of that nation, 
representing gallant assemblies, balls, concerts, and 
conversation pieces. Notwithstanding his success, 
the love of his native land drew him back to Ant- 
werp, where he was appointed director of the 
Acadeni}^ in 1G74. His subjects are designed 
with great taste, and his pencil is neat and flow- 
ing, though his coloring is rather cold and grey. 
His chief work is a large picture in the Hall of the 
Society of A.rchers, at Antwerp, representing Tell 
shooting the Apple from his son's head. 

BISI, Era BonaventurA; a Bolognese painter. 
He studied under Lucio Massari, and gained con- 
siderable reputation by his copies in miniature, 
after Correggio, Titian^ Guido, &c. ; many of 
which were in the Cabinet of the Duke of Mode- 
na. He also etched a few plates after Parmiggia- 
no, Guido, <^c., and one after his own design, of a 
Holy Family, with St. John and St. Elisabeth, 
marked F. B. B. F., 1631. He died in 1662. 

BISI, Michael, a celebrated Milanese engraver 
of the present century, who first distinguished 
himself by the publication of the Pinacoteca del 
Palazzo Reale, della Scienze delV Arti, ^c. In 
1819 he commenced a series of engravings after 
Andrea Appiani, in which he was assisted by some 
of the best scholars of Longhi. His print of Ve- 
nus embracing Cupid, happily expresses the beau- 
ties of the original. He afterwards engraved the 
Virgin and Infant enthroned, with saints, after 
Luini^ executed in a brilliant and elegant manner, 
preserving the beauty and grace of that master ; 
also Andromeda and Perseus, after Guercino ; an 
Adoration of the Virgin, after Sasso Ferrato ; 
and the Offering of the Magi, after Gaudenzio di 
Ferrara. He also succeeded as a painter of land- 
scapes. It is not ascertained whether he is still 
living. 

BTSQUBRT, Antonio, a reputable Spanish his- 
torical painter, born at Valencia. He studied un- 
der Ribalta, and established himself at Teruel in 
1620. His subjects are chiefly from Romish le- 
gends : distinguished for their sentiment, good 
color, and correct design. He copied Sebastian 
del Piombo's picture of a dead Christ in the arms 
of the Virgin, attended by the Marys and John. 
He died in 1646. 

BISSOLO, Pietro Francesco, a Venetian 
painter, who lived about 1520. He studied in the 
school of the Bellini. Lanzi mentions several of 
his pictures at Murano, and in the Cathedral of 
Trevigi, which he compares with those of the elder 
Palma. 

BISSONI, Gio. Battista, an Itahan painter, 
born at Padua in 1576 ; died in 1636. He studied, 
according to Ridolfi, under Francesco Apollodoro, 
an eminent portrait painter, and subsequently un- 
der Dario Varotari. He painted several pictures 
for the churches and convents of Padua and Ra- 



BITINO, a Bolognese painter, who flourished at 
Rimini in the first part of the fifteenth century, 
and, according to Lanzi, was one of the first art- 



ists of his time. In the Church of S. Giuliano, at 
Rimini, is an admirable altar-piece of the titular 
saint, by this artist, dated 1407. 

BITTONTE, Giovanni, called II Ballerino, 
was born at Vicenza in 1633, and died in 1678. 
He established himself at Castelfranco, where he 
found much employment, and opened a school of 
paintijig. He was also employed in the Casa Mo- 
rosini, at Venice, where he competed with the Cava- 
liere Liberi, and executed some excellent works. 

BIZEMONT, Andre de, a French engraver, 
who lived about 1780, and etched several land- 
scapes in a neat and pleasing style. 

BIZZELLI, Gio., a Florentine painter, born in 
1556 ; died in 1612. He studied under Bronzino, 
and afterwards went to Rome for improvement, 
where he met with much encouragement, and 
painted several pictures for the churches. Borghi- 
ni mentions a number of his works which he exe- 
cuted for the public edifices of Florence on his re- 
turn to that city. 

BLACEO, Bernardino, an Italian painter, who 
lived about 1550. Ridolfi mentions several of his 
works in the churches at Udine. in the Friuli ; 
among which are the principal altar-piece in S. 
Lucia, representing the Virgin and Infant, with 
Angels, and St. Lucia, and St. Agatha; in Porta 
Nuova. the Virgin and Infant, with St. Peter and 
St. John. 

BLACKMORE, John, a London mezzotinto en- 
graver, born about 1740. He executed some good 
portraits, among which are : Samuel Foote, 1771 ; 
W. H. Bunbury, J. Blackmore.fec. ; Heijry Bun- 
bury ; all after Reynolds. Innocence ; Black- 
more^ fec.^ 1770. 

BLAIN, Jean Baptiste, a French painter of 
fruit and flowers, born at Caen in 1654; died in 
1715 ; studied under Monnoyer, and followed his 
style. His pencil was delicate, and his coloring 
elegant ; he painted insects with great exactness, 
and gave a high finish to all his subjects. 

BLAKE, B., an English painter of still-life, birds, 
fish, etc., of the present century. His pictures, 
when carefully painted, are very pi easing ; but 
his straitened circumstances and his mode of living 
obliged him to hurry his works, and too often to 
repeat them. The dealers employed him to copy 
the works of Dutch masters, in which he was 
sometimes so successful as to enable them to cheat 
their customers ; they retaining the profits, and 
leaving the disgrace to the artist when detected. 
As his pictures were somewhat popular in his 
day, the dealers held him in thrall to their rapaci- 
t}^, and even injured his reputation by emplo3'-ing 
others to copy his works. He died about 1830. 

BLAKE, Wm., an English painter and designer, 
born in 1757 ; died in 1828. He was apprenticed 
to Basire, the engraver. His genius was undoubt- 
ed, but his mind was ill-balanced ; and in his illus- 
trations of Young's Night Thoughts, Jerusalem, 
Blair's Grave, and the Book of Job, we are some- 
times surprised by the invention and sublimity 
displayed by the artist ; while at others, his ab- 
surd and extravagant flights excite our pity or 
ridicule. He gained little encouragement, and 
died in poverty. 

BLANCHARD, Jacques, a distinguished Pari- 
sian painter, born in 1600; died in 1638; studied 



BLAN. 



107 



BLAN. 



under his uncle, Nicolas Botteri. At the a^e of 
24. he visited Italy, and passed two years in Rome, 
and two in Venice. He adopted the splendid 
style of coloring peculiar to the Venetian masters, 
and on returning to Paris, the force and clearness 
of his pictures gained him man}" admirers. He 
was the first to establish a true and natural style 
of coloring, in which the French artists were very 
deficient. His chief works are two pictures that 
he painted for the Church of Notre Dame — one 
representing the Descent of the Holy Ghost, and 
the other St. Andrew kneeling before the Cross ; 
also the Gallery in the Hotel de Boullion^ where 
he painted thirteen large pictures of subjects from 
Ovid. He also etched some p]ates from his own 
designs and others, among which are the follow- 
ing: 

The Holy Family ; without his name ; Chez Huart. 
Another Holy Family, with St. Catherine and St. John ; 
Chez dartres. The Birth of the Virgin ; Blanchard, 
pinx. ; Huart, exc. St. Aj^nes adoring the infant Jesus 
in the arms of the Virgin Mary; after Lodovico Caracci; 
without the name of the engraver. 

BLANCHEllI. ViTTORio, an Italian painter, 
who flourished from 1736 to 1775. He studied 
under Beaumont, in the latter period of the Vene- 
tian school. He was emploj-ed for the greater 
part of his life, by the King of Sardinia, and 
painted a number of large works in the palaces 
and churches of Turin. 

BLANCHET, Thomas, a Parisian painter, born 
I in 1617 ; died in 1689. He was naturally inclined 
j to sculpture, and studied that art for some time, 
under Sarrazin ; but was advised to relinquish it 
on account of a delicate state of health, and to 
apply himself to painting. He went to Rome, 
where he studied under Andrea Sacchi. He form- 
ed the acquaintance of Poussin and Algardi, who 
encouraged him by their commendations, and as- 
sisted him by their advice. After some years, he 
returned to Paris, where his talents were already 
known. He painted the Vision of St. Philip, and 
the Baptism of the Eunuch, for the Church of 
Notre Dame ; also some con.'^iderable works for 
the town-house at Lj^ons, which stamped him as 
one of the ablest French historical painters of the 
day. In 1676 he was elected a Royal Academi- 
cian, and painted for his picture of reception, Cad- 
w mus killing the Dragon. 

BLANCUS, Christopher, a German engraver 
of little note, who lived about 1600. and executed 
a few plates in the style of John Muller, among 
which are: 

A Holy Family, accompanied by Angels ; half-length ; 
after Spranger. 1595. The Portrait of Michael Angelo 
Buonarotti; Christophorus Blancusfaciebat. 1612. 

BLANCUS, or BIANCHI, John Paul. This 
engraver lived, according to Heineken, about 1682. 
and executed a few etchings in a heavy, indifferent 
style, among which is an emblematical print, after 
C. Stores, marked lo. Paul Blancus incid., and 
Christ praying in the Garden, 1682. 

BLANKHOF, John Teunisz, an excellent 
Dutch marine painter ; born at Alkraaer in 1628 ; 
died in 1670. He studied under Arnold Tierling, 
a painter of like note ; and afterwards under Cae- 
sar van Everdingen. On leaving the latter, he 
visited Rome, where he passed several years. His 
best pictures represent storms on the coast of the 
Mediterranean. Houbraken mentions a view of 



the sea-shore, with the waves retiring at ebb-tide, 
which he describes as wonderfully natural and 
beautiful, and accounts it the best work of this 
artist. The Flemish Society of Painters at Rome 
called him Maat or comrade, by which name he is 
sometimes known. 

BLANSERI, ViTTORio, a Venetian painter, born 
about 1735 ; died in 1775. He studied under 
Beaumont, and he was his ablest scholar. He 
succeeded that master in the service of the court 
of Turin, in which city are his chief works. Three 
of them are in the Church of S. Pel agio, one of 
which is much admired, representing St. Luigi 
fainting, supported by an angel. 

IDT} 1^^ BLECK, or BLEECK, Peter VAN, 
_Z VJ^ / / ' a Flemish engraver who came to 
England about 1730. and executed several plates 
in mezzotinto of some merit, among which are : 

Richard van Bleeck, painter ; se ipse. pinx. P. ran 
Bleeck, junior, fee. 1735. Rembrandt van RhATi ; se 
ipse pinx. Van Bleeck. 1727; with the cipher. Francis 
du Qucsnoy. called Fiammingo. Sculptor, A. Vandyck, 
pinx. P. 'v. B. I. f. 1751. Xell Gwyn ; after Lely. 
Mrs. Clive, in the character of Phillida ; Mrs. Gibber, in 
the character of Cordelia ; Griffin and Johnson, in the 
characters of Tribulation and Ananias; P. ran Bleeck, 
fee. 1735. TLe Virgin Mary and Infant ; after A. Van- 
derwerf. 1748. 

BLECKER, J. G.. a Dutch designer; born, 
according to Huber, at Haerlem, about 1600. He 
etched several plates in a slight and spirited style, 
among which are : 

SUBJECTS FROM HIS OWN DESIGNS. 

A Landscape, -with Jacob and Rachael ; A Landscape, 
with Rebecca and the servant of Abraham ; A Peasant, 
and a Woman riding in a Wagon ; a similar subject ; J. 
G. Blecker,fec. A Landscape with a Carriage at the 
Door of an Inn ; J. G. Blecker. fee. 1643. A Land- 
scape, with a Woman milking a Cow, and a Peasant. 1643. 
A Landscape, with Cattle. A Landscape, with a Woman 
on Horseback. A Landscape, with Figures on Horseback. 
A Landscape, with a Shepherd watching his Flock. 

SUBJECTS FROM CORNELIUS POLEMBURG. 

Jacob and L.aban dividing their Flocks ; The Lystrians 
wishing to sacrifice to Paul and Barnabus ; J. G. Blecker, 
aq.fort. 1638. The Crucifixion ; C. P. pinx. 1. C. B. 
The three last are engraved in the style of Rembrandt. 

BLEKERS. N.. a Dutch historical painter, born 
at Haerlem about 1635 ; died in 1682. He was 
patronized by the Prince of Orange, for whom he 
painted one of his best works, representing the 
Triumph of Venus. He also painted a fine pic- 
ture, the subject of which was the story of Da- 
nae. Vondel, a poet of Holland, has celebrated 
the works of this artist. 

BLES, Henry de. called Henri de Bles, or 
Heinrich met de Bles, an old Flemish land- 
scape painter, born at Bovines in 1480 ; died in 
1550. He imitated Joachim Patenier. and followed 
the stiff, dry manner of his time. He usually in- 
troduced sacred subjects into his landscapes, with 
a number of figures neath^ drawn. His works 
were in much request, even in Italy, where he was 
called Civetta, or the Owl. because his pictures 
always have an owl in one of the corners. They 
are ver}^ curious, and are highly esteemed, but 
quite rare in commerce. His best works were 
bought by the Emperor Rodolph. and are now in 
the Caliiiiet of Vienna. 

BLESSENDORF. Samuel, a Prussian enamel 
engraver, born at Berlin in 1670. He worked 



BLEY. 



108 



BERT. 



chiefly with the graver, and his plates are very 
neatly finished. He designed and engraved seve- 
ral plates for Puifendorf's History of Sweden, and 
some others ; among which are : 

Charles XI. King of Sweden. Charles XII. Frederick 
Rodolphus Louis, Baron of Canitz. Samuel Baron dePuf- 
fendorf. Frederick III., Elector of Brandenbourg. 1696. 
Frederick William, Prince Electoral. Frederick William; 
Adam cle Clerc,pinx. The Portraits of John Frederick 
of Brandenbourg, Margrave of Anspach, and the Margra- 
vine, in a Garden ; after Gasp. Netscher. 1682 ; very 
fine. 

BLEYSWICK, F. van, a German engraver of 
little note, who lived from 1725 till 1746, and exe- 
cuted several small landscapes of some merit, and 
many portraits for the publications of the day — 
among others^ a part of the plates for the collec- 
tion entitled Portraits Historiques des homines 
illustres de Danemark, 1746. 

BLIEK, Daniel de, or van Blicke. This 
ai'tist M^as a good painter of interiors and exteriors 
of edifices, and lived about 1656. His style re- 
.sembles that of van Vliet. 

BLINKVLIET, M. This painter probably flour- 
ished about 1680. He imitated the admirable 
works of Berghem with such success, that his 
vrorks have been ascribed to that master. 

BLOCK, Daniel, a German portrait painter, 
born at Stettin, in Pomerania. in 1580 ; died in 
166 1. lie studied with Jacob Scherer, a reputable 
portrait painter, under whom he soon became dis- 
t.n^'uisbed, and ultimately surpassed his instruc- 
tor. He was patronized by the courts of Denmark 
and Sweden ; also for man}^ years by the Prince of 
Mecklenburg. His talents enabled him to amass 
a large fortune, of which he was deprived by plun- 
dei*. 

BLOCK, Ben J., a reputable German historical 
and portrait painter, the son of the preceding, was 
born at Lubec in 1631 ; studied with his father, 
and was sent by the Prince of Mecklenburg to 
Italy for improvement. He visited Rome, Naples, 
and Venice, and met with encouragement as a 
portrait painter in each of those cities. His best 
work is the portrait of Kircher, the Jesuit, which 
was exceedingly admired, even at Ptome. On re- 
turning from Italy, he was invited to the court of 
Saxony, where he painted the Electoral family, and 
the principal courtiers. He painted several his- 
torical works for the churches in different parts 
of Germany. 

BLOCK, Jacob Roger, a Dutch painter, born at 
Gouda in 1580. He visited Italy while quite young, 
and studied architecture and perspective with 
great assiduity. He made designs of the remains of 
antiquity near Rome ; and on returning to Holland, 
painted several admirable pictures composed from 
these subjects. According to Houbraken, Rubens, 
while making the tour of Holland, visited Block, 
and pronounced him the ablest painter of his coun- 
try, in the subjects which he represented. He 
also excelled in military architecture, and was 
taken into the service of the Archduke Leopold, 
with a considerable pension, whom he accom- 
panied in some of his campaigns, and was killed 
in 1632, by a fall from his horse. 

BLOCK, Joanna, a woman of such extraordi- 
nary ingenuity, that Descamps has given a long 
article on her life. She was born at Amsterdam 
in 1650. The family name was Roerten. In her 



youth, she modeled figures, fruit, and flowers, in 
wax; and also engraved with the diamond, on 
crystal and glass with extreme delicacy. She in- 
vented a kind of open-work {dccoupure) to imi- 
tate painting, which she carried to such perfec- 
tion as to excite general curiosity, and to obtain 
the patronage of the most distinguished person- 
ages. With her silks and scissors only, she made 
landscapes, figures, cattle, flowers, and even por- 
traits, having a surprising resemblance to nature. 
The Czar, Peter the Great, visited her ; the Elector 
Palatine in vain offered her 1000 florins for three 
small decoupiires. The Empress of Germany paid 
her 4000 florins for a portrait of the Emperor 
Leopold I., and a trophy with his coat of arms, 
which she hung in his cabinet. Queen i\Iary of 
England and many princes sought her works. 
She died at Amsterdam in 1715, aged 65. Her 
husband, wishing to erect a monument to her mem- 
ory as curious as were her works, employed the 
celebrated Nicholas Verkolie to draw in one pic- 
ture, the portraits of all the princes and princesses 
who had registered their names in a book kept by 
his wife for that purpose. Descamps assures us 
that the works of J. B. are surprising imitations 
of nature, and very correct in drawing ; and to give 
a precise idea of the method of execution, he com- 
pares them to the engravings of Claude Mellan. 
which are executed with the graver in parallel 
lines. See Claude Mellan. 

BLOCKLANDT, Anthony de Montfort, a 
Dutch historical painter, born at Montfort in 1532 j 
died in 1583, He studied under Francis Floris, 
whose style he followed, and became one of his 
ablest scholars. His style partakes more of the 
Italian, than of his country's taste, in respect to com- 
position and design. He painted a number of works 
for the churches of Holland. Van Mander mentions 
three in the great church at Utrecht, representing 
the Birth of the Virgin, the Annunciation, and 
the Assumption, which were highly esteemed in 
his time. At Gouda he painted the Decollation 
of St. John, and at Dort several pictures of the 
Passion of Christ. Hubert Goltzius and others 
have engraved some of his works. 

BLOEM, A., a German engraver, who lived at 
Vienna, and engraved the portraits, battles, views, 
plants, &c., for a book published at Vienna in 1674, 
entitled Istoria di Leopold Cesare. 

BLOEMAERT, Abraham, a Dutch historical 
and landscape painter and engraver, born at Gor- 
cum in 1564, according to Houbraken; though 
Sandrart says in 1567; died in 1647. He was 
the son of an architect, who placed him under 
Joseph de Beer, but he seems to have profited 
most by studying and copying the works of Fran- 
cis Floris. He painted several pictures for the 
churches in Flanders ; among which are the Wise 
Men's Offering in the Jesuit church at Brussels ; the 
Virgin and Infant with a glory of Angels, in the ca- 
thedral at Mechlin, and the Nativity at Leliendael. 
Two of his best works were a picture painted for 
the Emperor Rodolphus, representing the Death 
of Niobe and her Children; and the Feast of the 
Gods, painted for the Count de la Lippe. His col 
oring is excellent, but his drawing very incorrect. 
As an engraver, he etched a number of plates in a 
free, bold, and masterly style, some of which are % 
in imitation of pen-drawings ; but his best prints f 
are those executed in chiaro-scuro, which are done 



BLOE. 



109 



BLOE. 



with good effect, in a very spirited style. The out- 
lines of these are etched on copper, instead of be- 
ing cut on wood. His prints are sometimes signed 
with his name at full length, but often mai'ked 
Ab. BU in., or A. BL, or A. Bloem. The follow- 
ing are the principal : 

ETCHINGS BY A. BLOEMAEHT. 

St. John, with a Lamb. The Magdalene, penitent. St. 
Peter, penitent. The Holy Family; J, Stai'terus, e.vc. 
1593. Juno. Four Landscapes, with Figures and Animals. 

PRINTS IN CHIARO-SCURO. 

Moses and Aaron. The Virgin and infant -Jesus. The Holy 
Family. Two Busts, the Virgin Mary and St. Joseph. St. Si- 
mon, with the Instrument of his Martyrdojn. The JMagda- 
lene, with a Crucifix St. Jerome reading ; A. Bio. Another 
St. Jerome ; after Parmig°riano ; marked F. P. A naked 
Infant; after Titian. A Woman with a Veil ; after Par - 
niiggiano. 

BLOEMAERT, Adrian, a Dutch historical and 
portrait painter of some merit, son of the preced- 
ing. He studied under his father, and subsequent- 
ly visited Italy, where he remained some time. 
He afterwards went to Vienna, and ultimately set- 
tled at Saltzburg, where he fell in a duel. Heineken 
attributes to him several plates of portraits, al- 
though they are without his name. He had an 
elder brother named Henry, a portrait painter of 
little note. 

BLOEMAERT, Frederick, a Dutch engraver, 
born at Utrecht in 1600 ; was the third son of A. 
Bloemaert, who taught him the art, and drew 
many designs which Frederick engraved. His 
chief work was a drawing-book containing 173 
plates, aftA" designs by A. Bloemaert. He exe- 
cuted several plates entirel}^ with the graver, and 
there are a number of etchings by him, and prints 
in chiaro-scuro. His plates are sometimes signed 
A. Bloem. inv., F. B. JiUus fecit, and sometimes 
F. B. The following are principally after his 
father's designs : 

Twelve of the Archbishops and Bishops of Utrecht ; two 
of which are by Corn. Bloemaert. Thomas a Kempis. 
St. Francis in a Hermitage. The Body of Leander on the 
Sea-shore. A sot of si.xteen figures of Men and Women ; 
marked F. B. fee. A set of thirty^ — Of Beggars ; on the 
title is inscribed Nudus inops 'mutilus, F. B. fee. The 
Five Senses. The Four Sea.sons. Twenty Landscapes ; 
F. B. filius, fecit et e.vc. A Landscape, with a Pigeon- 
house. Fourteen of Animals and Birds ; entitled Versch- 
eyde Besten and Vogelen. Four of Cock-fighting ; De 
Hanabi/ters. 

BLOEMAERT, Cornelius, an eminent Dutch 
engraver, born at Utrecht in 1G03 ; died at Rome 
in 1G80. He was the fourth son of A. Bloemaert, 
who instructed him in the elements of design. He 
studied also under Crispin de Passe, and before 
long surpassed that master. In 1630 he visited 
Paris, where he gained distinction by several plates 
he engraved for the Temple of the Muses. He 
subsequently went to Rome, where he resided 
the greater part of his life. He essentially im- 
proved the art, not only by the beauty of his exe- 
cution, but chiefl}'" by effecting an insensible degra- 
dation from his lights to his shadows, and introdu- 
cing a variety of delicate tints in the different dis- 
tances of his subjects. Before his time, there was a 
great neglect of harmony, by leaving the lights in- 
discriminately clear ; so that the effect was rendered 
spotty and incongruous. He may be said to have 
been the founder of that admirable style which 
has been so successfully followed by Audran and 
others. His prints are numerous, and are greatly 
admhed. Several of them are quite scarce. Some 



are marked C. BL, and others. Corn. Bio., or C. 
Bio. The following are the principal : 

SUBJECTS FROM HIS OWN DESIGNS. 

Franciscus Bonisignus, secretary to Prince Leopold ; C. 
Bl. John Baptist Toretti Florentine ; RomcB. P. Greb- 
ber; P. Harlem consec ; C. Bio., sc. J. Doens ; Scot. 
Theol. Jacques Faverau ; after Diepenbeck ; oval. Mo- 
ses in the Bulrushes. The Virgin Mary, and the infant 
Jesus caressing her. A Thesis, with three of the Popes in 
Niches. A Frontispiece, where St, Ignatius is presented 
with a Map. 

SUBJECTS AFTER ABRAHAM BLOEMAERT. 

Bartholomaus Aribertus, liber Baro Malgrati. Ath- 
anasius Kircher, Jesuit. Cardinal Francesco Peretti di 
Montaito. The Tomb of D. Nomi. The Virgin Mary, 
with the infant Jesus sleeping. The infant Jesus, with a 
Glory. The Assumption of the Virgin ; fine composition. 
St. Jerome in the Desert. The Four Doctors of the Church 
disputing on the Sacrament. St. Francis kneeling before 
the infant Christ. Christ carrying his Cross, and St. Igna- 
tius ; very fine. Avarice, an old Woman counting Money 
by Candlelight. Liberality, a young Woman giving Drink 
to a Child. An old Woman warming her hands with a 
Stove. A half-length figure playing the Romel-pot, 
called the Mustard Grinder. Four, called Travelers re- 
posing. Two Landscapes, in one a Woman with a Basket, 
sitting under a Tree, and in the other, a Woman sitting ; 
fine and scarce. Thirteen, the Twelve Months of the 
Year, and the Zodiac. A Cat, with a Rat under her Paws ; 
fine. There are many copies of this plate. The great 
Owl, with a pair of Spectacles and a Book. 

SUBJECTS AFTER ITALIAN MASTERS, ETC. 

The Virgin with the Infant seated on a Throne, with St. 
Roch and St. Sebastian ; after Baroccio. The Holy Fam- 
ily ; after Parmiggiano. The Virgin Mary adoring the 
infant Jesus sleeping ; after Guido. The Virgin and in- 
fant Christ; after Titian. The Annunciation ; afterLan- 
franco ; inscribed Spiritus Sanctus, &c. The Resurrec- 
tion ; after Paolo Veronese. The Holy Family, with St. 
Joseph with Spectacles ; the Crucifixion ; St. Margaret ; 
after Caracci. St. Luke painting the Virgin and Infant ; 
the Adoration of the Shepherds ; after Raff'aelle. St. John 
in the Wilderness ; Videns Jonnes, &g. ; Christ at Table 
with his Disciples ; the Resurrection ; St. Paul preaching 
at Athens ; the Holy Family, with St. Francis kneeling ; 
St. Anthony of Padua kneeling before the infant Jesus ; 
after Ciro Ferri. St. Peter raising Tabitha from the 
dead ; after Guercino ; extremely fine ; the most capi- 
tal plate of this master. The Nativity ; the Virgin and 
infant Jesus, with St. Martha holding the Palm of Martyr- 
dom ; after P. da Cortona. The Genius of Poetry dis- 
tributing Wreaths; a circular plate. 

BLOEMEN, Johannes Francis van, called 
Orizonti, a Flemish landscape painter, born at 
Antwerp in 1656 5 died at Rome in 1740. He 
went to Italy while very young, and remained 
there all his life. His works have no resemblance 
to the taste of his country, and, though inferior to 
Caspar Poussin, he deserves a rank among the 
able landscape painters. In his pencilling and his 
forms, he seems to have imitated Poussin, and 
some of his works may be compared with those of 
that admirable artist. His views in the vicinity 
of Rome and Tivoli, are characterized by great 
truth, and even grandeur. The Flemish Society 
at Rome gave him the name of Orizonti, from the 
beauty and delicacy with which he painted the dis- 
tances in his landscapes. There are many of his 
A^orks in the palaces at Rome, the best of which 
are in the Rospigliosi, Doria, and Colonna palaces, 
and the pontifical palace at Monte Cf^yallo. He 
etched several plates of views near Rome, in a bold 
and masterly style. 

PD PV^ BLOEMEN, Peter van, called 
\Ij'^'^'~I7 o£ Standard, a Flemish painter, 
and brother of the preceding, born at Antwerp 
in 1649; died in 1719. He visited Rome for 
improvement, where the Flemings called him 



BLOI. 



110 



BLON. 



Standard^ from his painting occasionally charges 
of cavalry. After a few years he returned to 
Antwerp, and in 1699 was made director of the 
Academy. His pictures represent battles, the 
march of caravans, horse-fairs, &c. ; ingeniously 
composed, correctly drawn, and painted with great 
freedom and spirit. He decorated his landscapes 
with the ruins of architecture and statues, from 
the studies he brought from Italy, and his figures 
are designed in a style superior to the usual taste 
of his country. He had a j^ounger brother, Nor- 
bert van B., a painter of little note. His works 
were portraits and conversations. 

BLOTS, Abraham de, a Dutch engraver, of lit- 
tle note, w^ho lived about 1700. He executed part 
of the plates for a work entitled Figures de la Bi- 
ble, from designs by Picart and others, published 
at Amsterdam in 1720 ; also many other plates 
for the booksellers. 

BLOND, J*EAN Baptiste Alexandre le, a 
Parisian architect, born in 1679. He erected a 
considerable number of buildings at Paris ; among 
which is the noble palace in the Rue des Enfers, 
near the Cistercian monastery. He made many ad- 
ditions to Aviler's Cours et Dictionaire d'' Architec- 
ture, and became so eminent that Peter the Great, 
in 1716, sent for, and appointed him his first arch- 
itect, and president of all those great works which 
that monarch projected. Le Blond, however, died 
shortly after at St. Petersburg in 1719. The Czar 
ordered his obsequies to be most splendidly per- 
formed, and attended them in person. 

BLOND, Michael le, a German 



BL ^IBl.* engraver, born at Frankfort about 
1580. He resided chiefly at Amsterdam, and appears 
to have been principally emploj^ed in making orna- 
ments for the goldsmiths. In 1626 he published 
a set of ornaments, fruit, flowers, and foliage, exe- 
cuted in a very neat manner. His prints are very 
small, and are executed entirely with the graver in 
the finished manner of Theodore de Bry. He 
sometimes marked them with a cipher composed 
of an M. and a B. The following is a list of his 
plates : 

St. .Jerome, seated at a Desk writing, with an ornamen- 
tal border ; a small circular plate, about the size of a shil- 
ling; dated 1610. Figures dancing, in a small oval, with 
aa ornamental border; ^ignaci. M. Blondus, 1612. The 
Eepresentation of a Marriage ; M. Blondus, 1615. Two 
ornaments for goldsmiths ; inscribed Wilhelm van Weel- 
ickkeit. A very small plate of ornaments with three Gob- 
lets. Six plates numbered, of Arabesque ornaments for 
Knife-liandles ; Michael Blondus, fecit ; very highly fin- 
is'ied. 

BLOND, or BLON, James Christopher le, 
a German painter and engraver, born at Frankfort 
in 1670. He visited Italy at an early age, and is 
said to have studied under Carlo Maratti. He ac- 
companied Bonaventura van Overbeek to Amster- 
dam, where he gained some reputation by his 
miniatures in water-colors ; but afterwards went 
to England, and established a manufactory for 
printing mezzotinto plates in colors, so as to imi- 
tate the pictures from which they were engraved. 
The project, however, proved ruinous to le Blond 
and his associates, and the prints were disposed 
by lottery. In 1730 he pubhshed a work in Eng- 
lish and French, explanatory of the process ; en- 
titled II Color ito, or the Harmony of Coloring in 
Painting, reduced to Mechanical Practice, under 
easy Precepts and Infallible Rules. After this. 



he set on foot a plan for copying the cartoons of 
Raffaelle in tapestry, and made some fine drawings 
from the originals for that purpose ; but though 
much capital was invested, the scheme failed, and 
le Blond left England for Paris, where he had no 
success, and died in a hospital in that city, in 
1741, aged 71 years. The following are his prin- 
cipal prints, which, besides the novelty of the 
manner, possess considerable merit : 

PORTRAITS. 

George II. of England. The Queen. Louis XV. of 
France. Prince Eugene of Savoy. Cardinal de Fleury. 
The Children of Charles I. Peter Paul Rubens. Anthony 
Vandyck. 

VARIOUS SUBJECTS. 

St. Agnes; St. Cecilia; after Domenichino. The Re 
pose in Egypt ; the Entombing of Christ ; Venus ; after 
Titian. The Triumph of Galatea ; after C. Maratti. ' Cu- 
pid making his Bow; after Correggio or Parmeggiano- 
The Chastity of Joseph ; after C Cignani. Christ on the 
Mount. Mary Magdalene. St. Mary of Egypt. St. John 
embracing the infant Jesus ; after Vandyck. 

BLOND EAU, James, a French engraver, born 
at Langres about 1639. He followed the style of 
C. Bloemaert, though in no respect his equal. He 
engraved several plates after pictures by P. da 
Cortona, in the Pitti Palace at Florence, besides 
some plates at Rome after other Italian masters. 
Some of his portraits have no name attached. The 
following is a list of his works: j 

PORTRAITS. , 

Cardinal Francesco Lorenzo Brancati, 1681 ; Cardinal 
Fortuna Caraffa, 1686 ; Cardinal jMaxmilien Gandolfi, * 
1686 ; Cardinal Opitus Pallavinci ; General Enee, Count 
of Caprara ; Rene d'Est, Duke of Modena; John George 
III., Elector of Saxony ; John Sobieski, King of Poland ; 
Cardinal Bichi, after Bourgognone, oval. 

SUBJECTS after VARIOUS MASTERS. 

The Martyrdom of St. Lawrence ; after P. da Cortona. 
Eight allegorical subjects, from the picture:-? by P. da Cor- 
tona. in the Pitti Palace ; small plates. The Pulpit of St. 
Peter ; after Bernini. The Miigdalene, half-length ; after 
Calandrucci. The Circumcision ; the Crucifixion ; St. 
Augustine appearing to St. Theresa ; after C. Perri. 

BLONDEL, FRAN901S, a French architect, born 
in 1617. He designed the gates of St. Antoine and 
St. Denis, the latter of which is a magnificent af- 
fair. He also designed several embellishments in 
Paris, was director of the Academy of Architec- 
ture, and wrote several works on mathematics, ar- 
chitecture, and engineering. He died in 1686. 

BLONDEL, Jacques FRAN901S; a French ar- 
chitect of great ability, born at Rouen in 1705. At 
Metz he erected, in 1764, the royal abbey of St. 
Louis des Dames Chanoines : he also formed a beau- 
tiful square and street leading to the cathedral ; 
an elegant Gothic edifice ; the magnificent Hotel 
de Ville, opposite to which he erected another edi- 
fice ; near to this latter, a guard-house, with mag- 
azines, and facing that, the beautiful fa9ade of the 
Parliament House; and, finally, the sumptuous 
Archiepiscopal Palace. At Strasburg, in 1768, 
he made the plan for rendering that town more 
regular, and succeeded in improving it Avonderfully. 
At Cambray, he made many improvements ; and 
at Chateau Cambresis, several miles from Cam- 
bray, he designed a beautiful country palace and 
gardens ; also a variety of other buildings through- 
out Germany and France. Blondel also illustra- 
ted the last edition of d'Aviler, and three volumes 
of the Architecture Francaise, with six hun- 
dred engravings of the principal edifices in France. 
He contributed all the parts relating to architec- 



BLON. 



Ill 



BLON. 



ture in the Encyclopedie, and wrote that very use- 
ful work, his Cours cV Architecture. In 1744, 
he established a School of Architecture in Paris, 
which grew into considerable importance. He died 
in 1773, aged 68. 

BLONDEL, Jean Francois, a Parisian engra- 
ver. He published a description of the festivals at 
Paris in 1740, on the Marriage of Madame Louise 
Elizabeth to Don Philip of Spain. The illustra- 
tions are chiefly by himself. He also etched 
the plates for several large volumes of architec- 
ture, published b}^ himself 

*_f^^ BLONDEL, Lansi.oot, a Flemish painter, 
Suborn at Bruges in 1500, died in 1559. He 
painted architectural ruins and conflagrations. His 
works are marked with a trowel in addition to his 
initials, in allusion to his original occupation as a 
mason. 

BLOOT, Peter, a Dutch painter, who lived 
about 1650. . He painted scenes fiom low life, such 
as drolls, drunken frolics, and the quarrels of the 
peasantry. His figures are short, gross, and un- 
graceful, having neither commendable expression 
or correct outline; yet his pictures have great 
merit, and are highly esteemed in Holland, where 
they are carefully preserved in private collections, 
and are purchased with difficulty. Some of them 
are equal to the best productions of his time for 
transparency of color and lightness of touch. He 
died in 1607. 
CT\ BLOOTELINCI, or BLOTELING, Abra- 
^|3* HAM, a very eminent Dutch designer and 
engraver, born at Amsterdam in 1634. He execu- 
ted a great number of etchings ; also some plates 
with the graver, and several in mezzotinto. His 
style resembles that of the Visschers. When the 
French attacked Holland in 1672, he went to Eng- 
land, where he met with encouragement, but did 
not remain long. In 1685 he published the collec- 
tion of the gems of Leonardo A.i;ostini, etched by 
himself. He sometimes marked his platco with 
his -name in full, and sometimes with his mono- 
gram. The following are the principal : 

etchings and plates with the graver. 

PORTRAITS. 

Sir Thomas More, Chancellor of England ; Thomas Sy- 
denham, Bishop of Worcester; John Wilkins, Bishop of 
Chester; after Mrs. Beetle. Edward Stillingfleet, Canon 
of St. Paul's. Edward, Earl of Sandwich ; Edward, Earl 
of Montague ; James, Duke of Monmouth ; after Lely. 
Anthony, Earl of Shaftsbury ; after Greenhill; one of the 
scarcest prints of this artist. Henry, Duke of iSTorfolk, 
1678. Jane, Duchess of Norfolk, 1681. Prince Rupert; 
after Lelr/, 1673. Jerome de Beverningh ; William van 
Haren, 1680 ; after Vaillant. The Marquis de Mirabelle ; 
after Vandyck. Constanter Hugenius; after Netscker. 
John Henry Thim ; A. Stech, pinx. Ferdinand de Furst- 
enborg. Bishop of Paderborn ; A. Bloteling, sc, 1669. 
Egbert Meesz Kortenaer, Admiral of Holland ; Bart. Van- 
derhelst, pinx. Augustus Stellingwerf, Admiral of Fries- 
land. Cornelius de Witt, Vice Admiral of Holland. Tierck 
Hides de Fries, Admiral of Friesland. Aert Van Nes, Ad- 
miral of Holland ; L. de Joug^he, pin.v. Michael Adria- 
ensz Ruytcr, Admiral; Bloteling, fee. aqua forti. Corne- 
lius Tromp, Admiral of Holland; after Lehj. Cornelius 
Speelman, Vice Admiral. 
various subjects after his designs and other 

MASTERS. 

Two Heads of Children ; after Rubens ; rare ; some im- 
pressions have the name of Rubens. The Study of the Head 
of a Man ; after Rubens ; A. Bloteling, fee. ct exc. ; rare. 
Four Studies of Lions ; after Rubens; inscribed Varice 
Leonum Icones^ a P. P. Eighteen circular plates of sub- 



jects of sacred history, with Flowers ; A. Bloteling, fee, 
Twelve Views of Gardens ; inscribed Alcune Vedute, d^c. 
Six Views of the Environs of Amsterdam ; Jac. Ruysdael, 
inv.; A. Bloteling, fee, 1670. Two Huntings of the Boar 
and Stag; fine. Acteon devoured by his Dogs ; a Shepherd 
playing on his Pipe, with a Shepherdess ; G. Plink, pinx. 
A Landscape, with Diana bathing ; J. ran Neck, pinx. ; 
A. Bloteling, exc. A Landscape, with Alpheus and Are- 
thusa ; the same. The Golden Age ; G. Lairesse, pinx. ; 
N. Visscher, exc. The Marriage of St. Catherine ; after 
Raffaelle. 

PRINTS IN MEZZOTINTO. 
PORTRAITS. 

Desiderus Erasmus; H. Holbein, pinx. 1671. Justus 
Lipsius; A. Bloteling, fee. Michael Angelo Buonarotti; 

A. Bloteling, fee. Frarcis Mieris, painted by himself ; A. 
Bloteling, fee. Henry Bennet, Earl of Arlington, oval ; 
Charles, Earl of Derby ; Abraham Symmonds, an artist ; 
Queen Catherine ; after Lely. John de Wit, Grand Pen- 
sionary of Holland ; Cornelius de Wit, the brother of John ; 
after de Baan. Constantine Hughens ; Johnde Cronefeld ; 

B. Valliant, pinx. The Emperor Leopold I. ; C. Morad, 
pinx. Henry Casimir, prince of Nassau ; M. van Mus-^ 
eher, pinx. Titus Gates ; Th. Hawker, pinx. William 
Henry, Prince of Orange, 1678; Eleanor Gwyn; Maria 
Beatrice, Princess of Modena, Duchess of York ; Cornelius 
Tromp, Admiral of Holland ; after Lely. Staverinus, an 
old Jew, holding a Medal ; Corn. Bcga, pinx. Michael 
Adrienze de Ruyter, Admiral of Holland ; J. Lievens, 
pinx. Portrait of a Venetian Lady ; Titiano, inv. 

various subjects from his own designs and OTHER 
MASTERS. 

Bust of a Man ; circular. Bus*^ of a young Man crowned 
■with Laurels ; circular. Bust of Hyppolita ; oval. Two 
Heads, with Phrygian and Grecian Head-dresses ; one 
plate. The Satyr, and a Peasant;, oval. Vanitas, a Child 
blowing Bubbles. Abundance, a figure sitting. The Head 
of a Vestal, crowned with Roses. Small Bust of Jupiter ; 
circular. Small Bust of Venus ; same. Half length, of a 
Boy holding a Cat. Cupid and Psyche. The Five Senses; 
the Four Ages, circular ; after C Bega. A Blind Man 
playing on the Flute. A Man holding a Glass ; Rostrate, 
pinx. St. Peter penitent ; after P. Moreels. Andromeda. 
Hercules destroying the Monster ; G. Lairesse, pinx. Tho 
Temptation of St. Anthony ; Cam. Procaccini, pinx. A 
Landscape, with mythological figures ; P. de Neve, pinx. 

BLOT, Maurice, a Parisian engraver, born in 
1754 ; died in 1818. He studied under St. Aubin, 
and executed several portraits and fancy subjects, 
in a neat manner^ among which are the following : 

Giovanni Angelo Braschi. Pope Pius VI., a frontispiece 
for the Life of that pontiff, 1799. Guillaume de Gery, 
Cannon of St. Genevieve ; M. Blot, fecit. The Dauphin 
and Madame Royal, the Children of Louis XVI. ; after 
Madame Le Brun, 1786. The Promise of Marriage, and 
Companion ; after Fragonard. A Boy blowing Bubbles ; 
after F. Mieris. L' Occupation du Menage, et Compan- 
ion; after Aubry. The Judgment of Paris ; after Vander 
Werf. Meditation ; after Guido. Vanity, and the Com- 
panion ; after L. da Vinci. La Vierge aux Candelabies ; 
after Raffaelle. Mars and Venus; after N. Poussin. 
Marcus Sextus ; after Guerin. 

BLYHOOFT, I., a Dutch painter, who probably 
lived about 1650. In the Catalogues of Terwesten 
and Hoet, there are two of his pictures noticed, 
which are favorably compared with those of Net- 
scher. For this reason he is noticed, as many 
pictures are ascribed to Netscher that resemble 
his manner, but are by other artists. 

BLYTH, Egbert, a modern English engraver, 
who executed several spirited etchings, after the 
fine drawings of J. Mortimer. The following are 
his best plates : 

Three, of Studies, in the style of Sal. Rosa and Lai 
resse ; four, of the same, with inscriptions ; bust of an Ori- 
ental Chief, 1779, oval ; Bust of an Old Man, oval ; Ban- 
ditti going on nn Expedition, 17S0 ; Bnnditti returning 
from an Expedition, 1780 ; the Captive, 1781 ; the Life and 



BOBA. 112 

Death of a Soldier, four plates; Fishermen; a Nymph, 
with a Basket of Flowers, sitting on the Sea-shore, with a 
Shepherd ; Caius Marius reflecting on the Ruins of Car- 
thage ; Nebuchadnezzar recovering his reason, companion ; 
Homer reciting his Verses to the Grecians. 

BOBA, George, a painter and en<]::ravcr. Bartsch 
mentions six landscapes with historical subjects, 
after Primaticcio. which have Boba's name in full, 
or included in a monogram, ver}^ small. Van Man- 
der sajs he studied under Francis Floris. 

BOBxiDILLA, Geronimo, a Spanish painter, 
born at Antequerra, and studied under Zurbaran of 
Seville. He was an adept in perspective, and em- 
ployed it successfully in arranging in his composi- 
tions the small figures on which he chiefly em- 
ployed his talents. His works were well colored, 
but indifferently designed ; he used a peculiar var- 
nish on his pictures, which Murillo compares to 
crystal. He had a large collection of drawings, 
models, and academic figures, and sketches after 
eminent artists. He was one of the founders of 
the Seville Academy in 1660, and continued to sup- 
port it till his death, in 1680. 

BOG ANEGRA, Don Pedro Atanasio, a Span- 
ish painter, born at Granada in 1638 ; died in 
1688. He studied under Alonso Cano, and, accord- 
ing to Palomino, improved himself in coloring by 
studyin.?; the works of Pedro de Moya and Tan- 
dy ck. He M-as excessively vain and overbearing, 
and boasted his superiority to all the artists of his 
time ; but on being challenged to a contest of abil- 
ity with Mathias de Torres, he shrank from the 
trial, and left Madrid. His works, however, were 
in much request, and no collection was considered 
complete without a specimen. There is a picture 
by him of the Conception, in the cloister of Nues- 
tra Senora de Gracia, at Granada; and one of his 
best works in the Jesuit College, representing the 
Conversion of St. Paul. 

BOCATIS, Giovanni di Camerino, a painter 
of the Roman school, who flourished about 1450. 
Lanzi says there is a picture b}^ this artist in the 
convent of the Dominicans at Perugia. It is in- 
scribed. Opus Johannis Bochatis de Chamerino. 

BOCCACCINO. Boccaccio, an Itahan painter, 
born at Cremona in 1460, died about 1518. He 
studied, according to Pascoli, under P. Perugino. 
Vasari and Cav. Antonio Campi say he studied 
some time at Rome. He has the credit of having 
been one of the instructors of Benvenuto Garofalo. 
Lanzi observes tiiat he was the best modern among 
the ancient painters, and the best ancient among 
the moderns. Some of his works have a strong 
resemblance to those of Perugino, particularly his 
Marriage of the Virgin ; and the Madonna, with St. 
Vincenzio and St. Antonio, in the Church of S. 
Vincenzio, at Cremona, which have been frequently 
taken for the works of Perugino. One of his best 
works is a frieze in the dome at Cremona, repre- 
senting the Birth of the Virgin, and several sub- 
jects from her life. Lanzi considers him in these 
works inferior to Perugino in his compo.sition, the 
expression of liis h.eads, and the vigor of his light 
and shadow ; but richer in his drapery, more spir- 
ited in his attitudes, more varied in color, and not 
less harmonious and pleasing in his landscapes and 
architecture. 

BOCC ACCINO. Camillo, an Italian painter, the 
son of the preceding, born at Cremona in 1511. 
He studied under his father, and for some time fol- 



BOCC. 



I 



lowed his manner ; but on visiting Rome, he aban- 
doned the dry, gothic style to which h^ had been 
accustomed, adopting a grand and pleasing manner, 
and was considered the greatest genius of the Cre- 
monese school. In 1537 he painted the Four Evan- 



gelists, in the niches of the cupola of S. Sigis- 
mondo. They approach wonderfully the merit of 
Correggio, both in the perspective and foreshorten- 



ing ; though the artist was only twenty-six years 
old, and had never frequented the school of Correg- 
gio. Two other works of this artist, at Cremona, 
are highly esteemed, the Raising of Lazarus, and 
the Adulteress before Christ, surrounded with 
friezes of a numerous group of angels, designed and 
composed in an elevated style. He died in the 
prime of life, in 1546. 

BOCCACCINO, Francesco, an Italian painter, 
born at Cremona about 1680. died in 1750. He 
studied at Rome,first under Brandi, and afterwards 
under Carlo Maratti.' He painted easel pictures 
of historical subjects in a very pleasing manner, 
which were well esteemed in private collections, 
and of which he painted more than of larger works 
for the churches. He sometimes imitated the stjde 
of Albano, and, like that artist, was partial to fab- 
ulous subjects. 

BOCCANERA, Marino, an architect of Genoa, 
who lived about 1300, commenced the mole there, 
for the foundation of which he threw into the sea 
stones of an immense size, taken from the neigh- 
boring mountains. To him is attributed the wet 
dock, which had been commenced by others-; and 
the basin cal]ed the Mandrocchio. as well as some 
aqueducts. In the year 1300, he enlarged the 
port, digging it a depth of fifteen feet, and one hun- 
dred and fifteen cubits along the shore. 

BOCCHI, Faustino, an Italian painter, born at 
Brescia, accoi-ding to Orlandi, in 1659, died in 1742. 
He studied under Everardi, called Fiammingo, He 
Avas partial to battle-pieces, charges of cavalry, and 
other warlike subjects, executed on a small scale, 
but with great animation. His landscapes are 
very beautiful, and his figures correctly drawn. 

BOCCIARDO, Clemente. called Clementone 
from his corpulency, was a Genoese painter, born 
in 1620, died in 1658. He studied under Bernardo 
Strozzi, and surpassed that master in his inven 
tion and correctness of design, though inferior to 
him in the truth and purity of his coloring. He 
accompanied Benedetto Castiglione to Rome, where 
he studied some time, and afterwards went to Flor- 
ence, where he met with encouragement, and 
painted a portrait of himself for the Florentine 
Gallery. His principal works are at Pisa, of which 
Lanzi distinguishes his Martyrdom of St. Sebas- 
tian, in the Church of the Carthusians. 

BOCCIARDO, Domenico, an Italian painter, 
born at Finale, near Genoa, about 1686, and was a 
disciple and follower of Gio. Maria jMorandi. His 
design was correct, and his coloring pleasing, 
though he had little invention. In S. Paolo, at 
Genoa, is a composition of several figures, repre- 
senting St. John baptizing. 

BOCHOLT, Francis van, an old German en- 
graver, who lived soon after the time of Martin 
Schoen and Israel van Mecheln. He executed a 
number of prints in a stiff, labored manner, gene- 
rally marked F. V. B. The following are the prin- 
cipal : 



BOCK. 



113 



BOEC. 



Afttr Martin ScJioen. — St. Anthony carried into the Air \ 
by Demons ; St. James reading ; St. Michael and the Dra- 
gon. 

After Israel van Mecheln. — The Judgment of Solomon ; 
the Annunciation ; the Vii-gin and Child, in an arch. 

After his Own Designs. — A Friar struggling with a 
Girl, who defend.? herself with her Distaff; Samson strang- 
ling the Lion ; two Men quarrelling ; St. George and the 
Dragon, with Francis van Bocholt, in very old characters. 

BOOKHORST. John van. called Langen Jan, 
a Flemish painter, born at Munster in IGIO. He 
was of a respectable family, which settled at Ant- 
werp when he was very young. He studied imder 
Jacob Jordaens. and became a very eminent his- 
torical painter. There are many of his pictures in 
the churches of Flanders, which are deservedly 
ranked among the best productions of the Flemish 
school. He seems to have taken Vandyck as his 
model, and some of his best pictures are so much 
in the style of that great artist, that they might 
easily be taken for his works. There is an admi- 
rable picture of the Resurrection, by this master, 
in the Church of the Beguines at Antwerp, painted 
entirely in the manner of Yandyck, and not un- 
worthy of that master. There is another very 
fine picture by him. at the principal altar in the 
Church of St. -James at Ghent, representing the 
martyrdom of that saint. He also excelled in por- 
traits, many of which were scarcely inferior to 
those of Vandyck. 

BOOKHORST, -John van, a Dutch painter, born 
at Deutekom in 16G1. died in 1724. He studied 
at London under Kneller, on leaving whom he 
went to Germany, but finally settled in his own 
country. He painted history well, but excelled in 
portraits and battle-pieces. 
fh^jf BOCKMAN, G., a mezzotinto engraver, 
"^-^-^ ' who appears also to have been a painter, 
as he executed at London a plate of St. Dunstan, 
signed with his name, with the addition of pin.v. 
et scujp., 16-43. The following is a list of his plates: 

Wil'.lara Augustus, Duke of Cumberland, uncle to the 
King ; after Vanloo. Another Portrait of the same, with 
his iiat on ; ad vivinn, 1746. Mary, fourth daughter of 
George II., consort of Frederick II., of Hesse Cassel ; after 
J. Worsdale. Philip, Yorke, Earl of Hardwicke ; after 
M. Dahl. Thomas Chubb, the Deist. 

BOOQUET, Nicholas, a French engraver, who 
lived, according to Basan, about 1600. He exe- 
cuted a number of indifferent prints, among which 
are : Adam and Eve, after Raffaelle ; St. Bruno 
kneeling before a Crucifix, after Bon de Boulogne. 

BODART, Peter, a Dutch engraver, who pub- 
lished at Leyden, in 1723, a drawing-book entitled 
Les Principaux Fondements du Dessin. It con- 
tains a large number of prints, which are etched in 
an indifferent style. 

BODECKER, -John Francis, a German paint- 
er, born at Clevcs in 1660; died at Amsterdam in 
1727. He studied under John de Baan, and was 
very successful at the Hague and Amsterdam. 

BODENEHR, Maurice, engraver to the court 
of Dresden, was born at Friburg in 1665, and died 
at Dresden in 1749. He executed a set of thirty- 
two mythological and poetical pieces, after Sam. 
Botschild, which were published with his name, in 
1693. His father, John Geo, B., was a reputable 
engraver, born in 1631; died in 1704; and his 
brothers, Gabriel and Geo. Conrad, followed the 
same profession. 

BODEWYNS, N. See Bout. 
11 



BODIN, -Jean FRAN901S, an eminent French 
architect, born at Angers in 1766. He passed a 
useful life in various public employments, as arch- 
itect, engineer, paymaster, and, finally, after the 
restoration of the Bourbons, a member of the 
Chamber of Deputies for the department of Maine. 
He wrote some valuable works, among which are 
two works of historical researches in Upper and 
Lower Anjou, with a description of the monuments, 
illustrated with plates. He died in 1829. 

BOECE, C. F. SeeBoETius. 

BOECKLER. George Andrew, a celebrated 
German architect, mechanician, and author, of Nu- 
remberg. He published at Nuremberg, in German, 
a valuable work on mills and other mechanical in- 
ventions, illustrated with 154 copper plates, which 
was translated into Latin by Henry Schmidt, un- 
der the title of Theatrum Machianancm, pub- 
lished at Cologne in 1661, and at Nuremberg in 
1686; the work entitled Architettura Curiosa e 
Nuova, in four books, rendered into Latin b};- Chris- 
topher Storm, and published at Nuremberg in 1663, 
with 200 copper plates representing the most beau- 
tiful fountains of the public places throughout Eu- 
rope, plans for grottos, labyrinths, water-jets, gar- 
dens, &c. ; Domestic and Rural Economy^ in two 
books illustrated with many copper plates, pub- 
lished at Frankfort in 1666, and reprinted in 1683 
and 16^" 
works. 

BOEHM. See Beham. 

BOEHMER, Charles Wm., a painter and en- 
graver of Saxony, was the brother-in-law and 
scholar of Dietrich. He executed a series of land- 
scapes and marine subjects, which are quite rare. 
They are marked with his monogram, dated 1744 
and 1754, in 8vo. and 12mo. 

BOEKHORST, or BOCKHORST, Jan van. a 
Dutch painter, born at Deutekom in 1661. He 
Avent to London, where he studied under Kneller, 
in whose style he executed a number of portraits, 
and passed some time with that master. He also 
painted a few battle-pieces, and some historical 
compositions. He returned to his own country, 
where he died in 1724. 

BOEKEL, VAN, a Flemish painter, and a pupil of 
Francis Snyders. He painted living and dead 
animals in the manner of his master. He died 
in 1767. 

BOEL, Cornelius, a Flemish engraver, born at 
Antwerp about 1580. He worked chiefly with the 
graver, in the style of the Sadelers, and his plates 
are executed in a clear, neat style, with consider- 
able merit. His most important works are eight 
large plates of the battles of Charles V. and Fran- 
cis I., aftej' Anto. Tempesta. He engraved a set 
of oval plates for the fables of Otho Yaenius, pub- 
lished at Antwerp in 1608 ; also an oval portrait 
of Henry, Prince of "Wales, with an ornamental 
border ; and the Last Judgment, marked Corne- 
lius Boel, fee, without the name of the painter. 

BOEL, Peter, a reputable Flemish painter, born 
at Antwerp in 1625 ; died in 1680. He studied 
under Francis Snyders. and subsequently under 
his uncle, Cornelius de Waal ; after which he vi- 
sited Rome for improvement, where his works 
were much admired. Finding that de Waal had 
settled at Genoa, he went there also, and met with 
considerable encouragement. On returning to 



BOEL. 114 

Flanders, he met with much employment. Four 
of his best works arc at Antwerp, representing the 
Four Elements. His subjects generally were fruit 
animals, and flowers ; which he finished with free- 
dom and spirit, and beautiful coloring. D'Argen- 
ville says he settled finally at Paris, and was 
appointed painter to the King after the death of 
Nicasius. Boel also etched some fine prints of an- 
imals, and a set of six plates of birds of prey, with 
landscapes, entitled Diversi Uccelli di Petro Boel. 

BOEL, QuERiN or Coryn, a relative of the pre- 
ceding, was born at Antwerp about 1622. He 
etched several plates, after pictures of the elder 
Teniers, representing peasants' merry-makings. 
He also engraved several plates for the book called 
Teniers' Gallery, after the pictures in the collec- 
tion of the Archduke Leopold. 

BOETIUS, or BOECE, Christian Fred., a Ger- 
man engraver, born at Leipsic in 170G. He studied 
under C, A. Wartman, and lived chiefly at Dresden, 
where he was made professor of the Electoral Aca- 
demy, in 1764. He executed several of the plates 
for the collection of pictures at Dresden, published 
m two folio volumes in 1753 and 1757, entitled 
Recueil cV Estainpes cPapres lesplus celebres Tab- 
leaux de la Gallerie dt Dresde ; also several por- 
traits and other subjects, among which are the 
following : 

The Portrait of Boetius ; Portrait of Charles Hutin ; 
Portrait of Raffaelle Mengs ; Portrait of J, Cassanova ; in 
imitation of chalk drawings. 1771. A Landscape, Avith a 
Cow and Sheep; after C. du Jardyn. A Landscap, with 
a Monument ; after Brcemhcrg. The Interior of an Inn ; 
after T. Wi/k. Sportsmen at the Door of an Inn ; after 
IVouwermaas. A Woman holding a Pot with Coals, and 
a Boy blowing ; after Rubens. A Swiss Family kneeling 
before the Virgin and infant Jesus ; after Holbein ; fine. 

BOETTGER, John Gotlibb, a German engrav- 
er, born at Dresden in 1766. He studied un- 
der J. G. SchnlZ; and executed the .following 
plates : Portrait of F. W. B. de Ramdohr ; after 
Graaf. Ganymede; A Vestal; after Vogel. Cal- 
liope ; after Angelica Kaufmann. 

BOETTO, GiovENAL, a Piedmontese fresco 
painter, who flourished at Turin from 1642 to 
1682, and adorned the palaces and public edifices 
of that city with allegorical subjects, ingeniously 
composed, and designed in a tasteful and elegant 
stvle. His master piece is a series of twelve fres- 
cos in the Casa Garballi, representing subjects 
emblematical of the Arts and Sciences. Lanzi 
says he was a good engraver, but mentions none 
of his prints. 

BOEYERMANS, Theodore, a Flemish histor- 
ical and portrait painter of Antwerp, was a pupil 
of Vandyck. His design is correct, his coloring 
pleasing, and he had a good knowledge of chiaro- 
scuro. 

BOFFRAND, Germain de, an eminent French 
architect, born at Nantes in 1667 ; studied under 
Ilardouin Mansard, who entrusted him with his 
most important works. In 1709, he was admitted 
into the Acadcm}'- of Architecture, and acquired 
great reputation in Germany, where he erected 
edifices for a number of the princes. He built a 
hvmting seat for Maximilian, Elector of Bavaria; 
was declared first architect of Leopold I., duke of 
Lorraine, for whom he built the new palace Nan- 
cy, that of Luneville, and another as a pleasure- 
house, called Mai grange, near to Nancy. At Paris, 
Boffrand erected the Hotel de Montmorency ; that 



BOGD. 

of Argenson ; the gates to that of Villars, and the 
Luxembourg ; the second order of the fa9ade of 
the Church de la Merci ; and the Hospital of the 
Enfants Trouves, his best work. At Nancy he 
erected a palace for the prince of Craon, and at 
Wurtzburg, the Episcopal palace designed by 
Neuman. He was also inspector and engineer of 
the bridges, embankments, and canals of France, 
and published an account of the method practised 
in casting the Equestrian Statue of Louis XI V., in 
one piece ; which afterwards served as a guide to 
that of Louis XV., at Bordeaux. Boffrand never 
visited Italy, but always followed the style of Pal- 
ladio. He died in 1754, aged 87. 

BOGDANE, James, a Hungarian painter of 
some reputation, who practised in England in the 
reign of Queen Ann, who favored him with her 
patronage. His subjects were flowers, fruit, and 
fowls ; some of his pictures are in the royal col- 
lection. He died in 1720. 

BOICHOT, GuiLLAUME, a French sculptor, 
born at Chalons-Sur-Sa6ne in 1738. He went to 
Italy, where he diligently studied the antique, on 
which he founded his style. He was a skillful 
artist, but being over diffident, he did not meet 
with that encouragement which his talents de- 
served. He died at Paris in 1814. His best 
works are Telephus Wounded by Achilles; a 
Seated Hercules ; a grand bas-relief for the porch 
of St. Genevieve; a Statue of the Patron Saint of 
St. Roch, and the grand bas-relief for the portico 
of the Triumphal Arch of the Carrousal, which are 
greatly admired for their pure antique style. 

BOILLY, Louis Leopold, a French painter, 
born at La Bassee in 1761. He painted about 
500 portraits ; also merchant's shops, interiors of 
ateliers, banditti, popular amusements, domestic, 
military and comic scenes. In 1800 he sent three 
pictures to the Louvre. He exhibited at the Louvre 
from 1800 to 1826. His drawing was very accu- 
rate, and his execution neat and delicate. He also 
engraved about 100 plates, and many of his pic- 
tures have been engraved by Fresca, Petit, and 
others. It is said that he had no master. He died 
at Paris in 1845, aged 84. 

BOILOT, a French architect, engraver, and au- 
thor, was born at Langres in 1550. He acquired 
a thorough knowledge of mathematics and draw- 
ing, and made himself acquainted with modes of 
engraving. He was employed as an engineer in 
the army of Henry IX., and afterwards contrib- 
uted to maintain his native city, in obedience to 
that prince, for which he was rewarded by some 
trifling public office, which gave him leisure to 
compose two valuable works on architecture and 
engineering, illustrated with about 150 plates 
neatly engraved on wood and copper, by himself. 
The works above referred to, have been pirated, 
and republished in French and translated into 
German. Time of death not known. 

BOIS, Martin du, a Parisian engraver, who 
executed some of the plates for the collection from 
the works of the Italian masters, published by 0. 
Paten, in 1690. There are several engravers of 
this name, of Httle note. 

BOISSARD, Robert, a French engraver, born 
at Valence about 1591. He followed the style of 
Theodore de Bry, and used the same mark as Rene 
Boivin, which may sometimes occasion confusion. 



BOIS. 



115 



BOIZ. 



BOISSIERE, Simon de la, a French engineer. 
who engraved several plates from his own designs, 
and after Sebastian Le CIcrc. The following are 
the principal : 

The Death of a Prince, surrounded by his Court. Forty- 
one plates of Antique ^ledals ; in tlie collection of the 
King of France. A View of the Palais Royal ; in two 
sheets. Several plates for the work entitled Traite des Ed- 
ifices Antiques de Rome ; by A. Desgodets, published at 
Paris in 1682. 

BOISSIEU, Jean jAcauES de, a French 

^1 painter, and an eminent engraver, born 

in 173G; died in 1810. He painted several sub- 
jects similar to those of Ostade, also a few por- 
traits. As an engraver he executed about sixty 
landscapes and other subjects, in a pleasing and 
spirited st3de, from his own designs, and after 
other masters. The following are the principal : 

An Old Man, with a Boy reading ; a Cooper working in 
a Cellar; in the manner of Rembrandt. An Italian 
Landscape, with Women washing. A Landscape, with 
Shepherds, by the water-side ; after Berghem. A Land- 
scape, with a Boy driving an Ox ; a Landscape, with figures 
in a Boat, and a Mill ; the great Mill, a charming land- 
scape ; after Ruysdael. A Forest, with a Cottage, and a 
Man on Horseback, with Peasants. Another Forest scene ; 
the companion. A Landscape, with figures and animaLs, 
in the middle, a Hill, on which is a Cross, and an old Man 
kneeling. A View near Tivoli, with a Man and a Woman 
mounted on a Mule, driving Cattle through a Rivulet. The 
Quack Doctor; after C. du Jardyn. A mountainous 
Landscape, with a Waterfall; after Asselyn. A grand 
Land.scape, with a Hermit, at the entrance of a Cavern. 
1797. A pleasing Landscape, with large figures, and two 
Cows standing in the Water. 

BOIT, an eminent Swedish painter in enamel, 
who practised several- years in London, during the 
reign of Queen Anne, and afterwards went to Pa- 
ris, where he was countenanced by the Regent, and 
met with great success. He died at Paris in 1726. 

BOITARD. L.. a French engraver of little note, 
who lived at London in 1760, and executed several 
plates for Spence's Poly metis, and the Rotunda at 
Ranelagh, after Panini. He also engraved several 
portraits. 

T^Ty BOIVIN, Rene, a French engraver, born 
I X3 at Angers about 1530. He engraved sev- 
eral plates in the style of Cornelius Cort, execu- 
ted with the graver. They are neatly done, but 
the drawing is incorrect. There are also some etch- 
ings by him. Some of his plates are from his own 
designs, and several after II Rosso. The following 
are the principal, sometimes signed JRenatus. fecit., 
sometimes with his monogram : 

Twelve of Philosophers and ancient Poets. Portrait of 
Clement Marot ; dated 1.5-56. The same Portrait ; with- 
out date. Portrait of John Sebastian Psanserus. Portrait 
of George Vicelius, Theologian. Susanna and the Elders. 
The departure of Hagar and Ishmael from the House of 
Abraham; a spirited etching. Banditti robbing the Cart 
of a Peasant ; etching. The plates for a work entitled 
Litre de la Conqueste de la Toisan d'or. par le Prince 
Jason de Tessalie. An emblematical subject of the Tri- 
umph of Virtue ; Rous Florent inv. ; Renatus fecit. 
Francis I. advancing towards the Temple of Immortality, 
leaving behind him Ignorance and the Vices ; Rous Flo- 
rent, inv. Dom. Zenoi venetus. ezc. 

BOIZOT, Louis Simon, a French sculptor born 
in 1743, was the son of Antoine B.. a member of 
the Royal Academy, and a designer for the Gave- 
lins. At the age of nineteen, he gained the grand 
prize of the Royal Academy, and went to Rome 
with the King's pension. On his return, he was 
received into the Academy in 1778, and executed 



a statue of Mclcager as his reception-piece. His 
works are deficient in the purity of the antique, 
and there is too much similarity in his forms. He 
executed two busts, of Gen. Joubert and M. Julien, 
for the gallery at Fontainbleau. Among his other 
works are tlie group of allegorical figures in the 
Place du Ch^tclet, which is said to be his best pro- 
duction. He died in 1809. 

BOIZOT, Marie Louise Adelaide, a Pari- 
sian female engraver ; born in 1748. She studied 
under J. J. Flipart, and executed several portraits 
and other subjects, among which are the follow- 
ing : 

John Joseph William Brute, Doctor of Sarbonne ; M. 
L. A. Boizot, del. etfec. The Emperor .Joseph II. Louis 
XVI. King of France. Marie Antoinette, Queen of France. 
Louis Stanislaus, Count of Provence. Marie Josephine 
Louisa, Countess of Provence. Charles Philip, Count of 
Artois. Marie Elizabeth, sister of the King. St. Cathe- 
rine ; after L. Caracci. The Dutch Breakfast ; after G. 
Metzu. A Boy with a Birdcage; after Netscker. A 
Young Turk ; do. A Girl reading ; ajfter Greuze. 

BO JAN, J. L., a French engraver, who lived 
about 1070, and was employed by John Berain to 
engrave some of the plates for his large work of 
the Ornaments in the Tuileries and Louvre. 

BOKSHOORN, JcsEPH, a Dutch portrait paint- 
er. He went to London in 1670, where he copied 
many portraits of Sir Peter Lely and Vandyck. 

BOL. Cornelius, a Dutch painter, who lived 
in England in 1666 — the time of the great fire in 
London, of which he painted several views ; as he 
also did of several edifices in and near the me- 
tropolis. He etched some views of Dutch sea- 
ports, among which is that of Briel. 

BOL, Ferdinand, an eminent Dutch historical 
and portrait painter and engraver, born at Dort in 
1611 ; died in 1681. His family removing to Am- 
sterdam when he was young, he had the advan- 
tage of studying under Rembrandt, whose style 
he imitated successfully, both as a painter and en- 
graver, and some of his best portraits might be 
taken for those of Rembrandt. There are several 
of his pictures in the Town House at Amsterdam, 
and two admirable works in the Council-chamber 
at Dort, representing the Appointment of the 
Seventy Elders in the Camp of Israel, and Moses 
breaking the Tables. The poet Yondel celebrates 
an historical work that he painted for the Admi- 
ralty at Amsterdam. His etchings are executed 
in a free, bold manner; the lights and shadows are 
well managed ; and. though not equal to those of 
Rembrandt, they are highly esteemed. The fol- 
j lowing are the prmcipal : 

PORTRAITS and HEADS. 

A young Man, with a round Hat; marked, JJol, fee. 

An Ofi&cer with his Hands on the Hilt of his Sword ; Bol^ 

fee. 1643. A young Man, with a Cap and Feathers ; P. 

Bel. 1642. A young Woman, half length, with a Cap 

and Feathers ; marked P. Bol,f. 1644 ; fine, oval. Tho 

Woman with the Pear, at a Window ; in the manner of 

Rembrandt ; very fine. An old Man sitting in a Chair, 

with some Books, and an unlighted Candle ; marked Bol, 

' scarce. An old Man, half-length, with a Bonnet, in the 

' manner of Rembrandt, leaning on aCane ; P Bol, fee. 1642. 

Bust of an old Man, seen in front, with a fur Robe, fastened 

, with Diamomls ; no name ; very scarce. 

VARIOUS SUBJECTS. 

A Philosopher in meditation, resting on a Table, on 

which are some Books and a Globe ; very fine. Another 

Philosopher, holding a Book ; F. Bol, 1642. The Astrolo- 

■ ger, an old Man sitting at a Table, with Books and a 



m\ 



BOLA. 116 



BOLO. 



Globe ; he Avears aflat Hat, and his Hands crossed. The 
Familv— A Woman sucklinir a new-born Infant, with a 
Man hiilding Linen. F\ Bol. 1649. Abraham's Sacri- 
fice ; an arched plate ; F. Bol f. A very scarce print, 
mentioned by M. Heineken, of Agar in the Desert, with 
the infant Ismael ; F. Bol,f. The Sacrifice of Gideon. 
St. Jerome in a Cavern, contemplating a Crucifix ; F. Bol J. 

TJO BOL, Hans, a Flemish painter and engra- 
I i fver. born at Mechlin in 1534 ; died at Am- 
sterdam in 1593. He studied for two years with 
an obscure artist, and afterwards made the tour of 
Germany, rem.aining some time at Heidi eberg, 
where he copied the works of some of the most 
eminent masters. He afterwards settled at Am- 
sterdam, where his works were much esteemed. 
He executed a number of landscapes in the neigh- 
borhood of Amsterdam ; also two pictures, repre- 
senting Dasdahis and Icarus, and the Crucifixion, 
which are extolled by Van Mander. He etched 
several plates from his own designs, in a shght, 
spirited manner, sometimes marked H. B., and 
sometimes with his monogram. The following 
are the principal : 

The Reconciliation of Jacob and Esau ; circular. The 
first interview between the Servant of Abraham and Re- 
becca. Twelve circular plates of the Twelve Months of 
the year ; Ad. Collaert, e.vcud. A set of twelve Land- 
scapes ; //. Bol, inv. Jok. Sadeler, exc. A set of twelve 
Landscapes ; H. Cock, exc. H. Bol. A large Landscape, 
with a Man in a Boat, catching a Goose, with several figures. 

BOLANGER, Jean, a disciple of Guido, born 
in 1606 ; died in 1660. Under the tuition of that 
great artist, he became so eminent that he was ap- 
pointed principal painter to the Duke of Modena. 
His subjects were from sacred and profane history. 
His composition and design were elegant and pleas- 
ing, and his coloring delicate. 

BOLDRINI, or BOLDINI, Nicolo, called 
icENTiNO, a wood engraver, born at Vi- 
cenza about 1510. He executed a number of prints 
after Titian, in a bold free style. The following 
is a list of his works, which are quite scarce: 

John, Baron de Schwarzenberg ; with a border ; after 
Albert Durer. The Wise Men's Ofi'ering ; after Titian, 
with his cipher. St. Jerome praying ; in a landscape ; do. 
St. Catherine, St. Sebastian, and four other Saints ; do. 
A Mountainous Landscape, with a Woman milking a Cow. 
Venus seated on a Bank, holding Cupid, a Squirrel on the 
Branch of a Tree ; marked Titiamis inv. Nicolaus Bol- 
drinus Vicentlnus incidebat. 1566. 

BOLLMAN, Jerome or Hieronymus, an engra- 
ver, probably of Germany. He executed a number 
of prints after Raffaelle and other great Italian 
masters, in a bold, free, and effective manner, pos- 
sessing considerable m^rit. 

BOLOGNA, Franco, one of the oldest of the 
Bolognese painters, and one of the founders of 
that school. Lanzi says he was among the first 
of the Bolognese artists who taught many pupils, 
and that he is almost deserving the name of the 
Giotto of this school ; that there are several of 
his works preserved in the Malvezzi IMuseum, the 
most remarkable of which is one of the Virgin 
seated on a throne, dated 13L3, which will compare 
with the productions of Oimabue and Guido da 
Siena. There are also, in the same collection, two 
small pictures with figures in miniature, display- 
ing much grace, attributed to him. 

BOLOGNA, Jacopo di Paolo, or Avanzi. 
There is some doubt of the real name of this paint- 
er, as well as of many other old artists, for they 
sometimes assumed their place of nativity or resi- 



'fr*?' 



dence as their surname, and the sons of painters 
often adopted their fathers' names, as a sort of sup- 
port or recommendation of their own. This artist 
nourished at Bologna from 1384 to 1418, and exe- 
cuted some excellent works. Lanzi says he exe- 
cuted, in conjunction with Simone, the chief part 
of the sacred histories in the Church of JMezza- 
ratta, and a few of them alone, as the Miracle of 
the Probation at the Cottone. of which he wrote 
Jacohiis pin.Tit. This Simone Bologna was also 
called Simone da' Crocifissi. and Avas a good artist, 
Jacopo also painted in .Padua and Verona some 
excellent works. In the Church of S. Jacopo al 
Santo at Padua, he painted seven historical sub- 
jects, pretty nearly in the style of Giotto, and in 
some respects superior to him. He painted some 
Triumphs in a Saloon at Verona, which Mantegna 
commended as excellent productions. He sub- 
scribed these, Jacobus Pauli pinxit. which cir- 
cumstance, together with similarity of style, led 
Lanzi to think that he was a Venetian, and the 
same Jacobus Pauli, who with his father Paolo 
and his brother Giovanni painted the much ad- 
mired ancient altar piece in the Church of San 
Marco at Venice. 

There are many other ancient artists wlio as- 
sumed or are known by the name of Bologna, and 
who, according to Malvasia, flourished in that city 
from the twelfth to the fifteenth century : Ventura 
B., from 1197 to 1217; Guido da B., 1280 ; Giovanni 
B., about 1400 ; Lorenzo B., supposed to be a Vene- 
tian, in 1368 ; Maso B., in 1404 ; Orazio and Pie- 
tro de Jacopo B., about 1445 ; Severo B.. about 
1460 ; Simone B., called da' Crocifissi, 1377 ; Vi- 
tale B., called della Madonna from the sweetness 
of his Madonnas, about 1345 ; Ursone B., from 
1226 to 1248. All these artists were eminent in 
their da}^, and there are many specimens of tlieir 
works still preserved in the churches and piii in 
edifices at Bologna. 

"BOLOGNA, or BOLOGNESE, M. Pomenico, 
a Bolognese painter of whom little is known. 
Lanzi says there is a picture by him in the Church 
of S. Sigismondo at Cremona, executed in 1537, 
representing Jonah ejected from the Tv^hale's 
Bell}'-, which he pronounces a most admirable per- 
formance for the softness and delicacy of coloring, 
resembling that of Correggio. 

BOLOGNA. Lattanzio de, a Bolognese paint- 
er, according to Baglioni. He studied under the 
Caracci ; on leaving whom he visited Rome, and 
was commissioned by Sextus V. to paint the ceil- 
ing of one of the saloons in the palace of St. John 
of Lateran ; also the ceiling in the chapel of Sex- 
tus V. in the Church of S. Maggiore, representing 
a choir of angels. In S. Maria de Monti is a fine 
picture by him of the Scourging of our Saviour. 
His genius promised high attainments ; but hav- 
ing naturally a weak constitution^ he died much 
regretted at the earlj^ age of 27. 

BOLOGNI^, Jean de. an eminent French sculp- 
tor, born at Douals in 1524. He early went to 
Italy, where he resided many years. His chief 
models v^qvq the works of Michael Angelo, and his 
style is founded on the manner of that great mas- 
ter. He produced many works in Italy, among 
which is the fine group of a Roman Soldier carry- 
ing off a Sabine woman, in the great square at 
Florence. He executed the ornaments for the beau- 
tiful fountain near the cathedral, at Bologna, which 



BOLO. 



117 



BOLS. 



is greatly admired. At Florence there are two 
statues, of Neptune and Jupiter ; at Rome he exe- 
cuted a beautiful statue of JMercur}', for the villa 
de Medici ; also a laro;e number of works at Ve- 
nice and Genoa. At Meudon. in France, is a statue 
of iEsculapius, and at Versailles a fine group of Cu- 
pid and Psyche. He commenced an equestrian 
statue of Henrjr IV., which was finished by his 
pupil Taffa, and was placed on the Pont-Neuf. 
This industrious artist died in 1G05. aged 84. 

BOLOGNESE, de. See II Grimaldi. 

BOLOGNINI, Carlo, a Bolognese painter ; born, 
according to Zani, in 1G62 ; died in 1704. He stu- 
died under Mauro Aldrovandini. and subsequentl}^ 
under Giulio Trogli. He excelled in painting per- 
spective views, and resided many 5'ears at Vienna. 
where he was much employed. 

BOLOGNINI, Giovanni Battista, a Bolognese 
painter and engraver ; born, according to Zani, in 
1G12 ; died in 1G89. He studied under Guido. 
and was one of his ablest scholars. He executed 
several pictures for the churches at Bologna, among 
which are the Virgin and Inf\mt with Magdalene 
and Saints, in S. Maria i>I'uova ; the Dead Christ 
with the Virgin, St. John, and otheis, in the 
Church of the Servi ; and the Conception, in S. 
Lucia. He also etched the following plates in a 
slight, spirited style : 

The Murder of the Innocents ; (ifter Guido. St. Peter 
IV ule Head of the Church; do. The Crucifixion; after 
tlu; picture in the church of the Capuchins at Bologna. Bac- 
chus and Ariadne ; in three sheets ; do. 

BOLOGNINI, GiAcoMo. a reputable Bolognese 
historical painter, the nephew of the preceding, 
was born in 1G64, and died in 1734. He studied 
under his uncle, and executed several pictures for 
the churches at Bologna; among which is St. 
Francis receiving the Stigmata, in S. Sebastiano 
e Rocco ; and a Dead Christ, with the Virgin and 
Mary Magdalene, in the Church of the Purita. 

BOLONGHINO, or BOLGARINO, Bartolo- 
MEO, a Sienese painter who flourished in the first 
part of the 15th century. According to Vasari, 
he studied under Pietro Laurati, and painted many 
excellent works at Siena, and in other parts of 
Italy. He was a man of rank, and a magistrate 
in his native city. 

'^ BOLSWERT, or BOLSUERD, 
c/Jy /BoETius Adam, an eminent Dutch 
engraver, born at Bolswert about 1580. He set- 
tled at Antwerp with his brother Scheltius, as 
a print-seller and engraver. He worked entirely 
with the graver, and he seems to have adopted 
the free, open style of C. Bloemaert ; though the 
plates he engraved after Rubens are more full 
of color, and more highly finished. His plates 

are sometimes signed 'M dam j^olswert, and 
sometimes VlAolsuerd. ** 

PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. 

F. Adam Sasbout; inscribed Omnia vanitas. John 
Bergman, Jesuit, kneeling before an Altar, pointing to a 
Skull. St. A. Gronzaga kneeling before a Crucifix. Wil- 
liam Louis, Count of Nassau. William of Nassau lying 
in State ; 1618. Seventy-seven plates for the Life of 
Christ ; published at Antwerp 1622 and 1623 ; Het Leven, 
<|«e. The plates for a book entitled The Pilgrimage ; pub- 
lished at Antwerp in 1627. 



VARIOUS SUBJECTS AFTER DIFFERENT MASTERS. 

The Adoration of the Shepherds ; after Abr. Bloemaert. 
1618. The Repose in Egypt ; do. Twenty-four of tho 
Hermits of the Desert ; Silva Anaghoretica ; published at 
Antwerp in 1619 ; do. Twenty-si.x of the Hermitesses ; 
do. Four of Landscapes and Figures. 1613; do. Set 
of twenty landscapes ; numbered. 1616; do. Fourteen 
of Animals ; do.; B. a Bolsiceri,fec., 1611. Jesus Christ, 
with Mary and Martha ; after J. Goiemar ; B. a Bolswert, 
sc ; scarce. Men contending against Animals ; after D. 
Vinckenbooms ; B. a Bolswert, sc. ; scarce. A Landscape, 
with Adam and Eve in Paradise ; do. ; B. a Bolswert, sc. ; 
scarce. The Judgment of Solomon ; after Rubens. Tho 
Resurrection of Lazarus ; cZo.; very fine. The Last Sup" 
per ; do. ; P. B. Rubens, pinx. Boet. a Bolswert, sc. ; 
very fine. 

»r f^ BOLSWERT, or BOLSUERD, 

C?uLSciiELTius A., one of the most 
celebrated Dutch engravers, the younger brother of 
the preceding, was born at Bolswert in Friesland 
about 158G,and settled with his brother at Antwerp. 
He executed man}- plates after the most eminent 
Flemish masters, but he especially distinguished 
himself by his admirable prints after some of the 
best works of Rubens and Vandyck, which he rep- 
resented in such a masterly style as to give them 
greater effect than could well be expected in a 
print, so that they appear to exhibit the very char- 
acter and color of the great originals. His plates ap- 
pear to have been executed entirely with the graver. 
Rubens occasionally retouched his proofs, in the 
progress of the plates, with chalk or with the 
pencil ; and Bolswert was aided materially by 
these corrections, in producing that characteristic 
expression found in these prints. Proofs of this 
description are occasionally met with in the port- 
folios of the curious. He was equally success- 
ful in all his various subjects. One of his 
most beautiful engravings is a grand composition 
after Vandyck. representing the Crucifixion, with 
a figure presenting the sponge to Christ ; on the 
other side the Virgin and St. John are standing, 
and Mary Magdalene kneeling and embracing the 
Cross. In the first impressions, which are very 
rare, the hand of St. John is not seen on the 
shoulder of the Virgin ; in the second impression 
the hand of St. John rests on the Virgin's shoul- 
der, and the name of Vandyck is changed from 
the left to the right hand corner of the plate. In 
the last impressions the hand was erased, probably 
to give them the appearance of first impressions, 
but they may be easily distinguished by the su- 
periority of the first as to color and clearness. 
His plates are generally signed with his name, or 

monogram, but sometimes thus, ^A^ls. The 

following are his principal plates : 

VARIOUS SUBJECTS, MOSTLY AFTER HIS OWN 
DESIGNS. 

The infant Jesus and St."* John playing with a Lamb. 
The Virgin Mary, and infant Jesus sleeping. The Virgin 
giving suck to the Infant. The Virgin Mary, with her 
hands folded on her Breast. The Virgin Mary with the 
Infant in the Clouds, with Angels and Cherubim. The in- 
fant Jesus caressing the Virgin Mary, and St. Joseph hold- 
ing a Pear. Twelve half-length figures of Saints. Twelve 
other half-length figures of Saints, beginning with St. Pe- 
ter. A Hermit kneeling before a Crucifix. Mater Dolo- 
rosa Jesus Christ triumphing over Death. St. Barbe, 
Martyr. St. Stanislaus Koska, kneeling before an Altar. 
St. Francis Borgia. St. Alfonso Rodriguez. Robert Bel- 
larmin, of the Society of Jesus. Leonard Lessius ; an- 
other Jesuit. The Death of a Saint, and that of a Sinner ; 
after Diepenbcck. An emblematical subject of Prince 



BOLS. 



118 



BOLT. 



Ferdinand ; inscribed In te sjjes recUnata recumbit. Two 
plates of a Thesis ; dedicated to Sigismund, King of Po- 
land. Six plates, with the Frontispiece, for the Academie 
deVespee; by Thibault. 1628. The Dispute between 
the Gras and the Meagre ; B. A. Bolswert, inv. S. A. 
Bolsicert, sc. 

VARIOUS SUBJECTS AFTER DIFFERENT FLEMISH 



The Crucifixion; Jac. Jordaens, inv. et jAnx. ; the best 
impressions are before the cum Privllcgio Regis. Mer- 
cury and Argus ; do. ; the good impressions are before the 
address of Blotelling ; fine. The infant Jupiter; do.; fine. 
Pan playing on a Flute ; do.; fine. A Concert; entitled 
Soo d'oudc songen, soo pepen de Jongen ; do. Pan hold- 
ing a Basket of Fruit, and Ceres crowned -with Corn, and a 
Man sounding a Horn ; do. ; very scarce. The Salutation ; 
after Gerhard Seghers. The Keturn of the Holy Family 
out of Egypt ; do. The Virgin appearing to St. Ignatius, 
who is kneeling ; do. St. Francis Xavier, tempted by the 
Devil ; do. Peter denying Christ ; do. ; very fine. Abraham 
sacrificing Isaac ; after riieodore Romboiit.s. A Concert; 
do. The Virgin, with the infant Jesus holding a Globe ; 
aft&r Erasamus Quelinus. The Communion of St. Rosa ; 
do. The Dead Christ on the Knees of the Virgin Mary; 
after Dlepenbeck. The Crucifixion of the Three Jesuits at 
Japan ; do. 

PORTRAITS, ETC. AFTER VANDYCK. 

Scheltius a Bolswert ; Ad. Lommelln.sc. Andrew van 
Ertvelt, painter of Antwerp. Martin Pepin, painter. Adrian 
Brower, painter. John Baptist Barbe, engraver. Justus Lip- 
sius, historiographer. Albert, Prince of Aremberg. Mary 
Ruthven, wife of Vandyck. Margaret of Lorraine, Duchess 
of Orleans. Wm. de Vos, painter. Sebastian Vranck, paint- 
er. Maria mater Dei. The Holy Family, with an Angel 
holding a Crown. The Virgin and infant Christ on her Knee, 
with a Female Saint holding a Palm. The Holy Family, 
with the Infant sleeping in the arms of the Virgin. The Holy 
Family in a landscape, with several Angels. Christ crown- 
ed with Thorns ; very fine. The Elevation of the Cross. 
The Crucifixion, a grand composition, with two Men on 
Horseback, and a figure presenting the Sponge to Christ ; 
on the other side the Virgin Mary and St. John standing, 
and Mary Magdalene kneeling and embracing the Cross. 

SUBJECTS AFTER RUBENS. 

The Brazen Serpent ; the best impressions are those 
which have the word AntwerpicB at the right hand corner, 
without the name of G. Hendrix. The Marriage of the 
Virgin ; the best impressions have the name of Hendrix, 
without the word Antwerpice. The Annunciation ; the 
best impressions are those with the address of M. Vanden 
Enden. The Nativity; the best impressions have the 
same address. The Adoration of the Magi; do. The 
Return of the Holy Family from Egypt ; do. The Feast 
of Herod, with Herodias presenting the Head of St. John 
to her Mother. The Executioner giving the Head of St. 
John to Herodias. The miraculous Draught of Fishes ; in 
three plates. Christ crucified between the Thieves ; G. 
Hendrix, exc. The Crucifixion, a Soldier on horseback 
piercing the side of our Saviour ; dated 1631 ; extremely 
fine. The Crucifixion, with the city of .lerasalem in the 
distance ; M. Vanden Enden, exc. The Dead Christ in 
the Lap of the Virgin Mary, with St. Francis ; the same 
subject is engraved by Pontius. The Resurrection ; M. 
Vanden Enden, excudit. The Ascension ; do. The 
Four Evangelists. The Fathers of the Church ; Nic. Law- 
ers, exc. The Destruction of Idolatry ; in two sheets ; do. 
The Triumph of the Church ; in two sheet-' ; do. The Im- 
maculate Conception ; Ant. Bon. Eiifa?if, exc. The As- 
sumption; arched; M. vanden Enden, exc. The As- 
sumption, with one of the Disciples lifting the Stone of the 
Sepulchre ; M. vanden Enden ; the impressions with the 
address of G. Hendrix are posterior, and those with the 
name of C. van Merlen are retouched. The infant Jesus 
embracing the Virgin Mary; M. vanden Enden, e.vc. 
The Virgin Mary holding a Globe, and the infant Jesus 
holding a Sceptre. The Holy Family, with the infant Je- 
sus and St. John caressing a Laiib. The Holy Family, 
with a Parrot on a Pillar ; A. Bonenfant, exc. St. Igna- 
tius and St. Francis Xavier ; the first impressions are before 
the name of Rubens. The Education of the Virgin by St. 
Anne ; the best impressions are without the name of Hen- 
drix. St. Cecilia ; very fine. St. Theresa at the Feet of 



Christ, interceding for the Souls in Purgatory : M. vanden 
Enden, exc. The Continence of Scipio ; the best impres- 
sions are before the address of G. Hendrix. Silenus. 
drunk, supported by a Satyr, with another figure ; the best 
impressions are those with the name of Bolswert only, 
without the address. 

LANDSCAPES AND HUNTINGS. 

A grand Landscape, deluged by a Torrent, and in a 
mountainous part of it, the subject of Baucis and Phile- 
mon. A large Landscape, with a view of the Sea-coast 
and a Shipwreck. A grand woody Landscape, with the 
Chase of Meleager and Atalanta. A view near Mechlin, 
with Haymakers and a Wagon, and figures driving Cat- 
tle. A view of a Stable with Horses and Cows, and the 
subject of the Prodigal Son. (These five landscapes are 
highly esteemed and finely executed.) A set of twenty 
smaller Landscapes. A set of tAvelve Huntings of differ- 
ent animals, of Avhich one is a Lion Hunt, with figures on 
horseback ; very spirited and fine. 

BOLTRAFFIO, or BELTRAFFIO, Gio. An- 
tonio, a reputable Milanese painter who studied, 
according to Vasari, under Leonardo da Vinci. He 
was in easy circumstances, and painted merely for 
amusement. The onl}^ production he ever placed 
in public was an altar-piece in the Church della 
Misericordia. representing the Virgin and Infant 
with Saints. It bore his signature, with that of 
Da Vinci, and the date 1500 ; but both have been 
erased, 

BOM, Peter, a Flemish painter, born in 1530; 
died in 1572. He was distinguished for his land- 
scapes in water color. 

BOMBELLI, Sebastian, an eminent Italian 
painter, born at Udina in 1635. He studied under 
Guercino, with whom he made rapid progress. 
He subsequently visited Venice, where he studied 
and copied the works of Tintoretto and P. Vero- 
nese. His copies of the latter are of such extra- 
ordinary merit that some of them can scarcely be 
distinguished from the originals ; and Boschini 
ssijs that for imitating the character of that mas- 
ter, and for portraits, he could not be surpassed. 
During the early part of his life he painted several 
excellent historical pieces, and Sandrart thinks he 
would have arrived at great eminence in history, 
had he not been allured to that more lucrative 
branch of the art, portrait painting. His talents 
were in great request, and he was patronized by 
the Emperor of Germany, the King of Denmark, 
the Electors of Bavaria and Brunswick, and a 
number of princes in different parts of Europe. 
He was living in 1716. 

BOMBELLI, Raffaelle, was a brother of the 
preceding artist, who painted with great facility. 
He is said to have executed many historical and 
other subjects, which are not known out of the 
Friuli. 

BONA, ToMMAso, a painter of the Venitian 
school, who, according to Zamboni, painted archi- 
tectural ornaments and perspective pieces so admi- 
rably, " as to surprise us by the air of their ma- 
jesty, and cheating the eye by their relief" He 
also excelled in figures. He was still painting at 
Brescia in 1591. 

BONACINA. Gio. Battista, a Milanese engra- 
ver, born about 1620. He followed the manner of 
0. Bloemaert, and engraved- a few plates in a neat 
style, though rather day and stiff. The following 
are the principal : 



PORTIIAITS. 



Pope Clement IX. Guido Visconti. 
Giovanni Battista Conte Trucchi. 



Hemes Visconti. 



BONA. 



119 



BONA. 



SUBJECTS. 

The Alliance of Jacob and Laban ; after Pietro da 
Cortona. St. Martin kneeling before the Virgin and in- 
fant Jesus ; do. The Holy Family, with St. Catherine and 
St. John; after Andrea del Sarto. 

BONACOSSA, Ettore, one of the early paint- 
ers of the Ferrarese school. There is an image of 
the Virgin at Ferrara, called del Duomo, held in 
the highest veneration, and solemnly crowned not 
long ago, painted by this artist. At the bottom is 
his signature and the date, 1448. 

BONAOORSI, or BUONACOESI, See Del 
Vaga. 

BONAGRAZIA, Giovanni, a painter of the Ye- 
nitian school, who, according to Federico, was 
born at Treviso in 1654, and studied under Anto- 
nio Zanchi. He painted with considerable success 
in his native town, and in the province of Trevigi. 
He gained the most reputation for his paintings at 
San Vito. Time of death not recorded. 

BONASIA, Bartolomeo, an old painter of the 
Modenese school, who died in 1527, and whom 
Tiraboschi aifirms was an excellent painter of sa- 
cred subjects. He also painted inlaid work which 
he sometimes introduced into his pictures as ac- 
cessories, to rival nature. There is a specimen of 
his skill in the convent of S. Yincenzio at Modena. 

BONASONI; GiuLiO; a Bolognese painter and 
very eminent engraver, born about 1498, died about 
1570. He studied painting under Lorenzo Sabba- 
tini, and engraving under ^larc' Antonio. He ex- 
ecuted several pictures for the churches of Bologna, 
among which is a line painting in S. Stefano, rep- 
resenting the Souls in Purgatory. As an engra- 
ver, he executed many plates after M. Angelo. Kaf- 
faelle, Guilio Romano, Parmiggiano, and others; 
also several from his own designs. His plates are 
usually executed entirely with the graver, and al- 
though his style is neither so clear, firm, and mas- 
terly as that of his admirable instructor, nor his 
design so pure and correct, yet his works are exe- 
cuted with great facility and considerable elegance, 
and are much esteemed. His prints have an excel- 
lent management of chiaro-scuro, and a breadth in 
the masses that is very masterly. They are usu- 
ally marked with his name in full, or contracted, 
as Julio Bonso ; and sometimes with his initials 
B. — I. B., or I. B. F. ; also with his monograms. 
The following is a list of his best works. See Cum- 
berland's Cataloofue for a full list. 



portraits. 
The Pope Marcellus II., without the name ; scarce. Phi- 
lippus Hispaniarum princeps, Caroli V. filius ; Julio B. F. 
Cardinal Pietro Bembo. Mi. 11 ; after Titian. Raffa- 
elle d'Urbino, with and without the name. Michael An- 
gelo Buonaroti ; circular. Francisci Flori Antwerpiani 
inter Belgos pictoris. Joannes Bernardinus Bonlfacius, 
&.O. M.D.XLviii. Cardinal Ardingbello ; after a monu- 
ment. 

SUBJECTS OF SACRED HISTORY. 

The Creation of Eve ; after Michael Angelo ; without 
his name. Adam and Eve ; after his own design. Adam 
tilling the earth, and Eve spinning ; do. Adam and Eve 
driven from Paradise ; after Amico Aspertino. Noah 
coming out of the Ark ; after Rafaelle. Joseph sold by 
his Brethren ; do. The Cup found in Benjamin's Sack ; 
with the names of Raffaelle and Bonasone. The Miracle 
of the Manna, and Moses striking the Rock ; on the same 
plate ; F. Parmesanino^ inv. ; Julio Bolognese, fee. 1546. 



Judith with her Servant coming out of the Tent of Holo- 
femes ; after M. Angelo. The Nativity of John the Bap- 
tist; after Pontormo ; Jacobus Florentinus Inventor, 
Julio B. P, The Nativity ; Julius Bonasone, Invent. 
The Nativity, a grand composition ; attributed to Giidio 
Romano. Another Nativity ; after Panneggiano. The 
Holy Family ; after Giulio Romano. Another Holy 
Family; J. Bonasone, Inventore. The dead Christ on 
the Tomb, with the Virgin Mary ; after Raffaelle, without 
the name of the engraver. Christ seated on the Tomb, 
supported by two Angels, with the Virgin Mary and St. 
John; after Polidoro B. 1532. The entombing of Christ ; 
after Titian, with the names of the painter and engraver. 
1563. The Resurrection ; J. Bonasone, inventor. St. Pe- 
ter made Head of th°. Church ; after Raffaelle. St. Peter 
and St. John healing th? Lame ; after Perino del Vaga. 
St. Paul preaching ; oval ; do. The Last Judgment ; af- 
ter M. Angelo ; inscribed Julius Bonasonius Bunone 
propria Michaelis Angeli, d^c. Solomon, David, and Jes- 
se, part of the Sistine chapel ; after M. Angelo ; Julio 
Bonasone imitando, cf-c. St. Joachim and St. Anne, pre- 
senting the Virgin Mary to the High Priest ; after Par- 
meggiano. Christ meeting St Peter; after' Raffaelle. 
The Virgin Mary and infant Jesus in the Air ; after Par- 
meggiano, P. P. I. V. ; J. Bonasonis imitando, (^c. St. 
Cecilia ; after Raffaelle. St. George ; after Giulio Ro- 
mano ; with the names of the artists. Twenty-nine of 
the Passion ; entitled Passio Domini inri, Jesu Christi ; 
Julii Bonasonis opus, t^c. Thirteen of the Life of the 
Virgin, marked with a B., and some of them with a D. 

SUBJECTS OF PROFANE HISTORY. 

Achilles dragging the Body of Hector ; after Primatic- 
cio. The taking of Troy ; do.; two sheets ; 1545. Bona- 
sonis, P. The Shipwreck of JEneas ; after P arm egg iano. 
Alexander with Bucejjhalus and Roxana ; circular ; Julio 
Bonasone, inventor. The Roman Charity ; a friese ; af- 
ter Polidoro. Clelia, with one of her companions on 
Horseback escaping from the Camp of Porsenna ; I. V. 
Bonaso imitando, c^c. Scipio wounded, retiring from the 
Battle ; /. V. Bonaso imitando, t^c. Twentj' — Of the 
History of Juno, with Italian verses ; after his oirn de- 
signs. The Rape of Europa ; after Rafaelle ; with the 
names of the artists. Mars and Venus ; after Primatic- 
cio. A^enus attended by tlie Graces ; after Raffaelle. The 
Birth of Adonis ; dated 1586. The Triumph of Cupid and 
Psyche ; Julio Bonasone, inventore. Apollo in his Car, 
with the Hours, and Time walking on Crutches before ; L. 
V. B. Julio Bonasone, inventore. Niobe and her Chil- 
dren ; after Perino del Vaga. 1541 The Fall of Phae- 
ton ; after M. Angelo. Three Female Figures with Veils ; 
do. 

BONATTI, Gio., an Italian painter, born at 
Ferrara in 1635, died at Rome in 1681. x\t an 
early age he manifested an inclination for art. and 
was taken under the protection of Cardinal Carlo 
Pio, who placed him in the school of Guercino. where 
he remained three years. He afterwards visited 
Rome, where he studied under P. Francesco jNIola, 
and executed several works for the public edifices : 
among which are two in the Gallery of the capitol. 
representing Rinaldo and Armida, and Sisera and 
Jael ; also several other works in the Chiesa Nu- 
ova, and S. Croce in Gerusalemme. 

TT| BONAVERA, Domenico, Maria, a Bo- 
l^j lognese engraver, born about 1650. He 
studied under his uncle. Dom. Maria Canuti. His 
plates are chiefly etched, and finished with the dry 
point. His monogram is the same as that of Dom. 
Barriere and Dom. Bettini. He executed eighteen 
plates, from desi.gns of Titian, for a book of anat- 
omy ; also the following : 

St. Anne teaching the Virgin Mary to read ; after Dom. 
Maria Canuti; Dom. Bonavera, fee. St. Theresa with 
the infant Jesus ; do. The Martyrdom of St. Christiana ; 
do. The Baptism of our Saviour by St. John ; after Al- 
bano ; D. Bonavera, sc. (The two last are the best prints 
of this artist.) St. John preaching ; after Lodo. Caracci ; 
D. Bonavera. Lot and his Daughters ; after Ann. Ca- 



BONO. 



120 



BONE. 



racci ; D. Bonavera. The Cupola at Parma, tlie Assump- 
tioa; after Correggio; Dominica Bonavera, sc. 1597. 

BONAY, Francisco, a Spanish landscape paint- 
ter, born at Valencia in 1655, died in 1730. He 
executed a landscape in the Sacristy of the Carme- 
lices at Valencia, which is his chief work. His 
landscapes are decorated with cattle in the style of 
lierghem, and buildings after Perelle. 
EOXOONSIGLIO. See Buonconsiglio. 
BO^TOONTI, Gig. Paolo, a Bolognese artist of 
groat talents, who studied under Annibale Oaracci, 
and afterwards followed his master to Rome, where 
he was employed by Pope Sextus V. to conduct 
some works in the Vatican, and had executed some 
designs conceived in the best style of art, when he 
died very young. Malvasia says he died in 1605, 
aged 42, which cannot be, as Annibale Oaracci was 
born in 1560. 

BONOUORE, Gio. Battista, a reputable Ital- 
ian historical painter, born at Abruzzo in 1643 ; 
died in 1699. He studied at Rome under Fran- 
cesco Albano. His works are executed in a vigor- 
ous, effective style, though sometimes in a heavy 
manner. One of the best is an altar-piece in the 
Chiesa degli Orfanelli, at Rome. 

BONDI, Andrea and Filippo, two brothers, 
born at Forli, who studied under Carlo Oignani, 
and flourished in the latter part of the seventeenth 
century. According to Guarienti, they were 
among the best pupils of Oignani, and Lanzi saj^s 
he saw several of their works in the churches and 
convents at Forli, which seem to be the work of 
one hand, and boast the fine execution of Oignani ; 
but the forms and expressions are not equally se- 
lect. The Orucifixion, in the Ohurch of S. Filippo, 
is cited as one of their best works, and altogether 
an excellent performance. 

BONE, Henry, an eminent English enameller, 
born at Truro, in Oornwall, in 1755, died in 1834. 
He entered into the employment of a Ohina man- 
ufacturer in Plymouth, and afterwards employed 
his talents at Bristol, where he painted landscapes 
and groups of flowers to ornament porcelain. He 
subsequently visited London, and gained considera- 
ble reputation by painting in enamel the Sleeping 
Girl, after Reynolds. His most important works, 
however, were the Portraits of the Illustrious Men 
and Women of England, which he enamelled after 
the original pictures in the royal and other collec- 
tions. They are executed with wonderful precis- 
ion and beauty. This collection was offered by the 
artist for £4000, but met with no sale until after 
his death, when they were sold at auction, bring- 
ing some 2000 guineas. Bone was a member of 
the Royal Academy, and enamel! ist to George the 
Fourth. 

BONEOHI, Matteo, an Italian painter, who 
flourished in the first part of the eighteenth cen- 
tury. He studied under Sagrestani, a pupil of Oav. 
Oignani, who instructed him with perfect dictation, 
so that he became, as Lanzi says. " one of those 
practical artists who make up for the poverty of 
their invention by their spirit and coloring." He 
however was an excellent artist, for the exquisite 
Holy Family, called the Madonna de' Ricci, though 
claimed to be the work of Sagrestani, is attribu- 
ted to him ; and he furnish(?d the frescos in the 
Oastello, begun by Gabbiani ; also, in the Capponi 
Palace, near the Nunziata, he continued the works 



of Marinari. His coloring was brilliant, and Lanzi 
says his pictures would, in any collection, attract 
the eye. 

BONELLI, AuRELio, a reputable Bolognese 
painter, and pupil of the Oaracci, who flourished in 
the first half of the seventeenth century. In the 
Ohurch of S. Michele in Bosco, is a picture by him 
representing the Oonference between St. Oecilia and 
St. Valeriano. He was living in 1640. 

BONESI, Gio. Girolamo, a Bolognese painter, 
born, according to Zanotti, in 1653 ; died in 1725. 
He studied under Gio. Viani, and painted pictures 
for the churches and public edifices of Bologna, in 
which he seems to have imitated Oarlo Oignani. 
His best works are, St. Francis of Sales kneeling 
before the Virgin, in S. Marino ; St. Tommaso di 
Villanuova giving Alms to the Poor, in S. Biagio; 
and the Virgin and Infant, with Mary Magdalene 
and St. Ugo, at the Oertosa. 

BONFANTI, Antonio, called il Torricella, a 
painter of Ferrara, who executed several works for 
the churches and convents of that city; among 
which are the Purification, and Ohrist disputing 
with the Doctors, in S. Francesco ; and the Holy 
Family, in la Santissima Trinita. 

BONFIGLIO, Benedetto, a painter of Perugia, 
born, according to Zani, in 1420. Several reputa- 
ble writers describe him as one of the best artists 
of his time, and Vasari says he was only equalled 
by Perugino. Lanzi says the latter was his schol- 
ar. In S. Domenico at Perugia, is a picture by this 
artist, of the Adoration of the Magi ; and in agli 
Orfanelli, a fine picture of the Annunciation. He 
was living in 1496. 

BONI, GiACOMO, a Bolognese painter, born in 
1688, died in 1766. He studied under Marc' An- 
tonio Franceschini, whom he assisted greatly in 
his works, especially at Rome. It is said that he 
was also a scholar of Oignani, whose style he cer- 
tainly imitated, as appears from his work of the 
ceiling of S. Maria della Oosta at S. Remo, and in 
that of S. Pietro Oelestini at Bologna. He ex- 
celled especially in fresco, and painted a saloon in 
the Palazzo Pallavicino, which is much admired ; 
also a fine picture of the Infant Jupiter. 

BONIFAOOIO, Francesco, a reputable Italian 
historical painter of Viterbo, born in 1637. He 
studied under P. da Oortona, and followed his 
style. He painted several pictures for the public 
edifices of his native city ; among which is the 
Adulteress before Ohrist, in the Palazzo Braschi. 

BONIFAOIO, Veneziano, a painter, who flour- 
ished, according to Ridolfi, in the finest era of Ve- 
nitian art, was born in 1491, died in 1553. A. 
Morelli, in his Notitia, asserts that he was born at 
Verona, though all other authors agree that Venice 
was his birth place. He was the scholar of the 
elder Palma. The admirable works of Titian he 
studied with the greatest attention, and formed a 
style combining the excellencies of both. His 
compositions are abundant and ingenious, and his 
agreeable coloring nearly approaches the excellence 
of Titian. Ridolfi mentions many large works by 
him in the State Palace at Venice. There are also 
a number of admirable works in the churches, as 
follows : In Padri Serviti, Ohrist surrounded by his 
Apostles ; in S. Giovanni, Michael driving the Evil 
Spirits from Heaven; in S. Giovanni di Rial to. the 
Virgin in the Clouds, with Saints ; and in the Sa- 



BONL 



121 



BONI^. 



crisfcy of the latter chiircli, the Baptism of Christ. 
and the Sacrifice of Abraham. 

BONIFACCIO, or BONIFAZIO, Natalis, an 
Italian engraver, who executed some plates for a 
book published at Rome in 1590, composed by D. 
Fontana. architect to Sextus V., concermng the re- 
moval of the Vatican Obelisks. The plates are 
chiefly etchings, executed with freedom and spirit ; 
inscribed Natalis Bonifacius Slbenicensis.fec. 

BONIFORTE, Girolamo, an Italian painter, 
born at Macera in 1594, and a very good imitator 
of Titian. He subscribed himself Francesco B. 
Was living in 1671. 

BONINI, Girolamo, an Italian painter of An- 
cona, who lived, according to Orlandi, about 1660, 
and was a favorite pupil of Francesco Albano. 
He assisted that master in many of his important 
works, especially in the Sala Farnese, and the pal- 
aces at Bologna. 

BONISOLI, Agostino, a Cremonese painter, 
born in 1633, died in 1700. He studied under 
Battista Tortiroli, and afterwards, for a short time, 
under M. A. Bonisoli, an artist of little note. He 
was more indebted to his natural talents, and to 
the study of the works of P. Veronese, than to 
the instructions of his masters. His works were 
principally easel pictures of sacred subjects. The 
only large work by him is the Dispute between St. 
Antonio and the tyrant Ezzelino, in the Conventu- 
al i at Cremona. 

BONITO, Giuseppe, a reputable Neapolitan 
historical and portrait painter, born in 1705, died 
in 1789. He studied under Solimena, and was one 
of the most successful imitators of his style. He 
was appointed painter to the court of Naples, and 
practised the art with great reputation. 

BONNARD, jAcauES Charles, a French ar- 
chitect, was born at Paris in 1765, He studied in 
the school of Elenard, one of the first architects of 
his time. He distinguished himself in gaining 
several prizes, but on the breaking out of the 
Revolution, he fled to England to escape the gul- 
lotine, as he was a thorough royalist. He re- 
turned to Paris, after the reign of terror, and 
through the assistance of his old friend and in- 
structor, obtained employment from the govern- 
ment, and on the death of Renard, succeeded him 
as architect of Exterior Relations. He built the 
magnificent palace for the minister on the quay 
d'Orsay. He died at Bourdeaux in 1818, whither 
he had been sent by the government, as inspector 
of public buildings. He was a member of the 
French Institute, or Academy of Architecture, 
and engraved some plates of architectural de- 
signs. 

BONNART, Robert and Nicholas, two bro- 
thers, Parisian engravers, were born about 1646. 
They studied under F. Vandermeulen, and execu- 
ted several plates from designs of that artist. The 
following is a list of their prints : 

Portrait of Louis XIV. ; Robert Bonnart, fee. Por- 
trait of the Dauphin Louis ; do. Portrait of Claude le 
Pellatier ; Nic. Bonnart, sc. The Virgin, with the infant 
Jesus and St. John, half length figures ; do. ; oval. The 
taking of Valenciennes in 1677 ; after Vandermeulen ; 
engraved by R. Bonnart. The taking of Cambray in 
1677 ; do. The Siege of Douay ; do. The Entrance of 
the Queen into Arras, two sheets : do. 

BONNART, Jean. Jr., a French engraver, and 



probably a relative of Robert and Nicholas B. 
Among other good plates, he executed an engra- 
ving in PcrrauWs Cabinet des Beaux Arts, pub- 
lished at Paris in 1690, representing a ceiling or- 
namented with figures. It is etched in a free, 
masterly style, and finished with the graver, 
marked Joan Bonnart., Junior., del. et sculp. 

BONNCIOXE, E., a French engraver, who flour- 
ished about 1670. Among other plates, he execu- 
ted one of Diana seated in a Chariot, drawn b}^ 
Dragons, v,nth a Cupid behind her, after F. Bol. 

BONNEAU, JACon, a French engraver, who re- 
sided in England abont 1740. He worked chiefly 
for the booksellers, and engraved, among other 
plates, the portraits of the American Buccaniers, 
prefixed to their History, which was published at 
London in 1741. 

B0NNE:\IAIS0N, , an excellent French 

painter of portraits and sentimental subjects; also 
a talented lithographer, and one of the best con- 
noiseurs of his time. He died in 1828. 

BONNEMER, FRAN901S, a French engraver, 
who lived about 1670, and executed several plates 
after Le Brun. and other French masters ; among 
which is a print of Moses and the Burning Bush. 

BONNET, Louis, a Parisian engraver born about 
1735. He lived some time at Petersburg, where 
he engraved several portraits of Russian nobles. 
On returning to Paris he published several plates, 
executed in imitation of craj^on drawings ; of 
which style he pretended to be the inventor. They 
are chiefly after Boucher and other modern French 
masters. 

BONNINGTON. Richard Parke s, a reputable 
English landscape painter, born at Arnold, near 
Nottingham in 1801. Not obtaining patronage at 
home, he visited Paris at the age of sixteen, where 
he soon obtained distinction. He subsequently 
went to Italy, where he improved on his earlier 
manner ; but as the climate disagreed with him he 
returned to England, where he practised the art 
till his death in 1828. He possessed extraordinary/ 
talents, and many of his works have been copied. 

BONO,Gregorio, a Venitian painter, who was 
invited to Chamberg, in Piedmont, b.y Araadeus 
VIIL, about 1415, to paint his portrait, from which 
circumstance it is evident he was an artist of dis- 
tinction. 

BONO, NicoLiNO, an old painter of the Vene- 
tian school, who, according to Morelli, was a na- 
tive of Bologna or Ferrara. He was a pupil of 
Squarcione, and he painted some pictures repre- 
senting the history of St. Cristoforo, in the Church 
of San Marco at Venice. He lived in the first half 
of the fifteenth century. 

BONOMO. Di Jacobello, an old Venetian 
painter. In the Church of S. Arcangelo at Vi- 
cenza, is a small picture of the Conventiiali, under 
an image of the Virgin, among various other 
Saints, signed Jachohelus de Boiiomo, Venetus, 
pinxii, hoc opus, 1385. 

BONONI, Carlo, a distinguished Italian paint 
er. born at Ferrara in 1569, died in 1632. He 
studied under G. Mazzuoli till he was twenty 
years of age. He subsequently visited Bologna, 
where the works of the Caracci inspired him with 
a new idea of the art. After passing some time 
there, he went to Rome, and improved his design 



BONO. 



122 



BONZ. 



by the study of the antique. He afterwards re- 
turned to Bologna, where he studied and copied 
the works of the Caracci. He also went to Yenice, 
where the ma'^nificent works of P. Veronese exci- 
ted in him the liveliest admiration, as did also the 
great domes of Oorreggio at Parma. Ootemporary 
with Ippolito Scarzeilino, and unable to equal him 
in tenderness of tints and beauty of expression, he 
endeavored to rival him in vigor of coloring and 
boldness of design His smaller works exhibit so 
much of the style of the Oaracci, that he w^as styled 
tlie Caracci of Ferrara. His large works are re- 
plete with the magnificence of P. Veronese. Such 
are his Feast of Herod, in S. Benedetto ; his Mira- 
cle at Oana, in the Refectory of the Certosini at 
Ferrara ; and his feast of Ahasuerus in the Refec- 
tory of the Regular Canons at Ravenna ; which, for 
abundant invention, may almost rival the Marriage 
of Cana by Paolo. Many other vs^orks of this 
painter are in the public edifices at Ferrara, and his 
academy produced some of the principal Ferrarese 
painters. 

BONONE, Bartolomeo, a painter, born at Pa- 
via, where he flourished in the first part of the six- 
teenth century. In the Church of San Francesco 
at Pavia, is an altar-piece of the titular Saint, da- 
ted 1507. 

BONONE, Lionello, the nephew and scholar 
of Carlo B.', flourished about 1649. His best 
works are the Visitation, and the Holy Family, in 
the chapel of the hospital of S. Maria Novella. 
The excellent instruction of his uncle might have 
enabled him to attain eminence, had it not been 
for his negligence and depravity of conduct. 

BONONIENSIS, Fra., an Italian engraver, 
who executed several very spirited etchings, in a 
bold, masterly style, principally after pictures by 
P. Veronese, and usually signed with his name. 

BONTERNS, Pierre, a French sculptor, who 
flourished during the 16th century, and executed 
among other works, several fine bas-reliefs for the 
tomb of Francis I., which are now in the Musee 
des Monuments Fran9ois. 

BONVICINO, Alessandro, called il Moret- 
TO, a painter of Brescia, born in 1514; (though 
Lanzi says he painted in 1516) died in 1564. He 
studied under Titian, whose style he approached 
nearer than any of his countrymen, and his por- 
traits have even been compared to those of that 
great artist. In 1532. at the age of 16, he painted 
a picture of St. Niccolo, in the Church of the Ma- 
donna de Miracoli. He subsequently endeavored 
to introduce into his works something of the 
greatness of Raffaelle, and formed a very attrac- 
tive style. His coloring approaches the fresh- 
ness of Titian, and his figures, (generally from 
sacred subjects) have an expression of fervent 
piety and devotion. He sometimes painted in 
fresco, but was more successful in oil. There are 
two pictures by him of St. Lucia, and St. Caterina, 
in the Chiesa di S. Clemcnte at Brescia; also an 
admirable work, the principal altar-piece, repre- 
senting the Virgin and Infant in the clouds, with 
Saints below. There is a fine picture of the con- 
version of St. Paul at Milan, signed with his name, 
contrary to his usual practice. 

BONYS, Andre, a French portrait painter of 
8ome merit, born in Provence in 1702. He prac- 



tised the art with considerable success for a num- 
ber of years, and died at Paris in 1740. 

BONZI, Paolo, an Italian painter, called il 
GoBBO CoRTONA, from his birth-place, and il 
GoBBO Caracci. from his instructor. He was 
born in 1580, and died in 1640. He was distin- 
guished for his fruit pieces, which are so admirably 
executed as almost to rival nature herself. He 
sometimes also painted history and landscape. 

BOON, Daniel, a Hutch painter, who lived in 
England in the reign of Charles II., and died in 
1698. He painted drunken scenes and revellings, 
in which it seemed to be the utmost of his ambi- 
tion to excite laughter by ugliness and deformity. 

BOONEN, Arnold, an eminent Dutch portrait 
painter, born at Dort in 1669 ; died in 1729. He 
studied under Arnold Verbius, also under Godfrey 
Schalcken, in whose style he painted a few pic- 
tures of scenes by candle-light ; but was so much 
employed in portrait painting, that he devoted him- 
self mostly to that branch of the art. He had a 
correct design, a pencil of uncommon facility, and 
an excellent system of coloring ; so that he was 
soon considered one of the ablest painters of his 
day. He executed many portraits of the most em- 
inent men of his time ; among which were Peter the 
Great, the Elector of Mentz. the Landgrave of 
Hesse-Darmstadt, the Great Duke of Marlboro', 
the Prince and Princess of Orange, and several 
others. He also painted several Jarge pictures for 
the halls of the different companies of Dort and 
Amsterdam. He had a son, named Kaspar. who 
also painted portraits with some reputation ; but 
was much inferior to his father. * 

■py^BORCHT, Peter vander, the elder, a 
JP^\Ji Flemish landscape painter and engraver, 
born at Brussels about 1540. As a painter he 
gained little distinction ; but he has left a great 
number of plates, etched in a crude, careless style. 
He had great fertility of invention, but was not very 
judicious, either in the attitudes of his figures, or 
the compositions of his groups. His plates are 
usually marked P. B. F., or with his monogram. 
The following are the best : 

A set of Landscapes, with subjects from the Old and New 
Testaments. Rural Enjoyments ; Cornelius van Tienen, 
exc. The Festival of the Company of Archers ; do. A 
Country Wedding ; fecit Pctrus vander Borcht. 1560. 
A Landscape, with the subject of Ilagar and Ishraael ; 
dated 1586. A set of plates for the Metamorphoses of 
Ovid ; one hundred and seventy-eight prints, published at 
Antwerp ; Theodore Galle, exc. 

iBORCHT, Henry vander, a painter 
and engraver, born at Brus.sels in 1583. 
The troubles in the Low Countries obliged his 
family to remove to Germany while he was quite 
young, and they settled at Frankfort, where he wa.s 
placed under Giles van Valkcnburg. The Earl of 
Arundel, passing through Frankfort, and discerning 
in Vander Borcht, intelligence and taste for antiqui- 
ties, sent him to Italy, to collect for him, and he 
remained in his service till the death of the Earl. 
He was subsequently emploj^ed in the same ca- 
pacit}^ by the Prince of "Wales, afterwards Charles 
II. This artist painted fruit and flowers, and his 
pictures were much esteemed. During the latter 
part of his life he resided at Antwerp, where he 
died in 1660, aged 77. There are a few etchings 
by him, usually marked with his monogram. The 
following are the principal : 



BORC. 



123 



BORG. 



The Virgin and infant Jesus; after Parmeggiano ; 
1637. The dead Christ, supported by Joseph of Arima- 
thea, from a drawing by Parmeggiano ; after Rafaelle. 
1645. Abraham at Table with the Angels ; after L. Ca- 
racci. The infant Jesus embracing St. John, from Guido's 
print; after Agost. Caracci. Apollo and Cupid; after 
Perino'del Vaga ; oval. Twenty-two plates of the En- 
try of Frederick, Elector Palatine, with Elizabeth, Prin- 
cess Royal of England, his Consort, into Frankenthal ; da- 
ted 1613. 

BORCHT, James A., a Flemish engraver, who 
practised the art at Antwerp about 1630. He 
worked entirely with the graver, in a style ap- 
proaching that of James de Ghyn. Among other 
plates, he executed several from UAcademie de 
Vespee by G. Thibault, published in that city in 
1628. 

BORDIER. See Petitot. 

BORDINO, J. F.. an Italian engraver who ex- 
ecuted the plates for a 4to. volume, entitled Series 
et Gesta Pontijicmn. published in 1604. 

BORBONE, Jxvcopo, a painter of the Modenese 
school, born according to the Cav. Tiraboschi, at 
Novel lara. He was a good artist, and painted a 
part of the cloister at the Church of the Osser- 
vanti, at Mantua, about 1614. 

BORDONE,/Paris, a distinguished painter of 
the Venetian school, born at Trevigi in 1500, ac- 
cording to Zani and Lanzi ; died in 1570. He was 
of noble descent, and as he manifested a decided 
inclination for the art, after receiving a suitable 
education, he was placed under Titian. Gifted 
with fine talents, and having so able an instructor, 
he gave early proof of uncommon ability, and at 
the age of eighteen, he painted a picture of Mel- 
eager and Atalanta, and a Holy Familj^, which 
gained universal admiration. Ridolfi mentions 
many of his works in the churches and public 
edifices at Venice, Milan, Genoa, and Florence. — 
His most important worTi was the dome of S. 
Vincenzio, at Trevigi, containing, in six compart- 
ments, the Annunciation, the Nativity, the Ado- 
ration of the Magi, the Crucifixion, the Ascension, 
and the Assumption of the Virgin. He seems to 
have imitated the grand simplicity of Giorgione, 
rather than the style of Titian. His portraits are 
inferior to no Venetian painter, Titian only ex- 
cepted. He was invited to Paris by Francis II.. 
where he painted the portrait of that monarch, 
and the principal personages of his court. 

BOREKENS. See Borrekens. 

B0RGx4.NI, Francesco, a painter of Mantua, 
who lived about 1650. He studied under Hom- 
enico Feti, but followed with some success, the 
graceful manner oi Parmiggia7io. In the churches 
of Mantua there are several of his works, which 
afford convincing proofs of his genius. Lanzi says 
they deserve more praise than they have usually 
received. 

BORGHESE, Giovanni, was born at Messina, 
and studied under Costa, at Ferrara, and after- 
wards established a school of painting in his na- 
tive city, where he flourished in the latter part of 
the 15th century. He was a good artist, though 
little is known of his works. 

BORGHESE, Girolamo, born at Nizza della 
Paglia, in Piedmont, where, and in Bassignana, are 
several pictures inscribed Hieronymus Burgensis 
Nicice Palearum pinxit. He flourished about 
1500. 



BORGHESE, Pietro. See Pietro della 

Francesca. 

BORGHESE, Gio. Ventura, an Italian paint- 
er, born at Citta di Castello. He studied under P. 
da Cortona, whom he assisted in some of his most 
important works at Rome, and was engaged to 
complete several pictures that Cortona had left 
imperfect at his death. There are two pictures 
b}'- Borghese, in S. Nicolo da Tolentino, represent- 
ing the Annunciation, and the Virgin crowned by 
angels. 

BORGHESI, Ippolito, a reputable Neapolitan 
historical painter, who flourished about 1020. He 
studied under Francesco Curia, and painted an al- 
tar-piece in S. Lorenzo at Perugia, representing 
the Assumption ; which is his principal work. 

BORGIANI, Orazio, a Roman painter and en- 
graver, born, according to Zani, in 1577 ; died in 
1615. He studied under his brother Giulio Bor- 
giani, called Scalzo, but received more improve- 
ment by studying the works of the great masters 
at Rome. He was induced to visit Spain, from the 
patronage afforded to the arts by Philip II. ; where 
he remained several years, and met with good suc- 
cess, his works being in high repute. On return- 
ing to Rome, he painted several pictures for the 
Spanish ambassador, and also for the churches. In 
S. Adriano a Campo Vaccino, and in S. Salvatore 
del Lauro, there are two pictures by him ; and in 
S. Elena a Cesarini, is a picture of the Assump- 
tion. As an engraver, he etched several plates in 
a free, bold manner, more finished than is usual for 
a painter. His plates are usually marked with a 

cipher composed of an H. and a B., thus : /Xxi • 

The following are 



Iffi 



the pi-incipal : 

The Resurrection, a composition of many figures ; mark- 
ed with the last of the above ciphers. The dead Christ, in 
a foreshortened position, with the two Marys and St. John ; 
dated 1615. St. Christopher giving his Hand to the infant 
Jesus. St. Christopher carrying the Infant on his Shoulder. 
Fifty-two Bible histories, called Raffadlc^s Bible ; dated 
1615. 

BORGOGNONE. See Cortese. 

BORGOGNONE, Ambrogio, a Milanese paint- 
er, who lived, according to Lomazzo. about 1500. 
He studied under Vincenzio Foppa, and followed 
his manner. He painted in the style now called 
antico moderno. and was one of the earliest Mi- 
lanese painters who attempted to reform the dry 
Gothic style that preceded him. Rosini mentions 
a Coronation of the Virgin, which shows that he 
was far in advance of his age. He painted for one 
of the cloisters of S. Simpliciano at Milan, the his- 
tories of St. Sisinio and his companions, which have 
an extraordinary beauty, simplicity, elegance, and 
grace. 

BORGONA, Juan de, a Spanish painter, who 
flourished from 1495 to 1533. He gained distinc- 
tion by his works ; several of which at Toledo, in 
oil and in fresco, were held in high estimation. 
His coloring and mode of casting his draperies 
were considered equal to the best Italian and Ger- 
man masters of his time. At Avila, he finished 
the pictures commenced by P. Berruguette and 
Santo-Cruz. He also executed the portraits of 
several Cardinals. He painted in concert with 



BORR. 



124 



BORR. 



Alon/o Sanchez, Fran9ois d'Anvers, Alvar Perez 
de Villoldo, and other eminent masters. 

BOREAS, iL Padre Francisco Nicolas, _a 
Spanish historical painter, born at Cocentayna in 
1530 ; died in 1610. He studied under Juanes at 
Valencia, and executed the great altar-piece of the 
monaster}^ of St. Geronimo of Gandia, and required 
for payment to be admitted to the order, which 
was gladly conceded him. He painted an astonish- 
ing number of pictures for this immense establish- 
ment, employing the greater part of his hfe in these 
vrorks. Several of his paintings are also at the 
Escunal, at Ontiniente, at Aldaya. at Cocentayna, 
and Valencia. 

BORREKENS, John Peter Francis, an ex- 
cellent Flemish landscape painter, born at Antwerp 
in 1747 ; died in 1827. Most of his landscapes 
were ornamented Avith cattle and figures by Om- 
meganck and other masters, for which he paid 
them the like compliment of painting the land- 
scapes in their pictures. 

BORREKENS, Matthew, a Flemish engraver, 
born at Antwerp about 1615. He executed seve- 
ral original plates, but was principally employed 
in copying the works of eminent engravers for the 
print-sellers. Ilis plates are executed entirely 
with the graver, and he seems to have followed the 
style of Pontius, though with little success. The 
following are his principal plates : 

Augustus Carpzon, Plenipotentiary of the Duke of Sax- 
ony at the treaty of Osnabnrg; Ans. van Halle, pinx. 
1649. Gerard Schepeler, another Plenipotenti.ary at that 
treaty ; do. The Crucifixion, with the Virgin Mary, Mag- 
dalene, and St. John; after Vandyck ; Ant. Vandyck, 
pinx.; Eras. Q,uellinus, del. The imma-culate Concep- 
tion ; Rubens, pinx. ; M. Vandenenden, exc. St. Fran- 
cis Xavier, on a white ground ; do. St. Ignatius ; do. 
St. Barbara, with a Tower on her Head ; Rubens, pinx. ; 
Mat. Boreckens, sc. ; scarce. Christ bound, and kneeling, 
with two Angels holding the instruments of the Passion ; 
after Diepenbeck. The good Shepherd ; do. 

BORROMTNI, Cav. Francesco, an eminent 
Italian architect; born, according to Milizia. at 
Bissone, in the diocese of Como, in 1599. His 
father was also an architect, and was much em- 
ployed by the A^isconti familjr. Francesco studied 
sculpture at Milan, and at the age of seventeen, he 
visited Rome, where he studied architecture under 
his relative, Carlo Maderno. He copied the de- 
signs of the latter, and sculptured the cherubim 
at the sides of the small doors of St. Peter's, with 
the baskets and festoons above the arches, which 
are the only sculptures he ever executed. On the 
death of his instructor, he was appointed architect 
of St. Peter's under the direction of Bernini. In 
this new position he soon became ambitious, then 
envious, and finally the enemy of the latter, en- 
deavoring to supersede him in everything. In his 
desire for novelty, he sometimes fell into an excess 
of extravagance. He was one of the first men of 
the age in regard to the fertility of his genius, and 
manj^ of his works deserve credit for their grandeur, 
harmony, and elegance ; but he often departed 
from that simplicity and regularity which mainly 
constitute the enduring attractions of the antique, 
and practised novelties which, though attractive 
to the multitude, can never stand the test of en- 
lightened criticism. Had he followed the path of 
Bernini, his abilities would undoubtedly have ele- 
vated him to the rank of that great architect. He 
executed the fa9ade of the Church of St. Agnes in 



the Piazza Nuova, which is considered his best 
performance, and gained him so much reputation 
that the king of Spain appointed Borromini to 
enlarge and modernize his palace at Rome. He 
made a design for it which was never executed, but 
which pleased the monarch so well that he honored 
the architect with the cross of St. James, and pre- 
sented him with 1,000 pistoles. Pope Urban VIIL 
also made him a knight of the order of Christ, 
and gave him 2,000 crowns and a pension. He 
was also emploj^ed in the Barberini palace ; erected 
the church and monasteries of the jMadonna de 
Sette Dolori ; modernized the Falconicri palace in 
the Strada Giulia ; erected the palace of Rufina at 
Frascati ; and embellished the Spada palace. The 
church of S. Carlino is his most extravagant 
effort ; it is an assemblage of right angles, con- 
caves, and convexes, columns above columns of 
different diameters, windows, niches, and sculp- 
tures, which are crowded into a very small fa9ade. 
His oratory of the Padri da Chicsa Nuova has also 
been severely criticised. Borromini executed many 
other works, and made designs for edifices in vari- 
ous parts of Europe, by which he acquired both 
ftime and fortune. His only pupil was his nephew, 
who inherited his wealth. He died in 1667. aged 
08. 

BORRONI, Cav. Gio. Angelo, a Cremonese 
painter, born in 1684 ; died in 1772. He studied 
under Angelo IMassarotti, and subsequently under 
Roberto le Longe ; on leaving whom he was em- 
ployed several years by the family of the Crivelli, 
in decorating their palace. He subsequent!}^ paint- 
ed several pictures for the churches of Cremona, 
and in the dome of the Cathedral at Milan he rep- 
resented St. Benedetto interceding for that city, of 
which he is the protecting saint. This work 
gained him so much reputation, that the Duke 
conferred on him the honor of knighthood, and 
Lanzi says it may be compared with the works of 
the best painters of his time. 

BORSUM, Abraham van, a Hutch painter of 
considerable merit. His chiaro-scuro and coloring 
resemble Rembrandt, though not so artistically 
managed. Ilis subjects were landscapes, views of 
cities, animals and birds. His drawings are high- 
ly esteemed in Holland : at the sale of C. Ploos 
van Amstel's collection, one sold for 400 florins. 

BORSUM, Adam van, a Dutch painter of ani- 
mals and landscapes, who followed the style of 
Paul Potter and A. Vanderneer. His works are 
characterized by a natural coloring, and a firm, 
yet free and spirited pencil. 

BORZONE, Luciano, a Genoese historical and 
portrait painter, born in 1590 ; studied under his 
uncle. Filippo Bertolotti. In S. Domenico, at Ge- 
noa, there is a picture b}'- him, of the Presentation 
in the Temple ; and in S. Spirito, the Baptism of 
Christ. Soprani says that he excelled in portraits, 
and that his house was the resort of persons of 
taste and literature, he being a man of great ac- 
quirements. He was killed by a fall in 1645, while 
painting the ceiling of the Chiesa della Nunziata. at 
Genoa. His three sons, Gio. Battista. Carlo, and 
Francesco Maria, followed the same profession ; 
the latter excelled in landscapes, in the stjdes of 
Claude and Poussin. Borzone etched several 
plates after his own works as follow : 

The Portrait of Giustiniani. St. Peter delivered from 



BOSC. 



125 



BOSC. 



Prison. Prometheus devoured by the Vulture. Children 
playing. A set of devout subjects. 

BOS, Balthasar, a Flemish engraver, who 
flourished about 1520. Among other plates, he 
executed one of the -Judgment of Paris, which is 
probably from his own design^ as he has added the 
word fecit to his name. 

BOS, Cornelius. See Bus. 

BOS, Caspar vander, a Dutch marine paint- 
er, born at Hoorn in 1634 ; died in 1666. His 
pictures have considerable merit, for their finish 
and truth of coloring. 

BOS, Lewis Janssen, a Dutch painter ; born 
at Bois-le-duc, according to Van Mander, about 
1450 ; died in 1507. He painted fruit, flowers, 
and plants. The insects on the plants are ingen- 
iously drawn, and painted with wonderful preci- 
sion ; and his subjects were all very highly finish- 
ed. He also painted small portraits in the same 
labored manner. 

BOSC, Claude du. a French engraver who 
went to England about 1712, at the request of N. 
Dorigny, to assist him in engraving the cartoons 
of Raphael ; but on account of some dispute he 
left Dorigny, and engaged to engrave the cartoons 
for the print:rsellers. He also undertook to en- 
grave the Duke of Marlboro's battles, and sent to 
Paris for Beauvais and Baron to assist him in that 
undertaking, which occupied him two years. He 
engraved a print of the Continence of Scipio, after 
Poussin, and others after some of the great mas- 
ters, executed in a coarse, heavy style, and in- 
correctly drawn. He also published an English 
translation of Picarfs Religious Ceremonies^ the 
plates being partly by himself, and partly by Sco- 
tin and Gravelot. 

BOS, Marie Benard du, who lived about 
1770. He studied under N. G. Dupuis, and exe- 
cuted several prints in his style after Basseporte, 
Rosalba, and others. 

BOSC, J. DU, a French engraver, who flourished 
about 1749. Among other plates, he engraved 
several of flowers, which are executed with the 
graver in a very neat style. 

BOSCH, Elias, a German engraver, whose 
plates possess considerable merit. They are exe- 
cuted entirely with the graver, in a neat, finished 
style. Among others, we have by him a print of 
the Holy Farmly, with Angels ; after John van 
Achen. 

BOSCH, Jacob vander, an ingenious Dutch 
painter of fruit-pieces, was born at Amsterdam in 
1636. He drew all his subjects after nature, and 
represented them with such truth and delicacy, 
and so natural and translucent a coloring, as almost 
amounted to deception. He died in 1676. 

BOSCH, or BOSSCHE, Balthasar vander, 
a Flemish painter, born at Antwerp in 1675 ; died 
in 1715. He studied with an obscure painter, 
named Thomas, whom he soon surpassed. His 
best subjects were saloons and galleries adorned 
with works of art, with figures dressed in the pre- 
vailing costume. He was also fond of representing 
the inside of a painter's or sculptor's studio, with 
the artist surrounded by the objects of his art. 
His pictures gained great reputation, and command- 
ed extravagant prices. He was also very success- 
ful in small-sized portraits, and painted the Duke 



of Marlboro' on horseback, while that nobleman 
was at Antwerp. The horse was executed by Pe- 
ter van Bloemen. The design of Bosch was cor- 
rect, his coloring good, and his compositions ingen- 
ious. 

cv^ .>/ BOSCHE, or BOS, Jerome, a 
f- r^ Dutch painter and engraver, 
0/ C b § j^, born at Bois-le-duc about 1470 ; 
' died about 1530. His subjects 
are generally grotesque repre- 
sentations of devils, spectres, and incantations, 
treated with singidar ingenuity. One of them 
i-epresents our Savionr delivering the ancient Pa- 
triarchs from Hell. .Judas, in attempting to es- 
cape with the select, is seized on by devils, who 
are in the act of hanging him in the air. He, 
however, painted several works of a more serious 
nature, among which were Christ bearing his 
Cross, and the Flight into Egypt, in the Church 
of Bois-le-duc, which are praised by Van Mander, 
As an engraver, he exhibits the same fanciful hu- 
mor. His prints have now become very scarce, 
and are in much request. They are executed in 
the stiff, Gothic manner prevailing in his day. 
They are marked with his name, BOSCHE, or in 
Gothic letters. The following are the principal : 

The Temptation of St. Anthony ; dated 1522. The Last 
Judgment, Christ appears in the Air, seated on a Eainbow, 
and on each side of him are two Angels sounding Trum- 
pets, with Labels bearing this inscription : Hie est dies 
quern fecit ; Surgite mortui, vcnite ad judicium. At 
the bottom of the print are small figures of Men and De- 
vils of all shapes intermixed. St. Christopher carrying the 
infant Jesus across a River, and a Hermit with a Lantern. 
Constantine at the Head of his Army, an Angel showing 
him the Cross in the Sky. The Baptism of Christ by St. 
John. An assemblage of grotesque figures ; inscribed Al 
dat op, (f*c. Another similar subject ; inscribed Dese Je- 
ron. Bosch drollen, 

BOSCHE. See Bos. 

BOSCHAERT, Nicholas, an eminent Flemish 
painter of flowers and fruit, born at Antwerp in 
1696 ; died about 1746. He studied under Crepu, 
whom he soon surpassed. He frequently painted 
the fruit and flowers in the pictures of other artists. 
His subjects are treated in excellent taste ; his pen- 
cil was light, and his coloring dehcate. 

BOSCHI, Fabrizio, a Florentine painter, born 
about 1570 ; died in 1642. He studied under Pas- 
signani, and at the early age of nineteen executed 
in fresco a considerable work, representing the 
Life of St. Bonaventura, which, according to Baldi- 
nucci, was greatly admired. One of his best 
works was the Martyrdom of St. Peter and St. 
Paul, painted for the church of the Certosa at 
Florence. In the church of the Dominican con- 
vent of S. Lucia, is another excellent work, repre- 
senting the Assumption of the Virgin, surrounded 
by Angels, with the Apostles below. 

BOSCHI Francesco, a reputable Florentine 
painter, born in 1619 ; died in 1675. He studied 
under his uncle, Matteo RoseUi. and finished seve- 
ral works left incomplete by that master at his 
death. He painted several pictures of his own 
composition for the churches at Florence, though 
his chief excellence consisted in portrait painting. 

BOSCHINI, Marco, a Venitian painter and 
eno'raver. born in 1613. He studied under Palma, 
but occasionally imitated Tintoretto. One of his 
best works is an altar-piece in the Sacristy of S. 



BOSE. 



126 



BOSS. 



Girolamo at Venice, representing the Last Supper. 
His prints are usually signed Marcus Boschinius. 
He was the author of a Practical Guide to the 
Art of Painting, published at Venice in 1660. 

BOSCOLI, Andrea, a reputable Florentine his- 
torical painter, born in 1550 ; died in 1606. He 
studied under Santo di Titi. He gained distinc- 
tion by his skill in chiaro-scuro, which was then 
but imperfectly known in the Florentine school. 
He had a free and bold pencil, great vigor of color- 
ing, and a grand style of composition and design. 
His master-piece is a picture of St. John preach- 
ing, in the church of the Teresiani at Rimini. He 
was also successful in portraits, and one of himself 
is in the Florentine Gallery. Florente le Oomte 
says he engraved nineteen plates. 

BOSELLI, Antonio, a reputable Itahan sculp- 
tor and painter, who flourished at Bergamo, accord- 
ing to Tassi, about 1500. As a sculptor, he seems 
to have attained considerable distinction, and there 
are a number of his works noticed b)^ that author, 
particularly some fine statues in the Bergamese 
churches. As a painter, he executed a number of 
vforks for the churches of his native city, among 
which is a picture in S. Cristoforo, representing 
St. Peter, St. Paul, and St. Luke, inscribed. Hoc 
opus Antonium scito pinxisse Bosellum, die 23 
Februarii, 1509. In the church of the Augus- 
tines there is another of his works, representing 
the Virgin and Infant in the Clouds, with Saints 
below. It is probable that he practised the art to 
a later period, as there are accounts of monies paid 
to him in 1527 ; and it is believed he assisted Pom- 
poneo Amalteo, in the Friuli, from 1534 to 1536. 

BOSELLI, Felice, an Italian painter, born at 
Piacenza in 1650 ; died in 1732. He studied un- 
der Gioseffo Nuvolone, He at first attempted 
subjects of history ; but not succeeding very well, 
he adopted a different branch of the art, and be- 
came an excellent painter of birds, fish, and ani- 
mals. His pictures on these subjects are highly 
esteemed, and are found in the best collections in 
his native city. He was so accurate a copyist 
of ancient pictures as to deceive the best judges ; 
these are numerous, but rarely admitted to be co- 
pies by the possessors. 

BOSSxiM, John, a reputable English painter, 
who lived in the reigns of Mary and Elizabeth. 

BOSSABT, RoBT., a German engraver of little 
note, who lived about 1595, and followed the style 
of Ilcnry Goltzius. He executed a set of prints, 
emblematical of the characteristics of the different 
nations of Europe ; also a portrait of B. Spranger, 
dated 1595. 

BOSSCHAERT, Thomas Willerorts, an emi- 
nent Flemish painter, born at Bergen-op-Zoom 
in 1613 ; died in 1656. He studied at Antwerp 
under Gerard Segers, and afterwards visited Italy 
for improvement. He remained at Rome four 
years, and then returned to Flanders, where he 
soon gained distinction by several pictures he paint- 
ed for the churches of the Low Countries, His 
style, both in history and portraits, approaches 
Vandyck, and his works may justly be ranked 
with the best productions of the Flemish school. 
Ilis coloring is extremely tender and harmonious, 
and his heads have a pleasing and graceful expres- 
sion. There is an admirable work at the Hague 
by this master, representing an emblematical sub- 



ject of Peace and War ; and in the Church of St. 
James at Bruges, is a grand composition, repre- 
senting the martyrdom of that saint, which, as to 
design and coloring, would not dishonor the great 
Vandyck. There is also another fine work by 
Bosschaert, of the martyrdom of St. Basil, in the 
Church of the Capuchins at Brussels. In 1646, 
he was elected director of the Academy at Ant- 
werp. 

BOSSE, Abraham, a French engraver, born at 
Tours about 1610. He seems to have imitated the 
least finished works of Callot. His plates are 
etched with great freedom and spirit, and after- 
wards finished with the graver in a bold, masterly 
style. He published a work entitled La maniere 
de graver a Veau forte, et au Burin ; afterwards 
republished, with additions, by M. Cochin. His 
plates are principally from his own designs. The 
following are the principal : 

The Queen-Mother seated with the young King, and his 
Brother standing by her. Bust of Cai'dinal Richelieu. Por- 
trait of J. Callot, with his Epitaph. A Man with a cloak 
resting against a Tree ; engraved by Basse and Mellan. 
Judith and her Servant, with the Head of Holoferncs. The 
Adoration of the Magi. The Holy Family. Six plates of 
the History of the Rich Man and Lazarus. Six do. of the 
History of the Prodigal Son. Seven ditto of the parable of the 
wise and foolish Virgins. Seven ditto of the works of Mer- 
cy. St. Anne and her Miracles. Preparation of a Chri.s- 
tian Soldier for the spiritual Warfare. The King and 
Queen offering their Vows to the Virgin. The Forces of 
France. The Siege of La Motte. The Reduction of Man- 
tua. Six of the Reception of the Knights of the Holy 
Ghost. The Procession of the Chase of St. Genevieve. 
The Contract of Marriage between the King of Poland and 
Louisa de Gonzague. The Marriage of Louis XIV. The 
Hall of Charity. The Gallery, du Palais marchand. 
Fifteen of the Occupations and Actions of Private Life. 
Four of the Painter, the Sculptoi-, the Engraver, and the 
Printer. Five of the Surgeon, the Apothecary, the Man's 
Shoemaker, the Woman's Shoemaker, and the Hairdresser. 
Two of the Schoolmaster and Mistress. Four of the Four 
Elements ; half length figures. Four of the Four Quar- 
ters of the Globe. Four of the Seasons. Five of the 
Senses. A set of plates for the History of the Maid of 
Orleans ; from the designs of Vignon and others, 

BOSSI, Benigno, a Milanese designer and en- 
graver ; born in 1727. He intended studying 
painting under Pompeo Battoni, but was prevented 
by the death of the latter ; and, by the advice of 
Mengs and Dietrich, he applied himself to engrav- |, 
ing. He settled at Dresden, but was obliged to , 
leave in consequence of the seven years' war, and r 
went to Parma, where he was favored with the \. 
patronage of the Grand Duke. The following . 
are his principal prints : | 

His own Portrait. The Presentation in the Temple. 
1755. Forty small etchings of Heads, and other subjects ; ^ 
very spirited. A set of Vases and a Masquerade ; after >' 
Petitot. Four of Trophies. 1771. Four of the Attri- * 
butes of the Seasons ; circular. 1770. Two of Children. ' 
A set of twenty-nine small plates ; after the drawings of *• 
Parmeggiano. Allegorical figures representing the towns % 
in Piedmont. St. Catherine ; after the celebrated picture 
belonging to the family of Sanvitali. The most esteemed 
plate of the artist. 

BOSSI, Cav. Giuseppe, an Italian painter, born 
in 1777, at the village of Busto-Arsisio, in the Mi- 
lanese. While in college, he devoted much of his 
time to the study of drawing, and his preceptor 
furnished him with several of Poilly's prints after 
Caracci, which assisted him very much. He soon 
devoted himself entirely to art, and entered the 
school of Brera at Milan. At the age of eighteen, 
he went to Rome, where he remained six years, 



BOSS. 



127 



BOTS. 



and gained great improvement from the study of 
the admu-able works of art in that city. On his 
return to Milan, in 1804, he received considerable 
encouragement, and executed a number of fine 
works. The government offered a prize for an 
allegorical subject representing Italian liberty, 
which was successfully competed for by this art- 
ist. This work is distinguished for correctness of 
design, and great beauty of coloring. He was ap- 
pointed to draw up the rules for the three acade- 
mies of arts at Bologna, Milan, and Venice ; and 
in 1805 he was made a Knight of the Iron Crown. 
He died in 1815. 

BOSSIUS, James, a Flemish engraver, born 
about 1520, and resided chiefly at Rome. He 
worked with the graver in a neat, though rather 
stiff manner, and his drawing is incorrect. His 
prints, however, have considerable merit. They 
are sometimes signed with his name in full, and 
sometimes with his monogram. The following 
are the principal : 

The Portrait of M. Angelo Buonarotti. Bust of Othon 
Trucsess, Cardinal of Albani ; ■with a border, and an em- 
blem of Charity ; Jac. Bossius Belgia incidebat. Bust 
of St. Thomas d' Aquinas; Jacob Bossius Belgia incidit. 
The Crucifixion ; Jacob Bossius incid. Four, of the Four 
Evangelists ; marked B. B. F. Cock exc. Jacob's Lad- 
der; after Rajfaelle ; marked Jac. b. b. St. Peter and 
St, John curing the lame Man ; Jac. Bos. f. The Statue 
of Pyrrhus, King of Epirus ; after the antique ; signed 
Jacobus Bossius Belgia incid. 1562. 

BOSSU, Le, a French engraver who lived about 
1700, and imitated the style of F. de Poilly, He 
resided some time at Rome, where he executed 
several plates after the Italian masters, among 
which is the Resurrection of Lazarus ; after Gia- 
cinto Brandi. 

BOTELLI, Felice, an Itahan painter, born in 
1652, at Piacenza. He studied under Giuseppe 
Nuvolone, and practised history for some time 
without much success ; after which he painted ani- 
mals, birds, and fish. These subjects he represent- 
ed with great spirit and beauty, and gained con- 
siderable reputation. He died in 1732. 

BOTET, F., a French engraver of little note, 
who flourished about 1750. Among other prints, 
he engraved several subjects of gallantry and bam- 
bochadeS; aftei^ Coypel. 

/ i % ,yjf" J eminent Dutch painters were bro- 
thers, and cherished during life the warmest affec- 
tion for each other. Their works are so intimately 
connected that they are noticed in one article. 
They were natives of Utrecht, John the elder be- 
ing born about 1610. They learned the elements 
of design from their father, who was a painter on 
glass ; but afterwards studied under A. Bloemaert, 
and subsequently visited Italy for improvement, 
where John Both, stimulated by the fame of Claude 
Lorraine, soon produced landscapes that were 
highly praised by the artists themselves. These 
were ornamented by Andrew in a very tasteful 
and elegant style v/ith figures and cattle, which 
harmonized most charmingly with the landscapes. 
Throughout their works, everything is warm, ten- 
der, and harmonious ; in the landscapes of Both, 
we admire the most beautiful exhibitions of every 
variety of nature. His coloring is glowing, yet 
delicate ; and there is a sparkling effect of sun- 
shine that has scarcely ever been equalled. 



Andrew Both also acquired much reputation by 
several pictures of his own composition, in the 
manner of Bamboccio, though more agreeably co- 
lored, which are highly esteemed ; they are gen- 
erally fairs, merry-makings, and quack-doctors 
surrounded b}^ figures, designed with infinite hu- 
mor, and full of character. The works of these 
admirable artists had gained them a wide reputa- 
tion, when an unfortunate accident deprived the 
world of their combined powers. While residing 
at Venice, returning from an entertainment, An- 
drew accidentally fell into a canal and was drowned, 
in 1645. John Both soon after returned to 
Utrecht, where he engaged Poelemburg to paint 
his figures. He died in 1650. They etched a few 
plates in a masterly style. The following are the 
principal : By John Both : 

A set of four upright Landscapes ; signed J. Both, fee. 
A set of six Landscapes ; lengthways ; J. B. f A Land- 
scape, with loaded Mules ; Both, fee. A Landscape, with 
a Traveler seated, with a Basket; J. Both, inv. etfec. 

By A. Both : 

St. Anthony praying, with a Skull ; marked A. Both, 
reversed. St. Francis, with a Crucifix before him ; do. 
Bust of a Man, in Profile, with a Cap and Feather ; mark- 
ed A. B. Two Beggars. Two of Dutch Merry-makings ; 
A. Both, inv. etfec. Six Landscapes, numbered ; of which 
the first is marked A. Both. The Five Senses, represented 
by grotesque figures. 

BOTSCHILD, Samuel, a reputable historical 
painter, born in 1640, at Sangerhausen. in Saxony. 
He was appointed court painter, and keeper of the 
Electoral Gallery at Dresden, where he established 
an Academy of Painting. He also etched a few 
plates from his own designs, of which the follow- 
ing are the principal : 

The exterminating Angel destroying the Army of Senna- 
cherib ; 5*. Botschild acqua forti. Four of allegorical 
figures. Four of the Times of the Day. Two emblemati- 
cal subjects, one of Hope and Patience, the other Faith 
and Charity ; oval. LHysses and Epeus giving the Dimen- 
sions of the Trojan Horse. Hercules, with Cupid spinning. 

BOTTA, Marc' Antonio, a reputable German 
historical and portrait painter, born in 1572, and 
studied under Bernardo Azzolino, of Naples. He 
practised some time in France with success, and 
afterwards returned to Genoa, where he died in 
1648. 

BOTTALA, Gig. Maria, an Italian painter, 
born at Savona. near Genoa, in 1613 ; died at Mi- 
lan in 1644. Soprani says he visited Rome while 
3^oung, and studied under P. da Cortona. He was 
called Raffaellino, from his great veneration for the 
works of that master, though he always followed 
the style of Cortona. He painted several pictures 
for the Cardinal Sacchetti, the most important of 
which was the meeting of Jacob and Esau, after- 
wards placed in the capitol by Benedict XIV. His 
other works are in the churches of Milan and 
Genoa. 

BOTTANI, Giuseppe, a Cremonese painter, 

born in 1717, and studied at Rome under Agos- 

tino Masucci. He settled at Mantua, and gained 

considerable reputation by his landscapes in the 

, stjde of Poussin, with figures in imitation of Carlo 

j Maratti. Lanzi mentions an historical piece of 

! some merit by Bottani, in the church of S. Cosmo 

and S. Damiano. at Mantua, representing St.Paola 

' taking leave of her attendants. He died in 1784. 

! BOTTI, RiNALDO, a Florentine painter, who 

i ffourished in the first part of the 18th centur3^ 



BOTT. 



128 



BOUO. 



He studied under Jacomo Chiavistelli, and Maga- 
lotti pronounces him a great fresco painter. None 
of his works are specified, nor the time of his 
birth or death are noticed. 

BOTTICELLI, Sandro. or Alessandro, a 
Florentine painter and engraver, born in 1437; 
died in 1515. He studied under Filippo Lippi, 
and subsequently visited Rome, where he executed 
several important works for Sixtus lY. His chief 
works at Florence were a Venus attired by the 
Graces, and a Venus Anadyomene; also an As- 
sumption of the Virgin, in S. Pietro Maggiore, 
highly praised by Vasari, painted for St. Matteo 
Palmieri, and now in England. It contains a mul- 
titude of figures in the heavens, the Apostles around 
the tomb from which the Virgin has ascended, and 
the figures of Palmieri and his wife kneeling. Vas- 
ari mentions a number of plates by Botticelli, among 
which are twelve of Sibyls, seven of the planets, a 
_St. Jerome kneeling, etc. Baccio Balclini, engraved 
nineteen vignettes from designs of this master, for 
Dante's Inferno. 

BOTTONI, Alessandro, a Roman historical 
painter, born in 16G2; died in 1706. He was 
elected a member of the Academy of St. Luke, and 
practised the art with reputation. 

BOTTE, Jean de, a French architect, born in 
1670. He went to Prussia, at the invitation of 
King Frederick III., where he enlarged and or- 
namented the Royal Arsenal, and made it one of 
the finest edifices in Europe. Under the reign of 
Frederic William, de Botte was charged with the 
erection of the fortifications at Wesel, which are 
considered a good specimen of military architec- 
ture. In 1728 he vjsited Saxony, where he also at- 
tained distinction. He died at Dresdeii in 1745. 

BOUCHE, Martin, a Flemish engraver of por- 
traits, who fionrished about 1680. ^ He worked 
chiefly for the booksellers, and executed a number 
of plates almost entirely with the graver, in a neat, 
stiff style, but not without merit. Among other 
prints, he engraved a number of portraits of the 
Jesuits who suffered in England, among which 
are those of John Fenwick. and Thomas Harcott. 
The latter is signed Martin Bouche. 

BOUCHARD, Joseph, a Flemish engraver, 
who flourished about 1760. He executed several 
plates representing buildings and antique ruins, 
in a neat, finished style, 

BOUCHER, FRAN901S, a Parisian painter and 
engraver, born in 1704 ; died in 1768. He studied 
under Frangois Lc Moine ; was appointed court- 
painter, and was favored with the patronage of the 
great. Few painters have enjoyed in their life- 
time the flattering encouragement and great repu- 
tation of Boucher ; and never perhaps was there 
one who enjoyed those advantages with less real 
claim to them. He was a perfect master of the 
mechanism of the art, and deserves great credit 
for that; but he openly set at nought the truly 
beautiful, and con-upted the public taste. He suc- 
ceeded best in pastoral subjects, though they are 
not equal to those of Watteau. The following are 
some of his etchings : 

A small oval plate of the Virgin. Four of Children 
playing. Cupids sporting. The amiable Villager. An- 
dromeda. Twelve of Chinese figures. Set of twelve fig- 
ures; after A. Blocmart. The Portrait of Watteau. The 
Italian'troop. The Player on the Gruitar. La Guinguette. 
La Coquette grotesque. 



BOUCHER, Jean, a French painter and en- 
graver of little note, the brother of the preceding. 
He etched five plates, among which is the por- 
trait of the painter Watteau. 

BOUCHET, Louis Andre Gabriel, a French 
historical painter of the present century. He 
studied under David, and painted portraits, and 
historical and poetical subjects. He obtained the 
first great prize of the Roj^al Academy in 1797, 
and continued to exhibit till 1819. 

BOUCQUET, Victor, a reputable Flemish his- 
torical and portrait painter, born at Furnes in 
1619, and died in 1677. His works are in the 
different churches of the towns in Flanders ; they are 
characterised b}'' fine coloring and good composi- 
tion ; but exhibit little of the taste of his coun- 
try. In the groat church at Nieuport, are two 
altar-pieces by Boucquet. one of which, represent- 
ing the Death of St. Francis, is much esteemed; 
and in the town-house there is a large picture by 
him, considered his chief work, representing the 
Judgment of Cambyses. He also painted the 
principal altar-piece in the church at Ostend, re- 
presenting the Deposition from the Cross. 

BOUD. R.; a Dutch engraver, who flourished 
about 1590. He was principally employed in en- 
graving plates for the booksellers, which were ex- 
ecuted with the graver, in a stiff, formal style. 
Among other plates, there is one oif Henry Goltz- 
ius, the eminent painter and engraver, crowned 
with laurels by Fame. 

BOUHOT, Etienne, an eminent French painter 
of architectural views, both interior and exterior, 
born at Bardles-Epoisses, (Cote d'Or) in 1780, 
and was living in 1831. He obtained many medals 
from the different places where his works were 
exhibited. His pictures are numerous, and much 
esteemed. 

BOUJAS, or BOUZAS, Don Juan Antonio, 
a Spanish painter of Santiago, born about 1672, 
and died in 1730. He studied under Liica Gior- 
dano, at IMadrid, and painted easel pictures re- 
sembling the style of that master. His principal 
works are in the churches of Santiago, whither he 
returned on account of the troubles at Madrid. 
In the cathedral is a picture of St, Paul and St. 
Andrew, and in the convent of the Dominicans, 
are two altar-pieces b}^ him. 

BOULEE, Etienne Louis, an eminent French 
architect, born at Paris in 1728. He studied un- 
der Lejai, and early manifested great abilities. Be- 
fore his time, architecture was exceedingly cor- 
rupt, and characterized by the false taste of the 
times; but Boulee succeeded in changing this 
state of things, and in introducing the purit)^ of 
the antique. His works are distinguished for 
their ingenious arrangement, purity of form, and 
majestic proportions. He erected the Hotel de 
Bruony, in the Champs Elysees, which established 
his reputation. Among his other works are, the 
Chateau de Tasse, and Chaville ; that of Chauvry, at 
Montmorency ; the Hotel d'Evreux, etc. He also 
erected a number of theatres, churches, villas, city 
gates, and triumphal arches ; which gained him 
great reputation. He wrote an excellent Essay on 
Architecture, which shows a profound knowledge 
of his profession. He was architect to the King, 
and a member of the Royal Academy for many 
years ; and in 1795 he was elected a member of 



BOUL. 



129 



BOUL. 



the Institute. Among his scholars were Chalgrin, 
Brognard. Durand, Gisors, and other eminent ar- 
chitects. Boulee died in 1799. 

BOUILLARD, Jacques, a French engraver, 
born in 1744, and died in 1806. He was a mem- 
ber of the Ro3^al Academy, and editor of the col- 
lection of the Palais Ro3'al. He engraved classical 
subjects after Guido, Caracci, Poussin, Mignard 
and others. 

BOUILLARD. Jean, a French engraver, who 
went to England about 1795, He remained a 
short time in that country, and published several 
plates engraved by himself, after Poussin. le Su- 
eur, and other French painters ; among which is 
Moses treading on the crown of Pharaoh ; after 
Poussin. 

BOUIS. See Bouys. 

BOULANGER. Jean, a French painter, born at 
Trojes in 1606 ; died in 1660. When quite young 
be visited Bologna, and entered the school of Guido 
Reni, wliere he acquired a pleasing and harmoni- 
ous coloring, and a graceful and correct design. 
The duke of Modena appointed him painter to his 
court, and he composed and executed, in the ele- 
gant style of Guido, several historal works for the 
ducal palace. He also established a reputable ac- 
ademy at Modena, which was much frequented. 

BOULANGER. Mathieu, a French engraver, 
who ilourished at Pa^is about 1680, and is sup- 
posed to have been a son of Jean B. He was prin- 
cipally employed in engraving portraits for the 
booksellers, which were executed in a stiff, heavy 
stjde ; among others is that of Raymond Vievs- 
sens, M. D. 

BOUTiANGER, Jean, a French engraver, cous- 
in to Jean B., was born at Troyes in 1613. He 
first imitated the syle of Francis Poilly, but sub- 
sequently followed a mode adopted by his cotempo- 
rary, John Morin. (which he greatly improved) of 
finishing the flesh or naked parts of his figures 
with dots, instead of strokes, or with a mingling 
of both which gives a ver}^ soft and mellow ef- 
fect. E[is draperies and backgrounds, however, 
were finished with rather a harsh use of the grav- 
er, causing a want of unison in the effect ; yet his 
prints have considerable merit, and are justly es- 
teemed. The following are the principal : 
portbaits, 

Maria Theresa of Austria, Queen of France ; after Frere 
Luc. Pope Urban VIII ; J. Boulanger inv. et fee. — 
Charles II., King of England. Gustavus Adolphus, King 
of Sweden. Leopold, King of the Romans. Henry of 
Castile, Abbot of St. Martin. J. Regnavilt de Segrais, of 
the French Academy. J. James Olier, Curate of S. Se- 
pulcre. Paul Eerier, Canon of St. Genevieve. Daniel de 
Cornac, Bishop of Valence. V. Louis de Seckendorf ; af- 
ter C. Schefer. Michael Nostradamus, Physician. Vin- 
cent de Paul. Mademoiselle le Gras, Foundress of the 
Pilles de la Charite. Francis Isidor de Hayrien. Fran- 
cis de Clermont, Bishop of Noyon. 

SUBJECTS FROM HIS OWN DESIGNS. 

Two Busts of our Savior and the Virgin Mary. Bust of 
the Virgin, surrounded by a border of Laurel ; oval. The 
Virgin Mary and infant Jesus ; half length. The Virgin 
Mary and Infant, with St. John presenting a Cross, 

SUBJECTS FROM DIFFERENT MASTERS. 

The Virgin and Infant Christ holding some Pinks ; call- 
ed the Virgin of the Pinks; after Raffaelle. A Bust of 
the Virgin ; insci'ibed Mater amabilis ; do. The Holy 
Family, with St. Joseph giving the Infant some Cherries ; 
after Caracci. The Virgin of Passau ; after Solario. — 
The Virgin Mary, with the Infant sleeping in her Arms ; 

12 



after Guido. The Virgin and infant Jl^sus, vt"l!:Ii St. .Jv^Im 
kissing his Foot ; do. The Holy Family ; after Noel 
Coypel.- The Holy Family ; half-length figures ; after 
Nlc. Lioir. The infant Christ ; inscribed Salvator Mundi, 
tf'c. ,• do. 1651. Christ bearing his Cross ; after \ic. 
Mignard. The Virgin and Infant, with St. John kissing 
his Foot ; cftcr P. Mignard. The taking down from the 
Cross; after S. Bourdon. The Entombing of Christ ; do. 
The Crucifixion ; after Ck. le Brun. St. Francis de 
Paolo; after S. Vouet. The dead Christ supported by 
Joseph of Arimathea. The pompous Cavalcade on the 
occiision of Louis XIV. coming of age. 

BOULLONGNE, Louis, the elder, a Parisian 
painter, born in 1609 ; died in 1674. He excelled 
in copying the ancient masters, and his copies have 
often surprised the best judges. He also painted 
three historical subjects in the church of Notre 
Dame ; the jNliracle of St. Paul at Ephesus ; the 
Martyrdom of St. Paul ; and the Presentation in 
the Temple. He also etched the Miracle of St. 
Paul at Ephesus, and the Martyrdom of St. Paul, 
from his own designs ; and the Rape of Helen', 
after Guido. 

BOULLONGNE, Bon, a Parisian painter, the 
son of Louis Boullongne, born, according to Zani, 
in 1649 ; died in 1717. He studed under his 
father, and gained the prize of the Academy by a 
picture of St. John, which entitled him to the royal 
pension, to enable him to prosecute his studies 
at Rome, where he remained five years. He after- 
wards went to Lombardy, and passed some time 
in studying the works of Correggio and the Car- 
acci, after which he returned to Paris. In 1677 
he was elected a Roj^al Academician, and painted 
for his picture of reception, Hercules combating 
the Lapithas. He possessed a peculiar faculty of 
painting what the Italians call Pasticci, or imi- 
tations of the style of other masters, without the 
servility of copies. Louis XIV. emploj-'cd him to 
paint the staircase at Versailles, under the direc- 
tion of Charles le Brun. In 1702 he painted in 
fresco the cupola of the chapel of St. Jerome, in 
the church of the Invalides. One of his best 
works is the Resurrection of Lazarus, in the 
church of the Carthusians. At Versailles, he paint- 
ed Venus and Cupid, and Bacchus and Silcnus ; 
also Juno and Flora, and the Toilet of Venus, in 
the palace of Trianon. He also etched a Holy 
Family, St. John preaching in the Wilderness, and 
St. Bruno. 

BOULLONGNE. Louis, the younger, son of 
Louis Boullongne, an eminent Parisian painter, 
born in 1657; died, according to Zani, in 1733. 
He studied under his father, was one of the most 
assiduous students of the Academy, and gained the 
first prize in 1675, at the age of eighteen, which 
entitled him to the royal pension, to enable him to 
prosecute his studies at Rome. In 1680 he re- 
turned to Paris, was elected a Royal Academician, 
and painted for his picture of reception, Augustus 
ordering the Temple of Janus to be shut. At 
the death of Coypel, he was appointed painter to 
Louis XIV. He also received from the King a 
patent of nobility for himself and his descendants ; 
was chosen designer of medals to the Academy of 
Inscriptions, and also Director of the Academy of 
Painting. His frescos in the chapel of St. Augus- 
tine, procured him a pension and the order of St. 
Michael ; whence he is commonly designated the 
Chevaher. He was also employed at Fontainbleau. 
and in the chateau of Meudon ; also in the church 
of Notre Dame, where there are two line pictures 



BOUM. 



130 



BOUR. 



of the Purification, and the Flight into Egypt. He 
excelled in historical and allegorical subjects, and 
it may be easily seen that he had studied 'the old 
masters with unusual care ; his heads have a fine 
expression, his coloring is vigorous, and his draw- 
ing correct. He etched a few plates, as follows : \ 

The Holy Family, tlie infant Jesus holding a Bird with a 
String. The Holy Family, with St. John. The Dead 
Christ, with the Mai-ys and Disciples. The Martyrdom of : 
St. Peter. The Martyrdom of St. Paul. The Flagella- 
tion of St. Andrew ; afier P. Veronese. St. Bruno. The 
Roman Charity. 

BOUMAN, P., a reputable Butch landscape I 
painter, born at Dort in 17G5. He painted views j 
in the vicinity of Haerl em; also Waterfalls, Winter [ 
Scenes, and similar subjects, so prevalent at this | 
time among the Dutch artists. His works are | 
highly esteemed. \ 

BOUNIEU, Michel Honore, a French paint- 
er, born at Marseilles in 1740 ; died at Paris in 
1814. He painted subjects from histor}^ poetr}^, 
and fable. He was keeper of prints at the Biblio- 
theque'^Nationale, and for twenty years professor 
of design '• cles Ponts-et-Chaussees" 

BOUNIEU, Nicholas, a painter and engraver 
of Marseilles, born in 1744, and studied under M. 
Pierre, was elected a Royal Academician in 1775. 
As an engraver, he designed and engraved a few 
mezzotints. 

Adam and Eve driven from Paradise. Magdalene, 
Prinitent. Love led by Folly. The Punishment of a Ves- 
t'l. An Allegory on the Birth of the Dauphin. The 
(< ijeu-house of the Tuilleries. The Amusement of the 
Saltan. 



flourished at Paris about 1703. He engraved 
among other works, a set of plates from his own \ 
designs, representing ornaments with figures, for 
goldsmiths and jewellers. They are executed en- j 
tirely with the graver, in a very neat style, and j 
signed, Petriis Bourdon^ inv. et fecit. I 

BOURDON, Sebastien, an eminent French 
painter and engraver, born at Montpellier in 1616 ; 
died at Paris in 1671. He studied the elements 
of design with his father, who was a painter on 
glass. At the age of fourteen he was taken to 
Paris, and placed under a painter of little note ; 
with whom he remained four years, and then went 
to Rome, where he formed the acquaintance of 
Andrea Sacchi and Claude Lorraine, and was fa- 
vored with their friendship and instruction. Af- 
ter studying three years at Rome, he also visited 
Venice. On returning to Paris, he executed the I 
Crucifixion of St. Peter, in the church of Notre j 
Dame, which is considered his master-piece. The | 
reputation he acquired by this picture, gained him 
great emploj^ment ; but his success was inter- 
rupted by the civil wars of the fronde, and in \ 
1652, he went to Sweden, where he was welcomed i 
by Queen Christina, and appointed her principal i 
painter. He executed there several important | 
works ; but the queen having resolved to abdi- I 
cate the throne; and tranquillity being partially ! 
restored in France, he returned to Paris, and met [ 
with immediate employment. Soon after, he paint- 
ed his esteemed picture of the Deposition from 
the Cross, for the church of S. Benedict ; and his 
martyrdom of St. Protais, for the church of S. 
Gervais. Bourdon is said to have had so excellent 
a memory that he could copy a picture he had 
once seen. He possessed great fertility of inven- 



tion, and a wonderful facility of execution, though 
his design was sometimes incorrect. He also 
painted portraits and landscapes. In the latter 
he particularly excelled; and appears to have com- 
bined in them the style of Titian and Poussin. As 
an engraver, he has etched a number of plates of 
various subjects, after his own designs, executed 
in a free and masterly style. The back-grounds 
of his pictures are exceedingly picturesque, his 
chiaro-scuro is managed with great intelligence, 
and his prints are highly esteemed, conveying a 
perfect idea of his manner of painting. The follow- 
ing are the principal : 

Jacob returning to his country in the absence of Laban. 
Kebecca meeting the Servant of Abraham. The Ark sent 
back by the Philistines to the Beth-shemites ; scarce. The 
Annunciation. The Angel appearing to the Shepherds. 
Six of the Flight into Egypt, and the Return from thence. 
The Holy Family reposing, the infant Jesus feeding a 
Lamb. The Holy Family, St. John holding the Foot of 
the Lamb. The Holy Family, called the Washervroman. 
The Baptism of the Eunuch. Christ healing the Sick. 
The Merciful Samaritan. A Peasant Woman .giving 
Drink to a Child. The Fortuneteller. The Five Senses ; 
five plates. A set of fourteen subjects, representing the 
liberal Arts and the Virtues ; dedicated to M. Colbert ; 
ovals and octagons. A set of six large Landscapes ; very 
fine. A set of six smaller Landscapes ; very fine Two 
grand Landscapes ; inscribed >§. Bourdon, inv., scnl, et 
exc. The Seven Works of Mercy ; dedicated to M. Col- 
bert. 

BOURGEOIS, Charles Guillaume Alexan- 
dre, a French engraver and painter, born at 
Amiens in 1759. He studied engraving under 
George Vf ille, and executed a number of portraits, 
among which were those of Cresset and the Bishop 
of Amiens. He afterwards devoted himself to 
miniature painting, ,in which he made great im- 
provements, especially in the coloring. He pub- 
lished at Paris a number of treatises on his discov- 
eries at different times, from 1813 to 1827. He 
died in 1832. 

BOURGEOIS, Constant, a French landscape 
painter, engraver, and lithographer, was living in 
1809, and, according to Landon, was distinguished 
for the richness of his compositions, and the purity 
of his style. That author describes three of his 
pictures, executed in the manner of Poussin. 

BOURGEOIS, Sir Francis, was born in Lon- 
don in 1756, and died in 1811. The famil}^ of 
this painter was originally of Berne, in Switzer- 
land. He was intended by his father for a mili- 
tary life, but was advised hj Reynolds, who was 
shown some of his juvenile attempts, to pursue 
painting. He accordingly studied under Luther- 
bourg, and in his nineteenth year painted several 
landscapes, battles, and marine views, of some 
merit. In 1776, he visited the Netherlands, 
France, and Italy, for improvement. He was 
elected a Royal Academician in 1792 ; and in 1794, 
was appointed landscape painter to the king. He 
was considered a reputable artist in his time, but 
his works now attract little notice. 

BOURLIER, Francois, a French painter, who, 
according to Basan, etched several plates from his 
own designs, and after Gulio Romano and others, 
among which is Moses Discovered by Phoraoh's 
Daughter, after F. Perrier. 

BOUSSEAU, jAcauES, a French sculptor, born 
in 1681, at Chavaignes-en-Poitou. He visited Pa- 
ris, and entered the school of Nicolas Coustou, 
where he made rapid progress, and was in due 



BOUS. 



131 



BOUT. 



time received into the Royal Academy, where he 
attained the rank of Professor of Sculpture. His 
reception-piece was a statue of Ulysses drawing his 
Bow. For the church of Notre "Dame, he executed 
two statues of St. Maurice and St. Louis, and a 
bas-relief, representing Christ giving the Keys to 
St. Peten In St. Honore, he executed the Maus- 
oleum of Cardinal Dubois, which has been erro- 
neously attributed to Coustou. At Versailles he 
executed a statue of Religion, and at Rouen, the 
grand altar of the cathedral. The King of Spain 
invited him to his court, and appointed him his 
principal sculptor. Bousseau resided many years 
at Madrid, where he executed a number of good 
works. He died in that city in 1740. 

BOUT, or BAUT, Francis, and N. BOUDE- 
WYNS, Flemish painters, born at Brussels, and 
flourished about 1700. They are noticed in one 
article, as they usually painted in concert ; the 
landscapes of Boudewyns being decorated with fig- 
ures by Bout"; although the latter occasionally ex- 
ecuted paintings of his own composition, repre- 
senting winter scenes and views of the sea-shore, 
with a number of small figures neatly drawn. 
Their combined works are much esteemed in Flan- 
ders. They are generally views of the country 
seats of the nobility, and the adjacent scenery, with 
figures representing gallant assemblies and merry 
makings. The landscapes of Boudewyns are much 
in the style of Breughel, and there is great truth 
in the figures of Bout. The latter has etched a 
few plates in a slight, free style, viz : Four Winter 
Scenes, with Skaters and a variety of Figures ; a 
Landscape, with a Statue of Neptune ; a View of 
the Sea-shore in Winter, with a Fish-market ; 
the Bride conducted to Church ; and a Country 
Market. 

BOUTATS, Fred., a Flemish engraver, born at 
Antwerp about 1620. He engraved several plates 
from his own designs and those of other masters, 
executed with the graver in a neat style ; among 
which are the following: 

PORTRAITS, ETC. 

Charles Emanuel, Duke of Savoy. Charles Gaspar, 
Elector of Treves. Queen Christina of Sweden. Oliver 
Cromwell, Protector. Frederick William, Elector of Bran- 
denbourg. John George, Elector of Saxony. John Bap- 
tist Heil, portrait painter ; se ipse pinx. Daniel Van Heil, 
landscape painter; J. B. van Heil, pinx. Leo Van Heil, 
architect ; do. David Ryckaert, painter ; se ipse pinx. 
The Virgin and Infant Jesus, with St. John; dated 1655. 
Cavaliers and Ladies playing at Cards; P. 13 outats, fecit. 

BOUTATS, Gaspar, a Flemish engraver, bro- 
ther of F. Boutats, born at Antwerp about 1625. 
He etched the plates for a folio volume of Views 
of Jerusalem, after designs of John Peters; also a 
number of other prints for the booksellers, among 
which are the following : 

Frontispiece for the Psalms of St. Augustine ; Gaspar 
Boutats, fee. The Massacre of St. Bartholomew. The 
Assassination of Henry IV. The Decollation of Count 
Nadasti, Count Corini, and Marquis Francipani. A Sut- 
ler's Tent ; after P. H. Wouwermaris. 

BOUT*ATS, Gerard, a Flemish engraver, bro- 
ther of F. Boutats ; was born at Antwerp about 
1630; but settled at Vienna, where he was ap- 
pointed engraver to the University. The follow- 
ing are his principal plates : 

Adamus Munds, physician. 1657. Antonius d'Aumont. 
Charles Joseph, Archduke of Austria. Don Pedro, King 
of Portugal. The Eesurrection ; Gerard Boutats, scul. ; 
Vienna. 



BOUTATS; Philibert, a Flemish engraver, the 
son of F. Boutats, born at Antwerp about 1050. 
He executed a number of portraits in a neat stjde, 
among which are : 

portraits. 

Pope Innocent XL The Dauphin, Son of Louis XIV. ; 
oval. Mary Antonia Victoria, of Bavaria, Dauphiness. 
Elizabeth Charlotte, Duchess of Orleans. William Henry_ 
Prince of Orange. Christian V. King of Denmark. Her- 
man Werner, Bishop of Paderborn. John Sobieski, King 
of Poland ; Philibert Boutats, sc. Thesis, with the Por- 
trait of the Bishop of Munster. 

BOUTEUX. Pierre le, a French painter, was 
born at Paris in 1692. He painted subjects of his- 
tory, but did not attain distinction. He died in 
1750. 

BOUYS, or BOYS, Andre, a French portrait 
painter, born in Provence about 1680. He studied 
under Francis de Troy, and practised at Paris. 
He also engraved a few mezzotints, among which 
are: 

Andrew Boys and his Wife. Francis de Troy, painter. 
Claude Gros, de Boze ; And. Boys. pinx. ad vivum, et sc. 
1708. Francis Rene, Marquis deBellay; Boys, pinx. et 
scul. John Baptist Massillon, Bishop of Clermont ; Boys, 
fee. De Marais, famous musician. 

BOVA, Antonio, was born at Messina in 1641. 
He studied under x\ntonio Ricci. called II Barba- 
lunga. whose style he happily imitated. He ex- 
celled equally in oil and in fresco, and there are 
many of his works in the public edifices at Mes- 
sina, where they are highly esteemed. Lanzi says 
his works compare favorably beside those of his 
master ; and being of a placid and tranquil dispo- 
sition, he took no part in the revolutions of Mes- 
sina, but devoted himself to his profession, and lived 
all his days in peace, and with him expired the 
school of Barbalunga, 

BOVADILLA, Geronimo de, a Spanish paint- 
er, was born at Antequera, near the city of Seville. 
Palomino saj^s he studied under Francisco Zurba- 
ran. and followed his style. He was distinguished 
for his perspective views and subjects of history, 
of medium size. He died in 1680. 

BOVINET, Etienne, a reputable French en- 
graver, who flourished about 1805. There are a 
number of good works by him, after the most em- 
inent Italian, Dutch, and French painters. He 
also executed several fine plates for the Galerie 
dii Musee Napoleon. 

BOVINI. Francesco, an Itahan painter of un- 
certain age! who flourished at Ferrara. Barotti 
mentions two altar-pieces by him. in the Church 
of the Oratorio della Penitenza, in that citv, rep- 
resenting the Immaculate Conception, and the 
Adoration of the jNIagi. 

BOWER, Edward, an English painter in the 
reign of Charles I. Among others, he executed 
the portraits of John Pym, Gen. Fairfax, and Lord 
John Fairfax; the two last were engraved by 
Hollar. 

BOWLES, Thomas, a London engraver, born 

about 1712. He published a set of thirty views in 

and near London, some of which were engraved by 

! himself, and others by Foudriniere, Vivares, etc. 

The following are the principal : 

A View of London from the Thames. 1751. Somerset 
House. 1753. Greenwich Hospital. 1745. The Rotunda 
atRanelagh. 1751. The Royal Exchange. St. Mary-le- 
bow. 



BOXB. 



132 



BOYD. 



BOXBERGER, M., a German engraver of little 
note, who flourished ' about 1570. He executed 
among other works, several plates of historical and 
devout subjects which are neatly finished, but in a 
stiff" formal style, 

BOYDELL, John, an eminent engraver and 
print-seller, who has justly been termed by his 
countrymen the "father of engraving in England," 
and he might with equal propriety be called the 
father of historical 'painting in England ; for he 
did more to bring the arts of painting and engra- 
ving in his country to the present elevated state, 
than any other man. He was born in Shropshire 
in 1719. His grandfather was a Doctor of Divin- 
ity, and had two livings in Derbyshire ; during 
whose life-time, his grandson had been intended 
for the church. His father was a land surve3^or, 
and on the death of Dr. Boydell, brought up his 
son to his own profession, and had it not been for 
one of those little accidents which sometimes de- 
termine " the path that men are destined to walk," 
he had wasted that life which has been so honora- 
ble to himself, and so beneficial to his country. 
While he was yet young, chance threw in his way 
Bradley's Views of different Country Seats, among 
which was one of Hawarden Castle. Flintshire, the 
seat of Sir John Glynn, by whom his father, with 
himself, was employed in his professional capacity. 
These prints powerfuUj^ attracted j^oung Boydell's 
attention. The exact delineation of a building and 
of grounds he had so often contemplated, excited an 
astonishment easier to be conceived than described, 
and considering it as an engraved plate, from which 
a multitude of impressions could be taken, and 
judging from his own pleasurable emotions that 
his sphere of usefQlness would be greatl}^ enlarged 
if he could acquire and practise the art, he imme- 
diately made application to his father for permis- 
sion to go to London for this purpose, who entirely 
disapproved of the project. He had no sooner ac- 
quired his majority, than he set out for London, 
on foot, greatl}^ to the displeasure of his parents, 
and apprenticed himself to Mr. Thoms, the engra- 
ver of the plates before mentioned, for seven years. 
His conduct during his apprenticeship strongly 
marked the man, for he set himself to work with 
that spirit and perseverance which he manifested 
through life, to acquire a thorough knowledge of 
the business in all its branches. He applied him- 
self to study drawing, and whenever he could get an 
opportunity he went to the Academy in St. Martin's 
Lane, to perfect himself in this branch. His lei- 
sure hours in the evening he devoted to the study 
of perspective, and learning French without the aid 
of a master; and to improve himself in pronuncia- 
tion, he regularly attended the French Chapel. He 
thus acquired a thorough knowledge of the lan- 
guage. After pursuing his business for six j^ears, 
finding himself a far better artist than his teacher, 
he bought of Mr. Thoms the last year of his ap- 
prenticeship, and became his own master in 1745. 
The first use he made of his freedom was to return 
to his own county, where he married a worthy 
young lady for whom he had an eai'ly attachment. 
He immediately returned to London and com- 
menced that course of active operations which led 
to fame and fortune. His first work was a set of 
six small plates, designed and engraved by him- 
self, called the Bridge Book, from the circumstance 
that a bridge formed a part of the scenery in each 



plate, which he sold for one shilling. Small as 
this sum was, he often spoke of it with pleasure in 
his prosperous days, and a silversmith in Duke's 
Court, St. Martin's Lane, sold so many copies that 
the engraver, when he called to settle for the year's 
sales, " thought it civil to take a silver pint mug 
in part payment," and this mug he retained till his 
death. He designed and engraved many other 
views, generally of places in and about London, 
and published the greater part of them at the low 
price of one shilling each. But even at this early 
period of his life, he was so much alive to fame, 
that after having spent several months in engra- 
ving a historical picture of Coriolanus, after Sebas- 
tian Concha, he was so much dissatisfied with his 
performance that he broke it up. He engraved 
many plates after Berghem, Salvator Rosa, Brook- 
ling, and others, which are executed in so highly a 
respectable manner as to show, that had not the 
bent of his genius and ever active mind directed 
his attention to publishing, he would have acquired 
distinction as an engraver. His facility of execu- 
tion and unconquerable perseverance having ena- 
bled him to complete a great number of prints, he 
collected the whole into one portfolio, and published 
it at five guineas. This work met with such lib- 
eral patronage, '' that," as he modestly remarks, 
" it was by the profit of these prints that the en- 
graver of them was enabled to hold out encourage- 
ment to artists in this line, and thereby he flatters 
himself he has somewhat contributed to improve 
the art in the country ;" and he adds. " it is the 
first book that ever made a Lord Mayor of London ; 
and when the smallness of the work is compared 
with what has followed, he hopes it will impress 
all young men with the truth of what he has often 
held out to them, that industrj^, patience and per- 
severance, if united to moderate talents, are certain 
to surmount all difficulties." 

The art of engraving was, at the time Boydell 
began, at a very low ebb in England. Wotton's 
Portraits of hounds, horses, grooms and squires, 
with a distant view of the stables and dog kennels, 
and hunting-pieces, representing lords and squires i 
in jockey caps, and similar subjects, taken almost * I 
entirety from the sporting habits engrossing the 
aristocracy, were all the rage, and pretty much all 
English artists were thought capable of perform- . 
ing ; " and it must be acknowledged, mortifying as I 
it may be," says Gould, "that w'ith the exception 1 
of the inimitable Hogarth, and two or three others, 
the generality of our artists were not qualified for 
much better things." The men of fortune, M'ho 
had refinement and taste, procured prints of a 
higher order from abroad, " for which, even at this | 
time, the empire," says the same author, ''was " | 
drained of immense sums of money." Boydell saw 
this evil and stoutly maintained that it Avas not 
for want of abihty in their artists, but from preju- 
dice and lack of patronage ; and he had met with 
such success that he resolved to test the truth of 
his assertions. '• To check this destructive fash- 
ion, he sought for an English engraver who could 
equal, if not excel them (i. e. the foreign engra- 
vers), and in "WooUetthe found one. The Temple 
of Apollo after Claude, and two premium pictures 
from the Smiths, of Chichester, were among the 
first large works which this excellent artist en- 
graved ; but the Niobe and Phseton. after AVilson, 
established his fame." These superb works were 
pubhshed by Boydell at the extraordinary low 



BOYD. 



133 



BOYD. 



price of five shillings each ; for proof impressions 
of which, in after years, fifteen guineas were fre- 
quently given in London ! Boydell now gave fall 
employment to every young and talented engraver 
in London, and soon put a stop pretty effectually 
to the foreign impoitation, and even exported 
largely to the continent, so that the balance of 
trade in this branch of art was greatl}^ in the favor 
of .England, and has continued to increase ever since, 
till the export of prints and illustrated works from 
that country to every part of the -world, now 
amounts to man}^ millions per annum: greatl}^ 
beneficial to the countrj^ at large, and to the en- 
couragement of the fine arts, b}' giving employ- 
ment to many artists. He engraved a multitude 
of plates after the Italian, Dutch, and Flemish 
masters, among which was the Liher Veritatis, or 
a collection of prints after the drawings of Claude 
Lorraine, then in the possession of the Duke of 
Devonshire. This work v/as published about 1777, 
in three volumes, containing about three hundred 
fac-similes of the original drawings, with a descrip- 
tive catalogue of each print, together M"ith the 
names and places of residence of the persons for 
whom the original paintings were executed, taken 
from the hand writing of Claude, on the back of 
each drawing. Price, £31. 10s. This work had 
an immense sale both at home and abroad. He 
also published quite a number of prints after English 
painters, illustrative of English histor^v. We now 
approach the period — about 1785 — when he com- 
menced his celebrated enterprise of the Shakspeare 
Gallery. It is proper to observe here that Coj^dell 
had already acquired fame and fortune. He had 
been elected Alderman for his ward in 1776, which 
office he held till his death, with the exception of j 
the periods he served as High Sheriff and Lord 
Mayor. He had acquired by his liberality and 
just dealings, the confidence, esteem and love of 
every artist ; for, though he required those in his 
employment to execute their works in a proper 
manner, he never stinted them as to price, and had 
frequently been known to pay gratuitouslj" large 
additions to the stipulated price, when lie found 
the remuneration not sufficient. This had been 
repeatedly the case with Woollett. It has justly 
been observed that the '"verj^ liberal policy of 
Boydell, his literary acquirements, his knowledge 
of the fine arts, the splendid specimens of engra- 
ving which he had brought before the public, his 
business and his wealth, as well as the civic 
honors bestowed upon him, all tended to bring him 
into constant intercourse with the leading artists 
of the time; and no man perhaps ever shared so 
largelj^ the confidence of this sometimes capricious 
class of men. as Alderman Boj-dell." The honor 
of originating the Shakspeare Gallery has been 
claimed by the friends of several eminent artists, 
but ]Mr. Josiah Boydell has put the thing in its 
true light. The project originated at a dinner- 
party given by that gentleman, at which Alderman 
Boydell and several distinguished artists Vv^ere 
present, among whom were West, Reynolds, and 
Fuseli. A discussion arose on the aspersions of 
the Abbe Winckelmann, and the opinions then 
generally entertained by foreign artists, that Eng- 
lishmen had no talent for historical painting. 
Boydell declared otherwise, and maintained that 
nothing more was wanting than suitable sub- 
jects and adequate encouragement, and cited in 
proof, the revolution he had already effected in the 



foreign print trade. " The works of Shakspeare 
were then proposed," says Rose, ''as affording ample 
scope, and the great print-seller himself undertook 
to give the adequate encouragement. The result was 
the painting of that series of splendid pictures long 
exhibited in London as the Shakspeare Gallery." 
Reynolds, then president of the Royal Academy, 
opposed the project on the ground of its utter im- 
practicabilit)^ on so grand a scale. Boydell, having 
fully determined on its execution, and considering 
the cooperation of Reynolds all important, pri- 
vate! 3^ enclosed him a £500 Bank of England note, 
with a request that he would paint -two pictures 
for the proposed gallery on his own terms. '' Not 
content," says Gould, ''with liaA'ing formed a school 
of engraving in this country, so far superior to that 
of any other, he resolved to direct his efforts to the 
encouragement of painting also. To effect this, he 
projected the splendid establishment of the Shaks- 
peare Gallery, Pall-jMall, a plan which, considered 
in all its bearings, is of much greater magnitude 
than any ever attempted in any age by a private 
individual ; and mentally considered, he was a , 
painter of the first order." 

The first step taken by Boydell was to advertise 
for designs illustrating Shakspeare's works, the 
price for which was to be one guinea for every one 
possessing m.erit, and a prize of one hundred guin- 
eas for every one adopted by a committee of five 
eminent artists, himself being president. This 
step shows his profound judgment, that he might 
select from a great many designs, subjects appro- 
priately treated ; for it must be recollected that 
there were thirty-two painters, two sculptors and 
thirty-three engravers emplo5^ed on the work. 
Of course these were not intended for such artists 
as West and Reynolds. The enterprise was now 
prosecuted with all the energy which his abundant 
means and active mind could command. The 
paintings were duly executed of the size of life, by 
the most eminent artists, and he erected the mag- 
nificent building now occupied by the Roj^al Brit- 
ish Institution, for their reception and exhibition. 
The most celebrated engravers were also employed 
to transfer these gems to copper, the general size 
of which was tAventy-six by twenty-two inches, 
and the work known as Boj^dell's Illustrations of 
Shakspeare was published in numbers at two 
guineas for each plate for the proofs, and one guinea 
for the prints, which was never reduced during 
the life time of Boydell, and which is not much 
above one-fourth part the present EngHsh publish- 
ers' price for the same class of prints. At length, 
in 1804, after a period of about twenty years from 
i ts commencement, the whole work was completed, 
but the noble projector found himself a bankrupt 
to avast amount. Circumstances beyond his fore- 
sight or control, had contributed to this unfor- 
tunate issue. His expen.ses had exceeded his esti- 
mates. The patronage of the work, though liberal, 
had not equalled his expectations, and many of his 
subscribers had fallen off; and lastly, the non-in- 
tercourse policy of JSTapolcon had entirely broken 
up his print trade on the continent, which he him- 
self assigns as the great cause of his misfortunes. 
Finding himself inextricably involved, he petitioned 
Parliament for permission to dispose of his paint- 
ings and drawings by a lottery, which was granted 
— a thing never before nor since done in England — 
and thus this noble collection of paintings, which he 
had fondly hoped to have presented to his country as 



BOYD. 



134 



BOTE. 



a monument to his love of the fine arts, was scat- , 
tered to the winds. One of the pictures only found j 
its way to the United States— Lear in the Storm, by 
West, which is in the Boston Athenaeum. Boy- 
dell lived to see the last tic'cet sold, but not the 
dispersion of the gallery. 

John Boydell was a man of the most exemplary 
character, untiring in his industrjr and perseve- 
rance. He enjoyed in a high degree the respect 
and confidence of his countrymen, who, notwith- 
standing his misfortunes, continued him in office 
till his death. He was universally beloved b}^ ar- 
tists for his liberal conduct and generosity towards 
them. He was elected Alderman in 1775, High 
Sheriff in 1785, and Lord Mayor of London in 
1790, in which capacity he served two terms. The 
Prince Regent, at a public banquet, complimented 
him by proposing his health, which was drank 
with every token of respect. He was assiduous in 
his magisterial capacit}''. Though inflexibly just 
he was merciful ; and whenever complaints were 
brought before him, he always attempted to ac- 
commodate the differences, and not unfrequently 
he recommended the complaining parties to amend 
their own conduct, as examples to those whom they 
accused. Wishing to disseminate a taste for the 
fine arts, he presented several valuable historical 
and other paintings to the city of London, which 
now ornament the council chamber of Guildhall. 
Some of these commemorate the actions of the 
great English military and naval commanders, and 
others are calculated to impress upon the youth- 
ful mind, sentiments of industry, prudence and vir- 
tue. He always took great pleasure in the dis- 
semination of prints or books of a moral tendenc}^. 
When he published the works of Hogarth, with de- 
scriptions by John Ireland, he frequently said that 
if people onh/- knew the incitements to industry, 
prudence, and humanity, inculcated in them, few 
families would be without the volumes. His death 
was occasioned by a too eager attention to his offi- 
cial duties. .The week before his death, he went 
to attend in his capacity of magistrate at the Ses- 
sions House in Old Bailey, and as he was always 
early in his attention to business, he arrived there 
before any of the other magistrates, and before the 
fires were lighted. Standing before one of the 
grates while this was done, the damps were drawn 
out, and he took a cold, which produced inflam.ma- 
tion of the lungs, of which he died on the 11th of 
December, 1804, in the 86th 3^ear of his age. His 
remains were honored with a public funeral, at- 
tended by the Lord IMayor and Corporation of 
London. 

BOYDELL, JosiAH, was a nephew of the pre- 
ceding artist, born at Stanton, in Shropshire, about 
1750. His uncle sent for him, and had him in- 
structed in both painting and engraving, and ulti- 
mately took him as a partner. On the death of 
the Alderman, he was unanimously elected to the 
vacant gown by the warxl of Cheapside, but re- 
signed in 1810. on account of ill-health, and died 
in Middlesex, March 27, 1817. 

BOYER, Jean Baptiste, MARauis D'Aiguil- 
LES, a French amateur painter and engraver. He 
visited Italy in company with the celebrated sculp- 
tor Puget, where he formed a large collection of 
pictures, sculpture, &c. He published the prints 
of these in two volumes ; six of the plates were en- 
graved by himself The following are some of his 
prints : 



The Marriage of St. Catherine; after A. del Sarto; 
with the graver. Two figures of Christ ; on one plate ; 
the same. Two Landscapes ; after Br ecourt ; the same. 
St. John Baptist ; after Manfredi ; mezzotinto. Bust of 
a Man ; the same. 

BOYERMANS, or BOEYERMANS, Theo- 
dore, an eminent Flemish painter of the seven- 
teenth century, and a native of Antwerp, who was 
living in 1660. He studied under Rubens, whose 
style he followed with great success. His compo- 
sitions are copious and ingenious, his chiaro-scuro 
is managed with great intelligence, his design is 
correct, and the delicacy and softness of his color- 
ing approach the excellence of Yandyck. His prin- 
cipal works are in Flanders and Brabant. In the 
Jesuit's Church at Ypres, is his master-piece, rep- 
resenting St. Francis Xavier converting an Indian 
Chief In the convent of the Jacobins at Ant- 
werp, is the Decollation of St. John ; and in the 
Church of St. James is an admirable picture of 
the Assumption. In the Church of St. Peter, at 
Mechlin, is an altar-piece representing the Virgin 
interceding for persons attacked with the plague. 

BOYLE, Richard, Earl of Burlington, an Eng- 
lish architect, and a great patron of art, who lived 
in the latter part of the last century. He gave 
large sums for the assistance of public works, and 
was known to choose that the expense should fall 
heavily upon himself, rather than that the country 
should be deprived of beautiful edifices. He assis- 
ted Kent in publishing the designs of Whitehall, 
and gave a beautiful edition of the public baths from 
the drawings of Palladio, whose papers he had pro- 
cured at great cost. Besides the works he erected 
on his own estate in Lonsborough, he built a new 
facade for his mansion in Picadilly, erected by 
his father, and added the grand colonnade within 
the court. He designed the Dormitory at West- 
minster School; the Duke of Richmond's man- 
sion, in Whitehall ; and a number of other fine 
^^^0}•ks. 

BOZZA, Bartolomeo, an eminent Venetian 
artist in Mcsaic pictures, who was a pupil of the 
Zuccatti. and flourished at Venice in the middle of 
the 16 th centur)^. 

BOZZATO. Sec Poxchino. 

BRA.CELLI, Gig. Battista, a Genoese paint- 
er and engraver. He studied under Gio. Battista 
Paggi, and painted history in his style. He en- 
graved the plates for an architectural work, pub- 
lished at Rome by Giacomo Borozzio ; executed in 
a neat, but dry manner. He died j^oung, in 1609. 

BRACCIOLI, Gig, Francesco, a Ferrarese 
painter, born in 1698 ; died in 1762. He studied 
under Giacomo Parol ini ; but afterwards at Bo- 
logna, under Giuseppe Crespi. Barotti mentions 
an altar-piece by him, in the Oratory of the Thea- 
tines at Ferrara, representing the Annunciation ; 
and in the church of St. Catherine, a Flagellation, 
and Christ crowned with Thorns, The two latter 
are his best works. 

BRADEL, Jean Baptiste, a Parisian por- 
trait engraver, born about 1750. He executed 
several plates in a very neat style, of which the 
following are the principal : 

portraits. 

Pope Benedict XIY. Pope Clement XIV. Madame 

Louisa, of France. Louis Francis Gabriel de la Motte, 

Bishop of Amiens. General Paoli. Prosper John de Cre- 

billon. John Bart, Admiral. The Chevalier d'Eon. An 



J 



BRAE. 



135 



BRAM. 



allegorical subject ; inscribed Trinus et unus. A Boy 
playing on the Tambour de Basque. 

BRAED, Nicholas, a Dutch engrayer, who 
flourished from the year ICOO to 1630. He exe- 
cuted seyerai plates from designs b}' Henry Goltz- 
ius and James Matham ; also a number of good 
prints after various masters, among yt^hicli is a 
small upright plate signed with his name, repre- 
senting Christ before Pilate ; after Tintoretto. 

BRAKENBURG, Renier, a Dutch painter, 
born at Haerlem in 1650 ; died in 1702. He stud- 
ied first under Mommers, a landscape painter ; and 
afterwards under Bernard Schendel, whose manner 
was better adapted to his talents. His subjects 
are similar to those of Schendel, representing mer- 
ry-makings and drunken assemblies, executed with 
great facility, though they appear highly finished. 
His lights and shadows were managed with great 
intelligence, coloring good, and composition ingen- 
ious ; though his design was incorrect, especially 
in the human figure, and exhibits a vitiated taste. 

BRAMANTE. See Lazzari. 

BR AM ANTING, di Agostino, an old Milanese 
painter, who, according to Vasari and Pagave, was 
an eminent artist, and jBourished about 1450, but 
Lanzi disclaims all belief in him, and claims that 
the works attributed to him by the authors before 
cited, in the Vatican and at Milan, were executed 
by Bramantino, a pupil of Bramante, who flour- 
ished in 1529, as noticed in the following article. 

BRAMANTINO, Bartolomeo, a Milanese paint- 
er, whose real name was Suardi. He was the fa- 
vorite pupil of Bramante, and for that reason, 
took the name of Bramantino. He was also an 
architect before he studied painting. He painted 
perspective so admirably as to deceive animals. 
He went to Rome with Bramante, where, accord- 
ing to Lanzi, under the pontificate of Julius II., 
he painted those portraits , in the Vatican, so 
highly praised by Vasari as the works of Agos- 
tino di B., and which were afterwards destroyed 
to make room for the works of Rafiaelle. During 
his residence at Rome, he greatly improved his 
style, especially his coloring and his draperies. 
According to Lomazzo, Bramantino returned from 
Rome to Milan, where he executed many works 
for the churches and public edifices. Among these, 
he refers to a picture of Sts. Ambrogio and Michele, 
with the Virgin, colored in the Venetian style, in 
the Melzi Gallery. There are also some other 
pieces in the church of S. Francesco, which dis- 
play more elevation and dignity than belonged to 
the age in which he lived. He likewise holds him 
up as a model for his picture of a Dead Christ be- 
tween the Marys, painted for the church of S. Se- 
polcro, a work that produces a fine illusion. The 
figure of the Redeemer is foreshortened, and the 
legs, in whatever point they are viewed, appear with 
equal advantage to the eye. Oth^r artists have 
produced the same effect; but it is a just, though 
trite saying, that an inventor is worth more 
than all his imitators. Bramantino's chief excel- 
lences was in perspective, and his rules were in- 
serted by Lomazzo in his work out of respect to 
this distinguished artist. The Cistercian Fathers 
have a grand perspective in their monastery, re- 
presenting the Descent of Christ into Purgatory, 
which Lanzi characterises as an admirable perform- 
ance. Bramantino flourished in the first part of 



the 16th century, but neither the time of his birth 
or death is recorded. 

BRAMANTINO, di Agostino, was a pupil of 
the preceding artist, from whom he derived his name, 
his real name being Agostino daMilano. Little is 
known of this artist. Lomazzo calls him Agostino 
di Bramantino of Milan, a painter, and disciple 
of the same Bramantino, and saj^s he was skilled in 
foreshortening, and cites the cupola of the Carmini. 
painted b}'' him, and that by Correggio in the ca- 
thedral at Parma, as models of excellence. Lanzi 
says "'his name is so little known in Milan as to 
lead us to suppose that he passed much of his 
time in foreign parts. And we are even author- 
ized to conjecture, that he may be the same Agos- 
tino delle Prospettive, whom we meet with at Bo- 
logna in 1525," and he goes on to give reasons 
sufficient to establish his identity. 

BRAMANTINO, Bartolomeo, a reputable Ital 
ian painter and architect, who flourished, according 
to Miiizia, about 1450. It is not known by whom 
he was instructed, but he spent several years at 
Rome, studying the works of the best masters. 
His abilities soon became knov^m, and he received 
several commissions from Nicolas V,, to paint a 
number of large subjects from sacred history for 
the churches, which gained him considerable repu- 
tation. He afterwards devoted himself to arch- 
itecture, and studied the great models of antiquity'. 
He went to Lombardy, where he carefully meas- 
ured the vestiges of ancient architecture in that 
province, and composed a book upon them. Bra- 
mantino erected a number of fine edifices at Mi- 
lan, which were much esteemed. His best work 
was the church of S. Satiro, which was richly or- 
namented within and without with columns and 
double corridors, a Sacristy full of statues, and a 
magnificent Tribune. Some authors assert that 
Bramantino was the first to revive good architec 
ture in Lombardy. The time of his death is not 
recorded. 

BRAMBILLA, Gio. Battista, a reputable 
Piedmontese historical painter, who flourished 
about 1770. He studied under Cav. Carlo Delfino, 
and executed several works for the churches at 
Turin; the best of which is in S. Dalmazio, repre- 
senting the Martyrdom of that saint. 

BRAMER, Leonard, a Dutch painter, born at 
Delft, in 1596. It has been supposed that he was 
a scholar of Rembrandt, from the resemblance of 
his style to that master, but Bramer was born 
ten years before Rembrandt, and at the age of 18, 
when the latter was only eight years old, he left 
Holland, and went to Italy ; where he passed the 
greater part of his life, and gained considerable re- 
putation by his works at Florence and at Venice. 
where he chiefly resided. He excelled in paintin- 
night-pieces, with towns on fire ; and caverns, with 
the light coming from above, in the manner of 
Rembrandt. His principal works, however, were 
historical subjects of a small size, which he decor 
ated with vases of silver and gold, imitated with v. 
wonderful exactness. His pencil was light and 
spirited, and his lights and shadows were managed 
with wonderful intelligence. Towards the close 
of his life he returned to Holland, and resided at 
Delft. The year of his death is not recorded. 

BRAMBINI, Ambrogio, an Italian engraver. 
who flourished about 1580. ximong other woi-ks. 
he executed a large plate, from a design of C. Du- 



BRAN. 136 

chetli, signed Ambrosius Bram. F. This compo- 
sition consists of a large number of figures, and is 
executed in a slight st3de, somewhat resembling 
that of A. Tempesta. The engraving is entitled 
Benedizione del Ponteji^ ce nella Piazza di S. 
Pietro. 

BRAND, Christian Heltgott, a German 
painter, was born at Frankfort on the Oder, in 
1695. He painted landscapes in a style of excel- 
lence, and settled at Vienna, where he was much 
employed, and where many of his works are to be 
seen. His son, John Christian Brand, was born 
at Vienna, in 1722. He was instructed by his 
father, whom he far surpassed, and soon rose to 
great distinction. The Emperor Francis T., was 
!^o charmed with his talents, that he commissioned 
him to decorate the walls of the Luxembourg cha- 
teau, and appointed him director of the landscape 
department in the Imperial Gallery. He attained 
great eminence, and was much employed at Vien- 
na, where he resided during his whole life, and died 
in 1795. He was most distinguished for his truth 
of coloring, as he made nature his sole model. He 
often introduced figures into his landscapes, which 
he grouped with admirable taste and skill. His 
principal works are : the Battle of Hochkirchen, 
in the Imperial Gallery ; the Four Elements, which 
he painted for the Marquis Mavi de Genes; the 
Chateau of Austerlitz, ordered b)^ the Prince of 
Kaunitz ; and the Market of Vienna, embracing 
thirty pictures, which represent in an admirable 
style, the manners and customs of the people. 
This artist has etched a few plates from his own 
designs, in a spirited style. 

BRAND, Fred. Augustus, a Viennese painter 
and engraver, the brother of the preceding, born in 
1730. He was a member of the Imperial Academy, 
and painted several historical subjects and land- 
scapes which are favorably mentioned by German 
writers. He studied engraving under Schmutzer, 
and worked both with the graver and dry point. 

The Breakfast ; after Torenvliet ; F. Brand, fee. A 
View near Nuisdorf. View of the Garden of Schoenbrunn. 
Banditti attacking a Carriage, The Entrance to the Town 
of Crems. 

BRAND ANT, Federigo, a native of Urbino, 
who died in 1575. He was a celebrated modeler 
of statuary in clay, which he glazed and baked so 
as to resist the action of the weather. He also 
made beautiful vases, and other A^essels. of the 
same materials. Lanzi, speaking of a Vase orna- 
mented with a group of the Nativit5^of St. Joseph, 
says : " If we except Begarelli of Modena,. it is 
doubtful if any one can be compared with him for 
liveliness and grace in his figures, for variety and 
propriety of attitude, and for the natural expres- 
sion of the accessory parts ; the animals, which 
seem alive ; the satchels and the key suspended ; 
the humble furniture, and other things admirably 
appropriate, and all wonderfully represented." He 
was largely patronized by the princes and nobles 
of the land. 

BRANDEL, Peter, a talented German paint- 
er, born at Prague in 1668. according to Nagler ; 
died at Kuttenberg, in 1739. He studied under 
Schroeter, and in four years surpassed his instruc- 
tor. He painted with great faciiit}^ and had a 
ready invention. His works are principally in the 
churches and pubhc edifices of Prague and Bres- 
lau. 



BRAN. 




ERANDENBERG, John, a Swiss painter, born 
at Zug in 1660 ; died in 1729. He studied under 
his father, Thomas Brandenberg, an obscure art- 
ist. On the death of the latter, he was taken un- 
der the protection of the Count of Ferrari, who 
took him to Mantua, where he was so much 
pleased with the works of Giuho Romano, that he 
commenced studying and copying them Avith great 
assiduity. On returning to Switzerland, he paint- 
ed some pastoral subjects in fresco, on the ceiling 
of the concert-room at Zurich ; and a number of 
historical pieces for the churches and convents of 
the Catholic cantons. He also painted several ad- 
mirable battle-pieces. His coloring is vigorous, 
his design correct, and his subjects well composed. 

BRANDI, GiAciNTo, an Italian painter ; born 
according to Pascoli at Poli, and others at Gaeta, 
in 1623, and died ni 1691. He studied under Cav. 
Gio. Lanfranco, and was his most celebrated schol- 
ar at Rome. He at first adopted his master's 
moderate tone of coloring, the varietj^^ and contrast 
of his compositions, and his flowing pencil. Lan 
zi says that he wrought wnth great facility, and 
filled Rome and the State with his works; but his 
inordinate love of gain induced him to hurry his 
works, and to neglect correctness of design, so 
that he never arrived to that grandeur of style 
which we admire in Lanfranco. He sometimes, 
however, went beyond himself, and produced some 
noble works, as in his St. Rocco of the Ripetta, 
and in the Forty Martyrs of the Stigmata at 
Rome. His best works are said to be at Gaeta, 
where he painted in the Nunziata a picture of the 
Virgin and infant Christ; ten Angels in the infe- 
rior part of the Duomo ; and over the altar, the 
Martyrdom of St. Erasmus, bishop of Gaeta — 
works worthy of his master. He executed a mul- 
titude of cabinet pictures, most of them in a very 
hurried manner. 

BRANDI, DoMENico, a Neapolitan artist born 
in 1683, and died in 1736, who, according to Do- 
minici, excelled in painting animals, which sub- 
jects he treated with great spirit and truthfulness. 

BRANDIMARTE, Benedetto, an Italian paint- 
er born at Lucca, and who, according to Orlandi, 
was a good painter in fresco and in oil, and was 
considerably employed in painting for the church- 
es. Lanzi mentions a picture by him, the Decol- 
lation of St. John, which he saw in the church of 
St. Peter at Genoa which he characterizes as an 
indifferent performance, but admits that a single 
production is not sufficient to decide the merit of 
an artist. He was still living in 1592. 

BRANDING, Ottaviano^ a Venetian painter 
who flourished in the first part of the 15th centu- 
rj. He was an eminent artist in his time, and 
painted in competition with Gentile da Fabriano, 
but none of his works are specified. 

BRANDMULLER, Gregory, an eminent Swiss 
painter ; born at Basle in 1661. He studied un- 
der Caspar de Mej^er. an obscure artist. At the 
age of seventeen he went to Paris, and studied un- 
der Le Brun, who found svifi^icient ability in the 
young artist to instruct him to paint from his de- 
signs in the works he was engaged upon at Ver- 
sailles, which he completed much to the satisfac- 
tion of Le Brun. After gaining the prize of the 
Royal Academy, he returned to Switzerland, and 
was invited to the courts of Wurtembcrg and Ba- 



BRAN. 



137 



BREB. 



den Dourlach, where he met with great encourage- 
ment. One of his best works vras a Deposition 
from the Cro-s, in the Church of the Capuchins at 
Dornach. His historical compositions were full 
of spirit and fire, and treated in a grand and ele- 
vated style. His portraits also were highly es- 
teemed, which he was fond of painting with his- 
torical accessories. Brandmuller is considered 
as one of the ablest painters of his day. and he 
would undoubtedly have had a brilliant career, 
had he not died at the early age of thirty, in 1691. 
BR;VNDT, Albert -Jonas, a Dutch painter of 
still-life, born at Amsterdam in 1788 ; died in 
1821. lie studied under J. E. Morel, and after- 
wards under G. J. J. van Os. He painted dead 
game, fruit and flowers in a style of excellence. 
In the jNIuseum at Amsterdam is a vase of flowers 
by this master, which is highly esteemed. 

BRANT, N., a Dutch painter, was born at the 
Hague. He studied under G. Netscher. and paint- 
ed several admirable works in the style of his 
master, but died young. 

BRAUYERE, Paschatius de, an engraver of 
little note mentioned by Brulliot. Among other 
plates, he executed an etching in the style of Gui- 
do, representing the executioner placing the head 
of John Baptist in a plate held by the servant of 
Herodias. It is signed P. D. B. inv. et.fec. 1631. 

BRAY, Solomon de, a Dutch painter of some 
merit, who lived about 1620, and executed a num- 
ber of portraits of the eminent men of his time. 
His son, -Jacob de Bray, distinguished himself by 
his fine drawings on vellum and paper, finished in 
black and red chalk ; they are much esteemed by 
the collectors. Van jNIander sa3^s he was a repu- 
table historical painter, and speaks in high terms 
of a picture by him at Amsterdam, of David play- 
ing before the Ark, with a number of Priests, He 
also executed a small portrait of his father on 
wood, in a very spirited manner, dated 1664. He 
died in 1680. 

BRAZZE, Gio. Batti€ta. called il Bigio, a 
Florentine painter who was a pupil of Empoli, and 
flourished in the middle of the 16th century. Bal- 
dinucci says that he painted caprices with surpris- 
ing skill, of which he says he was the inventor : 
but prior examples may be found in the Milanese 
school. These pictures at a distance appeared like 
human figures, but a near approach showed them 
to be composed of diflerent sorts of fruit or other 
materials artfully arranged. In the American 
Museum is a picture which gives a good idea of 
this sort of painting. It appears like a portrait 
or head at a distance, but a closer inspection shows 
it to be a mass of Cupids, two forming the ears, 
the posterior of one the nose, and two the chin, 
&c. 

BREA, LoDovico, a painter of the Genoese 
school, and a native of Nizza. It is not mention- 
ed under whom he studied, but Soprani says he 
resided at Genoa from 1483 to 1513, and executed 
many works for the churches. Lanzi says his 
works are still common at Genoa and in the State, 
and that in point of taste he is not equal to the 
best among his cotemporaries in other schools, as 
he employed gilding, and adhered to the old dry- 
ness of design ; yet his style yields to few in the 
beauty of his heads and the brilliancy and vivid- 
ness of his coloring, which still remains almost 



unimpaired. His drapery is good, his composition 
tolerable; he selects difficult pei'spectives. and his 
attitudes are bold. From his works we might pro- 
nounce him rather the head of a new school than 
the follower of any other school. His Murder of 
the Innocents in the church of S. Agostino at Ge- 
noa, and his St. Giovanni in the chapel of the Ma- 
donna de Savona. executed by the commission of 
Cardinal della Rovere, in competition with other 
artists, are highly praised. 

BTIEBES. .J, B., a French engraver who execu- 
ted, among other works, several plates in a neat 
Htjle for the work entitled Les Edijices de Rome, 
after designs of Ant. Z>e.?o-ofZete, published in 1682. 
He also engraved several plates after Seh. Bour- 
don and other masters. 

.^../jK .BREBIETTE, Pierre, a French paint- 
' \y er and engraver born at Mante on the 
Seine, in 150G. He is more particularly worthy 
of notice as an engraver. He had a good inven- 
tion, and a pleasing, but spirited and masterly 
style. He executed a number of plates, some of 
which are from his own designs, The following 
are the principal : 

SUBJECTS FROM HIS OWN DESIGNS. 

Peter Brebiette, Calcographus, in fi Border, with two 
Angels. Francis Quesnel, Pictor, with two figures of 
Painting and Fame. A set of various subjects; inscribed 
Opera diversa a Peter Brebiette inventa. 1638. The 
Nativity. The Adoration of the Magi ; an unfinished 
plate. The Virgin Mary kneeling before the Infant, with 
two Angels. The Virgin, with the infant Jesus sleeping. 
The Virgin, with the Infant crowned ; Q^uesnel, exc. Sev- 
eral Saints kneeling before the Virgin. The Conversion of 
St. Paul. The Martyrdom of St. Catherine. The Martyr- 
dom of St. Sebastian. The Combat of the Lapithfe ; a 
frieze. The Death of the Children of [N'iobe ; the same. 
162.5. Thetis at her Toilet ; a frieze. Sacrifice to Ceres; 
the same. Orpheus surrounded by Animals. Four oval 
plates of the Seasons. Ten friezes, of Bacchanalian sub- 
jects. Twelve friezes, of ditto ; after various masters 
Four friezes, of Marine Gods. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family, with St. John; after Raffaclle. An 
other Holy Family, with St. John ; a;fter A. del Sarto. 
The Martyrdom of St. George ; after P. Veronese. Para- 
dise ; a grand composition, in two sheets ; after Palnia ; 
fine. 

BREDA. Alexander van, a Flemish painter, 
who lived at Antwerp about 1700, and painted 
Italian landscapes, fairs, and markets with figures 
and cattle, which were much esteemed. 

BREDA, John van. a Flemish painter, the son 
of Alex. Breda ; born at Antwerp in 1683 ; died 
in 1750. He studied under his father, but followed 
the style of Wouwerman, whom he copied with 
the most servile imitation, though the gaudiness 
of his coloring stamps him far inferio)- to that ad- 
mirable artist. He vi.sited England with Rys- 
brack the sculptor, where his pictures were quite 
popular ; and after a few years he returned to 
Antwerp, well compen.sated for his exertions. 
When Louis XV. entered Antwerp in 174G. he 
was pleased with the works of Breda, and ordered 
four of them to be purchased for him, which exam- 
ple was followed by many of the attendant cour- 
tiers, who engaged all the pictures he could paint, 
and liberally rewarded the artist. 

BREDAEL. Peter van, a Flemish painter, born 
at Antwerp in 1030. He painted small landscapes, 
with figures neatly touched and well colored, in 
the style of -John Breughel. He passed several 



BKEE. 



138 



BREM. 



years in Spain, where his works were much es- 
teemed. It is supposed that he visited Italy, as 
he often introduced into his landscppes vestiges 
of architecture in the vicinity of Rome. In 1689 
he was elected director of the Academy at Ant- 
werp. 

BREE, Matthew Ignatius van, a reputable 
Flemish painter, born at Antwerp in 1773 ; died in 
1839. He studied under W. Schaeken ; was first 
professor of the Academy at Antwerp, and mem- 
ber of several scientific establishments. He exe- 
cuted many historical subjects, which are of a 
large size. His pencil was light, free, and spirited, 
his compositions graceful, and his conceptions po- 
etical. 

BREE, Philippe Jacques van, a Flemish paint- 
er of historical, fancy, and architectural subjects ; 
born at Antwerp in 1786 ; died in 1840. He stu- 
died under his brother Matthew. He painted, 
among other works, a view of the interior of St. 
Peter's, purchased by the Belgian government, 
who honored the artist with a gold medal, in ad- 
dition to the price of the work. ^ 

%j.'D BREEMBERG, or BREENBERG, 
' |B| ^BaPvTH GLOME w, an eminent Dutch 
painter, born at Utrecht in 1620 ; died at Rome, 
according to Zani, in 1663. He was very indus- 
trious, and was considered one of the most promis- 
ing artists of his country, even before his depart- 
ure for Italy, where he lived nearly all his life. 
The taste of Breemberg was entirely of the Ro- 
man school, without the characteristic Aailgarity 
of his country ; he embellished his landscapes 
with historical subjects, choosing the most delight- 
ful views near Tivoli, Frescati, and Albano. He 
mostly painted in a small size, his larger works 
being less successful. His coloring is very agree- 
able, and his figures touched Avith great freedom 
and spirit. He has etched several plates from his 
own designs, in a very spirited manner. They are 
greatly valued, and good impressions of them are 
scarce. His prints are usually marked with one 
of his monograms, or his initials, and an F. for 
fecit, thus : B. B. F. The following are the prin- 
cipal : 

Twenty-foixr of Landscapes, with Ruins, Figures, and 
Animals ; inscribed Verschiden verfallen Gebouden, witli 
his portrait. Another set of Twelve ; entitled Antiquities 
of Rome. A Landscape ; marked with his cipher. Jo- 
seph delivering Corn in Egypt ; inscribed Erat fames, 
<f«c. ; B. B. P. The Martyrdom of St. Lawrence ; same 
mark. 

BREEN, Gisbert, or Class van. a Dutch en- 
graver, who lived about 1600. His plates are 
somewhat in the style of James de Gheyh, and 
have some merit, though by no means equal to 
those of that master. The following are the prin- 
cipal : 

The Portrait of .Tames I., with the Queen and Prince of 
Wales. Six, of subjects, of the Lives of young Libertines ; 
C V. Breen,f. A Woman carrying a Bn,?kct of Eggs to 
Market, with a Man with a Basket of Fowls ; after Class 
Cock. A Man and a Woman walking, followed by a Fig- 
ure of Envy; do. An Ass that is washed, recompenses the 
trouble by kicking and biting ; C. tan Mander, pinx. ; 
G. V. Breen, sc. Two young man-ied persons dissipating 
their Dower ; do. The Companion, representing them re- 
duced to Misery ; do. A Concert ; after Sbi-assen. 

BREKELENKAMP, Quirinus, a Dutch paint- 
er, who lived about 1650. He studied under Ge- 
rard DouW; and formed to himself a manner par- 



taking of the style of that master and that of 
Rembrandt. His heads have a very natural air 
his touch is very light and spirited, and his chiaro- 
scuro is managed with great intelligence. His 
works represent Dutch cottages, with figures, and 
are highly esteemed in Holland. 

BREMDEN, D. V., an engraver of little note. 
He executed a number of plates in a neat but 
tasteless style ; among which is a print of Ladies 
and Gentlemen at an Entertainment, after de Vlie- 
ger ; and several plates, after A. Vander Venne. 

BRENTANA, Simone, a Venetian painter, born 
in 1656 ; died in 1726 ; I'esided chiefly at Verona. 
He formed to himself a style combining the fire of 
Tintoretto with something of the grandeur of the 
Roman school Most of his pictures are in the 
palaces and churches of Italy. One of the finest 
is in S. Sebastiano, at Verona, representing the 
martyrdom of that Saint, crowned b}^ an Angel. 

BRENTEL, Frederick, a German miniature 
painter and engraver ; born at Strasburg in 1590; 
died in 1651. His works have been attributed to 
Francis Brun, who flourished from 1550 to 1563, 
as appears b}- the dates of his prints. Brcntcl 
executed a set of plates from his own designs, in a 
light, spirited stj^le. for a book published at Nancy 
in 1608, entitled " 'J'he Pompous Parade at the Fu- 
neral of Charles III.. Duke of Lorraine." His 
monogram is also found on a series of landscapes 
ornamented with sul-jects of historv and rich bor- 
ders, dated 1617 and '1619. 

|||> Dorfn^-OBRESANG. Hans, a German 
1^~J3 .iXlxO engraver, who lived about 
1513. He was coteinporary with Hans Baldung ; 
their style bears the closest resemblance, and they 
used the same monogram (see Baldung). His 
prints are chiefly wooden cuts, though Brulliot 
mentions several copper-plates. The following are 
his principal prints : 

Christ bound to the Pillar, with the cipher 1.504. The 
dead Christ with the Marys. The dead Christ stretch- 
ed on a linen, and supported^ by Angels. Christ and the 
Twelve Apostles. 1519. The Three Fates, 1513; very 
scarce. 

BRESCIA, Era Gig. Maria da, a painter and 
engraver of Brescia, born about 1460. He was 
originally a goldsmith, but studied painting and 
engraving for some time, after which he joined the 
order of the Carmelites at Brescia, and painted 
several pictures for the church of his monastery, 
and some frescos in the cloister, representing sub- 
jects from the history of Elijah and Elisha. The 
following are his principal plates : 

The Virgin and infant Jesus, the Virgin holding a Book. 
The Virgin and Infant in the Clouds ; a circular plate, 
with a Latin dedication and his name ; Fr. Jo. Ma. Brix. 
Carmelita dicavit. M.D.IL St. Gregory resu,«!citating a 
Youth ; inscribed opus Pr. Jo. Marice Brixensis or. Car- 
melitarum. M.CCCCC. IL The History of the Emperor 
Trajan ; on a Balcony at the upper part of the plate is ."^een 
the Pope, and the words Divus Gregorius ; and at the 
top opus Fr. is Jo. MaricB Brixensis or. Carmelitarum. 
M.CCCCC. IL 

BRESCIA, Era. Raffaelle da, a painter of 
the Venetian school, who according to the Gnhla 
da Bologna., was born at Oliveto in 1479, and died 
at Bologna in 1539. and who adorned the choir of 
the church of S. Michele in Bosco, at Bologna, 
with some excellent works. 

BRESCIA, Gig. Antonio, an Italian engraver. 



BRES. 



139 



BRETT. 



probably the brother of the preceding. His plates 
are exactly in the st3'le of Andrea Mantegna ; in- 
correctly drawn, but in a more neat and finished 
manner than the works of that master. There 
are many artists of this name ; Zani mentions 
thirty : 

The Virgin suckling the infant Jesus ; Jo. An. Br. The 
Virgin adoring the Infant, St. Joseph sleeping ; same 
mark. The Scourging of Christ; Jo. Anton. Brixian. 
1503. (There are second impressions of this plate ; dated 
1509 ) Hercules and Anteus ; Jo. An. Bx. Hercules 
strangling the Lion ; inscribed D. Here, invicto. A naked 
Woman and Child, with a Satyr playing on a Pipe ; mark- 
ed 1507; Jo. An. BX. A white Horse, the same as that 
engraved by A. Dui-er ; LA. Brix. 1505. A grotesque; 
below, a Satyr and a Woman ; inscribed, Victoria Au- 
gusta ; Jo. An. 

BRESCIA. Leonardo, a Ferrarese painter, who 
lived about 1530. Barotti mentions a number of 
pictures by him in the churches and convents of 
Ferrara ; the best of which are the Assumption, 
in the church of II Gesu ; the Annunciation, in the 
Madonna del buon amore ; and the Resurrection, in 
S. Monica. 

BRESCIANO, or BRESCIANINO, a reputable 
Italian historical painter, in oil and fresco. He 
was a native of Brescia, and studied under Lat- 
tanzio Gambara. Cozzando says he flourished 
about 1580. 

BRESCIANINO, delle Battaglie. See Gio. 
Monte. 

BRESCIANINO, Andrea del, a native of 
Siena, who. along with his brother, according to 
Delia Valle, executed some pictures in the church 
of the Olivertine Friars, at Siena, about 1520. Yas- 
ari also calls him a pretty good master. 

BRESCIANO, YiNCENzro. See Foppa. 

BRETEUIL; CoMTE de, a French nobleman, 
■who was a great amateur artist. Basan says he 
etched several plates aftej' Berghem, and other 
masters. 

BRETHERTON, James, an English engraver 
of little note, who lived about 1770. He had a 
son named Charles Bretherton, born about 1760, 
who executed several portraits and landscapes of 
some merit. He died in 1783. 

BREUCK. Jacques de. called the Elder, an 
emment architect and sculptor, was a native of 
Mons, in Flanders, according to Boussu. and flour- 
ished about 1540. He acquired the elements of 
art in his own country, and then went to Italy for 
improvement. On his return, he was appointed 
architect to the queen dowager of Hungary, for 
whom he erected the famous palace of Binck. and 
the chateau of Marimont. In 1539, he erected the 
magnificent chateau near the cit}^ of JMons. for 
the Comte de Boussu. which he decorated with an 
admirable collection of works of art. As a sculp- 
tor, he executed many statues, bas-reliefs, etc.. to 
adorn the edifices which he erected. For the 
church of S. Waudru, at Mons. he executed 
several statues, and some bas-reliefs, representing 
the Last Supper, the Flagellation, Christ bearing 
his Cross, etc. This artisl was the instructor of 
Jean de Boulogne. Time of his death not re- 
corded. 

BREUCK. Jacques de, a reputable Flemish ar- 
chitect, born at Mons, or at St. Omer ; for writers 
aie disagreed as to his birth-place. His works 



evince an elevated design, and his outlines were per- 
fect, without impairing the solidity of the structure. 
He also practised sculpture for amusement. About 
1621, he erected several important edifices at St. 
Omer ; and at Mons, in 1634. he built the superb 
monaster}^ for the Monks of St. Julian. 

M BREUGHEL, Abraham, the Neapolitan, a 
Flemish painter, born at Antwerp in 1672. 
His subjects were flowers and fruit, which he treat- 
ed in an admirable st^le. He was called the Nea- 
politan, from his residence at Naples, in which city 
are the greater part of his works. He died, ac- 
cording to Balkema, in 1710. 

BREUGHEL. John, called Yelvet Breughel. 
an eminent Flemish painter, born at Brussels in 
1565; died in 1642. He was the son of Peter 
Breughel, the elder. At the age of five years, he 
lost his father, and wos reared by his grandmo- 
ther, the widow of Peter van Aelst. He com- 
menced miniature painting, but afterwards studied 
oil painting under Peter Goekint. It is said that 
he was called Breug-hel de Velours, or Yelvet Breu- 
ghel, from his habit of dressing in velvet ; though 
it is more likely that he was called Breughel de 
Vloiirs, from being an eminent flower painter. 
His subjects at first were fruit and flowers, and in 
these he gained considerable distinction ; but on 
visiting Italy he commenced painting landscapes 
with small figures, correctly drawn, and touched 
in a very spirited and artistic manner. On return- 
ing to Flander.s, his works were held in the high- 
est estimation, and he was even sohcited b}^ Ru- 
bens to paint the landscapes in many of his easel 
pictures. One of the best specimens of their com- 
bined talents was a picture of Adam and Eve in 
Paradise, in which they displayed their greatest 
excellence. The picture was in the collection of 
the Prince of Orange, but was taken to Paris by 
the French. Breughel's Yiews in Flanders are 
j faithful in the highest degree ; every object being 
j drawn and painted with the greatest accuracy to 
I nature. He painted the landscapes in the pictures 
! of van Balen, and executed small figures with such 
neatness and precison, that he was solicited to or- 
nament with them the landscapes of Momper. and 
the churches of Steenwyck. He also etched four 
small plates, marked /. Sadeler, exc. 

BREUGHEL, Peter, the Younger, a Flemish 
painter, brother of the preceding, probably born in 
1569; died in 1625. He was called Hellish Breu- 
ghel, from the character of his subjects. 

BREUGHEL, Peter, the Elder, called the 
Droll, from his whimsical subjects, an eminent 
Dutch painter, the son of a peasant, was born at 
Breughel, near Breda, in 1510, and died in 1570. 
He studied under Peter Koeck, but seems to have 
imitated the works of Jerome Bos, rather than 
those of his instructor. On leaving Koeck, he 
went to France, and afterwards to Italy, where his 
chief studies were the sublime scenery of the Alps. 
On returning to Flanders, he settled at Antwerp, 
and was elected a member of the Academy in 
1551. His subjects were attacks of banditti in 
wild landscapes, gipsies telling fortunes, and the 
pleasures of the peasantry. He often assumed the 
habit of a peasant, for the better observation of 
his favorite subjects, and in these, he is only snr- 
passed hj D. Teniers. Breughel has also etched a 
few plates, among which are the following : 



BREU. 



140 



BRIN, 



A large plate of a Kermess, or Village Festival. An- 
other subject of Peasants regaling; inscribed Kirchmess 
Earth. Mumper exc. The Feast of the Archers, Avith their 
Banner flying from the Window of an Alehouse; inscribed 
Dlt is de Guide, tf-c. A Masquerade, known by the name 
of Valentine and Orson, with his name, and dated 1566 ; 
scarce. A View on the Rhine, with the subject of Dtedalus 
and Icarus ; Petrus Breughel, fecit. Romcs, 1553. Ex- 
cud. Hondius. Another View on the Rhine, with the 
subject of Mercury and Psyche ; same mark. 

BREUKELAAR, Henri, the Younger, a Dutch 
painter, born at Amsterdam in 1809. He studied 
under 0. and J. A. Kruseman, and painted the 
picture of Van Spyck at the tomh of De Ruyter, 
which was highly esteemed. He bid fair to attain 
eminence, but died in 1839, at the early age of 30. 

BREYDEL. Charles, a Flemish painter, born 
at Antwerp in 1677, died in 1744. He studied 
under Rysbrack, the landscape painter, with whom 
he remained three years. He afterwards went to 
Germany, and was for some time employed by the 
Prince of ELesse Cassel ; after which he visited 
Holland, where he painted Views on the Rhine, in 
the st3de of Griffier. He also executed attacks of 
cavalry and other battle pieces, painted with great 
spirit and ingeniously composed. 

BRIARD, Gabriel, a French painter, was a na- 
tive of Paris, and studied under Natoire. In 1749 
he gained the grand prize of the Royal Academ}^, 
and was conseqnentl}^ sent to Italy with the ]-oyal 
pension. He remained there several ^xars, stud}^- 
ing the works of the great masters, and on his re- 
turn was elected a Royal Academician, on which 
occasion he painted Hermione among the Shepherds, 
as his reception-piece. His design was ver}^ cor- 
rect, and his works were executed with great fa- 
cility, but he was not a good colorist. He prac- 
tised the art at Paris with reputation, and died in 
1777. 

BRIDAN, Charles Antoine, a distinguished 
French sculptor, who flourished in the latter part 
of the last centur}^, born at Riviere, in Biirgundj^ 
When a child he evmced a great inclination for art. 
and he was sent to Paris, where he devoted himself 
to sculpture, and after obtaining several medals, 
he bore away the grand prize at the age of 23. 
He then went to Rome, with the roysd pension, 
and remained there three years, stud^'ing the 
models of antiquity with great assiduity. In 
1764. he returned to Paris, and presented to the 
Academy his marble group of the Martyrdom of 
St. Bartholomew, In 1772 he was elected an 
Academician, and shortly afterwards was chosen 
Professor of Sculpture. He executed a number of 
fine works, among which are his statues of Vau- 
ban and Bayard, in the Gallery of the Tuilleries ; 
and his Vulcan in the garden of the Luxembourg. 
He died at Paris in 1805. 

BRIL, Matthew, a Flemish painter, born at 
Antwerp in 1547. He visited Italy in the time of 
Gregory XIII., who employed him to paint sev- 
eral landscapes in fresco, in the Loggia of the Vat- 
ican, and settled a pension upon him for life. He 
Vfould probably have attained considerable emin- 
ence as a landscape painter, had he not died in the 
prime of life in 1584, aged 37. 

BRIL, Paul> an eminent Flemish painter, the 
brother of Matthew, was born at Antwerp in 1556, 
and died at Rome in 1626. He studied under Dan- 
iel Wortelmans, an obscure artist, and was at first 
employed in ornamenting the cases of harpsichords. 



The fame his brother acquired in Italy, inspired 
the young painter with a laudable ambition, and 
he secretly left his home and set out for Italy. 
Passing through Frnnce, he was compelled to re- 
main at Lyons to recruit his exhausted finances 
by the practise of his profession ; which being ac- 
complished, he at length reached Rome, and placed 
himself under the tuition of his brother, whom he 
assisted in his works in the Vatican. He adopted 
a pleasing style, founded on that of Titian, and 
soon rose to eminence. On the death of his bro- 
ther, the pension of the Pope was continued to Paul 
Bril. Baglioni says he was engaged, on the acces- 
sion of SixtusV., to execute some considerable works 
in S. Maria Maggiore, in the Sistine chapel, and 
in the Scala Santa, in St. John of Lateran. He also 
painted several admirable easel pictures of land- 
scapes, embellished with the inimitable figures of 
Annibale Caracci. His greatest work, however, is 
in the Sala Clementina, painted for Clement VIII. 
It represents a sublime landscape, sixty-eight feet 
wide, in which is introduced the subject of St. Cle- 
ment, with an anchor fastened to his neck, and 
about to be thrown into the sea. The works of 
this admirable artist are extremely scarce, and are 
highly valued throughout Europe. He has etched 
several landscapes in a spirited and masterly man- 
ner, of which are the following: 

Four Landscn.pes in the set, by Nieulandt. Two Land- 
scapes ; marked PaitZas Bril, inv. etfec, <|'-c. A View in 
the Campagnia, with ruins ; P. Bril, fee. 1590. Another 
View in the same ; the companion. 

BRTNCKMAN, Philip Jerome a German paint- 
er and engraver, born at Spires in 1709. He stud- 
ied under J. G. Dathan, and painted landscapes, 
history and portraits ; in several of the latter he 
imitated the force and coloring of Rembrandt. 
He was painter to the court of Mentz, and keeper 
of the Gallery in that city. He has etched a few 
plates in a spirited manner, of which are the fol- 
lowing : 

Philip .Jerome Brinckman ; se ipse, fee. David with the 
Head of GoHo^h. 1741. The Death of Pyramus. The Re- 
pose in Egypt ; Rembrandt, inv. ; Brinckman, fee. The 
Ptesurrection of Lazarus ; Brinckman, fee. Mary Mag- 
dalene at the Feet of our Saviour. Christ and the Sama- 
ritan Woman. The Presentation in the Temple ; P. J. 
Brinckman, inv. et fee. Six pleasing Landscapes ; Ph. 
Brinck. del etfec. 

BRINI, Francesco, an Italian painter of the 
17th century, of whom little is known. Lanzi 
says there is an excellent picture by this artist, 
representing the Miraculous Conception, at Vol- 
terra, but of his countr}^ or school, he is igno- 
rant. 

BRIOSCO, Andrea, called Riccio, an Italian 
architect, was born at Padua, and flourished, ac- 
cording to Milizia, about 1500. His principal 
work was the grand church of S. Guistina, which 
he erected about 1500, in concert with Alexander 
Leopardo, a Venetian architect. This work is one 
of the most sumptuous and magnificent structures 
in Italy, and gained Briosco great reputation. He 
was also a sculptor of considerable ability, as is 
evident from the great candelabra, supported by 
Evangelists, at the altar of S. Antonio, at Padua^ 
for which he was honored with a gold medal. 

BRIOT, J., a French engraver, who has execu- 
ted a few plates in the style of Wierix. They are 
of his own composition ; rather neatly executed, 
but incorrectly drawn : Seven plates of the Vir- 



BRIO. 



141 



BROE. 



tues. A set of small circular plates of the Sibyls. 
A set of plates for Ovid's Metamorphoses. 

BRIOT, A., a French engraver, who flourished 
in the latter half of the 17th centuiy. Among 
other plates, he engraved a set of different habili- 
ments, from designs of St. Igny. 

BRISSART. P., a French engraver, vrho flour- 
ished about 1670. Among other plates, he etched 
a birds-ej^e view of the ro3'^al palace at Yincennes, 
from his own design, in a slight neat style, but 
without much effect. He also engraved several 
plates from the works of Jean Baptiste Santerre. 

BRISEUX. Charles Etienne, a French arch- 
itect, born about li>80, at Baume les Dames, in 
Franche Comte. Hi is more distinguished for the 
works which he published, than for the edilices he 
erected. In 172S he published Traite cF Architec- 
ture Moderiie, 2 vols., 4to. ; in 174.3, Traite cV Ar- 
chitecture dans le gout Moderne, 2 vols., 4to. ; in 
1743, PArt de batir les Maisons de Cam.pag7ie. 
2 vols., 4to. ; in 1752, Traite du beau essentiel 
dans les Arts, applique parti cidiirement d P Arch- 
itecture, followed by another work entitled Traite 
des Proportions Harmoniques, 2 vols., and 1 fol. 
vol. of plates accompanying it. All these are works 
of great merit. Briseux died in 1754. 

BRIXIENSIS. See Brescia. 

BRIZE, Cornelius, a Dutch painter of still- 
life, born at Ilaerlem in 1G35 ; died in 1679. His 
talent lay in the representation of bas-relief and 
armor ; also musical instruments, papers, volumes 
lying open, etc., which he executed with most ad- 
mirable fidelity. 

BRIZZI, Serafino. a Bolognese painter, born 
in 1684, and died in 1737. According to Zanotti, 
he was an eminent artist, and employed as a court 
painter of public festivals, &c. ; and Lanzi says 
there are many grand perspective pieces in oil by 
this artist in Bologna and other cities. 

BRIZIO. See Ambrogi. 

BRIZZIO, FiLiPPO, a Bolognese painter, the 
son of Francesco Brizzio ; studied under Guido, 
and executed a picture in the church of S. Guili- 
ano, at Bologna, representing that saint crowned 
by angels ; also an altar-piece in S. Silvestro, re- 
|)resenting the Virgin, with saints. 
' BRIZZIO, or BRICOIO, Francesco, a distin- 
guished Bolognese painter and engraver, was born 
in 1574, and died in 1623. UntU the age of 20, 
he was employed as a shoemaker's boy ; but his 
strong inclination for art induced him to place 
himself under Passerotti, from whom he acquired a 
knowledge of design. He afterwards entered the 
academy of the Oaracci, and became one of their 
most eminent disciples. He painted history, ar- 
chitectural views, perspective, and landscape, and 
in the three latter branches he surpassed all his 
fellow disciples. He approached Lodovico more 
closely than any other artist. He gained great 
reputation for the grace and beauty of his cherubs, 
and Guido said that in this he even surpassed Bag- 
nacavallo. Brizzio was instructed in engraving by 
Agostino Caracci, and he is said to have forwarded 
some of the plates of that master. His plates are 
nearly equal to those of Agostino in point of exe- 
cution, but they are greatly inferior to them in 
correctness of drawing and beauty of expression. 
The following are the principal : 



A large Landscape, from his own design. St. Roch ; af- 
ter Parmeggiano. The Holy Family ; after Correggio. 
The Return out of Egypt ; after Lod. Caracci. Porti-ait 
of Cinthio Aldobrandini ; after L. Caracci. A Frontis- 
piece ; inscribed Explicatione del sacro lenzuolo. 1599 • 
do. ; scarce. Another Frontispiece ; inscribed Teinpio 
at Cardinale Cinthio Aldobrandini. 1579; do. Another 
Frontispiece, with the Arms of the Duke of Modena, and in 
the middle some Children ; do. 1594 : very scarce. St. 
Francis kneeling, holding the infant Jesus, and the Virgin 
Mary in the Clouds ; do. The Virgin Mary crowned, with 
the infant Jesus, and two Angels ; after L. Caracci. The 
great St. Jerome ; the plate left imperfect by Agostino 
Caracci, finished by P. Brizzio. Christ and the Samari- 
tan Woman ; after Ag. Caracci. 1610. A Blind man 
ledbyaDog; after Annibale Caracci. 

BROECK, Crispin vander, a Flemish painter 
and engraver, was born at Antwerp in 1524. accord- 
ins; to Zani ; and died, according to Balkema, in 
1575. though Brulliot says he died at the age of 71. 
He studied under Francis Floris, and painted history 
with considerable reputation. He is also said to 
have distinguished himself as an architect, but none 
of his works are mentioned. There are a number 
of prints by Broeck, which are much esteemed. He 
engraved both on wood and copper, and marked his 
plates with a monogram composed of the letters 
C. Y. and B. The following are his principal 
prints, of which the wooden cuts are scarce ; they 
are marked with his cipher : 



C^^.-C\BF; 



COPPER-PLATES. 

Seven of the Creation, with Latin inscriptions. Another 
set of nine, of the Creation. jS'ineteen of the Life of the 
Virgin. The Crucifixion ; in a border ornamented with the 
Instruments of the Passion. 

WOODEN CUTS. 

The Annunciation ; a circular print. The Visitation ; 
same. The Adoration of the Shepherds ; same. The Ado- 
ration of the Magi ; same. The Circumcision ; same. 

BROECK. Barbara vander, the daughter of 
Crispin vander B., a Flemish engraver of some 
merit, was born at Antwerp in 1560. She exe- 
cuted a number of plates entirely with the graver, 
which she handled with great abilit}'' ; and in some 
of her works, particularly that of the Last Supper, 
she imitated the style of Martin Rota, among 
which are the following : 

The Holy Family, with Angels ; marked with the cipher 
of her Father, and signed B.filia, sc. Samson and Deli- 
lah ; Crispin, inv. ; B. fecit. The Last Judgment ; Bar- 
bara filia Crispini, sc. ; H.Hond., exc. Mandonia pros- 
trating herself before Scipio ; Barbara, fee. Venus and 
Adonis ; B.fil. , fee. 

BROECK, Eli AS vander, a Flemish painter, 
born at Antwerp in 1657 ; died in 1711. He stud- 
ied under Abraham Mignon. His subjects were 
fruit and flowers, in which he was tolerably suc- 
cessful, though he never approached the excellence 
of his instructor. 

BROERS, a Dutch painter. His subjects were 
the pleasures of the peasantry, which he executed 
with great truth, life, and humor. 

BROGNIART, a Parisian architect, who de- 
signed the celebrated Bourse, or Exchange, which 
con.sists of a parallelogram, about 160 feet wide by 
263 feet deep, surrounded by a handsome Corin- 
thian colonnade on all its four sides, raised upon a 
very lofty pedestal. The simple and noble ar- 
rangement of the interior commands the highest 
praise ; a very grand hall is in the centre, 100 feet 



BRON. 



142 



BROS. 



long by GO feet wide, surrounded by two stories 
of spacious arcades, and covered by a vaulted roof 
BROMPTON, Richard, an English portrait 
painter, who studied under Benj. Wilson, and af- 
terwards went to Rome, where he received in- 
structions from Mengs. When Lord Northamp- 
ton went ambassador to Venice, he was accom- 
panied b}^ Brompton ; who, while there, painted 
the portraits of the Duke of York, and others of 
English nobility, in one piece. He subsequently 
returned to England, but not succeeding as he ex- 
pected, he went to St. Petersburg, where he died 
in 1790. 

BRONKHORST, John van, a Dutch painter, 
born at Utrecht, in 1603. He studied under John 
Verburg, a painter on glass. He executed the 
splendid windows of the new church at Amster- 
dam, which, with many other works, gained him 
great reputation. When thirty-six years old. he 
met C. Poelemberg, and immediately relinquished 
his former pursuit, to follow the branch of oil- 
painting. In the church above mentioned are 
three excellent pictures by him : The Triumph of 
David over Goliah ; the anointing of Saul ; and 
Saul's attempt to kill David. Bartsch enumerates 
eighteen prints by this artist. He died, according 
to Zani and Nagler, in 1680; though Balkema 
sa3^s in 1659. 

BRONKHORST, Peter van, a Dutch painter, 
born at Delft in 1588 ; died in 1661. He excelled 
in painting interiors of public edifices, which he 
decorated with historical figures. In the Council- 
Chamber at Delft are two fine paintings by him, 
representing the Judgment of Solomon, and Christ 
driving the Money- Changers from the Temple. 

BRONZINO Alessandro and Cristofano. 
See Allori. 

BRONZINO, Agnolo, an eminent Florentine 
painter, born in 1511 ; died in 1580. He was the 
favorite scholar of Jacopo Carrucci, whom he as- 
sisted in some of his important works, particularl}^ 
in the chapel of S. Lorenzo, in Florence, which he 
was employed to finish after Carrucci's death. His 
works arc at Florence. Pesaro, and Pisa ; among 
them is a Nativity at Florence which is highly ex- 
tolled ; also a Venus embracing Cupid, attended 
on one side by mirthful Loves, and on the other 
side by -Jealousy, Fraud, etc. His design was 
grand, and he imitated Michael Angelo. Bronzino 
also excelled in portraits, and painted Petrarch, 
Boccaccio, and Dante, besides many other illustri- 
ous-men of his time. 

BROOKING, M., an English marine painter, 
born about 1720. He had some situation in the 
dock-yard at Deptford, and having a taste for 
drawing, applied himself to painting marine sub- 
,iccts. Having the boundless sea constantly before 
him, his works exhibit a truth to nature which no 
previous English artist had ever equalled. He 
lived, however, in obscurity, and died in 1759. 

BROOKSHAW, Richard, an English mezzo- 
tinto engraver, who lived about 1770, and execu- 
ted a number of portraits and other subjects, after 
Reynolds^ and other masters. 

Louis XVI., King of Prance. Marie Antoinette of Aus- 
tria. Queen of France. A half-length Portrait of a young 
Lady holding a Vase ; after Sir Joshua Reynolds. A 
Portrait of General Paoli. James Bouverie, Son of the 
Earl of Eadnor ; after Sir Joshua Reynolds. The En- 



ffi 



-—^en: 
1 Jjra] 



chantress ; after Murray. Return out of Eg.ypt ; after 
Rubens. Moonlight, a Sea-piece; //. Kobell, pinx.; R. 
Brookshaw,fec. 1772. A Storm at Sea ; do. 

_<^ BROSAMER, Hans, a German 

engraver on copper and wood, born 
Fulda about 1506. He is 
anked among the little masters, 
from the size of his works. His prints are some- 
what in the style of Aldegrcver, though much 
inferior to those of that master. The following 
are the principal ; some are marked with his name, 
others with his monogram : 

COPPER-PLATES. 

The Portrait of Martin Luther. The Portrait of John 
II., Abbot of Fulda. Samson and DaliLah ; Johannes 
Brosamer F'ulda degens faciebat, 1.5 H. B. 45. David 
and Bathsheba. Solomon and his Wives worshipping the 
Idol. 1543. Xantippe riding on Socrates. Laocoon and 
his Children. 1538. Marcus Curtius leaping into the Gulf ; 
circular. 1540. The Judgment of Paris. The Crucifix- 
ion ; Joh. Brosamer FuldcB degens faciebat, 1542 ; fine. 

WOODEN CUTS. 

Theophrastus Paracelsus; H. B. 1540. A Stable, with 
a Horse, a Man sleeping, and a Woman holding a lighted 
Torch ; very scarce. The great Procession of the Christian 
and Pagan Heroes on horseback ; in seven sheets ; very 
scarce, and often attributed to Burgkmair. A set of wood- 
en cuts, chiefly copied from the work by Holbein, published 
in 1547 ; entitled Biblia veteris testanienti artificiosis pic- 
turis ejfigiata. Franckfort. 1552. 

BROSSE, Jacques de, an eminent French ar- 
chitect who flourished, according to Milizia. during 
the regency of Mary de Medicis. He designed the 
famous palace of the Luxembourg, in which is 
united extent, solidity, and beauty. It was com- 
menced in 1615. and fini.shed in 1620, and is one 
of the finest edifices in Paris. He also erected a 
number of other good works, among which is the 
aqueduct of Arcueil. which gained him great repu- 
tation. He designed the fa9ade for the palace of 
St. Gervais. and erected the great vaulted hall in 
the palace of Justice, at Paris, In 1643, he pub- 
li.shed La com.pte des Pierres. of Dcsargue ; and in 
1665. a treatise on Perspective. The time of his 
death is not recorded. 

BROSTERHURST, John, an engraver of lit- 
tle note, probably a native of Holland. He execu- 
ted a number of prints in a tasteful and pleasing 
style, among which are a set of six prints, repre- 
senting landscapes, views of villages, &c., signed 
Joann. Brosterhurst, Prcedia. 

BROSTOLONI, Gio. Battista. a Venetian 
engraver ; born about 1726. and probably studied 
under Wagner. He executed a number of plates, 
among which are the following : 

Portrait of Pope Benedict XIV. ; an oval plate. A Vig- 
nette, with the Portrait of Benedict XIV. St. Theresa in 
Adoration. A set of twenty Views in Venice ; after Cana- 
letti. 1763. Another set of twelve large plates : do., with 
the Ceremonies of the Election of the Doge, and his Mar- 
riage with the Adriatic. 

BROWER, or BRAUWER, Adrian, a Dutch 
painter of extraordinary ability, born at Haerlem, 
in 1608. His parents were extremely poor, and 
his mother sold to the peasants bonnets and hand- 
kerchiefs, which the young Adrian painted with 
flowers and birds. These attempts were noticed 
by Francis Hals, a distinguished painter of Haer- 
lem, who offered to take the young artist into his 
school ; which proposal was gladly accepted. Hals, 
on discovering his superior genius, separated him 
from all his companions, and locked him up in a 



BROW. 



143 



BROW. 



garret, that he might profit by his talents. The 
pictures of Brower sold readily at high prices, but 
the avaricious Hals treated him with increased se- 
verity, lest he should become acquainted with the 
value of his talents, and leave him. This cruelty 
excited the pity of Adrian van Ostade, then a pu- 
pil of Hals ; and he found an opportunity of ad- 
vising Brower to make his escape ; which the lat- 
ter elfected, and fled to Amsterdam. Soon after 
arriving in that city, he painted a picture of Boors 
Fighting, which he gave to the landlord of the inn 
where he lodged, and requested him to sell it. 
The host soon returned with one hundred ducats, 
which he had received for the work. The artist 
was amazed at such a result of his labors, but in- 
stead of exerting his wonderful talents, he plunged 
into a course of dissipation. This natural propen- 
sity to alternate work and indulgence marked his 
whole life, and involved him in many extraordi- 
nary adventures. When the States- General were 
at war with Spain, Brower started on a visit to 
Antwerp, whither his reputation had already pre- 
ceded him. Omitting to provide himself with a 
passport, he was arrested as a spy and confined 
in the citadel, where the Duke d'Aremberg was 
imprisoned. That nobleman lived in friendship 
with Rubens, who often visited him in his confine- 
ment ; and the Duke having observed the genius 
of Brower, desired Rubens to bring a palette and 
pencils, which he gave to Brower, and the latter 
soon produced a representation of Soldiers playing 
at Cards, which he designed from a group he had 
seen from his prison window. The Duke showed 
the picture to Rubens, who immediately exclaimed 
that it was by the celebrated Brower, whose pic- 
tures he often admired ; and he offered the Duke 
six hundred guilders for the work, but the latter 
refused to part with it, and presented the artist 
with a much larger sum. Rubens lost no time in 
procuring the enlargement of Brower, and took 
him into his own house ; but he soon became 
weary of his situation. He left Rubens, and re- 
turned to his old vicious habits, to which he fell a 
victim in 1640, at the age of 32. He died in the 
public hospital at Antwerp, and was buried in an 
obscure manner ; but when Rubens knew it, he 
had the body re-interred, with funeral pomp, in the 
Church of the Carmelites ; and he intended also 
to have erected a superb monument to his memo- 
T}'-, had he lived to see it executed ; though San- 
drart says there was a magnificent one over his 
tomb, with an epitaph to perpetuate his honor. 
The subjects of Brower were of the lowest order, 
representing the frolics of his pot companions ; but 
his expression is so lively and characteristic, his 
coloring so transparent and brilliant, and the pas- 
sions and movements of his figures are so admira- 
bly expressed, that his works have justly elicited 
the applause of the world. They are highly val- 
ued, and in consequence of • his irregular life are 
exceedingly scarce. Brower also etched a few 
plates in a very spirited style, among which are 
the following : 

A company of four Peasants ; inscribed T' sa vrienden, 
<f*c. A AYoman pL\ving on the Flageolet, and Peasants 
dancing ; inscribed Lustig spell, d^c. Three Peasants 
smoking ; Wei' aent smuken. A Peasant sleeping, and 
others drinking ; Brciuicer. Two of single figures ; sign- 
ed A. Brorrer. A Man and a Woman, with a Monkey 
smoking ; Wats dit, c^-c. A Woman making Cakes ; cir- 
cular. A Woman holding a Stove, and a Man lighting his 
Pipe. Sis of Men and Women Peasants. 



BROWN, Mather or Matthew, an English 
painter, who lived about 1795. He painted the 
portraits of Cornwallis, and other English officers 
of his time; also several historical subjects, from 
the events of the war in India with Tippoo Saib, 
and from scenes in Shakspeare. He died in 1810. 

BROWN, Robert, an English painter, who 
studied under Sir James Thornhill, according to 
Lord Orford, and assisted him on the cupola of St. 
Paul's. On leaving that master, he painted a 
number of pictures for the London churches, 
among which was the altar-piece of St. Andrew 
Under shaft. 

BROWNE, John, an eminent Enghsh land- 
scape engraver, born at Oxford in 1719. He exe- 
cuted a number of plates in a masterly style, after 
the great masters. Some of them were finished 
by Woolett. The following are the principal : 

A Landscape, with a Sportsman ; after G. Poussin ; in 
the Houghton collection. A Kitchen; after Tenters. The 
Cottage; after Hohbema. 1773. The Wagoner; after 
Rubens. 1776 ; fine. A Landscape ; do. ; from a picture 
in the collection of the Duke of Montague. The Market ; 
do. ; from a picture in the royal collection. The Milk- 
maid ; do. ; the same subject ; engraved by Van Uden. 
Apollo and the Muses granting longevity to the Sibyl of 
Cuma; after Sal. Rosa. Landscape, with a Waterfall; 
after G. Poussin. A Landscape, with Procris and Cepha- 
lus ; after Claude Lorrain. St. John preaching in the 
Wilderness ; after Sal. Rosa. A Landscape, with the 
Baptism of the Eunuch ; after J. Both. 

BRU, MosEN Vincente, a Spanish painter; 
born, according to Palomino, at Valencia, in 1G82. 
He studied under Juan Conchillos, and before he 
was twenty-one had painted several altar-pieces 
for the churches of his native city, which showed 
uncommon abihty ; but he died shortly after, much 
regretted by the friends of art. in 1703, aged 2L 

BRUGGEN, John vander, a Flemish mezzo- 
tint engraver, born at Antwerp in 1649, where he 
executed a number of plates ; but afterwards set- 
tled at Paris, and engaged in print-selling. His 
prints are cliieiiy portraits and drolls, after Teniers, 
Ostade. tto. The following are the principal : 



/mm^ 



The Portrait of John vander Bruggen ; after Largil- 
liere. The Portrait of A. Vandvck ; se ipse pinx. The 
Portrait of Louis XIV. 1681. The Gold Weigher; after 
Rembrandt. An old Woman weighing Gold ; J. V. Brug, 
f. A Man holding a Goblet. A Man leaning on a Table, 
and a Woman. A Man sitting on the Trunk of a Tree, 
lighting his Pipe. Cupid and Psycho. A Skull; Memento 
mori. An old Peasant, and a Girl playing on the Flute ; af- 
ter Teniers. A Man drinking, and a Woman smoking ; 
do. 

BRUGHI, Gig. Battista, a Roman painter, 
and pupil to Gaulli, who, according to the Guida 
da Roma, adorned some of the pubhc edifices of 
Rome with mosaic pictures. He also painted in 
oil, and there are several of his oil paintings in the 
churches in that city. He died about 1730. 

BRUGIERI, Gig. Dgmenico, a painter of the 
Florentine school ; born at Lucca in 1678, and 
died in 1744. According to the Florentine Dic- 
tionary, he first studied under Baldi, and after- 
wards, Carlo Maratti. He is highly applauded foi 
his works in the Chapel of the Sacrament, at tho 
Servi, and in other edifices at Lucca. 

BRUGNO, Innocento, a painter of the Vene 



BRUN. 



144 



BRUN. 



tian school, who, according to Renaldis, flourished 
in the first part of the 17th century, and executed 
some reputable works for the churches in Ve- 
nice ; but Lanzi says his works obtained little ce- 
lebrity. 

BRUN, Augustine, a German historical paint- 
er of some merit ; born at Cologne in 1570, and 
died in 1G22. 

BRUN, Charles le. an eminent Parisian paint- 
er, born in 1619 ; died in 1690. He was the son 
of a sculptor. His father being employed on 
some works in the gardens of the chancellor Se- 
guier, took his son with him ; and that great min- 
ister was so much pleased with the genius of the 
young artist, that he placed him in the school of 
Simon Vouet. where he made such rapid progress 
that at the age of fifteen he painted the picture of 
Hercules destroying the Horses of Diomed, which 
was in the Orleans collection. At the age of 
twenty-two, the Chancellor sent him to Italy, with 
a liberal pension, and a letter of recommendation 
to N. Poussin. The latter assisted him in his 
studies, though the talents of Le Brun were bet- 
ter adapted to grand compositions than to the 
style of that master. After six years he returned 
to Paris, and was appointed first painter to the 
King, who conferred on him the order of St. Mi- 
chael, and employed him at Fontainbleau and Ver- 
sailles. In 1662, he commenced his great work of 
the Battles of Alexander, which have been per- 
petuated by the admirable burin of Gerard Au- 
dran, and which gained him an immense reputa- 
tion. In the church of Notre Dame are two of 
his most celebrated pictures : the Stoning of St. Ste- 
phen, and the jMartyrdom of St. Andrew. His 
conceptions were grand, though never sublime 
like those of Raffaelle ; his design was correct ; 
his extensive genius rapidly produced the most 
abundant compositions. There is, however, occa- 
sionally a sameness visible in his works, though 
he was a perfect master of the mechanism of the 
art. Le Brun, by his influence with Colbert and 
the King, succeeded in establishing the Royal 
Academj^ for which he deserves the grateful re- 
membrance of every lover of the arts. He etched 
several plates, representing the Four Times of the 
Day, and an Infant kneeling on the Cross. 

BRUN, F., a French engraver, who executed a 
number of portraits entirely with the graver, in a 
neat style. 

BRUN, Gabriel le, a Parisian painter and en- 
graver, the brother and scholar of Charles le Brun ; 
born about 1625. As a painter, he is little known. 
As an engraver, he executed several plates ; among 
which are the following : 

Portrait of Charles Fevret de St. Mesmin. 1657. Alle- 
gory on the Peace of the Cardinal Mazarin. Frontispiece 
for the Memoirs of Vittorio Siri. The Twelve Apostles ; 
after C. le Brun. The Saviour ; do. ; on two sheets. St. 
Martin ; do. St. Anthony ; do. A Thesis ; dedicated to 
the Parliament of Normandy ; do. 

BRUNELLESOHI, Filippo, an eminent Flo- 
rentine architect, born in 1377 ; was the son of 
Filippo Lapi, He was originally intended for the 
legal or the medical profession, but being ardently 
attached to mechanical pursuits, he was placed 
with a goldsmith. He then practised sculpture, 
and afterwards studied perspective. Before his 
time, little attention was paid to perspective, so 



I that the figures often appeared to be slipping off 
I the canvass, and the buildings had not a true 
j point of view. He was one of the fii-st who re- 
vived the Greek practise of reducing the precepts 
of geometry subservient to the painter, and was 
the first Florentine who discovered the method of 
bringing it to perfection, which, as Vasari says. 
'• consisted in drawing it in outline by means of in- 
tersections, or squares " He was imitated in Mo- 
saic by Benedetto da Macano. and in painting 
by Masaccio, who were his pupils. Architecture, 
as a science, was at this period almost entirely 
neglected, and according to the Tuscan writers. 
Brunelleschi has the honor of having first revived 
the three ancient orders, the Doric, Ionic, and Co- 
rinthian. He learned considerable from the church 
of S. Giovanni at Florence, which is built in a 
good style, and yery nearly approaching the an- 
tique; but he acquired his principal knowledge 
from the noble vestiges of ancient architecture at 
Rome, which he designed and sketched with the 
greatest accuracy. He now conceived the idea of 
raising a cupola over the church of S. Maria del ^ J 
Fiore at Florence, and went to Rome with a view | I 
of perfecting his plan, when his mind became so 
absorbed that he scarcely allov»-ed himself the 
rest that nature required, and was in such want of 
money that he pawned his jewels to obtain the 
common necessities of life. He then returned to 
Florence, and secret!}^ made designs and models 
for his cupola, proposed the plan to the deputies of 
the building, and then set out at once for Rome. 
As he expected, he was soon entreated to return, 
when he asserted that he could raise the cupola J j 
without any difficulty, and wi.shed that the mostf | 
eminent architects might be gathered to offer their 
sentiments in regard to the scheme. In about a 
3'ear there were collected, at great expense, a mul- 
titude of artists from all the nations of Europe, 
who suggested the most extravagant and ridicu- 
lous opinions, and cast the utmost derision on the 
project of Brunelleschi, who vras treated as a mad- 
man, and turned out of the assembly. He perse- 
vered, however, against violent opposition, and 
finally succeeded in completing his undertaking, 
which surpassed in height any woi-k of llie ancients. 
He was afterwards callod to iMiinn. l)v tlic duke 
Filippo Maria, and on his return to Florence be 
performed many works for the duke, and also 
made a number of important improvements in the 
Cathedral. At Fiesole, by order of Cosmo di 
Medici, he built the magnificent abbey of the re- 
gular canons. He gained great reputation by the 
noble Pitti palace, which he raised to the second 
stor}^ Vasari gives a long description of a repre- 
sentation of Paradise, in the church of S. Spirito. 
with a sky full of moving figures, nnd an infinite 
number of lights, whichis attributed to Brunel- 
leschi. He visited Rome. M'here he executed a 
number of works for Pope Eugcnius IV.. and re- 
turned to Florence with applause and honorable 
rewards. From the time of Brunelleschi, is dated 
the restoration of good architecture. He died at 
Florence in 1444, and was buried with pompous 
solemnity in S. Maria del Fiore. 

BRUNELLI, Gadriel, a French sculptor, born I 
at Boulogne, and flourished in the 17th century. I 
He studied under Algardi, and attained a high re- 
putation, both in his own country and in Italy. 
He prosecuted the art with great" ass^duit3^ and 
executed no less than forty-four marble statues 






BRUN. 



145 



BRUN. 



in his natiyc city. At Naples^ Padua, and Raven- 
na, he executed a number of works, among which 
are bas-reliefs, fountains, and colossal statues, in 
the latter of which he especially excelled. 

BRUNETTI, Sebastian 0, a Bolognese painter, 
born about 1618. He studied under Lucio Mas- 
sari ; but afterwards, according to jMalvasia, under 
Guido, and was one of his ablest pupils. In S. 
Maria Maggiore, at Bologna, is a picture by him 
of the Guardian Angel ; in S. Marguerite, JMar}^^ 
Magdalene praying in the Desert; in S. Giuseppe, 
a Holy Family, entirely in the manner of Guido. 
His taste for design was graceful, but his coloring 
was sombre and hea^y. He died in lolO. 

BRUNT. DoMENico, a reputable Erescian paint- 
er of architecture and perspective, born, according 
to Averoldi, in 1591. He stu.died under Sandrini, 
and painted several works for the churches and 
public edifices of his native city. He died in 1666. 

BRUNI, Francesco, an Italian engraver, was 
born at Genoa about 1G60. Among other plates, 
we have one by him, representing the Assumption 
of the Virgin, after Guido. 

BRUNT, Orazio. a Sienese engraver, born about 
1630. He executed a few plates entirely with the 
graver, in the style of F. de Poilly, some of which 
are from his own designs. The following are the 
principal : 

The Prodigal Son. The Golden Age, A set of the 
Four Seasons. A set of various Animals. A Warrior, and 
a Female in a Triumphal Car, with Minerva presenting a 
Sceptre. 

BRUNT, Lucio, a painter of the Venetian school, 
who lived at Vicenza in 1584. Lanzi says he can 
find no mention of him. which he attributes to the 
fact that he found no historian to rescue his name 
from oblivion, at a time when Italy abounded in 
the most eminent artists, but he mentions a small 
altar-piece by him, in the church of San Jacopo at 
Vicenza, representing the Marriage of St. Cathe- 
rine, which he pronounces a work worthy of the 
best age of painting. 

BRUNI, Giro LAM 0, an Italian painter, who 
studied under Borgognone, whose style he adopt- 
ed. Some of his works are in the Colonna Gal- 
ler}^. He practised at Bologna, and perhaps in 
other cities, in the last half of the 17th century. 

BRUNN, D., a German engraver, who executed 
among other plates, a Bacchanalian subject, after 
Rubens^ and a similar subject, after Vandyck ; 
signed D. Brun% Argsis. sculp. 1628. 

BRUNO, Giovanni di, an old Florentine artist 
and pupil of Buffalmacco, who is believed to be 
the painter of a St. Ursula, which still exists in the 
Commenda at Florence. By the aid of sentences 
proceeding from the mouths of his figures, he en- 
deavored to explain what their features and atti- 
tudes were incapable of expressing, — a practise in 
which he found a precedent, even in Cimabue, fol- 
lowed by other artists of the time. 

BRUNO, Antonio, a native of Modena, and a 
pupil of Correggio. Lanzi says his name is un- 
known in the history of art, but that he was an 
able artist, who emulated the genius of Correggio 
in his grace, his nature, his foreshortenings, and his 
broad lights, though with a far less correct pencil. 

BRUNO, Francesco, a painter, born at Porto 
\Iaurizio, in the Genoese, in 1648, and died in 



1726. According to Ratti, he studied under P. da 
Cortona, and was one of his ablest scholars. He 
executed some altar-pieces and other subjects for 
the churches in his native country, in the style of 
his master. He is said to be an unequal painter, 
but Ratti thinks that those inferior works are im- 
properly attributed to him. 

BRUNO, GiuLio, a Piedmontese historical paint- 
er. He studied at Genoa, under Lazzaro Tavarone ; 
and subsequently under Gio. Battista Paggi. So- 
prani says, that about 1625, he gained great repu- 
tation in Savoy ; but in consequence of the wars 
of that country, he returned to Genoa, where he 
soon after died. 

BRUNO, Gig. Battista, a brother and scholar 
of Giulio B., who he assisted in his works, and he 
painted some respectable works at Genoa. 

BRUNO. See Buoni. 

BRUNORI, or BRUNOINI, Federigo, an 
Italian painter, who lived about 1600. He stud- 
ied under Damiani, followed the Venetian style, 
and in some of his works, availed himself of the 
compositions of Albert Durer. His portraits are 
characteristic, and his coloring vigorous. 

BRUSAFERRO, Girolamo, a Venetian painter, 
who studied under Cav. Nicolo Bambini, and, am- 
bitious of imitating Ricci, according to Lanzi, form- 
ed a mixed style, not destitute of originality. He 
was living in 1753. 

BRUSASORCT. See Domenico Riccio. 

BRUSSEL, Paul Theodore van, a Dutch 
painter, was born near Schoonhoven. He studied 
under Gio. Augustini, and also under H. Meyer 
of Haerlem. He was first employed in the man- 
ufacture of tapestry, but afterwards devoted his 
attention to nature, and became one of the best 
fruit and flower painters of his time. His later 
pictures are his best efforts, and are preserved in 
the choicest collections. He died in 1795. 

BRUYN, or BRUIN, Abraham, a Flemish en- 
graver, born at Antwerp about 1540. He executed 
a number of plates of a small size, entirely with the 
graver, in a very neat, though formal style, and in- 
correctly drawn. His best prints are his portraits, 
and small figures representing hunting, hawking, 
&c.: 



^or_^or^ 



PORTRAITS. 

Philip Louis, Elector Palatine. Anne, his Spouse. Al- 
bert Frederick, Duke of Prussia. Eleonora, his Duchess. 
William, Duke of Juliers. Mary, his Duchess. John 
Sambucus, physician ; a wooden cut. _ Carolus Nonus, 
Francorum Eex. Anna Austriaca, Caroli V. filia. 

VARIOUS SUBJECTS. 

Moses and the Burning Bush. Four of the Evangelists. 
Christ and the Samaritan Woman. A Philosopher. The 
Seven Planets. 1569. The Five Senses. A set of plates, 
entitled, Imperii ac Sacerdotii ornaius, diversaruw. gen- 
tium vestitus, Excudehat Ab. Brun. 1577. Another set 
of plates, Diversarum gentium armatura equestris. 
1577. A set of forty-nine plates, entitled Omnium fere 
gentium imagines, ^c. sculpsit Ab. Bruynus. 1587. 
Seventy-six of Horsemen; 7I6. cZe ^r?/3/?i,/ec. 1575. A 
set of small friezes of Hunting and Hawking. 1565. A 
set of twelve plates of Animals ; Ab. de Bruyn^fecit. exc. 
1583. A set of Arabesque Patterns. Pyramus and This- 
be ; after Francis Floris. The Kesurrection of Lazarus ; 
after Crispin vander Broeck. 



BEUY. 



146 



BRYE. 



BRUYN, or BRUIN, Nicholas de. a French en- 
graver, born at Antwerp about 1570. He was the 
son of A. Bruyn. and studied under his father, but 
followed the style of Lucas van Leyden His com- 
positions are abundant^ and his works possess con- 
siderable merit. His plates are neatly finished 
with the graver, but his forms are not chosen in 
good taste, and there is little effect in his prints, 
from his ignorance of chiaro-scuro, — a defect com- 
mon at that time. The following are his princi- 
pal plates, usually marked with one of these mono- 
grams : 

SUBJECTS FROM HIS OWN DESIGNS. 

Adam and Evo in Paradise. 1600. Adam and Eve 
standing under the Tree of the forbidden Fruit. 1631. 
The Israelites, with the Daughters of Madian. The great 
Festival of the Jews after six years' bondage. 1617. King 
Balach speaking to the Prophet Balaam. The Prophet 
Jeremiah, with a Lion. 1608. The Vision of Ezekiel. 
1600. David and Goliah. 1609. David meeting Abigail. 
1608. The Queen of Sheba before Solomon. 1621, Ne- 
buchadnezzar's Dream. Daniel in the Lion's Den. Su- 
sanna accused by the Elders. Susanna's Acquittal. The 
Stoning of the Two Elders. The Nativity of Christ. 1621. 
The Adoration of the Magi ; N. de Bruyn, sc. The Re- 
pose in Egypt. 1621. The Murder of the Innocents, 1644. 
St. John preaching in the Wilderness. Christ preaching 
on the Mount. The Centurion imploring Christ. Christ's 
Entrance into Jerusalem. Christ bearing his Cross. 1632. 
The Crucifixion. The Resurrection. 1631. St. Paul 
preaching. 1621. St. Hubert. 1614. The Idolatry of 
Solomon. 1606. Orpheus playing, surrounded by Ani- 
mals. A Family of Peasants. A Landscape, with Li- 
ons, Tigers, and Stags. A Spanish Assembly in a Forest. 
A set of six Patterns for Groldsmiths. A set of twelve 
Quadrupeds. 1621. A set of thirteen of Birds; C J. 
Visscher, exc. A set of thirteen of Fishes. 

SUBJECTS AFTER VARIOUS MASTERS. 

St. John preaching in the Wilderness ; after Lucas of 
Leyden. A Miracle wrought at the Tomij of St. James ; 
do.; 1600. The Golden Age ; after A. C. Bloemaert ; one 
of his best prints. Four Landscapes, with historical fig- 
ures ; after G. ConixLoo. Three Landscapes, with figures ; 
after D. Vinckenbooms. A Landscape, with a Stag- 
hunt ; after John Breughel. A Landscape, with Moses 
defending the Daughters of Jethro ; after J. Bol. Four 
of the Seasons ; after M. de Vos. St. Cecilia ; after 
Rajfaelle. A Knight on Horseback, accompanied by Time, 
and followed by the Devil ; after Alb. Durer. 1618. 

BRUYN, Cornelius de, a Dutch painter and 
engraver, born at the Hague in 1652; died at 
Utrecht in 1728. He studied at Rome, under 
Robert Duval, and afterwards at Venice for three 
years, with Carlo Lotti. He painted portraits, but 
is more distinguished for an interesting work, de- 
scribing his travels in Persia, India, and other 
countries, with plates from his own designs. 

BRUYN, T. DE, a native of Switzerland or France, 
who went to England in 1760. He painted land- 
scapes and cattle, and imitated bas-reliefs with 
surprising ingenuity, an example of which may be 
seen in the chapel of Greenwich Hospital. 

¥5 BRY, or BRIE, Theodore de, an eminent 
JO\*Grerman engraver, born at Liege in 1528; 
died at Frankfort in 1598. He resided chiefl}'- in 
the latter city, where he was engaged in print and 
bookselling. His stjde is formed on that of Se- 
bald Bcham. He executed a large number of 
plates entirely with the graver, in a neat, free stjde. 
His subjects were usually public processions and 



parades, with a large number of figures^ correctly 
drawn, and a fine expression in the heads. He 
executed the plates for the first four vols, of Bois- 
sard's Roman Antiquities ; the tAvo last were 
completed b}^ his sons. His prints are .sometimes 
marked T. B., and sometimes with his monogram. 
The following are the principal : 

St. John in the Wilderness ; an etching ; very scarce. 
A Dance of Cavaliers and Ladies ; Hie fudor, tf^c, de 
Bry, fee. A Dance of Men and Women Peasants ; Quan- 
tum aula ; same mark. A Design for a Saucer, a Head 
representing Pride and Folly, surrounded with grotesque 
subjects ; a circular plate, marked T. d. B. f ; scarce. 
Another Design for a Saucer, a Head of the Duke of Alva, 
with the Mask of Folly, with grotesque subjects ; circular ; 
scarce. Another Design for a Saucer, with the Head of 
William of Nassau, with grotesque figures, indicative of 
Prixdence ; circular ; scarce. A Medallion of Scanderbe- 
gus, Y'ith Latin inscriptions, and a border of birds, flowers^ 
a,nd insects. The Companion ; Donice Scanderbegi Uxor. 
The Nine Muses. The Procession for the Funeral of Sir 
Philip Sidney ; invented by Thomas Lant, gent., and gra- 
ven in copper by Derick or Theodore de Brie, in the city 
of London. 1578 ; in thirty-four plates. The Procession 
of the Knights of the Garter in 1556, in twelve plates ; 
dated 1578. A set of Portraits ; enixilQdi Icones quinqua- 
ginta virormn illustrium Fran. 1569. The Plates for 
the Work published at Franckfort in 1596 ; entitled, The 
brief, true Report of the newfound land of Virginia, 
published by Thomas Ilariot, serjeant to Sir Walter Ra- 
leigh, and employed by him in the discovery. Picart co- 
pied these plates for his Religious Ceremonies of all Na- 
tions. The plates for the Latin narrative of the Cruelties 
of the Spaniards in America ; entitled Narratio Regionum 
Indiarum par Hispanos quondam devastatum verissima 
Francof. 1598 ; one hundred and twenty-three plates. 
The plates for his great work ; entitled Dcscriptio gene- 
ralis totius Indice Orientalis et Occidentalis, in nineteen 
parts, contained in five volumes, folio. 1598, 

BRY, or BRIE. John Theodore de, a German 
engraver, the son and scholar of T. de Bry, born 
at Liege in 1561. He assisted his father in 
many of his works. He added considerably to 
the collection of portraits of illustrious personages, 
begun hj his father; and, in concert with his 
brother John Israel, completed the two vols, of 
BoissarcVs Roman Antiquites, which his father 
left unfinished at his death. There are also the 
following prints by him, usually marked with one 
of his monograms : 

Portrait of Gerard Mercator, geographer. Portrait of 
Daniel Specklin. Four, of the Elements ; J. T. de Bry, 
inv. etfec. The Marriage of Rebecca ; after Balthazar 
Perruzzi. A march of Soldiers ; a frieze ; after Titian; 
J. Theodore, fee. Another March of Soldiers, conducting 
Prisoners, with Death riding on a Horse ; a frieze ; do. ; 
called the Triumph of Death. The little Village Fair ; 
after S. Beham. The Fountain of Youth; do. The Tri- 
umph of Bacchus ; after Giulio Romano. The Venetian 
Ball; after Theodore Bernard; a circular plate. The 
Golden Age ; after the print engraved by N. de Bruyn ; 
after A. Bloemaert. 

BRYER, Henry, an English engraver, who 
studied under Rjdand, and became his partner in 
the business of printselling. He executed a few 
plates chiefly after Angelica Kauffman ; among 
which are Bacchus and Ariadne, and a large plate, 
lehgthwaj^s, of Mars and Venus discoA-ered by Vul- 
can. The Society for the Encouragement of the 
Arts awarded him a premium for the latter. 

BRYAXIS, an eminent Greek sculptor, who 
flourished about b. c. 324. He was chosen to- 
gether with Scopas, Timotheus, and Leocarus, by 
Artemisia, Queen of Caria, to erect the famous tomb 



BUBE. 



147 



BULL. 



of Mausolus in the city of Halicarnassus, which 
was reckoned one of the seven wonders of the 
world. Its dimensions on the north and south 
sides were sixt3^-three feet, the east and west sides 
were a httle shorter, and its extreme height was 
one hundred and forty feet. It was surrounded 
with thirty-six splendid marble columns. Bryaxis 
executed the north side, Scopas the east, Timotheus 
the south, and Leocarus the west. Artemisia died 
before the work was complete ; but the artists 
continued their work with unabated zeal, and they 
endeavored to rival each other in the beauty and 
magnificence with which they decorated this admi- 
rable work. A fifth sculptor, named Pythis, was 
added to them, who executed a noble four horse 
chariot of marble^ which was placed on a pyramid 
crowning the summit of the mausoleum. Bryaxis 
also executed many other remarkable works, 
among which were five colossal statues in the isle 
of Rhodes ; and one of Apollo, which was after- 
wards placed in the temple at Daphnis, near Anti- 
ochus. It is said that Julian the Apostate wished 
to render to this statue peculiar worship and hom- 
age, but that he was prevented by the miraculous 
destruction of the temple and statue by fire. Cle- 
ment of Alexandria assures us that many works 
are ascribed to Phidias, which are in reality by 
J bryaxis. 

BUBE, L., a wood engraver, who executed, 
among other works, a large upright print of the 
Holy Family, in chiaro-rscuro, after the design of 
Abraham Bloemaert. It is executed in a slight, 
but very spirited style, and evinces considerable 
ability. 

BUCK, Samuel and Nathaniel, English en- 
gravers, who lived about 1755. They executed 
about five hundred plates of views of the antiqui- 
ties in England and Wales. 

BUCKSHORN, Joseph, a Dutch painter, ac- 
cording to Lord Orford, who visited England in 
the time of Charles II., and studied under Sir Pe- 
ter Lely, whose works he copied with great perfec- 
tion. He also painted the portraits of Mr. Dave- 
nant, son of Sir ^Ym. D., and his wife. He died 
at the age of 35. 

BUDD, George, n English painter of little 
note. His subjects were portraits, landscapes, and 
still-life. 

BUDRIO, GiAcoMONE. See Giacomo Lippl 

BUFFAGNOTTI, Carlo Antonio, a painter 
and engraver of perspective and theatrical decora- 
tions at Bologna and Genoa, who lived about 
1690, 

BUFFALMACCO, Buonamico, an old Floren- 
tine painter ; born, according to Vasari, in 12G2, and 
painted in the dry, Gothic style of the immediate 
followers of Cimabue. He studied under Andrea 
Tatli. He executed several works for the Cathe- 
dral at Arezzo, mentioned by Vasari, which are 
now destroyed. He is remarkable as being the 
one who first used a label drawn from the mouth 
of a figure, to represent it speaking. He was a 
merry wag, and a careless spendthrift, and died in 
poverty in 1340, aged 78, 

BUFONI, PoMPONEO, a Roman historical paint- 
er; born in 1634; died in 1679. His heads had a 
fine expressjon, and his pictures were highly fin- 
ished. 

BUGEY, a French engraver, who was principal- 



ly employed in engra'/ing portraits for the book- 
sellers ; among others, is that of the Marshal de 
Broglio, on horseback, after Nicholas Loir. 

BUGIARDINI, GiULiANO, a Florentine histor- 
ical and portrait painter, born in 1481 ; died in 
1556. He studied first under Bertoldo, a sculptor, 
but afterwards, according to Vasari, was the fel- 
low student of M. Angelo. Lanzi says he was one 
of the most successful imitators of Leonardo da 
Vinci, equal to Luini, and cites several examples at 
Bologna and elsewhere. Vasari says he excelled 
in portraits, and that he was the colorist of some 
works of Fra. Bartolommeo, and the assistant of 
Albertinelli. In Florence he painted many excel- 
lent Madonnas and Holy Families ; also a picture 
in the church of S. Francesco, at Bologna, repre- 
senting the Marriage of St. Catherine. 

BUISEN, or BUYSEN, A. van, a Dutch engrav- 
er, who executed part of the plates for the work 
published at Amsterdam by Picart and others, in 
1720, entitled Figures de la Bible. 

BUISTER, Philip. This sculptor was born 
at Brussels in 1595, where he studied the art, and 
where he remained about half of his life ; after 
which he went to Paris, and attained consider- 
able distinction. He executed for the park at Ver- 
sailles a group of two satyrs, a statue of Flora, 
and several other works. His principal produc- 
tion is the tomb of Cardinal de Rochefoucald, which 
was in the church of St. Genevieve, but was af- 
terwards removed to the Musee des Monuments 
Fran9ois. 

BULL ANT. Jean, a French architect and sculp- 
tor, who flourished from 1540 to 1573. The cha- 
teau d'Ecouen, which established his reputation, is 
an admirable edifice. In 1564, he was commis- 
sioned by Catharine de Medicis to build the cha- 
teau of the Tuilleries, in concert with Philibert de 
Lorme. Bullant also executed a number of other 
works, among which was the Hotel de Soissons. 
He exercised the art of sculpture in the bas-reliefs 
and other ornaments for the altar of the chapel of 
Ecouen, some of which represented the Four Evan- 
gelists, and another, the Sacrifice of Abraham. 
Bullant also wrote several works on architecture, 
which possess considerable merit. 

BULLET, Pierre, a reputable French architect, 
born about 1645. He studied under Fran9ois 
Blondel, and erected, after his designs, a large num- 
ber of edifices in Paris ; among others, the gate of 
St. Denis. He did not long occupy this subordi 
nate position, but soon became so highly esteemed 
by other members of his profession, that he was 
admitted into the Academy of Architecture, and 
soon attained distinction. He designed and exe- 
cuted in 1674. the triumphal arch, called the Port 
St. Martin. He was appointed architect to the 
city of Paris, and erected a number of excellent 
edifices, among which was the church of the Ja- 
cobines'. Bullet made many designs for various 
works in Paris, which contributed to increase his 
reputation. He also published several good works 
on architecture, from 1688, to 1696, especially the 
one which appeared 1696, relative to the executive 
department of the art. which has been through many 
editions. 

BULLINGER. John Balthasar, a Swiss paint- 
er, born at Langnau, in the canton of Zurich, in 
1713 ; died in 1793. He studied first under John 
Simler, but afterwards went to Venice, and re- 



BULA. 



148 



BUON 



mained two 3'ear3 with Gio. Battista Tiepolo. He 
at first attempted historical painting, but soon 
gave it up, and became very eminent in landscape. 
He subsequently passed some time at Amsterdam, 
where he followed the admirable style of Both and 
Berghem. He etched several plates in a free style, 
among which are the following : 

The Portrait of J. B. Bullinger, se ipse fee. A Frontis- 
piece, with a number of Genii. Two mountainous Land- 
scapes, with figures. A set of fifty Landscapes ; some 
from his own designs, and the others after F. Ermels and 
F. Meyer. A Head ; after he Brun ; engraved for La- 
yater's Work. 

BULARCHUS, a celebrated Grecian painter, 
who lived about b. c. 730. He painted the Bat- 
tles of jMagnetes, which was esteemed so highly, 
that Candaulcs, king of Lydia, bought it for its 
weight in gold. 

BUMEL, or BIMEL, Michael, a German en- 
graver of little note, who engraved a number of 
plates, representing saints and other devotional 
subjects, executed entirely with the graver, in a 
neat, though rather stiff manner, and devoid of 
taste. 

BUNEL, Jacques, an eminent French painter, 
was born at Blois in 1558. He studied at Rome, 
under Federigo Zucchero. and attained a high rank 
among the historical painters of his time. He was 
appointed one of the painters to the king, and exe- 
cuted, in concert with Dubreuil, several very im- 
portant works for the royal palaces. He painted 
the vault of the small gallery of the Louvre, which 
vras burned in I6GO5 also among his best works 
may be mentioned a fine picture of the Descent 
of the Holy Ghost; and above all, his celebrated 
picture of the Assumption of the Virgin, in the 
church of the Feuillans. 

BUNNIOK. John van, a Dutch landscape paint- 
er, born at Utrecht in 1654 ; died in 1727. He 
studied under Hermann Sachtleeven for three years, 
and then visited Italy. Whil e at Genoa, he formed 
the acquaintance of Tempesta, and painted several 
pictures of considerable merit. On arriving at 
Rome, he was introduced to 0. Maratti, Abraham 
Genoels. and Ferd. Voet, from whose works and 
conversation he gained great improvement. Hav- 
ing completed his studies at Rome, he visited Mo- 
dena, where the Duke appointed him first painter, 
and retained him eight j^ears in his service. On 
his return to Holland, he was employed by Wil- 
liam III., then Prince of Orange, to decorate his 
palace at Loo. His design was correct, and his 
composition elegant. 

BUNNTCK, Jacob van, a reputable Dutch 
painter of battle-pieces, the brother of John van 
B.. whom he accompanied to Italy. He died in 
1725. 

BUOXAOORSL See Pierino del Vaga. 

BUONAMIOI. See Tassl 

BUONAROTTI, Michael Angelo, a preemi- 
nent Italian painter, sculptor, and architect, was 
born in 1474, at the castle of Caprese. in the terri- 
tory of Anezzo in Tuscany, of which fortress his 
father was governor. He was descended from the 
noble family of Canosa, which he has rendered 
still more illustrious by the noble productions of 
his mighty genius. His father, Lodovico Simone Bu- 
onarotti, intended him for one of the learned profes- 
sions, and placed him in a grammar school at Flo- 



I 



rence. Here the young Angelo soon manifested 
great fondness for drawinga. and he became quite 
intimate with the young students in painting. The 
decided bent of his genius induced his parents, 
against their wishes, to place him at the age of 
fourteen under Domenico Ghirlandajo, from whom 
he could derive little improvement, except mere 
mechanical facility, and he soon surpassed his fel- 
low disciples as well as his instructor. Lorenzo 
de Medici, called the Magnificent, had at that time 
founded an academy for the improvement of de- 
sign and sculpture, and had collected in a garden at 
Florence a museum of antique statues, busts, and 
bas-reliefs, for the use of the students. The 
young iVngelo was almost constantly to be found 
here, studying with great assiduity and enthusi- 
asm these admirable works of antiquity ; and in 
this school of ancient art may be said to have been 
developed the powers of his wonderful genius. 
His assiduity and progress were soon noticed by 
Lorenzo, and perceiving his great abilities, the lat- 
ter took him under his especial protection at the 
age of sixteen, and gave hira apartments in his 
palace. He did not, however, enjoy this patron- 
age more than two 3-ears, as Lorenzo died in 1492, 
at which time Angelo visited Bologna, Venice, and 
afterwards Rome, where he executed a cartoon of 
St. Francis receiving the Stigmata, for S. Pietro in 
JMontorio. which was probably his first work in 
painting, in 1590. His next picture was a Holy 
Family, painted in 1502, for his friend Angelo 
Doni, and which was subsequently placed in the 
tribune of the Florentine gallery. Soon after, he 
was engaged to paint a fresco for the great saloon 
in the ducal palace at Florence, of which Leonardo 
da Vinci had alreadj^ decorated one side with an 
admirable representation of a Battle of Cavalry. 
The subject chosen by Angelo was peculiarly 
adapted to his wonderful powers, representing a 
number of Florentine soldiers bathing in the river 
Arno, surprised by a sudden attack of the enemy, 
and hurrj'ing out of the water to arm and defend 
themselves ; expressed with an energy of design, 
and a daring display of muscular anatomy that 
astonished the beholder. Of this noble design he 
executed onl}^ the cartoon, which is known by the 
name of the cartoon of Pisa, as the troubles of the 
times prevented its completion in fresco. In 1508, 
Julius II, conceived the design of decorating the 
walls and ceiling of a chapel in the Vatican, which 
his uncle had built from the design of Baccio Pin- 
telli, and Michael Angelo was engaged to undertake 
the work. This he was unwilling to do, as he had 
never executed any grand work in fresco, and be- 
cause he was desirous of proceeding with the mon- 
ument of his Holiness, for which he had made a 
noble design four 3^ears previous. But the pontiff 
was imperative, and Angelo reluctantly commenced 
the cartoons for the ceilings of the Sistine chapel, 
which he finished in 1512, in the incredibly short 
space of twenty months. If Angelo had executed 
no other work, this alone would have immortal- 
ized his name. It has received the universal ap- 
plause of mankind, and is the most sublime monu- 
ment of daring and dignified genius that the art I 
has produced, in ancient or modern times. His | 
next work in painting was a picture of Jupiter 
and Leda, with the Birth of Castor and Pollux, 
painted in 1529, for Alfonso, Duke of Ferrara, and 
subsequently purchased by Francis I. of France. 
In 1534, in the pontificate of Paul III., he com 



BUON. 



149 



BUON. 



menced his sublime fresco painting of the Last 
Judgment, which measures fiftj^-four feet by forty- 
three, and occupies one end of the Sistine chapel. 
The subject was admirably adapted for the full dis- 
play of his amazing genius, and its grandeur and 
sublimity are inconceivable. This majestic paint- 
ing must ever be regarded as one of the noblest 
productions of human genius. It is an immense 
composition, as may be conceived from its having 
occupied this wonderfully expeditious painter sev- 
en years, and was finished in 1541. His next 
works were the Conversion of St. Paul, and the 
Crucifixion of St. Peter, painted for the opposite 
chapel in the Vatican, called Paolina, by order of 
Paul III. These were his last works in painting, 
and having reached his 68th year, he found him- 
self unequal to the fatigue of painting in fresco, 
and requested that Pierino del Vaga might be 
allowed to finish the work after his design, which 
was acceded to by the Pope. 

It has long been disputed whether Michael An- 
gel o ever painted in oil ; but it has been ascer- 
tained b}^ Lanzi that the Holy Family in the Flo- 
rentine galler}^, which is the only picture by him 
supposed to be painted in oil, is in reality in dis- 
temper. Many of his designs, however, were exe- 
cuted in oil by his cotemporarieSj especially Se- 
bastiano del Piombo, Jacopo da Pontormo, and 
Marcello Venusti. Fresco painting was better 
adapted to the elevated character of his composi- 
tions, which required a simple and solid system of 
coloring, rjither subdued than enlivened, and pro- 
ducing a grand and impressive effect, which could 
not have been expressed by the glittering splendor 
of oil painting. 

As a sculptor, Michael xingelo attained great 
eminence. While pursuing his studies as a paint- 
er, under Ghirlandajo at Florence, he was accus- 
tomed to visit the garden of Lorenzo the Magnifi- 
cent, which has before been alluded to. At this 
time, when about the age of fifteen, he found a 
piece of marble in the garden, and carved it into 
the mask of a Satyr, borrowing the design from 
an antique fragment. Lorenzo, on seeing the 
work, was struck with the excellence of the at- 
tempt, and jestingly told the j^oung Angelo that he 
had made a mistake in giving a complete set of 
teeth to an old man. This hint was not lost, and 
on the next day it was found that the artist had 
broken one of the teeth from the upper jaw, and 
drilled a hole in the gum to represent the cavity left 
by the lost tooth. To this circumstance was IMi- 
chael Angelo indebted for the patronage of Loren- 
zo, who was greatly impressed with the precocity 
of his genius, and received him into his palace. 
Here he was admitted to every intimacy and free- 
dom, and he formed a friendship with Politiano. an 
accomplished scholar, at whose instance he execu- 
ted a bas-relief in marble, of the Battle of Her- 
cules and the Centaurs, which at once established 
his fame as a sculptor. It is sufficient to say of 
this admirable work, that it was approved by the 
maturer judgment of the artist himself; who, al- 
though little indulgent to his own works, hesitated 
not. in the decline of life, to express his regret that 
he had not devoted himself entirel}^ to sculpture. 

In 1492, death deprived Michael Angelo of his 
protector, Lorenzo ; but for some time he enjoyed 
the patronage of his successor, Piero de Medicis, 
a man of corrupt and vitiated taste, as incapable 
of appreciating the talents of this great master as 



he was unfit to become his patron. He prosecu- 
ted his studies, however, with great eagerness ; 
and about this time he executed a colossal statue 
of Hercules in bronze, and also a Crucifixion in 
wood, for a convent at Florence. Aware of the 
great importance of a correct knowledge of the 
human form, he now turned his attention to the 
study of anatomy, for which purpose he applied 
to the prior of the convent (for which he had 
carved the Crucifixion), who furnished him with 
subjects for dissection from the hospital connected 
with the convent. He thus acquired that intimate 
i knowledge of the human frame which so distin- 
guishes his works, and in the display of which 
some consider him to have been too profuse. 

The tranquilhty of Florence being now somewhat 
disturbed by the proud yet pusillanimous conduct 
of Piero de IMedicis, Michael Angelo retired to 
Bologna, and from thence went to Venice ; but as 
he met with no encouragement he returned to Bo- 
logna. Aldobrandi, one of the sixteen composing 
the government of that city, invited him to his 
house ; and during his stay he executed two stat- 
ues in marble, for the church of S. Domenico. 
After remaining for upwards of twelve months at 
Bologna, and Florence having again become quiet, 
he returned to his father's house, and pursued his 
profession with diligence. His first work on his 
return was a Sleeping Cupid, which considerabl}^ 
advanced his reputation ; but so great was the pre- 
judice in favor of the antique, that by the advice 
of a friend, INIichael Angelo sent his statue to Rome, 
to undergo the process of burial, in order to give it 
the appearance of a work of ancient art, before it 
should be submitted to public inspection. This 
fraud, like many of a similar kind at this tim.e 
practised, succeeded completely ; and the Cupid 
was eagerly purchased by the Cardinal St. Giorgio, 
for 200 ducats. It was not long before the Cardi- 
nal was told that a trick had been played upon 
him. and he sent a person to Florence, in order to 
ascertain, if possible, the truth of the charge. 
The latter repaired to the studios of the different 
artists in that city, on the pretence of seeing their 
productions. On visiting the atelier of Michael 
Angelo, he requested to see a specimen of his work , 
but not having anything finished at the time, he 
carelessly took up a pen, and made a sketch of a 
hand. The Cardinal's messenger, struck by the 
freedom and grandeur of the style, inquired what 
was the last work he had executed. The artist, 
without consideration, answered at the moment, it 
was a Sleeping Cupid ; and so minutely described 
the supposed antique statue, that there remained 
no doubt whose work it was. The messenger at 
once confessed the object of his journc}^, and so 
strongly recommended Michael Angelo to visit 
Rome, that he soon after went to that city, on the 
express invitation of the Cardinal St. Giorgio him- 
self Here he executed several admirable works, 
among which the Pieta or Dead Christ has been 
highl}^ extolled for the great knowledge of anato- 
my displayed in the figure. He afterwards re- 
turned to Florence, where he executed liis celebra- 
ted marble statue of David. 

Julius the second, a patron of genius and learn- 
ing, having ascended the papal throne, Michael 
Ano-elo was among the first invited to Rome, and 
was immediately employed by the pope in the 
execution of a magnificent mausoleum. On the 
completion of the design, it was difficult to find a 



BUON. 



150 



BUON. 



site befitting its splendor ; and it was finally deter- 
mined to rebuild St. Peter's, in order that this 
monument might be contained in a building of 
corresponding magnificence. This originated the 
design of that edifice, which was one hundred and 
fifty years in completion, and which is now the 
noblest triumph of architectural genius the world 
can boast. The completion of this grand monu- 
ment was delayed by various causes during the 
pontificates of several succeeding popes, until the 
time of Paul III. It was not placed in St. Peter's, 
as originally intended, but in the church of S. Pie- 
tro, in Vincoli. On this monument is the celebra- 
ted colossal statue of Moses, which ranks Michael 
Angelo among the first sculptors, and has con- 
tributed largely to his renown. 

Michael Angelo devoted himself to architecture 
when about forty years of age. One of his first 
works, according to Milizia, was the Medicean Li- 
brary, at Florence ; also the second Sacristy of S. 
Lorenzo. Up to this period, he had not given to 
architecture any serious attention, and it is evident 
that, unable to brook the restraints of an art with 
which he was but imperfectly acquainted, he was 
obliged to rely on the tastes of inferior assistants ; 
or, when he had recourse to his own invention, to 
disregard that which he so little understood. His 
alterations were the result of impatient ignorance, 
perhaps, more than of caprice ; for they exist to a 
greater extent in details than in the general con- 
ception. Until his time, architecture had been ad- 
vancing in high excellence, of which the brilliant 
productions of Brunelleschi, Michelozzi, Alberti, 
Bramante, the Sangalli, Peruzzi. and San Michele 
are safficient evidences. But this advance was ar- 
rested by the terrible genius of Michael Angelo, 
whose fatal example let in a flood of licenses and 
grotesque fancies, which even the taste of a Pal- 
ladio has not been able to overcome, and the effects 
of which are felt even at this day. His name and 
example imposed upon all, until Milizia, towards 
the end of the last century, dared to think for 
himself, and calling in question the supremacy of 
Michael Angelo, to give the following opinion of 
him as an architect : '• AYhen architecture was at the 
highest, Michael Angelo, with the sublimity of his 
intellect overthrew all, filling all with caprice. It 
is not always that the most learned bear the sv/ay. 
He imposed upon the Fontanas, the Portas, and 
the Ammanati of succeeding periods ; he spoiled 
his own age, and prepared the way for a worse." 
Michael Angelo inserted columns in the walls, 
with small niches to receive them ; pediments of 
every variety of shape over openings truncated and 
twisted into volutes ; ballusters turned upside 
down ; ornament not only wildly introduced, but 
extravagantly conceived ; the orders reduced to 
subordinate purposes. Such are some of-i^he 
main faults of this master, which it will be per- 
ceiver], relate rather to the details than to the gene- 
ral conception. All the works he executed at 
Florence have the stamp of bad taste, and it is at 
Rome that we must look for architectural works 
more commensurate with the reputation he has re- 
ceived. And here let it be understood that the 
evils of which Michael Angelo was the cause, were 
the result of a partial imitation of his works. 
Happy had it been for the art. if his copyists had 
faithfully imitated the beauties of the Capitol, the 
grandeur of the Farnese palace, and the sublimity 
of St. Peter's, rather than to have copied the blem- 



ishes which disfigure his other works. The build- 
ings of the modern capitol consist of a moderately 
sized square placed on an elevated terrace, ap- 
proached by a magnificent flight of spacious steps, 
and that side occupied by a balustrade interspersed 
with colossal trophies and marble statues. Three 
palaces form the other sides, the two lateral ones 
diverging towards the middle one, called the Pal- 
ace of the Senator of Home, which is simple in its 
arrangement, and has two noble flights of steps 
leading to the entrance, with a fountain and re- 
cumbent river-gods. In the centre of the area is 
the equestrian statue of Marcus Aurelius, full of life 
and movement. His greatest work, however, was 
the cupola of St. Peter's. Bramante, the original 
architect, had executed his design only up to the 
springing of the four great arches of the central 
intersection. Giuliano di Sangallo, Giocondo, 
BafFaelle, Peruzzi, and Antonio Sangallo, had been 
successively engaged, after Bramante's decease, to 
carry on the work ; but during the inert sway of 
Adrian VI., and amid the catastrophes of Clement 
VII., little had been accomj)lished. At length Paul 
III. appointed Michael Angelo to the post of archi- 
tect, much against his will, as he was then seventy- 
two years of age. He immediately laid aside all the 
drawings and models of his predecessors, and tak- 
ing the simple subject of the original idea, he car- 
ried it out with remarkable purity, divesting it of 
all the intricacies and puerilities of the previous 
successors of Bramante, and by its unaffected dig- 
nity, and unity of conception, he rendered the in- 
terior of the cupola superior to any similar work 
of modern times. He was engaged upon it seven- f 
teen years, and at the age of eighty-seven he I 
had a model prepared of the dome, which he "* 
carried up to a considerable height ; in fact, to such 
a point as rendered it impossible to deviate from 
his plan ; and it was completed in conformity with 
his design, by Giacomo della Porta, and Domenico 
Fontana. The work was greatly delayed in con- 
sequence of the want of necessary funds, or else 
INIichael Angelo would have himself completed 
this great monument of his taste and skill. If 
we are indebted to Bramante for the first simple 
plan of the Greek Cross of St. Peter's, and the 
idea of a cupola to crown the centre, still it must 
be allowed that to jNIichael Angelo is due the merit 
of carrying out the conception of the original ar- ■ 
chitect, with a beauty of proportion, a simplicity ;, I 
and unity of form, a combination of dignity and ■ 
magnificence of decoration, beyond what even the 
powers of Bramante could have effected. 

Such was the unparalleled eminence which this I 
wonderful genius attained in the three sister arts S 
of sculpture, architecture, and painting. His 
chief characteristics were grandeur and sublimity. 
His powers were little adapted to represent the 
gentle and the beautiful, but whatever in nature 
partook of the sublime and the terrible, were por- 
trayed by him with such fidelity and grandeur as 
intimidates the beholder. Never before nor since 
has the world beheld so powerful a genius. The 
name of Michael Angelo will be immortal as long 
as the peopled walls of the Sistine chapel endure, 
or the mighty fabric of St. Peter's rears its proud 
dome above the spires of the Eternal City. 

Buonarotti died on the 23d of February, 15G3, 
aged 89 years. He was buried with great pomp 
in the church of S. Apostoli at Rome, but after- 
wards, at the request of the Florentine Acadenij'-. 



BUON. 



151 



BUON. 



tLe remains were remoTed to the cliurcli of Santa 
Croce at Florence, and were with great solemnity 
finally deposited in the vault by the side of the 
altar, called the Altare di Cavalcanti. 

BUOXOONSIGLI, Gic, a painter of Vicenza, 
who lived, according to Ridolfi. about 1500, and 
executed a picture for the church of S. Cosimo in 
that city, representing the Virgin and Infant, with 
saints. It is signed with his name, and dated 
1497. 

BUONFANTI. Antonio, called il Torricella, 
was a native of Ferrara. He is supposed to have 
been a pupil of Guido, in whose style he painted. 
Little is known of this artist, but Lanzi says there 
are two large scripture pieces by him in the church 
of S. Francesco at Ferrara, and supposes that he 
must have taken up his residence elsewhere. There 
are a few other pictures by him at Ferrara. He 
flourished in the first part of the 17th century. 

BUONI, Bug NO de, a reputable Neapolitan 
painter, who flourished, according to Dominici, 
about 1430, and studied under Colantonio del 
Fiore. He executed a number of paintings for 
the Neapolitan churches, the best of which is St. 
Francis receiving the Stigmata, in the church of 
the Restituta. He died about 1465. 

BUONI, SiLVESTRO DE, a Neapolitan historical 
painter, the son and scholar of Buono B. ; was 
born about 1420, and died in 1480. He studied 
also under Antonio Solario. Among his best 
works is an Assumption, in the church of S. Pietro 
Martyre ; and the principal altar-piece in the Res- 
tituta, representing the Virgin and Infant, with 
saints. 

BUONO, an eminent architect for his time, who 
flourished about 1160. His origin is unknown. 
According to Vasari and Sansovino, he was em- 
ployed by Domenico Morosini, Doge of Venice, 
to erect the famous bell-tower of St. Mark. The 
principal merit of this work is its solidity ; and af- 
ter so many centuries, there has not appeared in it 
a single crack ; a different fate to that which has 
usually attended structures of this description. It 
is 330 feet high, and 40 feet thick. Euono also 
erected a number of works in different Itahan 
cities, which gained him great reputation. At Na- 
ples he erected the Capuan Castle, now called the 
Vicaria. and the Castle of Vovo ; at Pistoja, the 
church of S. Andrea ; at Florence, he gave the de- 
sign for enlarging S. Maria Maggiore ; in Arezzo he 
built the town-hall, with a iDell-tower. In his 
works there is not so much of the barbarous ara- 
besque as was common at his time. 

BUONO, Bartolomeo, a reputable Itahan ar- 
chitect and sculptor, was born at Bergamo about 
1450. It is not known under whom he studied. 
In 1495, according to Vasari, he erected the church 
of S. Roch at Venice, in a very simple style, with 
Corinthian pilasters ; also the old buildings of the 
Procurazie. which is a majestic edifice, and gained 
him great reputation. In 1510, he restored with 
great skill the upper part of the superb campanile 
of St. Mark. As a sculptor, Buono executed the 
fine statue of St. Roch, in the church of that saint, 
and three small statues which adorn the great altar 
of the church of S. Geminiano. He died 1529. 

BUONTALENTI, Bernardo, called dalle Gi- 
randole, a Florentine painter, architect and sculp- 



tor, was born, according to Baldinucci, in 1536. 
When he was eleven years old his parents were 
both killed by the fall of their house, caused by a 
sudden inundation of the Arno, but the young Ber- 
nardo was saved, and was taken under the protec- 
tion of the Grand Duke, Cosmo I., who gave him 
every advantage of education. He is said to have 
been instructed in painting by Salviati and Bron- 
zino ; in sculpture by Buonarotti, and in arch- 
itecture by Giorgio Vasari ; and to have learned 
miniature painting from Giulio Clovio. He ex- 
celled in the latter branch, but as an architect 
he was much more f?>mous. He was appointed 
State Engineer for Tuscany, and erected a num- 
ber of excellent fortresses in different parts of 
Italy. He designed the villa of INIarignolle, now 
Casa Capponi, and erected the Florentine Gallery. 
He also erected the villa of Artiminio for the Grand 
Duke, and the celebrated one of Pratolino, which 
evinces wonderful ingenuity and talent. At Pisa 
he erected the palace of the Grand Duke ; the 
fa9ade of the church de' Cavalieri ; the palace at 
Siena; besides many other works. Buontalenti 
established a very successful academy at Florence, 
which was much frequented. In this school were 
taught the arts of design, painting, sculpture, arch- 
itecture, mathematics, mechanics, and military en- 
gineering; and it has produced several eminent 
men, among whom were Cigoli, Pocetti, and Pa- 
rigi. His house was the resort of artists, learned 
men, nobles, and princes ; and his influence on the 
arts was beneficial in the highest degree. His 
inventive powers were wonderful, especially in his 
curious machines and decorations, for theatres, 
and for sacred and public festivals. He was cele- 
brated for making fire-works, whence his sur- 
name. The Grand Duke was greatly attached to 
him. and often took him out to ride in his own 
carriage. He died in 1608, aged 62. 

BUPALUS, a Greek sculptor, a native of Chios, 
who flourished about b. c. 570. He was employed 
by the inhabitants of Smyrna to execute a statue 
of Fortune, which, according to Pausanias, he re- 
presented with the horn of Amalthea. and bearing 
upon her head an emblem of the pole. He also 
executed for the same people, statues in gold, of 
the Three Graces, which he has represented invest- 
ed with flowing garments, after the manner of tho 
more ancient Greeks. There has been recent]}^ 
discovered at Rome a pedestal, with the inscrip- 
tion The workmanship of Bupalus. This sculp- 
tor, and his brother Anthermus, executed in con- 
cert, several works, some of which were placed at 
Rome in the temples erected by Augustus. {See 
Anthermus.) Bupalus is said to have hanged 
himself in vexation at a satire written upon him 
by Hipponax. whose leanness he had caricatured 
in a statue. 

BURATTI. GirolamO; a painter of Ascoli, wlio 
lived about 1580, and painted the admirable pic- 
ture of the Presipio, at the Carita, in Ascoli ; also 
several frescos that have been highly praised. 

BURCH, Albert vander, a Dutch painter, 
born at Delft in 1672. He studied under Verkolie, 
and Adrian vander Werf, and painted portraits 
with reputation. 

BURG, Adrian vander, a reputable Dutch 
portrait painter, born at Dort in 1693. He studied 
under Arnold Houbraken. He painted portraits 



BURG. 



152 



BURI. 



wiih reputation, and also executed several cabinet 
pictures, in the style of that master. He died 
in 1733. 

BURG, Thierry vander, a Dutch painter, 
born at Utrecht in 1723. He painted landscapes, 
vrith cattle, and views of villages and countr}'- 
seats ; which are usually executed in good stjde. 
He died in 1773. 

BURGHERS, Michael, a Dutch engraver, who 
settled at Oxford, at the taking of Utrecht by 
Louis XTY., and worked chiefly for the booksell- 
ers. His plates are executed entireh^ with the 
graver, in a stiff manner, devoid of taste. His best 
prints are antiquities, ruins of abbeys, and other 
curiosities. He also engraved portraits, and plates 
for the clas.sics, among which are: 

William Sommer, the antiquary ; after Vandyck. Fran- 
ciscus Junius ; do. John Barefoot, letter doctor to the Ilni- 
versitj^ 1681. Head of James II. ; for an Almanac. 
16S6. Anthony Wood ; in a niche ; his only mezzotinto. 
Kinsj Alfred ; from a manuscript in the Bodleian Library. 
Sir Thomas Bodlsy ; in the Corners of the plate are the Heads 
of the other Benefactor.? to the Library ; William, Earl of 
Pembroke, Archbishop Laud, Sir Kenelm Higby, and John 
Selden. Timothy Hatton, provost of Queen's College. Doc- 
tor Walas. 1699. Sir Thomas Wyat. John Baliol. De- 
vorguilla, his spouse. Doctor Katcliff. The Visage of 
Christ, engraved in the manner of Mellan, with one stroke. 

BURGKMAIR. Hans, a German painter and 
engraver, born at Augsburg in 1472 ; died in 1559. 
It has been supposed that he studied under Durer. 
but there is only a difference of one year in their 
ages, and Burgkmair's style differs materially 
from that of Durer ; he was rather the founder of 
a school of his o^vn. Several of his pictures are 
preserved at Augsburg, and possess considerable 
merit. His prints are very numerous ; principal- 
ly wooden cats, with much of the spirit and fire 
of Durer. Prof Christ supposes that the fine 
prints marked I. B„ 1510, in the old edition of the 
works of Geyler Keyserberg. are by this artist. 
His cuts are sometimes marked H. B., and some- 
times with his monogram. The following are his 
principal works. Nagier has a copious list : 



The Emperor Maximilian on horseback; with his name. 
The same print in chiaro-scuro ; dated 1508 ; scarce. Jo- 
seph and Potiphar's Wife ; H. B. St. George on horse- 
back ; in chiaro-scuro, with the name of Nes^ker. St. Se- 
bastian, standing in an arch; with his name. 1512. St. 
Thomas and St. Bartholomew. 1514. A young Female la- 
menting the loss of a Hero that Den.th is trampling upon ; 
in chiaro-scuro ; H. Burgkmair cf* I. de Negker ; scarce. 
Hector von Troy, Gros Alexander, .Julius C-«snr; with his 
name. Lucretia, Virginia, and Veturia ; with his name. 
1519. S. Elena, S. Brigita, and S. Elsbeta. An Emperor 
on his Throne, giving Audience to a Man. A set of two 
hundred and thirty-seven plates for a book, published at 
Vienna, entitled JDer Weyss Koneg, or the zrise Kin^; 
giving the principal actions of the Emneror Maximilian 
I. A set of thirty-eight plates of the Triumphal Entry of 
Maximilian I. 

BURGO, Francesco da, an excellent painter 
of the Bolognese school, of whom little is known. 
In the church of S. Francesco at Rimini, are two 
paintings which Lanzi says are noble productions, 
abounding in perspective and invention. The one 
represents St. Sigismond, at whose feet appears 
Sigismondo Malatesta, inscribed, Franciscus de 
Burgo f. 1446; the other, the Scourging of 
Christ. 



BURINI, Antonio, a reputable Bolognese his- 
torical painter, born in 1660. He studied under 
Domenico Canuti, and painted a number of pic- 
tures for the churches of Bologna ; among which 
are the Crucifixion, in S. Tommaso del Mercato ; 
the Martyrdom of St. Catherine, in S. Caterina de 
Saragozza ; David with the Head of Goliah, in the 
Sacristy of S. Salvatore ; also a saloon for the Pa- 
lazzo Legnani, which is highly praised. 

BURINI, Barbara, a Bolognese paintress. the 
daughter and scholar of A. Burini ; born in 1700, 
died in 1752. She acquired a fine taste, and execu- 
ted several excellent historical works, as well as 
portraits. 

BURKE, Thomas, an English engraver, born 
in 1746 ; his plates were usually printed in red or 
brown colors, and were chiefly after the works of 
Cipriani and other cotemporary artists. He adopt- 
ed the style of Bartolozzi, in the chalk manner, 
and occasionally that of Earlom. 

BURNET. James, a Scotch painter, born at 
INIusselburg in 1788. At an early age he mani- 
fested an inclination for the art, and learned the 
elements in Graham's evening academy. In 1810 
he visited London to renew his studies, and studied 
particularly the works of Cuj^p and P. Potter. He 
was a pupil of nature, and produced several compo- 
sitions representing the humblest rural avocations, 
which possess considerable merit. He died in 
1816, aged 28. 

BURRINI; Gig. Antonio, a Bolognese painter, 
born in 1655 ; died in 1727 ; studied under Canuti 
and Pasinelli. He was a great admirer of P. Ve- 
ronese, and spent much time in studying the works 
of that great master. In this style he painted an '■ 
admirable picture for the Ratti family. His ear- |l 
lier works show great care and attention, and pos- 
sess considerable merit ; but he afterwards, unfor- 
tunately for the art, adopted a greater facility of 
operation, which gained more disciples than his 
first manner. 

BUS, or BOS, or vander BOSCH, Corne- 
lius, a Dutch engraver, born at Bois-le-duc about ft 
1510. He visited Italy while young, as appears ■ 
from some of his prints being engraved at Rome. 
His plates are executed with the graver, and his 
style resembles that of jMarco da Ravenna, but is 
inferior to that artist. He usually marked them 
with one of these monograms, and the following 
is a list of his most esteemed prints : 



^ 



K,i 



CvR 



eB 



The Last Judgment; with his cipher. 1.530. Lot and 
his Daughters. 1550. David and Uriah. 1546. Jesus 
preaching to the Jews ; inscribed Beati qui, <^c. Venus 
in her Car. 1546. Venus and Cupid coming to Yulcan. 
1546. Combat of the Centaurs and the Lapithce ; in two 
sheets. 1550. Death seizing a Monk. The Equestrian 
Statue of Marcus Aurelius. A set of sixteen of Trophies, 
Arms, and Grotesques ; Rome. 1550 to 1553. Moses 
breaking the Tables of the Law ; after RafaeUe. 1550. 
Moses presenting the Law to the People ; do. 1551. The 
Triumph of Bacchus ; after Giulio Romano ; in two 
sheets. 1543 The Entombing of Christ ; after Francis 
Moris. 1554. The Battle of the Giants. ' The Descent 
from the Cross. 1545. 

BUSC. Basan says this amateur etched twenty- 



BUSC. 



153 



BUSO. 



eight plates after Bembrandt, and twenty others 
of portraits, &c. 

BUSC A, Antonio, a Milanese painter, born in 
1625 ; died in 1686 ; studied under Procaccini, and 
painted, in competition with that master, a picture 
of the Virgin, Mary Magdalene, and St. John, in 
the Church of S. Marco, which may well be com- 
pared with the works of Procaccini. Busca was 
afterwards afflicted with the gout, and never equal- 
led this production. He sunk into a mannerist, 
and contented himself with frequently repeating 
the same subject. 

BUSCATI, or BUSCAT, Luca Antonio, a Bo- 
lognese painter of the fifteenth century. Bosini 
gives an outline of a Deposition from the Cross 
by this master, in the Ercolani Gallery at Bo- 
logna, and Zani ranks him among the most emi- 
nent artists of his time. 

BUSCHETTO DA DULICHIO, an architect of 
Greek origin, who lived in the eleventh century, 
and, according to Vasari, was employed at Pisa in 
the erection of the cathedral. It consists of five 
naves, enriched with a variety of beautiful col- 
umns, which the Pisans, according to Morona, had 
brought from distant countries. Buschetto with 
much difficulty arranged the various fragments of 
antiquity, as vases, capitals, cornices, and columns, 
collected from different parts. The plan of the 
cathedral is a Latin cross ; its entire length is 311 
feet, and the length of the transept is 237 feet. 
The dome of the cupola is ornamented with 
eighty-eight columns. This edifice was com- 
menced in 1064. and finished, according to an an- 
cient document, in 1092. Buschetto left many pu- 
pils, but their names are little known. The date 
of his death is not recorded. 

BUSHNELL, John, an English sculptor, who 
flourished in the latter part of the seventeenth 
century. He visited Italy for improvement, and 
remained some time at Borne and Venice. In the 
latter city he executed a magnificent monument for 
the Procurator of San Marco. Or his return to 
England, he produced two statues of Kings Charles 
I. and II., for the Royal Exchange, and subse- 
quently the statues of the Kings for Temple Bar. 
He had agreed to complete the figures of the sove- 
reigns of England at the Exchange, but on hearing 
that Gibber had made interest to supply some of 
them, he refused to go on with the work. He died 
in 1701. 

BUSI, NiGCOLO, an Italian sculptor, who is only 
known by the works he executed in Spain, where 
he passed the greater part of his life. His produc- 
tions were much esteemed, especially his busts, 
which, according to Palomino, were his best per- 
formances. He died at an advanced age, in 1709. 

BUSINCK, Louis, a German wood engraver, 
who lived at Minden, according to Heineken, about 
1630, and executed in a very spirited and masterly 
style a number of cuts in chiaro-scuro. 

Fidelity, an allegorical piece ; from his own designs. 
1630. A half-length figure playing on the Flute ; do. 1630. 
A Cavalier; full-length; do. 1630. Two of Peasants 

SUBJECTS IN chiaro-scuro; after g. l. allemand. 

St. Peter holding the Keys ; half-length. St. John and 
St. Matthew. Judith, with the Head of Holofemes. Mo- 
ses, with the Tables of the Law. A Family of Beggars. 
A young Man playing on the Flute. iEneas saving An- 
chises from the Fire of Troy. A Holy Family, on three 



blocks of wood ; one for the outline, the other for the deep 
shadows, and another for the demi-tints. 

BUSO, AuRELio, a painter of Crema, who lived 
about 1520, and studied under Caravaggio. and il 
Maturino, whom he assisted in their works at 
Bome. He painted in the style of Polidoro a 
number of historical pieces in his native city, and 
several friezes and other works in the Benzoni 
Palace at Venice. 

BUSSE, John, a German engraver, who flour- 
ished about 1528. He is classed among the little 
masters, from the size of his plates, and is supposed 
to have studied under H. Aldegrever, as he copied 
several of the prints of that master. Among other 
plates, there is a small set representing the seven 
planets, which are marked J. B., 15*28. Stratt 
mentions a plate, lengthways, representing a man 
and woman dancing, with two men playing on 
musical instruments, signed John Busse. 

BUTI, LoDOvico, a Florentine painter, who 
lived about 1600 ; studied under Santo di Titi, but 
afterwards imitated, with considerable success, the 
style of Andrea del Sarto. Baldinucci mentions 
several of his works in the churches and palaces, at 
Florence. His master-piece is the Miracle of the 
Loaves and Pishes, in the Florentine Gallery. 

BUTINONE, Bernardo, a native of Travillo. 
It is not known under whom he studied, but he was 
the companion and friend of Bernardino, so nmch 
commended by Vasari for his works at Milan, and 
wrought with him in the church of S. Pietro in 
Gessato. In this church there are several pic- 
tures by Butinone, executed about 1484, in which, 
Lomazzo says, he displayed great knowledge of 
perspective. He died in 1520. This Bernardino, 
mentioned by Vasari, Lanzi affirms was no other 

i than Bernardo Zenale, the intimate friend of da 

I Vinci ; which see. 

BUTTEBI, Gio. Maria, a Florentine historical 
painter, according to Baldinucci ; studied under 
A. Bronzino, and painted several works for the 
churches and convents. His drawing is incorrect, 
and his coloring indifferent. He died in 1606. 

BUYTENBEBG. Wm. de, a Dutch painter and 
engraver, born at Rotterdam about 1600 ; died in 
1640. Houbraken calls him Geestige Willem, 
(William the Gay,) and under this appellation he 
is to be found in the Catalogue of Pictures by Hoet 
and Terwesten, as a painter of landscapes and con- 
versations. His principal work was the Triumph 
of William, Prince of Orange, engraved by C. Kit- 
tenstein. Some of his works have been engraved 
by G. H. Scheyndel and E. Vandervelde. His 
plates are etched from his own designs, in a pleas- 
ing style. The following are the principal : 



m-W^.rr^.-W 



fee. 



Two of Women going to Market, one with Vegetables, 
and the other with Fowls. Seven of different Dresses of 
Noblemen ; W. B.fec. Six of Dresses of Ladies. Ten 
of Landscapes, with Ruins and Figures; Verscheide Land- 
schapjes, 

BYE, or BIE, James de, a reputable Flemish 
engraver, born at Antwerp about 1581, where he 
followed the business of print and bookselling. 
His plates are executed entirely with the graver, 
his drawing tolerably correct, and his line neat 
and firm. His style resembles the Collaerts, and 



BYLE. 



154 



CABE. 



he engraved, in concert with those masters, several 
of the°plates in the set of fifty, of the Life, Passion, 
and Resurrection of our Saviour, after designs of 
Martin de Vos. The following are his principal 
plates : 

The Medals of the Roman Emperors ; in the collection 
of the Duke d'Arschot. 1617. The Portraits of the Kings 
of Trance; for the History by Mezeray ; fifty-eight 
plates. The Descendants of the House of de Croy ; about 
sixty phites. The Portrait of Francis I. ; after M. de 
Vos. Christ Healing Peter's Wife's Mother ; fine ; for 
Collaert's set. The Resurrection of Lazarus ; fine; for the 
same set. 

BYE, or BIE, Mark de, a Dutch painter and 
engraver, was born at the Hague, about 1612. He 
studied painting under J. vander Does, and exe- 
cuted several landscapes, Avith animals, which pos- 
sess some merit. As an engraver he is chiefly 
deserving of notice, and his etchings of animals 
after Paul Potter, and Mark Gerard, are much 
esteemed. The following are his principal plates: 

Three sets, of eight each, of Cows and Oxen ; after Pot- 
ter. A set of sixteen of Sheep ; do. xi set of sixteen of 
Goats ; do. A set of sixteen of Lions, Leopards, Wolves, 
Bears, &c. ; do. A set of sixteen of the Natural History 
of the Bear ; after Mark Gerard. 1664 ; scarce. 

BYLERT, or BYLART, John, a Dutch painter, 
was born at Utrecht in 1603. He was the son of 
a painter on glass, who taught him the elements 
of design; and without any other assistance he 
became a good historical painter. His pictures are 
usually smaller than life ; composed with great 
ingenuity, and colored with great vigor and effect. 
His talents have been celebrated by the poet Cor- 
nelius de Bie, in his Gulden Cabinet. 

BYRNE, William, an English engraver, born 
at London in 1743 ; died in 1805. He was first 
instructed by his uncle, who was an obscure artist ; 
but subsequently went to Paris, where he became 
a scholar of Aliamet, and afterwards of J. G. Wille. 
His plates are principally landscapes, and they 
possess considerable merit. The following are the 
principal : 

The Antiquities of Britain ; from the charming draw- 
ings of Mr. Hearne. The Views of the Lakes of Cumber- 
land and Westmoreland; after Mr. Farrington. The 
Scenery of Italy ; after the fine designs of Mr. Smith. 
Apollo watching the Flocks of King Admetus ; after F. 
JLauri; the companion to Mr. Woollet's print of Diana and 
Acteon. The Flight into Egypt ; a fine landscape ; after 
Domenichino. Evening; a fine landscape ; after Claude 
horraine. Abraham and Lot quitting Egypt ; after Zuc- 
carelli ; the figures by ^artoZozzi. A Sea-piece; after 
Vernet. Evening ; after Both ; the landscape by Byrne ; 
the figures by Bariolozzi. Two Views of Leuben, in 
Saxony ; after Dietricy. The Death of Captain Cook ; 
the figures by Bartolozzi. The Waterfall of Niagara ; 
after R. Wilson. 

BYSS, John Rodolph, a Swiss painter, was born 
at Soleure in 1660. His subjects were easel pic- 
tures of historical subjects in landscapes, in which 
he followed the style of Gerard de Lairesse, and 
the finished manner of Adrian Vanderwerf He 
also painted flower pieces in an admirable style, 
which Fuseli says equalled those of John van Huy- 
sum, though this is perhaps too high praise. Byss 
resided chiefly at Mentz and Vienna, where he 
met with great encouragement. He died in 1738. 



c. 



CABEL, or KxiBEL, Adrian vander, a Dutch 
painter. His name was originally Vander Toow, 
but was afterwards changed to Cabel. He was 



born at Ryswick in 1631 ; died at Lyons in 1695 ; 
studied under Van Goyen, and afterwards visited 
Italy, as appears from the fact that the Flemish 
painters at Rome called him Corydon and Geestig- 
keit; though Descamps says he never went to 
Italy. He subsequently settled at Lyons, where 
he had good success, and painted landscapes, with 
figures, cattle, and sea-ports, which have little of 
the taste of his country. In his animals and fig- 
ures he followed Castiglione ; in landscapes, Salva- 
tor Rosa ; and in coloring, he sometimes combined 
the styles of Caracci and P. F. Mola. His pictures 
show great ability, but in consequence of his dis- 
solute life they are very unequal in merit. Bartsch 
enumerates fifty-five prints by this artist ; among 
which are : 

A set of six Landscapes, with figures and buildings. 
Thirty of Landscapes and Marines. A set of four moun- 
tainous Landscapes, with figures ; inscribed A. vander 
Cabel, fecit, N. Robert, exc. Two Landscapes, large 
plates, Avith figures. A large upright Landscape, with St. 
Bruno, the figure is engraved with single strokes, in the 
manner of Mellan ; rare. Another, its companion, with 
St. Jerome ; rare. 

CABEL, Jan vander. Balkema says this ar- 
tist painted horses, cattle, and landscapes with an- 
imals and figures, but does not give any dates. 

CABEZALERO, Juan Martin de, a reputable 
Spanish historical painter ; born according to Pa- 
lomino, at Almaden, near Cordova, in 1633 ; died 
in 1673 ; studied under Don Juan Carreho. His 
best works are the Assumption, and a picture of 
S. Ildefonso, in the Church of S. Nicola. There is 
also a Ecce Homo, and a Crucifixion by him in the 
Church of the Franciscans. 

CACCIA, Guglielmo, called il Moncalvo, 
from his long residence at that place, an eminent 
Piedmontese painter, born at Montabone, in Mon- 
serrato, in 1568 ; died in 1625. He first settled 
at Milan, and painted in the church of S. Antonio 
Abate, a work in fresco, which may even be ranked 
with some of the best productions of the Carloni. 
It represents the titular saint, with St. Paul. An- 
other admirable fresco painting by Caccia, is the 
cupola of S. Paola, at Novara. Lanzi says he re- 
sided some time at Pavia, where he was made a 
citizen ; and that he was not less known at Ales- 
fandria, Novara, Vercelli, and Turin. His best oil 
paintings are: St. Pietro, in the Chiesa della 
Croce ; St. Teresa, in the church of that name ; the 
Descent from the Cross, which many consider his 
master piece, in S. Gaudenzio, at Novara ; the 
Raising of Lazarus, and the Miracle of the Loaves, 
at Chieri, finely expressed and admirably com- 
posed. The pictures in the Conventuali at Mon- 
calvo, are almost entirely by this master. It is 
not recorded with whom he studied, though as his 
style has something of the energy of the Caracci, 
it has been thought he was of that school ; but his 
manner partakes far more of the Roman than the 
Bolognese school. 

CACCIA, Orsola Maddelena, and Frances- 
CA, daughters and scholars of G. Caccia. They as- 
sisted their father in his fresco works, and are the 
only women ever known to have practised this 
branch of the art. Their styles were so similar, 
that in order to distinguish them, Francesea 
adopted the symbol of a bird, and Orsola that of a 
flower. In Monferrato they painted a number of 
cabinet pictures, and more altar-pieces than any 
other females. The outlines of their fijrures are 



CACC. 



155 



CACC. 



copied from their father, but with less animation. 
Orsola founded the convent of the Ursuhnes at 
jNIoncalvo, the chapel of which is decorated -with 
some altar-pieces by her, and several cabinet pic- 
tures^ with landscapes, in the style of Paul Bril, 
ornamented with flowers. There is also a Holy 
FamJly by her, in the same style, in the rich col- 
lection of the Palazzo Natta. Orsola died in 1678, 
and Francesca at the age of fifty-seven, but the 
year is not recorded. Zani says they were both 
Ursulines. 

CACCIA, PoMPEO, a Roman painter, who flour- 
ished at Pistoja in the first part of the seventeenth 
century. Lanzi says there are several of his works 
in that city, among which he commends a Presen- 
tation of Jesus in the Temple, at the Salesiane, 
dated 1615. 

CACCIANEMICI, Francesco, a Bolognese 
painter, studied under Primaticcio, and was se- 
lected among others by that master, to accompany 
him to France, when he was invited thither by 
Francis I. He assisted Primaticcio in his great 
work at Fontainbleau, and was also employed on 
other important works, in concert with il Rosso. 
He died in 1609. 

CACCIANEMICI, Vincenzio, a Bolognese 
gentleman, who lived about 1530, and practised 
painting for amusement. He studied with Par- 
miggiano. and painted the Decollation of St. John, 
in the Capella Macchiavelli, in S. Stefano ; also 
the same subject differently treated, in the chapel 
of the family Elefantuzzi, in S. Petronio, at Bo- 
logna. He also etched two plates marked Y. C. ; 
Diana returning from the Chase, and a Landscape 
with a Nymph and Dogs. Zani says he died in 
1542. 

CACCIANIGA. Francesco, a Milanese painter, 
born in 1700, studied under Franceschini, at Bo- 
logna. On leaving that school he went to Rome, 
where he obtained the favor of the Prince Borg- 
hese, for whom he executed several works. His 
best productions, however, are at Ancona, where 
he painted several altar-pieces, the best of which 
are the Marriage of the Virgin, and the Last Sup- 
per. 

CACCINI, Giovanni, a Florentine architect 
and sculptor of considerable merit, was born in 
1562. He studied under Dosio, and was equally 
clever in sculpture and architecture. He erected 
at the church of la Nunziata, in Florence, a loggia, 
with arches and corinthian columns, sculptured 
out of Sirena marble. Caccini also executed the 
rich and noble oratory for the Pucci family, and 
designed the choir and grand altar for the church 
of S. Spirito He died in 1612. 

CACCIUOLI, Gig. Battista, an eminent his- 
torical painter, born in the castle of Budrio, near 
Bologna, in 1623, according to Zani, though others 
say in 1635. He studied under Domenico Maria 
Canuti, and painted several pictures for the Bo- 
lognese churches. He was greatly patronized by 
the Dukes of Parma and Modena, and died in 1675. 

CADES, Giuseppe, a celebrated painter of the 
modern Roman school, was born at Rome about 
1750. He was of French extraction, and studied 
under . Domenico Corvi. Lanzi says he recom- 
mends himself to our notice principally for an ama- 
zing facility of imitation, dangerous to the art when 
not governed by correct principles. No simulator 



of the character of another's hand writing could 
ever rival him in the dexterity with which at a 
moment's call, he could imitate the phisiognomy. 
the naked figure, the drapery, and the entire cha- 
racter of every designer. The most experienced per- 
sons would sometimes request of him, a design after 
Michael Angelo or Rafiaelle, or some other great 
master, which he instantly complied with, and 
when confronted with an indisputable specimen of 
the master, and these persons were requested to 
point out the original, as Buonarotti's for ex- 
ample, they often hesitated, and often fixed on the 
design of Cades. He was, notwithstanding, ex- 
tremely honorable. On one occasion, he made a 
large design in the style of Rafiaelle to deceive 
the director of a foreign cabinet, who boasted an 
infallible knowledge of the touch of that master, 
and employed a person to show it to him, when he 
eagerly purchased it at 500 Zecchins, and notwith- 
standing Cades afterwards confessed the fraud to 
him and ofiered to return the money, he refused to 
part with it. and it now probably adorns one of the 
first cabinets of Europe as ah original by Rafiaelle. 

He was confident in his own talents from his 
early years, and on a public occasion he made a 
drawing after the bent of his own genius, regard- 
less of the directions of his master, who wished it 
to be done in another style, and he was in conse- 
quence dismissed from his school. This drawing 
obtained the first premium, and now exists in the 
academy of St. Luke, where it is much admired. 
He owed less to the instructions he received than 
to his own genius, and his talents for imitation. 
Though sometimes defective in design, his works 
were much admired, and he found abundant em.- 
plojmient at Rome. The princel}- families of the 
Borghesi, the Ruspoh, and the Chigi, employed 
him to adorn their palaces and villas. Lie also ex- 
ecuted several pictures for the Empress Catherine 
II. of Russia, as well as some other excellent works 
for the churcl 
1800, aged 50. 

CAFF A, Melchiore, an Italian sculptor, born 
at Malta, in 1631. He studied under Bernini, 
and made great progress in the art. Some au- 
thors even assert that he equalled his instructor ; 
but others, who ridicule the extravagance of this 
praise, say that he had a fertile genius, and was a 
master of the art of design. He executed a num- 
ber of fine works, for the Roman churches, of 
which the most esteemed is a marble group of St. 
Thomas distributing alms, in the chapel of S. Agos- 
tino. Cafia died at Rome, in 1687. 

CAFFI, La, a Venetian pain tress of the 18th 
century, who excelled in the execution of flower 
pieces, which were greatly admired. 

CAFFIERI, FiLippo, an Italian sculptor, born 
at Rome in 1634, of a family originally from Na- 
ples, and allied with many of the first houses in 
Italy. At the request of Cardinal Mazarin, Caf- 
fieri went to Paris in 1660. Colbert gave him 
apartments at the Gobelins, and employed him 
in several works for the royal Palaces. He was 
subsequently appointed sculptor and na\al archi- 
tect to the king, and inspector of the marine at 
Dunkirk. He died in 1716. 

CAFFIERI, Jacques, a French sculptor, the 
son of the preceding, was born in 1678. He exe- 
cuted many good busts in bronze, among which 
was that of Baron Benzeval. He died in 1755. 



CAFF. 



15G 



CAGL. 



CAFFTERT, Jean Jacques, an eminent French 
Bculptor. the son of Jacques 0., born in 1723. He 
Btndicd under Lcmoine, and his works exhibit a 
finer taste, and greater truth of expression than 
thosf; of the other members of his family. He was 
ai)pointed professor in the academy, and sculptor 
to the king, and elected a member of two acad- 
emies of fine arts. lie executed a great many fine 
works, among which are tlie busts of Corneille 
and T'iron, in the Theatre Fran9ais ; the busts 
of Quinault, Lulli, Rameau, and TIclvetius. His 
busts are generally superior to bis larger works. 
Among the latter is the statue of St. Sylvia, at the 
Invalidcs ; and the group of Melpom.ene and Tha- 
lia. He died in 1792. 

CAGLIARI, or CALIARI, Paolo called Paolo 
Veronese, a distinguished painter of the Venetian 
school, born at Verona, according to Ridolfi, in 
1532, though Zani and othei-s say in 1528 ; died 
in 1588. lie was the son of a sculptor named 
Gabriele CagljNiri. lie earl}' manifested great ge- 
nius for paintijig, and was placed in the school 
of his uncle, Antonio Badile, then one of the most 
eminent Veronese painters. Paolo was soon em- 
ployed by the Cardinal Gonzaga. to paint in fresco 
the dome of the J cathedral at Mantua, in concert 
with Domeniqo Brusasorci, Paolo Farinato, and 
Battista del Moro, in which he distinguished him- 
self above all his competitors. He next visited 
Venice, where he competed for the prize of a gold 
medal and chain, offered by the senate to the ar- 
tist who should execute the finest decorations for 
the palace of the Conservators ; and though sev- 
eral eminent painters contended against him, and 
though the great Titian and Sansovino were the 
judges, yet Paolo came off victorious, Grimani, 
the Venetian ambassador to Rome, invited Paolo 
to accompany him to that city, where he had an 
opportunity of studying the works of the great 
masters. His abilities, however, would never have 
gained him distinction in the simple sublimity of 
Raffaelle and the antique; and, accoi-dingly, he 
neglected these; — by his fascinating delineations 
of splendid ornament and magnificent parade, 
he attained an immense reputation. jM. de Piles 
asserts that his success in chiaro-scuro is to be 
attributed to chance. — an idea that deserves no 
consideration; for the admirable management of 
his breadths, and the intelligent arrangement of his 
lights and shadows, certainly warrant the belief 
that he was perfectly versed in this important part 
of design. In most of his large works he M'as as- 
sisted by Tintoretto ; nor was the pre-eminence 
of either ever determined. If Tintoretto was al- 
lowed to imitate nature with superior force, vi- 
vacity, and truth of coloring, Veronese was ac- 
knowledged to possess a finer invention, more ele- 
gance and grace in his figures, and more dignity 
in his characters. His composition is grand, and 
his design noble ; his coloring is pure and harmo- 
nious. His heads are usually graceful, but in the 
extremities of his figures, and the outline of his 
naked forms, he is often incorrect; his attitudes 
are not always well chosen. His works, how- 
ever, display copious invention, and a lively imag- 
ination, a light and pleasing pencil, and a firm and 
vigorous execution. He often overloaded his paint- 
ings with oniftmcnt, without due regard to the 
subject; — as in the celebrated pictures of the Feasts 
of Simon and Levi, which he has represented with 
the most sumptuous magnificence. The best works 



;i 



of Veronese are his four great paintings in the Ve- 
netian churches. The first was painted for the 
Refectory of S. Giorgio Maggiore, and is now in 
the Louvre. The subject is the Marriage at Cana ; 
it is over twenty-five feet wide, and contains an 
immense number of figures, many of which are 
portraits. It is said that he received only ninety 
ducats for this immense work, which is accounted 
for by the fact that he never received more remu- 
neration from the convents than the expense of 
his materials. The second, painted in 1570, for S 
Sebastiano, represents the Feast of Simon, with 
Magdalene washing the feet of Christ. The third, 
executed for SS. Giovanni e Paolo, is the Saviour 
at supper with His Disciples. The fourth, (whichl ij 
is perhaps his master-piece) is the same subject^] 
as the second, but quite differently treated ; it was 
painted for the Refectory of the Padri Servi, and 
in 1665, was presented by the Republic to Louis f i 
XIV. There are a few masterly etchings marked* I 
P. C, and PA. CAL. which are attributed to^ ' 
Paolo ; among which are the Adoration of the 
Magi, Paolo Veronese fee. ; and Two Saints sleep- ^ j 
ing ; no mark. 

CAGLIARI, Benedetto, an Italian painter and! 
sculptor, the brother of Paolo C, was born at Vero^j 
na in 1538. His abilities were greatly inferior to his 
brother, but he assisted him in some of his works, 
particularly in painting the architecture, and he 
also painted several sul3Jects from mythology and 
Roman history in the court delgi Mocenighi, which 
are praised by Ridolfi and Boschini. As a sculp-j | 
tor he executed a number of works, but never rose* | 
above mediocrity. He died in 1598. 

CAGLIARI, Carletto, a Venetian painter, the 
elder son and scholar of Paolo, born in 1570. Ho 
gave early proof of genius, and under his father's 
able instruction, produced some extraordinary per-jj | 
formances, at the early age of eighteen. After hiaf | 
father's death he completed several works left im-' 
perfect by that master, and distinguished himself 
still farther by his own compositions, so that it 
was supposed he would equal, if not surpass Paolo, 
but he died at the early age of 20, in 1596. 

CAGLIARI, Gabriele, the younger son and 
scholar of Paolo, born in 15G8 ; died in 1631 ; 
painted a few portraits and historical pieces ; but 
soon turned his attention to commercial pursuits. _ 

CAGNACCI, GuiDO, a Bolognese historical! I 
painter, born, according to Malvasia, in 1600 ; died ' 
in 1680; studied under Guido Reni, and followed 
his style. He met with great encouragement from 
the court of Vienna, and resided there the most of f^ I 
his life. His grace and expression are inferior toV 1 
Guido, but his coloring is more vigorous, and his 
figures are drawn with tolerable correctness. His 
works are more known in Germany than in his own 
country, though there are several in the palaces at 
Bologna. 

CAGNOLA, Marquis, a celebrated architect of 
Milan, who flourished in the present century. To 
this distinguished artist we unquestionably owe 
one of the most remarkable monuments of the' | 
present age — the triumphal arch which, at the endi I 
of the road from over the Simp] on, forms the en- 
trance to the town of Milan. This arch, admirably 
adopted from the antique, is, from the elegance of 
its proportions, the purity of its form, the merit 
of its execution, and the richness of its materials, 
far superior to any similar structure existing. It 



CAIR. 



157 



CAIR. 



was intended by Xapoleon as a grand memorial of 
ills triumphs in Italy, and though its completion 
was delayed until after the conqueror was driven 
from Italy, the architect had the satisfaction of 
Ivoholding in full perfection this monument of his 
taste and skill. Cagnola also erected a number of 
Cher fine works, by which he gained honors and 
fortune. He died in 1833. 

CAIRO, Cav. Francesco, an Italian painter, 
born at Varese, in the territory of the jMilanese. in 
15'.}8 ; died in 1674; studied under P. F. Moraz- 
zone, whom he surpassed in agreeableness of col- 
oring, and elegance of design, though inferior to 
him in vigor of effect. In the earlier part of his 
life he followed the great principles of design which 
he had acquired at Rome ; but after studying the 
splendid works of Titian and Veronese, he adopted 
an admirable style, founded on the manner of 
both these masters. lie was invited to the Court 
of Savoy by the Duke, Victor xlmadeus ; for whom 
he painted a number of portraits, entirely in the 
stjde of Titian, according to Lanzi. and several 
historical subjects. One of his best pictures is his 
St. Teresa, in S. Carlo, at Venice ; and there are 
some of his works at Turin and Milan. 

Cairo. Ferdinando. an Italian historical paint- 
er, born at Casalmonferrato in 1GG6; studied with 
his father, an obscure artist^ and afterwards under 
Franceschini. at Bologna. Averoldi praises his 
frescos on the ceiling of the church of S. Antonio, at 
Brescia, in concert with Giacinto Garofalino. He 
died, according to Zani and Lanzi, aged 77 ; though 
otliers say at the age of 26. He had an elder bro- 
ther, named Giuseppe, or Guglielmo. who died 
at the age of 26, and this has probably caused the 
error. 

CALABRESE. See Preti, and Cardisco. 

CALABRIA, Pedro de, a Spanish painter who 
flourished from 1612 to 1625 ; studied under Luca 
Giordano, and painted spirited battle-pieces in the 
style of that master. 

CALAMIS, an eminent Greek sculptor, who 
flourished at Athens about b. c. 420, and was a 
disciple of Praxias. He excelled principally in 
statues of horses, and he carried this branch of the 
art to the highest perfection. He also executed 
many admirable chariots, on wdiich were placed the 
statues of heroes and princes, which were the work 
of his cotemporaries. Among them was that of 
Gelon, tyrant of Syracuse ; executed by Onatas 
of JEgina. He also succeeded no less in statues, 
and to prove that he was not inferior to his rivals, 
he commenced and finished without assistance, 
several beautiful statues. He was. not, however, 
free from the faults of the preceding masters ; and 
his works, according to Cicero, though less stiff 
than those of Canachus, were inferior to those of 
M3'ron, and especially to those of Polj^cletus. 
Pausnnias mentions a great number of the works 
of Calamis. among which was a statue of ^scu- 
lapius in gold and ivory, and a Colossus of Apollo, 
placed in a small isle near the coast of lUyrium, 
which was taken to Rome by Lucullus, and con- 
secrated in the capitol. He emploj^ed metals ^vith 
great success, and most of his works are executed 
in bronze. 

CALANDRA, Gio. Battista. an Italian paint- 
er, born in 1586, according to Zani ; died in 1644. 
He acquired celebrity by his skill in Mosaic work. 



During the pontificate of Urban VIIL, it was re- 
solved to remove some of the best paintings in St. 
Peter's, on account of the dampness, and replace them, 
by copies in ^Mosaic. The first copy was executed 
by Calandra, after the St. :Michele of Cesare d'Ar- 
pino. This art M-as subsequently carried to a high 
degree of perfection by the Cristofori. 

CALANDRUCCI, Giacinto, a painter of Paler- 
mo, born in 1646 ; died in 1707 ; studied under C. 
Maratti at Rome, where he painted two excellent 
pictures, of St. John in S. Antonio de Portoghesi, 
and St. Ann in S. Paolino della Regola. He after- 
wards returned to Palermo, where he painted a 
picture of the Virgin, with Saints, which Lanzi 
says was surpassed by few productions of his 
time. 

CALANDRUCCI, Domenico, brother of the 
preceding artist, who studied under Carlo IMaratti, 
and afterwards returned to his native cit}^, Paler- 
mo. Pascoli says he was a favorite pupil of his 
master, but does not specify any of his works. 

CALANDRUCCI, Gio. Battista, was a ne- 
phew of Giacinto C, under whom he studied at 
Rome. When his uncle returned to Palermo, he 
continued at Rome in the practise of his profes- 
sion. 

CALAU, Benjamin, an ingenious German 
painter, born at Frederickstadt, in Holstein, in 
1724. He was skilled in portrait painting, and 
is celebrated for having discovered the eleodorique, 
a substance used by the ancient painters instead 
of oil. of which he has given an account in the 
Gazette LiUeraire de Halle, 1768, p. 740. He 
was a member of the Academy of Fine Arts at 
Berlin, where he died in 1785. 

CALCAR, or KALCKER, John van, a Flemish 
painter, born at Kalcker. in the Duchy of Cleves. 
in 1499 ; died at Naples in 1546 ; studied at Ve- 
nice under Titian, whose admirable style he imi- 
tated with such success as even to deceive Goltz- 
ius. and other excellent judges. Sandrart says ho 
copied the works of Raffaelle with almost equal 
success, and Vasari says his works are totally free 
from the Flemish taste. Calcar designed the il- 
lustrations of Vasari's work. Rubens possessed a 
Nativity hj him in which the light proceeded from 
the Infant ; it was purchased by Sandrart at the 
death of Rubens, and by him was sold to the Em- 
peror Ferdinand. 

C ALCIA, Giuseppe, a Piedmontese painter, who 
flourished about 1675. Lanzi saj^s he was called 
Genovesino, which has occasioned him to be con- 
founded with ]Marco Genovesino. In the church 
of the P. P. Predicatori, at Turin, are two pictures 
by him, of St. Dominico, and St. Tommaso. He 
also painted several altar-pieces for the churches 
at Alessandria, but is best known for his cabinet 
pictures, one of which is praised by Lanzi for 
grace of design and beauty of coloring. It repre- 
sents Christ praying in the Garden, and was in 
the collection of the Marches! Ambrogio Ghilini. 

CALDERARI, Ottone. an Italian nobleman, 
was born at Vicenza in 1730. and early manifested 
a love of architecture. He studied assiduously the 
works of the best masters, both ancient and mod- 
ern, and adapted the solidity, decorations, and ma- 
jesty of Palladio to the internal arrangements of 
that period. The purity of his taste, and hit' 
knowledge of the art of building, so raised his re- 



CALD. 



158 



CALL 



putation, thcat a number of noblemen erected edi- 
fices from his designs. In 1772, he erected a palace 
for the noble Sebastiano Anti Sola, at Vicenza. In 
the next year, he built another palace in the same 
city ; and afterwards erected several other fine edi- 
fices, among which is the temple of S. Orso at the 
foot of jMonte Summano. which received great ap- 
plause, and would have done honor even to Pal- 
ladio himself. The time of C alder ari's death is 
not recorded. 

CALD ANA, Antonio, a native of Ancona, who 
flourished at Rome in the latter part of the 18th 
century. According to the Gidda di Roma, he 
painted a large picture in the sacristy of S. Nic- 
cola da Tolentino, from the life of that saint, which 
is much admired. After the execution of this 
work, he probably returned to his native city. 

CALDARO. See P. da Caravaggio. 

CALDERARL Gio. Maria, a painter of Por- 
denone, born about 1500; was a very talented 
scholar of Pordenone, and painted entirely in his 
manner, so that some of his works deceived the 
best judges. They are little known, and are pro- 
bably ascribed to his master. Calderari painted 
several considerable works in fresco at Montereale, 
and at Pordenone. Zani says he was living in 
1570. 

CALDWALL, James, an English engraver, who 
has executed several portraits of distinguished per- 
sonages, besides other subjects. 

PORTRAITS. 

Sir Ilemy Oxenden de Barham, Bart. Catlierine, 
Countess of Suffolk. Sir John Glynne, Chief Justice of 
the King's Bench. Sir Boi^er Curtis. Admiral Keppel. 
•John Gillies, LL.D., historian. David Hume, historian. 
Mrs. Siddons and her Son, in the character of Isabella. 

various subjects. 
The Immortality of Garrick ; after Carter, the figures 
engraved by Catdwall, and the landscape by S. Smit'i. 
The Ffete Champgtre given by the Earl of Derby at the 
Oaks ; after R. Adams, engraved by Caldwall and Grig- 
nion. The Camp at Coxheath ; after V/. Hamilton. 

CALENDARIO, Pilippo, an Italian architect 
and sculptor, who flourished at Venice about 1334. 
He was commissioned by the Republic to erect the 
superb porticos, supported b^^ marble columns, 
that surround the vast area of the square of St. 
Mark, and upon which a range of uniform build- 
ings is built, adorned with bassi-relievi. and great- 
ly admired. He was liberally rewarded by the 
state, and the Doge gave him one of his daughters 
in marriage. There are also several other good 
works by him in that city. 

CALENSE, Cesare, a Neapolitan painter, ac- 
cording to Dominici, flourished about 1590. He 
executed a fine Descent from the Cross, in S. Gio- 
vanni Battista, at Naples, represented with great 
expression and feeling. His design is graceful and 
correct, and his chiaro-scuro managed with great 
intelligence. 

CALETTI, Giuseppe, called Cremonense, a 
painter of Ferrara, born about 1600 ; died in 1660. 
He first studied the works of D. Dossi, but after- 
wards became an imitator of Titian, particularly 
in mythological subjects. In these he came so 
near to the powerful expression and glowing color 
of that great master, that, according to Baruffaldi, 
many of Caletti's pictures were believed to be 
those of Titian : ' 



congruities of the works of Caletti sufficiently en- 
dorse their paternity. He was. however, capable 
of something higher, as appears from his two pic- 
tures in the church of S. Benedetto at Ferrara, re- 
presenting St. I\Iark, and the Four Doctors of the 
Church. The former is correctly and grandly de- 
signed, and is full of fine expression. 

CALIAYARI. See Carle varus. 

CALICI, AcHiLLE, a Bolognese painter, born 
about 1565 ; studied under Prospero Fontana, but 
subsequently under Lodovico Caracci. Malvasia 
says he painted with great credit the two side 
pieces of the great altar in the church of St. Mi- 
chele Arcangelo at Bologna. 

CALIGARINO. See Cappellini. 

CALIMBERG, Joseph, a German painter, born ■ 
about 1505 ; died in 1570. He passed the greater. I 
part of his life in Venice, where several of hi.s * 
works yet remain, particularly the Battle of Con- 
stantine at the Servi. His style was ingenious, 
though rather sombre and heavy. 

CALL, John van, a Dutch painter, born at ■ 
Nimeguen in 1655, was the son of a surveyor, anrf | 
was almost wholly self-taught. His first attempts? ^ 
were several copies of the landscapes of Paul Bril. 
John Breughel, and William van Nieulant ; and lie 
studied attentively the principles of perspective 
and architecture. He afterwards visited Switzer- 
land and Italy ; and, during a residence of scven-.l 
years at Rome, he made many drawings of tlio 
beautiful scenery near that city. His di-awinp's 
are more esteemed than his pictures. They aic 
highly valued in Holland, where they are found in 
the richest collections. Call afterwards settled at 
tlie Hague, where he died in 1703. 

CALLAMAR, Charles Antoine, a French 
sculptor, born in 1776. He devoted himself with 
the greatest ardor to the prosecution of his pro- 
fession, and made rapid progress. Among his nu- 
merous productions is the statue of Hyacinthus 
wounded, and above all his well-knovm work of 
Innocence playing with a Serpent, which is an ex- 
quisite work of art. There are also man}^ statues 
and bas-reliefs by him, which are greatl}- admired. 
Callamar died by his own hand in 1821. in a fit of 
delirium, caused by an attack of typhus fever. | I 

CALLCOTT, Augustus Wall, an English land- ' 
scape and marine painter, born at Kensington in 
1779. He was the brother of the eminent musicr.l 
composer, Dr. Callcott, and in early life officiated 
for several 3'ears in the choir of AVestminster Ab- 
bey ; but preferring painting to music, he pursued 
that study also, and finally executed a portrait, 
while under the tuition of Hcppner, in 1799, whicli 
was exhibited in the Ro3'al Academy, and nmch 
admired. He soon found that his talents were 
better adapted to landscape, and in 1803 devoted 
himself exclusively to that branch of the art. His 
landscapes are generally of a small size, and very 
similar in style, being extensive views, extremely 
placid, with nothing in them to attract vulgar at- 
tention, but fascinating to the refined lover of na- 
ture. They cannot be compared with the works 
of Claude, being totally different in composition 
and execution. His marine views have a pleasing 
tranquillitj'. with beautiful selections of objects, 
though sometimes cold and monotonous in color- 
ing. Man}' of his works have been engraved. His 
most successful work in figure painting was the 



CALL. 



159 



CALL. 



fine picture of Raphael and Fornarina. exhibited 
in 1837. Callcott was a member of the Royal 
Academy, and for many years contributed lar.c:ely 
to its annual exhibitions. He was made a knight 
in 1837. and appointed keeper of the Royal collec- 
tion. He died in 1844. 

CALLE.JA, AxDRES de. a Spanish painter, 
born at Rioja in 1705 ; died in 1782. He obtained 
academic honors and court favor, established a 
school of painting, and was greatly beloved by his 
scholars. His best works are in the churches of 
S. Croix, of S. Felipe le Roj-al. the convent of 
St. Francis, and the chapel of the Treasury. 

CALLESCHROS. See Antistates. 

CALLET, Antoine FRAN9013. a French histo- 
rical painter, born in 1741; died in 1823 ; painted 
classical subjects, and events from the Life of Na- 
poleon ; also a part of the ceiling of the Gallery 
of Apollo in the Louvre, and that of the Luxem- 
bourg. He also painted the portraits of Louis 
XVI., Louis XTHL, and Comte d'Artois. 

CALLICLES. a Greek sculptor, a native of Me- 
garus, and son of Theoscome. who flourished about 
B.C. 420, and is highly praised by Pausanias. He 
distinguished himself b}* a statue of Jupiter, which 
the ^iegarians regarded' as the finest ornament of 
their city. He also executed several other fine 
works, among which was a statue of Diagoras. a 
successful pugilist at the games. There was a 
painter of this name, who flourished about B. C. 
320, and attained considerable distinction. 

CALLICRATES. See Ictinus. 

CALLICRATES. a Greek sculptor, who. accord- 
ing to Pliny, was distinguished for his small stat- 
ues in ivory, which were executed in a very deli- 
cate and ingenious manner. In concert with Mer- 
mecydes. he made a miniature chariot, drawn by 
four horses, which could be hid under the wing of 
a fly. 

CALLIPHOX. a painter of Samos. whose works 
adorned the temple of Diana at Ephesus. The 
subjects of his pictures were taken from the Iliad. 
He flourished about the fourth century, B. C. 

CALLOX, a Greek sculptor, born at iEgina, 
about B. C. 516. He was the disciple of Angelion 
and Tect^euS; the celebrated sculptors who execu- 
ted the statue of Apollo at Delos. Callon carved 
a statue of Diana in wood, which was placed in the 
Acropolis at Athens. He also made for the city of 
AmycliB a statue of Proserpine, upon a tripod of 
bronze. There was another sculptor named Callon. 
a native of Elis, who flourished about B. C. 432 ; but 
he was less celebrated than Callon of iEgina. 
The only statue of note executed by him was that 
of Mercury at Elis. 

^C ALLOT. Jacques, an eminent French engra- 
Mver, born at Xancy, in Lorraine, in 1593 ; died in 
1635 ; was the son of Jean Callot, a gentleman 
of noble family, who intended him for a very dif- 
ferent profession ; but when twelve years old he 
left his home without money or resources, joined a 
company of wandering Bohemians, and found his 
way to Florence, where some officer of the court 
discovered his inclination for drawing, and placed 
him under Cantagallina. After passing some time 
in Florence, he went to Ronie. where he was re- 
cognized by some friends of his family, and was 
persuaded to return with them to his parents. 



Meeting with continued opposition, he again ab- 
sconded, but was followed by his brother to Turin, 
and taken back to Xancy. His parents at length 
concluded to allow him to follow the bent of his 
genius, and sent him to Rome in the suite of the 
envo}^ from the Duke of Lorraine to the Pope. 
The young artist now studied with the greatest 
assiduity, under the tuition of Giulio Parigii ; and 
having acquired proficiency in design, placed him- 
self under P. Thomasin. to acquire the free use of 
the graver. In this he was not very successful, 
and he soon abandoned it for the point. He then 
went to Florence, and etched several admirable 
plates from his own de>ignS; which procured him 
the patronage of the Grand Duke Cosmo II., and 
gained him great reputation. On the death of 
Cosmo, he returned to Xancy. where he was libe- 
rally patronized by Henry. Duke of Lorraine. In 
1628 he visited Paris, whither his reputation had 
preceded him. and was employed by Louis XIII. 
to engrave several of the principal sieges and bat- 
tles of the French, particularly those of Re and 
Rochelle. The small works of Callot are superior 
to his large ones ; in the latter his style is rather 
heavy, and loses a part of the taste and spirit that 
distinguish his small figures. The fertility of his 
invention was wonderful, and his style 'was re- 
markably varied. He frequently made several de- 
signs for the same plate, before he was satisfied, 
and Watelet says that he saw four different draw- 
ings by him for the celebrated Temptation of St. 
Anthony. His drawings are greatly admired, and 
are even more spirited than his prints. Heineken 
gives a full list of the plates of this indefatigable 
artist ; they amount to over fifteen hundred. The 
following are the principal : 

PORTRAITS. 

Cosmus III., Grand Duke of Tuscany ; oval. Francis, 
Grrand Duke of Tuscany ; oval ; scarce. Charles III., 
Duke of Lorraine ; scarce. The Marquis de Marignan, 
General of Charles V. ; scarce. Donatus Antellensis. call- 
ed the Senator; scarce. Claude Dervet, painter, and his 
Son. 1632. 

SACRED SUBJECTS. 

The Mui'der of the Innocents, engraved at Florence ; 
scarce. The same subject, engraved at Xancy, with varia- 
tions. The Annunciation, with the words Ecce ancilla 
Domini coming from the mouth of the Virgin ; after Mat- 
teo Rosclli ; very scarce. Christ bearing his Cross ; small 
oval ; engraved on silver. The Crucifixion ; with the Vir- 
gin, St. John, and Magdalene ; scarce. The Entombing 
of Christ : after Ventura Salimbeni. The Virgin and 
Infant, with St. Elizabeth and St. John ; after A. del Sar- 
to. The Holy Family, with St. Joseph giving drink to the 
infant Jesus. ' The little Assumption, calfed the Assumption 
with Cherubim. Another Assumption ; oval. The triumph 
of the Virgin ; dedicated to the Duke of Lorraine. St. John 
in the Isle of Patmos. The Temptation of St. Anthony ; 
dated 1635. Another Temptation of St. Anthony, with a 
River in the middle, and on the right some Devils drink- 
ing ; very scarce. The Martyrdom of St. Sebastian ; a 
grand composition. St. Mansuetus restoring to life the son 
of King Leucorus, 

VARIOUS OTHER SUBJECTS. 

Jupiter fulminating the Giants ; scarce. Pandora, with 
the Assembly of the Gods. The Card-players. _ The Pun- 
ishments. (The best impressions of this fine print have a 
small square tower above the houses on the left, and a little 
imase of the Virgin in an angle of the wall in the middle 
of the print.) A^^^oman seated with a Child in her Arms, 
and another eating Fruit imder a Tree ; very scarce. A 
View of the Louvre, with the steeple of Nesle. A View of 
the Pont Neuf at Paris ; the companion. The Parterre of 
IsTancv, with figures walking. The Garden of Xancy ; Jac. 
Callot. int. etfcc ; very scarce. The great Fair of Flo- 



CALO. 



160 



CALY. 



renee, engraved at Florence, 1620 ; fine impressions of this 
print are very scarce ; in two sheets. The same subject, 
engraved at Nancy, called the Fair of Nancy ; inscribed 
Fe FiorenticB et exc. Nancei. The little Fair, called the 
Players at Bowls, with figures dancing ; the best iinpres- 
sion's are before the name of Callot ; scarce. The Siege 
of the Isle de Re ; in sixteen sheets. The Siege of Ro- 
chelle ; similar. The Siege of Breda; in eight sheets. The 
Tilting, or the New Street at Nancy. 

VARIOUS SETS BY CALLOT. 

The Life of the Virgin ; in fourteen plates, with the 
title. The Life of the Virgin ; in twenty-seven plates. 
Nine plates of devout subjects; Gloriosissimi Virginis, if-c. 
Eleven of the New Testament, with a title by Ab. Bosse, 
twelve plates. Seven, the great Passion of Jesus Christ. 
Twelve, the little Passion ; the first impressions are very 
5carCv>. The Acts of the Apostles ; in twenty-nine plates, 
executed with the graver in his early time. Six of the 
Penitents, including the title by Ab. Bosse. Sixteen of 
Christ, the Virgin, the Apostles, &e. 1631. Si.xteen of the 
Martyrdom of the A2wstles, &e. Four, called the Little 
Banquets. Forty-one, of the Miracles : entitled Scelta 
d^aJcuni miracoJe, (^c. Seven of the Seven Mortal Sins. 
Eighteen of the Miseries of War ; dated 1633. Seven of 
the little Miseries of War ; the title by Ab. Bosse. Four- 
teen of the military E.N;ercises. Fourteen of Fantasies; 
dated 1635. The Caprices, engraved at Florence- The 
same Caprices, engraved at Nancy, inferior in execution. 
Varie figure di Jacopo Callot ; in seventeen plates. Balli 
di Stefania, or Currucum ; in twenty-four plates. Varie 
figure Gobbi di Jacopo Callot fatte in Firenzc ; there is an- 
other set Avith the same variations. Twenty-five of Beg- 
gars ; entitled Capitano da Baroni ; fine. Twelve of 
Ladies and Gentlemen in the Dresses of the Mode. Six- 
teen of the Tragedy of Soliman, with the portrait and title. 
Three of Festivals during the Carnival at Florence ; scarce. 
Seven of Tournaments. Four of Jousts and Tournaments. 
Forty-eight plates, for a Journey to the "Holy Land. The 
Twelve Months of the Year ; after Momper. The Four 
Seasons ; after Sadeler^s prints from Bassano. Four 
Landscapes, lengthways. 

C ALOMATO, Bartolomeo. a Venetian painter, 
who flourished from 1650 to 1060. He was dis- 
tingui.shed for his small pictures of civic and rural 
views, decorated with fij^ures. well composed, and 
expressed with grace and spirit. 

CALOm, Raffaelle, a native of Modena, who 
flourished at Tassuolo from 1452 to 1474, in the 
employment of the Duke of Bosso, and executed 
several works in the best style of the time. A 
picture of the Virgin is particularly commended 
for its graceful design and beauty of coloring. 

CALVAN, Don Juan, a painter of Saragossa, 
born in 1600 ; died in 1658. He gained consider- 
able eminence by his pictures in the churches and 
monasteries of his native city. 

CALVART, Denis, an eminent painter of the 
Bolognese school, born at Antwerp about 1555 ; 
died at Bologna in 1619. After attaining some 
proficiency in landscape painting in his own coun- 
try, he visited Ital}^ for improvement, and entered 
the school of P. Fontana at Bologna, but soon af- 
ter became the scholar of Sabbatini, whom he ma- 
terially assisted in his works in the Vatican. On 
quitting that master, he studied for some time the 
works of Raffaelle and other great masters at 
Rome, after which he returned to Bologna, and 
established that celebrated school where Albano, 
Domenichino, and Guido were first instructed ; and 
which he conducted in a most admirable manner. 
His design was graceful and correct, his coloring 
fine, and his perspective good ; hence he was re- 
garded as the restorer of the Bolognese school, 
which had at that time fallen considerably into 
disrepute, especially for its indifferent coloring. 
He was, however, something of a mannerist, and 



his figures have occasionally a strained and inde- 
corous air. His master-piece is the St. INIichael 
in S. Petronio at Bologna. Of his other works 
the best are: a Holy Family, with St. Roch and 
St. Sebastian, in the church of S. Giuseppe ; our 
Saviour appearing to Magdalene, in S. Giorgio ; 
and St. Gregor}^ converting the Heretics, in S. 
Gregorio. 

OALVI, Agostino, a Genoese painter, who, ac- 
cording to Soprani, was a good painter in the old 
style, and was one of the first artists at Genoa 
who forsook the gold ground for one of color. He 
was living in 1528. 

CALVI, Lazzaro and Pantaleo. Genoese 
painters, sons of Agostino Calvi, a reputable 
painter of Genoa, who was amongst the first re- 
formers of the old style of his country. Lazzaro 
was born in 1501. and with his brother Pantaleo, 
was educated in the school of Pierino del Vaga. 
He remained there till the age of twent3^-five. On 
leaving Pierino, the brothers painted in concert at 
Genoa. Monacco, and Naples. Lomazzo highly 
extols the fa9ade of the Palazzo Doria (now that 
of Spinola) executed by these artists. It repre- 
sents prisoners and other figures, in various atti- . 
tudes, designed and executed in admirable taste. 
Mengs considers their picture of the Continence 
of Scipio, in the Pallazzo Pallavicini. at Zcrbino. 
as worthy of their master Pierino. Lanzi suppo- 
ses that they were assisted by the latter in some 
of their works, and he is known to have furnished 
them very liberally with his drawings and car- 
toons. Such was the vanity and envy of Lazzaro 
that he could not endure the idea of a rival, which 
was, perhaps, the reason why Pantaleo. though 
the elder brother, claimed no share of the praise 
justly due to him for the accessories in the works 
they jointly executed. The jealous}- of Lazzaro 
led him to the commission of the foulest crimes. 
He caused Giacomo Bargone, a talented young 
painter, to be poisoned, and he endeavored W the 
basest machinations to overthrow the reputation 
of his competitors. While carrying on these de- 
testable plots, he was engaged by Prince Doria to 
paint the Birth and Life of St. John the Baptist. 
for the chapel de Nobili Centurioni, in competition 
with Luca Cambiaso, and Andrea Semini ; and 
though he produced one of his finest pieces, the 
preference was given to Cambiaso, Avho in conse- 
quence was employed to execute the frescos in the 
church of S. Matteo. This so disgusted Lazzaro. 
that in a fit of mortification he threw up the palette, 
and went to sea. After continuing in the occu- 
pation of a mariner for twenty years, he returned 
to his original profession, which he continued till 
his eighty-fifth year. His last works were for the 
church of S. Gaterina. but they show none of his 
pristine vigor. He died in 1606, at the great age 
of 105 3^ears. 

CALVI, GiuLio, called il Coronato. a Cremo- 
nese painter, born about 1570 ; died in 1590 ; 
studied under Gio. Battista Trotti. Zaist says his 
pictures might easily be mistaken for the inferior 
works of Trotti, had he not signed them with his 
name. 

CALZA, Antonio, a Veronese painter, born in 
1653; studied at Bologna, under Carlo Cignani. 
As his genius inclined him to the painthig of an- 
imals and horses, he yisited Rome for the purpose 
of studying under Borgognone, by whom he was 



CAMA. 



161 



CAME. 



greatly benefitted. On returning to Bologna he 
painted battle-pieces and landscapes, established 
a school, and gained great reputation. Writers 
disagree widely as to the time of his death ; Zani 
says in 1725. 

OAMASSEI. Andrea, a painter of Bevagna, 
born in IGOl ; died in 1C48 ; studied under Dom- 
enichino, and afterwards under Andrea Sacchi. Ilis 
works are much admired for their sweetness of 
coloring, elegance of design, and elevated concep- 
tions. His best works are the Assumption in the 
Rotonda, and the Dead Christ at the Oappucini. 
In St. John of Lateran. is the Triumph of Con- 
stantine; and in the Palazzo Rondinini, his Bat- 
tle of Constantine with Maxentius. 

CAMBERA, Lactanzio, an Italian painter, born 
at Cremona in 1584. He studied under Antonio 
Campi, and was distinguished for his skillful col- 
oring. He painted subjects of history, in which 
he displaj^ed much felicity of invention, and great 
spirit in his composition. He died at Yenice in 
1616. 

CAMBIASO, or CANGIAGIO. Giovanni, a 
Genoese painter, born in 1495 ; studied under An- 
tonio Semini. He was cotemporary with Pierino 
and Pordenone, and like them, was among the first 
reformers of the dry, Gothic style of his country. 

CAMBIASO, or CANGIAGIO, Luca, called 
LucHETTO DA Genova, an eminent Genoese paint- 
er, born in 1527 ; was the son and scholar of the 
preceding. At a very early age he showed great 
talents, and when fifteen years old he produced 
works characterized by uncommon genius. He 
visited Florence and Rome, where he increased his 
natural conception of grandeur hj the study of 
Angelo and Raffaelle. The impetuosity of his 
genius led him astray; he usually painted his 
first performances both in oil and in fresco, with- 
out preparing either drawing or cartoon, and his 
early style was gigantic and unnatural. He after- 
wards checked this impetuosity, and it was in the 
middle of life, that he produced his best works. 
His fertility of invention was wonderful ; his ge- 
nius grappled and conquered the most arduous dif- 
ficulties of the art, and he shows his powers in 
foreshortening, in the most daring variet}-. He 
was rapid and bold in design, 3'et was selected by 
Boschini as a model of correctness ; hence his draAv- 
ings. though numerous, are highl}- esteemed. One 
of his best works is the Rape of the Sabines, in 
the Palazzo Imperiali at Terralba, near Genoa. 
This picture has been highly extolled ; Mengs de- 
clared he had seen nothing out of Rome that ap- 
proached so near to the beauty of the loggia of the 
. Vatican. In the church of St. George at Genoa, is 
another admirable performance by this master, of 
the martyrdom of that saint. Philip II., invited 
him to Madrid in 1583, and employed him in the 
Escurial, where he painted on the ceiling of the 
choir, an immense composition, representing the 
Assemblage of the Blessed, which is highly ex- 
tolled by Lomazzo. This artist died at the Es- 
curial in 1585. He had a son named Orazio, who 
accompanied him to Spain, where, after the death 
of Luca, Philip II. continued to employ him, and 
settled on him a liberal pension. 

CAMERATA, Giuseppe, a Venetian engraver 
and miniature painter, born, according to Nagler, 
in 1718 ; died in 1803 ; studied engraving under 



Gio. Oattini. In 1751 he went to Dresden, where 
he was cmploj^ed in engraving plates for the gallery, 
and was made principal engraver to the court. 
The following are his principal plates, some of 
which are from his own designs : 

PORTRAITS. 

Marco Foscarini, Doge of Venice. Slmone Contarini, 
Procurator of St. Mark. Sebastiano Bombelli, Pictor cel- 
eberrimus. 

SUBJECTS FROM THE DRESDEN GALLERY. 

The Parable of the Talent ; aftei- Domenico Fetl The 
Parable of the Prodigal Son : do. David, with the Head 
of Goliah ; do. The Holy Family ; after Giullo Cesare 
Procaccini. St. Roch administering the Pestiferous; af- 
ter Camillo Procaccini. St. Roch ; after Caracci. The 
Assumption of the Virgin ; do. The Adulteress before 
Christ ; after B. Biscaino. The Chastity of Joseph ; af 
tcr S. Cantarini. The Old and New Testament ; after 
A. Vaccari. The Magdalene ; after Pompeo Battoni. 
A half-length figure, with a beard ; after Dietricy. An- 
other half-length, the companion ; do. The Magdalene ; 
after Vanderwerf 

CAMILLO, Francisco, a reputable Spanish 
historical painter, born at Madrid about 1635 ; 
died in 1671 ; was the son of Domenico Camillo, a 
Florentine, who had settled in Spain. He studied 
under Pedro de las Cuevas, and painted a number 
of works distinguished for their excellence of de- 
sign and sweetness of coloring. They are extra- 
vagantly praised by Palomino ; particularly one 
in the church of San Juan Dios at Madrid, of the 
Nuestra Sennora de Belen. Three other celebra- 
ted works of this artist are the St. Mary of Egypt 
before the Virgin, with saints and other figures, 
in the church of the Capuchins at Alcala de las 
Henares ; the Descent from the Cross, in S. Juste 
at Salamanca ; and the San Carlos JBorromeo, in 
the Padres Minores. 

CAMPAGNA, GiROLAMO, a Veronese sculptor, 
who flourished about 1530. He studied under 
Cataneo, and completed many works left unfinish- 
ed at his death. His productions consist chiefly 
of altars and sepulchres, in the cities of Venice and 
Verona, which deserve considerable praise. At 
Venice he sculptured the isolated altar in S. S. 
Giovanni e Paolo, in the form of a square temple, 
WiXh. a cupola. The Giant in the portico of the 
Zecca, is by this artist. He also designed the 
monument of the friar Paolo Sarpi, but it was 
never executed. He died in 1552. 

CAMPAGNOLA, Giulio, a Paduan painter and 
engraver, who lived about 1500. He painted in 
miniature, and also executed a few pictures in oil, 
that approach the modern style. Ottley mentions 
nine plates by him, among which are Ganymede 
taken up to Heaven; and St. John the Baptist 
holding a cup. The latter is executed in a style 
approaching to what is now called dotting. This 
style has been generally supposed to be of modern 
date, and critics have had considerable controversy- 
respecting this artist. 

1*0 CAMPAGNOLA, Domenico, an eminent 
CAP painter of the school of Titian, who lived 
about 1513. His progress Avas so rapid, that his 
master is said to have regarded him with jealousy. 
iSIany of the oil paintings and frescos of Campagnola 
will indeed bear comparison with the works of Ti- 
tian, and Lanzi and other good judges think that 
he surpassed that great master, in his representa- 
tion of the Evangelists, on the ceiling of the Scuola 
del Santa. He excelled in the nude, and Ridolfi 



CAMP. 



162 



CAMP. 



says his landscapes are little inferior to those of 
Titian. This artist has etched a number of plates, 
most of which are from his own designs, and are ex- 
ecuted in a masterly style. The following is pt- 
tley's list ; he says there are also a few wood prints 
marked with his name, but that they were proba- 
bly engraved by others, from his own designs. 
Some of his plates are marked D. C, and others 
D. 0. CAP. 

1. Christ healing the sick Man at the Pool of Bethesda. 
2. The Kesurrection of Christ. 3. The Descent of the 
Holy Spirit on the day of Pentecost. 4. The Assumption 
of the Virgin. 5. The Madonna seated with the Infant 
in her arms under a Tree, with St. Catherine kneeling on 
the right, and on the left a graceful Female holding a Ban- 
ner. 6. The Decollation of a Female Saint. 7. Venus 
naked, seated upon a Bank in a Landscape, and turned to- 
wards the right. 8. A Youth in a standing posture, with a 
Reed Pipe, leaning against a Tree, and on the left an old 
Man, in the habit of a Warrior, with a Dog at his feet. 9. 
A group of Three young Men and a Female, seated with 
Musical Instruments, under a clump of Trees on the left of 
the print, with, on the right, a Landscape and Buildings. 
10. A Combat of naked Men on foot and on horseback, in 
a Wood. 11. St. Jerome seated naked at the entrance of a 
Hovel, with the Lion at his feet. 12. A Dance of twelve 
Cupids, two of them with Tambourines. 

CAMPALASTRO, a Ferrarese painter of un- 
certain age. There is a Nativity, a Repose in 
Egypt, and the Adoration of the Magi by him, in 
the church of S. Crispino. at Ferrara ; also a pic- 
ture of St. Francis d'Assisi, in S. Lorenzo. 

CAMP ANA, PiETRO, an Italian engraver, born 
at Soria in 1727 ; died in 1765 ; studied under 
Rocco Pozzi, and resided chiefly at Venice and 
Rome. The following are his principal plates : 

St. Francis of Paolo ; after Seb. Conca. St. Peter de- 
livered from Prison ; after Mat. Pretl. Portrait of P. 
daCortona; from a picture in the Plorentlne Gallery. 
Portrait of Bernardino Barbatelli, called Poceetti. 

CAMP ANA, ToMMASo, a Bolognese painter; 
studied under Guido, according to Masina, and im- 
itated successfully the graceful manner of his in- 
structor, as appears abundantly in two pictures of 
St. Cecilia, in the cloister of St. Michele in Bosco, 
at Bologna. 

CAMPANA. Andrea, an Italian artist who 
flourished at INIodena in the first part of the 15th 
century. Little is known of him. Tiraboschi in- 
forms us that he was one of the best artists of 
his time at Modena. and Lanzi says there is a fine 
picture, bearing his initials, attributed to him. in 
the Colorno Villa of the Duke of Parma, repre- 
senting the acts of St.PietroMartyre, a work ex- 
tremely pleasing and well colored. 

CAMPANNA, Pedro, a painter of the Roman 
school, born at Brussels in 1503 ; died in 1570. 
When quite young he visited Rome, studied at- 
tentively the works of Raffaelle, and imitated his 
style with considerable success. In 1530 he was 
at Bologna, and painted the triumphal arch erect- 
ed for the reception of Charles V. At the invita- 
tion of that monarch he visited Spain, where he 
resided many years, acquired riches and honor, and 
executed many capital works, the best of which 
are in the cathedral of Seville, particularly his 
famous pictures of the Nativity and the Purifica- 
tion. In the church of S. Lorenzo he painted the 
Descent from the Cross, in a grand style. 

CAMPANAIO, Lorenzo di Lodovico, sur- 
named Lorenzetto, an Italian sculptor and arch- 



itect, born at Florence in 1494. He wa.s com- 
missioned to complete the tomb of Cardinal For- 
teguerri, in the church of St. James at Pistoja, 
which iiad been left unfinished by Andrea del 
Verocchio. He afterwards went to Rome, where 
his talents at once attracted the attention of Raf- 
faelle, who caused him to be employed upon the 
tomb which Cardinal Chigi designed to erect in 
the church of Santa Maria del Popolo. He also su- 
perintended the erection of some noble edifices, and ^ 
particularly distingui.shed himself by his design^ 
for the admirable fa9ade of the palace of Cardinal- 
della Valle, for whose garden he executed two no-* 
ble ba.s-relicfs in marble. He died in 1541. 

CAMPANELLA; Angelo, a Roman engraver, 
born about 1748 ; died in 1815. He engraved! 
several plates for G. Hamilton's Schola Italica,\ 
and the statues of the twelve Apostles in St. John 
of Lateran. 

CAMPANELLA. Agosting, a Florentine en- 
graver of little note, who flourished about 1770. 
He engraved, among other works, several plates 
representing historical and biblical subjects, which 
are executed with the graver, in a neat style, 
though not very correctly drawn. m 

CAMPBELL, J., a Scotch engraver of little,} 
note, who lived about 1754, and executed, among* 
other works, a few plates after Rembrandt, inj 
which he imitated the style of that master witi ' 
considerable success. 

CAMPEN, Jacques van. Lord of Rambrock,^ 
a Dutch architect and painter, of noble family, born^ 
at Ilaerlem, and flourished about 1630. He fol-j 
lowed painting as an amusement, and learned the! 
elements of design in his own country, but after- 1 
wards visited Rome for improvement, where the^ 
contemplation of the noble remains of ancientj 
monuments and edifices induced him to follow the^ 
profes.sion of architecture. After remaining sev- 
eral years in Italy, he returned to Holland, where 
he gained considerable eminence, and was appoint- 
ed, according to Milizia, to erect the new palace 
at Amsterdam, — the old one having been destroyed 
by fii-e. It is the finest edifice in Holland, and is 
said to have cost over 30,000,000 florins. Campen 
also erected a number of other edifices at Amster- 
dam ; a Theatre, several mausoleums for celebrated 
Dutch admirals, and a palace at the Hague for 
Prince Maurice of Nassau. He died in 1658. 

CAMPER, Peter, was an eminent Dutch pro- 
fessor of anatomy and surgery, and also an ama- 
teur painter, born at Leyden in 1722. and died at 
the Hague in 1789. He studied under Karel de 
Moor, and executed several cabinet pictures in 
the style of that master ; he also succeeded in copy- 
ing the works of Carlo Lotti and other Italian mas- 
ters. Most of his pictures have the marks of im- 
itation, rather than of originality. He published 
an excellent work for the use of young students in 
painting. 

CAMPHUYSEN, Theodore Raphael, a 
Dutch painter, born at Gorcum in 1586 ; studied 
under Dietrich Govertz ; painted small land.scapes, 
with ruins, and views on the Rhine, with boats ,, 
and figures, touched with great neatness and spirit. 
There is much contradiction in the accounts of va- 
rious authors about this artist. There are several 
paintings marked Campliuysen., which resemble , 
with wonderful exactness those of P. Potter, and 






CAMP. 



163 



CAMP. 



some have said that he imitated that master, but, 
according to Balkema, Camphujsen died in 1626, 
so that this could not have been, as Potter was 
born in 1625. Zani and Fuseli say he had a son 
named Hermann^ who flourished from 1650 to 
1670 ; and a landscape painter, J. G. Kamphuy- 
sen, is mentioned, but no account is given of him. 
There are also several excellent pictures known 
as the works of Camphuj-sen, which are evidently 
of a later date than 1626, and have no resemblance 
to those of Potter. They represent well-wooded 
landscapes, generally with a stream, through which 
a vehicle is passing. These may perhaps be as- 
cribed to one of the two last mentioned artists. 

CAMPI, Galeazzo, a Cremonese painter, born 
in 1475, and is said by Vasari to have studied un- 
der Boccaccino ; which, however, is qiTestioned by 
Lanzi, on account of their disparity of style. — 
There is a picture of the Virgin and Infant, dated 
1518, in S. Sebastiano at Cremona, which is tolera- 
bly colored, but otherwise has little merit. His 
best work seems to have been his own portrait, 
dated 1528, which obtained a place in the Gallery 
of Painters at Florence. 

CAMPI, GiuLio, an eminent Cremonese paint- 
er, the son of Galeazzo ; born in 1500 ; died in 
1572. He studied under Giulio Romano at Man- 
tua, where he made great proficiency, and acquired 
a grand style. He afterwards went to Rome, and 
studied the works of Raifaelle and the antique. 
His best works are at Mantua, jMilan, and Cre- 
mona; the church of S. JNIargherita at Cremona, 
may be said to be a gallery of his paintings. His 
Descent from the Cross in S. Grismondo at Cre- 
mona, and the Dome of S. Girolamo at Mantua, 
are admirable specimens of his abilities. His 
works are distinguished for their grandeur of con- 
ception, vigor and elegance of coloring, and facil- 
ity of execution. He may justl}^ be regarded as 
the founder of the most celebrated school of his 
country. 

CAMPI, Cav. Antonio, an Italian painter and 
architect, the younger brother and scholar of Giulio, 
was a native of Cremona, and flourished about 1586. 
He executed several works at Milan, both in oil and 
fresco. He was less successful in the latter, in 
which he attempted, without success, the great 
style of Correggio. His talents were good, and 
he had spirit and resolution, but lacked discretion 
and judgment. His best oil paintings are St. 
Paul resuscitating Eutychus, which is engraved 
by Agostino Caracci ; and the Nativity, in S. Pa- 
olo, at Milan. As an architect, he was more dis- 
tinguished than as a painter, and he erected seve- 
ral edifices which are deserving of praise. 

CAMPI, ViNCENZio, the younger son of Ga- 
eazzo Campi, studied under his brother Giulio, 
and painted portraits and still-life with good suc- 
cess, though he sometimes attempted history. He 
died in 151)1. 

CAMPI, Bernardino, a Cremonese painter of 
the same family as the preceding artists, born in 
1522 ; studied under Giulio Campi, and subse- 
quently with Ippolito Costa at Mantua, where he 
also gained great improvement from the study of 
the sublime works of Giulio Romano, and the 
drawings and prints of Raifaelle. At the age of 
nineteen he commenced practising, and soon gained 
eminence. He visited Parma and Modena to study 



the works of the great Correggio, and on return- 
ing to Cremona he executed in the church of S. 
Gismondi, St. Cecilia with St. Caterina and a 
Choir of Angels, which is a most admirable work ; 
also his great work of the cupola of the same 
church, which is less grand than the style of 
Giuiio Campi, but possessed of a more correct and 
refined degree of ideal beauty, and great delicacy 
and sensibility of expression. It represents an 
assemblage of all the blessed, from the Old and 
New Testaments, each with its appropriate sym- 
bols. Lamo says that few productions in Italy 
can be compared to it, for abundance of invention. 
variety of character, admirable harmony, and 
grandeur of style. It is of stupendous dimen- 
sions. The figures are about ten feet high ; yet. 
at the distance from which they are viewed they 
appear only of the size of life. Such was his fa- 
cility of execution, that he completed this great 
work in the short space of seven months. There 
are several other of the compositions of this great 
artist in Milan, Mantua, and Cremona. He died 
about 1592, aged 70 years. 

CAMPIDOGLIO. See Angelo. 

CAMPIGLIA, Gig. Domenico, a painter and 
engraver of Lucca, born in 1692; died in 1763; 
studied at Florence, under Tommaso Redi, and Lo- 
renzo dal Moro ; also under Gioseflb dal Sole, at 
Bologna. He painted some subjects of history at 
Florence ; also several portraits, among which that 
of himself was placed in the Gallery. He excelled 
in drawings after the antique marbles, and was 
much employed at Rome and Florence, in making 
drawings for the engravers. The following arc 
his principal etchings : 

Gioranni Domenico Campiglia. Giovanni Lorenzo Ber- 
nini. Giulio Komano. Salvatore Kosa. Leonardo da 
Vinci. Giovanni Antonio Razzi. 

CAMPING. Gig., a painter of Camerino, born 
about 1590. This artist is a remarkable, if not a 
solitary instance, of an Italian leaving his ovrn 
country to study painting. Sandrnrt assures us 
that he went to Antwerp, placed himself under 
Abraham -Janssens. a cotemporary of Rubens, and 
remained with him several years. He subse- 
quently returned to Italy and settled at Rome, 
where he studied the works of Caravaggio, whose 
style resembled that of his Flemish instructor. 
He gained considerable reputation, and vras invited 
to the court of Spain, where he was patronised by 
the Idng, and died in 1650. 

CAMPION, Charles, Comte de Tersan, an 
amateur engraver, born at Paris in 1744 ; died 
about 1816 ; he was also an ecclesiastic. He had 
a brother named Joseph Andre, also an amateur 
engraver. We have the following plates by C. 
Campion, partly executed with the graver, and 
partly etched : 

Alexis Claude Clairault ; after Cochin; C. P. C. dc 
Tersan. Aignau Thomas Desficches ; do. ; Campion. 
S. Francis Morand ; C. P. Campion Tersan,/. Fran- 
cis Regny ; Campion. Prince Louis de Rohan ; Campion 
sc. Nicholas de Verri ; Campion de Tersan. Cardinal 
Commandon ; C. C. M. St. Amatrante ; same mark. A 
Storm; C. C fecit. 1769. Abraham and L=aac ; after 
Rembrandt, 'job and his Wife; do. The Dead Christ, 
with the "Virgin and Angels. Two small Landscapes ; oval. 
Five small Landscapes ; circular. 

CAMPO, Liberale da, an old Italian painter 
of the Yenetian school, M'ho, according to Fedeiici, 



CAMP. 



1G4 



CANA. 



flourished in the latter part of the 14th, and iBrst 
part of the 15 th century. In the cathedral at Ve- 
nice is a pictui-e by him representing the Nativity, 
dated 1418. 

CAMPOLO, Plaoido, a painter of Messina, 
according to Hacker t ; born in 1693 ; died in 
1743 ; studied under Sebastiano Conca, at Rome, 
where he applied himself very diligently to the 
study of the antique marbles, and the works of 
Rafifaelle. On returning to Messina, he gained 
considerable reputation as an historical painter, 
particularly in fresco. One of his best works 
is the ceiling of the Galleria del Senato, in that 
city, which is ingeniously composed and correctly 
designed. 

CAMPORA, Francesco, a reputable Italian 
painter, who, according to Ratti, was born at Ge- 
noa about 1700, and died there in 1763. He went 
to Naples, and studied under Solimena, and after- 
wards returned to his native city, where there are 
some of his works in the churches. 

CAMPROBIN, Pedro de, a Spanish painter of 
animals, fruit, and flowers, who lived about 1660. 
His flower-pieces are to be seen in several churches 
of Andalusia ; the best are signed, Pedro de Cam- 
prohin Pasano fecit. 

CAMUS DE MEZIERES, a French architect ; 
born at Paris in 1721, and died in 1789. He is 
principally noted for the works which he pub- 
lished on architecture, which gained him conside- 
rable reputation. He designed and erected the 
Grain Market of Paris, which evinces ability. 

CANACHUS, a Greek sculptor who flourished 
about B. C. 400. He was a pupfl of Polycletus, 
but was inferior to that master, as he did not di- 
vest himself of the stifi'ness and severity that 
characterize the works of the old masters. His 
principal works, according to Pausanias. were a 
statue of Apollo, which he executed for the Mile- 
sians ; another Apollo, for the Thebans ; and a 
statue of Venus, in gold and ivory. He also exe- 
cuted, in concert with Patroclus, thirtj'-one bronze 
statues, which were erected in the temple at Del- 
phos, in honor of the Athenian generals who con- 
quered at the battle of Egos Potamos. 

CANAL. Antonio, called Canaletto and 
Canaletti, a celebrated Venetian painter of per- 
spective views; born in 1697 ; died in 1768. His 
father was a scene painter, and Antonio was bred 
to the same branch of the profession, in which he 
acquired a promptness of invention and a facility 
of execution that afterwards enabled him to dash 
oif many works in a short time. Aspiring to 
higher things, he went to Rome, where he passed 
some time in designing the grand remains of anti- 
quity ; after which he returned to Venice, where 
he chose as subjects the interior views of that 
city, which he treated with an intelligence of per- 
spective, and a conduct of aerial tint that are in- 
deed most admirable, and nearly approach illusion. 
The number of his pictures are immense, but there 
are many attributed to him which are spurious ; 
they were probably painted by his scholars, who 
imitated him very closely, especially F. Guardi. 

CANAL, Bernardo, a Venetian painter of per- 
spective and architecture, born about 1724; died 
at Warsaw in 1780 ; was the nephew and scholar 
of Canalettij and followed his style. On quitting 



i 



his uncle he visited Rome, where he painted seve- 
ral pictures, but afterwards went to Dresden, 
where, according to Heineken, he assumed the ti- 
tle of Count Bellotti, and is generall}'- known by 
that name in Ge^man3^ He resided chiefly at 
Dresden, where his works were much admired. 
There are a few spirited etchings by him, repre- 
senting views in and near that city. 

CANAL, Fabio, a Venetian painter of consid- 
erable eminence ; born in 1703 and died in 1767 
According to Zanetti, he studied under Gio. Bat, 
Tiepolo. to whose school he did much honor. He 
executed many works for the churches, public edi- 
fices, and palaces at Venice. 

CANALE, Giuseppe, a Roman designer and 
engraver, born in 1728 ; studied under Jacob 
Frey. and also frequented the school of Benefiale, 
In 1751 he was invited to Dresden, to execute the 
drawings and engravings for a part of the plat( 
from the pictures in that gallery, and was appoint- 
ed engraver to the court. The following are his 
principal prints : 

portraits. 

Maria Mattia Perini ; after M. Benefiale. Maria An^ 
tonia Walburgis, Dowager Electress of Saxony. Arch- 
bishop Bonaventura Barberini. Maria Josephina, Queen 
of Poland. Prince Xavier, of Saxony. The sepulchral 
Monument of Cardinal Spinola. 

various subjects. • 

The Philosopher ; after Spagnoletta. The Glory ; af- 
ter Domenichino. A Sibyl ; after Angelica Kauff'man. 
Paris and Oeuone ; after Vanloo. Adam and Eve driven 
from Paradise ; after Alhano. Christ and St. John ; after 
Vanderwerf Christ appearing to St. Thomas ; after Mat. 
Preti ; this plate was finished by Beauvarlet. A Turk- 
ish Woman ; after Dietricy. Spring ; do. 

CANALETTL See Canal. 

CANDIDO. See Wit. 

CANDIOLI, Giovanni, an Italian painter who 
flourished at Mantua in the last half of the eigh- 
teenth century. He was considered a good land- 
scape painter, but better in fresco than in oils. He 
was one of the principal founders of the Academy 
of Design in that city, and was made its first Di- 
rector. He also wrote an excellent account of the 
painters and pictures of Mantua. ■ 

CANE, Carlo, a reputable Italian painter,;* I 
born at Gallarata, near Milan, in 1618 ; died in. 
1G88 ; studied first under Melchiore Gillardini; 
and afterwards under Morazone, whose style he • 
followed. His best works are the fresco paintingsa 
of S. Ambrogio and S. Ugo in the Certosa at Pa-vf 
dua. He also painted animals and landscapes in aiP" 
very spirited style. 

CANETI, Francesco Antonio, according to 
Zaist, was born at Cremona in 1652. He was a 
pupil of Natali, and principally painted small pic 
tures and miniatures, which he executed in a pleas 
ing stj^le. He afterwards became a Capuchin friar, 
and there are some of his best works in the church- 
of his order at Como, where he died in 1721. 

CANGIAGIO. See Cambiaso. 

CANINI, Gio. Agnolo. a reputable Roman 
historical painter, born in 1617 ; died in 166G ; 
studied first under Domenichino. and afterwards 
under Barbalunga. In 1650. he was elected a mem-, 
ber of the Academy of St. Luke. Queen Christi- 
na of SAvedcn. a great patroness of the arts, sent, 
him several important commissions, and he execu- 



i 



CANN. 



165 



CANO. 



ted two fine altar-pieces for the church of S. Mar- i 
tino a Monti, representing the Martyrdom of St. : 
Stephen, and that of BartholomcA^^. ; 

CANNERI, Anselmo, an Italian painter, who i 
according to Guarienti was a native of Verona, and 
flourished at Venice in the latter half of the six- 
teenth century. Vasari says he studied under Pa- 
olo Veronese, whose style he adopted, and that he 
was an able assistant to his master. 

CANNEVART. Antonio, a Roman architect; 
born, according to Milizia, in 1681. He erected the 
church della Stimate. at Rome, and modernized 
those of Sts. Giovanni and Paolo. These edifices 
were severely criticised, and the architect went to 
Portugal, where he was still more unsuccessful ; 
for being commisioned to build an aqueduct, he so 
little understood the necessary arrangements, that 
the water never flowed through it. Cannevari 
afterwards returned to Italy, and settled at Na- 
ples, where he built the royal palace at Portici, and 
the seat of Porta Nuova, near S. Giuseppe. 

CANONIC A. LuiGi, an eminent Italian architect 
born at Milan in 1762. About 1802, he com- 
menced his famous work at Milan, the Arena, or 
Amphitheatre, which is built after the manner of 
the ancients, and is of immense size — capable of 
containing 30,000 people. He also erected a num- 
ber of other fine edifices in different Italian cities, 
the most important of which were at Milan. — 
Among them are the beautiful Palazzo Belloni; 
the Casa Canonica, his own residence ; and the 
three theatres, Teatro Re, Carcano, and Filodram- 
matico. He also erected two other theatres at 
Brescia and Mantua, and designed the new theatre 
at Parma, erected by Bettoli. His talents gained 
him great wealth, and he was a liberal patron of 
the arts. At his death, he bequeathed 87,000f to 
the Academy of Fine Arts at Milan ; and 174,000f. 
to the Primarj' Schools of Lombardy. 

yw/-i^CANO, Alonso, an eminent Spanish paint- 
t \ ^ er. sculptor, and architect, who has been 
called the Michael Angelo of Spain, for his great ex- 
cellence in the three sister arts. According to Ber- 
mudez, he was born at Granada in 1601 ; the son of 
Miguel Cano, an eminent architect, who educated him 
in his own profession. The 3'oung Alonso soon 
applied himself also to sculpture, in which he made 
very rapid advances. He afterwards went to Se- 
ville, and entered the school of Francisco Pacheco, 
a painter of considerable note, with whom he re- 
mained eight months. He afterwards studied un- 
der Juan del Castillo, one of the most eminent 
painters in Spain, and executed many works for 
the public places of Seville, which were greatly ad- 
mired, and were considered astonishing perform- 
ances for a student under twenty years of age. 
For these he would receive no remuneration, de- 
claring that he considered them unfinished and de- 
ficient, and that he wrought for practise and im- 
provement ; — such was the noble view in which he 
regarded his art. In his after years he produced 
many admirable compositions. His works are to 
be found in all the principal churches and convents 
of Cordova, Madrid, Granada, Seville, etc. In the 
church of Santa Maria at Madrid, is a celebrated 
picture by him, representing a subject from the 
life of S. Isidoro ; one of St. Francis, in Santiago ; 
and m S. Miguel, two pictures of- St. Caterina and 
St. Joseph. There are also many excellent works 



by Cano at the Imperial College, and other public 
situations at jNIadrid, which rank him among the 
greatest Spanish painters. 

/is a sculptor. Cano early manifested great abil- 
ity. While studying painting in Seville, he also 
gave his attention to sculpture, and executed seve- 
ral fine works, which excited universal admiration, 
particularly a marble group of the Madonna and 
Child, in the great church at Nebriga, and two co- 
lossal statues of St. Peter and St. Paul. He after- 
wards went to JNIadrid. where he was appointed 
royal architect, and painter to the king. As an 
architect, he gained considerable eminence — there- 
suit of his father's excellent instruction, and his 
own genius. He made several additions to the 
palaces ; and public gates and triumphal arches 
were erected from his designs, and under his in- 
spection. He died, according to Bermudez, in 1667. 

CANOT, Pierre Charles, a French engraver, 
born in 1710; died in 1777. He visited England 
in 1740. where he resided during the remainder of 
his life, and engraved a great number of plates of 
landscapes, marines, and other subjects, many of 
which have considerable merit. Some of his best 
prints are those he engraved of naval combats, 
after Paton ; besides which are the following, 
which are highly esteemed : 

A sli<^lit Breeze ; after Backhinjsen. A fresh Breeze ; 

after W. Vandei'eidc. A Calm; do. A Storm; do. 

Returning from M:vrkct ; after Bei-ghem. The Tarm- 

yard ; after P. de Laer. "J'he Amorous Toper ; after D. 
i Tenier's. The Dutch Smokers; do. The Dutch Cot- 
j tage ; after Pillement. Autumn; do. Winter; do. 
j A Dutcii iMerrj^-miiking; after Ostade. Pyramus and 
I Thisbc; after ^L. Bruvier. The Tempest; after S. 
I de Vliegher. An Italian Lnnd.scape ; after Gaspar Pous- 

sin. A Landscape ; after Claude JLorraine. Sunrise, a 
1 Marine; do. Two pastoral subjects ; after Rosa da Ti- 
I roll. Two views of Westminster Bridge and London 
I Bridge; after Scott. Seven of Tox Huntings; after 
i Woottoa. 

j CANOVA, Antonio, the greatest of modern 
sculptors, and the restorer of his art, was born in 
1757. at the little village of Pos.sagno, situate in 
; the plains of Trevi.so, in the Venetian States. His 
father, who was a stone-mason, died when Antonio 
was onl}'' three yeai's of age, and being of a deli- 
cate constitution, he was taken under the care of 
his grandfather, Pasino Canova. The latter (who 
was also a stone-mason) had some knowledge of 
j architecture and a taste for design ; and he impart- 
; ed such in.struction as he could to his grandson. 
I Antonio found q\qyj opportunity in the workshop 
of his grandfjither to gratify the bent of his gcn- 
I ius. and he frequently indulged his inclination for 
i sculpture, even at this earl}- age. Two shrines, cut 
in Carrara marble at the age of nine years, prove 
I the excellence of his first attempts, the patrician 
j family of Faliero. whose villa was situated near 
Possagno, were warm patrons of Pasino, and from 
I his good qualities he was held in much esteem by 
\ Sig.Giovanni Faliero. the chief of his house, and 
a senator of Venice. Owing to this acquaintance, 
he frequently saw the young Canova. whose skill 
in the use of the chisel attracted his notice, and he 
: soon after took him under his own immediate pro- 
tection. It is said that the warm interest taken 
by Faliero in the welfare of Canova arose from 
! his having seen a lion which the young artist 
' had modelled in butter, as an ornament for the 
i table of the senator. At his twelfth year, his pat- 
I ron placed him under the instruction of Torretto, 



CANO. 



166 



CANT. 



an eminent sculptor of Venice, wlio was then re- 
siding at Possagno. and he continued his pupil for 
three years. Canova, then but fifteen years of 
age, Avent to Venice at the invitation of his patron, 
and was placed in the Falieri Palace, where he was 
instructed by Giovanni Ferrari, the nephew of his 
former master. With him he remained about one 
year, when at the desire of his patron he began 
his group of Orpheus and Eurydice. He com- 
menced with the figure of Eurj^dice, which he 
completed in his seventeenth year. This statue, 
which is of life-size, is remarkable for simplicity 
of action, and gave promise of that future excel- 
lence which was nobly attained when, in three 
years afterward, he produced the statue of Orphe- 
us. At this time, while Canova was actively em- 
ployed at his favorite art, he found sufficient leis- 
ure to enrich his mind by an attentive study of 
ancient and modern history ; he also acquired a 
knowledge of several continental languages, and 
did not neglect the study of anatomy. His next 
production was the group of Daedalus and Icarus, 
which is considered the best work of his early 
years. In 1790, a pension of three hundred du- 
cats for three years, was granted him by the Ve- 
netian Senate, and he went to Rome, where he was 
patronized by Sir William Hamilton, and several 
others, and also found a sincere patron in the 
Venetian ambassador, Zuliani, a man of cultivated 
taste. Canova had now an opportunity of study- 
ing the splendid remains of antiquit}^ and he soon 
proved that he profited by this study, by produc- 
ing his group of Theseus vanquishing the Mino- 
taur, which at once established his fame. He now 
attempted another branch of the art, namely, a 
grand monument in honor of Pope Clement XIV. 
It was finished in 1787, and is a most admirable 
specimen of monumental sculpture. During the 
progress of this great work, he produced his stat- 
ue of the youthful Psyche, an exquisite piece of 
sculpture ; and also the model of the group of Cu- 
pid and Psyche in a recumbent posture, executed 
in marble in 1793. In 1795 and the two succeed- 
ing years, several beautiful works appeared, among 
which were his group of Cupid and Psj^che stand- 
ing, and his celebrated group of Venus and Adonis. 
The latter was sent to the king of Naples, who ex- 
pressed his approbation of its excellence by honor- 
ing the sculptor with the order of the Two Sici- 
lies. The troubles of 1798 obliged him to retire 
to his native village Possagno, where, in strict re- 
tirement, he devoted himself to painting, which in 
early life he had studied under the eminent Min- 
gardi, and produced several excellent pictures, 
which proved that he would have gained eminence 
in this branch of art, had he devoted himself 
wholly to it. One picture especially, a Descent 
from the Cross, is mentioned in the highest terms. 
This he presented to the parish church of Possag- 
no. Canova soon afterwards returned to Rome, 
and produced his Perseus with the Head of jNIedu- 
sa, which by a public decree Avas honored with a 
place in one of the Stanzi of the Vatican. In 1802, 
Canova was invited to Paris at the special request 
of Napoleon. On his arrival, he was received with 
great honor, and admitted a member of the Insti- 
tute. He modelled a colossal statue of Napoleon, 
which was not completed till six years afterward, 
and is now in the possession of the Duke of Wel- 
lington. In 1805 he produced his Venus Victori- 
ous, a recumbent figure of exq^uisite grace and 



beauty ; and in this year he completed his splen- 
did monument of Christina, arch-duchess of Aus- 
tria, erected in the church of the Augustines at 
Vienna. In 1810, he revisited Paris, where he 
modelled the bust of the Empress Maria Louisa, 
and executed a statue of the mother of Napoleon. 
In 1815 he was sent to Paris, to demand of the 
French government the great works of art which 
hiid been taken from Italy. In the same year he 
visited England. On his return to Rome, new 
honors awaited him. The Pope inscribed with his 
own hand the name of Canova in the Golden Yol- 
ume of the Capitol ; he received the title of Mar- 
quis d'Ischia, and an annual pension of 3,000 
crowns was granted him. Among his last works 
was one of his best — the group of Mars and Ve- 
nus. In the arrangement of the figures it resem- 
bles the Venus and Adonis ; but in grace and 
beauty it far surpasses it. His last work was a 
bust of his friend and biographer, Count Cicogna- 
ra. He died in 1822. 

CANOZIO. See da Lendinara. 

t/|r<CANTAGALLINA, Remigio, a Flo- 
^^' v3«L^ routine designer and engraver, born 
in 1582; died about 1630; studied engraving un- 
der Giulio Parigii, and frequented the school of the 
Caracci, though he does not appear to have execu- 
ted many works in this branch of the art. He 
has the credit of being the instructor of Callot and 
della Bella. His pen drawings are highly esteem- 
ed, and possess great merit. His subjects were 
landscapes, theatrical decorations, and triumphal 
entries. The folloAving are the principal : 

The immaculate Conception ; after Callot. A set of 
four Landscapes ; dated 1609. A set of six Landscapes. A 
set of twelve landscapes ; octaj^on ; marked with his cipher. 
A set of six landscapes ; with his cipher; dated 1624. A 
set of plates of the Scenes of an Opera ; after the designs 
of Giulio Parigii. A set of plates, called the Palazzo 
della Fame ; dated 1603. 

CANTARINI, Sip^ONE, called Simone da Pe- 
SARO, an eminent Italian painter and engraver ; 
born at Pesaro in 1G12 ; studied under Pandolfi, 
and afterwards C. Ridolti. on leaving whom he 
painted a picture of St. Pietro, for a chapel at Fa- 
no. Such was the popularity of the works of 
Guido, that although Cantarini had gained consid- 
erable reputation by this painting, he resolved to 
enter the school of that great master, where he re- 
mained until his envy and insolence, not only to 
his instructor, but to Albano and Domenichino, 
obliged him to quit Bologna altogether, and to re- 
pair to Rome, where he occupied himself in study- 
ing the Avorks of Raffaelle. He afterwards return- 
ed to Bologna, but finding his residence there un- 
pleasant, he remoAxd to Mantua. Avhere the Duke 
took him into his service, and employed him to 
paint his portrait. But, AA'hether from not having 
been accustomed to that branch of the art, or 
from some other cause, he was entirely unsuccess- 
ful. This disappointment, preying on a disposi- 
tion naturally moro.se and irritable, is supposed to 
have occasioned his death, in 1648. Cantarini ap- 
proached nearer to Guido than any other of his 
imitators, and many of his Avorks have great beau- 
ty ; but he has little claim to originalit3^ His 
etchings are very masterly and spirited, and are 
highly esteemed, but the imitation of Guido is 
even more apparent than in his paintings ; and the 
plates of the latter are not easily distinguished, 



CANT. 



167 



CANU. 



except by a superior outline' of the figure, espe- 
cially in the extremities. The following are his 
principal prints : 

Adam and Eve eating the Forbidden Fruit. TheKepose 
in Egypt ; falsely marked G. Renus in. tf* fee. Another 
Kepose in Egypt, with the Head of the Virgin in profile, 
with St. Joseph sitting near her. Another Repose in 
Egypt, with the Head of the Virgin in front, with St. Jo- 
seph in the distance ; very fine. The Holy Family, with 
St. John. Another Holy Family, with St. John and three 
Angels ; marked S. C. da Pesare,fec. The Virgin Mary, 
with a Glory, and the infant Jesus ; marked (S*. C. da Pe- 
sare,fec. The Virgin, with the infant Jesus holding a 
Bird by a String. The Virgin sitting in the Clouds, with 
the infant Jesus. The Virgin, with a Glory, crowned by 
two Angels. Christ bearing his Cross, with Joseph of Ari- 
mathea. St. John the Baptist in the Wilderness, holding 
his Cross, and a Cup. St. John in the Wilderness, sitting 
on a Stone. St. Sebastian, with an Angel presenting the 
Palm of Martyrdom. The great St. Anthony of Padua 
kneeling before the infant Jesus. The little St. Anthony 
of Padua. St. Benedict curing a Demoniac ; after Lod. 
Caracci. The Guardian Angel leading a Child. Jupiter, 
Neptune, and Pluto, doing homage to Cardinal Borghese ; 
fine ; it was for some time believed to be by Guido. The 
Rape of Europa ; fine, and scarce. Mercury and Argus ; 
fine, and scarce. Mars, Venus, and Cupid; after Paolo 
Veronese. Venus and Adonis. Fortune, represented by a 
Female, with her Foot on a Globe ; after Guido Reni ; 
marked G. Renus, in. (^fec. 

CANTHARUS, an eminent sculptor of Sicyon, 
who flourished, according to Pausanias, about B. 
C, 300. He was the son of Alexis, and the disci- 
ple of Eutychides. He executed a g;reat number 
of good works, but nothing worthy of being ranked 
with the master pieces of art. At Elis, there was 
a statue by Cantharus, of a wrestler who had car- 
ried off the prize at the games. 

CANTI, Gig., a painter of Parma. Lanzi says 
he resided chiefly at Mantua, where his battle- 
pieces and landscapes were in request for the pri- 
vate collections. He also painted a few historical 
pieces, which possess but little merit. He died in 
1716. 

CANTOFOLI, GiNEVRA. a reputable Bolognese 
paintress ; born, according to Zani, in 1G18 ; died 
in 1672. Malvasia says she studied under Elis- 
abetta Sirani. Her master-piece is a picture of St. 
Tommaso di Villanuova. In S. Procolo at Bologna 
is a picture by her, of the Last Supper ; and an- 
other in La Morte, of St. ApoUonia. 

CANTON, John Gabriel, a German painter, 
born at Vienna, in 1710. He painted men and 
horses with great spirit and correctness, and some 
of his labors in this branch of the art are to be 
found in the landscapes of Orient, and in the battle 
pieces of Mcyltens. His pictures are scarce, and 
sell at high prices. He died at Vienna in 1753. 

CANTONA, Caterina, a noble Milanese lady, 
whom Lomazzo praises for her skill in tapestry, 
which she designed and wrought with exquisite 
grace and beauty. Morizia also speaks of her in 
terms of praise, but calls her name Barbara, and 
says she died young in 1595. The art of embroid- 
ery was practised in very ancient times, and has 
continued in Italy from the Romans to the present 
time, and there are many valuable ancient speci- 
mens in the museum of that country. The cus- 
tom of adorning the walls of the churches with 
sacred histories, wrought in tapestry, continued 
through the dark ages, and there are some relics 
still preserved in the sacristies. In later times, 
the most eminent painters furnished designs for 



such kind of work. The art of embroidery was 
not only employed to represent fruit and flowers, 
but for landscapes, and even extensive historical 
pieces, both sacred and profane. 

OANUTI, DoMENico Maria, a Bolognese paint- 
er, born in 1620 ; died in 1684. He was instruct- 
ed by Guido, of whose school he proved a brilliant 
ornament, so that that great master often compli- 
mented the taste and abilit}^ displayed in the fine 
compositions of Canuti. He was emploj^cd on 
many fine works at Padua, Bologna, and Rome. 
In the church of the P. P. Olivetani at Bologna, is 
an extraordinary^ picture by him of the Deposition 
from the Cross, represented by moonlight, called 
the Notte del Canuti. In S. Bernardinois a noble 
piece of the A^irgin and Saints ; and in the palace 
of the Pepoli family at Bologna are two saloons 
painted entirely by this artist, which are univer- 
sally admired. We have a few plates by Canuti, 
in the manner of Guido, but in a neater and more 
finished style, though less spirited in the execution. 
The following are the principal : 

The Portrait of Lodovico Caracci ; Canutus, sc. Ditto, 
Agostino Caracci ; same mark. Ditto, Annibale Caracci ; 
same mark. The Virgin in the Clouds, with Christ stand- 
ing by her. St Roch, as well as the preceding ; after his 
own design. St. Francis praying ; after Guido — Dom. 
Ma. Canuti^ fee. 

CANZIANI, Gio. Battista, a painter of Ve- 
rona, on whom the Padre Orlandi bestows great 
commendation for the excellence of his portraits. 
He was banished from his native city for an act of 
homicide, when he settled at Bologna, where he 
practised with success. He died about 1720. 

CAP ANN A, Puce 10, an Italian painter of the 
fourteenth century, who was esteemed one of the 
most successful followers of Giotto. His style 
was distinguished for beautiful simplicity and 
truth of expression, as ma}^ be seen by the en- 
graving inRosini's work, representing the Entomb 
ment. Zani says he was born at Assisi, though 
Lanzi inclines to Florence. 

CAPELLANI, Antonio, a Venetian engraver, 
born about 1730, studied under Wagner, and en- 
graved the principal part of the portraits for 
Bottari's edition of Vasari. published at Rome in 
1760 ; also, several plates for the Scuola Italica? 
Picturae, under the direction of G. Hamilton ; and 
a number of other prints, among which are the 
following : — 

The Portrait of Michele Angelo Buonarotti. The Draw- 
ing School ; after Dom. Maiotto. Diana and Endyraion ; 
do. Apollo and Daphne ; do. The Creation of Eve ; 
from the Sistine Chapel ; after M. Angelo. Adam and 
Eve driven from Paradise ;" do. The IMarriage of St. Ca- 
therine ; after Correggio. The Repose in Egypt ; after Ba- 
roccio. 1772. View of the Portico of the Villa Albana ; 
after Panini. 

CAPELLINO. Gio. Domenico, a Genoese paint- 
er, born in 1580; died in 1651; studied under 
Paggi. whose style he successfully imitated, though 
hedKlnot equal him indignity. His best per- 
formances arc the Death of St. Francis, in S. Nic- 
colo at Genoa, and his St. Francesca Romana, in 
S. Stefano. 

CxAPITANI, GiuLio DE, a native of Milan, who 
studied under Bernardino Campi. Lamo says 
he was an able assistant of his master. He flour- 
ished at Milan in the last half of the sixteenth 
century. 



CAPO. 



168 



CAPP. 



CAPITELLI, Bernardino, a painter and en- 
graver of Siena, who flourished from 1G22 to 1637. 
and studied under A. Casolani, and also under E. 
Manetti. Little is known of him as a painter. 
Bartsch enumerates forty-three etchings by him 
of considerable merit, according to Zani, some of 
which are finished with the graver. The following 
are the pi-incipal : — 

The Portrait of Alessandro Casolani ; B. CapiteUi,fec. 
S. Anthony of Padua, and his Miracles; B. Capitetli, fee. 
1637. The Marriage of St. Catherine ; after Correggio. 
The Repose in Egypt, the Virgin giving drink to the infant 
Jusns ; after Rutilio Manetti. Ceres drinking in the Cot- 
tage of the old Woman ; the same subject which Count 
Goudt engraved after Elsheiiner. A set of twelve plates 
of the Life of St. Bernard of Siena, with the title ; Ber- 
nardus Capitellius Senensis. A set of friezes and bassi- 
rilievi, among which is the Aldobrandini Marriage, from 
an antique painting. 

CAPODORO. See Paganini. 

CAPODIFERRO, Gio Francesco, an Italian 
artist and native of Bergamo, who died about 1533. 
Lanzi sajR he was either a pupil or a rival of Fra 
Damiano da Bergamo, who decorated the choir of 
his own church, at Bergamo, and that of Bologna 
with a species of inlaid work, executed with the 
greatest art ; also that of S. Pietro, at Perugia, 
ornamented with the most beautiful histories. 
For this purpose, at first, different colored woods 
were employed, and afterwards stained woods, by 
means of which, not only buildings but figures 
were accurately represented. Capodiferro was 
much employed in ornamenting the churches at 
Bergamo and other cities with this kind of work, 
and appears to have acquired considerable vv^ealth. 
His works in S. Maria Maggiore. at Bergamo, are 
considered among the finest specimens of the art. 
He had a brother named Pietro, who assisted him 
in his works ; also a son named Zinino, whom he 
instructed in his own art. 

C APOLONGO, Antonio, a Neapolitan painter, 
who lived about 1480 ; studied under dell a Lama. 
Dominici highly praises the principal altar piece 
by him, in S. Diego, at Naples, representing the 
Conception with Saints. In S. Niccolo is a picture 
by him, of the Virgin and Infant, with a glory of 
angels and several saints. 

CAPON, William, an English painter and ar- 
chitect, born in 1757. He studied painting under 
his father, who was an artist of some merit ; but 
manifesting a strong inclination for architecture, 
he was placed with Novosielski, under whom, he 
assisted in the construction of the Royal Opera 
House, and also designed several edifices for the 
gardens at Ranelagh. He afterwards visited Italy 
for improvement, and on his return was employed 
to erect several works. He was particularly dis- 
tinguished for his ability in scene-painting, and he 
enriched the theatres of Drury Lane and Covent 
Garden with a number of admirable works of this 
description. He died in 1828. 

CAPORALI, Bartolomeo, a native of Peru- 
gia, who, according to Mariotti, was a distinguished 
painter in his day. There are works executed by 
him at Perugia bearing his signature and date 
from 1442 to 1487. He had a son named Giam- 
battista, born in 147G. He was a reputable 
painter, but more distinguished as an architect, 
and died about 1553, according to Mariotti, and 
1560 to Pa.scoli. This last artist also had a son, 
named Giulio, whom he brought up to his own 
profession. 



C APPELLA, Simone, a Neapolitan painter, born 
in 1591 ; died in 1641 ; studied at Rome under 
Annibale Caracci, after which he returned to his 
native place, where, according to Dominici, he 
painted sacred subjects with great success. 

CAPPELLE, Jan vander, an eminent Dutch 
painter of marine subjects and river views, was 
probably born about 1635, as is supposed from the 
style of his pictures, many of which possess great 
excellence, though lie is not noticed by the Dutch 
authors. His first works are in the style of W. 
Vandervelde ; others resemble De Ylieger and 
Dubbels ; and some bear the impress of the genius 
of Rembrandt, with the glow and warmth of 
Cuyp. Like most artists of his countr}^, he was 
an excellent colorist. He also painted winter 
landscapes, with numerous figures skating on 
frozen lakes or rivers, like vander Neer and 
Ostade. There are pictures with his name, J. V. 
Capelle, but none with a date. Lord Townsend, 
an English nobleman, had a very beautiful speci- 
men representing a river scene, at the entrance of 
the Brill. 

CAPPELLI. Gio. Antonio, an historical painter 
of Brescia ; born, according to Zani, in 1669 ; 
died in 1741 ; studied under Pomponeo Ghiti, but 
afterwards visited Bologna, where he studied some 
time under Pasinelli. but finally went to Rome, 
and became a scholar of Baccici. His fresco 
vrorks were held in considerable estimation ; they 
are chiefly in the public edifices at Brescia. 

CAPPELLI; Francesco, called Caccianemici, 
an Italian painter, born at Sassuolo, in the Duchy 
of Modena. flourished from 1535 to 1586. He 
studied under Correggio. and resided chiefly at 
Bologna, according to Vidriani, where he was 
chiefly employed for the private collections. Lanzi 
highly extols a picture by him entirel}^ in the 
style of his great instructor, representing the Virgin 
with saints, in S. Sebastiano, at Sassuolo. There 
was another Francesco Caccianemici of the school 
of Primaticcio. who flourished about this period. 

CAPPELLINI, Gabriele. a Ferrarese painter, 
called iL Caligarino, from his original occupation 
of a shoemaker. He is said to have been induced 
to give up his trade, and to become a scholar of 
D. Dossi, from being praised by that artist for the 
elegant shape of his shoes. Barotti mentions sev- 
eral of his works, painted in a noble style; among 
which is a picture of St. Peter and St. John, in the 
church of S. Francesco at Ferrara; also the prinr- 
cipal altar-piece in S. Giovannino, representing the 
Virgin and Infant, with Saints. 

CAPRIOLO, Aliprando, or Alessandro, an 
engraver of Trent, who lived about 1580, He en- 
graved the plates for a work entitled Ritratti di 
cento Capitani illustri, which have little merit. 
His style resembles that of C. Cort, and some 
critics suppose that his best prints have been at- 
tributed to that master. 

CAPRIOLI, Francesco, an excellent old paint- 
er, who, according to Tiraboschi, was a native of 
Reggio, where he flourished from 1482 to 1505. 
and executed many works for the churches and 
public edifices. Lanzi says there are several of his 
works still at Reggio, especially in the church of 
S. Tommaso, which have resemblance to the works 
of the two Francia, and that many of his works 
have been attributed to those distinguished orna- 
ments of Bologna. 



CAPU. 



169 



CARA. 



CAPUGNANO. Giovanni, an artist very fully 
treated of by Malvasia, Orlandi, and other writers, 
who fioiirished at Bologna in the time of the Ca- 
racci. He is only worthy of notice for his amu- 
sing character; misled by a pleasing self-delu- 
sion, like that ancient personage mentioned by 
Horace, who imagined himself the owner of all the 
ships that entered the Athenian port, he believed 
himself the greatest painter in the world, which 
made him the butt and ridicule of all the artists 
of Bologna. 

CAPURRO. Francesco, a Genoese painter, who 
flourished about 1G90; studied under D. Fiasella, 
and afterwards at Rome, under Spagnoletto, whose 
works were then much in vogue. He was em- 
ployed at the court of Modena, and according to 
Soprani, just as he was giving promise of rising 
eminence, he died at Genoa, of a malignant fever, 
in the prime of life. 

CARACCA, IsiDORO, a Piedmontese painter, 
who flourished at Leghorn in 1595. No writer 
takes notice of him except Lanzi, who found man- I 
uscripts in the books of the Treasury at Leghorn, 
referring to him. He says he was appointed court 
painter, and probably succeeded Ardente; that he 
cannot speak of his country, school or works, but 
an artist who had received such a mark of distinc- 
tion, at that time, ought not to be placed among 
the vulgar, but researches instituted to find him 
out. 

^C^'^D CARACCI, Lo DO VI CO, an illustrious Bo- 
<:*^t/^iOgnese painter, born in 1555 ; died in 
1619 ; studied under P. Fontana. He at first man- 
ifested such dulness of apprehension, and produced 
such feeble and unpromising pictures, that his fel- 
low students nicknamed him the Ox, and Fon- 
tana advised him to abandon the art. But it soon 
became evident that he was not deficient in genius ; 
he considered that the depraved and impoverished 
style which had been practised in the schools of the 
difierent Italian masters, had arisen from a prema- 
ture and dangerous negligence of execution. He 
made Nature his grand model, and by the constant 
study of her ever varying beauties, he insensibly 
acquired that correctness and simplicity which so 
peculiarly distinguish his works. On quitting 
Fontana, he visited Venice, and studied the splen- 
did works of Titian and Tintoretto. At Florence 
he studied and copied the pictures of Andrea del 
Sarto, and at Parma attached himself to his favor- 
ite models, the grand productions of Correggio. 
On returning to Bologna, he was desirous of re- 
trieving the art from the low state into which it 
had fallen, both in that city and throughout Italy, 
and by the assistance of his relatives, Agostino and 
Annibale, he elevated it to a proud and transcendant 
position. In this glorious work the Caracci met 
violent opposition, but the extraordinary merit of 
their productions at length triumphed over their 
enemies, and they succeeded in establishing that 
celebrated academy, which has produced an Albano, 
a Guido, and a Domenichino, besides many other 
artists of ability. Of this great school Lodovico 
was the head, and to him is due much of the honor 
of its usefulness and success. His style has been 
considered by several of the best judges of the art, 
as that which approaches nearest perfection. His 
simplicity of coloring, his breadth of light and 
shadow, and the solemn effect of the twilight that 



seems diffused over his pictures, were most admi- 
rably adapted to the grave and dignified subjects 
he generally represented. His principal works are 
at Bologna, the most important of which were his 
fresco paintings in the Palazzi Magnani and Zam- 
pieri, in which he was assisted by Agostino and 
Annibale. In S. Domenico is his wonderful picture 
of St. Domenico and St. Francesco, painted in the 
simplest and grandest style of the art, with an al- 
most imperceptible effect of light and shadow, yet 
of sufficient and surprising relief, and an inexpres- 
sible sanctity in the expression of the heads. His 
Carita in the ceHing, so tender, so graceful, and 
lovely, IS indeed a model of beautiful expression. 
The Flagellation and Christ crowned with Thorns, 
in the Certosa, exhibit powers more masculine 
and vigorous, capable of representing the aAvful and 
terrific. In the cloister of St. Michel e he painted, 
with the assistance of his scholars, thirty-seven 
pictures, from the lives of St. Benedetto and St. 
Cecilia ; also a fine picture of the Last Supper. In 
S. Martino Maggiore, is his celebrated picture of 
Girolamo, and his more famous Limbo, or Purga- 
tory, which is considered one of the greatest ex- ' 
amples of the sublime. This great artist has 
etched a few plates in a masterly style, finished 
with the graver. They are generally marked L. 
0. or L. 0. C. The following are the principal : 

Samson overcoming the Lion ; L. C. G. The Virgin 
and infant Jesus, with four Angels, half-length. The Vir- 
gin suckling the infant Jesiis ; half-length ; hod. Car., 
inv.f. The Holy Famil3^, where the Virgin is washing 
Linen ; L. C.f. Another Holy Family ; 1604 ; Lodovi- 
co Caracci, fee. Another Holy Family under an Arch. The 
Frontispiece to the Poems of Cesare Rimaldi. A Thesis, 
with the Arms of Bonfigliovoli, with Mercury and Hercules. 

CARACCI, Paolo, was a brother of Lodovico 
C, and cultivated painting, but he was deficient 
in judgment and ability, and only calculated to ex- 
ecute the designs of others, in a style of medioc- 
rity. 

CARACCI, Agostino, a Bolognese painter, and 
very eminent engraver, the cousin of Lodovico Ca- 
racci, and the elder brother of Annibale, born in 
1558; died in 1601. He was intended by his 
father for the business of a goldsmith, a profession 
then nearly allied to that of engraving. When 
fourteen years old, he had engraved several plates 
in the style of C. Cort, when Lodovico requested 
him to study painting. He became a pupil of 
Fontana, and subsequently of Passerotti ; on 
quitting whom, he visited Rome with his brother 
Annibale, to study the works of Correggio and 
Parmiggiano. He afterwards went to Venice, 
where, under the able instructions of C. Cort, 
he became one of the most distinguished Itahan 
engravers. His design was most admirable, and 
in his engravings he frequently corrected the faults 
of the original picture. On returning to Bologna, 
he devoted himself to painting with incredible as- 
siduity. Emulated by the fame of his brother An- 
nibale, and assisted by the instruction of Lodo- 
vico, he advanced so rapidly that he was engaged 
in all the important works which they were 
executing in the Palazzi Magnani and Zampieri. 
He was well versed in poetry and the sciences ; 
which acquirements were of infinite value in many 
of the great works produced by the Caracci. About 
this time he painted his celebrated picture of the 
Communion of St. Jerome, for the Certosa at Bo- 
logna, which was taken by the French to the 



CARA. 



170 



CARA 



Louvre, but is now in the Galler}^ at Bologna. 
Agostino soon after accompanied Annibale to 
Rome to assist him in painting the Farnese Gal- 
lery, and his acquirements and poetical genius 
were of great value in the composition of those 
mythological subjects, to which the unlettered 
Annibale Vv'-as totally inadequate. The latter, 
however, did not seem to appreciate this important 
assistance, and by his turbulent disposition, raised 
continual dissensions, so that Agostino was obliged 
to abandon him, and to leave Rome. He went to 
Parma, where he was employed by the Duke to paint 
the great saloon of the Casino, but died soon after 
its completion. He painted an admirable picture 
of the Assumption in the church of S. Salvatore 
at Bologna ; also a fine picture of the Nativity, 
with two laterals of the Adoration of the Magi, 
and the Circumcision, in S. Bartolomeo di Reno. 
At Rome, the pictures he painted for the Farnese 
Gallery, were the Triumph of Galatea, and Cepha- 
lus and Aurora. 

As an engraver, he has produced a large number 
of works. His plates are executed entirely with 
the graver, in a free, bold style, resembling that of 
C. Cort ; his heads are admirably expressed, and 
his extremities most accurately drawn. The cor- 
rectness of his design is only equalled by the beau- 
ty of his execution, and his plates would have 
nearly reached perfection, had he studied the 
chiaro-scuro more carefully. His plates are usu- 
ally marked A. C, or AUG. F., or Ag-os. C, and 
sometimes with his name abbreviated. The fol- 
lowing are the principal : 

PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. 

Agostino Caraeci. Antonio Caracci, his father ; very 
pcavce. A Medallion of the Emperor Augustus; C. A. 
Bust of Cosmus I. with ornamental figures. The Head of 
a Woman ; fine. Portrait of a Lady with a Collar of 
Pearls. Giovanni Tommaso Costanzo. Prinoess Christina 
of Lorraine. Ulysses Aldrovandus. Marc' Antonio Rai- 
uiondi. Titiano Vecelli. 1587. Antonio Caracci, as St. 
Joseph. Eve giving the Apple to Adam. 1581. The Vir- 
gin and infant Jesus. The Vii'gin suckling the infant Je- 
;-us. The Repose in Egypt. The Virgin in the Clouds, 
c^iring the Scapulary to a Saint. The Virgin seated on a 
t-tcp, with St. Josepli, the infant Jesus, St. John, and an 
Angel ; scarce. The Good Samaritan ; proofs before the 
letter are very rare. The impressions with the name of 
BericlU, are retouched. The Crucifixion, with two Fe- 
n\:ile:?, one representing Christianity, the other Judaism. 
The Resurrection. Le nome di Dio. The Pope and the 
.'•'enate of Venice kneeling before the Virgin ; Luc. Bar- 
t.d'iLformis. 1582. St. Francis d'Assisi receiving the 
Stigmata; Agos. Car. 1586. The Cord of St. Francis; 
!'t. Francis distributing cords to a number of persons of 
•ilHerent orders. 1586. St. Jerome kneeling at the en- 
trance of a cave. (There are impressions of this plate 
which are very scarce, Where it is three parts finished, and 
(he rest slightly sketched with a single stroke. The plate 
was afterwards finished by his pupil Villamena.) Seven- 
1 cen plates of free subjects, called in Italy le Lascivie dei 
CiTiicci. Two other indecent subjects. A Landscape with 
naked figures. A Landscape with the same, and in the 
distance a Dance. Cupid conquering Pan ; Omnia vincit 
amor. 1599. Perseus combating the Monster. Frontis- 
piece for the book, called Cremona Jiddissima. This book, 
which is very scarce, contains thirty-five portraits engraved 
by Agostino. 

SUBJECTS AFTER VARIOUS MASTERS. 

A Child blowing Bubbles ; after Goltzius ; very scarce. 
Jacob watering the Flocks of Ilachael ; after D. Calvart. 
1581. Judith, half-length; after Lorenzo Sabbatini. 
The young Tobit conducted by the Angel ; improperly 
marked Rajfaelled' Urbino ; it is after Raffaclle da Reg- 
gio. The Presentation in the Temple ; affer Orazio Sa- 
macchini. The Virgin and Infant Christ giving the Keys 
to St. Peter; do. The Adoration of the Magi, 1579; 



Baltii. ■peruzzi, pin.v. The ^^irgin nnd Infant, with Mag 
dalene, St. Jerome, and an Angel ; after Corrcggio. 1586. 
The Adoration of the Magi ; after Marco del Moro. The 
Ecce Homo, with the Virgin and other figures ; after Cor- 
rcggio. 1587. The mocking of Christ ; Vesji. Strada, 
pinx. The great Crucifixion; cfter Tintoretto ; in three 
sheets. The dead Christ, supported by an Angel ; half- 
length ; after V. Strada. The Pieta ; after the sculp- 
ture of M. Angelo Buonarotti. The Nativity of the 
Virgin ; after And. del Sarto. The Virgin Mary crowned 
by the Trinity ; after A. Mostaert. The Holy Family; 
after Fed. Bavoccio. The Holy Family, with St. John ; 
after Rqffaelle. The Holy Family, Avith St. Michael ; cfter 
L. Sabbatini. The Virgin with the Crescent, and the infant 
Jesus giving the Benediction ; do. The Holy Family, 
Avith St. Anthony and St. Catherine ; after Paolo Vero- 
nese. The Virgin taking under her protection two Monks ; 
do. The Marriage of St. Catherine ; do. The Martyr- 
dom of St. Justinia, in two sheets ; do. The Trinity ; 
after Titian. The Virgin and infant Jesus, with several 
Saints ; after Giulio Cavxpi. St. Paul resuscitating Eu- 
tychus ; after Antonio Campi. The Holy Family repos- 
ing in a Landscape ; after B. Passeri. The Virgin ; half- 
length ; after Giacomo Francia. St. Sebastian; after 
Francesco Francia. The Virgin suckling the infant Je- 
sus ; cfter Gio. Ligozzi. St. Jerome ; half-length ; after 
Vanni. St. Jerome, with the Lion regarding the Virgin 
in the Clouds ; cfter Tintoretto. 1598. The Temptation 
of St. Anthony, 1582. As this print is without a name, it 
has been sometimes attributed to Cornelius Cort. Mercu- 
ry and the Graces; after Tintoretto. Wisdom, accompa- 
nied bji- Peace, driving away the God of War ; do. yEneas 
carrying his father Anchises ; after Baroccio. 

CARACCI, Annibale, an illustrious Bolog- 
nese painter, born in 1560 ; died in 1609 ; was 
the cousin of Lodovico, and the younger brother 
of Agostino C. At an early age he manifested 
great genius, and under the careful instruction of 
Lodovico, he progressed with wonderful rapidity. 
Having made considerable proficiency, he visited 
Parma, by the advice of Lodovico, to study the 
works of Correggio. By the long study of these 
wonderful productions, he attained the daring 
variety of foreshortening, the boldness of design, 
the admirable choice in the turn of his figures, and 
the magnificent shnplicity of the folding of his 
draperies, which have gained for his Avorks uni- 
versal admiration. He also improved his coloring 
by the study of the splendid works of the Vene- 
tian masters. His energy was indomitable, no- ^ 
thing could impede his progress, and every fresli 
obstacle seemed only to incite him to new exer- 
tion. On returning to Bologna, he assisted Lo- 
dovico in his works in the Palazzi Magnani, Favi, 
and Zampieri. He was soon after invited by Car- 
dinal Farneso to decorate the gallery of his im- 
perial palace at Rome, whither he was accompanied 
by his brother Agostino. Here his great genius 
was somewhat restrained by the study of the 
works of Raffaelle, and the antique. The Farnese 
Gallery occupied him eight years of the prime of 
his life. He was assisted in this great work by 
Lodovico and Agostino, and although by it he has 
immortalized his name and ennobled the art ; yet 
his employer only paid him the miserable pittance 
of 500 crowns. It must be allowed, however, that 
had he possessed the cultivated taste and literary 
acquirements of Agostino, his powers would have 
been developed in a much more admirable manner. 
His natural vivacity, and daring energy, rendered 
him averse to the slow and toilsome attainment 
of learning, therefore he was ignorant of history 
and fable, and was compelled to have recourse to 
the ideas of others ; consequently he could not re- 
present the subject with that true poetry of feel- 
ing, which would have filled his soul from the 



CARA. 



171 



CARA. 



contemplation of his own conceptions. But when 
the subject did not transcend his comprehension, 
he was a perfect master of the art, 

A. Caracci also painted landscapes, not merely 
those in the backgrounds of his historical subjects, 
but several in which the figures were only acces- 
sory, and in grandeur of scenery, spirited execu- 
tion, choice of forms, and aerial tints, they are not 
surpassed. His principal works at Rome, are the 
Farnese Gallery ; the Marriage of Cana, in the cha- 
pel of the Farnese palace ; the Assumption, in the 
Madonna del Popolo, an admirable picture ; and in 
S. Francesco da Ripa^ a fme work, representing the 
body of Christ supported by the Virgin. In the 
Gallery at Dresden is an admirable work, cha- 
racterised by the most admirable invention, repre- 
senting St. Roch distributing his wealth to, the 
poor ; expressed with all the feeling and senti- 
ment of which the art is capable. At Bologna is 
the Annunciation, in the Madonna di Galiera ; the 
Assumption, in S. Francesco ; and a grand picture 
of the Resurrection, in Corpus Domini. His most 
celebrated easel picture was in the Orleans collec- 
tion, now in the portrait collection of the Duke 
of Carlisle. The subject is the Descent from the 
Cross ; it is represented with such solemnity as 
fills the mind with the most affecting emotions. 
Roullet has engraved an admirable print from this 
inimitable work. 

Annibale Caracci has executed about twenty 
plates, partly etched, and partly finished with the 
graver, which are strongly characteristic of that 
great master. They are the following: 

The Virgin suckling the infant Jesus ; oval. The Vir- 
gin supporting the Head of the infant Jesus sleeping. The 
Virgin and Child, with St. John presenting a Bird. The 
Virgin seated, with the Infant standing. The Adoration 
of the Shepherds. The Virgin of the Porringer, where she 
gives drink to St. John. 1606. A dead Christ in the lap 
of the Virgin, called the Christ of the Caprarole. 1597. 
Christ crowned with Thorns ; A. C inv. etfec. 1606. St. 
Jerome with spectacles ; half-length. St. Francis with a 
Crucifix and a Skull. St. Francis kneeling at the foot of a 
Rock. St. Petronius kneeling. Apollo playing on the 
Lyre, with Pan, An old Man, with two other figures. Ve- 
nus sleeping, with Cupid and a Satyr. Venus sleeping, 
contemplated by a Satyr, menaced by Cupid. Silenus, a 
Faun, and a Satyr, called the Cup of Annibale. The Tri- 
umph of Bacchus, a salver to the Cup ; both very scarce. 
Acis and Galatea, with a Satyr. Susanna and the Elders ; 
very scarce. 

CARACCI, Antonio, called il Gobbo, an Ital- 
ian painter ; a natural son of Agostino C, born at 
Venice in 1583 ; studied with his uncle Annibale, 
whom he accompanied to Rome when the latter 
went to paint the Farnese Gallery. Under Anni- 
bale's excellent instruction he soon showed proofs 
of ability, and was taken under the protection of Car- 
dinal Tonti, who employed him in his chapel in S. 
Bartolomeo nelP Isola, where Antonio painted sev- 
eral frescos representing the Life of the Virgin and 
the Passion of Christ, One of his best works is a 
frieze in an apartment of the palace of Monte Ca- 
va! lo, which is much admired. He had a strong 
affection for his uncle Annibale, whom he attend- 
ed in his last moments, and honored with a splen- 
did funeral, and a magnificent tomb near that of 
Raffaelle, in the church of the Rotonda, Antonio 
was of a slender constitution, and died, aged 35, at 
Rome, in 1618, 

CAR;iCCI, Francesco, a Bolognese painter 
of considerable ability', the younger brother 



of Agostino and Annibale, born in 1595; studied 
under Lodovico Caracci, He attempted to rival 
that great master in academic celebrity, set up a 
rival establishment, and even had the insolence to 
have written over his door This is the true School 
of the Caracci. Not succeeding as he expected, 
he left Bologna,, and went to Rome, where he died 
in 1622. At Bologna he painted St, Roch and 
the Angel, in the church of S, Rocco ; and in S. 
Maria Maggiore, the Death of the Virgin, with the 
Apostles, in which Lanzi says he was assisted by 
Lodovico. There are a fevv^ prints by this artist 
from the designs of Lodovico and Annibale ; some 
of them are marked F. C, and others with his 
monogram. The following are the principal : 

The Virgin and infant Jesus, inscribed, Diaparce imago 
a divo Luca pict. (^c. Sir Charles Borromeo kneeling. 
An Angel with wings, pointing to a skull. Four Busts of 
illustrious women ; Semiramis, Lucretia, Artemisia, and 
Portia. 

CARACCINO, II. See Mulinari. 

CARACCIUOLO, Gio. Battista, a Neapolitan 
painter, born about 1580 ; died in 1641; studied un- 
der F. Imparato ; and afterwards under Caravaggio, 
whose style he followed for some time. On going 
to Rome, he adopted the style of Annibale Caracci, 
and studied with great assiduity the works of that 
master in the Farnese Galler3^ On returning to 
Naples he painted several pictures for the churches 
and public edifices of that city so much in the style 
of Annibale. that Dominici says the}' might be mis- 
taken for his works. The best of these are : St. 
Cecilia, in the church of S. Maria ; St, Antonio, in 
S, Nicolo ; St. Carlo, in S. Agnello ; the Death of 
the Vii'gin. and the Assumption, in S, Anni di 
Lombardi. 

f^ 0ARAGLIO,orCARALIUS,Gio,GiA- 
<3 coMO, an eminent Veronese designer and 
engraver, born about 1512 ; studied at Rome, and 
from his style is supposed to have been a scholar 
of M, A, Raimondi. His drawing is very correct ; 
his heads have a fine expression ; and his works 
exhibit great taste and skill. He flourished as an 
engraver on copper from 1526 to 1551, and was 
also much employed in the graving of gems. He 
was employed at the court of Sigismund, King of 
Poland, where he executed several medals, v»^hicli 
gained him great reputation. In the latter part of 
his life he returned to Italy, and settled on his own 
estate, near Parma, where he died about 1570. 
The following are his principal plates : 

The Virgin and Infant, under an Orange Tree ; Jacobus 
Veronensis. The Virgin kneeling, with the Infant and 
St. Ann. The Holy Family ; after Rajfaelle ; the same 
subject as the fine print by Eddinck. Another Holy Fam- 
ily, with St. Elisabeth ; do. The Marriage of the Virgin ; 
after Parmeggiano. The Annunciation ; after Titian ; 
inscribed Tiiianijigurarum., (f-c. ; Jac. Caraglio. The 
Punishment of Tantalus ; do. The carrying up of Gany- 
mede ; after M. Angela. An Anatomical Figure, holding 
a Skull ; after Rosso. Hercules piercing with his Arrows 
the Centaur Nessus: do. Hercules slaying Caucus; do. 
Nymphs and Young Mon in a Garden ; do. Twenty, of Di- 
vinities with their Attributes, in niches ; do. Twenty, of 
the Metamorphoses of the Gods ; after Rosso and Pierino 
del Vaga. The Triumph of the Muses over the Pieridc.^ ; 
after Pierino del Vaga; J.J. Caraglia Veronese. 1.553. 
The Death of Meleager ; do. ; Jac. Caralius, fee. The 
Creation ; semi-circular ; do. A Battle ; R. j. Jacobus 
Ver.,fec. The Rape of the Sabines; after Rosso; un- 
finished. 

CARAVAGGIO, Polidoro Caldara da, an 
eminent IMilanese painter, born at Caravaggio 



^^ 



OARA. 



172 



CARB. 



in 1495. His parents were very poor, and after 
passing his youth in misery and want, he went to 
Rome for employment, and was engaged to carry 
mortar for the fresco paintings of the artists who 
were employed by Leo X. in the Vatican. He no- 
ticed with what facility Maturino and Gio. da 
Udina executed the designs of Raffaelle, and was 
stimulated to imitate them. His attempts soon 
attracted the notice of Raffaelle, who took him into 
his school, of which Caravaggio became one of the 
most illustrious disciples. He studied the antique 
with such assiduity, that in a short time he seemed 
to have completely caught the true spirit of the 
Greek sculptors ; all his works were characterised 
by that admirable perfection of design, and purity 
of form, which have made their works the models 
of all succeeding ages. This careful attention to 
the antique, rendered him almost insensible to the 
magic of coloring. His productions at this time 
were monochroms in chiaro-scuro of the designs 
he had composed from his studies of the beauties 
of antiquity, and he was the first of the Roman 
school who attempted works of this kind. Such 
was their excellence that Raffaelle selected him to 
paint the friezes which accompanied his works in 
the Vatican ; and they are not unworthy a place 
with the sublime productions of that great master. 
In the variety of his attitudes, the simple folding 
of his draperies, the trophies with which he adorn- 
ed his works, and the grandeur and abundance of 
his compositions, he appears to have revived the 
perfection of ancient art. He executed, in concert 
with his friend Maturino. a number of fresco paint- 
ings on the exterior of the palaces of the nobility, 
but these have been destroj^ed b}^ the effects of the 
weather, and no remembrance of them is preserved 
except in the admirable prints by Alberti, Goltzius, 
and Galestruzzi. Besides the works already men- 
tioned, he executed at Rome the Fountain of Par- 
nassus, in the garden of the Palazzo Buffalo ; also 
in the court of the palace, the history of Niobe, 
and some grand compositions of naval combats, 
and two subjects from the Life of Magdalene, with 
a very beautiful landscape. Caravaggio was in the 
full tide of success, when he was compelled to flee 
to Naples, in consequence of the sacking of Rome 
by the Spaniards, in 1527. He was kindly received 
by his old friend, Andrea del Sarto, whose ac- 
quaintance he had made at Rome, and who was 
the means of procuring him immediate emplo}— 
ment. He painted here two pictures of St. Peter 
and St. Paul in the church of S. Maria della Grazie ; 
also several pictures in S. Angelo in Pascheria. 
After remaining some time at Naples, he visited 
Sicily, where he painted the triumphal arches 
erected at Messina, on the occasion of Charles V.'s 
return from his Tunis expedition. His next work 
was his celebrated picture of Christ bearing his 
Cross, a grand composition of many figures, paint- 
ed in oil, with a beauty and harmony of coloring 
which shows his ability in that branch of the art. 
When Rome was restored to tranquillity, he made 
preparations to return thither, but having drawn 
his funds from the bank, he was murdered by his 
Sicilian servant for the sake of the money, in 1543, 
in his 48th year. 

CARAVAGGIO, M. A. See Angelo. 

CARAVOGLIA, Bartolomeo, a Piedmontese 
painter, who flourished about 1673, and is said to 
have studied under Guercino. but Lanzi says his 



shadows are less deep, and his lights less lucid, 
than those of the scholars of that master. His 
works are characterised by harmony of coloring, 
and good invention and design. His best produc- 
tion is the Last Supper, in the church of Corpus 
Domini, at Turin. 

CARBAJAL, Luis de, an eminent Spanish 
painter, born at Toledo in 1534; studied under 
Villoldo, and was employed by Philip II. in the 
Escurial, with mau}^ other distinguished artists. 
He painted several subjects from the Life of the 
Virgin, in the principal cloister ; also the altar- 
piece of the Infermeria, representing the Nativity. 
There are several of his i)ictures in the churches 
of Madrid and Toledo. He was emploj'-ed in the 
Prado, according to Bermudez, as late as 1613, 
though Brj^an erroneously sa3's he died in 1591. 

CARBONE, Giovanni, an Italian painter, who, 
according to Pascoli, was born at San Severino, 
about 1625. He went to Rome and studied under 
Andrea Camassei. He was a reputable artist, but 
the notices of him are very meagre. 

CARBONCINO, Giovanni, a Venetian knight, 
who studied painting under Matteo Ponzone, and 
acquired considerable eminence. He went to Rome, 
but Lanzi says there are none of his works in that 
city, unless some attributed to Giovanni Carbone 
were executed by him. He afterwards returned 
to Venice, where he executed mtmy works, some 
of which are in the church.es of that city. A St. 
Angelo at the Carmini, and a Dead Christ at San 
Antonio, are highly commended by Melchiore and 
Guarienti. Lanzi says there are some of his works 
in the church of S. Nicolo of Trevigi ; marked Car- 
honcini opus. He flourished in the last part of 
the 17th, and first part of the 18th centuries. 

CARBONI, Bernardo, or Gio. Bernardo di 
Albara, an eminent Genoese historical and por- 
trait painter, born in 1614; died about 1680; 
studied under Andrea di Ferrari. His portraits 
are said to have been much in the admirable style 
of Vandyck. 

CARBONI, Francesco, a Bolognese painter, 
studied under Tiarini, but followed the graceful 
and elegant style of Guide. In S. Martino Mag- 
giore, at Bologna, is the Crucifixion, with St. Te- 
resa and other figures, by him; in S. Paolo, the 
Entombment ; and in the Padri Servi, the Decol- 
lation of St. John. He died in 1635. 

CARDENAS, Bartolomeo de, a Portuguese 
painter, born in 1547 ; died in 1606. He visited 
Madrid when quite 3'oung, where he studied under 
A. S. Coello. and, according to Bermudez. became 
one of the best painters of his time. He painted 
the principal part of the cloister of the convent of 
Nuestra Senora d'Atocha. at Madrid. In the lat- 
ter part of his life he resided at Valladolid, where 
he painted several pictures for the churches, espe- 
cially in the cloister of the convent of S. Pablo. 
He had a son named Juan de Cardenas, who re- 
sided at Valladolid about 1620, and was an emin- 
ent painter of flowers and fruit. 

^ CARDI, Lodovico. called Cigoli, an eminent 
_i1ji Florentine painter and architect ; born at the 
Castle of Cigoli, in Tuscany, in 1550 ; died in 
1613. He studied painting under Allori, and af- 
terwards under Santo di Titi, whose academy was 
then the most reputable in Florence. He studied 
with great assiduity the works of M. Angelo, Pon- 



CARD. 



173 



CARD. 



tormo, and A. del Sarto, and was more indebted 
to these for iraprovement than to either of his in- 
structors. After making the tour of Lombardy, 
he returned to Florence, and was received into the 
academy ; his picture of reception was Cain Slaj- 
mg Abel. He painted two pictures of Yenus and 
a Satyr, and the Sacrifice of Isaac, at the request of 
the Grand Duke, for the Pitti Palace. The Duke 
sent him to Rome, where he was employed to 
paint a picture for the Vatican ; the subject was 
Peter healing the Lame Man at the Gate of the 
Temple. This composition was considered by 
many as one of the finest works in the Vatican. 
It has been much injured by dampness, and the 
ignorance of cleaners. The other principal works 
of this master, are St. Jerome, in S. Giovanni de 
Fiorentini, at Rome ; the Conversion of St. Paul, 
in S. Paolo, near Rome ; the Stoning of St. Stephen, 
a fine picture, in the convent of Monte Domini, 
at Florence, (this has been engraved in Rosini's 
work); St. Alberto, in S. Llaria Maggiore; the 
Trinity, in Santa Croce. In the Florentine Gal- 
lery is a fine picture of Mary Magdalene ; also his 
celebrated Ecce Homo. Cigoli also painted many 
easel pictures of Saints (particularly St. Francis), 
Hermits, and Magdalenes at devotion, which are 
remarkable for their expression of contrition, fer- 
vor, and abstinence. They generally have a high 
degree of finish, especially in the accessories. Bal- 
dinucci says he approached nearer to the style of 
Correggio than any artist of his time, but as Lanzi 
observes, this would not be credited by those who 
have seen the works of Baroccio. Schidoni. and the 
Caracci. His works are much inferior to those of 
Correggio as to foreshortening, variety of coloring, 
and impressive tenderness of expres^iion ; though, 
like an able artist, he availed himself of the admi- 
rable management of chiaro-scuro, and the gran- 
deur of design, which characterize the works of ' 
that great master. Cigoli" etched two plates in a 
masterly style, which represent Mary Magdalene 
washing the Feet of Christ, marked C. I. V., with 
his monogram, and the Conversion of St. Paul. 

As an architect, he erected the triumphal arches 
for the Florentine festivals in honor of the mar- 
riage of Mary de Medicis with Henry IV. of France. 
He also designed the bronze equestrian statue of 
that monarch, on the Pont Neuf. at Paris. At 
Florence he erected the Loggia of the Fornaquinci, 
and built the court of the Strozzi palace. His best 
work, however, is the Renuccini palace in that 
city. At Rome, he erected a number of fine edi- 
fices, among which is the palace near Piazza Ma- 
dama, for the Grand Duke. He also published a 
Treatise on Practical Perspective. 

CARDIER, J. GuiLLAUME. a Flemish painter, 
born at Liege in 1645 ; died in 1675 ; studied un- 
der Doufflest and B. Flemael. His pictures are in 
the St. Petersburg and other foreign galleries. 

CARDISCO, Marco, called il Calabrese. a 
reputable painter of Calabria, who flourished from 
1508 to 1542. Lanzi says he probably studied 
under P. da Caravaggio. Dominici mentions a 
picture by this artist, in the church of S. Agostino, 
at Naples, representing that saint disputing with 
heretics. This work is considered his master- 
piece, and is incorrectly stated by Vasari to have 
been at Aversa. He also painted several other 
worksj among which is a much admired picture of 



a Dead Christ, with two laterals of St. Peter and 
St. Paul, in a chapel of the church of S. Pietro ad 
Aram at Naples. 

CARDON, Anthony, the elder, a Flemish en- 
graver, born at Brussels, and flourished about 
176G. He visited Naples, where he engraved a 
number of plates for Mr. Hamilton. There are 
also the following by him : 

The Portrait of George Prince of Wales. 1766. The 
Portrait of the Chevalier Verhulst. Le Bain rustiquc ; 
after A. Watteau. Le Contrat de Marriage ; do. 

CARDON. Anthony, the younger, a Flemish 
engraver, born at Brujzsels in 1773 ; died in 1813 ; 
studied under his father Anthony, called the elder, 
a Flemish engraver of little note. During the 
troubles in the Low Countries, Cardon took re- 
fuge in England, in 1790, when he was seventeen 
years old. In a few years he gained considerable 
reputation by the plates he engraved for the vari- 
ous publications of the day. He also etched seve- 
ral detached prints and portraits of some merit. 

Catherine of France presented to Henry V. of England 
at the treaty of Troyes ; after Stothard. Salvator Mun- 
di ; after Carlo Dolci. 

CARDUCCI, or CARDUCHO, Bartolomeo, 
an eminent Italian painter, was born at Florence, 
according to Zani, in 1561. He studied under 
Federigo Zucchero, whom he assisted in the great 
cupola at Florence ; and while quite young he 
painted two pictures for the church of the Jesuits, 
representing the Annunciation and the Nativity. 
When Zucchero was invited to Madrid by Philip 
IL, he induced Carducci to accompany him, who 
assisted Zucchero in the great works he executed 
in the Escurial, among which was the greater por- 
tion of the admirable frescos in the cloisters of that 
palace, which were so much admired by the king 
that he rewarded Carducci with 200 ducats in ad- 
dition to his salary. He also painted the famcus 
ceiling of the library, in concert with Pellegrino 
Tibaldi. But the work which, above all others, 
established his reputation in Spain, is the Descent 
from the Cross, in the church of S. Felipe, at ]\Iad- 
rj(j — a picture of most admirable composition, 
which was held in the highest estimation. Car- 
ducci was invited to the French court, but Philip 
II. expressed so great regret at being deprived of 
his talents, that the grateful artist excused himself 
to the French ambassador, and remained in Spam. 
After the death of his friend and patron, Carducci 
continued some years in the service of his succes- 
sor, Philip HI. " He was commissioned to paint a 
gallery of the Prado, with subjects from the life 
of Charles V. ; but the artist died before he had 
made much progress in this great work, in 1608. 
He is said to have had considerable skill m sculp- 
ture and architecture, but none of his works are 
mentioned. 

CARDUCCL or CARDUCHO, Vincenzic, a 
Florentine painter, the younger brother of B. Car- 
ducci ; born in 1568 ; died in 1638 ; was instruct- 
ed by his brother, and at his request accompanied 
him to Spain. After the death of the latter, he 
way engaged bv Philip III. to complete the gallery 
in the Prado, which had been commenced by B. 
Carducci. Instead of the Life of Charles V. he 
adopted the History of Achilles, finished the woi-k 
to the entire satisfaction of his royal patron, was 
made king's painter during the reign of that mo- 



CARI. 



174 



CARL. 




narch, and also to Philip IV., by whom he was j 
employed in many important works. He execu- , 
ted a number of pictures in Salamanca, Segovia, 
Valladolid, and Toledo. At Madrid he painted the \ 
great chapel in the convent L' Encarnacion ; St. 
Antonio and the Angel's "Warning to Joseph, in 
the convent del Rosario ; and St. John preaching, 
in the Refectory of the Franciscans. His last work 
was a St. Geronimo, in the church of Alcala de | 
Henares, which he did not live to finish. He wrote ! 
a book on painting, printed at Madrid in 1633, I 
which is highly praised by Bermudez. | 

CARIANI, Gio., a Bergamese historical and por- | 
trait painter of great merit, according to Lanzi and j 
Tassi. Bryan says he was born about 1510 : but 
there are pictures by him dated 1514 and 1519. He 
followed the style of Giorgione. In the church of 
S. Gottardo at Bergamo, is a very celebrated pic- 
ture by him, representing the Virgin and Infant in 
the Clouds, supported by Angels, with a Choir of 
Cherubs. It is colored with great amenity and 
sweetness, with a graceful and elegant composi- 
tion. 

CARLEVARIIS, Luca, a painter and engraver 
of Udina, born in 1665 ; died at Venice in 1729. 
He was called L/icca di Cd Zenobrio, having been 
patronized by the Zenobri family, who possessed 
many of his pictures. He painted landscapes, ma- 
rine views, and perspective ; his pictures are little 
known, except in Venice. There is a set of one 
hundred neat and spirited etchings by this artist, 
which are very faithful representations of differ- 
ent views in Venice. 

CARLIERI, Alberto, a Roman painter; born, 
according to Orlandi, in 1672; studied under Gio- 
seffb de Marchi, and afterwards under Andrea 
Pozzo. He excelled in architectural subjects, 
which he enriched with admirable historical fig- 
ures. 

CARLINI, Agostino, an Italian sculptor, who 
visited England and executed a number of works. 
Among his best productions were an equestrian 
statue of George IV.. and a statue of Dr. Ward in 
the Adelphi. Carlini excelled particularly in dra- 
peries. He was appointed keeper of the Royal 
Academy, and died in 1799. 

CARLINI, P. Albergio, was born at Pescia in 
1705, and died in 1775. He was a Minorite monk, 
and first studied under Ottaviano Dandini, and 
afterwards Cav. Sebastiano Conca at Rome. He 
became a good artist, and there are many of his 
works in the convent of his order at Pietrasanta. 

CARLISLE, Anne, an Enghsh paintress, who 
lived in the reign of Charles I. She painted por- 
traits, and according to Walpole was admired for 
her copies of the works of the Italian masters. 

OxiRLONI, Gio., a reputable Genoese painter, 
born in 1590 ; died in 1630 ; was the son of a 
sculptor. He studied under P. Sorri, and after- 
wards under Passignani at Florence, where he be- 
came an able fresco painter ; and on returning to 
Genoa he was much employed, and gained a dis- 
tinguished reputation. His works are charac- 
terized by facility of execution, masterly foreshort- 
ening, and correct design. The airs of his heads 
are tolerably graceful, his chiaro-scuro is managed 
with intelligence, and his coloring is \^gorous. 
He assisted his brother in the great fresco work in 



the Cathedral of the Guastato at Genoa, and was : 
invited to Rome to paint the ceiling of the church 1, ' 
of the Theatines, which he did not live to finish. • 
It was completed by his brother. »! 

CARLONI, Gio. Battista, an eminent Geno-* 
ese painter, the younger brother of the preceding ; 
born in 1594 ; died in 1680 ; studied under Pas- 
signani. He executed several great works at Ge- 
noa, in concert with his brother, the principal of 
which were the fresco paintings in the three navesw 
of the cathedral of the Guastato. In the princi-* 
pal nave he has represented the Adoration of the 
Magi, the Entrance of Christ into Jerusalem, the 
Resurrection, the Ascension, the Descent of the 
Holy Ghost, and the Assumption. It is a magnifi- 
cent work ; characterized by the most abundant 
invention, graceful contour of the figures, heads of 
most varied and beautiful expression, and a charm- 
ing lucidity, brilliancy, and harmony of coloring. 
In the same church he also painted the Presenta- 
tion in the Temple, and Christ preaching to the 
Pharisees. 

CARLONI, Andrea, a Genoese painter, the son 
of the preceding; bom in 1639; died in 1697; 
studied with his father a few years, and then went 
to Venice, where he remained some time and re- 
turned to Genoa. His first productions were sev- 
eral inferior pictures at Perugia, and the Life of 
St. Feliciano, in the church of that Saint at Fo- 
ligno. He went afterwards to Rome, where he 
altered his style for one more noble and elevated, 
and subsequently produced some most admirable 
works at Genoa, which Ratti numbers among the 
Genoese works of art most worthy of remem- 
brance. 

CARLONI, Carlo, a Milanese painter, proba- 
bly a relative of the preceding artists ; born near 
Como, in 1686; died in 1775 ; was the son of a 
sculptor, and was intended for his father's profes- 
sion ; but as he preferred painting, he was placed 
under Giulio Quaglio. He afterwards studied at 
Rome until he was twent3r-three years old, and 
visited Germany, where he met with great encour- 
agement. Little is known of his works as a paint- 
er, except that he possessed an inventive genius 
and great facility. As an engraver, he has execu- 
ted the following plates, mostly from his own 
compositions : 

The Conception of the Virgin. The Holy Family, with 
St. John kissing the Foot of Jesus. S. Charles Borromeo 
communicating the Pestiferous. The Death of a Saint. 
An allegorical subject of Opulence, for a ceiling. Another 
subject for a ceiling, a Figure with a Crown. A Group of 
Children, with a Basket of Flowers. 

CARLONI, NiccoLO, was a brother and pupil 
of Andrea Carloni. He was the least talented of 
the family — '-not," sajs Lanzi, "that he wanted 
talent, but it v*^as not of a transcendant kind." 

CARLO, Antonio, an Italian painter, born in 
Portogruaro, a district of the Friuli, was the son 
of an obscure painter, who instructed him in the 
elements of the art. He afterwards studied the 
works of Tintoretto and P. Veronese, at Venice. 
Lanzi saj^s that Friuli has not produced a greater 
genius than Carlo since the time of Pordenone. 
The composition of his historical subjects is ingen- 
ious and abundant, his design is bold and elevated, 
and his coloring, especial]}^ in the carnations, is 
tender and harmonious. Several of his best works 
at Udina have been much injured by retouching 



CARN 



175 



CARO. 



The best preserved is St. Tommaso, in S. Lucia. 
He painted many easel pictures and portraits for 
the private collections of TJdina. 

CARMONA. Emanuel Salvador, an eminent 
Spanish engraver, born at Madrid about 1740. He 
visited Paris when young, and entered the school 
of Charles Dupuis. In a few years he made such 
progress that he was received into the Academy at 
Paris in 1761. He afterwards returned to Spain, 
where he continued to exercise his talents. The 
following are his principal plates : 

The Portrait of Francis Boucher. 1761 ; his reception 
print at the Acadctay. The Portrait of Colin de Vermont. 
1761. The Portrait of the Marshal de Broglio. An alle- 
gorical subject, in honor of Charles III. of Spain ; after 
Solimena. Joseph, a Carmelite Monk ; after Velasquez. 
The Virgin and Infant ; after Murillo ; half-length. The 
Virgin and Infant ; after Vandyck. The Angels appear- 
ing to Magdalene ; after Guercino. St. John Baptist in 
the Desert ; after Mengs. Mary Magdalene in the Des- 
ert; do. 

CARNEVALE, Fra., or F. Bartolomeo Cor- 
RADiNi, was a native of Urbino, and died about 
1478. Lazzari commends him as a great artist, 
and Lanzi says that though his pictures appear de- 
fective in perspective, and retain in the drapery the 
dryness of the age, yet his architecture is beautiful. 
the colors brilliant, and the air of his heads noble 
and unaffected. His portraits are so strongly ex- 
pressed that they seem to live and speak. He was 
the most distinguished painter in Urbino, and it is 
known that Bramante and Raflaelle carefully stud- 
ied his works, as at that time there were no better 
works in Urbino. 

<]!ARNOVALE, Domenico, an Italian painter 
and architect, born at Modena, and flourished about 
1564. He was most distinguished for his admira- 
ble views of architecture, with figures introduced 
in excellent taste. His perspective views were 
executed with such wonderful skill as to produce 
perfect illusion. He practised architecture with 
reputation, and erected several good edifices. 

CARNULI, Fra. Simone da, a Genoese painter 
and a Franciscan monk. He painted several pic- 
tures for his convent, two of which possess con- 
siderable merit, representing the Last Supper, and 
the Predication of St. Antonio ; both are dated 
1519. His figures had something of the dryness 
common in his time ; but he painted architectural 
and perspective views, with small figures, which 
are commendable for their serial perspective and 
degradation of tint. 

CARO, Francisco Lopez, a painter of Seville; 
born in 1592 ; died in 1662 ; studied under Pablo 
de las Roelas ; painted several pictures in the Pra- 
do, representing the victories of Charles V., and 
was also an eminent portrait painter. He had a 
son named Francisco, born at Seville in 1627 ; 
died in 1667 ; was instructed by his father, and 
afterwards by Alonso Cano. His principal works, 
according to Palomino, are the pictures of the Life 
of the Virgin, in the chapel of S. Isidoro ; and his 
celebrated Porciuncul a, in S.Francisco at Segovia. 
These works exhibit no ordinary talent, and sus- 
tain the reputation of the school of Cano. 

CAROLI, Pietro Francesco, a painter of 
Turin, born in 1638 ; died in 1716. He visited 
Venice. Florence, and lastly Rome, where his mer- 
it gained him admission to the Academy of St. 
Luke, of which he became professor. His subjects 
were the interior views of churcheSj correctly de- 



signed and admirably colored, with remarkably 
fine figures. 

CAROSELLT. Angiolo, a Roman painter, born 
according to Zani about 1585 ; died in 1653 ; stud- 
ied under M. A. Caravaggio, whose powerful color- 
ing and bold efl'ect he closely imitated, but added 
a grace and elegance which that master wanted. 
He was chiefljr employed in easel pictures and por- 
traits for the gallery of the Cardinal Gessi. He 
possessed an extraordinary felicity in copying the 
works of great masters, and in painting close imi- 
tations of their style. His large works in the 
churches are the Martyrdom of St. Placido, and 
St. Gregory celebrating Mass, in S. Francesca Ro- 
mana ; also St, Vinceslao in the pontifical palace 
of the Quirinal. 

CAROTTO, Gig. Francesco, a Veronese paint- 
er, born in 1470 ; studied under Liberale Veronese, 
and afterwards under Mantegna, with whom he 
made such rapid progress, that Lanzi says his in- 
structor sold his pupil's productions as his own ; 
and describes some of Carotto's works as more 
harmonious, and in a grander style than those of 
Andrea, particularly his large picture of St. Ferrao 
at Verona, and the altar-piece of the Angioli, in S. 
Eufemia. He was much employed, esj^ecially by 
the Counts of Milan, and at the court of Monfer- 
rato, where there are a number of his portraits 
and easel pictures. He died in 1546. 

CAROTTO, Giovanni, was the younger brother 
and scholar of the preceding, whose style he fol- 
lowed, though greatly inferior to him in merit. 
He acquired more reputation by his designs of the 
curious remains of antiquity in and near Verona ; 
many of these, particularly his design of the fa- 
mous amphitheatre at Verona, were afterwards en- 
graved and published. He was the instructor of 
P. Veronese in the elements of perspective and 
architectural painting. He died about 1550. 

CARP AC CIO, Vittore, a Venetian painter 
who flourished, according to Ridolfi, about 1500, 
and painted several pictures in competition with 
the Bellini, for the churches and public edifices at 
Venice. There are works by him dated 1519, and 
Zani says he was hving in 1522. His early pic- 
tures have something of the hard and dry manner 
of his time, but his later ones are characterized 
by more softness of coloring and beauty of expres- 
sion. His principal work was painted in concert 
with Bellini, in the great council-chamber of the 
Ducal palace, which was destroyed by fire in 1576. 
In the Oratorio di S. Orsola, are several pictures 
of the life of that Saint. At Ferrara, in S. Maria 
del Vado, is the Death of the Virgin ; and in the 
chapel of the Compagnia de S. Girolamo, is the 
Communion of St. Jerome. 

CARPACCIO, Benedetto, an Italian painter, 
probably the son or nephew of V. Carpaccio. 
There is a picture by him dated 1537, in the church 
of the Rotonda, at Capo d' Istria, representing the 
Coronation of the Virgin, which is equal to many 
pictures of his time, as to beauty of expression 
and coloring, and management of the chiaro-scuro. 
There is also another of his pictures in the Osser- 
vanti, dated 1541. 

CARPENTERO, Jean Carol, a Flemish paint- 
er, born at Antwerp in 1784 ; studied under van- 
den Bosch and M, van Bree. He painted subjects 
of history, and landscapes with cows and sheep : 



CARP. 176 

the latter are painted in the style of Ommeganck, 
and such of his works as are exported to foreign 
countries are attributed to that master. 

CARPENTIER, Adrian, a Swiss portrait 
painter, who settled in England about 1760, and 
was a frequent exhibitor with the Society of Art- 
ists at Spring Gardens. One of his best produc- 
tions was a portrait of Roubilliac the sculptor. He 
died about 1778, at an advanced age. 

CARPENTIER, Antoine Michel, a reputable 
French architect, born at Rouen in 1709. where 
he acquired the elements of design, after which he 
went to Paris, in 1728, and devoted himself entire- 
ly to architecture. He soon became distinguished, 
and in process of time Avas chosen a royal Acade- 
mician ; also architect to the Arsenals, and to the 
royal domains. x\mong the numerous edifices 
erected by Carpentier, are the Chateau de Cour- 
teilles ; that of la Ferte dans le Perche ; that of 
Ballinvilliers ; the buildings of the Royal Arsenals, 
etc. He was also chosen by the prince de Conde 
to erect the Bourbon palace. He died in 1772. 

CARPI, Ugo da, a Roman painter and engraver, 
born about 1486. He is httle known as a painter, 
but he distinguished himself by the invention of 
printing in chiaro-scuro, in imitation of drawing, 
which was afterwards carried to such perfection 
by Baldassare Peruzzi. The process consists in 
using different blocks : one for the outline and 
darkest shadows, another for the lighter shadows, 
and a third for the demi-tints. His prints are 
slight, but masterly and spirited ; they exhibit 
an excellent resemblance to their great originals, 
being mostly after Raffaelle and Parmiggiano. 
Bartsch mentions fifty-two prints by him, of 
which the following arc the principal : 

AFTER KAFFAELLE. 

Jacob's Ladder. David with the Head of Goliah. The 
Murder of the Innocents. Christ preaching on the Steps 
of the Temple. Elyinas struck Avith Blindness. The Death 
of Ananias. The Descent from the Cross. The dead 
Christ in the Lap of the Virgin. St. John in the Wilder- 
nes-. ^neas carrying his father Anchises. A Sibyl read- 
ing in a Book, with a Child holding a Torch. Hercules 
strangling Anteus. E,afi"aele and his Mistress. 

AFTER PARMIGGIANO. 

The Virgin and Infant, with St. Sebastian and St. Ni- 
cholas. St. Peter and St. Paul. St. Jerome sitting with 
some Books. A Satyr, sounding the Water with his Flute. 
Diogenes seated at the Entrance of his Tub. 

CARPI, GiROLAMO DA, a reputable Ferrarese 
painter, born in 1501 ; died in 1556 ; studied un- 
der B. Garofolo. on leaving whom he passed some 
time at Bologna, and was much employed in por- 
trait painting. He afterwards visited Parma and 
Modena, where he studied and copied with great 
assiduity the works of Correggio and Parmiggia- 
no. He also painted many excellent pictures jpf 
his own composition, for the churches of Ferrara 
and Bologna. At Bologna are his two most cele- 
brated productions — one in S. Martino Maggiore, 
of the Adoration of the Magi ; and the other in S. 
Salvatore, of the Madonna and Bambino, with St. 
Catherine and other saints. In these he has com- 
bined the Roman and Lombard styles. In the ca- 
thedral at Ferrara are three pictures by him, of 
la Madonna, St. Giorgio, and St. Maurelio. At the 
Carmelites is his St. Grirolamo ; and in S. Maria 
del Vado one of his finest works, representing a 
Miracle wrought by St. Antonio. At Rovigi, in 



CARP. 

the church of S. Francesco, is his picture of the 
Pentecost. 

CARPINONI, DoMENico, a Bergamese painter, 
born at Clusone in 1566 ; died in 1658 ; went to 
Venice while young, and became a scholar of the 
elder Palma, whose works he copied, as he also 
did those of Bassano, but afterwards he painted 
several pictures of his own composition which, ac- 
cording to Tassi, have a vigorous coloring and a 
tolerably cori-ect design. In the principal church 
of Clusone is a picture by him of the Birth of 
John the Baptist, and a Descent from the Cross. 
In the Chiesa di Monesterolo, in the Valle Caval- 
lina, is a picture of the Transfiguration. In the 
church of the Osservanti, at Lovere, is the Adora- 
tion of the Magi. 

CARPINONI, Makziale, a Bergamese paint- 
er, the grandson and scholar of the preceding; 
born at Clusone in 1644 ; died in 1722. He visit- 
ed Rome for improvement, and entered the school 
of Ciro Ferri. He painted a number of historical 
works for the churches at Clusone, Bergamo, and 
Brescia. In the great church of Clusone is the 
Nativity, and the Baptism of Christ ; in the Ca- 
thedral at Bergamo two pictures of Sts. Domneone 
and Eusebia. 

CARPIONI, Carlo, an Italian portrait painter, 
was the son and scholar of Giulio C, and followed 
his style. In the council-chamber at Vicenza, and 
in the convent of the Servites, are some excellent 
groups of portraits of magistrates, which are char- 
acterized by grace and dignity, as well as faithful 
resemblance. 

CARPIONI, Giulio, a Venetian painter, born 
in 1611 ; died in 1674; studied under Alessandro 
Varotari, and like his instructor followed the splen- 
did style of P. Veronese. He painted history and 
mythology ; also sacred subjects of a small size, 
many of which are to be seen in the churches of 
the Venetian States. His mythological subjects 
have great excellence ; they are highly valued, and 
are not unworthy of his instructor. His bachan- 
nals are more analogous to the style of N. Pous- 
sin than any other master. 

CARRADORI, GiacomoFilippo, an old paint- 
er of the Bolognese school, who was born at Fa- 
enza, where he flourished in the latter part of the 
16th century, and executed some works for the 
churches. There are still two altar-pieces by him 
at Faenza, bearing his name, and dated 1580 and 
1582. That in the church of S. Ceciha is com- 
mended by Oretti, though Lanzi says he never dis- 
played the powers of a superior artist. 

CARRARI, Baldassare, an eminent artist of 
his time, a native of Ravenna, where he flourished 
in the first part of the 16th century. He had a 
son named Matteo, who assisted him in his works. 
Lanzi saj^s they painted for San Domenico at Ra- 
venna, the celebrated altar-piece of S. Bartolomeo, 
with the Grado. containing very elegant histories 
of the Holy Apostles. Such is its merit, as hardly 
to yield to the gracefulness of Luca Longhi, who i 
placed one of his own pictures near it. It was one i 
of the earliest works painted in oil at Ravenna, j 
and it deserves the eulogium bestowed upon it by 
Pope Julius II., who, on beholding it in 1511, de- j 
Glared that the altars of Rome could boast of no 
pieces which surpassed it in point of beauty. He 
left his own portrait in the figure of St. Peter, and 



CARR. 



177 



CARR. 



that of Rondinello, his instructor, in that of St. 
Bartholomew, somewhat older. Time of his death 
not recorded. 

CARRE, Francis, a Dutch painter, born in 
Friesland about 1633 ; died in 1669 ; was appoint- 
ed first painter to the Stadtholder. "Wm. Frede- 
rick. He excelled in landscape and village festi- 
vals, which are little known out of his own cbun- 
try. 

CARRE. Henry, a Dutch painter, the son of 
Francis C, born at Amsterdam in 1656 ; died in 
1721 ; studied for some time under J. Jacob and 
J. Jordaens, when the Princess of <Jrange gave 
him a commission in her regiment, and he served 
several years in the army, and was present at the 
siege of Groningen in 1672. He afterwards re- 
turned to the profession, and practised at Amster- 
dam with reputation and success. In the chateau 
of Ryswick, he painted a saloon with landscapes, 
decorated with figures and animals, spiritedly 
touched and well drawn. He had a son named 
Abraham, who painted small portraits, and was an 
excellent copyist of more distinguished Dutch 
masters. He was much employed for this pur- 
pose by the dealers, who sold them for originals. 

Ci\.RRE, Michael, a Dutch painter, the young- 
er brother of Henry C, born at Amsterdam in 
1666 ; died in 1728 ; studied under his brother, 
and afterwards under N. Berghem. Instead of 
adopting the admirable style of that great mas- 
ter, he preferred the greatly inferior manner of G. 
vander Leew. Houbraken says he resided some 
time in England, but had little success. He attain- 
ed considerable celebrity in landscape. Some of 
his easel pictures, landscapes with cattle, are very 
good, and are to be found in many respectable col- 
lections. On the death of Abraham Begyn, he 
was invited to the court of Berlin, and ap- 
pointed one of the King's principal painters. 
After the death of the king he returned to Holland, 
and resided chiefly at Alkmaer. His principal 
merit was an uncommon boldness of design and 
facility of execution, well adapted to the embel- 
lishment of halls and large apartments, in which j 
he was mostly employed. One of his best works 
is a saloon at the Hague, where he has represented 
in large landscapes, with figures, the history of 
Jacob and Esau. 

CARRENNO DE MIRANDA, Don Juan, an 

eminent Spanish painter, born, according to Palomi- 
no, at Abiles, in Asturias, in 161-1 ; died in 1685 ; 
studied at Madrid, under P. de las Cuevas, and 
afterwards under Bartolome Roman. His talents 
recommended him to the patronage of Philip IV., 
who employed him in several important fresco 
works in his palaces, and in 1651 nominated him 
court painter, which appointment he retained un- 
der Charles II. He acquired a surprising facility 
of execution ; his design is tolerably correct, his 
brilliant and tender coloring combines the excel- 
lence of Titian and Yandyck; his conceptions 
were vigorous, and his compositions abundant. 
Palomino mentions a large number of his works 
at Toledo, Madrid, Alcala de Henares, Pampeluna, 
and Segovia. He was also a distinguished portrait 
painter. At Madrid, in concert with Francesco 
Ricci, he painted the celebrated cupola of S. Anto- 
nio, and a fine picture of jNIagdalene in the Desert, 
in the convent de las Recogidas. 



CARRETTI,DoMENico, a Bolognese painter. It 
is not known under whom he studied. He re- 
sided chiefly at Brescia, according to Averoldi. 
where he painted many easel pictures of historical 
subjects for private collections, as well as works 
for the churches. His master-piece is a picture 
of the Virgin and Infant, with St. Teresa, in the 
church of S. Pietro, in Oliveto. 

CARREY, Jacques, a reputable French painter 
and designer, born at Troyes in 1646. He studied 
under le Brun, and was chosen to accompany Oilier 
Nointel, ambassador to the Ottoman Porte. While 
at Constantinople, he painted the reception of the 
French ambassador b}^ the Sultan ; and while at 
Jerusalem, he represented the entry of the French 
ambassador into that city ; also the Sacred Fire, a 
ceremon}^ practised by the Greeks in Jerusalem. 
During this journey, he made a large collection of 
designs of statues, bas-reliefs, monuments, etc., 
which were unfortunately lost at Constantinople. 
After his return to Paris, he executed a number of 
fine works for the king at Versailles and elsewhere, 
which gained him a pension and apartments in the 
Gobelins and in the palace at Versailles. In 1690, 
after the death of his friend le Brun, Carrey re- 
turned to his native city, Troyes, where he pro- 
duced a number of works, among which were six 
large historical pictures of subjects from the Life 
of St. Pantaleo. He died in 1726. 

CARRIERA. See Rosalba. 

CARRUCCI DA PONTORMO, Jacopo, an emi- 
nent Italian painter, born at Pontormo. in the Flo- 
rentine state, in 1493. His parents dying when 
he was twelve years old, a relative took him to 
Florence, and perceiving his genius, placed him 
under Leonardo da Vinci ; but afterwards he be- 
came successively the scholar of P. Cosimo, M. 
Albertinelli, and Andrea del Sarto. While with 
Albertinelli, he painted an Annunciation, which 
was greatly admired, and even received the com^ 
mendation of Raffaelle. who foretold from this 
piece the future eminence of Pontormo. While un^ 
der del Sarto, his abilities were highly praised by 
Michael Angelo, which occasioned the jealousy of 
his instructor, who dismissed him from his acad- 
emy. This base treatment only stinmlated Pon- 
tormo to fresh exertions, and he soon met with 
considerable employment. One of his first works af- 
ter leaving Andrea, was a picture of the Visitation, 
for the Nunziata, which disputed the preference 
with many of the works of Andrea. He was not 
less successful in his Holy Family, with St. John, 
painted for S. Michele at Florence ; and in his pic- 
ture of St. Agostino giving the Benediction, with 
a beautiful choir of Angels, in the church of S. 
Clement. He also painted some admirable por- 
traits ; Kugler mentions several in the Museum 
at Berlin. "For some unaccountable reason, Pon- 
tormo forsook the noble path he was following, 
and adopted a mean and servile imitation of the 
works of Albert Durer In fact, the series of pic- 
tures that he painted for the cloister of the Car- 
thusians at Florence, are undisguised copies from 
the prints of Durer. His last works were the 
frescos in the chapel of S. Lorenzo, representing 
the Deluge and Last Judgment. He was engaged 
on them eleven years, but when completed, they 
were found to be totally unworthy of his reputa- 
tion. They have since been obliterated. It is 



CART. 



178 



CART. 



supposed that this disappointment hastened his 
death, which occuiTed, according to Zani. in 1558. 
CARS, Laurence, an eminent French designer 
and engraver, born at Lyons in 1702 ; died in 1771; 
was the son and scholar of an obscure artist. When 
young he went to Paris, and soon acquired dis- 
tinction. Cars may be considered one of the best 
French engravers of his time, in the class of sub- 
jects he has represented. His best plates are those 
he engraved after Le Moine. particularly the print 
of Hercules and Omphale. He has engraved a 
large number of plates ; the following are the prin- 
cipal: 

PORTHAITS, 

Sir Isaac Newton. Michael Auguier, sculptor to tae 
King ; after Revel. Armand Gaston, Cardinal de Rohan ; 
after Rigaud. Mary, Princess of Poland, Qr.een of 
France ; after Vanloo. Louis, Duke de la Feuillade. 
Francis Boucher, painter to the King ; after Cochin. John 
Baptist Ohardin, painter ; do. Charles Vanloo, painter ; 
do. Madame de Clairon, in the part of Medea. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Adoration of the Shepherds ; after Vanloo. The 
Flight into Egypt ; do. The Chastity of Joseph ; after dc 
Troy. Adam and Eve before their Sin ; after Le Moine. 
The Companion, Adam and Eve after their Sin ; after La- 
toire. Time discovering Truth; do. Kyraphs bathing; 
do. Hercules and Omphale ; after Le 3'Ioine, his chef d^ 
ceuvre. Perseus and Andromeda; do. The Saci-ifice of 
Iphigenia; do. Hercules destroying Caucus ; (Zo. Cepha- 
lus and Aurora ; do. The Rape of Europa; do. Louis 
XY. surrounded by emblematical figures ; after Boucher. 
Monument to the honor of the Duke of Marlborough. 
L'Aveugle dupe ; after Greuze. The Fortune-teller ; 
after Watteau. The Venetian Festival ; do. A Convoy 
of Equipage ; do. 

CARTELLIER. Pierre, an eminent French 
sculptor, born at Paris in 1757. He studied un- 
der Charles xlntoine Bridan, and for nineteen 
years applied himself with the greatest assiduity 
to win eminence, but was unsuccessful in his at- 
tempts to gain the grand prize of the Academy. 
In 1796, at the age of 39. he executed a fine statue 
in simple terra cotta. which received great ap- 
plause, and he was immediate!}" chosen to make 
two statues of Vigilance and War. to decorate the 
palace of the Luxembourg. His next work was 
an admirable statue of Modesty, which fulfilled the 
expectations of the public, and increased his repu- 
tation. The next 3^ear he produced a fine bas- 
relief, representing a group of young Spartan girls 
dancing before the altar of Diana. His works are 
distinguished for the purity of their contour, and 
dehcate yet vigorous execution. In 1808 he was 
made Chevalier of the Legion of Honor, and in 
1810, member of the TnsJtitute. The following are 
some of his principal works: A marble Statue 
of Louis Bonaparte, King of Holland ; a colossal 
Statue of Gen. Valhuhert ; a Statue of Gen. Pi- 
chegru; a colossal bronze Stitue of Louis IV.; 
a Statue of the Empress Josephine, consecrated in 
the church at Ruel, by Prince Eugene ; a colossal 
Statue of Minerva, etc. In 1830 ho executed, in 
concert with Dupat}-. the magnificent tomb of the 
Due de Berri. He died in 1831. 

GARTENS, AsMUs Jacob, a Danish painter, 
born near Sleswick in 1751 ; was apprenticed to a 
wine merchant; and during his leisure hours prac- 
tised drawing with such success as to paint several 
portraits without any instruction. On quitting the 
merchant he went to Copenhagen, where he ob- 
tained access to the Royal Gallerj', and thereby 
improved his knowledge. He also visited the gal- 



lery of Count Moltke, for whom he painted a 
picture of Adam and Eve ; but that nobleman 
demurring to the price of the picture, it was pur- 
chased by the Crown Prince for 100 crowns. Car- 
tens now became a student of the Royal Academy, 
but the professor, Abildgaard, treated him with 
such rudeness, that in 1783 he left Copenhagen, 
and went to Lubec. where he remained five yearsj 
supporting himself by portrait painting. He af- 
terwards removed to Berlin, in 1788, where he 
gave lessons in drawing, and made designs for the 
booksellers. He was employed in ornamenting 
the principal apartment of the Dorville palace, and 
thence his merit became known to the Prime Min- 
ister. The latter presented him to the king, who 
settled on him a pension to enable him to visit 
Rome, where he arrived in 1792. Here he studied 
with great care the works of M. Angelo and Raf- 
faelle : particularly the latter, in imitation of whom 
he produced several large mythological .subjects. 
His last finished work was a painting of (Edipus 
Tyrannus. from Sophocles. About the same time 
he formed a magnificent design, from Hesiod's 
Golden Acre, but did not live to complete it. He 
died in 1798. 

CARTER, John, F. S. A., an English architect 
and engraver of perspective, bom at London in 
1738. For several joars he was employed by the 
Council of the Society of Antiquaries of London, 
in surveying, making plans, elevations, sections, 
and details of some of the cathedrals and monas- 
tic churches of England ; which were published 
in large folios, with historical accounts by Sir 
Henry Englefleld. and others. In 1780, he com- 
menced publishin2: a very interesting work, enti- 
tled Specimens of Ancient Sculpture and Paint- 
ing, which terminated in 1794, but was not com- 
pleted. He then began his Specimens of Ancient 
Architecture of Great Britain, from the most re- 
mote period to the 16th century. This, like the 
former work, was issued in periodical numbers, 
and closed abruptly, in 1816, bringing the series 
of specimens only to the reign of Edward III. A 
new and greatly improved edition was issued in 
1838. Carter also pubhshed the Views of Ancient 
Buildings in England, engraved by himself, in 
six small vols, containing 119 plates. He died in 
1817. 

CARTER, William, an English engraver, who 
lived about 1660. He studied under Hollar, and 
imitated his style with success. He executed, 
among other works, the ^ ignettes and other orna- 
ments for Ogilbj-'s translation of Homer, and it is 
probable that he assisted Hollar in his numerous 
works, as his name, or mark, is affixed to but very 
few prints. His plates are sometimes mark«^ 
W. C. 

CARTISSAXL Niccolo. a native of Messina. 
according to the Florentine Dictionary, was born 
in 1670, and died at Rome in 1742, where he had 
ssttled. He was a good landscape painter. 

CARTWRTGHTrTTM.. an English engraver of 
portraits and other book-plates. Among other 
works, he executed a portait of Thomas Cranmer. 
Archbishop of Canterbury, after Holbein. 

CARTTITHAM. J., an English engraver, who 
flourished about 1730, and wrought chiefly for the 
booksellers. His plates are sometimes executed 
with the graver only, and others are etched and 
finished with the graver, in a style resembling that 



CASA. 



179 



CASE. 



of Bernard Picart. He executed a variety of front- 
ispieces, among which is an emhlematical one, from 
a design of B^Picart, dated 1723. There is also 
a prin^ of the Laocoon bj him, after the antique 
marble, dated 1741. 

CASA, Giovanni Martino, a native of Yicenza, 
who flourished at Milan in 1654. Lanzi says he 
was a good artist, but no other author mentions 
him, nor does he specify any of his works. 

CASA. Nicholas de la, a French engraver, 
supposed to have been a native of Lorraine. Za- 
ni says he practised about 1640 ; he and other 
authorities think this artist the same as Nicolo 
BeatricL There are two plates by him. executed 
entirely with the graver: The Portrait of the 
Emperor Charles V. ; oval, with a border, copied 
from JEneas Vico ; inscribed N. D. la Casa Lo- 
taringus. fee. The Portrait of Baccio Bandinelli. 

CASALI, Andrea, an Italian painter and en- 
graver, born at Civita Yecchia about 1720 ; pro- 
bably studied under S. Conca. About 1748, he 
went to England, and was employed in decorating 
the seats of several of the nobility. His pictures 
are generally of a large size, the figures in theatri- 
cal taste, but well colored. He etched several 
plates from his own designs, and one from Raf- 
faelle. They are the following : The Virgin and 
Infant; after Raffaelle. Edward the ^Martyr. 
Lucretia lamenting her Fate. The Princess Gun- 
hilda, or Innocence Triumphant. 

CASALI, Fra. Giovanni Vincenzio, a Flo- 
rentine architect and sculptor, who flourished, ac- 
cording to Milizia, about 1575. He studied sculp- 
ture under Fra. Gio. Angelo, of Florence, and 
executed a number of good statues for various 
churches in Tuscany. The great marble altar in 
the church of the Serviti at Lucca was executed 
by this artist, both with regard to the architec- 
ture, the statutes, and the embellishments. He 
was sent for to Naples by Duke d'Ossuna, the 
viceroy, to discover some method of reheving the 
country of Capua from the stagnant, pestilential 
waters, and to sink wells for the public use. In 
these works he happily succeeded, and was im- 
mediately after appointed royal architect. He 
constructed the present wet-dock at Naples, and 
built a number of other important works. The 
viceroy took Casali with him to Spain, where he was 
most honorably treated by Philip II.. who direct- 
ed him to survey and repair the fortress of Porto- 
gall o ; but while preparing to execute these com- 
mands, he died, in 1593. 

CASALINI. Lucia, an eminent Bolognese paint- 
ress, born in 1677 ; died in 1762 ; studied under 
Giuseppe dal Sole, and at first attempted history, 
but was more successful in portraits, in which she 
gained great reputation. 

CASANOBRIO, or Ca ZENOBRIO. See Car- 

LEVARIIS. 

CASANOYA, Francesco. This artist was 
born at London in 1732, of Yenetian parents, who 
sent him to Yenice while young, where he studied 
under F. Simonini. a painter of battle-pieces, and 
an imitator of Borgognone. Casanova adopted 
the same style, and acquired considerable reputa- 
tion. Besides battle-pieces, he painted landscapes 
with figures and cattle, marine views and pastoral 
subjects. He resided several years at Dresden, and 



then went to Paris, where he met with great en- 
couragement, and was received into the Academy. 
Lutherbourg was one of his scholars. He after- 
wards visited Yienna, where his works were much 
admired. Basan says he etched several plates from 
his own designs. He died in 1805. 

CASAUBON, Frederick, a German painter, 
born at Solingen in 1623 ; studied at Amsterdam, 
and subsequently at Paris, under C. le Brun. He 
afterwards went to Ital3^ where he remained sev- 
eral 3'ears, formed an intimacy with N. Poussin. 
and attempted to imitate his style. Towards the 
latter part of his life he visited England, and not 
succeeding in historical subjects, he applied him- 
self to portraits. He died at London in 1690. 

CASELLA, Giovanni Andrea, a native of Lu- 
j^ano, who flourished at Turin in 1658, where he 
was employed by the court. He was a pupil of 
Pietro da Cortona. and one of his ablest scholars, 
whose style he generally followed, though he some- 
times imitated Bernino in his design. He painted 
some fabulous and mythological subjects in the 
Yeneria Reale at Turin, in a style of excellence. 
He was assisted in these works by his nephew, 
Giacomo Casella. He was also much employed 
in decorating the churches of that city. 

CASELLA. Francesco, a native of Cremona, 
where he painted, according to Zaist, in the first 
part of the 16th century. There are some of his 
works still at Cremona, but Lanzi says they do 
not rise above mediocrity. One of these is dated 
1517. 

CASELLA, PoLiDORO, an old painter of Cre- 
mona, who flourished about 1345. He was one 
of the ablest painters of the school of Cremona at 
that time, and was patronized by Francesco Sforza. 

CASELLI, CristoforO; sometimes called Cris- 
TOFORO DA Parma, and also II Temporello. 
He was a native of Cremona, and a pupil of Gio- 
vanni Bellini. According to Ridolfi, he was one 
of the best artists of Cremona, and Lanzi says 
there is a very beautiful painting by him in the 
hall of the Consorziali. in that ciij. dated 1499. 

CASEMBROODT, or CASENBRODT. Abra- 
ham, a Dutch painter, who lived about 1650. He 
resided many j-ears in Sicily, and acquired consi- 
derable distinction at Messina for his landscapes, 
and pictures of sea-storms. He also painted his- 
torical subjects, three of which, representing the 
Passion of Christ, are in the church of S. Giovac- 
chino at Messina. He also etched several plates 
of sea-ports and marine views. 

CASENTINO. Jacopo di, an old Florentine 
painter, who studied under Taddeo Gaddi, and was 
one of the two favorite pupils of that master, who, 
upon his death-bed. commended his two sons to 
their protection. He was an eminent artist in his 
time, had many pupils, and died old. in 1380. 
There are som'^e remains of his works in the 
churches of Florence. 

CASINI, Giovanni, a native of Yarlungo, in 
the Florentine territorj', was born in 1689. and 
died at Florence in 1748. Little is known of him 
or his works, but he must have been an artist of 
some distinction, as his portrait, executed by him- 
self, is in the Ducal Gallery at Florence. 

CASINI. YiTTORE. a Florentine artist, men- 
tioned bv Yasari as one of his as.sistants in his 



OASO. 



180 



CASS. 



decorations of the Palace, and of the obsequies 
of Buonarotti. 

CASINI, Valore and Domenico, eminent 
Italian painters, were brothers, and flourished at 
Florence in the 17th century. They studied under 
Passignano, and devoted themselves to portrait 
painting, in which they became very eminent, and 
were liberally patronized. They usually wrought 
in concert, Valore executing the hands and features, 
which he painted with a free pencil, and great 
truth and delicacy. He had a peculiar talent for 
retaining in his memory the features of his ac- 
quaintances, and he often painted excellent like- 
nesses in this manner, even after death. Dome- 
nico usually executed the draperies, for which his 
talents were admirably adapted. There are a 
large number of portraits at Florence by these ar- 
tists, which are much admired. In St. Maria in 
Oampo, are two pictures by these artists, of Lau- 
rentino, bishop of Fiesoli, and Genevieve Popo- 
leschi ; the latter is very beautiful. 

OASOLANI, Alessandro, a very reputable Si- 
enese historical painter, born in 1552; died about 
1606 ; studied under Cav. Roncalli. His works 
are principally in the churches of Siena ; there are 
also several at Naples and Genoa. His figures are 
correctly draM^n and well disposed ; his compo- 
sitions ingenious and abundant. His picture of 
the martyrdom of St. Bartolomeo at tlie Carme- 
lites, attracted the attention of Guido, who said it 
was the production of a true painter. 

CASOLANI, Ilario, or Cristofano. was a son 
of the preceding artist, who instructed him in the 
art. He finished the Assumption for the church 
of S. Francesco at Siena, sketched by his father 
before his death, and then went to Rome, where he 
was kindly received by Cav. Roncalli, out of re- 
spect, says Mancini, to his father. Under this 
able artist, he became a proficient in his style of 
fresco, and imitated it with success, in the church 
of the Madonna de Mouh, where he painted some 
pictures from the history of the Virgin, and an As- 
cension, on the ceiling, considered his best work. 
He also painted the Trinity in S. Maria in Via. 
Titi uniformly calls this artist Cristofano Conso- 
lano. He never obtained much reputation as an 
original designer, and succeeded better in fresco than 
in oil. He died about 1635. 

CASOLI, Ippolito, a native of Ferrara, who 
flourished in that city from 1577 till his death, in 
1622. He was probably a pupil of Girolamo Carpi ; 
and at all events, according to Baldinucci, assisted 
that artist in the execution of his works at Ferrara. 

CASONE, Gig. Battista, a native of Sarzana, 
who was living in 1668. Orlandi calls this paint- 
er Carlone. He studied under Fiasella at Genoa, 
whose style he adopted. Lanzi says he did not 
paint much in Genoa, and mentions an altar-piece 
in delle Vigne, in that city, representing the Virgin 
surrounded with angels, executed in the style of 
his master. Nothing further is recorded of him 
or his works. 

CASSANA, Abate Gig. Agostino, a Genoese 
.painter, the eldest son and scholar of Gio. Fran- 
cesco C., born in 1658'; died in 1720. He ac- 
quired some reputation in portrait painting, but 
chose to represent animals, and fruits, in the style 
of B; Castiglione. These works have considera- 
ble meritj and are to be found in the collections 



at Genoa, Florence, and Venice. He had a young- 
er brother, Gio. Battista C, who excelled in fruit, 
flowers, and still life ; also a sister, Maria Vittoria 
C, who painted small pictures of devout subjects 
for private collections^ which were much es- 
teemed. She died in 1711. 

CASSANA, NiccoLO, a Venetian painter, the 
brother of the preceding artist, born in 1659; 
learned the rudiments of the art from his father. 
He painted several historical pictures in the Flo- 
rentine Gallery, which possess considerable merit, 
especially the Conspiracy of Cataline. He also be- 
came very distinguished in portrait painting, vis- 
ited England, and painted the portrait of Queen 
Anne, as well as several of the nobility. He did 
not live long to enjoy this success, but died at Lon- 
don, in 1713. 

CASSANA, Gio. Francesco, a Genoese paint- 
er, born in 1611 ; died in 1691 ; studied under B. 
Strozzi. He gained considerable distinction in 
portraits, and painted a great number at Venice, 
where he chiefly resided. He passed some time 
at the court of the Mirandola, where he painted a 
picture of St, Girolamo in the dome of the church, 
besides other creditable performances. He was 
the father of a family of reputable artists. 

CASSANDRO, a Roman architect, who lived, 
according to Milizia, in the latter part of the 11th 
century, and who was appointed, in concert with 
Florino, a French architect, to rebuild the city of 
Avila, in Spain, which remained in a ruined state, 
in consequence of incursions of the Mohammedans. 
This undertaking was commenced in 1090, by 800 
men, all under the direction of Cassandro and Flo- 
rino. 

CASS AS, Lguis FRAN901S, a French designer 
and painter, born at Azay-le-Feron, in 1756. He 
earl}^ went to Italy, and formed a valuable collec- 
tion of drawings from the finest views in Sicily, 
Istria and Dalmatia ; and after his return to Paris, 
he set out for Constantinople with Choiseul-Gouf- 
fier. He then visited the site of ancient Troy, where 
he designed with great care the monuments and 
views described by Homer, after which he went to 
Sj-ria, and designed the im.mcnse ruins of Balbec 
and Palmyra, being the first traveler, after Wood, 
who had communicated definite information in re- 
gard to these ancient monuments. He then visit- 
ed Egypt, and made many valuable designs, after 
which he returned to Paris, where the value and 
number of his drawings attracted so much atten- 
tion and admiration, that Cassas determined to 
publish them. His Voyage Pittoresque cVIstrie 
et de Dalmatie first appeared ; after which he 
commenced his Voyage Pittoresque de la Syrie, 
de la Phenicie^ de la Palestine, et de la Basse- 
Egypte, fol., of which thirty numbers were pub- 
lished. He afterwards published another folio 
work, entitled Grandes Vues Piitoresques, des 
'principaux Sites et Monuments de la Grece, de 
la Sidle, et des Sept Collines de Rome, designed 
and engraved by Cassas and Bance, Paris, 1813. 
For many years he was engaged, at great expense, 
in preparing a collection of models of the finest 
specimens of architecture in difl'erent countries, 
which was at length completed, and was purchased 
by the government, to be placed in the rooms of the 
Institute. Cassas was appointed Inspector-general 
of the Gobelins, which office he held for a period 
of eleven years. He died in 1827. 



CASS. 



181 



CAST. 



C ASSENTING, Jacopo di, a Florentine paint- 
er, born about 1270 ; died in 1356 ; studied under 
Taddeo Gaddi, and followed the Gothic style of 
that master. He was considered as an artist of 
considerable merit, and painted a great number 
of works in fresco and distemper, at Arezzo and 
Florence. He is said to have founded in 1350, the 
Florentine Acaden^y. His most memorable work 
was St. Luke painting the portrait of the Virgin, 
painted for the chapel of the academy. 

CASSIANI, Padre Stefano, called il Certo- 
siNO, a painter of Lucca, lived about 1660. He 
painted in fresco the cupola of the church of the 
Carthusians at Lucca , also two altar-pieces, rep- 
resenting subjects from the life of the Virgin ; and 
several works for other churches of his order, in 
Pisa, Siena, and elsewhere. They are in the style 
of P. da Cortona, and are very creditable perform- 
ances. 

CASSINO, Bartolomeo di, a native of Milan, 
who studied under Civerchio. He was a reputable 
artist, and there are authentic works by him at 
Milan, particularly an altar-piece in the Immaco- 
lata, mentioned by Lanzi, dated 1513. 

CASSIONE, Gio. Francesco, an Italian wood 
engraver, who flourished at Bologna about 1678. 
Among other prints, he executed several portraits 
of painters, for a work published at Bologna in 
that year, entitled Felsina Pitirice, by Carlo Ce- 
sare Malvasia. 

CASTAGNO, Andrea del, a painter of Cas- 
tagno in Tuscany, born in 1409 ; died in 1480. 
His parents were extremely poor, but he early 
manifested so decided a genius for art, that Bene- 
detto de Medici placed him under Masaccio. Soon 
after leaving that master he attained a high repu- 
tation, and became one of the, most distinguished 
artists of his day. About this time Domenico 
Venetiano came to Florence, who had learned from 
Antonello da Messina the new method of painting 
in oil and varnish, which was till then unknown 
in Tuscany. The novelty and splendor of this 
new method were greatly admired, and Castagno, 
by a pretended friendship for Domenico, was the 
only possessor of his secret. The temptation to 
be the sole possessor of so valuable a discovery in- 
duced him to the atrocious act of assassinating Do- 
menico, which he effected without suspicion. He 
executed several considerable works at Florence, 
by which he gained great riches, but lived only a 
few years to enjoy his nefarious gains. Torment- 
ed by remorse, he made a full confession of his 
guilt before his death. The best of his works ex- 
tant are at Florence, in the Hall of Justice and in 
the church of S. Lucia ; also a Crucifixion, with 
many figures, painted on a wall in the Monastery 
degli Angeli. 

CASTAGNOLI, Cesare and Bartolomeo, 
two brothers, and natives of Castelfranco, who 
studied under Paolo Veronese. Cesare executed 
many works in fresco, which according to Lanzi do 
not display much power, beyond a certain degree 
of spirit, and promptness and copiousness of ideas. 
His works were rather showy and fanciful. Bar- 
tolomeo executed some works in oil, in a chaster 
style than those of Cesare, and gained a higher re- 
putation. They flourished in the latter part of 
the 16th centurj^ 

CASTEELS. Peter, a Flemish painter and en- 



graver of still-life, born at AntAverp in 1684 ; died 
in 1749 ; visited England in 1708. His paintings 
have little merit. In 1726, he published a set of 
twelve plates of birds and fowls, etched from his 
own designs ] also several other plates after his 
pictures, which possess considerable merit. 

CASTEL. xVlexander, a Flemish landscape 
and battle painter. His works may be seen in the 
galleries at Schleissheim, Lustheim, and Munich. 
He died at Berlm in 1694. 

CxiSTELFRANCO, Orazio da, an excellent 
fresco painter who flourished in the time of Titian, 
and of whom little i" known. Melchiori calls his 
name Orazio dal Paradiso. Lanzi says he execu- 
ted a few pictures in a style of excellence. In the 
church of the Dominicans at Campo d'Istria is a 
large picture, executed in the glowing stvle of Ti- 
tian, signed HORATIO. PER. P.A.D. MDLXVIIL, 
attributed to him. According to Zanetti, he was 
still living in 1600. 

CASTELLACCI, Agostino, a native of Pesaro, 
was born in 1670. He studied under Carlo Cig- 
nani. Lanzi says he is little known, even in his 
own state. 

CASTELLANI. Antonio, a native of Bologna, 
who according to Malvasia studied under the Ca- 
racci, and though he never acquired distinction, yet 
he was a reputable artist. There are some good 
specimens of his skill at Bologna,. 

CASTELLANI, Leonardo, a reputable Neapo- 
litan painter, briefly mentioned by Vasari, who 
studied under Marc 
Naples about 1568. 

CASTELLI. Annibale, a Bolognese painter, 
who flourished about 1605 ; studied under P. Fac- 
cini, whose style he followed, and thus fell into the 
defect discernible in the works of that master. 
By laboring his carnations, he disturbed the out- 
line, and his figures became heavy and incorrect. 
His best work is the Raising of Lazarus in the 
church of S. Paolo, at Bologna. 

CASTELLI, Giovanni Battista, called il 
Bergamasco, an eminent Italian painter, born ac- 
cording to Zani in 1490, at Gandino in the Valle 
Seriana, in the Bergamese. He was called il Ber- 
gamasco, to distinguish him from a Genoese paint- 
er of the same name, who was a pupil of Luca 
Cambiaso, and excelled in miniature. Castelli ac- 
quired the elements of design from Aurelio Busso, 
at Crema, who had been a" pupil of Polidoro da 
Caravaggio. His instructor took him to Genoa, 
and after some time left him in that cit}^, unpro- 
tected and abandoned, but well advanced in art 
from his studies of the best masters of that school. 
The young artist attracted the attention of Tobia 
Pallavicin'o, a Genoese nobleman, who took him 
under his protection, and sent him to Rome for im- 
provement, where Castelli made rapid advances in 
painting, and is said to have also attained profi- 
ciency in sculpture and architecture, though none 
of his works in those arts are mentioned. On re- 
turning to Genoa, he painted some pictures for the 
palace of his patron, and several fresco works for 
the church of S. Marcellino. In the monastery of 
S. Sebastiano, is his celebrated picture of the mar- 
tyrdom of that saint, which has received high 
praise, and gained him great reputation. During 
the zenith o"f his fame, Luca Cambiaso having fin- 
ished his studies at Rome and Florence, returned 



CAST. 



182 



CAST. 



to Genoa, and these eminent artists seem to have 
engaged in a laudable emulation, which proved 
honorable and advantageous to both. They were 
employed in concert by the Duke Grimaldi, in the 
Nunziata di Portoria. where Castelli painted a 
large picture on the ceiling of the choir, represent- 
ing Christ sitting as the Judge of the World, sur- 
rounded b}^ angels, some bearing the instruments 
of his passion, and others displaying a scroll, in- 
scribed Venite Benedicti. This magnificent work 
is characterized by great beauty of coloring, and a 
splendid effect of light emanating from the figure 
of Christ, which dazzles the beholder, Luca Cam- 
biaso painted the laterals, representing the fate of 
the Blessed and the Reprobate, which are worthy 
of great admiration, though surpassed by the 
transcendent abilities of Castelli in composition 
and expression. On revisiting his native country, 
he commenced his great work of the Saloon in the 
Lanzi palace at Gorlago, where he represented sev- 
eral of the most interesting subjects from the Iliad, 
composed and executed with a grandeur resembling 
the elevated style of Giulio Romano. In the lat- 
ter part of his life he was invited to visit Spain, by 
Charles V., who employed him in the Prado, 
where he represented subjects from Ovid. He 
also executed several other works, and died at 
Madridj according to Fuseli, in 1570, aged 80. 

S^ f^^ CASTELLI, or CASTELLO, Bernar- 
lZj Ka wvdo, a Genoese painter, born in 1557 ; 
died in 1G29 ; studied under A. Semini. He was 
an able designer -, he was copious and ready of in- 
vention; but by endeavoring to acquire the facility 
of L. Cambiaso, he abandoned nature for manner- 
ism and despatch. His works would have been 
much improved by more careful stud}^ He paint- 
ed a number of pictures for the Genoese churcheSj 
the principal of which are St. Diego, and St. Giro- 
lamo, in S. Francesco. At Rome, he painted Pe- 
ter walking on the Sea, in the Basilica of St. Pe- 
ter's. He was also an eminent miniaturist, and is 
praised by the poet Marino, for the skill and accu- 
racy of his representations of insects. He lived 
in intimacy with the principal poets of his time, 
and made the designs for Tasso's Jerusalem, which 
were engraved by Agostino Caracci. 

CASTELLI, or CASTELLO, Valeric, a Geno- 
ese painter, the son of Bernardo C, born in 1625 ; 
died in 1659 ; was a scholar of D. Fiasella, but 
formed an original style from the study of the 
works of Procaccini and Correggio. His design is 
not always correct, but his works are composed 
with great judgment ; the coloring is harmonious 
and vigorous, and the chiaro-scuro is managed 
with great intelligence. He painted a number of 
frescos for the Genoese churches, which nearly ap- 
proach the excellence of Carloni. as is evident in 
the cupola of the Nunziata, and in S. jMarta. In 
S. Maria del Gerbino is his picture of the Concep- 
tion, with two laterals of the Mari-iage of the Vir- 
gin, and the Presentation in the Temple ; and in 
the ceiling, the Crowning of the Virgin, with a 
Choir of Angels. He also excelled in battle-pieces, 
and in subjects from profane history, somewhat 
in the style of Tintoretto and Veronese, Several 
of them are in the Genoese palaces. 

CASTELLI, or CASTELLO, Fabrizio, a tal- 
ented Italian painter, the son of Battista C, 
was employed by Philip 11. in the Escurial, in 



concert with other artists. One of the subjects 
on which they were emploj-ed was the victory 
gained by John II. over the Moors of Granada ; 
it was copied from a painting by Dello, on a can- 
vass one hundred and thirty feet in length, which 
was found in an armoire of the Alcazar de Sego- 
via, and is a most curious composition. He also 
painted several frescos at the Prado, and he color- 
ed forty-eight busts of Saints executed hy Juan d' 
Arfe for the Escurial. He died at Madrid in 1617. 

CASTELLI, GiosEFFO Antonio, called il Cas- 
TELLiNO, a native of Monza, who according to Or- 
landi studied under Domenico Mariani, at Milan, 
and gained some reputation. He was living in 
1718. 

CASTELLINI, Giacomo, a Bolognese painter, 
who studied under Francesco Gessi. and acquired 
some reputation. He flourished at Bologna about 

1678. 

CASTELLO, Avanzino da Citta di, an Ital- 
ian painter, born in the Roman States in 1552 ; 
died in 1629 ; studied under N. Pomerancio at 
Rome. He held a high reputation during the pon- 
tificates of Sextus V. and Clement VIII. ; was 
emploj'ed in St. John of Lateran. and painted, ac- 
cording to Baglioni, man}- pictures for the church- 
es at Rome. The best of his works are the Mira- 
cle of the Viper in the Isle of Malta, the Decolla- 
tion of St. Paul, and his Ascent into the third 
heaven, in the church of S. Paolo, near Rome. 

Cx^STELLO. Casteluno. an eminent painter 
of Turin, borh in 1579 5 died in 1649 ; studied un- 
der Gio. Battista Paggi. His picture of the Pen- 
tecost, in the church dello Spirito Santo, is charac- 
terized by an elegant and correct design, and gain- 
ed him great reputation. He was also averj" emi- 
nent portrait painter. Lanzi says that when Van- 
dyck visited Genoa, he expressed great satisfac- 
tion on viewing the works of Castello, and that 
they painted each other's portraits. 

CASTELLO, Felix, an eminent Spanish paint- 
er of histor}^ and battle-pieces, born at Madrid in 
1602 ; died in 1656 ; studied under his father, Fa- 
brizio, and afterwards under Carducci. His princi- 
pal works are in the church of the Capuchins at 
Madrid. His compositions are superb, and are ex- 
ecuted in a spirited and masterly manner. There 
were two admirable pictures at jMadrid by Cas- 
tello, representing the Storming of a Castle by Don 
Fadrique de Toledo, with Spanish soldiers swim- 
ming to the attack, Carducci was so nmch pleas- 
ed with the manner in which his pupil prepared 
the masses in the composition of these pictures, 
that he requested permission to paint the head of 
Don Fadrique in the first, which he did in a very 
masterly manner. 

CASTELLO, Francesco da. This painter 
was born in Flanders, of Spanish parents, in 1586. 
He visited Rome while very young, for the purpose 
of improvement, and painted historical subjects, 
generally of a small size, which were yQvj popu- 
lar. He also painted several works for the church- 
es, among Avhich is an altar-piece in S. Giacomo 
degli Spagnuoli, representing the Assumption, with 
a Glory of Angels, and the /Apostles below. In S. 
Rocco di Ripetta, is a picture by him of the Ma- 
donna and Bambino, with Saints. He died at 
Rome in 1636. 



CAST- 



183 



CAST. 



CASTELLO, Gio. Battista, called il Ber- 
GAMASCO. a Bergamese architect who flourished, 
according to Milizia, about the middle of the 16th 
century." In 1560. he was appointed by Andrea 
Doria, to modernize the celebrated church of S. 
^latteo, at Genoa. He accomplished his commis- 
sion in an admirable manner, and the work may 
well serve as a model in all similar cases. Castel- 
lo is also said to have designed the imperial palace 
at Campetto. 

CASTELLO, GiACOMO. a Venetian painter who 
flourished at Venice about 1600. He excelled in 
painting animals and birds. Lanzi says his works 
of this kind are common in the collections of Ve- 
nice, where they are highly esteemed. 



CASTELLUCCI. 



Salvi. a painter of Arezzo, 

■9 



l:-€»C-^, 



der P. da Cortona, whose st3de he successfully imi- 
tated. He was much employed in painting easel 
pictures for private collections. There are several 
of his larger works in the churches of his native 
city, which are painted in a free, bold stj^le. and 
very agreeablj^ colored. He had a son named Pie- 
tro who painted in his style, but was inferior to 
his father. 

CASTIGLIOXE, Gio. Bene- 
)ETTO, an eminent Genoese 
painter, born in 1616 ; died in 1670 ; studied for 
some time under Gio. Battista Paggi, and after- 
wards under Gio. Andrea Ferrari, in whose school 
he made great progress. It is said that when Van- 
dyck visited Genoa, he formed an intim.acy with 
Castiglione, who gained great advantage from the 
instruction and advice of that great painter ; but 
this is rather doubtful, as Benedetto was then too 
j-oung to attract notice as an artist. After leaving 
Ferrari, he visited Kome. Florence. Parma, and 
Venice, in each of which cities he left proofs of his 
ability. He painted history and portraits, but is 
chiefly known for his admirable pictures represent- 
ing pastoral subjects, the march of caravans, and 
troops of animals, in which he was eminently suc- 
cessful. His chiaro-scuro is managed with great 
intelligence, his touch is lively and spirited, and 
his coloring clear and vigorous. The animals in 
his pictures are grouped with admirable taste, and 
the scenery is always appropriate and pleasing. 
In his subjects of history, he does not seem to 
have had in view the ideal beaut)'' of the great 
masters, nor to have attempted the elegance of 
form, nor the purity of outline, or nobility of ex- 
pression, which form the essence of historical 
painting. His Nativit}", however, in the church of 
S. Luca at Genoa, and his Magdalene and St. Cath- 
erine in the iNIadonna di Castello, are fine works 
of art. During the latter part of his life he was 
much patronized by the Duke of Mantua, for 
whom he painted some of his best works. The 
Duke gave him apartments in his palace, and treat- 
ed him with liberality and munificence. This art- 
ist has engraved about seventy plates, executed 
with all the taste and spirit to be seen in his pic- 
tures. They are etched, and sometimes assisted 
with the graver, with a most masterly effect of 
light and shadow ; and may be compared to Rem- 
brandt, and other admirable engravers in that 
style. The following are the principal : 

The Genius of Benedetto Castiglione, serving as a front- 
ispiece to his work. Portrait of Agostino Mascardi. Por- 
trait of Antonio Pignolesale. Sixteen small heads, among 



which is his portrait. Six large Heads, one of them h-a 
portrait. Two plates of the Heads of Men and Animals. 
Noah and his Children collecting the Animals. iN'oah driv- 
ing the Animals into the Ark. The Departure of Jacob. 
Kachei hiding her Father's Gods. Tobit burying the Dead; 
a night-piece. A similar subject ; in chiaro-scuro. The 
Jfativity, with Angels adoring the Infant. The Adoration 
of the Shepherds. The Angel appearing to .Joseph in his 
Dream. The Flight into Egypt. The Resurrection of 
Lazarus. St. Eoch in profile, behind him the Head of his 
Dog. The Melancholy ; a print so called. The little 
Melancholy. The finding the Bodies of St. Peter and St. 
Paul. Four old ]Men visiting the Tombs by torch-light. 
Circe in search of the Arms of Achilles. A Man with 
some pieces of A'-mor, and another examining a Tomb'. A 
Man pushing a Boat in which are some Animals. Dio- 
genes with his Lantern. Pan instructing Apollo to play 
on his Flute. Silenus playing on a Flute, with a Shepherd- 
ess. A Combat of Sea Gods. Silenus drunk, with three 
Satyrs. A Bacchanal, with a Satyr on a Pedestal. A 
Woman beating a Boy. A Menagerie of various Fowls. 
A Landscape ; inscribed Gio. Benedetto Casciglio7ie,Gen., 
fee. 1658. A Landscape ; apparently a frieze ; Castigli- 
one, fee. A Shepherd driving his Flock. Two Shepherds, 
one on Horseback, driving their Flocks. A Capuchin dis- 
covering the Body of St. Jerome. Eleven plates of vig- 
nettes, &c. 

CASTIGLIOXE, Francesco, the son of Bene- 
detto C. ; painted landscapes, with figures and ani- 
mals, in the manner of his father, but never at- 
tained any distinction. 

CASTIGLIONE, Salvatore. the brother and 
scholar of Benedetto C. ; painted landscapes and 
pastorals in the style of that master. There 
is a hisrhly finished etching by this artist, mark- 
ed Cast. 1645. 

CASTILLO, AuGusTiN, a painter of Seville, 
born in 1565 ; died in 1626 ; studied under Luis 
Fernandez. He resided chiefly at Cordova, where 
he painted a number of pictures for the churches, 
some of which are nearly destroyed by dampness 
and neglect. There is a Conception by him, in 
the church of Nuestra Sennora de los Libreros ; 
also several pictures in the convent of S. Pablo ; 
and an Adoration of the Magi, in the Cathedral at 
Cadiz, which is said to be his finest work. 

CASTILLO, Juan del, the brother of Augus- 
tin C, a distinguished historical painter of Seville, 
born in 1584 ; studied under Luis Fernandez. His 
principal works are at Seville and Granada. He 
estabhshed an academy of painting, where Murillo. 
Alonso Cano, Pedro de Moya, and other eminent 
artists were educated. He died at Cadiz in 1640. 

CASTILLO, Y Saavedra, Antonio del, an 
eminent Spanish painter, born at Cordova in 1603, 
the son of Augustin Castillo, who instructed him 
in the element's of tlie art.' After his father's 
death, he became a scholar of Francisco Zurba- 
ran, who at that time was in great repute. Cas- 
tillo painted manv pictures of great merit for the 
Cathedral of Cordova, the best of which are St. 
Peter and St. Paul, and the Assumption. Had 
his coloring been equal to his composition and de- 
sign, few artists of his country Avould have sur- 
passed him. There is a picture by this master in 
the convent of St. Francis at Cordova, representing 
a subject from the life of that saint, which he 
painted in competition with Juan d'Alfaro._ who 
was accustomed to mark his works Alfaro piiixif. 
To show his contempt for the vanity of his rival, 
he inscribed his picture non fecit Alfaro. In 
1666 he visited Seville, where the works of Mu- ■ 
rillo at that time were universally admired. Cas- 
tillo was so much impressed with their extraordi- 



CAST. 



184 



CATA. 



nary beauty and excellence, and his own inferior- 
ity, that he sunk into a despondency that hastened 
his death, which occurred in 1667. 

CASTILLO. Josef del. a Spanish painter and 
engraver, born at Madrid in 1737 ; died in 1793. 
At an early age he manifested great genius, which 
induced the prime minister, Josef de Carbajal, to 
send him to Rome in 1751, at his own expense, to 
study the works of the great masters, under Cor- 
rado Giacuinto. On his return to Madrid in 1758, 
the king gave orders to Mengs, his principal paint- 
er, to employ the young artist. Mengs employed 
him on pictures for the ro3'al tapestries, and in 
painting mystical pictures for the cells of the roy- 
al convent of Salesas ; also on several portraits of 
Charles, with the mantle of the order of Toison 
d'Or. Castillo also executed a number of paint- 
ings for the Escurial, and for various churches, 
convents, and hospitals of Madrid. He made 
drawings for the edition of Don Quixote published 
by the Academy at Madrid ; he engraved the Dis- 
ciples at Emmaus, after Cerezo ; the Flight into 
Egypt, and other subjects, after Giordano ; and 
made small copies of the frescos in the Retiro, for 
the engravers. 

CASTREJON, Antonio, a Spanish painter, 
born at Madrid in 1625 ; died in 1690. He was 
most celebrated for his small historical subjects, 
although he painted several larger works for the 
churches which possess great merit. The best of 
these is St. Michael subduing the Dragon. In 
St. Giles is the Presentation in the Temple, by 
this artist, and several subjects from the Life of 
the Virgin. 

CASTRO, Don Felipe de, an eminent Spanish 
sculptor, born at Noya in Galicia, in 1711. He 
early manifested a strong inclination for the art, 
and having made some progress, he went to Lisbon, 
then to Seville, and afterwards to Rome, where he 
apphed himself with such ardor that his progress was 
surprising, and he produced several fine works, 
which gained him a pension from Philip V.. king of 
Spain. He drew the grand prize in sculpture of 
the Academy of St. Luke, and was afterwards ad- 
mitted a member of that institution, as well as of 
the Florentine Academy. On his return to his 
native country, he executed at Madrid several ad- 
mirable works in sculpture, and in 1752 was ap- 
pointed Director of the Royal Academy of St. Fer- 
dinando. His researches relative to the fine arts 
were of great value, and his works and example 
elevated the Spanish school of sculpture. He died 
in 1755, at the age of 44, much regretted by the 
friends of art. 

CASTRO, GiAcoMO di. an Italian painter, born 
according to Dominici at Sorrento, about 1597; 
died in 1687 ; studied under Gio. Battista Carac- 
cioli, and afterwards received some instruction 
from Domenichino, when that great master visited 
Naples to paint the Chapel of the Treasury. 
There are a number of his works in the churches 
of his native city, the best of which is his picture 
of the Marriage of the Virgin. 

CASTRO, PiETRO DE, an Italian painter of 
whom little is known, though his works are quite 
numerous in the Italian collections. He painted 
subjects of still-life in an admirable manner, as 
vases, shells, musical instruments, &c., which are 
executed with great truth of coloring, and pencilled 



in a free, though neat and delicate style. His works 
are arranged in admirable taste, and his chiaro- 
scuro is managed with great intelligence. He 
died in 1663. 

CATALANI, Antonio, called il Romano, a 
Bolognese painter, born about 1596 ; studied un- 
der Albano, whose style he successfully imitated. 
He was chiefl}^ employed on easel pictures for the 
private collections, but painted several pictures for 
the Bolognese churches. In the church of la Ma- « 
donna del Grada, are four pictures of the patron 
saints of the city, in four niches ; and in the church 
del Gesu, St. Peter healing the Lame at the Porch 
of the Temple. 

CATALANI, Antonio, called the Sicilian, a 
painter of Messina, born in 1560 ; died in 1630. 
Lanzi thinks he studied at Rome, and formed his 
style from the works of Federigo Baroccio, where he 
acquired that harmony of coloring and softness of 
effect which distinguish his works. There is a fine 
picture of the Nativity by Catalanijin the church 
of the Capuchins at Gesso. 

GATANEO, Danese, a reputable Italian sculp- 
tor, born at Massa di Carrara, and flourished 
about 1 555. He was, according to Milizia, a schol- 
ar of Sansovino. He executed the statue of Apol- 
lo in the court of the Zecca at Venice ; the sepul- 
chre of Andrea Badoaro in S. Giovanni Evangelista. 
and the sepulchre of Leonardo Loredano, in the 
church of Sts. Giovanni and Paolo. His greatest 
work, however, was the altar and sepulchre of the 
celebrated Giano Fregoso. in S. Anastasia at Flo- 
rence, which is adorned with several admired stat- 
ues. Cataneo also executed a number of other 
works, among which were some sculptures for the 
Arco del Santo at Padua. He died in that city, 
in 1573. 

CATELANI, F. Bernardo, a Capuchin of Ur- 
bino, whom som^e authors suppose to have studied 
under Raffaelle ; but this is doubted by Lazzari 
and Lanzi. There are some of his works in the 
convent of his order at Cagli, and there is an altar- 
piece in the church of the Capuchins, executed in 
the style of Raffaelle. He lived about 1550. 

CA:TENA, Vincenzio, a Venetian painter, who 
flourished from 1500 to 1530, in which year he 
he died. He formed his style from the works of 
Giorgione, and painted portraits with great reputa- 
tion, but was more esteemed for his easel pictures 
of historical subjects. He was also employed in 
the churches of Venice. He seems to have been a 
painter of great distinction, for when Raffaelle 
died, and M. Angelo was growing infirm, M. A. 
Michiel wrote from Rome to Antonio di Mar- 
silio at Venice, recommending Catena to be on 
his guard, " as danger seems to be impending 
over all very excellent painters." His best works 
are in S. Simone Grande, alle Carita, and S. Mauri- 
zio. Thej' possess considerable merit, but show 
traces of the dry manner that preceded him. 

CATERING, an old painter of the Venetian 
school, who lived about, 1250, All that is known 
of him with any certaint}'- is an antique altar- 
piece in the church of Corpus Domini at Venice, 
inscribed Catarinus pinxit. 

CATESBY, Mark, an English designer and en- 
graver, born in 1079. In 1712 he visited thiss 
country, where he remained seven years studying 
natural history, and then went back to England. 



CATH. 



185 



CAUK. 



He subsequently returned to America, T^'here for 
several j^ears he was occupied in making drawings 
of the various specimens of natural history that 
he collected in his excursions throughout the 
States of Georgia and Florida. In 172G, he re- 
turned to England, and learned the art of etching, 
that he might engrave the plates for his intended 
publication, which he did from his own designs. 
The work is entitled " The Natural History of 
Carolina, Florida, and the Bahama Islands." Ca- 
tesby was a fellow of the Royal Society, and died 
in 1749. I 

CATHELIN, Louis jAcauES, a Parisian en- 
graver, born in 1736 ; studied under le Bas, and 
became one of his most successful scholars. There 
are a number of plates by this artist, chiefl}' after 
the modern painters of his country, which are 
very neatly engraved. The following are the prin- 
cipal : 

PORTRAITS. 

L'Abbe Terray ; after Roslin ; Ms reception plate at 
the Academy. Loui's XV. ; after L. M. Vanloo. Joseph 
Vernet, painter of marines; do Henry IV. of France; 
after a drawing by Cochin. Jean Jacqnes Balechou, 
engraver; after Arvanou. Maria Theresa, Empress of 
Germany; after Ducreux. Joseph II., Emperor; do. 
M. de Marmontel ; after Cochin. Louis Joseph Bourbon, 
Prince de Conde. Equestrian Statue of Louis XV. 

VARIOUS SUBJECTS. 

The Death of Lucretia ; after Pellegrini. Latona re- 
venged ; after Ph. Lauri, begun by Balechou, and fin- 
ished by Caihelin. Erigone ; after Monsiau. A Water- 
fall, with Fishermen ; after J. Vernet. A set of Four, of 
the Times of the Day ; do. 

CATI, PAsauALE, DA Jesi, a Roman painter 
according to Baglioni, who flourished during the 
pontificates of Gregory XIII.. Sixtus V., and Cle- 
ment VIII. He was employed in the Vatican, 
where he painted the Passion of Christ, and seve- 
ral friezes in the Sala Clementina. He also paint- 
ed the chapel of Cardinal Al temps, with subjects 
from the Life of the Virgin. He died in the pon- 
tificate of Paul v., aged 70. 

CATTANIO, CosTANZo, a Ferrarese painter, 
born in 1602 ; died in 166-5 ; studied under Scar- 
sellino, and afterwards under Guido, at Bologna. 
Lanzi says that he was of an exceedingly quarrel- 
some disposition, and was so frequently engaged 
in broils and outrage that he passed the most of 
his life in disgrace or exile. The subjects he usu- 
ally represented harmonised with his disposition, 
being generally soldiers and banditti, painted in a 
fiery and menacing tone of coloring. JEIe was, how- 
ever, capable of better things, as appears from his 
Ecce Homo, and the Flagellation, in S. Giorgio at 
Ferrara ; his Christ pra3ang on the JNIount, in S. 
Benedetto ; and his Annunciation, in S. Spirito. 
The two latter have something of the grace and 
sweetness of Guido. 

CATTAPANI, LucA, a Cremonese painter, born 
about 1570 ; was a scholar of the Campi ; paint- 
ed several works in fresco, but was more success- 
ful in oil. He distinguished himself by an un- 
common facility, and he copied many of the works 
of his master with a precision that might deceive 
the best judges. Of his own compositions, the 
best was his Decollation of St. John, in S. Dona- 
te at Cremona. 

CATTINI, Gig. Francesco, a Venetian engra- 
ver, born in 1730 ; executed several plates after 



antique statues at Venice, and a set of fourteen 
heads afte?^ Piazzetta. He engraved the portrait 
of F. Zuccharelli, and those of several Venetian 
nobles ; also some statues in the Giustiniani 
Gallery, in the manner of Claude Mellan, with a 
single stroke. 

CAUKERKEN, Cornelius van, a Flemish en- 
graver, born at Antwerp in 1625 ; engraved seve- 
ral plates after Rubens, Vandyck, and other Flem- 
ish masters. They are executed with the graver, 
in a stiff, labored manner, but are not without 
merit. The following are the principal : 



portraits. 
Peter Snayers, painter of battles; D. van Heil,pinx. 
Tobias Verhaect, painter ; Ottovenius, pinx. Robert Van 
Hoeck, painter ; Gon. Cocques, pinx. Peter Meert, por- 
trait painter ; C. Caukerken,fec. Charles Vandenbosch, 
Bishop of Bruges. Charles IL King of England, the fig- 
ure by Caukerken, the rest by Hollar. 

VARIOUS subjects. 

The dead Christ in the lap of the Virgin ; after An. 
Caracci. The dead Christ, with the Virgin, Magdalene, 
and St. John ; afler Vandyck. The Descent of the Holy 
Ghost ; do. Charity, with three Children ; do. The Ro- 
man Charity ; after Rubens. St. Ann, with the young 
Virgin Mary ; do. The Martyrdom of St. Lievinus ; do. ; 
the best impressions are before the name of de Hollander. 
A Woman suckling an Infant ; after A. Diepenbeck. 

CAULA, SiGiSMONDO, a painter of Modena. 
born in 1G37 ; studied under John Boulanger, and 
afterwards visited Venice, where he studied with 
great assiduity the splendid works of Titian and 
Tintoretto. His first productions were superior 
to those executed in the latter part of his life. 
He painted altar-pieces, and cabinet pictures for 
private collections. The best of his large works 
is the picture of the Plague, in the church of S. 
Carlo at Modena, painted with great vigor and ex- 
pression. There are works by him dated 1682 
and 1694. 

CAUSE, H.. a Flemish engraver, who flourished 
about 1690. There are several plates by him, rep- 
resenting views of castles and other edifices, which 
possess considerable merit ; also some portraits, 
among which is that of Cardinal Ferdinand d'Adda. 

CAVAGNA, Gio. Paolo. This painter was 
born at Borgo di S. Leandro, in the Bergamese, in 
1560 ; died in 1627. He visited Venice at the time 
when Titian was in the zenith of his fame; and 
Tassi says he studied for a short time under that 
great master. On returning to Bergamo, he com- 
pleted his studies under the distinguished Gio. 
Battista Moroni, from whom he acquired a firm 
pencil, and delicacy of coloring. He seems to have 
adopted the style of Veronese, and his best M^orks, 
both in oil and fresco, resemble those of Paolo. 
He particularly excelled in painting old men and 
children. His best fresco work is the Assumption, 
in S. Maria Maggiore, at Venice. His oil paintings 
are not less admirable, especially two pictures of 
the Nativity, and Esther before Ahasuerus, in the 
same church. His most capital performance is the 
Crucifixion, in S. Lucia, which has been highly ex- 
tolled. This artist had a son named Francesco, 
called Cavagnuolo, who painted history, but never 
attained any distinction. His best work is in the 
church of Zoccalanti del Romacolo, representing 
the Virgin and Infant in the Clouds, with Saints 
He died young in 1630. 

CAVAGNA, PiETRO Francesco, a Bolognese 
historical painter ; born in 1675 ; died in 1733 ; 



CAYA. 



186 



CAYA. 



studied under Domenico Yiani. Zani designates 
him a copyist and imitator. He was much em- 
ployed in the Bolognese churches. In the church 
of Sts. Sebastiano and Rocco is the Conception, and 
St. Sebastian and St. Roch. In S. Colombano are 
pictures of St. Niccolo. and St. Gio. Battista ; and 
in S. Giuseppe the Nativity. 

CAYAGNI, Gio. Battista, a Neapolitan archi- 
tect, who flourished, according to Milizia, about 
1585. In concert with Yincenzio della Monica, he 
erected the church and convent of S. Gregorio Ar- 
meno at Naples. The Sacred Monte della Pieta 
was also erected by Cavagni, and gained him great 
reputation. He died in 1600. 

CAYALCABO, Baroni Gaspare Antonio, a 
native of Sacco, was born in 1682. and died in 1759. 
The Cav. Yannetti wrote his life. He first stud- 
ied under Antonio Balestra, and afterwards Carlo 
Maratti. He executed many beautiful works. 
Lanzi particularly commends an altar-piece in the 
Choir of the Carmine in his native place, with four 
lateral pieces of great merit. 

Pd ©r/o^-^'^^^^^^II^' ^^0- Battista, an 
VJB' v_DItalian engraver, born near Brescia, 
about 1530, and practised at Rome from 1550 to 
1590. His manner resembles that of Enea 
Yico. although inferior to that master. Many of 
his plates are copies from prints of other engravers. 
They are etched and finished with the graver, in a 
stiff, tasteless manner, and incorrectly drawn. He 
executed about 380 plates, of which the following 
are the principal : 

The Frontispiece, and Heads of the Popes, for the Vite 
de Pontefici. The Prints for a book, entitled Beati Apolli- 
nar is Martyr is, d^c. Thirty-three plates of the Ruins of 
Rome ; after Dossius. 1579. Ecclesice Anglicanos Tro- 
phae ; after Nic. Circignano. Christ among the Doctors ; 
supposed /rom his own design. The Last Supper ; do. 
The Image of the Virgin of Loretto. 1566. The House 
of Loretto, and the Miracles wrought there. 1569. The 
Jubilee in 1585, with a view of the old Church of St. Pe- 
ter's. A Sea-fight against the Turks ; for the book of Ci- 
acioni. The Virgia, called " The Silence ;" after M. An- 
gelo. The dead Christ in the Lap of the Virgin ; do. The 
Conversion of St. Paul ; do. The Martyrdom of St. Peter ; 
do. The Animals coming out of the Ark ; after Rafaelle. 
Moses showing the Tables of the Law ; do. Christ appear- 
ing to St. Peter ; do. The Miracle of the Loaves ; do. 
The Battle of Constantine with Maxentius ; do. The Mur- 
der of the Innocents ; do. Susanna and the Elders ; after 
Titian. 1586. St. John preaching in the Wilderness ; q/- 
ter A. del Sarto. The Descent from the Cross ; after Da- 
niello da Voiterra. The Virgin and Infant in the Clouds ; 
after Livio Agrcsti. The Elevation of the Cross ; do. 

CxiYALLI, Alberto Savonese. Little is 
known of this artist, save a beautiful fresco in 
the Piazza dell' Erbe at Yerona, executed in the 
style of Giulio Romano, dated 1540, from which 
circumstance it has been supposed that he studied 
under that master. From the beauty of this work 
great researches have been made by Italian con- 
noisseurs to discover memorials of him or his 
works, but without any success, and Lanzi suppo- 
ses that he must have changed his country, and 
died in foreign parts. 

CAYALLINI, PiETRO, an old Roman painter, 
born in 1279 ; studied under Giotto, and like 
him practised the Mosaic art, as well as engraving. 
He assisted that master in the principal mosaic 
over the principal entrance to St. Peter's. His 
most important work in oil, was the picture of the 
Crucifixion, at Assisi, which is a curious and ven- 



erable relic of the dry Gothic style prevalent at 
that early period of art. There is a print of this 
celebrated picture in Rosini's work. His princi- 
pal work in fresco, was in the church of Ara Coeli ; 
in which he represented the Yirgin and Infant 
above, surrounded with glory, and below, the Em- 
peror Octavian, and that of the Sibyl, directing 
his eye to the figures in the air. In the Guide to 
Rome are mentioned several of his works yet ex- 
isting; and in the Guide to Florence.^ Cambiasi 
commends a picture of the Annunciation by Caval- 
lini. He died at Rome, according to Lanzi, in 
1344; though Yasari says in 1364. 

CAYALLINO, Bernardo. This painter was 
born near Naples, in 1612, according to Zani; 
studied under Stanzioni, and was his ablest disci- 
ple. His genius and success were so great, that 
he excited the jealousy of his master. He became 
greatly distinguished for his easel pictures of sub- 
jects of profane and sacred history, which he 
treated in the style of Poussin, with fine composi- 
tion and expression, and the brilliant coloring of 
Rubens. There are many of his works in the pri- 
vate collections of Naples, which are highly es- 
teemed. His pictures were all carefully finished, 
and he gave promise of great distinction as an ar- 
tist, which was not realized ; for. by dissipation and 
debauchery he shortened his da3'S,and died in 1654. 

CAYALLUCCI, Antonio, an Italian painter, 
born at Sermoneta in 1752 ; died in 1795. He re- 
sided at Rome, of which school he was, perhaps, 
considered the principal ornament in his time, af- 
ter Mengs and Pompeo Batoni. His principal 
paintings are St. Bona distributing his wealth to 
the Poor, at Pisa ; St. Francesco da Paolo, in the 
Basilica di Loretto ; and his celebrated picture of 
Yenus and Ascanius, in the Palazzo Cesarini, at 
Rome. 

CAYARAZZI, Bartolomeo, called Crescenzi, 
a painter of Yiterbo ; born about 1590 ; died in 
1625 ; studied under Pomerancio. On leaving that 
master he was taken under the protection of the 
noble family Crescenzi, from whom he acquired his 
surname. He painted many works for his pro- 
tector, and was also much employed for the Ro- 
man churches. In the church of S. Andrea della 
Yalle, is a picture by him, of St. Carlo kneeling, 
with a choir of angels. In S, Ursula, he has paint- 
ed that Saint with the famous Legend of the 
eleven thousand Yirgins ; also a Holy Family, in 
the convent of St, Anna. 

CAYAZZA, Gig. Battista. a Bolognese paint- 
er and engraver ; born about' 1620 ; studied under 
Cavedone and Guido. and painted several pictures 
for the churches of his native city, among which is 
a fresco painting in the Nunziata, representing 
several saints. He has engraved from his own 
designs four plates, of the Crucifixion ; the Re- 
surrection ; the Death of St. Joseph ; and the 
x\ssumption. 

CAYAZZOLA, Paolo, a Yenetian painter, and 
pupil of Francesco Moroni. In the opinion of 
Yasari, he excelled his master in the gracefulness 
of his designs and the beauty of his coloring, and 
had he not died young, he would have acquired 
great distinction. Lanzi says he died at the early 
age of 31 years, and left many fine specimens of a 
mature judgment in the churches of Venice. 

CAYAZZONE. See Zanotti. 



CAVE. 



187 



CAVE. 



CAVAZZONI, Francesco, a Bolognese paint- 
er, born in 1559 ; studied under Passerotti, and af- 
terwards in the school of the Oaracci. He holds a 
respectable rank among the followers of the latter 
school, though less distinguished than Guido and 
Domenichino. His principal works are at Bolog- 
na. The most esteemed are : Magdalene at the 
Feet of Christ, in S. Madalena ; the Crucifixion, in 
S. Cecilia ; and St. John Preaching, in S. Giovanni. 
Cavazzoni was living in 1612. 

CAVEDONE, GiAcoMO, an eminent Italian 
painter, born at Sassuolo, in the Modenese, in 
1577. When a boy, he was driven from home by 
the severity of his father, and compelled to obtain 
his subsistence by entering the service of a noble- 
man. His master was a true lover of art, and 
possessed a valuable collection of pictures. The 
young page had employed himself during his leis- 
ure moments in copying some of them with a pen ; 
which appeared to the nobleman such extraordin- 
ary productions of untaught genius, that he show- 
ed them to An. Caracci, who encouraged Cavedone 
to persevere, gave him several of his own draw- 
ings to copy, and soon afterwards received him 
into his school. The young artist now made as- 
tonishing progress. On leaving the school of the 
Caracci, he visited Venice, and acquired from the 
study of the splendid works of Titian, that admi- 
rable system of coloring, in which he may be said 
to have surpassed every other painter of his school. 
On returning to Bologna, his paintings were so 
highly esteemed, as to be considered nearly equal 
to the works of Annibale. At this time his de- 
sign was elegant and correct, and his coloring so 
vigorous, yet tender and harmonious, that Lanzi 
says when Albano was asked by a stranger, if 
there were sluj pictures by Titian at Bologna, he 
replied " No, but there are two by Cavedone, in S. 
Paolo, which amply supply the want of them." 
He painted with uncommon facility, yet his works 
have nothing of the appearance of negligence. In 
his frescos he was singularly harmonious, using 
little variety of tints, but so admirabl}^ adapted to 
that style of painting, that Guido adopted him as 
a model. His most celebrated picture is in the 
church of the Mendicanti at Bologna, representing 
St. Alo and St. Petronio kneeling before the Virgin 
and Child, with a glory of angels. In this great 
work he appears to have combined all the beauties 
of the art ; it is admirably composed, with en- 
chanting color, truth, and expression in the heads, 
and a grand and simple folding of the draperies ; 
forming a most attractive painting, even a city so 
rich in works of art as Bologna. This picture was 
daily mistaken for the work of Annibale Caracci. 
In S. Paolo are his fine pictures of the Nativity 
and the Adoration of the Magi. In the Ospitale 
di S. Francesco, is a Holy Family, with St. John 
and St. Francis. In S. Michele is the Last Sup- 
per ; and in S. Salvatore, the Four Doctors of the 
Church. As a proof of the great merit of this 
artist, it is related that a picture by him. the Vi- 
sitation of the Virgin, in the royal chapel at Mad- 
rid, was mistaken by Colo7ma, Rubens, and Ve- 
lasquez, for the work of Annibale Caracci. Cave- 
done had acquired an immense reputation, when, 
by some unaccountable cause, he gradually changed 
his manner from a style which had gained uni- 
versal admiration, to one of mediocrity ; and final- 
ly sunk to the lowest degree. In the latter part 



of his days however, he received a violent shock 
by a fall from a scaffold. Superstition had charged 
his wife with the crime of witchcraft; and to com- 
plete his affliction he lost his only son, a youth 
who had manifested great genius for the art. He 
sunk into a stupid despondency, and was com- 
pelled to beg his bread in the streets of Bologna. 
He died suddenly, in the horrors of wretchedness 
and want, in 1660, aged 73. 

CAVERSEGNO, Agostino, a Bergamese ar- 
tist, who, according to Tassi, flourished from 1539 
to 1552. His will was dated 1539. Little is 
known of him. Lanzi says " that having flour- 
ished at a period so distinguished for the art of 
coloring, he may be compared to certain writers 
of the 14th centur}'-, who. as Salvini observes, 
throw little light upon learning, yet in respect to 
language, every page appears imbued with gold." 

CAVINO, Giovanni, called il Padovano, an 
ingenious engraver of the 16th centur3^ An im- 
pulse had been given to the study of the medals 
and coins of antiquity, first by Petrarch, and after 
him, by Cosmo, Pietro, and Lorenzo de Medici, by 
Alfonso, king of Naples, and by Cardinal St. Mark. 
Availing himself of the general passion for col- 
lecting such remains, Cavino applied himself with 
success to the task of producing counterfeits ; and 
with the assistance of Alex. Bassiano the poet, 
difi"used an incredible number of them throughout 
Italy. A collection of his coins and medals was 
made by Lecointe, antiquarian to the king of 
France, and presented by him to the Abbey of St. 
Genevieve, whence they passed into the imperial 
cabinet ; they are 122 in number, and attest the 
skill and ingenuity of the artist. 

CAXES, Patricio, an Italian painter, born at 
Arezzo. Little is known of his early history, but 
he attained suflicient eminence to be invited to 
Spain by Philip IL, who employed him in the 
palaces at Madrid. He was appointed to paint the 
Queen's Gallery at the Prado, where he represent- 
ed the Chastity of Joseph, a subject not very ap- 
propriate for the apartments of a princess. It 
was destroyed, together with many works of art, 
in the conflagration of that palace. This master 
translated Vignola on the Five Orders of Architec- 
ture into Spanish, for which he engraved the fron- 
tispiece and plates. After serving Philip II. and 
Philip III., during forty-four years, he died at an 
advanced age, in extreme poverty ; and when the 
king was informed of the indigence of his family, 
consisting of a widow and eight children, he as- 
signed them a stipend of ten cents per diem for one 
year ; and yet this has been cited as a proof of 
royal generosity ! 

CAXES, EuGENio, a Spanish painter, the sou 
and scholar of Patricio 0.; born at Madrid in 
1577 ; died in 1642. He assisted his father in sev- 
eral of his works for the court, and in 1612, was 
made painter to Philip III., which appointment 
he retained under Philip IV., who assumed the 
crown in 1621. He painted the portrait of the 
latter and several historical works in the palaces, 
besides many pictures for the churches and con- 
vents, who, following the example of the court, 
gave liberal encouragement to the arts. In the 
monastery of S. Augustin Calzada at Madrid, is 
a fine picture of St. Joachim and St. Ann ; in the 
church of S. Martin are his two pictures of the 



CAYO. 



X88 



CECC. 



Nativity and the Adoration of the Magi. He also 
painted several frescos in concert with Vincenzio 
Carduccij in the palace of the Prado. All the works 
of Caxes, except those in the churches above men- 
tioned, were destroyed by fire. The convent of 
San Felipe at Madrid, where there were many of 
his works, was burned in 1718 ; and the Prado 
was destroyed in the same manner. 

CAYLTJS, Anne Claude Philippe. Oomte de, 
a celebrated French amateur engraver, and a very 
eminent connoisseur, born at Paris in 1692 ; died 
in 1765. He spent his life and fortune in the pro- 
motion of art, and the encouragement of artists. 
In fact, he may be said to have done more for 
both than any other man of modern times, and 
the friends of art are under the greatest obliga- 
tions to him. He published a Recueil cV Antiqui- 
ties Egyptiennes^ Et7'usqices, Grecques, Romaines^ 
et Gauloises, in seven vols. ; of which the last 
volume appeared after his death, in 1767. As an 
engraver he has etched an immense number of 
plates, of which those after Bouchardon were 
finished by Fessard and his pupils ; the set of 
gems from designs by the same artist, were ter- 
minated by le Bas. They do not possess much 
merit, but deserve attention as preserving the mas- 
terly sketches of the most celebrated painters. 
The following are the principal : 

A set of about Two Hundred Plates, after the Drawings 
in the Collection of the Kin? of France. A set of ten An- 
tique Gems, from drawings by Edme Bouchardon. etched 
by C. de Caylus, and terminated with the graver by Le 
Bas. A set of six Mythological Subjects ; after Bouchar- 
don ; etched by C. de Caylus, and terminated with the 
graver by Fessard. A set of Thirty Heads ; after Ru- 
bens and Vandyck ; from the Crozat Collection. " A set of 
fifty grotesque Heads ; a/?er Z/fiouarcZo rfa Vinci. A set 
of fine Sketches ; after della Bella. 

C AYOT, AuGusTiN, a reputable French sculptor, 
born at Paris in 1667. He at first studied paint- 
ing under Jouvenet, but soon abandoned that art 
for sculpture, which he studied under le Hongre. 
He gained the grand prize of the Royal Academy, 
and was then sent to Rome with the royal pen- 
sion, where he became an assistant of van Clive, 
and wrought with him for fourteen years. Among 
other works, he executed the Two Angels, in bronze, 
for the grand altar of the church of Notre Dame ; 
and a statue in marble, of a Nymph of Diana, 
which is placed in the garden of the Tuileries. 
In 1711 he was elected an Academician, on which 
occasion he executed his statue of Dido, as his re- 
ception piece. 

GAZES, Pierre Jacques, an eminent French 
painter, born at Paris in 1676. He studied under 
Honasse, and subsequently in the school of Bon 
BouUongne. He obtained the grand prize at the 
Academy in 1699, and in 1704, was elected a Roy- 
al Academician. Gazes may be considered one of 
the first artists of the French school. His drawing 
is correct ; his design is grand ; he greatly ex- 
celled in draperies, and possessed an accurate 
knowledge of chiaro-scuro. He wrought with 
great industry, but his performances are not all 
of equal merit, and towards the latter part of his 
life, his pictures betray the decline of his powers. 
He was also particularly distinguished for his pic- 
tures of horsas. There are many of his works to 
be seen at Paris, in the church of Notre Dame ; in 
the college of the Jesuits ; at the House of Chari- 
ty, etc. At St. Germain des Pres, he represented 



the lives of St. Germain and St. Vincent. A Holy 
Family at St. Louis de Versailles, is also much ad- 
mired, and is one of his best productions. The 
king of Prussia has two fine pictures by Cazes, 
which are very highh^ esteemed. He -was the in- 
structor of Chardin and Charles Parroccl, and 
held several honorable offices in the Royal Acad- 
emy. He died at Paris, in 1754. 

CECCARINI, Sebastiano. a historical painter 
of Urbino ; born about 1700; died, according to 
Lanzi, in 1780 ; studied under Agostino Castel- 
lacci, and practised at Rome with reputation, du- 
ring the pontificate of Clement XII. The surporta 
of the church of S. Urbano, representing that 
saint ; also the principal altar-piece in the same 
church, are by Ceccarini ; as is the picture in the 
Capella delgi Svizerri in the Quirinal. His best 
productions, however, are at Fano, where he chiefly 
resided ; among them are his St. Lucia, at the Au~ 
gustines, and several subjects of sacred history in 
the palaces. 

CECCATO, Lorenzo, an admirable artificer in 
Mosaic pictures, who flourished at Venice towards 
the end of the 16th century. He was principally 
employed in copying the works and designs of the 
great masters, especially of Tintoretto. 

CECCHI, Gaetano, a Florentine engraver, who 
practised about 1770. He executed several plates 
of historical subjects, which are etched and fin- 
ished with the graver, in a style that does him 
considerable credit. 

CECCHI, Gio. Battista, a Florentine engraver, 
born about 1748. and was living in 1812. He en- 
graved several plates for the Avork entitled ''Serie 
degV uomini illustri^'^ and for the Life of the 
Marches! di Pombal ; also the following prints 
after various Italian masters : 

The Vocation of St. Andrew to the Apostleship ; after 
L. Cardi. The Martyrdom of St. Lawrence; after P. 
da Cortona. The jNIartyrdom of St. Vitalis ; after F\ 
Baroccio. The Stoning of Stephen ; r/o. The Entombing 
of Christ ; after Daniello da Volterra. Cataline's Con- 
spiracy ; after Salvator Rosa. 

CECIL, Thomas, an English engraver, who 
practised about 1630. His plates possess some 
merit; they are neatly executed, entirely with the 
graver, and are chiefl}'^ portraits from his own de- 
signs. The following are the principal : 
portraits. 

Queen Eliz.abeth on Horseback. Walter Curie, Bishop 
of Winchester. William Cecil, Lord Burleigh, Edward 
Reynolds. Bishop of Norwich. Thomas Kidderminster of 
Langley, 1628 ; scarce. John Talbot, Earl of Shrewsbury. 
Sir John Purgh, killed a.t the Isle de Rhee ; this print is 
very scarce, as it is thought the plate was altered, and the 
title changed for that of Gustavus Adolphus, and inserted 
in Scudery's Curia Politice. John Weaver, prefixed to 
his Funeral Monuments. 1631. A small whole-length of 
Archee, the King's Jester. Sir John Ilayward. Knt. 
LL.D. The Frontispiece to Ambrose Parry's Works. 
1634. The Frontispiece to Devout Meditations. 1629. 
The Frontispiece to Lord Bacon's Syha Sylvarum. 

CELER, and SEVERUS, were eininent Roman 
architects, and flourished in the time of Nero. Ac- 
cording to Tacitus, they were appointed by that 
emperor to erect his famous golden palace, which 
surpassed all that was stupendous or beautiful in 
Italy. It was erected after the conflagration of 
Rome, which has been imputed to the wickedness 
of Nero. His statue, 120 feet high, stood in a 
court, ornamented with porticos of three rows of 



CELE. 



189 



CENN. 



lofty cohimns, each row a mile long ; the gardens 
vrere of vast extent, with vine3'ar(ls, meadows, 
woods and lakes, filled, according to Tacitus, with 
every species of domestic and wild animals. — 
Pearls, gems, and the most precious materials 
ornamented the palace in every part, and especial- 
ly gold, which was used in the utmost profusion. 
This great palace was completed by Otho, but did 
not remain long, for Vespasian restored to the peo- 
ple the lands of which Nero had unjustly deprived 
them, and erected in its place the mighty Colos- 
seum, and the magnificent Temple of Peace. 

CELESTI, Cav. xiNDREA, a Venetian painter, 
born in 1637 ; died in 1706 ; studied under Pon- 
zoni, but did not follow his style. He painted the 
most beautiful views about Venice, and other Ital- 
ian cities, in a large size, and also in small. His 
selections are choice and elegant : his coloring 
pleasing ; his skies are luminous and clear, and 
every part is agreeable to the eye. He was fond 
of using a purplish tint, something in the style of 
Rubens, of which he was occasionally too profuse, 
especially in his carnations. He painted historical 
subjects of large and small size, and sometimes 
conversations and pastoral subjects. His land- 
scapes are scarce, and are highly prized. He had 
a fertile invention, with a vagueness of coloring and 
a flowing outline that resemble Veronese. Some 
of his works have lost their original freshness, and 
in some cases the demi-tints appear to have per- 
ished, by which the harraon}'- of the work is di- 
minished. His best historical works are in the 
church of the Ascension at Venice, of which the 
most esteemed are, an Adoration of the ]Magi ; and 
in the Ducal Palace, a picture of a subject from the 
Old Testament, which is highly valued. 

CELT, Placido, a native of Messina, who ac- 
cording to Hakert, studied under Agostino Scilla. 
He followed that master to Rome, where he after- 
wards imitated the style of Carlo Maratti, and 
executed some pictures for the churches of dell' 
Anima and Traspontina. He afterwards returned 
to his own country, where he executed some works 
for the churches, and died at Messina in 1710. Lan- 
zi says he did not rise above mediocrity. 

CELIO, Cav. Gasparo, a Roman painter; born 
in 1571 ; died in 1640 ; studied under Nicolo Cir- 
cignani, according to Baglioni, and painted several 
works for the Roman churches. The best are St. 
Michael discomfiting the Fallen Spirits, in S. Gio- 
vanni Laterano ; St. Charles Borroraeo, in S. Carlo 
a Catarini ; St. Francis receiving the Stigmata, in 
the Mendicanti ; and the Israelites crossing the 
Red Sea, in the Gallery of the Palazzo Mattel. 

CELLINI, Benvenuto, an eminent Italian 
sculptor and medalist, born at Florence in 1500. 
He was intended for the musical profession, but as he 
early manifested a strong inclination for sculpture, 
he was permitted to follow his favorite pursuit ; 
and his earliest works in gold and silver, in the 
antique style, were greatly admired. At the age 
of fifteen, he established himself with a gold.smith 
named Marcone, and also directed his attention to 
seal-engraving, under the able instruction of Lau- 
tizio ; he likewise made ingenious maskeenings of 
gold and silver on Turkish daggers, and employed 
himself in cutting dies, medalling and enamelling, 
in all of which he was eminently successful. He 
was now employed by the dignitaries of the 



VII., of whom he executed a gold medal, which re- 
ceived great applause. At Florence he afterwards 
executed a gold medal with the device of lleicules 
tearing open the jaws of the Nemean lion. Mi- 
chael Angelo. on seeing it, declared that his stylo 
was entirely original. He executed a number of 
other medals which gained him great reputation. 
Cellini was soon afterwards appointed engraver to 
the mint at Rome. He subsequently went to 
Paris at the invitation of Francis L, where he 
commenced several fine works ; but he soon got 
into trouble with the Queen's favorite, INIadame 
d'Etampes, who did all in her power to excite the 
king against him, and he obtained permission to 
return to Italy. On arriving at Florence, the 
Grand Duke Cosmo de Medici received him with 
honor, and gave him a studio, where he executed 
his celebrated Perseus with the head of Medusa, 
in bronze, to ornament the grand square at Flo- 
rence. Cellini and Bandinelli contended for the 
execution of a colossal statue of Neptune, and his 
design was preferred, which is said to have caused 
the death of the latter, although the duchess, who 
was Cellini's enemy, prevented him from having 
the work, and caused it to be given to Ammanati. 
He soon after, however, regained the duchess' good 
opinion, b}' presenting to her and the duke a mar- 
ble crucifix, which is highly extolled by Vasari. 
Cellini wrote a treatise on the various branches 
of his art, which is also highl}^ praised by Vasari, 
and which bears incontestible evidence of an ori- 
ginal and comprehensive genius. He died at Flo- 
rence in 1570, and was buried with great pomp, 
in the Nunziata. 

CENNINI, Andrea, an Italian painter and au- 
thor, who lived at Florence in the first part of the 
15th century. He is celebrated for a work com- 
posed in 1437, the MS. of which is still preserved 
in the Library of S. Lorenzo, by which Vasari pro- 
fesses to prove that oil painting was known in 
Italy before the invention was practised by John 
van Eyck, called John of Bruges. This MS. was 
published tinder the superintendence of Cav. Tam- 
broni, about 1800; but it signally fails to prove 
that oil painting, at least for pictures, was known 
in Italy before it was in Germany ; for he express- 
ly say's, '• I wish to teach thee now to paint in oil 
on walls or on panels, as practised by many Ger- 
mans," and he goes on to give directions for pre- 
paring different colored paints with boiling linseed 
oil, and painting on walls, wood, iron and marble. 
See John van Eyck. Cennini had not much rep- 
utation as a painter. Vasari says he painted the 
Virsin. with several Saints, in the Hospital of Boni- 
fazio at Florence, " in a good style of coloring." 
Yet he never excited the admiration or envy of his 
brother artists. 

CENNINI, Cennino, an old Italian painter of 
the fourteenth century. He was a pupil of Giotto, 
and deserves notice as the author of the earliest 
treatise on painting extant. It is entitled Instru- 
zione Pittoriche. and remained for ages unnoticed 
in the Vatican library, till 1821, when it was dis- 
covered by the Cavaliere Tambroni, who published 
it at Rome in that year. It contains, among other 
matters relating to the art, some curious informa- 
tion respect ing°oil painting. See John Van Eyck. 

CENTINO, iL. See Nagli. 

CEPHISODOTUS, or CEPHISODORUS, a 
Greek sculptor, the son of Praxiteles, who flour- 



CERA. 



190 



CERT. 



ished about B. C, o60, and whose sister was the 
iirst wife of Phocion. ' Plinj^ and Pausanias men- 
tion many of his works, which they rank as 
master pieces in the art, especially a statue of Mi- 
nerva, placed at the port of Athens ; and an inge- 
nious allegorical design, representing Peace, bear- 
ing in her'bosom a small statue of Plutus. There 
was also at Pergamus a noble work of Cephisodo- 
tus, a Symplegma, representing a group of wrest- 
lers with their limbs interlaced in violent straggle. 
Pliny mentions some of his works which had been 
transported to Rome; among which were three 
statues, Latona, Venus, and Diana, placed in the 
temple of Juno. 

CERAJUOLO, Antonio Del, a reputable 
Florentine painter, mentioned by Vasari, who 
studied under Ridolfi Ghirlandajo, and flourished 
about 1435. 

CERATI, Abate Don Domenico, an Italian 
architect, born about 1720, at Vicenza. From ear- 
liest youth he was attached to the study of archi- 
tecture, and pursued his profession with such ardor 
and success, that he was appointed Professor of 
Civil and MiHtary Architecture at Padua. He 
erected the famous observatory in that city, which 
surpasses every other structure of the kind in Eu- 
rope. He also superintended the erection of the 
magnificent hospital at Padua, and designed the 
embellishments to the Prato della Valle. 

CERESA, or CEREZI, Carlo, an eminent Ber- 
gamese historical and portrait painter ; born in 
1609 ; died in 1679 ; studied under Daniello Crespi. 
a talented painter of Milan, from whom he soon 
acquired a style of coloring and design nearly ap- 
proaching the merit of that master. According to 
Tassi, his figures are gracefully disposed, his col- 
oring has great softness and harmony, and his 
heads have an agreeable expression. His Avorks 
are chiefly confined to the churches of Bergamo. 
In the Cathedral is a picture of St. Vincenzio carried 
up to Heaven by Angels ; in the Cupola of S. Fran- 
cesco, four of the prophets ; and in S. Pietro one 
of his finest works, representing the Resurrection. 
CEREZO, Matteo, an eminent Spanish painter, 
born at Burgos, in 1635 ; died in 1685. He studied 
at Madrid, under Don Juan Carreno, and painted 
several pictures for the churches of Madrid and 
Valladolid, by which he acquired great reputation. 
He afterwards painted, in concert with Francisco 
de Herrera, painter to Philip IV., in some works 
which he was engaged upon for the king. His works 
possess great excellence, and he was called the 
Vandyck of Spain. The best performance of 
Cerezo, is Christ with His Disciples at Emmaus, 
which is said, by Bermudez, to equal the works of 
Titian. 

CERQUOZZI. See M. Angelo. 
CERRINT, Gio. Domenico, called II Cav. Per- 
UGiNO, a painter of Perugia ; born, according to 
Pascoli. in 1609 ; died in 1681 ; studied under 
Guido. from whom he acquired a graceful and ele- 
gant design, with an expression in the heads that 
occasioned some of his works to be taken for those 
of Guido. His best work in fresco is the Cupola 
of la Madonna, representing St. Paul taken up to 
Heaven. 

CERRINI, Lorenzo, a Florentine painter, who 
studied under Cristofano Allori. He was quite 
celebrated as a portrait painter, and as a copyist of 



the works of others. He flourished about the 
middle of the seventeenth century. 

CERTOSINO, iL. See Cassiani. 

CERIJ. Bartolo, a reputable Venetian paint- 
er, who studied under Maffeo Verona. Some of 
his works were engraved in aquafortis, by Boschini. 
He died about 1660. 

CERUTI, Fabio, a native of Milan, and a re- 
putable landscape painter, , who studied under 
Christopher L. Agricola, and painted in his style. 
Lanzi says his works are numerous in Milan and 
in the State. He flourished in the first part of 
the eighteenth century. 

CERVA, Gio. Battista, a Milanese painter, 
who flourished about 1550 ; studied under Gau- 
denzio Ferrari, according to Lanzi. The only work 
mentioned as by this artist, is the Incredulity of ^ 
Thomas, which for its animated expression of the ■ 
heads, and its admirable style of coloring and de- r' 
sign, deserves to rank high among the productions 
of the Milanese school. 

CERVELLI, Federigo, a Milanese painter, who 
flourished about 1690 ; studied under Pietro Ric- 
chi, whom he rivalled in the freedom of his pencil. 
and surpassed in the correctness of his desiixn. 
One of his best works is at the Scuola di S. Teo- 
doro, representing a subject from the life of tliat 
Saint. 

CERVETTI, Felice, a Piedmontese painter, 
who flourished at Turin in 1764. He wrought 
with more facility than finish, and his works are 
frequently met with at Turin and in the State. 

CERVETTO, Gio Paolo, a Genoese painter, 
born about 1630. Soprani says he studied under 
Valerio Castelli, and imitated his vigorous style 
with considerable success, but died young, in 1657. 

CERVI, Bernardo, a painter of Modena, and 
a scholar of Guido. He possessed an extraordi- 
nary genius, but at the time when his great in- 
structor had formed the most lively expectations 
of his rising greatness, he was cut off" by the 
plague, in 1630. His principal works are his fres- 
cos, in the dome at Modena. There are also sev- 
eral altar-pieces in the churches. There is a print 
by this artist, with the name abridged, of the 
Martyrdom of St. Sebastian, dated 1628. 

CESAREI, Pietro, sometimes called Perino 
de Perugia, a painter of Perugia, living in 1595. 
He was an artist of considerable reputation. He 
established himself at Spoletto. where, and in the 
neighboring towns, are some of his works, which 
Lanzi says are often attributed to Pietro Peru- 
gino. It appears, however, that he was anxious 
to prevent this confusion, and therefore he signed 
his name Perinus Perusinus, or Perinus Cesareus 
Perusinics. He had a brother named Serafino, 
who assisted him. 

CESARE, Padre. See Pronti. 

CESARL Cav. Giuseppr, called d'Arpino, an 
eminent Italian painter, born at the Castle of Ar- 
pino, in the kingdom of Naples, in 1560 ; died at 
Rome in 1640. He was the son of an obscure artist 
of little merit, who taught Cesari what little he 
knew of the art. At the age of thirteen he obtained 
his father's consent to visit Rome for employment, 
where he was compelled to offer his services io 
prepare the palettes and colors of the artists who 
were then employed in the Vatican, under Gregory 



CESA. 



191 



CESA. 



XIII. He had filled this humble situation but a 
short time, when he took an opportunity, in the 
absence of the painters, to sketch several figures on 
the wall, which excited the surprise and admira- 
tion of every one, particularly Fra. Ignazio Danti, 
the superintendent of the works in the Vatican, 
who mentioned the circumstance to the Pope. The 
latter immediately took Cesar i under his protec- 
tion, and placed him in the school of Nicolo Po- 
merancio. The instruction of that master was 
not calculated to counteract the depraved taste of 
the time for alluring glitter and ostentation. Ce- 
sari had great natural facility, and finding that he 
could easily satisfy the prevailing taste, he did not 
think it necessary to consult nature or the best 
models of antiquity. His works possess an ap- 
pearance of grandeur in the composition, lightness 
and dexterity in the design and execution ; but 
we look in vain for sublimity of conception, purity 
of outline, elevated expression, or harmony of 
effect. By straining the attitudes of his figures, 
he expected to give them animation and move- 
ment ; and when he attempted expression, he fell 
into distortion and grimace. In some of his works 
these defects are not discernible, such as battle 
pieces and processions, which require a crowded 
composition. In these the horses are drawn with 
great spirit, and his readiness of invention is sur- 
prising. With all his defects, he was soon re- 
garded as the most distinguished painter in Rome. 
He enjoyed during a long life a distinguished rep- 
utation, and established a very succcessful acad- 
emy. He was a perfect master of the arts of in- 
trigue, and possessed the talent of exalting the 
merits of his own productions, while he vilified 
those of others, and his instruction and example 
undoubtedly had a most pernicious influence upon 
art. Clement VIII., the successor of Gregory 
XIII., continued to extend him the protection and 
favor he had experienced under the latter, and cre- 
ated him Knight of St. John of Lateran. The 
style of this artist varied considerably through- 
out his long life, and his last works partake of the 
languor and feebleness of age. There are many 
of his works at Rome, of which the principal are 
the Cupola of S. Prassede, representing the As- 
cension, with the Virgin and Apostles ; in S. Gio. 
Grisognono, the Assumption of the Virgin. His 
most celebrated performance is the Saloon called 
by his name, in the Capitol, where he has repre- 
sented in fresco, the History of Romulus and 
Remus, the Combat of the Horatii and the Curi- 
atii, the Battle of the Romans and Sabines, and 
the bloody Conflict between the Romans and the 
Veil. 

CESARI, Bernardino, was the brother and 
scholar of the preceding, whom he assisted in many 
of his works. He also painted several pictures of 
his own composition in the churches at Rome, en- 
tirely in the style of his brother. There is a large 
fresco work in St. John of Lateran, by this artist, 
painted for Clement VIII., representing the Em- 
peror Constantino in a Triumphal Car, with many 
figures. In S. Carlo a Catinari, is a picture by 
him of Christ appearing to Mary Magdalene. 

CESARI, Alessandro, an Italian medalist and 
gem engraver, called The Greek. He flourished 
in the sixteenth century, and resided for a long 
period at Rome, where he was employed by sev- 



eral pontiffs in the execution of medals, in which 
he so distinguished himself as to gain the appro- 
bation of Michael Angelo. 

CESARIANO, Cesare, a Milanese architect, 
whose life was v/rittenby Poleni, was born in 1483 
and died in 1543. He also was a painter in min- 
iature. 

CESCHINI, Giovanni, a native of Verona, 
who studied under Alessandro Turchi, whose 
works he copied so accurately that they passed 
for originals by that master. He flourished at 
Verona about the iniddle of the sixteenth century. 

CESI, Bartolomeo, an eminent Bolognese 
painter, born in 1556 ; died, according to Lanzi, in 
1629; studied under Gio. Francesco Bezzi, but 
afterwards attached himself to the works of Pelle- 
grino Tibaldi. He rather excelled in his frescos 
than in his oil paintings, although he has displayed 
great merit in both, as his pictures at Bologna 
sufficiently evince. His design was careful and 
correct, but not timid; his forms were judiciously 
chosen, and his coloring was tender and delicate. 
His works appear to have been the models from 
which Guido formed the sweetness and elegance of 
his style. He lived in friendship with the Caracci, 
though he occasionally painted in competition with 
them, and not unsuccessfully. His works are 
quite numerous at Bologna. The principal are in 
S. Giacomo Maggiore, the Virgin and Infant in the 
clouds, with a Glory of Angels ; St. John, St. 
Francis, and St. Benedict ; in S. Martino, the Cru- 
cifixion ; in S. Domenico, the Adoration of the 
Magi, and the Descent of the Holy Ghost ; in the 
Certosa, are his fine pictures of Christ Praying in 
the Garden, and the Descent from the Cross. His 
best work is a set of ten frescos, of subjects from 
the Life of ^neas, in the Palazzo Favi. 

CESI, or CESIO, Carlo, an historical painter 
and engraver of the Roman school, born at An- 
trodoco, in the Papal States, in 1626, died in 1686 ; 
studied under P. da Cortona, and was employed on 
several public works in concert with several of 
the best artists of his time, during the pontificate 
of Alexander VII. His works are held in consid- 
erable estimation. In the Quirinal, he painted the 
Judgment of Solomon, and others of his works 
are in the Rotonda and in S. Maria Maggiore. 
There are several plates by this artist of consider- 
able merit, after the Italian painters of his time. 
They are correctly drawn, and are etched and ter- 
minated with the graver ija a free, masterly style. 
The following are the principal : 

The Virgin and infant Jesus with St. John ; half-length. 
St. Andrew led to Martyrdom, prostrating himself before 
the Cross ; after Guido. The Frontispiece to the Book 
entitled Discorsi della Musica. Sixteen plates from the 
Pamphili Gallery; after P. da Cortona. Forty-one 
plates of the Farnesian Gallery; after An. Caracci. 
Bight plates of the Chapel Buongiovanni ; after Lan- 
franco. 

CESPEDES, Pablo, called at Rome, Cedaspe, 
a very eminent painter of Cordova ; born, accord- 
ing to Bermudez, in 1538. He had the advantage 
of a very liberal education in the theological sem- 
inary, was conversant with the classic and oriental 
languages, and spoke with great fluency most of 
the modern ones. His learning and merit raised 
him to the rank of a dignitary in the church, and 
he was not less remarkable for his modesty and 
humihty than for the extent and variety of hi? ac- 



CHAB. 



192 



CHAM. 



quirements. This artist visited Rome twice for 
improvement, where he derived great advantage 
from the study of the works of M. Angelo. 
While in that city he formed a close intimacy with 
Federigo Zncchero ; and afterwards when the latter 
was applied to by the bishop of Cordova to paint 
a picture for his cathedral, he declined the com- 
mission, observing " that while Spain possessed 
Cespedes, they need not send to Italy for artists." 
While at Rome Cespedes painted several M-orks, 
among which was an Annunciation, and a Nativity, 
in the Trinita de Monti ; also several subjects from 
the Life of the Virgin, in the vault of the same cha- 
pel. As a colorist, he was one of the greatest artists 
of his country ; and Bermudez says he sometimes 
approaches, in this respect, the beauty of Corrcggio. 
His works are chiefly at Cordova. In the cathe- 
dral is the Virgin and Infant, with St. Anne ; also 
his admirable picture of the Last Supper, which is 
highly praised by Palomino for the masterly dis- 
crimination of character in Christ, and the differ- 
ent Disciples. In the Jesuit college of S. Catalina, 
is the Martyrdom of that Saint, with a Glorj^ of 
Angels. This artist is said to have attained dis- 
tinction in sculpture and architecture, but none of 
his works are mentioned. He died in 1G08, and 
was buried in the cathedral at Cordova. 

CHABRY, jMarc, a French painter and sculp- 
tor^ born at Lyons in 1G60. He executed in that 
city a large number of works in both departments 
of art. among which were the paintings and bas- 
reliefs that adorn the great altar of the church of 
S. Antoine ; a bas-relief over the entrance to the 
Hotel de Ville, representing Louis XIV. on horse- 
back, the altar of a chapel of the Oratorio, and 
several works in the Church de la Trinite. He 
executed two statues of Hercules and the Virgin, 
and sent them to the king, who appointed him 
sculptor to the city of Lyons. The INIarechal de 
Villeroy purchased of him a statue of Winter, for 
G,000 livres ; and a merchant of Lyons payed him 
2,000 livres for a statue of Christ in box-wood, 
which was worthy of Puget. Chabry died in 
1727. He left a son named Marc C, who attained 
considerable distinction in sculpture, and executed j 
among other good works, several statues for the | 
Church des Cannes, of the Four Evangelists, St. i 
Peter and St. Paul ; also some statues for the j 
Church des Chartreux. i 

CHALGRIN, Jean Francois Therese, an ! 
eminent French architect, born at Paris, in 1739. 
He studied under Moreau and Boulet, and having 
gained the grand prize of the academj^, he went to : 
Italy with the royal pension. On his return, he : 
soon attained eminence, and was chosen by the i 
duke de la Vrilliere to erect his hotel, on the com- | 
pletion of which the duke honored him with an \ 
entertainment, and presented him with a magnifi- I 
cent watch, set with diamonds. He was soon after | 
admitted to the academy, and in 1770 was appointed j 
architect to the king. Chalgrin was distinguished ■ 
for the grandeur of his conception rather than for 
precision in details. He restored the Palace du 
Luxembourg, of which the grand staircase is a 
master-piece in magnificence. Among his other 
principal works, are the Hotel de St. Florentin, 
the College de France, the Church of St. Philippe 
du Roule, besides a number of hotels at Paris, 
chateaux for the nobilitj'^, and the Triumphal Arch 
do 1' Etoile. He died in 1811. i 



CHALLE, Charles Michel Angelo, a French 
painter, born at Paris in 1718, died in 1778. It 
is not known under whom he studied, but he at- 
tained sufficient distinction as to be chosen an 
academician, on which occasion he executed a pic- 
ture representing Painting and Sculpture united 
by the Genius of Design. He painted, also, several 
other works, among which was a picture in the 
church of St. Hippolyte, representing the Priests 
congratulating that saint on his conversion. He 
Avas appointed professor of perspective in the 
Roj'-al Academy, designer for the Royal Cabinet 
and chevalier of the order of St. Michael. Challe 
also wrote some treatises on architecture, which do 
not possess much merit. He had a brother named 
Simon C. who practised the art of sculpture, but 
never attained any distinction. 

CHALON, Louis, a landscape painter, supposed 
to have been born in Holland about 1687 ; some 
pictures by him are mentioned in the catalogues of 
1724. He painted views on the Rhine, decorated 
with figures, in a very artistical style, and an 
agreeable tone of coloring. 

CHALMERS, Sir George, a painter of Edin- 
burgh, who studied under Allan Ramsay, and af- 
terwards visited Rome. In early life he was pat- 
ronized by Gen. Blakeney at Minorca, where he 
painted a portrait of that officer, which was after- 
wards engraved. He succeeded to the title of 
Baronet, but not to the estates of his ancestors, 
which had been forfeited by their attachment to 
the Stuarts. Sir George, therefore, continued to 
follow painting as a profession, first at Hull, and 
afterwards in London. He died in 1791. 

CHAMBERLAIN, Mason, an English portrait 
painter, who was esteemed very successful in his 
likenesses. He was one of the original members of 
the Ro3^al Academy, and died in 1787. 

CHAMBERLAIN, Wm., an English painter, who 
studied in the Royal Academy, and afterwards un- 
der Opie. He painted portraits with success. He 
died in 1807, in the prime of life. 

CHAMBERS, Thomas, an English engraver, 
born at London, about 1724. He executed several 
plates for the Boydell collections ; also, some 
portraits of artists for Lord Orford's anecdotes. 
They are executed with the graver, in a firm, but 
not a pleasing manner. The following are his 
principal plates : 

A Concert; after M. A. Caravascgio. Raffelle's Mis- 
tress; after Rafaelle. The Holy Family; after B.Mu- 
rillo. St. Martin dividing his Clook ; after Rubens. St. 
Peter and St. John healing the Sick ; after S. Bourdon. 
Jupiter and Antiope ; after Casali. Helen Forman ; af- 
ter Vandyck. The G-ood Man at the Hour of Death; 
after Hayman. The Wicked Man ; the Companion; do. 
The Death of Turenne ; after Palmieri. 

CHAMBERS. Geo., an English marine painter, 
born at Whitby, in Yorkshire, about 1795. He 
was of very humble origin, and for several years 
followed a sea-faring life, but having a natural 
taste for painting ships, he apprenticed himself to 
an old vroman who kept a painter's shop in his 
native place, in order to gain a knowledge of col- 
ors. At the same time he took lessons of a draw- 
ing master named Bird, and employed his spare 
time in painting small pictures of shipping, which 
found a ready sale at his humble prices. He sub- 
sequently went to London, where he was employed 
by Thomas Horner to assist in painting the grand 



CHAM. 



193 



CHAM. 



Panorama of London, at the Colosseum, in the 
Regent's Park. At the completion of this work 
he "was engaged as scene-painter at the Pavilion 
Theatre. Here he attracted the notice of Admiral 
Lord Mark Kerr, who became his sincere patron, 
and procured him an introduction to William IV. 
He would now perhaps, have reaped some advan- 
tages from his persevering industry, but he soon 
after died, in 1840. His pictures have some merit, 
especially his naval battles, though they have too 
much of a reddish cast, particularly in the smoke. 
In Greenwich Hospital are three pictures by him ; 
the Bombardment of Algiers, the Capture of Porto 
Bello, and a copy of West's picture of the Des- 
truction of the French Fleet in the port of La 
Hogue. 

CHAMBERS, Sir William, an English archi- 
tect. He was the son of a merchant, originally of 
Rippon, in Yorkshire, but who settled at Stock- 
holm, where William was born in 1725. He vis- 
ited Italy, where he devoted himself to the study 
of the great remains of antiquitj^, and became a 
reputable architect. After visiting the principal 
cities of Europe, he went to England, and was 
introduced by John Carr, of York, to the Earl of 
Bute, to instruct the prince, afterwards Geo. III., 
in the elements of architecture. The latter was so 
much pleased with his tutor, that on his accession 
to the crown, he appointed him his chief architect. 
He erected a large number of edifices, among which 
is a villa for the Earl of Besborough. at Roehamp- 
ton. and two superb mansions at Whitehall and 
Piccadilly for Earl Gower and Lord jMiddleton. 
He designed and erected a beautiful Casino at Ma- 
rino, in Ireland, for Lord Claremont ; and after- 
wards designed the new buildings at Somerset 
House, on the Thames, which cover a space of 500 
by 800 feet. Chambers was appointed Comptrol- 
ler of the Board of Works, and afterwards surveyor- 
general ; he was nominated Treasurer to the Royal 
Academy, and in 1771 was presented to the king 
of Sweden, who conferred on him the Order of the 
Polar Star. In 1759 he published a Treatise on 
tJie Decorative part of Civil Architecture^ which 
is a work of considerable merit. He died in 1796. 
CHAMORRO, Juan, a Spanish historical paint- 
er, who studied under P. Herrera the Elder. His 
works show considerable ability, and great indus- 
try and perseverance. In 1669 he was elected 
President of the Academy of Seville, and contri- 
buted to the support of that institution till 1673. 
His principal works were in the convent of Mercy 
at Seville ; they represent subjects from the Life 
of the Virgin, and the Four Doctors of the Church. 
CHAMPAGNE, Philip de. This painter was 
born at Brussels in 1602, but went to Paris at the 
age of nineteen, with the intention of visiting Italy. 
He had not the advantage of the instruction of any 
eminent painter, and the greatest assistance he 
received, was from Fouquieres, v»''ho lent him some 
of his drawings. While in Paris, he met with such 
encouragement, in painting portraits and land- 
scapes, that he abandoned his intention of visit- 
ing Italy. He had apartments in the College of 
Laon, where also N. Poussin dwelt. The latter 
admired the works of Champagne, and an intima- 
cy sprang up between them. He soon acquired 
such celebrity, that he was appointed superintend- 
ent to the works of the queen, and met with great 
encoura2;ement and admiration. His works were 



distinguished for an admirable system of coloring; 
and he was a close imitator of Nature, but without 
choice or animation. His subjects were devoid of 
life or movement, and totally divested of that sen- 
sibility of expression which feeling alone can in- 
spire. His portraits are admirable, and the pic- 
ture of himself placed in the gallery of the acad- 
emy, is not unworthy of the first portrait painters. 
His best works are the ceiling in the king's apart- 
ment at Vincennes, composed on the subject of 
the peace of 1659 ; St. Philip in meditation, his 
reception picture; and the six pictures in the 
Carmelites at Paris, representing the Nativity, 
the Adoration of the Magi, the Circumcision, the 
Assumption, the Raising of Lazarus, and the De- 
scent of the Holy Ghost. This artist died at 
Paris in 1674. 

CHAMPAGNE. Jean Baptiste, was the neph- 
ew and scholar of Philip de C; born in 1645, died 
in 1688. He also studied several years at Rome, 
but never attained much distinction. On his re- 
turn from Italy, he was appointed professor of the 
Royal Academy, in Paris, and executed several 
works for the churches, and for the palace of the 
Tuileries. 

CHANGE. See Duchange. 

CHANTREY, Sir Francis, an eminent English 
sculptor, born in 1782, at the village of Norton, in 
Derbyshire. While very young he manifested a 
strong inclination for art; and several pastry 
figures which he modelled for the table of a 
wealthy lady named Stanley, excited great admi- 
ration. The latter immediately took him under 
her protection, and placed him with a carver and 
frame manufacturer, in Shetfield, where Chantrey 
found suificient opportunity for the indulgence of 
his favorite pursuit, and produced several admira- 
ble models in clay. At the same time he evinced 
a taste for landscape painting, and executed some 
portraits in miniature. He received some excellent 
instruction in painting from John Raphael Smith, 
and in 1802 he advertised in the Shefiield papers, 
to take portraits in crayons. Shortly afterwards 
he visited Edinburg and Dublin, but without re- 
ceiving much encouragement. He then went to 
London, and after studying some time in the Royal 
Academ}^, he exhibited, at the exhibition of 1804, 
a portrait in oil. The following year, having re- 
verted to his true vocation, he exhibited three busts 
which display great ability. In 1809, Mr. Alex- 
ander, the architect, gave Chantrey an order for 
four colossal basts of Howe, St. Vincent, Nelson, 
and Duncan, for the Trinity-house, and Greenwich 
Naval Asylum. His next work was the bust of 
Pitt, and in 1811, he exhibited six busts, one of 
which drew forth the warm approval of Nollekens, 
the sculptor, who generously ordered one of his 
own busts to be removed, and that of Chantrey to 
be put in its place. He soon after produced his 
statue of George III., for the city of London, 
which was greatly admired for its dignified ease, 
and tended largely to increase his fame. In 1817 
he was elected an associate of the Royal Academy. I 
He was engaged in several monuments in marble 
and bronze ; among them may be mentioned the 
statue of George IV., at Brighton ; that of Pitt, 
in Hanover Square ; and one of Watt, in West- 
minster Abbey. He was also employed upon 
several statues for St Paul's, besides designs for 
church sepulchres. Among the latter was the 



CHAP. 



194 



CHAR. 



monument of two children, daughters of Rev. W. 
Robinson, placed in Litchfield Chapel. This ex- 
quisitely simple and touching work, representmg 
the two children lying asleep in each other's arms, 
is Chantrey's master-piece in this branch of the 
art. It was exhibited in 1818, and gained Chan- 
trey a unanimous election to the Royal Academy. 
Shortly after, he produced a beautiful statue of 
Lady Louisa Russell, representing a child standing 
on tip-toe, looking down, with an expression of 
archness and delight, at a' dove which she is fond- 
ling in her bosom. In 1819 he visited Italy, and 
was elected a member of the Academies of Rome 
and Florence. He afterwards returned to Eng- 
land, where he continued to prosecute his profes- 
sional labors, and in 1835 he received from Wil- 
liam IV. the honor of Knighthood. He collected 
a choice cabinet of medals, statues, and antiques, 
and from the large price his works commanded, 
he amassed a handsome fortune, which at his death, 
in 1841, he bequeathed to Lady Chantrey for her 
life, and after her decease to the Royal Academy, 
for the encouragement of English art. Among his 
unfinished works is the Colossal Equestrian Statue 
of the Duke of Wellington, intended to be placed 
in front of the Royal Exchange. 

CHANTRY, John, an engraver of little note, 
who executed a number of portraits for the book- 
sellers, entirely with the graver, in a stiff, formal 
style. The following are the principal : 

James I. Charles II. ; three prints. James Fitzroy, 
Duke of Monmouth. Edward Leigh, M. A., of Magdalene 
College, Oxford. 1660. Thomas Whitaker, physician to 
Charles II. The Portrait of Selden. Gething, a writing- 
master. John Selden. 

CHAPERON, Nicholas, a French engraver, 
born, according to Zani, at Ohateaudun, in 1599, 
died in 1647 ; studied painting under Simon Vouet, 
and visited Rome for improvement, but did not 
make any proficiency in painting, as his talents 
were far better adapted to engraving. He remained 
in Rome several years, and in 1636 published his set 
of fifty-two plates from the pictures of Raffaelle 
in the Vatican, called RaSaelle's Bible, These 
grand works have been several times engraved, 
and though no artist has succeeded in represent- 
ing their noble character and purity of design, yet 
perhaps those of Chaperon are equal to any of the 
others. Besides these, there are the following 
plates, some of which are from his own designs. 
Several of them are marked N. C. F. 

The Portrait of N. Chaperon, with the Bust of Kaffa- 
elle.— The title to the Bible of Eaffaelle. The Portrait of 
Henry IV. ; below, in basso relievo, the King wounded by 
Du Chatel; after Freminet ; scarce. Another Portrait of 
Henry IV., with a Battle below. The Virgin suckling the 
Infant, falsely called after Titian. The Holy Family ; 
Guerinau, exc. Bacchus and Venus, 1639 ; Ciartres. cxc. 
A Man giving Drink to Bacchus. Bacchus, with a Man car- 
rying a Child. Satyrs, with Women and Children. A Bac- 
chanal, with a Child pouring out Wine to a Bacchante. An- 
other Bacchanal, with Silenus riding on a Croat. Young Bac- 
chanalians, one riding on a Goat. Another Bacchanal. 1639. 

CHARDIN, Jean Baptiste Simeon, a French 
painter, born at Paris in 1701. He distinguished 
himself as a painter of conversation pieces, of a 
domestic character ; which he represented with 
great truth, simplicity and beauty of finish. He 
is compared by his countrymen to Gabriel Metzu. 
He was a member of the Royal Academy, also 
one of the portrait painters to the king, and for a 



long time was charged with the decoration of the 
Louvre. He died in 1779. 

CHARES, an ancient sculptor, was a native of 
Lindus, in the isle of Rhodes, and flourished about 
B. C. 290. He was a disciple of Lysippus, and 
immortalized himself by the Colossus of the Sun, 
at Rhodes, which was reckoned one of the seven 
wonders of the world. This statue was of brass, ^ 
and, according to Strabo, was seventy cubits, or 
one hundred feet high ; and Chares was employed 
upon it twelve years. It was said to have been 
placed at the entrance of the harbor of Rhodes, 
with the feet upon two rocks, in such a manner, 
that the ships then used in commerce could pass 
in full sail between them. This colossus, after 
standing fifty-six years, was overthrown by an 
earthquake. An oracle had forbidden the inhabit- 
ants to restore it to its former position, and its 
fragments remained in the same position until A. 
D., 667, when Moaviah, a calif of the Saracens, 
who invaded Rhodes, in that year, sold them to a 
Jewish merchant, who is said to have loaded 900 
camels with them. 

CHARPENTIER, Pierre FRANgois, called 
Pierre Etienne and Fran9ois Phillipe ; a French 
engraver in aquatinta ; born at Blois, according to 
Zani, in 1739. The following are his principal 
plates : 

The Education of the Virgin ; after Boucher. Cupids 
playing with the Graces ; do. The Death of Archimedes ; 
after Giro Ferri. The Shepherdess; after Berghem. 
The Shepherd reposing ; do. The Descent from the Cross ; 
after C. Vanloo. Astyanax torn from the arms of Andro- 
mache by order of Ulysses. 

CHARPENTIER, Rene, a French sculptor, 
born at Paris in 1680. He studied under Girardon, 
and executed a number of works in the church of 
St. Roch ; among which is the Tomb of the Comte 
Rangoni. His works have much of the bad taste 
that prevailed in his time, though they evince some 
talent. He died in 1723. 

CHASSEL, Remi FRAN901S, a French sculptor, 
born at Metz, in Lorraine, in 1666. At an early 
age, his father, who had been sculptor to the king, 
sent him to Paris, and placed him under Lecomte. 
The young artist resided there a number of years, 
and wrought under Boullogne, Coustou, and Des- 
jardins ; after which he returned to Lorraine, 
where the duke, Leopold I., appointed him pro- 
fessor of sculpture in the academy at Nancy, 
which then rivalled the most celebrated academies 
of Europe. He executed a large number of works, 
among which were, the monument of Cueillet ; 
two statues of a Dead Christ and of Charity, in the 
Church des Carmes at Nancy ; the monument 
erected by the prince of Guise, in honor of Leo- 
pold 5 and a fine statue of Venus. He died in 1752. 

CHASTILLON, Louis He. a French engraver, 
and a painter in miniature and enamel ; born at 
St. Menehould, in Champagne, in 1639, died in 
1734. He seems to have followed, though rather 
unsuccessfully, the admirable style of Gerard Am- 
dran. The following are his principal plates, 
which have some merit, though greatly inferior to 
those of Audran. 

The Adulteress before Christ ; after S. Bourdon. The 
Conversion of St. Paul. The Seven Sacraments; after the 
pictures by Poussin, painted for the Cavaliere del Pozzo, 
a little varied from those in the Orleans collection. St. 
John in the Isle of Patmos ; after Poussin. The Fates 
spinning the Destiny of Mary de Medicis ; after Rubens. 



CHAT. 



195 



CHAU. 



Three Books of Prints ; two of the Fountains at Ver- 
sailles, and one of the Pavillions at Marly. 

CHATEAU, or CHASTEAU, Nicholas, a 
French engraver of some merit, born at Paris about 
1680. Little is known of the circumstances of 
his hfe. The following are his principal plates : 

A Young Lady, with a Mask in her hand ; half-length ; 
after Santerre. A young Lady in a Spanish Dress ; do. 
Summer, represented by a Female figure ; half-length ; 
after P. vanden Berge. Venus and Adonis; after L. 
Silvestre. Daphne and Apollo ; do. Kinaldo and Armida ; 
do. ; finished by J. Audran. 

CHATEAU, or CHASTEAU, Wm., a French 
engraver, born at Orleans, in 1633. He learned 
the elements of design at Paris, and then visited 
Rome, and entered the school of John Frederick 
Greuter, where his first performances were several 
portraits of the popes. He subsequently engraved 
some prints after Poussin, and several Italian 
masters, some of which are entirely with the 
graver, others with the graver and point, which he 
handled with taste and spirit. His plates execu- 
ted in the latter style have great merit, and are 
much superior to his others. After remaining 
several years in Rome he returned to Paris, where 
he was employed by M. Colbert, until his death, 
in 1683. The following are his principal plates. 
Those he engraved at Rome are generally marked 
Guilielmus Castellus Gallus. 

A set of Portraits of the Popes. Portrait of M. de Col- 
bert ; oval. Portrait of the Bishop of Euette. 1670. The 
Repose in Egypt ; after Correggio. The Virgin, with 
the infant Jesus, embracing a Cross. The Life of St. The- 
resa. The miraculous Draught of Fishes ; after Rafa- 
elle. The Baptism of Christ by St. John ; after Albano. 
Paul restored to sight by Ananias ; after P. 'da Cortona. 
The Stoning of Stephen ; after An. Caracci. The As- 
sumption of the Virgin ; do. Christ appearing to St. Pe- 
ter ; do. The Repose in Egypt; after Correggio. The 
Holy Family, with St. John ; after C. Maratti. The Mir- 
acle of the Manna in the Desert; after N. Poussin. 
Christ curing the Blind ; do. St. Paul taken up to Heav- 
en; do. The Preservation of the Young Pyrrhus ; do. 
The Death of Germanicus. 1663 ; do ; fine. The Virgin 
and infant Jesus ; after Noel Coypel. The Holy Family ; 
do. 

CHATEL, Francis du, a Flemish painter, 
born at Brussels in 1G25 ; died in 1G79. He was 
the favorite scholar of the younger Teniers, and 
followed the style of that master in his pictures 
of village festivals ; but he is better known for 
his small family portraits and conversations, in the 
style of Gonzales Coques. His pictures are some- 
times mistaken for the works of that master. His 
coloring is admirable, his touch neat and spirited, 
and his drawing correct. His most important 
work is in the Town House of Ghent. It repre- 
sents the Marquis de Castel Rodrigo, governor of 
the Low Countries, receiving the oaths and hom- 
age of the States of Brabant and Flanders to Charles 
II. of Spain ; it is dated 1666. This composition 
contains an infinite number of figures, grouped in 
a masterly style, and touched with such neatness 
and truth that it has often been thought a work 
of Gonzales. A few years ago, a picture by Cha- 
tel was presented by the King of Holland to the 
Academy at Antwerp, which is so much in the 
manner of Teniers that it is even there ascribed to 
that master. 

CHATELAIN, John Baptist. This ingenious 
designer and engraver was born in England, of 
French parents, about 1710. His genius was great, 
but in consequence of his dissipated life, his talents 



were in a great measure lost, and he seldom exer- 
cised his ability except when compelled by neces- 
sity. He designed landscapes in an admirable 
style, either from nature or fancy, and those he has 
himself engraved are executed in a very masterly 
manner. His principal works are after G. Pous- 
sin and other masters, for the collection of land- 
scapes published by Boydell, in 1744. He pro- 
bably died in 1771. The following are his princi- 
pal plates : 

The Four Times of the Day ; etched by Chatelain ; af- 
terwards finished in mezzotinto by Houston. Nine, eight 
landscapes after Gaspar Poussin, and one landscape after 
Rembrandt. Eight Views of the Lakes in Cumberland 
and Westmoreland ; after Belters. Eleven different 
Views ; after Marco Ricci. Three grand landscapes ; af- 
ter Cortona, N. Poussin, and F^. Bolognese. 

CHAUDET, Antoine Denis, a reputable 
French sculptor, born at Paris in 1763. While 
very young, he evinced an extraordinary genius 
for modeling, and at the same time manifested 
good abilities as a designer, being admitted a pupil 
of the Royal Academy at the age of fourteen. In 
1784, he carried off the grand prize, for a marble 
bas-relief representing Joseph sold by his brethren. 
He then went to Rome with the royal pension, 
where he remained five years, and returned to Pa- 
ris in 1789. He soon after executed a group to 
adorn the peristyle of the Pantheon, illustrating 
the Emulation of Glory, which increased his repu- 
tation. He next produced his admirable statue of 
Qlldipus, which was exhibited in 1801. Several stat- 
ues, busts, and bas-reliefs from his chisel appeared 
in rapid succession, all of which were of such merit 
that Chaudet was ranked among the first modern 
sculptors. He also attained distinction as a painter 
and designer, and executed a large number of ex- 
cellent designs for the magnificent edition of Ra- 
cine, published by P. Didot ; also a great number 
of medals illustrating the events in Napoleon's 
life, and a fine painting representing ^neas and 
Anchises in the midst of the conflagration of Troy. 
Among his principal works in sculpture, were the 
silver statue of Peace in the Tuilleries ; the statue 
of Cincinnatus, in the Hall du Senat ; the has re- 
lief representing Painting, Sculpture, and Archi- 
tecture, which decorated the first gallery of the 
Musee Napoleon. He was appointed Professor of 
Sculpture, and as a contributor to the Dictionary 
of Fine Arts, he has displayed great research and 
a thorough knowledge of his subject. He died in 
1810. 

CHAUFOURRIER, Jean, a French painter, 
born in 1672. His works are particularly dis- 
tinguished for the excellence of the perspective, 
and he taught this branch of the art with success. 
The principal are the Cascade of St. Cloud ; a 
Moonhght Scene on the Ocean ; and a Bark over- 
turned by the Wind. Sylvestre has engraved 
some of his works. He died at Paris in 1757. 

rCHAVEAU, FRAN901S, a French painter, 
designer, and engraver, born at Paris in 1613 ; 
died in 1676 ; studied under Lawrence de Hyi'o, 
and painted small pictures in the style of that 
master; but not meeting the success he anticipa- 
ted, he devoted himself to engraving. He at first 
used the graver, but soon abandoned it for the 
point, by which he could rapidly dehneale the effu- 
sions of a lively and abundant imagination. If 
his plates have not the delicacy and mellowness 



CHAV. 



196 



CHEL. 



that distinguish other artists, they have certainly all 
the fire, force, and sentiment of which the art is ca- 
pable. His smaller plates are considered his best 
works, and are much in the style of Sebastian le 
Clerc. ' The number of his plates is immense — 
about 4,000 according to L'Advocat — besides which 
he executed many designs for sculptors, painters, 
carvers, goldsmiths, and embroiderers. About 
1,400 plates have been engraved by other artists 
from his designs. The multitude of works in 
which he was employed, brought many artists and 
authois to his house, and their frequent meetings 
and conversations there, terminated in the estab- 
lishment of the French Academy. He was ad- 
mitted into the Royal Academy of Painting and 
Sculpture in 1663, and obtained a pension for en- 
graving the plates of the Carousel. The follow- 
ing are his principal works : 

BETS OF PRINTS. 

Les Delices de 1' Esprit ; fifty plates, designed and en- 
graved by Chaveau. Nineteen plates for the History of 
Greece. Many plates for Ovid's Metamorphoses ; by Ben- 
serade. The Bible History ; many plates. Several plates 
forTasso's Jerusalem. The same for the Fables of La 
Fontaine. Twenty-one plates for the poem of Clovis. 
Twelve plates for the Pucelle d' Orleans. Two hundred and 
forty-three medals ; the collection of F'. Orsini. 

DETACHED PRINTS AFTER HIS DESIGNS. 

The Annunciation. The Repose in Egypt. The Virgin 
and Infant, with St. John. The Crucifixion. The Mystery 
of the Sacrament. 1676 ; in two sheets. Meleager and 
Atalanta. ; circular. Venus and Adonis ; the same. 

SUBJECTS AFTER VARIOUS MASTERS. 

Chiist with the Disciples at Emmaus ; after Titian ; the 
same subject that is so finely engraved by Masson^ called 
the Table-cloth. A Concert; after Domenichino ; also 
engraved by Picart. Twenty-two plates of the Life of St. 
Bruno ; after the pictures by Le Sueur, in the Carthusians 
at Paris. The Nativity ; after L. de la Hire. The Holy 
Family ; do. Meleager presenting the Head of the Boar 
to Atalanta ; do. The Triumphal Arch for the Place Dau- 
phine ; after Le Brun. 

CHAVEAU, Rene, a reputable French sculp- 
tor, the son of Fran9ois C, was born at Paris in 
1663. He was employed by the French govern- 
ment on several works, after which he visited Swe- 
den, where he met with much encouragement, and 
increased his reputation. On his return to Paris 
he was patronized by Louis XIV., and executed 
several works for that monarch, among which vras 
a group in bronze, representing the Sun surround- 
ed by the Four Seasons. He also adorned v<dth 
several fine works the Chateau de Frescati, and 
the grand saloon of the Chateau de Saverne, for 
the Cardinal Rohan. He died in 1722. 

CHEDEL, QuiNTiN Pierre, a French designer 
and engraver, born at Chalons in 1705. His plates 
are etched with great spirit, and sometimes finished 
with the graver in a masterly style. He was 
much employed by the booksellers, and executed 
a large number of plates. The following are the 
principal : 

SUBJECTS FROM HIS OWN DESIGNS. 

A set of six Landscapes ; dedicated to Madame de Pom- 
padour. Six plates of Battles ; dedicated to Count Turpin 
de Ceisse. The Village Wedding, and the Village Feast. 
Two Landscapes with Ruins, called " Ruines de Cames." 

SUBJECTS AFTER VARIOUS MASTERS. 

Four, Attacks of Cavalry; after Vandenneulen. Four, 
Landscapes with Ruins ; after Boucher. Two, Sea-pieces 
with Fishermen ; after A'. Willaerts. Day-break, a land- 



scape ; a,fter Teniers. A Landscape, figures and horses ; 
after Wouwermans. A Sea-port ; do. 

CHELLES, Jean de, a French architect, who 
flourished, according to Felibien, about 1250. He 
erected, among other fine edifices, the celebrated 
church of Notre Dame at Paris, and the portico 
at the end of the transept, next the palace of the 
Archbishop. 

CHENDA. SeeRivAROLA. 

CHENU, Pierre, a French engraver, born at 
Paris in 1730 ; studied under P. le Bas, and en- 
graved several plates of portraits and other sub- 
jects, in a slight, pleasing manner. The following 
are the principal : 

PORTRAITS. 

Francis I. of France, with ornaments ; after Nic. del 
Abate. Antoine Perrenot, Cardinal of Granville. Pierre 
Carlet de Champlain, de Marivaux, of the French Acade- 
my. Bust of Diderot. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Adoration of the Shepherds ; after Bassano. 
Christ driving the Money-changers from the Temple ; do. 
The ancient Temple at Ephesus ; after Breemberg. Ru- 
ins at Ephesus ; do. A Landscape, vrith cattle ; after A. 
Vandevelde. The Sailor's Amusement ; after D. Teniers. 
The Dutch Baker; after A. Ostade. View of the Castle 
of St. Angelo ; after Vernet. 

CHERE, Giovanni, or, as Lanzi calls him, Gio. 
DE Chere Loranese. a native of Lorraine, wW 
flourished at Venice about 1000. Lanzi says he 
was one of the best scholars of the Venetian mas- 
ters, and executed the historical piece which adorns 
the Grand Council Hall of Venice. 

CHEREAU, FRAN901S, a French engraver, born 
at Blois in 1680 ; studied under Gerard Audran, 
and is distinguished for the beauty of his graver, 
and the correctness of his design, especially in por- 
traits, some of which are admirable. His portrait 
of Louis Pecourt has not often been surpassed. 
His plates are quite numerous ; the following are 
the principal : 

PORTRAITS. 

Louis de Boullogne ; after a picture painted by himself; 
engraved by i'T Chereau, for his reception into the Acade- 
my in 1718. Nicholas de Largilliere, painter ; after him- 
self Andre Ilercule, Cardinal de Fleurj'- ; after Rigaud; 
fine. Melcliior, Cardinal de Polignac ; very fine. Louis 
Pecourt, Maitre de Ballet ; after Tournieres ; very fine. 
Elizabeth Sophie Cheron, paintress; from a picture by /ler- 
self. Louisa Maria, Princess of England ; after A. S. 
Belle. 

SUBJECTS AFTER VARIOUS MASTERS. 

St. John in the Wilderness ; after the picture by Raffa- 
elle, in the Orleans Collection. The Crucifixion ; after Gui- 
do. St. Catherine of Siena ; after J. Andre. St. Cecilia; 
after Mignard. St. Theresa in Contemplation. St. Ig- 
natius, founder of the Jesuits. 

CHEREAU, jAcauES, the brother and scholar 
of Fran9ois C, was born at Blois in 1694. His 
subjects were portraits and history, and he was 
little inferior to his brother. His prints possess 
considerable merit, though they are not numer- 
ous, as he quitted the graver to follow the business 
of a print-seller. He went to England, but not 
meeting with much encouraj2;ement, he returned to 
Paris, where he died in 1759. The following are 
his principal prints : 

PORTRAITS. 

George L King of England ; Jac. Chereau, fee. ; en- 
graved in London, Philip of Orleaas, Regent of France 
Michel de Montagne. 1715; oval. J. Soanen, Bishop of 



CHER. 



197 



CHEV. 



Senez ; after Raoux ; very fine. Charles Joacliim Col- 
bert, Bishop of Monti^elier ; do. Portrait of a Young 
Lady holding a Dove ; after Vanloo. Jane of Arragon, 
Queen of Sicily ; after Raff'aelle. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family ; after Raffaelle ; in the Crozat col- 
lection. The Virgin, with the Infant Jesus and St. John, 
called la Belle Jardiniere ; in the same collection. David 
with the Head of Goliah ; after Dom. Feti ; very fine. 
David and Bathsheba; after Raoux. Christ washing the 
Feet of the Apostles; after N. Bertin. Yertumnus and 
Pomona: after F. Ma rot. The Descent from the Cross; 
after Charpentier. The Transfiguration ; after Raffa- 
elle. 

CHERON, Elizabeth Sophia, a French paint- 
ress, born at Paris in 1648. She learned the ele- 
ments of design from her father, who Tvas a Pari- 
sian enamel painter, and soon rose into general es- 
teem by her performances, and particularly by her 
portraits ; for, besides their striking resemblance, 
they were elegantly disposed, finely colored, and 
neatly finished. She also painted several histori- 
cal vrorks, which were placed in the first collec- 
tions of Paris. She also engraved, both with the 
point and graver, and executed several plates after 
her own designs of select antique gems and other 
subjects. The collection of gems consisted of 
twenty-four plates, three of which she engraved ; 
the others were executed by Picart, Audran. and 
others. There are also bv her a Drawing-Book of 
thirty-six prints ; the Descent from the Cross, 
after Abbe Zumbo ; St. Cecilia, a Magdalene. St. 
Austin. St. John, and St. Paul, after Raffaelle. 
In 1676, le Brun proposed her as a candidate for 
the honors of the Academ.y, and she was received 
with marks of distinction. She died in 1711. 

CHERON, Louis, a Parisian painter, the bro- 
ther of the preceding, born in 1660 ; died, accord- 
ing to Zani and Nagler. in 1723. He acquired the 
elements of design at Paris, and then visited Italy, 
where his sister enabled him to prosecute his stu- 
dies for eighteen years, during which time he 
studied particularly the works of Raffaelle and 
Giulio Rom.ano. On returning to Paris, he was 
employed to paint two pictures for the church of 
Notre Dame, representing the Decollation of St. 
John, and the prophet Agabus before St. Paul. 
Thej^ are correctl}^ designed, but indifferently col- 
ored, and composed in a feeble and inanimate style. 
Being a Calunist, he was compelled to leave 
France, and he went to England, where he was 
emplo3'ed by the Duke of Montague, and others of 
the nobility. Cheron also etched several plates 
from his own designs, executed with spirit and 
taste, and correctly drawn. They are : 

St. Peter curing the lame Man at the Gate of the Temple. 
The Death of Ananias and Sapphira. The Baptism of the 
Eunuch by St. Philip. Hercules reposing after his Labor ; 
fine. Twenty-three subjects for the Psalms of David ; 
translated by his sister. 

CHERON, Charles, an ingenious French en- 
graver, born at Luneville in 1635. He visited 
Rome, where his talents gained him the appoint- 
ment of chief engraver to the pope. Louis XIV., 
learning the abilities of this artist, gave orders to 
his ambassador to persuade Cheron to return to 
Paris, and the king commissioned him to engrave 
all the medals which were executed in honor of 
that monarch ; he also gave Cheron apartments 
in the Louvre, with a considerable pension. He 
died in 1699. 



CHESEL, Jan van, a reputable Flemish paint- 1 and correct. He died at Rome in 1727. 



er, born in 1644, and studied under his father, 
whom he surpassed in a few years. The works of 
Vandyck were particularly admired by him, and 
he studied them with great assiduity. He painted 
portraits, landscapes, fruit and flowers, and easel 
pictures of history with equal success ; and his 
figures were touched in a spirited style. Having 
attained considerable eminence, he left Flanders 
and went to ]Madrid, where he was emplo3^ed by 
Louise, wife of Charles II., for whom he executed 
a number of fine works, especially several cabinet 
pictures, among which was the History of Psyche. 
After the death of this princess, he painted*^ the 
portrait of j\Iarie Anne of Newburg, second wife 
of Charles II., who appointed him her painter, and 
retained him in her service after the death of the 
king. He was afterwards sent to Paris, to paint 
the portrait of Philip V. before the departure of 
that prince for Spain, and he died in that city, in 
1708. 

CHEVILLET, Justus, a German engraver, 
born at Frankfort on the Oder in 1729 ; studied 
under G. F. Schmidt, but afterwards at Paris un- 
der J. G. Wille. He engraved several plates in a 
neat style, principally after the French artists. 
They are : 

The Portrait of Simeon Chardin ; from a picture by him- 
self. Portrait of M. Le Koir; after Greuze. La Sante 
portec, and la Sante rendue ; after Terburg. A Girl 
sewing, and another spinning ; after Heilman. A young 
Girl caressing a Bird ; after a drawing by Wille. The 
young Coquet; after J. Raoux. The dangerous Beauty ; 
after Santerre. The Death of General Montcalm ; after 
Watteau. 

CHIAPPE, Battista, an Italian painter, born 
at Novi in the Genoese, in 1723 ; studied at Rome, 
and afterwards settled at Milan, where, according 
to Cav. Ratti, he painted several pictures which 
gave promise of great ability. His best work was 
a picture in the church of S. Ignazio, representing 
that Saint with a Glory of Angels ; a composition 
characterised b}' grandeur and fine expression. 
Chiappe died in 1765. in the midst of a successful 
career, and according to Lanzi was the last Geno- 
ese painter of any distinction. 

CHIARI, Fabrizio, a Roman painter and en- 
graver, born, according to Orlandi, in 1621 ; died in 
1695 ; painted several good frescoes in the Roman 
palaces. There are a few etchings by this artist, 
which are executed in a spirited style. They are : 

Mars and Venus, in a landscape ; Fabritus Clarus. 
1635. Yenus and Adonis ; signed Nicolaiis Pussinus, in. 
f This etching has been attributed to IST. Poussin, but it 
is by Chiari. Venus and Mercury, with Children. 

CHIART, Giuseppe, an eminent Roman paint- 
er, born in 1654; died in 1727; was the favor- 
ite scholar of C. Maratti, at whose death Chiari 
completed his cartoons for one of the domes of 
St. Peter's, to the perfect satisfaction of Cle- 
ment XL He was continually emploj- ed on grand 
works for the churches and palaces of the nobility. 
The principal are the ceiling in S. Maria di Monte- 
santo. and the Adoration of the Magi in S. Maria 
del Sufiragio. In the Spada Palace are four pic- 
tures b}^ him of subjects from Ovid. Chiari also 
painted an extraordinary number of subjects from 
sacred and profane historj^. as well as fiincy-pieces, 
which spread his reputation, not only through 
Italy but through all Europe. His teuch was deli- 
cate, his coloring agreeable, and his design elegant 



CIIIA. 



198 



CHIR. 



CIIIA RT, ToMM AS 0, a brotlicr ot the preced- 
ing, was born at Rome in 16G5, and died in 1743. 
He also studied under Carlo Maratti, but he never 
acquired much distinction. 

CHIARINI, Marc' Antonio, a Bolognese 
painter, born in 1652 ; died in 1730 ; studied four 
j-ears under Francesco Quaino, and afterwards un- 
der Domenico Santi. He was noted for his archi- 
tectural views, which were decorated with figures 
by Sigismondo Caula. He was much employed 
by the nobility of Bologna, Modenaj and Milan, 
and his works were highly valued. 

CHIAVEGHINO, il. See Andrea Mainardi. 

CHIAVISTELLI, Jacopo, an eminent Floren- 
tine painter of architecture and perspective, born, 
according to Zani, in 1618 ; studied under Fabrizio 
Boschi, but afterwards in the school of M. Angelo 
Colonna, where he surpassed all his competitors, 
and manifested great genius. He painted chiefly 
in fresco, and his works were highly esteemed for 
their variety of invention, elegance of composition, 
and beauty and delicacy of coloring. In his per- 
spective designs, he showed the utmost perfection 
of the art ; delighting the eye by the truth and 
exactness of his drawing, and enriching his archi- 
tecture with statues of exquisite taste and bold 
relief. He was employed in several important 
works at Bologna and Florence, and was much 
patronised by the Grand Duke ; and by his inde- 
fatigable labors he acquired an opulent fortune. 
He died in 1698. 

CHIESA, SiLVESTRO, an eminent Genoese por- 
trait painter, born in 1623. He studied in the 
school of Lucian Borzoni, where he made rapid 
progress, and at the age of eighteen his works 
were very much admired, and gained him great 
reputation. He delineated the features with won- 
derful truth and precision, and had a peculiar tal- 
ent for retaining in his memory the appearance of 
a person he had once seen, so that he could paint 
an excellent likeness. Chiesa's genius was not 
confined to portraits ; he executed several large 
compositions which showed great ability ; and he 
would have attained eminence in that branch also, 
had he not died in 1657, aged 34 years. 

CHIGHI. See Gmsi. ' . 

CHIMENTE. da Empoli, Jacopo, a Florentine 
painter, born in 1554 ; died in 1640 ; studied un- 
der Tommaso Manzuoli di S. Friano, and followed 
his style. After the death of that master, he im- 
proved himself by the study of the works of An- 
drea del Sarto. His design is excellent, his color- 
ing pleasing, the airs of his heads are graceful and 
agreeable, and his productions are full of life and 
spirit. lie was celebrated for copying the works 
of the best masters, and his copies were so admi- 
rably executed that good judges were occasionally 
deceived. Moreni praises his frescos in the Certo- 
sa, and in the monastery of Bol drone at Florence. 
He had the misfortune to fall from a scaffold, 
which obliged him to have recourse to oil-painting. 
One of his best works is his St. Ivo, in the Flo- 
rentine Gallery, which is much admired. 

CHINARD, Joseph, an eminent French sculp- 
tor, born at Lyons in 1756. He studied in the 
free school of design established by the king in 
that city, and taught by Nonnotte. He drew sev- 
eral prizes there, and afterwards studied sculpture 
under Blaise. In 1780, he was commissioned to 



execute the statues of the Four Evangelists, for 
the church of St. Paul at Lyons, which added to 
his increasing reputation, and enabled hira to visit 
Italy. At Rome he studied with the greatest as- 
siduity, and improved so rapidlj^ that in 1786 he 
gained the grand prize of the Academy of St. 
Luke, on which occasion he executed his admira- 
ble group of Perseus delivering Andromeda. 
While at Rome, he executed a number of copies 
after the antique, some of which were purchased 
by Chevalier de Jouy, to enrich his elegant hotel 
at Lyons. Among these were the busts of Bac- 
chus, Ariadne, Homer, and the Pythian Apollo; 
a statue of Venus ; a group of a Lion and a Bull 
fighting ; another of a Centaur subdued by Cu- 
pid ; and the Laocoon. In 1789 he returned to 
Lyons, and was commissioned to erect at Greno- 
ble a magnificent monument to Chevaher Bayard, 
which he designed, but did not execute in marble, 
on account of the troubles of the times. In 1790, 
he produced a colossal statue of Liberty, and one 
of Aladame Vanrisambourg in the character of 
Minerva. In 1791 he revisited Italy, and com- 
menced for M. Vanrisambourg (a violent revolu- 
tionist), two marble groups, representing Jupiter 
overthrowing the Aristocracy, and the Goddess of 
Reason trampling on Superstition, for which he 
was seized and confined about six weeks in the 
castle of St. Angelo. On his hberation, he imme- 
diately left Italy and returned to Lyons, where he 
executed a group of Liberty and Equality, placed 
over the entrance to the Hotel de Ville. The tal- 
ents of this indefatigable artist were constantly 
employed until 1800, when he made a third voy- 
age to Italy. On his return, he was admitted to 
the Academy of Arts and Sciences at Lyons ; and 
in 1807 was appointed professor of sculpture in a 
school of design established there in 1805. As a 
sculptor of busts, he deserves to rank among the 
highest. His works are characterised by purity 
of taste, excellence of composition, and great deh- 
cacy and facility of execution. In 1811, he execu- 
ted a marble statue of Peace for the city of Mar- 
seilles. He died in 1813. 

CHIRINOS. Juan de, a Spanish painter, bom 
at Madrid in 1564; died in 1620; studied under 
II Greco, according to Bermudez, and painted, in 
concert with Bartolome de Cardenas, the greater 
part of the pictures in the Convent de Nuestra 
Senora de Atocha, at Madrid. 

CHIRISOPHUS, a Cretan architect. It is not 
known when he flourished, but according to Pau- 
sanias, he erected a number of temples at Tegea, 
a city of Peloponnesus ; one of which he dedicated 
to Ceres and Proserpine, another to the Paphian 
Venus, and one to Apollo, in which was a statue 
in honor of the architect. 

CHODOWIECKI, Daniel Nicolas, an emi- 
nent German designer and engraver, born at Dant- 
zic in 1726. His father was a drug merchant, 
and intended him for the same business ; but hav- 
ing some knowledge of miniature painting, he 
taught it to his son as a means of recreation, but 
the latter made it his principal study. After the 
death of his father, he was apprenticed to his uncle, 
a grocer of Berlin ; and during his leisure moments 
employed himself in painting snuff-boxes, which 
he sold to the shop-keepers. His uncle perceiving 
his talent might be made a source of profit, per- 
mitted him to learn the art of enamelling, and the 



CHOF. 



199 



CHRI. 



young artist applied himself with the utmost assi- 
duity. Some of his productions attracted the no- 
tice of the Academy, and he was emplo3^ed by that 
society to make designs and engrave the figures 
for their almanac. This he accomplished with so 
much spirit, that it brought him into general no- 
tice. He produced a series of 12 plates of the 
Passion of Christ, of small size, but so delicately, 
yet spiritedly executed, that they gained him 
great reputation. In 1767 he published a print 
entitled Les adieiLV de Calas, which was greatly 
admired, and is very scarce. He was now so ful- 
ly occupied with designing and engraving, that he 
was obliged to discontinue painting. He executed, 
according to Nagler and Heineken, a large number 
of prints for the periodicals of the day, besides the 
plates for Klopstock's Messiah, and Don Quixote ; 
for editions of Shakspeare, Voltaire, La Fontaine, 
and many other illustrated works. His prints 
have true repr(5sentations of the costumes, etc., of 
the times to which thej^ relate. He was elected 
Director of the Academy of Arts and Sciences in 
Berlin, and died there in 1801. 

CHOFFxA.RD, Pierre Philippe, a French engrav- 
er, born at Paris, according to Basan, in 1730; 
died in 1809. He executed three good plates, re- 
presenting a View of the Bridge of Orleans, after 
Desf riches ; the Cascade of Brunoy, after Grave- 
lot ; and two sets of flower-pieces, after Bachelier. 
He also engraved several vignettes and other book- 
plates for editions of La Fontaine, and Ovid's Met- 
amorphoses. He published a Notice Historique 
sur Vart de la gravure, which was republished in 
Basan's work in 1809. 

CHOPtIS, Louis, an eminent Russian draughts- 
man and traveler, of German descent, born in 1795. 
He was educated in the Academy of Kharcov, where 
his taste for drawing recommended him to the no- 
tice of Marshal de Biberstein, whom he accom- 
panied to the Caucasus in 1813 ; and in the next 
year he was appointed draughtsman to the expe- 
dition round the globe, commanded by Kotzebue, 
which sailed from Cronstadt in 1815, and re- 
turned in 1818. Choris then studied at Paris, 
under Gerard. In 1820 he published in that city 
three pictorial works, respectively entitled, Voyage 
Pittoresque Autour du Monde, fol.. accompanied 
with Cuvier's descriptions ; Observationes sur les 
Crdnes Humains. with remarks by Gall and 
others ; Vues et Pay sages des Regions Equinox- 
iales, Paris, 1826, fol., with colored engravings. 
In 1827, he proceeded to Mexico, in company with 
an English gentleman named Henderson, but was 
slain by a party of robbers, near Xalapal, in March, 
1828. 

CHRIEGER, or CHRIEG, Christopher, a 
German engraver, who is said by Papillon to have 
executed the admirable wood engraving of the na- 
val combat at Lepanto, which was published at 
Venice in 1572, by Cesare Vecelli, a relative of Ti- 
tian, who is supposed to have made the design, 
It is inscribed Christoph^. Chrieg^. All^. inci. 

CHRISTOPHE, Joseph, a French painter, born 
at Verdun in 1667, and died at Paris in 1748. 
He painted history with considerable success, and 
was chosen a member of the Royal Academ}?-. His 
picture of the Miraculous feeding of the Multitude, 
was one of the finest ornaments of Paris before 
the Revolution, 



CHRISTOPHEN, Joseph, a reputable Dutch 
painter, born at Utrecht in 1498. He studied in 
the school of Anthony More, where he made rapid 
progress, and was successful both in portrait and 
history. His style was founded on those of P. 
Perugino and Giovanni Bellini, his touch was 
pleasing, his coloring very harmonious, and his 
perspective was much superior to the generality 
of his CO temporaries. He was invited to the court 
of Lisbon b}^ John HI., where he executed a num- 
ber of fine works for the churches and royal pal- 
aces. The king was so highly pleased with his 
performances, that he made him knight of the Or- 
der of Christ, and loaded him v.-ith benefits. 

CHRISTOPHSEN, Peter, a German painter 
of the 15th century, called Pietro Crista by Va- 
sari. Little is known of the events of his life. In 
the gallery of the Berlin Museum, is a portrait of 
a young girl, inscribed with his name, which is 
distinguished for its simple and beautiful execu- 
tion. At Cologne, in the possession of Herr Op- 
penheim, is a picture of St. Eligius, as a goldsmith, 
selling a wedding ring to a bridal pair, dated 1449. 
Mr. Aders of London, had a picture by him of the 
Virgin and Infant, with Saints, inscribed Petrus 
XPR.me fecit, 1417. 

CIAFFERI, Pietro, a painter of Pisa, who 
flourished, according to Lanzi, about 1654. He 
resided chiefly at Leghorn, where he was much 
employed in painting shipping and sea-views, dec- 
orated with figures, very neatly touched, and cor- 
rectly drawn. His works arc chiefly at Leghorn 
and Pisa, where they are much esteemed. 

CIALDIERI, GiROLAMO. a painter of Urbino, 
born in 1593 ; studied under C. Ridolfi. Lanzi 
says he had great facility of execution and softness 
of coloring. He painted landscape in an excellent 
st3de, and introduced architectural pieces into his 
backgrounds with taste and judgment. Several 
of his works are in the Roman churches, the best 
of which is the Decollation of St. John, in S. Bar- 
tolomeo. 

/P CIAMBERLANO, Luca, a painter of Urbino, 
Mljborn about 1580, and practised from 1603 to 
1640. His profession at first was the civil law, in 
which he had attained a doctor's degree, when he 
abandoned it for the study of painting and engrav- 
ing. He resided chiefly at Rome, where he en- 
graved a large number of plates from his own 
designs, and after the great masters. They are 
executed entirely with the graver, and have con- 
siderable merit, though the outline of his figures 
is not very correct. Bartsch enumerates 114 plates 
by him, of which the following are the principal : 

Thirteen plates of Christ and the twelve Apostles ; after 
Raffaelle. St. Jerome dead, lying upon a stone ; do. 
Christ on the Mount of Olives ; after A. Casolani. Christ 
appearing to Mary Magdalene ; after Pederigo .Baroccio, 
inscribed Lucas Ciamberlanus, Urhinas I. V. Doctr. 
del. et sculp. 1609. Christ appearing to St. Theresa ; af- 
ter Caracci. 1615. 

CIAMPELLI, Agostino, an eminent Floren- 
tine painter and architect, born in 1578 ; studied 
under Santo di Titi, and became distinguished 
among the painters then flourishing at Rome. 
He did not equal his master in invention or com- 
position ; but his conceptions were graceful, and 
his de.sign correct ; his coloring is more brilliant 
than is usual in the Florentine school, though 
sometimes too red. In S. Stefano di Pescia. is his 



CIAIS. 



200 



CIGN. 



celebrated picture of the Visitation of the Virgin 
to Elizabeth, with two laterals ; also in S. Pras- 
sede the Crucifixion, painted for his patron, the 
Cardinal de Medici. ' Two of his finest works in 
fresco are in the Chiesa del Gesu, representing the 
Martyrdom of St. Andrew, and a Glor}- of Saints 
and Angels on the ceiling. As an architect, Ciam- 
pelli attained considerable distinction, and was ap- 
pointed to superintend part of the improvements 
of St. Peter's. He died in 1640. 

CIANFANINI, Benedetto, a Florentine paint- 
er, who studied under Fra Bartolomeo in his best 
time, and was one of his ablest scholars ; but Lanzi 
says there are no longer any authenticated works 
by him. 

CIARLA, Raffaelle, a native of Urbino, cele- 
brated for the beauty of his designs and skill in 
painting porcelain. This manufacture was carried 
to high perfection from 1540 to 1560 at Urbino, 
and the vases and other vessels were ornamented 
with the designs of Raffaelle, Michael Angelo, and 
other great masters, and these services, were sought 
after by the Princes of Europe. The Duke Gui- 
dobaldo sent Ciarla with a large assortment to pre- 
sent to Charles V. of Spain. 

CIARPI, Baccio, an excellent painter, was born 
at Florence in 1578, and died in 1642. He is cele- 
brated as the master of P. da Cortona. He painted 
in the style of Santi di Titi, and was so skillful an 
artist, that he was thought worthy of being em- 
ployed in La Concezione at Rome, a magnificent 
gallery, ornamented with the works of the greatest 
masters. 

GIBBER, Caius Gabriel, a German sculptor, 
born at Holstein, and flourished about 1670. He 
went to England where he received much encour- 
agement, and was employed to execute the bas- 
reliefs and ornamental sculpture of the ]\Ionument 
of London. He is principally known, however, 
by the two figures representing Raging and Mel- 
ancholy Madness, which are now in the new Beth- 
lehem hospital, St. George's Fields. 

CICCIONE. Andrea, a reputable Italian archi- 
tect who flourished about 1440. He studied in the 
school of INIasuccio the younger, where he attained 
considerable distinction. Among other good works, 
he executed the famous monastery and church of 
Monte Oliveto ; the beautiful palace of Bartolomeo 
of Capua, prince of Biccia. He also designed the 
third cloister of S. Severino, in the Ionic order, 
and the small church of the Pontano, near the 
Pietra Santa. 

CICERI, Bernardino, a painter of Pavia, was 
born in 1650, and was one of the ablest scholars 
of Carlo Sacchi. He afterwards visited Rome to 
complete his studies, and on his return to Pisa, met 
with great employment by the churches and for 
private collections. 

CIEZA, or CIEZAR, Miguel Geronimo, a rep- 
utable historical painter of Granada, who studied 
under Alonso Cano. Palomino mentions several 
of his best works in the convent del Angel, and 
in the hospital Corpus Domini, at Granada. He 
died in 1677. He had two sons, one named Vm- 
cent C, whose works are confounded with those 
of liis father, and who died about 1700. The other 
was named Joseph C, born at Granada in 1656 ; 
was instructed by his father, and painted history, 



landscape, and flower pieces. His principal his- 
torical works are in the church of S. Francisco de 
Paula at Madrid. He died in 1696. 

CIGNANI, Cav. Carlo, an eminent Bolognese 
painter ; born in 1628 ; died in 1719. He was of no- 
ble descent, and his juvenile attempts in the art 
were some drawings after the pictures in his father's 
collection. He first studied under Battista Cairo, 
but afterwards under Albano, and became one of the 
most celebrated of his disciples. On leaving that 
master, he visited Rome, • Florence, and Parma, 
studying particularly the works of Raflaelle and 
Correggio. While at Rome he painted two ])ic- 
tures of subjects from the life of S. Andrea della 
Valle, in the church of that Saint ; and a picture 
in the Basilica of St. Peter's, which has been de- 
stroyed by damp. On returning to Bologna he 
painted in the great saloon of the palace b)' order 
of Cardinal Farnese, his celebrated work of the 
entry of Pope Paul III. into Bologna, and the Pas- 
sage of Francis I. through that city. He soon ac- 
quired a distinguished reputation, and was greatly 
maligned by his rivals, who even defaced several 
of his works. He founded the Clementine Acad- 
emy at Bologna, of which Clement XI. appoint- 
ed him the head, and conferred on it his name. 
About this time Cignani was commissioned to 
paint the cupola of la Madonna del Fuoco at 
Forli, which occupied him about twenty years ; 
and so much were his scholars attached to him, 
that they followed him to Forli, where the school 
was continued till his death. This great work re- 
presents the Assumption of the Virgin ; an im- 
mense composition of great merit, which establish- 
ed beyond cavil the fame of the artist. Lanzi says 
it is the greatest effort of the kind in the 17th 
century. Cignani had great facility of invention, 
but it was with difficulty that he finished a sub- 
ject to his own satisfaction. His picture of the 
Flight into Egypt, painted for Conti Bighini, occu- 
pied him six months. His works, though highly 
finished, have nothing of a labored appearance. 
He excelled in painting women and children, 
which he represented with all the grace of Alba- 
no, but with a more elevated expression. His 
design is founded on that of Correggio, though in- 
ferior to that great master. His figures, like those 
of the Caracci, have a bold relief, which makes 
them seem larger than they really are. His col- 
oring is admirable, and resembles more the man- 
ner of Guido, than that of Correggio. His principal 
works at Bologna are the Nativity, painted in 
fresco, in S. Giorgio ; the Virgin and Infant En- 
throned, with several Saints below, in S. Lucia ; 
four subjects of sacred history, in ovals, support- 
ed by angels of great beauty, in S. Michele, es- 
teemed among his most admirable paintings in Bo- 
logna. His pictures of Charity, and the Chasti- 
t}^ of Joseph, are well known in foreign countries ; 
the last he repeated, and other artists have fre- 
quently copied it. 

CIGNANI. Felice, the son and scholar of Car- 
lo C, born at' Bologna in 1660 ; died in 1724. His 
works indicate considerable ability, though he does 
not appear to have practised the art except when 
prompted by inclination, as his father left him an 
ample fortune. In the church of the Carita at 
Bologna is a picture by him of the Virgin and In- 
fant, with Saints, and at the Cappuccini, an admi- 
rable picture of St. Francis receiving the Stigmata. 



CIGN. 



201 



CIMA. 



CIGNANI, Paolo, the nephew and scholar of 
Carlo C, born at Bologna in 1709 ; died in 1764. 
Lanzi praises a picture by him at Savignano of St. 
Francis appearing to St. Joseph of Copcriino. The 
subject is represented by candle-light, with a line 
eiFect, and the figures well designed, in the stjde 
of the antique. 

CIGNAROLT, Gio. Betting, a Veronese paint- 
er; born in 1706; died in 1770; studied under 
Santo Prunati at Venice, and afterwards under 
Antonio Balestra. He was one of the best paint- 
ers of the modern Venetian school, and was invi- 
ted to several of the courts of Italy, but preferred 
to reside in Venice, where he executed many works 
for the churches and principal galleries. His back- 
grounds are ingeniously decorated with admirable 
architecture and pleasing landscapes, and his sub- 
jects, usuall}^ devout, are enlivened with groups 
of cherubs and angels, which he introduced with 
the happiest effect. At Pontremoli is an admira- 
ble picture by him. of St. Francis receiving the 
Stigmata. His Flight into Egypt, in S. Antonio 
at Parma, is highly extolled by Lanzi, who says 
its excellence approaches that of Carlo Maratti, 
though inferior in harmony of coloring and effect. 

CIGNAEIOLI, Martino, a Milanese painter, 
born in 1619 ; died in 1726. according to Zani ; 
studied at Verona, under Carpioni. He was dis- 
tinguished for his easel pictures of landscapes, 
which were executed in an admirable style. 

CIGNAROLL ScipiONE,was a son of the pre- 
ceding artist. He learned the elements of design 
from his father, and then visited Rome, where 
he studied under Tempesta. and imitated success- 
fully the style of that master, and also the works 
of Salvator Rosa, and G. Poussin, whose styles are 
discernable in his works. His pictures are chiefly 
at Milan and Turin. His merit and reputation re- 
commended him to the court, where he lived sev- 
eral years in the greatest esteem. 

CIGOLl. See Cardi. 

CIGONINI, Antonio, an Italian painter who 
flourished at Cremona, in the latter part of the 
fifteenth century, where there are a few of his 
works, which Lanzi says do not rise above medi- 
ocrity, though Zaist speaks of him as a skilful 
artist. 

CIMA, Gio. Battista, called il Conegliano, 
an Itahan painter, born at Conegliano, near Tre- 
vigi, in the State of Venice, and practised the art, 
according to Zani, from 1489 to 1541. He followed 
successfully the style of Gio. Bellini, and Zani 
considers him superior to that master in color and 
expression, though he did not equal him in soft- 
ness and harmony. One of his best works is the 
Virgin and Infant receiving the homage of several 
saints ; it was formerly in the dome of the cathe- 
dral at Parma, but is now in the Louvre. Zani 
mentions a most admirable work by this artist, 
which was in S. Niccolo at Carpi, representing the 
Descent from the Cross ; it was originally in the 
collection of Alberto Pio, prince of Carpi, who 
esteemed it equal to the works of the great mas- 
ters. In S. Giovanni, at Venice, is a fine picture 
by him of the Baptism of Christ. Rosini has a 
very beautiful print from a picture by Cima in the 
gallery at Parma, of a subject differing slightly 
from that in the Louvre. He also painted por- 
traits of small size, some of which have been sent 
to England. 



CIMABUE, Gig. For several hundred years 
after the time of Nero, the arts continued to de- 
generate, until they were totall}^ lost in the night 
of the Dark Ages. Greece still preserved a mis- 
erable remnant of their former glorj^, and it has 
been shown that painting was practised at Pisa 
and Florence, nearly two centuries before Cima- 
bue , but it was left for the latter to rescue the art 
from its gross and barbarous state, so that he has 
been called the father of modern painters. There 
is much obscurity and contradiction in the accounts 
of this artist. He was of noble descent, and was 
born at Florence m 1240. At an early age he 
manifested a strong luclination for art and is said 
by Vasari to have learned painting from some 
Greek painters, who were employed in the church 
of S. Maria Novella. Others suppose he was in- 
structed by Giunta Pisano, who is said by INIorona 
to have painted several pictures for the churches 
of Assisi, about 1230, and who, P. Angelo asserts, 
was instructed by some Greeks about 1210. The 
productions of Cimabue, though of little merit as 
compared with those of succeeding times, were re- 
garded with the greatest astonishment, and when 
he had finished his picture of the Virgin for S. 
Maria Novella, the Florentines carried it in trium- 
phal procession to the church for which it was des- 
tined. Few of his works have remained to the 
present day. In the S. Croce, at Florence, is still 
preserved a picture of St. Francis, painted when he 
was 3^oung ; and in S. Stefano, an excellent por- 
trait of St. Cecilia. Zani says he was living in 
1302. 

CIMAROLI, DA Salo, Giambattista, a Vene- 
tian landscape painter, who flourished from 1718 
to 1733. Little is known of the events of his life. 
His works are occasionally seen in England, where 
they are confounded with those of the Cignaroh. 
Some have supposed that Zuccarelli took lessons 
from him, as his early pictures have some resem- 
blance to those of Cimaroli, though with less 
warmth. 

CINCINNATO, Rgmulo, a Florentine painter, 
born about 1525, died in 1600; studied under 
Francesco Salviati, and in 1567 was invited by- 
Philip II. to Spain, where he passed the greater 
part of his life. His principal works are in the 
Escurial, where he painted the great cloister in 
fresco, and in the church two pictures of St. Je- 
rome reading, and the same Saint preaching to his 
disciples ; also, two subjects from the life of St. 
Lorenzo. He painted some mythological subjects 
in fresco, in the palace of the Duke del Infantado, 
at Guadalaxara ; also, the circumcision in the Jes- 
uit church at Cuen9a, which is one of his finest 
works. He had two sons, Diego and Francesco, 
who were instructed by their father, and were 
principally engaged in painting portraits. 

CINCINNATO, Cav. Diego Romolg, son and 
scholar of the preceding artist, was born at Ma- 
drid about 1570. He was very eminent as a por- 
trait painter, and Philip IV. of Spain, took him 
under his patronage and sent him to Rome to paint 
the portrait of pope Urban VIII. He painted the 
portrait of Philip, which so much pleased that 
monarch that he knighted him and presented him 
with a gold chain and medal. He also painted the 
portraits of many of the personages of his time. 
He died at Rome in 1635. 

CINCINNATO, Cav. Francesco Romolo, 



CING. 



202 



CIRE. 



brother of the preceding artist, was born at Ma- 
drid. He studied under his father, and acquired 
distinction, especially in portraiture, and was hon- 
ored with knighthood, by the king. He died at 
■Rome in 1636. 

CINGANELLT, Michele, a Florentine painter, 
who studied under Poccetti. He painted in the 
Metropolitan Church at Pisa, about 1600, where, 
according to Morrona. he emulated the best Tus- 
can artists, in a grand historical picture of Joshua. 
He was more eminent as a decorative painter for 
the churches. 

CINGUI, Giovanni, a painter of the Florentine 
School, was born in the Florentine State, in 1667, 
He studied under Dandini, and acquired consider- 
able reputation. His portrait is in the Ducal Gal- 
lery. He died at Florence in 1743. 

CIOCCA, Cristoforo, a native of Milan, whom 
Lomazzo commends as one of his best pupils, espe- 
cially in portraits. Lanzi says he never acquired 
much distinction, and that his only public works 
are the histories of St. Cristoforo in the Church 
of S. Vittore al Corpo, at Milan, by no means 
excellent. 

CIPRIANI, Gio. Battista, a Florentine paint- 
er and designer, born about 1728, died in London 
in 1785. Lanzi says he formed his style from the 
works of Gabbiani; a Florentine painter who flour- 
ished a few years before him. His first public 
works were two pictures of St. Tesauro, and St. 
Gregory VII., painted for the abbey of S. Michele, 
at Pelago. He went to Rome in 1750, where he 
remained a few years, and then visited England, 
whither his reputation had preceded him ; at this 
period, the engraver, Bartolozzi was in his prime, 
and the union of their respective talents of design- 
ing and engraving produced many works of rare 
excellence. Cipriani executed a few large paint- 
ings, the principal of which are at Houghton. He 
has left, however, an infinite number of admirable 
drawings. His forms were attractive and elegant, 
his composition graceful, and his invention abun- 
dant. He was one of the first members of the Royal 
Academy, at its foundation in 1769. There are a 
few plates of portraits, engraved by this artist from 
his own designs, among which are: Algernon Sid- 
ney, Edmund Ludlow, John Locke, John Milton, 
Thomas Hallis, Andrew Marvel ; also, the Mother 
and Child, The Death of Cleopatra, after B. Cel- 
(pii^ The Descent of the Hol}^ Ghost, after Gab- 
biani, oval. 

CIRCIGNANI, NicoLo, called dalle Pomer- 
ANCE, or iL PoMERANCio, a Tuscau painter, born 
at Pomerance in 1516. Baglioni says he visited 
Rome while young, in the time of Gregory XIIL, 
by whom he was employed in the great saloon of 
the Belvidere. He resided there the greater part 
of his life, and painted many pictures for the 
churches, among which is the Stoning of Stephen 
in S. Stefano, and the Crucifixion in S. Antonio. 
He also painted the Cupola of S. Pudenziana, and 
in il Tempio de Gesu there are two chapels painted 
entirely by Circignani ; in one he has represented 
the Nativity, and in the other, several subjects 
from the lives of St. Peter and St. Paul. He was 
hving in 1591. 

CIRCIGNANI, Antonio, the son and scholar 
of the preceding ; born at Pomerance, in 1560, 
died in 1620. He assisted Niccolo in many of his 



works at Rome, and after the death of the latter 
he resided several years at Citta Castello, where 
he painted some of his best works, the most es- 
teemed of which was the Conception, in the Con- 
ventuali, which Lanzi says combines the styles of 
Baroccio and Roncalli. Baglioni says he returned 
to Rome in the time of Urban VIIL, and was much 
employed for the churches. He painted several 
pictures of the Life of St. Alberto, for the Carme- 
lite church of S. Maria ; also, several subjects from 
the life of the Virgin, in la Madonna della Conso- 
lazione. 

CIRELLO, GiULio, a native of Padua, who 
studied under Luca Ferrari, a pupil of Guido, whose 
style he followed. He was a reputable artist, and 
flourished at Padua about the close of the seven- 
teenth century. 

CITTA DI CASTELLO, Francesco, da. This 
artist derives his name from the place of his na- 
tivity. He studied under Pietro Perugino, and 
was coilsiderably employed by the churches, as his 
name appears in the Guida di Roma, as one of 
the artists who painted in the chapel of Bernardi 
no in Ara Coeli. In the churph of the Conventu- 
ali, at Citta da Castello, is a fine altar-piece by him, 
representing the Annunciation with a beautiful 
landscape. 

CITTADELLA, Bartolomeo, a painter of the 
Venetian school, who, according to Guarienti, 
flourished at Vicenza in the latter part of the 
seventeenth century. He wrought with gieat ra- 
pidit}^, and Lanzi says there are a multitude of his 
works at Vicenza, in which he imitated the styles 
of Paolo Veronese and the younger Palm a. Prob- 
ably from this fact he did not acquire much dis- 
tinction. 

CITTADINI, Pier Francesco, called il Mi- 
lanese, a painter of Milan ; born about 1616, 
died in 1681 ; studied under Guido. He painted 
principally subjects of still-life, and many of his 
pictures are in the Bolognese collections. He was, 
however, capable of higher things, as is evident 
from his Stoning of Stephen, Christ Praying in the 
Garden, the Flagellation, and the Ecce Homo, in 
the church of S. Stefano ; and his St. Agata in the 
church of that Saint. These works are not un- 
worthy of a scholar of Guido, and it is to be re- 
gretted that he should have left this branch of the 
art. He had two sons, named Gio. Battista and 
Carlo, who resided chiefly at Bologna, and painted 
subjects of still-life, in the manner of their father. 

CITTADINI, Gaetano, a Bolognese painter, 
the son and scholar of Carlo 0.^ who lived about 
1725. He excelled in painting landscapes of a 
small size, decorated with figures, designed in a 
correct and spirited manner. His works are held 
in estimation, both at Rome and Bologna. 

CIVALLI, Francesco, a painter of Perugia. 
Born in 1660, died in 1703. Studied under Gio. 
Andrea Carloni, and afterwards at Rome, under 
Baccici. He painted history with reputation, but 
was more distinguished for his portraits, which 
possess considerable merit. 

CIVERCHIO, ViNCENZio, an Italian painter, 
a native of Crema, in the Venetian State, who 
flourished, according to Lanzi, from 1500 to 1535. 
He painted in the public palace of Crema, the por- 
traits of the most distinguished persons of that 
city, which are particularly described by Ridolfi. 



CLAE. 



203 



CLAU. 



In the cathedral is a picture bj him of the Annun- 
ciation, and in the council chamber, there was a 
celebrated picture by this master representing Jus- 
tice and Temperance, which was so highly esteem- 
ed that when Crema was taken by the French, it 
was sent to Paris. Civerchio is said to have dis- 
tinguished himself, also, as an engraver and an 
architect, but none of his works are mentioned. 

CLAESSENS, Antony, a Flemish painter, who 
practised at Bruges about 1490. He was a follow- 
er of the Van Eyck school, and is said to have 
been a scholar of Quintin Mets3^s. There is a 
capital picture by him, in the Town House at 
Bruges, representing the Feast of Ahasuerus ; also, 
two pictures in the Academy, formerly in the 
Town House, representing the Judgment of Cam- 
byses. Both compositions have numerous figures, 
correctly drawn and finely colored. 

CLAESSOON, Arnold, called by Dutch 
writers Aart Klaaszoon, or Aartgen van Ley- 
den, a Dutch historical painter, born at Leyden in 
1498, died in 1564. Studied under C. Engel- 
brechtsen, and at first followed his style, but after- 
wards adopted that of John Schoorel. He com- 
posed his subjects with surprising facility. Van 
Mander praises two pictures by him at Leyden, 
representing the Crucifixion and Christ Bearing 
His Cross. He was ill rewarded for his works, 
but when F. Floris wished him to go to Antwerp, 
he refused to quit his native place. 

CLARET, Wm., an English painter, who studied 
under Sir Peter Lely, and copied many of the 
works of that master. Of his own productions, 
the best was a portrait of John Edgerton, earl of 
Bridgewater. He died in 1706. 

CLARKE, John, a reputable Scotch engraver, 
born at Edinburg about 1680. Among other 
plates by him, are the following : 

A Medallion of William and Mary, Prince and Princess 
of Orange. Sir Matthew Hale. George, Baron de Gocrtz. 
Andrew Marvell. Doctor Humphrey Prideaux. Seven 
small Heads on one plate ; Charles II., and his Queen, 
Prince Rupert, Prince of Orange, Duke of York, Duke of 
Monmouth, and General Moncke. 

CLARKE, John, another engraver, who resi- 
ded at Gray's Inn. He executed a number of 
plates, of which Walpole mentions a portrait of 
Rubens, and a print of Hercules and Dejanira. 

CLARKE, Wm., an English engraver, born in 
1650. Among other plates he executed two which 
are mentioned by Walpole ; the portrait of George, 
Duke of Albemarle, after Barlow ; and John 
Shower, from a picture of his own. 

CLASENS. D., a Dutch engraver of little note, 
who flourished about 1660. He executed a number 
of plates, among which is an etching of the Virgin 
and Infant, with St. John and an Angel, after 
Procaccini. 

CLASERI, Marco, a Venetian wood engra- 
ver, who flourished about 1580. He executed 
a number of prints, among which are the Four 
Seasons, and the Four Ages of the world ; middle- 
sized prints, lengthways. 

CLASSICUS, VicTORius. This engraver has 
executed a number of plates after the paintings of 
Tintoretto. There is a small portrait of that 
painter, engraved in a style similar to that of Cor- 
nelius Cort; inscribed Alessandro Victorio Clas- 
sico, Sculp., which is probably hy this artist. 



Florent Le Comte says that Classicus was also a 
sculptor and architect, but none of his works are 
mentioned. 

CLAUDE. See Lorraine. 

CLAUDE, an ingenious French painter on glass, 
born about 1468, and practised at Marseilles, 
where he enjoyed a high reputation. He was in- 
vited to Italy by the great architect Bramante, to 
paint the windows of the Vatican; and taking 
with him one Guillaume, a monk of the order of 
the Dominicans, he went to Rome, where he exe- 
cuted, in concert with the latter, the large windows 
of the pontifical palace ; also, two windows in S. 
Maria del Popolo, which still remain, and pre- 
serve all the brilliancy of their coloring. Claude 
died at Rome soon after the completion of this 
work. 

CLEEF,or CLEEVE, Joas or Joost van, called 
SoTTO Cleef, a Flemish painter, born at Ant- 
werp about 1500. He was the son and scholar of 
Wm. Van Cleef, a painter of whom little is known, 
except that he was a member of the academy at 
Antwerp. Cleef was an admirable colorist, and 
his pictures are designed and composed more in the 
Italian than in the Flemish style. He went to 
England in confidence of the most brilliant suc- 
cess, with his countryman. Sir Anthony More, who 
introduced him to Philip 11. The latter, however, 
had seen some of the works of Titian, which had 
just arrived, and was too much charmed by their 
beauty to pay any attention to the undoubted 
merit of Cleef. The latter seeing his hopes des- 
troyed, became greatly enraged, and poured out 
his wrath on More, as the cause of his disgrace. 
He painted several altar pieces for the churches in 
Flanders which were highly esteemed. In the ca- 
thedral at Antwerp is a picture by him of St. Da- 
mien and St. Cosmus. In the catalogue of the 
pictures of James II., there are two mentioned by 
this artist — the Nativity, and the Judgment of 
Paris. At Amsterdam, is a remarkable picture by 
him, of a Bacchus with grey hair and a youthful 
countenance, seeming to convey the moral, that 
excess of wine hastens old age. It is designed 
and colored in a most admirable manner, and is 
very highly esteemed. Cleef was exceedingly con- 
ceited, and many ridiculous and whimsical stories 
are related of him, but he was undoubtedly an 
artist of great merit. He died m 1536, in the 
prime of life. 

"WJT ^^ C^ CLEEF, Henry Van, a Flemish 
jmI • .nnLpainter, born at Antwerp in 1510 ; 
died about 1589. His instructor is not recorded, 
but he visited Italy while young, for improvement, 
and returned to Flanders a very reputable land- 
scape painter. In 1535 he was elected an Acade- 
mician. His principal merit consisted in the light- 
ness of his pencil and the harmony of his coloring. 
He often painted the back grounds in the histori- 
cal works of Francis Floris, which harmonize 
most admirably with the figures. This artist has 
etched a number of plates of views near Rome ; 
they are sometimes marked Henricus Clivensis, 
fecit ; and sometimes with his cipher. His plates, 
numbering thirty-eight, have been published in 
one collection, entitled Henri a Cleve Buinarum, 
ruriumque aliquot delineationes Executce, per 
Galleum. Among them are : A Bull Fight ; a 
Landscape, with figures in a cave, cooking ; a Land 



CLEE. 



204 



CLEM. 



scape, with figures at table in a cave ; a Set of 
Four Views in the Vicinity of Rome ; a Set of 
Six Landscapes, with Latin Titles. 

iM^^R CLEEF, Martin van, a Flemish his- 
ImI"^' torical painter, and brother of Henry C. ; 
was a scholar of Francis Floris. He painted several 
l)icturcs for the churches, but was more esteemed 
for his easel pictures, in which the backgrounds 
were painted b}^ his brother Henry. He is called 
the blaster of tJie Ape. from his sometimes using 
the figure of that animal (in allusion to his name) 
as his mark, instead of the above monogram. He 
died about 1570. 

OLEEF, John Van, an eminent Flemish paint- 
er, born at Venloo, in Guelderland. in 1646, died 
at Ghent in 171G ; studied under Primo Gentile, 
at Brussels, and afterwards under Gaspar de Gra- 
yer. In the latter school he made rapid advances, 
and in a few 3^ears was able to assist his master in 
the many works on which he was engaged for the 
churches in the Low Countries. He was very 
much attached to Grayer, and followed him to 
Ghent, where, at the death of the latter, he was 
commissioned to complete several of his unfinished 
works, particularly the Cartoons for the tapestry 
of Louis XT V. lie soon gained a great reputation, 
and received many commissions from the churches 
and convents, itis works are very numerous in 
Flanders and in Brabant ; the best are at Ghent. 
His manner was not an imitation of Grayer, though 
he adopted the same j)urity of coloring, and was 
equally correct in his design. His compositions 
resemble the Roman school ; his facility of execu- 
tion was remarkable, and his design was charac- 
terized by great taste and judgment. His most 
esteemed work is an admirable composition in 
drawing and coloring, approaching the excellence 
of Vandyck. It is in the chapel of the convent of 
the Black Nuns, at Ghent, representing Sisters of 
that order administtring succor to persons attack- 
ed by the plague. In St. James is a fine picture 
of the Assumption. In St. Nicholas is an excel- 
lent picture of Magdalene at the Feet of Christ. 
In St. Michael is an ingenious composition, repre- 
senting the Conception, with Adam and Eve in 
the lower part of the picture. 

i' ^^ /^ CLETN, Johann, a German en- 
v>^> Va graver on wood and copper ; was 
a native of Nuremberg, and practised the art from 
1478 to 1520. In an 8vo. volume, entitled Hor- 
tulus Animce, printed in 1511, there are sixty-seven 
small wooden cuts atti-ibuted to him. There is, 
however, much uncertainty among writers respect- 
ing this artist, and the marks on these plates, which 
are the letters I. C, with a small shield between 
them, are the same as those applied to Jan de 
Cologne. 

CLEMENtI, Prospero, an eminent Italian 
sculptor, born at Reggio, about 1504. According 
to Tiraboschi, he received his first instruction from 
his grandfather, who died in 1525, and was con- 
sidered one of the ablest sculptors of his day. 
Parma, Mantua, and several otlier cities of Italy, 
possess exquisite productions from the chisel of 
Clemen ti ; but his native town of Reggio, where 
he died in 1584, is enriched by the greatest niim- 
ber of his works. From his peculiar style, which, 
combined correctness of design with the greatest 
boautjA of form, he has been called by Algarotti, 



the Oorreggio of sculpture. ■ Among his principal 
works was the Tomb of the Prati Family, in the 
cathedral at Parma, and the Tomb of G. Androssi, 
bishop of Mantua, in the cathedral of that city, 
which is considered his master piece. In the cathe- 
dral at Reggio are two admirable statues of Adam 
and Eve, and the splendid tomb of the Bishop 
Ugo Rangoni. 

CLEMENTONE. See Bocciardo. 
CLENNELL, Luke, an English painter and wood 
engraver, was born in Northumberland, in 1781. 
He early manifested an inclination for art, and was 
placed in the school of the engraver Bewick, where 
he soon showed ability, and practised the art for a 
number of years. He afterwards painted some 
pictures that attracted public attention, among 
which was the Charge of the Life-Guards at the 
Battle of Waterloo, which gained him considerable 
reputation. He was soon after selected to paint 
the entertainment given by the city of London to 
the allied kings, nobles, and generals, who had 
shared in that confiict. In the execution of this 
work, he encountered so much vexation, arising 
from the caprice, vanity, and arrogance of various 
individuals, that his mind bccamj3 afiected, so that 
he completed the work, and he ended his days in 
a lunatic asylum, in 1840, aged 59 years. 

CLEOMENES, a celebrated Athenian sculptor, 
was the son of Apollodorus, and is supposed to 
have flourished about B. C. 370. Pliny mentions 
him as the sculptor of statues and Muses, called 
Thespiades. which were taken to Rome, and 
adorned the temple of Felicitas. There are several 
fragments of an ancient sculpture in England, in- 
scribed with the name of this artist, and also a 
statue of a muse which may be one of the famous 
Thespiades. But the crowning glory of Cleomenes 
is the Venus de Medicis, which has received the 
unanimous applause of all generations, and is uni- 
versally considered as an eternal type of the purest 
female beauty and grace. This master piece of 
antiquity was discovered, according to some 
writers at Rome, in the garden of Nero ; while 
others say at Tivoli, among the ruins of the Adrian 
Villa. It was first placed in the Villa de Medicis, 
at Rome, after which it was transferred to the 
Florentine Gallery. It was taken to Paris, by 
Napoleon, but subsequently restored by the Allies 
in 1815 to its place in the Fhrentine Gallery, 
where it now is. 

CLEON, a Greek sculptor, a native of Sicyon, 
who flourished about B. C. 388. Pausanias says 
he studied under Pericletus. who had been a pupil 
of Polycletus. He executed, among other romark- 
able works, six statues of Jupiter, in bronze, for 
the city of Elis ; also many statues of Victories, at 
the Games ; and a statue of Venus in iron. CI eon 
excelled, also, in statues of old men and philoso- 
phers. 

CLERC, Sebastian le, an eminent French de- 
signer and engraver, born at Mentz, in Lorraine, 
in 1637, died in 1714.' His lather was a goldsmith, 
who taught him the elements of design, and sent 
him to Paris, with the intention of obtaining him 
a situation in the corps of engineers ; but by the 
advice of Le Brun, to whom he had been intro- 
duced, he devoted himself to engraving, and soon 
became so distinguished, that Colbert engaged him 
in the service of the king, with a pension of 1.800 



CLER. 



205 



CLER. 



livi'es. Le Clerc appears to have formed his style 
from Le Brun, which he dignified by the study of 
Raflfaelle. If his execution is inferior to della Bel- 
la in the playful charm of the point, it possesses 
a judicious firmness, adapted to the nobler sub- 
jects he engrayed. He used both the graver and 
point. In his best prints, the forms of his figures 
are elegant and correct, the airs of his heads noble 
and characteristic, and his draperies are simple and 
suited to his forms. The landscapes, architecture, 
and other accessories, are in admirable taste. His 
work amounts to nearly four thousand plates, 
according to Zani, most of which are ornamental 
pieces. He also engraved twenty-four medals, 
struck off on various occasions. The following are 
his best works : 

PORTRAITS AND HEADS 

Sebastian le Clerc, standing near a Bureau, with other 
figures; called The Cabinet of le Clerc, unfinished. Head 
of a Turk. 1G56. Abraham Fabert, Seigneur de Moulin. 
1(J57. Le Marechal de la Ferte ; scarce. Egon de Fur- 
steuberg. Bishop of Strasbourg. Louis Fremin ; scarce. 
A Knight of Malta. 1659. Vera Effigies R, P. Di Philip- 
pi Francisi, Abbatis L. Agerici Virdunensis. 1660. Tor- 
quato Tasso. M. Potier, in a medallion. 1683. Three 
Heads, two old Men, and a Woman. 

SUBJECTS OF SACRED HISTORY. 

The Vocation of Abraham. The Prophet Elijah sleep- 
ing. Elijah taken up in a Chariot of Fire. The Peni- 
tence of the Ninevites. The young Tofcit with the Angel. 
The Annunciation. Another Annunciation ; inscribed, 
Virgini ah Angela, (f*c. The Adoration of the Magi ; 
very scarce. The Holy Family. The infant Jesus seated, 
St. John kissing his Hand. The little Shepherd, or the 
Landscape of Isaiah ; scarce. St. John in the Wilderness. 
The Miracle of the Loaves. (In the first impressions, which 
are very scarce, a town appears in the background ; in the 
ordinary impressions there is a mountain) ; very fine. 
Christ seated in the midst of I he Apostles. The Ecce Ho- 
mo, with several Soldiers. The Crucifi.xion. The Stoning 
of Stephen. The Virgin standmg ; surrounded with a 
border. The Virgin in the Clouds, with Angels. The Vir- 
gin and infant Jesus, in a Landscape, with Angels. The 
Virgin of Mount Carmel. The miraculous Image of the 
Virgin of Consolation. St. John Evangelist in the Isle of 
Patmos. The Bark of St. Peter. 

SUBJECTS OF PROFANE HISTORY. 

The Entry of Alexander into Babylon. In the first im- 
pressions the face of the Hero is seen in profile ; in the sub- 
sequent ones is a three-quarters face, on which account it 
is called, The yrinticitk the head turned. The Apotheo- 
sis of Isis. The first impressions are with the Dancers at 
the side of the Altar, the second with Sacrifices. Diana 
and Mars ; two plates ; rare. The May of the Gobelins. 
The first impressions are before the Woman was introduced, 
who covers the wheel of the coach. The Academy of the 
Sciences. The first impressions are before the Skeleton of 
the Stag and the Tortoise were added ; this print is very 
scarce. The triumphal Arch for Louis XIV. at the Gate of 
St. Antoine ; fine. The Elevation of the large Stones in 
building the Front of the Louvre. The first impressions 
ire before the date, which is 1677. The Chapel of St. 
Catherine at Stockholm, whei*e is the sepulchre of the 
Ivings of Sweden ; improperly called the tomb of the King 
of Portugal. 1654. The Monument of the King of Swe- 
den. The Monument of the Chancellor Seguier ; his re- 
ception plate at the Academy ; much esteemed. The Ceil- 
ing of a. Saloon in the Hotel of Baron de Tessin. Another 
Ceiling in the same Hotel ; its companion ; both fine. The 
Procession of the Knights of the Order of the Holy Ghost. 
An Allegory in honor of Louis XIV., representing Her- 
cules and Alexander, with the inscription, Plures non cap- 
iioribis. 1684. Venus rising from the Sea. 1693 ; called 
The first Venus. The same piece ; re-engraved by le 
Clerc in 1711, reversed, called The second Venus. After 
the death of le Clerc, M. Eisen added to the plate a Triton 
pushing the conque, and a Cupid flying before. 

VARIOUS SETS OF PRINTS. 

Thirty-Six small prints of the Passion of our Saviour. 



The first impres.'ions are before the borders. Eleven, with 
the title of the Institution of the Order of the Mathurins 
for the redemption of captives. 1654. Anothersct of elev- 
en prints for the Order of Mathurins. 1656; scarce. 
Twenty-three prints of the Triumph of Charles IV., Duke 
of Lorraine ; of which two plates were engra^:^ by Der- 
vet of Xancy. 1664. Thirty-seven, of the History of 
Charles V., Duke of Lorraine. Twenty-eight for the His- 
tory of the present state of the Ottoman Empire ; b}' Bri- 
ot, Paris, 1670. Thirty-two, for the second edition of Du 
Fresnoy's Art of Painting. Paris, 1673. Thirty-nine, for 
Ovid's Metamorphoses ; by Benserade. Paris, 1676. — 
Thirty-nine, with the Title for Le Labyrinthe de Ver- 
sailles. Paris, 1677. The first edition, very scarce. Twen- 
tj'-three ovals, for iEsop's Fables. Twenty-one, of Fig- 
ures h-la-mode. A set of Sixty Prints of figures, horses, 
and landscapes ; dedicated to the Duke of Burgundy. 
Twenty Prints for a drawing-book of the Passions ; after 
le Brun. The Principles of Design, in fifty-two Prints ; 
by 5". le Clerc. Forty-eight Prints of the King's Tapes- 
try ; after le Brun. Six Prints, with the title, of the Bat- 
tles of Alexander ; do. Four of the Amours of Cupid and 
Psyche. The Four Conquests : the taking of Tournay and 
Douay, the Defeat of Count Marsin, and the Alliance with 
the Swiss, Thirteen Prints of the great Conquests of the 
King. Eight, called the little Conquests. 

LANDSCAPES AND VIEWS. 

A Mew of the Town of Metz ; Le Clerc's first print. 
1650. The Ruins of the Aqueduct of lone, near Metz. 
1656. A small Landscape, with three Children holding a 
Scroll. Twelve small Views of the Environs of Paris. 
Twelve small prints of Gardens, Perspectives, &e. Thirty- 
seven, of Landscape Views, and Figures ; designed for the 
instruction of the Marquis de Courtenvaux. 1690. 

CLERC, Sebastian le. an historical painter, 
the son of the preceding ; born at Paris in 1677, 
died in 1763 ; studied under Bon Boulogne, and 
became a member of the Roj^al Academy. In the 
abbe}'- church, at Paris, is a picture by this artist, 
representing the Death of Ananias. 

CLERC, or KLERCK, Henry de, a Flemish his- 
torical painter, born at Brussels, in 1570, and is 
supposed to have studied under H. Yan Balen, 
from the resemblance of style. He painted several 
large vs'orks for the churches of the Low Coun- 
tries ; but his small pictures are most esteemed, 
and they may be compared to those of Yan Balen 
and Rottenhamer. In the church of St. James, at 
Brussels, is a fine picture of the Crucifixion, by this 
artist, and in the church of our lady, are two ad- 
mirable pictures, representing the Holy Family, 
and the Resurrection. 

CLERC, John le., a French painter, born at 
Nancy, according to Zani, in 1594, died in 1633 ; 
studied in Ital}^ under Carlo Saracino, and imita- 
ted his st3de with such success, that his pictures 
have been often taken for those of that master. 
He also etched a few plates from designs of Carlo, 
one of which is dated 1519, and shows the hand 
of a master. It has been incorrectly attributed 
to Guido. 

CLERION, jAcauEs, a French sculptor, born 
at Trets. nearAix, in Provence, in 1640. He visited 
Italy, where he studied with great assiduity the 
fine remains of antiquity, and on his return to 
Paris, he was employed on several works for the 
gardens at Versailles and the Trianon, where his 
statues of Jupiter, Juno, Yenus, and Bacchus at- 
test great taste and skill. He died in 1714. 

CLERISSEAU, Chaeles Louis, a French ar- 
chitect and designer in water-colors, born at Paris 
in 1721, accompanied Robert Adams to England, 
where he remained some time, and made the draw- 
ings for the Ruins of Spalatro, ^c, published in 



CLES 



206 



CLOS. 



1764. On his return to France, he published the 
Antiquities de France ; Monumens de Nimes, and 
other works ; and in 1783, was appointed archi- 
tect to the Empress of Russia. He is, however, 
best known by his admirable drawings in water- 
colors, of the ruins of ancient architecture, which 
are highly esteemed. He died at Paris, in 1820, 
at the great age of 99 years. 

CLESIDES, an eminent Greek painter, who 
flourished at Ephesus about B. C. 294. The fame 
he acquired by his works, made him extremely 
haughty, and he thought that even royalty itself 
should do him homage. Admitted to audience 
with Queen Stratonice, and not receiving the honors 
which he anticipated, he had recourse to the art for 
revenge, and painted the queen in all the splen- 
dor of her beauty, but reposing in the arras of a 
fisherman. The queen was so highly pleased with 
the admirable beauty and execution of the picture, 
that she preserved it, and liberally rewarded the 
artist. 

CLEVE, Cornelius van. This eminent sculp- 
tor was born at Paris, in 1645, of a family origi- 
nally from Flanders. He early manifested a strong 
inclination for art, and was placed in the school of 
Anguier, where he soon attained such excellence as 
to assist the latter on his bas-rehefs for the Porte 
St. Martin. In 1671 he gained the grand prize of 
the academy, and went to Eome with the royal 
pension, where he remained six years. Soon after 
his return he was admitted to the academy, and 
executed a statue of Polyphemus for his reception 
piece. This industrious artist was accustomed, 
during his whole life to rise at 4 o'clock, and he 
has produced a large number of excellent works. 
He was hardly ever satisfied with his own produc- 
tions, and frequently destroyed his designs and 
models and commenced anew. He executed many 
works at Versailles and Marlj^; also at Paris, 
among which were a marble group in the gardens 
of the Tuilleries, and two bronze statues of angels, 
in the church of Notre Dame. Many of his statues 
have been engraved by Poilly, after Vivien. Van 
Cleve died in 1732, aged 87. 

^H CLEYN, or KLEYN, Francis de, a German 

JL painter, born at Rostock, and was for some 
time in the employment of Christian IV., King of 
Denmark. He afterwards visited Rome for im- 
provement, where he remained four years, and ac- 
quired a talent for designing grotesques, in which 
he afterwards arrived at great excellence. In the 
reign of James I. he visited England, and was 
employed by the king in designing historical and 
grotesque subjects for the manufacture of tapestry. 
The king settled a pension upon him, which he 
continued to receive after the civil war. He was 
also employed in decorating the mansions of sev- 
eral of the nobility. This artist has etched a few 
plates resembling those of Hollar, which he some- 
times signed with his name, and sometimes with 
his initials F. C. or F. K. They are : a set of five 
plates of the Senses, with grotesque ornaments : 
the Seven Liberal Arts, F. Cleyn, fecit, 1645; a 
book of ten plates of Grotesque Ornaments. He 
died in 1658. 

CLOCK, Nicholas, or Claas, a Dutch engra- 
ver, born at Ley den about 1570 ; studied under 
Francis Floris, according to Heineken, and execu- 
ted a number of prints in a style resembling Cor- 
nelius Cort, though not equal to that master. We 



have by him : The Judgment of Midas, after Ka- 
rel van Mander, 1589 ; The Four Elements, half- 
length figures, 1597. 

CLOSTERMANS, John, a painter of Osna- 
burg, born in 1656. He was the son of an ob- 
scure artist, who taught him the elements of de- 
sign. In 1679 he visited Paris, and was employed 
by Troyes to paint his draperies. In 1681 he went 
to England, where he was employed in the same 
manner by Riley, and after the death of the latter 
he finished many of his pictures, which recom- 
mended him to the patronage of the Duke of Som- 
erset, and he met with considerable encouragement 
from the nobility, though an inferior artist. He 
died at London in 1710. 

CLOUET, or CLOWET, Peter, a Flemish en- 
graver, born at Antwerp in 1606, died in 1668. 
He acquired the elements of design in Flanders, 
and afterwards visited Rome, where he studied 
under F. Spierre, and C. Bloemaert. On his return 
to Antwerp he engraved a number of plates which 
are much esteemed, particularly those after Ru- 
bens. They are executed with the graver, in a 
firm, clear style, resembling that of Pontius, but 
not equal to that master. The following are the 
principal : 

PORTRAITS. 

Peter Aretino, Thomas a Kempis. Ferdinand Cortez. 
"William Cavendish, Duke of Newcastle ; after Diepen- 
beck. Christopher Vander Laenen ; after Vandyck. The- 
odore Rogiers, Goldsmith ; do. Charles Scribanius, cele- 
brated Jesuit ; do. Anne "Wake, Countess af Sussex, 
holding a Fan of Feathers ; do. Henry Eich. Earl of 
Holland ; do. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Descent from the Cross ; Rubens, pinx. ; C. J. 
Meyssens, exc. The Epitaph of Rubens, with Accessories. 
The Death of St. Anthony ; fine and scarce ; Rubens, 
pinx. St. Michael discomfiting the Evil Spirit; Id. pinx. 
Several gallant Figures in a Garden ; called 77ie Garden 
of Love. The first impressions are with Flemish verses ; 
fine and scarce. Those with the address of C. Van Mer- 
lin are retouched, and very inferior. A large Landscape, 
representing Winter, with the Snow falling, and a Stable 
with CofTS ; belonging to a set of six landscapes, of which 
five are engraved by Bolsicert. The Virgin suckling the 
infant Jesus ; after Vandyck. Vandyck has etched the 
same subject. A Company of Cavaliers and Ladies at Ta- 
ble, said to be the family of the Duke of Newcastle ; after 
Diepenbeck. 

CLOUET, or CLOWET, Albert, a Flemish 
engraver, the nephew of the preceding, born at 
Antwerp, in 1624, died in 1687. He visited Italy 
while young, and studied under C. Bloemaert, 
whose style he followed in his subjects of history, 
though in portraits he sometimes imitated the 
manner of jMellan. and sometimes that of F. de 
Poilly. Among his first productions were several 
plates of portraits of painters, for Bellori's Vite 
de Pittori, ^c, published at Rome in 1672. He 
also engraved several plates for Rossi's Effigies 
Cardinal. Nunc Viventiicm ; also, several subjects 
from pictures in the Palazzo Pitti, at Florence. 
The following are his plates : 

PORTRAITS. 

Niccolo Poussin, in Bellori. Anthony Vandyck; do. 
Cardinal Thomas Philip Howard. The Cardinal Azzolini ; 
after Vouet. Cardinal Rospigliosi ; after Morandi. Car- 
dinal Rosetti ; Halibertus Clouet, sc. Cardinal Francis 
William de Wurtemberg. Maximilian, Count of Wolfegg. 
A Medallion of Pope Alexander VII. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Image of the Blessed Umiliana ; after Baldinucci 



CLOY. 



207 



cocc. 



Sepulchral Monument of Paul III. ; after Dom. Bar- 
riere. The Miraculous Couception ; after P. da Cortona ; 
in two sheets, fine and scarce. An Attack of Cavalry; af- 
ter Borgognoiie ; fine. The Battlo of Joshua with the 
Amalekites ; in two sheets ; do. 

CLOYIO, GiuLio Giorgio, called Macedone, 
a very eminent miniature painter of Croatia, born 
in 1498. After learning the elements of design in 
his own country, he visited Rome, and entered the 
school of Giulio Romano. He first attempted to 
follow the style of Giulio in his great historical 
works, but by the advice of the latter, he devoted 
himself to miniature painting. He possessed a 
wonderful ability in designing small figures, with 
a taste, accuracy, and firmness that is almost in- 
credible, and ever J figure is delineated with aston- 
ishing correctness, though on so small a scale as 
to require the use of an optic. His works evince 
much of the grandeur of M. Angelo and Rafl'aelle. 
and by his inimitable talents he has greatly eno- 
bled this branch of the art. His miniatures were 
mostly confined to books in the libraries of princes, 
painted with extraordinary vigor and beauty of 
coloring, and the most correct design. This artist 
has executed ah immense number of works, which 
are highly valued. The most celebrated is the pro- 
cession of Corpus Domini, at Rome, painted in 
twenty-six pictures, which occupied the artist nine 
years. At Milan, the Cistercians possess a Descent 
from the Cross, by Clovio. which has all of the 
grand Roman style. He died in 1578. 

COBARRUBIAS, Alonso de, an eminent 
Spanish architect, who flourished about 1450. He 
had the honor of first introducing Roman archi- 
tecture into Spain, which was firmly established 
there by Charles V. He erected, among other 
works the magnificent cathedral of Toledo; also 
the fa9ade of the Alcazar, or Royal Palace. At 
Valencia, he erected the monastery and temple of 
the order of S. Girolamo, a work of great magnifi- 
cence. 

TWp COBLENT. or COBLENTZ. Herman, 
.EOJ! * a Flemish engraver, who flourished about 
1576. His style resembles the neat, finished man- 
ner of the Collaerts, and it is supposed that he 
studied in their school. He executed a number of 
plates, among which are : Lucretia under an Arch ; 
four plates of the Four Evangelists ; a man seated 
at table with a woman behind him ; and a set of 
the Heathen Deities, single figures under arches. 
They are marked with his monogram. 

COCCAPANI, SiGiSMONDO, an Italian painter 
and architect, born at Florence in 1585. He 
studied both arts under Cigoli. and executed as 
his first work in painting, an altar piece for a 
church at Lucca. In 1610 he went to Rome, to 
assist Cigoli in painting the Pauline Chapel. He 
afterwards returned to Florence, where he execu- 
ted a number of works, both in painting and archi- 
tecture, among which were two paintings in the 
Duomo of Siena. He also wrote a number of 
excellent works on architecture. He died in 1642. 

COCCOPANI, Giovanni, a Florentine painter 
and architect, was born in 1582, of an illustrious 
family in Lombardy. As a painter he had some 
merit, according to Soprani, and executed a number 
of pictures for the churches and private collec- 
tions. In 1622 he was invited to Vienna, where 
he was employed by the emperor in the wars as 
State Engineer. He was liberally rewarded, and 



' after some years returned to Florence, where he 
erected the Imperial Villa for the Grand Duke, 
and built the convent for the monks of S. Teresa, 
with a church of an hexagonal figure. He was 
appointed professor of mathematics at Florence, 
and at the death of Castelli, he was invited to 
Rome to fill the chair in the academy of that city, 
but he refused to quit Florence. He died in 1649! 

COCCORANTB, Leonardo, an eminent Nea- 
politan painter, who, according to Dominici, flour- 
ished at Naples about the middle of the eighteenth 
century. He excelled in landscapes and marines, 
and was much employed at the court of King 
Charles of Bourbon. 

COCHET, or COGET, Joseph Anthony, an 
engraver of some merit who flourished about 1650, 
and is supposed to have been a native of Flanders. 
We have by him two plates, representing the por- 
trait of David Beck, the painter, with others ; and 
Time crowning Industry and punishing Idleness 
after Rubens. 



COCHIN, Nicholas, or Nata- 



*x^!L * "^1^ LIS, a French designer and engra- 
ver, born at Troyes, in Champagne, about 1619, 
died, according to Zani, in 1695. He settled at 
Paris, where he engraved a great number of plates, 
many of which are in the style of Callot. Like 
that artist, he succeeded better in small figures than 
in larger ones. The following are his principal 
plates : 

Melchizedeck and Abraham. Abraham sending away 
Agar. The Children of Israel passing the Red Sea. Pha- 
I raoh and his Host swallowed up in the Red Sea. Moses 
! breaking the Tables of the Law. The Adoration of the 
I Magi. The Repose in Egypt. St. John preaching in the 
Wilderness. The Conversion of St. Paul. The Tempta- 
i tion of St. Anthony. Part of the plates for a folio volume 
I of Plans and Views of Camps, Towns, Battles, tf-c, 
under Louis XIV., published by Beaulieu, 1645. Part 
' of the plates for the Entry of Louis XIV. and his 
i Queen into Paris. The wlaole consisted of twenty-two 
I plates. A Procession, with the Flags, &c., taken at the 
1 Battle of Fourcroy. Ten plates of the History of Judith. 
[ Eleven plates of subjects from the New Testament. Six- 
teen plates of the Martyrdom of the Apostles, &c. Six 
plates of Battles, in the style of Callot. 

COCHIN, Noel, or Natalis, a French engra- 
ver, who has etched a number of plates in a coarse, 
heavy style, among which is a Holy Family, after 
Titian ; and a Miracle wrought by St. Anthony. 
He also engraved the plates for a volume of prints 
from select pictures, with a description of them, 
published by Caroline Catherine Patin, entitled 
TabelcB Selectee ac Explicatoe a Carola Cather- 
ina Patina^ Parisina Academica, Batavii, 1691. 
Som.e confusion exists among writers in regard to 
this artist, and the preceding one, of whom he 
seems to have been a relative. 

COCHIN, Charles Nicholas, the Elder, a, 
French designer and engraver ; born at Paris in 
1688, died in 1754. He studied painting until he 
was nineteen years of age. when he devoted him- 
self to engraving. His plates are executed in a 
spirited and masterly style, and correctly drawn, 
particularly when the figures are of a medium 
size. The following are the principal : 

The Portrait of J. Sarazin, sculptor ; engraved for his 
reception at the Academy in 1781. The Portrait of Eus- 
tace le Sueur, painter ; also for his reception. Alexander 
and Roxana ; after a draioing by Rafaelle ; in the Crozat 
collection. The Inflexibility of St. Basil ; aff.er Le Maine. 
The Meeting of Jacob and Esau ; do. JacoY and Laban ; 



OOCH. 



208 



COCK 



after Restout. The Destruction of tlie Palace of Armida ; 
do. Jacob pursued by Laban ; after N. Bertin. Rebec- 
ca with the Servant of Abraham ; do. The Trinity a,nd 
the Assumption ; after Noel Coypel. Seven plates of the 
History of St. Augustine ; after L. de Boulogne. The 
Lame Man cured ; after P. Cazes. A set of Fifty-two 
plates of the History of Languedoc ; do. Several plates ; 
after Watteau and Lancret, <^c. 

COCHIN, Charles Nicholas, the Younger, 
an eminent French designer and engraver, the son 
and scholar of the preceding, born at Paris in 
1715, died iu 1788. In 1749 he accompanied the 
Marquis de Marigny on a tour through Italy, and 
in 1758 pubhshed his observations on works of art 
in the various cities he had visited, which was very 
favorably received. He also wrote several other 
works, most of them relating to the arts. He 
engraved upwards of 1,500 prints, most of which 
are frontispieces and other ornamental works, 
which are characterized by so much taste and 
skill, that they alone would have established his 
reputation. The following are his principal prints': 

PORTRAITS. 

Charles Sackville, Earl of Dorset. David Garrick. 
Francis Chereau, engraver. Louis de Boissy, of the French 
Academy. Edme Bouchardon, sculptor. 1754. The Count 
de Caylus, amateur artist. The Marquis de Marigny. 1752. 
John Kestout, painter. A. L. Seguier, Advocate General. 
The Duke de la Valliere, of the Academy of Sciences. 
The Prince De Turrenne. 

SUBJECTS FROM HIS OWN DESIGNS. 

The Infant Jesus holding a Cross. The Virgin. The 
Crucifixion. Lucius Quintus Cincinnatus ; after an antique 
statue. The Consecration of Louis XV. at Reims. Louis 
XV. presenting the Dauphin to Minerva. Ceremony of 
the Marriage of the Dauphin with Maria Theresa of Spain, 
1745 ; engraved 1746. Decoration of the Theatre at Ver- 
sailles on the above marriage. Funeral Pomp of the Dau- 
phiness, at St. Denis. 1746. The Funeral Pomp of the 
Dauphiness. in Notre Dame at Paris. The Funeral Pomp 
of the King of Spain, in Notre Dame. 1746. The Fune- 
ral Pomp of the Queen of Poland, in Notre Dame : etched 
by Cochin, and finished with the graver by J. Ouvrier. 
Fourteen large etchings of the Sea-ports of Vernet. 

COCHRAN, Wm., a Scotch painter, born in 
Clydesdale, in 1738. He studied at Glasgow, in 
the academy founded by Robert and Andrew 
Foulis, and afterwards visited Italy, where he 
studied under G. Hamilton, and painted several 
fabulous subjects, which are now to be seen in 
Glasgow. On his return to Glasgow he painted 
portraits of some merit, both in oil and in minia- 
ture. He died 1785. 

/^rl^i^r^NorMT C;OCK, or KOCK, 
_' ,.,1|^ (T yf^ mFa.* Jerome, a Flemish 
painter and engraver, born at Antwerp in 1510, 
according to Zani and Nagler ; died in 1570. In 
the early part of his life he relinquished painting, 
and applied himself to engraving and print-selling. 
There are a number of prints by this artist, some 
after his own designs, and some from those of P. 
Breughel, and others. They are executed in a 
slight manner, and without much effect. The fol- 
lowing are the principal ; some are marked H. 
Cock fecit ; and others with his cipher or mono- 
gram. 

PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. 

Francis II., King of France and Scotland. Mary, 
Queen of Scotland and France. Gustavus, King of Swe- 
den. Mary, Queen of Sweden. Soliman, Emperor of the 
Turks. Camelia, daughter of the Emperor. Six Portraits 
on one sheet ; of Guido, Cavaleantes, Dante. Boccace, Pe- 
trarch, Politian, and Ficinus. A set of twenty-four Por- 
traits of Flemish painters, with Latia verses by Lampso- 



nius. They are mostly marked /. H. W., for Wierix, 
the publisher ; entitled, Pictorum- aliquot celcbrium Oer- 
manice inferioris effigies, t^c. The Funeral Pomp of 
Charles V., large fi'ieze ; Hieronimus Cock, invent. 1559. 
Twelve plates ; entitled Divi Caroli V., ex multis prcc- 
cique Victoriarum imagines Hieronymus Coccius Pic- 
tor Antw. 1556. Moses with the Table of the Law ; H, 
Cock, inv. et exc. St. Christopher with the infant Jesus 
on his shoulders. 

SUBJECTS AFTER VARIOUS FLEMISH MASTERS. 

A set of fifteen Landscapes ; after Matthew Cock. A 
large Landscape, with the Feast of St. George ; do. Sam- 
son and Dalila ; after Martin Hemskirk. Daniel in the 
Lion's Den ; do. A set of eight Female Figures, six from 
the Old Testament, Jael, Ruth, Abigail, Judith, Esther, 
and Susanna ; and the Virgin Mary, and Mary Magda- 
lene ; do. An Allegory, Fraud and Avarice ; do. Infant 
Bacchanalians dancing ; do. The Resurrection ; after 
Peter Breughel the old. The Temptation of St. Antho- 
ny; do. The Temptation of James ; do. 1566. The Last 
Judgment ; do. The Laboratory of an Alchymist ; do. 
The Dispute between the Gras and the Maigre ; do. A 
set of twelve Landscapes with subjects from the Bible ; do. 
A grotesque subject of the great Fish devouring the little 
ones ; a whimsical composition ; after Jerome Bos. The 
Temptation of St. Anthony; do. St. Martin in a Boat, 
surrounded by Devils; do. An Incantation; do. 156L 
Shrove Tuesday ; a Woman making Pancakes. 1567. 

COCK, or KOCK, Matthew, a Flemish paint- M 
er, the brother of Jerome C, born at Antwerp ?1 
about 1500. He was one of the early Flemish 
landscape painters, and among the first who at- 
tempted to reform the dry, Gothic style that pre- 
vailed at that time. Several of his landscapes 
were engraved by his brother Jerome, and poss- 
ess considerable merit for the time. 

'^jP oj. 5"/ COCKSON, Thomas, an Eng- 
^ • Jt fC lish engraver, who practised the 
art about 1620. We have, by him, the portraits 
of James I., Charles I., and many of the nobility. 
They are executed in a neat, but rather stiff 
manner. 

King James I. sitting in Parliament. King Charles I. 
in like manner. The Princess Elizabeth, daughter to 
James I. Louis XIII., King of France. Mary of Medi- 
cis. Mathias I., Emperor. Demetrius, Emperor of Rus- 
sia. Henry Bourbon, Prince de Conde. Concini, Marquis 
d'Ancre. Charles, Earl of Nottingham. Francis White, 
Dean of Carlisle, Bishop of Norwich. Samuel Daniel. 
1609. T. Coryat. The Revels of Christendom. 

COOLERS, Louis Bernard, a Dutch painter, 
born at Maestricht, in 1740, died at Liege in 1817 ; 
was the son and scholar of Jean Baptiste Coders. 
He visited Ital}?- for improvement, and then re- 
turned to his father, at Liege, where he painted a 
number of portraits, and also practised at Maes- 
tricht, Nimeguen, and Dort ; and ultimately set- 
tled at Leyden, where he devoted his time to paint- 
ing cabinet pictures, in the manner of Gerard 
Douw, and other eminent Dutch masters. In 
1787 he went to Paris, where he remained several 
3'ears, but afterwards returned to Holland, and 
settled at Amsterdam, where he painted portraits 
and cabinet pictures, which were exhibited from 
1808 to 1813. One of his pictures is in the muse- 
um of Amsterdam. Rig;il says he was also an 
engraver, and mentions twentj^-five plates of his 
execution. 

CODA, or CODI, Benedetto, a Ferrarese 
painter, born about 14G0, died about 1520 ; studied 
under Gio. Bellini. Lanzi says he resided chiefly 
at Rimini, where he painted for the chi;irches sev- 
eral works of considerable merit. The principal | 
are the Marriage of the Virgin, in the cupola of 



CODA. 



209 



COEL. 



tlie cathedral, and his picture of the E-osary, in 
the church of the Dominicans, 

CODA, or CODI, Bartolomeo, called da Ri- 
mini, a painter of Rimini, who flourished from 
1528 to 1543. He was the son and scholar of 
Benedetto C, and surpassed his father, Lanzi 
highl}^ extols a work by this artist, dated 1528, 
in the church of S. Rocco at Pesaro. It repre- 
sents the Virgin and Infant Enthroned, with a 
choir of beautiful cherubs, and St. Roch, and St. 
Sebastian. He had a brother named Francesco, 
who painted in 1533. 

CODAGORA, ViviANO. This painter flourish- 
ed about 1650, and was educated at Rome. He 
was distinguished for his admirable representa- 
tions of architectural ruins near Rome, and for 
perspective pieces of his own composition. He 
gave a fine tone of antiquity to his pictures, and 
they are usually enriched with figures after the 
best artists of his time, particularly Domenico 
Gargiuoli, of Naples ; who, according to Lanzi, 
usually painted the figures in his pictures, in 
which there was such graceful and harmonious 
accordance, they appeared the work of the same 
hand. Many of his works may be seen in the 
Neapolitan collections. Codagora has been fre- 
quently confounded with Ottavio Viviani of Bres- 
cia, who painted similar subjects, but the works of 
the latter are very inferior to those of Codagora, 
in correctness of perspective and general effect. 

OODDE, Charles, a Dutch painter, born at 
Hague in 1640; died in 1698 ; painted landscapes, 
according to Balkema, in the style of Both and N. 
Berghem. That author mentions an artist named 
Peter Codde, who is supposed to have been a 
brother of Charles, though the time of his birth or 
death, is not recorded. He painted assemblies of 
soldiers, and other conversation pieces. There is 
one of his finest works in the Lor mier collection. 

CODIBUE, Giovanni Battista, a painter and 
sculptor of Modena, where he flourished in 1598. 
In painting, he imitated Raffaelle, and an Annun- 
ciation in the Carmine is highly commended by 
Tiraboschi. It does not appear that he acquired any 
lasting reputation in either branch of the art ; for 
Lanzi says, that though he had read of his works, 
both in painting and sculpture, being highly com- 
mended, he could not find any at Modena. 

COECK. See Kgeck. 

COELLO, Alonso Sanchez, an eminent Por- 
tuguese painter, was born in 1515, and resided 
chiefly in Spain, where he was employed in the 
Escurial by Philip II. He received some instruc- 
tion from Antonio Moro, and when the latter left 
Spain, Ooello succeeded him in the favor of the 
king, whose portrait he painted several times, and 
those of eminent personages of the court, and so 
much to the satisfaction of Philip, that he called 
him the Portuguese Titian. He painted a number 
of admirable works for the churches and palaces 
of jNIadrid, many of which were destroyed in the 
conflagration of the Prado. His master-piece is in 
S. Geronimo, representing the Martyrdom of St. 
Sebastian, with the figures of Christ and the Virgin. 
It is colored in admirable style, the expression is j 
vigorous and masterly, and the design bold and 
elevated. Ooello died in 1590, much regretted by i 
the friends of art. His epitaph was written by j 
Lopez da Vega. 



COELLO, Claudio. This very eminent pa'nler 
was born at Madrid of Portuguese parents, but 
the year of his birth is not recorded. He studied 
under Fi-ancesco Rizi. but derived more improve- 
ment from the stud}^ of the works in the royal 
collection, by Titian, Rubens, and other great mas- 
ters. He was made painter to Philip IV., who 
employed him in the E.scurial. Bermudez says he 
combined the design of Cano. the coloring of Mu- 
rillo. and the brilliant effect of Velasquez. He pro- 
nounces him the last of the Spanish painters, as 
the art declined to its ruin from the time that 
Luca Giordano was called into Spain. Many ad- 
mirable works of Coelio may be seen in the 
churches and convents at Salamanca, Saragossa, 
and Madrid. His principal work is the famous 
altar-piece in the sacristy of S. Lorenzo in the 
Escurial, which may well be ranked with the 
works of Titian and Rubens. It is an immense 
composition, representing the ceremony of the 
Collocation of the Host, which took place in 1684. 
in the presence of Charles II., and his officers of 
state; it contains the portrait of the king, and 
about fifty personages of the court ; and, according 
to Bermudez, was completed by Coelio. in about 
three years. It is painted with the utmost preci- 
sion, yet in a bold and masterly style ; and a ma- 
jestic solemnity pervades the whole, suited to the 
grandeur of the subject. Coelio died in 1693. 

COELMANS, James, or Jacor, a Flemish en- 
graver, born at Antwerp about 1670 ; studied un- 
der Vermeulen. After practising the art for some 
time at Antwerp, he was engaged by M. de Boyer 
d' Aiguilles, to undertake the plates from the pic- 
tures in his collection. They consist of 118 prints, 
and form the principal works of this artist, of 
which the following are the principal : 
portraits. 

Donna Olympia Maldachini, niece of Innocent X. ; after 
Gu. Cesari. Paul Veronese, a Bust ; after a picture by 
himself. Vincent Boyer, seigneur d'Aguillas; after le 
Grand. John Baptist Boyer ; after Hyacinthe Ri^aud. 

SUBJECTS after VARIOUS MASTERS. 

The Holy Family, with St. John embracing the infant 
Jesus ; after Parmiggiano. The Meeting of Jacob and 
Rachel; after M. Angela Caravaggio. Laban giving 
Rachel to Jacob ; do. Jacob's Departure from Laban ; 
after B. Castiglione. A Company of Musicians, Dancers, 
&e. ; do. Diana and Acteon ; after Ottoveixius. A Sa- 
tyr drinking, with a Nymph and a Cupid ; after N. Pous- 
sin. The Martyrdom of St. Bartholomew ; after S. Bour- 
don. Mount Parnassus, with Minerva and Mercury ; af- 
ter le Sueur. The Flight into Egypt ; after Pujet. The 
Murder of the Innocents ; after Claude Spierre. The 
Head of the Virgin ; after Seb. Barras. 

COELN, WiLHELM Von, or William of Co- 
logne, a celebrated old German painter, called also 
Meister Wilhelm. He appears to have been born 
at Herle, near Cologne. He was settled at Co- 
logne as early as 1370, and was held in very great 
reputation, as appears from a record in the annals 
of the Dominican church at Frankfort. His 
principal works are. the picture over the tomb of 
Ccrno von Falkenstein, in St. Castor's church at 
Coblcntz. 1388 ; the large altar-piece of the church 
of St. Clara, at Cologne, in 26 compartments, re- 
presenting the Life and Passion of Christ, which 
is now in the cathedral ; the Sancta Veronica, 
formerly in the Boisperee collection, now in the 
possession of the king of Bavaria, and in the Pi- 
nakothek at Munich, which has been admirably 
lithographed by Strixncr ; a Crucifixion, and a 



COEN. 



210 



COLA. 



half-length Madonna and Infant Christ, in the 
Wallraf Museum at Cologne. Other works are 
also conjectured to be by him, but they are also 
assigned to his scholar, the celebrated Meister 
Stephan; among these is the Dom-bild, or Ca- 
thedral picture, which was formerly the altar- 
piece of the chapel of the Rath-haus of Cologne, 
but is now in the cathedral. It was painted in 
1410, and is esteemed the most valuable picture of 
the old school of Cologne. 

COENRADT, Lawers, an engraver of little 
note, who flourished about 1690, and executed 
several of the portraits of the collection of Cardi- 
nals, published by Rossi. 

COGELS, Joseph Charles, called Cogels 
Mabilde, a Flemish landscape and marine paint- 
er, born at Brussels in 1786. He studied in the 
Dusseldorf Academy, and after spending some time 
in France, returned to Belgium in 1806, and was 
elected a member of the Royal Society of Fine 
Arts at Ghent. In 1810, he went to Munich, where 
he was employed by the king and queen to paint 
cabinet pictures for their private collections, and 
for the gallery at Schleisheim. He settled at Mu- 
nich, and was made an honorary member of the 
Academy in that city. In 1817 he was elected a 
member of the Academy at Antwerp. He died 
in 1831. 

COIGNET, Giles, a Flemish pamter, born at 
Antwerp in 1530 ; studied for some time under 
Antonio Palermo, a painter then resident at Ant- 
werp. He afterwards went to Rome, accompanied 
by one Stella, in which city they practised in con- 
cert, and both soon became distinguished for their 
merit. As their reputation increased, they were 
engaged in several other cities of Italy, particularly 
at Terni, where they executed several historical 
and grotesque subjects, both in oil and in fresco. 
Coignet, after traveling through Naples and Sicily, 
returned to Flanders, and was so much employed 
that he could with difficult}^ execute the commis- 
sions he received from the churches and the no- 
bility. He painted easel pictures of historical sub- 
jects, but was more successful in candle-light and 
moonlight pieces. He often employed Cornelius 
Molenaer to paint his back-grounds with land- 
scapes or architecture. He frequently employed 
his scholars to copy his works, which he after- 
wards retouched, and sold as originals, so that it is 
difficult to distinguish his genuine pictures. In 
1561 he was elected a member of the Academy 
at Antwerp. Soon after, in consequence of the 
troubles in which his country was involved, he 
was obliged to take refuge in Holland, where he 
remained several years, and finally settled at 
Hamburg, where he died in 1600. 

COINY, jAcauES Joseph, a French engraver, 
born at Versailles in 1761. He studied under le 
Bas, and in 1788 went to Italy for improvement, 
where he remained for three years. On his re- 
turn to Paris he soon gained encouragement, and 
was employed to execute the illustrations for an 
edition of La Fontaine, in concert with Simon, after 
designs by Vivier. He also engraved a very large 
plate, after Lejeune, of the Battle of Marengo ; 
also many plates for Didot's edition of Horace and 
Racine. Coiny died in 1809. 

COLA, Genarro dl an old Neapolitan painter, 
born in 1320 ; died in 1370 ; studied under Maes- 



tro Simone, a friend and companion of Giotto, 
whose style he followed. Dommici mentions a 
number of his works at Naples, which are execu- 
ted in the dry, labored manner of the time, though 
not without expression. The principal arc, the 
altar-piece in S. Maria, representing the Virgin and 
Dead Christ, and Angels holding the Instruments 
of the Passion ; a Magdalene penitent, in the chap- 
el of the same church ; the Nativity, and the An- 
nunciation, in the tribune of S. Giovanni. 

COLANTONIO, Marzio di, a Roman painter 
of the 17th century, of whom little is known. Ac- 
cording to Baglioni, he went to Turin at the in- 
vitation of the Grand Duke, where he resided till 
his death, in the pontificate of Paul III. He was. 
an accomplished artist in landscapes, and he paint- 
ed small frescoes, and arabesque ornaments in an 
agreeable manner. There are a few of his works 
at Rome, but most of them are at Turin, where he 
was largely employed by the Cardinal, prince of 
Savoy. "He died in 1701. 

(^ COLBENSCHLAG, or COLBENIUS. Ste- 
oC^ . PHEN, a German engraver, born at Salzburg, 
according to Brnlliot, in 1591. He visited Italy for 
improvement, and resided chiefly at Rome, where 
he engraved several plates after the Italian mas- 
ters, among which are ; The Descent from the 
Cross, after An. Caracci ; and the Adoration of 
the Shepherds, after DomenicMno. He died, ac- 
cording to Nagler, in 1683, aged 92. 

COLDORE, a French engraver of precious 
stones in the reign of Henry IV., who was spe- 
cially patronized and rewarded by that monarch. 
He was also invited to England by Queen Eliza- 
beth, who commissioned him to engrave her like- 
ness. Coldore's productions are scarce, and are 
j highly prized. 

COLE Thomas. This great artist was born in 
Bolton, Lancashire, England, in 1802. His family 
emigrated to the LTnited States in his youth, and 
settled at Steubenville, on the banks of the Ohio. 
He was designed by nature for a great painter, and 
to this end all his thoughts and ambition turned, 
even at a tender age. In a letter written in after 
years to a friend, he says : " My school opportuni- 
ties were small ; reading and music were among 
ycij recreations ; but drawing occupied most of my 
leisure hours. My first attempts were made from 
cups and saucer,- ; from them I rose to copying 
prints ; from copying prints to making originals. 
About the year 1820, Mr. Stein, a portrait painter, 
came to Steubenville. I became acquainted with 
him, saw him paint, and considered his works 
wonderful ; I believe they were respectable. He 
lent me an English work on painting (I have for- 
gotten the title) ; it treated of design, composition 
and color. This book was my companion day and 
night ; nothing could separate us. My usual avo- 
cations were neglected ; painting was all in all to 
me. I had made some proficiency in drawing, and 
had engraved a little, both on wood and copper: 
but not till now had my passion been fully aroused. 
My love for the art exceeded all love. My ambi- 
tion grew, and in my imagination I pictured the 
glory of being a great painter. The names of Stu- 
art and Sully came to my ears like the titles of 
great conquerors ; and the great masters were es- 
teemed above all earthly things." These feelings 
came over our artist at the acre of 18. The flame 



COLE. 



211 



COLE. 



which had long been smouldering, suddenly burst 
forth. He had never before seen the paraphernalia 
of a painter. He had been gi'oping in the dark, 
away in the Western wilds, without the means of 
obtaining the least information of the art, except 
what his own imagination and nature aiforded him. 
In short. Nature was his teacher, and she taught 
him eventually to copy her with a truthfulness 
seldom known in landscape painting. An invinci- 
ble diffidence led him to avoid society, and hold 
converse with sweet Nature. He used to take 
long rambles in the grand forests and the deep 
solitudes on the banks of the Ohio, and he thus 
acquired that love of walking which continued 
through life. Having provided himself with pa- 
lette, pencils, and colors, he commenced portrait 
painting, and made a tour through some of the 
principal villages of Ohio, in the vicinity of Steu- 
benville, but without any success — for he came 
home as poor as when he left, though he walked 
all the way ; and in one of these journej^s he 
walked from Zanesville to Chillicothe — a distance 
of sixty miles in a single day. This was not his 
forte. His father removed to Pittsburgh in 1823, 
and here he first struck into the path which led to 
excellence and renown. The country about Pitts- 
burgh abounds in beautiful scenery. The young 
painter, alive to the beauties of nature, felt that 
his natural powers lay in portra^nng that branch 
of the art. Being confined in his father's shop 
after 9 o'clock, he rose every morning with the 
lark, and bent his wa}'- to the banks of the beau- 
tiful Monongahela, with his paper and pencils. 
He made accurate studies of ever}^ object— the 
trees, the naked boughs and twigs, rocks and 
banks, and as the spring advanced, he clothed them 
with verdure. He had now found the right path 
to success, and began to make finished sketches 
from nature, in all her changing scenes. Late in 
the autumn of 1823, Cole set out for Philadelphia, 
with the design of trying his fortune in that city. 
He met with no encouragement, but obtained per- 
mission to draw in the Pennsylvania Academy, 
and after a winter of great privation, that would 
have driven any other than an enthusiast and a 
determined spirit to some other mode of obtaining 
his bread, he joined his family in New York, whith- 
er they had preceded him. Brighter prospects 
now opened before him. He had painted several 
landscapes, which were exposed in a shop for sale. 
One of them was purchased b}^ Mr. Bruen, an hon- 
orary member of the National Academy, for a 
small sum, but he was so much pleased with it 
that he immediately sought the acquaintance of 
the artist, and generously furnished him with the 
means of studying and copying the scenery of the 
Hudson. He painted three pictures in the sum- 
mer of 1824. which were exposed for sale at the 
price of $25 each. These were purchased by 
three artists — Trumbull, Dunlap, and Durand — 
who acknowledged their merit, and generously 
took this method of lending the young painter a 
helping hand. " This youth," said Trumbull, 
" has done what I have all my life attempted in 
vain." 

The National Academy of Design was founded 
in 1825, managed exclusively by artists. Cole 
was one of the founders. Its exhibitions were 
annually graced with some of his choicest works. 
The people were captivated with his perfectly new 
and original delineation of American scenery, of 



the beauties of which thej^ had had little conception 
till the}' came glowing from his pencil. Commis- 
sions came pouring in to him, so that he was not 
only enabled to contribute to the support of his 
father's familj^^ (a cherished filial obligation with 
him), but in 1828 to gratify his desire of visiting 
and studying in Europe. Late in the autumn of this 
year, he set sail for England, where he was warm- 
ly received by J. Fennimore Cooper, who intro- 
duced him to the poet Bodgers and Sir Thomas 
Lawrence. Both these gentlemen treated him 
with great kindness ; the former gave him a com- 
mission for a picture, but the latter died not long 
after his arrival. Cole did not remain in England 
as long as he had intended. His works were not 
appreciated. He sent some of his choice pictures 
of American scenery to two annual exhibitions at 
the Royal Academy, and they were hung in such 
situations that e\en his friends, acccustomed to our 
own bright skies, could scarcely distinguish them 
for his. The dark, gloomy atmosphere of London, 
together with this lack of appreciation, affected his 
health, and produced a melancholy that he did not 
recover from for months after he had left England. 
In 1831 he left England for Paris, intending to 
stay a while and study in the Louvre, but on his ar- 
rival there, finding the walls covered with an exhi- 
bition of modern French paintings, he proceeded al- 
most immediately to Italy. He first took up his 
sojourn at Florence, which, in a letter to Dunlap, 
he calls •' the painter's paradise." He studied the 
noble collections of art which it contains, drew 
sedulously from life, and executed his Sunset on 
the Arno. and ether works. From Florence, he 
went to Rome, where he says he ''had his studio 
in the very house in which Claude lived." Here 
he seems to have studied the splendid ruins that 
environ Rome, more than the glorious works in 
the Vatican, and he made sketches, from which he 
afterwards executed some of his choicest pictm-es. 
From Rome he returned to Florence, where he 
says he '" painted more pictures in three months 
than he had ever done in twice that time before or 
since." These were for commissions he had re- 
ceived from the United States. From Florence he 
next went to Naples, and from thence he made an 
excursion to P^stum, and took sketches of those 
splendid ruins. Cole returned to the United States 
in the autumn of 1832, much sooner than he de- 
sired, being recalled by the ill health and wishes 
of his parents. He married an amiable lad}', and 
settled himself permanently at Catskill, in full 
view of the glorious scenery of the Hudson and 
the Catskills. Soon after his return home he 
commenced the Course of Empire, the first of that 
series of great epic landscapes which have immor- 
talized his name, and which will in all future time 
rank him with the greatest of landscape painters. 
While in Italy, the penciling of Cole underwent 
a marked change. He laid aside that labored, tim- 
id softness of manner, for a freer and more rapid 
boldness in imitating the effects of Nature. This 
change was at once observed, when his pictures 
from abroad appeared in our annual exhibitions, 
and was regretted by many who preferred his ear- 
lier style. It also somewhat injured his popular- 
ity for a time. But Cole was no copyist ; he had 
acquired that confidence in his own powers which 
genius inspires. He availed himself of any hints 
he could find in the works of the great masters, 
whom he held in the deepest reverence. IIo also 



COLE. 



212 



COLE. 



compounded his colors with a view to the changes 
that time would work in them. His pictures im- 
prove every day with age, and they will glow with 
renewed freshness in coming time, while the works 
of others who used less substantial but more bril- 
liant colors, for innnediate effect, will hardly sur- 
vive the painter. Reynolds liv^ed to see some of 
his finest pictures dissolve and fade away ; so with 
our own Inman. Cole steadily improved, even to 
the day of his death. Indeed, this could not be 
otherwise with a man of his habits and feelings, 
who believed perfection unattainable, and strove 
to reach the highest point. His earlier Avorks will 
not compare a moment with his later productions. 

In 1834, he commenced the Course of Empire 
(the studies having been previously prepared), for 
Luman Reed, Esq., who was one of the most gene- 
rous and judicious friends of art the country ever 
had. The stipulated price was $7,500 ; but Mr. 
Reed subsequently increased the price to $10,000. 
There are five pictures in the series. These pic- 
tures were finished in 1836. 

Cole's works may be divided into two classes — 
simple landscapes or scenes from nature, and epic 
or historical landscapes, which are compositions or 
works of the imagination. Of the latter class are 
his greatest ^though not more beautiful in point 
of execution) works, as the Course of Empire, the 
Cross in the Wilderness, II. Penseroso U Alle- 
gro, the Architects Dream, the Dream of Arca- 
dia, the Expidsion of Adam and Eve, the Past 
and the Present, the Voyage of Life, the Cross 
and the World, ^c. All these pictures are con- 
ceived and executed in a manner that shows the 
artist to have possessed many of the attributes of 
the philosopher, the poet, and the Christian. The 
artist himself considered this class of painting 
equal to historical painting, and he has certainly 
proved that it equals it, if it does not exceed 
it, in powers of narration. As the Course of Em- 
pire gives a good idea of this class of his paintings, 
with the exception that the landscape varies in 
his other serial works, we give a brief description 
of them. 

The Course of Empire consists of a series of five 
pictures, and forms an epitome of the life of man. 
The landscape is the same in each of the series. 
An isolated rock crowning a precipitous hill in the 
distance identifies the scene in each picture, but 
the position of the observer varies in each. They 
illustrate a nation's rise, progress, greatness, de- 
cline, and fall. The first represents The Sa.vage 
State, or the Commencement of Empire; the 
second, The Arcadian or Pastoral State ; the 
third, Tfie Consummation of Empire ; the fourth, 
IVie Destruction! of Empire ; the fifth. The Des~ 
olation of Empire. These works belong to the 
New York Gallery. 

FIRST OF THE SERIES. 

"In the first picture, we have a perfectly Avild scene of 
rocks, mountains, woods, and a bay of the ocean, reposing 
in the luxuriance of a ripe spring. The clouds of night 
are being dissipated by the rising sun. On the opposite^ 
side of the bay rises a lofty promontory, crowned by a sin- 
gular isolated rock. ' As the same locality is preserved in 
each picture of the series, this rock identifies it, although 
the position of the spectator changes in the several pictures. 
The chase being tlie most characteristic occupation of say- 
age life, in the foreground we see an Indian clothed in 
skins, pursuing a wounded deer, which is bounding down a 
narrow ravine. - On a rock in the middle ground, are other 
Indians with their dogs surrounding another deer. On the 



bosom of a little river below, are a number of canoes p.as?- 
ing down the stream, while others are drawn up on the 
shore. On an elevation beyond these is a cluster of wig- 
wams, and a number of Indians dancing roimd a. fire. In 
this picture we have the first rudiments of society. In the 
canoes, huts, and weapons, we perceive that the, useful arts 
have commenced, and in the singing which undoubtedly 
accompanies the dance of the savages, we behold the germs 
of music and poetry. The Empire is asserted to a limited 
}, over sea, land, and the animal kingdom." 



SECOND OF THE SERIES. 

" In the second picture we have the simple or Arcadian 
state of Society. The time of the day is a little before 
noon, and the season early summer. The ' untraoked and 
rude' has been tamed and softened. Shepherds are tending 
their flocks ; a solitary ploughman, Avith his oxen, are 
turning up the soil ; and in the rude vessels passing into the 
haven of a growing village, and in the skelet(m of a bark 
building on the shore, we perceive the commencement of 
commerce. From a rude temple on a hill, the smoke of 
sacrifice is ascending to the sky, symbolizing the spirit of 
Religion. In the foreground on the left, is seated an old 
man, who, by describing strange figures in the sand, seems 
to have made some geometrical discovery, emblematic of 
the infancy of science. On the right hand, is a woman 
with a distaff, about crossing a stone bridge ; beside her, a 
boy is drawing on a stone the figure of a man with a sword ; 
and beyond these, ascending the road, a soldier is partly 
seen. Under some noble trees, in the middle distance, are 
a number of peasants dancing to the music of pipe and 
timbrel. All these things show us th,at society is steadily 
advancing in its march of usefulness and power." 

THIRD OF THE SERIES. 

"Ages have passed away, and in the third picture we 
have a magnificent ciiy. It is now mid-day, and early au- 
tumn. The bay is surrounded by piles of architecture, 
temples, colonnades, and domes. It is a day of rejoicing. 
The spacious harbor is croAvded Avith vessels, war- galleys, 
ships, and barks, their silken sails glistening in the sun- 
shine. Moving over a massive stone bridge, in the fore- 
ground, is a triumphal procession. The conqueror, robed 
in purple, is mounted on a car draAvn by an elephant, and 
surrounded by captives and numerous guards and servants, 
many of them bearing pictures and golden treasures. As 
he is about to pass the triumphal arch, beautiful girls strew 
flowers in his path ; gay festoons of drapery hang from the 
clustered columns ; golden trophies glitter in the sun, and 
incense rises from silver censers. Before a Doric temple, 
on the left, a multitude of Avhite-robed priests are standing 
on the marble steps, while near them a religious ceremony 
is being performed before a number of altars. Near a 
statue of MinerA^a, with aA^ctory in her hand, is a compa- 
ny of musicians, with cymbals and trumpets. From the 
lofty portico of a palace, an imperial personage is Avatching 
the procession, surrounded by her children, attendants, and 
guards. Nations have been subjugated, man has reached 
the summit of human glory. Wealth, poAver, knoAvledge, 
and taste, have worked together and accomplished the 
highest meed of human achievement and Empire." 

FOURTH OF THE SERIES. 

"In the fourth picture, a barbarous enemy has entered 
the once proud city ; a fierce tempest is raging ; walls and 
colonnades are lying in the dust, and temples and palaces 
are being consumed by the torch of the incendiary. The 
fire of vengeance is SAvalloAving up the devoted city. An 
arch of the bridge, over which the triumphal procession 
had before passed, has been battered doAvn, and broken 
pillars, ruins of war-engines, and the temporary bridge 
Avhich has becm thrown over, indicate that this had been 
the scene of direst contention. Now there is a terrible 
conflict on the bridge, the insecurity of which accelerates 
the horror of the struggle. Horses, men, and chariots, are 
precipitated into the raging waves. War-gallej's are con- 
tending; some in flames, and others sinking beneath the 
prow of a superior foe. Smoke and flames are issuing from 
the falling and prostrate edifices ; and along the battle- 
ments, and in the blocked-up streets, the conflict rages ter- 
ribly. The foregroimd is strewed Avith the bodies of the 
dead and dying. Some have fallen into the basin of a foim- 
tain, tinging the water Avith blood. One woman is sitting 
in mute despair over the dead body of her son ; another 



COLE. 



213 



COLE. 



leaping over a battlement to escape the grasp of a ruffian 
soldier ; and other soldiers drag a woman by the hair 
down the steps that form the pedestal of a mutilated colos- 
sal statue, whose shattered head lies on the pavement be- 
low. A barbarous enemy has conquered the city ; Carnage 
and Destruction have asserted their frightful Empire." 

FIFTH OP THE SERIES. 

" The last and most impressive picture of the series is 
the scene of Desolation. The sun has just departed, and 
the moon is ascendiug the twilight sky over the ocean, 
near the place where the sun arose in the first picture. The 
shi^.des of evening are stealing over the shattei-ed and ivy- 
grown ruins of that once great city. A lonely column rises 
in the foreground ; on the capital a solitary heron has 
built her nest, and at the foot of it her mate is standing in 
the water. 

" The Doric temple and triumphal bridge may still be 
identified among the ruins which are laved by the waters 
of the tranquil sea. But though man and his works have 
perished, the steep promontory, with its isolated rock, still 
rears itself against the sky, unmoved, unchanged. Time 
has consumed the works of man, and art is resolving itself 
into its elemental nature. The gorgeous pageant has pass- 
ed, the roar of the battle has ceased, the multitude has 
mingled Avith the rlust, the Empire is extinct." 

In July, 1841, Cole sailed on a second visit to 
Europe, passing through France and Switzerland 
to Italy, and from thence, he made an excursion to 
Sicily, with the scenery of which he was greatly 
delighted. On its bold rock}- summits, and in its 
charming valleys, he found everywhere scattered 
the remains of superb edifices of ancient grandeur, 
and he gazed without satiety on its magnificent 
scenery, its luxuriant vegetation, and its serene 
skies. He returned home in 1842, and commenced 
his last great work of The Pilgrim, of the Cross 
and of the World. While engaged in painting 
this scries, the summons of death came, and he 
died of inliammation of the lungs. Feb. 13, 1848, 
aged 40, universally lamented. 

Thos. Cole was a filial son, a tender father, and a 
true Christian. He possessed the most generous and 
kind feelings, especially to the younger members of 
his profession. When Verbryck was dying of con- 
sumption, and unable to work at his easel. Cole exe- 
cuted a picture for him, for which he had received a 
commission. He could not endure a town life ; Na- 
ture alone had charms for him. He reverenced his 
profession as a means of doing good to mankind ; 
he could not bear that his art should be degraded by 
sordid motives. A short time before his death he 
said, " I do not mean to paint any more pictures 
with a direct.view to profit." He cherished reli- 
gion fervently, but without ostentation. His life 
was one of great industry. He executed upwards 
of a hundred pictures, many of them of the largest 
size. There were sixty-three of his works in 
the exhibition in New York for the benefit of his 
widow and children. The value of au}^ one of them 
is now far greater than the prices he received 
for them, and in coming time, they will command 
the prices of the works of the greatest masters. 

Thos. Cole was an enthusiastic student of Na- 
ture. He went abroad with sketch-book in hand, 
at all seasons, at all hours, and in all' kinds of 
weather. He would take his equipage and go off 
on his sketching expeditions into the deep recesses 
of the majestic Catskill Mountains for days to- 
gether. So enthusiastic was he, that forgetting or 
unheeding the coming tempest, he has been known 
to get thoroughl}^ drenched, while sketching the 
changing- scenes, caused by the storm that was 
about to burst upon his head. It is this that gives 



such a charm to his works. The scenery is al- 
waj's nature, closely copied, in her sweetest or most 
terrible aspects, ilis morning, evening, and noon- 
da;f scenery, may be compared to that of Claude 
Loraine, more subdued, but more true, and his 
storm scenes to those of Salvator Rosa, equally 
spirited, but more highly finished. Whatever 
scene he painted, it was nature herself — the deli- 
cious sunset, the dewy morning, the sultry noon- 
tide, the distant storm Avith the descending rain, 
or near b}^ nature all in comimotion. the trees 
v>^rithing or the limbs snapping in the fierce blast, 
and the thunderbolt riving the sturdy oak. No- 
thing can exceed the splendor of his Autumnal 
scenery, with sky. serenely blue, the mists curling 
up the distant hills, and the forests decked with 
all the gorgeous hues of the rainbow, — and none 
but those familiar with the appearance of Ameri- 
can Autumnal scenery, can appreciate them ; for 
when Cole first went to London and exhibited 
some of his choicest pictures and sketches of such 
scenery, the people, observing in them something 
so entirely different from what they had been 
accustomed to. pronounced his coloring gaudy, and 
his works of little merit. Cole excelled in his at- 
mosphere and perspective. In looking at his Arch 
of Nero, we see the distant mountains through the 
broken arches, or rising above them in such truth, 
that we forget the painting, and seem to look at 
nature herself So with his Mount Etna, rising in 
cloudless majesty ; luxuriant vineyards flourish at 
its base, with forests ascending to the bleak and 
desolate regions of scoria and lava, and the top 
towering above the clouds, clad in eternal snow. 
Instance the valley of the Hudson from the Cat- 
skills, or of the Connecticut from Mt. Holj-oke. 
In the former, the y\ew extends to a distance of 
nearly 80 miles up and down the river. The no- 
ble Hudson, like a silver thread, winds its way for 
a great distance ; the distant mountains, towns and 
villages, the rich cultivated fields, farms and wood- 
lands are all faithfully copied, and while gazing on 
the picture, we seem transported to tlie spot. The 
view from IMount Ilolyoke is equally beautiful. 
The winding Connecticut, with its Ox-bow, at the 
base of the mountain, the numerous towns and 
villages, the rich farms so distinctly laid out that 
one can recognize his own ; the storm and de- 
scending rain in the distance, are all nature, in- 
describably beautiful. Such was Thomas Cole, a 
man whose history forms a bright example, from 
which all, especially the young artist, may derive 
instruction and benefit, — the people, that they may 
perceive the importance of cherishing native tal- 
ent, and the young artist that he may not become 
discouraged from adverse circumstances or lack of 
patronage, but strive to reach such excellence as 
shall command reward and renown. Would that 
as a people we would reflect how nature has fa- 
vored us above all the countries of the earth, and 
how much it would be for our interest and glory 
to develope our own resources, and to encourage 
the genius of our own countrymen in every science 
and art, instead of keeping ourselves poor by ex- 
travagant encouragement of ever}^ thing foreign, 
and coming from people made fat by our patron- 
age, who seldom fail to repay our folly, by libeling 
and reviling us as a people, and our institutions. 

COLE. J., an English engraver, who flourished 
about 1720. He was much employed by the book- 



COLE, 



214 



COLL. 



sellers, for whom he engraved a number of por- 
traits and other book plates. He also engraved 
several plates of monuments, and a copy from the 
print by Martin Rota, representing the Last 
Judgment, after M. Angela. 

COLEYER, or COLTER, Evert, a Dutch paint- 
er, was born at Leyden, and flourished about 1G91, 
as appears from a picture of still-life, signed with 
his name and the above date. In the catalogues 
of Hoet and Terwesten are mentioned several con- 
versation pieces' by this artist. 

COLIGtNICOLA, Geronimo di, an Italian paint- 
er, born at Rome in 1500. He painted history 
and portraits, and was considerably esteem.ed in 
his time. He died at Bologna in 1559. 

COLIGNON, Francis, a French designer and 
engraver, born at Nancy about 1621 ; studied un- 
der Callot, and gained improvement from the works 
of Silvestre and della Bella. He engraved some 
of the plates of the conquered towns in the reign 
of Louis XIV., published by Beaulieu. We have 
also by him several plates after different masters, 
and from his own designs. His best works are ar- 
chitectural views, in the manner of Callot, executed 
with great freedom and spirit. The following are 
his principal plates : 

SUBJECTS FROM HIS OWN DESIGNS. 

A set of twelve Landscapes. The Buildings at Rome 
under Sistus V. A A' iew of Malta with its ancient Forti- 
fications, 

SUBJECTS AFTER OTHER MASTERS. 

The Flight of Attila ; after Rqfaelle. The five canon- 
ized Saints ; S. Gaetano, St. Francis Borgia. St. Philip 
Benizio, St. Bertrand, and St. Bosa ; after J. B. Gaetano. 
View of Florence ; after S. delta Bella. Plan of the 
Castle of Moyen ; after Callot. 

COLI, Giovanni, was born at Lucca in 1G35, 
and died in 1682. He studied under Pietro da 
Cortona, and was one of his ablest scholars. Lanzi 
says Giovanni Coli and Felippo Gherardi were ed- 
ucated in the school of Cortona, and became his 
imitators for a period. Trained in the same school, 
their st3de and disposition so exactly resembled 
each others, that they usually painted together 
in the same piece, and their joint labors appear the 
work of a single hand. They continued to work 
in concert during the life time of Coli. They adopt- 
ed, after a time, a style of their own, founded on 
the Venetian and Lombard schools. In this man- 
ner, they painted the vast ceilings of the Library 
of S. Giorgio Maggiore at Venice. Rome possesses 
some of their stupendous works in the church of 
Lucchesi, and in the magnificent Colonna Gallery. 
They executed man}^ Avorks in their native city, 
the most celebrated of which were the fi-escos in 
the tribune of the church of S. Martino, and next 
to it, the church of S. INIatteo. which they decorated 
with three large sacred subjects, executed in oil. 
After the death of Coli. his companion continued 
to paint at Lucca. The whole cloister of the Mo- 
nastery of the Carmelites was painted b}^ him 
alone. See Gherardi 

COLIN, Alexander, an eminent German sculp- 
tor, born at Malines in 1520. He was sent for to 
Inspruck, by the Emperor Ferdinand I., to finish 
the splendid Mausoleum, erected by his grand 
father, Maximilian I., which had been commenced 
by the brothers Abel, of Cologne. After the com- 
pletion of this work in 1566, Colin settled at Ins- 
pruck, where he was appointed sculptor to the Arch- 
duke Ferdinand, and executed a number of grand 



works in that city, among which were the Mau 
soleums of the archduke Ferdinand, and of the 
princess Philippine. In 1577 he executed the 
embellishments for a fountain which the Emperor 
was erecting at Vienna. He died in 1612. 

COLLACERONE, Agostino, a native of Bo- 
logna, studied under Padre Pozzo. He was an 
eminent perspective painter, and was much em- 
ployed by eminent artists of the time to paint the 
architectural parts of their works. In this way he 
painted in the churches at Rome, Bologna, and other 
cities. He flourished about 1700. 

COLLAERT; Adrian, a Flemish designer and 
engraver, born at Antwerp about 1520. He stud- 
ied the elements of design in his native country, 
and afterwards visited Italy for improvement, 
where he remained several years. On returning 
to Flanders, he met with much encouragement, 
and engraved a great number of plates, which are 
correctly drawn, and neatly finished, with a fine 
expression in the heads, though with a certain de- 
gree of dryness. The following are the principal, 
usually marked with one of these monograms : 



SUBJECTS FROM HIS OWN DESIGNS 

A Man and his Wife, conducted by Death. 1562. A 
Man in Armor, to whom a Woman brings a Child, a Dog, 
and a Cock. The Four Elements ; in four plates. The 
Life of Jesus Christ ; in thirty-six plates ; entitled Vita Je- 
su Salvatoris variis iconibus, (|*c. Thirty plates of Birds; 
entitled Avium vIvcb icoyies, &c. One hundred and twenty- 
five of Fishes ; Piscium virceicones Twenty-four plates ; 
entitled Florilegium ah Hadriano Collaert, ccctatum, <^c. 
The Temptation of St. Anthony. St. Apollouia. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Twelve Months of the Year ; after Josse Momper, 
the same that Callot has engraved. The Last Judgment ; 
after J. Stradan. Twelve plates of Horses ; do. A Hunt- 
iiig and Fishing Party ; do. The Israelite Women singing 
the Song of Praise for the Destruction of the Egyptian 
Host in the Red Sea ; do. A Woman saving her Child 
from the Fangs of a Lion ; do. Twelve Landscapes ; after 
Henry van Cleef. A set of Hermitesses ; after M. de Vos ; 
engraved conjointly with his son John Co'llaert. The call- 
ing of St. Andrew to the Apostleship; after Baroccio. The 
Eepose in Egypt ; after H. Goltzius. 1585. A set of six 
plates, called the Annunciations ; considered among the 
best of his works. 



w-jeF. 



COLLAERT, Hans, a Fle- 
mish engraver, the son and 
scholar of Adrian C, born at Antwerp about 1540. 
He visited Rome for improvement, and remained 
for some time in that city. On returning to 
Flanders he assisted his father in many of his 
works, and engraved a great number of plates in 
the style of the latter, but in a finer taste, and less 
stiffness. His plates are dated from 1555 to 1622, 
consequently he must have lived to a great age. 
They are sometimes marked Ha7is Collaert fecit; 
sometimes H. C. F. ; and sometimes with his mo- 
nogram. The following are the principal : 

SUBJECTS FROM HIS OWN DESIGNS. 

The Life of St. Francis, in sixteen plates, with grotesque 
borders. The dead Christ in the Lap of the Virgin ; John 
Collaert, sc. The Last Judgment, surrounded with small 
subjects of the Life of Christ. Marcus Curtius throwing 
himself into the Grulf. Peace and Charity. Ten plates ; 
entitled Monilium Bullarum in auriumque, tf-c. 1581. 

SUBJECTS AFTER VARIOUS MASTERS. 

St. John preaching in the Wilderness ; G. A. Z. inv. H. 
Collaert, sc. RomcB. Moses striking the Kock ; after Lam- 
bert Lombard ; very fine. A Satyr pursued by Women ; 



COLL. 



215 



COLL. 



after J. Stradan. Time and Truth ; do. ; very fine. 
Mars and Venus ; do. The Loves of Mars and Yenus ; 
four plates ; after P. Galle. The title to the Bihlia Sa- 
cra ; after Rubens ; fine. The Title to the Kerkelyke 
Historic; do.; fine. The Title to the Vaders Boeck ; 
do.; fine. Twelve plates for the ikfissa/ 0/ ik/bre^us ; af- 
ter the designs of Rubens. The subjects from the Life of 
Christ and the Virgin. 

COLLANTES, Francisco, a Spanish historical 
and landscape painter, born at Madrid in 1599 ; died 
in 1656. He excelled particularly in landscapes, 
which are painted in a bold and masterly style, in 
the manner of Rubens, with rich coloring, and very 
romantic scenery. His principal historical works 
are two pictures of St. Geronimo. and the Resur- 
rection, in the Bueno Retiro. 

COLLEONI, GiROLAMO, a Bergamese painter 
of great ability, born, according to Tassi. about 
1495. Most of the works he executed in his own 
country were formerly in the church of S. An- 
tonio dell' Ospitale at Bergamo, but were de- 
stroyed when the church was rebuilt. Tassi high- 
13^ extols a picture by Colleoni. in S. Erasmo, near 
Bergamo. It represents the Virgin and Infant, 
with jNIagdalene and Saints, and is one of his most 
esteemed works. According to Lanzi, there was a 
picture by him, in the Carrara Gallery, which 
was thought by the best judges to be a work by 
Titian, until the inscrii^tion Hieroriymus Colleo., 
1555, was found upon it. This artist did not meet 
in his own country the encouragement justly due 
to his merits, and determined to leave it ; but, ac- 
cording to Tassi, previously to his departure, he 
painted, in a single night, on the fa9ade of his 
house, a very beautiful horse, with this inscrip- 
tion underneath. Nemo propheta acceptus in pa- 
tria sua. He went to Sjiain,' where he met with 
due encouragement, and was employed in the Es- 
curial. 

COLLET, .John, an English painter, born at 
London in 1725 ; died in 1780 ; studied under 
Lambert, the Landscape painter. He painted hu- 
morous subjects, somewhat in the sijle of Ho- 
garth, but approaching that genius only in vul- 
garity and caricature. His other subjects, in which 
he did not imitate the latter, but confined himself 
to simple objects, are deserving of notice for their 
faithful representation of the character and cos- 
tumes of the time. Many of his pictures have been 
engraved, and there a few etchings of his own ex- 
ecution. 

COLLIN DE "Vermont, Hyacinthe, a French 
painter, born at Versailles in 1693, and died in 
1761. He studied under Rigaud, and afterwards 
visited Italy for improvement, where he acquired 
a good taste for design, and on his return to Paris, 
was received into the Royal Academy, and after- 
wards appointed Professor of Painting. His works 
are distinguished for correctness of design, and pu- 
rity and elegance of forms. He executed a number 
of pictures for the churches and private collections, 
among which was the Presentation in the Temple, 
in the church of S. Louis at Versailles ; and the 
sickness of Antiochus, which was exhibited in 
1727. He left a set of finished drawings, of sub- 
jects from the History of Cyrus. 

COLLIX. Richard, a German designer and en- 
graver, born at Luxemboug in 1626. He visited 
Rome while 5^oung, studied under Sandrart, and 
engraved several plates for the Acad&mia of that 
author. He afterwards returned from Italy, and 



resided at Antwerp and Brussel, where he was- 
appointed engraver to the king of Spain and prac- 
tised the art for many years. His plates are exe- 
ecuted in a neat manner. The following are the 
principal : 

PORTRAITS. 

Jane Bickerton, Duchess of Norfolk. Sir Godfrey Knel- 
ler ; for Sandrart's Academia. John Zachary Kneller ; 
for the same. Artus Quellinus, sculptor ; after E. Quel- 
linus. John Philip van Thielen, flower painter ; do. Joa- 
chim Sandrart. 1679. Bartholome S. Murillo, painter ; se 
ipse, pinx. Christian Albert, Prince Bishop of Lubeck. 
1654. Anna Adelhildis, Wife of the Prince of la Tour and 
Tassis. 1682. A set yf forty portraits of the Saints of 
Mount Carmel. 

SUBJECTS AFTER VARIOUS MASTERS. 

Esther before Ahasuerns ; after Rubens. Christ bear- 
ing his Cross ; after A. Diepe'nbeck. St. Arnold ; do. 

COLLINO, Ignazio Secondo Maria, a rep- 
utable Italian sculptor, born at Turin in 1724. 
He studied under Damo, and in 1741 entered the 
school of the celebrated Bomonti ; he also wrought 
with Ladatto, where he modelled and cast in 
bronze a statue of St. Sebastiano, which was pre- 
sented in 1750 to king Charles Emanuel III., and 
gained for Collino a pension to enable him to visit 
Rome. Soon after arriving there, he executed 
three busts of Marcus Aurelius, Faustina and a 
vestal ; also a group of Papirius and his mother, 
and a statue of Niobe in Carrara marble. In 
1760 he was admitted to the Academy of St. Luke, 
and having executed a number of statues and bas- 
reliefs, he sent them to Turin in 1763. and was ap- 
pointed sculptor to the king. In 1767 he returned 
to Turin, where he established an academy of sculp- 
ture. He had a brother named Filippo C.> who 
assisted him in many of his works at Turin. 
Among the sculptures they executed in concert are 
two statues of Victor Amadeus II.. and Charles 
Emanuel III., in the palace at Turin ;- a statue of 
Pallas ; the tomb of the kings of Sardinia, in the 
church of Superga ; and the colossal statue of St. 
Agabro, in the citv of Novara. Ignazio C. died 
at'^Turin in 1793. 

COLLINS, Wm.. an English painter of very con- 
siderable merit; born at London in 1788. His 
instructor is not recorded. In 1809 he sent two 
pictures to the exhibition of the Royal Academy, 
and was a constant exhibitor from that time till 
1836. In 1820 he was elected a Royal Academician^ 
and painted The Young Anglers, at his reception 
piece. His pictures usually represent rural sub- 
jects, and those connected with the habits and 
haunts of fishermen, near the coast. In 1837 he 
visited Italy, and on his return, commenced paint- 
ing subjects of a higher nature. In 1840 he ex- 
hibited Our Saviour in the Temple ; and from 
that time till 1846. he continued to exhibit land- 
scapes and a few subjects of history. His Peace- 
Maker, painted in 1841, was sold for $1325, and 
several other of his works have brought nearly as 
high prices. Collins died in February, 1847. 

COLLI, Antonio, a painter of the Roman 
school, who studied under Padre Andrea Pozzi. 
and flourished about 1700. He painted the great 
altar in the church of S. Pantalco, and decorated 
it in so beautiful a manner, that it was taken by 
many for a work by his master. 

COLLYER, Joseph, a reputable English en- 
graver, born at London in 1748. He studied first 
under Anthony Walker, and afterwards under his 



COLO. 



216 



COLO. 



brother William W.. by vrhose instructions he at- 
tained great ability. ' He engraved the portrait of 
Reynolds, and the^latter was so much pleased with 
it, that he confided to Collyer the engraving of 
his admirable picture of Venus. The talent he 
displayed in this plate, caused him to be chosen 
as an Associate of the lloyal Academy. Among 
Iiis numerous works are the portraits of George 
IV.. and the princess Charlotte ; also the portrait 
of Sir William Young, which is executed in ex- 
cellent style. He was also employed b}^ Alderman 
Boydell to engrave for the Shakspeare Gallery. 
Collyer died in 1827. 

COLOMB, or COLOMBE, Michel, a talented 
French sculptor, who flourished about 1730. He 
was educated in the school of sculpture at Tours, 
and is principally distinguished for the magnifi- 
cent tomb which he executed at Nantes, for the 
dukes of Bretagne, by order of Francis tl., duke 
of that province. It is inscribed Par Vari et 
Vindustrie de M. Michel Colomb, premier sculp- 
teur de son temps. 

COLOMBANO, Antonio Maria, a painter of 
Correggio. who flourished from 1596 to 1616. Pun- 
gilioue, in his Life of Antonio Allegri, mentions 
fifteen pictures by this artist, representing subjects 
from the Life of the Virgin, and the infancy of 
Christ, some of which are of large dimensions. 

COLOMBANO, Bernardino, a Milanese paint- 
er, of whom little is known. Th^re is a good 
altar-piece by him in the Carmine, with his signa- 
ture, dated 1515. 

COLOMBEL, Nicholas, a French painter, born 
at Sotteville, near Rouen, in 1646. He studied 
under Le Sueur, and subsequently visited Rome 
for improvement, where he studied the works of 
RafFaelle and Poussin with great assiduit}-. On 
returning to Paris, he executed a composition re- 
presenting the amors of IMars and Rhea, which 
gained him admission to the Royal Academy, and 
which was placed in the Musee Napoleon. His 
composition and perspective are in excellent taste, 
and the architecture with which he embellished 
his pictures is admirable. Ho was elected profes- 
sor of the Academy in 1705. Among his best 
productions is Orpheus playing on the Lyre, in 
the king's menagerie ; Moses saved by Pharaoh's 
Daughter 5 and Moses defending the Daughters 
of Jethro. He died at Paris in 1717. 

COLOMBINI, Giovanni, a painter of the Ve- 
netian school, was born at Trevigi about 1700, , 
and died there in in 1774. He studied under Se- ' 
bastiano Ricci, whose style he adopted. His chief 
works are in the convent of the Dominicans in j 
Trevigi, in which the perspective is so excellent, 
and the gradations of the different objects so mas- 
terly, as to give illusion to the eye. Lanzi says 
he was less skilled in figures, yet he filled the con- 
vent with his portraits, introducing as it were, an- 
other family of Dominicans. 

Op COLOMBINI, CosiMO, an Italian engraver, ' 
(JL^«vvho flourished about 1754. He executed 
the principal part of the portraits of painters for 
the Museo Fiorentino. His plates are usually 
marked with a monogram composed of two C.'s, as 
above. 

COLONNA, Michael Angelo. See Michael 
CoLONNA Angelo. 



COLONNA, Melchiori. a Venetian painter, 
mentioned by Zanetti, supposed to have been a 
pupil of Tintoretto, whose style he imitated. He 
flourished at Venice about 1600. Lanzi says his 
name is hardly known in Venice, but he may 
have painted in other cities. 

COLONNA, Girolamo. See Colonna Men- 

GOZZI. 

COLONL or COLONIA. Adam, a Dutch paint- 
er, born at Rotterdam in 1634. He followed suc- 
cessfully the manner of N. Berghem. and painted 
landscapes with figures and cattle, in the Rt3le of 
that master. He also painted subjects of rural 
festivity, and fire-light pieces, which have con- 
siderable merit. Coloni resided several years in 
England, and died at London in 1685. lie had a 
son. named Henry Adrian C, who was the broth- 
er-in-law and scholar of Van Diest. He some- 
times painted the figures in the landscapes of the 
latter, and also painted landscapes in imitation of 
the stjde of Salvator Rosa. 

COLOTES, or COLOTHES, a Greek sculptor, 
born at Paros, was a cotemporary of Phidias. He 
is said to have been a disciple of that celebrated 
artist, and to have assisted him in making the 
statue of -Jupiter Ol3^mpius. He also displayed 
his skill in the construction of a buckler for the 
statue of Minerva; but his master-piece was a 
statue of ^sculapius in ivory. Among his other 
works, was the table of ivory and gold, upon which 
the crowns designed for the victors in the Olympic 
games were placed at Elis. 

COLORETTL Matteo, was born atReggioin 
1611. He excelled in portraits, and painted at 
Bologna, Modena, and other cities. Time of his 
death not recorded. 

COLSON, -Jean Francois Gille, a reputable 
French portrait j^ainter, born at Dijon in 1733. 
He was the son of -Jean Baptiste Gille Colson, a 
painter in miniature and pastel, born at Verdun 
in 1680, and died at Paris in 1762. He studied at 
Avignon in the school of Imbert, where he applied 
himself to portrait painting, and acquired good 
abilities. He afterwards went to Paris, where he 
found a patron in the Prince de Bouillon ; he ac- 
companied the latter to Navarre, where he prac- 
tised the art for about forty years, with good rep- 
utation and success. He died at Paris in 1803. 

COLTELLINI. Michele, a Ferrarese painter, 
who flourished about 1517. His principal works 
are at Ferrara; they are much in the style of 
Lorenzo Costa, whence Lanzi supposes that he 
was a scholar of that master, though he is supe- 
rior to him in the airs of his heads. In S. Andrea, 
is the Virgin and Infant, with Saints ; in the Sa- 
cristy of the Augustines, a picture of St. Monica, 
with four Saints of that Order ; and in S. Maria, 
St, Francis receiving the Stigmata. Also in the 
church and convent of the Padri Agostinani of 
Lombardy, are several of his works. 

COLYNS, David, a Dutch painter, born at Am- 
sterdam, about 1650. According to Houbraken, 
he painted easel pictures of historical subjects, con- 
taining a large number of figures grouped with 
great ingenuity, and touched in a delicate, though 
spirited manner. That author highly praises two 
pictures by Colyns at Amsterdam, representmg 
the Israelites fed with jManna. and Moses striking | 

the Rock. 



COMI. 



21'i 



COMP. 



COMANDE, Francesco, a Sicilian painter, 
born at Messina about 1580. He studied under 
Deodato Guinaccia, who was the most distin- 
guished scholar of Polidoro da Caravaggio at Mes- 
sina. According to Hakert. he acquired consider- 
able distinction, and executed many works for the 
churches and public edifices of Messina, in the 
pure style of Polidoro, among which are the Mar- 
tyrdom of St. Bartholomew in the church of that 
Saint, and the Adoration of the Magi in the mon- 
astery of Basico, pronounced admirable perform- 
ances'. Time of his death not recorded. 

COMANDE, Giovanni Simone, a brother of 
the preceding artist, was born at Messina in 1588. 
He went to Venice, where he carefully studied the 
works of the best Yenetian masters, and returned 
to Messina. He painted in the pure Venetian 
style, and was considerably employed b}^ the 
churches. He also painted sometimes in concert 
with his brother, but their styles are so totally 
different, that Lanzi says it is A^ery easy to assign 
to each his own work. 

COMENDICH, Lorenzo, a native of Verona, 
who studied under Francesco Monti, and settled at 
Milan, where he flourished in the first part of the 
18th centurj^. His works were held in high repute, 
and he found abundant employment. The Baron 
Martine took him under his patronage about 
1700, for whom he produced a variety of works, 
among which, his Battle of Luzzara, won by Louis 
XIV., is highly commended, and that monarch is 
said to have beheld it with singular pleasure, and 
commissioned the artist to paint a duplicate for 
himself. 

COMI, GiROLAMO, a painter of Modena, who 
flourished about 1550. He painted some sacred 
subjects, but he was more distinguished for his fine 
perspective pieces. He was employed by the 
churches in ornamental work and in architecture, 
which Lanzi says deserved to have been accom- 
panied by superior figures. One of his pictures in 
S. Michele in Bosco. is dated 1563. 

COMI, Francesco, called il Muto, or the Mute, 
also il Fornaretto, or the Little Baker, was born 
at Verona in 1682, and died in 1737. He paint- 
ed at Bologna as well as in his native city. 
Lanzi says that notwithstanding he was deprived 
both of speech and hearing, he was distinguished 
in art ; and Orlandi and Pozzo have commemora- 
ted him among the artists of his country, whose 
memory was worthy of being preserved. 

COMMENDUNO, an old Bergamese painter, 
who, according to Lanzi, studied under the two 
Nova. He lived in the latter part of the 14th 
century. 

COMO, Fra Emanuel da, a monk of the Or- 
der of the Minori Riformati, was born at Como in 
1625. On being sent to reside at Messina, he 
studied painting under Scilla, which he had pre- 
viously practised, in a feeble manner, in his native 
town. He thus acquired considerable skill in the 
art, and decorated a number of places belonging to 
his order, both in Sicily and at Rome, where he 
died in 1701. 

COMODI, Andrea, a reputable Florentine 
painter; born in 1560. He was the friend and 
scholar of Cigoli, but derived great improvement 
from the study of the works of CorreggiOj and 



copied with infinite art all the pictures of that 
master that he' could procure, especially many 
portraits of the Virgin, which were mistaken for 
originals by the best judges of that time. He was 
also an excellent imitator of Raflaelle. He was not, 
however, a mere copjnst ; and there are many es- 
teemed works by him preserved at Rome, one of 
the best of which was the Fall of Lucifer, which 
he painted for Paul V. Lanzi says his jMadon- 
nas were distinguished for the smallness of the 
neck, and by a certain air of virgin modesty, which 
was peculiar to him. One of the most esteemed 
is in the Corsini ppJace at Rome. He resided in 
that cit}^ the greater part of his hfe, and executed 
many pictures for the churches. The principal are : 
j the Baptism of Christ, in S. Giovanni in Fonte; 
Christ bearing the Cross, in the Tribune of S. Vi- 
tal e ; and the principal altar-piece in S. Carlo a 
Catinari, representing the Titular Saint kneeling. 
Comodi was the instructor of P. da Cortona. He 
died at Florence in 1638. 

COMPAGNO, Scipione, a Neapolitan painter, 
born about 1624. His works are yqyj rare ; there 
are tvro in the Neapolitan Museum, representing 
the jMartyrdom of St. Janvier, and seven other 
Christians ; and an Eruption of Vesuvius, from the 
Madeleine Bridge. There are a number of designs 
by this master, in various cabinets of Naples, 
which are much esteemed. He was living in 
1680. 

COMPE, Jan Ten, a reputable Dutch painter, 
born at Amsterdam in 1713 ; died in 1761 ; stud- 
ied under Dirk van Dalens, and painted landscapes, 
river scenes, and views of cities and villages. He 
represented different views of the Hague, which he 
ornamented with figures and animals. His best 
pictures approach the merit of Berkheyden and 
Vander Hey den ; and his View of the New Market 
at Amsterdam brought 2000 florins at public sale. 

CONCA, Cav. Sebastiano, an Italian painter, 
born at Gaeta in 1676 ; died in 1764. He studied 
in the school of Solimena. and in the early part of 
his life was much occupied in painting portraits 
of a small size, and at a low price, so that he had 
plenty of employment. When upwards of thirty 
3^ears of age, he visited Rome with his brother 
Giovanni, and for five years occupied himself in 
making drawings from the antique, and the study 
of the works of Raffaelle and other great masters. 
His abilities soon became known, and procured 
him the patronage of Cardinal Ottoboni, who re- 
warded him liberally for a picture of Herod and 
the Wise Men. The Cardinal entertained him in 
his own palace, and presented him to Clement XI., 
who appointed Conca to paint the picture of the 
prophet Jeremiah, in the church of St. John of 
Lateran, which gained him considerable reputation. 
He was also employed to decorate the church of 
St. Clement with several works in fresco, which 
gave such satisfaction that the pope conferred on 
him the honor of knighthood, and procured for 
him the execution of every great public underta- 
king in Rome. From this time he was incessantly 
employed, and his works were solicited by most 
of the princes of Europe. Philip V. of Spain in- 
vited him to come to his court, but he could not 
be persuaded to leave Rome. He painted two pic- 
tures for the king of Poland, with figures as large 
as life, representing Alexander and Bucephalus. 



CONG. 



218 



CONE. 



aud the Marriage of Alexander and Roxana. His 
great success is, however, rather to be attributed, 
according to Mengs. to the state of deca}^ into 
which the arts had fallen, than to any great mer- 
it of his own, though he says he possessed an 
abundant invention, great facility of execution, and 
a system of coloring evidently aimed at for mere 
brilhancy of effect. His works show little of the 
elevated style of the palmy days of art. By adopt- 
ing the mannerism of Solimena, and a dangerous 
facility of execution, he exercised a strong influ- 
ence for the downfall of art. His principal works 
at Home are, the picture of Jeremiah before men- 
tioned, and the Assumption, in S. S. Martino et 
Lucca. In the hospital of Siena, is his picture of 
la Probatica; at Loretto, St. Niccolo ; at Ancona, 
St. Saverio; and at Foligno, St. Agostino. Mengs 
unfairly says that " Conca by introducing at Rome 
the mannered style of Solimena, and a system less 
excellent than expeditious, he put the finishing 
stroke to the ruin of painting." On the contrary, 
Lanzi says " he possessed a fertile imagination, great 
facility of execution, and a coloring which enchant- 
ed by its lucidness. its contrasts, and the delicacy 
of its flesh tints. He was indefatigable in painting 
for individuals as well as for the churches, and in 
the state as well as in Rome, there is hardly a 
collection without its Conca." 

CONCA, Giovanni, was a younger brother of 
the preceding, whom he accompanied to Rome, and 
whom he assisted in the execution of his numerous 
commissions. He wrought in the style of his 
brother, had an equal facility of execution, and a 
similar taste, though Lanzi says he was less beau- 
tiful in his heads, and had a less delicate pencil. 

CONCHILLOS. See Falco. 

CONCIOLO, an old Italian painter of the 13th 
century. At Subiaco is a picture on panel by 
him, representing the consecration of a church, in- 
scribed Conciolus pinxit. 1219. 

CONDIVI, AscANio. a native of Ripatransone, 
was a pupil of Michael Angelo. but he did not 
possess sufficient talent to acquire any distinction 
in that glorious age of art. He published a life 
of Angelo in 1553, ten years before the death of 
that master. 

CONEGLIANO, Gio. Rattista Cima. The 
family name of this painter was Cima. but he is 
called II Conegliano. from the place of his nativity, 
near Trevigi, in the Venetian states. According to 
Ridolfi, he was one of the most successful followers 
of the style of Giovanni Bellini, and Lanzi classes 
him as one of his pupils, and says it is easy to con- 
found his works with those of Bellini, for though 
perhaps less smooth and tender in his coloring, yet 
he was not less diligent, graceful, and lively, in his 
motions and coloring. The same author also says, 
that his works, especially his altar-pieces, are quite 
numerous, though he grants that some of them 
may have been executed by his son and scholar, 
Carlo Cima 0. There is considerable discrepancy 
among authors as to the time he flourished. Ac- 
cording to Zani, he practised from 1489 to 1541; 
to Ridolfi, from 1495 to 1517, when he died in 
the maturity of his powers. There is an altar- 
piece in the cathedral of his native place, dated 
1493, which Lanzi considers one of his youthful per- 
formances, and another, in the church of S. Fran- 



cesco at Rovigio, dated 1542, but this may have 
been executed by his son. One of his best works 
is in the dome of the Cathedral at Parma, re- 
presenting the Virgin and Infant, receiving the 
homage of St. John the Baptist, and other Saints, 
a picture of such beautj'- as to attract the rapacity 
of the French spoliation, and it was transferred to 
the Louvre, but afterwards restored to its place. 
In the church of S. Giovanni at Venice, is his fine 
picture of the Baptism of Christ, and in the church 
of S. Niccold at Carpi, Christ taken down from 
the Cross, surrounded by the Marys, St. John, 
Joseph of Arimathea, Nicodemus, and other holy- 
persons. This last picture originally belonged to 
Alberto Pio, prince of Carpi, who esteemed it as 
one of his most precious gems, equal to the works 
of Raffaelle. There is also one of his altar-pieces 
in the church of S. Maria delP Orto at Venice, 
which Lanzi characterizes as such an excellent 
performance, that "in point of architecture, in the 
air of its heads, and in the distribution of its col- 
ors, there is something so extremely attractive, 
that we never weary in contemplating it." Ros- 
ini has also given a print (plate 86) of one of his 
pictures in the Gallery at Parma, the subject of 
wdiich differs but little from that in the cathedral 
at Parma, which is very beautiful. Conegliano is 
said to have excelled in portraits, executed smaller 
than life, some of which are in England. 

CONEGLIANO, Carlo Cima da, was a son of 
Gio. Battista C, who instructed him in the art, and 
whose style he so closely followed, that Federici 
says there are many pictures attributed to the 
father, which in realitj'-, were executed by the son. 

CONEGLIANO, Cesare da, a painter of the 
Venetian school, born at Coneglia, who, according 
to Zanetti, was a good artist, and flourished in the 
time of Titian, or about 1550. Lanzi says there 
is an altar-piece by him in the church of the Santi 
Apostoli, at Rimini, representing the Last Sup- 
per, which is sufficient of itself to rank him with 
Bonifazio and the best of that class of painters. 

CONEGLIANO, Ciro da, a native of Coneglia, 
who studied under Paul Veronese, but died very 
young. He is said to have painted an altar-piece, 
representing the Nativity, for the Church of the 
Riformati at Coneglia, so exactly in the style of 
Veronese, that a stranger could not distinguish it 
from a genuine work of that master. This picture 
was afterwards taken to Rome. 

CONEY, John, an English designer and en- 
graver, born at London about 1786. When about 
fifteen years old he commenced making architec- 
tural drawings, which he sold at very low prices. 
In 1815 he published a series of eight views of 
Warwick Castle, drawn and etched by himself. 
Shortly afterwards he was employed to draw and 
engrave the series of views of the cathedrals and 
abbey churches of England, to illustrate the new 
edition of Dugdale's Monasticon. These plates 
occupied much of his time for fourteen years, and 
show considerable ability. In 1831, Coney com- 
menced a series of plates, accompanied with de- 
scriptive sketches, of the "Architectural Views of 
Continental Europe," which consist of twenty-eight 
large plates, and fifty-six vignettes. He also exe- 
cuted many drawings with the pencil and in water 
colors for the booksellers. He lived in obscurity, 
and died in poverty, in 1833. 



CONI. 



219 



CONJ. 



-^CONGIO, Camillo, a Roman designer and 
\_^ engraver, born about 1G04. In 1630, he en- 
graved several plates for the Justinian Gallery. 
He also executed some of the engravings for Tas- 
so's Jerusalem, after the designs of Bernardo Cas- 
telli ; and several plates after different Italian 
masters, which are generally marked C. C. F., or his 
monogram. The following are the principal : 

The Annunciation. The Adoration of the Magi. Her- 
cules combating the Hydra. A Frontispiece entitled, Di- 
Iversi ornamenti capriciosi. The Creation of Angels ; af- 
ter Camassei. Frontispiece to the ^Edes Barbarinse : af- 
ter Guido Uhaldo Abhatini. An Assembly of Saints ; af- 
ter Gasparo Celio. 

CONINCK, David, called Pommelaer, a Fle- 
mish painter, born at Antwerp in 1636; studied 
I under Jan F3^t, and afterwards made the tour of 
. France, Germany, and Italy. He painted usually 
subjects of still-life, which are executed in a firm, 
yet free manner, with a natural and vigorous col- 
oring. His pictures resemble those of Fyt, though 
much inferior to the works of that master. He 
died in Italy in 1689. 

CONINCK, KONINCK, or KONING, Corne- 
lius, a Dutch designer and engraver, was born 
at Ilaerlem about 1624. He engraved several 
portraits of distinguished personages of the 16th 
' century, executed with the graver in a clear, neat 
style, among which are: Lawrence de Coster, 
I the eminent painter, a/i^er/. F. Ca?7ipe?2; Adrianus 
( Tetrodius of Haerlem, P. Grebber. inv. ; Dirk 
i Philius, C. Koning, scul. exc; Martin Luther, C. 
I Koning, fee. et exc. 

I CONINCK, KONINCK, or KONING, Solo- 

( MON, an eminent Dutch painter, born at Amster- 
dam in 1609 ; studied under David Colyns, and 
afterwards under Nicholas Moyaert, but subse- 
I quently attached himself to the style of Rembrandt. 
I He painted easel pictures of historical subjects, 
j which are well composed, and admirably colored, 
with something of the richness and glow of Rem- 
I brandt, in a clearer tone. His works possess great 
I merit, but they are rarel}- seen out of Holland, 
' being highly valued, and preserved in the choicest 
I collections. He died, according to Balkema, in 
1668. There are a few fine etchings by this ar- 
j tist, which are also in the admirable style of Rem- 
[ brandt. The following are the principal : 

The Bust of an old Man with a Beard ; S. Koninck. 
1628. Bust of an old Man in an Oriental Costume, nearly 
a profile ; 5'. Koninck. Small Bust of an old Man with a 
Fur Cap ; Sal. Koning. invent. An old Man sitting in a 
Chair, seemingly praying, without his name ; very fine. 
Bust of a venerable old Man, three-quarters, with a Beard, 
without his name ; very fine. A Landscape, with some 
Cottages, and a Tower in Ruins ; S. Konick, 1663. 

CONINGH, or KONING, Jacob, a Dutch paint- 
er, born at Haerlem in 1650 ; studied under Adrian 
vander Velde. He painted landscapes with fig- 
ures and animals, in the style of his master, and 
sometimes not much inferior to him. One of his 
pictures is in the Museum at Brussels. 

CONINGSLOO, or COONINXLOO, Giles, a 
Flemish landscape painter, born at Antwerp in 
1544 ; studied under P. van Aelst the younger, 
and afterwards in the schools of Leonard Kroes, 
and Giles JMostaert. For several years he prac- 
tised at Paris and Orleans ; after which he went 
to Rome for improvement, and remained some- 
time in that city. On returning to Flanders, he 



was much employed, and his works were so great- 
13^ admired, that they were eagerly bought up by 
the picture dealers, who sent them to difierent parts 
of Europe, where they brought good prices. The 
Emperor of Austria purchased many of them, 
which he placed among his most valued j^aint- 
ings. The figures in the landscapes of this artist 
were usually painted by Martin van Cleef. He 
was justly esteemed one of the ablest landscape 
painters of his time; his touch is light, spirited, 
and masterly, and his coloring very agreeable. 
He died at Antwerp in 1609. 

CONJOLA, Charles, a German landscape 
painter, born at Manheim in 1773. His works 
are principally views in water-colors, of the moun- 
tainous regions of Bavaria and the Tyrol. He died 
at Munich in 1831. 

CONRAD, or CONRADUS, Abraham, a Dutch 
designer and engraver, who practised the art about 
1650. His plates are principally portraits, chiefly 
from his own designs. They possess great merit, 
and some of them are successful imitations of the 
style of Lucas Vostermans. The following are his 
principal prints : 

portraits. 

Christopher Love. Jacob Triglande, professor of The- 
ology at Leyden. Thomas Maurois, of Canterbury, eccle- 
siastic at Amsterdam ; D. Boudringhen, pinx. ; A. Con- 
radus,fec. Godefroid Hotton, Pastor of the French Church 
at Amsterdam ; after H. Mermans ; very fine. The Flag- 
ellation; after A. Diepenbeck. The Crucifixion ; do. 

CONSETTI, Antonio, a native of Modena, was 
born in 1686, and died, according to Tiraboschi, in 
1766. He studied under Cav. Donato Creti, whose 
style he followed. Lanzi says he was accurate in 
his design, and a commendable master of the art, 
though his coloring is somewhat crude and un- 
pleasing to the eye. Both Modena and the state 
possess many of his works. 

CONSOLANO. See Casolani. 

CONSTABLE, John, an English landscape 
painter, was the son of a miller, and born in 1776 ; 
studied under Farrington, and was also a student 
in the Royal Academy. He usually represented 
views of water-mills, landscapes after a shower, 
boats threading locks, lake scenery, and views of 
Hampton Heath, with impending thunder clouds, 
or downright torrents of rain. His pictures are 
in a very singular style, and must be considered as 
the production of an eccentric artist, who rejected 
all the usages of the best masters. His landscapes 
are always gloomy ; the skies are overspread with 
turbulent clouds, charged with thunder, lightning 
and rain ; and when the shower falls, instead of 
verdant freshness, his trees and meadows are cov- 
ered with fleeces of snow. Two of his best pieces 
are a View in Suff'olk. and another in Essex. This 
artist was elected an Academician in 1 829. He 
died in 1837. 

CONSTANTINT, or CONSTANTINO, Gio. 
Battista, an Italian engraver, who practised the 
art about 1619. There is an etching by him, in a 
shght free style, somewhat in the manner of Guido, 
though less masterly, representing a Bacchanalian 
subject, surrounded with a grape vine in the form 
of a border. 

CONSTANZIO, Placido, an Italian painter; 
born at Rome in 1660. He painted history with 



CONT. 



220 



CONT. 



reputation, though his Tvorks have a labored ap- 
pearance. He died in 1713. 

CONTANT, Pierre, an eminent French archi- 
tect, born in 1698, at Irvy-Sur. He studied 
drawing under Watteau, and architecture under 
Duline. He was admitted a member of the Ro3''al 
Academy at the age of 28. He erected the church 
of Panthemont ; the amphitheatre of St. Cloud j 
the church of Conde, in Flanders ; la Gouvernance, 
at Lisle ; and the church de la Madeleine, which 
he did not finish. He designed the beautiful 
church of St. Waast. at Arras ; also, the stables, 
at Bissey, where he first tried those brick arches, 
which, even to connoisseurs, appear so bold and 
astonishing. Contant published a folio volume on 
his system of architecture. He died at Paris 
in 1777. 

CONTARINI, Cav. Giovanni, an eminent Ve- 
netian painter ; born in 1549, died in 1G05. He 
applied himself with great assiduity to the study 
of the works of Titian ; by which means he be- 
came excellent in coloring, and painted portraits 
with great force, sweetness, and strong resem- 
blance ; he also painted historical subjects with 
remarkable taste and correctness of design. His 
manner was lively and pleasing, and in all his works 
might be seen a close imitation of Titian. When 
his reputation was well established, he travelled 
into Germany, where he met with great encour- 
agement from the princes and nobility, especially 
at the court of the Emperor Rodolphus II., by 
whom he was knighted. In the church Delia 
Croce, at Venice, is a fine picture by this artist, of 
the Crucifixion ; in S. Francesco, is the Resur- 
rection. His principal work, however, represents 
the Virgin and Infant Enthroned, with St. Mark 
and St. Sebastian, and the Doge Marino Grimani 
kneeling. It was formerl}^ in the Ducal palace, 
but is now in the gallery of the Louvre. 

CONTARINI, Sim ONE, an Italian painter ; born 
at Pesaro in 1614 ; studied successively under 
Pandolfi, Ridolfi, and Guido Reni, after which he 
visited Rome, where he studied with assiduity the 
works of Raffaelle. His subjects were principally 
from sacred histor}^, and were composed with 
great judgment and taste. He died at Verona in 
1648, in the prime of life. 

CONTE, Jacopino del, a Florentine painter, 
born in 1510 ; studied under Andrea del Sarto. 
When young, he left Florence for Rome, and resi- 
ded in that city during his after life. He was a 
reputable painter of history, but was still more 
distinguished in portrait painting, in which he be- 
came very eminent, and is said to have executed 
more portraits, and those of more eminent person- 
ages than any other artist of his time. His por- 
trait of Paul III., which he painted soon after 
coming to Rome, gained him so much applause 
that according to Baglioni, he was employed to 
paint every pontiff that succeeded him until the 
time of Clement VIII., in whose pontificate he 
died. Many of the cardinals employed and gen- 
erously rewarded him. His principal historical 
works are St, John Preaching, and the Descent 
from the Cross, in S. Giovanni Decollato ; the 
Dead Christ, with several figures, in the Madonna 
del Popolo ; the Pieta, and St. Francis receiving 
the Stigmata, at the Cappuccini a Monte Cavallo. 

CONTE, DEL, an artist, so called, whose real 
name was Guido Fassi, a native of Carpi, born in 



1584, and died in 1649. He was the inventor of 
a kind of work called b}^ the Italians a Scagliola 
or a Mischia, which was subsequently carried to 
great perfection, and is now largely employed in 
the imitation of works in marble. The stone called 
selenite forms the principal ingredient. This is 
pulverized, mixed with colors and certain adhesive 
substances which gradually becomes as hard as 
stone, capable of receiving a high polish. Fas.si made 
his first trials on cornices, and gave them the ap- 
pearance of fine marble, and there remain two altar- 
pieces, b}^ him. in the churches of Carpi. From 
him, the method rapidly spread over Italy, and 
many artists engaged in this, then, new art. Anni- 
bale Griffbni, a pupil of Fassi. applied the art to 
monuments. Giovanni Cavignani, also a pupil of 
Fassi, far surpassed his master, and executed an 
altar of St. Antonio, for the church of S. Niccolo, 
at Carpi, which is still pointed out as something 
extraordinary. It consists of two columns of 
porphyry adorned with a pallium, covered with 
lace, which last is an exact imitation of the cover- 
ing of an altar, while it is ornamented in the mar- 
gin with medals, bearing beautiful figures. In 
the cathedral, at Carpi, is a monument by one 
Ferrari, which so perfectly imitates marble that it 
cannot be distinguished from it, except by fracture. 
It has the look and touch of marble. Lanzi, from 
whom these facts are obtained, says that these 
artists ventured upon the composition of pictures, 
intended to represent engravings as well as oil 
paintings, and that there are several such works, 
representing even historical subjects, in the collec- 
tions of Carpi. Lanzi considers this art of so 
much importance, that he thus concludes his arti- 
cle upon it : -'After the practice of modeling had 
been brought to vie with sculpture, and after en- 
graving upon wood had so well counterfeited 
works of design, we have to record this third in- 
vention, belonging to a State of no great dimen- 
sion. Such a fact is calculated to bring into higher 
estimation, the geniuses who adorned it. There is 
nothing of which man is more ambitious, than of 
being called an inventor of new arts ; nothing is 
more flattering to his intellect, or draws a broader 
line between him and the animals. Nothing was 
held in higher reverence by the ancients, and hence 
it is that Virgil, in his Elysian fields, represented 
the band of inventors with their brows bound 
with white chaplets, equalh^ distinct in merit as in 
rank, from the more vulgar shades around them." 

CONTI, Cesare and Vincenzio, two brothers, 
were painters of Ancona, but visited Rome in the 
time of Gregory XIII., by whom they were em- 
ployed, as well as by his successors Sixtus V., 
Clement VIIL, and Paul V. They usually painted 
in concert, Cesare being esteemed for his grotesque 
ornaments, and Vincenzio for his execution of the 
figures. The principal of the combined works of 
these artists are : the History of St. Giacomo del 
Zucchi, in S. Spirito in Sassia ; St. Agnes and the 
Martyrdom of St. Urbano. in S. Cecilia de Trastc- 
vere. Several others of their works are in S. 
Maria de Trastavere. 

CONTI, Domenico, a Florentine painter and a 
friend and pupil of Andrea del Sarto, whose draw- 
ings he inherited. Vasari on]j mentions him as 
the designer of the tomb and epitaph erected to the 
memory of that great artist in the Nunziata, at 
Florence, near his own immortal works. 



CONT. 



221 



CONT. 



CONTI, Francesco C, a Florentine painter, 
who studied under Carlo Maratti, and Avas a suc- 
cessful follower of his style. He was born in 1681, 
and died in 1760. He excelled in painting Madon- 
nas, several of which are in the collections at 
Florence. His portrait is in the Ducal Gallery 
beside that of his master. 

CONTI, Gig. Maria, a native of Parma, who 
flourished in 1660. He was a reputable artist. 

CONTRI, Antonio. This artist, according to 
Baruffaldi, was a native of Ferrara and the son of 
a lawyer. He was born about 1660, and died in 
1732. He went to Rome, where he resided for a 
long time, then went to Paris, and afterwards re- 
turned to Italy and established himself at Cremo- 
na, where he painted landscapes, in which he was 
accustomed to introduce flowers, in which stjde he 
was much distinginshed. There are many works 
of this kind executed hj himself and his son Fran- 
cesco C. at Cremona Ferrara and other places in 
their vicinity. But he was more di stinguished as the 
inventor of a method of transferring paintings from 
walls to canvass, which obtained him wide celebrity, 
and which he performed without the least in- 
jur}^ to the design or the painting. For this 
purpose, he spread upon a piece of canvass of the 
size of the painting to be transferred, a composi- 
tion of glue or bitumen, and placed it upon the 
picture. When this was sufflciently dr37^, he beat 
the wall carefully with a mallet, cut the plaster 
around it. and applied to the canvass a wooden 
frame, well propped, to sustain it, and then, after a 
few days, cautiously removed the canvass, which 
brought the painting with it ; and having extended 
it upon a smooth table, he applied to the back of 
it another canvass prepared with a more adhesive 
composition than the former. After a few days, 
he examined the two pieces of canvass, detached 
the first by means of warm water, which left 
the whole painting upon the second as it was 
originally upon the wall. Contri found considera- 
ble and profitable employment in this branch of 
business for the noble houses of Cremona, Ferrara, 
and Mantua. He thus removed some works of 
Giulio Romano from the walls of the Ducal 
palace. The secret composition of his glue, Contri 
communicated only to his son. Lanzi regrets that 
this valuable invention had not been previously 
known, so that many of those great works which 
are now only mentioned in the books, might have 
been prcseiwed. It is at least doubtful whether 
Contri was really the inventor of the method, 
which he might have learned at Paris, for in the 
reign of Louis XV., the celebrated painting of St. 
Michael, by Raffaelle, was so skilfully removed 
from the old canvass to a new one as to greatly 
improve it, for the cracks, which greatly disfigured 
the former, entirely disappeared in the latter. At 
the present time, this art is practised in great per- 
fection, even in the United States, and paintings 
can be transferred from canvass or panels to new 
canvass without difficulty or injury to the painting. 

CONTRI, Francesco, was the son and succes- 
sor of the preceding artist ; born at Cremona, 
where he continued to reside, though he often 
practised in other cities. He also painted land- 
scapes in a reputable manner. 

CONTUCCIO, Andrea, called da Monte San- 
sovino, an eminent Italian sculptor and architect; 
born in 1460. He was the son of a peasant, and 



while a child, was discovered modelling in clay 
while attending his flocks. Simone Vespucci, then 
governor of the province of Sansovino, saw his in- 
clination for art, and took him to Florence, where 
he was placed under the best masters, and pro- 
gressed with great rapidity. He executed a large 
number of fine works in sculpture, of which there 
are many at Florence, Genoa, and other cities. At 
Rome he produced, among other works, a superb 
group from a single block of marble, for the church 
of S. Agostino, representing the Infant Jesus, with 
the Virgin and St. Anne. He was equally success- 
ful in architecture, and his chapel of S. Sacramento, 
in the church of S. Spirito, at Florence, is so beau- 
tifully constructed, that it appears cut out of one 
piece. His reputation became so great that the 
King of Portugal invited him to that country, 
where he erected a splendid palace for the king, 
and many other good works. After I'emaining 
there nine years, he returned to Italy, loaded with 
rich gifts. Pope Leo X., sent him to Loretto, 
where he executed the fine bas-reliefs which adorn 
the exterior of the church of Santa Casa ; he also 
finished the palace of the Canons, commenced by 
Bramante, and fortified the city. He died in 1529. 

CONTTJRE, GuiLLAUME, a French architect, 
born at Rouen, in 1732. He visited Paris, where 
his talents soon became known, and where he 
erected many edifices, among which were the 
Hotels de Saxe and de Coislin. The pavilion 
which he erected at Sevres, gained him admission 
to the academy of architecture in 1775. Soon 
after this he visited Italy, where he designed from 
the fine remains of antiquity, and gained great im- 
provement. His restoration of the Church de la 
Madeleine increased his reputation greatly, and 
gained him the Cordon of St. Michael, although 
he was unable to complete it, on account of the 
troubles of the times. He died in 1799. 

CONWAY. See Damer. 

COOGHEN. See Kooghen. 

COOKE. George, a reputable English engraver, 
born at London in 1781. He studied under Basire. 
on leaving whom he was employed to engrave sev- 
eral plates for a work containing views in England 
and Wales. Cooke executed plates of the Coast 
Scenery of England, and Views in Scotland. In 
1822, in concert with Mr. Moses, he engraved the 
illustrations for D'Oyley and Maut's Bible. A 
series of plates, in which he was assisted by his 
son, Edward William Cooke, appeared in 1833, 
representing Old and New London Bridges. He 
died in 1834. 

COOKE, Henry, an English copyist and por- 
trait painter of little note, who practised the art 
about 1640, and painted several portraits in that 
year for the Company of Ironmongers, which are 
now in the hall of that corporation. They are 
undoubtedly copies, as they represent persons who 
lived long before the time of Cooke, with the ex- 
ception of Sir James Campbell, who sat to the 
artist. Among them are the portraits of Charles 
I. and Henrietta Maria. 

COOKE, Henry, an English painter of httle 
note, who went to Italy, and studied under Salva- 
tor Rosa. He returned to England, and was em- 
ployed by King William to copy the cartoons of 
Raifaelle. He also painted the choir in New Col- 
lege, Oxford. He died in 1700. 



COOP 



222 



COPP. 



COOL, Peter, a Flemish engraver, who flour- 
ished about 1690. He executed a number of 
plates, among which is one after Martin de Vos, 
representing Christ bearing his Cross, with St. 
Veronica, and other figures. It is executed entirely 
with the grayer, in a coarse, stiif manner. 

COOPER, Samuel, an eminent English minia- 
ture painter ; born at London in 1G09. He studied 
under his uncle Hoskins, whom he soon surpassed. 
He painted several of the most illustrious men of 
his time, particularly Oliver Cromwell and John 
Milton. The portrait of the latter is now in the 
possession of the Duke of Buccleuch. He painted 
several miniatures for the court for which his 
widow received a pension during her life. Cooper 
was the first artist of his country who gave a 
strength and freedom to miniature painting. His 
coloring was pure, his carnations were beautiful, 
and the hair was painted in a flowing, elegant 
manner. His merit, however, was confined en- 
tirely to the head, for when he painted more of 
the figure, his drawing is defective, and his execu- 
tion undetermined. This artist enjoyed consider- 
able reputation during his life. He died in 1672. 
He had a brother named Alexander, who also 
studied under Hoskins, and painted portraits with 
some reputation in oil and in miniature, though he 
was greatly inferior to his brother. He also painted 
landscapes in water colors. Not succeeding as he 
expected, he went to Flanders, where he remained 
some time, and afterwards visited Sweden, where 
he painted several miniatures for Queen Christina. 

COOPER, Richard. This engraver is supposed 
to have been born at Edinburgh, about 1730. He 
engraved a plate of the Dead Christ and Marys, 
after An. Caracci; the Children of Charles L, 
with a Dog, after Vandyck ; besides a number of 
portraits of eminent personages, among which are 
those of William HI., Mary, his Queen, Frederick, 
Prince of Wales, with his sisters ; liOrd Bacon, 
Earl of Strafford, and others. 

COOPSE, Peter, a Dutch marine painter, who 
followed the style of Backhuysen and Vander- 
velde. His pictures are generally of a small size ; 
his composition is ingenious and abundant, and his 
coloring vigorous. There is a picture by him in 
the gallery at Munich, which is attributed to 
Backhuysen, in the catalogue, and m.any of the 
works of this artist are undoubtedly ascribed to 
the latter. Ploos van Amstel has published fac 
similes of some of the drawings, by Coopse, in his 
collection. 

COORNHAERT. See Cuenhaert. 

COOSEMANS, Alexis, a Flemish painter, who 
flourished about 1630. Little is known of the 
events of his life. He usually represented sub- 
jects of still-life, which possess considerable merit. 

COPLEY, John Singleton, was born in Bos- 
ton, in 1737. He was made by nature for a painter, 
and he was wholly a self-taught artist. He began 
painting, as a profession, at sixteen years of age ; 
" before," to use his own words, " he had ever seen a 
tolerable picture." and certainly before he could 
have received any instruction, for Boston at that 
time had no Academy of Arts, nor any painters. 
In his thirty-seventh year he went to Italy, but 
before this time, he had become a distinguished 
portrait painter, and there are yet many of his 
early portraits in this country which do him great 



credit. After residing two years at Rome, where 
he had studied with the greatest assiduity, and 
made the works of Titian andCorreggio his especial 
models in coloring, for composing the brilliant 
hues of which, he wrote out receipts, he went 
to London, where he met his wife and children, 
whom he had left in Boston. As the war of the 
revolution broke out in 1775, there was no good 
opportunity for Copley to return to his native land, 
which he always seemed to have had in view, and 
as there was not much hope of success for an artist 
in the convulsed state of the country, he settled 
permanently in London. His first picture, which 
may be termed historical, was the Youth Rescued 
from the Shark ; but his great painting of the 
Death of Lord Chatham, which represents the 
great orator fainting in the House of Lords after 
his admirable speech in favor of America, and in 
which he introduced the portraits of all the lead- 
ing men of the House, at once established his rep- 
utation. This picture was so much admired that 
the artist was emboldened to have it engraved of 
unusual size, thirty inches long by twentj^-two 
wide, by the hand of Bartolozzi. The painter sent 
a print to Washington, and John Adams, with 
whose approbation he could not but have been 
highly gratified. " This work," said the former in 
his reply, " highly valuable in itself, is rendered 
more estimable in my eyes, when I remember that 
America gave birth to the distinguished artist vrko 
produced it." '■ I shall preserve my copy," said the 
latter, " both as a token of your friendship and as 
an indubitable proof of American genius." In 
1790, Copley was sent by the city of London to 
Hanover, to paint the portraits of four Hungarian 
officers, commanders of regiments associated with 
the British troops, under General Elliot, (after- 
wards Lord Heathfield,) at the defence of Gibral- 
tar, in order to introduce them into a large picture 
which he was commissioned to paint for the city of 
London, representing the Seige and Relief of Gibral- 
tar, which are now ornaments to the Council Cham- 
ber of Guildhall. He pursued his profession with 
great distinction and with unabated vigor to an 
advanced age, and died in London in 1815, aged 78. 
His principal works, besides those before mention- 
ed, are the Death of Major Pierson; Charles I. in 
the House of Commons, demanding of the Speaker 
Lenthall, the Surrender of the Five Impeached 
Members, containing the portraits of the most dis- 
tinguished members of the house ; the Surrender 
of Admiral de Winter to Lord Duncan, off Cam- 
perdown; Samuel and Eh; Samuel Reproving 
Saul, &c. ; besides some fancy subjects, of which 
his Boy and Squirrel was an exquisite specimen cf 
coloring. But his great forte lay in portrait paint- 
ing, his principal occupation. Ilis portraits, which 
are numerous, are distinguished for a truthfulness, 
harmony of coloring, and a life-like expression 
seldom surpassed. His eldest and onl}^ surviving 
son, John Singleton Coplej^ now Lord Lyndhurst, 
has made a collection of his father's best works, 
which adorn the walls of the artist's own house 
in George St., Hanover Square, where his lordship 
continues to reside. 

COPPA, Cav. Antonio, See Giaeola. 

COPPA, Stefano, an Italian engraver, who 
practised the aft at Rome, about 1775. In concert 
with Giuseppe Perini, he executed the plates from 
the antique statues in the Clementine Gallery. 



COPP. 



223 



CORA. 



He also engraved a nuraber of other plates, among 
which is a print of the Ascension, after Lanfranco. 

COPPA, a native of Milan, who studied under 
Magnasco, whose style he successfully imitated. 
He flourished at Milan about 1750. 

COPPENS; Augustine, a Dutch engraver, who 
practised the art about 1690. Theie are a number 
of plates by this artist, representing views of archi- 
tectural ruins, which are executed in a neat, and 
finished style. 

COPPI, Jacopo, was born at Peretola in the 
Florentine State, in 1523, and died at Florence in 
1591. It is not certain with whom he studied, 
but Lanzi thinks with Ghirlandaio. There is 
some dispute about the merits of this artist, but it 
is probable that Jacopo del Meglio, who is so se- 
verely treated by Borghini for his works in the 
church of Santa Croce, was not Jacopo Coppi as 
some have supposed. At all events, Lanzi says 
his Crucifixion in the church of S. Salvatore, at 
Bologna, will vie with any of the productions in 
that city, previous to the time of the Caracci. The 
subject is full and carefully studied. He says fur- 
ther, that in coloring, propriety of invention, in 
variety of figures, and in execution, he has seen no 
picture by Vasari which surpassed it. 

COPPOLA, Carlo, a Neapolitan painter, who 
studied under Falcone, and who painted battle- 
pieces and skirmishes of cavalry, with all the force 
and animation, and correctness of design which 
distinguish the works of his master. Lanzi says 
his works may be mistaken for those of Falcone, 
except that a certain fullness with which he painted 
his horses in his battle-pieces, may serve as a dis- 
tinction. There are many of his works in the 
galleries at Naples. He was living in 1665. 

COQUES, Gonzales, an eminent Flemish 
painter, born at Antwerp in 1618. He acquired 
the elements of the art from David Ryckaert, the 
elder, but gained great improvement from the at- 
tentive observation of nature. His first subjects 
were conversations and gallant assemblies ; but the 
extraordinary reputation Yandj^ck had acquired by 
his admirable portraits, induced Coques to attempt 
the same branch of the art, though on a difi'erent 
scale. He commenced painting portraits of a 
small size, and gave them the correctness and sim- 
ple character of nature, so much admired in the 
works of Vandyck. His success was so great, 
that he could with difficulty fulfill his engagements, 
and few persons could procure his pictures. His 
single heads, and groups of family portraits, were 
esteemed superior to those of every artist of his 
time — Vandj^ck alone excepted. He also painted 
landscapes and animals with great beauty and skill. 
He was employed b}^ Charles I., the xirchduke 
Leopold, and other potentates of his time. Al- 
though his heads rarely exceed the size of an inch 
and a half they have all the breadth, freedom of 
touch, and animated character of the works of 
Vandyck. The heads and extremities are designed 
with the utmost correctness ; his coloring has the 
freshness, and his draperies the ease observed in 
the works of that great master. His family 
groups were admirably conceived, and in the ac- 
cessories, he displayed great taste and elegance. 
His compositions are few in number, and are ex- 
tremely valuable ; there are forty-six described in 
Smith's Catalogue Raisonne. Coques died in 1684, 
aged 66. 



CORADO, Carlo, a reputable Neapolitan paint- 
er, born in 1693 j studied under Solimena, and fol- 
lowed his style. On leaving that master he went 
to Rome, after which he was invited to Madrid, 
where the king settled on him a pension and em- 
ployed him in several important works. His de- 
sign was correct, his compositions were ingenious 
and abundant, and his coloring brilliant. Towards 
the end of life, he returned to his native city, where 
he died in 1768. 

CORALLI, GiULio, a Bolognese painter, was 
born in 1641, and died about 1710. According to 
Orlandi, he studied under Guercino, at Bologna, 
which was a favor, as that master received few 
scholars into his studio in that city. He was a 
reputable artist, but did not gain much distinction. 
CORBELLINI, a Roman painter and pupil of Giro 
Ferri. He was employed to finish the grand cupola 
of the church of S. Agnes, the last work of Giro, 
which was left incomplete by the death of that 
master. Titi and Pascoli express deep regret that 
so fine a composition should have been injured by 
the hand that attempted to finish it. This work 
has been engraved. 

CORBUTT, Charles, an English mezzotinto 

engraver, who flourished about 1760. He executed 

I a number of plates, among which are : Lady Char- 

! lotte Johnson, and Garrick, between Traged}^ and 

' Comedy, both after Reynolds ; the Old Rabbi, 

after Rembrandt ; a Flemish Conversation, after 

Broioer. Besides these, we have the portraits of 

Gen. Wolfe, and other eminent personages of the 

time. 

CORDEGLIAGHI, or CORDELLA AGHL 

Giannetto, a Venetian painter who flourished in 

the first part of the sixteenth century. According 

to Vasari, he enjoyed a high reputation, and painted 

a multitude of pictures for private collections. There 

is some dispute about the name of this painter. 

! In Venice, he is called Cordelia, perhaps for brevity, 

! and to him is attributed the beautiful portrait of 

Cardinal Bessarione, in the college of La Carit^. 

\ Lanzi says his name was probably double, Cordelia 

I Aghi. Zanetti also read upon a beautiful Madonna 

i in the collection of the learned Zeno, Andreas 

Cordele Agi F., doubtless a member of the same 

family. 

CORDIER, v., a French engraver of some merit, 

born at Abbeville, and flourished about 1760. He 

executed a number of plates, among which is one 

I after a design of G. M. Dumont^ representing a 

I public square and fountain. 

j CORDUBA, Francesco, an Italian engraver, 
t who followed the style of Callot. We have a 
I number of plates by him, among which is a set of 
I plates etched in a spirited manner, representing 
I the principal fountains of the gardens of Rome, 
I with small figures. This artist had received some 
; mark of distinction, as he signed his plates, Eques^ 
\ Franc, Corduha del et Scul. 
\ CORENZIO, Belisario. This painter was a 
native of Greece, and was born, according to Do- 
minici, in the province called Accaja, in 1558. He 
i acquired the elements of the art in his own coun- 
'' try from an unknown painter, who was a great 
: admirer of the Venetian masters ; and by his des- 
criptions of their magnificent works, he excited the 
I desire of Behsario to behold them. The latter, at 
' the age of twenty-two, went to Venice, and en- 



CORI. 



224 



CORN. 



tercd the school of Tintoretto. Under his able 
instruction, Belisario made rapid progress, and he 
could not have found a master whose style and the- 
ory of the art were better adapted to his own or- 
ganization, lie was gifted by nature with an 
almost unparalcllcd ficility of execution, and a 
wonderful fertility of invention. Lanzi says he 
was equal to four ai'tists in point of despatch. 
This power he displayed in his immense picture of 
the ]\Iii-acle of the Loaves and Fishes, in the refec- 
tory of the Benedictines, which he finished in forty 
days. After passing live years at Venice, he visit- 
ed Naples, whore, according to Dominici, he painted 
many admirable works for the churches and pub- 
lic edifices. He painted a few pictures in oil, but 
his abilities seem to have been better adapted to 
grand fresco works. He was sometimes led away 
by the fire of an unusually ardent imagination, 
but when he could govern this enthusiasm, he was 
not much inferior to the great Venetian masters. 
His principal Avorks at Naples, are the ceiling of 
the Capella de Catalani, in S. Giacomo, where he 
painted in nine compartments, the Life of the 
Virgin, replete with grace and beauty ; in the cor- 
ners he painted four Sybils. In the Church 
Delia Trinitii, is a picture of the Virgin Crowned 
by the Trinity, with two laterals, of the Visita- 
tion, and the Presentation in the Temple. Coren- 
zio died in 1643. 

CORIOLANO, Cristoforo, a reputable Ger- 
man wood engraver, was born at Nuremberg about 
1540. According to Ileineken, the family name of 
this artist was Lederer, which he exchanged in 
Italy for that of Coriolano. Vasari says that he 
executed at Venice an infinite number of fine spe- 
cimens of art ; besides the portraits of the paint- 
ers, sculptors and architects to illustrate Vasari's 
work, after designs of the latter, first published in 
15G8, They are ver)'- masterly performances. He 
also engraved the greater part of the figures in the 
Natural Histor}'- of Ulysses Adrovandus ; and the 
frontispiece anci cuts after designs of Titian to illus- 
trate the Com^s (V Anatomie of Andrea Vesalio. 
Coriolano died at Bologna, about 1605. 

CORIOLANO, Cav. Bartolomeo, a Bolognese 
painter, the second son of Cristoforo C. ; Avas born, 
according to Zani, 1599. He \A'as first instructed 
by his father, but afterwards entered the academy 
of the Caracci, Avhere he became an able designer 
and Avood engraver. He usually finished his prints 
with tAvo blocks ; on one he cut the outline and 
dark shadoAvs ; and on the other, the demi tint ; 
these he managed Avith great judgment, and his 
prints have a fine elTect, a few of them are executed 
in chiaro-scnro, in Avhich he used three blocks. 
His draAvmg is masterly and spirited, and his 
heads have a fine expression, characteristic of the 
great school in Avhich he Avas educated. He dedi- 
cated a set of his prints to Urban VITI.. Avho, in 
return, conferred on him a pension, and the knight- 
hood of the order of Loretto. He died in 1676. 
He had a daughter, Theresa INIaria Coriolano, Avho 
has etched, among others, a small half-length plate 
of the Virgin and Infiint. The iblloAving are his 
principal plates : 

St. Jerome in incflitation before a Crucifix; after Guldo. 
Herodias, Avith the Head of St. John ; do. The Virgin, 
with the Infant stooping ; do. The same subject in chiaro- 
scuro ; A'ery find. The Virgin and Infant sleeping ; after 
P. Vanni. Peace and Abundance ; G. R. ; B. C. sc. Ro- 
mce. A Sybil. Jupiter fulminating tho Giants ; Victoriam 



Jovis ', after Guldo ; a capital print, in four sheets. 1G47, 
The Seven Ages, transported to Bologna, a Thesis. 

CORIOLANO, Gig. Battista, a Bolognese 
painter and engraver, the elder brother of Bartol- 
omeo C, AA'as born in 1589. He studied under Gio. 
Lodovico Valesio, but did not arrive at much dis- 
tinction as a painter, although he Avas employed 
for some of the Bolognese churches. In the Nun- 
ziata is an altar-piece by this master, representing 
St. John, St. James, and St. Bernard. In S. 
Anna, are tAA-o pictures of St. Niccolo, and St. 
Bruno. As an engraver he deserves considerable 
credit. He Avoi'ked both on Avood and copper. 
His AA^ooden cuts constitute his best prints. His 
Avork consists of a number of theses and frontis- 
pieces, besides several portraits and other subjects, 
of Avhich the following are the principal : 

PORTRAITS. 

Vlncenzio Gualdi. Fortunatus Licetus. The same Por- 
trait in Avood. Joannes Cottunius. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Image of the Virgin ; J. B. Coriolanus, sc. The 
miraculous Image of tho Virgin ; painted by S. Luke, held 
by three angels ; after Guido. Christ croAvned Avith 
Thorns ; etched in imitation of a Avooden cut ; after L. Ca- 
racci; fine. Cupid sleeping ; in chiaro-scuro ; after Gui- 
do. Triumphal Arch in honor of Louis XIII. ; II Corio- 
lano, fee Twenty-seven plates of emblematical Subjects ; 
after Paoli Macci ; tho whole set, Paoli Macii Em- 
blemata, consists of eighty-three plates ; the rest are by O. 
Gutti and A. Paraslni. 

CORNARA, Carlo, a Milanese painter, AA^as 
born, according to Orlandi. in 1605, and died in 
1673. He AA-as an imitator of Correggio, and enjoyed 
a good reputation. Lanzi says he produced onl}- a 
fcAV pictures at Milan, but executed AAnth an exquis- 
ite degree of taste, peculiarly his OAvn, Avhich ren- 
ders them valuable in private collections. He also 
painted some works for the churches, one of the 
best of which is an altar-piece, painted for S. 
Benedetto, at the Certosa, in Pavia, a picture now 
much defaced by time. 

CORNEILLE, IMichel, the Elder, a French 
painter, born at Orleans in 1603 ; studied under 
Simon Vouet, and adhered to his style through 
life. He executed tAvelve large paintings for the 
churches, and Avas one of the tAvelve original mem- 
bers of the Royal Academy at Paris. He etched 
several plates after the Italian masters, among 
Avhich are tliree aftei^ RaffaeUe ; the HoIa^ Fam- 
il}^ Avith St. Elizabeth ; the Murder of the Inno- 
cents ; and Ciirist appearing to Magdalene : also, 
tl\e Virgin Suckling the Infant Jesus, afte?^ h. 
Caracci. He died at Paris in 1664. 

CORNEILLE, Michel, the Younger, a French 
painter and engraver, a son of the preceding, 
Avas born at Paris in 1642, died in 1708. He AA'^as 
instructed by his father. He obtained the first 
prize of the academy, and AA'as consequently sent 
to Italy for impi'ovement, Avith a pension from the 
king. His studies at Rome Avere prosecuted Avith 
great assiduity, Avhcre he adopted the style of An. 
Caracci. Soon after his return to Paris, he was 
received into the academy ; and painted for his re- 
ception-piece, the model of the picture AAdiich he 
subsequently executed for the church of Notre 
I)ame, representing the Calling of Peter and An- 
drcAv to the Apostleship. He was employed by 
Louis XIV., at Trianon, Fontainbleau, and Versail- 
les ; and painted in one of the chapels of the In- 
valides, the Life of St. Gregory, in six pictures. 



CORN. 



225 



CORN. 



This artivst enf^ravcd a great number of plates, 
which are higlily esteemed. They are executed in 
a daring and masterly manner ; the composition is 
grand and ingenious, and the drawing extremely 
correct, in the grand style of the Caracci. The 
following are his principal works: 

SUBJECTS FROM HIS OWN DESIGNS. 

The Deity appearing to Abraham. Abraham journey- 
ing with Lot. Abraham discomfiting the Army of the con- 
federate Kings. Abraham setting out with his son Isaac 
for the Sacrifice. (These four plates having come into the 
posse.ssion of a printseller at Rome, named Rossi, he put 
the name of Raffaelle on them; they are now scarce.) Sam- 
son and Dalda. The Conception of the Virgin. The An- 
nunciation ; in two plates. The Nativity. The infant Je- 
sus in the Manger. The Flight into Kgypt. The Voca- 
tion of St. Peter and St. Paul to the Apostleship. St. 
Francis kneeling before the Cross ; fine. Chri.st and the 
Virgin appearing to St. Francis. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Marriage of St. Catharine ; after Ls Caracci. The 
Virgin and infant .Jesus in a Landscape ; after Airosllno 
Caracci. J.acob wrestling with the Angel, in a Land.scape ; 
after An. Caracci. St. .John })reaching in the Desert ; dn. 
St. Jerome in a Landscape ; do. St. Francis receiving the 
Stigmata ; do. Silcnus, a Satyr, and a Faun, in a Land- 
scape ; do. Abraham .sending away Agar ; do. 

CORNETLLE. Jean Baptistk. a French painter 
and engraver, the 5'oimger brother of the preced- 
ing ; born at Paris in 1040 ; died in 1G05. After 
being instructed b}^ his father, he visited Rome, 
where he studied sevei-al years, and on his return 
to Paris, was received into the Royal Academy, in 
167G, He executed several works for the churches 
and public edifices at Paris, which give proofs of 
his talent, though he did not e(|ual his )>rother in 
correctness of design. In the church of Notre 
Dame, he painted St. Peter Delivered from Prison ; 
also, Christ appearing to St. Theresa, in the church 
of the Carmelites. lie also engraved a number of 
plates from hi.s own designs, and several after the 
Caracci. They are etched in a very spirited style, 
and some of them are finished with the graver. 
The following are the principal : 

SUBJECTS FROM HIS OWN DESIGNy. 

The Bust of Michael Angelo. Susanna and the Elders. 
St. Augustine in the midst of his Di.sciple.s. St. Bernard. 
Chri.st appearing to St. Theresa and St. John. The Bu.st 
of Monsieur, crowned by Victory. Apollo and Cupid ; a 
medallion. Apollo and Daphne ; the same. Mercury in 
the Air. Diana and Calisto. 

SUBJECTS AFTER VARIOUS MASTERS. 

St. John in the Wilderness ; after An. Caracci. Christ 
with the Samaritan Woman ; do. Two Landscapes, with 
St. Francis. 

CORNELISZ, Cornelius. See IIaerlem. 

CORNELISZ, or CORNELUS, Lucas, called 
The Cook, an old Dutch painter, born at Leyden, 
in 1493. According to Van Mander, he was the 
son and scholar of Cornelius Engelbrechtsen. 
Owing to the troubles that convulsed his native 
countiy, he was compelled, in order to support a 
large family, to exercise the occupation of a cook ; 
but at length lie went to England, in the time of ! 
Henry VI II.. who appointed him his principal \ 
painter. Van blander mentions several of his | 
works at Leyden ; among others, the Adulteress j 
before Christ. The most important works which j 
he executed in England, were sixteen pictures of \ 
the Constables of Queenborough Castle, which ! 
possessed considerable merit. lie probably died '■ 
in 1552. There has been much useless discussion 1 
about this artist. ' 



CORNELISZ, James, a Dutch painter, born !i,t 
Oost-Sanen, in Holland, about 1470. Van IMander 
praises several of his works, pai'ticvdarly a picture 
of the Circumcision, in the old church at IIaerlem, 
painted in 1517 ; and a Descent from the Cross, 
at xMkmaer, the background of which was painted 
by John Schoorel, who was his scholar. He died 
at Amsterdam in 1570. 

CORNELISZ, Lamhert, a Dutch engraver, of 
little note, who was princijjally employed by the 
booksellers. Among other portraits by him, we 
have one of the great astronomer Tycho Brahe. 

CORNIA, Fahio della, of Perugia, was a de- 
scendant of the dukes of Castiglioni and a brother 
of the Duke of Cornia. He was born in IGOO, and 
died in 1043. He first studied in the school of 
Stefano Amadei, at Perugia, and then went to 
Rome where he executed some works, which Lanzi 
says entitled him to a higher rank than that of a 
mere dilettante. 

CORNUOLE, Giovanni delle, an eminent 
Italian engraver on precious stones, who flourished 
at Florence during the first half of the sixteenth 
century. He was patronized by Lorenzo de' Me- 
dici.'J, who afforded him every advantage by access 
to his valuable collection of antiques. By study- 
ing these with great assiduity, Cornuole attained 
such purity and elegance of design, that his works 
gained him a wide reputation throughout all Italy. 
His subjects were both portraits and history; the 
most celebrated among the former was that of Sa- 
vanaroli. He executed man}' admirable woi-ks for 
his j)atron and others, which were in great request. 

CORONA, Leonardo, an' Italian painter, the 
son of a miniature painter, born at Murano in 
1501 ; died in 1005. Ridolfi says he was first in- 
structed by Rocco da S. Silvestro, a painter of 
little note; but that he afterwards gained great 
improvement from the study of the works of 
Titian and Tintoretto. He was greatly assisted 
by Alexander Vittoria, who, according to Lanzi, 
gave Corona a number of chalk models for the 
better management of the chiaro-scuro ; and who 
assisted him in his esteemed picture of the An- 
nunciation in S. S. Giovanni and Paolo ; and also 
in his admirable picture of the Assumption, which 
is painted Avith a grandeur of style that approaches 
Titian. In the church of St. Fantino is his mas- 
ter-piece, representing the Crucifixion, which, ac- 
cording to Ridolfi, is .so much in the manner of 
Tintoretto as to be easily mistaken for one of the 
best Avorks of that great artist. He is said to 
have copied the works of Titian in so admirable a 
manner that the best judges mistook them for 
originals. 

CORONELLT, P., a Venetian engraver of little 
note, who fiourished about 1710, and engraved the 
plates for a work entitled, Iloma Antica Modcrna 
del P. Coronelll Cosmografo publico, ad uso de 
Suoi Arironautiin Venezia^ 1710. They repre- 
sent views of buildings, &c., and are etched in a 
.slight, indilferent stjde. 

CORRADI, DoMENico, called Ghirlandaio, an 
eminent Florentine painter, from whence he ac- 
quired his surname ; born, according to Zani and 
Lanzi. in 1451 ; died in 1495. He was the -son of 
a flower manufacturer. He was instructed in de- 
sign, with the intention of learning the business of 
a goldsmith ; but his decided inclination for paint- 



CORR. 



226 



CORK 



ing induced him to enter the school of Alessio Bal- 
dovinetti, where he apphed himself with great as- 
siduity, and became one of the most distinguished 
artists of his time, both as a pa-inter, and a worker 
in Mosaic. He was invited to Rome by Sextus IV., 
who employed him in the Sistine Chapel, where he 
painted two pictures, one of which, the Resurrec- 
tion, has perished; the other, representing the 
Calling of Peter and Andrew to the Apostleship, 
is still preserved. He was the founder of a very 
distinguished school, which has produced many 
eminent artists, and he claims the credit of having 
been the instructor of Buonarotti. According to 
Mengs, Corradi was the first of the Florentine 
painters, who, by a judicious attention to perspec- 
tive, gave to their works an appearance of depth 
and verity. His design was more correct and 
graceful than was usual in his time, and the ex- 
j)ression of his heads is superior to that of any 
painter who preceded him. He also has the merit 
of exploding the practice common among artists of 
that day, of loading their works with gilded and 
tawdry finery. Vasari describes many of his 
works at Rome, Florence, Pisa, and Rimini. At 
Florence, in the church of the Innocentif is a fine 
picture by this master of the Adoration of the 
Magi ; in S. Trinita, the Nativity, and several pic- 
tures of the Life of St. Francesco. 

CORRADI, RiDOLFi, called Ghirlandaio, a 
Florentine painter, the son of the preceding ; born 
in 1485 ; died in 1560. His father dying when he 
was ten years old, he was reared by his uncle Da- 
vid Corradi. He studied under Fra. Bartolomeo 
di S. Marco, and made such rapid advances, that 
when Raffaelle visited Florence, he intrusted Cor- 
radi to finish a picture of the Virgin and Infant, 
which he had commenced for one of the Sienese 
churches ; and when Raffaelle returned to Rome, 
he invited Corradi to assist him in his great works 
in the Vatican. The latter, however, refused the 
invitation, which if he had accepted, he would pro- 
bably have shared in the glory of that illustrious 
artist in an equal degree with Guido and Giulio 
Romano. His imagination was lively, and his forms 
disposed with a taste and elegance that approaches 
the style of Raffaelle. Several of his first produc- 
tions are at Florence, in the churches of S. S. Girola- 
mo and Jacopo. They have something of the dr^^- 
ness of Perugino, but bear a greater resemblance to 
the juvenile works of Raffaelle. He approaches 
nearer to the better time of that master in his two 
pictures of subjects from the Life of St. Zanobi, 
originally painted for the Florentine Academy, 
but afterwards placed in the Ducal Gallery. 

CORRADI, OcTAvio, a Bolognese painter, who 
flourished about 1630, and studied under Giacomo 
Cavedone. His principal merit consisted in copy- 
ing the works of the eminent masters. These he 
executed in the greatest perfection, and man}?- of 
his copies, even in his own time, were accounted 
originals. He died in 1643. 

CORRADO, Carlo, an Italian painter, born at 
Naples in 1693. He studied under Solimena, 
whose style he followed, and became one of his 
most distinguished disciples. On leaving that mas- 
ter he executed several works at Naples, and then 
went to Rome, where he painted a number of altar 
pieces for the churches, and also a large fresco 
painting in the vault of the church of Buono Fra- 
tellij which represented Chiist glorified, and sur 



rounded b}^ his saints. This work gaincl liim 
great reputation, and for its softness and brillian- 
cy of coloring, as well as vigor of execution, it rx\n.Y 
be regarded as one of the m.ost agreeable produc- 
tions of modern art in Rome, although greatly in- 
ferior to the sublime productions of the for-mer 
times. His pencil was light and free, and he de- 
signed and painted with great facilit};^ ; but the at- 
titudes of his figures were often strained and un- 
natural, and he sought for violent contrasts of 
groups and masses. By his dangerous facilit}^ he 
followed in the track of Solimena, and assisted much 
towards the final downfall of the art. Corrado al- 
so executed a number of works for different cities 
of Italy, which grcatljf increased his celebrity. He 
was invited to the court of Spain, where the king 
gave him a pension of 3000 livres, and employed 
hitn in several important works. After several 
years, ill health compelled him to return to Italy, 
but he subsequentl}^ visited Spain, and exeaited 
several other works for the king, but was com- 
pelled again to return to his native land, where 
he died in 1768. 

CORRExV, Diego, a Spanish painter of little 
note, who flourished about 1550. At Placenzia, 
in the convent of S. Vincenzio, are two pictures b)^ 
him. representing subjects from the Life of the Vir- 
gin ; and in the convent of the Bernar dines, at 
Val-de-Iglesi.is are several pictures representing 
the Passion. 

CORREGGIO. See Allegri. 

CORSO, NiccoLO, a Genoese painter, who flour- 
ished about 1503. According to Soprani, his 
works are distinguished for fertility of invention, 
a fine expression in the heads, and variet}^ and 
Hgor of coloring, which, if it were divested of a 
little hardness, this artist would rank among the 
ablest Genoese painters of his time. His works 
are chiefly in the Cloister and Refectory of the 
Monastery of the P. P. Olivetani, at Quarto, near 
Genoa ; the most esteemed of which is a picture 
from the hfe of St. Benedetto. 

CORSO, Gio. Vincenzio, a Neapolitan painter, 
born about 1490. He studied under Gio. Anto- 
nio Amato, and afterwards went to Rome, where 
he entered the school of Fieri no del Vaga. Most 
of his works in the churches at Naples haA'e been 
damaged and restored. The best preserved are an 
admirable picture of Christ bearing his Cross, with 
many figures, in S. Domenico Maggiore; and the 
Adoration of the Macri, in S. Lorenzo. 



1^ f^ jfCORT, C0RNELIU.S, an eminent Dutch 



c/; 



engraver, born at Hoorn in 1536 : died 
at Rome in 1578. He was probably instructed by 
Jerome Cock, for whom, in the early part of his 
life, he executed several plates, which were pub- 
lished with the name of his master. After having 
engraved a number of plates after the Dutch and 
Flemish masters, he v/ent to Italj^^ and first settled 
at Venice, where he resided in the house of Titian, 
and engraved some of the finest v.orks of that 
great artist. He afterwards visited Rome, v.'hero 
he established a famous school, in which the emin- 
ent Agostino Caracci was educated. The art had 
previously been confined to small plates, but Cort 
opened the Ava}^ for a more important branch of 
eng!a\ing; and at Rome he executed those great 
workfj which have gained for him a liigh I'er'Uta- 
tion. The plates of Cort are executed en li rely 



CORT. 



227 



CORT. 



with the graver, in a bold, open, and masterly 
style. His drawing is correct and tasteful, and 
the landscapes in his backgrounds are managed 
with remarkable skill. Heineken has a full cata- 
logue of his works, of which the following are the 
principal : 

PORTRAITS. 

Cornelius Cort ; engr.avcd by himself. Henricus II. Gal- 
loruin Rex ; oval. Catharina de Medicis ; Eegina Franc. 
Don Juan of Austria; oval, with ornaments. 1578. Mar- 
cus Antonius Moretus ; oval. Andrea Alciati ; oval, with 
ornaments. Roger of Brussels, painter. Theodore van 
Harlem, painter. Joachim Dionatensis, painter. 

SUBJECTS FROM HIS OV/N DESIGNS. 

The Birth of the Virgin. 1568. The Conception of the 
Virgin. 1567. The Presentation in the Temple. The Re- 
pose in Egypt. 1568. The Holy Family ; St. Joseph pre- 
.senting a Pear to the Infant. The Last Supper. 1568. 
(He engraved this subject twice.) A Crucifix over a Globe, 
held by two Angels. The Resurrection. 1569. St. The- 
odore, patron of Venice, overcoming a Dragon. St. 
Catherine crowned by Angels. 1575. St. Veredina kneel- 
ing before an Altar. Two Marines, with Shipwrecks. 

SUBJECTS AFTER FLEMISH MASTERS BEFORE HE WENT TO 
ITALY. 

Adam and Eve, with the Serpent ; after Michael Cox- 
cie. The Resurrection; do. 1568. The Descent of the 
Holy Ghost ; do. Christ triumphant, with St. Peter and 
St. P.aul; do. Four plates of the History of the Rich 
Man and Lazarus; after Hevishirk. The Parable of the 
Vineyard ; do. Four plates of the Parable of the Talents ; 
do. Six plates of the History of Noah and the Deluge ; 
after F\ Floris. Six plates of the History of Abraham ; 
do. Six plates of the History of Jacob and Rachel ; do. 
Ten plates of the Labors of Hercules; do. Four plates of 
the History of Pluto and Proserpine ; do. Bacchus and 
Venus ; do. 1566. The Immortality of Virtue ; emblcTn- 
atical ; do. 1564. The Descent from the Cro?s ; q/7er /?o- 
ger vander Weyde. St. Roch ; after J. Speckart. 1567. 
St. Lawrence ; do. St. Dominick reading ; after Barf. 
Sp7-anger. The Holy Familj'-, with Angels ; do. The 
Crowning of the Virgin ; after Giles Moestaerf. 1565. 
The Academy of Painting ; after Stradan ; fine. 

SUBJECTS ENGRAVED IN ITALY AFTER VARIOUS MASTERS. 

After Titian. 
The Annunciation. Another Annunciation. The Mar- 
tyrdom of St. Lawrence. 1571. The Trinity ; generally 
called All Saints. St. Jerome in the Wilderness, readino*. 
St. Jerome in the Wilderness, kneeling before a Crucifix at 
the entrance of a Cavern ; In Venetia. Corn. Cort, f. ; 
scarce. Not mentioned by Heineken. The Magdalene ; 
h.alf-length. The ]\Lagdalene in the Desert, before a Cru- 
cifix. Tarquin and Lucretia. 1571. Diana and Calista. 
Prometheus. Rogero liberating Angelica from the Dragon. 

After Girolamo Mutiano. 
St. Peter walking on the Watei*. 1563. Christ crowned 
by Thorns. Christ bearing his Cross. The Descent from 
the Cross, with two Ladders. The Descent from the Cross, 
with four Ladders. Christ appearing to the Marys. St. 
Jerome in Meditation. A set of seven Landscapes, with 
figures, called the Seven Penitents ; St. John Baptist. Mag- 
dalene, St. Jerome, St. Onophrius, St. Hubert, St. Francis 
with the Stigmata, and St. Francis in devotion. 

After Clovio. 
The Annunciation. The Adoration of the Magi, in the 
form of an Altar. The Virgin and Infant, half-length. 
Christ preaching in the Temple. The Baptism of Christ. 
The Crucifixion, between the two Thieves. Another Cru- 
cifixion ; a grand composition. 1568. The dead Christ, 
with the Marys. The Entombing of Christ. Christ ap- 
pearing to aiagdalene. The Conv'ersion of St. .Paul. St. 
George and the Dragon. 

After Taddeo Zucchero. 
The Creation of Adam and Eve. The Presentation in 
the Temple. The Nativity ; a rich composition. The 
Holy Family, with St. John and his Lamb. The Miracle 



of the Loaves. The Entombing of Christ. The Descent 
of the Holy Ghost. The Martyrdom of St. Agatha. 

After Federigo Zucchero. 
Moses and Aaron before Pharaoh. The Birth of the 
Virgin. 1578. The Conception of the Virgin. The An- 
nunciation. 1571. The Nativity. 1568. The Adoration 
of the Magi. The Holy Family, with the Infant. The 
Flight into Egypt. The Adulteress before Christ. Christ 
tempted in the Wilderness. Christ driving the Buyers and 
Sellers from the Temple. The Resurrection of Lazarus. 
The Woman of Samaria. Christ on the Mount of Olives. 
Christ taken in the Garden. The Death of the Virgin. 
The Crowning of the Virgin. 

After Rqfaelh. 
The Transfiguration. The Battle of the Romans, called 
the Battle of the Elephants. He has engraved a reverse 
of this plate. The Battle of Constantino with Maxentius. 

SUBJECTS AFTER VARIOUS ITALIAN MASTERS. 

Parnassus ; after Polidoro da Cara.vaggio. The Ado- 
ration of the Shepherds ; do. The Repose in Egypt ; af- 
ter B. Bassaro. The Visitation of the Virgin to St. Elisa- 
beth ; after Marco da Siena. The Nativity ; do. The 
Adoration of the Shepherds ; a,fter Paris Romano. The 
Holy Family ; after F. Baroccio. The Baptism of Christ ; 
after F. Sulvia'ti. The Marriage at (!ana ; after Loren- 
zo Sabbat int. The Last Supper; after Livio Agresti. 
The Stoning of Stephen ; after A'larcello Venusti. St. 
Jerome penitent ; after Riccio da Siena. St Jerome in 
the Desei't, with two Angels; after J. Parraensis, The 
Cord of St. Francis-; after Caracci. The Marriage of St. 
Catherine ; after Correggio. The celebrated St. Jerome ; 
do. St. Margaret of Cortona ; after Tevipesta. A Dance 
of Dryads; after il Rosso. The Three Fates; after 
Giulio Romano. The two Tombs of the Medici; after 
M. Angela. 

CORT, Henri de, a Flemish landscape painter, 
born at Antwerp in 1742. He became proficient in 
drawing the figure, under G-. Herrej^ns ; in land- 
scape, under Antonissen. His works are much in 
the Italian style, with views of cities and ancient 
ruins ; colored in a pleasing manner and neatly 
finished. He resided many years at London, 
where he died, in 1810. During his residence in 
Holland, the figures and animals in his pictures 
were painted by Ommeganck and P. van Eege- 
morter. 

CORTE, Valerio, a Venetian painter, born in 
1530. He studied in the school of Titian, where 
he became an admirable portrait painter. He af- 
terwards settled at Genoa, and met with great suc- 
cess; but ruined himself by seeking after the phi- 
losopher's stone. He died in 1580. 

CORTE, Cesare. a Genoese painter, the son 
and scholar of Yalerio C. ; born in 1550. Ac- 
cording to Baldinucci, he became one of the most 
reputable portrait painters of his time, and also 
painted history with success. His best historical 
works are at Genoa. In S. Pietro, is his picture 
of the Titular Saint at the feet of the Virgin, col- 
ored in a very chaste and delicate manner. In S. 
Francesco is an altar-piece representing Marj^ Mag- 
dalene ; and in S. Maria del Carmina are two pic- 
tures by him of St. Simeon and St. Francis. He 
is said to have visited France, where he was much 
employed; and also England, in the time Eliza- 
beth, where he painted the Queen, and several of 
the nobility. He died in 1613. 

CORTE, David, was a son of Cesare C. who. 
according to Soprani, possessed an extraordinary 
talent for copying. He distinguished himself so 
much in this, that his pictures are placed in some 
collections, beside the originals as wonders of art. 
He died of the plague in 1657. 



CORT. 



228 



CORT. 



OORTE, Juan de la. a Spanish painter, born 
at Madrid, according to Bermudcz, in 1597, though 
Palomino says in 1587. He studied in the school 
ofVelasquez, and was distinguished for his land- 
scapes, battle-pieces, and per.spcctive views, as well 
as for his small pictures of sacred subjects. He 
was painter to Philip TIT., and retained the ap- 
pointment under Philip IV., who employed him 
in the palaces of Bueno Eetiro, and el Saloncete, 
which contain his principal works. He died in 
1660. 

CORTE, Garriel de la, a Spanish painter, the 
son of the preceding ; was born in 1648. Without 
the aid of an instructor, he practised flower paint- 
ing by copying the works of Mario and Arellano ; 
and attained such proficiency that he was em- 
ployed by Antonio de Castrejore and Mathias de 
Torres to execute garlands of flowers to surround 
their mythological subjects. 

CORTESE, Jacopo, called il Borgognone. 
This celebrated painter was born at St. Hippo- 
lyte, in Franche Conte, in 1621. He was the son 
of an obscure artist, who taught him the elements 
of design. At the age of fifteen he visited Milan, 
where he formed an intimacy with a French officer, 
who persuaded him to enter the army, which he 
followed for some time, and exercised his talents 
in designing the marches, attacks and skirmishes 
of which he was a witness. After three years he 
left the army, and went to Bologna, where he re- 
mained some time, and became acquainted with 
Guido and Albano, who assisted him greatlj^ by 
their advice and instruction. He afterwards visit- 
ed Rome, where he at first painted a picture of 
Magdalene at the feet of Christ, in the church of 
S. jMarta ; and in il Gesu, the Adoration of the 
Magi, and the Murder of the Innocents. His na- 
tural inclination manifested itself on beholding the 
admirable picture of Giulio Romano in the Vatican, 
representing the Battle of Constantine ; and he 
immediately applied himself to this branch of 
the art, which he has carried to a degree of per- 
fection unequalled either before or since his time, 
insomuch that Michael Angelo della Battaglia, 
though a rival, was not backward in proclaiming 
his merits, and Borgognone soon attained the most 
flattering success. His battle pieces are composed 
with a fire and painted with a vigor peculiar to 
himself; and they well display the ardor of a 
mind delighted with the scene on which it is en- 
gaged. His pencil is light and free, and his execu- 
tion exceedingly rapid ; his figures and horses are 
drawn with the greatest spirit ; and as Lanzi de- 
scribes it, "in beholding his pictures we seem to 
hear the shouts of war, the neighing of the horses, 
and the cries of the wounded." While in the full 
tide of success, he suddenly lost his wife, and 
though he had lived with her in the greatest har- 
mony, he was accused of having poisoned her. 
This accusation determined him to abandon soci- 
ety ; he immured himself in a Jesuit convent, and 
became a member of that order. His love for the 
art, however, still remained, and he continued to 
exercise his pencil, with the same success. Many 
ofhis works have blackened by age. Fou.r of his 
best pictures are at Florence, in the Palazzo Pitti. 
He etched a set of Eight Battles. Giac. Corlese, 
fee. ; and a set of Four Battles, marked J. C, 
which are executed with uncommon spirit, and a 
masterly effect of light and shadow. This great 
artist died at Rome in 1676. 



CORTESE, Guglielmo, called il Borgognone, 
was the brother of the preceding ; born at St. Hip- 
polyte in 1628. He went to Rome while young, 
and entered the school of P. da Cortona. He ex- 
ecuted a number of works in Rome, the best of 
which are a Madonna, and several Saints, in the 
Trinita di Pellegrini ; the Battle of Joshua, in the 
palace of the Quirinal, in which he was assisted by 
his brother ; and the Crucifixion in S. Andrea a 
Monte Cavallo. He did not follow the style of 
his instructor, but appears to have imitated Carlo 
Maratti, especially in his compositions and the ex- 
pression of his heads. In his backgrounds and his 
boldness of relief he seems to have followed Guer- 
cino. He died at Rome in 1679, aged 51. 

CORTESI. Gio. Marmocchini, an ingenious 
Florentine paintress, was born in 1670, and stud- 
ied under Livio Mehus, and Pietro Dandini. At 
the request of the grand duchess, she also studied 
miniature painting under Ippolito Galantini, and 
in a few years became quite eminent for her pleas- 
ing and natural coloring, and the striking resem- 
blance of her miniatures. She usually painted in 
oil, but was equally successful in craj^ons, and 
gave to her subjects all the tenderness and warmth 
of life. She met with much encouragement from 
the court and nobility of Florence. She died in 
1736. 

CORTONA, Pietro da. See Berretini. 

CORTONA, Urbano da, a mosaic painter, who 
flourished at Siena about 1481, and designed and 
executed two sybils, commended by Delia Valle. 

CORVI, Domenico, was born at Viterbo in 
1723, and died at Rome in 1803. He studied un- 
der Mancini, and acquired something of the style 
of the Caracci. He was one of the most eminent 
modern Roman masters. Lanzi says he was tru- 
ly an accomplished artist, and few can compare 
with him in his anatomy, perspective, and design. 
He opened an academy at Rome, and instructed 
many pupils. His academy drawings are highly 
prized, and more esteemed by connoisseurs than 
his paintings, which want that fascination of grace 
and color which attracts the eye. His most es- 
teemed works are his night pieces, as his Nativity, in 
the church of the Assumption, which connoisseurs 
were accustomed to visit at the close of day, to ob- 
serve the magnificent efJect. A lofty window op- 
posite, at that time of the day, favored the illusion 
of the perspective of the picture. Lanzi says that 
though Corvi is inferior to Gherardo delle Notti 
in the generality of his works, viewed in this man- 
ner, he excells him by an originality of perspective 
and general effect 5 which certainly is the highest 
praise. 

CORVINUS, John Augustus, a German en- 
graver ; born, according to Zani, in 1682 ; died in 
1738. He worked chiefly for the booksellers, and 
engraved many plates of landscapes and architec- 
ture, in a neat but stiff manner. There is a set 
of ornaments for ceilings by him, after designs of 
Carlo Maria Pozzi. He executed most of the 
plates for a work published at Augsbourg, entitled 
Representatio Belli oh successionem in Regno 
Hispanico ; also several plates of public edifices 
for another work published at Augsbourg in 1724, 
by John Andrew Peefel. 

COSATTINI, Giuseppe, Canon of Aquileja, 
was a native of Udine, where he flourished from 
1672 to 1734. He seems first to have practised 



cose. 



229 



COSS. 



the <art msrel}'' for amusement, but he rose so high 
in public estimation, that he was declared painter 
to the Imperial Court. He particularly distin- 
guished himself for his picture of St. Filippo, 
preparing to celebrate the Mass, painted for the 
Congregation of Udine. 

COSCI. See Balducci. 

COSIMO, PiETRO DA, a Florentine historical 
and portrait painter, born in 14-11 ; studied under 
Cosimo Pvoselii. whom he soon surpassed in vigor 
of execution and livelj:^ imagination. He accom- 
panied Roselli to Rome, to assist him in painting 
a chapel for the Pope, where he gave such proofs 
of his skill that he was much patronized by the 
nobility, and established a school, which produced 
Andrea del Sarto, Francesco da San Gallo, and oth- 
er excellent artists. As he advanced in life, he 
grew whimsical, altered his style, and took delight 
in painting fantastical subjects, as harpies, satyrs, 
monsters, and bacchanals. (See Roselli.) He died 
in 1521. 

COSMATI, a family of Greek artists who flour- 
ished at Rome as early as the 12th century. They 
particularly excelled in Mosaic paintings. Among 
these, Adeodato di Cosimo Cosmati was the most 
distinguished, and he was employed in the church 
of S. Maria jMaggiore in 1290. Several of his 
name also exercised their talents in the Cathedral 
at Orvieto. 

COSME, DA Ferrara. See Tura. 

COSSA, Francesco, a native of Ferrara, who 
was living in 1474. Lanzi says his name is al- 
most forgotten in Ferrara, from his having so long 
resided at Bologna, Avhere he says he executed 
some works, still to be found there, consisting of 
Madonnas, with Saints and Angels, and with tole- 
rably good architecture. One of them, in the In- 
stitute, is dated 1474. 

COSS ALE, or OOZZALE, Grazio, a painter of 
Brescia, who flourished about IGOO. According to 
Cozzando, he had great facility of invention and 
execution. His larger pictures somewhat resem- 
bled those of Palma, but without a servile imita- 
tion. His chief works are the Adoration of the 
Magi, in the church della Grazie, at Brescia ; and 
the Presentation in the Temple, in Le Mnacoli. 
Cossale was accidentally killed by his son, about 
1610. 

COSSIAU. Johann Jost D., called by Zani, Dot- 
tor GiuDA, a Dutch landscape painter, was born at 
Breda. The date of his birth is variously as- 
signed : in 1654, 1664, and 1666. He treated his 
subjects in the Italian manner, and endeavored to 
imitate the style of G. Poussin. His pictures are 
well composed, and decorated with architecture 
and cattle. Some of them are in the Academy at 
Diisseldorf. and others in various German collec- 
tions. 

COSSIERS, or COSIERS, Jan, a reputa- 
ble Flemish historical painter, born at Antwerp 
in 1003, and studied under Cornelius de Vos. He 
executed a number of works for the churches in 
Flanders, the principal of which were the Nativi- 
ty, at Brussels, in the church formerly of the Je- 
suits ; the Martyrdom of St. Ursula, at the Be- 
guinage ; the Presentation, and a grand picture 
of the Crucifixion, in a church at Mechlin. The 
two latter were esteemed his best works. His 
drawing is tolerably correct, and his coloring vigo- 



rous, though sometimes too brown. His works are 
composed with good taste, and his attitudes are 
well chosen. In the backgrounds of his. subjects, 
he frequently introduced architecture, which he 
trpted in a very masterly style. His reputation 
procured him emploj-ment from the king of Spain, 
and several other princes, who bestowed on him 
peculiar marks of favor. Cossiers was appointed 
Director of the Academy at Antwerp in 1639, and 
died in 1652. 

COSSIN. Louis, a French engraver of little 
note, born at Troyes about 1633. He has en- 
graved several poi'traits and other subjects, which 
are executed entirely with the graver, and possess 
but httle merit. Among them are : 

PORTRAITS. 

Louis XV., King of Prance, as large as life. Valentine 
Conrat. of the French Academy. Francis Chaveau, en- 
graver. Charles John, Count of Koenigsmark ; after 
Dahl 

SUBJECTS AFTER VARIOUS MASTERS. 

The Virgin Mary; after le Brun. St. John Evangel- 
ist suspended ov^er a Cauldi'on of Boiling Oil; do. The 
Stoning of St. Paul at Lystra; after Champagne. The 
School of xithens ; after Raffaelle ; large plate. 

COSSUTTUS. an eminent Roman architect, who 
flourished about B. C. 200. He was one of the 
first who followed the noble style of the Greeks, 
and he gained so much reputation that Antiochus 
the Great, B. C. 196, appointed him to finish the 
temple of Jupiter Oljnnpius at Athens. He is 
said to have excelled in the admirable arrangement 
of his columns, and also in the elegance and 
knowledge he displayed in the Corinthian order. 
He composed a treatise on the Avorks he had exe- 
cuted, according to the custom of the Grecian ar- 
chitects ; but this work Avas lost before the time 
of Vitruvius. 

COSTA. Francesco, an excellent perspective 
painter, was born at Genoa in 1672, and died there 
in 1740. He studied under Gregorio de' Ferrari, 
and forming an intimate friendship with Gio. Bat- 
tista Revello, they practised together at Genoa for 
twenty years. They were principally employed 
by the various historical painters of the day to 
paint their perspectives and ornaments. They 
also painted some saloons and chambers for the 
nobles, entirely by themselves. They enjoyed 
great reputation in their day at Genoa. 

COSTA, Ippolito. There Avas a family of this 
name, natives of Mantua, who flourished in the 
16th century, and Avhose history and works are so 
mixed up that it is difficult to distinguish them 
apart, and indeed the Gidda di Mantua mentions 
such pictures hj Costa. AAnthout any other dis- 
tinction. The Costas are esteemed in Mantua as 
the last disciples of the great school, and some of 
their works are held deservedly in repute. Loren- 
zo Costa, of Ferrara, is supposed to haA'^e been the 
I grandfather of Ippolito. Orlandi states that Ip- 
i polito Avas a pupil of Carpi, while Baldinucci 
states that he Avas a pupil of Giulio Romano, and 
Lanzi says that his style bears evident traces of his 
having studied in Giulio's academy, or availed him- 
self of his instructions or models. He flourished 
in 1538. Another Lorenzo Costa flourished in 
1560. He also had tAVO brothers, named Luigi 
and Girolamo, Avho practised the art. 

COSTA. Lorenzo, a native of Ferrara, who, 
having gained considerable reputation in that city, 



COST. 



230 



COST. 



went to Bologna, where he either entered the school 
of Francesco Francia, or availed hiniseh^ of his in- 
structions, or studied his works- for there is great 
dispute among Italian authors, and great inequal- 
it}^ in his works. But he signs hinrself on one cf 
his pictures, L. Costa Francicediscipulus. This 
much is certain — liiat he entirely changed his style 
after he left Ferrara. nnd lie gahied so much repu- 
tation in Bologna as to ,G:et considerable employ- 
ment in the churches of that city, at a time when 
there were many excellent artists there. Mal- 
vasia contends that Francia was his sole mas- 
ter, while Vasari maintains that he was an artist 
of established reputation in several cities before 
his arrival at Bologna, and declares the first work 
he executed there, the Mart3nT]om of S. Sebastia- 
no in the church of S. Petronio, the best specimen 
in water colors that had, till then, been seen in the 
city. Also in the Bentivogli Chapel, wdiere Fran- 
cia had painted an altar-piece, he painted two late- 
ral pieces, filled with spirited portraits. Lanzi 
says there is a number of Madonnas in the col- 
lections of Bologna, attributed to Francia, which 
he supposes rather the works of Costa. Lanzi also, 
after disputing that Costa studied with Francia^ 
speaking of his altar-piece, divided into several 
compartments, which was removed from Faenza 
to the Casa Ercolani, characterizes it in the words 
of Baruffaldi, as " a work executed with a fervor, 
a refinement, a softness, and a vrarmth which may 
be pronounced altogether Eaffaellesqu.e." He par- 
ticularly shone in his countenances of men, as may 
be seen from those of the Apostles at S. Petronio. 
and from his S. Girolamo, which appear among 
the finest specimens of his art. He was less em- 
plo3^ed in his ovv-n country than at Bologna, though 
he gave several pupils to the former — among oth- 
ers, the celebrated IJosso, and Ercoie of Ferrara. 
He mostly resided at Mantua, at which court he 
was highly appreciated, although IMantegna had 
been his immediate pi'edecessor, and Giulio Komano 
succeeded him. He died about 1530. 

COSTANZI, Cav. Carlo, a very eminent engrav- 
er on precious stones, born at Naples, in 1703. He 
was a son of Giovanni C, who had attained a good 
reputation in this branch of the art, but was great- 
ly surpassed by this artist. Constanzi engraved 
on the diamond a figure of Leda, and a figure of 
Antinoils for the king of Portugal, in which he 
brought the art to a high degree of perfection, and 
which gained for him from that monarch the 
knighthood of the order of Christ. He executed 
a large number of admirable works, one of the 
best of v/hich is the portrait of Giorgio Spinola. 
He also made excellent copies after the antique, 
which were often taken for originals, even among 
the connoisseurs. Among these was the IMedusa 
of Solon, which ho copied for Cardinal Polignac, 
in 1729. from the original in tljC cabinet of Strozzi. 
Costanzi practised the art chiedy at Rome, where 
he was honored hj Benedict XIV. with the order 
of St. John of Later an. lie had a lirother named 
Tomraaso, who was inferior to him in ability, but 
prnctised the art at Borne with good success. 

COSTANZI, Placido. a Roman historical paint- 
er, born in 1G88; died in 1759. Tlie best of his 
large works is his St. Camillo, in S. Maria IMada- 
lena ; in which he has endeavored to imitate Do- 
menichino. He also painted in fresco the tribune in 
S. Maria di Campo Marzio. Costanzi was an ad- 



mirable figurist, and was much employed in paint- 
ing figures in the landscapes of other artists, par- 
ticularly in those of John Francis van Bloemen, 
called Orizonti. 

COSTER, Adam de, a reputable Flemish paint- 
er, was born at Antwerp, and studied under Theo- 
dore Rombouts. He painted equally well in his- 
tory or portrait ; but he was especially distin- 
guished for his pictures of gallant assemblies and 
public festivals, which he executed in a Yery lively 
manner, with great vigor of coloring. There is a 
fine print by L. Vorstermans, after a picture by 
this artist, representing a Concert. 

COSTER, D., a Flemish engraver, who flourished 
about 1700. He worked chiefl}'^ for the booksell- 
ers ; and, among other plates, engraved a portrait 
of Francis Hals, the painter, after Vandyck. 

COSWAY, Richard, a reputable English mini- 
ature painter, was born in Devonshire, in 1740. 
He visited London while young, and soon distin- 
guished himself by his drawings from the antiques 
in the Duke of Richmond's Gallery, which were 
praised by Cipriani and Bartolozzi. In 1771 he 
v/as elected a Roj^al Academician. He painted 
both in water-colors and in oil. His miniatures 
were marked by good taste, correctness, elegance, 
and beauty ; and he was much patronized by the 
nobihty. He died in 1821. 

COTES. Francis, an English portrait painter 
in oil and crayons, born about 1725, and studied 
under Knapton. He was one of the first members 
of the Royal Academy. Lord Orford mentions 
several of his crayon sketches, and says he ex- 
celled Rosalba in vivacity and invention, though in- 
ferior to her in softness and harmony. Cotes died 
in 1770. He had a brother named Samuel, who 
was also a crayon painter, and who died in 1818. 

COTIGNOLA, Francesco da, called Zaganelli, 
an Italian painter, who resided chiefly at Parma, 
and flourished about 1518. He studied under Ron- 
dinello ; and, according to Vasari, was a good col- 
orist, though inferior to his instructor in design 
and composition. He painted a number of histo- 
rical works for the churches, the best of which is his 
celebrated picture of the Resurrection, at Classe ; 
and his admirable one of the Baptism of Christ, at 
Faenza. He also painted a picture in the Osser- 
vanti, at Padua, of the Madonna with Saints, in 
concert mth his brother, Bernardino C. 

COTIGNOLA, Bernardino da, was a younger 
brother of Francesco C, whom he assisted in liis 
great works. He also displayed considerable abil- 
ity alone, and executed some good works at Pavia. 

COTIGNOLA. See Marchesi. 

COTTA, Jacopo, an Itahan engraver of little 
note, who flourished about 1600. He etched a 
number of plates, among which is the Meeting of 
Isaac and Rebecca, after Storer. It is executed in 
an inferior style. 

!^ COTTART, Pierre, a French engraver, who 
,,^^ flourished in the 17th centurj^ He etched a 
number of plates of vases and ornaments, which 
are executed in a bold, coarse style^ marked with 
the above monogram. Fiorent le Comte says he 
was also an architect, but none of his works are 
mentioned. 

COTTE, Ghev. Robert de, an eminent French 
architect, born at Paris in 1657, and the grandson of 



COTT. 



231 



COUC. 



Fremin de Cotte, who was architect to Louis XIII. 
He erected the famous peristyle or Ionic colonnade 
of the palace of Trianon, and its adjacent parts ; 
' the chapel of Louis XIII. in the Cathedral at Pa- 
ris ; the fountain in front of the Palais Royal ; 
the Gallery at Toulouse ; and a number of pala- 
ces, among which are those of Etrees and du 
Maine. He made designs for a large number of 
palaces, among which were several for the Electors 
of Bavaria and Cologne, the Count de Hanau, and 
the Bishop of Wurtzburg. He also first intro- 
duced the ornamenting of rooms with mirrors. 
He composed his designs with ease and originali- 
ty ; his lively imagination was regulated by a 
A}''ell balanced judgment, heightened by exquisite 
taste. He was appointed Director of the Royal 
Academy of Architecture, and was Vice-President 
of the Academy of Painting and Sculpture. On 
the death of Hardouin Mansard, Cotte was de- 
clared first architect to the king, according to Mi- 
lizia. and was made superintendent of the royal 
buildings, gardens, arts, and manufactories. He 
was greatly esteemed by Louis XIV., who made 
him a knight of the order of St. Michael. He en- 
joyed a great reputation until his death, which oc- 
curred in 1735, at the age of 78. 

COTTINGHAM, Lewis Nicholas, a reputa- 
ble English architect, born in 1787, in Suffolk, of 
an ancient and highly respectable family. He 
early manifested a strong inclination for architec- 
ture, and Avas apprenticed to an architect of Ips- 
wich, in Suffolk, with whom he remained several 
j^ears, devoting himself assiduously to the theo- 
retical and practical branches of the art. He af- 
terwards went to London, where he was employed 
by a skillful architect and surveyor, from whom he 
gained much improvement. In 1814, he commenced 
his professional career. His first public appoint- 
ment was that of architect and surveyor to the 
Cooks' Company, in 1822. which he held for a 
number of years. Soon after this, John Harri- 
son, Esq., of Snelston Hall, Derbyshire, became one 
of his principal patrons, and Cottingham erected 
for the latter the above mentioned mansion, in the 
perpendicular style of Gothic architecture. In 
1825, he was appointed architect to the cathedral 
of Rochester, where he effected very extensive al- 
terations and improvements. In 1829, he was the 
successful competitor for the restoration of the 
interior of the Chapel of JMagdalene College, Ox- 
ford ; and in 1833 he was entrusted with tlie res- 
toration and repairs of St. Alban's Abbey Church. 
He was afterwards employed in the restoration of 
a number of churches and cathedrals, among which 
ma}' be mentioned the Cathedral at Armagh, in 
Ireland, which was almost entirelj^ rebuilt from 
his designs ; the churches at Ashbourne in Derby- 
shire, at Chesterford in Essex, at Clifton in Notts, 
at Roos in Yorkshire, and the Cathedral at Here- 
ford. The latter work, and that of the restoration 
of the Ladye Chapel, gained him great reputation, 
but he did not live to finish them. He also erect- 
ed a number of fine edifices for Lord Brougham, 
the Earl of Harrington, the Earl of Verulam, Sir 
Robert H. Inglis, and other noble and influential 
patrons. About 1825, he published several archi- 
tectural works, among which was a large folio on 
the Restoration of the Chapel of Henry VII. ; and 
another folio work on " The Details of Gothic archi- 
tecture." Cottingham died in 1847, aged 60 years. 



COUCHET, FRAN901S Louis, a French design- 
er and engraver, was born in 1782. He has exe- 
cuted man}' designs and engravings, illustrating 
the triumphs of the French armies in Italy and 
Spain, partly from his own designs, and partly 
from those of other artists. He engraved many 
of the plates for the Orleans Gallery, and for De- 
non's work on Egypt ; also sixty from his own 
designs, for Norwin's History of Napoleon. He 
was appointed, in 1824, to engrave the Battles and 
Huntings of the Duke d' Angouleme, since which 
nothing is recorded of him. 

COUCY, Robert de, an old French architect, 
who lived at Rheims about 1300. He had the 
principal management of the rebuilding of the Ca- 
thedral in that city, which was destroj-ed by fire 
in 1215. He was also employed in 1297. accord- 
ing to Mihzia, to finish the church of S. Nicaise, 
which was not of large size, but was esteemed for 
its delicacy and fine proportions. 

COULET. Anne Philibert, an ingenious 
French female artist, who has engraved several 
plates of landscapes and marines, in a very deli- 
cate and pleasing manner. They are etched and 
finished with the graver. Among them are the 
" Rendezvous a la Colonne,'' after Berghem ; the 
Departure of the Boat, the Fortunate Passage, the 
Fine Afternoon, the Fishermen casting their Nets, 
and the Neapolitan Fishermen — all after Vernet ; 
Rural Pleasures, and the companion, after Luther- 
hour g ; Going to Market ; after van Goyeiis. 

COURBES, Jean de, a French engraver, born 
about 1592. He was principally emploj^ed by the 
booksellers. He appears to have visited England, 
as there are two portraits hj him of Sir Philip 
Sydney, and Mary, Countess of Pembroke. 

COURTOIS. See Cortese. 

COURTOIS, Pierre FRAN901S, a French engra- 
ver, who resided at Paris about 1760. He en- 
graved several plates from the designs of St. Au- 
bin and others, but died in the prime of life. 

COURTONNE, Jean, a French architect, born 
at Paris about 1670. Among his principal works 
in that city are the Hotel de Noirinontier, and the 
Hotel de jMatignon, which display much taste and 
skill. In 1725, he published a folio work entitled, 
Traite de la perspective pratique, etc. He was 
appointed professor in the Academy of Architec- 
ture, and sculptor to the King. He died in 1738. 

COUSE, J. This engraver resided in England 
about 1750, and executed a number of prints in a 
neat stjrle, which possess considerable merit. 
Among them is a view of Berkeley Castle, from a 
design by the Countess of Berkeley. 

COLTSIN, Jean, a French painter, born at Sou- 
cy, near Sens, about 1530. He was originally a 
glass-stainer, but afterwards applied himself with 
such assiduity to historical painting, as to be ac- 
counted the founder of the French school, as the 
artists of his country had before this time confined 
themselves to portrait painting. His principal 
historical work was a grand composition, much in 
the style of Parmiggiano. representing the Last 
Judgrnent, which was formerly in the convent of 
Minimes at Vincennes, now in the gallery of the 
Louvre. The windows of the church of that con- 
vent were also painted by him. The best of his 
paintings on glass are the windows of the church 



cous. 



232 



COUT. 



of St. Gervais, at Paris. The}^ represent Christ 
with the Woman of Samaria, Christ curing the 
Paralytic, and the Martyrdom of St. Lawrence. 
COUSINET, Elisabeth. See L'Empereur. 

COUSIN". Hardouin, a French eng;raver who 
resided at Aix in Provence, about 1760. Accord- 
ing to Basan, he etched a number of plates after 
Paget, Rembrandt, and other masters. 

COUSTOU, Nicholas, an ingenious French 
sculptor, born at L^^ons in 1658. He studied at 
Paris, under his uncle Coysevox, and carried off the 
grand prize of the Royal Academy at the age of 
23, which entitled him to the royal pension. He 
went to Rome, where he applied himself princi- 
pally to the study of the works of Michael An- 
gelo and Algardi, and executed the copy of the 
statue of Hercules which is in the gardens at Ver- 
sailles. On his return to Paris, he met with im- 
mediate employment, and in 1 693 was received in- 
to the Academy ; on which occasion he executed 
for his reception-piece, a bas-relief in marble, rep- 
resenting the rejoicings of the French at the res- 
toration of the health of Louis XIV. His works 
are executed in a spirited and pleasing style, but 
they have little of the purity of the antique. His 
most important production was a colossal group 
in marble, representing the junction of the rivers 
Seine and Marne. He also executed a number of 
other works, among which are the Descent from 
the Cross, and a statue of St. Denis, in the church 
of Notre Dt^me ; a bronze statue, representing the 
river Sa6ne, for the city of Lyons ; the sepulchre 
of the Prince of Conti, &c. He died at Paris in 
1733. 

COUSTOU, Guillaume, a reputable French 
sculptor, the brother of Nicholas C.. was born at 
Lyons in 1678. He studied under Coj^sevox, and 
having obtained the grand prize of the Academy, 
he went to Rome with the royal pension, where he 
studied some time, and executed a bas-relief of St. 
Louis de Gonzague. On his return to Paris, he 
was received into the Royal Academy, and execu- 
ted a bas-relief of Hercules on the Funeral Pile, 
as his reception-piece. His reputation rapidly in- 
creased, and he gained great encouragement. — 
Among his principal works may be cited, the two 
marble groups of Daphne and Hippomenes, and 
Ocean and the Mediterranean, for the gardens at 
Marly ; the bronze statue of the Rhone, at Ly- 
ons ; and a bas-relief representing Christ in the 
midst of the Doctors, at Versailles, etc. In the 
Musee des Monuments Francais there are two 
marble statues by this master, representing Louis 
XIV., and Cardinal Dubois. He died in 1746. 

COUSTOU, Guillaume, the Younger, a French 
sculptor, son and scholar of the preceding, born at 
Paris in 1716. Having carried off the grand prize 
of the Academy, he went to Italy with the royal 
pension, and on his return assisted his ftither in 
his equestrian groups. In 1742 he was elected an 
Academician ; in 1746 he was appointed professor 
of sculpture, and the king named him keeper of 
the sculptures in the Louvre. For the Jesuits of 
Bordeaux, he executed a marble group, represent- 
ing the Apotheosis of St. Francis Xavier : and for 
the king of Prussia, he executed two statues of 
Mars and Venus. Among his other works was 
the sepulchre of the Dauphin, father of Louis XVI. ; 
a bas-relief in bronze of the Visitation, in the 



Chapel of Versailles ; a statue of St. Roch, in the 
church of that Saint. He died in 1777. 

COUTANT, Jean Louis Denis, a French en- 
graver, born at Argenteuil in 1776. He studied 
under Mechel of Basle, and was chiefly employed 
on subjects of natural history. Among his prin- 
cipal productions are the plates for the great work 
on Egypt; for the travels of Humboldt among the 
Cordilleras ; the fossils of Cuvier ; for Langen- 
heim's great work on the Anatomy of the Brain; 
and others of a similar kind. He also engraved 
the plates for Freycinet's Voyage round the World. 

<^^COUVAY, Jean, a reputable French engra- 
O^ ver, born at Aries about 1622. His plates 
are nearly all executed entirely with the graver, 
in a bold, coarse manner, something in the style 
of Villamena. The following are the principal : 

Louis XIV. on Horseback, preceded by Fame ; after J. 
Bourdon. The Virgin and Infant ; after Raffadle ; Di- 
lectus meus, c^-c. St. John in the Desert ; do. St. Bene- 
dict, tempted by the Demon, presenting a Crucifix ; after 
Guercino. The Virgin ; after Blanchard. Magdalene ; 
half-length ; after le Brun. The Ascension ; after J. 
Stella. The Martyrdom of St. Bartholomew ; after Pons- 
sin ; fine. Mary, Queen of Scotland ; the Execution seen 
through the Window. A set of small prints, called Les 
Tableaux de la Penitence; after J. Chaveau. 

COVYN, or COUVEYN, Renier and Israel, 
two brothers, were Dutch painters of little repu- 
tation. Renier usually painted market women 
with dead game, fruit, vegetables, &c. Israel, the 
youngest, painted history, but was more successful 
in portraits. The time when they lived is not re- 
corded. 

COXCIE, or COXIS, Michael, a reputable 
Flemish painter, born at Mechlin in 1497. He 
was first a scholar of Van Orley, but soon went to 
Rome, where he applied himself to the study of 
the works of Raffaelle, with whom he was cotem- 
porary. He passed several years in Rome, and 
painted some good pictures for the church of S. 
Maria del Pace. On his return to Flanders he 
was much employed, and painted many works for 
the churches in Flanders, the best of which are 
the Last Supper, in S. Gudule, at Brussels ; and 
the Death of the Virgin, in Notre Dame. In the 
Cathedral at Antwerp, is a picture of the Cruci- 
fixion, much in the manner of Raffaelle. His pic- 
tures are finely composed, and the Roman taste is 
visible in his works, with more elegance in the fe- 
male figures than is usual in the works of Flemish 
artists. He was deficient in invention, and is said 
to have used a number of the designs of Raffaelle 
in his compositions. He died at Antwerp in 1592. 

COYPEL, Noel, an eminent French painter, 
born at Paris in 1628. He studied first at Or- 
leans, under Poncet ; but at the age of fourteen, he 
entered the school of Guillerier. Here he made 
rapid progress, and was afterwards employed by 
Charles Errard, who presided over the works at 
the Louvre, His merit procured his election to 
the x4cademy in 1659, when he painted, for his re- 
ception-piece, Cain slaying Abel. About this time, 
he pamted his celebrated picture of the JMartyr- 
dom of St. James, in the church of Notre Dame. 
Having thus attained eminence, he was appointed 
by the king Director of the French Academy at 
Rome, whither he went in 1672, and discharged 
the duties of his responsible office with great repu- 
tation. Here he painted four easel pictures for the 



COYP. 



233 



COYS. 



king's cabinet, representing Solon taking leave of 
the Athenians, Trajan giving public audience, 
Ptolemy ransoming the Jews, and Alexander Se- 
verus administering Corn to the Roman People. 
These works were much in the stj'le of Poussin 
and le Sueur. They were exhibited in the Roton- 
da at Rome, where they gained great admiration, 
and were afterwards transferred to the Louvre. 
After three years' residence at Rome, Coypel re- 
turned to Paris, and was employed in several fres- 
co paintings in the Tuilleries. His last work, the 
Vault of the Sanctuary at the Invalids, though ex- 
ecuted at the great age of sevcntj-eight, may be 
ranked with his best productions, lie has etch- 
ed a few plates from his own designs, among which 
are the Virgin caressing the Infant; the same sub- 
ject larger ; and the Holy Family. He died in 
1707. 

COYPEL. Antoine, a French painter, the son 
and scholar of the preceding, born at Paris in 
1661 ; died in 1722. He accompanied his father 
to Rome, where he is said to have studied the 
works of Raffaelle, Buonarotti. and the Caracci; 
though he appears to have preferred the inferior 
style and counsel of Bernini, At the early age of 
eighteen, he returned to Paris, with a ver}^ super- 
ficial knowledge of his profession, which maj^ per- 
haps account for his deficiencies. He was only 
nineteen when he painted his Assumption for the 
church of Notre Dame ; and at twenty, he was 
elected a Royal Academician. Soon after, he was 
appointed painter to the Court, and became one of 
the most popular artists that his country has pro- 
duced. He was graceful in the airs of his heads, 
and painted the forms of children with great perfec- 
tion ; but his attitudes, even in his grand historical 
works, were all charactei-ized by a theatrical taste. 
His qualities were rather superficial than solid, 
and were well adapted to please the multitude. He 
was much emploved in decorating the royal pala- 
ces, and was appointed painter to the king in 1715. 
His principal works at Paris are, Christ curing the 
Blind, at the Carthusians ; Christ among the Doc- 
tors ; and the Assumption, in the church of Notre 
Dame. Coypel has etched a few plates in a mas- 
terlj and finished style, among which are the fol- 
lowing: 

Melchisedec presentino* the Bread to Abraham. Judith ; 
half-length ; finished by Simoneau. The Baptism of Christ. 
Ecce Homo ; finished by Simoneau. The Virgin and In- 
fant, in an oval. The Virgin suckling the Infant. St. Ce- 
cilia ; Cantabo Domino, cf-c. Cupid conquering Pan. 
Bacchus and Ariadne ; finished by G. Audran ; very fine. 
The Triumph of Galatea ; finished by Simoneau ; fine. 
The Head of Democritus. The Portrait of le Voisin, 
broke on the wheel for poisoning ; two plates, large and 
small. 

COYPEL, Noel Nicholas, a son of Noel C. 
by a second marriage, born at 1692; died in 
1735. He received his first instruction from his 
father, whom he lost at the age of fifteen, after 
which he studied in the Academy, and in 1728 he 
was elected a member of that institution. His 
picture of reception was Neptune carrying off Amy- 
mone. He afterwards had considerable success, 
and painted a number of works for the churches 
at Paris. The most esteemed are the ceiling of 
the Chapel of the Virgin in the church of St. Sav- 
ior ; and the altar-piece in the same Chapel, repre- 
senting the Assumption. There are a few plates 
by Coypel, among which are : St. Teresa, with 



several Angels ; Jupiter and Antiope ; A Young 
Woman caressing a Dove, afterwards finished by 
N. Edelinck ; and the Triumph of Amphi trite. 

COYPEL, Charles Antoine, a French paint- 
er, the son and scholar of Antoine C, born at Pa- 
ris in 1694. He followed his father's st3^1e; though 
greatly inferior to that artist. He at first painted 
historical subjects, but having little success, he 
commenced painting bambochades, in which branch 
he succeeded no better. His best works are his 
portraits ; that of Adriana le Couvreur has been 
admirably engraved by Duvet the younger. This 
artist etched a few plates of little importance. He 
died at Paris in 1752. 

COYSEVOX, Antoine, an eminent French 
sculptor, born at Lyons in 1640. Before the age 
of seventeen, he distinguished himself b}^ a statue 
of the Virgin, and he immediately went to Paris, 
where he studied under Lerambert and other mas- 
ter.s, and made rapid progress. In 1667 he was 
chosen by the Cardinal de Furstenberg to go to 
Alsace, in order to decorate with works of sculp- 
ture his palace of Soverne. This commission oc- 
cupied him about four years, after which he re- 
turned to Paris, and executed his statue of Louis 
XIV. ; after which he was commissioned by the 
province of Bretagne to make an equestrian statue 
of the same monarch. He afterwards produced a 
large number of fine works, the principal of which 
are the tomb of Cardinal Mazarin ; the monument 
of Charles le Brun. in the church of S. Nicolas ; 
the magnificent tomb of the great Colbert, in S. 
Eustache ; two statues of a Flute-Player and 
Flora, in the gardens at Marly ; a statue of the 
great Conde ; besides many busts, statues in 
bronze, and medallions. Among his last works 
was the marble statue of Louis XIV.. in the 
church of Notre Dame. He died in 1720. His 
bust, executed by Lemoine, is in the Musee des 
Monuments Fran9ais. 

COZENS, Alexander, a Russian painter, who 
established himself in London as a landscape paint- 
er and drawing-master, about 1770. His son, John 
Cozens, followed the same profession, and surpass- 
ed his father. He has executed a number of 
drawings, which are highly esteemed. He died in 
1799. 

COZZA, Francesco, an Italian painter, born at 
Istilo in Calabria, in 1605. He studied at Rome, 
under Domenichino, and imitated with success the 
style of that great master. He became a warm 
friend of Zampieri, and after his death, according 
to the Abate Titi, completed several of his works. 
At Rome, he was employed in several grand works 
in oil and in fresco, which did honor to his abili- 
ties. One of the best is the Virgine del Riscatto, 
in the church of S. Francesca Romana. Cczza 
died in 1682. 

COZZA, Gig. Batttsta, a Milanes^ painter, 
born in 1676. It is not mentioned by whom he 
was instructed ; but while he was yet young, he 
settled at Ferrara, and executed many works for 
the churches, characterized by an abundant inven- 
tion, and great facihty of execution, though not 
very correctly designed. The principal are, the 
Conception, in the Cathedral ; the Holy Family, 
at the Ognissanti ; the Assumption, in S. Gugli- 
elmo ; and the Annunciation, in S. Lucia. He died 
at Ferrara in 1742. 



COZZ. 234 

COZZA, Carlo, a Ferrarese painter, the son 
and scholar of the preceding, born about 1700. 
He painted several pictures in his father's style, 
for the churches of his native cit}^, among which 
is the Annunciation, in the Chiesa Nuova; St. 
Antonio, in S. Lucia ; and St. Francesco da Paolo 
in S. Matteo. He died at Ferrara in 17G9. 

COZZO, PiETRO DA LiMiNA, an Italian archi- 
tect, according to ]\Ii]izia, born at Limina, and 
nourished in the latter half of the twelfth century. 
Little is known of the events of his life, but he is 
said to have erected the famous saloon at Padua, 
which is the largest in the world, and was proba- 
bly commenced in 1172. Its form is that of a 
rhomboid, parallel to the cqu.ator, 25G feet long, 86 
feet wide, and 72 feet high. It was finished in 
1218. 

CRABBETJIE. See Asselyn. 

CRABETH, Dirk and Woulter, two brothers, 
were very eminent Dtitch painters on glass ; and 
according to Van Mander, were born at Gouda. in 
Holland, and flourished about 1560. They exe- 
cuted many works of extraordinary merit, espe- 
cially the windows of the great church at Gouda, 
which have been considered as the finest produc- 
tions ever executed in that branch of the art. On 
the four windows are represented the Nativity ; 
Christ Driving the ^loney Changers from the Tem- 
ple ; the Death of Ilolofernes ; and the Destruc- 
tion of the Temple of Heliodorus. They are dated 
in 1560. 1564, 1566, and 1567. 

CRABETH. Francis, a Flemish historical paint- 
er, born at Mechlin in 1500. He followed the 
style of Lucas van Lej^den. In the church of the 
Reccolets, at Mechlin, Crabeth painted the princi- 
pal altar-piece, representing the Crucifixion, with 
two laterals of subjects from the Passion of Christ. 
He died at Mechlin in 1548. 

CRADOCK, Luke, an English painter, born in 
Somersetshire, about 1660, and served as appren- 
tice to a house-painter in London. With little 
instruction he became a good painter of birds, ani- 
mals and dead game ; but met with little encour- 
agement. He died in 1717. 

'^ CHAESBECKE, Josse, a Flem.ish painter, 
-li^ / born at Brussels in 1608, died in 1688. He was 
originally a baker, and had settled at Antwerp in 
that capacity at the time when Brower visited that 
city. He became the pot-companion of the latter, 
and when Brower forsook Rubens, he took him 
into his own house, and gave up his business to 
learn painting. He studied with great assiduity, 
and though he was then thirty years old, he at- 
tained a good rank among Flemish artists, espe- 
cially as a colorist. His subjects were from low 
life, like those of his instructor, but greatly inferior 
to Brower in character and delicacy of touch, and 
marked by greater vulgarity. Many whimsical 
stories are related of both these artists by the 
Flemish writers. 

CRAMER, Nicholas, a Dutch painter, born at 
Leyden in 1670. According to van Gool, he was 
for some time a scholar of William Mieris, but 
afterwards studied under Karel de Moor, and fol- 
lowed his style. His subjects were small portraits, 
and conversations, which are well designed, beau- 
tifully colored, and delicately finished. His works 



CRAN. 

are preserved in the best Dutch collections, and 
are very highly esteemed. He died in 1710. 

CRANACH, or KRANACH, Lucas, an old 
German painter, and eminent engraver, born at 
Cranach, in the province of Bamberg, in 1472. 
His family name was Sunder, but he was called 
Cranach, from the place of his birth. At an early 
period in life he entered into the service of the 
electoral house of Saxony, and was court painter 
to the three electoral princes, Frederick the Wise, 
John the Persevering, and Frederick the Magnan- 
imous. With the first, he made a pilgrimage to 
the Holy Land in 1493 ; and with the last he 
shared his five years imprisonment after the fatal 
battle of Miihlberg, in 1547. He was burgomas- 
ter of Wittenberg, and lived on intimate terms 
with Luther and Melanctlion, His works are ex- 
tensively dispersed throughout the Saxon States ; 
that in the city church of Wittenberg is considered 
one of his best. As a portrait painter, he attained 
considerable eminence, and was much esteemed for 
his simple and faithful adherence to the forms of 
nature. In the Berlin Museum is the portrait of 
George, Duke of Saxony ; and the Elector of Ma- 
yence, Albert of Brandenburgh ; both by this 
artist. He was also very skillful in the delinea- 
tion of beasts and birds, as is evident from his 
drawings for the Praj'-er-Book, in the Court 
Library at Munich ; the first part of which were 
drawn by Albert Durer, and the last b}^ Cranach. 
As an engraver, he executed but few copper plates, 
and those of little merit ; but his wooden cuts are 
highly esteemed. Some of them are printed in 
chiaro-scuro, and are much in request. He some- 
times marked his prints with the arms of Saxony, 
or with the flying dragon, which was his own 
crest by patent of nobility, granted him by the 
Elector Frederick. This artist had many imita- 
tors, the best of whom w^as his son Lucius Cra- 
nach the Younger, who seems to have combined 
the styles of his father and Albert Durer, wdth a 
grace and sweetness peculiarly his own, though his 
coloring was sometimes too ros}^ For a full list 
of the Avorks of both these artists, see Kugler's 
Hand Book, and Bartsch. The following are the 
best prints of the elder Cranach. He marked his 
plates Avith a monogram of his initials with a 
shield. 



COPPER-PLATES. 

The Portrait of John Frederick, Elector of Saxony, with 
an Angel holding a Crown of Laurel ; very scarce. The 
Portraits of Frederick and John, two Electors of Saxony ; 
half-length, one holding a Chaplet. 1510. Christianus II., 
Danorum Rex, &c. Martin Luther, in the Habit of a 
Monk. Adam and Eve, after their Fall, 1509, with the 
arms. Christ tempted in the Wilderness, LC. W. ; very 
scarce. Christ in the Clouds, surrounded by Angels ; be- 
low, a half-length figure of the Elector. 

WOODEN CUTS. 

The Bust of John Frederick, Elector of Saxony. Half- 
length of an Elector, with a Book, before a Crucifix ; mark- 
ed with the dragon, 1552; scarce. The Bust of Martin 
Luther, in the Habit of a Monk. D Martin Luther ; full- 
length. Philip Melancthon; do. The Emperor Charles 
V. ; do. The Emperor Ferdinand ; do. John Frederick, 
Elector of Saxony ; do. John William, Duke of Saxony ; 
do. Adam and Eve in Paradise. 1509. The Annuncia- 
tion. St. John preaching in the Wilderness. 1516. The 
Passion of our Saviour ; in fourteen prints ; entitled Pas- 
sio D. N. Jesu Chrisii, <^c., 1509 ; very fine. The Twelve 



CR.AN. 



235 



CREA. 



Apostles ; very fine. Paris dying on Mount Ida, visited 
by the three goddesses, 1508 ; fine. M. Curtins plunging 
into the Gulf The Great Tournament. 1509. The Little 
Tournament. 1509. 

CUTS IN CHIARO-SCURO. 

St. George and the Dragon. St. Christopher carrying 
the infant Jesus. 1507. Venus and Cupid. 

CRANSSE, John, a reputable Flemish histori- 
cal painter, born at Antwerp, in 1480. In 1523 he 
was elected a member of the Royal Academy at 
Antwerp. In the church of the Virgin Mary in 
that cit}^ is a fine altar-piece by this artist, repre- 
senting Christ Vv'ashing the Feet of Ilis Disciples, 
which is highly praised by Van Mander. 

CR ASTON A, GiosEFFO, a native of Payia, was 
born in 1G64, and died about 1725. He studied 
under Bernardino Ciceri, at Rome, and succeeded 
that master. According to Orlandi, embued with 
Roman erudition, he became a painter of land- 
scapes, into which he introduced historical and 
7nythological figures, executed with much taste. 
There are many of his works at Rome, and some 
at Pavia. 

CRATERUS, or CRATINUS, a Greek painter, 
who practised the art at Athens, and decorated 
with scYcral of his works, the edifice named Pom- 
peron, where were preserved the ornaments and 
vessels used in religious ceremonies. He had a 
daughter named Irene, who became eminent in the 
art, and executed an admirable picture at Eleusis. 
There was a Roman sculptor named Craterus. who 
executed, according to Pliny, a number of excel- 
lent statues for the palaces of the Emperors. 

GRAYER, Gaspar de, a very eminent Flemish 
painter, born at Brussels in 1582 ; studied for a 
short time under Raphael Coxcie of Brussels, an 
artist of little note, whom he soon surpassed. On 
quitting the latter, he commenced studying with 
great assiduity the works of the able Flemish 
masters ; and taking nature for his guide, he soon 
became distinguished. Se^veral of his works at- 
tracted the notice of the court at Brussels, and 
Grayer was engaged to paint the portrait of Car- 
dinal Ferdinand, the Governor General of the Low 
Countries, to be sent to his brother, the King of 
Spain. This work was greatly admired, and 
Grayer was appointed court painter, with a con- 
siderable pension and was also emploj^ed in paint- 
ing for the churches and public edifices. He now 
had the full prospect of a brilliant and wealthy 
career ; but being intent on perfecting his talents, 
and desiring that tranquillity necessary to the pur- 
suit of his studies, he gave up his appointment and 
removed to Ghent. His retirement, however, did 
not diminish his reputation, and he continued to 
receive many important commissions from all parts 
of the country. About this time he painted his 
line picture for the refectorj- of the Abbey at 
Aifieghcm, which is thought one of his most cele- 
brated works. It represents the Centurion Dis- 
mounting from his Horse to Worship the Saviour. 
AYhen Rubens beheld this admirable work, he ex- 
claimed, '■ Craj-er. nobody will ever surpass you." 
This artist is placed by all the Flemish writers on 
a par with Rubens and Vandyck ; but though he 
may not deserve this high praise, he should un- 
doubtedly be classed among the ablest painters of 
the Flemish school. His works are composed with 
admirable taste and intelligence, and with great 
correctness and simplicity. They evince grandeur 



and dignity, though he never attempted the aspir- 
ing flights of Rubens ; and he constantly rejected 
whatever might savor of ostentation. His color- 
ing is tender and delicate, and in the carnations it 
resembles the clear tints of Vandyck. He execu- 
ted a large number of works, mostly of a religious 
character. The principal of them are at Brussels ; 
in the church of Notre Dame, Christ appearing to 
Mary INIagdalene ; at Ghent, in the cathedral, the 
Assumption ; in St. Michael, the Descent of the 
Holy Ghost ; in the church, formerly of the Jesu- 
its, a fine picture of the Resurrection. Grayer 
died in 1669. 

CREARA, Santo, a native of Verona, who 
studied under Felice Brusasorci, and on the death 
of that master, went to Rome where he gained 
considerable distinction as a historical painter. He 
flourished in the first part of the seventeenth cen- 
tury. 

CREDI, Lorenzo di. called Sciarpelloni, a 
reputable Florentine painter, born about 1452. He 
studied under Andrea Verocchio at the same time 
with Leonardo da Vinci. He painted many Ma- 
donnas and Holy Families, which are distinguished 
for their graceful manner, fine expression in the 
heads, beauty of coloring, and pleasing back- 
grounds. They are much esteemed, and many of 
them are preserved in the Florentine collections. 
According to Vasari, his master-piece is the Ma- 
donna and Child, with Saints Julian and Nicholas, 
painted for a chapel in the convent of Costello, but 
now in the Louvre. His Birth of Christ, formerly 
in the Monastery of Santa Chiara, but now in the 
Florentine Galler}', is one of the best works in that 
city for coloring, expression, and execution. Credi 
was a very successful imitator of Leonardo da 
Vinci, and other eminent masters. He died about 
1536. 

CREETEN, Charles, a German painter, born 
at Prague in 1625. He studied at Rome, where 
he obtained the name of L'Espadron. His excel- 
lence lay in history and portrait, which he painted 
with great accuracy and elegance. He died at 
Prague in 1681. 

CREMONA, NiccoLO da, a reputable Italian 
historical painter, according to Masina, who flour- 
ished at Cremona about 1518. In S. Maria Mad- 
dalena Monache, at Bologna, is a picture by this 
artist, of the Deposition from the Cross, dated 
1518. 

CREMONESE. See Caletti. 

CREMONESE, Giuseppe, a Ferrarese painter, 
born, according to Zani. about 1600 ; died in 1660. 
He had no instructor, but acquired a knowledge 
of painting from the study of the works of D. 
Dossi and Titian ; and formed a style which bears 
a resemblance to both. He executed a number of 
good works for the churches of his native city, the 
best of which are : St. Carlo, at the Cappuccini ; 
St. Cosmo and St. Damiano, in S. Niccolo ; and 
the Four Doctors of the Church, in S. Benedetto. 
He has etched several plates from his own designs, 
among which are : Samson and Delila ; David, a 
whole length figure, with the Head of Goliah -, Da- 
vid, a half-length, with the same ; St. Roch kneel- 
ing ; a Bishop kneeling ; and a naked female. 

CREMONIENSIS, Antonio, an Italian wood 
engraver, who flourished about 1560. Among 
other prints, he has executed one representing 



CREP 



236 



ORES. 



Miitiu? Scsevola burning his hand in the presence 
of Porsena. It is executed on a single block, 
without any cross-hatching. 

CREMONINI, Gig. Battista, an Italian paint- 
er, born, according to Malvasia, at Cento, and 
flourished about 1600. He principally excelled 
in painting perspective, and in representing wild 
animals. He also painted history with success; 
and there are several pictures by hira in the 
churches at Bologna, which evince considerable 
ability. Cremonini has the credit of being one of 
the first instructors of Guercino. His best works 
are the Assumption, in S. Maria della Vita ; and 
the Annunciation, and the Death of St. Francis, in 
S. Francesco. He died in 1610. 

CREPIN, Louis Philippe, a French marine 
painter, born in 1772 ; studied under Regnault 
and Hubert Robert; he also took lessons from 
Joseph Vernet, and followed successfully the 
styles of those masters. He often represented 
engagements between French and English ships 
of war ; and also painted many other subjects of 
more general interest. He usually painted in water 
and body color. He also etched a number of plates 
in aqua-fortis and in aqua-tint. 

CREPU, NicoLAUS, a Flemish painter, born in 
1680. He was originally an officer in the Spanish 
service, and often amused himself by designing af- 
ter nature such objects as were agreeable to his 
fancy. At the age of forty he quitted the army, 
and settled at Antwerp, where he devoted himself 
to flower painting. His works soon attracted at- 
tention, and he acquired considerable reputation. 
His pictures were well composed, and painted with 
great lightness and freedom of touch : they were 
much sought after, and brought good prices in 
every part of Europe. Crepu died at Antwerp 
in 1742. 

CREPT, or CRESPY, Jean and Louis, two 
French printsellers and engravers of little note. 
Jean, the father, was born at Paris about 1650 ; 
and Louis, the son, about 1G80. There are a num- 
ber of portraits by them, and several copies of the 
portraits of G. Audran; also the following : JMary 
Magdalene, Crepy. inv. et fecit ; the Descent from 
the Cross, after Cignani; the Nativity, after Al- 
hano ; their best print; the Presentation in the 
Temple, and the Holy Family, after Le Brim. 

CRESCENZL See Cavarozzi. 

CRESCENZI, Cav. Giambattista, a Roman 
architect of noble family, born in 1595. His in- 
timate knowledge of the fine arts induced Paul 
V. to entrust him with the superintendence of the 
pontifical buildings and galleries of paintings at 
Rome. Crescenzi visited Spain with Cardinal Za- 
pata, and was employed in the Pantheon, and sev- 
eral other buildings of the Escurial, where he dis- 
played so much ability, that, according to Milizia. 
Phihp IT. declared him Marquis de Torre, and 
knight of St. Giacomo. He also erected a number 
of other reputable works, among which is the 
court prison at Madrid. He executed a number 
of good designs for the nobles, and was much es- 
teemed for "his talents. He died at Madrid in 
1690. 

CRESCIONE, Giovanni, a reputable Neapoli- 
tan painter, who studied under Cardisco, and 
painted at Naples in 1568. 



CRESPI, Gio. Battista, called il Cerano. an 
Italian painter, born at a small town in the Mila- 
nese, near Novara, in 1557. Ilis familj' had been 
distinguished in art. and he had the advantage of 
a classical education, Avhich he well improved ; but 
manifesting a strong inclination for painting, he 
devoted his energies to that profession. He visited 
Rome;and Venice, and subsequently settled at Mi- 
lan, where he was patronized by the Duke Cardi- 
nal Federigo. The works of Crespi are character- 
ized by a free and spirited style, and great har- 
mony of coloring; but his design is somewhat 
conceited and absurd, from an affectation of the 
grand and the graceful. In his pictures in the 
Chiesa delle Pace, his dra\Anng of the nude is 
heavy and tasteless, and the movement of the fig- 
ures distorted by the violence of their attitudes. 
His works, however, have many beauties, and 
some of them are equal to the best productions of 
the Milanese school at his time. His picture of 
the Baptism of St. Agostino. in S. Marco, disputes 
the palm with Giulio Procaccini, and some con- 
noisseurs judge it superior. Soprani says that 
Crespi excelled in painting animals and birds, of a 
cabinet size. He is also said to have been a sculp- 
tor and architect, but none of his works are men- 
tioned. He died in 1633. 

CRESPI, Daniello, a Milanese historical and 
portrait painter, born in 1590 ; studied under Gio. 
Battista Crespi, and afterwards under Procaccini. 
According to Lanzi, he equalled the latter, and 
surpassed the former. He deserves a high rank 
among the Milanese painters. The grace and va- 
riet}' in his heads, the fervid devotion in his pic- 
tures of saints, his facility of execution, and admira- 
ble coloring, gained him a great deal of emplojment, 
both in oil and fiesco. and he rapidlj- acquired 
wealth. His judgment enabled him to take advan- 
tage of the attainments of others, and avoid their 
defects. Although he never frequented the school 
of the Caracci, he seems to have approved and 
adopted their principles and practice. Among the 
best works of this artist, ai'e the Descent from the 
Cross, in the Chiesa della Passione at Milan ; and 
his celebrated set of subjects from the Life of St. 
Bruno, at the Ccrtosa. Crespi died of the plague, 
with all his family, in 1630, in the prime of life; 
much regretted by the friends of art. 

CRESPI. Giovanni, (or Giuseppe) Maria, call- 
ed IL Spagnuolo, from the finery of his dress, a 
Bolognese painter, born in 16G5 ; died in 1747. 
He studied first under Canuti, but afterwards un- 
der Cignani. He was a great copjnst of the works 
of the Italian masters, particularly Correggio. the 
Caracci, and Baroccio. Many of these have un- 
doubtedly been sold as originals. He studied the 
works of the latter with great assiduity, and seems 
to have followed his style in most of his works. He 
adopted in many of his works a dangerous facility 
of execution, and a flims}^ method of coloring, con- 
sisting chiefly of glazing, which has occasioned 
most of them to be obliterated. His example un- 
doubtedly had a most pernicious influence upon art, 
as many of his cotemporaries were induced to im- 
itate him, influenced b}^ the praise and emolument 
which he received. He was an admirable carica- 
turist, and some of these compositions were full of 
excellent humor. The Grand Duke Ferdinand em- 
ployed Crespi to paint a number of works for the 
Palazzo Pitti. He also executed several pictures 



ORES. 



237 



CKET. 



for the churches and palaces of Bologna, among 
which is the Last Supper, in the Palazzo Zam- 
pieri ; the Annunciation in S. Maria Maddalena ; 
the Temptation of St. Anthonj-, in S. Niccolo; St. 
John Preaching, in S. Salvatore ; the Crucifixion, 
in S. Maria Egiziaca. There are several pictures 
by Crespi in the Dresden Gallery, among Trhich is 
theEcce Homo, which, with all its faults, is a mas- 
terly piece ; and the picture of the Seven Sacra- 
ments, which he painted for the Cardinal Otto- 
boni. Crespi has etched a few plates from his own 
designs, among which are : The JNIurder of the In- 
nocents; two plates of the Resurrection and one 
of St. Anthony, in the style of Rembrandt ; the 
Miraculous Crucifix of Pistoja ; St. Pascal ; five 
plates of the Trades, in the style of Rosa ; and a 
Shepherd and Shepherdess. 

CRESPI, Antonio and Canon Luigi ys-Q:vQ 
sons of Cav. Giuseppe IMaria C. They were both 
instructed in the art by their father, and Lanzi 
says they both painted for the churches of Bo- 
logna. The Canon however occupied much of his 
time in writing; the lives of the Bolognese artists. 
Antoi 
1779. 

CRESPI, Benedetto, called il Bustini, a paint- 
er of Como. who flourished in the 17th century. 
Orlandi says that his works are at once vigorous 
and elegant, s^me of which are in the churches of 
Cerno. He had a son named Antonio Maria, who 
was his pupil and successor. 

CRESPI, Gig. Pietro, called also de Castoldi, 
a reputable painter of the Milanese school, who 
flourished at Milan in 1535, and, according to Lanzi, 
left some specimens of his genius in the church of 
S. Maria de Busto. The same author sa3''s also 
that this artist was grandfather of Gio. Battista C, 
called il Cerano, bat the dates will rather show 
that he was his father. 

CRESPI, Raffaelle, was a painter of the Mi- 
lanese school, who was also employed in S. Maria 
de Busto in 1542. Lanzi also saj's he was either 
the father or uncle of il Cerano. 

CRESPINI, Mario de, a native of Como, who 
studied under one IMaderno in that city. He paint- 
ed interiors of kitchens and the like, in the stjde 
of the Bassani, but he excelled in flower-pieces, 
and Lanzi says his works of this class are numer- 
ous, and are to be found in the collections of Como 
and the neighbouring cities. He flourished about 
1720. 

_ CRESPY, or CRESPI, an Italian engraver of 
little note, who practised the art, according to Ba- 
san, about 1705. There a few plates by him, 
among which is the Descent from the Cross, after 
Cignani. 

CRESTI, Cav. DoMENico, called PAssiGNAN0,an 
eminent Italian painter, born at the village of Pas- 
signano, near Florence, in 1558. He studied under 
Naldini, and afterwards under Federigo Zucchero, 
whose style he seems to have preferred. In con- 
cert with the latter he executed a number of works 
at Florence, which gained him considerable re- 
putation. He resided some time at Venice, where 
he gained great improvement, and was so much 
fascinated with the works of the Venetian masters, 
that, according to Boschini, he used to observe 
that whoever had not seen Venice, could not hope 
to become a painter. His forms are not selected in 



good taste, nor is his design correct ; but his com- 
positions are ingenious and abundant ; the splen- 
dor of his draperies and the richness of his archi- 
tecture approaches the excellence of P. Veronese. 
Some of his figures have the strained attitudes of 
Tintoretto, and like that master, he frequently 
used such thin oil coloring that several of his 
works have perished. Among them are the Cru- 
cifixion of St. Peter, and the Presentation in the 
Temple, painted for the Basilica of St. Peter's, in 
the pontificates of Paul V. and Urban VIII. A 
number of them remain which are admirably col- 
ored, among which are the Descent from the 
Cross, in the Palazzo Borghese, at Rome ; Christ 
bearing his Cross, in the Collegio S. Giovannino, 
at Florence ; and the Dead Christ, in the Capella 
di Mondragone, at Frascati. He was one of the 
most influential of those artists who contributed 
to the reform of the Florentine school, by im- 
proving the taste for color, and by rendering the 
mannered anatomical school less popular. He 
was the intimate friend of Cigoli, and is said to 
have given lessons to Lodovico Caracci, while the 
latter was at Florence. Passignano died in 1638. 

CRETI, DoNATO. an Italian painter, born at 
Cremona, in 1671. According to Lanzi, he studied 
under Pasinelli at Bologna, and formed a style 
which has little claim to originality, founded on 
those of that master and Contarini da Pesaro. His 
tints were never properly blended, hence his color- 
ing was harsh and crude. He resided chiefly at 
Bologna, where he painted a number of pictures for 
the churches and palaces. Among them are : St. 
Vincenzio Ferreri resuscitating a Child ; St. Carlo 
Borromeo asking alms for the Poor ; the Crown- 
ing of the Virgin, one of his best works, in S. Luca ; 
an admirable picture of the Adoration of the Magi, 
in the Mendicanti ; and four pictures of the Life of 
Achilles, and other works, in the Palazzo Pubblico. 
Creti died at Bologna, in 1749. 

^ OREUTZFELDER, JoHANN, aGerman paint- 
O^ er, born at Nuremberg in 1570; died, accord- 
ing to Doppelmayr, in 1636. He studied under N. 
Juvenel, and painted portraits in a highl}^ finished 
style. Lanzi mentions three portrait painters by 
this name, calling the one to whom the above dates 
apply John George^ another, John Philip ; and a 
third named John, who was living in 1660. Na- 
gler doubts whether these names do not applj- to 
one person ; the accompanying monogram, how- 
ever, is found on the known portraits of Creutz- 
felder, with a date, one of which is 1631. 

CREVALCORE, Pietro Maria da, a painter 
of the Bolognese school, was. according to Malva- 
sia. a pupil of Calvart, at Bologna. He after- 
wards imitated the Caracci. He flourished about 

1600. 

CRISCUOLO, Gig. Filippo, an Italian painter, 
born at Gaeta about 1495, and first studied under 
Andrea da Salerno. At the age of seventeen he 
visited Rome, where he entered the school of Peru- 
gino, and studied with great assiduity the works 
of Raffaelle. After his return to Naples he was 
employed for the churches and public edifices, and 
painted several pictures which are praised by Do- 
minici, particularly an altar-piece in S. Maria della 
Grazie, representing the Virgin and Infant in the 
clouds, with Saints below ; and the Adoration of 

Criscuolo died 



CRIS. 



238 



CRIV. 



at Naples in 1584. There was another painter of 
this name, who practised the art about 1670, but 
attained no distinction. 

CRTSOUOLO, Gig. Andrea, an Italian painter, 
the younp^er brother of the preceding. He early 
manifested an inclination for art, but his father 
compelled him to enter the legal profession. On 
the death of the latter, the reputation his brother 
had acquired, induced him to place himself in the 
school of Marco da Siena, undei;- whose instruction 
he became a reputable artist. He painted a num- 
ber of works for the Neapolitan churches, which 
are mentioned by Dominici. Among them arc the 
Stoning of Stephen, in the church of that Saint ; 
and a picture of the Virgin and Infant, with St. 
Jerome, 1572; He died about 1580. 

CRESEVOLO, Maria Angela, a Neapolitan 
paintress, born in 1548. Little is known of the 
events of her life, but she painted history and por- 
traits with considerable success. She died in 1606. 

ORISPI, SciPiONE, a Piedmontese painter, born 
at Tortona, who practised the art, according to 
Lanzi, from 1592 to 1599. Little is known of his 
personal history, but he was undoubtedly poss- 
essed of considerable ability, as is evident from his 
picture of the Visitation of the Virgin to Elizabeth, 
in S. Lorenzo, at Voghera; and an altar-piece at 
Tortona, of Saints Francesco and Domenico, 1592. 

CRISTOBOLO, a Grecian architect, who nour- 
ished about the middle of the 15th century, and 
was employed by Mahomet 11. to erect a mosque 
at Constantinople, on the ruins of the church of 
the Holy Apostles, originally erected by the queen 
of Justinian. Cristobolo produced an edifice, 
which nearly rivalled, according to Milizia, the 
magnificence of St. Sophia ; and afterwards erect- 
ed the buildings for eight schools and eight hos- 
pitals. The Sultan gave him, as a reward, the 
street now remaining in the family of Cristobolo, 
which is inhabited entirely by Christians. 

CRISTOFORI, Fabio, and Pietro Paolo. 
These artists, father and son, deserve great credit 
for the perfection which they attained in the mo- 
saic art. They executed in concert several ad- 
mirable works in the Basilica of St. Peter's, after 
the original paintings ; among which are the Com- 
munion of St. Jerome, after Domenichino j the 
St. Petronilla, after Guercino ; the Baptism of 
Christ, after C. Maratti, and other important 
works. 

CRISTONA, Giuseppe, an Italian painter, born 
at Pavia in 1664, and studied under Bernardino 
Ciceri. He excelled in representing landscapes and 
views in the vicinity of Rome, from designs he had 
made during a long residence in that city. Ac- 
cording to Orlandi, the works of Cristona were 
very popular in his day. He signed one of his pic- 
tures, G. Crastona, 1705. 

CRITIAS, called Nesrotes, an eminent Greek 
sculptor, who flourished about b. c. 482. He was 
called Ncsiotes (the Islander) probably to distin- 
guish him from Critias of Athens, who established 
a famous school of sculpture, which produced many 
distinguished masters. This artist was the cotem- 
porary and rival of Phidias, and he executed many 
works for the city of Athens, among which the 
ancient writers mention the statues of Harmodius 
and Aristogiton, and one of a Victorious Runner 
at the Olympic Games. 



CRIVELLARI, Bartolomeo, a Venetian en- 
graver, born in 1725 ; studied under Wagner, and 
executed several plates for that master, after Gher- 
ardini^ Tiarini.,&nd Tiepolo ; besides the follow- 
ing portraits of Christia.n Electoral Princes of Sax- 
ony ; Portrait of Archduchess Anne of Austria ; 
three subjects from the life of St. Pietro Petronio ; 
four plates of Musical Gallant Assemblies, after 
Niccolo del Abate ; the Canonization of St. Alex. 
Saul, after M. Bartoloni. 

CRIVELLI, CREVILLI, or CRIVILLL Carlo, 
an old Venetian painter, according to Ridolfi, who 
studied under Jacobello del Fiore, and flourished 
from 1450 to 1486. According to Lanzi he was 
more remarkable for vigor of coloring, than for 
correctness of design. That author praises his 
small subjects of history, which represent beauti- 
ful landscapes, with figures full of grace, motion, 
and expression. His pictures are colored some- 
what in the stjde of Perugino, and they are some- 
times mistaken for the works of that master, 
especially his altar-piece at the Osservanti, in Ma- 
cerata. In Mr. Edward Solly's collection was a 
picture by Crivelli, representing the Annunciation, 
executed in 1486, and admirably embellished with 
birds, fruit, flowers, and agricultural decorations. 
Lanzi mentions three of his pictures, and an altar- 
piece at S. Francesco di Matclica, inscribed Ca.ro- 
liis Crivellus Venetus miles pinxit ; also another 
dated 1476, in the possession of Cardinal Zelada. 
In S. Sebastiano, at Venice, are two pictures, re- 
presenting St. Fabbiano, and the Marriage of St. 
Catherine. 

CRIVELLI, Angelo Maria, called Crivel- 
LONE, a Milanese painter, Avho flourished about 
1710. According to Orlandi, he painted animals 
and huntings with surprising truth and spirit, 
and was ranked among the ablest artists of his 
country, who treated these subjects. 

CRIVELLI, Jacopo, was a son of Angelo Ma- 
ria C, who instructed him in the art. At Milan 
the father is called il Crivcllone, to distinguish him 
from the son. He excelled in painting birds and 
fishes. He died in 1760. 

CRIVELLI, Vittorio, a Venetian painter, who 
was probably a brother of Cav. Carlo C. Fre- 
quent mention is made of him in the Antichitd 
Picene. Lanzi says there are altar-pieces by him 
in the churches of Monsanmartino, and in Penna 
S. Giovanni at Venice ; executed in 1489 and 1490. 

CRIVELLI, Francesco, a Milanese painter, 
who lived in 1450. He is reported to have been 
the first who practised portrait painting at Milan. 

CROCE. Baldassare, a Bolognese painter, born 
in 1553. His instructor is not recorded, but ac- 
cording to Baglioni, he visited Rome during the 
pontificate of Gregory XIIL, by whom he was 
employed in the Vatican. He painted both in oil 
and in fresco, and his works are executed in a 
free vigorous style. The principal ones in that 
city are the Cupola of the Capella di S. Francesco 
in the church del Gesu ; the vault of the choir in 
St. John of Lateran, and the history of Susanna, 
in the church of her name. He died at Rome in 
1028. 

CROCIFISSAIO, del. See Macchietti. 
CROCIFISSI, de. See da Bologna. 
CROMER, or CROMA, Giulio, called il Cro- 
MA, a painter of Ferrara, was boni in 1572, and 



CROM. 



239 



CRUY. 



died in 1632. According to BaruflTaHi, he stivlieu 
under Domenico Mona, though Lanzi says he did not 
derive much benefit from it ; but he subsequent! 3^ 
became a correct designer by studying the naked 
figures of the antique. He had the honor of paint- 
ing the Presentation and the Death of the Virgin, 
m the Scala at Ferrara, which was then a cele- 
brated gallery filled with the works of great ar- 
tists. 

CROMER, or CROM A, Gio. Battista, a paint- 
er of Padua, who, according to the Guida di Pa- 
dova, was a reputable artist, and died in that city 
about 1750. 

CROSATO. Giovanni Battista, a Venetian 
painter, whose genius and fine taste are highly ex- 
tolled by Zanetti. He resided chiefly at Turin, 
and other places in Piedmont, where he left many 
excellent works. Lanzi says he was more admired 
for his perspective than for the beauty of his fig- 
ures. He was one of those painters who deceive 
the eye by a strong relief, and he thus gives the 
semblance of reality to his imitations. His best 
works are in the Vigna della Regina, at Turin. He 
died at Turin in 1756. 

CROME, John, an English landscape painter, 
born at Norwich in 1769. He was apprenticed to 
a coach-painter, and during his leisure hours devo- 
ted himself to painting landscapes from nature. 
At the termination of his apprenticeship he was 
compelled to give lessons in drawing to enable 
him to pursue his favorite occupation. He did not, 
however, acquire much distinction. He died in 
1821. 

^ CROOCK, Hubert de, an eminent German 
Vv*wood engraver, who flourished about 1490. 
His name and monogram are affixed to a large cut, 
representing the Trinity, which is executed in a 
neat, though stiff and formal manner. 

CROOS, A. VAN, called the Younger, a Dutch 
painter, was the son of A. van Croos. He flour- 
ished from 1643 to 1667, and probably resided at 
the Hague, as many of his drawings are taken 
from the environs of that city. He usually paint- 
ed landscapes and views of cities much in the style 
of Peter Molyn, also river views and marine sub- 
jects similar to those of van Goyen. His father's 
pictures are small landscapes, on panel, very indif- 
ferently executed ; some of these are dated 1631. 

CROSS, Michael, a painter employed by Charles 
I. to copy some of the fine pictures in Italy, who, 
it is said, contrived to abstract a Madonna by Raf- 
faelie from the church of St. Mark at Venice, and 
left his own copy instead. This picture was sold 
with the rest of the royal collection, and was pur- 
chased by the Spanish ambassador, together with 
the twelve Caesars by Titian, for the king of Spain. 

CROSS, Thomas, an English engraver, who 
practised the art about 1648, and was chiefly em- 
ployed by the booksellers. His plates are prin- 
cipally portraits, mostly after his own designs, and 
executed usually with the graver, — among these 
are the portraits of Richard III., Lord Bacon, 
Richard Cromwell. Sir Robert Cotton Bruce, and 
others. 

CRUG, Louis. See Krug. 

CRUGER. See Kruger. 



CRUYL, Levinus, a Flemish de- 
signer and engraver, born at Ghent 
about 1640. He designed the finest views in the 
vicinity of Rome, enriched with figures and ani- 
mals, in a pleasing style and touched with great 
spirit. Several of these have been engraved by 
Giulio Testa, and Cruyl has also executed a few 
plates from his own designs, among which are, a 
set of twenty-three plates of Ancient and Modern 
Rome, L. Cruyl del. et scid.^ 1665. A set of Ar- 
chitectural Views of Roman Ruins. 1667. Ten 
plates of the Triumphs of Roman Emperors, after 
Andrea Mantegna. 

CRUYS, Theodore van, a Dutch engraver, 
who resided chiefly in Italy, and flourished about 
1710, He engraved a number of plates from the 
pictures in the Florentine Gallery ; several por- 
traits and some views of sea-ports, after Salvator 
Rosa. His plates are etched and retouched with 
the graver, in a very indifferent style. 

CRUZ, Juan Pontoja de la. a Spanish painter, 
born at Madrid in 1560, and studied under Alonso 
Sanchez Coello. He excelled in portraits, and also 
painted historical subjects in good taste. He died 
in 1610. 

CTESILAS, or CTSILAUS, an eminent Greek 
sculptor, who flourished about b. c. 432. He 
competed for a prize offered for six statues for the 
temple of Diana. The first was awarded to Poly- 
cletus, the second to Phidias, and the third to him- 
self. Ctesilas distinguished himself by a number 
of other works, among which was a statue of 
Pericles, and a Wounded Amazon. But his great- 
est work was the Dying Gladiator, which has re- 
ceived the highest commendations from ancient 
and modern writers. It was long preserved at 
Rome in the Chigi palace, but was taken to Paris, 
with the Laocoon, &c., in 1796. 

CTESIPHON, an ancient Cretan architect, who 
gained great eminence for his design of the famous 
Temple of Diana at Ephesus ; which, according to 
Vitruvius, was aftervt^ards commenced by him. and 
was carried on by his son IMetagenes. A small 
statue of ebony, said by some impostor to have 
fallen from heaven, furnished, according to Pliny, 
the occasion for erecting this famous Temple, which 
was accounted one of the seven wonders of the 
world, and was 200 years in building. Every na- 
tion of Asia Minor contributed to its completion 
with the most fervent zeal. It was crnamented 
with 127 columns of Parian marble of the Ionic or- 
der, sixty feet high ; thirty-seven of which were the 
gift of as many kings, and were exquisitely finished. 
This great Temple was finished by Demetrius and 
Paonius of Ephesus, but was afterwards burned 
by Erostratus in order to immortalize his name. 'It 
was subsequently rebuilt; but was finally de- 
stroyed by the barbarians in the third or fourth 
century. 

CUCCHI, Gig. Antonio, a Milanese painter, 
who flourished in 1750. He gained considerable 
reputation in his time, more from his assiduity, 
and patient finish, than for the originality of his 
design, or spirit of his pencil. 

CUERNHERT, Dirk, or Theodore van, a 
Dutch engraver, born at Amsterdam in 1522 ; died 
at Gouda in 1590. He resided at Haerlem, where 
he was more noted for religious controversy, than 



CUEV. 



240 



CUNE. 



for attainments in art. He has the credit, how- 
ever, of being the instructor of Henry Goltzius. 
There are a few plates by him, executed with th« 
graver in a slight, careless manner, among which 
are the following, which are usually marked with 
one of these monograms : 



]^F^ 



?-l© 



The Descent from the Cross ; after L. Lombard. Joseph 
explaining his Dream ; after M. Hemskerk. Joseph inter- 
preting the Dreams of the Prisoners of Pharaoh ; do. Job 
reproached by his Wife ; do. Balaam and his Ass ; do. 
The Elector of Saxony appearing before Charles V. ; do. 
The Landgrave of Hesse Cassel, before Charles V. ; do. 

CUEVAS, Pedro de las, a Spanish painter, 
born at Madrid in 1558. According to Palomino, 
he was more employed in painting pictures for the 
private collections, than in works for the churches. 
He gained more reputation by the celebrity of his 
academy than by his own works, and several of 
the most eminent painters of the time were edu- 
cated in his school ; as Antonio Pereda, Antonio 
Anias, Josef Lonardo, and Don Juan Carreno. 
Cuevas died at Madrid in 1635. He had a son 
named Eagenio. who was born at Madrid in 1G13, 
according to Bermudez, and was instructed by his 
father. He acquired great reputation at the court 
for his portraits of a small size, and was appointed 
by Phihp IV. to instruct his son Don Juan of 
Austria, in drawing. He was also a musician and 
a poet. He died at ]\Iadrid in 1GG7. 

CUIT, George, an English painter, born at 
Moulton, in Yorkshire, in 1743. He early mani- 
fested a strong inclination for art, and executed a 
few portraits in oil, and in crayons, which indicated 
genius, and recommended him so highly to Lord 
Dundas, that the latter sent him to Italy at his 
own expense, where Cuit remained six years. On 
his return to England he was employed by his pa- 
tron in several fresco works to decorate his coun- 
try seat. In these he manifested good abilities ; 
and he also produced a number of other good works, 
among which were five landscapes executed for 
Mr. Crompton, and several views in the county of 
York. His works have a great deal of mannerism, 
though thev display considerable truth and vigor. 
He died in 1818. 

T teJ /-*CULMBACK,HANS,or Jan, aGer- 

liiy '^man engraver, according to Florent 
le Comte, who flourished about 1517. He stud- 
ied under Albert Durer, and engraved both on 
wood and copper. Among other works, he has 
executed one of an Armed Soldier conversing with 
a Countrywoman, dated 1517, and marked H. Y. 
C. There is much contradiction among different 
wi'iters concerning this artist. 

CUNEGO. Domenico, an Italian engraver, born 
at Yerona in 1727 ; died at Home in 1794. His 
plates are usually executed with the graver, in a 
neat, clear style. He engraved several portraits of 
the Royal Family of Prussia ; and also a part of 
the plates for Hamilton's Schola Italica. He af- 
terwards went to England, and engraved some 
plates for the Royal Collection. The following 
are his principal prints : 

PART OF THE SUBJECTS FOR THE SCHOLA ITALICA OF 
G. HAMILTON. 

Three subjects of the Crention, from the Sistine Chapel ; 
after M. Angela. Raffaelle's Mistress, 'called la Forna- 
rina ; after Raffaclle. Galatea; after the picture in the 



I Barberini palace ; do. Ganj'^mede ; after Titian. A 
Head of Magdalene ; after Guido. The Prodigal Son ; 
after Guercino. The Birth of St. John Baptist ; after L. 
Caracci. Galatea, part of the Farnesc Gallery ; after 
Agost. Caracci. Apollo and Silenus ; after An. Caracci. 
St. Cecilia receiving the Palm of Martyrdom ; after Do- . 
menichino. 

SUEJECTG AFTER VARIOUS MASTERS. 

Portrait of Raphael Mengs ; se ipsum pinx. The Yir- 
gin and Infant ; after Mengs. Eive sheets of the Paint- 
ings by Mengs, in the Library of the Vatican ; Five of 
the History of Achilles and Hector ; after G. Hamilton. 
The Virgin and Infant ; after Correggio. The Entomb- 
ing of Christ ; after Raffaclle. Six, the Annunciation, the 
Visitation, the Nativity, the Circumcision, the Adoration 
of the Magi, and the Presentation in the Temple ; after 
Domenichino. Rinaldo and Arirsida ; after Guercino. 
A set of thirteen phvtes of Ruins ; after Clerisseau. And 
numerous others, chiefly after Italian masters. 

CUNEGO, Aloysio, an Italian engraver, the el- 
der son and scholar of Domenico C, was born at 
Verona in 1757. and resided principally at Leg- 
horn. The following are his principal plates : The 
Statue of the Apollo of Belvidere. St. Margaret ; 
after Guercino. The Persian Sybil; do. Mary 
Magdalene; after Guido. 

CUNEGO. Giuseppe, an Italian engraver, the 
younger son and scholar of Domenico C, was born 
at Yerona in 1760. There are a few plates by 
him, of which are the following : Four Italian 
Landscapes, with figures ; after F. de Capo. Eight 
Landscapes ; after the pictures by Gaspar Pous- 
sin. in the Palazzo Colonna. 

CUNGI. CONGI, or CUGNI, three painters, 
brothers, Giovanni Battista, Leonardo and Fran- 
cesco, were natives of Borgo San Sepolcro, where 
they flourished in the middle of the 16th century. 
Thej^ were chiefly employed in the churches and 
convents in their own country, especiall}^ in the 
church of S. Rocco and the convent of the Osser- 
vanti at San Sepolcro. Lanzi says, '' their com- 
positions display great simplicity ; their ideas are 
chiefly drawn from nature, and they attended suf- 
ficiently to coloring. Leonardo had a son named 
Francesco, who was also a reputable artist, and 
painted at San Sepolcro in 1587. 

CUNIBERTI, Francesco Antonio, a native 
of Savighano. was a reputable fresco painter, and 
was much employed in decorating the Cupolas 
and ceilings of the churches in his native place and 
its vicinity. He died in 1745. 

CUNIO, Daniello, a Milanese painter, who 
studied under Bernardino Campi. Lanzi saj^s he 
was a landscape painter of great merit. He flour- 
ished about 1600. 

CUNIO, RoDOLFO, a Milanese painter, who paint- 
ed in 1650. He was an excellent artist, and par- 
ticularly excelled in his design, and his works arc 
found in the best collections at Milan. 

CUNNINGHAM, Edmund Franc ts a Scotch 
painter, born at Kelso, about 1742. His father 
was obliged to leave Scotland on account of the 
reverses of the Pretender ; and he went to Italy, 
where Edmund applied himself to the study of 
painting. He there assumed the name of Calzo, 
or Calze, by which name he is known in Italy. 
He visited France, Prussia, and Russia, and met 
with some encouragement ; but his dissipated hab- 
its constantly involved him in difficulties, and he 
! died poor, in London, about 1794. 

CUQUET, Pedro, a Spanish painter, born at 
Barcelona in 1596. Palomino mentions a number 



CURI. 



241 



CUSI. 



of his works in the churches and convents of his 
native city, of which the principal were some pic- 
tures from the life of St. Francesco de Paolo, in the 
church of that saint. Many of his works have 
been gi-eatlv injured bj the process called Resto- 
ration. 

CURIA, Francesco, a Neapolitan painter, born 
in 1538. According to Dominici. he studied under 
Gio. Filippo Criscuolo; but afterwards visited 
Rome, where he studied the works of Rafiaelle 
and other great masters. On his return to Na- 
ples, he painted m^nj pictures for the churches 
and public edifices, which are distinguished for 
grandeur of composition, fine expression in the 
heads, and a vagueness of coloring that approaches 
nature. His master-piece was an admirable pic- 
ture of the Crucifixion, in the Chiesa della Pieta. 
It is painted in a grand style, and Lanzi esteems 
it one of the finest pictures of which Naples can 
boast. He died in 1610. 

CURRADI. or CTJRRADO, Francesco, a Flo- 
rentine historical and portrait painter, born in 
1570; studied under Battista Naldini. Accord- 
ing to Lanzi he was constantly occupied during a 
long lif3 of 91 years, in fulfilling commissions, and 
in the instruction of his numerous scholars. His 
works are correctly designed, with a fine expres- 
sion in the heads, and composed with excellent 
taste and judgment. His coloring, like most of 
the Tuscan painters, excels rather in sobriety 
than variety. He painted several large works for 
the churches, of which the picture of St. Saverio. 
in S. Giovannino, is considered the best. But he 
chiefly excelled in small historical subjects, of 
which two of his finest pictures are in the Floren- 
tine Gallery, representing a Magdalene, and the 
Martyrdom of St. Tecla. He died in 1661. 

\ft^ CURTI, Bernardino, a Bolognese painter, 
Wa 'Who flourished about 1645, and engraved 
several portraits, among which is one of Lodovico 
Caracci. There is also a medium sized plate by 
him, of an emblematical subject, after Luca Fer- 
rari. 

CURTI. Francesco, a Bolognese engraver, born 
about 1603 ; died about 1670. His plates are ex- 
ecuted almost entirely with the graver, in a clear, 
neat style, resembling that of Cherubino Alberti, 
though very inferior to the latter in drawing. 
Besides some portraits, there are the following : 

Two Busts of the Virgin and St. Catherine, on the same 
plate. The Virgin teaching the infant Jesus to read ; after 
Guercino. The Marriage of St. Catherine ; after D. 
Calvart. Venus directing Vulcan to forge the Arms for 
^nea? ; after Caracci. Hercules combating the Hydra; 
after Guercino. The infant Christ sleeping ; q/?er Gui- 
do ; etch«d. and finished with the graver. 

CURTI; GiROLAMO, called tl Dentone, a Bo- 
lognese painter, born in 1576. He studied under 
Lionello Spada, but as his taste inchned to archi- 
tectural painting, he quitted that master, and com- 
menced designing after the noble edifices erected 
from the designs of Giacomo Baroccio. He sub- 
sequent! j^ visited Rome, where he gained improve- 
ment from the study of ancient architecture in that 
city. His chiaro-scuro is managed with great in- 
telligence, and his works have the appearance of 
perfect illusion. He subsequently returned to Bo- 
logna, where he executed many works for the pal- 
aces and public edifices, in which the figures were 



i generallv painted by his cotemporari( 
died in 1632. 



Curti 



CUSIGHE. Simone da, an old painter of the 
Venetian school, who flourished at Cusighe. a 
place near the city of Belluno, from 1382 to" 1409. 
Lanzi says there is an altar-piece and a fresco, 
with figures well executed, still preserved, execu- 
ted by him in his native place, signed Simone, 
pinxit., dated as above. 

CUSIN. M., a Venetian painter, who, according 
to Boschini. flourished at Venice about 1660, and 
painted landscapes in the noble manner of Titian, 
with great success. 

k CUSTOS, or CUSTODIS, Dominic, a Flem- 
^[^ish engraver, the son of Peter Baltens ; born 
at Antwerp about 1565 ; died in 1612. He set- 
tled at Augsburg while young, where he assumed 
the name of Custos, and dealt extensively in prints. 
There are a number of plates by him, executed in 
a neat but formal manner. The following are the 
principal : 

A set of the effigies of the German Emperors, A. D. 
1601. Fourteen, entitled Effigies pioruvi ac doctorum 
aliquot virorum, (^c. 1594. Twenty-eight plates, entitled 
Tirolensium 'principiim comitum genuince Icones. 1599. 
Sixty-four portraits of the Fugger Family. 1593 ; scarce. 

SEPARATE PORTRAITS, AND SUBJECTS FROM VARIOUS 
MASTERS. 

Edward VI. Marcus Bragadinus ; J. ab Ach, pinx. 
1591. Carolus III. Lotharingias Dux. 1597. Dorothea 
Lotharingife Dux. Pope Sistus V. Bust of Sigismund, 
Prince of Moldavia ; J. ab Ach, pinx. Maria Christina 
Carolina, his consort. Cosmo de Medici. 1609. Rodolphus 
II. Emperor. Four plates of the Prodigal Son ; D. CuS' 
todisjinv.etfec. Judith with toe Head of Holofemes; 
after J. van Acli. 

CUSTOS, David, a German engraver, the son 
of the preceding. He resided at Augsburg, where 
he executed a number of prints, which are not 
without merit. Among them are: A Set of 
Views in the Low Countries ; and a small Land- 
scape, with Boors playing at Nine-pins. 

CUYLENBURG. Abraham van, a Dutch paint- 
er, born at Utrecht in 1639. He imitated the style 
of Poelemburg, and his pictures are often ascribed 
to .the latter, though greatly inferior to the fine 
productions of that master. His subjects are 
usually caves, with figures, n3^mphs bathing, bac- 
chanals, fabulous subjects, and designs from fancy. 

CUYP, or KUYP, Jacob Gerritze, called the 
Elder, a Dutch painter, born at Dort, according 
to Balkema, in 1578. He studied under A. Bloe- 
maert, and was principally distinguished for his 
views in the neighborhood of Dort, enriched with 
figures and cattle, which, though rather dry and 
hard in the pencilling, are worthy of notice for 
their simple and natm-al tone of coloring. He also 
painted battle pieces and encampments ; and some 
of his portraits are excellent. His works would 
probably have been more highly esteemed, had 
they not been greatly surpassed by the produc- 
tions of his son, and his pictures are scarcely 
known out of his native country. He was one 
of the founders of the Academy at Dort in 1642, 

CUYP, or KUYP. Albert, a very eminent 
Dutch painter, born at Dort in 1606. He was the 
son of the preceding, who taught him the elements 
of design ; and with no better instruction, he at- 
tained such an excellence in landscape painting 
as has not been surpassed by any of his country- 



CUYP. 



242 



DADD. 



men. His pictures generally represent scenes on 
the banks of the Maes river, with herdsmen at- 
tending their cattle. He made nature his model, 
and by a careful study of her ever varying pheno- 
mena, he acquired that chaste and exquisite style, 
for which he is so much admired. His pencil is un- 
usually broad and free, with an uncommon plump- 
ness of touch, and a crispiness of surface peculiar 
to him, excepting the works of Rembrandt, to 
which those of Cuyp bear some analogy in the 
richness of color and intelligence of chiaro-scuro. 
His pictures are not surpassed for purity of 
aerial tint, and he represented nature at every hour 
of the day with the most wonderful exactness. 
His winter scenes, with skaters on the ice, are 
most admirable ; and he has caught the peculiar 
gilded glow that is often observable at that season. 
His moonlight scenes are fully deserving the high 
praise they have received, and the chiaro-scuro is 
managed with most admirable intelligence. Cuyp 
also painted marine and river views, in which the 
brilliancy of the skies is reflected in the waters 
with a clearness and transparency of coloring that 
is most admirable. He excelled in horse-fairs and 
skirmishes of cavalry, which he treated with infi- 
nite spirit. He also painted portraits ; the inte- 
riors of churches, and other perspective views. His 
works bring immense prices ; they often sell at 
from $5000, to ^10,000. Cuyp has left several 
small etchings of cows which evince the hand of a 
master, though not executed with much delicacy 
or care. It is not known when he died, but he 
was living in 1672. 

CUYP, or KUYP, Benjamin, a Butch painter, 
nephew of the preceding, was born, according to 
Balkema, in 1G08. He studied under his uncle, 
but chose to imitate the style of Rembrandt. His 
subjects were small historical pictures, resembling 
those of that master in vigor of coloring and intel- 
ligence of chiaro-scuro, though the design is incor- 
rect, and the expression of the heads is not without 
vulgarity. The time of his death is not recorded. 

CYDIAS, a Greek painter, born in the isle of 
Cythnos, one of the Cyclades, and flourished about 
B. c. 364. His pictures were held in such high re- 
putation, that the orator Hortensius paid 144,000 
sesterces for one, representing the Departure of the 
Argonauts for Colchis, and placed it in his villa at 
Tusculum. This great work was afterwards taken 
to Rome by Agrippa, and consecrated in a portico 
to Neptune. Some ancient writers attribute to this 
artist the discovery of a red color produced from 
burnt ochre. 



D. 



DA. Abraham, a German engraver of little note. 
He was probably a pupil of Theo. de Bry, whose 
style he imitated. There is a plate from his own 
design representing the Last Supper, engraved in 
line in a neat, but dry style, inscribed Abraham 
Da, fecit. 

DACH, John, a celebrated German painter, 
who, according to Van Mander, was born at Co- 
logne in 1566. He first studied under an obscure 
painter named Barthelemy, on leaving whom, he 
went to Italy, where he resided several 3^ears, 
studying the best masters with assiduity. On his 
return home, he stopped at Vienna, where he was 
commissioned by the Emperor Rodolphus II. to 



paint several pictures, which he executed so much 
to the satisfaction of that monarch, that he took 
him into his service and sent him to Italy to col- 
lect paintings and antiquities, and to make draw- 
ings from the most celebrated works of art. The 
time of his death is not recorded with any certain- 
ty, though it is known he lived to a great age, and 
died in Vienna. Authors confound this artist with 
John van Achen. from the circumstance of both 
having been employed by the same patron. 

DADDI, Bernardo, an Italian painter, born at 
Arezzo. Baldinucci says that he flourished in the 
middle of the 14th century ; studied under Spi- 
nello Aretino: and was elected a member of the 
Company of Painters at Florence, in 1355, where 
he died in 1380. He was celebrated in his day, 
and some of his works are still preserved in the 
churches at Florence. 

DADDI, CosiMO, an Italian painter, who, ac- 
cording to Baldinucci, was born at Florence, where 
he flourished from about 1600 to 1630, when he 
died of the plague. Zani says that his name was 
Dati,' not Daddi, and that he painted in 1588 ; but 
this must be an error, as Baldinucci particularly 
describes several pictures by this artist in the mon- 
astery of S. Lino, at Florence, representing sub- 
jects from the life of the Virgin. In the church 
of S. Michael, at Florence, there is still an altar- 
piece, representing the patron saint of that church 
defeating the apostate Angels. 

D^?5DALUS, an ancient architect and sculptor, 
who flourished about B. C. 1250. According to 
Diodorus Siculus, he was a cousin to Theseus, and 
an Athenian of the royal family. He erected ma- 
ny edifices at Memphis, so much to the satisfaction 
of the people, that they permitted his statue to be 
placed in the Temple of Vulcan, and afterwards 
raised altars to him, and paid him divine honors. 
His master-piece was the Labyrinth in the island 
of Crete, which he constructed to confine the fabu- 
lous Minotaur, the famous one in Egypt being his 
model. The latter was about a hundred times the 
size of that of Dsedalus, which was surrounded 
by a wall, and divided into a great number of sepa- 
rate parts, having doors on all sides, the number 
of which m.ust have produced great intricacy and 
confusion. It is said by Diodorus that Dredalus 
built many other edifices in Egypt, Athens, Crete, 
Italy, and also in Sicily, where he lived for some 
time in the court of King Cocalus, and built the 
city of Agrigentum ; also a palace for Cecal us, and 
other works. He was distinguished for his statues 
in wood, which for a long time were called Dcedal- 
ian. Pausanias sa3^s that he invented the saw. 
hatchet, auger, and the masts and sails of vessels. 
He made a figure which moved like life, by means 
of quicksilver. He sculptured, in white marble, 
a group of Youths and Damsels, dancing hand in 
hand, from the chorus of Ariadne in the Iliad; 
also a famous statue of Hercules in wood. In his 
lifetime his works were held in high esteem, and 
after his death a chapel was erected to his memory. 
" The works of Daedalus," says Pausanias, " are 
indeed rude and uncomely in appearance, but they 
have something as of divinity in the aspect." In 
the British Museum there are several ancient 
small bronze figures of Hercules, generally sup- 
posed to be copies of the wooden statue hj Dseda- 
lus. Diabetes and Smilis were his cotemporaries. 
To him Athens owed the introduction of some- 



BMB. 



243 



DAIG. 



thing at least like a school of sculpture. Many 
have supposed that Dasdalus first introduced 
sculpture into Etruria or Tuscany, before the siege 
of Troy. In these primitive schools, many centu- 
ries necessarily elapsed before the arts were brought 
to high perfection. Their founders were little more 
than ingenious mechanics, who practised carving 
among their other avocations, and their rude efforts 
were intended to represent only their divinities 
and heroes. Jupiter, Neptune, and several heroic 
characters, have the same figure, face, and action — 
the same narrow eyes, thin lips, and pointed chins, 
as the Hercules of Daedalus. The only distinctions 
were that each held in his hand some distinctive 
emblem — as Jupiter a thunderbolt, Neptune a tri- 
dent, and Hercules a palm-branch. The female 
divinities were clothed in draperies, divided into 
a few perpendicular folds ; their attitudes the same 
as those of the male deities. The hair of both 
male and female statues was arranged with great 
care, collected in a club behind, and sometimes en- 
tirely curled. All these facts are gathered from 
vases, small bronzes and coins of Athens and 
Paestum. 

DiED ALUS, a Greek sculptor, a native of Sicy- 
on, who flourished about B. 0. 400. Pausanias 
says he was a brother and disciple of Patroclus. 
He executed many works in the country of Elis, 
among which were statues of conquerors at the 
Olj^mpic games. In Arcadia there was a statue 
of Victory by Daedalus. 

DJ^DALUS, a Greek sculptor, who flourished 
about B. C. 600. He was the instructor of Di- 
penos and Scyllis, and made great improvements 
in design, as well as in the mechanical arts. He 
was the first Greek sculptor who executed statues 
with open eyes, who detached the hands from the 
body, and separated the legs and feet. Adrian 
cites another Daedalus, of Bithynia, who executed 
an excellent statue of Jupiter. 

DAEL, Jan Feanz van, an eminent Flemish 
painter of fruit and flowers, born at Antwerp in 
1764. He settled in Paris, where he was employ- 
ed by the empresses Josephine and Maria Louisa, 
so much to their satisfaction that Napoleon con- 
ferred upon him the Cross of the Legion of Honor. 
He was a particular favorite with Josephine, who 
employed him after her divorce to paint in water- 
colors her favorite flowers, which he executed in 
an exquisite manner. Louis XVIII. also reward- 
ed his merit with a gold medal. He died at Paris 
in 1840, and was buried in the cemetery of Pere 
la Chaise, near his friend Spaendonck, which see. 

DAELE, Jan van, a Dutch painter, born in 
1530, and died at Amsterdam in 1601. He excell- 
ed in landscapes and marines, particularly in rep- 
resenting romantic and wild, mountainous scene- 
ry- 

DAGITI, Francesco, called il Capella, an 
Italian painter, born at Venice in 1714, and died 
m 1784. He studied under Giovanni Battista Pi- 
azzetta, was elected a member of the Academy at 
Venice, and painted history and sacred subjects 
with reputation. He was chiefly employed in 
painting for the churches in Bergamo and other 
places. One of his best works is St. George and 
the Dragon, in the parochial church of S. Bonate, 
in Bergamo. 

DAHLj Michael, an eminent Swedish portrait 



painter, born at Stockholm in 1656. He first stu- 
died under Ernstraen Klocke, an esteemed Swedish 
artist, and painter to the king. At the age of 
twenty-two he went to England, and from thence 
to France and Italy, in pursuit of knowledge in 
his art. He resided in Italy several years, and 
while at Home painted the portrait of the celebra- 
ted Christiana, Queen of Sweden, and other emi- 
nent personages. In 1688, he returned to Eng- 
land, where he found Sir Godfrey Kneller rising to 
the head of his profession ; yet his merit enabled 
him to secure his share of patronage, which was 
sufficient to induce him to reside there the re- 
mainder of his days. He was patronized by Queen 
Anne, and her husband. Prince George of Den- 
mark, whose portraits he painted at £50 each. 
He died at London in 1743, at the great age of 87. 

DAIGREMONT, M., a French engraver who 
flourished about 1670. He engraved a series of 
views of Versailles. He engraved, also, some of 
the plates in the Book of Ornaments of Painting 
and Sculpture, from works in the Louvre and the 
Tuilleries, published by Jean Berain. 

DALEN, Cornelius van, a Flemish engraver, 
born at Antwerp about 1620. He was called the 
Yoiinger, to distinguish him from his father, who 
was a publisher and print-seller. He was a pupU 
of Cornelius Visscher, whose style he followed for 
some time, but afterwards improved himself by 
studying the works of Blooteling, Pontius, and 
Bolswert. He wrought entirely with the graver, 
in a bold, free, and intelligent manner. He gene- 
rally marked his plates 0. D. ; sometimes C. van 
Dalen. sc. The following is a list of his principal 
works : 

portraits. 

Catherine of INIedicis, in the back-ground the city of Am- 
sterdam. Charles II., King of England ; after S. Lutti- 
chuys. James, Duke of York ; do. Henry, Duke of 
Gloucester; c/o. William III. Mary, his Queen. Alger- 
non Percj'-, Earl of Northumberland. John Maurice, Prince 
of Nassau; after G. Flink. Pietro Aretino; with a 
book ; after Titian, Griovanni Boccace ; do. Giorgio 
Barbarcili, called Giorgione ; do. Sebastiano del Piombo ; 
do. (The last four are from the cabinet of Reynst.) Anna 
Mai'ia Scbunnan, paintress, &c. ; after Van Ceuleii. Old 
Parr, aged 152 years. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Adoration of the Shepherds ; marked C. D. The 
Virgin, with the infant Jesus ; the same mark. The Four 
Fathers of the Church ; after Rubens ; in the style of 
Pontius. Nature adorned by the Graces ; do. ; in the 
manner of Bolswert. A Shepherd and Shepherdess ; af- 
ter Casteleyn. The Virgin suckling the Infant ; after G. 
Flink. Venus and Cupid; do. The Four Elements, rep- 
resented by Children ; after A. Diepenbeck. The Con- 
cert; do. The Monument of Admiral Cornelius Tromp ; 
C. van Dalen., sc. ; scarce. 

DALENS, Dirk, or Theodore, a Dutch land- 
scape painter, who, according to Houbraken, was 
b'brn at Amsterdam in 1059. He learned the first 
principles of the art from his father, William Da- 
lens, an obscure artist, who fled with him to Ham- 
burg in 1672, to avoid the wars. Here young 
Dalens became acquainted with John Voorhout, 
pursued his studies conjointly with him, and be- 
came an accomplished artist. On his return to 
Amsterdam, he met with great encouragement, and 
while his genius was budding with the finest 
powers, he was cut off in 1688, aged 29. His princi- 
pal works are large landscapes, painted with a free 
and firm touch, and finely colored, which adorn tho 



DALE. 



244 



DALT. 



saloons of some of the first people of Amsterdam. 
In the collection of the Elector Palatine is a pic- 
ture by this artist — a landscape with water-fowl — 
which is considered not inferior to Hondekoeter. 
He painted some cabinet pictures, of landscapes 
with figures, which are esteemed worthy of a place 
in the first collections in Holland. 

DALENS, Thierry van, a Dutch landscape 
painter, who flourished at Amsterdam in the lat- 
ter part of the 17th century. He also excelled in 
painting fruit, flowers, and still-life. 

DALENS, Thierry van, called the Younger, 
son of the preceding, and born at Amsterdam in 
1688. He received instruction from his father, 
and became a very eminent painter of landscapes, 
enriched with figures, cattle, and ruins, much in 
the style of Pynacker. This artist has been con- 
founded by authors with Dirk or Theodore van 
Dalen ; but their chronology, history, and sub- 
jects do not agree. (See van Delen.) 

DALL, Nicholas Thomas, a Danish landscape 
painter who settled in London about 1760. — 
Though he excelled in painting cabinet pictures, 
he found so little employment that he almost entire- 
ly abandoned it for the more lucrative employment 
of painting beautiful scenery for Covent Garden 
Theatre. In 1768, he received the first premium 
given by the Society for the Encouragement of 
Arts ; and for the best landscape painting, was 
elected an Associate of the Royal Academy in 
1771, and died in 1777. 

DALLAMANO, Giuseppe, an Italian painter 
of architectural pieces, born at Modena in 1679. 
Lanzi says that this artist exhibits a remarkable 
instance of the progress natural genius sometimes 
makes, without the assistance of any other instruc- 
tion than observation affords. He was ignorant, 
even of his alphabet, and to appearance idiotic ; 
)'et he painted architectural views with such ex- 
cellence as to surprise the best judges, and to com- 
mand their admiration. Many of his works are 
in the collections at Turin, where they are highly 
esteemed ; the best are in the royal palace. He 
died in 1758, 

DALLEYIA, A., an Italian engraver of little 
note, who executed with the graver, in a coarse 
and heavy style, a set of plates representing tri- 
umphal processions, published at Venice in 1686, 
entitled Giuochi Festivi e Militari. A. Dallevia, 
sculp. 

DALMASIO,Lippo ScANNABEccni.calledLippo 
dalle Madonne, for the beautiful character and 
expression he gave to his heads of the Virgin. He 
was a native of Bologna, where he lived, and died 
in 1410 — time of his birth not recorded. He was 
a pupil of Vitale da Bologna, and as early as 1376 
far surpassed all his cotemporaries. His works 
are distinguished from the hard, dry, Gothic style 
of his time, by a softer blending of tints, and 
broader and less formal folding of draperies. The 
expressions of his heads were so beautiful that, ac- 
cording to Malvasia, Guido declared that nothing 
short of inspiration could have enabled him, at 
that early period, to have given such majesty and 
sanctified sweetness of expression to the Virgin. 
Malvasia and Tiarini both assert that some paint- 
ings bv this master in the churches of S. Petronio 
and S. Procolo at Bologna, were executed in oil. 
This circumstance, with other authorities, bring 



into further doubt the claim of John van Eyck of 
Bruges, to the discovery of oil painting in 1410. 
A correspondent of the Gentleman's Magazine in 
1841, asserts that a number of pictures of extra- 
ordinar}^ antiquity had been discovered in the pal- 
ace of the Podesta at Bologna, evidently painted 
in oil, and marked with the name of Lippo Dalraa- 
sio, and that the Academy of the Fine Arts had 
appointed a committee to examine into their au- 
thenticity, and to report on the same. The author 
has not seen an}^ such report, nor been able to ob- 
tain any further information on the subject. 

DALTON, Richard, an English painter, born at 
Deane in Cumberland, in 1 720. His father, a cler- 
gyman, apprenticed him to a coach painter in Lon- 
don, and after he had served his time, he went to 
Rome to study painting, where he resided several 
years. There, he seems to have acquired more 
reputation as a connoisseur than as a practical art- 
ist. At Rome, he became acquainted with several 
English noblemen, and on his return to London 
Lord Charlemont recommended him to the Prince 
of Wales, who, on his accession to the throne, 
made him acquainted with his Librarian, and sent 
him to Italy to collect paintings. On his return, 
he changed his situation for that of keeper of the 
royal cabinet of drawings and medals. While he 
was abroad, he went to Egypt and made drawings 
of some of her monuments, and the manners and 
customs of her people, which he exhibited at some 
of the meetings of the Royal Academy, and after- 
wards published them. He died in 1791. 

DAM. Anthony van, a German painter little 
known, born at Middlebourg about 1720. He 
chiefly painted marine subjects of large dimensions 
in a bold; free manner. 

DAM, Gautier van, a Dutch painter, born at 
Dort in 1726. and a scholar of Schouman, whose 
manner he followed for some time. He afterwards 
painted landscapes in the style of Cuyp. He died 
at Dort in 1785. 

DA^IBRUN, ]M., a French engraver who lived 
at Paris about 176(3, and executed with the graver, 
in a neat style, some plates after the French mas- 
ters, chiefly conversation-pieces, musical parties, 
and the like. 

DAME, Giles la, a French engraver, who, ac- 
cording to Le Comte, executed in line several 
Hoi}' Families and other subjects, in which he imi- 
tated the style of Claude Mel Ian. 

DAMER. Hon. Anne Seymour, a distinguished 
sculptor, born in 1748, and died in 1828, aged 80. 
She was the daughter of field-marshal Conway, 
brother to Francis, first marquis of Hertford, by 
Lady Caroline Campbell. There are few more 
gratifying examples than that of a woman of high 
rank, beauty, and accomplishments, disdaining the 
frivolous and the frequently vicious pursuits by 
which females in the higher circles of society are 
unhappily absorbed, and occupying herself with 
studies of an intellectual character — studies, the 
j tendency of which is to refine and elevate the tone 
of her mind, to secure to her sound, rational, and 
pcrnnanent enjoyment, and eventuallj' to place her 
name among those whom posterity will contem- 
plate with feelings of admiration and respect. 

When yet very young, happening to see David 
Hume, the historian, talking with one of the Ital- 
ian boys who carry plaster-casts about the streets. 



DAME. 



245 



DAME. 



she, in a subsequent conversation, depreciated the 
talents by which such works were produced. Mr. 
Hume frankly told her that, with all her attain- 
ments, she was wholly incompetent to any similar 
performance. Piqued at this observation, Miss 
Conway immediately procured some wax. and as- 
siduousl}'. but privately, modeled a head sufficient- 
ly well to excite Mr. Hume's surprise when she 
showed it to him. He remarked to her, however, 
that it was much easier to model than to carve. 
She instantly procured a piece of stone and a chisel. 
and cut out a rude bust that still more strongly 
called forth his wonder and praise. From that 
moment she became enthusiastically attached to 
sculpture ; took lessons from the celebrated sculp- 
tor Ceracchi, who at the time happened to be in 
London ; learned the technical part of working in ; 
marble in the studio of Mr. Bacon, the royal acade- i 
mician ; studied the elements of anatomy under ' 
Mr. Cruikshank; subsequently made journeys \ 
into Italy, to contemplate the chefs-d'OBUvre of the 
art, in order that she might perfect herself in the [ 
pure and simple style of the Greeks, which she \ 
always endeavored to follow, and repeatedly de- 
clared that she preferred the distinction of being 
an artist to any other that could be offered her. 

In 1767; Miss Conway was married to the Hon. 
John Damer. eldest son of Joseph, first Lord Mil- 
ton, and brother to George. Earl of Dorchester. 
The union was an unhappy one. He shot himself 
at the Bedford Arms, in Covent Garden, in 1776. 
The elegant, tasteful, and classical productions of 
her chisel are numerous and widely scattered. 
"We cannot pretend to give anything even approach- 
ing to a complete list of her works ; but among 
them are the following : 

A statue, in marble, eight feet high, of his late majesty 
George the Third, placed in the Register Office at Edin- 
burgh. Two colossal heads, in relief, executed in Portland- 
stone, representing Thame and Isis ; forming the ornaments 
of the key-stone of the middle arch of the bridge at 
Henley upon-Thames. A bust, in marble, of her mother, 
the Countess of Aylesbury, erected as a monument in Tun- 
bridge church, Kent. A bust, in terra cotta, of her father, 
field-marshal Conway. A group of two sleeping dogs, ex- 
ecuted in marble, and given to her brother-in-law, Charles 
Lennox, Duke of Richmond. A bust, in marble, of Lady 
Viscount Melbourne, now placed in the collection of Earl 
Cooper, at Penshanger. A bust, in marble, of Lady Eliza- 
beth Forster, afterwards Duchess of Devonshire. A bust 
of herself, executed in 1778, and placed in the Hall of An- 
cient and Modem Painters, in the Royal Gallery of Flo- 
rence. Another bust of herself, in the collection of the 
late R. P. Knight. Esq., transferred with that collection to 
the British Museum, and placed at the entrance opposite to 
the great stair-case. A bust, in marble, of Bacchus (por- 
trait of Prince Lobomirski), placed in the gallery of the 
Tniversity of Oxford. A bust, executed in bronze, of .Sir 
Joseph Banks, the late president of the Royal Society, pre- 
sented to the British Museum. A dog, executed in mar- 
ble, presented to her late majesty Queen Charlotte, and 
now in possession of her royal highness the Landgravine of 
Hesse Homberg. Two kittens, in white marble, presented 
to the right honorable Horace Walpole. An osprey eagle, 
in terracotta, also presented to Mr. "Walpole. A bust, in 
marble, of the right honorable Charles James Fox, which 
j Mrs. Damer presented in person to Xapoleon Bonaparte, 
on the first of May, 1915. at the Palace Elysee, at Paris. 
This bust had been promised on a journey which Mrs. Da- 
I mer made to Paris at the period of the Treaty of Amiens. 
I She quitted Paris shortly after her presentation of the bust 
I of Mr. Fox ; but, before her departure, she received, by 
the hands of Count Bertrand. a magnificent snuff-box, with 
the portrait, surrounded by diamonds, of the emperor, who 
' begged her acceptance of it in remembrance of him. Pa- 
^; ris, a small bust, in marble. Thalia, a small bust, in mar- 
\ ble. Isis, a bust, in Greek marble, in the collection of Thos. 



Hope, Esq. Bust, in marble, of Sir Humphrey Davy, late 
president of the Royal Society. A bust, in marble ; portrait 
of the late Hon. Penniston Lamb, in the character of Mer- 
cury. A bust, in terra cotta, of the late Queen Caroline. 
A small bust, head of a Muse, in bronze. A bust, in marble, 
heroic size, of Lord Nelson. For this bust Lord Nelson, who 
was a great friend of Mrs. Damer' s, sat immediately after 
his return from the battle of the Nile. She made a present 
of it to the city of London, and received a letter of thanks 
in return. It was put up in the Common Council Chamber 
at Guildhall, where it now is. 

In early life, ^Irs. Damer traveled much ; and 
she had written descriptions of her various tours, 
which at one period it was her intention to publish. 
By her will, however, she directed her executor to 
destroy all her papers , which is the more to be 
regretted, as she was in possession of numerous 
letters from Lord Orford. and other distinguished 
persons. Retaining to the last her attachment to 
the fine arts, she desired that her working apron 
and tools might be deposited in her coffin. 

DAMER Y, Jacob, a Flemish painter of fruit, 
flowers, and still-life, probably a native of Liege. 
He went to Rome while young, where he is sup- 
posed to have resided until his death. He also 
engraved some plates of similar subjects. He died 
about 1665. aged 58. 

DAMERY. Simon, a Flemi.sh historical painter, 
born at Liege in 1597. He went to Italy, and set- 
tled at Milan, where he became eminent in his pro- 
fession, and died there in 1640. in the prime of 
life, much regretted. 

DAMERY. TYautier. or Walter, born at 
Liege in 1614. He studied under Nicholas Bertin. 
at Paris ; from thence he went to Italy, where he 
resided several years ; received instructions of P. 
da Cortona ; became a reputable painter of histo- 
rical subjects, and eminent in landscapes; and 
settled himselif at Liege, where he died in 1678. 

DAMIANI, Felice, an eminent Italian painter, 
born at Gubbio. and flourished from 1584 till 
1616. He is supposed to have been educated in 
the Venetian school, and subsequently to have 
studied under Benedetto Xucci ; for his works 
contain the principles of the Venetian and Roman 
schools, the latter predominating. He principally 
painted for the churches in his native city. Lanzi 
says one of his most esteemed works is the Bap- 
tism of St. AgostinO; in the church of that name 
at Gubbio — a grand composition of many figures, 
finely grouped, with an admirable expression of 
piety in their heads, and enriched with noble ar- 
chitecture, painted in 1594. Another admirable 
work is the Decollation of St. Paul, in S. Recanati^ 
at Castel Nuovo. The expression of the head of 
the martyr is admirable, the drawing correct, and 
the coloring brilliant and harmonious ; dated 1584. 
About 1596, he decorated two chapels in the 
church of the Madonna de Lumi at S. Severino 
with paintings — scenes from the Life of the Vir- 
gin, and the Infancy of Christ. Time of his death 
not recorded. 

DAMIXI. PiETRO. an Italian historical paint- 
er, born at Castelfranco in 1592, and. according to 
Ridolfi. studied under Giovanni Battista Novelli, 
who had been educated in the school of Palma. 
Such were the extraordinary expectations raised 
by the early display of his genius, that some wri- 
ters have not hesitated to affirm that he would 
have equalled Titian, had he not died young. La^ 



DAMI. 



246 



BANC. 



zi regards him as a man of great genius, but by no 
means equal to such praise. He appears to have 
frequently changed his manner in search of greater 
perfection. His later works are his best, some of 
which are admirable in design, execution, and color- 
ing. There are many of his works in Castelfranco, 
Vicenza, Crema, and Padua. In the church of II 
Santo, at Padua, is his most capital work of the 
Crucitixion, with the Virgin Mary and St. John, 
which Lanzi says is a picture of extraordinary 
beauty, of the most rich and harmonious coloring. 
In the church of S. Clementino, in the same city, 
is another admirable picture, of Christ giving the 
Keys to St. Peter. In the monastery of the Pa- 
dri Serviti, at Vicenza, are several of his works, 
representing scenes from the life of St. Filippo. the 
founder of the order. Damini had acquired a 
distinguished reputation, when he fell a victim to 
the great plague that desolated Venice in 1631. 

DAMINI, Giorgio, a distinguished Italian 
painter, brother to the preceding, who also died 
from the same dreadful calamity. He excelled in 
portraits, and painted historical and mythological 
subjects of small size in an admirable manner. 

DAMOCRITUS, an eminent Greek sculptor, 
who flourished about B. C. 400. He studied un- 
der Piso of Calaurus, and, according to Pliny, was 
greatly distinguished for his statues of philoso- 
phers, in which branch of the art he deserves to 
rank with the most eminent sculptors. 

DAMOPHILUS, or BEMOPHILUS, an ancient 
painter and sculptor, mentioned by Pliny, who de- 
corated, in concert with Gorgasus, the temple of 
Ceres at Rome with paintings and sculptures. 

DAMOPHON, an eminent Greek sculptor, born 
at Messina, who is supposed by Winckelmann to 
have flourished about B. C. 512. He executed 
many beautiful marble statues for the temple of 
Esculapius, in the city of Ithome ; but his master- 
piece was a statue'%f Cybele in Parian marble. 
He also produced a number of other admirable 
works, among which was a statue of Diana; a 
statue of Lucina, for the temple of that goddess at 
Egium ; the statues of Ceres and Juno, from a 
single block of marble, in a temple of Arcadia. 

DANCE, George, an English architect of con- 
siderable eminence, born at London in 1741. He 
was one of the forty artists elected as the first 
members of the Royal Academy. He was also 
the delineator of a series of portraits published in 
two folio volumes, by Daniels, entitled. Portraits 
sketched from the life since 1793. He died in 
1825. 

DANCE, Nathaniel, an English artist, bro- 
ther to the preceding, who had the good fortune 
to dance into the affections of a widow of large 
fortune, and, through her influence, into a baro- 
netcy under the title of Sir Nathaniel Dance Hol- 
land. He was born at London, in 1734 ; studied 
under Francis Hayman ; went to Italy, where he 
resided about eight years. On his return to Lon- 
don, he acquired some eminence as a painter of 
portraits ; married Mrs. Dummer, the widow of a 
wealthy country gentleman ; was elected a mem- 
ber of Parliament from his borough ; and was 
finally made a baronet. To his credit, be it said, 
the smiles of fortune did not induce him to relin- 
quish altogether his profession ; but as an ama- 
teur, he continued to contribute to the annual ex- 



hibitions of the Royal Academy, some very credit- , 
able landscapes. ; 

DANCKERT, or DANCKERS, Cornelius, a j 
Dutch engraver, born at Amsterdam in 1561. He \ 
estabhshed himself in his native city as an engra- 
ver and print-seller, and executed some works of i 
considerable merit, among which the following are ; 
the principal : 

PORTRAITS. j 

Gustavus Adolphus, King of Sweden. Jacob Wassenaerj ] 
Lord of Obsdam. Cornelius de Wit, with a Battle in the ' 
back-ground. John Calvin ; oval. John Casimir, Count I 

of Nassau. 

SUBJECTS FROM HIS OWN DESIGNS. ! 

Four, of Figures on Horseback, called the Monarchies ; 
representing Ninus, Cja-us, Alexander, and Caesar, with { 
emblematical ornaments. Seven, of the Planets, with i 

Emblems. The Seven Wonders of the World, with the \ 
same. Twelve, of the Sybils ; full-length. Twelve, of i 

Animals and Birds. Sixteen "Views in Holland. One hun- 
dred subjects from the Old Testament ; four on each plate, ' 
twenty- five plates. A set of Prints of the Ruins of Rome. 
Meleager and Atalanta ; an etching ; after R. Picou. 

DANCKERT, or DANCKERS, Dancker, son 
of the preceding, was born at Antwerp about 1600. i 
He succeeded his father in his business, and sur- 
passed him in talents and skill as an engraver. 
He engraved quite a number of portraits, as well 
as other subjects, mostly after the Flemish or 
Dutch masters, among which the following are the 
best: 

The Portrait of Charles II. of England. The Depart- 
ure of Charles II. for England at the Restoration. Venus 
and Cupid, with a Satyr ; after Titian. 

VARIOUS SUBJECTS AFTER BERGHEM. 

Hawking, called Het Vinkebaantje. A Stag Hunt, 
called De Hartenjagt. Four, of Landscapes and Figures, 
in one of which is^^h Man passing a Bridge. These are 
considered his best prints ; after Berghem. Four smaller 
plates, of Landscapes and Figures. Six middle-sized 
plates, in the title print a Shepherd riding on an Ox, play- 
ing on the Flute, and a Shepherdess dancing. Four large 
plates of Landscapes; on the title print is inscribed, 
Danckert Danckerts,fec. et exc. A set of fine Etchings; 
after Woutcerman. 

DANCKERT, or DANCKERS, Henry, sup- 
posed to have been a son of the preceding, born 
about 1630. He was bred an engraver, but went 
to Italy to study painting, where he resided for 
several years. On his return, he settled in Eng- 
land, under the patronage of Charles II., who em- 
ployed him in taking views of the royal palaces, 
painting landscapes and sea views. In the collec- 
tion of James II., there were twenty-eight pictures 
by this artist. He also engraved some plates, as 
follows : A Portrait of Charles II. ; a large View 
of Amsterdam and the Y, with Shipping, in three 
sheets ; and a set of Views of the Palaces and 
Seaports of England. There were several other 
artists of this name, who flourished about the 
middle of the 17th century, but the accounts of 
them are very confused, and their works are not 
worth any disquisition. Jan Danckers, according 
to Balkema, painted portraits, and made some co- 
pies after Titian and Palma, about 1648. He also 
etched a few prints. Justus Danckers engraved a 
few portraits about the same time. 

DANDINI, Cesare, an Italian painter, born at 
Florence in 1595. He studied successively with 
Curradi, Passignano, and Cristofano Allori. Un- 
der these masters, he acquired correctness of de- 



DAND. 



247 



DAND. 



sign, and an agreeable tone of coloring. He was 
very correct in his drawing, and labored his pic- 
tures extremely. He executed many pictures and 
altar-pieces for the churches and convents at Flo- 
rence, which are much admired. He also painted 
easel and cabinet pictures, esteemed for their high 
finish and sweet coloring. He died in 1 658. 

DANDINI, ViNCENZio. This artist, a brother 
of the preceding, was born at Florence, in 
1607. After studying under Cesare, he went to 
Rome, where he placed himself under the instruc- 
tion of P. da Cortona, whose stjie he followed. 
He became an eminent painter of history, and was 
made principal of the Academy at Rome, on which 
occasion, Orlandi says, he painted a grand compo- 
sition, which gained him great reputation. He 
afterwards returned to his native city, where the 
Grand Duke and other personages gave him am- 
ple employment. He decorated the ducal palace, 
and in one apartment he painted the ceiling, rep- 
resenting Aurora with the Hours, much in the 
style of Cortona. In the Ohiesa di Ognissanti at 
Florence, is an admired picture of the Conception 
of the Virgin. He died there in 1675. 

DANDINI, PiETRO, was a nephew of the pre- 
ceding and son of Cesare, born at Florence in 1646. 
Lanzi says, that having lost his father when he 
was four years of age, he received his first instruc- 
tion from Valerio Spada, who excelled in drawing, 
especially in pen and ink sketches. Under the tui- 
tion of this artist he made such progress, and gave 
such evident proofs of genius, that he was placed 
with his uncle Vincenzio, who instructed him in 
the principles ho had adopted from the style of P. 
da Cortona. He afterwards traveled throughout 
Italy, studying the best masters with assiduity, 
especially of the Venetian and Lombard schools. 
On his return to Florence, he found abundant em- 
ployment. The Grand Duke Cosimo III. patronized 
him largely, and he painted for him many works in 
oil, and adorned his palace with frescos, mostl}^ 
historical and mythological subjects. He also ex- 
ecuted many works for the churches and convents 
at Florence. Lanzi mentions, as one of his most 
important works, the cupola in the church of S. Ma- 
ria Magdalena, executed in the style of Correggio. 
In the church of S. Maria Maggiore, is a picture 
of St. Francesco, and in a church of the Monks of 
S. Servi is an altar-piece, representing that Saint 
oflBciating at the Altar. 

This master had an extraordinary talent for imi- 
tating the styles of the most celebrated painters 
of every school, particularly Titian, Veronese, and 
Tintoretto ; and with a force and elegance equal to 
his sacred and historical subjects, he painted por- 
traits, landscapes, marines, architecture, battle- 
pieces, animals, fruit and flowers, proving himself 
a universal genius, and excellent in everything he 
undertook. Fuseli says that it is to be lamented 
that the avidity of gain led him to despatch and 
mediocrity in many of his works, compensated by 
little more than the admirable freedom (>f his pen- 
cil. He exerted his powers according to the price 
he was to receive for his labors. He died in 1712. 

DANDINI, Ottaviano, was the son of the pre- 
ceding artist, who instructed him in the art, whose 
subjects and style he followed, and whose reputa- 
tion he sustained. Lanzi commends several of his 
works in the churches and convents at Florence. 
There are several fresco paintings of sacred sub- 



jects by him, in the church of S. Lorenzo ; also in 
the church of S. Magdalena at Pescia. 

DANDOLO, Count Cesare, a noble Venetian 
painter, who, according to Morigia, was instructed 
by Titian. Lanzi says he went from Venice to 
settle at Milan, and that his works adorn various 
palaces, which are esteemed not less for their ex- 
cellence, than for the noble rank of the artist. He 
was living in 1595. 

DANEDI, Giovanni Stefano, called Montal- 
TO, a Milanese painter, born at Treviglio in 1608. 
He studied under Cavaliere Morazzone; became 
an eminent historical painter ; and, during a long 
residence at Milan, executed many works in 
the churches and convents of that city. One 
of his most esteemed works is the Martyrdom of 
St. Guistina, in the church of S. Maria at Pedone. 
He died at Milan in 1689. 

DANEDI, Giuseppe, a brother of the preced- 
ing, was born at Treviglio in 1618. He studied un- 
der Guido Reni, at Bologna, and after quitting that 
master he settled at Turin, where he executed, in 
a reputable manner, some works for the churches 
and public edifices in that city. In the church of 
S. Sebastiano is a fine altar-piece by him, repre- 
senting the Murder of the Innocents. He died 
there in 1688. 

DANET, John. See Duvet. 

DANET, Leon. See Daven. 

DANIELE, VoLTERRA DI, a celebrated Italian 
painter and sculptor, born in Tuscany in 1509, and 
died in 1556. He first studied under Antonio de 
Verceil ; and next, Balthazzar of Siena ; and last, 
under Michael Angelo, who highly esteemed him, 
and whose style he adopted. His finest paintings 
are in the church of the Trinity, at Rome. He 
finally quit painting, and directed his attention to 
sculpture. His most famous work in sculpture is 
the bronze horse now in the Palais Royal at Pa- 
ris, which was intended for an equestrian statue 
of Henry II., and which the artist did not live to 
finish. 

DANIELL, Thomas, an English landscape paint- 
er of considerable eminence, born in 1750. He 
commenced his career as a painter of English 
scenery, with some attempts at poetical composi- 
tions. In 1784 he went to India with his ne- 
phew, William Daniels, where they remained ten 
years. He painted many views of fine Indian 
scenery, from Cape Comorin to Seriuagur in the 
Himalayas, which he sent home to the annual ex- 
hibitions ojf the Royal Academy, and which, from 
the novelty of the subjects treated, attracted a 
great deal of attention. They also made a multi- 
tude of sketches of oriental scenery, Hindoo tem- 
ples, mosques, wild elephant and tiger hunts, &c.. 
which they published on their return to England, 
in 1808, in colored aqua-tints, with descriptions, in 
eight folio volumes, entitled' " Oriental Scenery." 
Thomas D. was elected a Royal Academician in 
1795, and died in 1840, aged 90. 

DANIELL, William, nephew of the preceding, 
and whose history is identified with that of his 
uncle, who took him to India when he was only 
twelve years of age and instructed him in his art, 
in which he made such excellent proficiency that 
he executed a greater part of the drawings for 
their " Oriental Scenery." He also painted some 
oriental scenery and subjects which equalled, and 



DANK. 



248 



DANT. 



some say surpassed, tliose of his uncle. He was 
elected a member of the Royal Academy, after his 
return from India. He was born in 1773. and 
died in 1837, aged 64. 

BANKERS DE RY, Cornells, a Dutch archi- 
tect, born in 1561, was the son and scholar of Cor- 
nells Dankers. They held the same offices for 
nearly forty years, and during that time enlarged 
the city of Amsterdam, embellishing it with a 
number of excellent edifices. Among their prin- 
cipal works were the three new churches, and the 
gate of Haerlem, which is a fine specimen of 
architecture. They commenced the Merchant's 
Exchange in 1608, and finished it in 1613. It is 
two hundred and fifty feet long by one hundred 
and forty feet wide,"^ and is supported by three 
large arches, under which run canals. Dankers 
invented the method of building stone bridges 
without piers, and erected with perfect success a 
single arch over the river Amstel, where it is two 
hundred feet wide. He died in 1634. 

DANKS, Francis, a Dutch painter of history 
and portraits, born at Amsterdam in 1650. He 
went to Rome, where he resided some time, and 
obtained the name of Tortoise. He settled in his 
native city, and practised with good reputation till 
his death, in 1703. 

DANLEUX, Pierre, a French painter, born 
at Paris in 1745. He acquired considerable repu- 
tation as a painter of history and portraits, in his 
native city. During the French Revolution, he 
fled to England for his life. He painted an admi- 
rable portrait of Delille the poet, who sang his 
praise in his poem of La Pitie. The Punishment 
of a Vestal, faithless to her Vows, to which De- 
lille alludes, is one of his best works. He died at 
Paris in 1809. 

DANNEOKER, a German sculptor, born at 
Stuttgard in 1758. He studied under Grubel. and 
gained the prize of sculpture for his statue of Milo 
of Crotona, in the Academy founded in 1761, 
"by the Duke, Charles Eugene. He then visited 
Paris, with the royal pension, and remained there 
two years ; after which he went to Rome, and re- 
sided there seven yeai's. On his return to Wur- 
temberg, he was highly honored, and appointed di- 
rector of the Royal Academy, with a pension of 
15,000f. He was for about fifteen years consider- 
ed an eminent artist, but on account of several 
bodily afliictions his powers fell into decay, and he 
saw himself surpassed by Tieck, Ranch, and 
Schwanthaler. Among his finest works are a 
figure of Cupid; a statue of Alexander, for the 
cabinet of the Duke Charles Eugene ; the monu- 
ment of Count Zeppelin ; and a statue of Ariadne. 
But the noblest effort of his genius is the statue of 
Christ, which occupied his undivided time for eight 
years, and was completed in 1823, when it was sent 
to Russia, and is now in the possession of the 
Emperor. His Ariadne is in the collection of M. 
Bethonan, at Frankfort. The works of Dannecker 
are especially remarkable for grace and lightness 
of form, beauty of features, and attractive and 
elegant attitudes. He died in 1834. 

DANNOOT, Peter, a Flemish engraver of lit- 
tle note, who lived about 1690. He engraved some 
portraits and other subjects, the best of which is 
n Head of Christ crowned with Thorns, after Ru- 
bens. 



DANTE, Girolamo, a Venetian painter, who, 
according to Lanzi, was a scholar of Titian, whose 
style he imitated. Zanetti says that he assisted 
Titian in some of his less important works, and 
that, in copying the works of that master, he at- 
tained to such excellence that such of them as 
were retouched by Titian, bid defiance to the con- 
noisseur to distinguish them, — doubtless too high 
praise. He also painted from his own designs. 
There is a fine altar-piece, entirely in the style of 
Titian, in the church of S. Giovanni, in Olio, attri- 
buted to this artist. He flourished in the first part 
of the 16th century, but the time of his birth and 
death are not recorded. 

DANTI, Antonio, an Italian painter, born at 
Rome in 1634, and died there in 1675. He paint- 
ed portraits and historical subjects in a reputable 
manner. 

DANTI, Padre Ignazio, a Dominican friar, 
born at Perugia in 1537, and died at Rome in 1586.. 
He was descended from a family devoted to the fine 
arts, and was a man of superior knowledge and 
judgment. Pope Gregory XIII. employed him 
to decorate a room in the Vatican with geographi- 
cal illustrations of ancient and modern lidXj. Lan- 
zi says that the Pope, having resolved to complete 
the continuation of the Gallery of Raffaelle, and 
to paint four subjects from the New Testament in 
every arcade of the Gallery ; and it having been 
found by experience to be prejudicial to the exe- 
cution of such works, to entrust them to the en- 
tire direction of practical artists, who were for the 
most part influenced in the selection of their as- 
sistants, by favoritism, jealousy, or avarice, he 
employed Danti to superintend the work, in whose 
excellent judgment, profound knowledge of design, 
and integrity of character he could confide. Un- 
der the direction of Danti, the works were execu- 
ted in such an admirable manner, that the spirit 
of Raffaelle seemed to be revived in the Vatican. 

DANTI, ViNCENZio, an Italian painter, sculp- 
tor, and architect, born at Perugia in 1530. Pas- 
coli says he executed some part of the pictures in 
the Vatican Gallery, the direction of which was 
assigned by Gregory XIII. to Ignazio Danti. As 
a sculptor, he executed a number of works, among 
which the bronze statue of Pope Julius II., which 
he executed at the age of twenty, is considered a 
model of art. He was an architect of lively gen- 
ius, and Milizia says that his designs for the Es- 
curial, made by order of the Grand Duke, Cosimo, 
were so highly valued by Philip IL, that the lat- 
ter earnestly entreated him to go to Spain and 
execute them. He restored the fountain at Peru- 
gia in a very ingenious manner, and executed seve- 
ral other works. He died in 1576. 

DANTI, Girolamo, a brother of the preceding 

artist, was born at Perugia in 1547, and died in 

1580. There are some of his works in the church 

[ of S. Pietro in his native city, but his early death 

cut short his promising career. 

DANTI, Teodora, an Italian paintress, who, 
according ito Pascoli, was born at Perugia in 1498 ; 
studied under Pietro Perugino, in whose style she 
painted small cabinet pictures in excellent taste 
and coloring. 

DANUS, Miguel, a Spanish historical painter, 
born at Majorca. He first studied at Valencia, 
and afterwards went to Italy and entered the 



DANZ. 



249 



DARG. 



school of Carlo Maratti. After a residence of sev- 
eral years in Italy, he returned to his own coun- 
t^3^ where he painted many pictures in the style 
of Maratti. which are to be found in various col- 
lections at Majorca. He also painted some works 
in the convent of the Secours at Palma. He flour- 
ished at Palma, in the latter part of the 17th cen- 
tury. 

DANZEL, Jerome, a French engraver, born at 
Abbeville in 1755. He studied under Flipart, and 
engraved quite a number of plates in a neat, firm 
style, executed with the graver. He was elected a 
member of the French Academ}^ The following 
are his best prints : 

An Old Man, half-length ; after Rembrandt. A Flem- 
ish Merry-making ; after Tilhorgh. Venus and Adonis ; 
after J. Bethon. Venus and ^neas ; after Ant. Boisot. 
Alexander giving Campaspe to Apelles ; after Lagrenee. 
Socrates pronouncing his Discourse on the Immortality of 
the Soul ; after Sane. The Roman Charity ; after N. N. 
Coy pel. Vulcan presenting to Venus tho Arms of iEneas ; 
after Boucher. The Rape of Proserpine ; after Vien. 

DAPHNIS, a Greek architect, who erected, in 
concert with Peonius, and Demetrius, a priest of 
Diana, the famous temple of Apollo at Miletus, 
entirely of marble, and of the Ionic order, which 
was preeminently distinguished for its grandeur 
and magnificence, as is evident from the present re- 
mains. Strabo terms it '•' the greatest of all tem- 



pie 



id says " it remained without a roof in 



consequence of its bigness." Pausanias mentions 
it as unfinished, but as one of the wonders pecu- 
liar to Ionia ; and Vitruvius numbers it among the 
four temples which had raised their architects to 
the summit of renown. The plan of this temple 
is a parallelogram. 302 1-2 feet in length, by 164 1-2 
feet in breadth. The cell a is surrounded by a 
double row of columns, the outer perist3'le having 
twenty-one in the sides, and ten in each front. 
The height of the columns is sixty-three feet, which 
is about nine and a half diameters of the columns. 
DARDANI, Antonio, a Bolognese painter, was 
born, according to Zanetti, in 1677, and died 
in 1735. He studied under Flaminio Torre. He 
was a reputable painter of easel pictures of histo- 
rical and other subjects, some of which may be 
found in the collections at Bologna. 

Bor jy\ DARET. Pierre, a French engraver, 
iU*born at Paris in 1610. After serv- 
ing his apprenticeship, he went to Rome in search 
of improvement, where he resided several years, 
and then returned and settled in his native city. 
He executed a multitude of works, chiefly with 
the graver, in a very neat manner, though deficient 
in effect and correctness of drawing. His works 
exceed four hundred prints, among which are the 
following. He frequently marked his plates with 
his monogram, a P. withm a D. : 

PORTRAITS. 

Bust of Alexander the Great, with an explication from 
Plutarch. Pope Alexander VII. Charles I. of England. 
Henry de Bourbon, Prince of Conde. Charlotte Margaret 
de Montmorency, Princess of Conde. Margaret Gaston, 
Duchess of Orleans. Vladislaus IV., King of Poland. 

SUBJECTS AFTER VARIOUS MASTERS. 

St. John sitting in the Desert with his Lamb ; after Gui- 
de. The Virgin suckling the Infant ; after Caracci. St. 
Peter delivered from Prison ; after Domenichino. The 
Entombing of Christ ; after Baroccio. A Holy Family, 
with an Angel presenting Fruit to the Infant Jesus ; after 
S. Vouet. The Dead Christ, with the Marys ; do. St. Je- 



rome, half-length; after Blanchard. Thetis ordering 
Vulcan to forge the Arms of Achilles ; do. A Charity 
with Five Children ; do. The Visitation of the Virgin to 
St. Elisabeth ; after Corneille. The Virgin and Infant ; 
after Sarazin. He also engraved one hundred small 
plates for a work entitled, La Doctrine des Moeurs, after 
the designs of Otho Voenius, 1646 ; and a great number of 
portraits for a publication entitled, Tableaux historiques 
ou sont graves les iUustres Francois, et Etrangers de 
Vun, et V autre sexe, par Pierre Daret, et Louis Boisse- 
vin, published in 1652 and 1656. 

D'ARGEXYILLE, Antoine Joseph Deza- 
LiER, a French amateur painter, who resided at 
Paris. He was the author of an excellent workj 
entitled Ahrege de la Vie des plus fameux Pein- 
tres, first published in Paris in quarto, 1755. Ac- 
cording to Basan, he etched some landscapes and 
other subjects from his own designs. 

DASSONVILLE, Jacciues, a French engraver, 
born near Rouen in 1719. He etched about fifty 
plates in the style of Adrian Ostade, and although 
they are by no means equal to the playful and 
spirited point of that master, yet they possess 
much merit. 

DAUDET, Jean Baptiste, a French engraver, 
born at Lyons in 1737. He was the son of a print- 
seller, who sent him to Paris^ and placed him under 
Balechou, and afterwards in the school of J. G. Wille. 
He executed a number of landscapes and marine 
views, after various masters, besides many plates 
for the illustrated works published about this pe- 
riod. Among these works were the Voyage a Na- 
ples, by the Abbe de Saint Non ; the Galerie de 
Florence ; the Voyage en Syrie^ of Cassas ; the 
Musee Bobillard, &c. He was very industrious, 
and executed his plates in a neat and spirited style, 
though rather highly finished. Huber gives a full 
list of his plates, among which are the following : 

Two Landscapes, with Fignf^s and Cattle ; after Berg- 
hem. An Italian Landscape, with Figures and Cattle; 
after Both and Berghem. A Stag-hunt, etched by Dan- 
ker, and finished by Daudet ; after Wouicerm.ans. Ital- 
ian Ruins ; after C. Poelemburg. The Corsican Fisher- 
men ; after Vernet. The Washerwomen ; do. Two, of 
Roman Ruins ; after Dietricy. Evening ; do. 

DAULLE, Jean, an eminent French engraver, 
born at Abbeville in 1703. He settled in Paris, 
where he became one of the ablest engravers of 
his time, and was admitted a member of the Acad- 
emy in 1742. He engraved many portraits, histo- 
rical and other subjects, executed in a clear, neat 
style, with the graver, the principal of which are 
the following : 

PORTRAITS. 

Catherine, Countess of Feuquieres, Daughter of P. Mig- 
nard, holding the Portrait of her Father ; P. Mignard, 
pin. J. Daulle, sc. Hyacinth Rigaud, painter ; engraved 
for his reception at the Academy in 1742. Margaret of 
Valois, Countess of Caylus ; after Rigaud. Charles Ed- 
ward Stuaxt, son of the Pretender; 1744; scarce. Cle- 
mentina, Princess of Poland; his consort; scarce. John 
Baptist Rousseau ; after J. Aved. John Mariette, engra- 
ver ; after Pesne. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Magdalene ; after Correggio ; for the Dresden Gal- 
lery. Diogenes witli his Lantern; after Espagnoletto; 
do. The tvvo sons of Rubens ; after that painter ; do. 
Neptune api)easing the Tempest; do. A Charity with 
three Children ; after Albano. The Triumph of Venus ; 
after Boucher. Latona ; engraved in 1762 ; after J. Jou- 
venet. Four, Marines and other subjects ; after Vernet. 
The Bath of Venus ; after Raoux. Two subjects ; after 
G. Metzu. Jupiter aiid Calisto ; after N. Poussin. ' 



DAVE. 



250 



DAVI. 



DAVANZO, Jacopo. See Avanzi. 

DAVEN, Leon, sometimes called Danet, or 
Daris, a celebrated French engraver, whose early 
histoF}^ is unknown. He went to Italy, and ac- 
quired distinction at Rome and Florence, where he 
became acquainted with Primaticcio, who esteemed 
him highly, and many of whose works he en- 
graved. When that master visited France, Daven 
accompanied him, and engraved several plates after 
the great works he executed at Fontainbleau. His 
works are chiefly etched in a broad, bold, and sin- 
gular manner, but they have such merit as to be 
held in high estimation by collectors. His plates 
are frequently marked with the initials of his name, 
L. D. The following are his principal works : 

After Francesco Primaticcio. — Christ witli a Glory of 
Angels. The Virgin in the Clouds, surrounded by Angels. 
The Holy Family, with St. Elisabeth and St. John. Christ 
Triumphant. St. Mary of Egypt taken up to Heaven by 
Angels. Alexander taming Bucephalus. Fontainbleau. 
The Marriage of Alexander and Roxana. Ditto. The 
Death of Cleopatra. Jupiter and Danae. The Bath of 
Venus ; a grand composition. Mars and Venus, The 
Rape of Proserpine. Diana reposing after the Chase. Fon- 
tainbleau. Hercules and Omphale. Cadmus combating 
the Dragon. A Sacrifice to Priapus. Cupid blinded, 
mounted on an Ass, with two Satyrs, and a Man blowing a 
Trumpet. The Death of Meleager. The Rape of Europa. 
The Continence of Scipio. 

After il Rosso. — Francis I. surrounded by his Courtiers, 
a Child kneeling presenting a Pomegranate. Francis I. 
marching to the Temple of Glory. The Death of Adonis. 

After L. Penni. — Psyche attempting to get water at 
the Fountain guarded by Dragons, is aided by the Eagle 
of Jupiter. Parnassus, with Apollo and the Muses. 

After Giulio Romano. — The Body of Patroclus taken 
from the Field of Battle. 

After Parmiggiano. — Circe drinking in the presence 
of the Companions of Ulj^sses. 

DAVID, Charles, a French engraver, born at 
Paris about 1605. Little is known of his early 
history, but he takes a respectable rank among 
the engravers of his time. His plates are execu- 
ted with the graver, in a clear, firm manner, and 
his drawing is tolerably correct. His plates are 
esteemed by collectors. He usually marked 
them with his initials. C. D., or C. D. F. The 
following are his best prints : 

Ecce Homo, or Christ shown to the People by Pilate ; C. 
David, sc. The Virgin and Infant with Angels ; after J. 
B. Champagne. The Virgin with St. Bernard ; after 
Ph. Champagne. A Nurse carrying a Child ; with six 
verses ; C David. The Roman Charity Twelve, of the 
Labors of Hercules ; after Francis Floris. Sixteen, of 
the Cries of Rome; copied of^er Villamena with such ex- 
actness that they may easily be mistaken for the originals. 
"Wisdom awaking a Man sleeping ; after Champagne. A 
set of Landscapes ; after M. and P. Bril. A Print, 
after Callot, representing a Man with a Snail on his Fin- 
ger, with a Goat wearing a Crown of Snails on its Head ; 
very scarce. 

'^ "*^D AVID, Jerome, 
a French engraver, 
brother to the preceding, born at Paris in 1608. 
His plates are executed in the same style as those 
by his brother, which renders it probable that 
both received instructions from the same master. 
The works of the brothers consist of about two 
hundred and twenty plates. Jerome usually mark- 
ed his plates with the initials H. D. P., or one of the 
above monograms, which signifies Hieronymus 
(Jerome) Davidms, fecit. The following is a list 
of his principal works : 

Charles I., King of England, on Horseback ; H. David, 



BF-m-Ml 



sc. Henrietta Maria, his Queen, on Horseback ; do. Anne, 
Queen of France ; do. Gaston of France, Duke of Or- 
leans. Cardinal Richelieu; H. David, sc. Giovanni Bat- 
tista Montana, celebrated sculptor. 1621. 

SUBJECTS AFTER VARIOUS MASTERS AND HIS OWN 
DESIGNS. 

The Heads of the Philosophers, thirty-six plates from his 
own designs. Adam and Eve driven from Paradise ; H. 
David. Christ bearing the Cross ; after Ercole Ferra- 
ta, 1630. Ecce Homo ; after Guercino. The Virgin of 
the Rosary; after Guido. 1633. The Assumption of the 
Virgin; after Camillo Procaccini. St. Francis of Paol a; 
after Robert Picou. He etched forty- two plates from the 
designs of Montana, of churches, tombs, and altars at 
Rome, published by Soria. 

DAVID, FRAN901S Anne, a French engraver, 
born at Paris in 1741. He was a pupil of Le Bas! 
and executed some portraits and other subjects 
with the graver, in a neat and finished style, among 
which are the following : 

PORTRAITS. 

Monsieur, brother of Louis XVI. ; after Drouais. Denis 
Diderot ; after L. M. Vanluo. C. G! de Choiseul, Due de 
Praslin ; after Roslin. Catherine II., Empress of Russia ; 
after Ala'd. Rameau. Gaspard Netscher, painter, his 
Wife and Son; after a picture by hiviself. Charles I. ^! 
England with his Family ; after Vandyck. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Dutch Sportsman ; after G. Mentz, The Green- 
market at Amsterdam ; do. The Quack Doctor ; after 
Karel du Jardin. The Bull ; after Paul Potter. Two 
Views of the Gulf of Venice ; after Vernet. Tv/o Views 
near Dunkirk ; do. Adam and Eve in Paradise ; after 
Santerre. He also engraved and published the Antiqui- 
ties d' Herculaneum, 12 vols. ; the Antiquities Etrusques, 
Grecques, et Romaines, 5 vols. ; the Musee de Flo- 
rence, 8 vols.; V Histoire de France, 5 vols. ; V Histoire 
cJ' Angleterre, 3 vols. ; l' Histoire de Russia^ 3 vols. He 
afterwards commenced a History of France under the time 
of Napoleon, of which he issued twenty-four numbers, 
when Louis XVIII. was established on the throne. The 
latter appointed him engraver to his cabinet. .David after 
wards published Le Cabinet du Roi. 

DAVID, jAcauEs Louis, one of the most emi- 
nent painters of modern times, was born at Paris 
in 1750. His countrymen have conferred upon 
him the distinguished title of 7Vie Head and Re- 
storer of the French School, which he brought 
back from its previous gaudy and aifected style, 
to the study of nature and the antique. David 
first studied under Vien at Paris, and, in 1772, 
gained the second prize of the Koyal Academy. In 
1775, he gained the grand prize, for his picture of 
the Amours of Antiochus and Stratonice, which 
entitled him to the royal pension, and he immedi- 
ately went to Rome, where he devoted himself to 
the most diligent study of the antique, vnth a 
view to make it his standard in his works. " I 
wish," said he, " that my works may have so com- 
pletely an antique character, that, if it were possi- 
ble for an Athenian to return to life, they might 
appear to him to be the productions of a Greek 
painter." At Rome, he devoted himself particular- 
ly to historical painting, and his great talents soon 
gained him the reputation of one of the most pro- 
mising artists of the age. In 1780, he returned to 
Paris, and distinguished himself by several classic 
productions. In 1783, he was received into the 
Royal Academj^, and was appointed painter to 
Louis XVI., with apartments in the Louvre. In 
1784 he again went to Rome, where he executed 
one of his master-pieces, the Oath of the Horatii, 
which Louis XVI. had commissioned him to paint. 
The French connoisseurs declared this work une- 



DAVI. 



251 



DAVI. 



quailed, and that it breathed the dignity and spi- 
rit of Raffaelie. In the same year, he painted his 
Bclisarius ; in 1787, the Death of Socrates ; and 
in 1788, Paris and Helen. His reputation was 
now estal)lished as the first painter in France. 
The French Reyolution now broke out. and. seized 
with an ardent zeal for liberty, he lent all his pow- 
ers in OTerturning the government, and. establish- 
ing the Republic. For this purpose, in 1789. he 
executed a large painting, representing Brutus con- 
demning his Sons to Death. He also furnished 
the designs for the numerous republican monu- 
ments and festivals of the time. It is not our in- 
tention to follow the artist through his pohtical 
career, further than to show its effect on his 
works. In 1792, he was chosen an Elector in Pa- 
ris, and afterwards, a deputy to the National Con- 
vention. During the Reign of Terror he was one 
of the most zealous Jacobins, and wholly devoted 
to Robespierre. He proposed to erect a colossal 
national monument on the Pont-Neuf, from the 
matericils of the king's statue. At the trial of 
Louis XVI., he voted for his death. In January, 
1794. he presided in the Convention. Among the 
scenes of the Revolution which David strove to 
immortalize by his pencil, were the Entrance of 
Louis into the National Assembly ; the Oath taken 
in the Tennis- Court, and the Murder of Murat 
and Lepelletier, the former of which he presented 
to the National Assembly in 1790. After the fall 
of Robespierre, David was thrown into prison, 
and his great reputation as a painter alone saved 
him from the guillotine. Disgusted with the ex- 
cesses and revolting scenes committed on all sides, 
and seeing no hopes of the Republic being estab- 
lished on any permanent; basis, he retired in dis- 
gust, and resolved to devote himself exclusively to 
historical painting. In 1799 he executed the mas- 
ter-piece of his genius, the Rape of the Sabines, 
from the Exhibition of which he is said to have 
received 100,000f. 

Vv'^hen Napoleon came into power, he perceived 
the advantage of employing such a painter as David 
to immortalize his glorious victories on canvass ; 
and he appointed him his first painter. But these 
subjects were not congenial to his taste ; he. howev- 
er, painted several portraits of the Emperor, and oth- 
er members of the Imperial family, the most cele- 
brated of which were Napoleon as First Consul, 
on horseback, crossing Mount St. Bernard, and 
pointing out to his troops the path to glory, and 
Napoleon in his Coronation Robes. In 1814, 
he finished his great work of Leonidas at Ther- 
mop3'h«, the last painting he executed at Paris. 
When Napoleon returned from Elba, he appointed 
David a commander of the Legion of Honor. Af- 
ter the second restoration of the Bourbons, he was 
included in the decree which banished all the regi- 
cides forever from France, when he established 
himself at Brussels, where he continued to reside 
till the time of his death. At Brussels, he paint- 
ed the portraits of several distinguished persona- 
ges, and other subjects, particularly Cupid and 
Psyche, and a picture of Venus, Cupid, and the 
Graces disarming Mars, which was exhibited in 
Paris in 1824. and attracted much attention. 

The most famous Avorks of this great paint- 
er, several of which have been admirably en- 
graved by ]\Ioreau, are The Oath of the Horatii ; 
Belisarius in Banishment ; The Death of So- 
crates; Paris and Helen ; Brittus ordering his 



Sons to E.vecution ; The Rape of the Sabine Wo- 
men ; The Oath taken in the Tennis Court ; Le- 
onidas at ThermopylcB ; and The several Por- 
traits of Napoleon. The opinions of the merits 
of this artist are various ; envy, hatred, or jeal- 
ousy have doubtless made some detractions. It 
has been said of his works that they are " colored 
statuary ;" that his figures have the ideal beauty 
of the ancient sculptures (no small praise), but are 
too cold and inexpressive to excite any sympathetic 
interest in the beholder. On the other hand his 
countrymen honor his memory, and generally con- 
sider him the father or restorer of the modern 
French school of painting. As a grand designer, 
he undoubtedly ranks among the first artists of 
modern times, and the praise of correct delinea- 
tion and harmonious coloring is universally con- 
ceded to him. He died at Brussels, Dec. 29, 1825. 
aged 75 years. Had he lived in more peaceful and 
less exciting times, so that he could have lent his 
whole time and energies to his favorite branch of 
the art, he doubtless would have far surpassed 
himself, and his history would have graced one of 
the brightest pages in the annals of the fine arts. 

DAVID, LoDovico Antonio, an Italian paint- 
er, born at Lugano m 1648. He first studied un- 
der Cavaliere Cairo, and then Ercole Procaccini, at 
Milan. He afterwards went to ^Bologna, and en- 
tered the school of Carlo Cignani. He became a 
painter of eminence, and executed many works for 
the churches and convents at Milan and Venice. 
In the church of S. Silvestro in the latter city, is a 
Nativity especially commended for its beautiful 
coloring, and finished execution. He also painted 
many portraits of distinguished personages of his 
time. The time of his death is not recorded. 

Q^-^ DAVID, Louis, a French engraver, 
IL-^^l^O; according to Professor Christ, 
went to Italy, and settled at Venice, where he flour- 
ished about 1667, and engraved some plates after 
the Italian masters, executed in a clean, neat stj-le, 
with the graver. He marked his plates with a 
monogram of his initials, as above. 

DAVIS, Edward le, an English engraver, sta- 
ted to have been born in Wales. He went to 
France, where he learned the art of engraving. He 
returned to his native country, and settled in Lon- 
don about 1670. He engraved some portraits and 
other subjects in a poor style, after Lely, Vandyck, 
and other eminent artists, as follow : 

POttTRAITS. 

Charles II. seated ; the Head was afterwards effaced, 
and that of King William III. substituted in its place. 
James, Duke of York. Catherine, Queen of England ; 
Tv^hole-length ; after J. B. Carpers. William, Prince of 
Orange ; after Lely. Mary, Princess of Orange ; do. 1678. 
The Duchess of Portsmouth. Genei'iil Moncke. Charles, 
Duke of Richmond ; 1672, when a boy. Stephen Mon- 
teage. 1675. Bertram de Ashburnham, engraved for 
Guillim's Heraldry. A Merry- Andrew ; after Francis 
Hals ; inscribed Edward le Davis, Londini, sculp. 

SUBJECTS AFTER VARIOUS MASTERS. 

St. Cecilia, with Angels ; after Vandyck. An Ecce 
Homo ; after Caracci ; very scarce. A Holy Family ; 
after a basso-relievo by Algardi. 

DAWE, George, an English portrait painter, 
and a member of the Royal Academy, who went 
to Russia, and is said to have painted four hundred 
portraits of the chiefs and leaders of the Russian 
army, who with the assistance of the frosts and 
snow, vanquished Napoleon, to adorn a Gallery 



DAWE. 



252 



DECK. 



for the Emperor, at St. Petersburgh. He made 
much money by this expedition, but died soon after 
his return to London, in 1829. 

DAWE, Philip, an English mezzotint engraver 
of considerable eminence, who flourished about 
1770. lie engraved a number of portraits, and 
some subjects after Morland. 

DEAN, John, an English mezzotint engraver, 
who lived about the commencement of the present 
century. He studied under Valentine Green, and 
executed some portraits and other subjects in a 
good style, of vrhich the following arc the best : 

PORTHAITS. 

James, Earl of Abercorn ; after Gainsborough. James 
Caulfiekl, Earl of Chai'lemont ; after Livesy. George 
Vernon, Lord Vernon ; after Gainsborough. The Son of 
Sir Watkin Williams Wynne, when a child, as St. John ; 
after Reynolds. Elizabeth Hamilton, Countess of Derby ; 
after Romney. Lady Elizabeth Windham, when Lady 
Herbert, with her Son ; after Reynolds. Lady Gertrude 
Fitzpatrick ; do. 

SUBJECTS AFTER VARIOUS MASTERS. 

■ The Four Evangelists ; after Rubens and Jordaens. 
St. Anthony of Padua ; after Murillo. 

DEAN, Hugh, an Irish landscape painter of 
considerable promise, whom Lord Palmerston took 
under his patronage and sent to Rome. The im- 
propriety of his conduct lost him his noble patron, 
and blasted his fair prospects. He died in 1784. 

DEBLINCK, Daniel, a Dutch painter, who 
flourished about 1650. He was a good painter of 
perspective, and of architectural subjects, especially 
of the interiors and exteriors of churches. 

©DECKER. Cornelius, a German engraver 
of little note, who, according to Professor 
Christ, resided at Nuremberg, where he was much 
employed by the booksellers. He principally 
etched from his own designs. His best prints are 
those engraved for a work entitled Athanasii 
Kercheri Tiirris Babel. He usually marked his 
plates with a monogram of his initials. 

DECKER; Francis, a Dutch painter of great 
merit, whose history is unknown. He was proba- 
bly a pupil of Jacob Ruysdael, and flourished in 
the latter part of the 17th century, as his works 
are said to be found in almost every foreign collec- 
tion, bearing his signature, and executed in the 
natural and pleasing style of that charming mas- 
ter, without the servility of imitation. 

DECKER, Paul, a German painter, engraver, 
and architect, born at Nuremberg in 1677. He 
studied design and engraving under G. C. Eimart, 
and architecture under Andrew Sehluter. He es- 
tablished himself at Bareuth, where he executed 
many pictures for the palaces of Berlin. Tlicsc 
have been engraved by Hofer, Cor^-inus, and oth- 
ers, representing huntings, conversations, coimtrj^ 
amusements, naval battles, &c. As an engraver, 
Decker executed a number of plates after Sehluter 
and Terwcsten, but the work which does him most 
honor is his admirable treatise on architecture, en- 
titled Furstlicher Baumeister. oder Archiiectura 
civilis, published with sixty-four plates, in folio, 
at Augsburg, in 1711 In 171.6, three years after 
his death, two continuations to this work appear- 
ed, with seventy-four plates. lie left a manuscript, 
which was published at Liepsic in 1720, entitled, 
Architectura theorico practica. Decker was ar- 
chitect to the court at Bareuth, and died in 1713. 



He had a brother, who succeeded him in that of- 
fice, and who deserves a place among the distin- 
guished German painters. He executed a number 
of subjects from the Old and New Testaments, 
besides many pictures from profane history. His 
works are entirely in the German taste, and are 
principally landscapes with historical figures. All 
of his productions were engraved by the best art- 
ists of his time. 

DECKER, or DEKKER. There are no less 
than ten artists of this name mentioned by 
Bartschj and other writers, in admirable confusion, 
as to merit, and as to which one certain works are 
to be attributed. Their respective names are Adri- 
an. Charles, Coenraet, Cornelius, Custos, Fran9ois, 
Henry, Jan, Jacques, and Paul. They flourished 
in the 17th, and commencement of the 18th centu- 
ry. Adrian is said to have been a scholar of Al- 
bert van Everdingen, and to have painted land- 
scapes and marines in his manner. There are, in 
foreign collections, manj^ beautiful small landscapes 
ascribed to an artist of this name, executed in the 
style of Ru3^sdael, with great freedom of pencilling 
and harmonious coloring, which are highly es- 
teemed. Bryan says these pictures are often or- 
namented with figures and cattle by Adrian Ostade 
and Adrian Vandervelde, and that they were pro- 
bably executed by Adrian Decker, the scholar of 
Everdingen ; and Pilkington attributes them to 
Francis D. On the other hand, the Gej-man wri- 
ters variously attribute them to Coenraet, Charles, 
Cornelius, and Henry. Balkema ascribes them to 
Charles, and says that engravings by him have 
been discovered, signed by him, and dated Ilaerlem, 
1685. Brulliot and Heineken say that Charles 
was an engraver, and flourished about 1700. and 
call the painter Cornelius. Custos and Francis 
are said to have painted grotesque subjects ; Jan, 
interiors, conversations, and landscapes, in the 
style of Murant ; Paul, an architect and engraver. 

DECLOCIIE, N., a Flemish historical painter, 
who flourished at Liege about 1750. He painted^ 
sacred subjects in a reputal^le manner : two pic- 
tures of this kind in the church of St. Jacques in 
that city, are commended. He also painted battle 
pieces, in a spirited manner. 

DEFRANCE, Leonard, an eminent Flemish 
painter, born at Liege in 1735. He studied under 
J. B. Coders, and painted historical subjects of 
large and small dimensions with considerable re- 
putation. He seems to have been a universal ar- 
tist, for he painted landscapes, architecture, still- 
life, fruit, flowers, &c. He M^as appointed the first 
professor in the Academ}^ of the Fine Arts at Liege, 
established b}^ Prince Velbruck. He afterwards 
filled the same office in the school of the central 
department of Ourthe. He died in 1805. 

DEHNE, J. C, a German engraver, who flour- 
ished in the first part of the 18th century. He 
engraved a large numbei- of curious filates repre- 
senting or taking off the gods, goddesses and lieroes 
of antiquity in the most ludicro',is nianner. He 
also eng!-avcd several portraits for tiie work pub- 
lished at Nuremberg, entitled Icones Bihliopolarum 
el Tijpographoritm. 

DEI, Matteo, a Florentine artist of the 15th 
century, who was an eminent worker in niello, a 
species of engraved work, which led Maso Fin- 
iguerra to discover the art of copper-plate engraving. 



DEJO. 



253 



DELC. 



See Finiguerra. In 1801, a silver pax from the 
collection in the Ducal Gallery, supposed to have 
been executed b}'- this artist. A^as taken to pieces, 
to examine the workmanship. The embellish- 
ments in niello upon it represented the conversion 
of St. Paul, and on the niello being extracted, the 
engraved work was found not at all deep, and ink 
and press l^eing provided, tv/enty-iivc line proofs 
were struck from it, which were distributed among 
a few eminent artists and connoisseurs. One of 
them is fn the collection of Senator Bali Martelli 
at Florence. 

DEJOUX, an eminent French sculptor, born of 
obscure parents, at Vadans, near Arbois. in 1731. 
At the age of twenty-five, he went to Marseilles, 
and saw several of the works of Puget, which at 
once inspired him with a passion for sculpture. 
He immediately visited Paris, and entered the 
atelier of Guillaume Coustou. In 17G8, he gained 
the grand prize of the Royal Academy, and went 
to Rome with the king's pension, where he passed 
six years. On his return to Paris, he was ad- 
mitted to the Academy, and presented as his re- 
ception piece, a marble statue of St. Sebastian dy- 
ing, which gained him great reputation, and he 
was considered worthy to rank with the distin- 
guished sculptors of his age. He exhibited a num- 
ber of woi-ks at the Royal Academy, among which 
were a statue of Philopoomen ; a colossal statue 
of Achilles ; and in 1787, his admirable model 
group of Ajax carrying off Cassandra, which has 
been highl}^ praised for its correctness of design 
and grandeur of conception. In 1800, he execu- 
ted for the Gallery of the jMusee, called afterwards 
the jMusee Laocoon, two bas-reliefs, representing 
France accompanied by Victory, and Minerva dis- 
tributing crowns to the Arts and Sciences. He 
was made a chevalier of the Legion of Honor, and 
^ died in 1816. 

^ DELARAM, Francis, an English engraver, 
who lived about 1620. He engraved a great num- 
ber of portraits of eminent personages, and some 
other subjects, in a neat but formal style, which 
are only worthy of notice as early specimens of the 
art in England. The following are the principal : 

PORTRAITS. 

King Henry VIII. Queen Mary, holding a Paper. 
Queen Elizabeth. James I. ; as large as life. Henry, 
Prince of ^Vales, son of James I. Frances, Duchess of 
Kichiiiond and Lennox. 1623. Henry Percy, Earl of 
Northumberland. 1619. James Montagu, Bishop of 
Winche.ster. Henry Percy, Earl of Northumberland.— 
John, Bishop of Lincoln, with Angels playing on Musical 
Instruments, and six Latin verses ; a curious print. Sir 
Henry Mcmtagu, Chief Justice of the King's Bench. Sir 
Horatio Vere, with an armed Soldier on each side. John 
Abbott, Bishop of Salisbury. Sir William Segar, princi- 
pal Herald at Arms. Sir Thomas Gresham. holding a 
Globe. George Withers, poet; 1622 : Nee habeo, nee 
careo. nee euro. Frontispiece to Withers''s Preparation 
to the Psalter. Frontispiece to the Seven Golden Can- 
dlesticks. 1624i Frontispiece to Nero Ccesar, or Mon- 
archie depraved. 1627. 

I DELAULNE, Etienne, a reputable French en- 

graver, born at Orleans in 1520 ; died about 1595, 
He went to Strasburg, where he acquired a know- 
ledge of the art. Papillon says he engraved the 
wooden cuts for an edition of Petrarch, published 

I at Frankfort in 1572, but, this cannot be the case, as 

|i Delaulne never engraved on wood. He copied with 
good success, a number of the productions of Marc' 

; Antonio, but most of his works are from his own 



designs, and are distinguished by an elevated style, 
and great delicacy of execution, though his design 
is not very correct. The Abbe Marolles had 318 
prints by this artist, of which the following are 
the principal : Twelve, of the Months of the Year. 
Thirty, from Old Testament History. The Three 
Graces. The Brazen Serpent, after Jean Cousin. 
Leda, after Michael Angela. The copies after 
Marc' Antonio, are the Death of Goliah, the Mas- 
sacr-e of the Innocents, the Rape of the Sabines, 
the Works of Hercules, the Martyrdom of St. 
Felicitas, &c. 

DELCOUR, Jan Giles, a Flemish painter, born 
at Liege about 1630. He studied under Bertholet 
Flemael, with whom he made rapid progress. He 
went to Italy, where he resided several years, 
studying the best masters. He made some copies 
of Railaelle's paintings, which were considered ex- 
cellent. He settled in his native city, where he 
practised with reputation and success. It is said^ 
there are several fine original paintings in the 
churches at Leige. executed by him. He died 
there in 1694. 

DELEN, Dirk, or Theodore van, a Dutch 
painter, was born, according to Descamps, at 
Heusden, about 1635, and was a disciple of Fran- 
cis Hals, in whose style he practised for some 
years, and painted portraits and conversation 
pieces ; but his pi-evailing taste for architectural 
views and perspective, led him to direct his atten- 
tion to those branches, in which he became so em- 
inent that his works were admired throughout the 
Low Countries. His favorite subjects were the 
interiors of churches, grand temples, magnificent 
saloons, and galleries, filled with assemblages of 
people at prayers, or concerts, feasting, or dancing. 
His architecture is of a noble taste, and his figures 
are well designed, judiciously grouped, and highly 
finished. In some of his works the figures were 
inserted by Van Harp, or Wouwerman, which 
greatly enhanced their value. The best works of 
this master are allowed worthy of a place in the 
most distinguished collections in the old country. 
There is much uncertainty as to the exact time of 
the birth and death of this eminent painter, and 
different authors spell his name Delen, JJaelens, 
Dale7is, JJelins, and some confound him with Da- 
lens the landscape painter. 

DELFINO. Cav. Carlo, a French painter, who 
flourished at Turin about 1664. He painted por- 
traits and history, and was much employed at the 
court, and by the churches at Turin. There are 
a number of altar-pieces by him, in which Lanzi 
says he displays considerable merit, though his 
genius was more natural than ideal, and his works 
lack that fire which gives life to gestures and com- 
position, 3'et he was a lively and agreeable colorist. 

DELFINONE.Girolamo, a very eminent artist 
in pictorial embroidery, who flourished at Milan 
about 1495. He was much employed by the last 
Duke Sforza, for whom he executed several large 
pictures representing the chases of different ani- 
mals. This kind of work was in great request, 
at that time, for the ro3^al cabinets of Europe, and 
specimens of his work were sent to Philip V. of 
Spain and Henry VIII. of England. He also exe- 
cuted portraits and subjects from sacred history, 
in the same style of work, some very beautiful 
specimens of which, representing the history of 
the Virgin, he wrought for the Cardinal Baiosa. 



DSLF. 



254 



DELG. 



The art became hereditary in the family, and his 
son Scipione D., and his grand son, Marc' Antonio 
D., were equally skillful. The latter was living 
in'l591. 

DELFOS, A. a Dutch engraver, who, according 
to Basan, flourished about 1760. He executed 
several plates of landscapes with figures and ani- 
mals, after Bergliem ; and subjects after Teniers 
and other Dutch and Flemish masters, which are 
etched with considerable spirit. 

d\or l^^^^^'A James William, a Dutch 
pjj ^%} painter and engraver, born at Delft 
in 1580. He was the son of Jacob van Delft, a 
portrait painter of little celebrit^y, who instructed 
his son in his own profession. It does not appear 
that he acquired much distinction as a portrait 
painter, but bending his attention to engraving, 
he rose to eminence. He engraved many portraits 
after the celebrated ]\Iirevelt, whose daughter he 
had married. He engraved the portraits of Charles 
I. of England, and of Henrietta ]Maria, his queen, 
after Mytens, which, it would appear, gave so much 
satisfaction to the king, that he appointed him his 
engraver, as the title of Engraver to the King, 
appears on some of his plates, though Vertue as- 
serts that he never was in England. He handled 
the grater with uncommon freedom and clearness, 
and his heads are finel}'' drawn. The plates he 
executed in the earlier part of his life are more 
neatly finished than his later works, but they are 
by no means equal to them, for the latter are en- 
graved in a more bold and open style, producing 
a finer effect. His plates are sometimes signed 
with his name ; at others, with a monogram of his 
mitials J. G. D., the J. in the centre and the other 
letters reversed for James Gidklnms Delft. Some 
authors latinize his name and call him Delphius. 
The following are his best works : 

Charles I. of England ; after D. Mytens Henrietta 
Maria, his Queen ; do. George Villars, Duke of Bucking- 
ham ; after Mirevelt, Michael Mirevelt, painter ; after 
Vandyck. 

PORTRAITS AFTER MIREVELT. 

Jacob Cato, poet and philosopher. Hugo Grotius, Syn- 
dic of Rotterdam ; fine. Three fine Heads, of William, 
Maurice, and Henry, Princes of Orange. Gustavus Adol- 
phus. King of Sweden. Frederick, King of Bohemia, 
Elector Palatine. 1632. Elisabeth, Queen of Bohemia. 
1630. Wolfgang William, Duke of Bavaria. Gaspar, 
Count de Coligni. 1631. Louisa, Countess de Coligni. 1627. 
Elorentio, Count of Culenborch. 1627. Catherine, Count- 
ess of Culenborch. 1636. Philip William, Prince of Or- 
ange. 1628. Marc' Antonio de Dominis, Archbishop of 
Spalatro. Sir Dudley Carleton, Ambassador at the Hague. 
John Olden Barnevelt. 1617. Abraham vander Meer. 
Hans de Ries. Jacobus Triglandus, Professor in the Uni- 
versity of Leyden. 1636. Felix de Sambix, famous writing- 
master of Antwerp. 

DELFT, James William, son of the preceding 
artist, was born at Delft in 1619. Under the 
able instructions of his grandfather, Michael Mire- 
velt, he became an able painter. He also dis- 
tinguished himself as an engraver, having received 
instructions in tlus art from his father. A set of 
oval portraits of illustrious personages, without 
the name of painters or engraver, is generally at- 
tributed to him, among which are Louis XllL, 
king of France ; Philip III., king of Spain ; Philip 
IV. do. ; Vladislas V., king of Poland ; Frederick 
Ilenr}^, Prince of Orange, &c. 

DELGADOj Don Juan, a Spanish historical 



painter, who, according to Bermudez, flourished 
at Madrid about 1700. He was a good colorist, 
but was somewhat of a mannerist. A picture of 
St. Francis Xavier in the Hermitage of Notre 
Dame is commended as one of his best works. 

DELGADO, PiETRo, a Spanish painter, born 
at Orgaz, where he flourished about 1529. In the 
Hermitage of the Conception in that cit}'- are two 
large pictures, painted on panel, one of which re- 
presents the Virgin surrounded with saints, and 
the other, the Descent from the Cross, painted in 
the style of the 15th century. 

DeLiBERATOPvE, Niccolo, called Niccolo 
Folignate. xiccording to Lanzi. this painter was 
a native of Foligno, where he flourished from 1461 
to 1480. He obtained a great reputation in his 
time, though his style is extremely Gothic. The 
Abate G. Colucci, in riis Antichitd Picene. notices 
a picture in the church of St. Francis at Cagli, 
painted by this artist in conjunction with Pietro 
di Mazzaforti in 1461, for which they were paid 
115 golden ducats. Another picture is mentioned 
b}^ Lanzi in the church of S. \'enanzio at Cameri- 
no, representing the Crucifixion with several fig- 
ures painted on a golden ground, inscribed Opus 
Nicolai Fulginatus^ 1480. 

DELLO, Antonio, an Italian historical painter, 
born at Florence in 1603. Little is known of this 
artist, though he must have excelled in his pro- 
fession, for he was invited by the king of Spain 
to assist in the execution of the great works in the 
Escurial in 1G58. He died in Spain, and is said 
to have painted historical subjects of small size in 
an admirable manner. 

DELLO, FioRENTiNO, an old fresco painter of 
whom little is known. It is evident that he was 
an able artist, as he was one of the first to paint 
in fresco without retouching, by which means his 
pictures had a more uniform and brilliant tone of 
color. He was invited to the court of Spain, where 
he was well received and liberally rewarded, and 
he returned to Florence with honor and afliuence, 



ish painter born at St. Tron, near Antwerp, in 
•1581. He was from an ancient family, and i*e- 
ceived an education suitable to his birth. His 
inclination for the profession of a painter, induced 
his parents to place him with Rubens, under whose 
instructions he made excellent progress, and when 
that master went to Ital3^ he took 3"0ung Delmont 
with him. Here he studied with such assiduity, 
that he soon acquired great reputation as a his- 
torical painter. He was for a long time employed 
at the court of Nieubourg. and the Duke hon- 
ored him with the order of Knighthood. He also 
received some commissions from the king of Spain. 
The composition of his works is said to be grand, 
the design and drawing correct, -his penciling free 
and firm, and his coloring excellent, with an ad- 
mirable breadth of light and shadow. Rubens 
himself was profuse in his praise, and the approba- 
tion of that incomparable judge is sufficient to 
secure the approbation of the rest of the world. 
Some of his works are preserved in the churches 
and convents of Italy, and of his native country. 
Throe paintings b}^ him at Amsterdam, are espe- 
cially cojnmended ; the Transfiguration in the 
cathedral ; Christ bearing the Cross, in the church 
of the Jesuits ; and the xidoration of the Magi, in 



DELS. 



255 



DENA. 



tho Convent of the Fa9ons. He died at Antwerp 
in 1G34. 

DELPO, GiAcoMO, a Neapolitan painter, born 
in 1709. Little is known of him, though he is 
Baid to have excelled in architectural pieces and 
perspective, and to have painted historical subjects 
m a spirited and pleasing manner. He died at 
Naples in 1754. 

DELSENBAOH, John Adam, a German en- 
graver, who flourished at Vienna, at the commence- 
ment of the 18th century. He was chiefly em- 
ployed in engraving for the publishers of that city. 
He engraved some of the portraits in the work en- 
titled ^Icones Bibliopolarum et Typographorum, 
published at Nuremberg. He also engraved some 
of the plates for The History of Architecture, with 
Views of the most famous Buildings in the World, 
after designs by J. H. Fischers, published at Vien- 
na in 1721. 

DELVAUX, Laurent, a reputable Flemish 
sculptor, born at Ghent in 1695. After acquiring 
the elements of the art in his own country, he 
went to Italy, and resided many years at Rome, 
where he practised the art with good success, and 
received various tokens of encouragement and ap- 
probation from Popes Benedict XIII. and XIV. 
On his return to his native country, he was much 
employed, and executed many excellent works. 
The productions of his chisel were rather distin- 
guished for vigor than for grace ; and his general 
conceptions were more pleasing than the details. 
He received much patronage and support from 
Charles VI. of Spain, from Maria Theresa, and es- 
pecially from Prince Charles of Lorraine, governor 
general of the Low Countries, who was accus- 
tomed to visit his studio. Among other fine 
works, are his statue of Hercules, in the archdu- 
cal palace at Brussels ; several statues of David and 
others in the court chapel ; and the choir of the 
cathedral at Ghent. These works and others 
evince talents worthy of a distinguished rank in 
the 18th century. He died in 1778. 

DELVITO.NiccoLO, a Neapolitan painter, who, 
according to Dorainici, was born at Naples in 1435, 
and died there in 1496. He was a pupil of Anto- 
nio Solario, whose style he followed. He assist- 
ed that m.aster in the execution of some of his 
frescos at Naples, and painted portraits and his- 
tory with reputation. 

DEMARNE, Jean Louis, a Flemish painter, 
born at Brussels in 1744. He resided chiefly at 
Paris, where his merits gained him considerable 
eminence, and he was elected a member of the roy- 
al academy in that city. His works consist of 
landscapes with figures and animals, village fes- 
tivals, fairs, and subjects from low life. He also 
painted night scenes and battle pieces. He treat- 
ed his subjects in a very artistic and pleasing 
manner, and his coloring is rich and harmonious. 
His works are found in many foreign collections 
where they are highly esteemed. Some of them 
having found their way to St. Petersburgh. they 
were so much admired, that he received many or- 
ders from that city. He died at Paris in 1829. 

DEMETRIUS, a Greek sculptor, who flourished 
about B. c. 348. Quintilian, in comparing the 
works of Demetrius with those of Lysippus and 
Praxiteles, seems to reproach him for preferring 



truth of resemblance to the beauty of the art, and 
for not rendering the likeness in the most exqui- 
site manner. He executed a statue of Lysima- 
ches, who for sixty-four j^-ears was priestess of 
Minerva ; and also that of Sarmenes. and a re- 
markable statue of Minerva, which was called the 
Musician. 

DENANTO, Francesco, an Italian wood engra- 
ver, who flourished about 1530, and executed some 
prints in a very spirited and graceful style, among 
which is a large wooden cut, from his own design, 
representing Christ healing the Lame Man. It is 
inscribed Franciscus Denanto de Sahandia f. 

DENEYN, Peter, a Flemish painter, was bora 
in 1597 ; studied under Esias Vandervelde, in 
whose manner he painted landscapes and battle 
pieces, with considerable reputation. 

DENNEL, Louis, a French engraver, born at 
Abbeville in 1741. He studied under Beauvarlet, 
and engraved several plates after Italian and French 
masters, which are executed with neatness and de- 
licacy. The following prints are enumerated as 
worthy of notice : The Triumph of Galatea after 
Giordano ; Pygmalion enamoured of his Statue. 
The Triumph of Painting, and Painting Cherished 
by the Graces, after Lagrene. 

DENNER, Balthasar, a German painter, born 
at Hamburg in 1685, who acquired great repu- 
tation in his day. but whose only merit seems to 
have been in mechanical execution. He was prin- 
cipally employed by the princes of Germany, the 
king of Denmark, and George I. of England. He 
painted in miniature the portrait of Duke Chris- 
tian Augustus, Administrator of Holstein-Gottorp, 
with so much success, that it established his rep- 
utation at that court. The Duke also commis- 
sioned him to paint a large picture with the por- 
traits of himself and family, consisting of twenty- 
one persons, which he executed to the satisfaction 
of that prince. He introduced his own portrait 
into this picture. George I. invited him to Eng- 
land, but he succeeded so httle to the satisfaction 
of the king in painting the portraits of two of his 
favorite ladies, that he did not meet with that en- 
couragement he anticipated. His fame, however, 
rose very high on his exhibiting the portrait of an 
old woman, in which not only the hairs, the down, 
and the glassy humor of the eyes, but the pores 
of the skin, were represented with most scrupulous 
exactness. The Emperor Charles VI. gave him 
600 ducats for this picture, and commissioned him 
to paint the portrait of an old man to match it, for 
a like sum. These pictures were only sixteen in- 
ches high and fourteen wide. Denner painted a 
small picture of himself, wife and children, which 
he wrought up to the highest degree of circum- 
stantial detail, representing not only each particu- 
lar hair, but the pores of the skin. This faculty 
of imitation, and German patience, constituted the 
whole merit of this artist, and gained more ap- 
plause than custom in his day, and no lasting rep- 
utation. He died in straitened circumstances at 
Hamburg in 1747. 

DENON, Dominique Vivant, Baron de, a 
celebrated French connoisseur, and an artist of 
great merit, was born at Chalons in 1747. He 
was sent to Paris to study law, but preferred de- 
voting himself to the arts, and made some pro- 
gress in painting and engraving. He was hor.ored 



DENT. 



256 



DEQU. 



with court favor, on several occasions, being sent 
with an embassy to St. Petersburg, and after- 
wards to Switzerland, at which time he drew a 
portrait of Voltaire, (engraved by St. Aubin.) and 
the well-known picture, Le Dejeuner de Ferney. 
During seven years, he occupied a place in the 
French embassy at Naples. His residences in 
this city, and repeated visits to Sicily and Malta, 
gave him an opportunity of exercising his talent 
for drawing and engraving. Denon had the prin- 
cipal direction of the artists engaged in preparing 
the Abbe St. Non's Voyage Pitioresque de Naples 
et de Sidle, and the text was chiefly taken from 
his journal. This elegant work appeared at Paris 
in 1788. Denon was universally beloved for his 
good qualities, and admired for his talents and the 
purity of his taste. In 1787, ho was admitted to 
the Royal Academy, on which occasion he pre- 
sented his engraving of the Adoration of the Shep- 
herds, after Luca Giordano. During the reign 
of terror, he devoted himself to engraving at Paris, 
having acquired the favor of Robespierre ; but af- 
terwards perceiving the rising fortunes of Bona- 
parte, he united himself to him. He accompan- 
ied that general in his campaigns in Italy and 
Egypt, and Desaix to Upper Egypt. Here he ex- 
ecuted the admirable drawings for the great work 
on Egypt, which gained him an immense reputa- 
tion. On returning to Paris with Bonaparte, he 
was appointed general director of the Museums 
and of all the works of art executed in honor of 
the French successes — monuments, coins, the erec- 
tion of the triumphal pillar in the Place Vendome, 
&c. Napoleon was warmly attached to him, con- 
sulted him on all matters relative to the fine arts, 
and employed him in selecting those master-pieces 
of art in the conquered countries which were ta- 
ken to Paris as trophies. In 1815 he was com- 
pelled to witness the restoration of the spoils. 
After the abdication of the Emperor, he retained 
his office, but was deprived of it in 1815, in conse- 
quence of his having joined Napoleon on his re- 
turn from Elba. He retained, however, his place 
in the Institute, but lived in retirement ; and was 
engaged for several years in the preparation of en- 
gravings and lithographs of his splendid collection 
of works of art. He died in 1825. 

DENTONE, II. See Girolamo Curti. 

DENYS, James, a Flemish painter, born at 
Antwerp in 1647. According to Descamps, he 
first studied under Erasmus Quellinus the elder, 
but while young went to Italy, where he spent 
gome years in copying the works of the best mas- 
ters, particularly of Raffaelle, Giulio Romano, 
Guido, and Titian, and he formed his taste of de- 
sign and coloring from these celebrated masters. 
His merit recommended him to the patronage of 
the Duke of Mantua, in whose employment he re- 
mained some time. The Duke of Tuscany invited 
him to Florence, where he painted several histor- 
ical works for the Palazzo Pitti, the portraits of 
the Grand Duke, and the distinguished personages 
of iiis court, which gave his patron so much satis- 
faction that he liberally rewarded him, and present- 
ed him with a gold medal and chain, as a mark of 
his approbation and esteem. Denys now returned 
to ^Nlantua, to the service of his first patron, with 
whose permission he had gone to Florence, with a 
promise to return, and executed several grand his- 
torical paintings, and adorned the principal apart- 



ments of the ducal palace with works that entitled 
him to rank among the ablest artists of his time. 
Denys returned to his native city after an absence 
of fourteen years, where he was received with the 
most honorable distinction, but died soon after- 
wards in the prime of life, extremely regretted. 
Most of his works are in Italy ; but an Ecce Homo, 
which he executed after his return to Amsterdam, 
is considered as a masterl}?- work, approaching to 
Vandyck. His works are remarkable for correct- 
ness of design, and are executed with great force 
and freedom, with a coloring between the Roman 
and Venetian schools. 

DEQUEVAUVILLER, Francois, a French en- 
graver, born at Abbeville in 1745. He was a pu- 
pil of J. DauUe, and executed with the graver 
several landscapes and other subjects, after the 
French and Flemish masters, in a very neat and 
pleasing manner. The following are mentioned 
as worthy of notice : Noon, a Landscape with 
figures and cattle ; and Evening, do., after Berghem. 
A Landscape and cattle, after D. van Bergen. A 
View of Landeck ; A View on the Adige. after C. 
Brand. The Bathers, after C. Poelemberg. 

DERBY. Wm., an English painter, born at Bir- 
mingham in 1786. He studied under Joseph Bar- 
ber of that city ; and at the age of 22, he settled at 
London. The first work he executed was the 
Stafford Galley, which was a task of great labor, 
and deserves commendation. From this time till 
1825. he practised portrait and miniature painting 
in the metropolis with considerable success. In 
that year he was appointed to make the drawings for 
" Lodge's Portraits of Illustrious Persons," which 
office William Hilton, R. A., had resigned. This 
artist often made good copies in water colors, of 
oil paintings ; and he executed, in this style, for 
the Earl of Derby, portraits of the ancestors of 
the latter, from the time of Henry VIII. Derby 
died in 1847. 

DERSON, N., a French engraver of whom little 
is known. He was probably a native of Reims, 
in Champaigne. There is a fine print executed in 
the style of Oallot, representing the front of the 
church of Notre Dame at Reims, neatly etched 
and finished with the graver. Vvdth several spirited 
figures, inscribed N. Deson, Reim. fe. scidp. 1625. 

DERVET, Claude, a French painter and en- 
graver, born at Nancy, in Lorraine, in 1600. He 
studied under Claude Henriet, and became the in- 
timate friend of Callot, whose style of engraving 
he imitated. He engraved some plates after his own 
designs, and two others, said to be after Callot, viz : 
Charles IV., Duke of Lorraine on Horseback, with 
Military Attributes ; and Pallas on Horseback, 
wielding a Battle-axe, inscribed C. Dervet fee. ; 
1628. He also painted portraits and histoiy with 
reputation in his native city. 

DERYCK, Peter Cornelius, a Flemish paint- 
er, born at Delft in 1568, and studied under Hu- 
bert Jacobsz, usually called Grimani. After leav- 
ing this master he went to Italy, where he studied 
the different styles of the most eminent masters 
in Rome and Venice. He finally settled on that 
of Giacomo Bassano, instead of striking out into 
one of his own, and imitated that master w^ith 
such exactness, that his works have frequently 
been mistaken by good judges, for originals by 
. Bassano. He resided fifteen years in Italy, execu- 



DERY. 



257 



DESE. 



ting many excellent works, which were highly es- 
teemed. But his reputation would have been much 
greater had he not confined himself to servile im- 
itation, for his landscapes are said to have been 
admirably designed, his penciling firm and free, 
and his figures and animals very spirited. He 
died in 1G30. 

DERYKE, William, a Flemish painter, born 
at Antwerp in 1635. He was bred a jeweller, 
but quitted that business and bent his attention 
to painting, but did not arrive at any eminence, 
though he made some proficienc)^ in history and 
portraits. He went to England in the reign of 
King William III., and died at London in 1697. 

DESANI, PiETRO, an Italian painter, born at 
Bologna in 1595. According to Malvasia, he was 
a disciple of Lionello Spada, under whose able in- 
struction he made rapid progress, and rose to 
great distinction. He resided chiefly at Reggio, and 
there is scarcely a church, convent, or public edi- 
fice in that city that does not possess some of his 
works. Among the most esteemed are a picture 
of the Crucifixion, with the Virgin Mary, Mary 
Magdalene, and St. John, in the Chiesa del Corpo 
di Christo ; and St. Francis receiving the Stigma- 
ta, in the Church of the Padri Zoccolanti. The 
compositions of Desani are grand, and his design 
and drawing correct, but his coloring is cold and 
hard, which gives his pictures a disagreeable ef- 
fect. He died at Reggio in 1657. 

DESBARRES, Bonaventure, a French paint- 
er, born at Paris in 1700. He painted portraits 
and history with considerable reputation, but his 
works display the artificial taste of his time and 
country. 

DESCAMPS, Jean Baptiste. This painter 
was born at Dunkirk in 1714, and studied under 
his uncle Louis Coypel, after which he visited Pa- 
ris, and entered the school of Largilliere. He paint- 
ed there a number of good works, and subsequently 
settled at Rouen, where he established a school of 
design. His subjects were generally conversation 
pieces, and the pleasures of the French peasantr3^ 
When Louis XV. visited Havre, Descamps was em- 
ployed to design the principal events of his jour- 
ney, which were engraved by Le Bas. Descamps 
was also a Royal Academician, and has produced 
several admirable works on the arts, especially 
his Vies cles Peintres Flamands, Allemands et 
Hollandias^ 4 vols.. 8vo., Paris, 1753 — 63. He 
died in 1791. 

DESEINE, Louis Pierre, a French sculptor, 
born at Paris in 1750. It is not known that he had 
any particular instructor. In 1780 he gained the 
grand prize of the Royal Academy, and visited 
Rome with the royal pension. On his return, he 
was received into the Academy, in 1785, and he sub- 
sequently executed a group of Bacchus and Hebe, 
for the Chateau de Chantilly, which gained for him 
the appointment of sculptor to the prince of Conde. 
He took no part in the scenes of the Revolution, 
being strongly attached to the ancient regime^ and 
at the Restoration, he was commissioned to exe- 
cute the monument of the Duke d'Enghein, which 
was completed by Durand, his nephew. Deseine 
executed many excellent works, among which are 
the busts of Louis XVI. and XVIL, and Pius VII. ; 
two bas-rehefs of the Passion and Burial of Christ ; 
and the Mausoleum of Cardinal Belloy, in the church 



of Notre Dame, which is an admirable work. He 
also published several works on the arts. He died 
in 1822. 

DESENNE. Alexandre Joseph, a French de- 
signer, born at Paris in 1783. He was much em- 
ployed to execute designs for the various publi- 
cations of the day, especially for the works of 
Rousseau, Voltaire, Moliere, Cervantes, Walter 
Scott, etc. His designs were highly esteemed for 
their correctness, and excellent composition. He 
died in 1827. 

DESGODETZ, Antoine, a French professor 
of architecture, born in 1653. He set out for 
Rome in company with d'Aviler, but both were 
taken prisoners and carried to Tunis, where they 
remained sixteen months, after which they pro- 
ceeded to Rome, where Desgodetz remained three 
years. Under the auspices of Colbert, he here 
composed his work entitled hes Edifices Antiques 
de Rome^ which was published at Paris -in 1682, 
at the expense of the government, and is greatly 
praised for the correctness of the admeasurements. 
On his return to Paris, he was appointed royal 
architect, and in 1719 succeeded M. de la Hire as 
professor of architecture. He then commenced his 
lectures, which he continued till his death, which 
occurred in 1728. 

DESHAYS, Jean Baptiste, an eminent French 
painter, born at Rouen in 1729. He studied un- 
der Colin de Vermont, and subsequently under 
Restout, where he manifested excellent talents, 
and painted a fine picture of the wife of Potiphar, 
which gained him considerable reputation. In 
1751, he drew the grand prize of the academj^, af- 
ter which he was admitted to the school of Vanloo, 
where he remained three j^ears, and produced sev- 
eral fine woi'ks, among which was a picture of 
Lot and his Daughters. He then went to Rome, 
and remained there about three years. On his re- 
turn he was admitted to the Royal Academy in 
1758, on which occasion he painted as his recep- 
tion piece. Venus pouring over Hector's body a 
divine essence to guard him from corruption. 
This work gained him great reputation. Among 
his other productions are. -Jupiter and Antiope ; 
the Mart3^rdom of St. Andrew ; and the Death of 
St. Benedict. The latter has been highly praised 
for its vigor and great truth of expression. Des- 
hays would undoubtedly have attained a high 
rank among the artists of his day, had he not 
met with an accident, which occasioned his death, 
in 1765, at the age of 36. 

DESIDERIO, M., a French painter, who flour- 
ished at Naples, according to Dominici. about 1600. 
He was very celebrated for his grand perspective 
pieces and frescos, and was largely emploj^ed in 
decorating the churches. The same author says 
that Belisario Corenzio assisted him in his works, 
in which he painted the figures. 

DESJARDINS, called Martin vander Bo- 
gaert. This eminent sculptor was born at Breda, 
in Holland, in 1640. When quite young, he went 
to Paris, and was received into the academy at the 
age of 31, at which time he executed a group of 
Hercules crowned by Q\ovj. This work gained 
him considerable reputation, and he was soon ex- 
tensively employed. Among his numerous produc- 
tions were, six groups for the church of the Maza- 
rin College, representing the fathers of the Greek 



DESP. 



258 



DESP. 



and Roman Churches ; a statue of Diana for the park 
at Versailles ; a statue of Louis XIV. ; and the 
magnificent monument in the Place des Victoires. 
De^ardins also executed four bas-reliefs for the 
church of S. Catherine, representing the Four Car- 
dinal Virtues ; and a bronze statue of Vigilance for 
the churcli of the Capuchins. He acquired a large 
fortune b.y the practice of his art. and died at 



l^aris in 



1G9-1. 



DESPLACES, LoiTi.s, an eminent French en- 
graver, born at Paris in 1682. He engraved a 
considerable number of plates after the Italian 
and French masters which possess great merit. 
Some of them are executed in the style of Gerard 
Audran, and though he is not equal to that dis- 
tinguished artist, yet his drawing is correct and 
his works evince excellent taste, and have a fine 
effect. He worked Avith the point and the graver. 
His best prints are after Jouvenet The follow- 
ing are his principal works : 

SUBJECTS ENGRAVED FOR THE CBOZAT COLLECTION. 

Jupiter and Danne ; after Titian. Paul Veronese be- 
tween Virtue and Vice ; after P. Veronese. Wisdom ac- 
companying Hercules ; do. Christ washing the Feet of 
his Disciples ; after G. Mutiano. The Adoration of the 
Magi ; after GiuUo Romano. The Triumph of Titus 
and Vespasian ; do. The Crucifixion ; after An. Caracci. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Martyrdom of St. Peter ; after II Calabrese. The 
Purification; after Tintoretto. Diana and Acteon ; a/ifer 
Carlo Marattl The Rape of Helen ; after Guido. The 
Birth of Adonis ; after C. Cignani. The Roman Chari- 
ty; after he Brun. Hercules combating the Centaurs; 
do. Christ curing the Sick ; after Jour en et. The Eleva- 
tion of the Cross : do. The taking down from the Cross; 
do. St. Bruno praying ; do Venus prevailing on Vulcan 
to forge the Arms of iEneas ; do. The Triumph of Venus ; 
after Ant. Coypcl. Cnpid taking Refuge with Anacreon ; 
do. iEneas saving his Family from the Burning of Troy ; 
do. 

DESPO RTES. Fkancis, an eminent French paint- 
er of hunting pieces and animals, born at Cham- 
pigneul in 1661. According to D'Argenville, he 
was a scholar of Nicasius Bernaert, an eminent 
Flemish painter of similar subjects, who had stud- 
ied under the celebrated Snyders. Bernaert died 
before his pupil had made very great progress, 
but without any further instruction, he applied 
himself with great assiduity to the study of na- 
ture, not only to landscape and animals, but to the 
figure in the Academy. He rose to great eminence 
in the branch he made his particular study, and 
painted every variety of hunting scenes to the 
life — huntsmen, game and animals correctly drawn 
and full of characteristic expression. He was 
principally employed by Louis XIV., who appoint- 
ed him his painter, and gave him a pension. He 
executed a great many works for that monarch, 
representing every species of the chase, which 
adorned the royal paLiccs at Versailles, Fontain- 
bleau and IMeudon. In 1699 ho was elected a 
member of the Iloyal Academy at Paris. He af- 
terwards went to England in company with the 
French ambassador, the I)uc D'x\iimont, where 
he received considerable emplo^^ment from the no- 
bility. He also painted flowers and insects with 
equal truth. He died in Paris in 1743. 

DESPORTES, Claude Francis, son of the pre- 
ceding artist, born at Paris in 1696, and died in 1774, 
aged 78. He was instructed by his father, whose 
taste and style he followed with reputation, though 



he never equalled him. His animals are highly 
commended. 

DESPREZ, Jean Louis, a French painter and 
architect, born at Lyons about 1750. After prac- 
tising his profession in Lyons and Paris, he went 
to Italy, where he resided several years. AVhile 
there he executed part of the drawings for the 
Voyage Pittoresque de Naples^ published by the 
Abbe de St. Non. Gustavus III., king of Sweden, 
having seen Desprez at Rome, engaged him as his 
painter and architect. He accordingly went to 
Sweden, where he acquired a great reputation, and 
continued in that monarch's service all the rest 
of his days. He was a man of fine taste and tal- 
ents, with a fertile and brilliant imagination, and 
contributed greatly to a dissemination of correct 
principles and love of the fine arts in that coun- 
try. There are several of his works in the royal 
palace at Stockholm which are highly commended, 
particularl}^ the Battle of Sevenksiind. He died 
there in 1804. 

DESUBLEO, or SOBLEO, Michele. This 
artist was a native of Flanders, but lived most of 
his days in Italy. Lanzi says he was educated in 
the school of Guido Reni, whose style he followed 
very closely. He painted several pictures for the 
churches at Bologna, particularly in Jesu e Ma- 
ria, in the style of his master, with something of 
the force of Guercino. He afterwards went to Ven- 
ice, where he resided the rest of his life, and exe- 
cuted some works for the churches and con^rnts 
of that city. One of his finest pieces is a Ciuci- 
fixion in the church of the Carmelites. 

DETRIANUS, an eminent Roman architect, 
who flourished about a. d. 125, under the reign 
of the Emperor Adrian. He was greatly in fa- 
vor with that monarch, who confided to his man- 
agement the most important works that were done 
at Rome. Detrianus restored the Pantheon, which 
was erected by Agrippa, and still remains at Rome, 
but has undergone frequent alterations in the in- 
terior. The simplicity and elegance of its portico 
cannot be sufficiently commended ; the only fault 
ever attributed to it is the height of its pediment, 
the tympanum of which was once filled with a 
bronze bas-relief. It is in front octastyle, and 
consists in the whole of sixteen columns, the shafts 
each of a single block of granite. This portico is 
110 feet in extent; the bases and capitals are 
Corinthian, of white marble, as well as the en- 
tablature and pediment. Detrianus also restored 
a number of fine old works, among which were 
the Basilica of Neptune, the Forum of Augustus 
and the Baths of Agrippina. He erected a mag- 
nificent temple, dedicated to Trajan. His most 
important works, however, were the vast Mauso- 
leum of Adrian, and the bridge ^lius, now that 
of St. Angelo, which was ornamented with a high 
covering of brass, supported by forty-two columns, 
terminated at the top by as many statues. He re- 
moved the temple of the goddess Bona; also the 
bronze Colossus of Nero, 120 feet in height. In 
this difficult task he emploj'-ed twenty-four ele- 
phants, and effected it without changing the erect 
posture of the statue. His sovereign Adrian, erect- 
ed a vast number of edifices in Gaul, among which 
was the Basilica Plotina, the most superb build- 
ing in that country. He then went to England, 
and erected a wall from Eden in Cumberland to 
the Tyne, in Northumberland, a distance of eighty 



DEUT. 



259 



DEWI. 



miles, to defend the province from the incursions 
of the Caledonians. In ahnost every province of 
the empire, Adrian founded new cities, rebuilt 
those which had been destroj^ed, and repaired the 
more ancient. In these works, he must necessa- 
rily have employed other architects besides De- 
trianus, but their names have not come down to 
us. He finished and embellished the famous tem- 
ple of Jupiter Olympius, which was begun six 
centuries previous ; also a Pantheon, with a dip- 
teral portico, decastyle, of Corinthian columns, a 
triple porch, and double on the flanks. He re- 
built Jerusalem, and called it ^SJlia Capitolina, 
after the name of his family. He erected a thea- 
tre, and various heathen temples, using the stones 
of the Jewish temple, and placed a statue of Ju- 
piter on the spot where Christ rose from the dead ; 
also one of Venus on Mount Calvary. Finally, he 
returned to Tivoli, and erected the magnificent 
villa, which is still the admiration of travelers. 

DEUTSCH, Nicolas Manuel, an old Swiss 
painter and wood engraver, born at Berne, accord- 
ing to Sandrart, in 1484. His pictures are very 
rare ; his prints are more sought after than his 
pictures, and are only found in the richest cabinets. 
His most remarkable work was a set of six prints, 
representing the Wise and Foolish Virgins, very 
scarce, executed in a slight, free style. His works 
are marked with a monogram composed of the let- 
ters N. M. D., with a dagger underneath. Among 
other prints he has executed the following : A 
Figure of a Woman standing ; to the cipher he has 
added, von Bern; and a Composition of several 
female figures with the cipher, 1518. 



BERhV WO 



KO 



DEUTSCH, Ro- 
■DOLPHUS Manu- 
el, a Swiss wood engraver, probably son of the 
preceding. There are some wood cuts dated about 
1548, executed in a free and spirited manner, and 
possessing great merit, which Professor Christ 
attributes to this artist from the monogram com- 
posed of the letters R. M. H. D., with a dagger 
underneath. In this case, the H. designates his 
country, Helvetia, or Switzerland. Sometimes 
the initials H. H. are found on prints marked with 
the above monogram, which has given rise to the 
supposition that Hans Holbein executed some 
cuts in conjunction with this artist. M. Strutt 
mentions some prints of animals, and one with 
three figures conversing, in a landscape, marked 
as above mentioned. 

HE VIS, Arthur, an English painter, born at 
Preston, in Lincolnshire, about 1708, was a pupil 
of Peter Tillemans. According to Bryan, he set- 
tled in London, and painted portraits, mostly in 
small whole-lengths, and conversation-pieces with 
reputation. He died in 1787. 

DEVES, Arthur William, an English histori- 
cal painter, son of the preceding, was born in 1762, 
and received instructions in the art from his fa- 
ther. He made rapid progress, obtained a medal 
from the Royal Academy at an early age, and 
in his twentieth year was appointed draughts- 
man bj^ the East India Company, to accompanj^ 
Captain Wilson, in the Antelope, in a voyage round 
the world, which vessel was wrecked. He after- 
wards went to Bengal, where he painted the pic- 



ture of Lord Cornwallis receiving the two sons 
of Tippoo Saib as hostages. He returned to Eng- 
land in 1795, where he painted several popular Eng- 
lish subjects which gained him considerable rep- 
utation. The principal of these are : Bahington'^s 
Conspiracy. Archbishop Lang-ton showing the 
Magna Charta to the Barons. A Portrait of 
Lord Nelson. The Death of Nelson on hoard 
the Victory. The Death of the Princess Char- 
lotte. Stanley says that '" Devis, as a historical 
painter, v/as equal, if not superior, to any of his 
da}^, had circumstances conduced to bring his pow- 
ers into play." Yet Cunningham, in his Lives of 
Eminent British Artists, does not mention his 
name. He died in 1822. 

HE WIT. See Wit. 

DEWINT, P., an English painter in water col- 
ors, born in 1783. He was a distinguished mem- 
ber of the old Society of Painters in Water-colors; 
and for a period of forty years, his drawings form- 
ed one of the most attractive features in their ex- 
hibitions. His subjects were usually landscapes 
of a very simple character, which were treated in 
a free and masterly style, and with great faithful- 
ness. He died in 1849. 

DEYNS, Jacques, a Flemish painter, born at 
Antwerp in 1645. He studied under Erasmus 
QuelHnus, and afterwards visited Italy for im- 
provement, where he studied and copied the works 
of the great masters with assiduity, and attained 
such skill that he was employed to execute a num- 
ber of works for the edifices of Mantua and Flo- 
rence. His stjde was entirely Italian, and was 
much admired by that people. His compositions 
were ingenious and abundant, his design pure and 
correct, and his coloring warm and vigorous. He 
afterwards returned to his native country, where 
he died in 1704. 

DEYNUM, John Baptist van, a Flemish 
painter, born at Antwerp in 1620. He was em- 
inent as a painter of portraits in miniature. He 
also excelled in painting historical subjects and 
landscapes in water-colors, which he executed with 
so much neatness, judgment, and taste, and with 
such dehcacy of touch, exquisite finish, and har- 
monious coloring that they were greatly admired. 
The Emperor of Germany and the King of Spain 
patronized this artist, and bought most of his per- 
formances. He died at Antwerp in 1669. 

DEYSTER, Louis, a Flemish painter, born at 
Bruges in 1656, and studied under John Maes. 
He went to Italy, where he diligently studied the 
antique, and the best masters for six years, when 
he returned to his native country, and soon rose 
to distinction. He painted m?a\j pictures for the 
churches at Bruges, which distinguish him as one 
of the ablest artists of his time. His composi- 
tions are judicious, his design correct, and his col- 
oring glowing and transparent, with the carnations 
resembling A^andyck. His works partake more of 
the Italian, than the Flemish school. In the church 
of St. James at Bruges, are three fine pictures by 
this artist, the Crucifixion, the Resurrection, and 
the Death of the Virgin ; and in the church of S. 
Anne, the Martyrdom of St. Sebastian, which are 
highly esteemed. He died in 1711. 

DEYSTER, Anne, daughter of the preceding 
artist, born at Bruges in 1696. She possessed 
good talents, was instructed in the art by her fa- 



DIAM. 



260 



BIAS. 



ther. and acquired considerable reputation. She 
executed several works for the churches at Bru- 
ges, in the style of her father. She also painted 
landscapes with success. She died in 1746. 

DIAMANTTNI, Cav., Giuseppe, an Italian 
painter and engraver, born in Romagna in 16C0. 
It is not mentioned under whom he studied. He 
resided chiefly at Venice, where he rose to great 
distinction, both as a painter and engraver. He 
composed and painted with great facility. In the 
church of San Moise, is a picture by him, repre- 
senting the Adoration of the jMagi. admirably exe- 
cuted. He is better known by his engravings, of 
which he has left a considerable number, princi- 
pally etchings from his own designs, well com- 
posed and executed in a free and graceful manner. 
The following are his best prints, generally mark- 
ed Eques Diamantinus, in. f. 

The Holy Family, with St. John holding a Cross. Ha- 
gar in the Desert ; oval. The dead Christ, supported by 
an Angel. The Death of Dido ; octagon. Venus, Ceres, 
and Apollo. Mercurj'- and Flora. The Fall of Phaeton. 
Mercury and Argus ; octagon. Venus and Adonis ; do. 
Another Venus and Adonis ; different composition. Mars 
and Venus. Diana and Endymion. The Sacrifice of Iphi- 
genia. Boreas carrying off Orythia. Justice and Peace. 
Eight emblematical subjects of diflferent sizes. Also, the 
Marriage at Cana ; after P. Veronese, 

DIAMANTE, Fr A. an Italian painter, born at Pra- 
to, in Tuscany, about 1390. He studied under Filip- 
po Lippi, and followed his style. He became a 
monk, and afterwards painted man}'- works for the 
different churches of Florence, particularly several 
in the church del Carmine, which were much ad- 
mired. This artist may be placed among those 
who assisted in the establishment and improve- 
ment of modern art, and, as such, deserves great 
credit. He died about 1440. 

DIAMER. H. F., a Flemish engraver, who exe- 
cuted a series of plates of scriptural subjects in 
the style of Sebastian le Olerc, which have con- 
siderable merit. He also engraved some portraits 
after Yandyck and others, and flourished in the 
latter part of the 17th century. 

DIANA, Benedetto, an eminent Venetian paint- 
er, who, according to Ridolfi, flourished in the lat- 
ter part of the fifteenth, and first part of the six- 
teenth centuries. He excelled especially in archi- 
tectural pieces, and found considerable employ- 
ment in the churches of his native city. Lanzi 
says his altar-piece of St. Lucia, in the church of 
SS. Apostoli, and a picture in the college of the Li- 
mosina de' Confratelli di San Giovanni, approach 
the style of Giorgione. The latter was painted 
in competition Avith Cav, Gentile, and Giovanni 
Bellini. 

DIANA, Cristoforo, an Italian painter, born 
at San Vito, in the Friuli, in 1553. Lanzi makes 
honorable mention of him. but records no partic- 
ulars of his life. He studied under Pomponeo 
Amalteo, who gave him every advantage. At the 
age of twenty, he executed a portrait of Oristilla 
di Parstinago, which shows an excellent knowledge 
of his art. In the principal church at San Vito, 
is a picture by Diana, representing the Crucifixion, 
which is probably his master-piece, as no other 
work, of his is cited which combines such correct- 
ness of design and beauty of coloring. 

DIANTI, Gig. Francesco, was born at Fer- 
rara about 1510. and died in 1576. According to 



BarufFaldi. he studied under Benvenuto Tisio, in 
whose style he painted history and other subjects. 
He also mentions a fine altar-piece by him in the 
church of the Madonna at Fenara. His tomb is 
also in the same place. 

DIAS, Pedro Morante, a Spanish painter, 
who, according to Bermudez, flourished at Madrid 
about 1630. He painted small historical pictures 
in good taste; but birds, animals, and ornaments 
were his best subjects. He wrote a work on art, en- 
titled Instruccion de losprincipios, ^c, and he was 
denounced to the Inquisition as a sorcerer, because 
he wrote with both hands with equal facility. 

DIAZ, Diego Valentin, an eminent Spanish 
pamter, who lived at Valladolid, and died there in 
1660. He executed many works for the churches 
and convents of that city. He acquired conside- 
rable wealth, and founded the House of Mercy, or 
Hospital for Orphans, which is a tine edifice, and 
which he painted in per.spective in excellent style. 
He was buried in this building, and a monument 
erected to his memory. The portraits of himself 
and wife are placed above his tomb. 

DIBUTADES, the founder of the school of 
Sicyon, from which many of the most famous art- 
ists of antiquity issued. He is said to have been 
a potter, and to have invented the art of modeling. 
Sicyon has been styled the Mother of the Arts. 
Sicyon, Egina, Corinth, and Athens were the first 
seats of commerce and the arts in Greece. 

DIEPENBECK, Abraham van, an eminent 
Flemish painter, born at Bois-le-Duc in 1607. He 
seems first to have practised painting on glass, 
which he is said to have carried to a higher degree 
of perfection than any of his time. Some of his 
performances in this line are still admired in Am- 
sterdam, particularly the windows in the Cathe- 
dral, on which he painted the Works of Mercy ; 
and those of the church of the Dominicans, which 
are embellished vdth representations from the Life 
of St. Paul. He abandoned glass painting; devo- 
ted himself to designing and oil painting ; went to 
Italy in search of improvement ; and afterwards 
studied under Rubens, whose style he adopted. 
His genius was great, his invention fertile, and his 
execution rapid and spirited. He imitated Rubens 
closely in design and coloring, and he had an ex- 
cellent knowledge of chiaro-scuro. He settled in 
Amsterdam, where he found abundant employ- 
ment ; for such was the elegance of his design, and 
the rapidity of his execution, that the publishers 
continually applied to him to furnish designs for 
their works. His greatest productions in this line 
are the illustrations for the celebrated work, The 
Temple of the Mmes, in which he has discovered 
a readiness of invention, and a clear conception of 
his subjects, which are alone sufiicient to establish 
his reputation as one of the ablest artists of his 
country. This very emploj^ment, however, inj ured 
his reputation as a painter, by diverting too much 
of his attention to designing. He visited England 
during the reign of Charles I., and was employed 
by the Duke of Newcastle in making designs for 
a book on horsemanship. Diepenbeck executed a 
considerable number of paintings, which are highly 
esteemed, particularly the Assumption of the Vir- 
gin, in the church of the Carmelites at Antwerp. 
Descamps says there are several of his works in 
the church of the RecoUets in that city, equal to 



DIEP. 



261 



DIET. 



Vandyck, which doubtless is too high praise. 
Several pictures (said to be genuine) by this mas- 
ter, were brought to the United States some years 
ago, and sold as originals b}^ Rubens, for enormous 
prices. One of these, the Mocking of Christ, was 
certainly an admirable performance. 

DIEPRAAM, Abraham, a Flemish painter, 
born at the Hague in 1665. He studied succes- 
sively under Dirk Stoop and Henry Martin Rokes, 
called Zorg. He also attached himself to Adrian 
Brower, whose style of design, penciling, and 
coloring he adopted ; and. unfortunateh^, whose 
dissipated habits he contracted, which destroyed 
his prospects, blotted a name that might have been 
bright from the list of Flemish painters, and early 
ended his days in poverty and wretchedness — for 
he is said to have possessed extraordinary talents, 
and bid fair to have equalled Brower himself. 

DIES, Gaspard, a Portuguese painter, who 
flourished about 1525. He early manifested a 
strong inclination for art, and attracted the notice 
of Don Emanuel, who sent him to Rome for im- 
provement. Here the young artist entered the 
school of Michael Angelo, and executed many ex- 
cellent works, which were much admired at Rome. 
On his return to Portugal he painted, by order of 
the king, a number of excellent pictures for vari- 
ous churches and other edifices ; and, in 1534, he 
painted his celebrated picture of the Descent of the 
Holy Spirit, for the church of the Miseracordia. 
He died at Lisbon in 1571. 

DIEST, Adrian van, a Dutch painter, born 
at the Hague in 1655. He was instructed in the 
art by his father, w^ho was a marine painter. He 
went to England when he was seventeen years of 
age, where he was employed by Granville, Earl of 
Bath, for whom he painted several views on the 
coast of Devon and Cornwall. Pilkington says 
this artist possessed fine talents, which only want- 
ed the advantages of study abroad, and proper en- 
couragement, to have raised him to eminence. His 
best works have great clearness and transpajency 
in the coloring, an admirable perspective, fine skies, 
uncommon freedom in the clouds, and an agreeable 
harmony pervading the whole. As a proof of his 
merit, Lord Orford states that Sir Peter Lely 
had seven of his pictures in his collection. But. as 
he had a family to support, and met with little 
patronage, he was obliged to disregard fame, ac- 
cept of any commission he could get. and work ac- 
cordingly, so that there is a great disproportion in 
his works. He etched some landscapes from his 
own designs, which possess considerable merit. He 
died in London in 1704. 

DIETEL, Christopher and F. A., two engra- 
vers of Vienna, probably brothers, who were 
employed mostly by the book publishers. They 
engi-aved conjointly a set of plates representing 
the Fountains of Rome. 

DIETRICH, or DIETRICY, Christian Wil- 
liam Ernest, a German artist, born at Wiemar, 
in Saxony, in 1712. He learned the first principles 
of art from his father, an obscure artist, and after- 
wards studied under Alex. Thiele, a landscape paint- 
er. He made such progress, and exhibited such 
talents, that the king of Saxony sent him with 
a pension to Italy, where he resided about four 
years, chiefly at Rome and Venice, when he re- 
turned, and settled at Dresden. His studies 



abroad do not appear to have changed his style, 
which is purely German. His chief talent con- 
sisted in a fanciful imitation of Rembrandt, Os- 
tade, and Poelemburg ; nevertheless, he had much 
original talent. His pictures are usually of cabi- 
net size, well designed, and exquisitely finished, 
with a coloring peculiarly his own, in which he 
greatly excelled. He painted scriptural and histo- 
rical subjects and landscapes equally well. As an 
engraver, Dietrich acquired a great and well- 
deserved reputation. He has left about two 
hundred etchings from his own designs, which are 
executed in a very neat and spirited manner, and 
like his pictures, mostly in the style of other emi- 
nent masters. Some of his prints have become 
exceedingly scarce, in consequence of his custom 
of destroying the plates after taking oft' a certain 
number of impressions. The following are his 
principal prints : 

SACRED SUBJECTS. 

Lot and his Daughters ; scarce. Abraham going to sa- 
crifice Isaac, 1730 ; scarce. The same subject differently 
composed ; very scarce. The Nativity. 1740. St. Philip 
baptizing the Eunuch. The Adoration of the Shepherds ; 
in the style of Rembrandt. The Circumcision, The 
Flight into Egypt. Another of the same subject, differ- 
ently composed. The Repose in Egypt, 1732 ; scarce. 
Another Repose in Egypt. 1734. The Return from Egypt. 
Christ found disputing with the Doctors. 1731. Our Sav- 
iour healing the Sick. The Prodigal Son. The Resurrec- 
tion of Lazarus ; in the style of Rembrandt. The taking 
down from the Cross; in the same style; scarce. 1730. 
Another of the same subject differently treated ; in the 
style of Rembrandt. 1742. The Disciples at Emmaus ; 
extremely rare ; the plate destroyed. Christ appearing to 
Magdalene ; unfinished. 1760. The Predication of St. 
James. 1740. St. Jerome writing. 1731. 
various subjects. 

Famine and Pestilence, 1731 ; very scarce. Nero on 
his Death-bed, tormented by Furies and the Shade of his 
Mother; scarce. Jupiter and Antiope, 1735; one of his 
best etchings ; scarce. The Artist in his Painting Room. 
1730. The same subject with variations. 1732. The 
Quack Doctor ; in the style of Tenters. 1732. The Hun- 
garian Quack Doctor ; 1757. The ambulant Musicians ; 
in the style of Ostade. The picture by him is in the Na- 
tional Gallery. The Alchymist in his Laboratory ; in the 
style of Rembrandt., 1731 ; scarce. Twenty plates of 
Busts and Heads ; chiefly in the manner of Rembrandt. 
About Thirty-six plates of Landscapes, in the styles of 
Berghem, Breemberg, Claude Lorraine, Ruysdael, and 
Salvator Rosa, and in his own manner. 

DIETTERLIN, Wendelin, a German painter, 
and a writer on architecture, born at Strasburg 
about 1540. Jean Schefier, in his work entitled 
G7'aphices seu de arte Pigendi, p. 78. says that 
he w^as the discoverer of pastel painting ; but Fu- 
seli has attributed it to Wendelin Dieterich, whom 
he has confounded with Dietterlin. V. Wynn, a 
poet of Strasburg, celebrates his reputation in 
high terms. He published a treatise on Architec- 
ture at Strasburg, in 1593, containing 209 plates, 
and afterwards reprinted at Nuremberg. He died 
in 1599. 

DIETZSOH, John Cheistopher, a German 
painter and engraver, born at Nuremberg in 1710. 
He painted landscapes with reputation, and en- 
graved a number of plates in the manner of Wa- 
terloo, which, though more finished, are far infe- 
rior to that master in picturesque simplicity.— 
Among these are a set of sixteen landscapes, de- 
signed in the manners of Ruysdael and Waterloo, 
and executed in the style of Waterloo, and the 
portraits of Raffaelle and Correggio. 



DIET. 



262 



DION. 



DIETZSCH, John Albert, the brother of the 
preceding artist, was born at Nuremberg in 1720. 
He painted landscapes, battle-pieces, fruit, flowers, 
and portraits. He also engraved about twenty 
views in Nuremberg and its vicinity, published in 
1760. Some of his landscapes have been engraved 
by Prestel. 

DIEU, Antoine, a French painter, born at Pa- 
ris in 1662. He hurried his works so much that 
they are very defective, and deserve little commen- 
dation. Jean Arnold has engraved some of his 
pictures, the best of which is Louis XIV. seated on 
his Throne. Dieu died in 1727. 

DIMO, Giovanni, a Venetian painter, extolled 
by Vasari, who flourished at Venice about 1660. 
"Boschini also speaks of him as a reputable artist, 
hut Lanzi says he can not find any of his works, 
or commendations of him by other authors. 

DINARELLI, Giuliano, a Bolognese painter, 
who. according to Malvasia, was born in 1629. and 
died in 1671. He was a pupil of Guido. but does 
not seem to have gained much distinction." 

DINOCRATES, a Macedonian architect, who, 
according to Vitruvius, proposed to Alexander to 
cut Mount Athos into the form of a giant, holding 
in his right hand a city, and in his left a shell 
from which all the rivers collected in the mountain 
were to be discharged into the sea. This plan may 
be seen in Fischer's History of Architecture, xic- 
cording to Pliny, Dinocrates founded the city of 
Alexandria, which was a work of great importance. 
It is believed that he rebuilt the temple of Diana 
at Ephesus, and another at Alexandria, in honor 
of ArsinOe, sister and wife of Ptolemy Pliiladel- 
phus. The whole interior was to have been in- 
crusted v/ith loadstone, in order that an iron statue 
3f the princess might be suspended in the centre ; 
but at the death of Ptolemy the idea was aban- 
doned. Dinocrates also directed the obsequies of 
IlephEestion. which cost 12,000 talents. 

DINOxMENES, or DINOMEDES, a Greek 
sculptor, who flourished about B. C. 400. Pliny 
■nentions him as one of the celebrated artists of 
his day, and attributes to him a statue of Pytho- 
dorus, and that of Protesilas, the first of the 
Greeks who sprang upon the Trojan shore, where 
he was killed by Hector. He also executed the 
statues of Ino and Calisto, placed in the Acropolis 
at Athens ; and many other works, among Avhich 
the most remarkable was a statue of Besantides, 
queen of the Paeonians. 

DIOLAI. See Surchi. 

DIONYSIUS, a native of Rhegium, in Magna 
irrecia, now Italy. He was the first sculptor who 
executed a statue of Homer. He cast it in bronze, 
and from it were taken numerous portraits of the 
fathers in verse, which are mentioned by Pliny as 
being common in his time. Of these there still re- 
main two exquisite examples. 

DIONYSIUS, an eminent Greek sculptor, who 
flourished about B. C. 160. He was the son of 
Timarchides, and the brother of Polj'^cles. In 
concert with the latter, he executed a statue of Ju- 
no, which in the time of Pliny, was in the temple 
of that goddess at Rome ; also a statue of Jupiter 
in a neighboring temple. There was another 
sculptor by this name, who flourished at Argos, 
about B. C. 484, and executed many works in con- 



cert with Glaucus, some of which were sent U 
Elis. 

DIONYSIUS, a Greek painter, a native of Colo- 
phon, who flourished about B. 0. 412. He was a 
cotemporary and imitator of Polygnotus, whost 
style he followed with the utmost servility. There 
was another painter of this name, who flourished 
at Rome, and gained great reputation for his ad- 
mirable portraits. 

DIOSCORIDES, a famous ancient Greek en- 
graver on precious stones, who flourished in the 
time of Augustus. The arts in his time had fall- 
en much into decay in Greece, and Dioscorides es- 
tablished himself at Rome, where he attained great 
eminence in this branch. He engraved a portrait 
of the emperor Augustus, which excited great ad- 
miration, both for its purity of design, and the ex- 
quisite fineness of the work. He also engraved a 
portrait of that emperor on a seal. There is an 
amethj^st in France, on which is engraved a head 
of Solon, with the name of Dioscorides in Greek 
characters ; but the authenticity of this and many 
other works of a similar character may well be 
doubted, as imitators have arisen in modern times, 
whose skillful execution will deceive even the con- 
noisseur. 

DIOTISALVI, an old Itahan architect, who 
flourished about 1150. but whose birth-place is un- 
known. His principal work is the Baptistery of 
Pisa, which he commenced in 1152, and finished 
in eight years. This work is one hundred feet in 
diameter inside the walls, which are eight and a 
half feet thick. It is one hundred and seventy 
feet in height, and is constructed of marble, with 
two orders of Corinthian columns. 

DIPENOS and SCYLLIS, two very eminent 
Greek sculptors, were brothers, natives of the 
island of Crete, and flourished about b. c. 540. 
They are supposed by many writers to have been 
the sons of Dsedalus ; though Pausanias only men- 
tions them as his disciples. These artists were the 
first who employed marble in sculpture, and they 
are also distinguished as the founders of the cele- 
brated school of Sicj^on. Their works were all 
executed in concert. The people of Sicyon invited 
them to their city, to execute several statues of 
the gods ; but some disagreement arising, the art- 
ists left the works imperfect, and retired to Etoha. 
Soon after, however, the city experienced some 
great calamity, and, on consulting the oracle, the 
people were told that it was because the sculptors 
had not finished these statues. Bj dint of pres- 
ents and entreaties they were induced to return, 
and the statues were soon completed. They used 
Parian marble, and executed a large number of 
works for various cities, among which was a statue 
of Minerva at Clecne; the statues of Castor, Pol- 
lux, Anaxis, and Mnasinos, at Argos ; and a statue 
of Hercules, at Tirynthus. Their school produced 
many eminent disciples, among whom were Tec- 
teos and Angelion, who executed the statue of 
Apollo at Delos; Learchus of Rhegium, who 
made a statue of Jupiter in bronze, at Chalcis ; 
Doryclidas, Dontas, Theocles, and others. 

DIRIOKSEN, D.j a German engraver, who re- 
sided at Hamburg about 1690. He was chiefly 
employed by the publishers, and he engraved some 
portraits in a neat style, resembling that of Passe. 

DISCEPOLI, Giovanni Battista, an Italian 



DITM. 



263 



DOCE. 



•^ painter, born at Lugano in 1590^ and studied un- 
' der Camillo Procaccini. He is usually called il 
Zoppo di Lugano, from his having been a cripple. 
:; Lanzi saj^s he was an able designer, and one of 
i the best and chastest colorists of his time. There 
f are several of his works in the churches of Luga- 
i no, Como, and Milan, which are highly esteemed. 
j Lanzi particularly commends a picture represent- 
-;; ing Purgatory, in the church of S. Carlo at INIilan, 
: and an altar-piece in the church of S. Teresa at 

Como. 
;: DITMER, or DITMAR, a Flemish engraver, 

: who flourished in the latter part of the 16th cen- 
tury. Huber says he engraved some plates after 
.: Martin de Yos, and other Flemish masters, but he 
does not specify them. There is a print by him, 
after Michael Co.vcie, representing Christ in the 
Clouds, surrounded by Angels holding the Instru- 
ments of the Passion, with the Animals symboli- 
cal of the Four Evangelists, dated 1574 

DIXON, John, an eminent English mezzotint 
engraver, who executed a number of fine portraits 
of distinguished personages, after Sir Joshua Rey- 
nolds and other masters, among which the follow- 
ing are the best : 

After Reynolds. — Marj^, Duchess of Ancaster. Francis 
Conway, Earl of Hertford. ^Villiam, Duke of Leinster, 
1775. Henry Herbert, Earl of Pembroke. The Countess 
of Pembroke, -with her son, Lord Herbert. Charles Town- 
shend, Chancellor of the Exchequer. 

After other masters. — William Beckford, Lord Mayor 
of London ; ad vivum del. 1771. Henry, Duke of Buc- 
cleugh, with Lady Mary Scot fondling a Dog ; after Gains- 
borough. 1771. Mr. Garrick in the character of Richard 
III. ; after N. Dance. 

DIZIANI, Gasparo, a native of Belluno, who 
studied under Sebastiano Ricci, and became an emi- 
nent artist. He was noted for his skill and facility 
in executing large theatrical pictures and decora- 
tions, and found considerable eraplojanent in Italy 
and Germany in this brancli of the art. Lanzi 
says he was also an excellent composer of pictures 
for private ornament, some of which are to be 
found in the collections at Rovigo. He died in 
1667. 

DO, Giovanni, a Neapolitan painter of the 17th 
century, who studied under Spagnoletto, and fol- 
lowed his style. He .excelled particidarljMU color- 
ing, and produced many fine pictures, which re- 
semble the style of Spagnoletto more than the 
works of any other of his scholars, and the half- 
length portraits of Giovanni Do have been taken 
for the productions of that master. His best 
work is a Nativity, in the church della Penitentia, 
at Naples. 

DOBSON, William, an English painter, born 
at London in 1610. Pilkington says that he pos- 
sessed such talents and genius that he only want- 
ed proper encouragement, and the advantages of 
study abroad, to have raised him to the highest ex- 
cellence. Yet he had the patronage of Charles I., 
and the advantage of studying the magnificent col- 
lections which that monarch had gathered in his gal- 
leries at Whitehall and St. James, consistingof 1,387 
pictures, bj' the greatest masters of every school. 
[See Hand- Book of the PuMic Galleries of Art 
in and near London^ by Mrs. Jameson^ p. 193.) 
Vandyck, seeing some "pictures by this artist ex- 
posed for sale in a shop window, sought him out, 
and found him living in a miserable garret, re- 



lieved his necessities, and generously recommend- 
ed him to Charles I., who took him into his em- 
ployment, and, on the death of that great artist, 
appointed him his serjeant-painter, with a pension 
of £300 a year. He painted several portraits of 
the king, at Oxford ; also the portraits of the 
Prince of Wales, Prince Rupert, and several of 
the nobihty. King Charles complimented him 
with the title of the English Tintoretto. On the 
fall of that monarch, Dobson also fell, and died in 
a distressed situation in 1646. " Of the painters 
of his time, Dobson," says Bryan, " approached 
nearest to the excellence of Vandyck." Sir Joshua 
Rejmolds also speaks of him as one of the great- 
est artists England has produced. His touch was 
bold and free, his coloring warm and harmonious, 
and, though inferior to Vandyck in the graceful- 
ness of his figures, yet he gave a life, dignity, and 
truth to his portraits w^hich has seldom been sur- 
passed. His works are highly esteemed, and are 
to be found only in the public' galleries, and the 
collections of the nobility of England. Specimens 
may be seen in the superb galleries at Wilton, 
Belvoir, Chatsworth. Blenheim, Stowe, Windsor, 
Chiswick, Devonshire House, Castle Donnington, 
Althorpe, &c. 

DOCENO. See Cristoforo Gherardi. 

DOES, Anthony vander, a Dutch engraver, 
born at the Hague in 1610. He wrought with the 
graver, in the style of Paul Pontius, of whom he 
is supposed to have been a pupil ; and, though in- 
ferior to him, his works have considerable merit. 
He engraved some of the plates for the work en- 
titled, Portraits des homines illustres dans le 
VJme Steele, published at Amsterdam. He also 
engraved some portraits and other subjects, after 
the Flemish and Dutch masters, among which are 
the following : 

portraits. 
Ferdinand, Cardmal-Infant of Spain, Governor of the 
Low Countries, on Horseback ; in the background is the 
Battle of Nortlingen ; after A. Diepenbeck. Gerard 
Coch, Senator of Bremen ; after A. van Halle. George 
Wagner, Questor of Eslingen, Plenipotentiary at the Peace 
of Osnaburg ; do. The Marquis of Castello Eodrigo ; af- 
ter Rubens. Francis de Mello, on Horseback ; in the 
back-ground a Battle. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Magdalene ; after Vandyck. A Miracle wrought 
by St. Francis ; after A. Diepenbeck. The Virgin and 
Child; after Eras. Quellinus. The Holy Family ; do. 

DOES, Jacob vander. the Elder, was born at 
Amsterdam in 1623. He studied under Nicholas 
Moyaert, and at twenty-one jears of age went to 
Paris, and from thence proceeded to Italy, where 
he resided several 5'ears, mostly at Rome, study- 
ing with great assiduity the scenery and ruins near 
that city, and designing therefrom. The works of 
Peter van Laer being in great estimation in Italy, 
he attached himself to the style of that master 
with considerable success. He was diffident of his 
own abilities, and often displeased with his work 
after he had exerted his utmost ability, and unfor- 
tunately being of a morose, fretful, and melan- 
choly disposition, he imagined that his genius was 
ijot appreciated, and quarrelled with all his ac- 
quaintances, so that he was compelled to return to 
his own country. The only friend who did not quit 
him was Karef du Jardin ; yet these two painters 
were as opposite in their styles as they were in 



DOES. 



264 



DOES. 



disposition, for du Jardin loved to paint Nature 
in her loveliest and most cheerful mood, while 
vander Does robed her in melancholy shades. 
And this is the fault of his works ; for while they 
claim our admiration for the choice of his scenery, 
the correctness of the design of his figures and 
animals, especially his sheep and goats, which are 
touched with a precision and beauty of pencil that 
has hardly been surpassed, yet the coloring is too 
dark for the subjects, and as Descamps observes, 
seems to partake of the gloominess of his charac- 
ter. Yander Does, after his return to Holland, 
married a lady of fortune, and acquired considera- 
ble wealth by his profession. His pictures are 
said to have brought higher prices before than 
after his death, though some of them are works 
of extraordinarj^ merit. He also etched some 
small landscapes, with figures, cattle, and animals, 
in a free, masterly, and painter-like manner, which 
are highly esteemed. He died at Amsterdam, in 
1673. ■" 

DOES, Simon vander, the eldest son of the 
preceding artist, was born at Amsterdam in 1653. 
He was instructed in the art by his father, whose 
subjects, style, and manner of painting he adopt- 
ed, but with a more cheerful and pleasing tone of 
coloring. He went to Friesland, and from thence 
to England, where he resided about a year ; but, 
failing to find adequate employment, he returned 
to his own country, and settled at the Hague, 
where he met with abundant employment, — but 
he is said to have led a miserable life, being con- 
stantly involved in his circumstances and de- 
pressed in his spirits, by the extravagance of his 
wife, who squandered all he could earn. His land- 
scapes are extremely pleasing, and though the tone 
of his coloring rather inclines to yellow and brown, 
yet there is such correctness of de!^'p;n m his fig- 
ures, cattle, and animals, such freedom and ele- 
gance of touch, agreeable distances, pleasing forms 
of his trees, transparency and delicacy of coloring, 
and such a look of nature, that his works must 
alwaj^s be valuable. He also painted small por- 
traits and domestic subjects in the style of Gaspar 
Netscher. After the death of his wife, this artist 
lived a very retired life, and died poor in 1717. 
He also etched a few landscapes from his own de- 
signs, in a neat and spirited manner. 

DOES, Jacob vander, the Younger, the second 
son of the Elder, was born at Amsterdam in 1654. 
After receiving his first instruction in the art, he 
studied under Karel du Jardin till that master 
went to Rome, when he quit landscape painting, 
became the disciple of Gaspar Netscher, and after- 
wards sought improvement with Gerard de Lairesse, 
under whose instructions he made great proficiency 
in historical painting. He was very assiduous, and 
it IS said that when he had spent three or four 
weeks upon a picture, if he was not satisfied with 
his effort, he destroyed it, and commenced the 
same subject anew. M. de Graaf recommended 
him to the patronage of M. Hemskirk, ambassador 
from the States of Holland to the king of France, 
whom he ?.ccompanied to Paris, and while the most 
flattering prospects were before him, he died in the 
bloom of hfe in 1691. He had already produced 
some works which gained him great reputation at 
home, and it is supposed that had he lived to have 
executed the numerous commissions he had already 
received from the nobility at Paris, he would have 
won a distinguished reputation. 



DOESBIIRGH, J., a Dutch engraver, who flour- 
ished about 1680, and etched and finished with 
the graver some plates in a coarse and indifferent 
st3de, among which is a plate representing Admi- 
ral von Tromp engaging the English fleet, and sev- 
eral plates of Roman customs. 

DOFIN, Olivier, a French engraver, who, ac- 
cording to Basan, went to Ital}^, and settled at 
Bologna, where he died in 1693. He engraved 
some plates after Caracci, and other Italian mas- 
ters. 

DOLABELLA, Tommaso, an Italian painter, 
was born at Belluno, about 1579. According to 
Ridolfi, he was a pupil of Antonio Yasilacchi. He 
painted historical subjects with reputation, but he 
greatl}^ distinguished himself as a portrait paint- 
er, to which branch he mostly confined himself. 
He was invited to the court of Poland by Sigis- 
mond III., where he painted the portraits of the 
Royal Family, and the principal personages of the 
court, and was favored with the especial protection 
of that monarch, who appointed him his painter. 
The time of his death is not recorded. 

DOLCE, or DOLOI, Luzio, a native of Castel 
Durante, in the State of Urbino, flourished from 
1536 to 1589. Little is known of this artist, 
though his works are highly commended. He 
seems to have studied at Rome, where he resided 
for some time, and executed many excellent works. 
He was employed hj the Duke of Urbino to paint 
the Imperiale. Colucci saj^s that he painted many 
altar-pieces and other pictures for the churches in 
his native citj^ and other places. He also says 
that his grandfather, Bernardino D., and his fa- 
ther, Ottaviano D., both excelled in fresco painting. 

DOLCI, Carlo. This painter was born at 
Florence in 1616, and studied under Jacopo Vig- 
nali. Y^ithout the possession of much genius or 
invention, he acquired a great and lasting reputation, 
not for greatness of his design, brut for a class of 
subjects admirabl}^ adapted to his pencil, and which 
he treated in a stjde peculiarly his own. These 
were chiefly confined to heads of the Saviour 
and the Yirgin, and to j\Iadonnas. His works 
were distinguished for their appropriate composi- 
tion, and expression, for their pleasing coloring, 
improved b}^ a judicious m.anagement of the chiaro- 
scuro, which gives his figures a surprising relief, 
for the graceful air of his heads, and for their general 
harmony and exquisite finishing. The soft and 
tranquil expression of resignation or devotion in 
the patient sufferings of Christ, the plaintive sor- 
row of the Mater Dolorosa, the compunctious 
visitings of conscience in his Magdalens, are all 
treated with great delicac}^ and tenderness. His 
pencil was delicate, his touch inexpressibly neat, 
and his coloring transparent. He has been cen- 
sured for bestowing immense labor on his works, 
and for giving his carnations more of the ap- 
pearance of ivory than of flesh. In his manner of 
working, he was remarkably slow, and it is report- 
ed of him that his brain was affected on seeing Luca 
Giordano despatch more work in four or five hours 
than he could have done in as many months. He 
generally painted in small size, though he executed 
some works of the size of life, the principal of which 
are the St. Anthony in the Florentine Gallery, the 
Crucifixion in the collection of the ]\Iarchesi Ri- 
nuccini, and the St. Sebastian in the Palazzo Cor- 
sini, and the Four Evangelists in the Palace of the 



DOLE. 



265 



DOME. 



Marchesi Riccardi. There is a fine picture of 
Christ breaking bread in the collection of the IMar- 
quis of Exeter, and a Virgin, with flowers painted 
by IMario da Fiori, in the Pembroke collection at 
Wilton. His half-length figures of the Saviour, 
the Virgin and of Madonnas, are more numerous 
and are more admired. He had a daughter, named 
Agnes, whom he instructed in the art. and who 
painted very beautifully in the style of her father, 
and copied some of his works. Many of his small 
pictures were also repeated by his pupils, Loma 
and ]Mancini. The works of Carlo Doici have been 
so successfully copied and imitated that it is a well 
known fact that there are more pictures in the 
public and private collections of Europe, esteemed 
genuine by him, than he could have executed had 
he painted one every day of his hfe. He died in 
1686. 



m-3' 



'DOLENDO, Bartho- 
lomew, a Dutch en- 
graver, was born at Leyden about 1566. He is 
supposed, from his style, to have studied under 
Henry Goltzius. He worked entirely with the gra- 
ver in an open, clear style. He engraved some 
plates after his own designs, as well as after the 
Dutch and Italian masters, among which the fol- 
lowing are the best. He occasionally marked his 
prints with his name, but more frequently with 
one of his monograms : 

Jonas in the Sea, swallowed by the Whale ; circular. 
Jonas thrown back on the Sea-shore ; the same. A Dutch 
Merry-making ; after his own design. Adam and Eve 
taking the Forbidden Fruit ; after C. van Mander. Christ 
appearing to Magdalene ; B.'DoUndo,inv. et fee The 
Holy Family; after M. Coxcie. St. John preaching in 
the Wilderness." Pyramus and Thisbe ; after Crispin 
vanden Broeck. Jupiter and Ceres ; an allegorical sub- 
ject ; after B. Spranger. The Assumption of the Virgin. 

Bor.v^ ? r ^DOLENDOjZachary. This 
Z/ CLJJo.JhuL. artist was probabh^ a broth- 
er of the preceding, as they were both natives 
of Leyden, and cotemporaries. According to 
Huber, he was a pupil of James de Gheyn. He 
far surpassed Bartholomeu' D. in the execution 
of his plates and in the correctness of his design. 
Some of his portraits are not inferior to those of 
J. Wierix. His plates are usually marked with 
a monogram of his initials, as above. The fol- 
lowing are some of his best prints : 

William, Prince of Orange ; half-length, in Armor ; Z. 
Dolendo. 15S1. Andromeda chained to the Rock; finely 
drawn ; from his own design. Adam and Eve embracing, 
whilst E\^e receives the Apple from the Serpent ; after B. 
Spranger. The Continence of Scipio ; after A. Bloem- 
aert. The Virgin and Infant, with Two Angels ; after J. 
du Ghein. The Crucifixion; do. St. Martin dividing 
bis Cloak with two Beggars ; after Spranger. A set of 
small Plates of the Gods and Goddesses ; copied from the 
larger ones by Henry Goltzius. 

DOLIVAR, Juan, or John. This artist, ac- 
cording to Huber, was born at Saragossa in 1641. 
He studied engraving at Paris. He engraved some 
of the plates of ornamental and decorative subjects 
for BerciMs Ornaments. He also engraved some 
of the plates representing the conquests of Louis 
XIV. His works are compared to those of le 
Pautre and Chaveau, though inferior to both. 

DOLLE, William, an English engraver of little 
note, who flourished about 1630. and was chiefly 
employed by the booksellers. He engraved a few 



portraits of eminent personages in a poor, tasteless 
style. 

DOMENECH. Antonio, a Spanish painter, 
born at Valencia about 1550. According to Ber- 
mudez, he studied under Padre Nicolas Borras, 
whom he assisted in his works, and whose man- 
ner he so closely imitated, that his pictures are all 
attributed to that master, even in his native city 
of Valencia. 

DOMEXICHINO. The real name of this great 
artist was Domenjco Zampieri, but he is general- 
ly known b}^ the diminutive of his christian name, 
not only among Italian, but foreign authors. He 
was born at Bologna in 1581, and received his first 
instructions from Denis Calvart, but having been 
treated with severit}^ by that master, who had dis- 
covered him making a drawing after Annibale Ca- 
racci, contrary to his injunction, Domenico pre- 
vailed upon his father to remove him fiom the 
school of Calvart and place him in the Academy 
of the Caracci, where Guido and Albano were then 
students. The great talents of Domenichino did 
not develop themselves so early as in man}^ other 
painters. He w^as assiduous, thoughtful, and cir- 
cumspect, which his companions attributed to 
dullness, and they called him the Ox, but the in- 
telligent Annibale Caracci, who observed his facul- 
ties with more attention, testified of his abilities by 
saying to his pupils, "' this Ox will in time sur- 
pass you all, and be an honor to the art of paint- 
ing." It was the practice of this celebrated school 
to oflTer prizes to the pupils for the best drawings, 
to excite them to emulation, and every pupil was 
obliged to hand in his drawing at certain periods. 
It was not long after Domenichino entered this 
school before one of these occasions took place, 
and while his fellow students brought in their 
works with confidence, he timidly approached and 
presented his, which he gladly would have with- 
held. Lodovico Caracci, after having examined 
the whole, adjudged the prize to Domenichino. 
This triumph, instead of rendering him confident 
and presumptuous, only stimulated him to greater 
assiduity, and he pursued his studies with such 
patient and constant application, that he made 
such progress as to win the admiration of some of 
his cotemporaries and to beget the hatred of others. 
He contracted a friendship with Albano. and on 
leaving the school of the Caracci, they visited to- 
gether Parma, jModena, and Reggio, to contemplate 
the works of Correggio and Parraiggiano. On 
their return to Bologna, Albano went to Rome, 
whither Domenichino soon followed him and com- 
menced his bright career. The Cardinal Agucchi 
was the first who favored him with his patronage, 
doubtless through the recommendation of Anni- 
bale Caracci, and he employed him in his palace, 
and commissioned him to paint three pictures for 
the church of S, Onofria, representing subjects from 
the life of St. Jerome. At this time Annibale Ca- 
racci was engaged on his great works in the Far- 
nesian Gallery at Rome, and he employed Domen- 
ichino to assist him. and he executed a part of 
them from the cartoons of the Caracci. He also 
painted in the loggia in the garden, from his own de- 
signs, the Death of Adonis, in which he represented 
Venus springing from her Car to succor her un- 
fortunate Lover. The health of xinnibale Car- 
acci having been declining for a considerable time, 
and becoming daily more impaired, he was com* 



DOME. 



266 



DOME. 



pelled to refuse many commissions which were ! 
ofi'ered him, but he had the satisfaction of procu- | 
ring them for his scholars. It was thus that Guido 
and Domenichino were engaged by the Cardinal { 
Borghese to paint the celebrated frescos in S. Grego- i 
rio, of which the Flagellation of St. Andrea by | 
Domenichino is so justlj^ celebrated. The Cardi- 
nal Farnese next employed him to paint some 
frescos in a chapel in the Abbey of Grotto Ferrata, 
where he executed several subjects from the life 
of St. Nilo ; one of these, representing the cure of 
a demoniac, is considered one of the finest produc- 
tions at Rome. He was soon afterwards employed 
by the Cardinal Aldobrandini to decorate his villa 
at Frascati, where he executed in fresco ten pic- 
tures of the History of Apollo, which greatly in- 
creased his reputation. The next work of Dom- 
enichino was his famous Communion of St. Jerome, 
painted for the principal altar of S. Girolamo della 
Carita, a work which has immortalized his name. 
This admirable performance was accounted, next 
to the Transfiguration of Raflfaelle, the finest pic- 
ture in Rome. It was taken to Paris by Napo- 
leon, returned by the Allies, and it has since been 
copied in mosaic to preserve so grand a work, the 
original having suffered greatly from the effects of 
time. The reputation which Domenichino had 
acquired had excited the jealousy of some of his 
CO temporaries, and the applause bestowed upon 
this work, served only to increase it. Lanfranco 
in particular, one of his most inveterate enemies, 
asserted that the Communion of St. Jerome was 
little more than a copy of the same subject by 
Agostino Caracci, at the Certosa at Bologna, and 
he employed Perrier, one of his pupils, to make an 
etching from the picture by Agostino. But this 
stratagem, instead of confirming the plagiarism, 
discovered the calumny, as it made it evident that 
there was no resemblance between the two works 
than must necessarily result in two artists treat- 
ing the same subject, and that every essential part, 
and all that was admired was entirely his own. 
If it had been possible for modest merit to have 
repelled the shafts of slander, the work which he 
executed immediately afterwards in the Church 
of S. Lodovico, representing the life of St. Cecilia, 
would have silenced the attacks of envy and ma- 
levolence ; but they only tended to increase the 
alarm of his competitors, and excite them to re- 
doubled injustice and malignity. Disgusted with 
these continued cabals, Domenichino quitted Rome, 
and returned to Bologna, where he resided several 
years in the quiet practice of his profession, and 
executed some of his most admired works, particu- 
larly the Martyrdom of St. Agnes, for the church 
of that Saint, and the Madonna del Rosario, both 
of which were engraved by Gerard Audran, and 
taken to Paris and placed in the Louvre by order 
of Napoleon. The fame of Domenichino was now 
so well established that intrigue and malice could 
not suppress it, and Pope Gregory XV. invited him 
back to Rome, and appointed him principal painter 
and architect to the pontifical palace. The Car- 
dinal Montalto employed him to decorate the vault 
of S. Andrea della Valle, where he represented the 
Four Evangelists with angels in such a masterly 
manner that they were the admiration of Italy and 
the study of artists. He also obtained new triumphs 
in the chapel of Cardinal Bandini in the church 
of S. Sylvestro, in the Quirinal, where he paint- 
ed four pictures, queen Esther before Ahasuerus ; 



Judith with the Head of Holofernes ; David ipliiy- 
ing on the Harp before the Ark ; Solomon and his 
mother Bathsheba seated on a throne: esteemed 
among his finest works. Soon afterwards he 
painted the Four Cardinal Virtues in the church 
of S. Carlo Catenari, which were admirably en- 
graved by Gerard Audran. Domenichino was now 
invited to Naples to paint the chapel of St. Jan- 
uarius. He executed one of his most admired 
works in the Palazzo della Torre, representing the 
Dead Christ supported on the knees of the Virgin 
surrounded with Mary Magdalene and others. 
But he soon encountered such rancorous jealousy 
that his life was in danger from poison and the 
stiletto, and for safety he prepared his food with 
his own hands. His fife was also so embittered 
that he threw up his commissions, quitted Naples 
in disgust, and returned to Bologna, where he died 
in 1641, aged 60 years. 

Perhaps no artist has gone through the fiery or- 
deal of such severe criticism as Domenichino. and 
certainly no one has suffered less in his reputation. 
It had been foretold by his early friend and patron, 
the Cardinal Agucchi, that the great merits of 
Domenichino would not be appreciated till after 
his death, and while some more modern writers 
have not hesitated to declare that he possessed lit- 
tle genius, and that he was a copjnst and a man- 
nerist, the most judicious critics have done am- 
ple justice to the merits of this extraordinary 
painter. He is universally esteemed the most 
distinguished disciple of the school of the Caracci ; 
the Count Algarotti does not hesitate to rank him 
before those great masters, and Niccolo Poussin 
considered him the first painter after Rafiaelle. 
The distinguishing excellence of the works of Do- 
menichino is expression, in which he stands un- 
rivalled since the time of Rafiaelle. His design, 
like that of the great painter just named, is pure 
and grand, often approaching to the sublime ; his 
compositions are studied and appropriate, and his 
heads are full of grace and beaut3^ His forms are 
selected from the most perfect models, designed 
with great elegance and correctness, and impressed 
with a character peculiarly belonging to his works. 
The back grounds of his pictures are frequently 
enriched with noble architecture, in which he ex- 
celled. In fresco painting, few have equalled him. 
His oil paintings have been criticised as having an 
appearance of dryness, and wanting in effect, but 
some of his works, as the Communion of St. Je- 
rome, the Martyrdom of St. Agnes, St. Ceciha, 
&c., are executed with a full pencil, and are admi- 
rably colored. No better proof can be desired of 
his great merits than the fact that upwards of fifty 
of his works have been engraved by Gerard Au- 
dran, Raff"aelle ]Morghen, and other famous en- 
gravers, and that many of them have been fre- 
quently repeated. 

DOMENIQUE, Jean, a French painter, who 
went to Italy and studied under Claude Lorraine, 
whose style he successfull}'- imitated. He resided 
chiefly at Rome, where he died in 1684. 

DOMENIQUE, Alexis. This painter was 
called the Greek, from his birth-place in one of 
the islands of the Archipelago. He visited Venice 
at an early age, where he studied under Titian, 
and followed his style in so admirable a manner, 
that his pictures passed for the works of that mas- 
ter. He practised the art at Venice for several 



DOME. 



267 



DONA. 



years with great reputation, but for some unac- 
countable reason he changed his style. This soon 
greatly diminished his reputation, and he left Italy 
for Spain, and resided at Toledo, where he resumed 
the style of Titian, and painted a number of excel- 
lent works, especially some pictures in the church- 
es of Toledo, which are greatly admired. This 
artist is said to have practised sculpture and archi- 
tecture, as well as painting ; and he exercised the 
three arts in a church of Toledo, which was erect- 
ed from his designs, and which he entirely or- 
namented with paintings and sculptures. He es- 
tablished a successful academy, which produced 
several excellent scholars ; and he composed and 
published several works on the theories of the 
three arts. He died at Toledo in 1625. 

pOMER, DOOxMER, or DEMER, Jan. a Dutch 
painter, who flourished about 1680. He was so 
close an imitator of Rembrandt, that some of his 
landscapes have been attributed to that master. 
He is better known by his drawings, which are 
quite numerous in Holland, where they are high- 
ly esteemed for their simplicity, and truthfulness 
to nature. 

DOMINGO, Don Luts, a Spanish painter and 
sculptor, born at Valencia in 1718. According to 
Bermudez. he studied painting under Hippolito Ro- 
bira, and sculpture under Battista Balaguer. There 
are several of his pictures in the convent of the 
Dominicans at Valencia, executed in a reputable 
manner. There are also some of his works in 
sculpture in the churches of his native city, where 
he died in 1767. 

DOMINIOT, Bernardo, a Neapolitan painter, 
who flourished at Naples about 1740. He studied 
landscape painting under J. F. Beisch, who was 
then residing at Naples, whose style he adopted 
with success. He also painted conversation-pieces 
and scenes from low life. He is better known as 
the author of a work entitled Vite de Pittori^ 
Scidtori ed Architeiti Napolitani. in two vols., 
published at Naples in 1742 and 1743. 

DOMINICI, Francesco. This artist was a na- 
tive of Trevigi, where he died about 1530, aged 35. 
According to Ridolfi. he was an artist of promise, 
and executed in the dome of the great church of 
• his native city, a picture representing an eccle- 
siastical procession, which he highly commends. 
He also excelled in portraits. 

DONADO, Hernando Adrian, a Spanish paint- 
er, and a monk of Cordova, who flourished about 
1610. Pacheco mentions him as an eminent ar- 
tist, and Palomino asserts the same, citing a pic- 
ture of the Magdalene penitent, which he says 
might be ascribed to Titian. This work was exe- 
cuted for the convent of which Donado was a 
member, in which are most of his works, among 
others, a fine picture of the Crucifixion. He was 
rarely satisfied with his own productions, and his 
friends had frequently to interfere, to prevent him 
from destroying his works. He died, at an ad- 
vanced age, in 1630. 

DONALDSON, John, a Scotch painter, was 
born at Edinburgh in 1737. He only deserves 
mention as a warning to others, for though he 
possessed uncommon natural talents, he neglected 
to cultivate them, and instead of attending to his 
profession, fooled away his time in vague theories 
about politics, morals, and religion, and died in 



great poverty in London in 1801. In 1765, he ob- 
tained the premium from the Society for the en- 
couragement of the Arts, &c., for a drawing of the 
Tent of Darius, and also in 1768, for two pictures 
in enamel, representing the Death of Dido, and 
Hero and Leander. Pilkington says that he exe- 
cuted pen and ink sketches after the old engravers 
so accurately as to deceive the best judges, which 
is questionable, but he etched several plates of beg- 
gars after Rembrandt, which possess great merit. 

DONATELLO, or DONATO, an old Florentine 
sculptor, born in 1383. He studied under Lorenzo 
de Bicci, and was the first who forsook the stiff 
Gothic manner, endeavoring to restore to sculpture 
the grace and beauty of the antique. He was much 
patronized by Cosmo de Medicis and his son Pietro. 
The Venetian republic also gave him a commission 
to execute a bronze monument of her general, Eras- 
mo Narin, at Padua. Among his chief works were 
four statue on the bell-tower of the cathedral at 
Florence ; one of which, representing an old man 
in a senatorial dress, known by the name of Zuc- 
cone, he regarded as his master-piece. The statues 
of St. Peter. St. Mark, and St. George, made for 
the church of S. Marco in Orto, are also celebrated. 
He died in 1466. His brother, Simone. was also 
a sculptor of some eminence. Among other works, 
he executed one of the bronze gates of St. Peter's, 
and the tomb of Martin V., in the church of S. 
John of Lateran. at Rome. 

DONATO, Bertolo, a Venetian painter, was 
born in 1540, and died in 1601. He painted his- 
tory with considerable reputation. His subjects 
are well designed, his style correct, and his color- 
ing good. There are some of his works in the 
collections in his native city. 

DONATO, LuiGi, de', was a native of Como, 
and studied under Civerchio. Lanzi says there 
are some of his altar-pieces in his native oxtj^ ono 
of which is dated 1510. He was a reputable 
artist. 

DONATO, a Venetian painter, who, according 
to Ridolfi, flourished at Venice in 1459. He stud- 
ied under Jacobello del Fiore. He surpassed that 
master in point of style and coloring, and there 
are one or two of his altar-pieces still preserved 
at Venice. 

DONATO, Zend, a painter of Verona, who, ac- 
cordmg to Orlandi, flourished about the middle 
of the 16th century. Lanzi says there is a picture 
hj him in the church of S. Marino at Rimini, re- 
presenting the titular saint, painted with singu- 
lar care. It displays great simphcity of compo- 
sition, good design, and excellent coloring. He 
seems to have belonged to the golden period of 
art, and it is known that he left other works at 
the same place. 

DONCKER, Peter, a Flemish painter, was 
born at Gouda in 1612. He first studied under 
Jacob Jordaens, and then went to Italy, where he 
resided seven years, chiefly at Rome, carefully 
studying the antiques, and the works of the best 
masters. On his return to his native country he 
painted history with so much reputation that he 
found abundant employment from persons of the 
highest rank. He died in 1668. 

DONCKER, Jan, a Dutch painter, born at 
Gouda in 1610. He was prematurely cut off in 
early life j but his great abilities are attested by an 



BOND. 



268 



DONN. 



admirable picture by him in his native city, which 
is painted with so much freedom of pencil and vigor 
of coloring, that it looks more like the work of 
an experienced professor than that of a young 
artist. 

DONDOLI, Abate, a painter of the Roman 
school, who flourished at Spello in the beginning 
of the 18th century. According to Lanzi he was 
an able designer, but an indifferent colorist. 

DONDUCCI, Gig. Andrea, called il Mastel- 
LETTA, was born at Bologna in 1575, and died 
in 1C55. According to Malvasia, he possessed a 
natural genius for the art, but, unfortunately, be- 
ing impatient of the precepts of the Caracci, in 
whose school he studied, he neglected to ground 
himself well in the art, so that he was unequal to 
the task of designing the naked figure, and far 
from being capable of producing any masterly work. 
His method was therefore short, and wholly intent 
upon powerfully arresting the eye. He loaded his 
pictures with shadow in such a way as to conceal 
his outlines, and opposed to his shadows masses of 
light sufficiently strong, thus disguising his inac- 
curacies of design, and sacrificing the good opinion 
of judges to gratify the multitude by a display of 
apparent novelty. He however gained considerable 
reputation, and a good deal of patronage from the 
churches at Bologna and other cities. He also paint- 
ed many works for the public edifice? and palaces of 
the nobles. He painted landscapes in a better style, 
which are to be found in many galleries, where 
they are often attributed to Annibale Caracci, 
who, while at Rome_, strongly recommended Don- 
ducci to confine himself to this branch of the art, 
a course that was no way agreeable to him. When 
advanced in life, he was induced, by the applause 
bestowed on the clear open style then prevalent, 
to abandon his legitimate method for the new one, 
but meeting with a total failure, he entered him- 
self a friar, first among the Conventuals, and af- 
terwards with the Canons of S. Salvatore. Lanzi 
says this artist exerted a powerful influence on 
the sect of the Tenebrosi, (Shadowists) who after- 
wards spread themselves throughout Lombardy 
and the Venetian states. The following are among 
his principal works at Bologna : The Assumption 
and the Death of the Virgin in the Madonna della 
Grazie; the Adulteress before Christ, in S. Pro- 
colo ; the Last Supper, one of his best works, in 
the Refectory of the Franciscans ; the Flight into 
Egypt, with a fine landscape in the Mendicanti ; 
and St. Irene drawing the Arrow from the breast 
of St. Sebastian at the Celestini. 

DONGEN, DiONYSius van, a Dutch painter, 
was born at Dort in 1748. He first studied with 
J. Xavery at the Hague, and painted landscapes 
and cattle in the style of his master for some time. 
He afterwards went to Rotterdam, where he care- 
fully studied the works of Paul Potter, Cuyp, 
Wynants, and other masters, by which means he 
became an admirable painter in the line of those 
great masters, and his works are highly esteemed, 
not only in his own country, but in Germany, 
France and England. He died at Rotterdam in 
1819. 

DONI, Done, or Adone, an Italian painter, 
born at Assisi in 1472. He studied under Pietro 
Perugino, whom he greatly excelled. His style is 
nearly free of the dry, gothic manner of his mas- 



ter, and Lanzi says some of his portraits are sur- 
prising for their truth and vigor of coloring. 
There are some of his works in the Chiesa degli 
Angel i at Assisi. and a picture of the Last Judg- 
ment in the church of S. Francesco at Perugia. 

DONNABELLA. See Gentiloni. 

DONNE, W., a Dutch engraver of little note, 
who lived about 1680, and executed, among other 
prints, a plate representing Venus and Cupid, in a 
landscape, after JElzheimer. 

DONNER, Raphael, an Austrian sculptor, born 
about 1680. He visited Italy, where he studied 
the works of the great masters, and on his return 
to his native country he executed a number of ex- 
cellent works, which were especially distinguished 
for their correctness of design. His principal pro- 
ductions are a fountain in the new square at Vien- 
na, and the statue of Charles VI. at the villa Brei- 
tenfort. Donner died in 1740. 

DONNINI, GiROLAMO, was born at Correggio, 
in 1681. He studied successively under Francesco 
Stringa at Modena, Giuseppe Soli at Bologna, and 
Carlo Cignani at Forli. He was a good artist, and 
was considerably employed by the churches. — 
There is an altar-piece in the church of the Ma- 
donna de Galiera at Bologna, and there are some 
of his works in the churches at Turin, and in the 
Romagna. said not to be unworthy of the school 
of Cignani. His best works, however, are his 
easel pictures, which he executed in a masterly 
manner. He died in 1743. 

DONNING, Agnolo di, a Florentine fresco 
painter, who studied under Ghirlandaio. He was 
one of the Florentine painters chosen by Michael 
Angelo to assist him in the execution of his great 
works in the Sistine Chapel at Rome. 

DONOSO, Josef, an eminent Spanish painter, 
born at Consuegra in 1628. He studied the ele- 
ments of art under his father, a painter of some 
reputation, and then entered the school of Franois- 
co Fernandez at Madrid, after which he went to 
Rome. He remained there six j^ears, and on re- 
turning to Spain, he entered the school of Juan 
Carreno, called the Spanish Titian, from his excel- 
lence in coloring. Palomino says that Donoso at- 
tained great reputation, and that his works were 
considered equal to those of P. Veronese. Ee exe- 
cuted a large number of works for the churches 
and public edifices of Madrid, among which are 
those in the Convent de la Victoire. viz. ; The Can- 
onization of St. Peter of Alcantara ; six large 
pictures from the Life of St. Benedict; the Con- 
ception ; the Last Supper, etc. He also wrote an 
excellent treatise on architecture and perspective. 
He died in 1686. 

DONZELLI, Pietro and Polito, two Neapoli- 
tan painters and architects, brothers, who studied 
painting under Solario, and acquired a great repu- 
tation in their time. According to Zani, Polito 
was born in 1405, and died in 14G8 ] and Pietro in 
1412. and died in 1470 They distinguished them- 
selves by their paintings, both in oil and fi'esco, 
and they excelled in their architectural ornaments, 
and in painting friezes, trophies, and other subjects 
in chiaro-scuro, so as to give them the appearance 
of bassi-relievi, an art which it is supposed they 
were the first to practice, at least in Naples. They 
were much employed in decorating the churches 
and public edifices at Naples, and they painted sev- 



DONZ. 



269 



DOKL 



eral large pictures in the palace of Poggio Heale, 
for King Ferdinand. Pietro also excelled in por- 
traits ; and a few years ago, on the destruction of 
some of his works on a wall in the palace of the 
Dukes of Mantalona, some of his heads were re- 
moved with, the greatest care, and preserved for 
their excellence. They studied architecture under 
Giuliano da Majano. At the death of that mas- 
ter, they finished several edifices which had been 
commenced by him. They erected also a number 
of excellent works from their own designs, among 
which is the magnificent Oaraccioli palace of the 
princes of Santa Buono, in the square of S. Gio- 
vanni at Carbonara. 

DONZELLI, Pietro, a native of Mantua, who 
studied under Carlo Cignani, and followed his 
style. There is an altar-piece hy this artist in the 
Cathedral at Pescia, representing St. Carlo admin- 
istering to the sick of the plague, executed in the 
manner of his master. 

DOORNIK, Jan van, a Dutch painter, born 
at Leyden. who is said to have successfully imita- 
ted Wouwerman. He also painted history and 
portraits. Nothing definite is known of his life, 
or at what time he flourished. 

DOORT, P. VAN, a Dutch engraver of httle 
note, who wrought entirely with the graver, and 
was a poor imitator of Cornelius Cort. His best 
work is a plate after Bernardino Passari, repre- 
senting a Holj'- Family, with St. Elizabeth present- 
ing an apple to the infant Jesus. 

DORA, Joseph, a painter of Bavaria, was born 
in 1759. He studied in the galleries at Munich, 
Vienna, and Dusseldorf. He acquired great ce- 
lebrity for his wonderful talents as a copyist. He 
is said to have copied the works of Francis Mieris, 
Gerard Douw, Terburg, Teniers, Vander Werf, 
and other eminent Dutch and Flemish masters, 
with such accuracy of tint and touch as to deceive 
the best judges. 

DORBAY, FRAN901S DE, a reputable French 
architect, who flourished at Paris about 1670. He 
studied under Louis Levau, who employed him to 
superintend the erection of the College des Quatre 
Nations, and the Palace des Beaux Arts. After 
the death of the latter he was commissioned to 
erect, from the designs of Levau, the palaces of 
the Louvre and the Tuilleries. He designed a 
number of edifices, among which were the convent 
and church of the Capuchins, in the Place Ven- 
dome; the Church des Premontres a la Croix 
Rouge ; and the Hotel des Comediens Fran9ais. 
He died in 1697. 

DORDONI, Antonio, an Italian engraver on 
precious stones, born at Bussetto, in the State of 
Parma, in 1528, and died at Rome in 1584. His 
works are very scarce, and highly esteemed for 
their exquisite beauty and finish. The finest are 
in the Duke of Devonshire's collection. 

DORIGNY, Michel, a French painter and en- 
graver, was born at St. Quintin in 1617. He stud- 
ied under Simon Vouet, whose daughter he mar- 
ried. He painted history with reputation, in the 
style of Vouet, and there are some of his works 
in the castle of Vincennes. He was, however, 
more celebrated as an engraver, to which he after- 
wards mostly directed his attention. He engraved 
a considerable number of plates, some of them 



from his own designs, but mostly after Vouet. 
They are etched in a free, bold, and spirited style, 
but there is a degree of harshness in the efiect of 
his prints, from a heavy darkness in the shadows, 
which renders them disagreeable to the eye. He 
died at Paris in 1665. The following are his prin- 
cipal plates : 

The Holy Family ; dated in 1649. The Nativity. The 
Adoration of the Magi ; in four sheets ; in the manner of 
a frieze. Jupiter giving Apollo the conduct of the Chariot 
of the Sun. Apollo killing the Python. Peace descend- 
ing on the Earth. Venus at her Toilet. Venus, Cupid, 
and Hope, plucking the Feathers from the Wings of Time. 
Mercury and the Graces. The Rape of Europa. A set of 
six Bacchanalian subjects ; from his own designs. 

DORIGNY, Louis, an eminent French painter 
and engraver, the son of the preceding, was born 
at Paris in 1654. Having lost his father at the 
age of ten years, he entered the school of Charles 
le Brun. At the age of seventeen, he competed 
for the grand prize of the Royal Academy ; but, 
as he obtained only the second, he refused to ac- 
cept the medal, and immediately went to Rome at 
his own expense. After remaining there four years, 
he executed the grand altar-piece for the Feuillants 
de Foligno. which gained him great reputation, and 
plenty of employment. He afterwards visited 
Venice, where he remained ten years. In 1704 he 
returned to Paris, and would have been chosen an 
Academician, had it not been for the intrigues of 
Hardouin Mansard, which he did out of revenge 
for an engraving executed by the father of Do- 
rigny, which satirized Fran9ois Mansard. He 
immediately returned to Italy, and in 1711 was 
invited to Vienna, where he decorated the palace 
of Prince Eugene with many excellent works. 
The city of Prague also possesses many of his 
productions. But the work which does him most 
honor, is the cupola of the Cathedral at Trent, 
which he painted in fresco. As an engraver, he 
executed about forty plates, etched with great free- 
dom and spirit. The following are the principal : 

A set of thirty-two Plates, with the Title ; from his own 
designs, engraved for an Italian edition of the Pensees 
Ckretiennes, by Pere Bouhours. Six subjects from Ovid's 
Metamorphoses. Five Emblems of Horace. A View of 
the Amphitheatre at Verona. The Descent of the Saracens 
at the Port of Ostia ; after Rafaelle. 

DORIGNY, Sir Nicolas. This celebrated 
engraver was the younger son of Michel Do- 
rigny, and was born at Paris in 1657. He was 
educated for the bar, and practised that profession 
till he was thirty years of age, when he turned his 
attention to the arts, and went to Italy, where he 
resided upwards of twenty years. He first at- 
tempted painting, but by the advice of his bro- 
ther, he soon directed his attention to engraving. 
His earlier works are executed with the point, but 
in his later productions he united the point and 
graver, and taking Gerard Audran for his model, 
he obtained a great celebrity for the beauty and 
excellence of his works. The French justly esteem 
him as one of their greatest engravers ; and, al- 
though he does not equal Gerard Audran m the 
purity of his drawing, or in the picturesque effects 
of his lights and shadows, his prints will always 
be esteemed, not only for their merit as engravings, 
but for the admirable subjects he selected. In 
1711, he was invited to England, to engrave the 
cartoons of Raffaelle, which occupied him eight 
years. He finished them in 1719, on which occa- 
sion King George I. conferred on him the honor 



DOSL 



270 



DOSS. 



of knighthood. He returned to Paris in 1724, 
where he died in 1746, at the great age of 89 years. 
The following are his most capital prints : 

Nine plates of the Seven Planets, and the Creation of 
the Sun and Moon ; after the paintings by Rqffaelle, in 
the Chigi chapel, in la Madonna del Popolo. The Car- 
toons ; after Rajfaelh ; in eight plates, including the title. 
Twelve, of the History of Cupid and Pysche, and the Tri- 
umph of Galatea, including the title ; after the paintings 
from the designs of Rafaelle in the little Farnesian Galle- 
ry. The Transfiguration ; after Raffaelle. The taking 
down from the Cross ; after Daniello da Volterra. St. 
Peter and St. John healing the Lame Man at the Gate of 
the Temple ; after L Cigoli. The Mart3^rdom of St. Se- 
bastian ; after Doinenichlno. St. Petronilla ; ajter Gu- 
ercino. St. Francis kneeling before the Virgin and In- 
fant ; after Caracci. St. Catherine in Meditation ; after 
Carlo Cignani. St. Peter walking on the Sea ; after 
Lanfranco. The Virgin and Infant, with St. Charles 
Borromeo and St. Liborius ; after B. Lamherti. The 
Trinity ; from the picture by Guido Reni in the church of 
la Trinita de Monti. The Adoration of the Magi ; after 
Carlo Maratti. The Birth of the Virgin ; do. The Vir- 
gin and Infant, with St, Charles and St. Ignatius ; do. 
Eight plates of the Paintings in the Cupola of St. Agnes ; 
after Ciro Ferri. 

DOSI, GiROLAMO, a distinguished Italian ar- 
chitect, born at Carpi in 1695. He went to Rome 
at the age of fifteen, and entered the school of 
Fontana, where he made rapid progress, and was 
greatly esteemed by his master. He soon attained 
distinction, and was appointed state architect by 
Clement XII. That pontiff and his successors 
employed Dosi to execute a number of important 
works, which attest his talents and pure taste in 
architecture. Among them are the Villa Cibo ; 
the Botanical Garden at Rome ; the chateau of 
Civita Castellana ; the cathedrals of Albano and 
Velletri ; and the Basilica of S. Maria Maggiore, 
which is a very difficult work. In the latter part 
of his life he left Rome, and resided at Carpi, where 
he died in 1775. There are many of his architec- 
tural designs in that city, remarkable for their 
purity and delicacy of execution. 

DOSIO, Gig. Antonio, a reputable Italian 
sculptor and architect, born at Florence in 1533. 
At the age of fifteen he visited Rome, where he 
first learned the business of a goldsmith, and then 
turned his attention to sculpture, which he studied 
in the school of Raffaelle de Montelupo. He was 
commissioned to restore a number of ancient stat- 
ues discovered in the Villa Belvidere, which he 
executed in an admirable manner. Dosio also pro- 
duced various works in stucco and in marble, be- 
sides a number of sepulchres for noted personages, 
adorned with fine statues. His works gained him 
an extended reputation, and he deserves an honor- 
able rank among the sculptors of the 16th centu- 
ry. He also studied architecture, and erected 
several fine edifices at Rome and elsewhere, be- 
sides the noble chapel of Santa Croce at Florence, 
for the Niccolini family, which is of the Corin- 
thian order, and rich in statues. He also erected 
the superb palace of the archbishop of Florence. 
The time of his death is not recorded. 

DOSSI, Dosso, and Giovanni Bat- 
'tista. These painters were born in 
the vicinity of Ferrara, near the close of the 15th 
century. According to Baruffaldi, Dosso was 
born about 1490, but Zani places his birth about 
1474, and quotes from Pungilione, to prove that he 
painted as early as 1512, which might as well have 



happened had he been born in 1490. Dosso stud- 
ied under Lorenzo Costa, and on leaving that mas- 
ter, he and his brother Gio. Battista went to Rome 
and Venice, in which cities they passed eleven 
years, diligently studying the works of the best 
masters. They thus formed a style of their own, 
distinguished for originality of design, and great 
harmony of coloring. They appear to have 
wrought mostly in conjunction, though, according 
to some authors, their fortes were very different. 
Dosso is said to have excelled in figures, in which 
Gio. Battista was less successful, but he distin- 
guished himself for his landscapes, in which Lo- 
mazzo considers him little interior to Gaudenzio, 
Pordenone, and even to Titian. These brothers 
were much employed by Alfonso, Duke of Fer- 
rara, and b3rhis successor. Ercole II. They paint- 
ed the cartoons for the tapestry in the dome of the 
cathedral at Ferrara. and for those in the church 
of S. Francesco, and in the ducal palace at Mode- 
na. There are several of the works of Dosso 
Dossi in the churches of Ferrara. the principal of 
which were his celebrated picture of St. John in 
the Isle of Patmos, in the church of S. Maria del 
Vado ; a fine picture of the Crucifixion, in S. 
Agostino ; and a picture of the Virgin and Infant, 
with St. John and St. Augustine, in the Certosa. 
His best preserved works are in the Dresden Gal- 
lery, of which Lanzi particularly commends one 
representing the Four Doctors of the Church. 
Dosso also excelled in portraits, and he painted 
the portrait of the poet Ariosto, who has immor- 
talized the names of the Dossi in his verse, by 
enrolling them with Leonardo da Vinci, Michael 
Angelo, Raffaelle, and Titian. The Dossi made 
designs for Ariosto, to embellish his Orlando Fu- 
rioso. Dosso died at Ferrara in 1560. The time 
of his brother's birth or death is not recorded, and 
authors seem to attribute all the works to the for- 
mer, whereas it is highly probable that, while 
Dosso painted the figures, Gio. Battista painted 
the landscapes and other accessories. At all 
events, it is certain that they painted much in con- 
junction, and that Gio. Battista excelled in land- 
scapes, the figures in which were painted by Dosso. 
DOSSIER, MiCHiiL, a French engraver, was 
born at Paris in 1684. He executed some plates 
entirely with the graver, in a neat style, somewhat 
resembling that of P. Drevet. They are mostly 
after the French masters, of which the following 
are the principal : 

The Portrait of John Baptist Colbert, Marquis de Torci ; 
after Rigaud. 1711. The Marriage of the Virgin; after 
jouvenet. Christ curing the Blind at Jericho ; after N. 
Colombel. Christ driving the Money-changers from the 
Temple ; do. Mary Magdalene washing the Feet of 
Christ ; do. Vertumnus and Pomona ; after Rigaud. 

DOTTO, ViNCENZio. a nobleman of Padua, 
who lived about 1610, and had an excellent know- 
ledge of architecture. In 1607, he designed the 
beautiful staircase in the Capitano palace, at Pa- 
dua, which is ornamented with Ionic columns, 
supporting the roof, and the small cupolas of the 
landings. Its construction is so much admired, 
that it has even been attributed to Palladio, Dotto 
also designed the Monte di Pieta, contiguous to 
the above named palace, the gate of which has 
four Doric columns, and above them the same 
number of composite columns. 

DOUDYNS, WiLHELM, a Dutch painter, was 
born at the Hague in 1630. He was of a distin- 



DOUF. 



271 



DOUW. 



guislied family, and first followed the art for his 
amusement. He learned the rudiments from Al- 
exander Petit, an obscure artist, and then went to 
Italy, where he remained twelve years, carefully 
studying the antique and the works of the great 
masters, by which he acquired a correctness of 
design and an elevation of taste which distinguish 
his works. On his return to the Hague he was 
warmly received, and commissioned to execute 
several grand works in fresco, in which he excelled. 
He had a perfect knowledge of foreshortening, 
which enabled him to paint domes and ceilings 
with an admirable effect. Some of his works of 
this description are in the Town House at the 
Hague. He also painted easel pictures of histori- 
cal subjects in a style of excellence, which are to 
be found in the best collections in his countr}'-. 
He designed and composed his subjects in the 
grand or Italian style, his contours are remarka- 
bly correct, and he gave to his naked figures elegant 
forms; his draperies are well cast, in broad and 
natural folds, his pencilling is free andfirm, and 
his coloring rich and harmonious, with broad 
masses of light and shadow, managed with great 
intelligence. Doudyns was one of the principal 
founders of the Academy at the Hague, of which 
he had the honor to be appointed the first Direc- 
tor. He died in 1697. 

DOUFFLEST. Gerhard, an eminent Flemish 
painter, born at Liege in 1594, and studied in the 
school of Rubens at Antwerp, after which he went 
to Italy. His works evince a good style of com- 
position and design, and his subjects of history 
are highly esteemed. His coloring approaches 
nearer the Italian than the Flemish taste. At 
Liege there is an admirable picture by this art- 
ist, representing the Elevation of the Cross ; also 
another valuable work, representing Douffiest and 
his cotemporary, B. Flemael, painting each other's 
portraits. Two of his works were purchased for 
the Dusseldorf Gallery for the sum of 19,000 
florins. They represent the Finding of the True 
Cross, and Pope Nicholas V. visiting the Cave of 
St. Francis d' Assisi. The first was originally 
purchased by John William, the Elector Palatine, 
who was so much enchanted with its excellence, 
that he offered the artist double the price agreed 
upon. The latter work is particularly distin- 
guished for its originality and grandeur of compo- 
sition, boldness of design, and fine expression in 
the figures. The name of this artist is spelled 
variously — Douffiest, Douffet, Duffeit. He died, 
according to Balkema, in ] 660. 

DOUGHTY, William, an English artist, was a 
native of York, where he practised portrait paint- 
ing with considerable success about 1760. He also 
etched a few plates, and scraped some mezzotinto 
portraits, among which are Dr. S-amuel Johnson. 
Thomas Beckwith, the Antiquarian, Thomas Gray, 
the Poet, Admiral Keppel, and Miss Palmer, af- 
terwards the Marchioness of Thomond. 

DOUYEN, Jean Francois, a painter of French 
descent, born at Ruremonde in the Duchy of 
Cleves, in 1656. He first studied under Gabriel 
Lambertin, at Liege, who had studied in Italy, 
and had formed an excellent collection of drawings, 
which were of great utility to his pupil. He next 
placed himself under Christopher Puitlink, who 
excelled in painting landscapes and animals. On 
leaving this master, he obtained the favor and pat- 



ronage of Don John de Velasco, who held the 
office of Superintendent of Finances for the King 
of Spain. This nobleman had a collection of valu- 
able paintings, which he allowed Douven freely to 
copy, by which means he greatly improved himself, 
and bid fair to acquire distinction as an historical 
painter, when an incident diverted his attention to 
portraiture. The Elector of Dusseldorf sent him 
a flattering invitation to visit his court, and he 
painted the portrait of that prince with such suc- 
cess as to establish his reputation at once, and 
gain him abundant patronage. After having paint- 
ed the portraits of the principal personages at the 
court of Dusseldorf, he accompanied his patron 
to Yienna, where he painted the portraits of the 
Emperor and Empress, for which he was amply 
rewarded, and honored with a gold chain and me- 
dal. His fame was now established, and his servi- 
ces were sought and obtained by almost everj^ 
court in Germany. He received many marks of 
favor and distinction. He was likewise employed 
at the courts of Denmark, Portugal, Modena, and 
Tuscany. The Duke of the latter country compli- 
mented Douven by directing his portrait, painted 
by himself, to be placed in the Florentine Gallery. 
His portraits are well colored, and are remarkable, 
not only for their striking likeness, but for their 
noble dignity of expression, which makes them ap- 
pear to live and think. He also occasionally paint- 
ed small historical subjects, well composed, de- 
signed, and colored. In the Louvre are two pic- 
tures by Douven, representing the Holy Family, 
and Susannah and the Elders. He died in 1727. 

DOUW, Gerhard. This extraordinary^ artist 
was born at Lej'den in 1613. He was the son of a 
glazier, and early exhibited a passion for the fine 
arts, which his father encouraged. He received his 
first instruction in drawing from Dolendo. the en- 
graver. He was afterwards placed with Peter 
Kowenhoorn, to learn the trade of a glass-stainer 
or painter ; but disliking this business, he became 
a pupil of Rembrandt when only fifteen years of 
age. in whose school he continued three years. 
From Rembrandt he learned the true principles of 
coloring, and a complete knowledge of chiaro- 
scuro, to which he added a delicacy of pencilling, 
and a patience in working up his pictures to the 
highest degree of neatness and finish, superior to 
any other master. He was more pleased with the 
earlier and more finished works of Rembrandt, 
than with his later productions, executed with 
more boldness and freedom of pencilling ; he there- 
fore conceived the project of combining the rich 
and glowing colors of that master with the polish 
and suavity of extreme finishing, and he adopted 
the method of uniting the powerful tones and the 
magical light and shadow of his instructor with a 
minuteness and precision of penciling that so 
nearly approached nature as to become perfect 
illusion. But though his manner appears so to- 
tally different from that of Rembrandt, yet it was 
to him he owed the excellence of coloring which 
enabled him to triumph over all the artists of his 
time. His pictures are usually of small size, with 
figures so exquisitely touched, and with a coloring 
so harmonious, transparent, and delicate, as to ex- 
cite the astonishment and admiration of the be- 
holder. Although his pictures are wrought up 
beyond the works of any other artist, there is 
still discoverable a spirited and characteristic touch 
that evinces the hand of a consummate master. 



DOUW. 



272 



DOYE. 



Ciiid a breadth of light and shadow which is only 
to be found in the works of the greatest masters 
of the art of chiaro-scuro. The fame acquired by 
Douw is a crowning proof that excellence in art 
is not confined to any particular style or manner, 
and had he attempted to arrive at distinction by a 
bolder and less finished pencil, it is highly proba- 
ble that his fame would not have been so great. 
It has been truly said that there are no positive 
rules by which genius must be bounded to arrive at 
excellence. Every intermediate style, from the 
grand and daring handling of Michael Angelo, to 
the laborious and patient finishing of Douw, may 
conduct the painter to distinction, provided he 
adapts his manner to the character of the subjects 
he treats, 

Gerhard Douw designed everything from na- 
ture, and with such exactness that each object ap- 
pears as perfect as nature herself in color, fresh- 
ness, and force. The first pictures he painted were 
small portraits, and he wrought by the aid of a 
concave mirror, and sometimes hy looking at the 
object through a frame of many squares of small 
silk thread. He spent so much time in these 
works that, notwithstanding they were extremely 
admired, his sitters became disgusted, and he was 
obliged to abandon portrait painting entirely, 
and devote his attention to fancy subjects, in the 
execution of which he could devote as much time 
as he pleased. This mhII not appear surprising, 
when Sandrart informs us that, on one occasion^ 
in company with Peter de Laer. he visited Douw, and 
found him at work on a picture, which they could 
not forbear admiring for its extraordinary neat- 
ness, and on taking particular notice of a broom, 
and expressing their surprise that he could devote 
so much time in finishing so minute an object. 
Douw informed them that he should work on it 
three days more before he should think it complete. 
The same author also says that in a family picture 
of Mrs. Spiering, that lady sat five days for the 
finishing of one of her hands, supporting it on the 
arm of a chair. 

Douw was incontestibly the most wonderful in 
his finishing of all the Flemish masters, although 
the number of artists of that school who have ex- 
celled in this particular style is quite large. Eve- 
rything that came from his pencil was precious, 
even in his life-time. Houbraken says that his 
great patron, Mr. Spiering the banker, allowed 
him 1000 guilders a year, and paid besides whatever 
sum he pleased to ask for his pictures, some of 
which he purchased for their weight in silver ; but 
Sandrart informs us, with far more probability, 
that the thousand guilders were paid to Douw by 
Spiering on condition that the artist should give 
hira the choice of all the pictures he painted. The 
following description of one of Gerhard's most capi- 
tal pictures, for a long time in the possession of the 
family of Van Hoek, at Amsterdam, will serve to 
give a good idea of his method of treating his sub- 
jects. The picture is much larger than his usual 
size, being three feet long b}^ two feet six inches 
wide inside the frame. The room is divided into 
two apartments by a curtain of curiously wrought 
tapestry. In one apartment, sits a woman giving 
suck to her child j at her side is a cradle, and a ta- 
ble covered with tapestry on which is placed a 
gilt lamp which lights the room. In the second 
apartment is a surgeon performing an operation 
upon a countryman, and by his side stands a wo- 



j man holding some utensils. The folding doors on 
1 one side show a study, and a man making a pen 
I by candle-light ; and on the other, a school, with 
I boys writing, and sitting at different tables. The 
' whole is lighted in an agreeable and surprising 
■' manner ; every object is expressed with beauty 
i and astonishing force. Nor does the subject ap- 
pear too crowded, for it was one of his peculiar 
talents to show, in a small compass, more than 
other painters could do in a much larger space. 
His pictures are generally confined to a few figures, 
and sometimes to a single one, and when he at- 
tempted larger compositions he was generally less 
successful. The works of this artist are not nu- 
merous, from the immense labor and time he be- 
stowed upon a single one ; and from this circum- 
stance, and the estimation in which they are held 
by the curious collectors, they have ever command- 
ed enormous prices. They were always particu- 
larly admired in France ; in the days of Napoleon, 
there were no less than seventeen of his pictures 
gathered into the Louvre, most of which were, 
after his downfall, restored to their original pro- 
prietors, among which was the famous Dropsical 
Woman, from the collection of the King of Sar- 
dinia. At Turin, are several pictures by Douw, 
the most famous of which is the one just named — 
the Dropsical Woman, attended hj her physician, 
who is examining an urinal. This picture is won- 
derfully true to nature, and each particular hair 
and pore of the skin is represented. In the galle- 
ry at Florence is one of his pictures, representing 
an interior by candle-light, with a mountebank, 
surrounded by a number of clowns, which is ex- 
quisitely finished. The great fame of Gerhard 
Douw, and the eager desire for his works, have 
given rise to numerous counterfeits. We may 
safely assert that there is not a single original pic- 
ture by this artist in the United States. Douw 
died very rich in 1674. 

DOYEN, Gabriel FRAN901S, an eminent 
French painter, born at Paris in 1726. He early 
manifested a strong inclination for art, and at the 
age of eleven jesirs entered the school of Vanloo, 
who cherished for him a warm friendship. At the 
age of twenty, he drew the grand prize of the 
Royal Academy, and in 1748 he went to Rome, 
where he devoted himself, with great assiduity, to 
the study of the works of Annibale Caracci, and 
often passing entire days in the Farnese Gallery, 
copying the frescos of that great master. He was 
also much attached to the works of Giulio Ro- 
mano, JPolidoro da Caravaggio, and Michael An- 
gelo. He afterwards visited Venice, Bologna, and 
Parma, and in 1753 returned to Paris. He now 
executed his admirable picture of the Death of 
Virginia, which occupied him two years, and gain- 
ed him admission to the Royal Academy. His 
next work, for the church of St. Roch, represent- 
ed a Group of Persons attacked by the Plague, 
and has been highly extolled for its richness of com- 
position, vigorous coloring; and great truth of ex- 
pression in the heads, representing in a most ad- 
mirable manner the sufterings caused by disease. 
The death of Vanloo gained him the commission 
to paint the chapel of St. Gregory aux Invalides. 
He afterwards executed a number of other fine 
works at Paris, among which his Death of St. 
Louis, in the chapel of the Military School, is 
highly esteemed. Doyen was invited to St. Peters- 
burg by the Empress, Catherine II,, v*^ho gave him 



DO YE. 



273 



DKEV. 



apartments in the palace, and a pension of eleven 
hundred roubles ; he was also appointed Professor 
of the Academy of Painting. After the death of 
that princess, Paul I. continued to Doyen the same 
favors, and employed him to paint a number of 
ceiling-s in fresco — among others, those of the grand 
saloon called the St. George ; the king's apart- 
ment ; and one of the aalleries of Palawski. He 
died in 1806. 

DOYER, Le, a French engraver of little note, 
who lived at Paris about 1666. and executed some 
plates for booksellers in an indifferent style. 

DOZELLO. PiETRo Ippolito del, an old Neapo- 
litan artist, was born in 1405. He studied under 
Antonio Cola and was distinguished in his time, 
both as a painter and an architect. He died at 
Naples in 1470. 

DRAGHI, Giovanni Battista, an Italian 
painter, was born at Genoa in 1657. He studied 
under Domenico Piola, whose style he adopted, 
with some modifications. He designed and paint- 
ed with great facility, yet his works are well fin- 
ished. His coloring is brilliant, and he exhibits 
a masterly judgment in the turn and relief he gives 
his figures. He painted both in fresco and in oil, 
but his oil paintings are most esteemed, though the 
former are fine, and exhibit the genius of a mas- 
ter. In the convent of the Franciscans at Pla- 
cenza, is a picture by him, representing the Mar- 
tyrdom of St. James, which is highly commend- 
ed. He also painted the dome of the church of S. 
Agnese. and in S. Lorenzo, an altar-piece of that 
saint, in the same cit^^ There are some of his 
easel pictures in the collections at Genoa, where 
they were much admired. He died at Genoa in 
1712. 

DRAPENTIERE, Jean, a French engraver, 
who went to London in 1691, where he was con- 
siderably employed by the booksellers in engrav- 
ing plates of portraits and frontispieces, which he 
executed in a neat style, but without much effect. 
He also engraved the following portraits : 

William and Mary, when Prince and Princes^s of Orange. 
John Graham, Viscount Dundee. Thomas White, Bishop 
of Peterborough. Benjamin Calamy, Prebendary of St. 
Paul's. Henry Cuttes, of the Middle Temple ; scarce. 
Sir James Dyer. Chief Justice of the Common Pleas. 
Peter Perkins, Mathematician. Daniel Burgess, 1691 ; 
Dissenting minister. Benjamin Keach, Anabaptist minis- 
ter. Elias Keach. John Todd, A. M. 

DREVER, Adrirn van, a Dutch landscape and 
marine painter who went to England in 1673, 
where he resided the rest of his life, without ac- 
quiring any particular distinction. 

DREVET, Pierre, the Elder, an eminent French 
engraver, born at Lyons in 1664. After having 
studied under Germain Audran in his native city, 
he went to Paris to complete his studies. He ac- 
quired a great reputation, and executed many 
works, chiefly portraits of distinguished persona- 
ges. He wrought entirely with the graver, and 
his works are executed in a masterly manner. 
His drawing is correct, and although his plates are 
very highly finished, his stroke is firm. He died 
at Paris in 1739. The following are his best prints : 

PORTRAITS. 

Charles II. James Francis Edward Stuart, called the 
Old Pretender. Clementina Sobieski, his Consort. James 
Fitzjames, Duke of Berwick. Oliver Cromwell. Louis 
XIV., a full-length ; after H. Rigaud. Louis XV., seat- 



ed on his Throne ; do. Philip v.. King of Spain; do. 
Louis, Dauphin of France ; do. Frederick Augustus King 
of Poland ; after F. de Troy. Francis Louis, Prince of 
Conde ; after H. Ris:aud. Louis Alexandei', Count of 
Toulouse," with the Glove. The same Portrait, without the 
Glove Rene-Francis de Bcauveau, Archbishop of Nar- 
bonne ; after Rigaud. Andrew Hercules, Cardinal de 
Fleury ; do. MaVy de Neufchatel, Duchess de Xeino^jrs ; 
do. Louis Anthony ; Duke de Noailles; do. Louis Hec- 
tor, Duke and Marechal da Villars ; do. Ernest Augus- 
tus, Duke of Brunswick Lunebourg. Andrew Felibien ; 
after le Brim. Nicholas Boileau Despreaux ; after de 
Piles. Hyacinth Piigaud ; from a picture by himself. 
Mary de Serre. mother of Eigaud : do. John Forest, 
painter ; after N. de Largilliere. 

SUBJECTS OF DEVOTION. 

The Entry of Christ into Jerusalem ; after A. Dieu. 
The Crucifixion ; in two sheets. 

DREYET, Pierre, the Younger, a son of the 
preceding artist, was born at Paris in 1697. He 
was carefully instructed in the art of engraving 
almost from infancy by his father, and at the age 
of thirteen he produced a plate which was the 
surprise and admii-ation of the time. He is claim- 
ed by his countrymen as one of the greatest en- 
gravers of any age or country, and it is perhaps to 
be regretted that he did not select some of the 
Avorks of the great Italian masters for his subjects, 
instead of choosing the Avoi'ksofhis own country- 
men exclusively. His works are executed entirely 
with the graver, and though he may have been 
surpassed in boldness and freedom, he has scarcely 
been equalled in the clearness of his stroke, and 
the precious finish of his plates. His celebrated 
portraits of J. B. Bossuct, Bishop of jMeaux, and 
Samuel Bernard, are considered master-pieces of 
the art. He died at Paris in 1739, in the very 
prime of his life. The following list comprises his 
best works : 

PORTRAITS. 

Louis XV., when young, conducted by Minerva to the 
Temple of Glory ; after Ant. Coy pel. Louis, Duke of 
Orleans ; after Charles Coypel. Francis de la Mothe 
Fenelon, Archbishop of Cambray ; after Vivien. Francis 
Paul de Villeroy, Archbishop of Lyons; after Santerre. 
Claude le Blanc, Minister of War. William, Cardinal Du- 
bois, Archbishop of Cambray ; after Rigaud. J. B. Bos- 
suet, Bishop of Menux ; fall-length; do.; extremely fine. 
Samuel Bernard ; the first impi'essions are before the words 
Conseiller d'Etat ; very fine. Is;iac James de Verta- 
mont. Bishop of Conferans ; after de Troy. Rene Pu- 
celle, Abbe and Counsellor of the Parliament ; after Ri- 
gaud. Nicholas Peter Camus, first President of the Par- 
liament of Rouen ; after Jouvenet. Robert Cotte, first in- 
tendent of Buildings', &c. ; after Rigaud. Mademoiselle 
le Couvreur, in the character of Cornelia ; after Charles 
Coypel; fine. 

E^UBJECTS AFTER VARIOUS MASTERS. 

The Adoration of the Shepherds ; after H. Rigaud. 
The Holy Family ; after Ant. Dieu. The Entry of Christ 
into Jerusalem ; do' Adam and Eve after their Trans- 
gression ; after A. Coypel. The same subject ; smaller ; 
very highly finished. Abraham going to sacrifice his son 
Isaac ; do. Abraham's Servant meeting Rebecca ; do. 
The Annunciation ; after Coypel. The same subject ; 
smaller ; do. The Crucifixion ; do. The Presentation in 
the Temple ; after Louis de Boullongne. This is esteemed 
his best historical print. Christ in the Garden of Olives, 
with Angels ; after J. Restout. The Resurrection ; after 
J. Andre. 

DREVET, Claude, a cousin-german of the pre- 
ceding artist, was born at Lyons in 1710. He 
went to Paris, and studied under his cousin, in 
whose manner he executed some portraits which 
possess considerable merit, among which are the 
following. He died at Paris in 1768. 



DRIE. 



274 



DEOO. 



R island. 



PORTRAITS. 

Henry Oswald, Cardinal d'Auvergne; after R 
Charles Gaspar William de Vintimille, Archbishop of Pa- 
ris ; do. Philip Louis, Count de Sinzendorf; do. Peter 
Calvairac, Abbot of Pontignan ; after A. le Prieur. 
Madame le Bret, in the character of Ceres ; after Rlgaud. 

DKIELST, Egbert vAxN, a Dutch painter, was 
born at Groningen in 1746. lie studied under 
several masters, the last of whom was Ilendrick 
IMcyer of Haerlem. He carefully studied the 
works of Ilobbema, Ruysdael, and Wynants. and 
compared them with nature, by which means he 
approached nearer to the style of the great mas- 
ters of the preceding century than those of his 
own time. The subjects which he delighted to 
represent were well-wooded landscapes, with farms 
and cottages, Avhich he ornamented with cattle and 
figures, designed with great taste. He was always 
fond of the picturesque effects of old ruined huts, 
old broken or uprooted trees, and barren heaths. 
His works are generally characterized by a thor- 
ough knowledge of the effects of light and shad- 
ow, and his coloring is suited to his subject. He 
died in 1818. 

DRILLENBURG, William van, a Dutch 
painter, was born at Utrecht in 1625. He first 
studied landscape painting under Abraham Bloem- 
aert merely for his amusement ; but he after- 
wards made it his whole stud}'-, and practised it as 
a profession. On quitting Bloemaert, he imitated 
the charming style of John Both, not only in the 
choice of his subjects, but in his trees, skies, and 
distances ; and, although he never could approach 
the excellence of that master, even with the greatest 
assiduity, yet Houbraken, who was his pupil, says 
his works possess great merit. Ho was a perfect 
enthusiast in his art, and wrought with so much 
eagerness that he often suffered a whole month to 
pass without walking abroad, and here doubtless 
was his great error — for had he studied nature 
more, and art less, he would, with his talents and 
passion, have acquired an honorable reputation as 
an original painter, rather than that of an imita- 
tor. The time of his death is not recorded. 

DROESHOUT, Martin, a Dutch engraver who 
went to England about 1623, where he was chiefly 
employed by the booksellers in engraving portraits 
of distinguished personages, which are valued more 
for their subjects and rarity, than for their beauty 
of execution. The following are the principal : 

James Hamilton, Marquis of Hamilton, Thomas Co- 
ventry. John Donne, Dean of St. Paul's. Helkiah 
Crooke, M. D. William Shakspeare, prefixed to his works 
in 1623. John Fox, the Martyrologist. John Howson, 
Bishop of Durham. Lord Mountjoy Blount, afterwards 
Earl of Newport. He also engraved some plates for Hay- 
wood's Hierarchy of Angels, and the Death of Dido for 
Stapylton's Virgil. 

DROESHOUT, John, a Dutch engraver of no 
note, probably a son or brother of the preceding 
artist, who lived in London about 1640, 

DROLLING. Martin, a native of Oberberg- 
heim. was born in 1752. Having a natural taste 
for the fine arts, he went to Paris, that he might 
have the advantage of better models and instruc- 
tors than in his native place. He pursued his 
profession with much ardor, and obtained a well- 
earned reputation for a class of fancy subjects 
which he treated with great skill in the style of 
the Flemish masters. Such are his Charitable 



Lady, the Confessional, the Milk-Maid, the Or- 
ange Vender, the School Mistress, the Foreign 
Merchant, &c. His subjects are treated with great 
truth and beauty, both in sentiment and in color- 
ing ; and, though taken from low life, he never in- 
troduced anything ignoble into them. His design 
is correct, and his penciling is free and animated. 
His works were highly esteemed during his life, 
and much more so since his death, and will ever 
find a distinguished place in the finest collections. 
He died at Paris in 1817. 

DROOGSLOOT, Joost Cornelisz, a Dutch 
painter, was born at Utrecht, where he flourished 
from 1616 to 1660. There is considerable dis- 
crepancy and dispute among authors about Droog- 
sloot, arising from the fact that they confound the 
two Droogsloots. whose places of nativity, manner, 
and merits were totally different. According to 
the best German authors, this artist was a very 
reputable painter of his time, and his works were 
much admired. His landscapes are especially 
commended, and he painted scenes from low life, 
village festivals, &c.. in an admirable manner. He 
also painted portraits and history. In 1628, he 
painted a large picture of Job and his Friends, 
which he presented to the Hospital of St, Job at 
Utrecht, of which he was appointed regent in 1838. 
This picture is highly commended, and the land- 
scape part of it said to be very beautiful. His 
own portrait, executed by himself, is in the same 
institution. It is dated 1630, and he appears 
about 50 years of age. 

DROOGSLOOT, Nicholas. This painter was 
born at Dort in 1650, and it is supposed he stud- 
ied under Henry Mommers. He painted scenes 
from low life, as village wakes and rural assem- 
blies, which are marked b}^ a disgusting vulgarity 
of character that excludes them from choice col- 
lections; though they are executed with a spirited 
pencil, and an agreeable and lively tone of color- 
ing. He died in 1702. 

DROSSAERT, a Dutch painter, who flourished 
about the middle of the 17th century, and painted 
landscapes with ruins, stag-hunts, and the like, 
which possess considerable merit. Little more 
is known of him. 

DROST, N. There is considerable disagree- 
ment as to the Christian name and the time of birth 
of this painter. Some say he was born at Am- 
sterdam in 1625 ; Balkema states in 1636. Na- 
gler calls him Van Terle W. Drost. He studied 
under Rembrandt, whose style he followed with a 
bold and flowing pencil, and strong coloring. On 
leaving this master he went to Italy, where he 
diligently strove to improve himself by studying 
the works of the best masters. While in Italy he 
resided chiefly at Rome, and formed an intimacy 
with Carlo Lotti and other eminent painters. He 
thus acquired a taste in design far superior to his 
master, and executed some excellent works. Hou- 
braken highly commends his picture of St. John 
preaching in the Wilderness, which contains a 
multitude of figures, well designed and executed. 
He died in 1690. 

DROUAIS, Jean Germain, a distinguished 
French painter, born at Paris in 1763. His father, 
Henri D., and his grandfather, Hubert D., were 
distinguished in portrait painting, and under the 



DROIT. 



275 



DUBO. 



instruction of the former the young artist made 
rapid progress. He afterwards entered the school 
of Brenet, who. though an inferior artist, had the re- 
putation of being an excellent instructor. Here 
Drouais advanced with great rapidit}^, designing by 
night, and painting by day. He gained the grand 
prize of the Royal Academy by his admirable pic- 
ture of the Canaanitish Woman at the feet of 
Christ, which received high praise. He soon after 
went to Rome, and painted his picture of Marius 
at Minturna, which he sent to Paris. His next 
work was a picture of Philoctetes, and he would 
undoubtedly have attained great eminence, had he 
not died suddenly, in 1788, at the age of 25. His 
monument is in S. Maria via Lata, at Rome. 

DROUIN, a reputable French sculptor and ar- 
chitect, born at Nancy about 1605, and studied the 
art at Paris, after which he returned to his native 
place, where he was greatly encouraged, and was 
commissioned with the principal part of the pub- 
lic works of the city. Among other excellent pro- 
ductions, he executed the beautiful mausoleum of 
the Cardinal Charles de Lorraine, for the church 
of the Cordeliers ; the mausoleum of the Bassom- 
I)ierre family, in the church des Minimes ; besides 
a number of marble statues for the churches. 
Drouin was also attached to architecture, and 
made it a study during his leisure hours. Prince 
Henry of Lorraine, having determined to rebuild 
at his own expense the church of the Benedictines 
at Nancy, charged Drouin to design the plan for 
the new edifice. The artist immediately went to 
Rome, and made the design ; and the church was 
commenced, but not completed, on account of the 
death of the prmce. Drouin died in 1647. 

DRUYVESTEYN, Arnold Jansse, a Dutch 
painter, born at Haerlem in 1564. According to 
Karel van Mander he was a person of fortune and 
of a distinguished family, and practised painting 
only for amusement. He also says he executed 
landscapes with small figures and animals with 
great taste and beauty. He died in 1617. 

DUBBELS. There are four painters of this 
name, of whom little is known, except their 
works, which is very surprising, as their pictures 
are of great merit. Their names are Henry, Jan, 
Thierry, and Peter. Balkema says, the names of 
Henry and Thierry are found in the catalogues of 
Hoet and Terwesten, but without containing any 
information as to family, or place of birth. He also 
speaks of a River Scene painted in the style of 
W. Vander Velde, and a Winter-piece with Skaters, 
which were sold in 1773, under the name of Peter 
Dubbels, and another in Vander Linden Slinge- 
landt's sale, by Henry Dubbels ; and this is all 
the information he could collect respecting artists 
whose works rank them among the best marine 
painters of the Dutch school. This much is cer- 
tain, that there were two painters of the name of 
Dubbels, both marine painters, whose styles were 
totally different, and whose works are highly es- 
teemed. Their names are Henry and Jan. Hen- 
ry Dubbels is said by some to have been the mas- 
ter of Backhuysen, and by others his pupil. There 
are many of his works in the best collections, in 
England, as well as his own country. Bryan says 
" he was probably the master of Backhuysen, His 
works bear not the least resemblance to Backhuy- 
sen or Vander Velde, except in their subjects. 
Several pictures by Dubbels have passed through 



the writer's hands, and many under his observa- 
tion, which would warrant the highest encomiums 
for artistic skill." He saj'-s further that there are 
many of his works in the rich collections of Eng- 
land, though unfortunately for the reputation of 
the painter, thej^ pass under another name. 

Jan Dubbels was a pupil of Backhuysen, whose 
style he followed very closely, and with such suc- 
cess, that his works are frequently- taken for orig- 
inals by his master. He was living in 1715. 

DUBOIS, Cornelius, a Dutch landscape paint- 
er, who was probably a pupil of Jacob Ruysdael, 
whose style he imitated, though his mark is found 
on pictures more in the style of Saftleven, than 
of Ruysdael. He nourished about 1650. 

DUBOIS, Edward, a Flemish painter, born at 
Antwerp in 1622. He studied with an indifferent 
painter, named Groenwegen. He afterwards went 
to Ital}^ where he resided the greater part of his 
life, and was for a time patronized by the Duke of 
Savoy. In the reign of William III., he went to 
England, where, according to Pilkington, he prac- 
tised landscape and portrait painting with great 
success, though Bryan says, he met with little suc- 
cess. He died in London in 1699. 

DUBOIS, Jean, a reputable French sculptor, 
born at Dijon in 1626. He was of a retiring dis- 
position, and remained in his own city until the 
age of 60, when he was persuaded to visit Paris, 
to execute the bust of the chancellor Boucherat. 
The latter wished to present him to the king, but 
he refused the honor, and returned to Dijon. His 
talents were highly esteemed, and he was greatly 
encouraged during his whole life. Among other 
excellent works, he executed the following : The 
Statues of St. Stephen and St. Medard, and the 
Tomb of Pierre Odebert, in the Cathedral of Dijon ; 
the grand altar, and the Assumption of the Virgin, 
in the church of Notre Dame, (the statue of the 
Virgin is considered his master-piece) ; the Mau- 
soleum of Claude Boucher at Carmes ; and the 
Tomb of Marguerite Mucie. at the Minimes. At 
Plombieres, near Dijon, is an obelisk, erected from 
his designs, by order of Louis XIV. He died in 
1694. 

DUBOIS, Simon, was a younger brother of 
Edward Dubois, and studied under Philip Wou- 
werman. His forte lay in painting battle-pieces 
and landscapes with cattle, which he executed 
more in the Italian than in the Flemish style. 
He went to England, where he met with so little 
employment in his legitimate branch of the art, that 
he turned his attention to portrait painting, which 
was not suited to his fancy or inclination, and after 
painting the portrait of Lord Chancellor Somers, 
and those of a few of the nobility at the recom- 
mendation of the latter, he returned to his own 
country, where he met with good encouragement, 
married the daughter of Vandervelde, and acquired 
considerable wealth. He died in 1708. 

DUBORDIEU, Peter, a Dutch portrait painter 
of French descent, who flourished at Ley den about 
the middle of the 17th century. He acquired con- 
siderable eminence as a portrait painter, and some 
of his portraits have been engraved by Suyderhoef, 
Matham. and Natal as. 

DUBOSCH. See Bosch. 

DUBOS, Marie Jeanne Renard, a French fe- 
male engraver, born at Paris about 1700. She 



DUCA. 



276 



DITCH. 



engraved a number of plates for an illustrated 
work entitled Versailles Immortalise ; besides a 
number of other works, among which is a Girl 
caressing a Rabbit, after Basseporte, 

DUBOURG, Louis Fabricius, a Dutch his- 
torical painter, was born at Amsterdam in 1693, 
and died there in 1775. He painted some histori- 
cal pictures for the churches at Amsterdam, which 
are much admired, some of which may be seen in the 
Westerkerk and the New Church in that city. It 
is said that he afterwards abandoned the palette 
for the graver. 

DUO, or DUCQ, John le, a Dutch painter, was 
born at the Hague in 1636. He studied under 
Paul Potter, whose manner in painting animals, he 
at first imitated, but he afterwards changed his 
style, and painted interiors, with card-players, 
assemblies of officers, corps de gardes, &c. Hav- 
ing a passion for a military life, he abandoned the j 
art after he had acquired the reputation of an able i 
artist, for that profession. He afterwards returned j 
to painting, and was appointed director of the 
Academy at the Hague in 1671. He etched a 
considerable number of plates of landscapes, ani- 
mals, and other subjects, after his own designs, in 
a neat and spirited manner, a list of which may be 
found in Nagler's Kunstler Lexicon, and in Brul- 
liot's Dictionary of Monograms. He died in 1695. 

DUCA, GiACOMO DEL, a Sicilian architect, and 
a native of Palermo, who flourished in the latter 
part of the 16th century. He studied at Rome, 
and erected the lantern over the cupola of the Ma- 
donna di Loretto, and the Pamfili Palace at Fontana 
di Trevi. The latter work is somewhat defective, 
having distorted modillions in the entablatures, 
and other deformities in the windows. He also 
erected several other works at Rome and Caparola, 
which have considerable merit, among which is 
the small palace in the Strozzi gardens near to 
Villa Negroni. He designed the Villa Matteo, 
which was erected at Rome about 1583, on the 
Coelian Mount. Duca afterwards went to Paler- 
mo, and was appointed chief engineer ; but so much 
envy was excited against him, that he was barba- 
rously murdered. 

DUG ART. Isaac, a Dutch painter, born at Am- 
sterdam in 1630. He acquired a great reputation 
in his time for his flower pieces, usually painted 
on satin or velvet, in the execution of which, he 
is said to have rivalled nature, and to have sur- 
passed every other painter in his time. He went 
to England, where he resided several years, and 
met with good encouragement. He afterwards 
returned to his own country, where he practised 
his art with extraordinary success till his death 
in 1697. 

DUCCI, ViRGiLio, an Italian painter, was a na- 
tive of Citta di Castello, of whom little is known. 
Lanzi says he was a scholar of Albano, and a suc- 
cessful imitator of his style, and that there are 
two pictures of Tobias in the chapel of the Duomo 
in his native city, executed in a graceful and elegant 
style. He flourished about 1660. 

DUCCIO, BuoNiNSEGNA, somctimcs called il 
NuTiNi, was a native of Siena. There is consider- 
able dispute about this old artist. This much is 
certain, that he was a co temporary with Giotto, 
and was, next to him, the first painter of his time ; 
Tizio says he was the first (primarius), and it 



is evident he enjoj^ed great celebrity in his day. 
AVhile Giotto was at Avignon, he executed his fa- 
mous picture intended for the great altar of the 
metropolitan church at Siena, and which is still 
preserved in the Opera House of that city. He 
was occupied upon it three years. As this picture 
forms almost an era in the art, Lanzi thus de- 
scribes it: '"On the side fjicing the people, he 
painted large figures of the Virgin and various 
Saints surrounding her. On that fronting the 
Choir, he represented scriptural subjects in many 
compartments, in which he introduced a vast num- 
ber of figures, of a palm in length. Pius II. re- 
lates in his unpublished Annals of Siena, that it 
cost 2000 florins, and others raise the price to 
3000." He also designed and wrought in mosaic 
the pavement of the Duomo of Siena, representing 
the Death of Absalom, part of which remains per- 
fect at the present day. For farther information 
respecting this old, but neglected artist, the reader 
will find much interesting information in Ros- 
ini'S Storia delta Pittura Italiana, ^c, published 
in 4 vols, at Pisa, 1836—1843. 

DUCHANGE, Gaspar, an eminent French en- 
graver, born at Paris in 1662, and received into 
the academy there in 1707. Duchange may be 
ranked among the ablest artists of his country, 
particularly for the mellowness and harmony with 
which he has combined his etching with a tasteful 
management of the graver. His plates, after Cor- 
reggio, are peculiarly expressive of the admirable 
style of that painter. He lived to a very ad- 
vanced age, and the number of his works is con- 
siderable. The following are his most esteemed 
prints : 

PORTRAITS, 

Francis Girardon ; after Rig aud ; for his reception into 
the Academy in 1707. Charles de la Fosse ; do. ; for the 
same occasion. Antoine Coj^pel, with his son ; after a pic- 
ture by himself. 

SUBJECTS AFTER VARIOUS MASTERS. 

Jupiter and lo ; after Correggio. Jupiter and Danae ; 
do. Jupiter and Leda ; do. (The good impressions of 
these fine prints are before the name of Soj-nique, who re- 
touched the plates, and added draperies.) The Entombing 
of Christ ; after Paolo Veronese ; fine. Mary Magda- 
lene washing the Feet of Christ ; after Jouvenet. Christ 
driving the Buyers and Sellers from the Temple ; do. The 
Sacrifice of Jephtha ; after Ant. Coypel. Tobit recovering 
his sight; do.; fine. Solon explainmg his Laws to the 
Athenians; after N. Coypel. Trajan administering Jus- 
tice to the People ; do. Diana disarming Cupid ; after 
Desormeaux. Venus sleeping, with three Loves, and a 
Satyr ; after A. Coypel. The Death of Dido ; do. The 
Bath of Diana ; do. Five of the plates of the Luxem- 
bourg Gallery ; after Rubens. 

DUCHEMIN, Catherine, a Parisian paintress, 
was born in 1630, and died in 1698. She excelled 
in painting fruit and flower pieces, which she ex- 
ecuted with great truthfulness to nature, and ele- 
gance of composition. 

DUCHINO, II. See Landriani. 

DUCK, Jacob le, a Dutch painter, whom some 
have supposed the father of John le Due, though 
there is a difference in the spelling of their names, 
a circumstance not unfrequent in the history of 
artists. He painted interiors and conversation- 
pieces with great beauty in the style of John le 
Due. though with a less delicate touch and finish. 
He was elected Master of the Associated Body of 
Painters of St. Luke at Utrecht in 1626. and tliere 
is a fine picture by him in the Hospital of St. Job 



DUCL. 



277 



DUET. 



in that cit}^, representing a Musical RennioHj which 
he presented to that institution. 

DUGLOS. Antoine Jean, a French engraver, 
born at Paris in 1742. He studied under St. Au- 
bin, and has executed a number of plates for the 
booksellers, particularly those after Moreau. for 
the editions of Rousseau and Voltaire, published at 
Brussels. He also engraved a number of prints 
after various masters, among which are the Ball, 
and the Concert, after St. Auhin. 

DUCQ, Joseph FRAN901S, a Flemish painter. 
born at Ledeghem, near Courtrai, in 1762. In 
1780 he went to Bruges, and entered the school of 
Paul de Cock, where he made rapid progress. 
Having gained the grand prize of the Academy, 
he went to Paris and entered the school of J. B. 
Suvee. In 1789, 1796, and 1800, he gained prizes 
at the Koj'al Academy; and in the latter year he 
obtained the second prize of the National Institute, 
with apartments in the Palace of the Fine Arts. 
In 1807 he visited Rome, where the ambassador 
of France, by order of the Viceroy of Italy, fur- 
nished him with an atelier. He executed many 
excellent works at Rome, among which one was 
exhibited at Paris in 1810. and drew a gold medal ; 
another was in the collection of Prince de la Paix. 
In 1813 he returned to Paris, and in 1815 was ap- 
pointed first professor of the Academy of Fine 
Arts at Bruges, and subsequently painter to the 
King of the Low Countries. Many of his subjects 
of history are in the collection of Prince Eugene 
at Munich. In the Palace at St. Cloud, are two 
pictures of Night and Aurora, which were engraved 
in the Annates du Musee de Paris. At Ghent, 
in 1820, he exhibited two pictures of Antonello 
da Messina visiting the atelier of John van Eyck, 
and the Marriage of Medor and Angelica. He died 
in 1829. 

DUCREUX, Joseph, a French painter, born at 
Nancy in 1737. He was the only scholar of La- 
tour, and was sent to Vienna in 1769 by the Duke 
de Choiseul, to paint the portrait of Maria An- 
toinette, who appointed him her first painter. He 
practised the art with reputation in that city for a 
number of years, and was admitted to the Imperial 
Academy. He died in 1802. 

DUCROS, Peter, a Swiss engraver and an em- 
inent painter in oil and water-colors, born in 1745. 
He settled early at Rome, where he formed an in- 
timate acquaintance with Volpato, and painted a 
series of views of Rome and the Campagna. which 
he engraved, in concert with the latter. He ex- 
ecuted twenty views in Sicily and Malta, and 
various others, in a masterly manner. Among 
these, his engravings of Palermo, the Theatre of 
Tauromenium and Etna, and the Amphitheatre at 
Syracuse, attest his taste and skill, and rank him 
among the ablest artists of his time. He died at 
Lausanne in 1810, leaving a great number of draw- 
ings made by him during his stay in Italy, some 
of which are of large dimensions. 

DUDLEY, Thomas, an English engraver, who 
flourished about 1678. He was a pupil of the cel- 
ebrated Hollar, and executed a few plates in a rep- 
utable manner, among others, a set of 27 plates, 
for the Fables of J^Jsop, published by Barlow, and 
the portraits of Richard Russell, Bishop of Porta- 
legro, James Sharpe Bishop of St. Andrews , and 
Titus Gates, 



DUETECUM, or DOETECUM, John and Lu- 
cas A., two German engravers, supposed to have 
been brothers, flourished about the middle of the 
16th centur}'-. They wrought together, and exe- 
cuted several large plates, representing the funeral 
pomp of the Emperor Charles V., which are etched 
in a bold and masterly manner. 

DUETECUM, or DOETECUM, Baptist, a 
German engraver of little note, Avho flourished 
about 1610. He executed with the graver in a 
coarse, indifferent style, a set of plates representing 
the habits and customs of the Indians. 

DUFAU, Fortune, an historical painter, born 
in St. Domingo, from whence, at the age of 12 
years, he went to France, and soon after became 
the pupil of David, whose political principles he 
warmly espoused. He traveled in Italy for im- 
provement, and after serving in the army in Bel- 
gium, returned to Paris at the close of the war, 
and resumed his pencil. He practised the art for 
many years, and was successively appointed pro- 
fessor of painting at St. Germain and St. Oyr. 
His picture of Count Ugolino in prison is a noble 
work, and together with his St. Vincent de Paul, 
gained him the former appointment. He died at 
Paris in 1821. 

DUFLOS, Claude, a French engraver, was born 
at Paris in 1678, and died there in 1747. It is 
not known by whom he was instructed, but his 
style resembles that of Fran9oisPoilly. He was 
an ingenious artist, and executed a large number 
of plates after the great masters in a very neat and 
finished manner. He wrought principall}^ with 
the graver, but he occasionally brought in the as- 
sistance of the point in his more delicate work. 
The following are his best prints : 
PORTS aits. 

Philip, Duke of Orleans ; after R. Tourniere. John 
Francis Paul de Gondy, Cardinal de Retz. Denis Francis 
de Chavigny, Bishop of Troyes. Nicholas Lyon, Procu- 
reur du Roi ; after Herluyson. John James G-audart, 
Conseiller du Roi ; after Largilliere. Mark Rene de 
Voyer ; after Hyacinth Rigaud. 

SUBJECTS after VARIOUS MASTERS. 

The Entombing of Christ; after P. Perugino ; for the 
(!rozat collection. The same subject ; after Raff aelle. St. 
Michael discomfiting the Evil Spirit ; do. ; for the Crozat 
collection. Christ with the Disciples at Emmaus ; after 
P. Veronese ; for the same collection. The Adulteress 
before Christ ; after N. Colombel. Christ at Table with 
the Disciples ; after Titian. Bust of the Virgin ; after 
Guido. The Annunciation ; after Albano. Christ appear- 
ing to Magdalene ; do. St. Cecilia ; after P. Mignard. 
The Presentation in the Temple ; after Le Sueur. The 
Descent from the Cross; do. The' Murder of the Inno- 
cents ; after le Brun. Christ on the Mount of Olives ; 
do. The Crucifixion ; do. The same subject ; after the 
print by Edelinck ; do. The dead Christ, with the Vir- 
gin and St. John ; do. The Descent of the Holy Ghost ; 
do. The Assumption of the Virgin ; do. Mary Magda- 
lene, penitent; do. The Annunciation ; after Ant. Coy-pel. 
Magdalene at the Foot of the Cross ; do. A Concert ; af- 
ter Domenichino. The Triumph of Galatea; do. Cu- 
pid stung by a Bee ; do. The same subject ; smaller and 
circular." Bacchus and Ariadne; do. The Triumph of 
Bacchus ; after C Natoire. The Triumph of Amphitrite ; 
do. 

DUFRESNE, Charles Louis, a French paint- 
er, was born at Nantes in 1635, and died at Ar- 
gentin in 1711. He painted portraits and history 
with reputation. 

DUGHET. See Poussin. 

DUGYj M., a French engraver, who flourished 



DUIV. 



278 



DUMO. 



about 1760, and executed a few prints, after Bou- 
cher, and other French masters. 

DUIVEN", Jan, a Dutch painter, born at Gouda 
in 1600. He studied under Wautier Crabeth, and 
acquired considerable reputation in portrait paint- 
ing. The most noted of his works was a portrait 
of"P. Simpernel. of which he executed a great man)'- 
copies for different individuals, so much was it ad- 
mired. He died in 1640. 

DULIN, Pierre, a French painter, born at Pa- 
ris in 1670. He formed his style from the stud}^ 
of the works of le Brun, and was considered an ar- 
tist of reputation. He was a member of the Roy- 
al Academy, and painted, among other works, a 
large picture, representing St. Claude resuscitating 
a dead Infant, which was much esteemed. He died 
in 1748. 

DULIN, Pierre, a French historical painter, 
born at Paris in 1670, and died there in 1748. 
He does not seem to have acquired much reputa- 
tion, as nothing further is known of him or his 
works. 

DULLAEBT, Heyman, a Dutch painter, was 
born at Rotterdam in 1636, and died there in 
1684, According to Houbraken. his father was a 
dealer in pictures, and his son showing an early in- 
clination for the art, he placed him with Rem- 
brandt, under whose able instructions he became 
a perfect master of his manner of coloring and 
chiaro-scuro, so that he could imitate him so close- 
ly as to deceive the best judges. A capital picture 
by this artist is a Hermit kneeling, which was of- 
ten taken for an original by Rembrandt, till the 
name of Didlaert was discovered upon it. The 
same author says that another picture by him, re- 
presenting the Amours of Mars, was sold at a 
public sale in 1696. for an undoubted original by 
Rembrandt. He generally painted cabinet pic- 
tures of historical subjects and portraits, which 
are greatly admired for harmony of coloring, a 
vigorous touch, and a masterly effect of light and 
shadow. 

DUMAREST, Rambert, an eminent French en- 
graver of medals, born at St. Etienne, in Forey, in 
1750. He took lessons in the Royal Academy, and 
exhibited two pictures of his execution, one, the head 
of Rousseau, and the other the bust of Brutus, both 
of which were highly extolled, and the first gained 
the prize. For the second, he was commissioned to 
execute a medal for the sum of 6000 fr., with the 
choice of the subject. He soon gained a. high rep- 
utation, and executed a large number of works 
possessing great merit, of which the portrait of G. 
Poussin deserves high commendation. His medal 
of the Peace of Amiens is also an admirable work. 
He died in 1806. 

DUMONT, FRAN901S, a French sculptor, born 
at Paris in 1688. He studied under his father, an 
artist of some distinction, and gained the grand 
prize of the Royal Academy, but did not go to 
Rome, being detained by a love affair with the 
daughter of Noel Coypel, whom he married. At 
the age of 23, he was chosen an Academician, on 
which occasion he presented a statue of a Titan 
struck by a thunderbolt, which was greatly admi- 
red. He soon gained a good reputation, and was 
much employed in various important works. His 
best performances were the statues of St. John 
and St. Joseph, in the church of St. Sulpice. He 



also executed two statues of St. Peter and St. 
Paid for the same church. The monument of the 
Duke of Melun, is a fine proof of his taste and 
skill, as well as of his misfortune, since, while 
adding the finishing touches, the scaffolding fell, 
injuring him internally, which caused his death in 
1726, at the age of 38. 

DUMONT, Gabriel Martin, a French archi- 
tect and designer, born at Paris about 1720. Af- 
ter acquiring the elements of design, he went to 
Italy, where he devoted himself to the study of 
the antique, and returned to Paris with the title 
of Correspondent to the Roman, Bolognese, and 
Florentine Academies of Painting. He published 
several excellent works on architecture, among 
which was the Recueil de plusiers parties de V Ar- 
chitecture Sacree et Profane, 212 plates. Du- 
mont was living in 1790. 

DUMONT, Jean, a French painter, born in 
1700. He was admitted to the Royal Academy, 
on which occasion he presented a picture of Her- 
cules and Omphale, which appears to have been 
his best work, as his other subjects of history are 
not much esteemed. His pictures of the Wanton, 
and the Savoj^ard Mother, gained him considerable 
reputation, and were engraved by Daulle. His 
picture of Lyncus metamorphosed into a lynx by 
Ceres, was engraved by J. Dauzel. 

DUMOUTIER, Daniel, a French portrait paint- 
er, born at Paris about 1550. He formed his stjde 
from the works of Primaticcio, and his portraits are 
in the style of those which that master painted for 
the court of Francis I. His works have no great 
merit, and are principally valued for their subjects, 
as they preserve the likeness of the most eminent 
personages of the court of Francis I., of Henry IV., 
and also several of Louis XIII. He died in 1631. 

DUNKARTON, Robert, a reputable English 
mezzotinto engraver, was born about 1744. It is 
not mentioned with whom he studied, but he resi- 
ded in London, and executed some plates of por- 
traits and historical subjects, among which are 
the following : 

portraits. 

George, Lord Littleton ; after Mr. West. Jonas Han- 
way ; after E. Edwards. Doctor Arne ; after W. Hum 
phrey. Miss Ilorneck ; after Sir Jos. Reynolds. John 
Elliot ; after N. Dance. Miss Bamfyeld ; after W. 
Peters. James Brindley, engineer ; after Parsons. — 
Miss Catley, in the character of Euphrosyne ; after Law- 
ranson. 

SUBJECTS after VARIOUS MASTERS. 

Lot and his Daughters; after A. de Gelder. Christ 
and the Disciples at Emmaus ; after Guercino. Four 
subjects from the life of Joseph ; do. 

DUNKER, Balthasar Anthony, a land.scape 
painter and engraver, was born at Saal in 1746 
and died at Berne in 1807. He is more known 
as an engraver than a painter. He engraved some 
prints after Roos, vander Does, Hackaert, and 
others, a list of which may be found in Huber and 
Nagler. He also engraved some plates of the cos- 
tumes of the French before the Revolution, illus- 
trations of books and other miscellaneous subjects. 
He had a son, named Philip Heinrich D., whom 
he instructed in his profession, and who practised 
at Berne till his death in 1836. 

DUNLAP, William, an eminent American 
painter, born at Perth Amboy in 1766. His fa- 



DUNL. 



279 



DUNS. 



ther, a retired British officer, removed to New 
York, when that city was in possession of the 
English. Dunlap early manifested an inclination 
for art, and at the age of fifteen commenced taking 
lessons in drawing under an artist named Williams ; 
but the latter soon left the city, without commu- 
nicating much instruction to the young artist. 
He commenced painting portraits in crayons at the 
age of sixteen, at the price of three guineas. The 
next year he spent some time by invitation, with 
Mr. John van Home, near Princeton, New Jersey, 
within a short distance of the head-quarters of 
Washington. Here he often saw the general, and 
finally painted his portrait, and that of Mrs. Wash- 
ington, at the request of Mr. van Home. His first 
attempt at oil painting was a portrait of Sir Sam- 
uel Hood, for a sign, which was esteemed a capital 
likeness. His second oil painting was a full-length 
of Washington, on the field of battle at Princeton, 
which he took with him on his voyage to London 
in 1784. On arriving in that city, he called upon 
West, who gave him encouragement, and offered 
him the use of his own casts for practice in draw- 
ing. His sketch of the Fighting Gladiator gained 
him admission to the Gallery of Somerset House; 
but being extremely diffident, and more fond of 
frolic and pleasure than study, Dunlap did not 
even enter the Gallery, or take advantage of the 
excellent instructions of West. He resided three 
years in London, and returned to America in 1787, 
with but little more knowledge of the art than 
when he started. For a year or two he painted 
portraits with little success, and then joined his fa- 
ther in mercantile business. In 1805, he engaged 
in theatrical speculations, and became bankrupt, 
after which he reverted to the art to obtain a sub- 
sistence, and painted in miniature with some suc- 
cess. In 1817, after various changes of occupation, 
Dunlap devoted himself permanently to painting^ 
and executed many portraits in that and the fol- 
lowing year. At this time, he aided to re-establish 
the Academy of Fine Arts, and was elected a direc- 
tor and keeper, with a salary of $200 per aniium. 
Meeting with little encouragement in New York, 
he spent the three following years chiefly in 
Norfolk and Montreal. In 1821. he returned to 
New York, and commenced his first historical 
work, the picture of Christ Rejected. He after- 
wards painted the Bearing of the Cross, and the 
Calvary, which was considered his best production, 
and gained him considerable reputation. In 1824, 
Dunlap did great service to America and the artsj 
by assisting Thomas Cole to bring his works be- 
fore the public. He says, " I did my best to make 
the public acquainted with the extraordinary merit 
of his pictures." The generosity of Dunlap in 
this instance, deserves the highest praise. The 
same year he painted his copy of West's picture 
of Death on the Pale Horse, which has been re- 
cently sold for $2000. In 1826, the National 
Academy of Design, v/as formed, of which Dun- 
lap became an active member. 

Dunlap was respected and beloved by artists 
and a large circle of acquaintances for his gene- 
rosity, love of art, and the many excellent qualities 
of his heart. He was a man of talent, and had he 
improved his advantages in early life, and followed 
painting exclusively as his profession, he would 
have acquired a distinguished reputation as an his- 
torical painter. But it should be remarked for the 
benefit of young artists, that his works will not bear 



the test of enlightened criticism. They are defec- 
tive in the first principles of art, without a know- 
ledge of which no man can produce works of excel- 
lence. It is honorable in Mr. Dunlap that he him- 
self was fully aware of his defects and advantages 
abused, deeply deplored them, and he frankly cau- 
tions all young artists to avoid his errors. Speak- 
ing of his career in London he says, " This life of 
unprofitable idleness was terminated by a sum- 
mons to return home." &c. Speaking of his pic- 
ture which he called Calvary, he says, "Before 
transferring it, (the sketch) to the large canvass, 
I painted from nature the principal figures and 
groups separately. I had none of that facility 
which attends the adept in drawing, and now felt 
the penalty of my folly, when I had the Royal 
Academy of England at my command, and the ad- 
vice of the best historical painter of the age al- 
ways ready to instruct me — and both neglected. 
I now, as for some years previous, studied the casts 
from the antique and improved, but my drawing 
remained deficient. I had neglected the spring 
oflife^ and it never returned to me." Again, from 
his journal, " Thursday, 19th Feb., 1829—1 am 
this day 63 years of age, active, and I think strong- 
er than I was a year ago. / believe I am improv- 
ing as an artist. As a man I hope I am — but it 
is little. May God receive my thanks for his 
blessings, and may his will be done." W}\at les- 
sons of instruction and admonition to young men ! 
Mr. Dunlap wrote a History of the Rise and 
Progress of the Arts in the United States^ in two 
large octavo volumes, published in 1834, and a 
History of the Stage in the United States, in two 
volumes of octavo. He died in 1835. 

DUNSTALL, John, an English engraver, who 
flourished at London about 1660, and engraved 
some plates in imitation of W. Hollar, though they 
are not to be compared with the works of that 
master. In 1660 he published a book of birds, 
animals, fruit, and flowers, from his own designs. 
He also engraved a few portraits, among which are 
King William and Queen Mary ; JNIary, Queen of 
James III. ; Samuel Clarke, prefixed to his Pu- 
ritan Divines ; Jacobus Usserius. 

DUNZ, .John, a Swiss painter, born at Berne 
in 1645. He was principally distinguished for hisi 
portraits and flower pieces. Fuseli says his por- 
traits were good likenesses, well colored, and care- 
fully finished. His flower pieces also deserve 
praise for their light and spirited pencilling, and 
their brilliant coloring. 

DUPATY, Charles Mercier, an eminent 
French sculptor, born at Bordeaux in 1771. He 
was intended by his father for the legal profession, 
but at the death of the latter, in 1788, he entered 
the school of Valenciennes, to study painting. He 
was soon, however, compelled to enter the service, 
and was incorporated in a regiment of dragoons, 
where he remained until 1795, when he was dis- 
charged. He immediately entered the school of 
Vincent, but soon relinquished painting for sculp- 
ture, which he studied under Lemout. Such was 
his assiduity, that in 1799 he drew the grand prize 
for his group of Pericles visiting Anaxagoras, but 
in consequence of the bad manner in which the af- 
fairs of the academy were managed, he could not 
obtain the funds to take him to Italy. He exe- 
cuted a bust of Desaix for the government, and a 
statue of Love presenting flowers, but concealing 



DUPL. 



280 



DUPU. 



the chains. These works were in the false taste 
of the reign of Louis XV.. and the latter was cri- 
ticised by David, whereupon Dupaty destroyed it, 
and abandoning his former style, he adopted the 
purity of the antique. In 1801 he v/ent to Rome, 
where he remained eight years, and made the 
models for his statues of Philoctetes wounded, 
Yenus Genetrix, Cadmus conquering the Castalian 
Serpent, Biblis dying etc., all of which he after- 
wards executed in marble. He also sculptured a 
fine head of Pomona, which adorned the Luxem- 
bourg Gallery. The government commissioned 
him to execute a statue of Gen. Leclerc. On his 
return to ParivS, he produced his master-piece, 
Ajax pursued by Neptune, which gained him 
great reputation, and deserves the high praise it 
has received. In 1816 Dupaty was appointed 
member of the Institute, and in 1819 of the Le- 
gion of Honor. He received several commissions 
from government about this time, among which 
were the equestrian statue of Louis XIIL, and the 
principal group for the monument of the Duke de 
Berri. Among his other works is the group of 
Venus discovering herself to Paris ; and the statue 
of the Virgin, in the church of St. Germain des 
Pres. He died in 1825. 

DUPLESSI-BERTAUX, Jean, a very ingeni- 
ous and prolific French designer and engraver, who 
flourished about 1780. He executed a multitude 
of prints after his own designs, which are highl}^ 
esteemed. Rigal enumerates 650 in his catalogue. 

DUPLBSSIS, Joseph Sifrede, a reputable 
French painter, born at Carpentras in 1725. He 
early manifested a strong inclination for art, and 
was placed under Imbert, at Chartreuse. In 1745, 
he went to Rome, and entered the school of Sub- 
leyras, where he devoted himself to history, por- 
trait, and landscape. His productions were praised 
by Vernet, who advised him to devote himself to 
landscape. After some years sojourn at Rome, 
Duplessis returned to his native place, where he 
executed a number of excellent portraits, and pic- 
tures for the churches ; after which at the age of 
27, he went to Paris. His portrait of the Abbe 
Arnaud, first attracted attention, and in 1774 he 
was admitted to the Royal Academy, on the pre- 
sentation of the portraits of Allegrain and Vien. 
Among his other most admired works, are the 
portraits of Franklin, Thomas, Marmontel, Bos- 
suet, Gluck, Necker and his wife, &c. He was 
appointed keeper of the Museum at Versailles, and 
died in 1802. 

DUPONT, Gainsborough, an English painter, 
was a nephew and scholar of Thomas Gainsborough, 
in whose style he painted landscapes and portraits. 
He also painted landscapes with architectural ru- 
ins in imitation of N. Poussin. His principal 
work is a large picture containing the portraits of 
the Trinity Masters, which now adorns the court 
room on Tower-hill. He died in 1797. 

DUPREEL, M., an eminent French engraver, 
whose works may be found in the Musees Fran- 
cais, Napoleon, and de Florence, executed with 
great neatness and delicacy. 

DUPUIS, Charles, a French engraver, was 
born at Paris in 1685, and died there in 1742. 
He was a pupil of Duchange. He was an eminent 
engraver, and was elected a member of the Royal 
Academy at Paris. He executed a considerable 
number of historical subjects and portraits which 



are etched in fine taste, and finished with the 
graver in a free and masterly manner. His draw- 
ing is correct, and his heads are full of expression 
and character. The following are his best plates : 

PORTRAITS. 

Louis XV. ; after Ranc. Henry of LoiTaine, Duke de 
Guise ; after Dumoustier. Nicholas Coustou, sculptor ; 
after he Gros. Nicholas de Largilliere, painter ; after 
Gueulain. 

SUBJECTS AFTER VARIOUS MASTERS. 

St. John preaching in the Wilderness ; after C. Ma- 
ratti. The Marriage of the Virgin ; after C. Vanloo ; 
very fine. Alexander Severus giving Corn to the Romans ; 
after Noel Coypcl. Ptolemy giving Liberty to the Jews ; 
do. Two, of the Elements, Earth and Air ; after Louis 
de BouUongne. Cupid triumphing over Pan ; after Ant. 
Coypel. Diana reposing, Avith her Nymphs ; do. Rinal- 
do and Armida ; do. The Passage of the Rhine ; after 
Le Brun. 

DUPUIS. Nicolas Gabriel, a younger brother 
of the preceding, Vv-as born at Paris in 1G96, and 
died in 1770. He also studied under Duchange, 
and although he did not equal his brother, his 
works possess great merit. Efe was elected a mem- 
ber of the Academy in 1754. The following are 
his principal plates : 

PORTRAITS. 

The equestrian statue of Louis XV. erected at Bordeaux ; 
after Le Moine. The same, from that erected at Rennes ; 
do. C. F. Paul de Normand de Tournehem, Director General 
of the Arts ; after L. Toque. Philip Wouwerman, paint- 
er ; after C. D. Visscher. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Guardian Angel; after Dumenico Feti; for the 
Crozat collection. The Adoration of the Magi ; after P. 
Veronese ; for the same. The Virgin and Infant, with 
Saints; after A. Caraccl. St. Sebastian; after L. Ca- 
raccL St. Nicholas and St. Francis : after Pierre. — 
Amusement of a Pastoral Life ; after Giorgione ; for the 
Crozat collection. The Death of Lueretia ; after Guide. 
Jllneas saving his Father Anchises ; after C'Vaiiloo. A 
Nymph and Satyrs ; after L. Cherort. 

DUPUY DU GREZ, Bernard, a learned 
French advocate, who flourished at Toulouse in 
the latter part of the 17th century, and died in 
1720. He is worthy of notice for his Trade de 
la Peintiire, 1699 ; and particularly for the school 
of painting which he established in that cit}^, 
in supporting which Cammas. Rivalz, and Crozat, 
aided very much. He afforded great encourage- 
ment to artists, b}^ distributing medals at the ex- 
hibitions, and paying the expense of the living 
model. This school became the germ of the ac- 
ademy afterwards established in that citj^, by the 
King, in 1751. 

DUQUE CORNEJO, Don Pedro, an eminent 
Spanish painter, engrarer. sculptor, and architect, 
was born at Seville in'l677. It is not known by 
whom he was instructed. According to Bermu- 
dez, there are some of his paintings in the Char- 
treuse of S. Maria de las Cuevas, and in the mon- 
astery of S. Jerome de Buena- Vista, which have 
considerable merit. He had a ready invention, and 
produced numerous designs, some of which he 
etched, and are highly esteemed at Seville. His 
works as a sculptor and carver in wood, are found 
in the cathedrals and churches at Seville, Granada, 
Cordova,, and other cities. The account of his 
works is very meagre. He died at Seville in 1757, 
and was buried in the cathedral with great pomp 
and magnificence. 

DUQUEYLAR, Paul, a French historical paint- 



DUQU. 



281 DURA. 



er, was born at Digne in 1771. He went to Paris, 
and entered the school of David : ver}^ little is re- 
corded of his life. He was a very promising young 
artist while with David, had a decided taste for the 
antique, and his subjects are designed from the an- 
cient classic poets and historians. About 1800 he 
went to Rome to perfect himself, where, in 1804, 
he painted the Judgment of Minos, and the story 
of Belisarius, which are described by Kotzebue in 
his Recollections of Italy. Nothing further is 
mentioned of this artist. 

DUQUESNOY, Francis, called the Fleming, a 
reputable sculptor, born at Brussels in 1594. ^ He 
was the son of a sculptor, from whom he acquired 
the elements of the art, and showed so much abil- 
\ij that the Archduke Albert sent him to Italy 
with a pension. At the age of 25, he lost his ben- 
efactor, and was obliged to execute figures in ivory 
and wood to gain a livelihood. About this time, 
he formed a connection with Poussin, who was in 
a similar condition as himself, and they pursued 
their studies together with great assiduity. Du- 
quesnoy soon became distinguished for his statues 
of children, in which he formed his style upon the 
beautiful productions of Albano. He was employ- 
ed to model the groups of children which adorn 
the columns of the grand altar of St. Peter's. He 
also succeeded admirably in higher subjects, and 
his statue of St. Susanna for the church of the 
Madonna at Loretto, has been greatly admired for 
its modesty, sanctity, and elevated expression. For 
the Basilica of St. Peter's he executed a colossal 
statue of St. Andrew, which is one of the finest 
productions of modern art, and occupied the artist 
five years. Duquesnoy was never w^ell encour- 
aged, and in 164G he started for France, but was 
poisoned by his brother. 

DURAMANOjFrancesco, a Venetian painter of 
flower-pieces, who flourished about 1750. Lanzi 
saj's he was an imitator of Gasparo Lopez, and 
somewhat of a mannerist, yet his works are found 
in the choicest collections of Venice. 

DURAND, Jean Nicolas Louis, professor of 
architecture in the Polj^technic School, was born 
at Paris in 1760. He studied under Panseron, 
after which he was employed by Boulee, at a sal- 
ary of 1200 livres. In 1780, he gained the grand 
prize of the Academy of Architecture, for the plan 
of a College, which is engraved in the Recueil of 
Prieur. He made many designs for various edi- 
fices, which were highly esteemed. In 1794, he 
w^as appointed to the station above mentioned, 
which he filled with great ability. He wrote sev- 
eral excellent works on the theory of the art, and 
was an honorary member ^f several foreign acade- 
mies. He was appointed Chevalier of the Legion 
of Honor in 1820, and died in 1834. 

DURAND, JAcauES, a French painter, born at 
Nancy in 1699. He studied at Paris under Nat- 
tier, and afterwards went to Rome, where he pro- 
duced several fine works, and sent them to Nan- 
C3^ The Grand Duke Leopold was so much 
pleased with them that he sent him a pension. 
Durand remained there eight years, and then re- 
turned to Nancy, where he executed a number of 
works for the churches, which added greatly to 
his reputation. He also painted many pictures for 
the churches of other cities, among which were 
the works in the church of the Jesuits, at the Uni- 



versity of Pont-a Mousson. He died at Nancy in 
1767. 

DURANTE; Count Giorgio, an Italian painter, 
was born at Brescia in 1683. He acquired great 
reputation for his flower-pieces, which were admi- 
rably composed, and painted with all the fresh- 
ness and brillianc}'' of nature. He also painted 
birds which were admired, not only for a faithful 
imitation of nature, but for the beautiful and pic- 
turesque attitudes in which they were drawn. 
His works were greedily sought after by princes 
and nobles, and they are seldom to be found out 
of the noble collections of Brescia, Venice, and 
Turin. Some of his best works are in the royal 
galleries at Turin. He died in 1755. 

DURANT, J. L., an English engraver of little 
note, who lived at London about 1690. He exe- 
cuted a few portraits, and a variety of book orna- 
ments for the booksellers. 

DURELLO, Simon, a German engraver, who 
flourished at Vienna about 1674, and engraved some 
of the portraits for the Istoria di Leopoldo Ce- 
sare, published at Vienna in 1674. 

DURER, Albert. This extraordinary artist 
was born at Nuremberg in 1471. His father was 
a skillful goldsmith, from Hungar}^, and taught 
his son the first rudiments of design, intending 
him for his own profession ; but his early and 
decided inclination for the arts and sciences in- 
duced him to permit young Durer to follow the 
bent of his genius. He received his first instruc- 
tion in painting and engraving from Martin Hapse. 
When he had reached the age of fourteen, it was 
his father's intention to have placed him under the 
instruction of Martin Schoen of Colmar, the most 
distinguished artist of his time in Germany, but 
the death of the latter happening about that time, 
he became a pupil of Michael Wolgemut, in I486, 
the first artist then in Nuremberg, with whom he 
studied diligently four years. He also cultivated 
the study of perspective, the mathematics, and 
architecture, in all of which he acquired a pro- 
found knowledge. Having finished his studies, 
he commenced his travels in 1490, and spent four 
years in traveling through Germany, the Nether- 
lands, and the adjacent counties and provinces. On 
his return to Nuremberg, in 1494, he ventured to 
exhibit his works to the public, which immediately 
attracted great attention. His first work was a 
piece of the Three Graces, represented by as many 
female figures, with a globe over their heads. He 
soon after executed one of his master-pieces, a 
drawing of Orpheus. About this time to please 
his father, as it is said, he married the daughter of 
Hans Fritz, a celebrated mechanic, who proved a 
fierce Xantippe, and embittered, and some say 
shortened his life. In 1506, he went to Venice to 
improve himself, where his abilities excited envy 
and admiration. Here he painted the Martyrdom 
of St. Bartholomew for the church of S. Marco, 
which was afterwards purchased by the Emperor 
Rodolphus, and removed to Prague. He also went 
to Bologna, and returned home in 1507. This 
journey to Italy had no efl'ect whatever upon his 
style, though doubtless he obtained much informa- 
tion that was valuable to him, for at this period 
commenced the proper era of his greatness. — 
Though Durer was most famous as an engra- 
ver, yet he executed many large paintings which 



DURE. 



282 



DURE. 



occupy a distinguished place in the royal col- 
lections of Germ.any, and other European coun- 
tries. In the Imperial collection at Munich are 
some of the most celebrated, as Adam and Eve, 
the Adoration of the Magi, the Crucifixion — a 
grand composition — the Crowning of the Virgin, 
the Battle between Alexander and Darius, and 
many other great works. Durer painted the Wise 
Men's Offering, two pictures of the Passion of 
Christ, and an Assumption of the Virgin, for a 
monastery of Frankfort, which proved a source of 
income for the monks, from the presents they re- 
ceived for exhibiting them. The people of Nurem- 
berg still preserve, in the Town Hall, his portraits 
of Charlemagne and some Emperors of the House 
of Austria, with the Twelve Apostles, whose dra- 
pery is remarkable for being modern German, in- 
stead of Oriental. He sent his own portrait to 
Raffaelle, painted on canvass, without any coloring 
or touch of the pencil, only heightened with shades 
and white, yet exhibiting such strength and 
elegance that the great artist to whom it was 
presented expressed the greatest surprise at the 
sight of it. This piece, after the death of Raffa- 
elle, fell into the possession of Giulio Romano, 
who placed it among the curiosities of the palace 
of Mantua. Besides the pictures already men- 
tioned, there is by him an Ecce Homo at Venice, 
his own portrait and two pictures representing 
St. James and St. Philip, and an Adam and Eve 
in the Florentine Gallery. There are also some 
of his works in the Louvre, and in the rojsl col- 
lections in England. As a painter, it has been ob- 
served of Durer that he studied nature only in her 
unadorned state, without attending to those graces 
which study and art might have afforded him ; but 
his imagination was lively, his composition grand, 
and his pencil delicate. He finished his works 
with exact neatness, and he was particularly ex- 
cellent in his JNIadonnas, though he encumbered 
them with heavy draperies. He surpassed all the 
painters of his own country, yet he did not avoid 
their defects — such as dryness and formality of 
outline, the want of a just degradation of the tints, 
an expression without agreeableness, and drape- 
ries broad in the folds, but stiff in the forms. He 
was no observer of the propriety of costume, and 
paid so little attention to it that he seems to have 
preferred to drape his saints, and heroes of anti- 
quity, in the costume of his own time and country. 
Fuseli observes that " the coloring of Durer went 
beyond his age, and in his easel pictures it as far 
excelled the oil color of Raffaelle in juice, and 
breadth, and handling, as Raffaelle excelled him in 
every other quality." 

But it was as an engraver that Durer derived 
most of his fame, and he is allowed to have sur- 
passed every artist of his time in this branch of 
the art. Born in the infancy of the art, he carried 
engraving to a perfection that has hardly been sur- 
passed. When we consider that, without any 
models worthy of imitation, he brought engraving to 
such great perfection, we are astonished at his gen- 
ius and his own resources. Although engraving 
has had the advantage and experience of more 
than three centuries, it would perhaps be diflScult 
to select a specimen of executive excellence sur- 
passing his print of St. Jerome, engraved in 1514. 
He had a perfect command of the graver, and his 
works are executed with remarkable clearness and 
neatness of stroke j if we do not find in his 



plates that boldness and freedom desirable in large 
historical works, we find in them everything that 
can be wished in works more minute and more 
finished, as were his. To him is attributed the in- 
vention of etching ; and if he was not the inventor, 
he was the first who excelled in the art. He also 
invented the method of printing wood-cuts in 
chiaro-scuro, or with two blocks. His great 
mathematical knowledge enabled him to form a 
regular system of rules for drawing and painting 
with geometrical precision. He had the power of 
catching the exact expression of the features, and 
of delineating all the passions. Although he was 
well acquainted with the anatomy of the human 
figure, and occasionally designed it correctly, his 
contours are neither graceful or pleasing, and his 
prints are never entirely divested of the stiff and 
formal taste that prevailed at the time, both in his 
figures and drapery. Such was his reputation, 
both at home and abroad, that Marc' Antonio Rai- 
mondi counterfeited his Passion of Christ, and the 
Life of the Virgin, at Venice, and sold them for 
the genuine works of Durer. The latter, hearing 
of the fraud, was so exasperated that he set out 
for Venice, where he complained to the government 
of the wrong that had been done him by the pla- 
giarist, but he could obtain no other satisfaction 
than a decree prohibiting Raimondi from affixing 
Durer's monogram or signatures to these copies 
in future. Vasari says that when the prints of 
Durer were first brought into Italy, they incited 
the painters there to elevate themselves in that 
branch of art. and to make his works their models. 
Durer engraved both on wood and copper. 
Among his most celebrated copper-plates are For- 
tune, Melancholy. Adam and Eve in Paradise, St. 
Hubert, St. Jerome, and the Smaller Passion, so 
called, in sixteen plates. Among his best wood- 
cuts are the Greater Passion, with the frontispiece, 
thirty-seven pieces ; the Revelation of St. John, 
with frontispiece, fifteen plates J and the Life of 
the Virgin, in twenty plates. One of his best 
wooden cuts is St. Eustachius kneeling before a 
Stag, which has a Crucifix between the Horns. 
This cut is accounted a wonder, particularly for 
the beauty of the dogs, which are represented in 
various attitudes. The celebrated John Andreas, 
a Doctor in divinity, sent this print to a prince of 
the House of Brunswick, who wrote him a letter, 
in which he says, " You have extremely obliged me 
by your new present, a cut which merits a nobler 
metal than brass, done hj the celebrated painter 
of Nuremberg, and which I think wants nothing, 
unless Zeuxis or Parrhasius, or some other person 
equally favored by Minerva, should add colors and 
the native form." Andreas, in answer, says, " I 
could easily guess that the Eustachius of Durer 
would not fail to prove an acceptable present to 
you. from whatever quarter a performance of that 
admirable artist came. It is very surprising in 
regard to that man. that, in a rude and barbarous 
age. he was the first of the Germans who not only 
arrived at an exact imitation of nature, but has 
likewise left no second, being so absolute a master 
of it in all its parts — in etching, engraving, statu- 
ar}^, architecture, optics, symmetry, and the rest, 
— that he had no equal except Michael Angelo 
Buonarotti, his co temporary and rival ; and he 
left behind him such works as were too much for 
the life of one man." The fame of Durer spread 
far and wide in his life-time. The Emperor Maxi 



DURE. 



283 



DURE. 



niilian I. had a great esteem for hira, and appoint- 
ed him his court painter, with a hberal pension, 
and conferred on him letters of nobility ; Charles 
v., his successor, confirmed him in his office, be- 
stowing upon him at the same time the painter's 
coat of arms, viz., three escutcheons, argent, in a 
deep azure field. Ferdinand, King of Hungary, 
also bestowed upon him marked favors and liberal- 
ity. Durer was in favor with high and low. All 
the artists and learned men of his time honored 
and loved him, and his early death in 1528 was 
universally lamented. He always lived in a very 
frugal manner, without the least ostentation for 
the distinguished favors heaped upon him. He 
applied himself to his profession with the most 
constant and untiring industry, which, together 
with his great knowledge, great facility of mechan- 
ical execution, and a remarkable talent for imita- 
tion, enabled him to rise to such distinction, and 
to exert so powerful an influence on the character 
of German art for a great length of time. He was 
the first artist in Germany who practised and taught 
the rules of perspective, and of the proportions of 
the human figure, according to mathematical prin- 
ciples. His treatise on proportions is said to have 
resulted from his studies of his picture of Adam 
and Eve. His principal works are De Sijmmctria 
partium in rectis formis humanorum corporum, 
printed at Nuremberg in 1532 ; and De Verieitatc. 
Figurariim, etjiexuris partium^ et Gestibus Ima- 
ginum ; 1534. These works were written in 
German, and after Durer's death translated into 
Latin. The figures illustrating these works were 
executed by Durer, on wood, in an admirable man- 
ner. Durer had also much merit as a miscellane- 
ous writer, and labored to purify and elevate the 
German language, in which he was assisted by his 
friend, W. Pirkheimer. His works were pub- 
lished in a collected form at Arnheim, in 1603, folio, 
in Latin and in French. J. J. Roth wrote a life 
of Durer, published at Leipsic in 1791. Some au- 
thors have attempted to prove that Durer did not 
execute any of his engravings on wood. Zani and 
Bartsch are decidedly of this opinion, and give rea- 
sons to show that the designs only were Durer's, 
and that the mechanical operation of cutting was 
entrusted to skillful workmen in that line. This 
decision of Bartsch extends also to Hans Schaufe- 
lin, Hans Burgkmair, Hans Baldung, Altdorfer, 
Lucas Cranach, and others — rather a sweeping 
declaration. Where could Durer have found such 
skillful workmen in that barbarous age, unless he 
had rendered them as skillful as himself by a 
course of instruction ? That he had assistants in 
executing his numerous works cannot be doubted ; 
nevertheless, they bear the genius and inspiration 
of his own directing hand, and they are as much 
his as were the immortal works of Angel o and 
Raflfaelle in the Vatican, though they had numer- 
ous assistants. The prints of Durer are numer- 
ous, and many of them are extremely scarce and 
valuable. A fine print of his St. Jerome has been 
sold in London for thirty guineas. His etchings, 
though highly esteemed, do not compare with his 
copper-plates and wooden cuts. The following is 
a brief account and list of his most esteemed 
prints, which are often dated, and generally bear 
one of his monograms, as follows : 



PORTRAITS ON COPPER. a 

Albert Durer, represented at two different dates, 1509, 
and 1517, on each side of a piece of architecture, with a 
Latin inscription. Albert, Elector of Mentz. 1523. Fred- 
erick, Elector of Saxony. 1524. Philip Melancthon. 1525. 
Erasmus, from his statue at Rotterdam, 1526 ; scarce. Bili- 
bald Pirkheimer. 1524. 

SUBJECTS ON COPPER. 

Adam and Eve, with the Serpent, 1504 ; fine. There is 
a fine copy of this print by John Wierix when he was six- 
teen years of age. Adam and Eve after their Fall. The 
Nativity, with St. Joseph filling a Vessel with Water, 1504, 
called The little Nativity. The Holy Family, where St. 
Joseph is resting on a Stone. 1506. The Holy Family, with 
a Monkey in the foreground, called The Virgin with the 
Monkey. The Virgin, seated at the Foot of a Tree, with the 
Infant holding a Pear, called The Virgin with the Pear. 
The Virgin seated on a Stone, in a landscape, with Build- 
ings, and the Infant holding an Apple, called The Virgin 
vnth the Apple. The Passion of Christ ; in sixteen plates, 
including the frontispiece, 1507-1512 ; difficult to be met 
with, complete. The Twelve Apostles. The Crucifixion, 
with the Holy Women and St. John at the Foot of the 
Cross ; small circular ; very scarce. Christ praying in the 
Garden, 1515, said to be engraved on Iron; very scarce. 
Angels with the Instruments of the Passion. 1516. The 
Great Ecce Homo, 1512, with a Latin inscription; very 
scarce. The Prodigal Son ; the best impressions are be- 
fore the date 1513. St. Hubert kneeling before a Stag, 
Avith the Cross on its Forehead ; one of his finest works. 
There is a good copj^ of this plate reversed, by John Wie- 
rix, with the cipher of Albert. St. Jerome in the Desert, 
kneeling before a Crucifix, and holding a stone in his hand. 
St. Jerome seated in a Room, writing, 1514; very fine. 
There is also a copy of this fine print by John Wierix, 
when he was only twelve years old. A Woman with Wings, 
standing on a Globe, holding a Cup in her Hand, improp- 
erly called Pari Jo7-a's -Boor; it is sometimes named The 
Great Fortune. A naked Woman on a Globe, holding a 
Stick with a Thistle at the end of it, called The Litth 
Fortune. Melancholy, represented by a Woman resting 
her Head on her Hand, and holding a Compass; very fine. 
Three Women, or Witches, with a Globe over their Heads, 
with the letters 0. G. H. and an appearance of Hell in the 
background ; copied after- Israel van Mecheln ; dated 
1497 ; very scarce. An armed Man on Horseback, pur- 
sued by Death, called Death's Horse. The best impres- 
sions are before the date 1513. There is a good copy of 
this plate ; dated 1564. A Coat of Arms, with a Skull, a 
Satyr, and a young Woman standing near it, 1503 ; called 
The Death's Head. A Coat of Arms, with a Lion and a 
Cock. A Horse, with an armed Man with a Halbard fol- 
lowing. 1505. A Man mounted on a Unicorn carrying off 
a Female, called sometimes The Rape of Proserpine; 
very scarce. 

ETCHINGS BY ALBERT DURER. 

Christ seated, leaning his Head upon his Hand, and a 
Figure in the front pointing towards him. One of the Fa- 
thers of the Church in a Cell, with two Books. 1515. The 
Virgin holding the Infant asleep, Avith a young Female 
kneeling. 1519. Moses receiving the Tables of the Law. 
1524. The Cannon, with Figures at the Entrance of a Vil- 
lage, 1518, said to be etched on iron; very scarce. 

WOODEN CUTS BY ALBERT DURER. 
PORTRAITS. 

Albert Durer, at the age of 56 ; inscribed Albrecht Du- 
rer Co7iterfeyt, <^c. Albert Dureri Effigies, editaexlinea 
tabula, &c. Bust of the Emperor, Maximilian I. 1519. 
Ulrichus Varnbuler, 1522 ; scarce. 

WOODEN CUTS OF VARIOUS SUBJECTS, 

The Life and Passion of Jesus Christ ; in thirty-six cuts. 
These prints were copied on copper-plates by Marc' Anto- 
nio, in a bold manner, in imitation of the wooden cuts. — 
The Life of the Virgin ; in twenty cuts, seventeen of AYhich 
were also copied by Marc' Antonio, with the mark of Al- 
bert Durer, except the last plate, on which he put his own. 
St. Anne, with the Infant Jesus on her Knee, and the Vir- 
gin kneeling with two Saints ; in chiaro-scuro ; very scarce. 
The Holy Family, in a landscape, with two Angels crown- 
ing the Virgin, and three Rabbits. In the lower part of 
the print, St. Christopher carrying the infant Jesus; scarce. 



DUKE. 



284 



DUVA. 



'-uperor Maximilian, with the Virgin and several 

-shipping the Sav^iour. The Siege of Vienna ; in 

"^'T : scarce The Triumphal Car of Maxi- 

V The Rhinoceros, with a Ger- 

Six cuts of ornaments for tapes- 

'lERRE, a f'rench erip;raver of little 
Cepwho lived at Paris about 1767, and engraved 
a few plates, among which are : A View in Hol- 
land, after Ruysdael ; Two Moonlight Scenes, 
after Vanderneer ; The Country Blacksmith, 
after Womoerman; and an Italian Sea-port, 
after Vernet. 

DURIVIER, John, a Dutch medallist, born at 
Liege in 1687. He went to Paris, where he soon 
gained great reputation for his talents, was ap- 
pointed engraver to the king, with apartments in 
the Louvre, and was received into the Royal Acad- 
emy. Among his other works is a medal, with 
an admirable likeness of Louis XV. He died at 
Paris in 1761. 

DURNO, James, an English painter, was born 
about 1752. He first studied under Andrea Ca- 
sali in London, and afterwards with West. The 
early productions of this artist gave promise of 
great ability. He went to Italy in 1774, and died 
at Rome in 1795. 

DURR, John, a German engraver, who flourish- 
ed about 1626. He engraved a few portraits, 
but was chiefly employed by the booksellers. 

DUSART, OoRNELTUs, a Dutch painter and en- 
graver, was born at Haerlem in 1665. He stud- 
ied painting under Andrew van Ostade, whose style 
he followed with considerable success. His paint- 
ings, like those of Ostade, represent village festi- 
vals, merry-makings, &c. Although not equal to 
his master in the richness of his tones and har- 
mony of effect, yet his composition is ingenious, 
his touch light and spirited, and his coloring clear 
and agreeable. There is, however, considerable 
irregularity in the works of Dusart. His best 
pictures are esteemed worthy of a place in the best 
collection. He etched a few prints in a ver}^ spir- 
ited manner, and executed some mezzotint plates 
full of harmony, after his own designs. The fol- 
lowing are his best prints : 

PLATES IN MEZZOTINTO. 

An Old Man playing on the Violin, with a Dutch Peas- 
ant regaling. A Girl confessing to a Monk. A Dutch 
Boor reading a Paper, and holding a Bottle. The Mon- 
keys regaling. An Indian dancing with a Girl. A Girl 
dancing with a Tea-pot in her Hand. Twelve plates of 
the Months of the Year. He also engraved, in mezzo- 
tinto, the Five Senses, of which a detailed account may be 
found in Brulliot's Dictlonnaire des Mono grammes. 

ETCHINGS. 

The Interior of an Alehouse, with Boors regaling. The 
Great Fair. 168.5. The Little Fair. 168-5. The Amorous 
Cobler. The Village Surgeon. 1695. The Village Physi- 
cian. 1695. The Inside of a Dutch Alehouse, with Peas- 
ants drinking, and a Man playing on the Violin ; with an 
inscription beginning, Rust'icus ex animo, nonpullus Hy- 
pocrita gaudet. A Village Festival ; C Dusart, pinx. 

DUTTENHOFER, Christian Frederick, a 
reputable German engraver, born in 1778. He 
executed some of the plates in the Musee Napo- 
leon ; also a number of romantic views in the Ty- 
rol, and many fine landscapes after Claude Lor- 
raine, Poussin, the Caracci, and Paul Brill. 

DUVAL, Nicholas, a reputable Dutch painter, 
born at the Hague in 1644. He studied the ele- 



ments of design under Nicholas "VVeilling, after 
which he went to Rome, and entered the school of 
P. da Cortona, whose st3de he followed with con- 
siderable reputation. He afterwards returned to 
Holland, and was commissioned by King William 
to execute several paintings at Loo. He was ap- 
pointed Director of the Academy at the Hague, 
and painted the ceiling of the principal gallery, 
which is much esteemed. He is also said to have 
attended the king to England, who entrusted to 
him the cleaning and repairing of the cartoons 
of Raff'aelle. at Hampton Court. He died in 1732. 

DUVAL, Philippe, a French painter, who 
flourished about 1672. He studied under Charles 
le Brun, after which he improved himself by a 
residence in Ital3^ In the reign of Charles II. he 
went to England, and painted some historal sub- 
jects, particularly one for the Duchess of Rich- 
mond, representing Venus receiving from Vnlcan 
the Arms of ^neas. He died at London in 1709. 

DUVENEDE, Mark van, a Flemish painter, 
born at Bruges in 1674. He visited Italy while 
very young, and entered the school of Carlo Ma- 
ratti at Rome, where he remained four 3-ears. On 
his return to Flanders, he was employed in seve- 
ral grand works for the churches and convents ; 
but in a few years he became indolent, from hav- 
ing an easy income independent of his profession ; 
and for several years previous to his death, he pro- 
duced nothing of consequence. His works were 
in the style of Carlo Maratti, and those which he 
painted soon after his return from Italy have 
much merit. Among his other works, is a capi- 
tal picture at Bruges, of the Idolatry of Solomon ; 
and in the chapel of St. Christopher, another fine 
work, representing the Martj^rdom of St. Law- 
rence. He died in 1729. 

DUVET, or DANET, 
I Jean, an old French engra- 
ver, born at Langres, ac- 
cording to Bartsch and Zani, in 1485. He is some- 
times called the Master of the Unicom, from his 
having sometimes engraved that annual on his 
plates. He flourished at Paris in the reign of 
Henry II., and usually marked his plates I. D., 
or with one of his monograms. Among other 
works, he executed a set of twenty-four prints of 
the Apocalypse ; also one plate of the god Mars ; 
I. D., 1530 ; the Marriage of Adam and Eve ; and 
Moses with the Patriarchs. 

DUYNEN, Isaac van, a Dutch painter, who 
flourished at Dort about 1670, and was much es- 
teemed for his pictures of fish and other subjects 
of still-life, which possess considerable merit. 

DYCK, Daniel vander, a Flemish painter, 
who studied in Italy, and was appointed court 
painter to the Duke of Mantua, and keeper of his 
gallery-. He excelled in portraits, and also paint- 
ed history in a good style. He engraved a few 
plates after his own designs, and died in 1729. 

DYK, Florus van, a Dutch painter, born in 
1600, and died in 1649. He painted subjects of 
history, but is better known for his fruit and flow- 
er pieces, which possess great merit. 

DYXHOORN, Peter Arnout, a Dutch paint- 
er, born at Rotterdam in 1810. He studied under 
M. Schouraan and J. C. Schotel, and attained^ a 
deserved reputation for his fine pictures of river 
scenes and marine views. He died in 1839. 



EARL. 



285 



ECHA. 



E. 



EARLOM, Richard, a preeminent English en- 
graver, born at London'in 1742, and was the son 
of the vestry clerk of the parish of St. Sepulcre. 
His taste for design is said to have been excited by 
the inspection of the ornaments on the state-coach 
of the lord-mayor, which had been painted by 
Cipriani. He entered the school of that master, 
where he made such rapid progress that in 1760 
he was employed by Alderman Boy dell to make 
drawings from the celebrated collection of pictures 
at Houghton, most of which he afterwards en- 
graved in mezzotinto. In this branch of the art 
he had been his own instructor, and he introduced 
into the practice of it improvements and instru- 
ments not previously used. The fruit and liower 
pieces executed by Earlom, after J. van Huysum, 
estabhshed his fame. He engraved the plates for 
the well known work published by Boydell, enti- 
tled Liher Veritatis, executed in the style of the 
original drawings by Claude Lorraine, which are 
in the possession of the Duke of Devonshire. Ear- 
lom died in 1822. The following are his principal 
plates : 

ETCHINGS. 

The Portrait of Eembrandt ; se ipse pinx. Banditti 
and Travelers ; after S. Rosa. Jacob wrestling with the 
Angel; do. David and Goliah ; do. Venus and Adonis ; 
after N. Poussin. The Death of Abel ; after A. Sacchi. 
iSneas saving Anchises from the Ruins of Troy ; after 
Tintoretto. The Holy Family ; after Guercino. Cupid 
bound ; after Guide. 

PORTRAITS IN MEZZOTINTO. 

"William Henry, Duke of Gloucester ; after Hamilton. 
Thomas Newton, Bishop of Bristol ; after West. Sir Ed- 
ward Astley, Bart. ; do. George Augustus Elliot, Lord 
Heathfield ; after Reynolds. James Stuart, Duke of 
Richmond ; after Vandyck. Admiral Kempenfelt ; after 
T. Kettle. The Duke of Aremberg on horseback ; after 
Vandyck. Rubens' Wife ; Rubens, pinx. A Portrait of 
Rembrandt; after a picture by himself. Rembrandt's 
Wife ; Rembrandt, pinx. James Mac Ardell, engraver. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Repose, called la Zingara ; after Correggio. The 
Virgin and Infant ; after Guercino. The Virgin and In- 
fant with St. John ; after Carlo Dolci. Salvator Mundi ; 
after the same. The Virgin and Infant ; after Canta- 
rini. The infant Jesus sleeping ; after Domenichino. 
Simeon receiving the infant Jesus ; after Guido. Christ 
curing the Blind; after An. Caracci. Galatea; after 
Luc. Giordano. The Judgment of Paris ; do. The Mi- 
sers ; after Quintin Messis. The Holy Family; after 
Rubens. Mary Magdalene washing the Feet of Christ; 
do. Nymphs and Satyrs ; do. Meleager and Atalanta ; 
do. The Death of Hipj<olitus ; do. Rubens' Son and his 
Nurse, with Fruit on a Table ; do. Elijah restoring to 
life the Widow's Son ; after Rembrandt. The Presenta- 
tion in the Temple ; do. Susanna and the Elders ; do, 
A Boar attacked by a Lion ; after Snyders. The Fi'uit- 
Market ; after Snyders and Langen Jan. The Fish- 
Market ; do. The Green- Market ; do. Two. a Fruit- 
piece and a Flower-piece ; after John van Huysum ; ex- 
tremely fine. David and Bathsheba ; after A. Vander- 
werf; very fine. The Enchantress ; after D. Teniers. 
The Singing Master ; after G. Schalken. The Interview 
between Augustus and Cleopatra ; after R. Mengs. The 
Royal Family of England ; after Zoffany. The Royal 
Academy; do. Angelica and Medora ; after West. Cu- 
pid stung by a Bee ; do Meleager and Atalanta ; after 
Richard Wilson. Apollo and the Nymphs ; do. A Black- 
smith's Shop ; after Jos. Wright. An Iron Forge ; do. 
We are indebted to Mr. Earlom for a very interesting 
work, published by Boydell, entitled Liber Veritatis, com- 
prising upward of two hundred plates, executed in the style 
of the original drawings, by Claude Lorraine, which are 
in the possession of the Duke of Devonshire. 



ECHARDT, or ECOARDT, John Giles, a 
German painter, who visited England about 1740, 
and became a pupil of John Baptist Vanloo, He 
i acquired considerable reputation, as a portrait 
painter, and was much employed, particularly by 
Horace Walpole. Among other portraits were 
those of Mrs. Woffington, the actress, and Dr. 
Middleton. Echardt died in 1779. 

ECHION, a celebrated Greek painter, who flour- 
ished about B. c. 352. Pliny ranks him with 
Apelles, Melanthius, and Nicomachus, and cites 
many of his best works, among which were a pic- 
ture of Bacchus, Tragedy and Comedy, the Crown- 
ing of Semiramis, etc. His works were in great 
demand throughout Greece. Cicero praises him 
equally with those painters who carried the art to 
the highest perfection, but in some editions the 
name of Aetion occurs, instead of Echion, and 
they may be the same artist. (See Aetion). — 
Echion was also a sculptor, and wrought in con- 
cert with Therimachus. 

EC KM AN, or ECMAN, Edward, a Flemish 
wood engraver, born at Mechlin about 1610. His 
prints, which, according to Marolles number about 
one hundred, are esteemed for their neatness of 
execution, and the correct drawing of the small 
figures. He seems to have imitated the prints of 
Callot ; and he has copied some of them, in wood- 
en cuts with great delicacy and spirit, particularly 
the plate representing Fire- Works on the river 
Arno. He also engraved after Businck and Abra- 
ham Bosse. 

ECKSTEYN, George David, a German en- 
graver, who practised the art at Nuremberg, about 
1725. He engraved, among other works, a part 
of the portraits for the work entitled Icones Bihli- 
opolarum et Typographorum, published in 1721. 

ECKHARD, George Ludwig, a German por- 
trait painter, born at Hamburg in 1769. He prac- 
tised the art in that city for many years with great 
success, and attained considerable reputation. He 
is the author of a biographical work on the artists 
of Hamburg, which served as a supplement to the 
Dictionary of Fuseli. 

EDELINCK, Chev. Gerard, a celebrated Flem- 
ish engraver, born at Antwerp in 1627 ; died at Pa- 
ris in 1707. He studied under Cornelius Galle, with 
whom he made great progress ; and in 1665 he 
was invited to Paris by the great Colbert, where 
he was taken into the service of Louis XIV., who 
settled a pension on him, and gave him apartments 
in the Gobelins. He was subsequently elected a 
Royal Academician, and was soon after knighted 
by the king. The plates of this admirable/* artist 
are executed entirel)'- with the graver, and are 
very highly finished, yet they possess that free- 
dom and boldness of touch which give the appear- 
ance of life and reality. He worked with surpris- 
ing facility ; his plates, though exquisitely finish- 
ed, have nothing of a labored appearance, and he 
possessed a profound acquaintance with what is 
called color in engraving. The pictures of Le 
Brun may be said to have been embellished by 
the admirable graver of this artist, and they seem, 
in his prints, to have been the productions of an 
accomplished colorist. The following are his 
I principal works : 

POHTRAITS. 

The Equestrian Statue of Louis XIV., the Frontispieca 



EDEL. 



286 



EDEL. 



for the Illustrious Men of France. Louis XIV., half- 
length; after J. de la Hay e. Louis, Duke of Burgundy; 
after F. de Trov> Esprit Flechier, Bishop of Nismes ; 
after Rigaud. Charles Perrault, of the French Academy. 
Paul Pelisson ; of the same. J. de la Fontaine ; of the 
same.- J. Racine ; of the same. Blaise Pascal. Peter 
van Bouc. Nathaniel Dilgerus. 1683. Titian, with a 
long Beard. Abraham Teniers ; after a •picture by him- 
self Albert Durer, with a short Beard ; Edelinck, scul. 
John Cousin, with Moustaches ; do. Giles Sadeler, engra- 
ver. Abraham Bloemaert. James Blanchard ; after a 
picture by himself Francis Tortebat, painter to the king ; 
after de Piles. Israel Sylvestre, engraver; after le Brun. 
Peter Simon, engraver ; after P. Ernou. Francis Cha- 
veau, engraver ; after C. le Fevre. Martin vanden Bo- 
gaert, sculptor; after Rigaud. Hyacinth Rigaud, paint- 
er ; after a picture by himself. Julien Hardouin Man- 
sard, architect ; after Rigaud. Charles le Brun ; after 
N. de Largilliere. Philip de Champagne ; after a pic- 
ture by himself; very fine. Charles d'Hozier, Genealogist 
of France ; after Rigaud. Frederick Leonard, Printer 
to the King ; do. John Charles Parent, the same ; after 
T'ortebat. Madame Helyot, with a Crucifix ; after Gal- 
liot. Francis M. le Tellier, Marquis de Louvois, bust, with 
Mars and Minerva as supporters ; after le Brun. An- 
drew Hameau, Doctor of Sorbonne ; after Vivien. Nicho- 
las de Bampignon, Doctor of Sorbonne ; do. John Rotiille, 
Count of Meslay, counsellor of state ; after Nantueil. 
Charles Mouton, Musician to Louis XIV. ; after de Troy. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family, with St. John, St. Elizabeth, and two 
Angels ; after the picture by Rajfaelle, which was in the 
collection of the King of France ; very fine. The first im- 
pressions are before the arms of Colbert, the second are 
with the arms, and in the third the arms have been effaced, 
but the frame in which they were inserted remains. The 
Virgin Mary sewing, with the Infant sleeping in a Cradle, 
surrounded by Angels ; called La Couseuse ; after Gui- 
do ; fine. The Holy Family, where St. Joseph is present- 
ing flowers to the infant Jesus; inscribed Dilectus mens, 
<^c. ; after C. Maratti. The Holy Family, called the 
Benedicite ; after le Brun, A Female Saint, holding a 
Lily, and kneeling before the Virgin and Infant seated on 
a Throne, to whom she presents a Book ; after P. da Cor- 
tona. Mary Magdalene penitent, trampling on the Vani- 
ties of the World. It is the portrait of Madame de la Va- 
liere ; after the picture by le Brun, at the Carmelites at 
Paris. The first impressions are without the inscription, 
and are very scarce ; the next best are without the border. 
St. Louis prostrating himself before a Crucifix ; after le 
Brun. St. Charles Borromeus kneeling ; do. The Cru- 
cifixion, surrounded with Angels ; on two sheets ; do. Mo- 
ses, half-length, holding the Tables of the LaAv ; after P. 
de Champagne; engraved conjointly with Nantueil. — 
Christ and the Woman of Samaria ; do. The Virgin Mary 
at the foot of the Cross ; do. St. Jerome ; do. St. Am- 
brose, half-length ; after J. B. Champagne. St. Basil 
find St. Gregory ; the same ; do. A Combat of Cavalry, 
four Horsemen fighting for a Standard, with three dead 
Figures on the ground ; after the celebrated Cartoon by 
Leonardo da Vinci. The name of the painter is incor- 
rectly written L. de la Finse, pinxit ; very fine. Louis 
XIV. on Horseback ; in two sheets. The impressions be- 
fore the name of Edelinck are scarce. The same subject, 
with a Group, instead of the Scroll and the Standard. — 
Louis XIV. on Horseback, preceded by the exterminating 
Angel, and his Enemies overthrown at his Feet ; in three 
sheets ; very fine. Louis XIV. in a Triumphal Car, drawn 
by the Four Evangelists, called the Extirpation of Calvin- 
ism ; in two sheets ; fine and scarce. Louis XIV, giving 
peace to Europe ; in two sheets. Alexander accompanied 
by Hephestion, entering the tent of Darius ; on two sheets ; 
after le Brun. The first impressions have the name of 
Goyton at the bottom. This print completes the set of the 
Battles of Alexander engraved by Gerard Audran ; af- 
ter le Brun. Alexander entering the tent of Darius ; 
after Mignard ; engraved by Edelinck and P. Drevet. 

EDELINCK, John, the brother of the preced- 
ing, was born at Antwerp about 1G30. He joined 
his brother at Paris, and engraved several plates 
in imitation of that master, which possess con- 
siderable merit, though greatly inferior to the pro- 



ductions of the latter. There are several prints 
by him of statues in the garden of Versailles ; 
also the following : 

The Portrait of Isbrandus de Diemerbroeck, famous 
anatomist; after Romeyn de Hooghe. The Deluge; after 
Alessandro Veronese; very fine This plate so nearly 
resembles the fine style of Gerard Edelinck. that it is sup- 
posed he was greatly assisted in the execution of it by hig 
brother. 

EDELINCK, Nicholas, a French engraver, the 
son of Gerard E., was born at Paris about 1680. 
He was first instructed by his father, and also 
visited Italy for improvement ; but never rose 
above mediocrity He engraved a number of 
plates for the Crozat collection, and also several 
portraits, among which are the following : 

PORTRAITS. 

Gerard Edelinck, engraver to the King ; after Tortebat. 
The Cardinal Julius de Medici; after Raffaelle. The 
Count Balthasar Castiglione ; do. Philip, Duke of Or- 
leans, Regent of France, on horseback ; after J. Ranc 
Adrian Baillet. John Dryden, English Poet ; after 
Kneller. The Virgin and Infant; after Correggio. 
Vertumnus and Pomona ; after J. Ranc. 

EDELING, J., a Dutch engraver of little note, 
who worked principally for the booksellers.— 
Among other portraits, he executed those of J. 
Deimerbroeck. and Timon van Geissel, which are 
not without merit. 

EDEMA, Gerard, a Dutch painter, born in 
Friesland about 1652. He studied under Albert 
van Everdingen, and like that master, painted land- 
scapes with rocks and waterfalls. At the age of 
eighteen he went to England, where he met with 
some encouragement ; and afterwards visited Nor- 
way and Switzerland, where he gained improve- 
ment from observation of the wild, mountainous 
scenery. He is also said to have visited Newfound- 
land. His pictures are painted in a very forcible 
and spirited manner, though they possess little of 
the chaste and simple coloring that distinguishes 
the works of Everdingen. The figures in his land- 
scapes were usually painted by John Wyck. Ede- 
ma died at Richmond in 1700. 

EDEMA, Nicolas, a Dutch landscape painter, 
born in Friesland in 1666. He visited Surinam in 
order to paint the landscapes, plants, and insects 
of that country. He became a good landscape 
painter, as his views are taken from nature, with 
a good tone of coloring and a spirited touch. He 
visited England, and died at London, in 1722. 

EDESIA. Andrino di, a native of Pavia. sup- 
posed to have been of Greek origin, who flouf- 
i.'^hed, according to Lomazzo. about 1330. To Ede- 
sia and his school are attributed some frescos 
which still remain in the church of S. Martino and 
other places in Pavia. Lanzi says their taste is 
tolerably good, and the coloring partakes of that 
of the Florentines of the age. 

EDMONSTONE, a Scotch painter, born at 
Kelso in 1795. He early manifested a strong in- 
clination for art, and in his leisure hours devoted 
himself to the study of design. He soon under- 
took painting, and executed several pictures, which 
were exhibited in Edinburgh, and excited conside- 
rable applause. Encouraged by the success of his 
first attempts, he went to London in 1819, and en- 
tered the atelier of Harlow, where he made good 
progress, and was considered as one of the most 
promising young artists of the day. He visited 



EDRL 



m 



EGIK 



Italy, and spent some time at Rome, Naples, Flo- 
rence, and Venice, studying the works of the great 
masters with considerable assiduity. On his re- 
turn to England, he soon gained encouragement, 
and his works acquired for him an extended repu- 
tation, especially for their facility of invention and 
delicacy of coloring. His talents were well 
adapted to portrait painting, but he never left the 
higher department of art. Edmonstone would 
have undoubtedly attained an enviable reputation, 
had he not died suddenly, in 1834, two years after 
his return from Italy. 

EDRIDGE, Henry, an English miniature paint- 
er, and an associate of the Royal Academy, was 
born in 1768, and died in 1821. He studied under 
Pether, the mezzotint engraver and landscape 
painter, but did not follow the footsteps of his 
master, his talents being better adapted to minia- 
ture portraits, which he executed in black lead and 
India ink, and afterwards in water-colors. 

EDWARDS, William, an English architect, 
born at Glamorganshire, in 1719. He was con- 
stantly employed in erecting bridges in South 
Wales, and devised many improvements in that 
branch of architecture. His most important work 
was a bridge of a single arch, which he constructed 
over the river Taffe. the span of which is one hun- 
dred and forty feet, being fort^y-two feet longer 
than the Rialto. It is an admirable work. Ed- 
wards died in 1789. 

EDWARDS, Edward, an English designer and 
painter, born in 1738. He was emploj^ed by Boy- 
dell to make drawings from the old masters for 
his publications, and by the Society of Antiqua- 
ries for the same purpose. He painted a few 
pictures, among which are a subject from the 
Two Gentlemen of Verona ; he also painted ara- 
besques, and published fifty-two etchings. He 
was the compiler of the •' Anecdotes of Painters," 
intended as a supplement to Walpole. In 1788, 
he was appointed Teacher of Perspective in the 
Roval Academy, which situation he held till his 
dealh, in 1800." ' 

EDWARDS, George, an English naturalist, 
born at Stratford in 1693. He is principally noted 
for his illustrated work on Ornithology, which 
contains 210 plates, in four vols., published in 
1750. About 1760 he pubhshed a work on natu- 
ral history, containing about 400 plates, with de- 
scriptions. He died in 1773. 

EECKHOUT, Anthony vander, a Flemish 
painter of fruit and flowers, was born at Bruges 
in 1 656. He accompanied L. Deyster, his relative, 
to Italy, where he practised the art for several 
years, and assisted Deyster by painting the land- 
scapes in his compositions. He afterwards visited 
Lisbon, where he met with much encouragement, 
and married a lady of fortune ; after which he 
practised the art merely for amusement. He was 
assassinated in 1695, while riding in his carriage. 

EECKHOUT, Gerbrant vander, a Dutch 
painter, born at Amsterdam in 1621 ; died in 
1674. He studied in the school of Rembrandt, 
where he acquired an admirable system of color- 
ing, and a good acquaintance with the principles of 
light and shadow. On quitting that master, he ac- 
quired great reputation as a portrait painter, and 
his works in this branch of the art may be con- 
sidered as his best productions. About this time, 



he painted a number of pictures which approach 
the excellence of Rembrandt, but he afterwards 
sunk into mannerism and tameness. His sub- 
jects of history possess the defects of his master 
in design and characteristic propriety ; while they 
do not equal the latter in regard to coloring, or in- 
telligence of the chiaro-scuro. His pictures, how- 
ever, are to be found in the best collections in Hol- 
land. Among the most esteemed is one represent- 
ing our Saviour among the Doctors, in the Electo- 
ral collection at Dusseldorf. This artist etch- 
ed a few plates, among which are a Bust of a 
Young Man in an Oriental Dress, marked G. V. D., 
1646 ; and the Portrait of Cornelius Tromp. 

EGINTON, Francis, an English painter on 
glass, who contributed greatly to the perfection of 
this branch of the art in that country. He has 
left about fifty large works, which evince distin- 
guished talents, among which are two pictures of 
the Resurrection, after designs of Reynolds, in 
the cathedrals of Salisbury and Litchfield ; the 
Banquet given by Solomon to the Queen of She- 
ba, after a picture by Hamilton, in the chateau of 
Arundel ; and St. Paul receiving his sight, in the 
church of St. Paul at Birmingham. He died in 
1805. 

E GMONT, Justus van. This painter was born 
at Ley den, in Holland, in 1602, but was educated 
at Antwerp, in the school of Rubens. He assisted 
the latter in mvcnj of his works, particularly those 
which he painted for the churches at Mechlin. On 
leaving Rubens, he visited Paris, where he was 
appointed painter to Louis XIIL. which office was 
continued to him under Louis XIV., who highly 
esteemed Egmont. and rewarded him liberally for 
his undertakings. He executed a number of im- 
portant historical works, in concert with Simon 
Vouet ; and he had the honor of being appointed 
among the twelve Elders at the establishment of 
the French Academy of Painting and Sculpture, 
in 1648. He died at Antwerp, in 1674. 

EGOGUI, Ambrogio, an Italian painter. Lit- 
tle is known of the events of his life, except that 
he practised the art at JMilan in the first part of 
the 16th century. The only work remaining, of 
his execution, is a fine altar-piece, in a church at 
Nerviano, dated 1527. 

EHRENSTAL, David Clocker de, a Swedish 
painter, born in 1629. He early manifested a 
strong inclination for art, and was taken under 
the protection of Queen Maria Eleonora, who sent 
him to Italy, where he entered the school of P. 
da Cortona, and studied with great assiduity. On 
returning to Sweden, he was liberally encouraged, 
and in 1661 he was appointed painter to the court. 
He executed a large number of portraits and his- 
torical subjects, which were much esteemed ; also 
many excellent designs. He painted animals with 
great accuracy. Among his principal works is the 
Coronation of Charles XL in the chateau of Drott- 
ningholm ; and the Last Judgment, in the church 
of S. Nicolas at Stockholm. In 1674, he was 
honored by Charles XL with letters of nobility. 
He died in 1698. 

EHRET, Geo. Dionysius, an ingenious German, 
botanical painter, born in 1710. His father was 
gardener to the Prince of Baden-Durlach. George 
early manifested a taste for drawing and painting 
the flowers in the gardens, and when very young 



EIMM. 



288 



EISM. 



tlioug:h without any instructions, he had painted 
five hundred plants with great accuracy and skill. 
A physician who was visiting the gardens, saw 
several drawings of the young artist, and was so 
much pleased with them that he introduced Ehret 
to his friend. Dr. Trew. of Nuremberg. The lat- 
ter immediately offered 4000 florins for them, 
which was gladly accepted ; and young Ehret 
adopted the easiest methods of getting rid of his 
money. He soon found himself at Basle, almost 
penniless ; but being obliged to commence exer- 
tions, he quickly found a ready demand for all he 
could produce. Having thus recruited his finances, 
he went to Montpellier. where he taught the art to 
a lady of fortune, who rewarded him generously. 
He next visited Paris, and made the acquaintance 
of Jussieu. who employed him in drawing the 
plants of the Royal Gardens. After some time, 
he went to London, but not succeeding as he ex- 
pected, he soon returned to the continent, and in 
1736 was employed in the garden of Mr. Clifford, 
where Linnaeus found him, and gave him some in- 
structions. His fine taste and botanical accuracy 
appear to have been first publicly displayed in the 
figures of the Hortus Clijfbi^iianus, which ap- 
peared in 1737. About 1740, he went again to 
England, and remained there the rest of his life. 
He painted many hundred plants for different pa- 
trons, among whom were Taylor White. Dr. 
Mead, Sir Hans Sloan, and Dr. Fothergill. Many 
of these paintings were executed on vellum ; and 
engravings were made from them for various works, 
particularly Dr. Trew's PlantcB Selectee, and 
"Brown's History of Jamaica. He was a Fellow 
of the Royal Society, and died in 1770. aged 60 
years. 

EIMMAERT, George Christophek, a Ger- 
man painter and engraver, born at Ratisbon in 
1638. He executed a number of portraits of dis- 
tinguished personages, historical works, and sub- 
jects of natural history, by which he gained so 
much reputation, that in 1674, he was appointed 
du-ector of the Academy at Nuremberg. He was 
invited to the court of Sweden, by King Charles 
XL, but declined the invitation, though not insen- 
sible to the honor, since he has dedicated many 
of his pictures, as well as engravings to that mon- 
arch. As an engraver, he executed some- plates 
for SandrarVs Academia. besides several etchings 
of ruins, buildings, and vases, ornamented with 
figures, in a very neat stjde. and possessing 
considerable merit. He died in 1705. There 
were two other engravers of this name, one of 
whom flourished about 1585 ; the other was born 
in 1603, and died in 1663. The name is various- 
ly spelt, Eimart, Eimmart, Eimaert, and Eimert. 

EISEN, Francis, a Flemish engraver, born at 
Brussels in 1700. He resided chiefly at Paris, 
where he flourished about 1750. Among other 
plates there is an etching by this artist after Ru- 
beiis, representing Christ giving the Kej^s to St. 
Peter. The original painting was formerly in the 
church at Brussels. Eisen died in 1777. He had 
a son named Charles, who was born in 1722, and 
died in 1778. He etched a few plates of the Vir- 
gin, a St. Jerome. St. Ely preaching, &c. He also 
designed many of the small portraits and vignettes 
for Les Vies des Peintres, par J. B. Descamps, 
published at Paris in 1751, to 1763 ; and for other 
publications, among which were the Contes of La 



Fontaine^ and Basan's edition of the Metamor 
phoses of Ovid, 

EISENHOUT, Anthony, a Dutch painter and 
engraver, who flourished at Rome about 1590, and 
was living in 1619. Prof. Christ has misnamed 
him Eisenhart, and it appears that some of his 
works have been attributed to other masters ; Brul- 
liot mentions several attributed by Bartsch to Lu- 
cas Ciamberlani, which he thinks are the produc- 
tions of Eisenhout. 

EISMANN. John Anthony, a German paint- 
er, born in 1604. and died in 1698. He settled at 
Verona, where he was distinguished for his land- 
scapes, battles, perspectives, and marine subjects. 
There are several pictures in the Dresden Gallery, 
under the name of Leismann, or Lismann. which 
are supposed to be by this master. He adopted 
his favorite pupil. Carlo Brisighella. who took the 
name of Charles EismanJi, and who painted the 
same subjects as his master. This has caused 
some confusion in the accounts of both artists. 
The name is sometimes incorrectly written Litis- 
mon. 

EKELS, Jan, a Dutch painter, born at Amster- 
dam in 1722. He studied under Thierry Dalens 
the Younger, and usually painted views of cities, 
in the manner of Jan Ten Compe. His subjects 
are usually of a small size, highly finished, with a 
good effect of light and shadow. He died at Am- 
sterdam in 1781. 

EKELS, Jan, the Younger, a Dutch painter, 
born in 1759, was the son and scholar of the pre- 
ceding, and made rapid progress under his father's 
instruction. He was distinguished for his inte- 
riors, conversations, familiar scenes, and portraits, 
chiefly of the cabinet size. His pictures are cha- 
racterized by a light, free pencil, and a vigorous 
tone of coloring. His works are not numerous, 
as he practised the art rather as an amateur than 
a professor. He died in 1793, at the age of 34. 

ELBRUCHT. ELBURCHT, or ELBURGH, Jan 
VAN, surnamed Kleynhansken, or Little John, was 
a Flemish painter, born, according to Balkema, at 
Elburg near Campen. in 1500. It is not known 
by whom he was instructed ; but he established 
himself at Antwerp, where he acquired consider- 
able reputation. He painted history, and excelled 
in landscapes and sea-storms. There is a fine pic- 
ture by him in the cathedral at Bruges, represent- 
ing the Miraculous Draught of Fishes. In 1535 
he was elected an Academician, and died at Ant- 
werp, according to Balkema, in 1546. 

ELDER. Wm., a Scotch engraver, who practised 
the art at London, about 1680, and worked princi- 
pally for the booksellers. There are a few portraits 
by him, executed entirely with the graver, among 
which are the following : 

His own Portrait, with a Fur Cap. The same, with a 
"Wig. William Sancroft, Archbishop of Canterhurv. John 
Pearson, Bishop of Chester. Ben Johnson, prefixed to his 
works in 1692. Sir Theodore de Mayeme, physician. Ad- 
miral Russell. Sir Henry PoUexfen, Chief Justice of the 
Common Pleas. John Ray, Naturalist. Richard Morton, 
IM. D. George Parker, Astrologer. Charles Snell, Writing- 
master. 

ELI AS. Matthew. This artist was born near 
Cassel, in French Flanders, in 1658. His parents, 
who were very poor, employed him while a boy 
in attending cattle; and while thus engaged, he 
was observed one day by Corbeen, a painter of 



ELLI. 



ELLL 



Dunkirk, making a mud fortification, with clay 
figures attacking it. The latter, seeing the regu- 
laritj^ and taste displayed in the work, entered in- 
to conversation with the boy, and finally induced 
his parents to intrust their son to his care. The 
young artist made rapid progress, acquired the 
esteem of the public, and gained the favor of his 
master to such a degree that he sent Elias to 
Paris at the age of 20. After spending some 
time in that city, he returned to Dunkirk, and 
painted a fine picture for the altar of St. Barbara's 
chapel, representing the martja^dom of that saint. 
On returning to Paris he was much employed, and 
"Was appointed professor of the academy. He af- 
terwards settled at Dunkirk, where he painted 
many pictures for the churches of Flanders. He 
painted portraits which were much admired. — 
Among his best works is the grand altar-piece 
for the church of the Carmelites at Dunkirk, which 
is a votive offering of the city to the Virgin Mary. 
His drawing is tolerably correct, his coloring 
good; but in composition he w^as extremely long 
and tedious, though very persevering ; and his 
latter works are decidedly formal. He died in 
1741. 

ELLIGER, or ELGER, Ottomar. the Elder, 
a Dutch painter, was born at Gottenburg in 1633. 
His father was a physician, and wished to educate 
Ottomar as a scholar; but perceiving his strong 
inclination for art, he sent him to Antwerp, w^here 
he entered the school of Daniel Segers. He paint- 
ed flowers and fruit in the highly finished style 
of that master, and acquired considerable reputa- 
tion. He was invited to the court of Berlin, and 
was appointed painter to William Frederick, Elec- 
tor of Brandenburg. He remained in the service 
of the latter during the rest of his life, and painted 
a great number of pictures, most of which are in 
Germany, where they are held in considerable 
estimation. He died in 1686. 

ELLIGER, or ELGER, Ottomar, the Young- 
er, a Dutch painter, the son of the preceding, was 
born at Hamburg in 1666. He acquired the 
elements of design from his father, and then went 
to Amsterdam, w^here he entei-ed the school of Mi- 
chael van jMuscher. a painter of small portraits and 
conversations. He soon left that master and en- 
tered the school of Gerard Lairesse, w^hose histori- 
cal works were then in high reputation. Under 
his able instructions Elliger made rapid advances, 
and gained considerable reputation. He painted 
subjects of history in the style of his instructor, 
which were characterized by judicious composi- 
tion and correctness of design. He was particu- 
larly attentive to the propriety of costume, both in 
the character and dress of his figures, and in the 
style of his architecture, which he introduced into 
his pictures with great judgment and effect. He 
resided at Amsterdam, where he was much em- 
ployed, and where his principal works are to be 
seen. He was patronized by the Elector of Mentz, 
for whom he painted the death of Alexander, and 
the Marriage of Peleus and Thetis. He died in 
1732. 

ELLIOT. Wm., an English engraver, born at 
Hampton Court in 1727 ; died in 1766. He exe- 
cuted several landscapes, which have been praised 
for the taste and freedom of his point. The fol- 
lowmg are the principal : 

A Landscape with Cattle ; after Rosa de Tivoli, A 



View near Maestricht, with (!attle; after A. Cuyp. A 
Landscape, with the Flight into Egypt; after Poelem 
burg. A large Landscape ; after G. Smith. A set of 
four Landscapes ; after the ' SmitJis. A set of six of 
Horses ; after T. Smith. Two Landscapes, Spring and 
Summer; after van Goyen. The Portrait of Helen For- 
man, second wife of Rubens. 

ELLIS, William, an eminent English engra- 
ver of landscapes and views. He engraved some 
plates in conjunction with "William Woollet. He 
engraved some very fine plates after designs by 
Paul Sandhy and Thomas Hearne. 

ELMER, Stephen, an English painter of dead 
game and still-life, who died at Farnham, where 
he principally resided, a})Out 1795. His works 
are ingeniously composed, and executed with a 
very spirited pencil. 

ELSHEIMER, or ELZHEIMER. See Alz- 
heimer. 

ELSTRACKE, Reginald, or Renold, an Eng- 
lish engraver, who flourished about 1620. He en- 
graved a number of plates for the booksellers, 
which are executed entirely with the graver. His 
plates are marked R. E., or with his name in full. 
He published a volume of portraits of the English 
Kings from the Conquest to the year 1618. The 
following are his principal plates : 

PORTRAITS. 

James I. Queen Elizabeth. Mary, Queen of Scots, 
with Attributes ; one of his best prints. The same, with 
Lord Darnley. Thomas Howard, Earl of Suffolk. Rob- 
ert, Earl of Essex. Gervase Babiugton, Bishop of Wor- 
cester. Sir Julius Ca?sar, Keeper of the Rolls. Sir Thos. 
More. Sir Philip Sidney. Thomas Sutton, founder of 
the Charter House. Edmund, Lord Sheffield. John, 
Lord Harrington. William Knollis, Viscount AVallingford. 

ELST. Peter vander. a Dutch painter, 
who flourished about 1655. He studied 
under Gerard Douw, and painted candle-light 
scenes, into which he introduced half-length fig- 
ures. Little is known of the events of his life, and 
his works are probably ascribed to some more 
eminent artist. 

ELZEYIER, Arnould, a Dutch painter, who 
flourished about the middle of the 17th century. 
His subjects were landscapes and conflagrations. 

EMELRAET, a Flemish painter, born at Ant- 
werp in 1612. He visited Italy while young, and 
passed several years at Rome, studying with as- 
siduity the works of the great masters. On his 
return to Antwerp, he distinguished himself by 
painting fine landscapes of a large size, which he 
executed in a style of superior beauty, insomuch 
that he was often employed by the ablest histor- 
ical painters, to paint the backgrounds of their pic- 
tures. Several of his best landscapes are in the 
church of the barefooted Carmelites at Antwerp. 
He died in 1668. 

EMERE, Garcia d', a Spanish architect, who 
flourished about 1594, and erected, among other 
edifices, the parochial church of Valeria, near Cu- 
enca, the fa9ade of which has four Ionic columns, 
on pedestals, with a balcony ornamented with 
statues. This edifice is in the Gothic style. 

EMERY. See Hemery. 

EMMETT, William, an English engraver, who 
flourished about 1710. He engraved a number of 
prints for the booksellers, among which is a large 
view of the interior of St. Paul's church, executed 
with the graver in a neat, clear style. 



EMPE. 



290 



ENGL. 



EMPEREUR. SeeL'ExMPEREUR. 

EMPOLL See Ohimenti. 

ENDLICH, Philip, a Dutch engraver, born at 
Amsterdam about 1700. He studied under Ber- 
nard Picart, and was principally empIo5^ed in por- 
traits which are neatly executed with the graver. 
The following are the principal: 

PORTRAITS. 

Henry, Count of Moens. John Taylor, a celebrated 
English oculist. 1735. John Philip d'Almeria, Governor 
of the Isle of St. Martin. John G-osewyn E. Alstein, ec- 
clesiastic of Amsterdam. 1738. John Noordbeck ; do. 
Peter Hollebeck ; do. Leonard Beels ; the same. 

ENFANT. See L' Enfant. 

ENGELBRECHT, Christian and Martin, 
two engravers and printsellers, who resided at 
Augsbourg about 1720. Christian E. engraved 
several ornamental works for the goldsmiths, in 
concert with J. A. Peefel, after A. Morrison ; 
also several views for the History of Architecture, 
published in 1721, by J. Ilernhard. Martin E. 
engraved several plates after Rugendas^ and other 
masters ; also some prints for Ovid's Metamor- 
phoses. 

or JLeNGELBRECHTSEN, Cornelius, 

/1\ an old Dutch painter, boi-n at Leyden 
in 1468. The pictures of John van Eyck, the al- 
leged inventor of oil painting, were at that time 
the object of cariosity and admiration; and En- 
gelbrechtscn studied them with great assiduity. 
Van Mander says he was the first Dutch artist 
who painted in oil. Those works of his, which 
escaped the national commotion.?, were careful!}^ 
preserved in the churches of Our Lady, at Ley- 
den ; representing Abraham sacrificing Isaac ; the 
Crucifixion ; the Deposition from the Cross ; and 
several small pictures of the Life of the Virgin. 
The latter were distinguished for good composi- 
tion, and a less Gothic style of design than was 
usual at that early period. His best work, how- 
ever, was an altar-piece, painted for the Epitaph of 
the family of Lockhorst, in the church of St. Pe- 
ter at Leyden, representing the Adoration of the 
Lamb, as described by St. John in the Revelation. 
It is a grand composition, containing a great num- 
ber of figures. This artist died at Leyden in 1533. 
ENGELRAEMS, Cornelius, a Flemish paint- 
er, born at Mechlin in 1527. He excelled in paint- 
ing sulijects of history in distemper. His master 
piece is a grand composition, representing the Se- 
ven Works of Mercy, in the cathedral church of 
S. Rombouts at Mechlin. He went to Germany, 
where he passed some years. There are several 
of his works in that country, among which is a 
large altar-piece representing the Conversion of St. 
Paul, in the church of St. Catherine, at Hamburg. 
He died in 1583. 

ENGLEHEART. Francis, an English engraver, 
born in 1775. He studied under Jacob Collyer, 
and afterwards became an assistant to James 
Heath. He wrought chiefly for the booksellers, 
and his plates possess groat merit, especially his 
engraving of " The Castle," after Richard Cook, a 
subject from the Lady of the Lake, which deserves 
great praise for its masterly execution. Sir David 
Wilkie engaged him to engrave his Duncan Grey, 
and the Only Daughter, published by Alderman 
Moon. His last plate was from Hilton's fine 
picture, which was in the National Gallery, repre- 



senting Serena rescued by the Red Cross Knight. 
He died in 1849. 

ENGLISH, Josiah, an English amateur en- 
graver, who flourished about 1656, and, according 
to Lord Orford, etched a few small plates in a 
spirited manner, among which is one of Christ and 
his Disciples at Emmaus. after Titian. 

ENS, or ENZO, Cav. Giuseppe, called the 
Younger, to distinguish him from his father, 
who was a court painter of Ridolfo II. Orlandi 
calls him Ains, or Enzo ; Zanetti, Enzo, and 
Heinz. In his celebrated Tomb of Christ at Og- 
nissanti, he styled himself Jos. Heinsius. This 
artist flourished at Venice about 1660. He gained 
such an immense reputation in his time for his 
small allegorical pictures which the Italians call 
Capricci, that Pope Urban VIII. made him a 
chevalier of the Order of the Holy Cross. For 
the chief part, they represent allegorical fictions, 
in vs^ich are introduced sphinxes, chimeras, and 
monsters in grotesque shapes, or what might more 
properly be termed sick men's dreams, or the wan- 
derings of a wild imagination. Boschini men- 
tions an example of his works in which Pallas is 
seen putting to flight a troop of these wild fancies, 
haunting an old decayed mansion, buried in fire 
and smoke ; as the symbol of Virtue dispersing the 
shades of ignorance and vice. Such works were 
common at that time in Italy, and had many ad- 
mirers. Subsequently, however, he changed his 
style for subjects of a more elevated nature, and 
painted some altar-pieces for the churches of Ve- 
nice, which are extremely beautiful, particularly 
that in the church of the Ognissanti. He had a 
son named Daniello, who was a reputable artist. 

ENS, Giovanni, a Milanese painter, who pro- 
bably studied in the school of Procaccini. There 
are some of his works in the church of S. Marco 
in his native city, which according to Lanzi do not 
indicate much power, but a delicacy, bordering on 
weakness. 

ENTINOPTJS, an architect of Candia, who lived 
about A. D. 400. It is recorded in the archives 
of Padua, that the cruelties exercised by the Visi- 
goths under Rhadagasius, obliged the people to 
take refuge in various places, and that Entinopus, 
who had previously settled in Italy, retired to the 
fens of the Adriatic, and built the first house of 
the city of Venice. He was afterwards joined by 
others, and from this small beginning, Venice rose 
to be mistress of the seas. The house first erected 
by Entinopus, is said to be still remaining in the 
quarter of the Rialto, which is considered the most 
ancient part of the city. 

EPEUS, a Greek sculptor, whose name has 
been immortalized as the fabricator of the famous 
Wooden Horse, by means of which, the Greeks 
took and destroyed Troy, after a ten years siege. 

EPISCOPIO, GiusTiNO, sometimes called de' 
Salvolini, was a native of Castel Durante, where 
he flourished about 1594. He studied at Rome, 
and was a reputable painter. In conjunction with 
Luzio Dolci, he painted the fine picture of the 
Spirito Santo, in the Abbey at Castel Durante, and 
other works around it. He also executed many 
other works by himself in his native city, at Rome, 
and in other places. 

EPIOIJ^. SeeL'EpiciE. 



EPIS. 



291 



ERTI. 



EPISCOPUS. See Bischop. 

ERCOLANETTL Ercolano, a good landscape 
painter, who flourished at Perngia about 1683. 
There are many of his works in his native city, 
executed in a pleasing natural style. 

ERCOLE, DA Ferrara. See Grandi. 

ERCOLINOj Di GuiDO. See Cav. Ercole de 
Maria. 

EREDI. Benedetto, a Florentine engraver, 
born in 1750. In concert with J. B. Cecchi. he 
engraved nine plates of the monument of Dante, 
with his portrait. He also executed the follow- 
ing plates : 

portraits. 

Luca Cambiaso, Genoese painter ; after a picture by 
himself. Federigo Zuccaro ; do. Angelo Bronzino, Flo- 
rentine painter. Annibale Caracci. 

SUBJECTS. 

The Transfigm-ation ; after Raffaelle. The Adulteress 
before Christ ; after Angelo Bronzino. The Death of 
Lucretia; after Luca Giordano. 

EREMITA, DI Monte Sen arid. See Stefa- 

NESCHI. 

ERMELS, John Francis, a German painter 
and engraver, born near Cologne, in 1641. He re- 
sided at Nuremberg, where he was most successful 
in landscape, in which he imitated the style of 
John Both. He also painted historical subjects, 
among which is a picture of the Resurrection, in 
the church of S. Sebald at Nuremberg. There 
are a few etchings of landscapes by him, executed 
with spirit and taste. Ermels is said to have died 
at Nuremberg in 1693 : but according to Huber 
and Brulliot, there are etchings dated 1697, in a 
similar st3de to the plates known to be by him, 
and signed with his initials. 

ERRANTE, Giuseppe. This painter was born 
at Trapani, in Sicily, in 1760. He acquired the 
elements of design in his own country, and after- 
wards went to Rome, where he formed an inti- 
macy with several persons of eminence. He dis- 
tinguished himself while in that city, by his imi- 
tations of the great masters. The king of Naples 
invited him to his court, but circumstances pre- 
venting his profiting by the royal protection, he 
went to Milan, where he attained a permanent 
reputation, and received many commissions for the 
private collections. Among his best works are, 
Artemisia weeping over the Ashes of Mausolus ; 
the Death of Count Ugolino ; the Competition of 
Beauty ; and Endymion and Psyche. Some of 
these were engraved by his pupils. Errante pub- 
lished a new method of restoring pictures, and 
two essays on coloring. He died at Rome in 
1821, and a memoir of his life was published by 
his friend, the Abate Cancellieri. 

ERRARD, Charles, a French painter and ar- 
chitect, born at Nantes in 1606. He was appoint- 
ed by Louis XIII. director of the Louvi-e, which 
that monarch had directed to be decorated with a 
large number of paintings. He was subsequently 
sent to Rome by Cardinal Richelieu, to procure 
models of the great works of sculpture and archi- 
tecture, and he carried on the project with great 
zeal and ability ; but for some cause the affair 
was abandoned. As an architect, he designed the 
church of the Assumption at Paris, which has been 
severely criticised for its gigantic and awkward 
cupola. Errard was chosen director of the Acad- 



emy at Paris, and afterwards of the French Acad- 
emy at Rome, where he died in 1689. 

ERR AR, J. This engravei* has executed, among 
other plates, several etchings of landscapes, after 
"Waterloo. They are marked with the initials of 
his name. 

ERTINGER, Francis, a German engraver, 
born at Wyl, in Suabia. about 1640. He resided 
chiefly at Paris, where he was well employed, and 
engraved a number of plates, of which the follow- 
ing are the principal : 

PORTRAITS. 

T. F. de Beugheffij Bishop of Antwerp. N. Machiarel. 
Gabriel du Pinau. 

VARIOUS SUBJECTS. 

The History of Achilles, in eight Plates ; after Rubens ; 
the same subjects have been since engraved by Baron. — 
Twelve Prints from the Metamorphoses of Ovid ; after tlie 
miniatures of Joseph Werner. Ton Plates of the His- 
tory of the Counts of Toulouse ; after Raymond le Fuge. 
The Marriage at Cana in Galilee ; do. Several Views of 
Towns ; after Vandermeulen ; some of which are in the 
manner of Callot. A set of Friezes of Bacchanalian sub- 
jects ; after R. le Page. 

ERVEST, Jacob. This artist was a scholar of 
Adam><3Elzheimer. and flourished about 1620. He 
painted marine subjects and naval combats, but 
never rose above mediocrity. 

ERWIN, of Steimbach, a German architect, 
who flourished about 1330, and was engaged twen- 
ty-eight 3'ears in building the cathedral and bell- 
tower at Strasburg. which has since been comple- 
ted after his designs. It is a stupendous specimen 
of modern Gothic architecture, and is similar in 
style to the cathedrals at Rheims and Paris, except 
the ornaments, which are vei-y minute, and innu- 
merable. The nave and choir are 120 feet high; 
the fagade 240 feet high ; and the tower rises 
above 334 feet, making the entire elevation 574 
feet. Erwin died in 1355. 

ERYSICTHON, an ancient Greek architect, 
the son of Cecrops. commenced the famous Tem- 
ple of Apollo at Delos. which was afterwards 
finished at the general expense of the cities of 
Greece, and became one of the most superb edi- 
fices in the world. Strabo mentions a wonderful 
altar in this Temple, composed of the horns of 
different animals, joined together without an}" ap- 
parent ligature. There was also a famous statue 
of Apollo, mentioned by Pliny, which is still an 
object of admiration to travelers. 

ES, James van, a Flemish painter, born at Ant- 
werp in 1570, according to some writers, though 
others place his birth in 1556. He was distin- 
guished for his pictures of flowers, birds, and fish; 
which were executed with great truth and nature. 
His coloring is excellent and transparent, his pic- 
tm-es are finished with great care, and his shell-fish 
in particular, were touched with infinite spirit. 
He died in 1621. 

ESC AL ANTE, Juan Antonio, a reputable 
Spanish historical painter, according to Palomino ; 
born at Cordova in 1630, He studied under Fran- 
cisco Rizi ; but imitated the style of Tintoretto, 
both in composition and coloring. There are a 
number of his works in the churches of JMadrid, 
which are highly praised by Palomino, among 
which is a fine picture of St. Catalina, in S. Mi- 
guel; and an altar-piece representing the dead 



ESPA. 



292 



ESTO. 



Christ, with other figures, in the church del Es- 
piritu Santo. Escalante died in 1670. 

ESPAGNOLETTO. See Ribera. 

ESPAGNONDEL, Mathieu l', a French sculp- 
tor, born at Paris in 1610. He executed many 
works for the churches, which possessed consider- 
able merit. There were also several statues in the 
gardens at Versailles, hy this artist, among which 
is that of TigraueSj king of Armenia. He died in 
1689. 

ESPANA, or ESPANOL, Juan de, a Spanish 
painter, who resided in Italy from 1500 to 1520, 
and studied under Perugino at the same time with 
Raff'aelle. He resided chiefly at Spoleto, and many 
of his works are to be found there, as well as in 
other cities of Italy. They are generally ascribed 
to a cotemporary of RafFaelle, without ever men- 
tioning the name of the artist, although he always 
signed his pictures. 

ESPINOSA, Jacinto Jeronkmo de, a Spanish 
painter, born, according to Palomino, in the vicini- 
ty of Valencia, in 1600. He studied in the school 
of Francisco Ribalta, where he acquired a boldness 
of design and a vigor of coloring, that approaches 
the style of Guercino. He was an indefatigable 
artist, and painted a large number of works for the 
churches, as well as many easel pictures for the 
private collections. Bermudez mentions about 80 
pictures by this artist in the churches of different 
cities in Spain. The best are at Valencia, parti- 
cularly in S. Esteban, and in the convent of the 
Predicadores. The principal altar-piece in the 
church of the Carmelites is by this master, repre- 
senting the Transfiguration. He died at Valen- 
cia in 1680. 

ESQUARTE, Pablo, a Spanish painter, who 
studied at Valencia, and afterwards went to Venice, 
where he entered the school of Titian. He ex- 
celled in portraits, and probably in other branches 
of the art, as the Duke de Villa Hermosa employed 
him to ornament his palace and countrj^ residence. 
He acquired wealth, through the liberal rewards 
of the Duke, and died rich. 

ESSELINS, Jacob, a Dutch painter, who is 
said to have studied under Rembrandt, though his 
works do not corroborate the assertion. His pic- 
tures represent villages on the banks of rivers, 
woody landscapes, edifices with magnificent foun- 
tains, stag-hunts, and views of shipping. They are 
painted in a clear tone of color, with figures spirit- 
edly touched. The dates of his pictures are not 
accurately known. 

ESSEX, James, an English architect, born at 
Cambridge about 1723. He was distinguished for 
his success in restoring ancient edifices, among 
which were the Chapel of the King's College at 
Cambridge, and the churches of Ely and Lincoln. 
He also wrote several works on architecture, which 
gained him considerable reputation. He died in 
1784. 

ESTENSE, Baldassare, an old Ferrarese paint- 
er and medalist, who flourished about 1472. There 
are some of his pictures in his native city, but he 
was more eminent as a medalist. Some of his 
works in this line are to found in the museums of 
Italy. Two in particular, struck in 1472, in honor 
of Ercole d'Este, 
in a masterly manner. 



ESTOCART, Claude d', a French sculptor, a 
native of Arras, who flourished in the 17th cen- 
tury. His principal work is the choir of S. Etienne 
du Mont at Paris, after the designs of Laurent 
de la Hire. It is adorned with fine bas-reliefs, 
statues representing the Virtues, and an admirable 
figure of an angel above the whole. This work is 
highly praised by connoisseurs, for its beautiful 
execution. 

ETLINGER, George, a German wood engra- 
ver, who resided at Bamberg. Among other prints, 
there is one by him of a portrait of Bishop Blaize, 
enclosed in a border, decorated with sacred sym- 
bols. It is executed with great spirit, and is 
signed George Etlinger, z. Bamberg, f. 

EUBULIDES, a famous sculptor mentioned by 
Pausanias, who flourished at Athens in the time 
of Pericles. 

EUCHIR, or EUCHILUS, a Greek sculptor, 
who flourished at Corinth about B. C. 580. He 
studied under S3mdras and Chartas of Lacedse- 
mon, and is said to have visited Italy, where he 
taught the Etruscans the art of modeling. There 
was another sculptor of this name, mentioned by 
Pliny, who distinguished himself by a marble 
statue of Mercury, besides many fine statues of 
warriors, and successful wrestlers. 

EUCLIDES, a Greek sculptor of uncertain age. 
and a native of Athens, who executed many works 
in Achaia, which remained in the time of Pausa- 
nias. His works were all of Pentelic marble. — 
Among them were the statues of Ceres, Venus, 
and Bacchus, in the city of Bura -, also a statue of 
Jupiter. 

EUCHARIS, a painter of Athens, briefly men- 
tioned by Pliny as famous for his pictures of war- 
riors in armor, which were probably portraits of 
distinguished commanders. He lived in the time 
of Pisistratus, about B. C, 500. 

EUDtEUS, one of the earliest sculptors of Greece, 
was a disciple of Dasdalus. Pausanias describes 
a statue of Minerva by him, which he saw in the 
Acropolis at Athens. The Heads of Minerva, 
found on the early Greek coins, are supposed by 
antiquarians to have been copied from his statue. 
Like Dgedalus. he made his statues generally of 
wood, though it is evident, from passages in Ho- 
mer, Ilesiod, and Plutarch, that metals and stone 
were used for the various purposes of sculpture in 
more ancient times. 

EUPHRANOR, a celebrated Greek painter and 
sculptor, who flourished about B. C. 364. He was 
a native of Corinth, though he appears to have 
practised the art at Athens. Lie is mentioned as 
the first painter who gave to his subjects appro- 
priate dignit}^ and expression, and he was especial- 
ly famous for his representations of the gods. — 
The great public works of Euphranor at Athens 
were in the PoBcile ; in which he represented the 
twelve superior gods with wonderful dignity and 
majesty. But his most famous work was the 
Battle of Mantinea, in which the most remarkable 
group was a charge of cavalry, in which he repre- 
sented Epaminondas at the head of the Boeotians, 
and Gryllus, the son of Xenophon, at the head of the 
Athenians. This work was the pride of the Athen- 
ians ; Pausanias himself praises it, and Plutarch 
says it had the character of a divine inspiration. 



EUPO. 



293 



EYAN. 



He also painted in the same portico a series of al- 
legorical pictures, representing the early political 
state of Athens, one of which signified that The- 
seus first established equal rights of citizenship 
among the Athenians. The other great paintings 
of Euphranor were in the Temple of Diana at 
Ephesus, the most admired of which was the feign- 
ed madness of Ulysses, whom he represented har- 
nessing a horse and an ox to the same vehicle. 
We may form some opinion of Euphranor's tone 
of coloring from his own expression, tha,t " While 
the Theseus of Parrhasius looked as if he had fed 
upon roses, his own showed that he lived upon 
flesh." Quintilian thus sums up the general cha- 
racter of some of the Greek painters of this period : 
" Protogenes distinguished himself by his accura- 
cy ; Pamphilus and Melanthius, by beauty of de- 
sign ; Antiphilus, by the ease and natural flow of 
his pencil ; Theon, of Samos, by his lively ima- 
gination ; Apelles by his ingenuit}^ and the graces 
in which he boasted that he had excelled ; and Eu- 
phranor made himself admirable by being poss- 
essed of all these qualities in as eminent a degree 
as the best masters," — doubtless too high praise. 

As a sculptor, Euphranor was equally re- 
nowned. He executed a large number of colossal 
statues and other works in marble and bronze, 
among which were the Judgment of Paris ; the 
statues of Greece and Virtue ; those of Philip and 
Alexander, on four-horse chariots; a statue of 
Vulcan ; one of jMinerva, which Oatulus trans- 
ported to Rome ; and one of Latona, which was 
consecrated at Rome, in the Temple of Concord. 

EUPOLEMUS. a Greek architect, who erected a 
superb temple at Euboea, in fionor of Juno. Pau- 
sanias says it was enriched with columns and 
sculptures, among Avhich was the famous statue 
of that goddess, executed in gold and ivory. 

EUPOMPUS, a Greek painter, and a native of 
Sicyon, who flourished about B. C. 364. Although 
the cotemporary of Zeuxis, Timanthes, and Par- 
rhasius, yet he was regarded as one of the greatest 
painters that Greece had produced, as appears from 
the ancient writers. One of his most remarkable 
works was a picture of a conqueror at the games 
holding the palm of victory in his hands. His fa- 
vorite motto was, ''It is not an artist, but nature 
that should be copied ; " showing that he had the 
true elements of success in his art. He had the 
credit of being the founder of the Sicyonian school, 
and among his most eminent scholars was Pam- 
philus, the master of Apelles. 

EUTHYCRATES. a Greek sculptor, and son 
of Lysippus, who flourished about B. C. 300. He 
was the most talented scholar of that master, but 
he sought rather for correctness than elegance, 
and adopted a style rather austere than agreeable ; 
consequently his works were chiefly those of a 
severe and vigorous character. Among his prin- 
cipal productions were the statues of Hercules and 
Alexander, and a Combat of Cavalry. Tacitus, 
however, attributes to him several statues of wo- 
men, among which was that of Anyta, and Panteu- 
chidis. Euthycrates had several disciples, among 
whom were Tisicrates of Sicyon, a sculptor of 
note. 

EUTELID AS, a famous sculptor of Argos, men- 
tioned by Pausanias, who flourished about B. C. 
375. 



EUTYCHIDES, a Greek sculptor, who flourish- 
ed about B. C. 300, the son of Zoilus, and a disciple 
of Lysippus. His principal work was a statue 
representing the river Eurotas, which is highly 
praised by Pliny. That author also mentions a 
statue of Fortune ; and one of Bacchus, placed by 
Asinius Pollio in a public place at Rome. 

EUXENIDAS, a Greek painter, who, according 
to Pliny, obtained more reputation for having been 
the instructor of Aristides of Thebes, than for any 
great merit of his own, as an artist. 

EVANGELTSTI. Filippo, a Roman painter, 
who flourished in 1745, and who has the credit of 
having executed some very beautiful w'orks at 
Rome, particularl}^ two pictures of St. jNIargaret 
in Araceli ; an altar-piece in the church of S. Gal- 
licano. and the Nativity, in the church of the Infant 
Jesus. He was chamberlain to the Cardinal Cor- 
radini, through whose influence he obtained many 
commissions. Lanzi says that Evangelisti, being 
incapable of executing these commissions well, 
employed Marco Benefiali to assist him, sharing 
with him the profits, but getting all the honor, 
till at last, the latter, impatient of this treatment, 
and disdaining longer to support a character that 
did him no honor, quitted Evangelisti, when his true 
merits were soon made apparent, as in his picture 
of St. Gregory, in the church of Saints Pietro and 
Marcellino. when the public discovered that he was 
indebted to Benefiali for genius as well as labor. 

EVERARDI, Angelo, called the Fleming, on 
account of his father's country, an Italian painter, 
born at Brescia in 1647. He studied under Fran- 
cesco Monti, the eminent painter of battle-pieces, 
whose style he followed, especially in coloring ; af- 
ter which he visited Rome and studied the works 
of the great masters, particularly the battle-pieces 
of Borgognone, b}^ which he made great improve- 
ment, (^n returning to Brescia, he soon attained 
distinction, and his battle-pieces, according to Or- 
landi, were held in high estimation. He acquired 
wealth by his talents, and executed a number of 
excellent works. Lanzi says they are quite rare, 
owing to his having died at the age of 31, in 1678. 

EVELYN. John, an English amateur engraver, 
who lived about 1650, and etched a few plates, 
among which were five small prints of his journey 
from Rome to Naples. He was also the author 
of one of the earliest English publications on the 
subject of engraving, entitled Sculptura. 

^ Z^EVERDTNGEN. Cjesar van, a Dutch 
^eL^ painter, and architect, born at Alkmaer 
in 1606, and studied under John van Bronkhorst. 
His subjects were history and portraits, in which 
he displayed a tolerably correct design, and a na- 
tural and vigorous style of coloring. He painted 
the Triumph of David, for the principal church at 
Alkmaer, which was highly esteemed; and he 
gained great reputation by his portraits of the 
Company of Archers, for the hall of their assem- 
bly, in that city. As an architect, he is said to 
have gained eminence, but none of his works are 
mentioned. He died in 1679. 

Zr^ /"eVERDINGEN, Albert van, a Dutch 
jr\J^ painter, the younger brother of Ciesar 
van E., was born at Alkmaer in 1621. He studied 
successively under Roland Savery and Peter Mo- 
lyn, both of whom he greatly surpassed. He ex- 



EWBA. 



294 



EYCK. 



celle'.l in painting rocky landscapes,, which were 
executed in a very interesting manner ; and his 
marine views, representing the sea in most tre- 
mendous agitation, are well worth}^ the high praise 
thej have' universal 1}^ received. His coloring is 
simple and pure, his touch broad and free, and all 
his objects are evidently designed from nature. 
The small figures with which he decorated his 
landscapes, are correctly drawn, and very neatly 
touched. His small pictures are superior to his 
larger ones, both in pencilling and finishing; and 
they are very highly valued. In a voyage he 
made to the Baltic, he was shipwrecked on the 
coast of Norway, where he was compelled to re- 
main some time, until the ship could be rendered 
sea- worthy. During this interval, he made many 
admirable designs of the romantic views in that 
country, which he afterwards used with great ef- 
fect in his pictures ; in which the grand forms of 
his rocks, and the fine effect of his cascades, are 
designed in a taste, and painted with a spirit, that 
have gained him the title of the Northern Salvator 
Rosa. This artist has etched a number of plates 
in a free and masterly style, which are high]}'- es- 
teemed. Bartsch and Nagler have a copious list 
of his prints, among which there are about 100 
landscapes ; eight of the largest and most finished 
are very fine. He also engraved a set of 56 small 
prints for a book published in Germany, and called 
The Cheats of the Fox. His plates are sometimes 
signed with his name, and sometimes A. V. E. 
He died in 1675. 

EWBANK, John W., an English painter, was 
born at Gateshead, in Newcastle, about 1779. In 
1813, he was apprenticed to an ornamental painter 
in Newcastle, named Coulson. The latter after- 
wards removed to Edinburgh, and gave Ewbank 
the opportunity of studying under Alexander Na- 
smyth. The j^oung artist soon rose to public notice, 
and he gained considerable reputation and employ- 
ment. About 1823, he was admitted into the 
Scottish Academy. His best works are cabinet 
pictures of coast scenes, river banks, etc. Among 
his other productions may be mentioned the Entry 
of Alexander into Babylon, and Hannibal Cross- 
ing the xilps. Ewbank attained great prosperity, 
and in one year, the profits of his pictures were 
about $12,500 ; but he forsook the paths of vir- 
tue, became a confirmed drunkard, and plunged 
himself and family into ruin. For the last twelve 
years of his life, he remained in this fearful de- 
gradation, and died in 1847, at the age of 68. 

EXIMENO, Joachim, a Spanish painter, born 
at Valencia in 1674. He painted flowers, fruit, 
birds, fish, and objects of still-life, which he rep- 
resented with great spirit and accuracy. Accord- 
ing to Bermudez. he painted in concert with his 
father. That author classes their works together, 
and says they were much esteemed at the time, 
especially four large pictures in the church of Our 
Lady of the Pillar, at Valencia. This artist died 
in 1754. 

EXSHAU, S., a Dutch engraver, who flourished 
about 1760. His prints are chiefly imitations of 
Kembrandt, and they have considerable merit. The 
following are the principal : 

A Bust of an old Man, with a round hat; Rembrandt, 
inv. ; C. Exshau,fec. 1758. A Head of an old Man, 
with a Beard ; same inscription and date. Joseph and 



Potiphar's Wife ; Rembrandt, pin.T. ; Exshaufec. aqua 
forte ; scarce. St. Peter's Bark in the Storm ; ' same in- 
scription ; scarce. A Girl carrying a Basket of Cherries, 
with two Boys, each having a Gun ; after Rubens. 

EYCK. Hubert and John van, two brothers, 
were Flemish painters, and natives of the small 
town of ]\Iaeseyk, or Maes-Eyck, on the river 
Maes, and are supposed to have derived their 
name from their birth-place. Writers are disa- 
greed as to the dates of their birth, but Hubert, 
the Elder, was probably born in 1366, and John 
in 1370. Their father was an obscure artist, and 
instructed them in the rude and Gothic style by 
which the art was then distinguished. They es- 
tablished themselves at Bruges, which was then 
the most flourishing and commercial city in Eu- 
rope, where they may be said to have founded the 
Flemish school. It is said by some writers that 
these artists were the discoverers of oil painting. 
According to van Mander, the mode of painting 
previous to the time of John van Eyck, or John 
of Bruges, was with gums, or a preparation caliad 
egg- water, to which a kind of varnish was applied, 
which required a certain degree of heat to dry. 
That author says that John van Ej^ck, having 
worked a long time on a picture, and finished it 
with great care, placed it in the sunshine to dry, 
when the board on which it was painted, split. 
His disappointment at seeing so much labor lost, 
urged him to attempt discovering, by his know- 
ledge of chemistry, some process which would not 
in future expose him to so unfortunate an accident. 
In this research he is said to have discovered the 
use of linseed or nut oil, which he found the most 
siccative. It was fo%some time generally believed 
that it was to this circumstance the art was in- 
debted, in 1410, for the discovery of oil-painting. 
This, however, has been disputed, and Dominici 
asserts that oil-painting was practised at Na- 
ples, even as early as the first part of the 14th 
century. Lanzi, however, has vindicated Van 
Eyck's claims to priority of invention, as far as 
oil-painting in Italy is concerned, for he examined 
those w^orks at Naples claimed bj^ Dominici to be 
oil-paintings, executed prior to the time of van 
Eyck, and found that they were not painted in oil, 
but in a peculiar kind of distemper on a gypsum 
ground. In a treatise on the invention of oil- 
painting, published in 1781 by Mr. Raspe, the cele- 
brated antiquary, it is very satisfactorily proved 
that oil-painting was practised in Italy as early as 
the 11th century. The kind of painting in oil as 
described by Ruggerio, seems to have been confined 
to metallic substances, to preserve them from rust. 
This much is certain, that the use of oil-colors for 
paintings originated with van Ej-ck, and by him 
was introduced into Spain and Portugal, and by 
his scholars into Italy. 

The brothers van Eyck generally painted in con- 
cert until the death of Hubert, and their pictures 
were held in the highest estimation at the time 
when they flourished. Their most important work 
was an altar-piece with folding doors, painted for 
Jodocus Vy ts, who placed it in the church of S. 
Bavon at Ghent. The principal picture in this 
curious production represents the Adoration of the. 
Lamb, as described by St, John, in the Revelation. 
On one of the folding doors fs represented Adam 
and Eve, and on the other. St. Cecilia. This com- 
position contains over three hundred figures, and 
is finished with great care and exactness; and, 



EYOK. 



295 



EYND. 



though the coloring is somewhat hard, there is 
great truth and character in the expression of the 
heads. This interesting work was formerly in 
the Louvre, but is now unfortunately divided 
— part being at Berlin and part at Ghent. — 
Philip I. of Spain wished to purchase it, but 
finding that impracticable, he employed Michael 
Coxis to cop3^ it. who spent two whole years upon 
the work, and received 4,000 florins from the 
king, who placed it in the Escurial. In Passa- 
vanti's work may be found two prints of the up- 
per and lower compartments of this altar-piece, 
which are taken from an old copy painted for St. 
John's chapel at Ghent. In the sacristy of the 
Cathedral at Bruges is preserved, wnth great vene- 
ration, a picture painted by John van Eyck in 
1436, after the death of his brother, representing 
the Virgin and Infant, with St. George, St. Dona- 
tius. and other Saints. John van Eyck died in 
1441. There is much contradiction among writers 
in regard to these artists, and no two accounts are 
found to agree. Nagler's Kunstler-Lexicon con- 
tains a full account of their works, as well as 
many interesting particulars relating to the art- 
ists. 

EYCK, Caspar van. a Flemish painter, born 
at Antwerp in 1625. He excelled in painting ma- 
rine views and naval combats, particularly those 
between the Christians and the Turks. Accord- 
ing to Descamps. the fire and smoke of the can- 
non were admirably painted, and his small figures 
were well drawn, and very neatly touched. 

EYCK. Nicholas van, a Flemish painter, who 
resided chiefly at Antwerp, and is supposed to have 
been a brother of the preceding artist. Descamps 
says he painted skirmishes and attacks of cavalry 
with great spirit, and his works were highly es- 
teemed at Antwerp. 

EYCKENS, Peter, called the Elder, a Flemish 
painter, was born at Antwerp in 1599, and died in 
1649. He is said to have been a reputable painter 
of history. Some authors have ascribed to this 
artist the works of another painter of the same 
name, who was born in 1650. 

EYCKENS, John and Francis, were Flemish 
painters, and the sons of the preceding, born at 
Antwerp in 1625 and 1627. They were instruct- 
ed by their father, but preferred painting flowers 
and^fruit to historical subjects, and their produc- 
tions were held in estimation. John died in 1699, 
and Francis in 1673. 

EYCKENS, Peter, an eminent Flemish histo- 
rical painter, born at Antwerp in 1650. It is not 
mentioned by whom he was instructed, but he 
ranks among the estimable artists of his country. 
His works show a correct and tasteful design, in- 
genious composition, and judicious management. 
The folds of his draperies are broad and simple, 
and his back-grounds are decorated with architec- 
ture, and landscapes of a pleasing scenery. In 
1689, he was chosen Director of the Academy at 
Antwerp. His principal works in that city are, 
the Last Supper, in the church of St. Andrew ; St. 
Catherine disputing with the Pagans, in the Ca- 
thedral ; and St. John preaching in the Wilder- 
ness, in the church of the convent called Bogaerde. 
At Mechlin, in the church of the Jesuits, were two 
of his most admired works, representing St. Fran- 



cis Xavier resuscitating a Dead Person^ and the 
same saint baptizing a Pagan King. 

EYK, Abraham Vander, a Dutch painter, 
who flourished about 1665. He was cotemporary 
with William Mieris. and finished, his pictures in 
the manner of that master. 

EYNDEN, Franz van, a Dutch painter, born 
at Nimeguen in 1694. He studied under Elias 
van Nymegen at Rotterdam, and also derived much 
improvement from the advice of Chevalier vander 
Werf. He usually painted Arcadian scenes, in the 
style of John van Hu3^sum, but not with equal per- 
fection. His skies and distances are serene and 
delicate, and the clouds, illumined by the sun, are 
pleasingly reflected in the waters. His scenes are 
skillfully varied, the different varieties of trees 
are characterized by a free and masterly touch ; 
his figures are well painted, and disposed with 
j judgment. He seldom signed his pictures, unless 
it was required by the purchaser. He died at 
Nimeguen in 1742. 

EYNHOUEDTS, Remoldus or Rombaut, a 
[ Flemish painter and engraver, born at Antwerp 
; about 1605. His plates are etched in a slight, 
I dark style ; and his drawing, though not very cor- 
[ rect, is bold and masterly. He executed several 
i plates after the works of Rubens, Cornelius Schut, 
and other Flemish artists ; also some of the prints 
j for Teniers' Gallery. The following are the prin- 
cipal : 

StJBJECTS AFTER RUBENS. 

The Adoration of the Magi. The Resurrection. The 
Altar-piece of Rubens's Chapel. Pope Gregory, surround- 
ed with emblematical figures. The Four Doctors of the 
Church, with St. Clara holding the Sacrament. The Vir- 
gin and infant Christ surrounded with Saints. St. Peter 
and St. Paul. An allegorical subject of Peace and Happi- 
ness. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Assumption of the Virgin ; after Cornelius Schut. 
The Martyrdom of St. George ; do. The Ascension ; after 
the younger Palma. 

EZGUERRA. Pietro, a Spanish architect who 
flourished about 1540, and erected the churches of 
San ]Matteo de Caceres ; of Robledillo, near Pla- 
sentia ; of Malpartida ; and the Cathedral of Pla- 
sentia — all of which were important works, and 
gained the architect a high reputation. They are 
in the modern Gothic style, and would be consid- 
ered as worthy to rank with the finest edifices of 
the kind in Spain, had they been completed by the 
original architect ; but Ezguerra died in 1561, and 
the buildings were continued by his son Giovanni, 
and finished by Gio. Alvarez, in 1574. The two 
latter architects introduced a variety of absurd 
changes into the work. 



F 



FABER, John, the Elder, a Dutch designer 
and engraver, a native of Holland, who went to 
England about 1695, and died there in 1721. He 
drew portraits on vellum with a pen, but after- 
wards applied himself to mezzotinto, and executed 
a number of portraits, -\sdnch possess but little 
merit. Among them are the following : 

The portraits of the Founders of Colleo-es at Oxford and 
Cambridge. The Heads of the Philosophers ; after Ru- 
bens. The Portrait of Doctor-'John Wallis, the celebrated 
mathematician; after Kneller ; one of his best prints. 
Humphrey Lloyd, of Denbigh, antiquary. 1717. 



FABE. 



296 



FABR. 



FABER, John, the Younger, a reputable mezzo- 
tinto engraver, his son of the preceding, was born 
in Holland, and was taken to England Avhen three 
years old. He practised the art for many years, 
and died in 1756. Some of his portraits are very 
fine. The following are the principal : 

The Beauties of Hampton Court ; after Kneller. The 
portraits of the eminent Personages of the Kit-cat Club ; 
dc. Charles II. in his robes, seated ; after Lebj. 1750. 
Caroline, Queen of George II. The Children of Frederick, 
Prince of Wales ; after Dupan. Sir Isaac Newton ; after 
Vanderbank. 1726. Michael Rysbrack, sculptor ; do. 
Enoch Seeman, painter ; do. George Lambert, landscape 
painter ; do. 

EABER, Pierre, a French engraver, who prac- 
tised the art at Lyons about 1621. He worked 
chiefly for the booksellers, for whom he engraved 
several plates in a neat style, but without much 
taste. His name is affixed to an ornamental front- 
ispiece to the second volume of a work published 
at Lyons, entitled Operis Moralis, ^c. 

FABIO, Di Gentile, an old painter of Perugia, 
some of whose works are still preserved in the 
church of S. Maria della Consolazione, dated about 
1442. 

FABIUS, C, surnamed Pictor. He painted 
the Temple of Salus in such a manner as to be 
esteemed at Rome, even after the introduction of 
paintings from Greece. Valerius IMaximus says 
that " when he had painted the walls of the Tem- 
ple of Salus, before dedicated by Julius Bubulcus. 
he signed his name ; as if a consular, sacerdotal, 
and triumphal family stood yet in want of this or- 
nament" — of painter. 

FABRE, rRAN90is Xavier, a French painter, 
born at Montpellier in 1766. He earlj^ went to 
Rome, and entered the school of David, where he 
made rapid improvement. In 1787, he carried off 
the grand prize of the Academy, and went to Rome 
with the royal pension, and gained great improve- 
ment from the study of the works of art in that 
city. He was prevented from returning to France 
on account of the persecution of his relations at 
Montpellier by the republican party, and therefore 
took up his residence at Florence, where he prac- 
tised the art with good success. His design was 
pure, his coloring rich, and his works were finished 
with care. He devoted himself chiefly to portrait 
painting, and executed the portraits of many dis- 
tinguished individuals, among whom were the poet 
Alfieri, Gen. Clarke, and M. Lefebvre, Secretary 
of the French Legation. Among his subjects of 
history, were three pictures, — the Death of Abel, 
Milo of Crotona. and Philoctetes in the isle of 
Lemnos, which have been much admired. His ad- 
mirable copy of Guido's Martyrdom of St. Peter, 
is in the Museum at Lyons. He died in 1837. 

FABRT, Giovanni, a modern Italian engraver, 
who practised the art at Bologna. He executed 
several plates with the graver, in a neat but formal 
style, among which are : The Death of St. Bene- 
dict, after Cavedone; and the Nativity, after 
Francesco Francia. 

FABRIANO. There were several old painters 
who derived their name 5rom Fabriano, a town in 
the Roman States, who were eminent artists 
in their time, and some of whose works are still 
preserved. Bocco de Fabriano painted the church 
of S. Maria Maddalena with pictures in fresco in 
1306. Francesco Tio de Fabriano painted the tri- 
bune of the Conventuals at Mondaino, in 1318, 



a work which Colucci highly commends. Alle- 
gretti Nuti de Fabriano painted the oratory of the 
church of S. Antonio Abate, at Fabriano, with his- 
tories of that saint, divided into compartments, on 
which is inscribed AUegrettus Nutiide Fahnano^ 
hoc opus fecit. 136-, the last figure being destroyed. 
The name of Antonio da Fabriano appears on a 
Crucifixion on wood, in Matelica, dated 1454, and 
in the archives of that city are mentioned two 
paintings by Giuliano da Fabriano, the one in the 
church of the Dominicans, and the other in the 
church of the Capuchins. 

FABRIANO, Gentile da. Authors disagree 
as to the time when this painter flourished, but he 
is supposed to have been born at Verona about 
1360, and to have died about 1440. He was a co- 
temporary of Beato Angelico. and some of their 
works have a great resemblance to each other. Ac- 
cording to Lanzi, he began to distinguish himself 
among the painters employed on the dome at Or- 
vieto, in 1417. He afterwards visited Venice, 
where, according to Ridolfi, he painted a picture 
in the great council chamber, which was considered 
so extraordinary a performance, that the Republic 
granted him a pension for life, and the privilege 
of wearing the patrician gown. He also painted 
an altar-piece for the church of S. Felice, repre- 
senting St. Paul and St. Anthony. During the 
pontificate of ^L'^rtin V. he visited Rome, where he 
was employed in St. John of Lateran, and painted 
a Holy Famil}^ for S. Maria Maggiore. There are 
also several of his works at Perugia and Urbino, 
At Florence, in S. Niccolo, is a subject by him from 
the hfe of that Saint; and in the sacrist}^ of la 
Trinita is the Adoration of the Magi, dated 1423. 

FABRICIUS, Charles, a Dutch painter, born 
at Delft in 1624. He had attained considerable 
reputation by his portraits, and was accounted 
among the best artists of his time in perspective ; 
but he was suddenly killed by the explosion of a 
powder magazine, while standing in his chamber, 
intent upon his work. This event happened in 
1654, and his death was regretted by the friends 
of art. 

FABRIZZI, Antonio Maria, an Italian paint- 
er, born at Perugia in 1594. He went to Rome 
while young, and commenced his studies under 
Annibale Caracci ; but, according to Pascoli, he 
lost his valuable instructor when only fifteen years 
of age; notwithstanding which he had no other' 
master. His imagination was so active and erratic 
that he fell into great irregularities of design and 
execution ; and his works are often finished in a 
negligent manner, though many of them evince 
ingenuity of composition, and great freedom of 
hand. Zani says he was living in 1656. 

FACCHINETTL Giuseppe, a native of Fer- 
rara, who flourished about 1700. He studied un- 
der Antonio Felice Ferrari, and became an eminent 
fresco painter. Lanzi says " he painted at St. Cate- 
rina da Siena, and in other places, at once in a deli- 
cate and a sound style, and he is almost accounted 
the MiteUi of his school." 

FACCINI, Bartolomeo, a native of Ferrara, 
was probably a pupil of Girolamo Carpi. He ex- 
celled all the artists of Ferrara in his time for his 
architectural decorations, such as feigned bassi- 
relievi, colonnades, cornices, niches, &c,, with 
bronze statues, which were executed with such a 
surprising relief that they appeared real. He 



FACH. 



297 



FACT. 



was assisted in these works hj other artists, 
among whom was his brother Girolamo. He fell 
from a scaffolding while he was embellishing the 
grand court-yard of Duke Ercole II., and was 
killed in 1577. 

FACHERIS, Agostino. Little is known of 
this painter, except that he executed a picture in 
the church of the Holy Trinity, at Borgo S. An- 
tonio, representing St. Augustine, with two An- 
gels. Tassi says it is signed Augustinus Facheris, 
fecit. 1528. 

FAOHETTI, PiETRO, an Italian painter, born 
at Mantua in 1535. According to Baglioni, he 
visited Rome while very 3''0ung, in the pontificate 
of Gregory XIII. He at first applied himself to 
history, and produced several compositions of some 
merit ; but he afterwards painted the portraits of 
some of the nobility, which were so much admired 
that he soon gained great reputation, and was con- 
stantly employed. Most of the nobility at Rome, 
particularly the ladies, were painted by Fachetti, 
and his pictures were greatly admired for their 
fine taste, lively resemblance, admirable coloring, 
and grandeur and elegance of design. He lived in 
great reputation at Rome to an advanced age, and 
died in 1613. 

F ACINI. PiETRO, a Bolognese painter, born, 
according to Zani, in 1563. He did not manifest 
any inclination for art until arriving at the age of 
maturity ; and it is recorded by Malvasia, that be- 
ing in the habit of visiting the academy of Anni- 
bale Caracci, though not for the purpose of study, 
one of the pupils drew a caricature of him, which 
excited the mirth and ridicule of his fellow stu- 
dents. On the drawing being shown to Facini, 
though he never had any instruction, yet in a few 
minutes he drew a charcoal sketch of the person 
who had ridiculed him, that attracted the admira- 
tion of all ; and Annibale induced him to apply 
himself to the art, and took him under his espe- 
cial instruction. Facini soon made such rapid ad- 
vances, that Annibale is said to have become jeal- 
ous of him. On leaving that school, he met with 
employment and reputation, and even established an 
academy of painting, which for some time was well 
patronized. It was soon found, however, that the 
magic of his coloring had deceived the public, and 
that his design was neither tasteful nor correct, 
his figures uncouth and disproportioned, and the 
character of his heads without beauty or expres- 
sion. His coloring resembled the freshness of 
Tintoretto, and occasioned Annibale to remark, on 
seeing his picture of the Martyrdom of St. Loren- 
zo in S. Giovanni de Monti, that in his carnations 
Facini seemed to have mixed his colors with hu- 
man liesh. The principal works of this artist, at 
Bologna, are the picture of St. Lorenzo, before 
mentioned ; the Crucifixion, in S. Benedetto ; in 
S. Francesco, an altar-piece, with the Marriage of 
St. Catherine in the upper part, and below the 
four Guardicin Saints of Bologna ; in S. Paolo, the 
Crucifixion of St. Andrew. Bartsch attributes 
three prints to this artist, which are without name 
or mark. Brulliot mentions several others, and 
gives the monogram. He died in 1602. 

FACIUS. George Sigmund, and John Gott- 
lieb, two brothers, were reputable German en- 
gravers, and studied at Brussels, where their father 
lield the office of Russian consul. In 1776, they 



went to London, and were employed b}^ Mr. Boy- 
dell, for whom they completed a great number of 
plates, which are much admired for their selection 
and execution. They worked chiefly as et«hers, 
and the impressions are either black, brown, or 
in colors. These artists died in the latter part of 
the last centur3^ 

FACTOR, Fra Niccolo. See Fator. 

FAENZA, Marco da. See Marchetti. 

FAENZA, Gro. Battista da, an Italian artist 
who flourished at Faenza, in the latter part of the 
15th and first part of the 16th centuries. The 
real name of this artist is variously spelled by 
Italian authors, which creates some confusion, as 
Bertuzzi, Bertucci, Bertusio ; but he is better 
known as Gio. Battista da Faenza. He flourished 
in the Romagna about 1500. Lanzi says there is 
a very beautiful picture by him in the Communal 
collection of the Lyceum at Faenza, dated 1506. 
It represents the Virgin seated upon a Throne, on 
the steps of which St. John the Baptist, a youth, 
kneels, while a Cherub plays on the Harp, and two 
Angels support her mantle. It is correct in de- 
sign, the tints very pleasing, and the folds similar 
to those of Albert Durer. Lanzi pronounces this 
work equal to Costa, and not inferior to Francia. 
He had two sons whom he instructed in the art — 
Jacomone and Raffaello da Faenza. 

Jacomone or Jacopone da Faenza, after re- 
ceiving instruction from his father, made the works 
of Raffaelle his model, and became an eminent art- 
ist. There are many of his works in the churches 
of the Romagna. executed entirely in the manner 
of Raffaelle. Lanzi says it was through him 
that the taste for the Raffaellesque style was dif- 
fused throughout that part of Itah^. Works of his 
are found, dated from 1513 to 1532. He had a 
son named Giovanni Battista, who is called Gio. 
Battista Bertuccio or Bertusio, which see. 

FAENZA, Marc' Antonio da, a painter of the 
Bolognese school, of whom little is known. He is 
highly commended by Civalli, for his altar-piece 
in the church of the Conventuali of Monte Lupone, 
dated 1525. 

FAENZA, Figuring da, a painter of the Bo- 
lognese school, who is enumerated by Vasari 
among the best disciples of Giulio Romano, and 
who flourished in the latter part of the 16th cen- 
tury. It is conjectured, with good reason, that 
Figurino was only a surname given to Marc' An- 
tonio Rocchetti, which see. 

FAENZA, Ottaviano, and Pace da, were pu- 
pils of Giotto, and there are some of their works 
in the churches of Romagna. They flourished 
about the middle of the 14th century. 

FAES. P., a reputable painter of flowers and 
fruit, who followed the manner of van Huysum, 
and flourished toward the latter part of the last 
century, as appears from the dates on his pictures. 
He was probably a native of Holland, though not 
mentioned by Balkema. His works are tastefully 
composed and delicately pencilled; and though 
somewhat deficient in vigor and chiaro-scuro, yet 
they are so true to nature in other respects, that 
they may be ranked with the works of distin- 
guished masters in this branch of the art. 

FAES, VANDER. See Lely. 

FAGE, Raimond de la, an ingenious French 



FAIS. 



298 



FAIT. 



designer and engraver, born at Toulouse, according 
to Zani and Nagler, in 1656 — died in 1684. He 
early manifested a strong inclination for art, and 
without the help of an instructor, produced some 
pen-drawings, which are little more than outlines, 
but are highly esteemed by connoisseurs. His 
figures are characterized by elegance and grace, 
and bold and spirited action. He possessed a fer- 
tile invention, and a commanding facility of exe-' 
cution. He visited Rome, where he passed several 
years, and lived on terms of intimacy with Carlo 
Maratti. On his first visit to that artist he is said 
to have found him at his easel ; when Maratti, 
with true Italian courtesy offered Fage his pencils 
and palette, which the latter declined, saying " he 
was not a painter." " I am happy," replied Maratti, 
" that you are not, for if you could paint as well as 
you draw, I should have abandoned the art." This 
artist etched some of his designs ; and several 
others have been engraved by Audran, Vermeu- 
len, Ertinger, Simonneau, &c. The following are 
by him : — The Fall of the Angels ; the Brazen 
Serpent, R. la Fage, fee. ; A Bacchanalian, a large 
plate ; a Dance of Children ; Juno and ^olus ; 
Jupiter and Semele ; several Friezes, &c. 

FAISTENBERGER, Anthony, a German 
painter, born at Inspruck, in the Tyrol, in 1678. 
He was instructed by an obscure artist, named 
Bouritsch, who lived at Saltzburg or Passau. He 
had, however, the opportunity of studying some 
of the works of Gaspar Poussin, and he formed so 
noble a style of painting landscape, that it might 
be supposed he had visited Rome. His pictures 
are views of very interesting scenery, decorated 
with architectural ruins, and pleasingly enlivened 
with beautiful cascades. The forms of his trees 
are grand and picturesque, and the foliage is light 
and spirited. His figures were usually painted by 
Graaf and van Bredael, He was invited by the 
Emperor to Vienna, where he was employed for a 
number of years, and gained great reputation. 
On quitting that city, he was employed succes- 
sively by the other princes of the empire. He 
died at Vienna in 1722. He had a brother named 
Joseph F. whom he instructed in the art. and who 
assisted him in some of his works. 

*J" ^FAITHORNE, William, the Elder, a 
4. e Xo reputable English engraver, born at Lon- 
don in 1620, according to Nagler, though Zani 
says in 1629 ; died in 1691. He studied under 
Robt. Peake. At the breaking out of the civil war 
he took up arms for the King, and was taken pris- 
oner. He was released, however, on the condition 
of quitting the country ; and he went to France, 
where he made the acquaintance of Robt, Nanteuil, 
from whom he gained great improvement. About 
1652, he was allowed to return to England, where 
he established himself as an engraver and print- 
seller at Temple Bar, and dealt considerably in 
Italian, French, and English prints. About 1680, 
he gave up printselling, and devoted himself to en- 
graving and painting portraits in crayons. His 
plates are principally portraits, which are execu- 
ted entirely with the graver, in a clear, free style, 
and full of color. His subjects from history are 
incorrectly drawn, but his portraits gained him 
considerable reputation. The following are the 
principal : 

Sir William Paston, Bart. 1659; extremely fine. Lady 
Paston : after Vandyck ; same date ; very fine. Mar- 



garet Smith, afterwards Lady Herbert; do. Montague 
Bertie, Earl of Lindsey ; do. William Sanderson ; get 
su£e 68, 1658 ; after Zoust ; fine, Anne Bridges, Count- 
ess of Exeter; after Vandyck. Samuel Colling, M. D.jet. 
67 ; W. Ihitkorne, ad vivum del. et sculp. John Ker- 
sey, mathematician ; after Zoust. 1672. John La Motte, 
Esq., Citizen of London. John, Viscount Mordaunt. — ■ 
Thomas, Earl of Elgin; tet. 62. 1662. Mary, daughter 
of Sir James Langham. Henry Gary, Earl of Monmouth. 
Thomas Kiligrew, in a fur cap, with a Dog ; W. Sheppard, 
pinx. Thomas Stanley; after Lely. Eobert Bayfield; 
eet. 25, 1654, with a large hat. The same Person ; oet. 27 ; 
without a hat. Francis Bous, Provost of Eton, £ct. 77, 
1656, with a large hat. Sir Henry Spehnan, with a ruff", 
and point night-cap. Thomas Hobbes, ret, 76. En quam, 
modlce habitat philosophia. Samuel Leigh, ast. suae 15, 
1661. Incipe etperfce, domine. Henrietta Maria, with 
a Veil ; in the manner of Mellan. Thomas Mace ; pre- 
fixed to his book of music. Sir Orlando Bridgman, with 
the Purse. Sir John Fortescue. Robert Boyle ; oval, 
with an Air-pump. Elias Ashmole ; bust, in a niche. He 
paid Faithorne seven pounds for the plate, a considerable 
price at that time. William Oughtred ; in the style of 
Hollar. John Wallis, S. T. D., prefixed to his Mechanica. 
Sir Francis Englefield, Knt. and Bart. ; oval ; extremely 
scarce. A large emblematical print of Oliver Cromwell, 
whole length, in Armor, with various devices and mottos ; 
very scarce. 

SUBJECTS BY FAITHORNE AFTER VARIOUS MASTERS. 

A Holy Family ; after Simon Vouet. A dead Christ ; 
after Vandyck. The Last Supper ; without the painter's 
name. The Scourging of Christ ; after Diepenbeck, in- 
scribed Faithorne, sculp. Antwerp, 1657. The Marriage 
at Cana in Galilee. (The last four prints were engraved for 
Taylor's Life of Christ.) 

FAITHORNE, William, the Younger, was the 
son and scholar of the preceding; born in 1656; 
died in 1686. He was chiefly engaged in mezzo- 
tint engraving, and might have gained reputation 
in that branch, had he attended to his business 
properly. The following are his best prints : 

Thomas Flatman, holding a Drawing of Charles II. 
Mary, Princess of Orange; after Hanneinan. Sir Wil- 
liam Read, oculist to Queen Mary. Queen Anne, when 
Princess of Denmark. George, Prince of Denmark. John 
Dryden. Frederick, Duke of Schomberg ; after Dahl, 
Sir Richard Haddock ; after Clostennans ; one of his best 
prints. John More, Bishop of Ely. The Princess of Han- 
over. Charles XII, of Sweden. Mrs, Plowden, with a 
Garland. 

FALCE, Antonio la, a native of Messina ; stud- 
ied under Agostino Scilla, According to Hakert, 
he was a good painter of easel pictures in distem- 
per and oil. He attempted fresco with less suc- 
cess. He died in 1712. 

FALOIERI, BiAGio, an Italian painter, born at 
St. Ambrogio, near Verona, in 1628. He studied 
at Venice, under Cav. Pietro Liberi. His style 
evinces much of the fire and fertility that cha- 
racterize the Venetian school, as appears from a 
large picture of the Council of Trent, which he ex- 
ecuted for the church of the Dominicans at Verona; 
in the upper part he has represented St. Thomas 
vanquishing the Heretics. Falcieri died in 1703. 

-|T-r or -H h-FALOINI, Domenico, an Italian 
L-TLi J" lengraver, who flourished from 
1604 till about 1630. There are some wooden 
cuts by him, after Rajfaclle, and other masters, 
which are executed on three separate blocks, one 
for the outline, another for the middle tints, and 
the third for the dark shadows. Brulliot men- 
tions two prints by this artist with a different 
mark from his usual monogram. 

FALCK, JeremiaHj a German designer and en- 



FALC. 



299 



FALC. 



frraver, born at Dantzic m 1629; died, according 
to Briilliot and Nagler, in 1709. He studied at 
Paris, under Chayeau, and became a very reputa- 
ble artist. On leaving France, he passed some 
time in Holland, where he executed several plates 
for the celebrated cabinet of Re3mst. From Hol- 
land he visited Sweden, where he passed some 
time. He was equally successful in portraits and 
historical subjects, and executed a number of 
plates, which possess great merit. The following 
are the principal : 

PORTRAITS. 

Christina, Queen of Sweden ; after D. Beck. Peter 
Gembichi, Bishop of Croatia; do. Leonard, Count de Tor- 
stensohn. 1649; after the same. Axel, Count d'Oxen- 
stiern ; do. ; J. F. Stockolmice, fee, 1663. Adolphus 
•John, Prince Palatine ; do. Charles Gustavus, Prince of 
Sweden ; do, 

SUBJECTS AFTER VARIOTTS MASTERS. 

The Four Evangelists ; half-lengths, oval, without the 
name of the painter. A Concert of Music ; after Guer- 
cino ; for the cabinet of Keynst. The Cyclops ; after M. 
A. Caravaggio ; do. A Man and a Woman singing; af- 
ter J. Lys ; do. St. John preaching in the Wilderness ; 
after A. Bloemaert ; do. ; J. Palck, Polonus, scul. 1661 ; 
fine. 

FALCKENBOURG, Frederick van, a Ger- 
man landscape painter and engraver of little note. 
He practised both arts at Nuremberg, and has 
etched a few plates of portraits and other subjects 
in a slight scratchy style, marked F. V. F. He 
died about 1623. 

FALCOj Agnolo. The name of this artist is 
affixed to an etching representing a landscape, 
with the story of Apollo and Daphne. It is very 
indifferently executed and incorrectly drawn ; but 
appears to have been the work of a painter, and 
is from his own design. 

FALCO, Juan Conchillos, a reputable Span- 
ish painter, born at Valencia in 1651. He studied 
in the school of Mario, where he acquired a good 
style of coloring, and a free, sweet, and delicate 
pencil. On quitting his master, he soon gained 
plenty of employment, and was considered one of 
the best historical designers of his time. He was 
much employed for the churches and private col- 
lections, and died in 1711. 

FALCONE, Antello, called Angelo, a Nea- 
politan painter and engraver, born in 1600 ; died 
in 1665. He studied under Giuseppe Ribera, and 
distinguished himself as a painter of battle-pieces 
and skirmishes of cavalry, which he composed and 
designed with great fire and animation. His col- 
oring is vigorous and effective, and his touch bold 
and free. His figures and horses are drawn with 
equal correctness, and their various movements are 
expressed with characteristic propriety. His easel 
pictures are esteemed equal to his larger works, 
and his best productions are little inferior to those 
of the inimitable Borgognone. This artist was 
one of the masters of Salvator Ro.?a. As an en- 
graver, he executed a number of plates, of which a 
list may be found in Bartsch and Nagler. 

FALCONET, Etienne Maurice, an eminent 
French sculptor, born at Paris in 1716. He stud- 
ied in the school of Lemoine, where he made rapid 
progress, and executed in 1745 a fine statue of Milo 
of Crotona, which was much admired, and gained 
him considerable reputation. In 1754 he was ad- 
mitted to the Royal Academy, and was afterwards 
appointed professor and rector. In 1766 he vis- 



ited St. Petersburg, at the invitation of Catherine 
II., and executed the noble bronze equestrian stat- 
ue of Peter the Great. In 1778 he returned to 
Paris, and relinquishing the practice of his pro- 
fession, devoted himself to literarj^ pursuits. — 
Among his most important works in sculpture, 
are a statue of Christ agonizing, a group of the 
Annunciation, and two statues of Moses and Da- 
vid, in the church of St. Roch at Paris ; also a 
statue of St. Ambrose, at the church of the Inva- 
lides. Falconet was attacked by paralysis in 1783, 
which terminated his life in 1791. 

FALCONET, Pierre, a French painter, born 
at Paris; was the son of Falconet the sculptor, 
who executed the equestrian statue of Peter the 
Great, at St. Petersburg. He went to London, where 
he resided some years, and painted historical sub- 
jects and portraits, as well as ornaments. He was 
remarkable for his portraits in black-lead, with a 
mixture of coloring. In 1766 he obtained a prem- 
ium of twenty guineas from the Society of Arts, 
for a painting in chiaro-scuro ; and in 1768, ano- 
ther for an historical picture. In 1773 he re- 
turned to France. 

FALCONETTO. Gio. Maria, a reputable Ital- 
ian painter and architect, born at Verona in 1458, 
according to Vasari. He studied painting under 
his father, and afterwards under his brother Gio. 
Antonio F.. at Verona, by whose instruction he 
became a reputable artist, both in history and 
portraits, and executed a number of works for the 
churches and private collections. As an architect 
he was more distinguished. He passed twelve 
years in Rome, studying and copjnng the vestiges 
of ancient architecture. He also copied the an- 
tique sculptures of Rome, as well as those of the 
kingdom of Naples. He was much respected by 
the emperor Maximilian, then master of Verona, 
and he erected a number of excellent works in that 
city. He resided for a number of years at Padua, 
where he built a beautiful loggia for the senator 
Luigi Cornaro ; a Doric gate to the palace of the 
governor ; the church of the Madonna della Gra- 
zie, &c. He also commenced a superb palace at 
Friuli for Savorgnano, the governor, but did not 
finish it, on account of the death of the latter. — 
He died at Cornaro. in 1534. 

FALDA, Gig. Battista, an Italian architec- 
tural designer and engraver, born at Valdugia, in 
the Milanese, about 1640. From the resemblance 
of style, he is supposed to have studied under Is- 
rael Sylvester. He was distinguished for his de- 
signs and engravings of select views of the churches 
and other public edifices of Rome, etched in a taste- 
ful manner, and enriched with figures very neatly 
drawn. In 1676, he engraved a View of the city 
of Rome, in twelve sheets. The following are his 
principal plates : 

Two Views of the Piazza Navona. Two Views in Rome ; 
the Basilica of St. Peter's, and the Fountain of St. Peter's. 
A large plate of St. Peter's, and the Buildings round it ; 
Gio. Battista Falda, del. et scul. Romce, 1662 ; scarce. 
A View of the" interior of St. Peter's, on the occasion of 
the Beatification of St. Francis of Salis. A View of the 
Castle of St. Angelo, with the Statues on the Bridge ; by 
Bernini. 

FALDONI; Gio. Antonio, an Italian painter 
and engraver, born, according to Zani, at A solo, 
in the Marca di Trevisano, about 1690. He first 
studied landscape painting under Antonio Lucia- 
no ; but did not attain distinction in this branch, 



FALE. 



300 



FANS. 



and his pictures are little known. He afterwards 
applied himself to engraving, and followed at first 
the manner of Giles Sadeler, but subsequently- 
adopted that of Mellan, in which he was very suc- 
cessful, and some of his works are much admired. 
He engraved a set of portraits of the Doges of Ve- 
nice, and the Procurators of St. Mark • besides 
the following : 

PORTRAITS. 

Marco Kicci, painter ; after Rosalba. Antonio Maria 
Zanetti, engraver; c?o. Luca Carlevariis, painter and en- 
graver. Sebastiano Ricci. painter. 

SUBJECTS AFTER VARIOUS MASTERS. 

A Holy Family, with Angels ; after Seb. Ricci. The 
Conception; do. The Nativity; after P. da Cortona. 
David playing on the Harp before Saul ; after G. Came- 
rata. David flying from the Wrath of Saul ; do. Part 
of the Drawings by Parmiggiano for the collection 
published by Zanetti, in two volumes. 

FALENS, Charles van,, a Flemish painter, 
born at Antwerp in 1684. He painted hunting- 
pieces and other subjects, similiar to those of 
Wouwerman. Some of his pictures are very pleas- 
ing, painted in a spirited style, and well colored. 
His Avorks would be more esteemed if they bad 
less the appearance of being imitations of Wou- 
werman. as it leads many to suppose them to be 
copies of the pictures by that master. This artist 
died at Paris in 1733. 

FALGANI. Gaspare, an eminent landscape 
painter, was a native of Florence, and studied un- 
der Valerio Marucelli. His works are designed 
with great taste, his penciling is neat and spirited, 
and they are enriched with exquisite figures ; but, 
unfortunately, as in the works of many other art- 
ists, his greens have changed into black. He ex- 
ecuted many works. He flourished about 1650. 

FALLARO, GiACOMO, a Venetian painter, com- 
mended by Vasari, who flourished in the time of 
Titian, and some of whose works are still to be 
found in the churches at Venice. 

FALLER, Jean, an engraver mentioned by 
Florent le Comte, who executed some plates of or- 
naments, and grotesque figures. 

FALS, Raymond, a Swedish medalist, born at 
Stockholm in 1658. He visited Paris, and exe- 
cuted a series of medals for Louis XIV., who 
granted him a pension. He died at Berlin in 
1703. 

FANO, Bartolomeo and Pompeo da, two 
Italian painters, father and son, who flourished 
at Fano about 1530. According to Lanzi they 
painted in concert a picture of the Raising of La- 
zarus, for the church of S. Michele, in that city, 
dated 1534. This work is executed in the Gothic 
style of the preceding century, and that author ob- 
serves that it is singular they should have profited 
so little by the general advance which had been 
made in the art. Pompeo, however, after the 
death of his father, attempted the more modern 
taste, and produced several works which gained 
him considerable reputation. This artist was one 
of the instructors of Taddeo Zucchero. 

FANONE, Stefan 0. an old Italian painter, 
born at Naples in 1318. His works were painted 
in the dry Gothic manner which prevailed at that 
period. He seems to have been highly esteemed, as 
he was much patronized by Robert, king of Na- 
ples, who rewarded him liberally for his works. 
He died in 1387. 



FANSAGA, CosiMO, an eminent Italian sculptor 
and architect, born at Bergamo in 1591. He visited 
Rome, and studied sculpture and architecture under 
Pietro Bernini. The facade of the church of S. 
Spirito de' Neapolitani. is the only M'ork by him in 
that city. He afterwards visited Naples, where 
he soon rose to eminence, and received so many 
commissions for statues and buildings, that he 
made it his permanent residence. He built and 
sculptured a number of altars in that city; en- 
larged and supplied with water the Fontana Me- 
dina, which he made the most beautiful fountain 
in Naples. Among his principal works, are the 
fa9ades of the churches S. Francesco Saverio, S. 
Teresa degli Scalzi. and S. Domenico Maggiore. 
He also designed the great gate and staircase of 
the palace of Duke Mataloni, besides many other 
works, by which he acquired riches and honors. 
He died in 1678. 

FANTETTI. Cesare, a Florentine designer and 
engraver, born about 1660. He resided chiefly at 
Rome, where he engraved a number of plates after 
his own designs, and those of other masters. In 
concert with Pietro Aquila, he engraved the plates 
from the paintings by Raffaelle, in the Vatican, call- 
ed Raffaelle's Bible ; of which thirty-seven are by 
Fantetti ; the rest are by Aquila, and are superior, 
particularly in correctness of drawing. He also 
engraved the followmg prints : 

Christ praying in the Garden ; after L. Caracci. A 
Charity, with three Children ; after Ann. Caracci. Lato- 
na insulted by Niobe ; do. Flora surrounded by Cupids ; 
after Ciro Ferri. The Death of St. Anne; after Andrea 
Sacchi. Some friezes and other subjects, from various 
Italian masters. 



AF-^' 



FANTUZZI, or FONTUZZI, 
Antonio, an Italian en graver j 
probably born at Viterbo about 1520, though au- 
thors are disagreed about the time of his birth. 
He is supposed to have studied the elements of 
design under Primaticcio, though some say he was 
originally a pupil of Parmiggiano, and that at the 
death of that great artist, he joined Primaticcio, and 
went with him to Fontainbleau. His plates are 
etched in a free, bold style ; dated from 1540 to 
1550, and chiefly after the works of Primaticcio. 
His prints are scarce ; the following are the prin- 
cipal : 

Silenus supported by two Bacchante, and environed with 
several Satyrs; after il Rosso. 1543. The Dispute of ttie 
Muses with the P'ierides ; after Primaticcio. Alexander 
and Roxana ; do. ; circular. The Festival given by Alex- 
ander to Thalestris ; do. 1543. Jupiter directing Minerva 
to dismiss Cupid, Venus, and Psyche ; do. 1543 ; oval. 
Titan reposing in the Bosom of the Ocean ; Bologna, in- 
ventor. 1544. The four Cardinal Virtues. 

FANZONE, FENZONE, or FAENZONE. Fer- 
RAU. a painter of Faenza. who, according to Lanzi, 
was born in 1562, and died in 1645. There is 
considerable contradiction among Italian authors 
about the name and tuition of this painter. Ma- 
rini writes it Finzoni. Titi calls him Ferraii da 
Faenza, and says that he studied under Vanni at 
Rome. He executed quite a number of works in 
fresco in the churches of that city, consisting of 
scripture histories, particularly in the Scala Santa, 
S. Gio. Laterano and S. Maria Maggioie, in competi- 
tion with Gentileschi, Saiimbeni, Novara. and Croce. 
He also executed some good works at Foligno and 
Ravenna. He afterwards settled at Faenza, where 
he executed many works for the churches and con- 



FARE. 



301 



FARI. 



vents in the style of the Caracci. of whom, in that 
city he is esteemed a pupih Lanzi says his real 
name was Fenzoni, of a noble family of Faenza, now 
extinct. He was an excellent artist, possessing a 
profoimrl knowledge of his art. His design was 
exact, his composition grand, and his coloring 
very pleasing. Yet his name is blackened with an 
atrocious deed ; for he is said to have assassinated 
Manzoni merely out of jealousy of his rising rep- 
utation. He had two daughters, named Teresa 
and Felice, whom he instructed in the art, and who 
painted with reputation at Faenza and at Bologna. 
Felice was the most eminent and died at Bologna 
in "1703. 

FARELLI. GiACOMO, an Italian painter, born at 
Naples, according to Dominici, in 1G24. He studied 
under Andrea Vaccaro, and at first gave promise 
of considerable talent, as appears from a picture 
of St. Brigida, in the church dedicated to that 
saint. He afterwards changed his manner, in en- 
deavoring to rival some of the followers of Dom- 
enichino ; but failed completely, and thereby great- 
ly injured his reputation. 

FARGUE, Paul Constantine La, a Dutch 
painter, who was born at the Hague, and flour- 
ished about 1765. His pictures are generally 
small, representing views of the environs of his 
native city, designed in a very agreeable style. 
He had considerable skill in copjnng the works of 
older Dutch masters. His drawings are more es- 
teemed than his paintings in oil. La Fargue died 
at Leyden in 1782. He had a sister named Maria, 
who painted various subjects, which are well com- 
posed, finely colored, and highly finished. 

FARTAT, or FARJAT. Benoit, a French en- 
graver, born at Lyons in 1646 ; died, according to 
Nagler, in 1720. He acquired the elements of de- 
sign from William Chateau, and adopted his style ; 
but afterwards visited Rome, where he acquired 
greater skill, and a better taste of design, though 
he is not always correct. The following are his 
principal plates : 

portraits. 

Cardinal Eederigo Coccia ; after L. David. Cardinal 
Cornaro ; do. 1697. Cardinal Tommaso Ferrari: do. 
1695. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family, with St. John ; after Alhano. The 
Holy Fiimily, with St. John presenting a Cross ; after P. 
da Cortona. The Marriage, or, according to otters, the 
Crowning of St. Catherine ; after A^osiino Caracci. The 
Virgin and infant Jesus, with St. John presenting him some 
Fruit; after Annibale Caracci. The Temptation of St. 
Anthony ; do. The Communion of St. Jerome ; after Do- 
menichino. The Death of Francis Xavier; after Gio. 
Bat. Gauli. The Marriage of the Virgin and St. Joseph ; 
after C. Maratti. The Baptism of Christ; do. The 
Race of Atalanta ; after P. Lucatelli. 

FARTN'ATO, Paolo, degli Uberti. an emin- 
ent Italian painter, born at Verona, according to 
Ridolfi. in 1522 ; died in 1606. He studied some 
time under Nicolo Golfino, and afterwards gained 
improvement at Venice from the study of the grand 
works of Giorgione and Titian. From the eleva- 
ted style of his design, in which he surpassed most 
of the Venetian painters, it is thought he was also 
instructed by Giulio Romano ; and it is certain that 
he studied for some time the works of that master 
at Mantua. His coloring, however, is thought by 
some to be occasionally too brown. Lanzi says 
that on leaving Verona, he regretted that he had 



not visited all the works of this great artist in 
that city, so much was he charmed by the beauty 
and grandeur of those which he had seen. Among 
the principal works of Farinato at Verona are 
three pictures in S. Maria in Organo, representing 
St. jMichael discomfiting Lucifer, and two large 
subjects of the mothers presenting their children 
to Herod, and the Murder of the Innocents. In S. 
I Tommaso is a picture of St. Onofrio, in which the 
figure is treated after the Torso Belvidere, and the 
whole design evinces an acquaintance with the an- 
tique rarely found in the Venetian school. One 
of his finest paintings is the Descent from the 
Cross, in the church of the Cappucini. Farinato 
practised the art with unabated ardor to a very 
advanced age ; and when 79 3'ears old, he produced 
his celebrated work of the Miraculous Feeding of 
the Multitude for the church of S. Giorgio. This 
painting is a grand composition of many figures ; 
dated 1604, and signed Farinatiis de Ubertis, fecit; 
ceiatis sikb LXXIX. There are several etchings 
by this artist, executed in a free, bold, and master- 
ly style. They are frequently signed with his 
name, and sometimes with the initials P. F. or 
P. V. F., the V. being for Verona. Brulliot says 
he also added a snail to his name or initials. The 
following are his principal plates, which are from 
his own designs : 

St. John ; marked Paolo Parinato, f. St. Jerome 
kneeling, leaning on a Bank ; P. F. Mary Magdalene 
seated, with a Book and a Crucifix ; signed Paul Parinat, 
f. The Virgin, with the infant Jesus and St. John. An- 
gels holding the Instruments of the Passion. Venus ca- 
ressed by Cupid. 1566. A Charity, with three Children. 
Venus and Cupid at the Forge of Vulcan. 

FARTjSTATO, Orazio, a Veronese painter, flour- 
ished about 1615, as appears from the date of his 
picture in S. Francesco da Paola. He was the son 
and scholar of the preceding, whose manner he im- 
itated. He early gave proof of unusual ability, 
and promised to reach an elevated rank among the 
artists of his country, but he died very young, and 
universally regretted by the friends of art. His 
principal work was the Descent of the Holy Ghost, 
in S. Stefano, which, according to Lanzi, deserves 
a rank with the greatest painters which that city 
has produced, Paolo Veronese excepted. This ar- 
tist etched a few plates after his father's designs, 
which are frequently confounded with the engrav- 
ings of the latter. Among them are the following : 
The Finding of the Cross, with St. Francis and 
other figures ; P. F., in. ; Ho. F. V., fee. The 
Destruction of Pharaoh's Host ; Ho. F. F. f. ; 
Paul Fa. V. I. The Holy Family, with St. John. 

FARINGTON, George, an English painter, 
born in Lancaster, in 1754. He studied under 
West, and obtained the prize in the Royal Acad- 
emy for the best historical painting. In 1782 he 
went to India, where he had some success, and 
would probably have acquired considerable repu- 
tation, had he not died in the prime of life, in 1788. 
FARRER, Nicholas, an English portrait paint- 
er, born at Sunderland in 1750. He studied under 
Pine, and lived on terms of intimacy with Rey- 
nolds and Northcote. He painted the portraits 
of the Duke of Richmond and his family, by whohl 
fie was patronized. His portraits are much in the 
style of Reynolds, and have occasionally been ta- 

I ken for the works of that master. Farrer died 

i in 1805. 



FARR. 



302 



FATO. 



FARRINGTON, Joseph, an English landscape 
painter, born in 1742; died in 1821. He was in- 
structed bj R. Wilson, and became a member of 
the Ro3^al Academy. His subjects were principal- 
ly views of the scenery in Cumberland, and West- 
moreland, which have been engraved by Byrne, 
Medland, and others. 

FASANO, ToMMASo, a Neapolitan painter, who 
studied under Luca Giordano. He became an ex- 
cellent painter, and there are some of his works at 
Saints Sepolcro and Quarantore, at Naples. He 
flourished about 1700. 

FASOLO, Gio. Antonio, an Italian painter, 
born at Vicenza in 1528. He studied first under 
Battista Zelotti, but afterwards entered the school 
of P. Veronese, then in the zenith of his fame, 
where he made rapid progress. On leaving that 
master, he was much employed, and became a 
reputable painter of history. There is a fine pic- 
ture by this artist in the church of S. Rocco at 
Vicenza, representing the Pool of Bethesda, a 
grand composition, with several groups of figures, 
disposed and expressed in admirable style. In the 
Padri Servi is another fine picture by Fasolo. of 
the Adoration of the Magi. According to Ridolfi, 
there are several excellent pictures by him, repre- 
senting subjects from Roman history; Marcus 
Curtius leaping into the Gulf; Mutius Seas vol a be- 
fore Porsenna ; and Horatius defending the Bridge. 
He died in 1572. 

FASSETTI, Gio. Battista, was born, accord- 
ing to Tiraboschi, at Reggio, in 1686. He was an 
extraordinary character. At the age of 28, he was 
employed by Giuseppe Dallamano to grind his 
colors while he was in the employment of the 
royal family of Turin. He watched his every 
movement, and soon began to imitate, and then to 
assist him, and ultimately, through the instruc- 
tions of Francesco Bibiena, became one of the 
most distinguished decorative painters in Lombar- 
dy. He was living in 1772. 

FASSI, GuiDo. See del Conte. 

FASSIN, Chevalier Nicolas Henri Joseph 
DE, a Flemish landscape painter, born at Liege in 
1728. He early manifested a strong inclination 
for art, and entered the school of Coders. On 
leaving that master, he threw up the palette, and 
entered the service of Louis XV. , where he re- 
mained a number of years. On returning to his 
own country, he determined to devote himself to 
painting, and visited Antwerp, where the sight of 
the works of Rubens and Vandyck incited him to 
new energy, and he studied with assiduity for 
some time, after which he went to Rome in 1768. 
On returning, he stopped at Geneva, and painted 
many admirable landscapes. He executed a land- 
scape here by order of the Empress of Russia, for 
which he was liberally rewarded. On returning 
to Liege, he gained great encouragement, and by 
his vigorous exertions, succeeded in establishing 
the academy of design for painting and sculpture, 
in that city, which was supported by the Prince 
Bishop Welbruck, who appointed Fassin director. 
Most of his works are in that cit}'-, where he died, 
in 1811. 

FASSOLO. Bernardino, an Italian painter, 
was born at Pavia, and flourished about 1520. — 
There is a picture by this artist now in the Louvre, 
representing the Virgin and Infant, dated 1518, 



I which, according to Lanzi, was formerly in the 
Palazzo Braschi at Rome. This fine painting is 
entirely in the style and character of Leonardo da 
Vinci, and it is probable that the other works of 
Fassolo are ascribed to that master. 

FATOR, Fra Nicolas, a Spanish painter, born 
at Valencia, in 1522. According to Palomino, he 
was attached to literary pursuits in early life, and 
is said to have gained distinction as a Latin poet. 
He subsequently applied himself to painting, and 
while yet young, he became a Franciscan monk 
of the convent of S. Maria de Jesus. His pic- 
tures, as is usual in such cases, are confined to the 
church of his monastery ; the principal are : The 
Scourging of Christ ; the Virgin and Infant ; and 
St. Michael discomfiting Lucifer. 

FATTORE, il. See Penni. 

FAUCCI, Carlo, an Italian engraver, born at 
Florence in 1729. He studied under Carlo Gre- 
gori, and afterwards engraved several plates for the 
collection of the Marquis de Gerini. He subse- 
quently visited England, where he executed some 
plates for Boydell. Among others by him, we 
have the following : — The Birth of the Virgin, and 
the Adoration of the Magi, after Cortona ; th^ 
Crowning of the Virgin, and a Bacchanalian Sub- 
ject, after Rubens ; the Mart5a-dom of St. An- 
drew, after Carlo Dolci; Cupid, after Guido. 

FAULKNER, Benj. R., an English portrait 
painter, born at Manchester, in 1787. For many 
years he was an exhibiter at the Royal Academy, 
and he executed many portraits of merit for diifercnt 
persons in his native city. Among his best per- 
formances was a half-length portrait of a lady, ex- 
hibited in 1838, which was greatljr admired ; also, 
a picture of " Juhet," exhibited in 1846. He died 
in 1849. 

FAUST, or FUST, John, an eminent goldsmith, 
of Mentz, one of the three artists to whom the 
invention of printing is attributed. See Gutten- 
herg. 

FAVA, CoNTE Pietro, a Bolognese painter, 
born in 1669. He was of noble descent, and was 
also a patron of art, as well as an artist. He was 
the protector and friend of Donato Creti and Er- 
cole Graziani ; and according to Lanzi, he studied 
under Pasinelli, and was elected a member of the 
Clementine Academy. In the church of S. Tom- 
maso dal jMercato, at Bologna, is an altar-piece by 
him, of the Virgm and Infant, with St. Alberto, St. 
Paolo, and other saints. Lanzi mentions, in high 
terms, two pictures by him, at Ancona, of the Res- 
urrection and the Adoration of the Magi. His 
pictures are much in the style of the Caracci, 
to whose works he was chiefly attached. Fava 
died in 1744. 

FAVENNES, J. de, a French engraver, who 
practised the art at Paris about 1760. According 
to Basan, he engraved, among other plates, a sub- 
ject after A. Watteau, representing the Pleasures 
of Summer. 

FEBRE or FEBURE. See Fevre. 

FEDDES, Peter, called van Harlingen, from 
his birth-place, was a Dutch painter, born in 1588, 
He usually painted portraits, conversation pieces, 
and musical parties. Several of his pictures have 
been engraved ; one of which I'epresents a lady 
seated at a table, and a cavalier playing on the 
guitar. He died in 1634. 



FEDE. 



303 



FELT. 



FEDERIGHETTO DI DALMAZIA. See 

Bencovich. 

FEDERIGHI, Antonio, a famous Mosaic 
painter, who, according to Delia Yalle, was one of 
the artists employed in adorning the pavement 
around the altar of the magnificent cathedral of 
Siena with Alosaics, a work of many ^''ears, and of 
which he executed the two Sybils. These works 
were carried, by the labors of successive artists, to 
an astonishing pitch of excellence, and were the 
great attraction of the place. He flourished at 
Siena, about 1480. 

FEHLINGr, Henry Christopher, a German 
painter, born at Sangerhausen, in 1653. He was 
instructed by his relative, Samuel Botschild, with 
whom he visited Italy for improvement, and re- 
mained there several years. On returning to Ger- 
many, he settled at Dresden, where he gained con- 
siderable reputation, and was taken under the pro- 
tection of the Duke of Saxony, who appointed him 
his painter. He practised the art in that city for 
many years, and was much patronised by the no- 
bilit}^ He painted several ceilings in fresco for 
the palaces of the Elector, which were much ad- 
mired. On the death of Botschild, Fehling was 
appointed superintendent and keeper of the impe- 
rial gallery. He died in 1725. 

FEHRMAN, Daniel, an eminent Swedish 
medalist, born at Stockholm, in 1710. He studied 
under the famous Hedlinger, and accompanied him 
in a journey to Denmark and Russia. After the 
latter retired from the practice of the art, Fehr- 
man was appointed engraver to the king, which 
post he retained for many years, and executed a 
large number of medals, chiefly illustrative of 
events in the national history, a catalogue of which 
is given by Hallenberg. In 1764, Fehrman was 
attacked by apoplexy, and thereby disabled from 
pursuing his art. He had, however, the satisfac- 
tion of seeing his son and scholar appointed to the 
vacant office. He died in 1780. 

FEI, Alessandro, called del Barbiere. a rep- 
utable Florentine historical painter, according to 
Borghini. was born in 1538. He studied succes- 
sivel)^ under Ridolfo Ghirlandaio, Pietro Francia, 
and Tommaso JNIanzuoli. His correctness of de- 
sign and character of expression, were superior to 
his coloring. He had a ready and abundant in- 
vention, well adapted to the great works he exe- 
cuted in fresco, which he decorated with architec- 
ture, in the noble style of the antique. His works 
may be seen in the churches and public edifices of 
Florence, Pistoja and Messina. One of his most 
esteemed pictures is the church of S. Croce, at 
Florence, representing the Scourging of Christ. 

FELICE, SiMONE, an Italian engraver, who ex- 
ecuted, among other works, a collection of prints 
in concert with Gio Battista Falda, entitled Le Gi- 
ardini di Roma. They are very neatly executed 
with small figures, designed in a spirited style, and 
are equal to the engravings of Falda. 

FELTRINI, or FELTRINO, Andrea, was born 
at Florence, in 1543, and, according to Vasari, he 
was a pupil of Morto da Feltro, from whom he de- 
rives his name. Boschini says he painted at Flor- 
ence in 1581, but the dates of these two artists do 
not at all agree. Lanzi also says he studied under 
Morto, and that he is sometimes called Andrea 
di Cosimo, after his first master, Piero di Cosimo, 
<'Rosselli.) He painted grotesque ornamental work 



in such an excellent manner, that he was the 
teacher of that style in Florence, and had many 
imitators. His ornaments were more copious and 
rich than those of the ancients, abounding in fancy, 
and he united them in a different manner, with 
figures admirably adapted to them. 

FELTRO. Morto da, was born in Florence, ac- 
cording to Vasari, in 1468. After having studied 
in his native city, he went early in life to Rome, 
where he devoted himself to grotesque subjects 
and ornaments, which he carried to great perfec- 
tion, and was much employed by the nobility at 
Rome, Venice, and particularly at Florence, in dec- 
orating their palaces. Being of a capricious dis- 
position, at the age of forty, he abandoned paint- 
ing and entered the army. He was killed at the 
battle of Zara, in 1513. This artist is supposed 
to be the same as Pietro Luzzo da Feltro, called 
Zarato. See Luzzo. 

FEMINIA, Gabriel, a Spanish painter, who 
practised the art about the beginning of the 18th 
century. Little is known of the circumstances of 
his life. He was distinguished for his landscapes, 
which were much esteemed in his day. 

FERABOSCO, Martino, an Italian engraver, 
who practised the art at Rome about 1620. Among 
other works he engraved the plates for a book en- 
titled Architettura delta Basilica di S. Pietro in 
Vaticano, published at Rome in 1620. They are 
executed entirely with the graver, in a slight, for- 
mal style. 

FERABOSCO, Pietro, an Italian painter of 
whom little is known with certainty. He is sup- 
posed to have been a native of Lucca, and, accord- 
ing to Guarienti, studied at Rome; but Lanzi rather 
places him among the Venetian painters, from the 
excellence of his coloring in the manner of Titian. . 
He painted portraits and history in a style of ex- 
cellence, some of which are dated 1616. He went 
to Portugal, where he gained considerable reputa- 
tion, and took up his permanent residence there. 

FERABOSCO. See Forabosco. 

FERDINAND, Louis, a French portrait paint- 
er, and an engraver. He was the son of one of 
the instructors of N. Poussin, named Ferdinand 
Elle, whose baptismal name he adopted instead of 
retaining the surname. He painted portraits with 
considerable reputation, and was elected a member 
of the Royal Academy. As an engraver, he etched 
the prints for a book, published at Paris in 1644, 
and entitled Le Livre original de la Portraiture. 
He also etched a number of other plates, in a 
spirited and tasteful style, among which are the 
following : — Portrait of a Lady, after Vandyck. 
Nicolaus Poussin, pictor, V. E. Pinxit. L. Fer- 
dinand, fecit. A set of six friezes, after L. Tes- 
telin. A set of six, of groups of Children, af^er 
the same. Several allegorical and mythological 
subjects, after Primaticcio. 

He had a brother named Peter F. who etched a 
few plates, among which is St. Potentiana, after 
Correg-g-io. 

FERG, Paul Francis, a German painter, born 
at Vienna in 1689. He was the son of an ob.^cure 
artist, who placed him under a painter called Bas- 
chueber, who was not much better than himself 
After remaining three years under the latter he ap- 
plied himself to the study of the works of Callot, 
by which he was greatly improved. He was after- 



FERG. 



304 



FERN. 



wards instructed in the design of the figure by 
Hans Graaf, and in landscape by Orient, a very 
reputable artist in that branch. On leaving that 
master, Ferg soon became distinguishei, and he 
gained great encouragement. He was invited to 
tlie court of Dresden, where he passed several 
3'earS; and his works vv^ere much admired. His 
landscapes usually represent A^ery agreeable sce- 
nsr}^, embellished with architectural ruins in a 
very picturesque style. His small figures are cor- 
rectly drawn, and very delicately touched. His 
best pictures are of small dimensions, painted 
usually on copper. In 1718 this artist went to 
England, where he remained about thirty years, 
and gained considerable employment. He might 
have lived with respectability if an indiscreet mar- 
riage had not involved him in difficulties. He 
was compelled to lower the price of his works, 
but he remained in indigence, and died, according 
to Dcscamps, in 1740. He is said to have been 
found dead in the street, near the door of his 
house. There is a set of eight neat and spirited 
etchings by this artist, representing architectural 
ruins, with figures, called Capricci fatti per F F. 
FERGIONI. Bernardino, a celebrated marine 
painter, who flourished at Rome about 1718. He 
first painted landscapes and cattle, but afterwards 
painted marines and sea ports, in which Lanzi says 
he showed extraordinary talents, but he was soon 
echpsed by Joseph Vernet, who had taken up his 
abode at Rome. 

FERGUSON, William, a Scotch painter, who 
flourished about 1670. He acquired the elements 
of design in his own country, and then visited 
France and Italy for improvement, where he passed 
several years. On his return to his native country 
he acquired considerable reputation for his pictures 
of dead game and other subjects of still-life. Some 
of his smaller pictures are so excellent that they 
are often ascribed to Weeninx, to whose works 
they bear a resemblance. He died about 1690. 

FERNANDEZ D'ARIAS, Antonio, a Spanish 
painter, was born at Madrid, but the date of his 
birth is not recorded. He studied in the school of 
Pedro de las Ouevas, where he made rapid pro- 
gress and soon became distinguished. At the early 
age of fourteen, he painted the principal altar-piece 
in the church of Carmen Calzada, at Toledo. At 
the age of twenty-five he was considered as one of 
the most eminent Spanish painters of his time. 
His works are characterized by excellent coloring 
and great facility of execution. Palomino men- 
tions a number of excellent works by this artist, 
the best of which are eleven pictures in the Augus- 
tine Convent at S. Fehpe, representing the Passion 
of our Saviour ; and the Baptism of Christ, in the 
church of San Gines. He died at Madrid in 1684. 

FERNANDEZ, Francisco, a Spanish painter, 
born at Madrid, in 1604. He studied under Vin- 
cenzio Carducci, and is said by Palomino to have 
been one of the most ingenious artists of his time. 
He gained great reputation, and was employed by 
Philip IV. in several important works in the pala- 
ces at Madrid. He also painted a number of pic- 
tures for the churches and convents, as well as for 
the private collections. In the Convent de la Vic- 
toria, at Madrid, is a fine picture by him, of the 
death of St. Francisco da Paula. This artist was 
Li lied in a quarrel, by Francisco deBarras, in 1646. 



FERNANDEZ DE LAREDO, Juan, a Spanish 
painter, born at Madrid in 1632. He studied under 
Francisco Rizi, whom he assisted in his works at 
the Retiro. He is said to have been one of the 
most reputable Spanish fresco painters of his time, 
and he executed many pictures for the churches oi' 
Madrid, where he died in 1692. 

FERNANDEZ, Luis, a Spanish painter, born at 
Madrid; according to Bermudez, in 1596. He 
studied in the school of Eugenio Caxes, and be- 
came a reputable historical painter, both in oil and 
fresco. Palomino mentions a chapel in the paro- 
chial church of Santa Cruz, painted in fresco by 
this artist ; also several pictures in oil, of subjects 
from the Life of the Virgin. He died in 1654. 

FERNANDI, Francisco, called D' Imperiali, 
a reputable historical painter, who flourished at 
Rome about 1730. In the church of S. Eustachio, 
at Rome, is an altar-piece by him. representing the 
Martyrdom of that Saint, which Lanzi says is well 
conceived and scientifically colored. 

FERRACUTI, Giovanni Domenico. an Italian 
painter, born, according to Lanzi, at Macerata, and 
flourished about 1650. He excelled in landscapes, 
particularly in his winter scenes, which he repre- 
sented witii fine effect, and which were much es- 
teemed in his time. 

FERRADA, Ohristobal, a Spanish painter, 
born at Anieva, in the Asturias, in 1620. After 
studying painting under a regular instructor whose 
name is unknown, he entered the Monastic order 
of St. Maria de las Cuevas. He continued, how- 
ever, to exercise his pencil, and painted a number 
of pictures for the altars of his monastery, and for 
the cloister of S. Miguel, at Seville. He died in 
1678. 

FERRAJUOLI DEGLI AFFLITTI, Nunzio, 
an Italian painter, born, according to Orlandi, at 
Nocera de Pagani, in the Neapolitan territory, in 
1661. He studied for some time under Luca Gi- 
ordano, and subsequently went to Bologna, where 
he entered the school of Giuseppe dal Sole. He 
first attempted history, but his genius soon direct- 
ed him to landscape, in which he acquired emi- 
nence. His pictures were painted in a very agree- 
able style, and were much admired for sweetness 
of coloring, beauty of the skies, and transparence 
of the waters. His landscapes are enriched with 
figures designed in elegant taste, and his works are 
much in the graceful style of Albano. Orlandi 
compares him to G. Poussin and Claude Lorraine, 
but this eulogium may perhaps be ascribed to the 
friendship that existed between him and Ferraju- 
oli. •^' 

FERRAMOLA, Fioravante, an Italian painter, 
was born at Brescia ; and, according to Zamboni. 
was an artist of considerable reputation, when that 
city was taken by Gaston de Foix. in 1512. His 
abilities gained him the favor and protection of 
that General. His works were much esteemed ; 
one of the best is a picture of St. Jerome, in the 
church of S. Maria della Grazie. He died in 1528. 

FERRANTE, Cav. Gig. Francesco, a Bolog- 
nese painter who studied under Francesco Gessi. 
This is all the information that Lanzi gives respect- 
ing this artist yet it is evident that he was distin- 
guished in his time, for he was knighted, and the 
Guida cli Piacenza notices several of his works 



FERR. 



305 



FERR. 



in the churches of that city, and states that he died 
there in 1652. 

FERRANTI. Decio, and Agostino, his son, two 
miniature painters, very celebrated in their day, 
who flourished at Milan about 1500. In the cathe- 
dral at Vigevano. are three of their works, con- 
sisting of a Missal, a Book of the Four Evangehsts, 
and a Book of the Epistles, illuminated with min- 
iature pictures and ornaments in the most exquisite 
taste. 

FERRANTINI, Gabriello, called Degli Occhi- 
ali, a Bolognese painter, who flourished about 
1588. He was instructed in the school of Denis 
Calvart. where he became a reputable painter of 
history, both in oil and fresco. Most of his best 
works are in the churches at Bologna, among 
which are a picture of St. Francesco da Paola, in 
S. Benedetto • St. Francis Receiving the Stigmata, 
in La Carita ; a fine picture of St. Girolamo, in 
S. Mattia ; the Birth of the Virgin and the Des- 
cent from the Cross, in the Padri Servi. 

FERRANTINI, Ippolito, a reputable Bolog- 
nese painter, who, according to Malvasia, was 
a pupil of the Caracci. and flourished about 1600. 
He painted some pictures for the churches of Bo- 
logna and other cities in its vicinity. 

FERRARA, Ercole da. See Grandi. 

FERRARA. Antonio da, an Italian painter, 
was born at Ferrara and practised the art at Urbi- 
no and Citta di Castello, about 1450. He was ed- 
ucated in the school of Angiolo Gaddi, and became 
a reputable historical painter. Little is known of 
his works, and they are probably ascribed to some 
more eminent master. 

FERRARA, Cristoforo, an old painter, sup- 
posed to have been a disciple of Vitale. who paint- 
ed at Ferrara in 1380. He is also called da i\Io- 
dena and da Bologna, in which cities are some of 
his works executed in the dry manner of the time. 

FERRARA, Galasso, a painter of Ferrara, 
commended by Baruffaldi, notices of whose works 
are found from 1404 to 1462. There are some of his 
pictures in the church of the Mezzaratta at Bo- 
logna, representing histories of the Passion. One 
of these is dated 1462. Lanzi says he obtained 
much reputation in his day, and painted many 
works for the churches and public edifices at Fer- 
rara and Bologna, some of which are still preserved. 
There are also many other old artists mentioned 
by Italian authors under the name of Ferrari, after 
the place of their nativity or residence ; but the 
accounts of them are confused and of little interest. 
The principal of these are Rambaldo and Laudadio, 
who were the immediate successors of Giotto, in 
whose style they painted at Ferrara about 1380. 
There are several of the name of Stefano, one of 
whom was a pupil of Squarcione, and painted in 
1430. Another Stefano painted in the palace of 
Gio. Bentivoglio, at Bologna, in 1531. Pietro da 
Ferrara was a pupil of the Caracci, at Bologna, but 
he does not seem to have acquired much distinc- 
tion. 

FERRARESINO, il. See Camillo Berlin- 

GHIERI. 

FERRARI, Pfetro, an Italian architect, born 
at Spoletto in 1753. He was distinguished for a 
profound knowledge of his art, and was appointed 
architect to the pope. He was employed in con- 



cert with Cav. Fontana, to survejr the route of the 
grand canal which the French government intend- 
ed to construct from the Adriatic across Italy to 
the Mediterranean. His projects for draming the 
lakes of Trasimene and Fucino were admirably 
conceived. He died in 1825. 

FERRARI, Francesco, was born at Rovigo, a 
place near Ferrara, in 1634. He studied architec- 
tural and ornamental painting, under Gabriel 
Rossi, at Bologna, and acquired a profound knowl- 
edge of perspective. He acquired a high reputa- 
tion in his time, and painted several grand histori- 
cal pieces at the Carmine and in S. Giorgio, at Fer- 
rara, but his architectural pieces are most esteem- 
ed. He was employed in other cities, and entered 
the service of Leopold, at Vienna, 111 health com- 
pelled him to quit Germany, and he returned to 
Ferrara, where he opened a school for young ar- 
tists. He died in 1708. 

FERRARI, Antonio Felice, a son of Frances- 
co, was born at Ferrara in 1668, and died in 1719. 
He was instructed in the art by his father, and 
confining himself to architecture in fresco, he ac- 
quired great distinction, and was much employed in 
decorating the principal public and private edifi- 
ces at Ferrara. He also received commissions from 
Venice, Ravenna, and other cities, by which he 
amassed a large fortune. He had numerous pupils. 
He suffered much in his health by the labor of 
fresco painting, and in his will, he enjoined that his 
son was to forfeit his inheritance if he ever became 
a fresco painter. 

FERRARI, Bernardino, was a native of Vige- 
vano, and, according to Lomazzo, he was so close an 
imitator of Gaudenzio de Ferrari, that his works 
might be taken for those of that master. 

FERRARI, Gaudenzio. called Gaudenzio Mi- 
lanese, an eminent Italian painter, born at Vaidu- 
gia, in the Milanese, in 1484. According to Or- 
landi, he was a scholar of P. Perugino ; but Lanzi, 
following Lomazzo, states that he first studied 
under Stefano Scotto, and afterwards under Ber- 
I nardino Luini. He profited most, hov/ever, from 
I studying the works of Leonardo da Vinci. Among 
I his first performances that attracted public atten- 
tion, was the dome of the principal church of No- 
I vara. While A'oung he went to Rome, where he 
assisted Raffaelle, in several of his works, particu- 
larly in his pictures of the History of Cupid and 
Psyche, in the Palazzo Chigi, called la Farnesina. 
By his residence at Rome, and his connection with 
Raffaelle, he gained great improvement ; and his 
works have a grandeur of design and a harmony 
of coloring, which are not found in any of the pre- 
vious productions of the Milanese school. Lo- 
mazzo considers him as one of the most distin- 
guished assistants of Raffaelle, after Giuiio Ro- 
mano, and Fieri no del Vaga. His invention was 
extraordinarily fertile, and his style had much of the 
grandeur of Giuiio Romano. He often chose those 
difficult and uncommon attitudes, which are bold 
and striking, whenever the subject admitted of it ; 
though the muscular delineations were not equal 
to the attitudes. Among his principal works v»^as 
the cupola of S. Maria, near Sarono, which is com- 
pared by Lomazzo to that of S. Giovanni, at Par- 
ma, by Correggio ; but it by no means equals that 
wonderful production. His picture of St. Cristo- 
foro, in the church of that saint, at Vercelli, is 
greatly admired ; and exhibits much of the beauty 



FERR. 



306 



FERR. 



and grace of Raffaelle. In the same church are 
several pictures by Ferrari, representing subjects 
from the Life of Christ and Mary Magdalene, in 
which are introduced several groups of beautiful 
angels. At the Conventuali, is an admirable pic- 
ture of the Conversion of St. Paul, which Lanzi 
says approaches nearer to the grand production of 
M. Angclo, in the Capella Paolina. than au}^ thing 
he had seen. At Milan, he painted several pic- 
tures in competition with Titian, representing sub- 
jects from the Passion of Christ. Ferrari died in 
'1550. 

FERRARI, Gio. Andrea, an Italian painter, 
born at Genoa, in 1598. According to Soprani, he 
studied successively under Bernardo Castelli, and 
Bernardo Strozzi. Soon after leaving the latter, 
he gained considerable reputation, and was much 
employed for the churches and private collections. 
According to Lanzi, this artist deserves a high rank 
in the Genoese school, although Soprani, in his 
Lives of Genoese Painters, mentions him with little 
commendation. He painted history, landscape, 
animals, fruit, and flowers. Some of his pictures 
are of small size, and finished with extraordinary 
beauty and exactness. Among his larger histori- 
cal works, the best are his picture of Theodosius, 
in the church del Gesu, at Genoa, and the Nativ- 
ity, in a dome of another church in the same 
city. His best work, which is highly praised by 
Lanzi. is a fine composition of man}'- figures, in a 
church at Yoltri, representing the Birth of the 
Virgin. He died in 1669. 

FERRARI, Gregorio de, a Genoese painter, 
born at Porto Maurizio, in 1644. He was in- 
structed by Domenico Fiasella, but gained more 
improvement from the study of the works of Cor- 
reggio, and he copied with great exactness, the 
■ fresco work of that master in the cathedral at Par- 
ma. He soon gained reputation, and was much 
employed for the churches and private collections, 
paj'ticularly at Turin and Marseilles. His style 
resembles that of Correggio, especially in the airs 
of his heads, and in particular figures. His de- 
sign, however, is generally negligent and incorrect ; 
his composition is greatly inferior to that of Cor- 
reggio, and his coloring occasionally feeble, espe- 
cially in his fresco works. According to Cav. 
Ratti, his best work is the picture of St. Michael, 
in the Madonna delle Vigne, at Genoa. There are 
also several fine pictures by him in the Palazzo 
Balbi. He died in 1726. 

FERRARI, Abate Lorenzo, a Genoese painter, 
born, according to Ratti, in 1680. He was the son 
and scholar of the preceding, whom he surpassed 
in correctness of design. He attached himself to 
the works of Correggio. and followed, though at a 
distance, the style of that great master. Lanzi says 
he was an artist of more merit than cclebrit3\ In 
aiming at delicacy, he occasionally fell into languor, 
but in his works in the Doria Palace, he emulated 
the vigor of the Carloni, and is little inferior to 
them. His last work was a gallery, in the Carega 
Palace, representing subjects from the ^^neid. He 
died in 1744. 

FERRARI, LucA de, an Italian painter, born at 
Rcggio, according to Tiraboschi, in 1605. He was 
insh-ucted in the school of Guido, where he ac- 
r| aired much of the graceful style of his master, 
especially in the airs of his heads, and the elegant 



movement of his figures. One of his most esteemed 
works is the Dead Christ, in S. Antonio, at Padua, 
which is full of character and expression, and ad- 
mirably colored. In compositions which require 
a large number of figures, he was less successful, 
as appears in his picture of the Plague, painted for 
the convent of the Dominicans, in 1630. He died 
in 1654. 

FERRARI. Orazio. an Italian painter, born at 
Voltri, in 1606. He studied in the school of An- 
drea Ansaldi, and became an excellent painter of 
history. On leaving that master, he soon ac- 
quired reputation, and was much employed for the 
churches and private collections. His merit re- 
commended him to the patronage of the Prince of 
Monaco, who employed him for several years. 
Among the best works of this artist is the Last 
Supper, in the church of S. Giro, at Genoa, which 
is highly praised by Soprani. Ferrari attained a 
high reputation at Genoa, but he was carried off 
with all his family by the Plague, which visited 
that city in 1657. 

FERRARI, Leonardo, called Lonardtno, a 
Bolognese painter, who flourished about 1620, and 
studied under Lucio Massari. Malvasia notices 
him chiefly as a painter of drolls and carnival fes- 
tivals ; but he deserves credit for several good his- 
torical works in the churches at Bologna. In S. 
Francesco is the Death of St. Joseph ; in La Ma- 
donna delle Neve, a picture of St. Anthony ; and 
in the church of Sts. Gervasio and Protasio, is ano- 
ther of the Virgin of the Rosary, with Mary Mag- 
dalene and other saints. 

FERRATA, Hercule, an Italian sculptor, born 
at Palasot near Lake Como. about 1630. He vis- 
ited Rome, where he rose into reputation, and was 
much em.plo3'ed in works for the churches and 
public edifices. He executed, among many other 
works, the statues which adorn the tombs of Car- 
dinals Bonelli and Pimentel ; a bas-relief of St. Ag- 
nes, an the church of that name ; the statue of 
Clement X., which decorates the tomb of that 
pontiif ; and the statues of angels, which sustain 
the Cross at the Bridge of St. Angelo. Ferrata was 
also employed by the Grand Duke of Tuscany, for 
whom he executed many works. 

FERRATO, Sasso. See Salvi. 

FERRAND, Jacques Philippe, a French paint- 
er, born at Joigny, in Bourgogne about 1653. He 
studied under Mignard, and afterwards learned the 
art of painting in enamel from Samuel Bernard. 
He excelled in this branch, and was admitted to 
the Royal Academy. In 1732, he published a work 
on enamel painting. He died in the same year. 
leaving a son named Antoine. who followed in the 
career of his father. 

FERRETTI, d' Imola, Gio. Domenico, an Ital- 
ian painter, born at Florence in 1692. He studied 
under Giuseppe dal Sole, and became a reputable 
painter of history. He painted a number of pic- 
tures for the churches of Florence, Pisa and Bolog- 
na; also the cupola of the Filippini, at Pistoja. One 
of his best pictures is in the church of S. Bartolo- 
meo at Pisa, representing the martyrdom of that 
saint. 

FERRI, CiRO, an Italian painter, born at Rome 
in 1634, or 1638, as writers differ. He was the 
ablest scholar of P. da Cortona, and was inferior 
to him only in elegance and effect. He imitated 



FERR. 



307 



FETI. 



the style of that master with an exactness that 
approaches servihty, and renders it difficult to dis- 
tinguish their works. On leaving Cortona he soon 
gained reputation, and his pictures are greatly ad- 
mired. He was employed by the Prince Bor- 
ghese and Alexander VII.. for whom he executed 
several tine works. The Grand Duke Cosmo III. 
invited him to Florence to complete the great fres- 
cos commenced by Cortona ; and he was so suc- 
cessful that they appeared to be the work of one 
master. His paintings brought high prices, and 
his reputation spread throughout Europe. At 
Florence he executed several fine works in the 
Palazzo Pitti. besides those which he finished af- 
ter Cortona. His principal works at Rome are, 
the Conception, in the church of St. Mark; and 
in S. Ambrogio della Massima. the great altar- 
piece, representing St. Ambrose healing a sick 
person, — one of his most esteemed pictures. In 
the gallery at Monte Cavallo are two pictures by 
this artist, of the Annunciation, and a subject from 
the life of Cyrus. His last work was the cupola 
of St. Agnes, which he did not live to complete ; 
it was finished by his scholar Corbellini. He died 
in 1689. 

FERRONI, GiROLAMO, an Italian painter and 
engraver, born at Milan, according to Zani, in 1687. 
His first instructor is not mentioned, but at a 
very early period he painted the Death of St. Jo- 
seph, for the church of S. Eustorgio. at Milan. 
He subsequently went to Rome, where he entered 
the school of Carlo Maratti. There are a few plates 
by Ferroni. etched in a very tasteful manner. — 
Among others the following: Joshua stopping 
the Course of the Sun. Deborah celebrating the 
Victory over Sisera. Jael slaying Sisera. The 
Chastity of Joseph, and Judith with the Head of 
Holofernes. 

FERRUCCI, NicoDEMO, a Florentine painter, 
who flourished about 1635. He was the favorite 
scholar of Domenico Passignano, and imitated his 
spirited style and rapid execution with considera- 
ble success. He accompanied that master to Rome, 
where he assisted him in his most important un- 
dertakings. He excelled chiefly in fresco, and ex- 
ecuted a number of fine works for the churches 
and public edifices of Florence and Fiesole. He 
died in 1650. 

FESELE, Melchior, a German historical paint- 
er, who flourished about 1525. Little is known 
of the events of his life, but there are several fine 
works by him in the galleries at Nuremberg. Mu- 
nich, and Schleissheim ; they are rich in composi- 
tion, with a large number of figures highly fin- 
ished, and designed in a pecuhar taste. He died 
in 1538. 

FESSARD. Etienne, a French engraver, born 
at Paris in 1714. He studied under Edme Jeau- 
rat, and gained so much reputation that he was 
appointed one of the engravers to the King. He 
executed a considerable number of plates, which 
were very neatly etched, and finished with the 
graver. The following are the principal : 

PORTRAITS. 

Hortensia Mancini, Duchess of Mazarin ; after Perdi- 
nand. Mary Magdalene de Lavergne, Countess de la 
Fayette ; do. J. P. de Bougainville, of the French Acad- 
emy ; after C. N. Cochin. The Marquis de Mirabeau ; 
after Vanloo. The Duke de Choiseul ; do. 



SUBJECTS AFTER VARIOUS MASTERS. 

Diana and Acteon ; after Giacomo Bassano ; for the 
Crozat collection ; one of his best prints. St. John Bap- 
tist, with other saints ; after Correggio. The Holy Fam- 
ily, with St. Charles Boromeo ; after Scarselliiio. The 
four Liberal Arts, personified by Children ; four plates ; 
after C. Vaiiloo. Jupiter and Antiope ; do. Jupiter and 
Leda; after J. B. Pierre. The Birth of Venus; after 
F. de Troy. Jupiter and Leda; do. The Triumph of 
Galatea ; after Bouchardon ; etched by Count Caylus, 
and finished by Fessard. The Triumph of Bacchus ; 
after the same ; etched and finished by the same. The 
Nativity ; after Boucher. A Flemish Festival ; after 
Ruhens. Psyche abandoned by Cupid; after he Maine. 

FETI, Domenico. an able Italian painter, born 
at Rome in 1589. He was first a scholar of Lo- 
dovico Cardi, called Cigoli ; but afterwards stud- 
ied at Mantua the works of Giulio Romano. His 
reputation rapidly increased, and he soon had 
plenty of employment. He was much patronized 
by Cardinal Ferdinando Gonzaga. afterwards Duke 
of Mantua, who appointed him his principal paint- 
er. His coloring is vigorous, with a powerful ef- 
fect ; and the characters of his heads are full of 
fine expression. Lanzi extols a picture by Feti. 
in the academy at Mantua, representing the j\Iira- 
culous feeding of the Multitude. Among his best 
productions are, four admirable pictures in the Pa- 
lazzo Corsini at Florence, representing Christ pray- 
ing in the Garden, Christ presented to the people 
by Pilate, Christ crowned with Thorns, and the 
Entombment. Feti had great abilities, but he 
fell a victim to his own intemperance, and died at 
Venice, in 1624, aged 35. 

FEVRE, Claude le, a French painter of por- 
traits and landscapes, and an engraver, was born 
at Fontainbleau, in 1633. He studied successively 
under Le Sueur and Le Brun. The latter advised 
him to attach himself to portrait painting, and he 
became one of the most eminent artists of his 
country, in this branch. According to Watelet, 
his portraits are distinguished for their faithful 
likeness, correct design, and truth, and beauty of 
coloring. He went to England in the reign of 
Charles II., and died at London in 1675. 

FEVRE, Roland le, called rfe Venice, SiFrench 
painter, of no great reputation ; born, according to 
D'Argenville. at Anjou in 1608. He painted por- 
traits and gallant subjects. He visited England in 
the reign of Charles II., and was employed by 
Prince Rupert. He died in 1677. 

FEVRE, Valentine le, a Flemish engraver, 
born at Brussels, and flourished about 1680. After 
acquiring the elements of design in his own coun- 
try, he went to Venice, where he remained many 
years, and engraved a number of plates, after Ti- 
tian and Veronese. They are etched in a slight, 
feeble manner, but from the correctness of the de- 
sign, they give a faithful idea of the style of those 
great masters. These plates were published at 
Venice, in 1680, in a large folio volume, entitled, 
Opera selectiora quce Tiiiamis Vecellius Cadu- 
briensis, et Pauhis Calhari Veronensis, invente- 
rirnt et pinxenmi ; quceque Valeniinus le Febre, 
Bruxellensis delineavit etsculpsit. 

FIACCO, or FLACCO, Orlando, a painter of 
Verona, who from his style is supposed, by Lanzi, 
to have studied under Antonio Badile, at Venice, 
though Vasari and Baldinucci give him to another 
school; Lanzi says his works approach Caravag- 
gio in boldness of style, and that he possessed 



FIAL. 



308 



FIAM. 



more merit than fortune. 
1560. 



He flourished about 



a^FIALETTT, Odoardo, an Italian painter, 
J born at Bologna, in 1573 ; died at Venice in 
1G38. He studied some time under Gio. Battista 
Cremonini. at Bologna, and then visited Venice, 
where he entered the school of Tintoretto. Lanzi 
says that he resided the remainder of his life at 
Venice, to avoid competition with the Caracci. 
Boschini says he was much employed on large 
works, and he mentions thirty-eight pictures by 
this artist, in the different churches of Veniqe, 
among which is a fine picture of the Crucifixion, 
in the Chiesa della Croce. Fialetti has etched a 
great number of plates from his own designs, and 
those of other masters, which are executed in a 
masterly style, with a graceful and correct design. 
The following are the principal : 

A long frieze, with Tritons, Sirens, &c. Four, Venus 
and Cupid, Diana hunting, the God Pan, and a Man hold- 
ing a Vase ; after Pordenone. Twenty plates, called the 
Pastimes of Love, entitled Scherzi d'Amore espressi da 
Odoardo Fialetti, pittore in Venezia. A set of Plates 
of the Costumes of different nations, and of the different 
religious orders. The Marriage at Cana in Galilee ; after 
Tintoretto. Also many others enumerated by Bartsoh 
and Nagler. 

FIAMMINGO, Arrigo, a Flemish painter, born 
about 1524. His familj'- name is not known, and 
he is called Fiammingo, by the Italians, on account 
of his country. According to Baglioni, he visited 
Eome in the time of Gregorj^ XIII.. and was em- 
ployed by that pontiff, in the Vatican. He was 
much encouraged, and received many commissions 
for the churches and public edifices. In the church 
of La Madonna degii Angeli, is a grand composition 
with many figures, of Christ and Mary Magdalene 
in the house of the Pharisee ; also, another fine pic- 
ture of St. Michael discomfiting the Fallen Spirits, 
which is designed in a grand and noble style. In 
S. Maria Maggiore, he painted the Resurrection, 
for the Sistine Chapel, which is praised by Bagli- 
oni. He died at Rome, at the age of 78, about 
1602. 

FIAMMINGO, Enrico, a Flemish painter, who 
received this name from the Italians. There are a 
large number of painters of this name mentioned 
by the Italian writers, whose family names are 
lost ; which occasions much confusion. This 
artist studied under Giuseppe Ribera and afterwards 
under Guido Reni. According to Lanzi, there are 
several pictures by him in the church of S. Barbaz- 
iano, at Bologna, which that author esteems equal 
to the imitations of Guido, by Francesco Gessi, 
though darker in coloring. 

FIAMMERI, Padre Gio. Battista, a Jesuit, j 
who, according to Baglioni, flourished at Rome in | 
the pontificate of Paul V., and some of whose 
paintings of sacred subjects are in the church of 
Gesu, at Rome. 

FIAMMINGO, Angiolo, an unknown foreigner, 
so called by the Italians, who is supposed to have 
painted the celebrated Deposition from the Cross in i 
S. Pietro, in Montorio, at Rome, which is recom- ^ 
mended to students as a school of coloring in itself. ■ 

FIAMMINGO, ViNCENZio, another foreigner 
who painted at Rome, about 1575. Thei-e is a fine 
picture by him, of the Pentecost, at the Vallicella. 

FIAMMINGO, Gio., called Vasanzio. an Italian 



architect, originally a carver in ebony, who lived 
in the latter half of the 16th century. He com- 
pleted the church of S. Sebastiano, at Rome, and 
executed some parts of the palace of Mondragone, 
at Frascati. For the Cardinal Scipione Borghese, 
he erected the little palace in the Pinciana villa, 
which is well designed, but is adorned on the ex- 
terior with too many bas-reliefs and statues. 

FIAMMINGO, Giovanni, Rossi, and Niccolo, 
three artists, probably brothers, who introduced 
tapestry-weaving and embroider}^ into Florence, 
and were largely patronized b}^ the grand duke and 
the nobility. They wrought from the designs of 
Pontormo, and still more from those of Bronzino. 
They also wrought from the designs of Giulio Ro- 
mano, for the Duke of Ferrara. 

There are many other Fiamminghi mentioned by 
Italian authors, but they are of little consequence. 
Fiammingi is an appellation derived from Fiam- 
m,a, fiame^ splendor, blush. 

FIAMMINGHINL See Rovere. 

FIAMMINGHINO. See Everardi. 

FIASELLA, DoMENico, called il Sarzana, a 
Genoese painter, born at Sarzana, in 1589. After 
passing some time at Genoa in the school of Gio. 
Battista Paggi, he went to Rome, where he studied 
attentively the works of Raffaelle, A. del Sarto, 
Guido, Caravaggio and the Caracci ; and in some 
manner imitated these masters. He resided in 
that city ten years, and executed a number of 
works, in concert with Passignano and Arpino. 
On his return to Genoa, he painted a great num- 
ber of pictures for the churches of that city; He 
was equal to the noblest compositions ; and his 
design partakes of the grandeur of the Roman 
school. His coloring is superior to that of the 
generality of Genoese artists. He distinguished 
himself also as a portrait painter, and his Madon- 
nas are prepossessing, though deficient in ideal 
expression. Soprani praises many of his works, 
particularly a picture of St. Bernardo, in S. Vin- 
cenzio, at Piacenza, which approaches the grand 
style of Raflaelle. In the cupola of the cathedral 
at Sarzana, he painted the Murder of the Inno- 
cents, a grand composition ; and in S. Agostino, at 
Genoa, a fine picture of St. Tommaso di Villa 
Nuova. Fiasella died in 1669. 

EICATELLI, Stefako, a native of Cento, and 
a painter of the Bolognese school, who flourished 
at Ferrara, about 1700. He was an able artist and 
painted much for the churches at Ferrara. Lanzi 
says he was also an excellent copyist of Gucrcino, 
equal in this respect to Francesco Bassi, so highly 
commended by Crespi. 

FICHERELLI, Felice, called Felice Riposo, 
a Florentine painter, was born in 1605, and stud- 
ied under Jacopo Erapoli. Lanzi says he ac- 
quired his surname from his singular taciturnity; 
for which he was not more remarkable than for his 
uncommon indolence. He executed but few works, 
as may be supposed ; but those are distinguished 
b}^ elegance of design, and charming softness 
and harmony of coloring. Among them are his 
picture of Adam and Eve expelled from Eden, in 
the Palazzo Rinuccini ; and his St. Antonio, in S. 
INIaria Nuova, at Florence. His copies after A. 
del Sarto have been mistaken by good judges for 
the works of that master. He died in 1660. 



FICQ. 



309 



FIGI. 



FIOQUET, Etienne, a reputable French en- 
graver, born at Paris in 1731 ; died in 1794. He 
engraved a set of small plates of distinguished li- 
teniti of France, which are executed vrith extra- 
ordinary neatness and delicac3^ and very correctly 
drawn. Some of the plates for Vies des Pein- 
tres Flainands, ^c, in 4 volumes, by Descamps, 
were engraved by this artist. One of his best 
plates is'a portrait of Madame de Maintenon, after 
Mignard, now very scarce. The follov/ing are his 
principal plates : 

J. de la Fontaine ; after Ri^aud. J. J. Rousseau : af- 
ter Aved. 1763 J. F. Regnard; after Rigaud. F. A. 
de Voltaire; afterdela Tour. 1762. P. Corneille ; af- 
ter le Brun. J. de Crebillon ; after Aved. J. P. de 
Moliere ; after Coypel. Rene Descartes ; after F. Hals. 
M. Montagne; after Dumoustier. 1772. i)e la Mothe le 
Vayer ; after Nanteuil. De la Mothe Fenelon ; after 
Vivien. J. J. Vade; after Richard. 

FIDANI, Orazio, a Florentine painter, who 
studied under Gio. Bilivert, and was one of his 
ablest scholars. He was an assiduous artist, and 
painted much at Florence in the style of his mas- 
ter, though he died young. Some of his works 
are dated 1642. His Tobias, painted for the fra- 
ternity of the Scala, has been highly commended. 

FIDANZA, Paolo, an Italian engraver of little 
note, born at Rome about 173G. He engraved 
several plates after Raffaelle and Annibale Caracci, 
which are very indiiferently executed. The fol- 
lowing are the principal : 

The Mount Parnassus ; after Rafaelle. The Miracle 
of the Fire extinguished, called the Mass of Bolsena ; do. 
The Descent from the Cross ; after Annibale Caracci. 
St. Peter and St. Paul appearing to St. Francis ; do. 

FIESOLE, Era Giovanni da, called Angelico, 
an old Florentine painter, was born at Fiesole in 
1387. According to Lanzi, his first essay in the 
art was illuminating missals, and other works, in 
miniature, in which he seems to have been instruct- 
ed by a Dominican monk. At the age of twenty 
he became a religious of that order. This artist 
had great reputation in his day, and he deserves 
to be ranked among the most eminent painters of 
his time. His works possess great merit, though 
they have much of the Gothic style of Giotto, both 
in the airs of his heads, and the formal foldings of 
the draperies. Lanzi mentions as one of his best 
productions, a picture of the Birth of St. John the 
Baptist, in the Florentine Gallery ; also another 
in S. Maria de Pazzi, representing Adam and Eve 
expelled from Paradise. Fiesole died in 1445. 

FIGINO, Ambrogio, a Milanese painter, who 
flourished about 1590. He studied in the school 
of Gio. Lomazzo, where he acquired considerable 
ability. He was eminent for his historical works, 
which are remarkable for the correctness and 
elegance of the figures, as appears in his picture of 
St. Ambrogio in S. Eustorgio ; and his St. Matteo, 
in S. Raffaelle, at Milan. He imitated the fine 
style of Gaudenzio Ferrari, in which he was more 
successful than any other artist of his country. 
His Assumption, in S. Fidele, and his admirable 
picture of the Conception in S. Antonio, deserve 
to be ranked among the finest productions of that 
school. Figino was also distinguished for his por- 
traits, which were celebrated by the poet Marino ; 
and the greatest potentates of the time desired to 
have their portraits painted by his hand. He was 
one of the most successful imitators of Michael 



Angelo in his designs, which are consequently in 
the highest repute. 

FIGINO, Girolamo, a Milanese painter, who 
flourished about 1595. According to Morigia, he 
was an able artist, exact in his design and an ex- 
cellent colorist. His forte lay in small easel pic- 
tures of historical subjects. 

FIGOLINO. SeeFoGOLiNO. 

FILANDRO, GuiLLAUME, a French writer on 
architecture, born at Chatillon in 1505. He was 
patronized by the Bishop of Rhodes, who took 
him to Rome, where he studied architecture un- 
der Serlio. He was made a canon of Rhodes, 
where he became celebrated for his commentaries 
on Vitruvius. He joined his patron at Tolosa, and 
died there in 1565. 

FILARETE, Antonio, an Italian architect, 
who flourished about 1460. In concert with Si- 
mone Donatello. he executed the bronze gate of 
St. Peter's, by order of Pope Eugenius IV. The 
Hospital at Milan, which he built in 1457, by or- 
der of the Duke Francesco Sforza, is a handsome 
and commodious edifice. According to Vasari, Fi- 
larete erected the cathedral at Bergamo, which was 
considered in good st3de. In 1464 he wrote a 
work on architecture, dedicated to Pietro d^ Me- 
dicis. 

FILGHER, CorradO; a German landscape paint- 
er, who lived at Venice in 1660. According to 
Boschini, he was an able artist in his time, and 
not only ver}^ happily represented the different 
seasons of the year, but also the different lights 
and shadows throughout the day. 

FILHOL, Antoine Michel, a French engra- 
ver and printseller, born at Paris in 1759. He 
is principally known as the editor of the collection 
of engravings and descriptions entitled Cours el- 
ementaire de Peintiire, oic Galerie complete du 
Musee Napoleon. 10 vols., 4to. ; which he com- 
menced in 1804, and prosecuted till his death in 
1812. It was completed in 1814, by his widow. 
The latter, in 1827, published another volume of 
thirty plates, entitled, Le Musee Royal. 

FILICUS, FIELIUS, or FILIUS, John, a Dutch 
painter, born at Bois-le-duc in 1660. He studied 
under Peter van Slingelandt, and painted subjects 
like those of that master, representing conversa- 
tion-pieces, or subjects from private life, and small 
portraits. His pictures have great merit, and are 
found in the best collections in Holland, though 
they are not finished with the extreme polish of 
those of his instructor. He died, according to 
Balkema, in 1719. 

FILIPPI, GiACOMO, a painter of Ferrara, who 
studied under Francesco Ferrari. He was a good 
perspective painter in fresco, and died in 1743. 

FILIPPI, Camillo, an Italian painter, was 
born at Ferrara, and flourished about 1550. Ac- 
cording to Barotti, he studied in the school of D. 
Dossi, and painted history with some reputation. 
In the church of St. Maria, is a picture by this 
master, representing the Annunciation, and in that 
of il Gesu. another of the Trinity. Filippi died, 
according to Baruffaldi in 1574, though Soprani 
says in 1585. 

FILIPPI, Sebastiano, called Bastianino, and 
sometimes Gratella, an eminent Italian painter, 
the son of Camillo F., was born at Ferrara in 1532. 



FILT. 



310 



FILL. 



He was instructed by his father in the elements 
of design, and at the age of 18, he went to Rome, 
where he had the advantage of being admitted to 
the school of Buonarotti. Lanzi says he became 
one of the most assiduous and cherished scholars 
of that immortal artist, and that he approached 
nearer to the grandeur and sublimity of his great 
instructor than any other painter of his time. His 
great work in the catliedral at Ferrara, represent- 
ing the Last Judgment, established his fame. It 
is an immense production, and is said to have 
been completed in three years. His works are dis- 
tinguished for energy and originality of thought, 
grandeur and correctness of design, and a continued 
variety in the groups. It was painted in fresco, 
but was believed to have been in oil, and under this 
supposition, some inexperienced persons were era- 
ployed to clean it, by which it has been materially 
impaired. There are, however, many of his works 
remaining in the churches at Ferrara, which suffi- 
cientl}^ prove him to have been a harmonious col- 
orist, though usually in a subdued tone. He of- 
ten repeated his own productions, to the injury of 
his reputation, and there are in the churches at Fer- 
rara no less than seven Annunciations, differing 
little from each other. Among his best works are 
the Martjn-dom of St. Caterina, in the church de- 
dicated to that saint; the Adoration of the Magi, 
in S. Maria de Servi ; in the Certosa, a grand pic- 
ture of S. Cristofano, entirely in the sublime style 
of M. Angelo ; in the Cappuccini, the Virgin and 
Infant, with St, John ; in S. Benedetto, the dead 
Christ supported by Angels. In the cathedral is 
a picture of the Circumcision, which is supposed * 
to have been painted before he went to Rome, as it 
resembles the slighter style of his father, rather 
than the vigor which characterizes his later works. 
Lanzi says he was called Gratella, from his hav- 
ing been the first to adopt the practice of squaring 
large works in order to reduce them to a smaller 
size, with greater precision ; a method he derived 
from Buonarotti. Filippi died in 1602. 

FILIPPI, Cesare, a Ferrarese painter, was the 
younger brother of the preceding, who instructed 
him in the art. He was distinguished for his gro- 
tesques in the ornamental style ; although he some- 
times attempted historical subjects, which are fee- 
ble imitations of the elevated style of his brother. 
The best of these is the Crucifixion, in the church 
della Morte. 

FILIPPO, Mastro, a Spanish architect who 
flourished about 1512, in which year he restored 
the famous cathedral of Seville, one of the finest 
Gothic works in Spain. It is 420 feet long, and 
273 feet wide ; divided into naves, surrounded by 
chapels. The vaults spring from thirty-two arches 
on each side ; there are eighty painted windows, 
and the roof has one grand vault, surrounded by 
balustrades. The w^hole structure is built of Pao- 
nazzetta stone, in a grand and simple style, and 
deserves high praise. The original architect is un- 
known ; Filippo made it less lofty, but more beau- 
tiful than it was at first. 

FILLEUL, Gilbert, a French engraver, who 
practised the art, according to Basan, about the 
end of the 17th century. There are a number of 
prints by^this artist, after Le Brun, and other em- 
inent French masters. He had a son named Peter 
F., who engraved several plates for La Fontaine's 



Fables ; and a middle-sized print of the Carriers, 
after Wouwerman. 

FILLIAN, John, an English engraver, who 
flourished about 1676. He was instructed by the 
elder Faithorne, and followed his style. He ex- 
ecuted but few plates, among which are the fol- 
lowing: Portrait of Thos. Cromwell. Earl of Es- 
sex ; Portrait of Wm. Faithorne, from a print by 
him; the Head of Paracelsus; the Frontispiece 
to Heylen's Cosmography. 

FILOOAMO, Antonio and Paolo, two broth- 
ers, were Sicilian painters ; born, according to Ha- 
kert, at Messina, and flourished about 1721. They 
studied at Rome under Carlo Maratti ; and on re- 
turning to Messina, they established an Academy 
of Painting, which was quite successful. They 
acquired considerable reputation, and executed a 
number of works in concert, both in oil and in 
fresco, in the former of which Antonio was much 
superior to Paolo. Their principal works are in 
the churches of S. Gregorio, and S. Caterina di 
Valverde, at Messina. They both died in that 
city, of the Plague. 

FINELLI, Julian, an Italian sculptor and ar- 
chitect, born at Carrara in 1602. At Naples he 
studied architecture under one of his uncles ; and 
at Rome he studied sculpture under Bernini. He 
practised both arts with good reputation for many 
5^ears. He executed the statues of St. Peter and 
St. Paul, which adorn the chapel of the royal 
treasury ; also the statues of the Viceroy and his 
wife, which gained him the patronage of govern- 
ment. He visited Rome, but died soon after his 
arrival; in 1657. 

FINIGUBRRA, Maso. The invention of 
•the art of engraving has long been claimed 
by both the Germans and Italians, and many ar- 
guments have been urged on both sides by vari- 
ous authors. — [See Introduction.] Zani and Ottley, 
however, have fully established the claim of Maso 
Finiguerra, a Florentine goldsmith and enameller, 
to priority of discovery, and Bartsch admits its 
validity. Zani first brought into notice the print 
of The Coronation of the Virgin^ taken from a 
Pax executed by this artist in 1452 ; and that au- 
thor supposes he was born in 1418 ; Ottley conjec- 
tures he was born in 1410. and that a print in his 
possession was executed in 1445. Vasari gives 
the following account of the invention of Finiguer- 
ra. Having engraved some figures on a silver 
plate, which he intended to enamel, he cast upon 
the plate some liquid sulphur, in order to try the 
effect of his engraving ; when the dirt, or black, 
which had lodged in the traces of the graver, ad- 
hered to the sulphur, and when the latter was re- 
moved from the surface of the plate, it produced on 
the sulphur the effect of a fine pen-drawing. He 
afterwards succeeded in taking oft' a complete im- 
pres.sion, by filling the strokes with a black com- 
position, and passing a roller over the plate placed 
on damp paper. Finiguerra is said to have commu- 
nicated his discovery to Baccio Baldini, from whom 
it passed to Sandro Botticelli. Huber describes 
twenty-four prints in the possession of M. Otto at 
Leipsic, which were collected by Baron de Stosch 
during a long residence at Florence, and which were 
judged by Heineken as originals by this artist. 
They chiefly represent fabulous subjects, and are 
well preserved. Zani describes a print by him^ 



FINL. 



311 



FIOR. 



which he found in the cabinet of M. Borduge, of 
the Virgin and Infant seated on a Throne, sur- 
rounded by Angels and Saints. Among the prints 
of Cav. Seratti, sold at London by Mr. Stanley, in 
1816, were two prints by Finiguerra, representing 
the Epiphany and the Crucifixion. The former is 
now in the collection of the Bake of Buckingham. 
The latter is in the British jMuseum ; it is of large 
size, measuring twelve and one-eighth inches by 
eight and three-fourths inches. The sulphur 
print of the Coronation of the Virgin is in the 
British jMuseum, to which it was bequeathed by 
the late INIr. Thos. Grenville. This also belonged 
to Seratti, and was purchased for about |?1,500 
by Grenville of Mr. Stewart, the gentleman who 
brought it with the prints from Malta. 

FINLAYSON. J., an English mezzotinto en- 
graver of little note, born about 1730. There are 
a few portraits and historical subjects by this ar- 
tist, among which are the following : 

PORTRAITS. 

The Duchess of Gloucester ; after Reynolds. Lady 
Charles Spencer ; do. Xiady Elizabeth Melbourne ; do. 
The Earl of Buchan ; do. Miss Wynyard; do. Lady 
Broughton; after Cotes. Duke of Northumberland; 
after Hamilton. Miss Metcalfe; after Hone'. Signora 
Zamperini, in la buona Figliuola; do. William Drum- 
mond, Scotch historian ; after C. Jansen. Shooter, Beard, 
and Dunstall, in Love in a Village ; after Zoffany. 

SUBJECTS. 

Candaules, King of Lydia, showing- his Queen coming 
out of the Bath to his favorite Gyges ; after his own de- 
sign. A Colliei', with his Pipe ; after J. Weeninx. 

FINOGLIA, Paolo Domenico, a Neapolitan 
painter, was born at Orta, and flourished about 
1640. He studied in the school of Cav. Massimo 
Stanzioni ; and, according to Dominici, he deserves 
credit for his correct and expressive design, and 
great fertility of invention. His principal works 
were the Vault of the chapel of S. Genarro, in the 
Certosa at Naples ; and several pictures in the 
capitol. He died in 1656. 

FIORAVANTI, , a modern Italian painter 

of uncertain age. He excelled in painting vases. 
fruit, flowers, and musical instruments, which he 
represented with great exactness and fidelity. 

FIORE, Cola Antonio del. an old Neapoli- 
tcxn painter, born, according to Dominici, in 1354. 
He studied under Francesco Simone, and painted 
several altar-pieces for the churches at Naples, 
which were remaining in the time of that writer. 
One of his first productions is in the church of S. 
Antonio ; it is signed with his name, and dated 
1375. The centre of the picture represents the 
Coronation of the Virgin ; on one of the laterals is 
the Ascension, and on the other the Descent of the 
Hoi}?- Ghost. His master-piece is the picture in 
S. Lorenzo, representing St. Jerome extricating a 
thorn from the Lion's foot ; painted in 1436, when 
the artist was over eighty years old. Fiore died 
in 1444. 

FIORE, Jacobello del, a Venetian painter, 
who flourished from 1401 to 1436. He was the 
son of Francesco F., who was a reputable artist ; 
but Jacobello surpassed him, and attained con- 
siderable enuncnce. His works were character- 
ized by force and dignit}^ of the figures, and great 
vigor of execution. His fault was that of loading 
his figures with ornaments, and especially of ab" 
surdly decorating his draperies with gold lace, in 



the custom of the day. In 1401, he executed au 
altar-piece at S. Cassiano di Pesaro, and another 
in 1409 ; both signed with his name, which he 
wrote Jacometto de Flor. He subsequently 
painted the Coronation of the Virgin, for the ca- 
thedral of Ceneda, executed in a noble stjde. and 
extremel)^ rich in figures, so that it was called the 
Painting of Paradise^ in an JNIS. of the lives of 
the Bishops of that place. It was executed at the 
expense of the bishop Ant. Correr, in 1432. 

FIORE, Agnello del, an Italian sculptor, 
who flourished at Naples about 1470. He exe- 
cuted in 1469, the tomb of Cardinal Rinaldo Pis- 
cicello, in the cathedral, and in 1473, he finished 
that of Giovanni Cicimello, in the church of S. 
Laurentio. In S. Domenico, is a tomb of his 
execution, in the chapel of St. Thomas d'Aquinas. 

FIORENTINO, Tommaso, a Florentine artist, 
who excelled in painting grotesque subjects. He 
went to Spain about 1511, where he painted in the 
royal palace at Madrid, and Lanzi says that in the 
ducal palace at Alva, there are several galleries of 
grotesques executed by him, by which he means, 
doubtless, that he decorated several galleries in 
that palace with grotesque subjects and orna- 
ments. 

FIORENTINO, Giuliano. See Bugiardini. 

FIORENTINO, II. See Stefano, Vaiano, 
and Vante. 

FIORI, Mario da. See Gaspare Nuzzi. 
FIORI. See Carlo Lopez, and Carlo Vog- 

LAR. 

FIORI, Cesare, a Milanese painter, was born in 
1636. and died in 1702. According to Orlandi he 
gained considerable reputation for his grand orna- 
mental works in fresco, some of which have been 
engraved. 

FIORINI, Gio. Battista, a Bolognese painter, 
who flourished about 1588. In concert with Cesare 
Aretusi, he executed several paintings at Brescia 
and Bologna, among which are a picture of the 
Mass at Bologna, in the Padri Servi, and another 
of the Birth of- the Virgin, in S. Afra, at Brescia. 

FIRENZI, Giorgio da, an old painter of the 
school of Giotto, whose works date from 1314 to 
1325. About the first period he was invited to 
Turin by Amadeus IV., in whose employment he 
continued several years. 

FIRENS, Pierre, a French engraver of little 
note, who practised the art at Paris about 1640. 
He engraved several plates, am.ong others, that of 
Henry IV. of France. He also copied the print of 
the Hermits, after Sadeler, and executed several 
other prints after S. Vouet, Vignon, and other 
French masters. 

FISCHER, Anne Catharine, a German paint- 
ress, who flourished about 1664, in which year she 
married Benjamin Blok. She excelled in painting 
flower-pieces, in oil and distemper. 

FISCHER, John, a German wood engraver, 
who flourished about 1600. According to San- 
drart, he executed, among other prints, the wooden 
cuts for the Bible printed at Strasburg in 1606. 

FISCHER. John Bernard, an eminent Ger- 
man architect, who flourished about 1700. He 
decorated Vienna with the most magnificent build- 



FISH. 



812 



FLAM. 



ings of which that capitol can boast, and. accord- 
ing to Milizia, was honored and enriched by the 
emperor Joseph I. with the signorj of Erlachen. 
In 1696, he erected the palace of Schoenbrunn. as 
a hunting seat for the imperial court. In 1699, he 
erected the triumphal arch in honor of the mar- 
riage of the emperor. Among his other works are 
the immense imperial stables, the palaces of Prince 
Eugene and Prince Trantkson at Vienna, and the 
magnificent church of S. Charles Borromeo, erect- 
ed in 1716 by the emperor Charles VI., in conse- 
quence of a vow. He wrote a curious and useful 
work in five volumes, entitled Historical Archi- 
tecture. He died in 1724, leating a son named 
Emanuel, who erected many works from his fa- 
ther's designs, and gained great reputation for his 
skill in mechanics. His hydraulic machine in the 
garden of Prince Schwartzenburg, at Vienna, is 
well worthy of attention, as is also one driven by 
steam, to drain water from the mines of Kremnitz 
and Schemnitz. From these works Emanuel de- 
rived great riches, and died in 1738. 

FISHER, Edward, an English mezzotinto en- 
graver, who practised the art about 1765, and exe- 
cuted a number of prints, mostly after Reynolds, 
which possess considerable merit. The following 
are the principal : 

PORTRAITS AFTER SIR JOSHUA REYNOLDS. 

The Earl of Bute, when Lord Cardiff. Lady Eliza 
Keppel ; full-length ; very fine. Lady Sarah Bunbury ; 
the same ; very fine. The Marquis of Rockingham. Hugh, 
Earl of Northumberland. Elizabeth, Countess of North- 
umberland. Granville Leveson Gower, Earl Gower. 1765. 
George, Lord Edgeombe, Vice- Admiral. 1773. Viscount 
Downe. Lady Elisabeth Lee ; full-length. John, Vis- 
count Ligonier, on horseback. Augustus Keppel, after- 
wards Lord Keppel. 1759. Augustus Hervey, afterwards 
Earl of Bristol. Lady A. and Lady Jemima Yorke. 
Daughters of Earl Hardwicke. The Hon. George Sey- 
mour Conway. 1771. Lawrence Sterne, Prebendary of 
York. Doctor Armstrong. 

PORTRAITS AFTER VARIOUS MASTERS. 

Frederick, Archbishop of Canterbury ; after N. Dance. 
Richard, Lord Bishop of London ; do. ' William, Earl 
of Chatham ; after Brompton. Doctor Franklin ; after 
Chamberlin. 

FITTLER, James, a reputable English engra- 
ver, born at London in 1758. He executed several 
works of different descriptions, after various mas- 
ters ; also many plates for the booksellers. His 
best prints are Lord Howe's Victory, and the Bat- 
tle of the Nile, both offer Loutherbourg ; the Por- 
trait of B. West ; the plates in Forster's British 
Gallery; and others in Dr. Dibden's Aedes Al- 
thorpianse, published in 1822. 
yT^ FL AMEN, Albert, a Flemish painter and 
/\\ engraver, and a native of Bruges, who 
^^ went to Paris while young, and established 
himself in that city. He at first devoted himself 
to painting, and produced a number of good land- 
scapes; but possessing greater abilities for engrav- 
ing, he devoted himself to that department of art. 
His etchings are executed in a spirited and mas- 
terly style. Rigal mentions 322 prints by 'him, 
of which the following are the principal : 

Two sets, of twelve each, of Fresh- water Fishes, with 
back-grounds of landscapes, &c. Two sets, of twelve each, 
of Sea Fishes, with marine back-grounds. A set of seven 
Landscapes, with small figures. A View of Port a I'An- 
glois, near Charcnton. A View of Conflans, on the side of 
Juilly. A View of Pernay, on the side of Corbeil. A 
View of Marcousi, on the side of Mount Cheri. An En- 



campment at the end of the Fauxbourg St. Victor, near 
the Horse-market ; very fine. 

FLAMEN, F., a Flemish engraver, probably re- 
lated to the preceding artist. He resided at Paris 
about 1660, and executed, among other prints, a 
set of four etchings, representing Views of the 
Seine, after the designs of Israel Silvestre. 

FLAMENCO, Juan, or John the Fleming, was 
born in Flanders, and went to Spain. There are 
many Flemish masters mentioned by Spanish wri- 
ters under the general term Flamenco, which occa- 
sions some copfusion. According to Bermudez, 
he resided in the Monastery Gertosa di Miraflores. 
from 1496 to 1499, and painted the altar-pieces for 
that institution. On the right hand of the altar, 
he painted several subjects from the life of St. 
John the Baptist, which were treated in the fine 
style of Lucas van Leyden. with good coloring 
and much expression. On the left side he painted 
the Adoration of the Magi, which is much injured 
by Time. For these works he received 53,545 mar- 
avedis, besides his support for the three years. 

FLAMENCO, Miguel el, or Michael the Fle- 
ming, a Flemish painter who studied successively, 
according to Bermudez, under Rubens, G. A. Fer- 
rari at Genoa, and also under Cornelius Wael. 
He formed an original manner from the styles of 
these three masters, and was distinguished for 
historical subjects of merit, and portraits in the 
manner of Vandyck. From Genoa he passed into 
Spain, where he acquired considerable distinction 
for his ability and merit. He died there about 
1650, and Bermudez says his works have been at- 
tributed to more eminent masters. 

FLANDES, Juan de, a painter mentioned by 
Bermudez, who painted eleven pictures in the Ca- 
thedral of Paleucia, which he commenced in 1509, 
and engaged to complete them in three years, for 
the sum of 500 gold ducats. 

FLATMAN, Thomas, was born at London in 
1633. He was educated for the law, but he seems 
rather to have indulged his inclination for art. 
He painted portraits in miniature, and acquired 
some reputation. He died in 1688. 

FLAXMAN, John, an eminent English sculp- 
tor, born at York in 1755. His father having set- 
tled in London, opened a shop for the sale of plas- 
ter casts, and it was from them that young Flax- 
man derived his first ideas of the art to which 
he afterwards became so distinguished an orna- 
ment. Being of a delicate constitution, his school 
education was not strictly attended to, and he was 
permitted to employ a great portion of his time 
in making models in clay, and in gratifying a natu- 
ral taste for drawing, which he evmced in a re- 
markable degree almost from infancy. This he 
pursued with unwearied application., and self- 
instructed, till his fifteenth year, at wliich time he 
became a student of the Royal Academy, where 
he soon obtained the silver medal. In 1782, he 
left his father's house, and moved to one in War- 
dour street, Soho, where he occupied himself in 
modeling in clay and wax. Having determined 
on a visit to Italj^, he proceeded to Rome in 1787, 
and on his arrival took up his residence in the Via 
Felice. At Rome he produced what may in truth 
be termed the noblest effort of his genius, his out- 
line illustrations of subjects from Homer, iEschy- 
lus, and Dante. The whole of the three series of 



FLEG. 



313 



FLEM. 



designs were engraved for the artist at Rome, by 
Piroli. After a sojourn for upwards of seven 
years in Italy, he returned to London, and fixing 
his residence in Buckingham Place, he commenced 
his monument to Lord Mansfield, the commission 
for which he received previous to his departure for 
Rome. This noble piece of sculpture, for which 
the artist was paid $12,500, is placed in Westmin- 
ster Abbey. In 1797. the Royal Academy elected 
Flaxman an Associate, and in 1800 he was chosen 
an Academician, on which occasion he presented 
to the Academy his marble group of Apollo and 
Marpessa. In 1810, that body having created a 
professorship of sculpture, Flaxman was unani- 
mously elected to fill the chair. •' The elements of 
Flaxraan's style," says Sir Thomas Lawrence," 
were founded on Grecian art. in its noblest princi- 
ples, in its deeper intellectual powers, and not on 
the mere surface of its skill. Though master of 
its purest lines, he was rather the sculptor of sen- 
timent than of form ; and whilst the philosopher, 
the statesman, and the hero were treated by him 
with appropriate dignity, yet not even in Rafi'aelle 
have the gentler feelings and sorrows of human 
nature been traced with more touching pathos." 
About 1816, the celebrated goldsmiths, Messrs. 
Rundell and Bridge, commissioned Flaxman to 
execute drawings and a model, for a magnificent 
piece of plate, to represent the Shield of Achilles, 
as described by Homer in the 18th book of the 
Ihad. For this splendid work, Flaxman received 
$3000. Four casts were taken of it in silver-gilt, 
each estimated at $10,000 ; one for George IV. ; 
another for the Duke of York 5 a third for the 
Earl of Lonsdale; and a fourth for the Duke of 
Northumberland. In 1822, Flaxman produced his 
group of Michael and Satan, for Lord Egremont. 
In the following year appeared his Psyche ; shortly 
afterward two models of jMichael Angelo and Raf- 
faeile ; and finallj^, his marble statue of Kemble. 
Among his other works are the monuments of Nel- 
son and Howe, and the statue of Sir Joshua Rey- 
nolds, in St. Paul's ; his monument to Collins, the 
poet, in Chichester Cathedral, one of his earlier 
productions ; and, in the same church, his monu- 
ment to Miss Cromwell. Early in December, 1826, 
Flaxman was attacked by serious illness, and on 
the morning of the 9th he expired, in the 72d year 
of his age. In person he was slight, and short in 
stature, and the plainness of his dress accorded 
with the simplicity of his manners. He was a 
man of the warmest benevolence, mild and gentle, 
and of unaffected piety. Among his writings on 
the art. are a number of articles in Rees' Cyclo- 
psedia, and his admirable Lectures on Sculpture, 
published at London in 1829. 

FLEGEL, George, a German painter of sub- 
jects of still-life, was born at Olmutz, about 1563. 
He resided chiefly at Frankfort, where he painted 
fruit, flowers, fish, vases, glasses, and other inani- 
mate objects, which, considered distinctly, pos- 
sessed merit ; but were not arranged in good taste 
as compositions. He died in 1638. 

FLEISCHMANN. A. C, a German engraver 
of little note, who resided at Nuremberg. He en- 
graved, among other plates, several portraits for a 
book published in that city in 1626, entitled Icones 
Bibliopolarum et Typographorum. 

FLEISHBERGER, J. F., an obscure German 
engraver, who resided at Nuremberg, about 1660. 



Among other prints, he engraved an ornamental 
frontispiece, for a book entitled Gregorii Horsti 
opera Medica, and a portrait of G. Horstius, the 
author. 

FLEMAEL, Bertholet, an eminent Flemish 
painter, born at Liege in 1614. His parents were 
very poor, and they placed him under the care of 
a musician ; but after he had made considerable 
advances in that art, he turned his attention to 
painting. After receiving some instruction from 
an obscure artist, he entered the school of Gerard 
Doufiliet, a painter of history who had studied at 
Rome, After acquiring considerable ability, he 
visited Italy, and went to Rome, where he studied 
the works of the great masters with unremitting 
assiduity. He soon gained distinction, and was in- 
vited to Florence by the Grand Duke of Tuscany, 
who employed him in decorating one of the galle- 
ries of his palace. After remaining several years 
in the service of that prince, he went to Paris, 
where he was patronized by the Chancellor Se- 
guier, who employed him in some of the apart- 
ments at Versailles. He also painted the cupola 
of the Carmelites at Paris, where he represented 
Elijah taken up into Heaven, and Elisha receiving 
the Mantle of the Prophet. He also painted the 
Adoration of the Magi, for the sacristy of the Au- 
gustines. Notwithstanding this high encourage- 
ment, he left Paris, and returned to Liege, in 1647, 
after an absence of nine years. On arriving in his 
native city, he was employed in several important 
works for the churches, the first of which was the 
Crucifixion, for one of the collegiate chapels of St. 
John, which gained him great reputation. His 
other principal works at Liege are the Elevation 
of the Cross, and the Assumption of the Virgin, 
in the church of the Dominicans ; the Conversion 
of St. Paul, in the church dedicated to that saint ; 
the Raising of Lazarus, in the Cathedral ; and the 
Crucifixion, in the Convent of the Nuns of the 
Sepulchre. His invention was abundant, his pen- 
cil free, and his coloring excellent. From his resi- 
dence in Italy, he acquired a grand style of com- 
position, and a correctness of design that approach- 
es the excellence of the Roman school. His sub- 
jects of history were distinguished by scrupulous 
attention to propriety of costume ; and he embel- 
lished the back-grounds of his pictures with ar- 
chitecture, designed in admirable taste. In 1670, 
he was again invited to Paris, where he painted the 
ceiling of the king's audience chamber, in the Tuil- 
leries, representing an emblematical subject of re- 
hgion. He was elected a member, and subsequent- 
ly a professor of the Royal Academy at Paris, 
and his talents were highly esteemed. He did 
not, however, remain long at Paris, but soon re- 
turned to his native city, where he continued to 
practise the art under the protection of Henry 
Maximilian, Prince Bishop of Liege, until his 
death, which happened in 1675. 

FLESHIER, B. This artist painted marine 
views, landscapes, and fruit. His pictures proba- 
bly possessed considerable merit, as there were 
several of them, according to Lord Orford, in the 
collections of Charles I. and Sir Peter Lely. 

FLETCHER, A. According to Basan, this en- 
graver executed several views of Rome, after Can- 
aletti. 

FLETCHER, Henry, an English engraver, who 
flourished about 1729, and executed a number of 



FLEIJ. 



314 



FLOD. 



prints, among which is one of Bathsheba and her 
Attendants at the Bath, after S. Conca y also a 
portrait of Ebenezer Pernberton, Minister of Bos- 
ton, prefixed to his sermons. 

FLEUNER, Peter. This engraver executed, 
among other prints, a wooden cut, in a bold and 
spirited style, representing an emblematical sub- 
ject, apparently the Procession of Gluttony, signed 
Peter Fleuner, 1549. 

FLEUR, Nicholas William de la, a French 
engraver, and a native of Lorraine, where he flour- 
ished about 1639. He resided chiefly at Rome ; 
where, among other prints, he engraved a book of 
flowers, consisting of twelve plates, with a title 
representing his portrait, surrounded with flowers. 

FLINK, GovAERT, a Dutch historical and por- 
trait painter, born at Cleves in 1614. His father 
was treasurer of that city, and intended him for 
the mercantile profession, for which purpose he 
sent him to Amsterdam, and placed him with a 
merchant of that city. But the young Flink 
greatly desired to follow painting ; he soon be- 
came intimate with a number of artists, and was 
oftener to be found in their studios than in the 
counting-house. His father, finding it impossible 
to overcome his love for art, placed him under 
Lambert Jacobs, an artist of little distinction, 
where he remained some time. He afterwards 
entered the school of Rembrandt, where he made 
rapid advances, and became one of the most dis- 
tinguished pupils of that eminent artist. He soon 
acquired a high reputation, and was commissioned 
by the magistrates of Amsterdam to execute many 
important works for the State House. He was 
also favored with the patronage of Prince Maurice 
of Nassau, who emplo3^ed him in man}^ important 
works. He painted the portraits of some of the 
most eminent personages of his day, particularly 
the Elector of Brandenbourg and the Duke of 
Cleves. Although his works do not equal those 
of Rembrandt in the richness and harmony of 
coloring, or the intelligence of chiaro-scuro, yet 
they have been greatly admired for the purity and 
sobriety of the coloring, and the studied and judi- 
cious arrangement of the compositions. One of 
his best works is Solomon praying for the Gift of 
Wisdom, in the council-chamber at Amsterdam ; 
and in that of the Burgomasters is another admir- 
able picture of Marcus Curtius refusing the Treas- 
ure of the Samnites. It is related by Descamps, 
that on seeing some of the portraits of Vandyck, 
Fhnk renounced that branch of the art, and con- 
fined himself to historical painting. The burgo- 
masters of Amsterdam had commissioned him to 
paint twelve large pictures for the Town-House, 
of which he had finished the sketches, when he 
died, in 1660, aged 46. 

FLIPART. Jean Charles, a French engraver, 
born at Paris about 1700. There are a number of 
prints by him, executed entirely with the graver, 
in a neat and finished style, but without much 
effect. The following are the principal : 

The Portrait of Rene Choppin ; qftei- Jannet. The 
Virgm and Infant ; after Raffaelle; for the Crozat collec- 
tion. Christ praying on the Mount of Olives ; do. ; for the 
same collection. Mary Magdalene, penitent; after Le 
Brun, Apollo and Daphne ; after R, Houasse. | 

FLIPART, Jean Jacques, a reputable French ; 
engraver, the son of the preceding, was born at 
Paris in 1723 ; died in 1782. He was instructed ; 



by his father, whom he greatly surpassed. He 
was a member of the Roj-al Academ}^ His plates 
are partly etched, and finished with the graver, 
and possess great merit. Among others are the 
following : 

The Portrait of J. B. Greuze, painter ; after a picturs 
by himself 

SUBJECTS after VARIOUS MASTERS. 

The Holy Family ; after Giulio Romano ; in the Dres- 
den collection, Adam and Eve, after their fall ; after C. 
Natoire. Venus presenting the Arms to ^neas ; do. A 
Sick Man surrounded by his Children ; after Greicze. 
Twelfth-Night; do. A Sea-storm at night; after Ver- 
net. A Sea-storm by day ; do. Christ curing the Para- 
lytic ; after Dietricy. A Bear-hunting ; after C. Van- 
loo. A Tiger-hunting ; after P. Boucher'. The Combat 
of the Centaurs and Lapithae. 

He had a brother, named Charles Fran9ois C. 
who executed a number of prints after Fragonard 
and other masters. He died in 1773. 

FLODING, Peter, a Swedish engraver of some 
merit, who resided chiefly at Paris. He executed 
several plates, both with the graver and in aqua- 
tinta. Among others are the following : 

The Portrait of Alexander Roslin, painter; after him- 
self. Apollo and Daphne; after F. Boucher. Soldiers 
guarding a Prison -, do. A Gfirl sleeping, with a Dog by 
her ; after J. B. Deshays. 

FLORI, Bastiano, a native of Arezzo, who 
was employed in the Roman Chancery about 1545, 
under the direction of Vasari. 

FLORIANI. Francesco, an eminent j^ainterof 
Udine, where are several of his works, dating ft-om 
1568 to 1586. He painted many altar-pieces and 
other subjects for the churches at Udine and other 
places, by which he acquired a high reputation. 
He also painted portraits with such excellence 
that Lanzi says they might be put in competition 
with those of Moroni or Tinelli. He afterwards 
entered the service of Maximilian II.. at Vienna. 
He had a brother, named Antonio, wiio assisted 
him in his works. 

FLORI ANO, Flaminio, a Venetian painter, 
who followed the style of Tintoretto. He execu- 
ted a number of fine works, the best of which is 
a picture of St. Lorenzo, in the church of that 
Saint. He was a successful copyist of that mas- 
ter, and many of his pictures have undoubtedly 
been sold as genuine works by Tintoretto. 

FLORIGORIO, Bastiano, a reputable Italian 
historical painter, was born, according to Ridolfi, 
at Udine, and flourished about 1533. He studied 
under Pellegrino da S. Danielle, and painted both 
in oil and fresco. His fresco works at Udine are 
almost entirely perished, but of his oil paintings 
there is remaining a good picture of St. George 
and the Dragon, in the church of S. Giorgio : also 
the Last Supper, in the Refectory of the Padri di 
S. Pietro Marty re. 

FLORIMUS, John, an engraver of little note, 
mentioned by Florent le Comte. He was princi- 
pally employed by the booksellers, for whom he 
executed a number of portraits. There is also a 
frontispiece to a collection of antique heads by 
him. consisting of several figures, and executed 
with the graver in a neat, stiff style. 

FLORINO. See Cassandro. 

^#/'FL0RIS, Francis, an eminent Flemish 
AA painter, whose family name was de Vriendt, 



FLOS. 



315 



FOIX. 



bom at Antwerp in 1520. He studied sculpture ' 
under his uncle Claude de Yriendt, until he reach- 
ed the age of twentj-, when he turned his attenj;ion 
to painting, and entered the school of Laml3ert 
Lombard. After deriving great improvement from 
the instruction of that master. Floris went to 
Kome. where he studied the works of Michael 
Angelo and the antique, with great assiduity. He 
remained several years in Rome, and made a large 
number of drawings from various beauties in na- 
ture and art, which he brought with him to Flan- 
ders, and which proved of great service in his 
after compositions. On returning to his native 
country, he exhibited a more elevated style of com- 
position, and a more noble and correct design, than 
had been practised by any previous Flemish paint- 
er, and he was honored with the appellation of 
the Raffaelle of Flanders. His design is bold, 
though not always correct, his coloring is clear and 
brilliant, and he gave great roundness and relief 
to his figures. The abundance of his invention, 
and his facility of execution were surprising. He 
was favored with the especial patronage of the 
Counts of Hoorn and Egmont. and was received 
into the Academy at Antwerp in 1559. His suc- 
cess would undoubtedly have equalled the most 
sanguine expectations, had he not given wa}'- to 
dissipated habits. Van jMander says that when 
the Emperor Charles Y. entered Antwerp. Floris 
was engaged to paint the triumphal arches ; and 
he is said to have finished seven emblematical fig- 
ures as large as hfe, with different attributes, in 
one day ; and when Philip IT. visited Antwerp, 
Floris painted in a few hours a large picture rep- 
resenting Victory, with several figures of slaves. 
and the emblems of Peace and "War. There is an 
etching by him of this subject, dated in 1552. 
Van Mander mentions a large number of works 
by Floris, the most esteemed of which are, The 
Last Judgment, in the church of Notre Dame, at 
Brussels ; in the cathedral at Antwerp an admira- 
ble picture of the Assumption ; and in the chapel 
of S. Michael was formerly his most esteemed 
work. The Fall of the Evil Spirits, which is now 
in the Gallery of the Louvre. Floris died in 1570. 

FLOS, DU. See Duflos. 

FO, G. R., a Swiss engraver, who flourished 
about 1551. According to Papillon, he was an 
excellent wood engraver, and was cotemporary 
with Hans Holbein. He executed the cuts for the 
History of^ Animals, by Conrad Gesner, published 
at Zurich in 1551. He also engraved the coins 
and medals of the Roman Emperors, by the same 
author, published in 1559. 

FOCO, Paolo, a Piedmontese painter, who flour- 
ished about 1660. He resided a long time at Ca- 
sale, where he acquired a high reputation for his 
landscapes, painted in a bold Venetian style. — 
There are many of his works at Casale, where they 
are highly esteemed. He also attempted histori- 
cal painting on a grand scale, but with little suc- 
cess. 

FOGOLINO, or FIGOLIXO, Marcello, a Flo- 
rentine historical painter and engraver, who flour- 
ished in the 15th century, and practised the art 
chiefly at Vicenza. He was supposed for a long 
time to be the engraver who marked his plates R. 
B. T. A., or ROBETTA ; but Zani has proved the 
contrary. Boschini and Lanzi mention with high 
praise a picture of the Adoration of the Magi, in 



S. Bartolomeo at Vicenza, by Marcello Fogolino, 
wliich they say was painted before the time of 
Gio. Bellini. The latter author thinks he stud- 
ied under Mantegna. Rosini has an engraving of 
a Chorus of Monks, after a picture by Fogolino. 
which is excellent in design, composition, and ex- 
pression. There were three prints of statues in 
the Royal Collection at Dresden, signed Marcello 
Fogolino. Bartsch mentions one in which there 
is a Female caressing an Infant, and a beautiful 
piece of architecture. In the British IMuseum is a 
picture by this artist, representing the Virgin and 
Infant, with St, Joseph drawing water from a 
Well, signed with his name in full. Ottlej'- says, 
also, that he had a small print by Fogolino, repre- 
senting the Nativity. 

FOIX, Louis de, a French architect and engi- 
neer, who flourished from 1580 to 1612. He was 
highly esteemed for his abilities. The ancient ca- 
nal of the Adour, near Baj-onne. having fallen into 
decay, he was commis.sioned to fill it up. and to 
construct a new one for that port, which he execu- 
ted in 1597. The most curious work of his gen- / 
ius is the tower of Corduan, erected on a rock at 
the mouth of the Garonne, six miles from Bor- 
deaux. It was intended as a light-house, but Mi- 
lizia says there was not throughout all Europe so 
magnificent and elegant a structure as this Pharos. 
It was enriched with the Tuscan, Doric, and Co- 
rinthian orders, pediments to the windows, and 
cupolas at the top ; noble apartments, with orna- 
ments of m.arble, both internally and externally. 
The absurdity of enriching an almost inaccessible 
watch-tower in this manner, is about equal to de- 
corating a hay-loft with the pictures of Raffaelle. 

FOKKE, Simon, a Dutch engraver, who resided 
at Amsterdam about 1744, He studied under J. 
C. Philips, and was chiefly employed by the book- 
sellers in small portraits and vignettes, executed 
in a neat style, and superior to his large subjects 
of history. He engraved part of the portraits for 
a work entitled Portraits Historiqnes desHommes 
illustres de Danemarc, published in 1746. There 
are also a number of other plates by him. among 
which are the following • 

The Portrait of Simon Fokke ; aftpr his Qv:n design- 
A YieTTof the Port of Leghorn; after Vernet. A Yiew 
near I^arni, in Lombardy ; do. 'A Landscape, Winter ; 
after P. Breughel. A View of the Y, near Amsterdam. 
Two small plates of Animals, The Prodigal Son ; after 
Spagnoletto ; in the Dresden collection. Jacob keeping 
the Flocks of Laban ; do. ; same collection. The Death 
of Dido, a burlesq^ue ; after C. Troost. 

FOLER. Antonio, a Venetian painter, was born, 
according to Zani. in 1530. He was a cotemporary 
and friend of P. Veronese, and imitated his su- 
perb style with considerable success in coloring, 
though'inferior in design, especially in his larger 
works. In his easel pictures this defect is less 
evident, and they are much esteemed. Ridolti 
mentions, among others, the following works by 
Foler: in S. Barnaba, the Birth of the Virgin; in 
the church of the Abbey of S. Gregorio, three 
pictures of the Flagellation, the Crucifixion, and 
the Assumption of the Virgin; in S. Caterina, 
Christ praying in the Garden, and the Resurrec- 
tion. He died, according to Zani, in 1626, aged 96. 

FOLKEMA, Jacob, a Dutch engraver, born at 
Dockum. ]n Friesland. in 1692 ; died, according to 
Zani, in 1767. He engraved a number of plates 
after the designs of Picart, and many portraits and 



FOLL. 



316 



FONT. 



vignettes for the booksellers. lie also executed 
several historical subjects, which are inferior to 
his other productions. The following are his 
principal plates: 

An Emblematical Subject on the Death of the Prince of 
Orange. Time discovering the bust of F. Rabelais, with 
figures and satirical and emblematical attributes ; a curi- 
ous print. The Martyrdom of St. Peter and St. Paul ; 
a-fter N. del Abate. 

PORTRAITS. 

Michael Cervantes de Saavreda ; after C. Cori. John 
Ens, Professor of Theology at Utrecht ; after Colla. Pe- 
trusde Mnstricht, Professor of Theology at Frankfort; do. 
Humphrey Prideaux, Bean of Norwich ; after Seeman. 
Suethlagius, Pastor at Amsterdam ; after Anna Polk ema. 

This artist had a sister who painted portraits in 
miniature, and engraved several plates, about 1715. 

FOTJjI, Sebastiano, an Italian painter, born, 
according to Baldinucci, at Siena, and flourished 
about 1008. He studied under Alessandro Caso- 
lani, and gained distinction by several frescos, 
which he executed in the churches of Siena, par- 
ticularly the cupola of S. Marta. lie also paint- 
ed several subjects from the life of St. Sebastiano, 
for the chui-ch of that Saint, in competition with 
Rutilio Manctti ; and they well deserve to rank 
with the works of that master. Folli went to 
Rome, where he pi-actiscd the art with reputation, 
and was employed in several important works by 
Cardinal JNIedici, afterwards Leo XI. 

FOLO, Giovanni, an eminent Italian engraver, 
was born at Bassano in 17G4. lie studied at 
Rome, in the school of Volpato, but subsequently 
adopted the style of Morghen. His first produc- 
tions have something of a hardness and dryness 
of style, but he afterwa.rds overcame this defect, 
and his '' Mater Dolorosa," after Sassoferrato, is 
an admirable specimen of the art. His style was 
better adapted to large than to small subjects. He 
sought to represent the delicate coloring, the har- 
mony of light and shadow, and the grandeur of 
design in the original work, rather than to gain 
admiration by his elaborate execution. His man- 
ner is powerful and firm, yet his Adam and Eve, 
and similar works, are executed with great delica- 
cy. Naglcr mentions a number of his plates, after 
paintings and sculptures by Raffacllc, Michael An- 
gelo, Titian, Poussin, Guido, Rubens, Caracci, 
Thorwaldsen, Canova, .and other eminent masters. 
His St. Andrew, after Domenichino, is considered 
his best work ; it is executed with great force and 
delicacy. Folo died at Rome in 183G, aged 72. 

FONBONE, a French engraver of little note, who 
flourished at Paris about 1712. Among other 
plates, he engraved several for the large set of the 
Views of Versailles, published in 1715. 

FONTAINE, E.. an obscure French wood en- 
graver, who flourished about 1680. Among other 
prints, he executed one of little merit, represent- 
ing Christ standing upon a Pillar ; marked E. 
Fontaine, scidpsit. Anno 1681. 

FONTAINE, Pierre la, a reputable French 
painter, was born at Courtrai in 1758. lie painted 
interiors of churches in the manner of Stecnwyck 
and Peter Neefs. He was so excellent an imitator 
of the styles of those masters, that his works have 
often been mistaken for originals, and they are 
much esteemed. La Fontaine was also a dealer 
m nictures. in which he was very successful. He 



took many fine paintings to England, and sold 
them at large prices, especially his own imitations 
of the masters above mentioned. He died at Paris 
in 1835. 

FONTANA, Alberto, an Italian painter, was 
born at Modena, and flourished about 1540. He 
studied under Antonio Begarelli, at the same time 
with Niccolo del Abati. In concert with the lat- 
ter, he painted the panels of the Butchers' Ilall, at 
Modena, which Scannelli ascribes entirely to Abati 
and says it appeared to have been the production 
of Raifaelle. The style of Fontana closely re- 
sembles that of Abati, especially in the airs of his 
heads, though inferior to him in design, and with 
something red and heavy in his coloring. He died 
in 1558. 

FONTANA, Cesare, an Italian engraver, who 
flourished, according to Zani, about 1630. Among 
other plates, he engraved several of funeral pro- 
cessions and cavalcades. Zani says he was living 
in 1660. 

FONTANA, DoMENico Maria, an Italian en- 
graver, was born at Parma about 1540, though 
there is a print signed with his name, and dated 
1651 ; but this was probably by another master. He 
studied engraving at Bologna, and executed seve- 
ral plates from his own designs, and those of other 
masters, among which arc the following: 

The Flight into Egypt, with a mountainous Landscape. 
The Sabine Women making Peace between the Romans 
and the Sabincs. St. John preaching in the "Wilderness. 
Mount Calvary, with a Latin inscription. Christ going to 
Calvary. 1584. 

FONTANA, Veronica, an Italian female en 
graver, the daughter of the preceding artist, was 
born, according to Zani, in 1596. She learne<l the 
elements of design from her father, and Elizabeth 
Sirani, and executed a number of neat wooden 
cuts, chiefly portraits, among which \^ that of the 
poet Andreini, mentioned by Brulliot. Zani says 
she was living in 1675. 

FONTANA, Giovanni Battista^ an Italian 
designer and engraver, was born at Verona about 
1524. His plates arc etched from his own designs, 
in a free and masterly style. Among others are 
the following : 

A set of middle-sized plates, of subjects from the iEneid. 
St. Peter, Martyr ; after Titian. The Battle of Cadore, 
between the Imperialists and the Venetians ; do. The 
Crucifixion. Twenty-eig-bt subjects from the Life of Romu- 
lus ; dedicated to Ferdinand, Archduke of Austria. 1573. 

FONTANA, Prospero, an eminent historical 
and portrait painter, born at Bologna in 1512. He 
studied under Francucci, called da Imola. but at- 
tached himself to the works of Vasari, preferring 
the facility of that master to the highly finished 
stjde of Francucci. He was more incorrect and 
negligent than Vasari, and his dangerous facility 
was. according to Lanzi, one of the principal 
causes of the decline in the Bologncse school, 
which continued till the time of the Caracci. He 
was highly educated ; he possessed fertility of in- 
vention and boldness of design, and might have 
attained great eminence ; but being of an extra- 
vagant disposition, he generally painted in a hurry 
for the sake of gain, in order that he nu'ght gratify 
his passions. He painted a saloon in the Palazzo 
Vitelli, at Citta di Castello, representing the prin- 
cipal achievements of that noble family, and fin- 



FONT. 



317 



FONT. 



islied it, according to Malvasia, in a few weeks. 
Til ere are also a number of his hasty productions 
at Rome, in the Villa Giulia, and the Palazzo Tos- 
cana in Campo Marzio. His master-piece is at Bo- 
logna, in S. Maria della Grazie. It is signed with 
his name in letters of gold, and it exhibits a splen- 
dor, facility, and grandeur that approaches the 
style of P. Veronese. In the same church is an 
admirable picture of the Annunciation ; in S. Gio- 
vanni Battista, a picture of the Virgin and Infant, 
with several saints — one of his most copious com- 
positions. He also executed the Descent from the 
Cross, of which Rosini has an engraving. It is in 
the Bolognese Academy. Fontana greatly distin- 
guished himself as a portrait painter, and gained 
great reputation at Rome, during the pontificate of 
Julius III. and three of his successors. He died 
in 1597, aged 85. 

FONTANA, Lavinia, an eminent Italian paint- 
ress, the daughter of Prospero F., was born at 
Bologna in 1552. She studied under her father, 
and painted a number of historical works in his 
style, for the Bolognese churches, of which the 
best are the Miracle of the Loaves, in il Mendi- 
canti ; the Annunciation, at the Cappuccini ; the 
Crucifixion, in la Madonna del Soccorso ; and St. 
Francis da Paolo resuscitating a Dead Person, in 
la Morte. She subsequentlj^ went to Rome, dur- 
ing th^ pontificate of Gregory XIII., where she 
practised portrait painting with the greatest suc- 
cess. Baghoni saj^s that she painted the portrait 
of that pontiff, as well as those of many persons 
of distinction, and attained a reputation in this 
branch of the art equal to that of any portrait 
painter of the time, Lanzi saj^s that she possessed 
an admirable sweetness of penciling, especially 
after having studied the works of the Caracci ; and 
that some of her portraits might have been taken 
for those of Guido. She died at Rome in 1614. 

FONTANA, An NIB ALE. an ingenious engraver 
on precious stones, born at Milan in 1540. He 
was patronized by the Duke de Baviere, for whom 
he executed many works in rock crystal, among 
which was a casket covered with bas-reliefs, val- 
ued at six thousand crowns. His works were 
greatly admired for their delicacy and perfect exe- 
cution. There are also by him a number of fine 
bas-reliefs and statues, which adorn the entrance to 
the church of S, Celso at Milan. Fontana died in 
1587. 

FONTANA, Carlo, an eminent Italian archi- 
tect, born, according to Mihzia, at Bruciato, in the 
State of Comasco, in 1634. He went to Rome, 
where he soon attained distinction, and was ap- 
pointed pontifical architect. He erected many fine 
edifices in that city, of which the following are the 
principal: the Grimani palace, in Strada Rosella; 
the Bolognetti palace — simple, solid, and graceful ; 
the Fountain of S. JMaria in Trastavere — beauti- 
ful and simple ; the Theatre of Tordinona ; the 
Library of Minerva; and the palace and villa for 
Signor Visconte at Frascati. In the greater part 
of his works, he practised a correct and legitimate 
style. He also wrote a diffuse description of the 
Basilica Vaticana, by order of Innocent XL, and 
made a calculation of the whole expense of St. Pe- 
ter's, from the beginning to the year 1694, which 
amounted to 46,800,052 crowns, not including mod- 
els, demolishing of walls, the campanile of Ber- 
nini, or useless expenditures. Fontana also exe- 



cuted man}^ other works, by which he gained both 
fame and fortune. He died in 1714. 

FONTANA, Cav. Domenico, an eminent Ital- 
ian architect, born near Lake Como. in 1543. At 
the age of twenty, he went to Rome, and joined 
his brother Giovanni, who was studying architec- 
ture in that city. Here Domenico applied himself 
with great assiduity, and soon attained distinction. 
The Cardinal Montalto, afterwards Sextus V., em- 
ployed him to erect the chapel of the Persepio, in 
S. Maria Maggiore ; and the little palace della ^^il- 
la, which now belongs to the Negroni, near the 
same Basilica ; but Pope Gregory XIII. having 
deprived the Cardinal of his income, thinking that 
his building was an evidence of too great riches, it 
was suspended for want of funds; but Fontana 
being attached to the cardinal, sent for 1,000 
crowns, which he had saved from his own indus- 
try, with which he was enabled to continue the 
chapel. This act of generosity made the fortune 
of Fontana, for the Cardinal soon after became 
Sextus v., and appointed Fontana the pontifical 
architect. The chapel was soon completed, to the 
admiration of all, being in the form of a Greek 
cross, with four large, superb arches, on which 
rests an elegant cupola. The little palace was also 
finished in an elegant style. The pope was very 
desirous of raising in the square of St. Peter's, the 
orAy obelisk which remained standing, but partly 
interred, near the wall of the sacristy, where was 
formerly the circus of Nero. Accordingly he col- 
lected about five hundred mathematicians, engi- 
neers, and learned men, bringing with them their 
inventions. Fontana's plan, however, was ap- 
proved, and with the assistance of one hundred and 
forty horses, and eight hundred men, he removed 
this immense mass, weighing about 750,000 pounds, 
and placed it safely in the square of St. Peter's. 
For this undertaking, he was created a knight of 
the Golden Spur, and a Roman nobleman ; he had 
a pension of 2000 crowns, transferable to his 
heirs ; ten knighthoods, 5000 crowns of gold, and 
all the materials used in the work, which were 
valued at more than 20,000 crowns. He after- 
wards erected other obelisks in the Piazza 
del Popolo, in S. Maria Maggiore ; erected some 
parts of the Vatican and Quirinal palaces ; built 
thepalazzo Matteo,now Albano; restored the two 
columns of Trajan and Antoninus ; built the Men- 
dicant Hospital, &c. While occupied upon a bridge 
of travertine over the Tiber, at Borghetto, so many 
complaints were made against him, that Clement 
VIII. deprived him of the situation of pontifical 
architect, and required an account of the money 
employed in his various buildings. The Count 
Miranda, Viceroy of Naples, sent for him to that 
capital, and declared him the royal architect, and 
first engineer in the kingdom. When Fontana 
arrived at Naples, in 1592, he commenced various 
improvements in the city ; renewed the ancient 
canal of the Clanio ; erected the royal palace, the 
Strada di Chiaga, and many other fine works. His 
inventions were exceedingly grand, and he deserves 
a place among the most distinguished artists ; al- 
though he did not preserve the proper characters 
peculiar to the orders, nor avoid the various abu- 
ses then in practice, which the genius of Michael 
Angelo had rendered popular. He died rich and 
honored at Naples, in 1607. 

FONTANA, Cav. Cesare, an Italian architect, 



FONT. 



318 



FONT. 



the son of Cav. Donienico F., flourished about 
1600. At the death of his father, he was ap- 
pointed royal architect, and erected a number of 
works at Naples, among which are the public gra- 
naries, and the stupendous buildings of the Uni- 
versity, which were commenced in 1599. 

FONTANA, Giovanni, an eminent Italian ar- 
chitect, the brother of Domenico F., born in 1540. 
He was appointed architect to St. Peter's, and is 
supposed to have designed the palace of the Gius- 
tiniani princes. But his greatest excellence con- 
sisted in hydraulics. He cleansed the Tiber at 
Ostia; settled some contentions which had existed 
from time immemorial concerning the Velino, be- 
tween Terni and Narni ; supplied Civita Vecchia 
and Veletri with water ; and conducted the Algi- 
da to Frascati, to ornament the Belvidere Villa, 
and also to the Villa di Mondragone, for the pur- 
pose of supplying some curious fountains. He re- 
stored and renewed the ancient fountain of Augus- 
tus ; carried the aqueducts over the Ponte Sisto, 
to form the beautiful cascade opposite the Strada 
Giulia ; and executed many other important works. 
He died in 1614. 

FONTANA, Orazio, a native of Urbino, an emi- 
nent painter on porcelain, who flourished at Castel 
Durante, from 1540 to 1560. He acquired a high 
reputation for the beauty of his ornamental vases, 
'•which," saysLanzi, "for the polish, the beauty 
of the figures, correctness of the forms, and bril- 
liancy of the colors, may perhaps be ranked be- 
fore any that have come down to us from antiqui- 
ty." He was largely patronized by princes and 
nobles. He had a brother named Flaminio, who 
worked in conjunction with him, and was invited 
to Florence by the Grand Duke of Tuscany, and 
introduced his art there, under the patronage of 
that prince, about 1576. 

FONTANIEU, M. de, a French amateur engra- 
ver, who has etched a number of small plates of 
animals, &c., some of which are dated 1760. 

FONTEBASSO, Francesco, a Venetian paint- 
er and engraver, was born in 1709, and died in 
1769. He received his first instruction at Rome, 
but afterwards studied at Venice, under Sebastia- 
no Ricci. As a painter, he attained scarce any dis- 
tinction, and little is known of his works. As an 
engraver, he executed a number of plates, among 
which are : 

The Virgin appearing to St. Grregory, who is praying for 
the Delivery of the Souls in Purgatory ; after Sebastian 
Ricci. A set of seven fantastical subjects, _/?-o/n his own 
designs. 

FONTEBUONI, Anastagio, a Florentine paint- 
er, who flourished from 1600 to 1620. He studied 
under Domenico Passignano. and, according to 
Baglioni, visited Rome during the pontificate of 
Paul v., where he painted several good pictures for 
the churches. Lanzi praises two admired works 
by him, in S. Giovanni Fiorentini, representing 
the Birth and Death of the Virgin, which are con- 
sidered his best works. He also painted the Vault 
of S. Giacomo de Spagnuoli ; and the Annuncia- 
tion, in the church of S. Maria in Selci. This art- 
ist died in the prime of life, about 1621. 

FONTENAY. Jean Baptiste Blain de, an 
eminent French flower-painter, was born at Caen, 
in Normandy, in 1654. He studied under Jean 
Baptiste Monnoyer, whose style he followed in 



painting flowers and fiu"t, ti which he added 
vases ornamentel with figures in bas-relief, and 
with festoons of flowers in elegant taste, and 
grouped with great judgment. His productions 
were highly esteemed. He was a member of the 
Royal Academy, and was employed b}' Louis XIV. 
at the Gobelins, Versailles, and elsewhere, and died 
in the service of that monarch, in 1715. 

FONTUZZI. See Fantuzzi. 

FONT YN, Pierre, a Dutch painter, was born 
near Dort, in 1773, and studied under Pierre Hof- 
nian, and Guillaume van Leen. He painted por- 
traits, and interiors with figures — scenes of mirth 
and domestic enjoyment. He died in 1839. 

FOPPA, Vincenzio, an old Italian painter, 
was born at Brescia, and is considered the founder 
of the Milanese school. Lanzi saj^s that he saw a 
picture by this master, in the Carrara Gallery at 
Bergamo, inscribed Vt7icentius Brixiensis^ fecit., 
1455. His heads are expressed with great truth 
and character, his design of the figure is correct, 
and there is great harmony in his coloring. His 
finest works are the pictures of the Trinity, and of 
St. Orsola, in S. Pietro Oliveto, at Brescia ; and 
the Martyrdom of St. Sebastiano, in S. Maria di 
Brera, at IMilan. Za.mboni says that Foppa died 
in 1492, as appears from the inscription on his tomb, 
in the church of S. Barnaba, at Brescia. There 
are many discrepancies in various writers concern- 
ing this master, but the above account is the best 
authenticated, 

. FORABOSCO, or FERABOSCO, Girolamo, an 
Italian painter, was born at Venice, according to 
Orlandi, though others say he was a native of Pa- 
dua. He flourished about 1640, and was a cotem- 
porary of Boschini. who assigns to this master, and 
Cav. Pietro Liberi, the first rank among Venetian 
painters of the time. According to Zanetti, his 
works were characterized by an elevated taste of 
design, combining softness and elegance with vigor 
and finish. His pictures were studies in every 
part, particularly his heads, which appeared speak- 
ing. He executed a few works for the churches, 
but was more employed for private collections. 
Forabosco becam.e very distinguished in portrait 
painting, in which branch of the art he was much 
employed. His best productions were a portrait 
of the Doge Contarini, painted in 1655, and another 
of the Doge Pesaro, in 1659. In the Palazzo San- 
gredo at Venice, among a number of admirable 
works by the great masters, is an Old Man's Head, 
which seems to be a portrait of some person of 
eminence, painted by Forabosco. It is in every 
respect admirable as to coloring, finishing and 
character ; and is full of nature, truth, and expres- 
sion. He was living in 1660, 

FORBIN, Louis Nicholas Philip Augustus, 
Count de. a French painter, born at La Roque, in 
1779. He had an appointment in the household 
of Napoleon, which he quitted in 1811, and went 
to study the great works of art at Rome, and 
while in Italy he painted an Eruption of Vesuvius. 
At the Restoration he was made general director 
of the Royal Museums. His earlier works, among 
which is the Scene of the Inquisition, are superior 
to those of his later years. He died in 1841. 

FORBICINI, Eliodoro, a Veronese painter, who 
flourished, according to Vasari, about 1586. He 
practised the art at Verona, where he was much 



FORD. 319 



FORK 



employed in painting grotesques, which he execu- 
ted in a very spirited style. 

FORD, M., an obscure English engraver in mez- 
zotinto, who flourished about 1760. He executed 
several portraits, among which are those of Wil- 
liam Stanhope, Earl of Harrington, after Du Pin ; 
and Henry Singleton, Chief Justice of the Com- 
mon Pleas, in Ireland. 

FORE, Le, a French engraver of little note, who 
was chiefly employed by the booksellers, in en- 
graving portraits. Among others are those of 
Henry de Mausses and Nicolaus de Netz, Episc, 
Aureiianensis, &c. 

FOREST, Jean Baptiste, a French landscape 
painter, was born at Paris, in 1636. He acquired 
the elements of design from his father, an artist of 
httle note ; but subsequently went to Ital}'-, and 
entered the school of Pietro Francesco jMola, at 
Rome. He afterwards studied with great assidu- 
ity the landscapes of Titian and Giorgione. On 
his return to Paris, he obtained the reputation of 
being one of the best landscape painters of the 
day. and was received into the Royal Academy in 
1674. His scenes are mostly taken from nature, 
designed in a grand and elevated style. His pen- 
cilling is bold and spirited, and his trees are 
touched in a bold and masterly style. Some of 
his works have become dark, in consequence of his 
using a treacherous medium of coloring. He died 
at Paris in 1712. 

FORLI. There are several old artists called da 
or di Forli, mentioned by Vasari. Malvasia and 
others, who derived their names from the place of 
their nativity, but they are of no consequence in the 
history of art. The chief of these, are Guglielmo, 
a scholar of Giotto, Ansovino, a scholar of Squarci- 
one, and Bartolomeo, a scholar of Francia. 

FORLI. See Melozzo. 

FORMELLO, Donato da, an Italian painter, 
was born at Formello. in the Duchy of Bracciano. 
He studied under Giorgio Vasari, and according to 
Baglioni, visited Rome early in the pontificate of 
Gregory XIII. He was employed by that pontifi' 
in the Vatican, and executed several fresco works 
in a staircase of that palace, representing subjects 
from the Life of St. Peter. These were greatly 
superior to the works of Vasari, and Formello 
would undoubtedly have attained great distinction 
had he not died young. 

FORMENT. Damiano. a Spanish architect and 
sculptor, a native of Valencia, who flourished about 
1525. Among other works, he erected, according 
to Milizia, the fa9ade of S. Engracia, at Saragossa. 
entirely of alabaster, divided into four orders of 
columns, with statues larger than life. He also 
made the Altar Screen of alabaster, of the Cathe- 
dral of Huesca ; it is divided into three orders by 
three historical subjects, executed in alto-relievo. 
It was commenced in 1520, and finished in 1533. 

FORMENTINL II., a reputable landscape paint- 
er of the Venetian school, who flourished at Vero- 
na, about 1700. There are several of his works 
in 'the galleries at Verona, bearing his signature, 
the figures in which were painted by Alessandro 
Marchesini. 

FORNARI, SiMONE, also called Moresini, a 
painter of Reggio, who flourished in the first part 
of the 16th century. There are some of his works 



in the church of S. Tommaso, at Reggio, which 
are executed in the manner of the two Francia. 
and Lanzi says that many of his works have been 
attributed to those distinguished ornaments of 
Bologna. 

FORNAVERT, J. P., an engraver of httJenote, 
who was chiefl}^ employed by the booksellers. 
Among other plates, he engraved a frontispiece to 
a book of devotion, representing Moses and Aaron, 
with the Four Evangelists. It is neatly executed 
with the graver, in a stiff", formal style. 

FORNAZERIS, Jacob de, a French engraver, 
who flourished about 1615. He is supposed to be 
the same as Fornazori, who engraved portraits in 
the style of Grandiiomme. He resided at Lyons, 
and executed a number of plates for the booksel- 
lers, though his works are greatly superior to 
those of that class of artists. Among other plates. 
he engraved several frontispieces, which he gener- 
ally embellished with small historical figures, cor- 
rectly drawn. They are very neatly executed 
with the graver, though in a formal style. 

FORRESTER, J., an English engraver, who 
flourished about 1760. He resided several years 
in Italy, where he executed a number of plates in 
a neat and pleasing style, among which are several 
etchings of landscapes. 

FORTINI, Benedetto, a Florentine painter, 
was born in 1675, and died in 1732. According to 
Moreni. he studied under Bartolomeo Bimbi, and 
excelled in painting flowers and animals. 

FORTORI, Alessandro. a native of Arezzo, 
who flourished there about 1568. He was a repu- 
table painter of history, according to Vasari, but 
none of his works are specified. 

FORTUNA, Alessandro, a native of Rome, 
who according to Passeri, studied under Domeni- 
chino. Under the direction of his master he 
painted some fables from Apollo, in the villa Alde- 
brandini, in Frescati. He lived in 1610, but died 
young. 

FOSSANO, Ambrogio da, an Itahan painter 
and architect of the Piedmontese School, who 
flourished in 1473. He designed the superb fa- 
9adc of the church of Certosa, at Pavia, and there 
is an altar piece in the same temple ascribed to 
him. 

FOSATTI, Giorgio, an Italian engraver and ar- 
chitect, born at Morco, near Lugano, about 1705. 
As an engraver, he executed the plates for an edi- 
tion of Palladio, also plans of Venice, Bergamo, 
and Geneva. He possessed a profound knowledge 
of the theory of architecture, and published a his- 
tory of the art, at Venice, in 1747. 

/^S, FOSSATO, David Antonio, a Venetian 
/ \ i painter and engraver, who flourished, ac- 
cording to Brulliot, about 1743. He is little 
known by his works as a painter, but he etched 
several plates of landscapes and historical sub- 
jects, after various masters, of which the following 
are the principal : 

Diana and Calisto ; afier Solimena. The Family of 
Darius before Alexander; after P. Veronese. Jupiter 
fulminating the Vices ; do. Sebecca and the Servant of 
Abraham -^ ajter A. Bellucci. The Vocation of St. Peter 
to the Apostleship ; do. A set of twenty-four Views of 
Venice, and landscapes ; after Marco Ricci. 

FOSSE, Charles de la. an eminent French 



FOSS. 



320 



FOUQ. 



painter, the son of a goldsmith, was born at Paris ' 
in 1640. He studied under Charles le Brun, and 
having gained the prize at the academy, he was 
sent to Italy for improvement, with the royal pen- 
sion. He attached himself to the works of Titian, 
and Veronese, and by studying them v.'ith great . 
assiduity he became one of the most distinguish- [ 
ed colorists of the French School. On his return j 
to Paris, he was immediately taken into the ser- 
vice of Louis XIV., and painted four fine pictures 
for the apartments in the Tuilleries. His next 
work was a fresco painting in the chapel of St. Eu- 
stache, representing Adam and Eve, and the Mar- 
riage of the Virgin. He also painted several other 
admirable works, which gained him great reputa- 
tion. In 1693 he was elected a Royal Academi- 
cian, and painted the Rape of Proserpine for his 
picture of reception. His genius was well adapted 
to grand and copious compositions ; and he excelled 
both in history and landscape ; but his design is 
not very elegant or correct, and his coloring, 
though equal to that of any other French master, 
is inferior to the truth and purity of Titian and 
Vandyck. The Duke of Montague invited La 
Fosse to London, and commissioned him to paint 
two ceilings in his splendid mansion, which is now 
the British Museum. The subjects were the 
Apotheosis of Isis, and an Assembly of the Gods. 
King William, on seeing these works, oifered La 
Fosse a handsome estabhshment in England, but 
he chose rather to return to France. Among his 
most important works are the pictures he painted 
at Versailles, representing the Sacrifice of Iphige- 
nia, the Infant Moses saved from the Nile, and in 
the chapel. The Resurrection. At Marlj^, he paint- 
ed a picture of Bacchus and Ariadne ; at Trianon, 
one of Apollo and Thetis, and in the choir of No- 
tre Dame, the Nativity, and the Adoration of the 
Magi. His principal work, however, was the 
Cupola of the Invalids, which is 56 feet in diame- 
ter, representing St. Louis before the Virgin, and 
Christ with a Glory of Angels, and the Four Evan- 
gelists in the corners. La Fosse died at Paris in 
1716. 



FOSSE. Jean Baptiste de 
graver, born at Paris in 1721. 



LA, a French en- i 
He studied under 1 
Stephen Fessard, and was employed by the book- i 
sellers, for whom he engraved a number of plates, | 
among which were the illustrations for an edition i 
of Ovid's Metamorphoses, and for La Fontaine's I 
Fables. There are also several plates b}^ him, j 
after the designs of Carmontel, among which are | 
the following : The Duke of Orleans on Horseback. 
The same, with his son, the Duke de Chartres. 
M. Rameau. The Abbe de Chauvelin, 1757. The 
Unfortunate Calas Family. 

FOTI, Luciano, a native of Messina, was born 
in 1694, and died in 1779. He studied'at Naples, 
where he chiefly resided. He was a man of extra- 
ordinary talents in his line. His great merit con- 
sisted in the penetration of the secrets of the art, 
which enabled him to detect every style, every pe- 
culiar varnish and the various methods of color- 
ing of different masters, so that he not only as- 
certained many doubtful masters, but restored pic- 
tures, damaged by time, in so happy a manner as 
to defy detection. He could also accurately copy 
every master, especially Caravaggio, whose style 
he adopted in his own compositions. 

FOUCHlERj Bertram de, a Dutch painter. 



born at Bergen-op-Zoom in 1609. He was sent to 
Antwerp while very young, and was placed in the 
school of Vandyck ; but when that master went 
to England, Fouchier returned to Holland, where 
he studied under John Bylart, at Utrecht. He af- 
terwards visited Rome, where he studied the v/orks 
of the great masters with assiduity, and met with 
considerable encouragement during the poniificate 
of Urban VIII. He remained in that city three 
years, and would probably have attained a high 
reputation had he not been involved in a quarrel 
which obliged him to quit Rome. He then went 
to Venice, where he adopted the style of Tintoretto. 
After an absence of eight years Fouchier returned 
to Holland, where he soon discovered that the 
style he had adopted, and the subjects he repre- 
sented, were not so acceptable to his own country- 
men as they were in Italy, and he therefore as- 
sumed the subjects of Ostade and Brower, in which 
he had great success, and his pictures of rustic fes- 
tivals, and drunken frolics, were much esteemed. 
His works are still to be found in many of the 
collections in Holland. He died in 1674. 

FOUQUIERES, JAcauES, an eminent Flemish 
landscape painter, born at Antwerp in 1580. He 
studied first under Josse Momper, and afterwards 
under John Breughel ; but he adopted a style of 
landscape painting totally unlike those masters, 
and much superior to them. In this branch of the 
art he attained such excellence, that Rubens occa- 
sionally employed him to paint the back grounds 
of his works. He subsequently went to Italy, 
where he gained great improvement, especially 
from the admirable landscapes of Titian, which he 
studied with great assiduity. His works are dis- 
tinguished for a free and firm pencil, and great 
clearness of coloring both in oil and fresco, though 
sometimes cold, and partaking too much of the 
green. His landscapes are decorated with figures 
correctly drawn, and touched in a very spirited 
style. On his return to Flanders, he was invited 
to the court of the Elector Palatine, whose palace 
he ornamented with some considerable works. In 
1621 he went to Paris, where he painted several 
pictures for the Louvre, by order of Louis XIIL, 
which were much admired by that monarch, and 
gained for him the honor of knighthood. D'Ar- 
genville says that this mark of distinction ren- 
dered him so vain and foolish that he afterwards 
never painted without his sword by his side; and 
his conduct became so insolent, especially to N. 
Poussin, who was employed by the king in the 
Louvre, that that artist left Paris in disgust, and 
resided at Rome the remainder of his fife. Fou- 
quieres died at Paris in 1659. 

FOUR, N. Du. See Dufour and Longuerrue. 

FOURDRINIERE Pierre, a French engraver, 
who flourished about 1730. He visited London, 
where he engraved several plates for the embel- 
lishment of books, plays and pamphlets, among 
which are some of the plans of Houghton Hall, 
and some large plates of architectural views for a 
folio volume of the Villas of the Ancients, pub- 
lished by Robert Castel, in 1728. 

FOURNIER, a French engraver of little note, 
who executed part of the plates for a small folio 
volume, entitled Les Tableaux de la Penitence. 

FOURNIER, (Isaac ? ) a French portrait paint- 
er, who flourished in the first half of the 18th 



FOUR. 



321 



FRAN. 



centur3^ lie studied under de Troy, and after- 
wards went to Holland, where he remained the 
greater part of his life. He painted the portraits 
of man}" distinguished persons of his time, among 
which were those of the Duke of Cumberland and 
Admiral Anson. He died in 1754. 

FOURNIER, IsAYE, called Fornaceriis. a 
French painter, who flourished about 1590. Flo- 
ent le Comte says that he was one of the paint- 
ers to Henry IV. He is also said to have engraved 
several plates, but the subjects are not mentioned. 

FOUTIN. J., a French engi-aver, who was prob- 
abl}'- a goldsmith, and flourished about 1620. 
Among other works he executed several plates of 
ornamental foliage, with grotesque heads, figures. 
&c. They are marked, /. Foutiji, a Chasteaudun. 

FOX, Charles, an English painter, born at 
Falmouth in 1749. He visited Norway, Sweden, 
and Russia, and made man}^ designs from the wild 
and mountainous scenery of those countries. On 
returning to England, he produced many land- 
scapes which were highly esteemed ; and he also 
attained some distinction in portrait painting. Fox 
was fond of literary pursuits, and he wrote one or 
two poetical works. He died in 1809. 

FOX, Charles, an English engraver, born in 
1797. He studied under Edwards, at Bungay in 
Suffolk, and afterwards went to London, where he 
was employed by the booksellers, and executed 
several plates after Wilkie, for Cadell's edition of 
Scott's novels ; as well as various illustrations for 
the annuals of the day. He also produced some 
large plates, among which area whole-length por- 
trait of Sir Geo. Murray, after Pickersgill ; and 
the First Council of the Queen, after IViikie. He 
died in 1849. 

FRAGONxiRD, Nicholas, a French historical 
painter and engraver, born at Nice in 1733, died in 
1806. He studied under Boucher, and having 
carried off the grand prize of the Academj^, he 
went to Rome, with the royal pension. On his 
return to Paris he was elected a Royal Academi- 
cian, in 1765, on which occasion he painted his fine 
picture of Callirhoe as his reception-piece, which 
was much admired. His next work was the Vis- 
itation of the Virgin, for the Duke de Gramont. 
He soon, however, left the path of high and noble 
subjects which he had hitherto followed, and paint- 
ed bacchanals, conversations, and subjects of 
French manners, many of which had an exceed- 
ingly licentious tendency. As an engraver he 
etched several plates from his own designs, and 
after other masters, among which are the follow- 
ing : 

The Circumcision ; after Tiepolo. The same subject; 
after Seb. Ricci. Christ with the Disciples at Emmaus ; 
do. The Last Supper ; do. St. Roch; after Tinturetto. 
The Conception ; do. Four Bacchanalian subjects ; after 
his own designs. 

FRAISINGER, Caspar, a German engraver of 
little note, who flourished at Ingolstadt, in Bava- 
ria, about 1600. Bartsch mentions two of his 
prints, dated 1591 ; Brulliot mentions several 
others, inscribed with his name in full, one of 
which is dated 1599. 

FRANCESCA, Pietro della, called Pietro 
BoRGHESE, and da Borgo S. Sepolcro. This old 
Italian painter was born at Borgo S. Sepolcro. in 
the province of Umbriaj in 1398. At the age of 



fifteen he had made great advances in mathematics 
and other studies, when he turned his attention to 
painting. He acquired the elements of design 
from some inferior artist; but was more indebted 
to his own natural abilities for success. He first 
distinguished himself at the court of the Duke 
d'Urbino, where he painted several small pictures. 
During the pontificate of Nicholas V., Francesca 
visited Rome, where he was employed by the pope 
in the Vatican. He executed a large composition 
which still remains in that palace, representing the 
pontiff, with several cardinals and bishops ; in 
which there is a truth of character in the heads 
that is superior to the artists of his time, and if he 
had possessed the grace of Masaccio, he would 
nearly have equalled that master. There are several 
of his works at Arezzo, in the choir of the Conven- 
tuali, which show great advances in the art since 
its infanc}^ in the time of Giotto. In the public 
palace at Borgo S. Sepolcro, is a picture of S. Lo- 
dovico by Francesca ; and in the church of S. Chi- 
ara, is the Assumption with the Apostles. The 
latter work has something of the stiffness of de- 
sign which characterized the works of early paint- 
ers ; but in the coloring and airs of the heads, it 
evinces the beginning of that great style, which 
was afterwards improved by his scholar Perugino, 
and perfected b}^ Raffaelle. Vasari says that Fran- 
cesca became blind in his sixtieth year, in 1458, 
though he lived to the age of 86, and died in 1484. 

FRANCESCITI, Paolo, called Paolo Fiam- 
MiNGO. This painter was born in Flanders in 
1540; but went to Venice while young, and resi- 
ded there the remainder of his life. He studied in 
the school of Tintoretto, and was most distin- 
guished for his landscapes, though he occasionally 
painted subjects from histor}'. He was employed 
by the emperor Rodolphus II., for whom he paint- 
ed several landscapes and other subjects. Ridolfi 
praises two pictures by this master in the church 
of S. Niccolo de Frari, at Venice, representing the 
Descent from the Cross, and St, John preaching 
in the Wilderness, He died at Venice in 1596. 

FRANCESCHIELLO, See Mura. 

FRACxVNZ ANI, Francesco, a Neapolitan paint- 
er, Avho, according to Dominici, might have arrived 
at the pinnacle of fame. He studied under Giuseppe 
Ribera, and executed some works possessing a pe- 
culiar grandeur of style and a noble tone of color. 
His Death of St. Joseph in the Pellegrini is con- 
sidered one of the best pictures in Naples. He 
afterwards fell into dissolute habits, and was fi- 
nally condemned to death for some atrocious deed, 
by the common hangman, but for the honor of 
the art, his punishment was commuted to secret 
death by poison, in prison, in 1657- 

FRANCESCHINI. Mattia, a painter of Turin, 
who studied under Cav. Claudio Beaumont. There 
are many of his works at Turin, executed in the 
manner of his master. He frequently painted in 
competition with Felice Cervetti. He flourished 
in the middle of the 18th century. 

FRANCESCHINI, Baldassare, called il Vol- 
terrano, an eminent Italian painter, born, accord- 
ing to Baldinucci. at Volterra, in 1611. He was 
called il Volterrano Giuniore, to distinguish him 
from Daniele Ricciarelli da Volterra. He first 
studied under Matteo Roselli, and afterwards in 
the school of Gio. de St. Giovanni. The latter is 



FRAN. 



322 



FRAN. 



said to have engaged him as a coadjutor in some 
works in the Pitti Palace, but after witnessing his 
abilities, became jealons. and dismissed him.— 
Franccschini was distincni.-hcd for his excellent 
easel pictures, of which there are many at Volterra 
and Florence, especially in the Palazzi Maffei and 
SermolH. But it is in grand fresco works that his 
powers are displayed to the gi-eatest advantage, and 
in these be ranks with the most eminent artists of 
modern times. His talents have been extraordi- 
narily praised, but Lanzi says he deserves all the 
applause he has received, which is justly due to 
his ingenious and abundant invention; the cor- 
rectness of his design, so rare in great fresco works ; 
the spirited movement of his figures ; his perfect 
knowledge of foreshortening ; and the subdued 
harmony of his coloring. The fire of an ardent 
genius was tempered by study and reflection, and 
his natural taste of design was elevated and va- 
ried by association with the best works of art at 
Rome and Bologna. Among his great frescos is 
the cupola of the Oapella Niccolini, in the church 
of S. Croce at Florence, which is a wonderful pro- 
duction. At the Nunziata, is another, equally 
deserving of praise; and in the vault of a chapel 
of S. Maria Maggiore, is a picture of Elias, which 
is so admirably foreshortened as to be worthy a 
comparison with the celebrated St. Rocco, by Tin- 
toretto. The oil paintings of Franccschini are al- 
so highly esteemed ; among them are a picture of 
St. Filippo Benizzi, in the Nunziata at Florence; 
St. Giovanni Evangelista, in S. Chiara at Volterra ; 
and St. Carlo Borromeo communicating the Pes- 
tiferous, in the Nunziata at Pescia. He died in 
1689. 

FRANCESCHINI, Cav. Marc' Antonio, an 
eminent Italian painter, styled by Lanzi as one of 
the heads of the new Bolognese school, was born 
at Bologna in 1648. He first entered the school 
of Gio. Battista Galli, but afterwards studied un- 
der Carlo Cignani. with whom he formed a warm 
attachment, which was increased by his marrying 
the cousin of his instructor, the sister of Quaini. 
Cignani favored him above all his scholars, giving 
him a separate studio, furnishing him with select 
models for designing the nude, and directing him 
how to use them to the greatest advantage in his 
compositions. B}^ this excellent instruction, and 
a constant study of the best works of art, he ac^ 
quired the tasteful choice and grandeur of Cignani, 
and combined with the manner of that master, a 
harmony of coloring, and a novelty of style en- 
tirely original. His invention was most abundant, 
and his execution exceedingly rapid ; his coloring 
is clear, without coldness, and his compositions co- 
pious without confusion. The principal works of 
this great master at Bologna, are a ceiling in the 
Palazzo Ranuzzi ; the Death of St. Joseph, in 
Corpus Domini; St. Francis of Sales kneeling be- 
fore the Virgin and Infant, in la Madonna di Ga- 
leria ; a fine picture of the Annunciation, at the 
Institute ; and St. John in the isle of Patmos, in la 
Carita. At Rimini, in the church of the Augus- 
tine.s. is a fine picture of St. Tommaso giving alms 
to the Poor. Franccschini continued to practice the 
art until he reached the age of eighty-one, with lit- 
tle diminution of powers, as is evident from his 
picture of the Founders of the Order in the Padri 
Servi, at Bologna; and the Dead Christ, in the 
Aaostini at Imola. which were both executed when 



he was nearly eighty years of age, and evince no 
decay of his powers. He died in 1729. 

FRANCESCHINI, Giacomo, an Italian painter, 
the son and scholar of the preceding, born at Bo- 
logna in 1672. He painted history in the style of 
his father, and executed a number of works for 
the Bolognese churches, among which are a picture 
of St. Usualdo, St. Margherita, St. Lucia, and St. 
Cecilia, in S. Maria Incoronata ; the Crucifixion, 
in S. Simone ; and St. Anna, in S. Martino. He 
died in 1745. 

FRANCESCHINI, Domenico, an Italian en- 
graver of little note, who has executed, among 
other plates, a shght etching of the Amphitheatre 
of Flavius ; dated 1725. 

FRANCESCHINI, Vincenzio, an Italian en- 
graver, who lived about 1750, and executed among 
other works, a part of the plates for the Museo 
Fiorentino, published in 1748. They are usually 
marked V. F. 

FRANCESCHINO. See Francesco Caragci. 

FRANCESCHITTO, or FRANCISQUITO, a 
Spanish painter, who studied under Luca Gior- 
dano while the latter was in Spain. He gave 
promise of great talent, and his master was ac- 
customed to say that the pupil would surpass his 
instructor. When the latter returned to Italy, 
Franceschitto accompanied him. and painted a 
picture at Naples for the church of S. Maria del 
Monti, which nearly verified the prediction of 
Luca, representing St. Pasquale, with a beautiful 
choir of angels, and a sublime landscape. He 
would undoubtedl}'- have attained great eminence, 
had he not died at Naples, while quite young. 

FRANC SEVILLE, Pierre, a French sculptor, 
born at Cambray in 1548. His parents wished 
him to pursue a literarj^ career, but his love for 
art induced him to quit the paternal mansion and 
go to Italy, where ho placed himself under Jean de 
Boulogne. He made rapid progress, and attained 
such distinction, that Henry IV. recalled him to 
FrancCj and employed him in a number of works. 
The four figures which adorn the pedestal of the 
statue of Henry IV. on the Pont Neuf, together 
with the bas-reliefs and accessories, are by Fran- 
cheville. 

FRANCHINI, NicoLO, a native of Siena, who 
studied under Cav. Giuseppe Masini. He distin- 
guished himself rather by restoring the woiks of 
other masters than by his own productions. '• By 
his skill," says Cav. Picci, "in restoring injured 
specimens to their original beauty, without apply- 
ing to them a fresh pencil, and by supplying the 
faded colors with others taken from paintings of 
less value, he entitled himself to the praise of a 
new discovery.'- He was living in 1761. 

FRANCHI, Antonio, an Italian painter, born 
at Lucca in 1634. He studied under Baldassare 
Franceschini, and settled at Florence, where he be- 
came a reputable painter of history, and was em- 
ployed by the Grand Duke to paint a number of 
easel pictures, as well as others for private collec- 
tions. He also painted a number of fine works for 
the chu?>ches, among which, his picture of Christ 
i giving the Keys to St. Peter, in the parochial 
church of Caporgnano at Lucca, is considered his 
master-piece. His picture of St. Giuseppe di Ca- 



FRAN. 



S23 



FKAN. 



lassanzio, in the church of the Padri Scolopi at 
Florence, is admired for its correctness of design, 
and vi(:i;or of effect. He composed a work enti- 
titled La Teorica della Plttura, published after 
his death, in 1739. He died in 1709. 

FRANCHI, Giuseppe, an Italian sculptor, born 
at Carrara in 1730. He early went to Rome to 
study the art, in which he attained such distinc- 
tion, that in 1776 he was invited to Milan, to as- 
sume the professorship of architecture in the Ac- 
ademy of Fine Arts in that city. His works were 
highly esteemed for their purity of design, and 
they often gained the prize at the exhibitions. He 
had many scholars, and discharged the duties of 
that responsible office with great reputation for 
thirty years, until his death in 1806. 

FRANCHI, Lorenzo, the Younger, an Italian 
painter, born at Bologna about 1503. He studied 
under Camillo Proccaccini, and after leaving that 
master, he studied with great assiduity the work-s 
of the Caracci, and copied many of their works, 
besides imitating their style in small pictures. 
He became eminent in this line, and his works are 
universally ascribed to the masters whom he imi- 
tated, so that his own name is scarcely known out 
of Italy. He died about 1630. 

FRANCHI, Cesare, a painter of Perugia, who 
studied under Giulio Cesare Angel i. He excelled 
in small historical pictures, which are found in the 
best collections of Perugia and other places. He 
died in 1615. 

FRANCIA, Francesco. The real name of this 
artist was Raibolini, but he is universally called by 
Italian authors Francesco Francia. There is con- 
siderable contradiction among authors, as to the 
merits of this artist, the reputation he enjoyed, 
and the time of his death. Lanzi satisfactorily 
puts all these matters at rest, and we shall not 
discuss them here. He was born at Bologna in 
1450. He is said to have been bred a goldsmith. 
Lanzi says, '• the truth is he had a consummate 
genius for working in gold, on which account the 
medals and coins taken from his models rivaled 
those of Caradosso, the Milanese." This was his 
forte, and on this he relied for his renown, for on 
some of his paintings he signed himself Francis- 
cus Francia Aurlfex. He did not begin to exer- 
cise his pencil till he had arrived at maturity of 
manhood; then he set himself to work with such 
diligence that he equaled, if he did not excel, any 
of his predecessors. Malvasia says, '• he was es- 
teemed and celebrated as the first man of the age," 
and Vasari asserts that " he was held in the esti- 
mation of a god." But the appearance of RafFaelle 
threw him as well as all his cotemporaries of the 
old school far into the shade. Lanzi says his Ma- 
donnas rank beside those of Pietro Perugino and 
Gio. Bellini; Raffaelle too, in a letter dated 1508, 
quoted by Malvasia, praises his Madonnas, ''never 
having beheld any more beautiful, more devotion- 
al in their expression, and more finely composed 
by any artist," Lanzi says his manner is nearly 
between those of Perugino and Bellini : '• It boasts 
the choiceness and the tone of color of Perugino, 
wdiilc in the fullness of its outlines, in the skill of 
the folding and the ample flow of the draperies, it 
bears greater resemblance to Bellini. His heads, 
however, do not equal the grace and sweetness of 
the former, though he is more dignified than the 



latter. In the accessories of his landscapes he ri- 
vals both, but in landscape itself, and in the splen- 
dor of his architecture he is inferior to them." He 
afterwards enlarged his manner, and painted sev- 
eral altar-pieces for the churches at Bologna with 
equal success, which caused authors to make a dis- 
tinction between his first and second manner ; the 
first that of Perugino, and the second founded on 
that of Andrea Mantegna. Perhaps his best altar- 
piece was that in the Bentivogli Chapel, painted in 
1490. It is a beautiful specimen of the age, dis- 
playing the most finished delicacy of art in every 
individual figure and ornament, especially in the 
arabesque pilasters, in the manner of Mantegna. 
Lanzi further says that when Raflaelle was in the 
midst of his career at Rome, and was more regard- 
ed in the light of an angel than a man, and had 
already executed some works at Bologna, '' he be- 
gun a correspondence with Francia, urged to it b}^ 
the letters of the latter; Raffaelle became his 
friend, and on sending to Bologna his picture of 
St. Cecilia, he requested him, on discovering any 
error in it, to correct it; an instance of modesty 
more to be admired in our Apellcs, than even his 
paintings." This occurred in 1518. in which year 
Vasari closes the life of Francia, who, he declares, 
died of melanchol}' on finding how nmch Raffaelle 
exceeded him in every particular of the art. But 
Lanzi proves this a " weak invention of the ene- 
my," and that he viewed it with enthusiastic ad- 
miration. Malvasia, also sa3^s,that " he lived many 
years afterwards, and though aged and declin- 
ing, he changed his manner." It is clearl}^ proved 
that he painted his celebrated St. Sebastian, after 
this event, founded on the manner of Raffaelle, 
which he exhibited in a room at the Mint, and 
which for a long time, according to Malvasia, 
served as a studio for the Bolognese pupils, who 
flocked to it to copy its proportions with as much 
zeal as the ancients did a statue of Polycletes, or 
the moderns, the Apollo in the supposed Antinous 
Belvidere. Francia also painted in fresco, but with 
less success. Lanzi shows that he died April 7, 
1533. 

FRANCIA, GiAOOMO, was the son and scholar 
of the preceding artist, whose style he so close- 
ly imitated that it is now often difficult in the 
gallery at Bologna to distinguish the works of 
the fixther from those of the son. He painted 
much for the churches and public edifices at Bo- 
logna, where they are held in great veneration. 
He also painted sometimes in conjunction with 
his father, as in the church of S. Vitale, where, 
in a Nativity, Giacomo painted the figures, and 
Francesco the cherubs! Lanzi says that in his 
earlier works he did not equal his father, but in 
progress of time, he acquired a more free and easy 
manner. Some of his Madonnas were copied, and 
engraved by Agostino Caracci. He died at Bo- 
logna in 1557. He had a son, named Gio. Battista, 
whom he instructed in the art, but he never ac- 
quired any celebrity, though there is an altar- 
piece by him in the church of S. Rocco, and a few 
other specimens at Bologna, which do not rise 
above mediocrity. He died in 1575. 

FRiVNCIA, Giulio. or Raibolini, was a cousin 
of Francesco, flourished at the same time with 
him at B-ologna, but never acquired much distinc- 
tion, and died in 1540. 
i FRANCIA, Francesco Maria, an Italian on- 



FRAN. 



324 



FRAN. 



gra'ver, born at Bologna in 1G57 ; died in 1735. 
He studied in the school of Francesco Curti, where 
he made rapid improvement. The Jesuits em- 
ployed him to execute some plates of saints and 
sacred subjects after various masters, and he soon 
rose to distinction. His works are distinguished 
for correctness of design, and great intelligence of 
chiaro-scuro. He was ver}- laborious, his plates 
numbering about 1500. The Miisee cle Florence 
has four portraits of ancient painters, engraved by 
this artist. His finest plate is the Conception of 
the Virgin, after- Franceschird. 

FRANCIA, DoMENico, an Italian painter, the 
son of the preceding, born at Bologna in 1702. He 
studied under Franceschini, and afterwards under 
Bibiena, of whom he became one of the most dis- 
tinguished scholars. In 1723, he went to Vienna 
and associated himself with Giuseppe, a son of Bi- 
biena. They both visited Prague, to assist in pre- 
paring for the ceremony of the coronation of 
Charles VI. He was much employed in designing 
sumptuous court festivals, the elegance and splen- 
dor of which gained him great reputation, and 
he was employed by several sovereigns for this 
purpose. On returning to Vienna, he received 
various commissions, and executed a number of 
works which were greatly admired, especially for 
their admirable perspective. The king of Sweden 
appointed him cabinet painter, and in 1736 he 
went to Stockholm, remaining there till 1744. du- 
ring which time he executed many excellent works 
for the royal palaces. He then visited Lisbon, 
and afterwards Rome, leaving proofs of his talents 
in both those cities. He subsequently revisited 
Vienna, and executed several new works ; after 
which he returned to Bologna. Commissioned to 
paint in fresco the wall of the convent of the Con- 
ception, he commenced the work, but unhappily 
fell from a ladder, and died in 1758. 

FRANCIA, Marc' Antonio, called also Fran- 
ciA BiGi and Francia Bijio. See Bigio. 

FRANCISQUE. See Mile. 

FRANCK. CoNSTANTiNE, a Flemish painter, 
born at Antwerp about 1660. He was distin- 
guished for his skill in painting battle-pieces and 
sieges ; and his works possess great merit, though 
usually somewhat dry and hard, and perhaps not 
equal to the productions of Vandermeulen. His 
mas.ter-piece is much superior to his usual produc- 
tions, representing the Siege of Namur by king 
William, in which he introduced the portrait of 
that monarch and those who attended him. The 
town was seen in the distance, and the encamp- 
ment was between the principal group of figures 
and the city. 

FRANCK. Hans, an old German wood engraver, 
who is supposed to be the same as Jan Franck^ 
who resided at Nuremberg and wrought for Albert 
Durer. Among other works, he assisted in the 
Triumph of the Emperor Maximihan, after Hans 
Burgkmair. 

FRANCK, or FRANCKEN, Jerome, a Flemish 
painter, born, according to Brulliot, in 1542, at Her- 
enthals, near Antwerp, and studied under Francis 
Floris, on leaving whom he visited Paris, and was 
employed by Henry HI., whose portrait he paint- 
ed, and was appointed painter to the king. He af- 
terwards visited Italy, and remained some time at 
Rome. On returning to Flanders, he soon gained 



reputation, and succeeded in establishing a suc- 
cessful academy. Among his principal works is 
the great altar-piece in the church of the Corde- 
liers at Paris, representing the Nativity, dated 
1585 ; also another, in the Cathedral at Antwerp, 
representing one of the miracles of St. Gomer, 
signed H. F. F., 1607. At the death of Francis 
Floris, the scholars of that master placed them- 
selves mider the tuition of this artist. He died, 
according to Zani, in 1620. 

FRANCK, or FRANCKEN, Francis, called the 
Elder, a Flemish painter, the younger brother of 
Jerome F., born at Antwerp about 1546. He 
studied under Francis Floris, and painted history 
with considerable reputation. His easel pictures 
are superior to his larger works ; they are well 
colored, and touched with great freedom and effect. 
In 1581, he w^as received into the academy at Ant- 
werp. His master-piece is an altar-piece in the 
cathedral of that city ; the principal picture repre- 
senting Christ among the Doctors ; and on the 
two folding doors, the Baptism of St. Augustine, 
and the miracle of the Widow of Sarepta. He 
died in 1616. 

FRANCK, or FRANCKEN, Ambrose, the 
youngest brother of Jerome F., was born at Ant- 
werp about 1549. He studied under Francis Flo- 
ris, and painted history with reputation. He exe- 
cuted a number of works for the churches of the 
Low Countries, among which is an altar-piece in 
the cathedral at Antwerp, representing the Mar- 
tyrdom of St. Crispin, and also a picture of St. 
Luke painting the portrait of the Virgin. 

FRANCK, or FRANCKEN, Sebastian, the el- 
der son of Francis Franck the Elder, was born at 
Antwerp in 1573. He studied under Abraham van 
Oort, and gained considerable reputation for his 
battle-pieces and skirmishes of cavalry. He af- 
terwards painted landscapes, into which he intro- 
duced sacred subjects, and in these he v^^as consid- 
ered one of the best artists of his time. Some of 
his finest productions are in the collections of the 
Elector Palatine, one of which, representing the 
Works of Mercy, is highly esteemed. 

FRANCK, or FRANCKEN, Francis, called the 
Younger, was the younger son of Francis Franck the 
Elder, born at Antwerp in 1580. He studied under 
his father, and followed his st3de for some time, 
after which he visited Italy, and resided chiefly at 
Venice, where he studied the works of Titian and 
Tintoretto. After an absence of three years he 
returned to Antwerp, and was admitted to the 
academy in 1605. He painted several works for 
the churches at Antwerp, one of the best of which 
is Christ Disputing with the Doctors, in the Ca- 
thedral. C. de Bie places his death in 1642. 

FRANCK, or FRANCKEN, John Baptist, 
the son of Sebastian F,, born at Antwerp in 1600. 
He studied under his father, whose style he fol- 
lowed for some time, but subsequently greatly im- 
proved himself by an assiduous study of the works 
of Rubens. He first painted subjects of history; 
but subsequently became greatly distinguished for 
his interiors of saloons and galleries, decorated with 
paintings and statuary, with gallant assemblies 
of figures and conversations. These works were 
touched in a very spirited style, with great beau- 
\ ty of coloring; they were much in request, and 
1 were placed in the choicest collections. The small 



FEAN. 



325 



FRAN. 



pictures which he introduced into his galleries, 
were painted so exactlj^ in the style of the master 
he wished to imitate, that it was easy to point out 
the original artist. His talents were often em- 
ployed in executing the figures in the compositions 
of his cotemporaries ; many of the interiors of Pe- 
ter Neefs are decorated with figures by this ar- 
tist. 

FRANCK, John Ulrich, a German designer 
and engraver, born at Kaufbeuren. in Suabia, in 
1603. He resided chiefly at Augsburg, where 
he etched several plates from his own designs, 
among which are the following: A set of four 
Battles of Cavalry ; Hans Ulrich Franck. f. 1643. 
The Meeting of David and Abigail. Alexander 
and the dying Darius. 1644. 

FRANCK, John, a German engraver, the son 
of John Ulrich F. He executed several plates for 
the booksellers, among which are some of those in 
the Prior ata Hist. Leop. He also engraved a set 
of the gardens and fountains in the vicinity of 
Rome, in concert with Susanna Sandrart and J. 
Meyer. 

FRANCK, Francis Frederic, another son of 
John Ulrich F., was a portrait painter, as ap- 
pears from several plates by Kilian, bearing his mo- 
nogram of three F's interlaced, and the date 1683. 

FRANCKALLS, Baptist, an engraver of little 
note, mentioned by Florent le Comte, who says he 
excelled in engraving tournaments, theatrical scenes. 
and magnificent decorations. 

FRANCO, Alfonso, an eminent painter of Mes- 
sina, was born in 1466, and died of the Plague in 
1524. Hakert says he was the boast of his age, 
in Messina, and that he painted in a natural man- 
ner, with a correct design and a lively expression, i 
which made his works so much sought after, that | 
the}^ have left only two of his pictures in his native 
place, — a Deposition from the Cross, at the church 
of S. Francesco de Paolo, and the Dispute of Christ 
with the Doctors, at S. Agostino. 

FRANCO, Angiolo, an old Neapolitan painter, 
who died about 1445. According to Dominici, he 
studied under Calantonio del Fiore, and painted in 
the style of Giotto, with a stronger management 
of chiaro-scuro. 

FRANCO, Battista. called il Semelei, an em- 
inent painter and engraver, born at Venice in 1498. 
After acquiring the elements of design in his native 
city, he went to Rome, where he studied with great 
assiduity the works of Michael Angelo. He also 
visited Florence, where he copied all the pictures, 
sculptures, and designs of that great master. By 
his careful study of these excellent models, Franco 
became one of the ablest designers of his time, al- 
though he was less successful in coloring. Vasari 
mentions among his best productions, the frescos 
in a chapel alia Minerva at Rome, representing 
several subjects from the Evangelists. He painted 
in fresco the choir of the Metropolitan church at 
Urbino ; and a picture in oil representing the Vir- 
gin and Infant between St. Peter and St. Paul, 
which, according to Lanzi, is painted in the best 
style of Florentine art, though there is something 
of stiffness in the figure of St. Paul. In the Sa- 
cristy of the cathedral at Osimo, are several easel 
pictures from the Life of Christ, which are consid- 
ered as rarities, as he seldom painted any small 
works. As an engraver, Franco attained great ex- 



cellence. It is supposed that he acquired this art 
from Marc' Antonio Raimondi, which conjecture is 
strengthened by the resemblance of his style to 
that of Giulio Bonasone, a pupil of that great mas- 
ter. The plates of Franco are worked entirely 
with the graver, although some of them appear to 
have been assisted with the point. They are exe- 
cuted in a free, bold, but pleasing style. His de- 
sign evinces the grandeur and correctness of his 
favorite model, Michael Angelo ; and his masses 
of light and shadow are broad and masterly. He 
usually marked his plates B, F. V. F,. for Battista 
Franco Venetiis^ fecit. Bartsch enumerates over 
100 prints by him, among which is one dated 1563. 
Zani says he was living in 1566 ; and Vasari says 
he died in 1580. Lanzi, however, places his death 
in 1561. The following are his principal plates: 

Moses striking the Rock. Abraham meeting Melchise- 
clec. Abraham sacrificing Isaac. The Israelites gathering 
Manna in the Desert. The Captive Kings brought before 
Solomon. The Adoration of the Shepherds, with Angels 
in the Clouds. The Virgin and Infant, with St. John. St. 
John the Baptist. St. .JerDme holding a Skull. Christ dis- 
puting with the Doctors. The Entombing of Christ by the 
Disciples. Simon the Magician before the Apostles. The 
Cyclops at their Forge. Hercules and Dejanira. The Do- 
nation made to the Church by the Emperor Constantine ; 
after Rnffaelle. A Bacchanalian subject ; after Giulio 
Romano. The Triumph of Bacchus; do. The Deluge; 
after Polidoro da Caravaggio. 

FRANCO, Giacomo, an Itahan designer and 
engraver, probably a relative of Battista F., born at 
Venice about 1560. His design is correct; the 
heads have a fine expression ; and his style is free 
and masterly, resembling that of Agostino Caracci. 
The following are his principal plates : 

Part of the plates for an Edition of Tasso's Jerusalem, 
published at Genoa in 1590; after the designs of Bernar- 
do Castelli; the rest were engraved by Agostino Caracci. 
Habiti delle Donne Venetiane ; published in 1626. A col- 
lection of portraits of the Great Men ; dated 1596. St. 
Jerome ; J. Franco Rovfice, sc. The Crucifixion ; signed 
Giacomo Franco, fee. Hercules between Virtue and 
Pleasure ; from an antique basso relievo. 

FRANCO, Giuseppe, called also De' Monti, and 
Dalle Lodole. a reputable Roman painter, who, 
saj's Baglioni, was one of the artists emploj-ed on 
the works prosecuted by Sextus V. He after- 
wards went to Milan, where he resided many 
years. He was called Lodole, because he often 
marked his pictures with a Lark. He died in the 
pontificate of Urban VIII. 

FRANCO, Lorenzo, a Bolognese painter, was 
born, according to Malvasia, about 1563. He 
studied under Procaccini. He afterwards became 
an excellent imitator of the manner of the Caracci, 
though in the opinion of P. Resta, his style was 
somewhat too minute. He settled at Reggio, 
where he painted history with success, and exe- 
cuted some works for the churches. 

FRANCO, Bolognese. See Da Bologna. 

FRANCOIS, Lucas. This painter was born at 
Mechlin, in Flanders, in 1574. It is not known 
under whom he studied ; but he painted history 
with considerable reputation, and was also much 
employed as a portrait painter. He visited the 
courts of France and Spain while young, where he 
gained eminence, and was appointed painter to both 
of the reigning monaichs. After six years he re- 
turned to Flanders, where he painted several altai-- 
pieces for the churches, which are deserving of 
great praise. There is a fine picture by him at 



FRAN. 



320 



FRAN. 



Tournay, in the Abbey of St. jSIartiii; represent- 
ing St. Placido and St. Maurice ; also in the church 
of°St. Catherine, at Mechlin, the Martyrdom of 
St. Lawrence. He died at ]\Iechlin, in 1643. 

FRANCOIS, Peter. This painter was the son 
of Lucas F., born at Mechlin in 1006. He studied 
under his father for some time, and followed his 
style in large historical works ; but he subsequent- 
13'^'entered the school of Gerard Segers, whose acad- 
emy was then in high reputation, and adopted a 
mode of painting history and portraits of a size 
smaller than life, which were highly esteemed for 
beauty of coloring, and neatness of penciling. The 
archduke Leopold invited him to his court, and fa- 
vored him with his patronage and esteem. He was 
also invited to Paris, where his works were much 
admired, and gained him great reputation and em- 
ployment. He remained in France four years, and 
then returned to Flanders, where he practised the 
art with great success. His design is firm and 
correct, his compositions ingenious, and his color- 
ing clear and seductive. At Mechlin, in the church 
of the Nuns of Bethenian, are two pictures by 
Peter Fran9ois, of subjects from the history of 
their order. He died in 1654. He had a young- 
er brother named Lucas, born at Malines in 1615. 
He painted history and portraits with considerable 
reputation, and resided for several years in France, 
where he practised the art with excellent success. 

FRANCOIS, Simon, a French painter, born at 
Tours in 1606. He made some progress in the 
art without the aid of an instructor, after which 
he went to Italy, where he remained several years, 
and formed at Bologna the acquaintance of Guido, 
whose portrait he painted. On returning to France, 
he settled at Paris, where he painted the portrait 
of the young Dauphin. This work was much ad- 
mired, and the artist anticipated a brilliant and 
fortunate career, but was unfortunately disappoint- 
ed. He died at Paris, in obscurity, in 1671. 

FRANCOIS, Jean Charles, a French engra- 
ver, born at Nancy in 1717. According to Zani, 
he was the original inventor of the st3'le of engrav- 
ing in imitation of crayons, and that author cites 
a letter addressed to M. Saverien in 1740, in proof 
of his position. He published a work on his dis- 
covery, which gained him great reputation ; and 
his admirable productions, which could not be dis- 
tinguished from crayon drawings, gained him a 
pension from the king of 600 francs. Fran9ois 
also executed a number of small portraits with 
the graver ; besides the plates for the History of 
the Modern Philosophers^ by Saverien. Brulliot 
and Zani say he died in 1769. The following are 
his principal plates : 

Louis XV., King of France. His Queen. Peter Bayle ; 
after Carle Vanloo. Desiderius Erasmus; after Hol- 
bein. Thomas Hobbes ; after Pierre. John Locke ; after 
Vien. Nicholas Malebranche ; after Bachelier. The 
Dancers ; after F. Boucher. A March of Cavalry ; after 
Parrocel. 

FRANCUCCI, Innocenzio, called da Imola, 
born at Imola, though he resided chiefly at Bo- 
logna. In 1506, he entered the school of Frances- 
co Francia, and subsequently went to Florence, 
according to Malvasia, where he remained several 
years in the school of Mariotto Albertinelli. His 
style is founded on that of il Frate and Andrea 
del Sarto, whose works he appears to have studied 
with great assiduity. His pictures are all of a 



sacred character, and he usually avoided those sub- 
jects which call for crowded compositions, or 
violent attitudes, as his character was remarkable 
for meekness and placidity. He executed a large 
number of works for the Bolognese churches, and 
some of them are so much in the simple and beau- 
tiful style of Raffaelle, that the}^ seem to have been 
painted from the designs of that master. Among 
these are his admirable frescos in the chapter of S. 
Michele in Bosco, representing the Four Evangel- 
ists, the Annunciation, the Death of the Virgin, 
and the Assumption. In the same church he exe- 
cuted the principal altar-piece, which is designed 
entirely in the taste of Raffaelle, and may be ranked 
among his finest productions, representing the Vir- 
gin and Infant in the Clouds, and below St. Mi- 
chael, St. Peter, and St. Benedict. He sometimes 
painted small pictures under his altar-pieces, which 
are very beautiful ; in S. Giacom.o, under his large 
painting of the Marriage of St. Catharine, is an 
exquisite little picture of the Nativity. In S. 
Matteo is an altar-piece of the Virgin and Infant 
with several Saints ; and below four small pic- 
tures, representing Christ appearing to Mary Mag- 
dalene in the Garden; the Presentation in the 
Temple ; St. Peter, Martyr ; the Nativity ; and 
Christ in the midst of the Doctors. He was an 
adept in perspective, as is evident from his im- 
mense fresco work in the cupola at Facnza, in 
which Lanzi compares his landscape and perspec- 
tive to Leonardo da Vinci. Malvasia says he died 
of a pestilential fever, at the age of 50. The date 
of his last work is 1549. 

FRANGIPANE. Niccolo, an Italian painter, 
born at Padua, or Udine — for writers differ. He 
flourished from 1565 to 1597, as appears from the 
dates of his works, which prove him to have been 
an artist of great abilities. At Pesaro is an altar- 
piece by him, of St. Stefano ; and at Padua, in the 
church of S. Bartolomeo. a fine picture of St. 
Francesco, dated 1588. His master-piece, how- 
ever, is the Assum.ption, in the Conventuali at 
Rimini, which Lanzi mentions in the highest terms. 

FRANQUAERT, James, a Flemish painter and 
architect, born at Brussels, according to Balkeraa, 
in 1577. His parents were highly respectable, 
and gave him a liberal education ; but having early 
manifested an inclination for art, he was sent to 
Italy, where he studied painting and architecture 
for several years. On returning to Flanders, he 
soon gained a good reputation, and was appointed 
principal painter and architect to Albert and Isa- 
bella, then governors of the Low Countries. Fran- 
quaert was highly esteemed by his patrons, who 
employed him in several important works in both 
arts. There are a number of his pictures in the 
church of the Jesuits, at Brussels, which edifice 
was erected from his own designs. He died in 
that city, in 1652. 

FRANS, Nicholas, a Flemish painter, born at 
Mechlin in 1539. He painted history with repu- 
tation. His drawing is correct, and his coloring 
excellent. In the collegiate church of Our Lady, 
at Mechlin, is an altar-piece by this master, repre- 
senting the Flight into Egypt ; and in the church 
of Hanswyck, near Mechlin, are two pictures of 
the Visitation and the Annunciation. 

FRANSSIERES, J. de, a French engraver of 
little note. He executed, among other works, part 



FRAR. 



327 



FREE. 



of the plates for a set of Turkish habits, published ' 
at Paris in 1714, by M. de Ferriol. 

FRARI, Francesco. See Bianchi. 

FRATACCI, or FRATAZZI, Antonio, a na- 
tive of Parma, who studied under Carlo Cignani, 
and became an excellent imitator of his style. 
There are some of his works in the churches at 
Bologna. At Parma, Lanzi says, he was not much 
employed in public, but his works are to be found 
in the collections, where they hold quite a high 
rank. He painted at Parma in 1730. 

FRATE, iL. See Della Porta. 

FRATE, Paolotto il. See Ghislandi. 

FRATE LLINI, Giovanna, a celebrated Italian 
paintress, born at Florence in 1666. She early 
manifested a strong inclination for the art, and at- 
tracted the attention of the Grand Duchess Vic- 
toria, who took her under her protection, and 
caused her to be instructed in drawing and music, 
by the best masters. She afterwards learned min- 
iature painting under Ippohto Galantini, and finally 
completed her studies under Antonio Domenico 
Gabbiani. She painted historical subjects and por- 
traits in oil, in miniature, and in crayons. — 
In the latter she chiefly excelled, and equalled 
the celebrated Rosalba. She soon gained a wide- 
spread reputation, and was much patronized by 
the nobility of Florence, and the most illustrious 
personages of Italy. She painted the portrait of 
Cosmo III., and that of the Grand Duchess, her 
patroness. One of her finest productions is a pic- 
ture in the Ducal Gallery at Florence, representing 
her painting the portrait of her son. She died in 
1731. 

FRATELLINI, Lorenzo Maria, a Florentine 
painter, the son and scholar of Giovanna F., born 
in 1690. He afterwards studied in the school of 
A. Domenico Gabbiani, where he acquired a ready 
and correct style of design. He painted history 
and portraits with reputation, and bid fair to at- 
tain great distinction ; but he died, in the prime 
of life, in 1729. 

FRATTINI, Gaetano, a painter of the Bo- 
lognese school, who studied under Franceschini. 
He was a reputable artist, and there are some pic- 
tures by him in the churches at Ravenna, particu- 
larly an altar-piece at the Corpus Domini. 

FREART, Roland, be Ghambray, an eminent 
French architect, who fiourished about 1640. He 
was the cousin of M. Desnoyers, the Secretary of 
War, and Superintendent of Buildings under Louis 
XIII. He was twice sent to Rome by the King, 
on some important affairs, and availed himself of 
these opportunities to make a collection of all that 
was rare and curious in the fine arts of Italy, 
which laid the foundation for his excellent and 
very useful treatise, entitled Parallele de V Archi- 
tecture Antique avec le Moderne. While Bernini 
was, in France, the King desired M. de Chambray 
to work in concert with that architect, who soon 
discovered his superior acquirements, and told the 
King that in M. de Chambray he had a master 
whom he should have felt an honor in following, 
and that he was not so bold as to make any change 
in his design for the Louvre. This tribute of 
praise is given on the authority of Milizia. and is 
of the very highest character, coming from so 
i-lustiious an artist as Bernini. 



FREEBAIRN, Robert, an English landscape 
painter, born in 1765 ; studied a short time under 
Richard Wilson, after which he went to Italy 
and remained about ten years. His talents were 
of a common order, and he never attained dis- 
tinction. On his return to England, he met with 
several patrons, and as he was slow of execution, 
it is probable that they were the chief purchasers 
of his works. He executed about forty prints of 
Italian and English scenery. He died in 1808. 

FREEZEN, John George, a German painter 
of fruit and flowers, born at Palts. near Heidelberg, 
in 1701. He first studied under John van Nikke- 
len, and afterwards in the school of Philip van 
Dyck, of whom he was one of the most distin- 
guished pupils. He was patronized by the Duke 
of Hesse, and was appointed historical and por- 
trait painter to the court of Cassel. 

FREMIN, Rene, a French sculptor of emi- 
nence, born at Paris in 1673. He studied the ele- 
ments of the art in his native city, and afterwards 
went to Italy. On his return he soon gained re- 
putation, and produced a number of good works 
for the churches and public edifices, among which 
were the bas-relief in the chapel de Noailles 
at Notre Dame ; the great altar in the chapter of 
the Louvre ; and the statue of St. Sylvia, in the 
chapel of the Invalides. At this time, Philip V., 
of Spain was commencing the gardens of St. Idel- 
fonso, in imitation of those at Versailles, and 
among many other artists he invited Fremin, who 
was employed from 1722 to 1729. Among other 
works, he executed the statue of Apollo ; the busts 
of Phihp and his Queen ; a group of the Four 
Elements ; a statue of Minerva ; and the Fountain 
of Perseus, which sends up a jet of water 115 feet 
high. In 1745, he returned to Paris, loaded with 
riches and honors. 

FREMINET, Martin, an eminent French paint- 
er, born at Paris in 1567. He was the son and 
scholar of an obscure painter, and with no better 
advantages, he acquired sufiicient ability to pro- 
duce his fine picture of St. Sebastian, in the 
church of S. Josse, at Paris. He afterwards visit- 
ed Rome, where he formed an intimacy with Giu- 
seppe Cesari, though he did not follow the manner 
of that master. His style was founded on that 
of Michael Angelo, whose works he studied with 
great assiduity. He possessed a ready invention ; 
his design was bold rather than elegant, and _ he 
was a perfect master of anatomy and perspective. 
In attempting to imitate the grandeur of Buona- 
rotti, he fell into an extravagant style, and the 
movement of his figures is strained and violent. 
Freminet visited Florence, and afterwards Parma, 
where he studied some time the works of Par- 
miggiano. After passing fifteen years in Italy, he 
returned to Paris, in the reign of Henry IV., who 
appointed him his painter, and employed him in 
the chapel at Fontainbleau, but the artist had 
hardly commenced that undertaking, when the 
kins: was assassinated. Louis XIII. continued to 
employ him, and honored him with the Order of 
St.^JMichael.' The ceiling of the chapel at Fon- 
tainbleau was his most important work, and gained 
him a great reputation. It represents subjects 
from the Old and New Testaments, among which 
are Noah and his Family entering the Ark, and 
the Annunciation. In the angles he has repre- 
sented the Sibyls, designed in the tasteful style of 



FREE. 



3^8 



FREU. 



Parmiggiano. He did not long survive the com- 
pletion of this work, and died at Paris in 1619. 

FRERES, Theodore or Dirk, a Dutch painter, 
born at Enkhuysen in 1643. His family was an- 
cient and wealthy, and he received a liberal edu- 
cation. He manifested so strong a predilection for 
drawing, that his parents acceded to his desire of 
visiting Italy, and he passed several years at Rome, 
studying the antique, and the best works of mod- 
ern art. He returned to Holland with a large 
collection of drawings he had made in Italy, and 
soon gained considerable eminence. His composi- 
tions are ingenious and tasteful. The studies he 
made in Italy are more distinguished for purity 
and correctness of design, than for beauty of col- 
oring. He is said to have been invited to Eng- 
land by Sir Peter Lely, who promised to present 
him to the king ; but on arriving at London, he 
found the situation he desired filled b}'- Antonio 
Verrio, andtherefore returned to Holland. Among 
his principal works are the ceiling of the public 
hall in Amsterdam, and some pictures in a palace 
of the Prince of Orange. He had just completed 
some important works in the Town-House at Enk- 
huysen, when he died, in 1693. 

FRESNE, Charles du, a French amateur en- 
graver, who lived about 1680, and executed, ac- 
cording to Basan, a few plates, among which is the 
Interview between St. Nil and the Emperor Otho 
III., after Domenichino. 

FRESNOY, Charles Alphonse du, a very 
eminent French painter, was the son of a respecta- 
ble apothecary, born at Paris in 1611. He was 
intended for the medical profession, and received a 
finished classical education; but his genius for 
painting was so decided, that at the age of eighteen 
he ventured to express a wish to study that art. 
His parents opposed him with great pertinacity, 
but he determined to follow the bent of his gen- 
ius at all hazards, and entered the school of Fran- 
cois Perrier, after which he studied under Simon 
Vouet, and remained with those masters three 
years. He then determined to visit Italy, although 
without resources. On arriving in that city, he 
produced a number of views of edifices and archi- 
tectural ruins in and near Rome ; but, though his 
works were not without merit, he found it very 
difficult to attract public notice. Destitute of 
friends, and deprived of all assistance from 
his family, he could scarcely subsist, and re- 
mained for two years in indigence and obscurity, 
until the arrival of his fellow-student, Pierre Mig- 
nard, from Paris. The two friends immediately 
formed for each other an unwavering attachment, 
which lasted their whole lives, and Mignard, who 
was more succesful than du Fresnoy, divided Avith 
his friend the proceeds of his pencil ; and. though 
he possessed a greater facility than the latter, he 
was often aided materially by his profound reflec- 
tions, and his perfect acquaintance with the theory 
of the art. The two artists were employed by the 
Cardinal of Lyons to copy the choicest works of 
Annibale Caracci in the Farnese Gallery, and they 
were most assiduous in their studies of Raffaelle 
and the antique. In 1653, he left Rome for Ve- 
nice, intending to return soon to France, but was 
so much impressed with the works of Titian, that 
he wrote to Mignard to join him in that city, 
where he remained about eighteen months, and 
painted a number of works, whose fine coloring 



evinces the benefit he had received from his studies 
after Titian. In 1656, he returned to Paris, where 
he painted, among other works, a fine picture of 
St. Margaret, for the church of that name, and 
four landscapes in the Hotel d' Amenonville, in 
which the figures were by Mignard. During the 
remainder of his life, he was occupied in preparing 
for publication his admirable poem on the art, 
which evinces a profound knowledge of the theory 
of painting, and has gained for its author a high 
reputation. Among his principal works which he 
executed while residing at Rome, are the Birth of 
Venus ; the Birth of Cupid ; the Filial Piet}^ of 
iEneas; a young Athenian visiting the Tomb of 
her Lover ; the Ruins of Campo Vaccino ; and 
Mars finding Lavinia asleep on the Banks of the 
Tiber — one of his best works. lie died at Paris, 
in 1665. 

FREUDWEILER, Daniel, a Swiss painter, 
born in 1793. He was the son of a poor shoe- 
maker, but manifesting a genius for art. he was 
gratuitously instructed by Pfenninger. and after- 
wards visited Rome in 1818, where he attached 
himself to the study of the works of Raffaelle. 
On his return to Zurich, he had recourse to por- 
trait painting, and acquired considerable reputa- 
tion ; but died in 1827. 

FREUNDWEILER, Henry, a Swiss painter, 
born at Zurich in 1755, and died in 1795. He 
painted portraits with reputation, and is highly 
esteemed for his pictures commemorative of events 
in the national history of his country. 

FREY, James, an eminent Swiss engraver, born 
at Lucerne in 1681 ; died at Rome, in 1752. He 
is better known by his Italian name, Giacomo 
Frey ; though there was another engraver of this 
name, but of inferior abilities. He acquired the 
elements of design in his own countiy, after which 
he went to Rome, at the age of 22, where he stud- 
ied for some time under Arnold van Westerhout, 
but afterwards entered the flourishing school of 
Carlo Maratti, where Robert van Audcnarde was 
then a pupil. Here Frey made rapid progress, and 
was soon considered one of the ablest artists in 
that city. His plates are distinguished lor grace- 
ful and correct design, and most admirable harmo- 
ny of effect. They are etched with spirit, and the 
etching is worked over in a firm and masterly 
style. He is surpassed by few artists for faithful 
imitation of the styles of the masters after whom 
he engraved. He executed a large number of 
plates, of which the following are the principal : 

PORTRAITS. 

Carolus Eques Maratti ; after a picture by himself. — 
Pope Innocent XIII. ; Aug. 3Iassucius, ini\ Pope Ben- 
edict XIII. ; do. Pope Gregory XIII. ; after the viar- 
ble by Camitlo Rusconi. Hieronymaa Picco de Miran- 
dole ; P. Nelly, piiix. Clementina M. Britan. Franc, et 
Hib. Regina ; J. Frey. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family ; copied from Edelinck's print after 
Raffaelle. A Charity, with three Children : after Alb'ano. 
The Death of St. Petronilla ; after Guercino. The Crown- 
ing of the Virgin ; after Caracci. The Virgin giving the 
Scapular to St. Simon Stock; after Seb. Cortca. St. 
Francis do Paula restoring a Child to life ; after 13. Lavi- 
bertini. The Archangel Michael ; after (iuido. The 
Four Fathers of the Church; do. The Death of St. 
Anne ; after A. Sacchi. St. Romuald ; do. The Martyr- 
dom of St. Sebastian; after Domenichino. The Com- 
munion of St. Jerome ; do. The Four Angels of St. Car- 
lo Catenari at Rome, representing Justice, Temperance, 



FREY. 



329 



FRIS. 



Fortitude, and Prudence ; do. The Rape of Europa ; af- 
ter Albano. Aurora, with the Hours dancing before the 
Chariot of the Sun ; after Guido ; in two sheets. Bac- 
chus consoling Ariadne after the Departure of Theseus ; 
do. ; in two sheets. An allegorical subject of Clemency ; 
after Carlo Muratti. St. Bernard ; do. The Adoration 
of the Shepherds ; after Seb. Conca. St. Charles Borro- 
meo interceding for the stopping of the Plague ; after P. 
da Cortona, A Pviposo, where St. Joseph is presenting 
Cherries to the infant Christ; after Carlo Maratti. Ati- 
gustus shutting the Temple of Janus ; do. St. Andrew 
kneeling before the Cross ; do. 

FREY, John Peter de, a Dutch engraver, born 
at Amsterdam in 1770, and studied under Lau- 
wers. Being naturally unable to use his right 
hand, he notwithstanding determined to pursue 
the art with his left, and by indefatigable exer- 
tions surmounted every diflBcult}^. He settled at 
Paris, where he became greatlj- distinguished for 
his able design, and the boldness of his graver. 
His plates exhibit fine and well-exercised talent, 
and there are many prints by him, after Rem- 
brandt, Flink, G. Douw. and other eminent Dutch 
masters, which are highly esteemed, particularly 
the Family of Tobias, the Ship-Builder and his 
Wife, the Anatomical Demonstration, and the Pre- 
sentation in the Temple, all after Rembrandt. — 
Joubert says his last work is dated 1818 ; but 
there is a print by him of the Comte de Hauterive, 
dated 1827, and he was employed in 1830. 

FREZZA. Gio. GiROLAMO, an Italian engraver, 
born near Tivoli, in 16G0. He studied at Rome, 
under Arnold van Westerhout, and executed a 
number of plates, which are etched with care, and 
neatly finished with the graver, but have little 
vigor or efiect. The following are the principal : 

The Gallery of the Verospi palace ; seventeen plates ; 
after the frescos by P. Albano. A set of ten plates, in- 
cluding the title ; after the nine pictures by Niccolo Bere- 
toni, in the church of la Madonna in Monte Santo, at 
Rome. The Twelve Months ; after Carlo Maratti. The 
same subjects are engraved by Poilly. The Virgin suck- 
ling the Infant ; after L. Caracci. The Holy Family ; 
after Carlo Maratti. The Assumption of the Virgin; 
do. The Judgment of Paris ; do. The Riposo, called the 
Zingara ; after Correggio. The Descent of the Holy 
Ghost ; after Guido ; ^scarce. Polyphemus on a Rock, 
and Galatea and her Nymphs on the Sea ; after Sisto 
Badalocchi. Polyphemus hurling a Rock at Acis and 
Galatea; do. Venus; after an antique painting ; for 
the Crozat collection. Pallas ; do. ; do. 

FRIANO, ToMMASo di San. See Manzuoli. 

FRIDERICH, James Andrew, a German en- 
graver, born in 1683. and died in 1751. He exe- 
cuted a number of plates of Hussars, and other 
Horsemen, after Bugendas. 

FRIES, Ernest, a German landscape painter, 
born at Heidelberg in 1801 ; studied at Munich, 
and attained a high reputation. Several of his 
finest works are in the collection of the senator 
Jenisch at Hamburg, and one in that of M. de 
Mitchels at Heidelberg. He died in 1833. 

FRIQUET, DE Vaurose, an artist mentioned 
by Basan, who says he studied painting under Se- 
bastian Bourdon, and also engraved some of the 
works of that master. 

FRISIUS, John Vredeman, a Dutch engraver 
and architect, born at Leuwarde, in Friesland, in 
1527. He executed the plates for a book of mon- 
uments, published at Antwerp in 1563, by Jerome 
Cock. They are etched, and finished with the 
graver, with considerable intelligence. As an ar- 



chitect, he erected, among other works, the trium- 
phal arch for the Entry of Charles V. into Ant- 
werp. 

FRISIUS, John Eillart. This engraver was 
probably a relative of the preceding, and was 
chiefly employed by the booksellers, for whom he 
executed a number of portraits, among which are 
those of Henry IV. of France, and Henry of Nas- 
sau. Prince of Orange ; scarce. 

FRISIUS, Simon, an eminent Dutch engraver, 
born at Leuwarde, in Friesland, about 1590. and 
was probably a relative of the preceding artists. 
He is regarded as the first who brought etching 
to perfection, and Abraham Bosse, in his treatise 
on the art of engraving, &c,, thinks Simon Frisius 
entitled to great credit for being one of the first 
that handled the point with freedom and facility. 
His etchings are in a bold and masterly style, and 
in his hatchings he approaches the neatness and 
strength of the graver. The small figures in his 
landscapes are correctly drawn, and his prints are 
scarce and highly esteemed. They are frequently 
marked S. F.. fecit, and sometimes with the word 
fecit only. The following are the principal : 

A set of twelve small heads of female Saints and Sibyls ; 
marked fecit ; after his own designs. A set of portraits ; 
after Henry Hondius. A set of twelve plates of Birds 
and Butterflies ; after Mark Gerard. Twenty-five Views 
and Landscapes ; after Matthew Brill, entitled, Typo- 
graphia Variorum Regionum. aeri incisa a Simone 
Prisio, ab J. Visschero excusa. 1651. A mountainous 
Landscape on the Sea-Coast, with figures ; marked Henry 
Goltzius inv. Simon Prisius,fec. A Landscape, with a 
Tower. 1608 ; Henry Golzius, inv. Lastman, inv. S. 
Prisius,fec. aqua fort. A Landscape, with the Flight 
into Egypt ; Hondius inv. S. Frisius, fee. A Landscape 
with two pastoral figures ; marked (S. Prisius ; highly fin- 
ished, and very scarce. 

FRISO, DEL. See Benfatto. 

FRITS, or FRITZ, Peter, a Dutch painter, 
born at Delft in 1635. His subjects were incan- 
tations, and similar absurdities, in the style of 
Jerome Bos. He visited several courts of Europe, 
but had little success, and died in 1682. 

FRITSCH, Daniel, a German painter, who 
lived about 1590, and was an imitator of Lucas 
Cranach. Kugler mentions a picture in the church 
at Templehof, near Berlin, dated 1596, which was 
supposed to be the work of Cranach, but on cleaning 
was found to be by Fritsch. That author says it 
is inferior to the later works of Cranach, but is 
distinguished for the excellence and individual 
truth of the heads. 

FRITZSCH, Christian, a German engraver, 
and a native of Hamburg. He wrought chiefly for 
the booksellers, for whom he executed a number 
of portraits, among which are those of Benedict 
XIV., and John Churchill, Duke of Marlborough. 

FRIULANO, Niccolo, an old artist of Friuli, 
some of whose works are found at Gemona, one of 
which is signed Magister Nicolaus Pintor me fe- 
cit. 1332. Lanzi says that to this artist is as- 
cribed that vast and meritorious production, still 
in such a state of fine preservation, ornamenting 
the dome of Venzone, and which represents the 
solemn scene of the Consecration. 

FROMANTIOU, Henry de, a German painter, 
born at Nimeguen in 1630. In the gallery at 
Saltshal, is a beautiful flower-piece by him. It is 
said that he followed the style of Rembrandtj and 



FROS. 



FUES. 



thnfc Wouwerman gave him his daughter in mar- 
riage, with a large portion ; but this is rather 
apocryphal, as Wouwerman never became rich by 
his profession, but died in chagrin at finding his 
works so little esteemed. 

FROSNE, Jean, a French engraver, born at Pa- 
ris about 1630. He executed part of the orna- 
mental plates for the collection of Views, &c., by 
S. de Beaulieu. Marolles also mentions forty- 
three portraits by him, among which are the fol- 
lowing : 

Claude Baudry, Abbe de la Croix; after Le Bon, 
1657. Louis de Lorraine, Due de Joyeuse. Henry d'Or- 
leans, Duo de Langueville. Nicholas Dauvet, Comte de 
Desmarez ; after Stresor. Nicholas Potier, President of 
the Parliament. M. Dreux d' Aubray. 

FROST, George, an English painter, born in 
Suffolk in 1744. He became somewhat distin- 
guished for his landscapes, bcth in oil and in water- 
colors, which he executed in the style of Gains- 
borough, of whose pictures and designs he pos- 
sessed a large collection. He died in 1821. 

FRUTET, Francisco. This painter was a na- 
tive of Flanders, though he resided chiefly at Se- 
ville, where he flourished about 1548. It is not 
known by whom he was instructed, but it is 
probable he formed his style from the study of 
the great works of art at Rome, as his taste of 
design resembles the elevated character of that 
school, and exhibits little of the taste of his coun- 
try. His master-piece is in the chapel of the Hos- 
pital of St. Cosmo and Damiano at Seville. In 
the centre picture he has represented the Cruci- 
fixion; on the outside of the folding doors, the 
Virgin and Infant, with St. Bernard ; on the in- 
side. Christ bearing his Cross, and the Entomb- 
ment. 

FRUYTIERS, Philip, a Flemish painter, born at 
Antwerp according to Balkema, in 1625. His first at- 
tempts ivere historical subjects in oil, and he execu- 
ted an excellent altar-piece for the cathedral, repre- 
senting the Virgin and Infant sitting on a Globe, with 
a choir of Angels. He soon, however, gave up oil 
painting for distemper and miniature, and attained 
a reputation in these branches second to no other 
artist of his time. His works are characterised 
by a ready invention, and an excellent system of 
coloring. He was highly esteemed by Rubens, 
who employed him to paint the portraits of him- 
self and family, which were executed greatly to 
the satisfaction of that master. Fruy tiers etched 
a number of plates in a masterly manner, which 
are chiefly portraits. He died in 1677. 

FRYE, Thomas, an English portrait painter and 
engraver, born about 1724. He painted portraits 
vrith some success, and executed several plates in 
mezzotinto, among which are the following : His 
Majesty George III. The Queen. His own por- 
trait. That of his Wife, and the celebrated JMiss 
Pond. 

FUCCIO, an old Florentine architect and sculp- 
tor., mentioned by Vasari. In 1229 he erected the 
church of S. Maria at Florence, on the Arno. He 
also finished the Vicaria at Naples, the Castle dell' 
Vovo, begun by Buono ; he erected the gate over 
the Volturno at Capua, and enclosed two parks 
with walls, for the chase, one at Gravina, and the 
other at Melfi. 

FUENTE, Juan Leandro de la, a Spanish 



painter, who possessed great talent, though not 
mentioned by Palomino or Pons. He was born at 
Granada in 1600. His subjects and manner of 
treatment resemble the Bassans ; he was distin- 
guished for correctness of design, vigor of chiaro- 
scuro, and a beauty of coloring that nearly ap- 
proaches the excellence of the Venetian school. 
In S. Giovanni at Granada is a fine picture by 
Fuente, representing that saint kneeling before the 
Infant Jesus ; and in the Augustines another ad- 
mirable work representing the Passion of Christ. 
For S. Laurentio at Seville, he painted the Birth 
of Christ, which has been copied many times. 
But his master-piece is an emblematical work in 
S. Felipe el Real at Madrid, representing Charity, 
with figures of life size ; it is very highly esteemed 
for its elevated taste of design, fine expression of 
the heads, and beauty of coloring. There are also 
many other of his works in Granada, Seville, and 
Madrid. He died in 1654. 

FUESSLI, Henry. See Fuseli. 

FUESSLI, Matthias, a Swiss painter, born at 
Zurich in 1598. He studied under Gothard Ring 
gli, and afterwards visited Italy for improvement, 
where he acquired the esteem of Tempesta and 
Spagnoletto. On his return to Switzerland, he 
gained considerable reputation for his works, 
which were chiefly battle-pieces, conflagrations, 
and the sacking of cities. He died in 1665. Both 
his son and grandson attained good reputations as 
portrait painters. The latter died in 1739. 

FUESSLI, John Melghior, a Swiss engraver, 
born at Zurich in 1677, and died there in 1736. 
He was talented and indefatigable, and has de- 
signed and executed a great number of plates, 
among which is that of the Ceremony of the Oaths, 
by which was consecrated the alliance of the re- 
public of Venice with the two cantons of Zurich 
and Berne. The principal part of the plates for 
the Bible of Scheuchzer, were engraved after de- 
signs of this artist. 

FUESSLI, John Caspar, an eminent Swiss 
painter, born at Zurich in 1706. He visited Vi- 
enna, where he studied some time under John 
Kupetski, and attained considerable distinction, 
particularly for his portraits, which were much 
admired. He was appointed painter to the court 
at Rastadt, where he resided several years, after 
which he returned to Zurich, and practised the art 
with reputation. He executed a series of magiste 
rial portraits, which have been engraved in mez 
zotinto by Valentine Daniel Preisler, and others 
He also designed and engraved the portraits for 
the Lives of Swiss Painters, by himself, in three 
volumes. He died in 1781. 

FUESSLI, John Rodolph, a Swiss painter and 
engraver, the elder son of John Caspar F., born at 
Zurich in 1737. He studied under his father, and 
I became skilful in both departments of art. In 
j 1765, he visited Venice. In 1798, he commenced 
! his Catalogue Raisonne of the works of the best 
engravers of each school, but only lived to com- 
plete four volumes, comprising the best produc- 
tions of the Flemish and Italian schools. He died 

! in 1806. 

! 

I FUGA, Ferdinando, an eminent Italian archi 

i tect, born at Florence, according to Milizia, in 

[ 1699. He was of noble descent and received an 

1 education suited to his rank. At twelve years of 



FUGE. 



331 



FULC. 



age, he began to study the elements of architecture 
under Gio. Battista Fugini, an architect and sculp- 
tor of some eminence ; at eighteen he was sent to 
Rome, where, delighted with its ancient rem.ains 
and modern edifices, he fixed his residence. In 
1725 he was sent to Naples b}^ the Cardinal Giu- 
dire, to erect a public chapel in the portico of the 
court of his palace, called di Cellamare ; — an ex- 
pensive and elegant work. In 1728 he was sent 
for to Palermo, by a deputation from that king- 
dom, to design a bridge over the Milcia river, which 
was afterwards executed by others. On the acces- 
sion of Clement XII., Fuga was appointed ponti- 
fical architect, and was employed in erecting many 
admirable works, among which was the noble pal- 
ace of the consul, on Monte Cavallo ; the church 
della Morte. in the Strada Guilia ; and the new 
facade of S. jNIaria Maggiore. He also designed the 
Triclinio in the piazza of St. John of Lateran, and 
the Corsini palace, which is one of the most su- 
perb and magnificent edifices in Rome. In con- 
sequence of the fame he acquired by these works, 
king Charles of Naples invited him to his court, 
and commissioned him to erect the great Reclu- 
sorio, which is the largest hospital in Europe. He 
also designed a palace for the Duke Giordani, and 
another of immense size, for the prince Caraman- 
ica. 

Fuga lived to upwards of eighty j^ears of age, 
when he possessed that youthful vigor which re- 
sults from regular and moral conduct, cheered and 
enlivened by application and industry. He was 
truly an admirable architect ; understanding two 
of the most important parts of his profession, sol- 
idity and ornament. His humility was the result 
of a perfect acquaintance with the difficulties of his 
art. He was a man of distinguished merit, and 
deserving the good opinion of all. 

Fu GER, Frederic Henry, a German painter, 
born at Heilbronn. in Suabia, in 1751. He stud- 
ied at Leipsic, under Oeser, and afterwards visited 
Dresden, where he derived much improvement 
from the stud};- of the works of art in the famous 
gallery in that city. He afterwards went to Vi- 
enna, where he soon gained distinction, and was 
taken under the protection of Maria Theresa. He 
remained five years in Rome, and two in Naples. 
On returning to Vienna he soon gained a high 
reputation. His subjects were history and por- 
traits, in which he followed the principles of Ra- 
phael Mengs, and the German writers consider him 
among the best artists of his time. His designs 
for Klopstock's Messiah gained him a great reputa- 
tion, and are perhaps his best productions. In 
1806, the emperor Francis I. appointed him Direc- 
tor of the Imperial Gallery, and under his able 
management it became so attractive as to be the 
resort of the majority of German artists. He 
died in 1818. Brulliot mentions two prints by 
Fiiger, one of Moses and Aaron ; the other, Ju- 
piter and Juno. 

FULBERT, a bishop of Chartres, who flour- 
ished about 1015. Being instructed in architec- 
ture, he undertook to rebuild his own cathedral, 
which had been three times destroyed by fire. He 
died in 1028. and is supposed only to have built 
the crj^pt. Gilbert, in his description of this ca- 
thedral, says that Thierrv, or Theodore, succeeded 
Fulbert. and continued the work until his death, in 
1048. The structure progressed by slow degrees 



for 130 years, until, in 1260, it was at length 
dedicated, by Pierre de Mincy, the sixty-sixth bi- 
shop. The spire and tower was commenced by 
Jean Texier in 1506, and completed in 1514. 

JTTFULCARUS, or FURCK, Sebastian, a Ger- 
-flP • man engraver, a native of Goslar, according 
to Prof. Christ, as the name of that town is in- 
scribed on several of his prints. He resided at 
Rome during the early part of his life, and engraved 
a number of plates as early as 1612. From 1620 
to 1630, he resided at Frankfort on the Maine, and 
executed a number of plates after Titian and other 
masters ; also many portraits, chiefly for the book- 
sellers, among which are those of the Columna fam- 
ily. His plates are executed chiefly with the gra- 
ver, though there also a few etchings by him. The 
following are his principal works : 

The Last Judgment ; after M. Angela Buonarotti. 
On the tombstone, at the left-hand corner, his cipher is 
marked, in the first impressions of the print ; and when he 
had retouched the plate he added the inscription, Sebas- 
tan. Fulcarus reinciditque. St. Sebastian ; a half figure. 
An ornamental Frontispiece to the works of Grul. Fabri- 
cius, dated 1646. It is etched in a very spirited style, and 
is signed S*. Furck^f. He also engraved some plates from 
Titian, and other masters. 

FULCO, Giovanni, a Sicilian painter, born at 
Messina in 1615. He studied the elements of de- 
sign in that city, after which he went to Naples, 
and entered the school of Stanzioni. According 
to Hakert. he was a firm and correct designer, and 
was distinguished for his admirable representations 
of children. Many of his pictures have been de- 
stroyed by earthquakes. The best of those still 
preserved, are his fresco works, and an oil painting, 
representing the Birth of the Virgin, in the chapel 
of the Crucifixion at the Nunziata de Teatini, at 
Messina. He died about 1680. 

FULLER, Isaac, an English painter, who flour- 
ished in the reign of Charles II. He studied un- 
der Fran9ois Perrier at Paris. He painted history 
and portraits, but succeeded only in the latter, as 
his historical works are very inferior. His por- 
traits are good likenesses, and some of them are 
executed in a bold and masterly stjde. He etched 
several plates for a drawing-book ; and in concert 
with Tempesta and Henry Cooke etched the plates 
for the Moral Emblems, b}^ Caesar Ripa, which 
are poorly executed. Fuller died at London in 
1672. 

FULTON, Robert. It may be interesting to 
artists to know that this celebrated engineer was a 
practical artist, in his early life. From the age of 
17 to 21, he painted portraits and landscapes in 
Philadelphia. In his 22d year, he went to Eng- 
land to prosecute his studies, and was received 
with great kindness by Mr. West, who was so 
much pleased with his promising genius and ami- 
able qualities, that he took him into his own house, 
as a member of his family, where Fulton resided 
for several years. After leaving West, he seems 
to have made painting his chief employment for a 
livelihood for a considerable period, though at this 
time his mind was occupied with various great 
projects connected with engineering. In 1797, he 
went to Paris, in prosecution of these projects, 
and to fill his empty coffers, he projected the first 
panorama ever exhibited in that city. From this 
time, all his energies were devoted to mechanics 
and engineering. He was born at Little Britain, 
in Pennsylvania, in 1765. and died in 1815. 



FUMA. 



332 



FUSE. 



FI:MA0CIN1. See Samacghini. 

FUMIANI, Gio. Antonio, an Italian painter, 
born at Venice in 1643.. He studied at Bologna, 
where he acquired an excellent style of composi- 
tion and design, and then returned to Venice, where 
he devoted himself to the study of the works of 
P. Veronese, He did not, however, attain such 
excellence as might have been expected from these 
advantages ; there is a lack of vigor in his chiaro- 
scuro, a coldness and languor in his coloring, and 
also a want of expression, unusual in the school 
where he was educated. Lanzi thinks his best 
picture is Christ in the midst of the Doctors, in 
la Carita at Venice ; but that author remarks that 
his best productions have the defects alluded to. 
He died in 1710. 

FUMICELLI. LoDOvrco, an Italian painter, 
born at Trevigi, and flourished about 1536. Lanzi 
says he was one of the ablest imitators of Titian, 
though it is not known whether he studied under 
that master. In the Padri Serviti, at Trevigi. he 
painted a picture of St. Liberale and St. Caterina, 
with two laterals, representing St. Sebastiano and 
St. Filippo, the founders of the order. In 1536, he 
painted the principal altar-piece of the Padri Ere- 
mitani at Padua, representing the Virgin and In- 
fant seated in the Clouds, with saints below, which, 
according to Ridolfi, is designed and colored in a 
style worthy of the greatest masters. Fumicelli 
was induced to abandon the palette, by the offer 
of an advantageous situation in the engineers. 

FUNGAI, Bernardino, a Sienese painter, who 
flourished about 1512. There are several of his 
works at Siena, which retain something of the 
dry, Gothic stj^e that preceded him, though not 
more than other artists of his time. Among them 
are a picture of the Virgin and Infant, with Saints, 
dated 1512, at the Carmine ; and the Crowning 
of the Virgin, at Fonte Giusta. 

FURINI, Francesco, an eminent Italian paint- 
er, the son of a reputable portrait painter, born at 
Florence in 1C04, and first studied under his fa- 
ther. He afterwards entered the schools of Pas- 
signano and Roselli, and then went to Rome, where 
the works of Guido attracted his admiration, and 
he studied them with great assiduity, but rather 
as a rival than an imitator. He soon attained a 
high reputation for his admirable easel pictures, 
which are found in the best Florentine collections, 
and are A^ery highlj^ esteemed. He designed with 
correctness and elegance, particularly the delicate 
forms of women and children; and he generally 
chose those subjects in which they could be intro- 
duced with the happiest effect. Such was his re- 
putation, that Lanzi calls him the Guido and Al- 
bano of the Florentine school. Among his finest 
works were a picture of the Three Graces, in the 
Palazzo Strozzi ; and that of Nymphs carried off' 
by Satyrs, in the Casa Galli. Lanzi says he some- 
times painted Magdalenes. which were not much 
more veiled than his Nymphs. Furini also paint- 
ed a number of large works for the churches, the 
best of which are at Borgo S. Lorenzo, near Flo- 
rence, representing St. Francis receiving the Stig- 
mata, and the Conception of the Virgin. Zani 
says he died in 1049. 

1 1 jD O FURNIUS, Pe- 

graver, who flourished at Antwerp about 1570. 



He was a cotemporary of the Galles and Sadelers, 
who engraved some plates from his designs. His 
style resembles nearly that of those artists. His 
outline of the figure was correct, but in attempting 
the grand style of M. Angelo, like many others he 
fell into affectation and extravagance. His plates 
are executed entirely with the graver, in a slight, 
feeble manner. The following are the principal : 

A set of six plates of the Parable of the Good Samari- 
tan. The Martyrdom of St. Felicia ; P. Furnius in. et 
fee. The Escape of Clelia, with other subjects from the 
Roman History; marked P. Furnius, fecit. 

FUSELI, Henry, was the son of John Caspar 
Fiiessh of Zurich, Switzerland, but he chose to 
write it Fuseli, by which name he is universally 
known. This extraordinar}^ man was born, ac- 
cording to his biographer, John Knowles, F. R. S., 
at Zurich, in Switzerland, Feb. 7th, 1741, which 
city had been the native place of his family for 
many generations. He exhibited a passion for the 
fine arts from early infancy, but his father, having 
determined to educate him for the church, did all 
he could to thwart the natural bent of his genius, 
and prohibited him from drawing. This opposi- 
tion met with the fate which usually attends all 
such attempts. Young Henry contrived to devote 
to his favorite pursuit every moment in secret that 
he could withdraw from his other occupations ; and 
he used in after life to tell of his purloining can- 
dle ends from the kitchen, to enable him to sit up 
at night, and pursue in solitude and secresy his 
darling studies. His father had an extensive col- 
lection of prints, after the old masters, and by fre- 
quently copying them, he rendered himself familiar 
with their styles and merits. Michael Angelo was 
his favorite, even at this early age. which shows 
the natural bent of his genius. He did not confine 
himself exclusively to copying, but frequently 
varied his drawings according to his own fancy, 
and even designed originals. In order that he 
might be dul}^ qualified for the sacred office for 
which he was destined, his father placed him, at 
the proper age, in Humanity College, where his 
old friends, Bodmer and Breitinger were distin- 
guished professors. Here he became acquainted 
with the celebrated Lavater, his fellow-student in 
theology, with whom he formed an intimate friend- 
ship, that lasted till death. It was here, also, that 
he began to cultivate a knowledge of the English lan- 
guage, in which he made such proficiency as to be 
able to read the English poets with case and de- 
light. Shakspeare and Milton were his favorites. 
At this time, also, he translated Macbeth into 
German, and subsequently, the Letters of Lady 
Mary Wortley Montague. It may be observed 
here, that Fuseli possessed such extraordinary 
powers of memory that when he had read a book 
once, he thoroughly comprehended its contents ; 
and he not only wrote in Latin and Greek, but 
spoke them with the fluency of his native tongue. 
lie also acquired such a perfect knowledge of the 
several modern languages of Europe, especially 
of the English, French, and Italian, that it was 
indifferent to him in which he spoke or wrote, 
except that when he wished to express himself 
with power, he used to say he prefeiTcd the Ger- 
man. It was at college, too, that he made himself 
acquainted with the writings of Klopstock and 
Weiland, and imbibed their intense love of poetry, 
which attended him through his life ; and he wrote 
several poems in German, which met with consid- 



FUSE. 



333 



FUSE. 



erable applause. Having finished his collegiate 
course, and obtained the degree of Master of Arts. 
Fuseli, with his friend Lavater, went to Vienna, 
and from thence proceeded to Berlin, where 
they placed themselves under the instruction 
of the learned professor Sulzer, author of a cel- 
ebrated Lexicon on the Fine Arts. Sulzer and 
other learned men of German}^ had formed the de- 
sign of opening a channel of communication be- 
tween the literature of Germany and England. 
The read}'- and apprehensive talents of Fuseli, and 
his thorough knowledge of the English language, 
together with his enthusiasm, recommended him 
to Sulzer as a person peculiarly fitted to carr}^ out 
this plan, and the proposition was made to him. 
Sir Robert Smith, the English ambassador at the 
Court of Berlin, having seen some of Fuseli's 
drawings, illustrative of scenes in Shakspeare, 
and pleased with his genius, strongly recommend- 
ed him to go to England. The occurrence of so 
many favorable circumstances at once determined 
his course. Before parting with his friend Lava- 
ter, the latter gave him a testimonial of his high 
appreciation of his talents, by presenting him with 
a piece of paper, beautifully framed and glazed, on 
which he had written in German, ''Do but the 
tenth part of what you can do." " Hang that up 
in your bed-room, my dear friend," said Lavater, 
" and T know what will be the result." Arriving 
in London earl 3^ one morning in 1767, before the 
people were stirring, the vast metropolis of the 
British empire seemed to his vivid imagination a 
solitude ; and being impressed with his forlorn 
situation, a stranger in a strange place, without 
any fixed plan of obtaining a livelihood, '• he burst 
into a flood of tears," as he expresses himself. He 
did not long continue, however, in this desolate 
condition. Sir Robert Smith had given him let- 
ters of introduction to JMr. Coutts the banker, to 
Mr. Johnson and Mr. Cadell, the booksellers, and 
to others, all of whom received him with great 
cordiality, and through their advice and influence 
he was enabled to fulfil his mission in a satisfac- 
tory manner. Through their influence, also, he 
obtained the situation of tutor and travefing com- 
panion to a nobleman's son, with a liberal salary, 
and proceeded with him as far as Paris, when the 
youth refusing to obey his injunctions, and giving 
him insolence, he threw up his situation in disgust, 
and returned to London. A little incident now de- 
cided his career. Among the men of talent and 
genius to whom he was introduced in London, 
vras Sir Joshua Reynolds, then in the zenith of his 
fiime. On Fuseli's showing him some of his draw- 
ings, the President of the Royal Academy inquired 
how long since he had returned from Italy, and ex- 
pressed surprise on learning that he had never 
been in Italy. Reynolds tendered him his hospi- 
talities, and would occasionally buy of him one of 
his little pencil sketches, in which there was so 
mucli poetic conception and power displayed, that 
at last he could not refrain from sa3ang, •• Young 
man, were I the author of those drawings, and 
Avere offered ten thousand a year not to practise 
as an artist, I v.-ould reject the proposal with con- 
tempt." Fuseli had been offered a living if he 
would t;\ke orders, and he was balancing with re- 
spect to his future career, when this unequivocal 
opinion, proceeding from so high and disinterest- 
ed a source, instantly determined him to devote 
his life to painting. Fully aware of the impor- 



tance and necessity of having recourse to the foun- 
dation of excellence, he went to Italy in 1770, 
where he resided eight years, and studied with 
great assiduity in the numerous galleries, particu- 
larl}^ the works of Michael Angelo, whose fine and 
bold imagination, and the lofty grandeur of his 
works, were most congenial to his taste. It was 
a story he loved to tell in after life, how dsij after 
day, and vreek after week, he lay upon his back, 
with upturned and wondering eyes, musing on the 
splendid ceiling of the Sistine chapel, and the un- 
attainable grandeur of the great Florentine. Dur- 
ing his residence abroad, he made notes and criti- 
cisms on everything he met with that was excel- 
lent, which he left among his manuscripts at his 
death, but much of which he wove into his lec- 
tures before the students of the Royal Academy. 
His talents, acquirements, and his great conversa- 
tional powers made his society courted, and he 
formed some valuable acquaintances at Rome, par- 
ticularly among the English nobility and gentry, 
who flocked there for amusement, and who her- 
alded his fame at home. He also sent some of 
his choice drawings, illustrating Shakspeare and 
Milton, to the annual exhibitions of the Royal 
Academy. In 1778, he left Italy and returned to 
England, passing through Switzerland and his na- 
tive city. We must pass over the rest of the life 
of this extraordinary man with rapidity, and con- 
fine ourself mostly to a criticism on his character 
and works. No one ever doubted his great talents ; 
his society was courted by the learned and the 
great, and he was a lion at their tables ; but his 
works were not appreciated in his day, nor did he 
meet with that success to which he was eminently 
entitled. His numerous subjects are from the 
greatest poets, or of writers of wild and wonder- 
ful fictions. Some people looked upon his power- 
ful delineations of Shakspeare and Milton, admired 
and praised them for fashion's sake, with as little 
appreciation as they praised those immortal wri- 
ters themselves. Others, m.ore matter of fact, who 
could appreciate an ornamental tea-tray, and admire 
Dutch boors, put down his lofty imaginings as 
wild extravagances, or ridiculous fancies. His sub- 
lime pictures of Hamlet and Lear, and his Mid- 
summer Night's Dream, in which his imagination 
is as playful and airy as the poet's, were entirely 
above their comprehension. His Milton Gallery, 
of forty-seven pictures, which occupied him ten 
years, from 1790 to 1800, was closed after two 
years' exhibition, with loss. Alderman Boydell 
was almost his only liberal patron, for whom he 
painted eight pictures for the Shakspeare Gallery. 
Yet Fuseli had his faults. The following criti- 
cism by one of his biographers, Allan Cunning- 
ham, who seldom spares the lash, gives a good 
idea of his character and of his v/orks : "As a 
painter, his merits are of no common order. He 
was no timid or creeping adventurer in the region 
of art, but a man peculiarly daring and bold, who 
rejoiced only in the vast, the wild, and the wonder- 
ful ; and loved to measure himself with any sub- 
ject, whether in the heaven above, the earth be- 
neath, or the waters under the earth. His main 
wish was to startle and astonish — it was his am- 
bition to be called Fuseli the daring and imagina- 
tive, the illustrator of Milton and Shakspeare, the 
rival of Michael Angelo. Out of the seventy ex- 
hibited paintings on which he reposed his hope of 
fame, not one can be called commonplace 5 they 



FYT. 



334 



GAAL. 



are all poetical in their nature, and as poetically 
treated. Some twenty of these alarm, startle, and 
displease ; twenty more may come within the lira- 
its of common comprehension ; the third twenty 
are such as few men could produce, and deserve a 
place in the noblest collections ; while the remain- 
ing ten are equal in conception to anj^thing that 
genius has hitherto produced, and second only in 
their execution to the true and recognized master- 
pieces of art. His coloring is like his design, ori- 
ginal ; it has a kind of supernatural hue, which 
harmonises with his subjects — the spirits of the 
other state and the hags of hell are steeped in a 
kind of kindred color, which becomes their char- 
aqter. His notion of color suited the wildness of 
his subjects ; and the hue of Satan, and the lustre 
of Hamlet's Ghost, are part of the imagination of 
those unnatural shapes. The domestic and hum- 
ble realities of life he considered unworthy of his 
pencil, and employed it on those high and terrible 
themes where imagination may put forth all its 
strength, and fancy scatter all her colors. He 
loved to grapple with whatever he thought too 
weighty for others, and assembling round him the 
dim shades which imagination readily called forth, 
sat brooding over the chaos, and tried to bring the 
whole into order and beauty." 

Fuseli died in 1825. For twenty years he ably 
filled the office of Professor of Painting, and 
Keeper of the Royal Academy ; and the series of 
lectures he delivered before that institution, show 
a profound knowledge of the history and princi- 
ples of art. In 1805, his critical powers were dis- 
played in a new and enlarged edition of Pilking- 
ton's Dictionarj^ of Painters. In 1817, he was 
honored with a diploma of the first class, from the 
academy of St. Luke, at Pvome. He was a ripe 
scholar and a poet. He continued to paint till the 
last week of his life. He had a remarkably good 
constitution. " I have been a ver}^ happy man," 
he was accustomed to say, '• for I have always been 
well, and always employed in doing what I liked." 
He left many manuscripts, some complete and 
others imperfect, some of which may be found in 
Knowles' Life and Writings of Fuseli, in 3 vols. 
8vo. ; London : 1831. His life was one of great 
industry, and he had on his hands at the time of 
his death upwards of sixty pictures, most of them 
of large size, many of which had been exhibited. 

FYT, John, an eminent Flemish painter, born 
at Antwerp in 1625 ; died in 1671. He was dis- 
tinguished for painting animals ; and although he 
excelled in representing every kind, yet in dogs he 
is unequalled. His penciling is free, spirited, and 
playful, but peculiarly characteristic and full of 
energy. It is impossible to imitate nature more 
closely than Fyt has done in his admirable produc- 
tions. His pictures are very highly esteemed, and 
are placed in the choicest collections. He was 
often employed by Rubens, Janssens, Grayer, and 
other eminent artists, to paint the animals in their 
pictures ; a very high compliment, especially from 
Rubens, who excelled in representing every species 
of animals. There are a number of fine etchings 
by Fyt, executed in a bold, spirited style. Among 
them are the following : 

A set of eight of Dogs and other Animals ; marked Jo. 
Fyt. 1640. A set of seven of Dogs, of different species, 
with backgrounds of landscapes ; dated 1642 ; inscribed 
Johannes Fyt, pinx. ct fecit. A set of eight small plates, 



of a Cartj a Horse, a Dog, Foxes, Goats, and three of CowB. 
These are very scarce. 

a 

a) G GAAL, Barent, a Butch painter, born 
^0 ^/at Haerlem in 1650. He studied under 
Philip Wouwerman, and made such rapid advances 
that at the death of that master in 1668, Gaal 
found himself suflBciently advanced in the art to 
dispense with farther instruction. He painted 
horse-fairs, battles, hunting-pieces, and subjects 
similar to those of his instructor. He often exe- 
cuted the figures in the landscapes of Isaac Koene. 
a scholar of Jacob Ruysdael. His works are dis- 
tinguished for truth of coloring, and intelligence 
of chiaro-scuro ; though greatly inferior to Wou- 
werman in softness and finish of pencilling, and 
correctness of drawing. He died in 1703. 

GAAL, Peter, a Dutch painter, born at Mid- 
dlebourg in 1770. He studied under his father, 
and afterwards in the school of Schwieckhardt, at 
the Hague. He visited London, Paris, and several 
German cities, after which he settled in his native 
city, and painted portraits, landscapes, animals, 
live and dead game, and subjects of ordinary life. 
His compositions are distinguished by a superior 
mode of treatment, and lightness of penciling. In 
1808, two of his works, of a large size, were ex- 
hibited at Amsterdam, one representing Gen. Mon- 
net, with several officers of his staff, in full uni- 
forms ; and the other. Cattle and Sheep of the 
natural size. He died at Middlebourg in 1819. 

GAAL, Thomas, a Dutch painter, born a!: Ter- 
monde in 1739. He settled at Middlt.-lioi.rir, where 
he gained considerable reputation for his ])or traits, 
birds, and flowers. He was the instructor of J. 
Perkois, J. H. Koekkoek, and S. de Koster, and was 
one of the founders and directors of the Academy 
of Painting in that city. He died in 1817. 

GAAST, Michael de, a Flemish painter, born 
at Antwerp in 1510. His pictures represent the 
ruins of ancient Rome, decorated with animals 
and figures. In 1558 he was chosen a member of 
the body of painters at Antwerp. 

GABASSI, Margherita, a Modenese paintres? 
who flourished in the first part of the present cen- 
tury. According to Tiraboschi, she painted small 
humorous pieces in such an admirable manner that 
her works are much sought after. 

GABBIANI, Antonio Domenico, an Italian 
painter, born at Florence in 1652. He was in- 
tended for the medical profession, but as he mani- 
fested a strong inclination for design, he was 
placed under Justus Subtermans and Vincenzio 
Dandini, by whose instructions he soon acquired 
a readiness and correctness of design that aston- 
ished his preceptors. Dandini sent him to copy 
all the pictures of P. da Cortona, which were in 
the Palazzo Pitti at Florence ; and while so em- 
ployed, the young artist was noticed by the Grand 
Duke, Cosmo III., who became his patron, and 
sent him to the Florentine Academy at Rome, 
where he frequented the school of Giro Ferri. — 
After passing three years at Rome, he went to 
Venice, and gained improvement from the splendid 
works of Titian and Tintoretto. According to 
Lanzi, he was one of the most coriect designers of 



GABB. 



335 



GABR. 



the age ; and Meiigs praises seyeral of his dravr- 
ings in the collection of Signor Paccini, for their 
elegance, and facilit}^ of execution. His coloring is 
occasionally languid, but not often so, and his 
carnations are generally very tender and true. 
His draperies, however, are frequently formal and 
heavy. In his easel pictures, he generally selected 
subjects in which he could introduce children, and 
in these productions he nearly equals Gio. Battista 
Gauli, His works of this description are highly 
esteemed, even in the Florentine Gallery and the 
principal palaces of that city. Gabbiani was in- 
vited to the court of Vienna, where he painted the 
portraits of the Emperor and the King of the Eo- 
mans ; also several historical subjects for the Im- 
perial Gallery. On returning to Florence, he 
painted several altar-pieces for the churches, par- 
ticularly a fine picture of the Assumption, and a 
Repose in Egypt ; also his celebrated picture of St. 
Filippo, in the church of the Padri dell' Oratorio. 
He practised the art until sevent3^-four years of 
age. when he was killed by a fall from a scaffold, 
in 1726. 

GABBIANI, Gaetano, was the nephew and 
scholar of the preceding. Lauzi makes honorable 
mention of his abilities. He resided chiefly at 
Florence, where he executed many easel pictures, 
some of which are to be found in the collections 
of that city. He lived in the first half of the 18th 
century. 

GABBUGIANI, Baldassare, a modern Italian 
engraver, who executed some of the portraits for 
the Museo Fiorentino, published at Florence, in 
ten volumes. 

GABRIELLI, Camillo, an Italian painter, who 
flourished about 1710, and studied under Giro 
Ferri. According to Lanzi, he first introduced the 
style of P. da Cortona among his countrymen. 
He painted several oil pictures at the Carmelites, 
and for private collections ; but he gained more 
distinction by his fine fresco paintings, among 
which his principal work, the grand saloon in the 
Palazzo Allicata, is highly esteemed. 

GABRIEL, Jacques, a French architect, who 
flourished about 1G70 ; was architect to the king; 
erected the Chateau de Chois}^, and the Pont Royal, 
which was finished by the friar Romain Giordano. 
He died in 1686, leaving a son, Gabriel C, born in 
1667. who studied aichitecture under Hardouin 
Mansard. He soon became distinguished, and de- 
signed several edifices at Nantes and Bordeaux ; 
also the court of the garrison and the clock-tower 
at Rennes ; the hall and chapel des Etats at Di- 
jon, and projected the sewers of Paris. He was 
admitted to the Academy of Architecture, was ap- 
pointed inspector-general of the ro3^al edifices and 
manufactures, first engineer of the bridges and 
embankments of the kingdom, and a knight of the 
order of St. Michael. He died in 1742. 

GABRIEL, jAcauEs Ange, son of the second 
Jacques Gabriel, was born at Paris about 1710. 
He attained the position of first royal architect, 
and added to the fame of his ancestors by the 
Military School, which was commenced in 1751, 
and is one of the most superb edifices in Paris. 
He erected a part of the Louvre ; also the two col- 
onnades adjacent to the Place de la Concorde. He 
designed the Place de Louis XV., which is a rec- 
tangle. 744 feet long, and 522 feet broad. He died 
in 1782. 



GABRIELLO, Onofkio, a Sicilian painter, born 
at Messina in 1616. He studied six years in his 
native city, under Antonio Ricci, called Barba- 
lunga ; after which he went to Rome, and entered 
the school of P. da Cortona. He subsequently 
visited Venice, in company with his countryman, 
Domenico Maroli ; and on returning to Messina, 
he received many commissions from the churches, 
and for private collections. Some of his best works 
are in the church of S. Francesco di Paola, at Mes- 
sina. He also painted portraits with great suc- 
cess, but when the Revolution broke out in 1674, 
he left Sicily and went to Padua, where he resided 
many years, and was generally known by the 
name of Onofrio da Messina. There are a number 
of his works in the private collections and public 
edifices, particularly in the Palazzo Borromeo. 
He died in 1706. 

GABRON, William, a Flemish painter, born 
at Antwerp, in 1625. He visited Italy, where he 
resided many years, and on his return gained con- 
siderable reputation for his pictures of fruit and 
flowers, gold and silver vases, porcelain and other 
ornaments. He died at Antwerp in 1679. 

GADDI, Gaddo, an old Florentine painter, born 
in 1239. He was a cotemporary and intimate 
friend of Cimabue, and in his earlier works, he at 
first united the manner of that master with some- 
thing of the Greek style. He was also the partic- 
ular friend of Andrea Taffi, and from this inti- 
macy may be traced the first dawn of excellence 
in the mosaic art. Gaddi subsequently visited 
Rome, where he improved his style, and painted 
a number of pictures, among which is one in the 
Florentine Gallery, mentioned by Lanzi, repre- 
senting the Crucifixion, which is a reputable per- 
formance for the time. He was also employed in 
the Mosaic embellishments for the fa9ade of S. 
Maria Maggiore. He died in 1312. 

GADDI, Taddeo, an Italian painter and archi- 
tect, the son of Gaddo G., born at Florence in 1300. 
He was first instructed by his father, but after- 
wards studied in the school of Giotto. According 
to Vasari, he surpassed the latter in the expres- 
sion of his heads, and the delicacy of his coloring. 
Most of his works have been nearly destroyed by 
time, but Rosini mentions two of his pictures 
which exhibit a beautiful simphcity in their com- 
positions, and gracefulness in their forms and atti- 
tudes. One of these is in S. Croce at Florence, 
representing the Birth of the Virgin ; the other in 
S. Maria, representing Religion, Arts, and Sci- 
ences, in the persons of those most eminent in each 
department. In the Capitolo degli Spagnuoli, he 
painted several works in competition with Lippo 
Memmi. which have considerable originality and 
good taste. In the vault are several subjects from 
the Life of Christ, and in the Refectory, the De- 
scent of the Holy Ghost. As an architect, he is 
said to have excelled Giotto, and Andrea of Pisa, 
in concert with whom he erected several important 
edifices. He restored the foundations of the Log- 
gia, now called S. Michele ; rebuilt the old bridge 
over the Arno ; repaired the castle of S. Gregorio ; 
completed the bell-tower of S. Maria del Fiore, 
and erected various other edifices. Baldinucci 
says he was living in 1352, though Zani says in 
1365. 

GADDI, Angiolo, the son of Taddeo G., was 
born at Florence, according to Baldinucci, in 1324 ; 



GAEL. 



336 



GAGL. 



died in 1387. He received his first instruction 
from his father, but was afterwards assisted 
by Giotto. He followed the style of Taddeo. 
In the church of S. Pancrazio, at Florence, is 
a picture by him of the Virgin and Infant, which 
was well composed and colored for the time ; 
and in the Conventuali, the Finding of the True 
Cross. 

GAELEN, Alexander van, a Dutch painter, 
Dorn at Haerlem in 1670. He studied under John 
van Huchtenburg. and painted battle-pieces and 
huntings in a very spirited style. His instructor 
being a dealer in pictures, Gaelen had an opportu- 
nity of improving his touch by copying the works 
of Berghem, Wouwerraan, and other eminent 
masters, from which he gained great improvement. 
He visited German}^, where he passed a few years 
at Cologne, in the employment of the Elector, and 
afterwards returned to Holland ; but not meeting 
the encouragement he expected, he went to Eng- 
land, in the reign of Queen Anne. Van Gool says 
he painted a picture of the Queen in a Coach, 
drawn by eight horses, and attended by several 
of the nobility. He is also said to have painted 
for a nobleman three pictures, representing two 
of the principal battles between Charles I. and 
Oliver Cromwell, and the Battle of the Boyne. 
Balkema sa,js he died in 1723. 

GAERTNER,Herr VON, an eminent German 
architect, born at Coblentz in 1792. While young, 
he visited Italy, where he spent some time in the 
study of the antique, and afterwards traveled in- 
to France and Spain, with a view to inspect the 
improvements made in modern architecture. He 
afterwards settled at Munich, whither he was call- 
ed by that great protector of the arts, Louis I., 
who appointed him Professor of Architecture in 
the Royal Academy of Fine Arts in that city. In 
1822, he wns appointed Director of the State Man- 
ufactory of Porcelain and Glass Paintings. He 
erected a large number of fine edifices at Munich, 
among which the most important were the Com- 
mander's Hall, the LTniversity, the Triumphal 
Gate, the gorgeous Hall of Victory, the clerical 
Seminary, the Church of St. Louis, and the Royal 
Library. The last work acquired great honor for 
the architect. He also designed the king's new 
palace, and erected the Wittelsbach palace. After 
the departure of von Cornelius to Berlin, von 
Gaertner became Director of the Academy of Fine 
Arts, having formerl}^ been nominated Chief Ar- 
chitect and Inspector General of the Plastic Monu- 
ments. He died in 1847. 

GAETA, DA. See Pdlzone. 

GAETANO, LuiGi, an eminent Mosaic painter, 
who was employed in the churches at Venice about 
1590. 

GAGLIARDI, Cav. Bernardino, an Italian 
painter, born at Citta di Castello, according to Or- 
landi, in 1609. He studied under Avanzino Nucci, 
but on visiting Rome, he abandoned the style of 
his master, and devoted himself lo studying the 
works of Guido and the Caracci. His master- 
piece is his picture of St. Pellegrino, with two lat- 
erals, in the church of S. Marcello, at Rome. — 
Among his other works, are the Martyrdom of St. 
Crescenziano, in the dome of the church at Cas- 
tello, and his two pictures from the History of the 
younger Tobit. He died in 1660. 



GAGLIARDI, Bartolomeo, a Genoese paint- 
er, born in 1555. Orlandi ssijs he was an artist 
of some reputation, but his works are not men- 
tioned. There are several plates by him, both 
etched and finished with the graver, among which 
is a large print of an emblematical subject, execu- 
ted in the style of Cherubino Alberti, though great- 
ly inferior to that artist. 

GAGNIERES. See Ganieres. 

GAILLARD, Robert, a reputable French en- 
graver, born at Paris in 1722. He executed a 
number of plates of landscapes, in a very excellent 
style ; besides which there are several portraits, 
historical and other subjects, among which are 
the following : 

PORTRAITS. 

Cardinal EtienneRene Potier de Gesvres ; after P. Bat- 
toni. Christophe de Beaumont, Archbishop of Pai-is ; af- 
ter Chevalier. Jean Joseph Languet, Archbishop of Sens ; 
do. The Queen of Sweden ; after Latinville. 

SUBJECTS AFTER VARIOUS MASTERS. 

Venus and Cupid ; after Boucher. Jupiter and Calisto ; 
do. Bacchants sleeping ; do. Sylvia delivered by Amyn- 
tas ; do. Villagers fishing ; do. The Cabaret ; after J. 
B. le Prince. The Russian Concert ; do. The Father's 
Malediction ; after J. B. Greuze. The Son's Punish- 
ment ; do. Tlio Laee-maker ; after Schenau. A Girl 
spinning ; do. 

GAILLARD, de Lonjdmeau, P. I., a French 
amateur engraver, who etched several small plates, 
among which are a Set of Views for the Antiqui- 
ties of Aix, dated 1750. 

GAINSBOROUGH, Thomas, an eminent Eng- 
lish painter of portraits and landscapes, born at 
Sudbury, in Suffolk, in 1727. He early manifest- 
ed an inclination for art, and often passed his morn- 
ings alone, sketching various objects of nature. 
When about thirteen years of age, he went to Lon- 
don, and received instructions from Gravelot and 
Hayman. On quitting the latter, at the age of 
sixteen, he resided in Hatton Garden, and prac- 
tised landscape and portrait painting. He mar- 
ried a lady with an annuity of two hundred pounds, 
and soon after went to Bath, where he commenced 
painting portraits for five guineas, and gradually 
raised the price to one hundred. His portraits 
were remarkable for truthfulness of resemblance. 
They are wrought in a slight manner, with great 
freedom of hand, and but little coloring, Rey- 
nolds says that '-the portraits of Gainsborough 
were often little more than what generally attends 
a dead color, as to finishing, or determining the 
form of the features; but as he was always atten- 
tive to the general effect, this unfinished manner 
appeared to contribute to the striking resemblance 
for which his portraits are so remarkable." In 
landscape painting, however, he was much more 
distinguished. The subjects he chose were very 
simple, usually a rising ground, and a few figures 
seated upon or near it ; with a cow or some sheep 
grazing. His charm was purit}^ and simplicity 
of coloring, freedom and clearness of touch, and 
judicious combination of forms. He sometimes 
painted pictures representing a cottage girl, a shep- 
herd's boy, and a woodman, with some slight ac- 
cessories in the back-ground, which have the same 
charming simplicity as his other works. His ear- 
lier landscapes are imitations of the manner of 
Wynants ; they have the same clayey and sandy 
grounds, and a similar arrangement of olyects as 



GALA. 



!37 



GALE. 



in the sraaller pictures of that artist. He had a 
second manner, more original, but rather heavy. 

Gainsborough practised the art at Bath for many- 
years, by which he acquired both fame and for- 
tune ; and in 1774, he removed to London, vrhere 
he died in 1788. He vs^as exceedingly eccentric in 
his manners, but was greatly beloved for his gen- 
erous qualities. 

GALANINO, Baldassare Alloisi. called. — 
This painter was born at Bologna in 1578. and 
studied under the Caracci, to whom he was re- 
lated. His works at Bologna are greatly ad- 
mired, and evince talents little inferior to the most 
admired of his fellow students. Among them 
Malvasia highly extols his Visitation, in la Carita; 
and the Virgin and Infant, with St. John and St. 
Francis, at the Osservanza. During the time of 
Urban VIII., Galanino went to Rome, where, ac- 
cording to Baglioni he was much employed in 
painting portraits of the most illustrious person- 
ages of his time, which were greatly admired for 
relief, and vigor and truth of coloring. He also 
painted some historical subjects for the churches 
at Rome, of which the principal was the great 
altar-piece in Gesu e Maria, representing the Cor- 
onation of the Virgin. He died at Rome in 1638. 

GALANTINI, Ippolito. a Genoese painter, 
born in 1627, was called il Cappucino, and 
sometimes il Prete Genoese, from his being a 
monk of the order of Capuchins. He studied un- 
der Gio. Battista Stefaneschi, and was afterwards 
sent b}^ his order to India as a missionary. He 
passed several years in that country, and on his 
return to Genoa, painted several pictures for the 
churches of his order, one of the best of which is 
the Payment of the Tribute Money, in the Floren- 
tine Gallery. His design was elegant and correct, 
his coloring delicate, and his expression animated. 
He visited Paris, and was employed by Louis XIV. 
to paint several pictures. He died in 1706. 

GALASSI, Galasso, a Ferrarese painter, born 
about 1380. There are but few of his works re- 
maining, among which are several pictures of the 
Passion of Christ, dated 1404, in the church of la 
Madonna di Mezza Ratta, designed in a stiif and 
Gothic style, though carefully finished and well 
colored. In the Palazzo Malvezzi, is a picture of 
the Annunciation ; and in the Sacristy of la Ma- 
donna delle Rondini, is a small picture of the Vir- 
gin and Infant, with Saints. 

GALEOTTI, Sebastian 0, a Florentine painter, 
born about 1676. He studied under Alessandro 
Gherardini, but subsequently went to Bologna, 
and entered the school of Giuseppe dal Sole. He 
possessed a ready invention and a good style of 
design ; his powers were well adapted to fresco 
painting, in which, according to Ratti, he executed 
several important works in the Chiesa della Mad- 
alena, at Genoa. There are but few of his pro- 
ductions at Florence, whence it is probable that 
he was more highly esteemed in Upper Italy. — 
There are several of his works at Piacenza and 
Parma, and particularly at Turin, where he was 
chosen Director of the Academy, in which capa- 
city he died, in 1746. 

GALEOTTI. Giuseppe and Gio. Battista, were 
the sons and scholars of the preceding artist. Ac- 
cording to Ratti, they sustained their father's rep- 
utation at Turin, and afterwards resided at Genoa, 



where they executed many excellent works. They 
were both living there in 1769. 

* ^^^ GALESTRUZZI, Gio. Battista, a Flo- 
^^r ^ rentine painter and engraver, born in 
1618. He studied painting under Francesco Fur- 
ini, and afterwards visited Rome, where he was 
received into the Academy of St. Luke, in 1652. 
Little is known of him as a painter, however, but 
he gained considerable distinction as an engraver. 
He was the friend of Stefano della Bella, whose 
style he imitated, and, according to Huber, finish- 
ed some of the plates left imperfect at his death. 
He etched a large number of plates, which are re- 
corded in the catalogue of Giacomo Rossi. The 
following are among his principal works : 

Paris receiving the Golden Apple from Mercury ; after 
An. Caracci. St. John the Baptist in Prison ; after Ba- 
tista Ricci. The Apotheosis of the Emperor Claudius. 
1657 ; rare. Several sets of Friezes and Bas-reliefs ; 
after Polidoro da Caravaggio. A set of Antique Gems, 
with explanations by Leonardo Agostino ; published at 
Rome in 1657 and 1659. Six plates, representing the 
Mausoleum of Cardinal de Mazarin ; from the designs of 
the Ahbe Elpidius Bcnedictus. 1661. 

GALILEI, Alessandro, an eminent Florentine 
architect, born in 1691. He attained some dis- 
tinction, and was invited by several noblemen to 
accompany them to England, where he resided 
seven years, after which he returned to Tuscany, 
and was appointed State Architect by Cosmo III. 
But he erected nothing very remarkable, either in 
England or Tuscany. Clement XII. invited him 
to Rome, and he there erected three superb mon- 
uments of art, the facades of S. Giovanni de' Fio- 
rentini and S. Giovanni Laterano ; and the Cor- 
sini chapel, in the latter edifice. The first work, 
according to Milizia, is rich, grand, and beautiful ; 
the second is by no means in good taste ; but the 
third does great honor to the architect, particu- 
larly for the beauty and grace of its ornaments. 
Galilei was not correct in his arrangement of the 
orders ; but he succeeded admirably in the orna- 
mental part, and was wdl versed in mathematics. 
He died in 1737. 

GALIMARD, Claude, a French engraver, born 
at Troyes, in Champagne, in 1729. He visited 
Rome, and on his return to France was chosen a 
member of the Royal Academy. lie executed a 
number of ornaments for books, of which fourteen 
frontispieces and vignettes, after Cochin the Young- 
er, are particularly described by Heineken. There 
are also a number of plates after de Troy, Sub- 
leyras, and S. Bourdon, among which are the fol- 
lowing : The Bust of Nicholas Vleughel : after 
M. A. Slotz ; Claudius Galimard, Parisinits, in- 
cidit. 1744. The Queen of Sheba before Solomon ; 
after J. F. de Troy. 

GALIZIA, Fede, an Italian pain tress, born at 
Trento, in the Milanese, and flourished about 1616. 
Her father. Annunzio Galizia, was a miniature 
painter at Milan, and from him she received in- 
structions in that line of art. She afterwards paint- 
ed history and landscapes, in a very agreeable and 
finished manner, resembling the style of the Bo- 
lognese school, anterior to the Caracci. Among 
her best performances is a picture in the Chiesa 
della Madalena at IMilan, representing Christ ap- 
pearing to Mary Magdalene. 

GALLARDO, Matted, a reputable Spanish 



GALL. 



338 



GALL. 



painter, who resided at Madrid in 1657. There is 
a picture of Christ, signed with his name; and 
several pictures of the Virgin, hfe size, which de- 
serve notice for their agreeable coloring and rich 
impasto. 

For J^'GALLE, Philip, an eminent Dutch 
(Sr engraver, born at Haerlem in 1537; 
died in 1612. He established himself at Antwerp 
as an engraver and print-seller, and was the origin 
of a family of distinguished engravers. His talents 
were of a medium class ; his design was tolerably 
correct, and he had considerable facility of execu- 
tion, although, like other artists of his time, there 
is a want of harmony and effect in his plates. He 
executed a considerable number of prints, among 
which are the following : 

PORTRAITS. 

Johannes Calvinus. Martinus Lutherus. Hulricus Swin- 
glius. Bililaldus Pirchmeyer. Thomas Morus. Dantes 
Aligerus, Florentinus, (These are a part of a set of por- 
traits of celebrated persons of the fifteenth and sixteenth 
centuries.) The Pedestrian Statue of the Duke of Alba. 
1571. Martin Hemskerk, painter. William Philander, 
architect. 

VARIOUS SUBJECTS. 

A set of thirty-four plates, including the title, inscribed 
D. Catherince Senensis. Vita ac miracula selectiora, ff*c., 
apud Philip. Gallaeum. 1603. A set of prints of sub- 
jects from the Old and New Testament ; after M. Hems- 
kerk, Martin de Vos.^ A. Blocklandt, the' elder Breughel^ 
d^c. A set of ten plates of the Sibyls, inscribed Je- 
su Christl dignitatis virtutis et ejficientia prcBven- 
ius Sibyllis X. ; after Blocklandt. The Seven Won- 
ders of the World, and the Ruins of the Amphitheatre of 
Vespasian at Rome ; eight plates ; after Martin Hem- 
skerk. A set of prints of the Triumph of Death, Fame, 
and Honour ; do. A set of twenty-eight plates ; entitled 
Divinarum nuptiorum conventa et acta ; dated 1580. 
Christ with the two Disciples at Eramaus ; after the elder 
Breughel The Death of St. Anne ; do. The Trinity ; a 
large plate ; after M. de Vos ; his best print. Solomon 
directing the building of the Temple ; after F. Floris. 
Abraham sacrificing Isaac ; do. Mutius" Scaevola in the 
Tent of Porsenna ; do. 1563. 

GALLE, Theodore, a Dutch engraver, the elder 
son and scholar of Philip G., born at Antwerp in 
1560. He visited Rome for improvement, which 
he gained by studying the antique, and by execu- 
ting several plates after the great masters. His 
plates evince a degree of stiffness, and a want of 
effect in the management of chiaro-scuro, though 
they are more neatly finished than those of his 
father. The following are his principal works : 

The Portrait of Justus Lipsius ; oval, in a frame orna- 
mented with allegorical figures ; with six Latin verses. St. 
Jerome kneeling, in a Grot. A set of emblematical sub- 
jects ; entitled Litis abusus, d^c. ; scarce. A set of 
plates of the Life of St. Norbert ; published at Antwerp. 
Twenty-eight plates of the Life of the Virgin and St. Jo- 
seph. A set of thirteen figures, each with a title and ex- 
plication ; entitled Typus occasionis, in quo receptee com- 
modo, (^c. Theodorus Galleus, M. D. C. The infant 
Jesus regarding the Instruments of the Passion. St. John 
the Evangelist. St. Jerome. Count Ugolino and his Chil- 
dren in the Tower of Famine ; after J. Stradan ; scarce. 
Coriolanus entreated by the Roman Women ; do. Cornelia, 
the Mother of the Gracchi ; do. A Frontispiece ; after a 
design by Rubens ; entitled Aug. Mascardi, silvarum 
lib. iv. Antv. 1622. Another Frontispiece; do.; entitled 
Las Obras en Verso de don Francisco de Boria. 

GALLE, Cornelius, the Elder, the younger 
son and scholar of Philip G., born at Antwerp about 
1570. He visited Rome, where he resided several 
years, and acquired a correctness of design, and a 



freedom and facilit}^ of execution, which greatly 
surpassed his father and brother. He executed 
several plates at Rome, after the Italian masters, 
and then returned to Antwerp, where he carried 
on the business of a print-seller, and engraved 
many excellent plates, after the works of his coun- 
trymen and his own designs. There are some in- 
ferior prints executed before he went to Italy, as 
follows : 

A part of the plates of the Life of Christ ; after Martin 
de Vos ; published by Collaert. A set of plates of the 
Life of the Virgin Mary ; after Stradan. A set of plates 
of the Life of St. John Baptist ; do. 

The following are his most esteemed prints : 

PORTRAITS. 

St. Charles Borromeus. Cardinal and Archbishop of Mi- 
lan ; in an octagonal border. Philip Rubens, the brother 
of Peter Paul Rubens. John van Havre ; after Rubens. 
Charles I., King of England ; in an allegorical border ; 
after N. van Horst. Henrietta Maria, Queen of Charles 
I., with a border of flowers and figures ; do. Leopold Wil- 
liam, Archduke of Austria ; after A. Vandevelde. Artus 
Wolfart, painter; after Vandyck. 

SUBJECTS AFTER VARIOUS MASTERS. 

Adam and Eve ; after Gio. Bat. Paggi. The Holy 
Family returning from Eg-ypt, with a Choir of Angels ; do. 
Venus caressing Cupid ; do. Christ at Table, in the House 
of Simon the Pharisee ; after L. Civoli. St. Peter bap- 
tizing St. Priscia ; do. The Virgin and Infant, to whom 
St. Bernard is offering a Book, with a Branch of Laurel ; 
after Francesco Vanni. The Crucifixion, with the Virgin, 
St. Francis, and St. Theresa ; do. Venus bound to a Tree, 
and Minerva chastising Cupid ; after Agostino Caracci. 
The Virgin caressing the infant Jesus ; after Rqfaelle. 
The Entombment of Christ ; do. The Virgin Mary, un- 
der an arch, ornamented with flowers by angels ; after Ru- 
bens. Judith cutting off the Head of Holofernes ; do. ; 
fine. The Four Fathers of the Church ; do. The first im- 
pressions are before the work was enlarged, which is dis- 
covered by a black stroke on each side of the print. Prognq 
showing the Head of her Son to her Husband ; do. Sene- 
ca in the Bath ; do. A naked Woman grinding colors ; 
after Rubens. The best impressions are before the French 
verses. A Banquet, with Musicians ; without the name of 
the painter. 

GALLE. Cornelius, the Younger, the son and 
scholar of the preceding, born at Antwerp in 1600. 
He wrought entirely with the graver, and his plates 
have considerable merit, particularly his portraits ; 
although inferior to those of his father in freedom 
and clearness of style, and correctness of design. 
He probably never visited Italy, which is perhaps 
the reason why he did not equal his father. The 
following are his best plates : 

PORTRAITS. 

The Emperor Ferdinand III. ; after Vandyck. 1649. 
Mary of Austria, his Empress; do! 1649. Henrietta of 
Lorraine ; do. John Meyssens, painter and engi-aver ; do. 
Jodocus Christophorus de Kressenstiens, Senator of Ham- 
burg ; after Anselm van Hulle. Octavius Piccolomini de 
Aragona, in a border of fruit and flowers ; do. ; fine. 

SUBJECTS AFTER VARIOUS MASTERS. 

Job and his Wife ; after A. Diepenbeck. St. Dominick 
receiving the Rosary from the Virgin ; do. The Crucifix- 
ion ; after J. vanden Hoeck. Jupiter and Mercury, Avith 
Baucis and Philemon ; do. The Nativity, with the Angels 
appearing to the Shepherds; after David Teniers the 
Old. The Resurrection ; after Gaspar de Crayer. Ve- 
nus suckling the Loves ; after Rubens. 

GALLEGOS, Fernando, a Spanish painter, born 
at Salamanca, in 1461. He studied under Berrug- 
uette, but followed the style of Albert Durer, and 
with such exactness, that connoisseurs occasional- 
ly confound their works. Gallegos flourished in 



GALL. 



339 



GALL. 



the golden age of Spanish art. His design is cor- 
rect, liis coloring beautiful, and his figures dis- 
posed in good taste. One of his best works is in 
the cathedral at Salamanca, representing the Ma- 
donna and Infant, with St. Andrew and St. Chris- 
topher. In the cloister of the same edifice are a 
number of pictures by this master, representing 
St. Michael, St. Anthony, and the Adoration of 
the Kings. Many of his pictures have been in- 
jured by time. The Count A. Raczinski, in his 
work, The Arts in Portugal^ says there are many 
of his works in that country. He died in 1550. 

GALLENDORFER, Serald, an old German 
wood-engraver, who flourished about 1494. Among 
other prints, he executed several small wood cuts 
for a book entitled Archetypus trium'phaniis Ro- 
mce^ published at Nuremberg in 1494. 

GALLI, Gio. Maria, called Bibtena, an Italian 
painter, born at Bibiena, in the Bolognese state, in 
1625 ; died in 1665. He was the father of several 
artists, all of whom gained distinction. He stud- 
ied under Francesco Albano, whose graceful style 
he followed with considerable success, and execu- 
ted a considerable number of large historical sub- 
jects for the Bolognese churches, of which Mal- 
vasia highly praises the following : St, Andrea, in 
S. Biagio ; St. Anne, in la Carita ; St. Francesco 
de Sales, at the Padri Servi ; and the Ascension, 
at the Certosa. 

GALLI, Ferdinando, called Bibiena, an emin- 
ent Itahan painter and architect, the son of the 
preceding, born at Bologna in 1657. He lost his 
father when eight years old, and was placed in the 
school of Carlo Cignani. The latter, perceiving 
in his pupil a strong inclination to painting archi- 
tecture and perspective, rather than to designing 
the figure, placed him under Aldobrandini and An- 
tonio Marini. Bibiena now progressed with great 
rapidity, and rapidly rose to the position oif the 
first master of his time in the ornamental and dec- 
orative branches of the art. He was particularly 
patronized by the Duke of Parma, who appointed 
him principal painter of decorations and architec- 
ture, with a pension ; which was continued to him 
by Duke Francesco Farnese. He was also favored 
by nearly all the sovereigns of Europe, particularly 
by the Duke of Milan, and the Emperor Charles 
VI., who invited him to his court, gave him a sim- 
ilar appointment to that from the Duke of Parma, 
and honored him with a chain and medal of gold. 
Bibiena had the direction of all public festivals on 
occasion of victories, and the triumphal entries of 
princes, which, under his management, were far 
more sumptuous and magnificent than ever be- 
fore. The splendor and grandeur of his invention 
could only have had full scope in the employment 
of kings. He introduced many important im- 
provements in theatrical scenery and decora- 
tions, which conduced greatly to the perfection of 
its illusions. He was also distinguished for his 
admirable pictures of architectural and perspective 
views, which are placed in the principal galleries 
of Italy, and are highly esteemed for their grand 
and elegant ordonnance, fine tone of coloring, and 
admirable management of chiaro-scuro. The fig- 
ures in these works are usually painted by his 
brother Francesco. As an architect. Bibiena erect- 
ed the delightful villa of Colorno, for the Duke of 
Parma, and embellished it with a number of beau- 
tiful gardens, and a theatre, decorated with exqui- 



site scenes. He also erected a variety of edifices 
for the same princes, and his management of festi- 
vals, illuminations, &c., may be classed among his 
performances in this department of art. In 1725, 
he published a work on civil architecture, entitled 
Direzione a giovanne studenti della Architettura 
Civile Bologna. Crespi says he died in 1743. 

GALLI, Francesco, called Bibiena. a painter 
and architect, the younger brother of Ferdinando 
Galli, born at Bologna in 1659. He studied under 
Lorenzo Pasinelli. but subsequently entered the 
school of Carlo Cignani, where he became a cor- 
rect designer, and visual ly painted the figures in 
the pictures of his brother. He was also a master 
of the principles of architectural and perspective 
painting, and produced similar works to those of 
Ferdinando, though inferior to him in grandeur of 
conception and facility of execution. He spent 
three years in Rome, and was also employed at 
Genoa, Naples, jNIantua, and Yerona. As an ar- 
chitect, he built the riding-school of the Duke of 
Mantua ; and arranged the festival at Naples in 
honor of the arrival of Philip V., who appointed 
him his architect, according to Milizia, and offered 
him every inducement to return with him to Spain, 
but was unsuccessful. Bibiena then went to Vi- 
enna, and built a large theatre. The emperor Leo- 
pold was desirous of retaining him in his service, 
and offered him 6000 florins a year ; but while 
persisting in his demands for 8000, Leopold died, 
and the emperor Joseph succeeded, who dismissed 
him with many marks of esteem. He was invited 
to England but preferred going to Lorraine, where 
he erected a superb theatre, and where he also 
married. On returning to Italy, he was chosen to 
erect the magnificent theatre of Verona, which is 
one of the best arranged edifices in Italy. Bibiena 
was also appointed professor in the academy of Bo- 
logna, where he taught geometry, perspective, me- 
chanics, and surveying. He died in 1739. 

GALLI, Antonio, called Bibiena, a son of Fer- 
dinando G., born in 1700. He followed in the 
footsteps of his father, and was much employed in 
erecting and decorating theatres, in Vienna, Hun- 
gary, and Italy. Returning to Italy after the 
death of Charles VI., in 1740, he erected and 
painted the new theatres of Pistoja and Siena, 
also that of Pergola at Florence. His greatest un- 
dertaking, however, was the new theatre at Bo- 
logna, co*iimenced in 1756. and finished in 1763. 
It is entirely of stone, and has five orders, each 
containing five boxes. He had two brothers," 
named Alessandro and Giuseppe, who were both 
distinguished in the same department of art. The 
latter resided successvely at Vienna, Prague, Dres- 
den, and Berlin. He died in 1756, leaving a son. 
Carlo, also a theatrical painter. 

GALLINARI, Pietro, a Bolognese painter, was 
the favorite scholar of Guido Reni. and acquired 
the title of Pietro del Signor Guido, from the af- 
fection of his master. He excelled in history, in 
the style of Guido, and Lanzi says that his ear- 
liest pictures, retouched by his master, are held in 
high esteem, also that he executed other works for 
the court, and for various churches at Guastalla, 
which are valuable. He was an artist of the no- 
blest promise, but was cut off prematurely in 1664, 
not without suspicion of poison. 

GALLIS. Peter, a Dutch amateur painter of 



GALL. 



340 



GAMB. 



flowers, fruit, and objects of still-life ; flourished 
at Enkhuysen : born in 1633 ; died 1697. 

GALLO. Bernardo, an Italian engraver, men- 
tioned by Orlandi as the artist of a set of plates 
for the Old Testament, and a set for an edition of 
Ovid's Metamorphoses, published at Lyons in 1559. 
He usually marked his prints B. G. 

GALLOCHE. Louis, a reputable French his- 
torical painter, born at Paris in 1670 ; died in 1761. 
He studied under Louis Boullongne, but afterwards 
visited Italy for improvement, whence he brought 
a large number of studies, that were of great use 
in his subjects of history. He was chosen a mem- 
ber of the Royal Academy, and presented his pic- 
ture of Hercules and Alceste. Among his other 
works are the Departure of St. Paul from Miletus, 
in the church of Notre Dame ; the Good Samari- 
tan and the Resurrection of Lazarus. 

GAL VAN, Don Juan, a Spanish painter, born 
at Loesia, in Arragon, in 1598. After acquiring 
the elements of design in Spain, he visited Italy, 
according to Palomino, and on his return settled 
at Saragossa, where he painted the cupola of the 
church of Santa Justa y Rufina ; and a picture of 
the Trinity, in that of the Carmelites ; but his best 
performance is the Birth of the Virgin, in the ca- 
thedral of his native city. He died at Saragossa 
in 1658. 

GxVMBARA, Lattanzio, an eminent Italian 
painter, born at Brescia, according to Ridolfi, in 
1541. His father, a tailor, being obliged to leave 
his native city for Cremona, had great difficulty in 
supporting his family, so that Lattanzio was com- 
pelled to work at his trade. His genius, however, 
could not be restrained, and he often emplo3^ed him- 
self in drawing, which produced quarrels between 
himself and his father. At length Antonio Campi, 
a distinguished painter of Cremona, interested him- 
self in the youth, and finding that his sketches 
evinced considerable talent, took him into his 
school, and instructed him for six years. At the 
age of eighteen, Gambara entered the school of 
Girolamo Romanino, and became his favorite pu- 
pil. Here ho made rapid advances, and surpassed 
his instructor in correctness of design, and grand- 
eur of composition. According to Lanzi, he en- 
riched the elevated principles he had acquired un- 
der the Campi, by the magic of Venetian coloring, 
in which he approached the rich tones of Por- 
denone. He selected the most beautiful forms, 
which are always gracefully varied, according to 
the subject; his attitudes are animated and appro- 
priate, even in the most difficult foreshortenings, 
with a relief approaching perfect illusion. Ro- 
manino had a very exalted opinion of his talent, 
and, according to Ridolfi, gave him his daughter in 
marriage. His greatest, and most studied produc- 
tion, is his fresco in the dome of the cathedral at 
Parma, representing subjects from the Life of 
Christ, which are very attractive even in the pres- 
ence of the works of Correggio. In the Corso de' 
Ramai. at Brescia, there yet remain three fa9ades, 
adorned with beautiful frescos of various histori- 
cal and fabulous subjects. Superior to the latter, 
are his admirable productions in the cloisters of S. 
Euferaia at Brescia, which represent Cain Slaying 
Abel ; Moses and the Brazen Serpent ; Samson 
and Delilah ; Judith with the head of Holofernes ; 
Jael and Sisera ; and the Deposition from the Cross. 
His finest oil paintings are the Birth of Christ, in 



S S. Faustino and Giovita at Brescia ; and a Dead 
Christ in S. Pietro at Cremona. This eminent art- 
ist was killed b}^ a fall from a ladder, in L574, 
at the age of 33, much regretted by the friends 
of art. 

GAMBERATI, Girolamo, a Venetian painter, 
was bo]-n about 1560, and died in 1628. He first 
studied under Giuseppe Porta, but afterwards im- 
proved his coloring with Palma, who was his 
friend. He executed some works in the churches 
of Venice so entirely in the style of Palma. that 
it is suspected the latter lent him a helping hand. 

GAMBARINI, Giuseppe, a Bolognese painter, 
born in 1680. He studied in the school of Lorenzo 
Pasinelli, where he made considerable progress; 
but on the death of that master, he entered the 
school of Cesare Gennari. He followed the style 
of the latter in rapidity of touch and power of na- 
tural effect, and also copied some of his works. 
He subsequently visited Rome and Venice for im- 
provement, but finding his powers not well adapt- 
ed to historical painting, he devoted himself to 
representing subjects from ordinary life, such as 
boys' schools, mendicants begging, and women in- 
tent on domestic affairs, with similar popular ob- 
jects, in all of which he abounded with commis- 
sions. At Bologna, such familiar pieces by him 
and his able pupil, Gherardini are common, and 
please by their spirit and exactness. Sometimes 
also he represented serious subjects, as in his pic- 
ture in Casa Ranuzzi, exhibiting the Coronation 
of Charles V. Gambarini died, according to Za- 
notti, in 1725. 

GAMBERUCCI, Cosimo, a Florentine painter, 
who flourished about 1610, and studied under Bat- 
tista Naldini. He painted easel pictures, which 
are found in the Florentine collections ; but he 
did not gain much eminence in the art, although 
there are some reputable productions in the church- 
es of his native city, especially his picture of St. 
Peter healing the Lame Man, in S. Pietro Mag- 
giore, which is somewhat in the style of the Ca- 
racci. 

GAMELIN, Jacques, a French painter, born 
at Carcassone in 1739. He was intended for the 
mercantile profession, but as he manifested a great 
inclination for art, he was placed in the academy at 
Toulouse, where he remained five years, and then 
visited Paris. Having gained the grand prize at 
the Royal Academy, he went to Rome with the 
king's pension. After his return, he gained con- 
siderable employment. In 1774 he was appointed 
professor of the academy at Toulouse, and two 
3^ears after, Director of that at Montpellier. He 
settled at the latter place, but occasionally visited 
the principal cities of Languedoc. and executed 
many works, which have something of the false 
taste of the old French school, though they possess 
considerable merit. In the Museum of Toulouse 
are two pictures by Gamelin, representing Achil- 
les dragging the body of Hector, and Ulysses dri- 
ving away the lovers of Penelope. He died at 
Carcassone in 1803. 



Ve-Vh: 



GAMPERLIN, a German 
'wood engraver, who lived at 
Strasburg, and executed, among other works, a set 
of twenty-two wooden cuts for the Life of Christ, 
printed by John Knoblauch in 1607. Authors 
diflTer respecting this artist ; Nagler says he is 



GAND. 



341 



GAND. 



identical with Ursus Graf, and gives a copious 
list of his works. 

GANDIA, Juan de, a Spanish painter, who 
lived about 1720, and was distinguished for his ar- 
chitectural and perspective views. 

GANDINI, Giorgio, called also, from his mo- 
ther's family, del Grano, was born at Parma, 
where he died young, in 1538. According to Or- 
landi, he was not only a pupil of Correggio. but 
was also assisted hj that master in retouching his 
pictures. Padre Zapata ascribes to Gandini the 
principal altar-piece in S. Michel e, which Ruta er- 
roneously attributed to Lelio Orsi ; and Lanzi 
says that its ease and sweetness of pencilling, its 
relief, and power of coloring, reflected honor upon 
that school. How highly he was esteemed by his 
fellow-citizens, may be inferred from the commis- 
sion which they allotted him, to paint the tribune 
of the Cathedral, as a substitute for Correggio, 
who died before he commenced the work. Gan- 
dini also died soon after, and the commission was 
transferred to Girolamo Mazzuoli. 

GANDINI, Antonio, a Brescian painter, who 
studied under Paolo Veronese, and followed his 
style. He also imitated Tanni, with something of 
the style of Palma. Ilis invention was fertile, and 
his design correct ; he was vast, varied, and ornate in 
his compositions, an artist ever}- way deserving of 
consideration in his grand picture of the Crucifix- 
ion, in the old cathedral at Brescia. Orlandi and 
Zamboni place his death in 1630. 

GANDOLFI, Gaetano. a modern Italian paint- 
er, born at S. Matteo della Decima, in the Bolog- 
nese state, in 1734. He studied under his brother. 
Ubaldo G., and afterwards improved himself in 
coloi'ing by studj'ing for a 3ear at Venice, and by 
copying for a Venetian dilletante the finest produc- 
tions of the Caracci at Bologna. It is difficult to 
account for the fine coloring in some of his pic- 
tures, and the inferior coloring in others — as in the 
Death of Socrates, at Monsig. Trenta's, bishop of 
Foligno. Lanzi says it is feeble and deficient in 
truth, owing either to caprice or age. In his pre- 
parations of paintings he was more commendable ; 
his first conceptions were sketched on slate with a 
pencil, and then more carefully on paper. He next 
began to select ; modeled the figures in chalk, and 
draped them ; afterwards forming the design on a 
large scale, and by the aid of his experiments, and 
of the living model, he went on completing and re- 
touching his work. He has been accused of bor- 
roAving too frequently from the ancient models ; 
but whoever had seen him, aged as he was, devot- 
ing himself in the public academy to the practice 
of modeling, would not unjustly condemn him 
with those plagiarists so notorious at this day. 
Moreover, Lanzi says he was inimitable by most 
artists in those rare gifts which nature had lavish- 
ed upon him — enthusiasm, fertility of invention, 
sensibility, and skill in depicting the passions ; to 
which he added a correct eye. and ability to design 
and compose, in the decoration of friezes for the 
Institute, exotic plants, and other rarities of na- 
ture, and skill to paint in oil as well as fresco. 
He was esteemed in Italy as one of the first artists 
of his day. His master-pieces are the Assump- 
tion, in S. Maria della Vita ; and the Marriage of 
Cana, in the Refectory of S. Salvatore at Bologna ; 
also the Martyrdom of S. Pantaleone in the church 
of the Girolimini at Naples, besides some other 



j works in various parts of Italy. He also engraved 
with much elegance, and among his productions in 
this branch of art, is an etching in a very masterly 
I style, representing the Nativity, signed Niccol. del 
' Abati. pinx. ; Gajet Gandolji^ fee. He died in 
1802. and was buried by his countrymen with 
great funeral honors, equal to those of Agostino 
Caracci. 

GANDOLFI, Ubaldo, the elder brother of 
; Gaetano G.. was born in 1728, and died at Bologna 
; in 1781. He successively studied under the pain- 
j ters. Torelli. Graziani, and Lelli. He was One a 
distinguished artist of the modern Bolognese 
school; not so much for his coloring, in which 
he was inferior to his brother, but for his supe- 
rior academical designs. 

GANDOLFINO, Maestro, a Piedmontese 
painter, who flourished about 1493. In the church 
i of S. Francesco, at Alba, are some of his works, 
1 still in good preservation. 

I GANDON, James, an eminent English archi- 
[ tect, born in 1760. He studied under Sir William 
Chambers, and gained the first architectural gold 
medal ever awarded by the Royal Academy. Af- 
ter abl}^ editmg the Vitruvius Brittanicus. he 
went to Ireland, where he spent the remainder of 
his life. He designed the Royal Exchange, the 
Custom House, the Four Courts, the Portico of 
the House of Lords, and many other elegant struc- 
I tures in Dublin. The Society of Antiquaries elect- 
I ed him a member of their body, as did also the 
j Irish Academy. His talents were highly esteemed, 
and his works gained him great reputation. He 
j died in 1824. 

i GANDY, James, an English portrait painter, 

born in 1619, and is said by Pilkington to have 

j studied under Vandyck. He was patronized by 

the Duke of Ormond, who took him to Ireland, 

, where he painted many portraits of noblemen and 

: others, which that author extols as little inferior to 

I Vandyck, either for dignity, coloring, or expression. 

He died in 1G89. leaving a son named William, who 

went to England in 1700, and became an itinerant 

portrait painter in Devonshire and Cornwall. Ho 

died in obscurity. 

GANIERES, Jean, a French engraver, who 
flourished at Paris about 1650. He executed a 
few plates with the graver, in a stiff, tasteless man- 
ner, after Blanchard, &c. ; also some portraits, 
i among which are: 

! PORTRAITS. 

Louis XIII. of France ; an oval, with ornaments. 1640. 
' Cardinal Flavio Chigi. M. de la Melleraye. 1679. 

I SUBJECTS. 

I Magdalene, penitent; after J. Blanchard. A Boy 
sleeping, Trith a Skull near him. 1640. 

GANTREL, Etienne, a French engraver, born 
at Paris about 1626. He executed a number of 
plates of portraits and historical subjects, in a neat 
style, possessing considerable merit. The follow- 
ing are the principal : 

PORTRAITS. 

Louis XIV. of France : as large as life ; Stef. Gantrel^ 
fee. Sebastiano Pisani, Bishop of Verona ; do. A. Brean- 
neau, President de la Tournelle ; after la Dam. J. L. 
de la Bouvdonnaye, Bishop of Lyons ; after Fontaine. — 
M. Poncet de la Riviere. 1632. Louis Berrier, Counsellor 
■ to the King. 1674. 



GARB. 



342 



GARC. 



SUBJECTS AFTER VARIOUS MASTERS. 

The Rod of Moses, changed into a Serpent, devouring 
the Rods of the Magicians of Pharaoh ; after N. Poussin. 
The Israelites passing the Red Sea ; do. The Israelites 
dancing round the Golden Calf; do. The Descent from 
the Cross ; do. St. Francis Xavier restoring an Indian to 
life ; do. St. Gervais and St. Protais before the Pro-Con- 
sul ; after le Sueur. St. Benedict kneeling ; after Phil. 
de Champagne. St. Francis supported by an Angel ; after 
Caracci. The Head of Christ; after le Brun. 

GARBIERI, Lorenzo, called il Nipote, a Bo- 
lognese painter, born, according to Malvasia, in 
1580. He studied under Lodovico Caracci. and 
became one of the most successful imitators of that 
great artist. Lanzi says he was less select in the 
heads, but grand in the forms, expressive in the 
attitudes, and studied in his large compositions. 
His austere and almost fiery disposition, with an 
imagination abounding in wild and mournful ideas, 
impelled him to represent tragical events, as mar- 
tyrdoms, slaughter, pestilence, and death. To the 
style of the Caracci, he added the daring contrasts 
of Caravaggio. His paintings in S. Antonio at 
Milan, which are less loaded with shade, were at- 
tributed to the Caracci. by Santagostini. in his 
Guide to Milan. Among his principal works is an 
admirable picture in the Filippini at Fano, repre- 
senting St. Paul raising the Youth to Life, which 
is painted with such power and expression as to 
excite both terror and devotion. In S. Paola de 
Barnabiti, at Bologna, he painted the Plague of 
Milan, with S. Carlo Borromeo visiting the Sick, 
and conducting a penitential procession. In S. 
Mauvizio at Mantua, is his celebrated Martyrdom 
of St. Felicita, and her seven children — a piece in- 
ferior to the Miracle of St. Paul in point of vigor, 
but containing such a variety of images and deathly 
horror, as not to be surpas.sed in tragic interest by 
anything from that school. He had the choice of 
establishing himself as court-painter at Mantua, 
but preferred taking a wife with a handsome dowry 
at Bologna. This step was a loss to the art, ac- 
cording to Malvasia, since from that period, find- 
ing himself rich, and occupied with family cares, 
he painted little, and with as little studj'-, leaving 
his final labors by no means equal to the preced- 
ing. He died in 1654. 

GARBIERI, Carlo, the son and scholar of the 
preceding, whose style he followed. He did not 
apply himself closely to his profession, but exhib- 
ited several historical works, which showed that in 
time he might have equalled his father. In S. Gio- 
vanni in Monti, at Bologna, is a picture by him of 
the Death of St. Mary of Egypt ; and in S. Paolo, 
that Saint taken up to Heaven. 

GARBO, Raffaellino del. a Florentine paint- 
er, born in 1476. He studied under Filippino Lip- 
pi, whom he soon surpassed, and gave promise of 
rare merit. He accompanied his instructor to 
Rome, and painted a Choir of Angels on the ceil- 
ing of the Capella della Minerva, which surpassed 
the work of Lippi in the same chapel, particularly 
in the expression of the heads. Lanzi says this 
work alone would serve to justify the name by 
which he was distinguished. In Monte Oliveto at 
Florence, is a Resurrection by this artist, where 
the figures are small, but so graceful, correct in 
attitude, and so finely colored, that Lanzi says he 
can hardly be ranked inferior to any master of that 
ag«!. The learned Moreni, in his Memorie Isto- 



riche, mentions another of his beautiful altar- 
pieces, still in existence at S. Salvi ; and some of 
his earlier pictures are in a similar state. Unfor- 
tunately for the art, he became the father of a nu- 
merous family, and gradually degenerating in his 
st3de, he died in poverty and obscurity in 1534, 
aged 58. 

GARCIA, Ferrer, a Spanish ecclesiastic, who 
practised painting at Valencia and Madrid about 
the middle of the 17th century. His works were 
much esteemed, particularly for their admirable 
perspective. He usually represented religious sub- 
jects, among which is a picture of the Crucifixion, 
dated 1632. He possessed a fine collection of 
works by the old masters, and also of his own 
pictures, which after his death brought a large 
sum. 

GARCIA, Francisco, a reputable Spanish 
painter, who flourished at Murcia at the com- 
mencement of the 17th century. Among his best 
works is an altar-piece in the chapel de los Velez, 
in the cathedral of that city, representing St. Luke 
writing, which is highly esteemed. 

GARCIA, Hon Josef, Hidalgo, an eminent 
Spanish painter, born at Murcia in 165C. He de- 
voted himself to painting at the age of fourteen, 
and his first masters were Mateo Gilarte and Nico- 
las de Villacis. In 1676 he visited Rome for im- 
provement, and was assisted by the advice and in- 
struction of Giacinto Brandi, P. da Cortona, Sal- 
vator Rosa, and Carlo Maratti. On returning to 
Spain, he resided several years at Valencia, where 
he gained several prizes at the Academy, and exe- 
cuted many fine works. He afterwards settled at 
Madrid, and executed, in concert with Don Juan 
Carreiio, a number of pictures in the cloister of S. 
Felipe el Real. In 1703 he was appointed court- 
painter by Philip V., who conferred on him the or- 
der of St, Michael. His works are distinguished 
for excellent composition, beautiful coloring, fine 
expression in the heads, grace and elegance of 
forms. He was cotemporary with Palomino, who 
was envious of his reputation, and did not insert 
his name in his Lives of Painters, which may ac- 
count for the meagre sketch in Bryan of this emi- 
nent artist. Among the principal works of Gar- 
cia, are the Battle of Lepanto, in S. Juan at 
Valencia ; St. Joseph, in S. Andres ; St. Joachim 
and St. Thomas, in the Convent of S. Domingo. 
At INIadrid there are twenty-four pictures by him, 
in the cloister of S. Augustine, representing sub- 
jects from the life of that Saint. Garcia is said to 
have engraved a number of plates, but their sub- 
jects are not mentioned. In 1691 he published a 
work on art, entitled Principios para estudiar el 
Nobilwsimo Arte de la Pintiira. 

GARCIA, de Miranda, called el Manco. This 
Spanish painter flourished about 1730, and al- 
though little is known of his works, he must have 
been an eminent artist. Philip V. appointed him 
court-painter, with a salary of 2500 ducats per 
annum. He was called El Manco. from his habit 
of painting with his left hand, having lost his right 
by an accident. He died at Madrid in 1749. There 
were two other painters of this name— -Reyuoso 
Garcia, of Andalusia, who died in 1677 ; and Gar- 
cia de Salmeron, who died in 1666. 

GARDINER, William, an Irish engraver, born 
at Dublin in 1766. He early manifested a taste 



GARD. 



343 



GARN. 



for design, and was placed in the Academj- of Dub- 
lin, where he gained distinction on several occa- 
sions. He afterwards went to London, and prose- 
cuted the art with great assiduit3^ under the direc- 
tion of Bartolozzi. who allowed his own name to 
be aiiixed to several of his plates. He was distin- 
guished for his portraits in aquatint, which pos- 
sess great merit. Among his other works are the 
illustrations for the Memoirs of Graramont ; the 
Fables of Dryden, by Lady Beauclerc, &c. It is 
to be regretted that he did not apply himself stead- 
ily to the art, as he would undoubtedly have at- 
tained eminence. He died in 1814. 

GARDNER, Thomas, an English engraver, 
who wrought chiefly for the booksellers, and exe- 
cuted, among other plates, a set for the Book of 
Common Prayer^ paraphrased by James Harris 
in 1735. 

GARDNER, Daniel, an English painter, born 
at Kendal, in Westmoreland, and flourished about 
1780. He was a student of the Royal Academy, 
and was also on terms of intimacy with Reynolds. 
He painted fashionable portraits of a small size, 
and realized a considerable fortune by this prac- 
tice, which enabled him to retire from the profes- 
sion some years before his death, which occurred 
in 1805. 

GAREIMYN, John, a Flemish painter, born at 
Bruges in 1712, and studied under Louis Roons 
and Matthias de Visch. His talents were versa- 
tile; his works are numerous in different branches 
of the art, and are highly esteemed for warmth 
of coloring, and facility of execution. He painted 
numerous altar-pieces for the churches at Bruges 
and jOourtrai ; and others for private collections at 
Brussels and Ghent. At Bruges there are also a 
n amber of his pictures in the style of Rembrandt 
and Teniers, which are highly esteemed. Gare- 
myn also designed and executed several plates for 
the Chronicles of Flanders, in 4 vols, fob, 1736. 
He died in 1799. 

GARGIUOLI, DoMENico, called Micco Spada- 
Ro, a Neapolitan painter, born in 1612. He stud- 
ied under Aniello Falcone, at the same time with 
Salvator Rosa, next to whom he was the most tal- 
ented of Falcone's disciples. He gained distinc- 
tion as a landscape painter, and was also a good 
artist in large historical works, as is evident from 
his pictures at the Certosa, and in other churches. 
He had an extraordinary talent for painting small 
figures, and Lanzi says he might be called with 
propriety the Cerquozzi of his school. His friend. 
Viviano Codagora, alwaj^s employed him to deco- 
rate his landscapes with figures, which he did with 
infinite grace. The Neapolitan galleries possess 
many of their pictures ; and some have specimens 
of Carried, all by Gargiuoli. He had no equal 
iu depicting the manners and dress of the common 
people, particularly in large assemblies, in which 
the number of figures sometimes exceeded a thou- 
sand. He was assisted by the etchings of Callot 
and Delia Bella, both of whom were celebrated 
for placing a great number of figures in a small 
space ; but it was in the true spirit of imitation, 
without a trace of servility. He died in 1679. 

GARNERY, Jean FRAN901S, a French painter 
of portraits, architectural views, and fancy sub- 
jects, born at Paris in 1755. His earlier portraits 
are said to be in the Flemish style, and his fancy 



subjects are very interesting. He was living in 
1831. 

GARNERY, Ambroise Louis, a Parisian paint- 
er, son of Jean Fran9ois G. He painted naval 
battles, and other marine subjects, illustrative of 
events within the last thirty or forty years, such as 
the capture of an English frigate by an American 
(no uncommon event about 1812, Mr. Stanley to 
the contrary notwithstanding) ; also the Battle of 
Navarino, painted by order of the government ; 
and the Embarkation of the Duke and Duchess de 
Berri. He also engraved and published a pictorial 
work, entitled, " Views on the Ports and Coasts 
of France." 

GARNERY, Auguste, a French painter in wa- 
ter-colors, the second son of Jean Fran9ois G._ He 
studied in the school of Isabey, and painted many 
portraits, besides some small-sized subjects of his- 
tory ; also designs for vignettes, and for Denon's 
work on Egypt. 

GARNIER. Antoine, a French engraver, 
who flourished at Paris about 1650. His 
plates have some merit, though not very delicately 
executed ; they are etched in a bold style, and fin- 
ished with the graver. He engraved, among oth- 
er works, four plates, after Blanchard, of Char- 
ity, the Holy Family, St- Sebastian, and St. John 
the Baptist ; also some of the paintings by Pri- 
maticcio at Fontainbleau ; a set of twelve plates, 
after the pictures by the same artist, in the chap- 
el de Fleury ; and several plates after M. A. Cara- 
vaggio and N. Poussin. 

GARNIER. Etienne Barthelemy, a reputable 
French portrait and historical painter, born at 
Paris in 1759. He painted many pictures of sub- 
jects from ancient poetry, and of events in the 
reigns of King Dagobert, Henry IV.. and Napoleon. 
He competed in 1828 with Horace Vernet for the 
directorship of the French Academy at Rome; but 
being unsuccessful, he was declared Chevalier of 
the Legion of Honor, and received a pension of 
2000 francs. He was living in 1831. 

,<t, GARNIER, Noel, an 
^ old French engraver, 
who flourished about 1500. He is called the 
" Master of the Knot," from his sometimes using 
a knot to unite the letters of his monogram. He 
executed several wooden cuts, and some of the ear- 
liest plates e^'er engraved in France, which are in 
a very rude style, and seem like the productions 
of a goldsmith. 'There is a plate by him, marked 
with his Christian name on a tablet, representing 
several men fighting, something in the style of Se- 
bald Beham, though greatly inferior. There are 
also a number of grotesque ornaments, and a set 
of forty-eight figures, emblematical of the arts, 
sciences, trades, &c. 

GAROFOLO. See Tisio. 

GAROFOLINI, Glacinto. a Bolognese painter, 
was born in 1666, and died in 1725. He was 
a pupil of Marc' Antonio Franceschini, and execu- 
ted various works in fresco for the churches at Bo- 
logna and other cities. 

GAROFGLO, Carlo, a Neapohtan painter, who 
studied under Giordano, and excelled in painting 
on glass, or rather on crystal, for ornamenting 
mirrors, caskets, and other furniture of the cham- 
bers of the great, then much in vogue. He went 




GARO. 



344 



GASP. 



to Spain at the invitation of Charles II., to prac- 
tice this kind of painting in the royal palace at 
Madrid, where he died about 1715. 

GAROLI, PiETRO Francesco, a Piedmontese 
painter, was born at Turin in 1638, and died in 
1716. He studied at Rome, and was an excellent 
painter of perspective. He was much employed 
at Turin and in other cities, in decorating the 
chuiches, in which Garzi painted the figures. 

GARVEY, Edmund, a landscape painter of lit- 
tle note, who flourished in England about 1790. 
He followed the st3^]e of Richard Wilson, to a cer- 
tain extent. He left many small pictures at his 
death, executed in a neat but rather dry style, 
which were sold at auction in 1816. 

GARZI, LuiGi or Lodovico, an Italian painter, 
born at Pistoja. according to Orlandi, in 1638. He 
studied in his native city, under S. Boccali. until the 
age of fifteen, and in 1653 went to Rome, where 
he entered the school of Andrea Sacchi, and soon 
manifested such remarkable talent that he became 
highly celebrated at Naples and Rome in every 
branch of painting. According to Lanzi. he was an 
eneni}^ to despatch in painting, correct in his de- 
sign, and free from the corrupt prejudices which 
afterwards usurped the place of the genuine rules 
of art. In his manner, he united the styles of the 
Sacchi and P. da Cortona. He is praised for the 
elegance of his forms and attitudes, correct per- 
spective, and fertile invention and composition. 
lie was the cotemporary and rival of Carlo Ma- 
ratti, though in refinement of taste he did not 
equal that master. Among his principal works at 
Rome are the cupola of the Capella Cibo, in S. 
Maria del Popolo ; the Marys at the Sepulchre, 
in S. Marta ; and his celebrated picture of the 
prophet Joel, in S. John of Lateran. He was in- 
vited to Naples, to paint the vault of S. Caterina 
del Formello, with the angles ; and two saloons in 
the royal palace. In the dome at Pescia, he paint- 
ed an immense picture of the Assumption, which 
is considered his most capital performance. He 
died in 1721. 

GARZI, Mario, the son and scholar of the pre- 
ceding, painted subjects of history in the style of 
his father, which evinced fine talents, but died 
young. Pascoii mentions two of his works, in the 
Guida di Roma. 

GARZIA. Alvaro, an old Spanish architect, 
was a native of Estelle, in Navarre, and flourished 
about 1090. He erected at Avila the cathedral, 
with the tower and fortress, which in ancient times 
had been the royal palace. These buildings were 
commenced in 1091, and finished about 1107. 

GARZONI, GiovANNA, a reputable Italian paint- 
ress of flowers and miniature portraits, a native of 
Ancona, and flourished about 1630. At Florence, 
she painted the portraits of some of the illustri- 
ous personages of the Medici, and many of the 
nobility. She died at Rome in 1673. at an advanced 
age, and left all her property, which was consider- 
able, to the Academy of St. Luke, where a marble 
monument is erected to her memory, 

GASCAR. Henry, a French portrait painter, 
who went to England in the time of Charles II., 
where he was greatly patronized by the Duchess 
of Portsmouth and others, so that he acquired 
about $50,000 in a few years. His works have 



considerable merit ; the best is the portrait of Phil- 
ip, Earl of Pembroke. 

GASPAR[NI, Gaspare, an Italian painter, a 
native of Macerata, and flourished about 1585. 
He studied under Girolamo Sermoneta, and fol- 
lowed his style, though in a less finished manner, 
as is evident from his two pictures in S. Venanzio, 
at Fabriano. representing the Baptism of Christ 
and the Last Supper, though these do not equal 
his picture in the same church of St. Peter and St. 
John healing the Lame Man — a grand composi- 
tion, in the elevated style of Raffaelle. There is 
also a fine picture at the Conventuali, in his native 
place, representing St. Francis receiving the Stig- 
mata. 

GASPARINI, Sebastiano. Orsini mentions 
an artist of this name, who studied under Cav. 
Pomerancio, and decorated a chapel in S. Biagio in 
that city with historical paintings in fresco. 

CASPARS, John Baptist, a Flemish painter, 
who flourished about 1660, and studied under 
Thomas Willeborts Bosschaert. His drawing 
was correct, and he excelled in making designs 
from tapestry. During the civil war he \isited 
England, and was much employed by Gen. Lam- 
bert. After the Restoration he became an assist- 
ant to Lely, and subsequently to Knell er. Among 
his works are the Portrait of Charles IL, in Paint- 
ers' Hall, and another of the same prince, in the 
hall of St. Bartholomew's Hospital. He died at 
London in 1691. 

GASSEL, Lucas van, a reputable Flemish land- 
scape painter, who probably resided chiefl}^ at 
Brussels, where he died at an advanced age. His 
portrait, by Jacob Binck, is in the collection of 
persons who died before 1572, engraved by John 
Wierix. 

GASSIES, a French painter, who flourished 
from 1810 to 1827, and executed many works 
which are now in the collections of some of the 
best patrons and amateurs of the art in France. 
His works embrace historical, poetical, and allego- 
rical subjects, landscapes, marine views, interiors 
of churches, and striking scenes on the coast of 
England and France. 

GAST, Michael de, a Flemish painter, born at 
Antwerp in 1520. He probably passed the earlier 
part of his life in Italy, as many of his works rep- 
resent the ruins of ancient Rome, decorated with 
figures and cattle. In 1558, he was chosen a mem- 
ber of the Academy at Antwerp. 

GASULL, Augustin, a Spanish historical paint- 
er of Valencia, who studied at Rome under Carlo 
Maratti. All his works are remarkable for their 
admirable coloring, and are greatly admired. — 
Among them are the pictures of St. Andrew, St. 
Stephen, la Yierge de 1' Esperance. and also his 
St. Joseph, painted for S. Juan del IMercado at Va- 
lencia, besides many pictures in several other 
churches of the same city. He died at Valencia, 
about 1704. 

GATTA, Don Bartolomeo, a native of Camal- 
dola, who died, according to Vasari, in 1461, aged 
83 ; to others w^th more probability in 1491. He 
was educated at Florence, in the monastery of the 
Angeli, and painted miniatures and small histori- 
cal pieces with reputation. He was also skilled in 
music and architecture. He was appointed Abbot 



GATT. 



345 



GATT. 



of S. Clementino at Arezzo, where he practiced, 
and instructed several pupils in the art. 

GATTI, FoRTUNATO, a native of Parma, and a 
reputable painter, who flourished in that city in 
1648. Lanzi says his works show the succession 
of the Parmese artists, rather than the genius of 
a great painter. 

GATTI. Bernardo, called Soiaro, an eminent 
Italian painter, born, according to Cav. Antonio 
Campi, at Cremona, where his family was estab- 
lished. Lanzi says he deserves to be considered 
the great master of the Cremonese school, which, 
benefitted by his presence and guided by his exam- 
ples, produced during so long a period such a vari- 
ety of admirable works. He was the most talent- 
ed of the scholars of Correggio ; and his Repose 
in Egypt in S. Sigismondo at Cremona, Christ in 
the Manger at St. Peter's in the same city, and 
the Dead Christ in the Magdalene at Parma, all 
afford ample evidence of his power of imitating 
Correggio, without the servility of a copyist. No 
one has emulated him better in the delicacy of his 
countenances, and his young girls and boys appear 
animated with the spirit of innocence, grace, and 
beauty. Sweetness is one of the chief character- 
istics of his coloring, and the relief of his figures, 
like his great instructor, is every way perfect and 
complete. He succeeded to the place of Pordenone, 
at Piacenza, where he painted the remainder of the 
tribune at S. Maria di Campagna ; and Yasari 
says it all seems the work of the same artist. — 
Lanzi mentions an admirable work by Gatti, in 
the cupola of the Steccata at Parma, in which the 
Madonna is of wonderful beauty. Another of his 
pieces, representing the Multiplication of the 
Loaves, is highly deserving of praise. It was ex- 
ecuted for the Refectory of the Padri Lateranensi 
at Cremona, dated 1552. It is an immense compo- 
sition, full of figures larger than life, admirably 
varied in features, drapery, and attitudes, besides 
a rich display of novelty and fancy ; the whole 
conducted upon a grand scale, with a beauty of 
coloring and harmony of effect, that serves to ex- 
cuse a degree of incorrectness in the aerial per- 
spective. Few of his works are to be found in 
private Italian collections, as a great number have 
been taken to other countries, particularly to Spain. 
Rosini has a print of Gatti's Nativity, which gives 
a good idea of that admirable work. He died in 
1575. 

GATTI, Gervasio, called Soiaro, an Italian 
painter, born at Cremona, and flourished from 
1571 to 1631. He was the nephew of Bernardo 
G.. who initiated him in the same principles Avhich 
he had himself imbibed, b}^ studying and copying 
the models of Correggio at Parma. His improve- 
ment was evident from his picture of S. Sebastiano, 
painted for St. Agatha at Cremona in 1578, de- 
signed with all the purit}^ of the antique, and a 
coloring equal to the best productions of the Mi- 
lanese school. In S. Pietro is his Martj'-rdom of 
St. Cecilia, surrounded hj Angels, entirely in the 
style of Correggio, most admirably colored, and 
finished with exquisite care. In composition, it 
resembles his uncle, Bernardo G., and mi^ht be 
easily mistaken for the work of that master, were 
it not signed with his name and dated 1601. Lan- 
zi says that he probably saw the works of the 
Caracci. as their style is evident in some of his 
pictures, particularly those in Sts. Pietro and Mar- 



cellino. Gatti also held a high rank as a portrait 
painter. He was not always equally diligent, 
however, and sometimes betrays a mechanical 
hand, while there is often a monotony in his coun- 
tenances, and a want of selection in his heads. His 
last works are dated in 1631. 

GATTI, Uriele, supposed by Lanzi a brother 
of the preceding, flourished about 1600. In S. Se- 
polcro, at Piacenza, is a picture by him of the Cru- 
cifixion, painted with an elegant and vigorous col- 
oring, but in an insignificant style, with feeble 
chiaro-scuro. It is signed Uriel cle Gattis dictv^ 
Sojajius, 1601. 

GATTI, GiROLAMO, an Italian painter, born at 
Bologna in 1662; died in 1726. He studied un- 
der Marc' Antonio Franceschini, but imitated Cig- 
nani in his coloring. He was considerably em- 
ployed in small figure pieces, among which is the 
Coronation of Charles V., in the Hall of the Anziani, 
which evinces good talents in the figure and per- 
spective. 

GATTI, Oliviero, an Italian painter and en- 
graver, born at Parma in 1598 ; studied painting 
under Gio. Lodovico Yalesio, and probably was 
instructed in engraving by Agostino Caracci, 
whose stj^le he imitated, though greatly inferior. 
He was chosen a member of the Bolognese Acade- 
my in 1626. As a painter, he is little known j 
but there are a number of plates by him, which 
possess considerable merit. The following are 
the principal : 

St. Francis Xavier kneeling on the Sea-shore, and tak- 
ing up a Crucifix, which is floating on the water ; after 
his design. The Virgin caressing the infant Christ ; after 
Garhieri. St. Jerome, with a Crucifix ; after Agos. Ca- 
racci. An emblematical subject, representing an Armorial 
Bearing, supported by two River Gods, with an armed fig- 
ure, standing alone, surrounded by Jupiter, Hercules, Nep- 
tune, Apollo, and Minerva ; after L. Caracci. A set of 
four small plates, representing the Deity forming the 
World, the Creation of Adam, the Sacrifice of Abraham, 
and Judith with the Head of Holofernes ; after Porde- 
none. A Drawing-book ; after the designs of Guercino, 

GATTI, ToMMASo, an Italian painter, born at 
Pavia in 1642. He was one of the best scholars 
of Carlo Sacchi, and afterwards pursued his stu- 
dies at Venice. He succeeded, Lanzi saj^s, at least 
as a practical artist, and painted a number of pic- 
tures for the churches at Pavia. 

GAUCHER, Charles Etienne, a French en- 
graver, born at Paris in 1740 ; died in 1804. He 
studied under Basan, and afterwards under le Bas. 
He executed a num-ber of portraits, in a neat, fin- 
ished style, among which are : 

PORTRAITS. 

Maria Cecilia, Ottoman Princess, daughter of Achmet 
III. ; after his own design. M. du Paty, celebrated Ad- 
vocate • after Notte. Louis Gillet, with four French 
verses. Louis Auguste, Dauphin of France ; after Gau- 
tier. 3. P. Timoleon de Cosse, Duke de Brissac ; after St. 
Auhin. Louis de Grimaldi, Bishop of Mans. 1767. An 
allegorical subject, to the memory of J. P. le Bas ; after 
Cochin. The Crowning of Voltaire ; after Moreau, The 
Card-players; after Tilburg. Repose; after Gaspar 
Netscker. 

GAUD, Henry. See Goudt. 

GAUDENZIO. See Ferrari. 

GAUDIN. Luis Pascal, a Spanish painter, born 
at Villa Franca, near Barcelona, in 1556. He stud- 
ied theology, and took priestly orders, but did not 
relinquish his profession. His instructor is not 



GAUF. 



346 



GAUL. 



mentioned ] but he visited various cities of Spain^ 
and executed many fine works, which were much 
admired, and even gained him the honor of an in- 
vitation to Italy by Pope Gregory XIII. ; but 
when about to depart, he was taken sick, and died, 
in 1621. Among his principal works are six grand 
pictures of subjects from the Life of the Virgin, 
in the convent of S. Maria de las Cuevas, near Se- 
ville ', and eight pictures of the Life of St, Bruno, 
in the Seal a Dei. His works are distinguished for 
correctness of design, intelligence of composition, 
beautiful attitudes, and the noble character of the 
figures. 

GAUFFIER, Louis, an eminent French painter, 
born at Rochelle in 1761. He studied under Tara- 
val. and made rapid progress, carrj'ing off the 
grand prize of the Academy in 1784, for his pic- 
ture of the Canaanitish Woman. He went to 
Rome with the royal pension, and produced seve- 
ral works which greatly increased his reputation. 
His picture of Alexander and Hephestion. of life- 
size, gained him the title of Associate to the Royal 
Academy. Among his other works, are the Ro- 
man nations sending their Jewels to the Senate ; 
the Angels appearing to Abraham ; Jacob and 
Rachel ; and Achilles recognized by Ulysses. He 
died at Florence in 1801. His wife, Pauline Cha- 
tillon G., was instructed by him, and produced 
many excellent works, very delicately executed, 
some of which have been engraved in England, by 
Bartolozzi. She died at Florence in 1801, three 
months previous to her husband's death. 

GAULLI, Gio. Battista, called Baciccio, an 
eminent Genoese painter, born in 1639 ; died in 
1709. He acquired the elements of the art at 
Genoa, and then went to Rome, where he studied 
the works of the best masters, aided by the coun- 
sels of Bernini, and rapidly rose in public esteem. 
Gifted naturally with a ready invention and great 
facility of execution, he gained great eminence in 
grand fresco works. The vault of the church del 
Gesu, at Rome, is his most celebrated performance. 
It represents St. Francis Xavier taken up to Heav- 
en, and is worthy of high praise for its grandeur 
of composition, knowledge of foreshortening, uni- 
ty and harmony of efifect, brilliancy and skillful 
gradation of light. It is in the general effect, how- 
ever, that it is most to be admired ; for the local 
tints are less excellent, and the outline of his fig- 
ures is not always correct. His faults in his easel 
pictures, which are very numerous in Italy and 
foreign countries, are less obtrusive, and are abun- 
dantly atoned for by their spirit, freshness of tints, 
and engaging countenances. He varies his man- 
ner with the subject, assigning to each a different 
style. There is a delightful picture in his best 
manner, gracefully painted, in S. Francesco a Ripa, 
representing the Madonna and Infant, and at her 
feet St. Anna kneeling, surrounded by Angels. On 
the contrary, in S. Andrea at Monte Cavallo, is his 
picture of the Death of St. Saverio. treated in a 
grave and pathetic stjde, most admirably adapted 
to the subject. GauUi also painted the angles in 
the dome of St. Agnes, and with such force and 
brilliancy that the works of Giro Ferri, in the 
same edifice, are almost eclipsed. He also gained 
great reputation in portraits, and Pascoli says he 
painted no less than seven different pontiffs, be- 
sides many illustrious nobles. In this branch of 
the art he followed the practice of Bernini, of en- 



gaging the subject in an animated conversation, 
and thus obtaining the most striking expression 
possible. He is said to have etched the portrait 
of Cardinal Celio Piccolomini. He died in 1709. 

GAULT, Pierre Marie, de St. Germain, a 
French painter, born at Paris in 1754. He paint- 
ed subjects from sacred and profane history, some 
of which are of large dimensions ; also portraits 
of man}^ celebrated individuals, as Voltaire. Mile. 
Clairon, Crebillon, and Stanislaus, King of Poland. 
He wrote a number of works relative to the art, 
which display great knowledge and judgment, 
among which are an " Account of the Lives and 
Works of Leonardo da Vinci and N. Poussin ;" 
and a '' Guide to Amateurs for the Italian, Span- 
ish. Flemish, and Dutch Schools." He was living 
in 1831. 

^ or(f^ GAULTIER. or GALTER, Leon- 
f^^ 2tl^«ARD, a French engraver, who flour- 
ished about 1610, and executed a great number of 
plates. The Abbe de Marolles possessed over 800 
prints by him, many of which were from his own 
designs. They consist of portraits and various 
subjects, some of which are very highly finished, 
in the style of Crispin de Passe, and executed en- 
tirely with the graver, with great precision, but in 
a stiff, formal manner. The following are the 
principal : 

portraits. 
Henry IV. of France ; L. Gaultier,fec. Henry, Duke 
de Montpensier, Peer of France. J. Amyot, Bishop of 
Auxerre. Alexander Bovichart, Viscount de Blosseville. 
Philip de Mornay, Seigneur du Plessis. 1611. Charles de 
Gontaut de Biron, Marechal de France. Stephen Pasehi- 
nus. John Caron. 

VARIOUS SUBJECTS. 

A set of small plates of subjects from the Old and New 
Testaments. A set of the Prophets, Apostles, and Evan- 
gelists. Thirty-two plates of the History of Cupid and 
Psyche ; after Raffaelle. The Procession of the Ligue ; a 
satirical print. The Family of Henry IV. ; nine figures. 
The Assassination of Henry IV. The Coronation of Mary 
of Medicis ; L. Gaultier, sc. 1610. The Cyclops forging 
the Thunderbolts; after J. Cousin. Leonar. Gaiter, fecit. 
1581. A Sacrifice ; after M. Freminet. The Last Judg- 
ment ; copied from the print which Martin Kota engraved , 
after M. A. Buonarotti. 

GAULTIER. a French engraver of little note, 
probably a relative of Leonard G., whose style he 
imitated. Among other plates, he executed seve- 
ral of emblematical subjects, which have some 
merit. 

GAULTIER, Pierre, a French painter and en- 
graver, who flourished about 1730, and resided 
chiefly at Naples. His plates possess considera- 
ble merit, among which are the following, after 
Solimena : 

David and Bathsheba. The Visitation of the Virgin to 
St. Elizabeth. St. Michael discomfiting the Evil Spirits. 
The Defeat of Darius. The Battle of the Centaurs. The 
Four Quarters of the World ; small ovals. 

GAUTHEROT, Claude, a reputable French 
painter, born at Paris in 1769. He studied under 
David, and became, like that master, involved m 
the French Revolution. About 1799 he opened 
a school at Paris, and by the influence of David, 
who sent him all his scholars that were not safii- 
ciently advanced to study the living model, he be- 
came quite prosperous. In 1800 he exhibited his 
Convoi cP Atala, which was greatly admired. 
Gautherot practised the art for many years at Pa- 



GAUT. 



347 



GAYW. 



ris, with good success. Among his principal works 
are Napoleon wounded before Ratisbon, and the 
Interview between the two Emperors at Tilsit, 
which were placed in the Tuileries. In 1815. he 
painted for the Roj^al Chapel a picture of St. Louis 
attending the Sick. He died in 1825. 

GAUTIER (DAGOTY). Edouard. a French en- 
graver, who lived about 1780, in which year he 
engraved and pubhshed a book of twelve plates, in 
colors, after some of the finest pictures in the 
Royal Gallery. The subjects were as follow : 
Leda. after Veronese ; Cupid, after Correggio ; 
Jupiter and lo. after Titian ; Cupid and Psyche, 
after Guido ; The Bather, after Le Moine ; Jo- 
seph and Potiphar, after Alex. Veronese ; St. 
Francis, after Vanclyck ; The Magdalene, after 
le Rrun ; Bathsheba. after Bounieu ; three plates 
of Venus. Gautier died at Milan in 1784. 

GAUVf, G., an engraver mentioned by Strutt, 
who executed, among other plates, a singular en- 
graving in imitation of a pen-drawing, represent- 
ing the Head of Mercury, after J. Mathan. 

GAYASIO. Gio. GiACOMO, an Italian painter, 
a native of the valley of Brembana, in the Ber- 
gamese. and flourished about 1512. Tassi men- 
tions two pictures by him, and says they possess 
merit enough to rank him among the ablest art- 
ists of his time. One is the Virgin and Infant, 
with Saints, in the collection of Sig. Carlo Apiani 
at Bergamo ; the other in the sacristy of S. Ales- 
sandro. of the same subject, with a GIoyj of An- 
gels, in the style of Gio. Bellini, and signed lo. 
Jacohi Gavitii de Poscantu opus, 1512. 

GAYASIO, Agostino, probably the son of 
Gio. Giacomo G. Tassi mentions a picture by 
him in the parish church of S. Giacomo at Piazza- 
tore, in the valley of Brembana, representing the 
Virgin and Infant ; signed Augustinus de Gavaz- 
zis Civ. Berg. pi7i.Tnt, aiino 1527. 

GAVASSETTT, Camillo, a Modenese painter, 
who died young, according to Tiraboschi, in 1628! 
It is not said hj whom he was instructed, but 
that author says his merit was greater than his 
reputation. He confined himself to fresco works, 
the principal of which are at Piacenza, where he is 
better knovrn than at Modena or Parma. One of 
his paintings adorns the parsonage of S. Antonio 
at Piacenza, representing a subject from the Apoca- 
lypse, and so finely executed as to induce Guercino 
to bestow the highest commendation upon it. — 
There is something so grand, spirited, and select 
in the whole expression of this work, combined 
with so much grace and harmony of tints, that it 
equally surprises the observer when viewed gene- 
rail}', and satisfies when examined part by part. 
The action only is sometimes extravagant, and 
some of the figures are hardly sufficiently studied. 
In fact, this artist preferred expedition to high fin- 
ish ; and held a dispute, reported by Baldinucci, 
with Tiarini, who practised and maintained the 
contrary. They painted scriptural histories in 
competition, in S. Maria di Campagna at Piacenza, 
where Gavassetti well maintained his position 
against Tiarini and other competitors, very nu- 
merous and distinguished for that period. 

GAVIGNANI, or CAVIGNANI, a native of 
Carpi, was born in 1615. He studied under Guido 
Fassi, and afterwards under Griflfoni, both of 
whom he surpassed in the skillful execution of 



works in scagliula. See Guide Fassi and del 
Conte. 

GAY^YOOD. Robert, a reputable English en- 
graver, who lived about 1660, and studied under 
Hollar. His prints are in the style of his instruc- 
tor, though much inferior to that master. He exe- 
cuted a plate of Venus reclining, with a Man play- 
ing on the Organ, after Titian ; besides three sets 
of plates of Birds and Animals, after Rubens and 
Barlow ; and the following portraits : 

PORTRAITS. 

Mary, Queen of Scots, with a Crucifix in her hand. 
Charles I. ; oval, with a hat and cloak. Henrietta Maria, 
his Queen, in mourning Elizabeth, daughter of Charles 
I., with an Angel drawing a Veil from her Face. Charles 
II. ; after Hanneman. The same, on Horseback. 1661. 
The same, with a Hat and Feather. Catherine, Queen of 
Charles II. Oliver Cromwell. Richard Cromwell. Geo. 
Monck, Duke of Albemarle. Jerome "Weston, Earl of 
Portland. The Countess of Portland. Sir Bulstrode 
Whitelocke ; fine. Sir Peter Temple, Bart. Sir George 
Croke, Chief Justice of the King's Bench. Sir Kenelm 
Digby. Sir Peter Paul Rubens. Hans Holbein, painter. 
William Camden, historian and antiquary. William Fair- 
fax, General in the Palat. 1656. Inigo Jones, architect. 
Margaret Lemon, with French verses. James Shirley, 
poet. William Drummond, the Scottish historian. John 
Playfordj musician. Matthew Stephenson, poet. John 
Evelyn, antiquary. 

GEBBO, Andrea del, a Milanese painter, born 
in 1492. His instructor is unknown ; but he 
painted historical subjects in a good taste, and was 
an excellent colorist. He died at Pavia in 1551. 

GEBER, an old Spanish architect, a native of 
Seville, who probably flourished during the 11th 
century. He lived in the reign of Bernebet Almu- 
camas, king of Seville, and designed the great tow- 
er of Giralda in that city, and two other similar 
towers at Morocco and Rabata. The invention of 
Algebra is attributed to this architect. 

GECHTER, Theodore, a reputable French 
sculptor, born at Paris in 1796. He studied first 
under Bosio. and afterwards entered the school of 
Gros. He visited Italy for improvement, where 
he remained several years, studying the antique, 
and the works of Buonarotti and other great mas- 
ters ; after which he returned to Paris. He soon 
met with great encouragement, and practised the 
art very successfully at Paris for many years. He 
executed a large number of public works of high 
merit, among which may be mentioned his two 
statues of the Rhine and the Rhone, which adorn 
the fountain of the Place de la Concorde. He died 
at Paris, in 1844, at the age of 48 years. 

GEDDES, Andrew, a reputable Scotch portrait 
painter, born at Edinburg about 1789. He early 
manifested an inclination for art, and entered the 
Academy at Edinburg while Haydon and Wilkic 
were there. In 1814 he visited London, and paint- 
ed the portraits of David Wilkie, Henry Macken- 
zie, Dr. Chalmers, and other noted persons, which 
gained him considerable reputation. In 1818 he 
painted the Discovery of the Regalia in Scotland, 
in which he introduced the portraits of Sir Walter 
Scott, and other distinguished men from Edinburg. 
About 1825, he was elected an Associate of the 
Royal Academy, and in 1828 visited Italy, Germa- 
ny, and France. On his return he attempted his- 
tory, and painted an altar-piece for the church of 
St. James, Garhc Hill ; also a picture of Christ 
and the Samaritan Woman. He died in 1844. 



GEEL. 



348 



GELE. 



GEEL, John van, a Dutch painter, born in 
1031, and died in 1698. He was a scholar of Ga- 
briel Aletzu, whose highly finished style he imita- 
ted so closei}^ that their works arc frequently con- 
founded. He also painted marine views, which 
r.i'c excellently designed, and colored in a very 
agreeable and truthful style. 

GEEST, Cornelius van, a Dutch engraver, who 
executed, among other plates, a portrait of Gilbert 
Burnet, Archbishop of Salisbury. 

GEIIN, G. D., a Flemish engraver of little note, 
Avho lived about 1645, and executed a number of 
book ornaments, in a poor imitation of Paul Pon- 
tius. Among other prints by him, there is one of 
Carolus Aleaspinasus. 

GEILEKERCK, Nicholas van, a Dutch en- 
graver, who flourished about 1612. His produc- 
tions are chiefly portraits, among which is that of 
Prince Maurice of Nassau. 

y^^3 GELDER, Arnold de, an eminent Dutch 
\30\^ painter of portraits and history, born at 
Dort in 1645. He acquired the elements of de- 
sign under Samuel van Hoogstraeten. but after- 
wards went to Amsterdam, and entered the school 
of Rembrandt. He became one of the most ac- 
complished imitators of the style of that master, 
and his works exhibit the same magical coloring, 
and admirable chiaro-scuro, producing an effect 
which captivates the beholder, and counterbalances 
the uncouth choice of forms, impropriety of cos- 
tume, and low conception. He designed all his 
accessories from nature, and his studio was crowd- 
ed with armor, old draperies, flags, and sabres. 
He was most successful in his portraits, some of 
which are worthy of Rembrandt, and are often at- 
tributed to that master. Among his principal his- 
torical works are a picture at Dort, represent- 
ing Solomon on his Throne, surrounded by his 
Soldiers ; at the Hague, a Jewish Synagogue, with 
a great number of figures, of an admirable effect; 
and his master-piece, a picture at Dort, represent- 
ing Bathsheba entreating David to leave his king- 
dom to Solomon ; it is most admirably colored, 
with a rich and glowing effect. His last M^orks 
were the Sufferings of Christ, in a series of twenty- 
two pieces. He died at Dort in 1727. 

GELDER, Peter de, a Dutch painter, proba- 
bly studied under Rembrandt, whose manner he 
happily imitated, with a light touch, and a good 
style of coloring. He died in the prime of life, in 
1655. 

GELDERSMAN, Vincent, a reputable Flem- 
ish historical painter, born at Mechlin in 1589. 
His instructor is not recorded, but his works are 
oorrectly designed and finely colored, particularly 
in his carnations. Among his best works is a pic- 
ture of Susanna and the Elders, and a Descent 
from the Cross, in the Cathedral at Mechlin. 

GELDORP, GELSDORF, or GUALDORP, 
GoRTZius, a Flemish painter, born at Louvain in 
1553. He acquired the elements of design in his 
native city, and then went to Antwerp, where he 
enter-ed the school of Francis Franck, at whose 
death he became the disciple of Francis Pourbus. 
Under the able instruction of the latter, he gained 
great improvement, and was esteemed worthy to 
rank among the best artists of his time, especially 
in portraits, in which he was greatly employed. \ 



There are a number of good historical pieces by Gel- 
dorp, among which are those painted by order of 
the Duke de Terra Nuova at Cologne. Among his 
best works are the Four Evangelists, which have 
been admirably engraved by Crispin de Passe. He 
died at Cologne, according to Balkema, in 1611. 

GELEE, Claude. See Lorraine. 

G_^ OGELENIUS, SiGisMUND, an old Ger- 
j^ man wood engraver, mentioned by 
^^ Prof. Christ, who executed, among 
other prints, a set of twelve small wooden cuts 
of the Labors of Hercules, in a spirited style, with 
fine strokes neatly cut. 

GELLE, John, a German engraver, who flour- 
ished about 1628, and resided chiefly at Cologne. 
Among other plates, he executed the portrait of 
Ferdinand IIL ; and some of the plates for the 
Academie de V Espee, published at Antwerp in 
1628, which are worked entirely with the graver, 
in a stiff", formal style. 

GELLIG, or GILLTG. Jacob, a Dutch painter, 
born at Utrecht about 1636. His favorite subjects 
were fish and. still-life, which he always copied 
from nature. He also painted portraits and land- 
scapes, which possess some merit. He died, ac- 
cording to Balkema. in 1688. 

GEMIGNANL See Gimignanl 

GEMINUS, or GEMINIE. Thomas, an old Eng- 
lish engraver and printer of little note, who execu- 
ted the plates for several of his publications. — 
Among them were a translation of Vesalius' Anat- 
omy, published in 1545 ; and a small work on 
Midwifery, mentioned by Vertue. 

GENEROLI, Andrea, called from his birth- 
place IL Sabinese, studied at Rome under Pietro 
da Cortona, in whose style he executed some repu- 
table works for the churches at Rome, and in the 
Romagna. In the Guida da Roma he is called 
Generelli. He flourished about the middle of the 
17th century. 

GENGA, GiROLAMO, an Italian painter and em 
inent architect, born at Urbino in 1476, and at the 
age of fifteen was placed in the school of Luca 
Signorelli. at Cortona, whom he assisted in sev- 
eral works, particular!}^ at Orvieto. He subse- 
quentl}^ spent three years with P. Perugino, at the 
time when Raftaelle studied under that master. 
Lanzi says that most of his works have perished, 
but mentions some historical subjects in the Pe- 
trucci palace at Siena, which Yasari praises as 
superior to those of Signorelli. At Rome, in S. 
Caterina da Siena, is a most beautiful picture by 
Genga, representing the Resurrection. He was 
assisted by Timoteo della Vita, at Urbino, and the 
imperial palace at Pesaro, b}^ Raffaelle del Colle, 
and others. 

As an architect, he gained considerable eminence, 
and w^as more employed in this capacity, than as 
a painter. The Duke d'Urbino commissioned him 
to erect a palace on the Imperial Mount near Pe- 
saro, w^hich Avas so admirably furnished with co- 
lonades, courts, galleries, fountains, and delighful 
gardens, that all the princes who visited that part 
of the country w^ent to see it, and among them 
Paul IIL, on his way to Bologna. At Pesaro he re-' 
stored the court of the palace, and built the church 
of S. Gio. Battista, which is the most beautiful of 
any in that part of the country. He repaired and 



GENG. 



349 



GENN. 



embenishecl the episcopal palace at Mantua; erect- 
ed the fa9adc of the cathedral, of such graceful 
proportions and composition, that it is considered 
among the finest specimens of architecture. Gen- 
ga died in 1551, 

GENGA, Bartolomeo, an Italian painter and 
eminent architect, the son of Girolamo G., born at 
Urbino in 1518. Vasari mentions several histori- 
cal pictures by him, in the style of his father, under 
whom he also studied architecture, and was in- 
structed by Yasari and Ammanati. after which 
he visited Eome. and studied with great assiduit}^ 
the remains of antiquity. He erected a beautiful 
palace at Pesaro, for the Duke d' Urbino; al- 
so the small church of S. Pietro at Mondavio, 
which is an admirable work, surpassing, accord- 
ing to Milizia. any other edifice of its size in 
Italy. He was invited to erect some fortifications 
for the city of Genoa, and also for the King of Bo- 
hemia; but the Duke would not allow him to 
leave Urbino. At the earnest solicitation of the 
Knights of Malta, he was allowed to depart for 
that island, where the architect was received with 
every demonstration of joy, and proceeded to 
model a cit}^ several churches, and a palace for 
the Grand Master of the Order, all designed with 
great beauty and regularity. Before the works 
were commenced, however, he died very suddenly, 
in 1558. at the age of forty. His loss was deepl}^ 
deplored by the friends of art. 

GENILLON, Jean Baptists FRAN901S, a 
French painter, who flourished in the first part 
of the present centur3^ and studied under Vernet. 
His works possess considerable merit, representing 
naval combats, shipwi-ecks, harbors,, conflagrations 
of ships, and eruptions of Vesuvius by moonlight. 
He died in 1829. 

GENNARI, Gio. Battista, an Italian painter, 
born at Cento, near Ferrara, and flourished about 
1600. Lanzi says he was one of the instructors of 
Guercino, and a reputable painter of history. In 
S. Biagio. is a picture by him, in the st3de of Pro- 
caccini, representing the Madonna and Saints, with 
a glory of Angels. 

GENNARI, Benedetto, a native of Cento, and 
probably a brother of the preceding, flourished at 
Cento in 1610. He painted at Cento and Bologna. 
He was at least a reputable artist, for Malvasia says 
that Guercino endeavored with Benedetto to find 
out by experiment what constituted grand effect 
in art. At all events he was connected with Guer- 
cino by the marriage of his son Ercole with the 
sister of that artist. He had two sons. Ercole be- 
fore mentioned, and Bartolomeo, whom he in- 
structed in the art, and who also studied in the 
school of Guercino at Cento, and distinguished 
themselves by their works at Cento, Bologna and 
other cities. Ercole was born, according to Cres- 
pi, in 1597, and died in 1658, and is said to have 
imitated the manner of Guercino more closely than 
was done by any other painter. 

GENNARI, Lorenzo, a native of Rimini, who 
was a pupil of Guercino, in whose style he painted 
with reputation in the churches at Rimini about 
1650. 

GENNARI, Bartolomeo, an Italian painter, 
the son of Benedetto G., born at Cento, according 
to Crespi, in 1591. He was nearly the same age of 



Guercino, whose style he followed, and so closely, 
that amateurs maj^ be deceived. His heads have 
a natural and animated expression, and his pic- 
tures possess considerable vigor and relief In S. 
Maria del Carobio, at Bologna, is a fine picture by 
him of the Assumption. He died in 1658. 

GENNARI, Benedetto, was born at Cento 
in 1633. He was the nephew and scholar of Guer- 
cino. and imitated his style with such exactness 
as renders it difficult to distinguish their works. 
Gennari often copied Guercino's Persian Sibyl, the 
St. John, and Herodias. with the greatest exact- 
ness, so that they are only to be distinguished by a 
less vigorous tone in the tints. Lanzi mentions a 
picture of Eath.sheba by Guercino, together with a 
copy by Gennari ; and the former seemed as if 
freshl}^ painted at the time, but the copy many 
years previously. This artist visited France in the 
reign of Louis XIY., and painted some pictures 
for one of the palaces ; also several portraits ; 
among which was that of the Duke d' Orleans, 
which was greatly admired. He visited England 
in the time of Charles II., who appointed him court 
painter, which appointment he retained under 
James II., and painted the portrait of that mon- 
arch, who had twelve of Gennari's pictures in his 
collection. He subsequently returned to Italy, 
almost transformed into a Dutch or Flemish paint- 
er, such was the truth with which he imitated vel- 
vets, lawns, laces, gems, and other ornaments in 
gold, and indeed, in everything that can enrich a 
portrait, besides drawing an extremely correct 
likeness, freed from any blemishes in the original. 
By means of this taste, then new in Italy, he ob- 
tained much applause and much employm'ent, both 
from princes and individuals. There are several 
works of his own composition in the churches of 
Bologna and Cento. Among them are St. Rosa, in 
S.Domenico at Bologna; St. Anniano baptizing a 
Pagan king, in S. Gio. in Monte; St. Anthony of 
Padua, at the Cappucini. Some of his original pic- 
tures are only inferior to Guercino in vigor and re- 
lief, among which are St. Leopardo, in the dome 
at Osimo ; and S. Zaccaria. at Forli. He died in 
1715. 

GENNARI, Cesare, the younger brother of 
Benedetto G.. born at Cento in 1641. according 
to Crespi, and studied under his uncle Guercino, 
whose style he followed with considerable success, 
though unequal to his brother. He was also an 
admirable copyist of the works of Guercino, and 
executed a number of fine works from his OAvn 
designs. Among them are St. Niccolo kneeling 
before the Virgin, in the church of that saint; and 
St. Maria Madalena Pazzi, in S. Martino Maggiore. 
He'died in 1688. 

GENNARI, Lorenzo, was probably a relative 
of the same famih^ He flourished about 1650 ; 
studied under Guercino, and produced a number 
of works, among which is one in the Capuccini at 
Rimini, very well executed. 

01 GENOELS, Abraham, an eminent Flemish 
±\ landscape painter, born at Antwerp in 1640. 
At the age of twelve he placed himself under 
Jacques Backereel, where he remained three.years, 
and became an eminent portrait painter ; but hav- 
ing made some successful attempts at landscapes, 
he determined to pursue that branch^^f the art, 
and entered the school of Nicholas Firelans, at 



GENO. 



350 



GENT. 



Bois-le-DuC; who M^as highly esteemed for his skill 
in that science. After acquiring a thorough know- 
ledge of perspective and mathematics, he visited Pa- 
ris at the time when le Brun, Poussin. and Mig- 
nard were highest in public esteem. Here he soon 
gained distinction, and was engaged by de Seve to 
paint the cartoons foi' eight large landscapes, to be 
executed in tapestr}^ for M. de Louvois. The fig- 
ures in the landscapes were by de Seve. Le Brun 
engaged him to paint the landscapes in his Battles 
of Alexander ; and in 1665, he was chosen a Royal 
Academician, and received a pension from the king, 
with apartments in the Gobelins. In 1674 he vis- 
ited Rome, and was admitted to the Bentvogel So- 
ciety, from which he received the title of Archi- 
medes, which he sometimes signs on his, etchings. 
Genoels may be considered one of the most emin- 
ent landscape painters of his country. His works 
are characterised by a truthful and vigorous sys- 
tem of coloring, and great facility of execution, 
with a touch admirably varied to the character of 
his works. He resided several years in Italy, and 
painted, among other works, several large views in 
the vicinity of Rome, for Cardinal Rospigliosi. He 
afterwards returned to Antwerp, with a large col- 
lection of drawings and studies made in the envi- 
rons of Rome. lie resided at Antwerp until his 
death, which occurred, according to Zani, in 1703. 
He has left a few masterlj^ etchings of his works, 
executed in a bold, free style, and embellished with 
figures and cattle. Among them are the follow- 
ing : 

A set of four mountainous Landscapes, with ruing and fig- 
ures ; A. Genoels aqua fort. fee. 1684. Two rocky Land- 
scapes, with figures ; A. Genoels, alias Archimedes, sc. 
RomcB. 1675. Two grand Landscapes, with ruins and 
figures ; A. Genoels, fee. Four mountainous Landscapes, 
with ruins and waterfalls ; A. Genoels, fee. Four views 
of Gardens, with figures and statues ; A. Genoels, inv. et 
sculj)., vander Meulen, exc. Two large Landscapes, with 
waterfalls ; one signed A. Genoels, inv. etfec. 

GENOVESE, iL Prete. See Strozzi. 
GENOVESINO, II. See Calcia, see Mira- 



GENTILE, Bartolomeo di, a native of Urbino, 
two of whose works are to be found at Monte Ci- 
cardo, with this inscription, Bartholomaeus Ma~ 
gistri Gentilis de Urbino; 1497, and one, dated 

1508. 

GENTILE, LuiGi Primo, called. The family 
name of this artist v^as Primo, but he acquired the 
title of Gentile from his polished manners and ele- 
gance of dress. He was born at Brussels in 1606, 
where he acquired the elements of design, and then 
visited Itah'. where he gained a high reputation, 
both for his portraits and historical subjects. He 
resided at Rome for thirty years ; was patronized 
by Pope Alexander VII. , who employed him to 
paint his portrait; and was admitted to the Acad- 
emy of St. Luke in 1G50. He painted the por- 
traits of many illustrious personages at Rome, in 
a very highly finished manner, though without a 
labored appearance ; and admirably colored. He 
also excelled in historical subjects, which, accord- 
ing to Lanzi, were highly finished, with an admi- 
rable relief. Among them arc the picture of St. 
Antonio, in S. Marco at Rome ; also the Nativity, 
and St. Stefano, in the Cappuccini at Pesaro. One 
of his best productions is a picture of the Cruci- 
fixion, in the chapel of the Trinity, in the church 



of St. Michael at Ghent. According to Lanzi and 
Nagler, he died at Brussels, in 1657. 
GENTILESCHI. See Lomi. 

MGENTSCH, Andrew^, a German engra- 
ver, who flourished at Augsburg about 
1616. He executed a number of plates, among 
which are several of grotesque ornaments ; mark- 
ed with the same monogram as Albert Aldegrev- 
er, but may be distinguished by their inferiority 
and the difference of date. 

GEORGET, Jean, an eminent French painter 
on porcelain, born at Paris about 1760. He stud- 
ied under David, and at first devoted himself to 
miniature painting, but subsequently entered the 
famous china manufactory at Sevres, where he be- 
came one of the most distinguished artists in this 
branch. His coloring is admirable. Among his 
master-pieces are, Francis I. and Charles V. visit- 
ing the Tomb of St. Denis, after Gros; and the 
Dropsical Woman, after Gerard Douw. The lat- 
ter occupied him four years, and is a most won- '• 
derful performance. He died in 1823. : 

GERARD, Francois, an eminent French paint- \ 
er, born at Rome in 1770. His father was French ' 
and his mother Italian. He studied at Paris, first I 
under the sculptor Pajou, and then under the 
painter Brenet. but became dissatisfied with his . 
master, and entered the school of David. Here ' 
he made rapid advances, and in due time was con- 
sidered one of the most promising young artists ; 
of his day. Under the rule of Napoleon he gained ! 
great encouragement, and was patronized by the | 
most eminent personages of the empire, who com- | 
missioned him to paint their portraits. Napoleon ' 
appointed him chevalier of the Legion of Honor and 
of St. Michael ; and he became successively a pro- \ 
fessor of the school des Beaux Arts ; member of I 
the Institute ; Baron ; and first painter to the I 
court. His society was courted by the most em- '[ 
inent personages, as the emperor of Russia, Madame [ 
de Stael, and the Duke of Wellington, who often 
visited his atelier. He was a great favorite with 
Napoleon, and was honored and esteemed by his 
countrymen and foreigners. Among his numer- ' 
ous portraits, are those of Napoleon, Josephine, ] 
Maria Louisa, the King of Rome, Louis Philippe, ' 
Gen. Bernadotte, Talleyrand, Humboldt, Madame . 
Pasta, and Madame de Stael. His portraits are ; 
distinguished for their spirited expression and ad- i 
mirable coloring. Among his subjects of history, '\ 
was his picture of Belisarius, his first exhibition, in | 
1795. There are many other classical works by ' 
him, in the public galleries and private collections ■ 
of France, many of which have been engraved. • 
Among them are his beautiful Psyche, which re- j 
tains its exquisite coloring unchanged, a remark i 
that cannot apply to many of his historical works. 
Besides, there are the Three Ages, exhibited in 
1808 ; the Battle of Austerlitz ; the Entry of Hen- \ 
ry IV. to Paris ; Daphnis and Chloe ; and Thetis I 
bearing the Arms to Achilles. He died in 1837. •! 

GERARDI, Antonio, an engraver mentioned ^j 
by Florent le Comte, who executed a number of j 
plates of funeral parades, tombs, and monuments. J 

GERARDS, Mark, a reputable Flemish painter, ; 
engraver and architect, also an illuminator, and a 
designer for glass painters. He is quoted by Zani ; 
as working in 1560, and to have died in 1598. His * 



GERB. 



351 



GERM. 



name is variously spelled, as Garrard. Geraats, 
Geerarts, Gheeraerts ; and sometimes he is called 
Marco de Bruges. He went to England about 
1580, and was appointed painter to Queen Eliza- 
beth. His carnations are thinly and delicately 
colored, with a prevalent bluish tint ; his works 
are occasionally to be met with, particularly his 
portraits, which are distinguished by the careful 
neatness of their finishing, and the stiffness of 
their draperies, decorated with pearls and other 
jewels. He designed the Procession of Queen 
Elizabeth to Hunsdon House; also that of the 
Queen and Knights of the Garter, in 1584. As 
an engraver, he executed a set of plates for iE sop's 
Fables, in 1565 ; a large plate of a View of Bru- 
ges ; a set of fourteen plates of the Passion of 
Christ, oval, J. Sadeler exc. ; and a set of eighteen 
plates of Quadrupeds, 1583. Gerards is said to have 
been an able architect, but none of his works are 
mentioned. 

GERBIER, Sir Balthasar, an eminent Flem- 
ish miniature painter and architect, born at Ant- 
werp in 1591. He went to England with the Duke 
of Buckingham, and became a retainer of the latter 
in 1613, whom he accompanied to Spain, when the 
negotiation was pending for a marriage between 
the Prince of Wales and the Infanta. Gerbier was 
afterwards honored with a diplomatic appointment 
to Antwerp, on which occasion he obtained the 
honor of knighthood. He painted a number of 
pictures of the royal family, and also those of 
many of the nobility. His reputation was great, 
and he enjoyed an extensive patronage. So high 
was he in favor, that he entertained the duke and 
a large party of noblemen at supper in his own 
house, the expense of which is said to have been 
$5000. In the collection of the Duke of North- 
umberland, is a large oval miniature of the Duke 
of Buckingham on horseback. The head is finely 
painted ; the figure is draped in scarlet and gold, 
and finished with great labor and richness. It is 
inscribed B. Gerbier, 1618. Vandyck painted a 
fine picture of this artist, with his family. 

As an architect, Gerbier designed the triumphal 
arches for the reception of Charles II. ; also the 
palace at Hemmell Hempstead ; and wrote several 
works relative to the arts. He instituted an acad- 
emy at London, on the model of that of Charles I., 
called Museum MinervcB. in which were to be 
taught all the arts, sciences, languages, antiqui- 
ties, etc. None but those who could prove them- 
selves gentlemen were allowed to enter, and the 
institution was afterwards destroyed, — a triumph 
of democracy ! 

GERIOAULT, Jean Louis Theodore Andre, 
a French painter, born at Rouen in 1790. He 
studied under Carle Vernet, and afterwards in the 
school of Guerin. He executed many designs and 
engravings in aquatinta, which are much esteemed 
for their spirit. Among his principal paintings 
are the Wounded Cuirassier, in the gallery of the 
Palais Royal ; and the Wreck of Medusa, in the 
Louvre, which are executed with great vigor and 
effect. The latter work was exhibited in London 
with great applause. He died in 1824. 

GERMAIN, Saint, a bishop of Paris in the 
sixth century, was fond of architecture, and de- 
signed several churches, among which is the one 
erected by king Childebert in honor of St. Vin- 
cent. It is now called St. Germain, in honor of 



its designer. He erected a church at Angers ; al- 
so a monastery at Mans, and others in various 
places. 

GERMAIN, Thomas, a French sculptor and ar- 
chitect born at Paris in 1673. He acquired the 
elements of design in the atelier of Boullongne, 
and then went to Italy for improvement, where 
he was greatly assisted by the advice of the sculp- 
tor Le Gros. He designed a church at Leghorn, 
and on his return to Paris, erected the church of 
St. Louis du Louvre. As a sculptor he was high- 
ly esteemed, and received many commissions from 
the court, the nobility, and foreign princes. Louis 
XIV. gave him apartments in the Louvre, and in 
1738 he was elected to an honorable office in the 
cit}' of Paris. His works were distinguished for 
their good taste, correctness of design, and delicacy 
of execution. He died in 1748. 

GERMAIN, a French engraver, who lived about 
1765, and executed several etchings of Views in 
Rome, from designs of Dumont. 

GERMAN LLORENTE, Bernardo, a reputa- 
ble Spanish painter, born at Seville in 1685. He 
acquired the name of Pintor de las Pastoras, from 
painting many pictures of the Virgin in the habits 
of shepherdesses. He gave to his heads such grace, 
sweetness, and relief, that many were sold as the 
works of Murillo. and pass current for such, in 
other countries. His later woi'ks are much in- 
ferior to his former ones, since in endeavoring to 
strengthen his chiaro-scuro, he produced black- 
ness. He was appointed court painter by Philip 
v., but declined the honor, being unwilling to fol- 
low the court in its movements. He died at Se- 
ville in 1757. 

GERMYN, Simon, a German painter, born at 
Dort in 1650 ; studied under G. Schalcken, and 
followed his style for some time, but afterwards 
entered the school of Ludowj^k Smits, called Hart- 
camp, of whom he acquired a peculiar manner of 
painting fruit. Like his instructor, he had excel- 
lent success at first, but his pictures soon faded, 
and with them his reputation ; for which reason 
he applied himself to landscape, and practised it 
till his death, in 1719. 

GERRARD, of Haerlem, called also Gerard 
OF St. John, from his residing in a convent of that 
name, an old Dutch painter of eminence, born at 
Haerlem about 1460, and entered the school of Al- 
bert van Ouwater, one of the first, after John van 
Eyck, who painted in oil. He soon manifested 
such freedom of hand, so firm an outline, and such 
facility of coloring, that Ouwater was wont to re- 
mark that he was born a painter. In design and 
expression, he equalled his instructor; and in 
composition, he far surpassed him. He was well 
acquainted with perspective, and his works were 
finely colored. Albert Durer, who visited Haer- 
lem to see his works, said that he must have been 
a remarkable favorite of nature, who could in his 
youth arrive at so high a degree of perfection. In 
the church of St. John at Haerlem, he executed a 
picture of the Crucifixion, the Descent from the 
Cross, and the Resurrection, which were esteemed 
superior to any productions of the time. He died 
in 1488, at the early age of 28. 

GESSI. Del. See Gio. Battista Ruggieri. 

GESSI. Francesco, an Itahan painter, born at 
Bologna in 1588. He studied under Guido Reni. 



GESS. 



352 



GHEN. 



and imitated his style with great success. He was 
distinguished for his fertile invention, and rapid 
and spirited execution, which latter quality Lanzi 
says excited the jealousy of Guido. Several of his 
earlier pictures exhibit the sweetness of coloring 
and delicate pencilling, which distinguish the works 
of his instructor. Among them is his beautiful 
picture of St. Francesco, at the Nunziata, which 
has frequently been mistaken for the work of Gui- 
do. To these he was indebted for the name of a 
second Guido ; but subsequently he abused his 
talents, and Bologna abounds with his pictures, 
in which, with the exception of their fine charac- 
ter and great delicac}^, there is nothing to com- 
mend ; the coloring is cold and feeble, and the 
shape of his features is large, and often incorrect. 
On Guido's retiring, however, he established a suc- 
cessful school and formed scholars of considerable 
reputation, as Giacomo Castellini, Francesco Cor- 
reggio, and Giulio Trogli. Among the principal 
works of Gessi, are St. Antonio, in S. Maria del 
Muratelle ; and the Descent from the Cross, at the 
Cappuccini. He died in 1649. 

GESSNER, Solomon, a distinguished Swiss, 
born at Zurich in 1730, and died in 1788. He is 
principally known by his poem on the Death of 
Abel, and other poetical works, Avhich gained him 
great celebrity. He also devoted a part of his 
time to designing and engraving, in which he ac- 
quired proficiency. Among his other works, are 
several vignettes and other ornaments for his 
Death of Abel, and his Pastorals; also the follow- 
ing : A set of ten Landscapes ; dedicated to M. 
Watelet. 1764. Twelve pastoral Landscapes, 1767. 
1786. Ten Landscapes, with mythological figures. 
1769. 1771. 

GEYSER, Christian Theophilus. a reputable 
German engraver, born at Gorlitz in 1742. He ac- 
quired the elements of design in his native place, 
and afterwards finished his studies in the academy 
at Leipsic. Among his first productions were the 
illustrations to an edition of the poems of Utz, af- 
ter the designs of Oeser. He engraved many 
landscapes after Ferg, Wouwerman, and Pynacker, 
which are the best of his productions, and are 
highly esteemed. He was chosen professor in the 
academy, and a member of the academies of Dres- 
den and Leipsic. 

GHEDINI, Giuseppe, a Ferrarese historical 
painter, born about 1710 ; studied under Giacomo 
Parolini, and executed a number of reputable works 
for the churches, among which are a picture of St. 
Lucia, in S. Caterina da Siena ; the Annunciation, 
and the Death of St. Joseph, in Corpus Domini ; 
and the Miracle of the Loaves and Fishes, for the 
monastery of S. Maria degli Angeli, his principal 
work, painted in 1755. 

GHEEST, Wybrand de, called the Nohle 
Frieslander, was born in Friesland about 1591. 
He went to Rome while young, where he resided 
several years, and made many drawings after the 
antiques and the works of eminent masters. On 
his return to Holland, he painted historical sub- 
jects, which gained him considerable reputation. 
He also designed the plates for the book entitled 
Cabinet des Statues, published at Amsterdam in 
1702. He died at Antwerp in 1643. There was 
another artist of this name, who painted history 
with reputation at Antwerp, where he died in 
1672. 



GIIEEST, James de, a Flemish painter, who 
executed subjects of history with reputation. He 
was born at Antwerp in 1570, and died there in 
1612. 

GHEIN. See Gheyn. 

GHELLI, Francesco, a painter of the Bolog- 
nese school, was born at Medicina in 1637, and 
died at Bologna in 1703. lie studied under Alba- 
no, whose style he followed, but he acquired most 
reputation for his rural views, which are highly es- 
teemed, and are to be found in the best collections 
at Bologna. 

GHENDT, Emanuel de, a French engraver, 
who flourished at Paris about 1749. He studied 
under J. Aliamet, and has executed a number of 
plates in a very pleasing style, among which are 
many of the prints and vignettes for the Voyage 
d^Italie de VAhbe de Saint Non. and the follow- 
ing : 

L' Amour Asiatiqiie; after Ch. Eisen. Les Moisson- 
neurs dans les Champs ; do. La pleine Moisson ; after 
Isaac Moucheron. A View of the Fountain of Arethusa 
at Syracuse ; after Chatelet. The Four Times of tho 
Day ; after Baudouin. 

GHENT; Justus van. There is much uncer- 
tainty concerning the works of this painter. He 
was a scholar of the brothers van Eyck, whom he 
is supposed to have assisted in their best works. 
Kugler describes a master-piece of art in the church 
of St. Mary at Dantzic, representing the Last Judg- 
ment, which is generally ascribed to John van Eyck ; 
but Dr. Waagen thinks it is the \vork of this art- 
ist. Kugler mentions two pictures by him, the 
Communion in S. Agatha at Urbino ; and a small 
picture at Ghent, of the Finding of the True Cross, 
in which there is little depth of conception, and 
some drjaiess of handling. The picture at Urbino 
was painted for the brotherhood of Corpo di Cristo, 
and probably finished in 1475, in which year he 
was paid 300 florins by that society. 

GHERARDI, Cristoforo, called Doceno, an 
Italian painter, born at Borgo S. Sepolcro in 1500. 
He studied under Raffaellino dal Colle, and after- 
wards assisted Giorgio Vasari in many important 
works, who valued his talents very highly. His 
facility of execution, and splendid style of color- 
ing, enabled him to produce admirable works in 
fresco. Such were his talents for managing fresco 
colors, that Vasari says he surpassed him ; but 
the grotesques in the Vitelli palace, wholly the 
work of Gherardi, are not more vigorously colored 
than the productions of Vasari. His principal oil 
paintings, are the Visitation in S. Domenico, at 
Citta di Castello ; and the elegant and graceful 
picture of St, Maria, at Perugia, painted in concert 
with Lattanzio della Marca. Lanzi saj'^s he died 
in 1552. 

GHERARDI, Antonio, a painter of the Roman 
school, was born at Rieti in 1644, and died in 1702. 
He first studied under P. F. Mola at Rome, and 
on the death of that master entered the school of 
Cortona. He afterwards travelled through Italy 
for improvement, and at length settled at Rome, 
where Lanzi says he painted many works for the 
churches with more despatch than elegance ; 
though Pascoii commends him as an artist of 
considerable powers. 

GHERARDI, Filippo, an Italian painter, born 
at Lucca in 1643. lie studied under Giovanni Mar- 



GHER. 



353 



GHEY. 



racci, according to Lanzi, at the same time with 
Giovanni Coli, for whom he formed an intimate 
attachment. The two artists went to Rome, and 
studied under P. da Cortona, whose style the}^ fol- 
lowed for some time, after which they visited Ven- 
ice, and adopted a manner combining the Venetian 
and Lombard styles. They painted the immense 
ceiling of the librarj^- of S. Giacomo Maggiore at 
Venice. Lanzi mentions some of their stupendous 
works in the church of the Lucchesi at Rome, and 
two admirable pictures in the Colonna Galler}^ 
representing the Battle of Lepanto. and the Tri- 
umph of Mark Antony Colonna. The most cele- 
brated picture with which the}^ adorned their na- 
tive place, was the fresco of the tribune of St. Mar- 
tin. After the death of Coli. his companion con- 
tinued to paint at Lucca : the whole cloister of the 
Carmelite monastery was by him alone. He died 
in 1704. 

GHERARDINL Alessandro. a Florentine 
painter, born in 1655. He studied under Ales- 
sandro Rosi, and became very eminent for his sub- 
jects of history, painted in oil and fresco. His 
design is correct, his invention fruitful, and his 
coloring rich and harmonious. Among his prin- 
cipal works, is a subject from the Life of Alexan- 
der, in the Casa Orlandini ; also a fine picture of 
the Crucifixion, in the monastery of the Augus- 
tines at Florence. He died in 1723. 

GHERARDINI, Giovanni, was born at Bolog- 
na, according to Crespi, in 1610, and died there in 
1685. He was a pupil of Angiolo Michele Colonna, 
and was one of his most distinguished disciples. 
Cav. Titi mentions some of his architectural works 
in the Certosa of Pisa which he extols as perfect 
miracles of art. 

GHERARDINI, Tommaso, an eminent Floren- 
tine painter, was born in 1715. He studied under 
Vincenzio Meucci, and completed his studies at the 
schools of Venice and Bologna. He acquired a 
great reputation both for bis fresco and oil paint- 
ings. He executed many fresco histories for vari- 
ous palaces and villas of the nobles of Florence 
and other cities. He was particularly excellent 
in his basso-relievo and chiaro-scuro. He decora- 
ted the Medicean Gallery in fresco, and also execu- 
ted some excellent works for the Imperial Gal- 
lery, at Vienna. He received many commissions 
from strangers, English, German, and others. 
Lanzi says he was one of the ablest artists of his 
time, and bestowed great credit on his native city. 
He died in 1797. 

GHERARDINI, Stefano, a Bolognese painter, 
who studied under Giuseppe Gambarini. He 
painted scenes from low life, in the Flemish style, 
as women intent on domestic affairs, boys' schools, 
mendicants, &c., all faithfully copied from life, and 
executed in a very spirited and pleasing manner. 
Sometimes he represented more dignified subjects. 
He painted the coronation of Charles V. in the 
Casa Ranuzzi. He died at Bologna, in 1755. 

GHERARDO, Dalle Notti. See Hont- 

HORST. 

GHERARDO, a Florentine, who flourished 
about the end of the 15th century. Lanzi says 
that he was a painter and an engraver, in the style 
of Albert Durer, and a worker in Mosaic, in all of 
which arts there are specimens of his ingenuity, 
at Florence. 



GHERINGS, John, a reputable Flemish paint- 
er, who flourished about 1665. His works are 
generally subjects of architecture and perspective, 
some of which are in the galleries of Vienna and 
Dresden. 

•f^orM^ GHEYN, or GHEIN, 
JJIj ^JJIlx'' James, the Elder, an 
eminent Flemish designer and engraver, born at 
Antwerp in 1565 ; died in 1615. He was instruct- 
ed by his father, who was a glass-painter ; and he 
studied engraving under Henry Goltz, This art- 
ist has engraved a great number of plates, with a 
correct design, good taste, and bold free style, in 
the manner of Goltz. The following are his prin- 
cipal prints, which are highly esteemed : 

porteaits. 
Tyco Brahe, the celebrated Danisli Astronomer. Abra- 
ham Gokevius, antiquary, of Amsterdana. Hugo Grotius. 
Philip de Marnix, the disciple of Calvin. The Count de 
Medicis, called the Father of the People. Sigismund Mal- 
atesta, a famous warrior ; circular. Johannes Basilowitsch, 
Autocrat9r Russiee ; circular. 

SUBJECTS after HIS OWN DESIGNS. 

Vanity ; represented as a Woman at her toilet. Mag- 
dalene ; a small oval. INIars and ^''enus ; two small me- 
dallions. A Gipsy telling a Girl her fortune. The Statue 
of the Laocoon. A Lion, in a landscape ; J. de Ghein, 
fee. C. de Visscher, exc. ; very scarce. A set of ten 
plates, called the Masks ; J. de Ghein, inv. et fee. ; 
very scarce. The twelve Eoman Emperors ; circular ; 
fine. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Life and Passion of Christ ; in fourteen plates ; en- 
graved by J. de Ghein and Z. Dolendo, after C van 
Mander. The Twelve Tribes of Israel ; in twelve plates ; 
do. The Four Evangelists ; after Henry GoUzius. The 
Confusion of Tongues at the building of the Tower of Ba- 
bel ; after van Mander. The Adoration of the Trinity ; 
do. The Judgment of Midas ; do. The Prodigal Son, 
in two sheets ; do. The Crucifixion ; after Crispin van- 
der Broeck. The Assembly of the Gods ; do. 1589. The 
Empire of Neptune ; after H. Goltzius. 1587. Twelve 
plates of Soldiers of the Guard of Rodolphus II. ; fine. — 
The Annunciation ; after Ah. Bloem.aert. A Eepose in 
Egypt ; do. Christ preaching to the Jews ; do. The Mir- 
acle of the Loaves ; do. Daniel in the Lion's Den ; after 
T. Bernard. Diana and Acteon ; do. Polyphemus, with 
Acis and Galatea ; after C.van Haerlem. A small Land- 
scape ; an etching ; after Breughel. 

'f(2. GHEYN, or GHEIN, James, or Jacob, 
^^'^Oc. the Younger, a Flemish painter and en- 
graver, flourished about 1630, and was the son of 
the preceding artist. He studied in Italy, under 
A. Tempesta, whose style he followed, and paint- 
ed landscapes and flowers with reputation. As 
an engraver, he executed among other works, eight 
plates" for La Vie de Charies F., in concert with 
ComeiiusBoel from designs by Tempesta, marked 
./. de Ghein, Jun.. fee. 



dX ov^ GHEYN, or GHEIN, Wm., a Flem- 
\JX) '^iJish engraver, who resided chiefly at 
Paris, where he engraved some plates for J. le Blon ; 
also the Four Seasons, in concert with Jeremiah 
Falk, represented by French ladies, in the cos- 
tume of the time of Louis XII. There are also, 
among others., a portrait of Louis XIV., as a boy 
on horseback ; and Bernard, Duke de Weymar, 
on horseback, both marked G. de Ghei/n^ fee. 

GHEYSELS, Peter, a Dutch painter of still- 
life was living in 1687, as appears from a picture 
of a Dutch Fair, in the collection of H. T. Hope, 



GHEZ. 



354 



GHID. 



Esq., where there is another of a Peacock, a Dead 
Swan, sporting apparatus, and a variety of birds 
and game, foliage and insects, all admirably fin- 
ished, with the name of the artist on a pedestal. 

GHEZZI, Sebastfano, a reputable painter of 
history, born near J^scoli, and liourished about 
1638. He w^as a scholar of Guei'cino, and painted, 
among other works, a fine picture of St. Francis 
receiving the Stigmata, at the Augustini in Mon- 
sanmartino. He had a son, Giuseppe G., born in 
1634, and studied under his father. He after- 
wards visited Rome, where he studied the works 
of P. da Oortona, and adopted his style. He was 
patronized and highly esteemed by Pope Clement 
XI., and was appointed secretary to the academy 
of St. Luke, which oflBce he held till his death, in 
1721. This artist is said to have been a reputable 
sculptor and architect, and to have gained from 
Urban V. the appointment of inspector of the state 
fortifications. 

GHEZZI, Cav. Pietro Leone, the son and 
scholar of Giuseppe G.; born at Rome, in 1G74; died 
in 1755. He greatly surpassed his instructor, and 
executed several considerable works for the Duke 
of Parma, who conferred on him the Order of the 
Golden Spur. He was also patronized by Bene- 
dict XIV., who employed him to paint the Proph- 
ets in S. John of Latcran, in concert with L. Garzi, 
F. Trevisani, and B. Luti. He gained great repu- 
tation for his talents in caricature, and his works 
of that description are numerous in the private 
collections at Rome. There are a few etchings by 
him, executed in a clear, neat style, from his own 
designs, and the pictures of his father. Among 
others are the following : 

The Virgin and infant Jesus ; after Giuseppe Ghezzi, 
marked Petrus Leo Ghezzius, del. et seal. JRonxcB. 1700 ; 
fine. The Portrait of the Abb. Pietro Palatio. The Por- 
trait of Signior Nicola Zabbaglia; Insegniere della 
fahrica di S. Pietro. 

GHIARINI. Marc Antonio, a Bolognese en- 
graver, born in 1G52. Among other works, he 
etched and published a set of plates of the Aque- 
ducts and Fountains at Rome. 

GHIBERTI, Lorenzo, a Florentine painter and 
very eminent statuary, born, according to Baldi- 
nucci; in 1378; died about 1455. His ancestors 
distinguished themselves in the arts, particularly 
in that of the goldsmith, in which the Florentines 
had gained great celebrity. He early learned the 
arts of drawing and modeling, and that of casting 
metals, from his step-father Bartoluccio, an expert 
goldsmith ; and was probably subsequently in- 
structed by Stamina. Being obliged to leave 
Florence on account of the plague, about 1398, he 
went to Rimini, and ^as engaged in painting some 
frescos in the palace of Prince Pandolfo Malatesta, 
when the society of merchants at Florence invited 
artists to propose models for one of the bronze 
doors of the baptistery of S. Giovanni. The Offer- 
ing up of Isaac was to be executed in gilt bronze, 
as a specimen of the work each artist could pro- 
duce ; and at the end of one year, the judges deci- 
ded on the merits of the works of thirty-four dif- 
ferent artists. Those of Ghiberti, Brunelleschi, 
and Donatello, were considered the three best ; but 
the two latter withdrew their claims, giving the 
preference to Ghiberti. After twenty-one years' 
labor, he completed the door j and then, at the re- 



quest of the Society, executed another, after al- 
most as long a period. jMichael Angelo said of 
these, that they were worthy of adorning the en- 
trance to Paradise. During these forty years. Ghi- 
berti also completed three statues of St. John the 
Baptist, St. Matthew and St. Stephen for the church 
Or San Michele; two bas-reliefs for the baptistery 
of the Cathedral of Siena ; and the bronze reliqua- 
ry of St. Zenobius, bishop of Florence, for S. xMaria 
del Fiore. All these works are still preserved, 
and mark the advancement of Ghiberti in his art. 
The dryness of the school of Giotto appears in his 
earlier works ; but the latter are in imitation of 
the Greeks, and are marked by increasing vigor, 
firmness and beauty. The reliquary of S. Zeno- 
bius and the two doors, are to this day, among the 
finest specimens of the art in Italy. Ghiberti al- 
so executed some excellent paintings on glass, for 
the churches Or San Michele, and S. Maria del 
Fiore. A work by him on sculpture is extant, a 
fragment of which has been published by Cicog- 
nara. The Calmuc Feodor Iwanowitsch published 
twelve beautiful etchings of the doors of Ghiberti, 
in 1798. 

GHID ONE, Galeazzo, a Creraonese painter, 
who lived in 1598. He studied under Antonio 
Campi. He was an excellent artist, but of such 
weak health that he did not execute many public 
works. There is a picture by him in the church 
of S. Mattia, at Cremona, representing St. John 
Preaching in the Wilderness, which Lanzi says is 
commended by connoisseurs. There are some of 
his easel pictures in the collections of Cremona 
which are highly esteemed. 

GIIIGI. Teodoro, or Teodoro Mantuano, an 
Italian painter, born at Mantua, and flourished 
about 1545. He studied under Giulio Romano, 
and was such an able imitator of his style, that he 
was chosen by the Duke of Mantua to finish the 
works left incomplete at the death of his master. 

GHINGHI, Francesco, an eminent engraver 
on precious stones, born at Florence in 1689. He 
studied design under Francesco Giaminighi. and 
the art of modeling under Foggini, a sculptor of 
emJnence. His first essays were several medals 
in bronze, which were greatly praised, and gained 
him the patronage of Marquis Incontri, who set- 
tled upon him a pen.sion, and presented him to 
Ferdinand de' Medicis. The latter engaged to en- 
grave several portraits on precious stones, in the 
antique style ; and Ghinghi produced a head of 
Cosmo III., executed on a chalcedony of two col- 
ors, which at once established his reputation. His 
patron liberally rewarded him for this admirable 
work of art. He was afterwards patronized by 
Don Carlos, king of the two Sicilies. Among 
his best productions are three heads of Savona- 
rola, Adrian, and Trajan, in sapphires ; but his 
most celebrated work is an ameth3^st, representing 
the Venus do Medicis, which he executed for the Car- 
dinal Gualtieri, and was engaged eighteen months 
in its completion. His works are so perfectly in the 
style of the antique, that it is exceedingly diflScult 
to distinguish them from ancient gems. He died 
in 1766. 

GHIODAROLO, Giovanni Maria, a Bolognese 
painter who studied under Francesco Francia. 
According to Malvasia, he acquired considerable 
distinction, and painted in competition with Guido 



GHIR. 



355 



GHIS. 



Asputini. and subsequently with Innocenzio da 
Imola, in the Palace of Yiola, at Milan. He 
flourished in the latter part of the 15th. and the 
first part of the 16th centuries. 

GHIRARDONI, Gio. Andrea, a painter of 
Ferrara. who flourished there, about 1620. Ac- 
cording to Baruffaldi. he was an able artist, and exe- 
cuted some works for the churches, in which the 
design was excellent, but the coloring languid and 
feeble, with better chiaro-scuro than coloring. 

GHIRLANDAIO, or GHIRLANDAJO. See 

CORRADI. 



i^M 



GIIISI, Gio. Battista Bertano, 
or Britano. called Mantdano, an 
Italian painter, engraver, and architect, born at 
Mantua, about 1500. Tasari says he studied 
painting under Giulio Romano, whom he ac- 
companied to Rome, and whose school he assumed 
after his death. The dome erected by Giuho, in S. 
Barbara, is adorned with pictures by this artistj and 
Lanzi says that his merit in design was very great, 
as is evicient from his pictures of the Martyrdom 
of St. Agata, in one of the Roman churches, execu- 
ted by Ippolito Costa, from the design of Ghisi. 
This picture approaches very near the excellence 
of Giulio. He had many assistants, among whom 
were Giulio Campi and Paolo Veronese. As an 
architect, he vras also distinguished. He was well 
versed in the study of the ancient edifices of Rome, 
and expert in perspective. The Duke of Mantua 
highly esteemed him ; appointed him superinten- 
dent of all the buildings in the State ; and in 1565 
commissioned him to erect the church of S. Bar- 
bara, with a noble campanile of four orders, in 
which is an inscription in honor of the architect. 
He left some writings on the art. among which is 
a work on some obscure passages in Yitruvius, and 
particularly on the Ionic Order. 

As an engraver, he was also distinguished, and 
is supposed to have been a scholar of Marc' Anto- 
nio, from the resemblance of style. His design is 
correct, though somewhat stiff; and his plates 
have little harmony of effect. He was living, ac- 
cording to Yasari. in 1568. The following are his 
principal plates : 

Some Heals, vrith Helmets, and antique ornaments. — 
The \'irgin suckling the infant Jesus. 1539. David cut- 
ting off the Head of Goliah ; after Giulio Romano. 1540. 
A young Warrior carrying off a young Woman ; called 
Paris and Helen. 1539. A River God ; a,fter Luca Pen- 
ni. Mars, Venus, and Cupid. A large Naval Combat ; 
from his oica design. 1533. The Burning of Troy, a 
grand composition ; fine. 

C "WU nr 4 A.T^ G^HISI. GlORGIO,Call- 
V^ i r IWl • ed Maxtuano, an 

Italian engraver, born at Mantua, in 1524. He 
was the son and scholar of the preceding, whom 
he greatly surpassed, especiall}^ in harmony of 
effect. His outline of the nude was very correct, 
and the extremities of his figures were correctly 
drawn ; but there is a sameness in his figures, 
which gives his prints the appearance of manner- 
ism. His works are highly valued, and fine im- 
pressions of them are scarce. They are usually 
marked with his monogram, or Giorgio Ghisi di 
Mantoua fecit. The following are the principal : 

The Portrait of Julius II. ; after Rafaelle. The Holy 
Family, half-length ; do. The School of Athens, two 
sheets; do. The Dispute of the Sacrament ; do. An em- 
blematical subject ; sometimes calhd I2afaellc's Dream, 



and sometimes The Melancholy of Michael Angela. It 
represents an old Man looking at a Shipwrecked Vessel, 
whilst a Nymph appears approaching him ; in the back- 
ground are seen several horrible and fantastical figures. It 
is inscribed Raphnelis Urhinatus invent um, and on a 
tablet, Georgius Ghisi, Mat. 1561. The Prophets and 
Sibyls ; six large plates ; after the paintings by M. A71- 
gelo Buonarotii, in the Sistine Chapel. The Last Judg- 
ment ; ten large plates ; after the celebrated work by the 
same painter. An allegorical subject, representing the Birth 
of a Prince of the House of Gonzague ; after GiuHo Ro- 
mano. 1568. Cupid and Psyche crowned by Hymen ; do. 
The Birth of Memnon ; do. ; Very fine. Cephalus and Pro- 
cris ; do. The Interview between Hannibal and Scipio ; 
do. Regulus led to death by the Carthaginians ; do. Reg- 
uius shut up in the Tun ; do. Venus in the Forge of Vul- 
can, sharpening the Arrows of Cupid ; after Perino del 
Vaga. Venus and Mars; after Rafaelle da Re^^io. 
An allegorical subject, representing a Judge on his Tribu- 
nal with Asses' Ears; after Luca Penni.^ Endymion car- 
rying Diana to the Chase on his shoulders ; do. Hercules 
conquering the Hydra ; after Giov Bat. Britano Man- 
tuanos. The Judgment of Paris; do. The Siege of 
Troy ; do. The taking of Troy ; do. A Print represent- 
ing tombs, skeletons, .tc, called the Resurrection of the 
Dry Bones. 1554 ; fine ; do. Venus and Adonis ; after 
Teodoro Ghisi. Angelica and Medora ; do. The Birth 
of the Virgin ; after B. Spranger. The Mystery of the 
Trinity; after his own design. ^1576. The Adoration of 
the Shepherds ; after Angela Bronzino ; in two sheets. 
1554. The'LAstSu^^QT; after Lambert Lombard, The 
Visitation of the Virgin to"St. Elizabeth ; after his own 
design. The Crucifixion ; do. 

"^ or Sl^ GHISI, Adamo, the younger 
J. ^brother of Giorgio G., born 
at Mantua, about 1530. He executed several 
plates, after the great masters, which though infe- 
rior to the works of his brother, are well drawn, 
and possess great merit. He sometimes signed his 
prints Adamo Scidtore. Mautuanus, and some- 
times with his monogram. The following are his 
principal plates : 

The Nativity; after Gixdio Romano. Adamo Scultore 
Man. The Presentation in the Temple ; after Nic. Mar- 
tinelli RomcB. 1"581. Adamo Scultore Mant. sc. The 
dead Christ in the Lap of the Virgin ; after the celebrated 
scxdpture by Michael Angela Buonarotti. Adam. Man- 
fuano. 1566 ; on a white ground. This plate was after- 
wards retouched, and the back- ground changed into a 
landscape, with the inscription, Romce Ant. Lafreri, sc. 
Cupid carrying the Arms of Mars ; after Giulio' Romano. 
Mars, preceded by Cupid, going to Battle ; do. The Bath 
of Venus ; after Giulio Romano. Diana going to the 
Chase ; do. Endymion regarding the Moon ; do. Her- 
cules between Virtue and Vice ; do. Venus and Cupid, 
with Pan playing on the Pipe, 

GHISI, Diana, called Mantuana. an Italian 
engraver, the sister of Giorgio G., who probably 
instructed her in the art as she has engraved sev- 
eral plates in his style, which possess great merit. 
The following are the principal, which are usually 
signed with her name in full, and sometimes only 
Diana. The following are her principal plates : 

Two Men and a Woman seated at a Table ; signed Di- 
ana. The Virgin and Infant, with St. John and St. Joseph 
presenting a Basket of Fruit ; Diana Alantuana incide- 
bat Romce. A. 31. D. LXXV. without the name of the 
painter. The Holy Family, with St. .Joseph at work ; af- 
ter Corregs^-io. The Holy Family, with St. John pre- 
senting a Billet ; after Rafaelle. The Virgin caressing 
the Infant ; after F. Salviati. The Virgin and Infant 
seated in the Clouds, and below the Archangels Michael, 
Gabriel, and Raphael ; inscribed R. V. I. Diana Mantu- 
ana and Regina Angela rum. St. Peter made Head of 
the Church, accompanied by the Ten Apostles, kneeling be- 
fore Christ ; after Rafaelle. The Adulteress before 
Christ; after Giulio Romano. The Continence of Sci- 
pio ; do. ' The Birth of Castor and Pollux ; do. ; fine.— 



GHIS. 



356 



GIAC. 



The Festival of the Gods at the Nuptials of Cupid and 
Ptyche ; after the design of Giidio Romano, in the Pa- 
lazzo del T. at Mantua ; in three sheets, very fine. The 
Visitation of the Virgin to St. Elizabeth ; after G. Vasari. 

GHISLANDI, DoMENico,a Bergamese painter, 
who flourished about 1662. He was distinguished 
for his architectural and perspective views in fresco, 
though he occasionally painted subjects of history. 
Tassi describes several pictures by him of the Life 
and Miracles of S. Francesco Paolo, in the Padri 
Minimi, at Bergamo ; and in the Palazzo Terzi is 
a saloon decorated with architectural views, in 
which the figures are by Giacomo Barbello. 

GHISLANDI, Giovanni, a Milanese painter, 
born in 1623. Orlandi says he studied first under 
Girolamo Chignolo ; after which he learned archi- 
tectural and perspective painting from Antonio Vol- 
pini, though he was chiefly indebted to Salvator Ro- 
sa for his taste and manner of pencilling. He gave 
the first proof of his abilities by designing and 
painting the triumphal arches for the reception of 
the Archduchess Maria, on her passing through 
Milan ; soon after which, in 1650, he went to 
Rome, and designed the beautiful remains of anti- 
quity, which he used to great advantage in his 
subsequent works. He excelled chiefly in perspec- 
tive views of sea ports, although there are a num- 
ber of historical pictures and altar pieces, some of 
which are in the Certosa, at Padua, and in the 
Sanctuario at Varese. Many of his pictures are 
to be found in the choicest collections of Rom.e, 
Naples, Genoa, and Milan, He died in 1683. 

GHISSONI, Ottavio, born at Siena^ but visit- 
ed Rome while young, and studied for several j-ears 
under Cherubino Alberti. In 1610 he went to 
Genoa, and entered the school of Ventura Salim- 
bene, where he painted some fresco works for the 
public edifices, which are more highly esteemed 
for excellence of coloring, than for correctness ,of 
design. 

GHITT, PoMPEO, born at Marone, near Bres- 
cia, in 1631. He first studied under Ottavio 
Amiconi, but afterwards visited Milan, and studied 
five years under Gio. Battista Discepoli. He after- 
wards settled permanently at Brescia, and execu- 
ted a number of works in oil and fresco, which 
were much esteemed for their correctness of de- 
sign and fertile invention, though his coloring was 
feeble and cold. He established quite a success- 
ful school. He was living in 1704, in which year 
his last known picture is dated. 

GHIZZI, Andrea, a Bolognese painter, born in 
1570. and studied successively under Massari and 
Dcntone. He became distinguished for his archi- 
tectural and perspective views, which were much 
admired. He died in 1618. 

GIACAROLO, Gig Battista, a native of Man- 
tua, who studied under Giulio Romano. He never 
obtained much celebrit}'-. There is an altar-piece 
by him in the church of S. Cristoforo, in his 
native city. He flourished about 1560. 

GIACCITJOLI, v., a Roman painter, who stud- 
ied under John Francis van Bloemen, whose style 
in painting landscapes he closely imitated. Lanzi 
says his works are found hanging beside those of 
his master in the collections of Rome. See J. F. 
van Bloemen. 

GIACOMONE. See Lippi and Da Faenza. 



GTACINTO, Oav., born at Popolo, in the king- 
dom of Naples, and became the scholar of IMassl- 
mo. His talents in historical painting gained him 
the honor of knighthood, and he acquired a high 
reputation among the artists of his time. lie died 
at Naples in 1684. 

GIALDISI. N., a native of Parma, according to 
Zaist, who flourished at Cremona, about 1720. 
He excelled in painting fruit and flowers, carpets, 
musical instruments, books, &c., which he repre- 
sented with a fidelity of form and truth of color- 
ing which deserve high praise. 

GIAMBERTI, Francesco, a Florentine archi- 
tect, who flourished during the fifteenth century, 
and designed many edifices in Fiorence and Rome. 
He left a work containing drawings of Greek and 
Roman architectural .remains, which is preserved in 
the Barberini palace at Rome. 

GIAMPICOLI, GiULio, a Venetian engraver, 
born, according to Zani, in 1698. From his stylo, 
it is probable that he studied under Wagner 
Brulliot says he was the nephew of Marco Ricci, 
after whom he engraved several plates, as follow : 
A set of thirteen Landscapes, with the frontispiece, after 
Marco Ricci, entitled Raccolti di 12 paesi inventati e di- 
pinti dal celebre Marco Ricci, A set of four pretty Pas- 
toral subjects. A set of four Landscapes ; after M. Ricci 
and F. Zuccarelli. 

GIANNETTI, Filippo, a painter of ?Jessina, 
according to Hakert, flourished about 16S5. He 
studied under Abraham Casembrodt, and painted 
landscapes with such boldness of style and facility 
of execution that he was termed the Luca Giorda- 
no of landscape. 

GIANNIZZERO, an Italian painter mentioned 
in the Colonna Catalogue as a pupil of Borgognone, 
in whose style he painted battle-pieces. Some of 
his works are in the Colonna Gallery. 

GIAQUINTO, CoRRADO, born at Molfetta, and 
flourished about 1750. He studied at Naples, 
under Solimena, but afterwards went to Rome, and 
entered the school of Sebastiano Conca, whose 
stjde he adopted. His works manifest a ready in- 
vention, and a spirited and vigorous pencilling; 
although he was more of a mannerist than his in- 
structor, and less correct in his design. He was 
invited to the court of Madrid, whei-e lie was em- 
ployed in several of the palaces. In Italy there 
are many of his works, particularly at Turin and 
]\Iacerata. His best works are his frescos in the 
Tribune of S. Croce. and the great altar-piece in 
S. Trinita, at Rome.' He died in 1765. 

GIAROLA, or GEROLA, Antonio, called il 
Cav. Coppa, born at Bologna, in 1595, and studied 
under Guido and Albano. His pictures are infe- 
rior to Guido in relief, and in elegant simplicity of 
composition ; although they approach his excel- 
lence in graceful contours, and sweetness of color- 
ing. In the refectory of the seminary at Verona, 
is a fine picture by Giarola, representing Christ 
with the Disciples at Eramaus ; and in the Padri 
Servi, at Bologna, is another excellent work, the 
Magdalene in the Desert. He died in 1665. 

GIBBONS, Grin ling. This sculptor, accord- 
ing to Walpole, was the son of a Hollander, who 
settled in England in the 17th centurj'. He was 
employed by Charles IL, in ornamenting several 
palaces, and received an appointment under the 
Board of Works. He executed several produc- 



GIBE. 



357 



GILA. 



tions at Petworth ; besides the choir of St. Paul's 
cathedral, and the admirable font in St. James' 
church, Westminster. He died in 1721. 

GTBELIN, Esprit Antoine, a French painter, 
born at Aix, in Provence, in 1739. He studied 
under Arnulfi, a painter of Aix, and then visited 
Ital3^ where he remained six j-ears, and drew the 
grand prize of the Academ}^ at Rome, represent- 
ing the Combat of Achilles with the River Sca- 
mander. He then visited Paris, in 1771. and paint- 
ed the grand fresco monochrom painting which 
adorns the great hall of the Academy of Surgery. 
It is divided into three parts ; Louis XVI. en- 
throned ; Esculapius teaching his disciples ; and 
a Battle, with surgeons succoring the wounded. 
He painted a number of works of this kind, and 
also frescos in colors, which were much esteemed 
for their invention, sentiment and elevated style; 
although they have little merit as to coloring or 
correctness of design. He wrote many critical 
works on art. He died in 1814. 

GIBERTONI, Paolo, a Modenese painter, 
flourished about 1760. He resided chiefly at 
Lucca, and excelled in grotesque subjects in fresco. 
He introduced into his pictures small animals of 
every kind, touched in a very truthful and spirited 
style. He also painted landscapes, which were 
much esteemed. He died about 1770. 

GIBSON. Richard, an English portrait painter, 
born in 1715. He was usually called the Dwarf, 
as he was only three feet ten inches high. While 
quite young he was page to a lady at Mortlake, 
who, observing in him an inclination for art. placed 
him under Francis de Cleyn, at that time superin- 
tendent of the tapestr}^ works at Mortlake. When 
Sir Peter Lely visited England, Gibson gained 
great improvement by copying his works. He 
was in favor with Charles I., who honored his mar- 
riage by his presence. After the death of the 
king, he was patronized by the Earl of Pembroke, 
and is said to have painted the portrait of Oliver 
Cromwell several times. He was also appointed 
the instructor in drawing, of the Princesses Mary 
and Anne. He died in 1G90. 

GIBSON, William, the son of Richard G., 
studied painting under his father and Sir Peter 
Lely. He attained some reputation in miniature, 
though his excellence was chiefly in copying the 
portraits of Lely. He died in 1702. He had a 
relative. Edward G., who was instructed by him, 
and painted portraits both in oil and crayons, but 
died young. 

GIFFART, Pierre, a French engraver, born at 
Paris in 1648. He gained sufficient reputation to 
be appointed engraver to the king. His work con- 
sists of porti'aits and book ornaments, neatly exe- 
cuted with the graver ; among which are the fol- 
lowing : 

PORTRAITS. 

Maria Anne Victoire de Baviere, Dauphiness of France. 
Frances d'Aubigne, Marchioness de Maintenon. Philip, 
son of Thomas XIII., Count of Savoy. Edward, son of 
Am.aLleus XV., Count of Savoy. 

VARIOUS SUBJECTS. 

A set of Medals from the French King's Cabinet. A set 
of Ornaments ; after Berain. A Frontispiece to the In- 
troduction to Geography, by P. Violier ; after S. Le 
Clerc. 

GIFPORD, George, an English portrait engra- 



ver, who flourished about 1640, and executed sev- 
eral indiflerent portraits for the booksellers, among 
which are those of Hugh Latim.er, Bishop of Wor- 
cester, and Sir Edward Marmion. 

GILARDI, PiETRO, a Milanese painter, born in 
1679, and studied under Federigo Biancbi, but 
afterwards entered the school of M. A. Frances- 
chini at Bologna, and then became a disciple of 
Giuseppe dal Sole. He particularly excelled in 
grand fresco works, for which his talents v.^ere 
well adapted, as is evident from his subjects of 
history in the refectory of S. Vittore, at Milan, 
which are highly valued for ingenuity of compo- 
sition, facility of execution, and tenderness and 
harmony of coloring. 

GILARTE, Mateo, a Spanish painter, born at 
Valencia, according to Palomino, in 1647. He 
studied under Francisco Ribalta, and attained em- 
inence in historical painting, both in oil and in 
fresco. He resided chiefly at Murcia. where there 
are most of his works, which show a grand and 
copious composition, and perfect acquaintance with 
chiaro-scuro. although they are deficient in beauty 
of the forms, and fine expression in the heads. In 
Nuestra Sennora del Rosario, are three large pic- 
tures in fresco, representing Esther in the pre- 
sence of Ahasuerus, Jacob Wrestling with the 
Angel, and St. Domenico with other Saints. 

GIL DE HONTANON, Juan, a Spanish ar- 
chitect, who flourished about 1500. He designed 
the cathedral of Salamanca, which passed the or- 
deal of an examination by Alonso de Cobarrubias, 
and three other eminent architects, by whom it 
was approved and commended. It was erected 
by Rodrigo Gil, the son of Juan G., who com- 
menced it in 1513. The edifice is 378 feet long; di- 
vided into five naves, the centre one forming a Lat- 
in cross, 50 feet wide and 130 feet high ; the side 
aisles are 37 1-2 feet wide, and 88 feet high ; the 
others are divided into chapels, 28 feet wide and 
54 high ; the columns of the nave are three feet in 
diameter, and those of the transept twelve. The 
whole structure is vaulted, and of square stones, 
with a large tower of the same material. Rodrigo 
commenced the cathedral of Segovia, in 1525. which 
in size and majest}^ is equal to those of Toledo and 
Seville. Signor Ponz says that he was an able 
architect, and well acquainted with the Greek and 
Roman style, which in his time was beginning to 
revive ; but that, like many others, he was obliged 
to humor the tastes of those who employed him, 
and therefore adopted the Gothic style, without 
its ornaments or details. 

GILES, of Antwerp. See Coignet. 

GILES, or GYLES, Henry, an English painter 
on glass, who lived at York, and practised from 
1640 to 1687. Among his performances is the 
east window of University College, Oxford, mark- 
ed. Hen. Giles^pinxit. 1687. 

GILIOLI, GiAciNTO, a Bolognese painter, born 
in 1584 ; studied under the Caracci, and painted 
history with some reputation. Among his best 
works, are David with the Head of Goliah, in S. 
Salvatore, and the Death of St. Joseph, in S. Mat- 
tia. He died in 1665. 

GILLARDINI, or GHERARDINL Melchiore 
a Milanese painter, who studied, according to Orlan- 
di, under Gio. Battista Crespi. He was employed 
to finish several pictures left imperfect at the death 



GILL. 



358 



GIMI. 



of his instructor, and also painted seyeral altar-pie- 
ces from his own designs. Lanzi praises a picture 
at St. Celso, near Milan, of St. Oaterina da Siena. 
There arc a few etchings by this artist, after Guido, 
Cortona and others ; also several plates from 
his own designs, of battles and other subjects, ex- 
ecuted with neatness and spirit, in the style of 
Callot. He died in 1675. 

GILL BERG, John, a Swedish engraver, born 
at Stockholm about 1748. He executed several 
portraits of eminent Swedes ; and then visited 
Paris, where he engraved, in i?nitation of chalk 
drawings, several heads after Raffaelle, and some 
landscapes in concert with Demarteau. 

GILLEMANS, John Peter, a Flemish painter 
of fruit and flowers ; born, according to Balkema, 
in 1672. His works are usually of a small size. 
well colored and composed, and finished in a neat 
style. He often painted the fruit and flowers in 
the compositions of other artists. 

GILLIG, Jacob, a Dutch painter, who gained 
some reputation for his pictures of landscapes and 
river fish. He was born at Utrecht, in 1636, and 
died in 1688. 

GILLIG, M., an engraver mentioned by Strutt, 
who executed, among other plates, a portrait of 
Gerard de Vries, philosopher of Utrecht. 

GTLLOT, Claude, a French painter and en- 
graver, born at Langres in 1673. He went to 
Paris while young, and entered the school of J. B. 
Corneille. He excelled in drawing satyrs, gro- 
tesques, and similar subjects, by which he gained 
some reputation, and was admitted to the Pioyal 
Academy in 1715. He was the instructor of An- 
thon}^ Watteau. His paintings are but slightly 
esteemed, but he has left a number of etchings 
from his own designs, in a bold, free style, and 
well finished. The Count Caylus engraved sev- 
eral plates after his designs. There are about 180 
plates by Gillot. among which are four plates of 
the Feasts of Diana and Bacchus, and the Tri- 
umphs of Pan and Faunus; also a number of 
plates for Les Fables de la Aloihe-Houdard. He 
died at Paris in 1722. 

GILLRAY, James, an English engraver, prin- 
cipally distinguished for his admirable political 
caricatures, was of Irish descent, born in 1757. 
He commenced his career as a letter engraver, but 
afterwards became a student of the academy, and 
produced a number of good plates from his own 
designs, among which was the Deserted Village, 
1784, and two portraits of Wm. Pitt. He also 
engraved a few plates after Lady Spencer's draw- 
ings, and occasionally signed them with fictitious 
names, as J. Hard, and /. Penn. But as a cari- 
caturist, Gillray was far more distinguished, and 
he seized upon every point open to ridicule, with 
most admirable tact. His productions of this 
character amounted to over twelv^e hundred, but 
as they are all subjects possessing at present but 
little interest, they will not be enumerated. They 
have all been republished by Mr. Bohn. Gillray 
was a man of very intemperate habits. He died 
in 1815. 

GILPIN, Sawrey, a reputable English painter, 
born at Carlisle in 1733. After acquiring the ele- 
ments of the art from his father, who was a captain 
in the army, he went to London, and was articled 



to a ship painter. He soon commenced designing 
animals, and some of his sketches were shown to 
the Duke of Cumberland, who employed him to 
paint his favorite horses at Newmarket, in which 
he evinced considerable genius, and a correct and 
spirited design. He was principally employed all 
his life in painting horses, although he produced 
two subjects of history, the Election of Darius, and 
the Triumph of Camillus, which possess consider- 
able merit. He usually painted the horses in the ' 
compositions of Barret, who returned the compli- , 
ment by painting the landscapes in Gilpin's works. . 
He was a member of the academy, and died in j 
1807. There are a few etchings by Gilpin, among ; 
which are a set of Oxen, Cows, &c. ; a small book 
of Horses ; and several Heads for the Lives of the 
Reformers. I 

GIMIGNANI, or GEMIGNANO, Vincenzio .' 
Di San, born at San Gimignani, in Tuscany, in * 
1490. He visited Rome while young, and en- ' 
tered the school of Raffaelle, whom he assisted in 
the works of the Vatican. He painted several 
pictures in the public edifices, and, according to 
Vasari, had gained considerable reputation, when 
Rome was taken and pillaged by the Spanish for- 
ces in 1527. The scenes of slaughter and de- 
struction through which he passed during that 
terrible event, produced such a powerful efiect upon 
his mind, that on returning to Tuscany, he fell 
into a state of melancholy, that prevented him 
from exercising his talent, and finally terminated 
his existence in 1530. 

ffv GIMIGNANI, or GEMIGNANO, Giacinto, 
Mr born at Pistoja in 1611 ; died in 1680. He 
studied at Rome under Niccolo Poussin, and sub- 
sequently in the school o.f P. da Cortona. In his 
composition and design, he followed the style of 
the former ; but his architecture was in the taste 
of the latter. He executed some pictures in fresco 
from the Life of Constantiue, in the Baptistery of 
St. John of Latcran, in concert with Andrea Ca- 
massei and Carlo Maratti. Several of his works 
are in the Palazzo Niccolini at Florence; and a 
fine picture of Lcandro, in the Ducal Gallery, is so 
much in the style of Guercino, that Lanzi says it 
was for some time attributed to that master. There 
are a few etchings by this artist, among which are 
a set of twelve small plates, of the sports of child- 
ren ; Antony and Cleopatra ; and Queen Semira- 
mis quelling a Revolt. 

GIMIGNANI, or GEMIGNANI, Lodovico, the 
son and scholar of Giacinto G., born at Rome in 
1644. His design was less correct than that of 
his father, but his forms were more elegant, atti- 
tudes more spirited, and his tints more delicate.. 
His talents were best adapted for grand fresco 
works, and there are several of these at Rome, 
among which the vault of S. Maria delle Virgini, 
is greatly admired. He died in 1697. 

GINASSI, Caterina, a noble Roman paintress, 
the niece of Cardinal Ginassi, born in 1590 ; died 
in 1660. She studied under Lanfranco, and paint- 
ed after the designs of that master, all the pic- 
tures in the church of the convent St. Lucia at ; 
Rome. ; 

GIOCONDO, Era, an eminent Italian architect 
and engineer, born at Verona in 1435. Accord- 
mg to Vasari, he was a Dominican friar, extremely 
learned in philosoph}^ and theology. From earl}' 



GIOL. 



559 



GIOll. 



youth he studied with great attention the models 
of antiquity at Home, an account of which he col- 
lected in one volume, and sent it to TiOrcnzo the 
Magnificent. He visited Vienna, and remained 
several years in the service of the emperor Maximil- 
ian. He strengthened and preserved the bridge 
at Verona, b}^ surrounding the middle pier with 
piles driven into the bed of the river, Louis XIL 
invited him to Paris, and commissioned him to 
erect the bridge of Notre Dame, which was said 
by Scamozzi to be the best constructed work in 
Paris, Giocondo afterwards returned to Italy, and 
went to Venice, where the Lagunes, its important 
bulwarks, were in danger of destruction, from the 
overflowing of the Brenta. A council was called, 
and among all the opinions given, that of Giocon- 
do prevailed, which was to turn half of the over- 
flow towards Chioggia ; and the Lagunes were 
saved. He made a noble design, according to Mi- 
lizia. including a magnificent bridge, for rebuilding 
the quarter of the Rialto, which had been destroy- 
ed by fire. But the design of one Scarpagnino 
was preferred, which was a mere mass of build- 
ings, without solidity, beaut}^, or symmetry. Gio- 
condo, indignant at this, quitted Venice forever ; 
but he left his drawings with the family Braga- 
dini. and the Rialto was built soon after, proba- 
bl}'' from his design. Lie now went to Rome, where 
he was declared architect of St. Peter's, after the 
death of Bramante. In concert with Raffaelle and 
Antonio Sangallo, he rebuilt that immense fabric, 
which Bramante, from his great haste, had left ex- 
tremely weak. They made large square excava- 
tions under the foundations, and filled them with 
strong walls, built with great care ; between these 
and some new piers strong arches were turned 
over the earth ; thus the whole fabric, which was 
till then unsafe, was placed on a solid and new 
foundation. By these Avorks, and many others, 
Giocondo gained great fame ; and died at an ad- 
vanced age. 
_ GIOLFINO, or GOLFING, Niccolo, a Vene- 
tian painter, eminent in his time, who flourished in 
the first part of the 16th century. There are 
some of his works in the churches at Venice, which, 
though not devoid of the dryness of the time, yet 
the coloring is pleasing and harmonious. He suc- 
ceeded best in small compositions, as in his Res- 
urrection of Lazarus in the church of Nazareth at 
Venice. 

GEONIMA, SiMONE, was born at Venice in 1655, 
Crespi says inaccurately, at Padua. He studied un- 
der Cesare Gennari, and distinguished himself as 
a follower of the school of Guercino. He went to 
Venice, where he found good employment. 

GIONIMA, Antonio, born at Padua in 1697, 
was the son and scholar of Simone G.. an artist of 
little note. He afterwards studied under Aureliano 
Milani, at Bologna, where he settled and painted 
works for the churches with considerable reputa- 
tion. Among his best works are the jMartyrdom 
of St. Floriano, in S. Agata ; and the Finding of 
Moses, in S. Cristina. He died at Bologna in 1732. 

GIORDANO, LucA, called Luca fa presto^ an 
eminent Neapolitan painter, born, according to 
Dominici, in 1632. He was the son of Antonio 
G., an artist of little note ; but attracted by the 
works of Giuseppe Ribera, he entered the school 
of that master at a very early age, and soon made 
surprising progress, so that before the age of thir- 



teen, he had acquired a fertility of invention and 
facility of execution, unparalleled in the aimals of 
art. He went to Rome for improvement, and soon 
attracted the notice of P. da Cortona, who em- 
ploj^ed him in many important works. The facili- 
ty and splendor of that master's style, were pccu- 
liarl}^ attractive to Giordano, and he seems to have 
aimed at it in all his works. He now manifested 
great talents for designing the works of the old 
masters, from which his father, who had followed 
him to Rome, derived a large income. The de- 
mand for his drawings and sketches was so great, 
that Luca, when obliged to take refreshments, did 
not retire from his work, but gaping like a young 
bird, gave notice to his father of the calls of hun- 
ger, who, always on the watch, instantly supplied 
him with food, at the same time reiterating Luca, 
fa presto^ (hurry, Luca) by which appellation Lu- 
ca Giordano is often designated. The only prin- 
ciple his father instilled into him was despatch. 
Bellori says that Giordano made twelve different 
designs of the loggia and paintings by Raffaelle in 
the Vatican ; twenty drawings after the Battle of 
Constantine, by Giulio Romano ; besides many 
works after Michael Angelo, Polidoro, and others. 
He afterwards visited the other cities of Italy, 
where his talents were in equally great demand, and 
his facility of execution enabled him to despatch 
an incredible number of works. Probably no art- 
ist ever produced as many pictures, not even Tin- 
toretto. Lanzi says that his facility was not de- 
rived wholly from a rapidity of pencil, but was 
aided by the quickness of his imagination, by 
which he was enabled clearly to perceive, from 
the commencement of the work, the result he in- 
tended, without hesitating to consider the compo- 
nent parts, or doubting, proving, and selecting, 
like other painters. He was also called the Pro- 
teus of Painting^ from his talent of imitating every 
known manner, the result of a wonderful memoiy, 
which retained every thing once seen. There are 
numerous instances of pictures painted by him in 
the style of Albert Durer, Bassano, Titian, and 
Rubens, which are valued in commerce at two or 
three times the price of pictures from his own de- 
signs. In S. Teresa at Naples, are two pictures 
by him in the style of Guido ; and a Holy Family 
at the court of Spain, which Mengs saj-s may be 
taken for a production of Raffaelle. For the no 
ble house of Manfrin at Venice, he painted the 
Fortune, taken from Guido's picture, which Lanzi 
says, that when confronted with the original, it is 
not easy to decide which to prefer. From imita- 
ting so many painters he formed a manner, com- 
bining the styles of nearly every master ; and the 
undisguised imitator is evident in all his works, 
so that he can have little claim to independence or 
originality. 

Luca Giordano was invited by Charles 11. to 
Spain, where he arrived in 1692, and was appoint- 
ed painter to the king. In the short space of two 
years he painted in fresco the stupendous ceiling 

I of the church, and the staircase of the Escurial ; 

I the latter, representing the Battle of St. Quintin. 

j and the Capture of IMontmorenci. is considered as 
one of his finest works. His next productions were 
the great saloon in the Bueno Retiro ; the Sacristy 
of the great church at Toledo; the vault of the 
royal chapel at Madrid; and other important 
works. After the death of Charles II., he was 
employed in the same capacity b}^ Philip V., and 



GIOK. 



360 



GIOV. 



remained ten years in Spain, producing in that 
time, an incredible number of grand works, which 
reasonably might have occupied a long life. In 
1702, he accompanied Philip Y. to Naples, where 
he met with an enthusiastic reception, and re- 
ceived so man}^ commissions that he could scarce- 
ly supply the demand, though he despatched them 
with wonderful rapidity, as is evident from a fine 
picture of St. Francis Xavier, for the church of the 
Jesuits, which he painted in a day and a half! 
The grand altar-piece in the church of the Ascen- 
sion at Naples, is considered one of Giordano's 
best works. It represents the Battle of the An- 
gels, and the Fall of Lucifer ; its coloring is ex- 
tremely beautiful, fresh, and brilliant, and has a 
striking effect, from the brightness of the local 
tints. He died at Naples in 1705. 

There are a few etchings by this artist, executed 
in a free, spirited, and masterly style, among which 
are the following : 

Elijah calling Fire from Heaven to destroy the Priests of 
Baal. The Virgin and infant Jesus. St. Joseph and St. 
John. Magdalene penitent. The Adulteress before Christ. 
Christ disputing with the Doctors. St. Anne received into 
Heaven by the Virgin. 

GIORGETTL Giacomo, born at Assisi about 
1610, and studied painting under Gio. Lanfranco. 
He painted subjects of history, chiefly in fresco, 
which are well colored, and more highly finished 
than those of his master, though not so correctly 
drawn. Among his principal works, are several 
pictures from the Life of the Virgin, in the Con- 
ventual i ; and his largest work, the dome of the 
principal church at Assisi. 

GIORGIO, Giovanni, an Italian engraver, who 
flourished at Padua about 1650. Among other 
plates, he executed the Bath of the Anabaptists, 
after Rajfaelle ; and a set of plates for the collec- 
tion of antique lamps, entitled De Lucernis Anti- 
quorum reconditis, Patavii, 1653. 

GIORGIO, Francesco di, an Italian painter, 
sculptor, and architect, born, according to Milizia, 
at Siena, of the Martini family, in 1423. Accord- 
ing to the custom of the time, he united the three 
sister arts, although none of his works in sculp- 
ture are mentioned. As a painter he did not at- 
tain eminence ; Lanzi mentions a Nativity, by him, 
somewhat in the style of Mantegna, in the collec- 
tion of Sig. Abate Oiaccheri, at Siena. As an ar- 
chitect, hf^ erected, according to Milizia, a famous 
palace at Urbino, for Duke Federigo Feltro, which 
is arranged with great judgment, both as to con- 
venience and beauty. The staircases are more 
beautiful and convenient than {iny constructed be- 
fore in Italy. He also made the designs and models 
required by Pope Pius II. for the palace and bi- 
shopric of Corsignano, the native place of that pon- 
tiff, who made it a city, with the title of Pienza. 
Milizia says that legitimate architecture is much 
indebted to this architect. 

GIORGIONE. See Barrarelli. 

GIOTTINO. See Stefano. 

GIOTTO, called Ambrogiotto and Giotto di 
BoNDONE, an ancient Italian painter and archi- 
tect, born at Vespignano, near Florence, according 
to A^asari, in 1276. He was the son of a shep- 
herd, and while attending to his flocks in the field, 
was continually occupied in delineating the ob- 
jects around him. A sheep which he had drawn 



on a flat stone, after nature, attracted the atten- 
tion of Cimabue, who persuaded his father, Bon- 
done, to allow him to go to Florence, confident that 
he would be an ornament to the art. Giotto com- 
menced b}^ imitating his master, but he quickly 
surpassed him. A picture of the Annunciation, 
in the possession of the Fathers of Badia at Flo- 
rence, is one of his earliest works, and manifests 
a grace and beauty superior to Cimabue, though 
the style is somewhat dr}^ In his Avorks. sym- 
metry became more chaste, design more pleasing, 
and coloring softer than before. Lanzi sa3'S that 
if Cimabue was the jMichael Angelo of that age, 
Giotto was the Raffaelle. He was highlj^ honor- 
ed, and his works were in great demand. He was 
invited to Rome by Boniface VIII., and afterwards 
to Avignon b}^ Clement V. The noble families of 
Verona, j\Iilan, Ravenna, Urbino. and Bologna, 
were eager to possess his works. In 1316, accord- 
ing to Vasari. he returned from Avignon, and was 
employed at Padua, where he painted the chapel 
of the Nunziata all' Arena, divided all around into 
compartments, each of which represents some 
scriptural event. Lanzi says it is trulj'^ surprising 
to behold, not less on account of its high state of 
preservation beyond any other of his fj-escos, than 
for its graceful expression, and that air of grandeur 
which Giotto so well understood. About 1325 he 
was invited to Naples by King Robert, to paint 
the church of S. Chiara, which he decorated with 
subjects from the New Testament, and the Mys- 
teries of the Apocalypse. These, like many of his 
works, have been destroyed ; but there remains a 
Madonna, and several other pictures, in this church. 
Giotto's portraits were greatl}^ admired, particu- 
larly for their air of truth and correct resemblance. 
Among other illustrious persons whom he painted, 
were the poet Dante, and Clement VIII. The por- 
trait of the former was discovered in the chapel of 
the Podesta, now the Bargello, at Florence, which 
had for two centuries been covered with white- 
wash, and divided into cells for prisoners. The 
whitewash was removed by the painter Marini, 
at the instance of Signer Bezzi and others, and the 
portrait discovered in the '• Gloria" described by 
Vasari. Giotto was also distinguished in the art 
of Mosaic, particularly in the famous Death of the 
Virgin at Florence, greatly admired hj IMichael 
Angelo ; also the celebrated Navicella, or Boat of 
St. Peter, in the portico of the Basilica of St. Pe- 
ter's at Rome, which is now so mutilated and al- 
tered as to leave little of the original design. 

As an architect, Giotto attained considerable 
eminence, according to Milizia, and erected many 
important edifices, among vrhich is the bell-tower 
of S. ]Maria del Fiore. The thickness of the walls 
is about ten feet ; the height is two hundred and 
eighty feet. The cornice which supports the par- 
apet is ver)^ bold and striking; the whole exterior 
is of Gothic design, inlaid with marble and mosa- 
ic, and the work ma^^ be considered one of the 
finest specimens of campanile in Italj'. Giotto 
died, according to Vasari, in 1337. 

GIOVANNI, DA San Giovanni. See Man- 

NOZZT. 

GIOVANNI, SiGisMONDO di, a Neapolitan ar- 
chitect, was a disciple of Mormando, according to 
Milizia, and flourished about 1500. Among his 
principal works, are the church II Seggio di Nido, 
in which the piers have Gothic ornaments. 



GIOV. 



161 



GIOV. 



with a well designed cupola. The latter gained 
him so much reputationj that he vras entrusted 
with that of S. Severino, after the model of jMor- 
mando. Such works were then comparatively 
new at Naples, and considered extremely difficult 
to execute. 

GIOVANNI, DA Pisa, an eminent Italian sculp- 
tor and architect, the son of Niccolo da Pisa, ac- 
cording to Vasari, flourished during the early part 
of the 14th centur}^. He erected the public ceme- 
tery at Pisa, called the Campo Santo. It is nearly 
a rectangle — about four hundred and twenty feet 
long, and one hundred and forty feet broad. The 
walls are twentj^-nine feet high, and the southern 
side is externally cased with white marble, decora- 
ted with forty-four pilasters of the same beautiful 
material. Giovanni da Pisa was invited to Naples, 
where he erected, by order of Charles I. of Anjou, 
the Castel Nuovo. for which purpose he was obliged 
to demolish the church of the Zoccolanti. which 
then occupied the site. He afterwards rebuilt it, 
and it was then called Santa Maria Nuova. On 
his return from Naples, he erected the facade of 
the Cathedral at Siena, which is very magnificent ; 
at Pisa, the tribune of the Cathedral ; and having 
completed many works, both in sculpture and ar- 
chitecture, at Arezzo, Orvietto, Perugia, Pistoja, 
and elsewhere, he died, full of years and honors, 
and was buried in the Campo Santo at Pisa. The 
time of his death is not recorded. 

GIOVANNI BATTISTA, di Toledo, an emi- 
nent Spanish sculptor and architect, according to 
Milizia. ay ho flourished about 1550. He visited 
Rome, and acquired great improvement and repu- 
tation, when he was invited to Naples by the Vice- 
ro}', Don Pietro di Toledo, who appointed him 
state architect, and employed him to erect many 
very important works in that city. Among oth- 
ers, are the magnificent Strada di Toledo ; the 
church of S. Giacomo degli Spagnuoli ; a magnifi- 
cent palace at Pozzuoli ; and several beautiful 
fountains. These works gained him so much 
fame, that Philip 11. appointed him architect to 
all the rojal works of Spain, and of the Escurial, 
which that monarch wished to erect in the most 
sumptuous manner. For this purpose he left Na- 
ples in 1559, and removed to Spain. But his 
wife, Orsola Jabarria, who embarked afterwards, 
was shipwrecked and drowned, with her daugh- 
ters ; and the immense riches acquired by Giovan- 
ni Battista were also lost. In addition to this ar- 
ray of disasters, he was obliged to carry on a law- 
suit with his father-in-law, Girolamo Jabarria, 
who required the restitution of his daughter's mar- 
riage portion. In 1563, this architect com-menced 
the immense fabric of the Escurial. He continued 
to superintend the work until his death, in 1567. 
This immense edifice has been attributed to Bra- 
mante, Vignola, and others ; but Milizia cites an 
inscription on the portico of the Escurial church, 
as follows, which shows conclusively that the work 
is by Giovanni Battista : 

Deus 0. M. operi aspiciat 

Philippus II., Hispaniarum Rex. 

A fundamentis erexit 

1563. 

Joan. Baptista. Architectus, 

9. Kal.' Maii. 

This stupendous edifice was completed by Gio- 



vanni d'llerrera, the pupil of Giovanni Battista di 
Toledo, after the death of the latter. It is situated 
a few miles from Madrid, at the foot of the Car- 
pentani mountains, which divide the two Castiles. 
It is composed of a magnificent monastery, given 
to the Fathers of St. Girolamo ; a college ; a semi- 
nary ; and a royal palace: with the addition of a 
number of country villas, hospitals, gardens, and 
fields. The plan of the building resembles the 
form of a gridiron, in allusion to the instrument of 
mart3^rdom of St. Lorenzo, and the royal palace is 
supposed to represent the handle. The principal 
facade is 740 feet long, and sixty feet high, with 
five stories, and 200 windows ; the fa9ade op- 
posite the east is 1100 feet long ; and the south 
side five hundred and eighty feet. It is divided 
into fifteen courts, ornamented with porticos and 
galleries, and eighty fountains. It is adorned with 
a majestic cupola, and eight towers, two hundred 
feet high. From its long and erect fa9ades, its un- 
ornamented form, and its peculiar materials, it pre- 
sents an aspect of solemn grandeur, corresponding 
to the character of the monarch under whom it 
was erected. 

GIOVANNI, DI Paolo, a reputable painter of 
Siena, who flourished there about 1457. There 
are som-e of his works in the churches at Siena. 
His Descent from the Cross, in the Osservanza, 
painted in 1461, displaj^s a considerable know- 
ledge of the human figure, though possessing, 
according to Lanzi. the defects of the time. 

GIOVANNI; DI MatteO; or Matteo di Gio- 
vanni, an eminent Sienese painter, who flourished 
from about 1450 to 1491. He painted first in the 
churches of his native city in fresco, and from his 
intimacy with Giorgio da Francesco, a celebrated 
architect, he improved himself in perspective, and 
diversified his buildings very ingeniously with alto 
and basso relievos. He understood foreshortening 
well, and cast his draperies with more of nature 
and dignity than was common to the age. His 
master-piece was the Murder of the Innocents, a 
subject which he varied and repeated both at Si- 
ena and at Naples. His success at Naples was 
such as to induce the Neapolitan artists to improve 
themselves by adopting a less antiquated style. 
After oil painting was introduced into Italy, he 
learned the art, and painted small pictures with 
good success. Several of his works are still to be 
found in the collection of noble houses at Siena, 

GIOVANNINI, Carlo, probably a relative of 
Giacomo Maria G., flourished at Bologna about 
1698. He painted a number of historical works 
with considerable reputation, among which are 
Adam and Eve driven from Paradise, in la Madon- 
na del Piombo ; and Christ giving the Keys to St. 
Peter, in S. Giovanni in Monte. 

GKJVANNINI, Giacomo Maria, an I^ahan 
painter and engraver, born at Bologna in 1667 ; 
died at Parma in 1717. He studied under Anto- 
nio Roli, and painted several pictures for the 
churches at Bologna, among which that of Mag- 
dalene worshipping the Cross, in S. Niccolo degli 
Alberi, is most esteemed. As an engraver, he ex- 
ecuted a number of plates, chiefly etched, and some 
of them assisted with the graver, in a very neat 
style; though the design is frequently incorrect, 
and there is a want of effect in his prints. The 
following are his principal plates : 



GIOY. 



362 



GIRO. 



A set of twenty large plates ; fifter the paintings by Lo- 
dovico Caracci, and others, in the cloister of St. Michael in 
Bosc!), at Bologna. Twelve prints from the pictures by 
Correi^gio, in the cupola of S Giovanni, at Parma. A print 
af'tor the celebrated picture called the St. Jerome by Cor- 
reggiu. The same has been engraved by Agostino Car- 
acci and Sir Robert Strange. The Virgin and infant, with 
St. George ; after the famous picture by Correggio ; in the 
Dresden gallery. St. Sebastian ; after' Lodovico Caracci. 
The Communion of the Apostles ; after Marc. Ant. F^ran- 
ceschini 

GIOVANNINO, DEL Pio. See Bonatti. 

GIOVENONE.GiROLAMO, a native of Vercelli, 
WHO flourished about 1515. In the gallery of Lo- 
chis, at Bergamo, is a capital picture b}^ him ; and 
in the Augustini. at Milan, is a fine picture of the 
Resurrection, with two laterals, representing St. 
Margaret and St, Cecilia. 

GIOVENONE, Battista, Paolo, and Giu- 
seppe, three Milanese painters of the same famil}^ 
as Girolarao G., who flourished at Milan in the 
16th century. They were reputable painters. — 
Giuseppe was eminent as a portrait painter, and 
died about 1578. 

GIRALDINI, or GILARDTNO, Melchiore. a 
Milanese painter and engraver, who studied under 
Gio. Battista Crespi. called il Cerano. Lanzi says 
he very happily caught the easy, agreeable, and 
harmonious manner of his teacher, though inferi- 
or to him in the powers of his pencil. There are 
some of his works in the churches at Milan. His 
picture of St. Catherine, in the church of the Ma- 
donna at S. Celso, has been highly commended. 
He married the daughter of Cerano. and inherited 
his studio and all his drawings. He engraved in 
aquafortis some small plates of histories and bat- 
tle-pieces, in the manner of Callot. He died in 
1675. 

GIRALDINI, N., was a son of the preceding 
artist, who instructed him in the art. He acquired 
considerable eminence as a painter of battle-pieces, 
and his works are found in the best collections at 
Milan, where they are highly esteemed. 

GIRANDOLE. See Buontalenti. 

GIRARDET, Jean, a reputable French painter, 
born at Luneville in 1709. He was intended for 
the church ; but manifesting a great inclination for 
art, he was placed in the school of Claude Charles, 
professor of design at Nancy, in Lorraine, who 
had praised some of his drawings. After studying 
there for some time, Girardet visited Italy, where 
he remained eight years, designing after the works 
of the great masters. He was invited to the court 
of Stuttgard by king Stanislaus, and painted in 
fresco a grand saloon in the royal palace, in 1762. 
He afterwards returned to France, and settled at 
Nancy, where he was much employed, and estab- 
lished a successful school. There are many of his 
works at Metz, Verdun, and other cities of Lor- 
raine. His Descent from the Cross, in one of the 
churches at Nancy, is considered his best produc- 
tion. He died in 1778. 

GTRARDON, FRAN901S, a reputable French 
sculptor, born at Troyes in 1630. He learned the 
elements of the art from a carver in wood, and 
soon manifested flne talents. He studied with 
great care the statues in the churches of Troyes, 
and produced a flgure of the Virgin, which was 
much admired. The Chancellor Seguier, perceiv- 
ing his abilities, sent him to Paris, and placed him 



in the school of Frangois Anguier; after which he 
advanced him the means necessary for a journey 
to Rome, and Louis XIV, settled upon the young 
artist a pension of a thousand crowns. Girardon 
remained some time in Italy, and then returned to 
Paris, where he acquired the friendship of Le Brun. 
Through the influence of that master, he obtained 
commissions for many works in sculpture, for the 
palaces of Versailles and Trianon. After the death 
of Le Brun, Girardon obtained from Louis XIV. 
the post of general inspector of statues and other 
works in marble. In 1657 he was admitted to the 
academy; in 1659, was appointed professor; be- 
came director in 1674; and chancellor in 1695. 
There are many of his productions in France, al- 
though a portion of them have been destroyed by 
revolutionary excesses. The Mausoleum of Car- 
dinal Richelieu, in the church of the Sorbonne, was 
considered his master-piece. In the garden of Ver- 
sailles, there were by him the Rape of Proserpine, 
a statue of Winter, and many fine bas-reliefs. The 
tombs of the Princess de Conti ; of Louvois ; and 
of the Castellans; were also executed by Girardon. 
He died in 1715. 

GIRODET TRIOSON. Anne Louis, an eminent 
French painter, born at Montargis in 1767. His 
original name was Girodet, but in 1812 he adopt- 
ed the name of his tutor, Dr. Trioson. He stud- 
ied under David, and at the age of twenty-two 
gained the grand prize of the Academy, for his 
])icture of Joseph's meeting with his Brethren. 
He then went to Rome with the royal pension, 
where he produced his pictures of Endymion 
sleeping, and Hippocrates refusing the presents of 
x\rtaxerxes. which last is in the Academy of Medi- 
cine at Paris, and is greatly admired for its correct 
design and elevated expression. On returning to 
France, he soon gained great eminence, and was 
deemed worthy to rank with the most distinguish- 
ed professors, as is evident from his grand painting 
of the Deluge, which carried away the palm from 
David's picture of the Sabines. He was highly 
honored by Napoleon, who was Yery fond of hira. 
He painted the portraits of many illustrious per- 
sonages of the time, and made designs to illustrate 
the works of Anacreon, Virgil, and Racine, pub- 
lished by Firmin Didot. His works are highly 
esteemed, and are to be found in many of the pub- 
lic and private collections of France. jMany of 
them have been engraved or lithographed. Giro- 
det died in 1824. 

GIRON. M.. a French painter who flourished at 
Venice in 1660, and. according to Boschini. paint- 
ed landscapes in the manner of Paul Bril with 
great success. He painted all kinds of views in 
an extremelj^ natural and pleasing manner. 

GIRTIN. Thomas, a reputable English painter, 
born in 1775. He studied under Edward Dayes, 
and was much esteemed for his landscapes in wa- 
ter-colors. He visited Paris, and made twenty 
draAvings of views in that city, of which he etched 
the outlines, and the plates were finished in aqua- 
tintaby other artists. He died in 1802. 

GISMONDI, Paolo, called Paolo Perugino, 
a painter of Perugia, but brought up at Rome, in 
the school of P. da Cortona. He w as chosen a 
member of the Academy of St. Luke in 1668, and 
was esteemed for his fresco paintings of historical 
subjects, among which are several in the tribune 



GITI. 



363 



GLAtJ. 



of S. Agata in Piazza Nuova, and in S. Agnese 
in Piazza Navona at Rome. 

GITIADAS, a Greek sculptor and architect, of 
Lacedsemon, who flourished about b. c. 724.^ Ac- 
cording to Pausanias, he erected a temple in his 
native state, dedicated to Minerva. It was con- 
structed entirely of bronze, and contained a bronze 
statue of the goddess, of his own execution, be- 
sides many bas-reliefs, representing the Labors 
of Hercules, and other mythological subjects. 

GIUGNL See Zdgni. 

GIIILIANELLO, Pietro da, an old Roman 
painter of whom little is known. There is a pic- 
ture by him in the Borghese Gallery at Rome, 
representing the Woman of Samaria. Lanzi says 
he deserves to be placed in the first rank of the 
qKattrocentisti, or artists of the 14th century. 

GIULIANI. Giorgio, a native of Civita Castel- 
lana. of whom little is known. Lanzi supposes 
that he was a pupil of Guido, and says that he 
found in the celebrated monaster}^ of the Camal- 
dolesi all' Avellana a fine copy of Guido's Martyr- 
dom of St. Andrew. It is a large picture, exhibit- 
ed in the refectory ; and, notwithstanding the 
dampness of the place, it maintains a brilliancy of 
color remarkable for pictures of that antiquity. 
It is signed Giorgio Giuliani da Civita Castella- 
na, 161—. 

GIUNTA. See Pisano. 

GIUNTALOCCHIO, Domenico, an old painter 
of the Florentine school, and a native of Prato, 
who, according to Vasari, was more eminent as an 
engineer than as a painter. He studied under Nic- 
colo Soggi. and painted portraits with reputation, 
but did not succeed so well in fresco. His memo- 
ry is revered in his native place, not so much for 
his paintings as for a fund of 10.000 crowns which 
he bequeathed to found a school for the education 
of young artists. 

GIUSTL Antonio, born at Florence in 1624, 
and studied first under Cesare Dandini, but after- 
wards in the school of Mario Balassi. His tal- 
ents were \ery versatile, and he painted history, 
landscape, animals, and hunting-pieces, with equal 
success ; so that Orlandi calls him a universal art- 
ist. He practised the art with vigor until 1705, 
when he died, aged 81. 

GLAUBER, John, a very eminent landscape 
painter, born at Utrecht, in Holland, of German 
parents, in 1046 ; died in 1726. He early mani- 
fested a strong inclination for the art. but was op- 
posed by his father, Avho wished him to adopt an- 
other profession. After a long time, however, he 
reluctantly consented, and Glauber entered the 
school of Nicholas Berghem, where he made rapid 
progress, and was soon considered a very promis- 
ing artist. He was greatly enamored of the Ital- 
ian landscapes by G. Poussin and others, which 
he had an opportunity of copying with Vylen- 
bourg, who dealt in works of art ; and at length 
he determined to set out for Rome, in 1671, by the 
wa}' of France, intending to gain the means of 
travehng by practising his art. He passed one 
year at Paris, with Picart, a flower-painter ; and 
two years at Lyons, with Adrian vander Cabel ; 
after which he went to Rome, and soon became 
distinguished. He was honored by a flattering re- 
ception from the Bentvogel Society, who conferred 



I on him the title of Polidore. After spending two 
j^ears at Rome, and the same time at Venice, he 
returned to Holland, and settled at Amsterdam. 
Having formed an intimacy with Gerard de Lai- 
resse, he painted a number of admirable land- 
scapes, decorated with the classic figures of that 
master. These fruits of their combined talents 
were very highl}^ esteemed, and they received so 
many commissions as rendered it almost impossi- 
ble to suppljr the demand. The landscapes of 
Glauber are entirely in the Italian style, and his 
subjects are chosen in a select and elevated taste. 
There are several admirable landscapes by him in 
the chateau of Soesdyk, painted for the Prince of 
Orange, in which the figures are by Lairesse. 
Glauber etched several plates after the designs of 
Lairesse, Berghem, and G. Poussin ; also several 
after his own designs, in a slight, spirited style, 
among which are the following : 

Various Landscapes and Cattle ; afteo' JBerchem. Two 
Landscapes ; after Gaspar Poussin ; Gaspar Poussin, 
pinx ; J. Glauber, fee. A set of six Landscapes, length- 
ways ; from his own designs. A set of six Landscapes, 
upright ; do. A set of circular plates of allegorical subjects, 
from four of the great Monarchies of Assyria, Persia, 
Greece, and Rome ; after de Lairesse. 

GLAUBER, John Gottlieb, born at Utrecht 
in 1656, the younger brother and scholar of John 
G.. whom he accompanied to Paris at the age of 
fifteen, and while in that city, received some in- 
structions from Jacob Knyf. a reputable painter 
of landscape and architecture. He rejoined his 
brother at Lyons, and continued with him during 
the two years he spent in Rome, studying the 
works of the great masters with assiduit3^ In 
1684 he went to Hamburg, and met with great 
encouragement. He was soon afterwards invited 
to the court of Vienna, where he spent several 
years, and subsequently practised the art at 
Prague and Breslau. Most of his works are to 
be found in Germany, where they are much es- 
teemed. His pictures are principally landscapes, 
in the st^^le of his brother, though more highly 
finished, and less masterly in the handling; also 
sea-ports in the manner of Knyf, and architectu- 
ral views. He died in 1703. 

GLAUBER, Diana, the sister of the preceding 
artists, born at Utrecht in 1650. and was instruct- 
ed by her elder brother. She gained considera- 
ble distinction in history and portrait at Ham- 
burg, where she resided ; but was unfortunately 
deprived of her sight, by accident, a few years be- 
fore her death, which occurred about 1720. 

GLAUCIAS, a Greek sculptor, of ^gina, who 
flourished about b. c. 480. Among his principal 
works was the statue and chariot of Gelon, tyrant 
of Gela, and afterwards of Syracuse, which he exe- 
cuted in bronze. It was erected at Olympia, in. 
commemoration of the victory obtained by Ge- 
lon, at the Olympic games. 

GLEN. John de, a Flemish wood engraver, 
born at Liege about 1550. He published two 
works, illustrated with wooden cuts of his own 
execution — the Wonders of the City of Rome, 
and the Customs of the Ancients and Moderns. The 
latter contains 103 plates, from his own designr^. 

A^-v w y GLOCKENTON, Al- 
J -* ^^ AA ^5 BERT, an old German en- 
^^ ' ^^ ' graver, born at Nurem- 
berg^ about 1432. His plates ai'e executed entire- 



GLOV. 



364 



GOBB. 



]y with the graver, in a neat but stiff manner, 
somewhat in the style of Martin Schoen, some of 
whose prints he copied. The following are his 
principal plates : 

Twelve plates of the Passion of Christ ; fine and scarce ; 
after Martin Schoen. Ten plates of the wise and foolish 
Virgins ; do. Christ bearing his Cross ; do. ; scarce. The 
Death of the Virgin ; do. The Virgin and infant seated 
on an altar. 

GLOVATCHEVSKI, Cyril, a Russian painter, 
born at Korope in 1735. He painted history and 
portraits with reputation, and was appointed pro- 
fessor in the Academy of Fine Arts at St. Peters- 
burg. He died in 1823. 

GLOVER, George, an English engraver of lit- 
tle note, who lived about 1637. and executed a num- 
ber of portraits and other subjects for the book- 
sellers, in a bold, open style, but with little taste. 
The following are the principal: 

James I. Charles I. Henrietta Maria, Queen of Charles 
I. Mary, daughter of Charles I. Charles II. Catharine, 
Queen of Charles II. James II. Maria Beatrix, Queen of 
James II. Oliver Cromwell. William Kussell, Duke of 
Bedford. Francis Russell, Earl of Bedford. Algernon 
Percy, Earl of Northumberland. Robert Devereux, Earl of 
Essex. Henry Rich, Earl of Holland. Thomas Wentworth, 
Earl of Strafford. James Usher, Archbishop of Armagh. 
Sir Thomas Urquhart ; very scarce. Sir Edward Deering ; 
fine. 1640. Sir James Campbell. Sir Henry Oxenden de 
Barbara. Sir Anthony Vandyck. John Pym, M. P. for 
Tavistock. John Fox, the Martyrologist. Lewis Roberts, 
Mercat. Lond. 1637. John Goodwin, Presbvter. 1642. 
William Bariff. 1643. John Lilburne. 1641. Ilcnry Bur- 
ton, Rector of St. Matthew's, Friday street. 1648. Nat. 
Witt, an idiot, with four verses. 

GLUME, J. G., a German painter, mentioned 
by Basan, who lived about 1760. He etched sev- 
eral plates of portraits and other subjects,from his 
own compositions. 

GLYCON, an Athenian sculptor of uncertain 
age, whose name is immortalized as the author of 
the famous Farnese Hercules, the principal statue 
of that hero now remaining. It is in the Farnese 
palace at Rome, and has long been familiar to con- 
noisseurs. It represents him resting after the last 
of his twelve labors ; leaning on his club, and 
holding in his hand the apples of the Hesperides. 
In this statue, as in all other figures of hira, he is 
represented of a large size, with broad shoulders, 
spacious chest, and firm muscles ; capable of un- 
dergoing great fatigue. 

GMELIN, William Frederic, a German en- 
graver, born at Badenweiler in 1745. He studied 
under Christian de Mecheln at Basle, where he 
made rapid progress. In 1788 he went to Rome, 
where he resided the rest of his life, and engraved 
man}^ excellent plates, mostly landscapes of large 
dimensions. The fine plates for the superb edition 
of the J^neid, published in Italian by the Duchess 
of Devonshire, are by Gmelin ; but his master- 
piece is the Mulino, after Claude. He died at 
Rome in 1821. 

GXOCCHI. PiETRO, a Milanese painter, who 
flourished, according to Morigia, about 1595. He 
studied under Aurelio Luini. whom he excelled in 
correctness of design, and elegance of expression. 
Lanzi says that he may be the same as Pietro Lu- 
ini, it being common at that daj^ for the disciple 
to adopt the name of his master. His finest pic- 
ture is in S. Vittore at Milan, representing Christ 
giving the Keys to St. Peter. 



F'-^.^oTe, 



VAN, an old German 
engraver, who lived about 
1516, and executed a number of ornamental illus- 
trations for the booksellers, in a spirited and mas- 
terly style. 

GOBBI. Marcello, a reputable painter of the 
Roman school, who flourished at Macerata, his 
native city, in 1606. 

GOBBING. See Gio. Battista Rossi. 

GOBBO, iL. SeeBoNzi. 

GOBBO, Antonio. See Caracci. 

GOBBO, DEL. See Solarl 

GODDARD, J., an English engraver, who flour- 
ished about 1651, and executed several frontis- 
pieces, maps, and other subjects for the booksell- 
ers. 

GODECHARLES, William, an eminent Flem- 
ish sculptor, born at Brussels in 1750. He stud- 
ied under Laurent Delvaux, and in 1770 visited 
ParivS, where he passed the academical course, and 
then went to Rome. In 1773, he gained the grand 
prize of sculpture in that city, and then travelled 
through Italy, Germany, Prussia, and England. 
On returning to Brussels in 1780. he soon gained 
great reputation, and was employed in many im- 
portant works for the king of the Low Countries, 
and various distinguished personages. In 1783 he 
executed the grand bas-reli ef in the palace at Brus- 
sels ; and for the chateau of Laken. two statues of 
Minerva and Victory, besides several bas-reliefs. 
There are a great number of his statues and busts 
in the magnificent gardens of Wespelaer, between 
Louvain and Malines. He possessed more facility 
than taste, more energ}^ than grace. He was ap- 
pointed sculptor to the king of the Low Countries, 
member of the Institute at Amsterdam, and pro- 
fessor of the Academy of Fine Arts at Brussels. 
He died in 1835. 

GODEFROY, Jean, a reputable French engra- 
ver, born at London, of French parents, in 1771 ; 
studied under J. P. Simon, and executed many ex- 
cellent plates of historical subjects, after Raffa- 
elle, Correggio, Poussin, and the Caracci; also after 
Gerard, Proudhon. Yernet, Isabey, and Chaudet. 
Among his most important plates is the Congress 
of Yienna, after Isabey ; 1819. He was living in 
1831. 

GODETZ, Antoine des, a French designer and 
engraver, who flourished about 1682, and publish- 
ed a large folio volume of plates, engraved after 
his own designs. The frontispiece is etched by 
himself. 

GODETZ. See Desgodetz. 

GODEWYCK, Margaret, a Dutch paintress, 
born at Dort, according to Houbraken, in 1627. 
She studied under Nicholas Maas, and painted 
landscapes and flower-pieces, which were much ad- 
mired. She also had a remarkable talent for exe- 
cuting similar subjects in needle-work. She died 
in 1677. 

GODFREY, G., an English engraver of little 
note, who executed, among other plates, several 
prints for Grose's Antiquities, in 1785. 

GODFREY, Richard, an English engraver, 
who lived about 1760, and executed some plates 
of landscapes and antiquities j also several Eng- 



GODF. 



305 



GOET. 



lish portraits for the Antiquarian Repertory, 
among which are : 

Eihvfird, the Black Prince. Thomas, Duke of Gloucester. 
Margaret, Countess of Salisburj-. Sir Henrj' Unton, British 
Minister in France Simon Forraan, Astrologer. Sir 
Anthony Welclon, Historian. John Evans, Astrologer. 
Abraham Cowley, Poet. Richard, son of Oliver Cromwell. 

GODFROY. FRAN901S. a reputable French en- 
graver, born at Rouen in 174S ; studied under P. 
le Bas, and has engraved several plates of land- 
scapes and other subjects, in the neat stjde of his 
instructor. Among others, are the following : 

A pair of Landscapes, called Le Temple des Amours, 
and La Tour des deux A7nans ; after Lantara. A view 
of the Village of Moutiers Travers ; after Chatelet. Amuse- 
ment of Brabant ; after Tciiiers. ' The Georgian Bath ; 
after L. de la Hi/re. A pastoral Landscape ; after Casa- 
nova. A Landscape, with a Waterfall : after le Prince. A 
Landscape ; after Claude Lorraine. 

GODOXESCHE, Nicolas, a French engraver, 
born at Paris about 1695. lie was employed by 
the Abbe Boursier to engrave the plates for a work 
satirizing the government, entitled Explication 
ahregee des principal es questions qui ont rapport 
aux af aires presentes ; for which offence he was 
sent to the Bastile. in 1731. This publication was 
suppressed bj' order of government, and is now 
ver}' scarce and valuable. In 1727. he p.ublished 
his Medailles clu regne de Louis XV., in folio ; 
and in 1736 he issued a second edition, with fifty- 
four plates. He died in 1761. 

GOEBOUW, or GOBAIT, ANTHO?JY,a Flemish 
painter, born at Antwerp in 1625. After acquir- 
ing the elements of design, he visited Rome, where 
he remained several years, studying the great 
works of art. On returning to Flanders, he 
gained considerable reputation for his subjects of 
history, but excelled chiefly in representing rustic 
scenes' as festivals and other sports, in the style of 
Teniers and Ostade. His pictures of this descrip- 
tion are greatly admired in Flanders, and are 
placed in the choicest collections. He painted 
battle-fields after the conflict, with soldiers des- 
poiling the dead ; also Italian sea-ports and mar- 
ket-places, with numerous figures, in the style of 
Lingelbach. which have considerable merit. He 
died in 1677. 

GOEDART, John, a Dutch designer and natu- 
ralist, born at Middlebourg in 1620. He made 
many excellent designs of insects, after nature ; 
and published several able works on Entomology, 
with many accurate plates, engraved from his de- 
signs. He died in 1668. 

GOERCE, John, a Dutch painter and engraver, 
the son of William Goerce. a Dutch author ; flour- 
ished about 1700. He attained considerable repu- 
tation as a painter, and executed the beautiful pic- 
tures which adorn the Burghers' Hall in the 
Stadthouse at Amsterdam. He engraved a variety 
of frontispieces and other book plates, chiefly after 
his own designs. He died in 1731. 

GOES. Hugo vander, an old Flemish painter, 
born at Bruges about 1405. He studied under 
John van Eyck, from whom he learned the art of 
oil painting. His works are distinguished for ele- 
gance a»d grace in the heads, particularly of the 
females ; and are finished with great neatness of 
penciling. Many of his works are preserved at 
Bruges, particularly a picture of Abigail in the 
presence of David 3 in which the composition and 



expression are very fine, and the becoming modes- 
ty of the women cannot be sufBciently admired. 
At Ghent, in the church of St. James, is a picture 
of the H0I3- Family, in which the head of the 
Virgin is extremeh' beautiful, and the whole work 
is very highly wrought up. At Bruges, in the 
church of St. James, is a Descent from the Cross, 
by this master; and in the monastery of Sion 
near Brussels, are two — the Transfiguration and 
the Resurrection. He died about 1480. 

GOETZ, Gottfried Bernard, a German paint- 
er, and engraver in mezzotinto. born at Kloster 
Welchrod. in Moravia, in 1708. He studied un- 
der Eckstein, on leaving whom he became the 
scholar of John George Bergmuller at Augsburg. 
His pictures are rarely met with out of Germany ; 
but lie has executed a number of mezzotints, 
among which are the following : 

The Poi'trait of the Emperor Charles VII. ; after a pic- 
ture by himself. Bust of Louis XV. St. Amandus ; af- 
ter J. G. Bergmuller. St. Walburg ; do. 

GOIS, Etienxe Pierre Adrien, a French 
sculptor, born at Paris in 1731. This artist, who 
flourished during the period of half a century, was 
a scholar of ^Michael Angelo Slodtz. At the age of 
seventeen, he gained the grand prize of the Royal 
Academ3\ and went to Rome with the king's pen- 
sion. On his return he obtained an atelier in the 
Louvre, and piact'sed the art with good success. 
In 1770 he was chosen an Academician. Among 
his principal works, are a marble statue of the 
Chancellor of the Hospital, executed for the grand 
staircase of the Tuiieries ; a statue of President 
Mole, in a gallery of the Institute ; one of St. 
Vincent, in S. Germain I'Auxerrois; and a num- 
ber of statues and bas-reliefs in S. Philippe du 
Roule. He died in 1823. aged 92 years. 

GOIS, a French sculptor, the son of the preced- 
ing, flourished in the first part of the present cen- 
tury, and died in 1836. His principal works are 
a marble group of the Descent from the Cross, ex- 
hibited in 1819. now in S. Gervais ; a mausoleum 
in honor of the Duke de Berri. for the city of 
Lisle ; and a statue of Joan d'Arc, for the city of 
Orleans. 

GOLDAR, John, an English engraver, who 
lived about 1760, and executed a number of plates 
of humorous subjects, among which is a set of four 
plates entitled .Modern Love, after Inigo Collet. 

GOLDMAX, Nicholas, a German architect, 
born at Breslau, in 1623 • died in 1665. He was 
the author of many valuable works on the art, 
among which are the Elementa Architecturoi Mil- 
it ar is ; and a Description of Solomon's Temple. 

GOLE. Jacob, a Dutch engraver, born at Am- 
sterdam, about 1660. Nagler gives a complete 
list of his plates, some of which are executed with 
the graver, and others in mezzotinto. Among 
them are the following : 

ENGRAVINGS. 

Charles XI., King of Sweden. 1685. The Duchess de la 
Valiere ; the same date. Mahomet IV., Emperor of the 
Turks. Kara Mustapha, Grand Vizier. Abraham Hellen- 
brock. Minister of the Gospel. Nicholas Colvius, Pastor 
of the Walloon Church ; after B. Vaillant. 

MEZZOTINTO PORTRAITS. 

Charles III. King of Spain. Frederick, King of Poland, 
George Auo-ustus, electoral Prince of Brunswick Lune- 
bour^ Charles, Landgrave of Hesse Cassel. Cornelius 
Tromp Admiral of Holland. Balthasar Becker. 



GOLT. 



366 



GOLT. 



SUBJECTS IN MEZZOTINTO. 

Peasants smoking ; after A. Ostade. Dutch Boors re- 
galing ; after A. Broicer. The Tooth-drawer ; after Te- 
nters. The School-master ; after E. Hcmskerk. Ilera- 
clitus ; after Cornelius Dusart 

GOLTZ, or GOLTZIUS. Hubert, a Flemish 
pnintcr and engraver and a learned antiquary, born 
at Venice in 1520. His father was an ai-tist of 
little note, who taught him the elements of design, 
and then placed him in the school of Lambert 
Lombard at Leige. The latter allowed him to 
copy a number of designs which he had made 
from the celebrated remains of antiquity at Rome ; 
and this inspired him with a strong desire to study 
after the originals. He visited Rome, where he 
resided several years, and made many designs from 
the antique; also adding abundantly to his litera- 
ry knowledge, which enabled him to investigate 
many curiosities in coins, medals and other antiqui- 
ties ; and he subsequently wrote several learned 
works upon them, with critical notes, after his re- 
turn to Bruges. Van Mander mentions a set of 
pictui'es by II. Goltz, representing the History of 
the Golden Fleece, painted for the House of Aus- 
tria. In 1563 he published his work, with forty- 
six plates, entitled "' C. Julius C^sar, sive historijB 
Imperatorum Cciesarum Romanorum. ex antiquis 
numismatibus restituta3, liber primus, Iluberto 
Goltzio Herbipolita Vanloniano Auctore et Sculp- 
tore." In 1566, he published snotb.er work with 
two hundred and thirtjs'-four plates and wooden 
cuts, entitled " Fastos Magistuum et Tilnmpho- 
rum Romanorum ab Urbe condita ad Augusti obi- 
tum, ex antiquis Monumcntis restitutes, Hubert- 
us Goltzius Ilerbipohtus Venlonianus dedicavit." 
The wooden cuts in the latter were executed by 
Joseph Gietlinghen, of Courtray. Hubert Goltz 
died at Bruges in 1583. 

Tip GOLTZ, or GOLTZIUS, Henry, a preem- 
_| VlT^inent Dutch engraver, and an excellent 
painter, born at Mulbrecht, in the duchy of Jul- 
iers, in 1558. He acquired the elements of design 
from his father, who was an eminent glass-painter ; 
after which he studied engraving under Theodore 
Cuernhert, and made such rapid progress that he 
soon surpassed his master, who, as well as Philip 
Galle, employed him to engrave several plates. 
He afterwards visited Italy, and studied with great 
assiduity the works of Raffaelle. Michael Angel o, 
and P. da Caravaggio. after whom he engraved 
several plates. On his return to Holland he set- 
tled at llaerlem, and executed a number of plates 
after the principal Dutch and Flemish masters. 
He had the faculty of varying his style according 
to his subject; and he also imitated with admira- 
ble success the styles of Albert Durer, Lucas van 
Leyden, and others, as is evident fi'om his set of 
six large plates, entitled the Master-pieces of Golt- 
zius — not because they are his be,-t works, but for 
their perfect imitation. Having been told that 
some connoisseurs would not allow his works to be 
compared with those of Durer, he was so much 
piqued as to engrave a design of the Circumcision 
in the style of that master, and struck off a single 
proof, which he discolored vrith smoke, to give it 
the appearance of age ; then burned the part 
where the name of the engraver is usually affixed, 
and sent it to the Fair at Frankfort. The success 
was complete ; the connoisseurs were completely 
deceived, until Goltz exhibited the plate. He was 



a perfect master of human anatomy, and drew the 
extremities with the greatest precision. His com- 
positions are often eccentric, and the attitudes and 
movements of his figures strained and unnatural 
— a failing often seen in the imitators of M. Ange- 
lo; but these defects are more than balanced b}^ 
the extraordinary beauty and freedom of his exe- 
cution. His style is sometimes extremel}'" neat 
and highly finished ; at others it is surprisingly 
bold, clear, and masterly ; although there is occa- 
sionally an appearance of affectation, and a desire 
to display the unrestrained energy of his graver. 

At the age of forty -two, Goltz commenced paint- 
ing, and executed a number of fine pictures, the 
first of which was the Crucifixion, Math the Virgin 
Mary and St. John, and is praised by van Mander 
for boldness of design and excellence of coloring. 
Several of his pictures are in the Imperial Gallery 
at Vienna. As an engraver, however, he was far 
more distinguished ; his prints number over five 
hundred, and are very highly esteemed. The fol- 
lowing are the principal — for a complete list see 
Nagler : 

PORTHAITS. 

Henry Goltzius; inscribed, H. Goltzius Sculptor et 
Pictor. Henry IV. King of France. 1592 ; oval ; very 
scarce. Frederick II. King of Denmark. 1578 ; oval. 
William, Prince of Orange, in Armor, with an emblemati- 
cal border ; //. Goltzius, fee. ; fine. Charlotte de Bour- 
bon, Princess of Orange ; fine. Tkeodorus Cornhertius 
ad vivum depictus et aeri incisus, ab H. Goltzius ; very 
scarce. Gerbrand Adriaans Brederods ; with an oval bor- 
der of Laurels ; scarce. Joannes Bollius, Mechlvniensis 
pictor ; in an ornamented border. John Stradan, painter. 
Philip Galle, engraver. Peter Forest, or Forestus, physi- 
cian. 1586. Justus Lipsius ; inscribed, ikTo/'tfeus a?7^^9uis. 
1587. John Zurenus, holding a Book; after M, Ilevi- 
skerk. M. de la Faille ; inscribed, Leges tueri ; very 
highly finished. Madame de la Faille, with a Scull. 1589; 
the companion. Christopher Plantin, the printer Frances 
D'Egmont, with her hand on a Scull ; oval. Kobert Dud- 
ley, Earl of Leicester. 1586 ; oval ; fine and scarce. The 
portrait of S. Sovius, v?ithout his name; inscribed, Bene 
agere et nil timer e. 1583 ; scarce. 

VARIOUS SUBJECTS FEOM HIS OWN DESIGNS. 

Judah and Thamar ; circular ; supposed to be one of his 
earliest plates. The Life and Passion of our Saviour, in 
twelve plates, executed in the style of Albert Durer ; H. 
Goltz, fee. 1597. — There is a set of copies after these, in a 
stiff, formal style. Christ and the Apostles, in fourteen 
plates. 1598. Six large plates, known by the name of his 
Masterpieces. They are executed in the style of each of 
the masters he wished to imitate, and are as follow ; — The 
Annunciation, in the style of Bqfaelle ; the Visitation, in 
imitation of Parmiggiano ; the Annunciation, in the man- 
ner of Bassano ; The Circumcision, in the style of Albert 
Durer ; the Adoration of the Magi, in imitation of Lucas 
of Leyden ; the Holy Family, in the manner of F. Ba- 
roccio. The Nativity ; Jac. Mathan, exc. 1615 ; ex- 
tremely scarce ; the plate is unfinished. The Adoration of 
the Magi; scarce. The Murder of the Innocents; C 
Visscher, exc. ; very scarce ; the plate was not finished. 
The Repose in Egypt ; H. Goltzius Jec. 1589. The Wo 
man of Samaria; H. Goltzius, sc. et exc. 1589. The Wise 
Men's Offering; a curious composition; fine and scarce.— 
The infant Jesus holding a globe, with a glory of Angels ; 
H. Goltz, fee. 1597. The Temptation of St. Anthony. 
A Female Saintj holding a book ; Matham, exc. ; very 
scarce. Some parts of the plate are merely traced. A set 
of fifty-two plates for the Metamorphoses of Ovid ; J. C 
de Visscher, cxcudit. It is supposed that Goltzius Avas 
greatly assisted by his scholars in these plates. A set of 
ten plates of Eight of the Heroes of ancient Ptome, with 
the intro'duction and conclusion ; H. Goltz 1586. — En- 
graved in a free, bold style, with fine backgrounds. Venus 
reclining against a Tree, holding a bunch of Grapes, whilst 
Cupid presents her a handful of Corn ; inscribed, Sine Ce 
rere et Baccho,friget Venus ; a circular plate, of a most 



GOLT. 



367 



GOME. 



finished and beautiful execution. Three plates ; Bacclius, 
Venus, and Ceres ; dedicated to Cornelius van Haerlem. 
Three, of Juno. Minerva, and Venus ; ovals. 1596. Mars 
and Venus. 1585. Three; Juj^iter and Juno, Neptune and 
Amphitrite, and Pluto and Proserpine. Pygmalion and 
his Statue ; inscribed, Sculpsit. — Marita, est. 1593. Jo. 
Jansonius, exc. Mercury and Argus ; a small plate, very 
scarce. Nine, of the Muses ; each with four verses ; dedi- 
cated to John Sadeler. 1592. Three, of the Graces. The 
Three Fates ; in circular plates. The Apollo of Belvidere, 
with the Portrait of the Designer, in half-length ; inscribed, 
Apollo Pythlus. cf'c. The Hercules Commodus ; inscribed, 
Hercules AAEZIKAKOL inscriptus, <^c., with four Lat- 
in verses. The Farnesian Hercules ; inscribed Hercules 
Victor, (f'c; with four Latin verses and two figures. (The 
three last prints, after the famous antique statues, are exe- 
cuted with surprising beauty and energy.) Hercules hold- 
ing his Club ; in the back-ground are represented his La- 
bors. 1589. In this plate Goltzius has overcharged the outline 
of the figure in the most barbarous manner, the parts are 
scattered, and the whole is without effect. The Judgment 
of Midas. 1590. The seven Cardinal Virtues: Faith, 
Hope, Charity, Justice, Prudence, Fortitude, and Temper- 
ance ; in seven plates. Three fine plates, of Diligence, 
Patience, and Wisdom; personified by female figures. — 
Labor and Diligence ; represented by a male and a female 
figure. 15S0 ; scarce. An emblematical subject of Chris- 
tian Prudence, in a female figure, richly clothed ; inscribed, 
Astu serpentes, et simplicitate colurtibas ; small circular, 
highly finished and scarce. The Blind leading the Blind ; 
circular ; do. The Chariot of War ; an immense compo- 
sition ; Henricus Goltzius, fecit. Joan. Galle, exc. ; very 
scarce. The Boy and Dog. The Boy is supposed to be 
the portrait of the son of Theodore Frisius, a painter of 
Venice, to whom he dedicated the print. It is considered I 
one of his finest plates. Corydon and Silvia ; a pastoral ; 
fine and scarce. A mountainous Landscape, with the sto- 
ry of Daedalus and Icarus ; an etching. 

WOODEN CUTS AFTER HIS OWN DESIGNS. 

A Landscape, with a Cottage, and a Woman drawing 
Water from a Well. A Landscape on the Sea-cost, with a 
large Bock, and a Hermit kneeling. A pastoral Land- 
scape, with a Shepherd and Shepherdess. A Warrior, with 
a Helmet and Spear ; half-length, Hercules slaying Cau- 
cus. A set of seven, of the Heathen Divinities ; fine. 

SUBJECTS AFTER VARIOUS ITALIAN MASTERS. 

St, Joachim ; after Rafaelle. The Triumph of Gala- 
tea ; do. Eight plates of the Heathen Divinities; in 
niches ; after the paintings by Polidoro da Cai-avaggio, 
in the Quirinal. Two Sibyls ; do. The Last Supper ; af- 
ter Paolo Veronese. 1585. The Marriage at Cana ; after 
G. Salviati; in two sheets. St. Jerome in the Desert, in 
meditation; after Palma ; fine. 

SUBJECTS AFTER VARIOUS FLEMISH AND GERMAN 
MASTERS. 

The Fall of Adam and Eve ; after B. Spranger. 1585. 

The Dead Christ, supjiorted by an Angel ; do. The Ban- ! 

quet of the Gods on the Marriage of' Cupid and Psyche ; : 

in three sheets ; do. The Venetian Ball ; after Theodore i 

Bernard ; in two sheets. The Dragon devouring the Com- • 

panionsof Cadmus; after Cornelius van Haerlem. 1588. | 

The Dead Christ, with the Four Evangelists at the Tomb ; ; 

after A. Blocklandt. | 

GOLTZ, JuLTDS, a Dutch engraver, proba- I 
bly a relative of the preceding, and flourished about 
1580. He executed a number of plates in a taste- '■ 
less style, and incorrectly drawn, which are some- ' 
what in the manner of the Galles. The following : 
are the principal : 

The good and bad Shejiherd ; a set of middle-sized plates ; '\ 
after Martin de Vos. Christ appearing to Magdalene ; 
after Fed. Zucchero. Part of the plates for a book, en- 
titled Habitus Variorum Orbis Gentium ; by Joan. Juc. 
Boissard. 1581. | 

GOMEZ. Juan, a reputable Spanish historical 
painter, who flourished at Madrid about 1593. in 
which year he was employed by Philip II. He 
painted several subjects from the Life of St. Je- 



rome ; also the large picture of the Martyrdom 
of St. Ursula and her companions, which was de- 
signed and traced by Pellegrino Tibaldi, to supply 
the place of the same subject, by L. Cambiasi, 
which had been removed to the old church of the 
Escurial. He restored the Annunciation and the 
St. Jerome penitent, b}' F. Zucchero, which Philip 
had rejected and ordered to be retouched. He 
died in 1597. 

GOMEZ, Vicente Salvador, a Spanish paint- 
er, born at Valencia about 1645. He studied un- 
der Jacinto Jeronimo d' Espinosa, and early mani- 
fested such great abilities that before the age of 
fifteen he painted several large fresco works, from 
the Life of St. Ignatius. v»^hich were deemed sur- 
prising performances. He also painted landscapes, 
animals, and architectural views with equal suc- 
cess. In 1670 he filled the office of Director of 
the Academj' of Yalentian artists, who met in the 
convent of St. Dominic in that city. He died 
about 1698. 

GOMEZ. Sebastiano. called El Mulato de 
MuRiLLO. a mulatto servant of the eminent Span- 
ish painter Murillo. He had a natural taste for 
the art, and from observing the admirable produc- 
tions of his master, he was induced to attempt, 
during his leisure hours, to acquire a knowledge 
of painting. In this he succeeded very well, and 
after the death of Murillo, in 1685, he obtained 
considerable emploj-ment at Seville. There are a 
number of his works in that city, which possess 
considerable merit, among which are the Flagella- 
tion, at the Capuchins ; and the Virgin and In- 
fant, in the convent Mercenarios Descalvos. 

GOMEZ; Felipe de Valencia, a Spanish paint- 
er, born at Granada in 1634. He studied under 
Cieza, and imitated with success the style of Alon- 
so Cano. There are many of his works in the 
churches and public edifices in Granada, among 
which is a fine picture of Christ in the VTinding 
Sheet; and a grand painting renresenting the 
Moors delivering the ke3^s of Seville to king Fer- 
dinand HI. ; both of which are in the church des 
Cannes, and the latter is highl}" esteemed for its 
excellent composition and expression. Gomez 
died in 1694. 

GONDOUIN, jAcauES, an eminent French ar- 
chitect, born at St. Ouen on the Seine, in 1737. — 
His father was also an architect, and designed and 
completed the beautiful gardens of Choiseul le Roi. 
After studying under J. H, Blondel. he gained the 
second prize in the Academy of Architecture, and, 
by the additional consideration of his father's ser- 
vices, obtained a pension to enable him to visit 
Rome, where he remained four 3'ears. On return- 
ing to Paris, he acquired the protection of La Mar- 
tiniere, first surgeon to the king, by whose influ- 
ence he was commissioned to erect the immense 
buildings of the School of Medicine. He also erect- 
ed several other important public and private 
works, was chosen a member of the Academy of 
Architecture, and subsequently revisited Rome, 
where he resided several years. He formed the 
project of restoring the Villa Adriana at Ti- 
voli. and made many drawings for that pur- 
pose; but on returning to France, just previous 
to the Revolution, he left them all with his friend 
Piranesi. During the violent commotions of the 
times, he remained at his country mansion, at 



GONN. 



3G8 



GOOL. 



Vives Eaux, near Melim, ^Thicli he embellished 
with beautiful gardens. In 1795, he was chosen a 
member of the Institute, and appointed by the 
Minister of the Interior as a member of the Ar- 
chitectural Council. The government confided to 
him the erection of several important works, 
among which was the triumphal column in the 
Place Vendome, which he executed after the Tra- 
jan column at Home. At the age of sevent}-- 
seven he married a young lady of seventeen, the 
daughter of M. Perin, a member of the old Acad- 
emy of Painting. The union is said to have been 
happy, but he lost his wife in a short time, which 
rendered him inconsolable ; and he died in 1818, 
aged 81 years. 

GONNELLI, Giovanni, an Italian sculptor, 
born near Volterra, in Tuscany, about 1632. He 
studied under Pietro Tacca, and* made rapid pro- 
gress ; but at the age of twenty he lost the use of 
his eyes. Notwithstanding this misfortune, he es- 
sayed to model figures in clay, and by great perse- 
verance succeeded in attaining so much skill that 
the Abbe de Fontenay, following a modern author, 
says that his works were as correct as- if he had 
been possessed of vision. He also modeled por- 
traits, which were very good resemblances ; among 
them were those of Cosmo I.. Grand Duke of Tus- 
cany ; and Pope Urban VIII. He died at Rome 
about 1G64. 

GONZALES. See CoauES. 

GONZALES, Bartolome, born at Valladolid 
in 1564, but visited Madrid while young, and en- 
tered the school of Patricio Caxes. He painted 
histor}'- and portraits, and was employed b}'' Philip 
III. to paint tlie portraits of several branches of 
the Austrian family, for the palace of the Prado. 
When Castello died, Gonzales was appointed paint- 
er to the king. He was much patronized, and 
many of his works may be seen at the Escurial, 
Valladolid, and Burgos. Among his principal his- 
torical works are the angles in the church of the 
Augustines at Madrid; and a picture em.blemati- 
cal of the Arts, in the Royal Gallery. He died at 
Madrid in 1627. 

GONZALEZ, DE Vega, Don Diego, born at 
Madrid in 1622 ; studied under Francisco Ricci, and 
followed his style. Palomino mentions a number 
of his works in the public edifices at Madrid, and 
some of his easel pictures in the private collections. 
which he praises for their elevated design and fine 
coloring. In the convent of Religiosas Mercena- 
rias are several pictures by him from the Life of 
the Virgin ; and in the cloister of the Franciscans 
are a number of pictures from the Life and Suffer- 
ings of Christ. He died at Madrid in 1697. 

GONZALEZ, Don Pedro Ruiz, born at Madrid 
in 1633, and studied under Antonio Escalante, after 
which he adopted the style of Don Juan Careiln-o. 
Palomino mentions several works by him in the 
churches of Madrid ; among them are Christ be- 
fore Pilate, and the Entombment, which he com- 
pares with the works of P. Veronese and Titian. 
In S. Justo, is his admirable picture of the Nativ- 
ity ; and in the Lado de la Epistola, the Death of 
St. Joseph. He died at Madrid in 1709. 

GONZALEZ, Juan Giacchinetti, called il 
Borgognone dalle Teste, from his admirable 
portraits, was born at Madrid in 1630. His in- 



structor is not mentioned, but his stjde was prob- 
ably formed from the works of Titian. About 
1665 he visited Italy, and painted many portraits 
at Brescia and Bergamo. He died at Bergamo in 
1696. 

GOOL, John van, a Dutch painter, born at the 
Hague in 1685. He studied under Terwesten and 
Simon vander Does, and painted landscapes, with 
cattle, which are attractive in design and coloring, 
and somewhat in the style of Paul Potter, but 
greatly inferior to that master. In 1751 and 1752 
he published two volumes, with portraits, of the 
Lives of the Dutch Painters, as a supplement to 
Houbraken's work. He died at the Hague, in 
1763. 

GORGASUS. See Damophilus. 

GORI. Angiolo. a distinguished painter of fruit 
and flower pieces, who flourished at Florence in 
1658. He painted such subjects with a skill that 
almost rivalled nature. 

GORI, Lamberto, a Florentine artist, was born 
in 1731. and died in 1801. He was celebrated for 
his works in scagliola. See Del Conte. 

GORLiEUS, Abraham, an eminent Flemisli 
medallist, born at Antwerp in 1549. He executed 
many medals and devices, which possess great 
merit. He made a large collection of ancient med- 
als, gems, seals, rings, &c., which was esteemed of 
great value, and was purchased by the Prince of 
Wales after his death, which occurred in 1609. 

GOTI, Maurelio, a painter of Ferrara, who 
studied under Giuseppe Facchinetti, and whose 
style he imitated very closel}^ and successfully. 

GOTTI, ViNCENzio, a Bolognese painter, who 
studied under Denis Calvart at the same time with 
Guido. At the age of twenty he accompanied 
Guido to Rome, where he painted several works, 
after which he was invited to Naples, and practised 
the art with great success during the rest of his 
life. He painted with surprising rapidit}^, as is 
evident from the number of his works ; Orlandi 
says there were two hundred and eighteen in the 
churches and public edifices of Naples and the 
State. He died in 1636. 

GOUAZ, Yves le, a reputable French engrav- 
er, born at Brest m 1742. He early went to Paris, 
where he studied first under J. Ahamet, and also 
under Nicolas Ozanne. There are a number of 
good plates by him, representing sea-ports and 
other subjects, among which are the following: 

Three Views of the Ports of Toulon, Brest, and Rouen ; 
Nic. Ozanne, del. Yves le Gouaz,fec. The Port of An- 
tibes ; do. A View of the Port and Gulf of Calvi, in Cor- 
sica ; afUr La Croix. A View of the Port of St. Law- 
rence ; do. A Sea-storm ; after Bon. Peters. Two Views 
of the Environs of Caudebec, in Normandy ; after Pliilip 
Hackert. 

GOUDA, Cornelius van, a Dutch painter, born 
at Gouda in 1510 ; died in 1550. He studied un- 
der Martin van Hemskerk, and was one of his 
ablest pupils. He followed the style of his in- 
structor, and became a very reputable artist. 

GOUDT, Count Henry de, a distinguished 
patron of art, and an amateur engraver, born at 
Utrecht, in Holland, in 1585. He had an early 
inclination for art, and applied himself with assi- 
duity to become proficient in drawing ; after which 
he went to Rome, where he entered the Academy 



GOUJ. 



369 



GOUK 



of St. Luke, and designed after the living model 
as well as the antique. He was a liberal patron 
of ^Isheimer, and purchased several of his princi- 
pal paintings. v*iiich he engraved in a peculiar style, 
distinguished for its extraordinary effect, correct 
outlines, great precision, and fine expression in 
the heads. Thej are as follow: Ceres drinking 
from a Pitcher. The Flight into Egypt. The An- 
gel with Tobit, two plates, varied. Baucis and 
Philemon entertaining Jupiter and Mercury. Au- 
rora, representing the Dawn of Day. The Be- 
heading of St. John in Prison. 

GOUJON, Jean, an eminent French sculptor 
and architect, called the Correggio of Sculpture, 
and the Restorer of Sculpture in France, was born 
at Paris in the early part of the 16th centurj'-. 
Little is known, unfortunately, of the events of 
his life. He studied under a sculptor of Paris, 
and no doubt visited Italy, as his works evince 
great attention to the purity of the antique. He 
was employed by Henry II. to execute a number 
of works for the chateau of Anet. rendered fa- 
mous as the residence of Diana of Poitiers. The 
work vidiich gained him the most reputation, was 
the Fountain of the Innocents, executed for the Rue 
St. Denis in 1550. It is a master-piece of sculp- 
ture, surrounded by figures representing different 
ages and sexes, executed in a noble yet simple 
style. In the Mttsee des Monuments francais^ are 
some of his productions, as a group in white marble, 
of Diana and her dogs, and several bas-reliefs. 
His style was simple, yet noble and majestic ; and 
if not always correct, he was invariably graceful. 
As an architect, he erected the palace of Carna- 
valer, and several other works. D'Argenville says 
that about 1550, Goujon undertook, in concert with 
J. Martin, to translate Vitruvius, for which he made 
many designs. He was killed, on account of his 
Protestant faith, at the massacre of St. Bartholo- 
mew's da}^, in 1572, while at work on a scaffold 
on the decorations of the Louvre. 

GOULET. Nicolas, a French architect, born 
at Paris in 1745 ; died in 1820. He is principal- 
ly noted for his writings on the art, which possess 
considerable merit, and show a good acquaintance 
with its theor}?". Among them are '• Recueil d'Ar- 
chitecture Civile, contenant les Plans, Coupes, et 
Elevation des Chateaux. Maisons de Campagne 
situes aux environs de Paris, 2 vols., fol., 1806, 
1807." illustrated with plates. 

GOUPY, Joseph, a French painter and engrav- 
er, born at Nevers in 1729 ; died at London in 
1763. He visited England while j^oung, where 
he resided the remainder of his life, and painted 
landscapes in water-colors, in a very spirited and 
intelligent style. Some of them are in the style 
of Salvator Rosa, and possess great merit. As an 
engraver, he etched several plates in a spirited and 
masterly style, some of which are from his own 
designs. Among them are the following : 

Mutius Scpevola burning his hand before Porsenna ;from 
his own design. Zeuxis painting Helen ; after Solimena. 
Diana hunting with her Nymphs ; q/ife?" Rubens. St. 
Philip baptizing the Eunuch ; after Salvator Rosa. St. 
John preaching in the Wilderness ; do. The Vocation ^f 
St. Andrew to the Apostleship, in a Landscape ; after P. 
da Cortona. A grand Landscape, with the story of Pyra- 
mus and Thisbe ; after N. Poussin. A View of Cas- 
tel Gandolfo, and of the Campagna near Rome ; after Bo- 
lognese. A set of eight Landscapes ; after Sal. Rosa, 

GOURAND. See Goyrand. 



GOURMONT, a French engraver, who probably 
worked chiefly for the ornamenting of books. — 
Strutt mentions a portrait by him of Charles, Duke 
of Bourbon. 

GOUSBLOOM, a Dutch engraver of little note, 
who executed, among other plates, a portrait of 
Leonard vander Goes. 

GOUWEN, G., VANDER, a Dutch engraver, who 
lived at Amsterdam about 1720. He worked 
chiefly for the booksellers, and engraved, among 
other plates, a set of prints for the Bible pliblished 
at Amsterdam in 1720 ; after the designs of Pi- 
cart and others. 

GOYAERTS, Johi-t Baptist, a painter of Ant- 
werp, who represented figures, fruit, and flowers. 
At the Musee Napoleon, is a fine picture by him, 
representing the Assembly of Archers. He died 
in 1746. 

GOYERT, a Dutch painter of landscapes with 
humorous figures, who flourished at Amsterdam 
in the first half of the 17th century. 

GOYERTZ, Theodore, a portrait painter of 
Utrecht, who lived about 1650. and was the in- 
structor of H. Yerschuring and T. Camphuysen. 

GOYEN, John van, a Dutch painter, born at 
Leyden, in 1596. He early manifested an inclina- 
tion for art, which was encouraged by his father ; 
and he studied successively under Schilperoot. a 
landscape painter; Isaac Nicolai, and Esais Yan- 
dervelde of Haerlem. Aided by all these advan- 
tages, he made surprising progress, and was soon 
considered a distinguished artist. His works are 
principally landscapes, views on the rivers, with 
boats full of figures Yerj neatly drawn, and usual- 
ly a village in the distance. His pencil is exceed- 
ingly light and spirited, and his facility for exe- 
cution was very extraordinary ; but he paid little 
attention to depth and richness of coloring. His 
pictures and drawings are very numerous, some of 
which are carefully finished, and are much esteem. ed; 
but others are executed in a hasty, negligent man- 
ner, and deserve little credit. There are a few etch- 
ings by van Goyen, executed in a spirited and 
masterly style. He died at the Hague in 1656. 

GOYRAND, Claude, a French engraver, born 
at Sens about 1634. He resided some time at 
Rome, and executed a number of spirited etchings 
of landscapes, after Callot, della Bella, and others, 
among which are the following : 

A set of twenty Landscapes, &c. ; after Callot ; pub- 
lished by Israel, dedicated to M. de Crenan. A set of four 
Views ; the Castle of Bissetre, the Invalids, the Ruins of 
i an old Tower, and the Fountain in the Garden of Tivoli, 
Four Landscapes ; after delta Bella. Eight Views in Pa- 
I ris and the environs "; do. ; Goyrand fecit ; Israel e.vc. 
' 1645. The Chapel of S. Maria Maggiore at Rome ; do. 
I A small Head, with an ornamental border; inscribed, CZ. 
I Goyrand Galls, sculpsit Romcd ; worked with the graver. 
! GOZZOLL Benozzo, a Florentine painter, born 
I in 1400 ; studied under Fra. Gio. da Fiesole, but 
took Masaccio as his model, whom he surpassed in 
I grandeur of architecture, beauty of landscape, and 
I tasteful arrangement of his compositions. In the 
I Riccardi palace at Florence, is a chapel in good 
! preservation, in which are three pictures by him, 
I of a Glory, a Nativity, and an Epiphany. He 
I there painted with a profusion of gold and em- 
I broidery, unexampled, perhaps, in fresco. He re- 
I sided a long time at Pisa, and executed a number 



GRAA. 



370 



GRAC. 



of admirable works, which are superior to those in 
Florence, and are not so much loaded with gilding. 
Vasari highl}^ praises his portrait of St. Thomas 
d'Aquinas ; but he especial]}^ commends his sub- 
jects of sacred history, in a wing of the Campo 
Santo, "'a most pi-odigious work, sufficient to ap- 
pal a legion of painters," which he executed in two 
years. Lanzi says that this work ranks him next 
to Masaccio ; and he highly commends it for its 
grandeur of composition, variety and truthfulness 
in the forms, fine expression in the heads, and 
clearness and brillianc_7 of coloring. Adjacent to 
this great work, is the monument erected by the 
city, as a grateful tribute to his talents. He died 
in 1478. 

GRAAF, John, a German painter, born at Vien- 
na in 1680. He studied under van Alen, and 
painted landscapes, fairs and market-places, hor- 
ses, and other animals. His pictures are well de- 
signed and composed, and touched in a spirited 
style. He died at Vienna in 1734. 

GRAAF, or GRAVE, Joshua, a painter of 
landscapes, views of cities, fortifications and en- 
campments. He was an officer in the service of 
Holland, and lived about 1690. 

GRAAF, or GRAVE, Timothy de, a Dutch 
landscape painter, the instructor of Jacob Appel 
at Amsterdam. Little is known respecting him ; 
but in the Catalogues of Hoet and Terwcsten, many 
of his pictures are mentioned, principallj'- landscapes 
and views in the vicinity of Amsterdam. 

GRAAT, Bernard, or Barent, a Dutch paint- 
er, born at Amsterdam in 1628. Whil e very young 
he was placed under the instruction of his uncle, 
a reputable painter of landscapes and animals. He 
preferred the style of Bamboccio, whose works 
he studied with such assiduity and success, that 
his pictures occasionally passed for those of that 
master. He also spent many hours in the fields, 
observing the different effects of light on sur- 
rounding objects, and produced many fine land- 
scapes, with figures and animals, touched in a very 
spirited style. He designed everything with great 
care and exactness ; his pictures are faithfal imita- 
tions of nature, usually with a subdued tone of 
coloring, but in perfect harmony with his subject. 
Graat also painted cabinet pictures of interiors and 
conversations, of a very pleasing character ; the 
figures are well grouped, and chosen from the 
higher classes of society, unlike most Dutch 
painters. He also painted subjects of history, in 
which he was very successful, and his talents in 
this branch are highly commended by the Dutch 
biographers. Being unable to visit Italy, he pro- 
cured many excellent drawings by the best Italian 
masters, which he studied with assiduity ; and all 
his subsequent productions evince greater refine- 
ment of taste. His portraits were highl}'- esteemed, 
and he established a school for studying the living 
model, which was frequented by his co tempora- 
ries. Among his best historical w^orks, is a fine 
picture in the Council Chamber at Amsterdam, of 
Time discovering Truth ; and another of David 
and Bathsheba. He died at Amsterdam in 1709. 

GRAAW, Henry, an eminent Dutch historical 
painter, born at Hoorn, in North Holland, in 1627. 
He studied under Peter Grebber, and aftei wards 
in the school of Jacob van Campen, where he re- 
mained eight years, and made such improvement, 



that he was employed by Prince Maurice of Na.s- 
sau to paint four frescos in the Cupola of his Pal- 
ace of the Wood, which established his reputation 
as one of the best artists of the time. Filled with 
the desire of visiting Italy, he went to Rome in 
1648, and studied with great assiduity for three 
years, the antiques and the works of the best mas- 
ters. He succeeded so admirably, that Niccolo 
Poussin declared he never saw a Fleming of whom 
he had higher expectations, nor one of more pro- 
mising talents. On his return to Holland, he 
lived alternately at Amsterdam and Utrecht, and 
received many commissions, by which he gained 
both fame and fortune. His works evince a cor- 
rect design, entirely in the Italian taste ; also a 
grand composition and excellent coloring. Among 
his principal works were the pictures painted for 
the Bronkhorst family, among which were the 
Education of Bacchus, and the Triumph of Julius 
Caesar. Graaw died, according to Balkema, in 
1684. 

GRACE, Mrs., a reputable English paintress ; 
was the daughter of a shoemaker, and although 
deprived of the advantages of regular instruction, 
attained such excellence in portrait painting, as to 
support her husband, and, according to Pi] king- 
ton, to realize ,$100,000. She frequently exhibit- 
ed Avith the Society of Arts, and in 1767, produced 
a historical work, representing Antigonus, Seleu- 
cus, and Queen Stratonice. She died in 1786. 

GRADO, Francesco de, a Neapolitan engraver, 
who flourished about 1690. His plates are exe- 
cuted with the graver, in a stiff, tasteless style. 
Among others, he engraved the portraits of illus- 
trious persons, published at Naples in 1693 ; and 
also part of those to illustrate Bellori's Lives of 
tTie Painters. 

GRAF, Anthony, an eminent Swiss portrait 
painter, born at Winterthur in 1736. He studied 
under John Ulric Schellenberg, and made rapid 
advances ; after which he went to Augsburg, and 
practised the art there for eight years, with good 
reputation. In 1766 he w^as invited to Dresden, 
and appointed court painter. He settled perma- 
nently in that city, but occasionally visited Leip- 
sic, and Berlin, where he married the daughter of 
his compatriot, Prof Sulzer. Graf had for many 
years the reputation of the first portrait painter 
in Germany, and during his long and laborious 
career, he painted a large number of eminent in- 
dividuals, whose portraits are particularly distin- 
guished for their characteristic expression. Bause, 
Berger, Geyser, and other German engravers, have 
executed about 120 plates after the portraits of 
Graf. The most important of them are those 
engraved by Bause from 1768 to 1794, represent- 
ing the most distinguished savans, cotemporary 
with Graf. He died at Dresden in 1813. 

GRxA.F, Charles Anthony, a reputable Ger- 
man landscape painter, born at Dresden in 1774. 
He was the second son of Anthony G., who in- 
structed him in the art ; but as his genius did not 
incline to portrait painting, he was placed in the 
school of Zingg, at Dresden, where he made good 
progress. In 1801 he went on a tour through 
Switzerland, designing the grand mountainous 
scenery of that country, and then visited Milan, 
Rome, and Naples. About 1807 he returned to 
Dresden with a large number of valuable drawings 



GRAF. 



371 



GRAN. 



and sketches. He occasionally made excursions 
among the Hartz mountains, and on the banks of 
the Rhine, hy which he gained great improvement, 
being conversant with the ever- varying appear- 
ances of nature. He practised the art with suc- 
cess for a number of )^ears, and produced many 
good works, characterised by grand composition 
and correctness of design. He died in 1832. 

GRAF, or GRAAFF, Ursus, an old German 
engraver, probably born at Basle about 1470. His 
style resembles Albert Durer, and his wooden cuts 
are esteemed equal to that master, for delicacy of 
execution, although inferior to him in composition, 
design, and chiaro-scuro. He executed many vig- 
nettes and ornaments for the libraries of Basle and 
Strasburg. There are a set of twenty wooden cuts 
attributed to Graf, representing subjects from the 
Passion of Christ, which decorate the work of Phi- 
lesius Ringmann, published at Strasburg about 
1505. 

GRAFFIOO, Oamillo, a painter of Friuli, who 
flourished about 1588. His plates are executed 
entirely with the graver, in a style resembling that 
of Cornelius Cort, tliough greatly inferior. Among 
other plates, he engraved a Holy Family, after 
Bernardino PassarL 

GRAM]MATICA, Antiveduto, an Italian paint- 
er, born near Rome, according to Baglioni, in 1571. 
He studied under Domenico Perugino, and became 
distinguished both in history and portrait. He 
attained such eminence as to be elected president 
of the academy of St. Luke, but was dismissed in 
disgrace for attempting to sell a picture by Raifaelle 
belonging to the academy, and substituting a copy 
of his own in its place. He died of chagrin, not 
long after, in 1626. There are several fine works 
by him in the Roman churches, among which is a 
picture of the Virgin and Infant in the clouds, in 
S. Maria in Trastevere ; and the Adoration of the 
Magi, in S. Giacomo degli Incurabili. 

GRAMMORSEO, PiETRo, a Piedmontese paint- 
er of considerable merit, who painted at Casale 
and other places in the first part of the 16th cen- 
invj. .There is a fine altar-piece by him in the 
church of the Conventuali at Casale. dated 1523. 

GRAN. Daniel, a German painter, born at Vi- 
enna in 1G94. He executed a number of works 
for the public edifices at Vienna, which gained 
him considerable reputation. He died at Pol ten 
in 1757. 

GRx\NAGCI, Francesco, a reputable Floren- 
tine painter, born in 1477. He studied under 
Ghirlandaio, at the same time with Buonarotti, 
and formed an intimate friendship for the latter^ 
to whom he was indebted for much of his merit. 
He was the companion of his studies in the gar- 
den of Lorenzo the jNIagnificent, and by studying 
the cartoons of Michael Angelo, he elevated his 
own stjde, and approached the modern manner. 
His works are by no means numerous, as he had 
a sufiicient income aside from his profession. — 
Among his principal pictures are those of Sts. Za- 
nobi and Francesco, near the Virgin under a lofty 
canopy ; and the Assumption, in S. Pietro Mag- 
giore, in which the figure of St. Thomas is entire- 
ly in the style of Michael xin2:eIo. He died in 
1544. 

GRAND, Le. a Parisian engraver, who lived 
about 1750. His works are chiefly vignettes and 



other ornaments ; besides which there are severa' 
large plates of ruins, in a neat style; and a set of 
plates for Ovid's JMetamorphoses. published at 
Paris. 

or /fTr GRANDHOMME. or GRANT- 
\hl HOMME, James, a German en- 
graver, a native of Heidelberg, flourished about 
1600. He probably studied under T. de Bry. His 
best prints are his portraits, which have consider- 
able merit. There are also a number of subjects 
after various masters, executed entirely with the 
graver, in a neat, but formal style. The follow- 
ing are the principal : 

The Portraits of Lbe Doctors and Reformers of the 
Church ; or, as they are styled, the Heresiarch ; after a 
fainter whose initials are J. M. F. The infant Dauphin 
strangling a Serpent. 1601. Adam and Eve. The Por- 
trait of Henry Smetius. The Death of Adonis. Venus 
and Adonis. The Murder of the Innocents. The Apos- 
tles, twelve small prints ; after his own designs. The 
Rape of Helen ; copied from the print by Marc' Antonio^ 
after Raffaelle. 

GRANDI, Ercole, called Ercole da Fer- 
RARA, born at Ferrara in 1491. He studied un- 
der Lorenzo Costa, whom he surpassed, and gained 
a distinction equal to that of any artist of his time, 
as is evident from his pictures from the Life of St. 
Peter in the Garganelli chapel at St. Peter's in 
Bologna, in which he spared neither time nor ex- 
pense to produce a perfect work, employing seven 
years upon them, and five more in retouching them 
when dry. These paintings were pronounced by 
Albano, as equal to any by Mantegna, or P. Pe- 
rugino, or any other artist who professed the mo- 
dern antique style ; nor perhaps did any boast a 
touch so soft, harmonious and refined. Three of 
these pictures were preserved when the chapel 
was taken down, and placed in the Tanara palace ; 
the}^ were afterwards taken to England by Edward 
Solly. There is a fine altar-piece by Ercole in S. 
Paolo at Ferrara. Many of his pictures are at- 
tributed to Mantegna and others, so that he has 
not enjoyed the celebrity his talents deserved. 
He died in 1531. 

GRANDVILLE, J. J., an ingenious French de- 
signer, was born at Nancy about 1804, and was 
instructed by his father, a miniature painter. At 
the age of 17, he went to Paris, where he frequent- 
ed for some time the ateliers of Mansion and Hip- 
polyte Le Comte, both miniature painters. He 
soon, however, found this branch of the art ill 
suited to his genius, and therefore relinquished 
the pencil for the graver. His first essays were 
Les Tribulations de la Petite Propriety ; Les 
Plaisirs de tout Age; La Sibylle des Salo?is; 
&c. — works exhibiting much refinement and deli- 
cacy, and gaining considerable popularity for the 
artist. His next publication was Les Metamor- 
phoses du Jour, containing sixty scenes, where he 
caricatured the vices of the age in a most masterly 
and effective manner. From this time, the designs 
of Grandville were much sought after by the ed- 
itors and conductors of the periodicals ; and he 
consequently became a distinguished contributor 
to La Silhouette, L^ Artiste, La Caricature, and 
Le Charivari. From journals he proceeded to 
books, and executed a vast number of designs to 
illustrate the Fables of Fontaine, Marmontel's Flo- 
rien, Robinson Crusoe, and many other works. 
He subsequentlj'- published a number of illustrated 
works, among which were La Flore Humane, and 



GRAN. 



372 



GRAS. 



Fleurs Animees ; which are full of eccentricity, j 
but highl)'- poetical. He died in 1847. j 

GRANELLO, Nicolosio, an able fresco painter 
of the Genoese school, who studied under Ottavio 
Semini, and flourished about 1650. There was 
another Granello, whom Ratti conjectures was a 
son of l^icolosio G.. who accompanied Gio. Bat- 
tista Oastelli to Madrid and assisted him in his 
works in the Escurial. He says that Castelli mar- 
ried the widow of Nicolosio, who probably brought 
with her this son of her first marriage. 

GRANERI, N., a Piedmontese painter, who 
flourished at Turin in 1770. He studied under 
Domenico Olivieri, whose style he subsequently 
imitated. He painted cabinet pictures in the 
Flemish style, and his subjects were scenes from 
low-life, as market scenes, charlatans, drawers of 
teeth, villagers quarrelling, and a variety of inci- 
dents furnished by a busy assemblage of the vul- 
gar, which he rendered with great humor, a free 
pencil, and a lucid clearness of tint, equalling 
that of the Flemings. 

GRANET, FRAN901S Maria, a French paint- 
er of interiors, born at Aix, in Provence, in 1774, 
and was living in 1833. He studied first under 
Constantine. a painter of Aix, and afterwards at 
Paris in the school of David. He exhibited three 
interiors of chapels in 1800, and continued to exhi- 
bit till 1829. His style is very singular, and cha- 
racterized by a surprising eifect ; it may be termed 
Dioramic painting in small. In the Royal Gal- 
lery at London, is an admirable specimen of his 
abilities, which cost about ^4000. 

GRANGES, D. des, an obscure engraver men- 
tioned by Strutt. He executed several frontis- 
pieces and book plates of little merit, among which 
is the title to a book entitled Bethel, or a Form for 
Families. 1634. 

GRANO, DEL. See Gandini. 

GRANVILLE, an English engraver, who lived 
about 1760, and executed several landscapes, some 
of which are after the pictures of Thomas Smith 
of Derby. 

GRAPIGLIA, GiROLAMO and Giovanni, two 
Venetian architects, flourished in the first part of 
the 17th century. Milizia mentions as by the for- 
mer, the Sepulchre of the Mocenighi, and also that 
of Loredono, in the church of Sts. Giovanni and 
Paolo. Among the works of Gio. Grapiglia, is the 
church of S. Pietro di Oastello, at Venice, com- 
menced in 1621. 

GRASDORP, William, a Dutch painter of 
fruit and flowers, studied under Ernest Stuven in 
1710, and settled at Amsterdam, His works are 
very highly esteemed, and are placed in the best 
collections of Holland. 

GRASS, Charles, a German painter of land- 
scapes, born about 1781. It is not known by 
whom he was instructed, but there are man}^ of 
his works in the German collections, which possess 
considerable merit. He visited Italy, and after- 
wards Sicily, where he made many drawings of 
the scenery. In 1815 he published at Stuttgard 
his work in two volumes, descriptive of that is- 
land, and embellished with engravings after his 
drawings. He died at Rome in 1822. 

GRASSI, Gio. Battista, a painter of TJdine, 
flourished about 1568. Vasari says he studied 



under Pordenone ; but Lanzi thinks it more pro- 
bable that he was educated under Titian, as his 
style closely resembles that master. His princi- 
pal works are in the cathedral at Cremona, repre- 
senting Elijah taken up to Heaven, the Vision of 
Ezekiel, and the Annunciation. 

GRASSI, TARauiNio, a Piedmontese painter, 
who flourished at Turin in 1715. He was an ex- 
cellent artist, and was much employed b}'^ the 
churches in Turin, in which he sometimes painted 
in competition with Antonio Mari. Lanzi says ho 
is an artist well known at Turin, and seems to 
have founded his stj-le on that of Cignani, and 
the Bolognese artists of that age. He had a son 
named Gio. Battista Tarquinio G., who was also 
a good artist. 

GRASSI, Nicola, a Venetian paintress, who 
studied under Niccol6 Cassano of Genoa, and flour- 
ished in the first half of the 18th century. Lanzi 
says she painted portraits in a style of excellence, 
and that she had powers of invention equal to the 
execution of larger works. She painted in the 
ceiling of the church of S. Valentino at Urbino, 
the Assumption of the Virgin, and a fine picture 
for the large altar. 

GRATELLI. See Filippi. 

GRATELOIJP, Jean Baptiste, a French sa- 
vant^ who practised engraving for amusement. He 
was born at Dax in 1735, and died in 1817. His 
plates are executed in a very delicate and pleas- 
ing style, and are highly praised by Basan. Among 
them are the portrait of Bossuet, after Rigaud; Fe- 
nelon, after Vivien; Rousseau, after Aved ; Dry- 
den, after Kneller ; Cardinal Polignac, after Ri- 
gaud; Mile. Le Couvreur. as Cornelia, after 
Drevet ; Descartes, after Hals ; Montesquieu, af- 
ter Dassicr. 

GRATI. Gig. Battista, born at Bologna in 
1681 ; died in 1758. He studied under Giuseppe 
dal Sole, and attained a correct design, elegant 
composition, and fine coloring. Among his prin- 
cipal works are, the Virgin and Infant, with Saints 
and a glor}^ of Angels, in S. Maria Incoronata ; and 
St. Anne teaching the Virgin to read, in S. Giaco- 
mo INIaggiore. 

GRAUW. See Graaw. 

GRAVELOT, Hubert Francois Bourguig- 
NON, an eminent French designer and engraver, 
born at Paris in 1699. He studied under Restout, 
and was assisted by the advice of Boucher. In 1 733 
he went to England, at the invitation of Claude du 
BoSc, whom he assisted in his plates for the Reli- 
gious Ceremonies, copied from Picart. He resided 
at London thirteen years, and executed many plates 
for various publications, among which are those 
for Sir Thomas Hanmer's edition of Shakspeare, 
In 1745 he returned to Paris, by the way of Hol- 
land, and was much employed. He executed the 
designs for several beautiful illustrated editions of 
Voltaire, Racine, Corneille, Marmontel, and other 
eminent authors, which were distinguished for 
their noble and elevated style. His talents were 
in great request, and his time was constantly oc- 
cupied with designing and delivering lectures on 
the art. He died at Paris in 1773. 

GRAY, an English engraver of little note, who 
executed the plates for a work descriptive of the 
country of Guinea. 



GRAZ. 



373 



GREB. 



GRAZIA. See Pistoia. 

GRAZIANI, or GRAZIANO, a Roman paint- 
er, who was a scholar of Borgognone, and painted 
battle-pieces in the style of his master. 

GRAZIANI, Ercole, an eminent Bolognese 
painter, born in 1688, and studied under Donato 
Creti, w^hose style he surpassed in elevation of de- 
sign, freedom of hand, and harmony of coloring. 
He was greath;^ patronized, and painted an im- 
mense number of works, particularly in the Bolog- 
nese churches, among which is the celebrated pic- 
ture of St. Peter consecrating St. Apollinarius. 
On the accession of Cardinal Lambertini to the 
Papal chair, he commissioned Graziani to execute 
a copy of this admirable work, for S. Apollinare 
at Rome. There are many others of his works 
at Bologna, among which is the Ascension, in la 
Purita ; and the Annunciation, a most admirable 
work, in la Madonna delle Rondini. He died in 
1765. 

GRAZIANI, Gio. Battista Ballanti, called. 
This sculptor was born at Faenza in 1762. He 
was intended for the profession of engraving; but 
preferring sculpture, he devoted himself with as- 
siduity to acquiring that art. He visited Rome 
and other cities, and gained improvement. At Fa- 
enza he executed a statue of the archangel Michael, 
commended for its noble attitude and correct de- 
sign. At Imola he executed a group of the As- 
sumption of the Virgin, for S. Cassiano. Among 
his other works are twelve statues of great beauty 
in the church of the monastery at Fagnano. Gra- 
ziani died at Faenza in 1835. 

GRAZZINI, Gig. Paolo, a Ferrarese painter, 
born about 1570, He was originally a goldsmith, 
and passed the most of his hfe in that business ; 
but being intimate with Carlo Bonone, he attempt- 
ed painting, and after eight years' labor, produced 
a picture of St. Eligio for the goldsmiths' school, 
according to Baruffaldi. which was much in the 
style of Pordenone, and executed in such a mas- 
terly style as to decide his excellence. Barotti, 
however, says it is in S. Giuliano, and that Carlo 
Bonone painted four angels at the corners, in 
chiaro-scuro ; besides which, it was surrounded 
with nine small pictures from the life of that saint, 
painted by Scarsellino. Grazzini also painted sev- 
eral easel pictures, which were much esteemed for 
their own merit, as well as for the singular history 
of the artist. He died in 1632. 

GREATHEED, an English amateur painter of 
great abilities, according to Rose, was a native of 
Warwickshire, and lived in the latter part of the 
18th century. Descended from an ancient and 
wealthy family, he was sent while young, to travel 
on the continent, and while in Italy, acquired that 
taste for the fine arts, which he afterwards so suc- 
cessfully cultivated. On returning from Italy, he 
found Miss Kemble, (afterwards Mrs. Siddons) 
acting as governess in his father's family, and this 
distinguished lady, as well as her brothers, be- 
came, frequently, the subjects of jMr. Greatheed's 
masterly productions. There are several of his 
performances in the family mansion at Guy's 
cm: He died in 1804. 

GREBBER, Francis Peter de, a Dutch paint- 
er, born at Haerlem in 1579 ; died in 1636. He 
studied under Roland Savery, and painted subjects 



of a large and small size ; also copies of his mas- 
ter's works, and those of Breughel de Velours. 

GREBBER, Peter, a Dutch painter, born at 
Haerlem, according to Nagler and Balkema, in 
1600. He was the son and scholar of Francis Pe- 
ter G„ a painter of little note, and afterwards in- 
structed under Henry Goltz. He painted histor}^ 
and portraits in an elevated style, similar to his 
instructor, most of which are easel pictures, and 
are placed in the best Dutch collections. He was 
the master of several distmguished artists. There 
are a few spirited etchings by Grebber, one of 
which is dated 1655, He had a sister named Ma- 
ria G., who excelled in perspective and architec- 
tural views. 

GRECCHI, Marc' Antomo, a Sienese painter, 
who lived about 1634, and executed, among other 
works, a Holy Family in a church at Foligno; 
painted in a chaste, expressive, and correct style, 
somewhat in the manner of Tiarini. 

GRECHE, DoMENico delle, or Domenico 
Teoscopoll called il Greco. This painter was 
a native of Greece, according to Palomino, and a 
disciple of Titian. He visited Spain, at the invi- 
tation of Charles V., in company with his master, 
and resided there the greater part of his life. His 
works are chiefly confined to Spain, and those in 
which he followed the principles of Titian, are 
highly esteemed. He occasionally attempted an 
original stjde, but produced very inferior works. 
Among his best pictures are several in the cathe- 
dral at Toledo, particularly a grand composition 
of the Parting of Christ's Raiment, entirely in the 
style of Titian, and nearly equal to that master. 
His most celebrated work is in the church of S. 
Thoma at Toledo, representing the interment of 
Don Gonsalvo Ruiz, There are a few wooden 
cuts by this artist, after the designs of Titian, He 
died, according to Palomino, at Madrid, in 1625. 

GRECHETTO. See Castiglione. 

GREEN, John, an English engraver, who lived 
about 1758, He studied under J. Basire, and ex- 
ecuted a number of plates for the booksellers, 
among which were the illustrations for Bordase's 
Antiquities of Cormoall ; also the portraits of 
Thomas Rowney, M, P, ; Thomas Shaw, D, D,, and 
Wm, Derham, D. D. 

GREEN, Valentine, an eminent English mez- 
zotinto engraver, born in Warwickshire in 1739 ; 
died in 1813. He was intended for the legal pro- 
fession, for which he studied two years at Eushara, 
and then abandoned it, to place himself under an 
obscure line-engraver at Worcester. Not succeed- 
ing as he expected, he went to London in 1765, 
and devoted himself to mezzotinto engraving, 
which, without the aid of an instructor, he ele- 
vated to a high degree of perfection. His en- 
gravings of Hannibal and Regulus, after B. West, 
were the most superb plates that had yet appeared. 
Green was indefatigable in his exertions, and du- 
ring a period of forty years, produced about four 
hundred plates after the most eminent masters of 
ancient and modern times. In 1789 he obtained 
the exclusive privilege from the king of Bavaria, 
of engraving and publishing prints after the pic- 
tures in theDusseldorf Gallery ; and in 1795, he 
published twenty-two prints from that collection. 
This enterprise, together with several others, was 
overthrown by the influence of the French revo- 



GREE. 



374 



GREF. 



liition. In 1767 he was elected a member of the 
Incorporated Society of Artists in Great Britain; 
and in 1774, an Associate engraver of the Ilo_yal 
Academ}^ AYhen the Royal British Institution 
was founded, he was appointed keeper, which office 
he discharged with great ability. The following 
are his principal plates : 

PORTRAITS AFTER SIR JOSHUA REYNOLDS. 

The Portrait of Sir Joshua BeynoMs. 1780 ; from the 
picture at the Royal Academy. The Duke of Bedford, 
Lord Henry and Lord William Russel], and Miss Vernon. 
1778. Lord Dalkeith, son of the Duke of Buccleuch. 1778. 
Maria Isabella, Duchess of Pvutland. Emilia Maria, 
Countess of Salisbury. 1787. Anne. Viscountess Towns- 
hend. 1780. The three Lady Waldegraves. 1784. Lady 
Louisa Manners. 1769. Lady Elizabeth Cavendish. 1781. 
Louisa, Countess of Aylesford. 1783. Lady Elizabeth 
Delme. 1779. Lady Talbot. 1782. Lady Caroline How- 
ard. 1782. Lady Qeorgina Spencer, Duchess of Devon- 
shire. 1780. Lady Jane Halliday. 1779. Jane, Countess 
of Harrington, with her two Sons. 1780. 

PORTRAITS AFTER VARIOUS MASTERS. 

Charles Theodore, Elector of Bavaria ; after P. Batto- 
ni. Sir Thomas Wharton ; after Vandyck ; for the 
Houghton collection. Henry, Earl of Danby ; do. ; do, 
George, Marquis of Huntly ; do. ; do. Richard Cumber- 
land, Esq. ; after Romney. 1771. Mrs. Yates, as the 
Tragic Muse ; do. 1772. John Hamilton Mortimer, paint- 
er ; after a picture by himself. Mr. Garrick and Mrs. 
Pritchard in Macbeth ; after Zojfany. Mr. Powell and 
Mr. Bensley in the characters of King John and Hubert ; 
after Mortbner. 

HISTORICAL SUBJECTS, AFTER MR. WEST. 

' The Stoning of Stephen ; very fine. 1776. The Raising 
of Lazarus. Christ calling to him the little Children. Pe- 
ter denying Christ. Jacob blessing the Sons of Joseph. 
1768. Daniel interpreting Be'shazziir's Dream. 1777. Na- 
than said unto David, " Thou art the man." 1784. St. 
Peter and St. Paul going to the Sepulchre. The three 
Marys at the Sepulchre. Alexander and his Physician. — 
Regulus leaving Rome to return to Carthage. Hannibal 
vowing eternal hatred to the Romans. Mark Anthony's 
Oration on the Death of Ccesar. Agrippina weeping over 
the Urn of Germanicus. The Death of Epaminondas. 
The Death of the Chevalier Bayard. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Annunciation ; after Fed. Baroccio. The Nativi- 
ty ; do. The Virgin and Infant ; after Domenichino. 
St. John with his Lamb ; after Murillo. The Assump- 
tion of the Virgin ; do. The Entombing of Christ ; a,fter 
L- Caracci. Time clipping the Wings of Love ; after 
Vandyck. Venus and Cupid ; after Ag. Caracci. The 
Descent from the Cross ; after Rubens. The Visitation; 
do. The Presentation in the Temple ; do. 

GREENHILL, John, an English portrait paint- 
er, born at Salisbury in 1649. He studied under 
Sir Peter Lely. and became one of his ablest dis- 
ciples, so that before the age of twenty, he copied 
Vandyck's picture of Killigrew and his Dog, Avith 
such exactness that it was mistaken for the origi- 
nal. He painted portraits in crayons, and seems 
to have been more employed in that way than in 
oil. Greenhill would probably have attained em- 
inence, had he not fallen into an intemperate course, 
which caused his death, in 1676, in the prime of 
life. There is an etching by him, of his brother 
Henry Greenhill, a mathematician, with a sphere. 

GREENWOOD, John, an English engraver, 
who lived about 1780, and executed some portraits 
and other subjects in mezzotinto. and etched sev- 
eral landscapes. The following are his principal 
prints : 

PORTRAITS. 

Simon Eokke, Dutch engraver ; after J. Buys. John 
Wesley ; after N. Hone. George Whitefield ; do. 



SUBJECTS AFTER VARIOUS MASTERS. 

Christ wi th Nicodemus; after Rembrandt. Rembrandt'^ 
Father ; do. Christ among the Doctors ; do. An old Wo- 
man ; after vanden Eeckhout. The Happy Family; af- 
ter Van Harp. The good Friends ; after Teniers. A 
Dutch Woman with a Parrot ; after G. Metzu. 

■wn^ GREFF, Jerome, called von Franckfort, 
jl^Jl a German engraver, a native of Frankfort, 
and flourished from 1500 to 1520. Among other 
prints by him, there are the wooden cuts of the 
Apocalypse of St. John, very finely copied from 
Albert Durer, marked with Grejff's monogram. 

GREGORI, GiROLAMo, a native of Ferrara, was 
born in 1694, and died in 1773. He studied with 
Giuseppe dal Sole, in whose style he painted land- 
scapes which are highly extolled. 

GREGORI, Carlo, a Florentine engraver, born 
in 1719 ; died in 1759. He studied at Rome, un- 
der Jacob Frey, and attained a good reputation. 
He executed several plates for the Museo Fioren- 
tino ; also many after the pictures in the collec- 
tion of Marquis Gerini, and several portraits. His 
principal plates are those after the paintings by 
Bernardino Barbatelli, in the chapel of S. Neri at 
Florence ; besides which we have the following : 

PORTRAITS. 

Francis Mary, Grand Duke of Tuscany ; after Campig- 
lia. Eleonora Vincentina, of Gonzaga, his spouse ; do, 
Sebastian Bombelli ; after a picture by himself. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Image of the Virgin ; after a design by Fratta 
St. Catherine ; after Bartolozzi. Fourteen plates of the 
life of S. Neri ; after Bernardino Barbatelli, called Poc~ 
cetti. The Marys at the Sepulchre ; after Rajfaelle. 

GREGORI. Ferdinando, the son and scholar 
of Carlo G., born at Florence in 1743 ; died, accord- 
ing to Nagler, in 1804. He visited Paris, and 
studied under J. G. Wille ; after which he re- 
turned to Florence, and practised the art with 
reputation. The following are his principal plates : 

The Portrait of Carlo Gregori ; after his own design. 
The Virgin suckling the infant Jesus ; after C. Maratti. 
Venus sleeping ; after Guido. Si,. Sebastian, half-length ; 
do. Venus, with Cupid mounted on a Dolphin ; after Ca- 
sanova. Two Groups of Sculpture ; after Cellini. The 
Holy Family; after A. del Sarto. The Stoning of Ste- 
phen; after L.'Cardi; fine. The Death of St. Louis 
Gonzaga ; after Cipriani. 

A/^GRETSCHER, M., an obscure German en- 
-^ "Or graver, mentioned by Basan. He execu- 
ted several plates after various masters, among 
which is one of the Virgin and Infant, after F. 
Baroccio. 

GRESLY, Gabriel, a French painter, born at 
Lisle about 1705. He early manifested a strong 
inclination for art, and was instructed in the ele- 
ments of design, hy a painter whose name is not 
known. He subsequently visited Paris, and was 
taken under the protection of Count de Caylns. 
His subjects are all from scenes in common life, 
and possess considerable merit. He died in 1756. 

GRESSE, John Alexander, born at London 
in 1741, of Swiss extraction. He became succes- 
sively the pupil of Scotin, the engraver Cipriani, 
and F. Zuccarelli. He also studied for some time 
in the gallery of the Duke of Richmond ; and next 
at the Academy in St. Martin's Lane. After fol- 
lowing the profession of painting for some time, 
he relinquished it. to become a teacher of draw- 



GREU. 



375 



GRIB. 



ing. and became quite distinguished, so that in 
1777 he was appointed drawing-master to the 
princess. In the early part of his hfe. he etched, in 
concert with Bartolozzi, the figure*;, &c., for Ken- 
nedj-'s Account of the Statues and Pictures in the 
Earl of Pembroke's mansion at Wilton. There are 
also four other etchings by Gresse, which are now 
scarce, a Satyr sleeping, after N. PoussiJi ; a Cot- 
tage ; St. Jerome ; and a view of Framlingham Cas- 
tle. He died in 1794. 

GREUT, Joseph, an engraver mentioned by 
Strutt, who was probably a German, and wrought 
for the booksellers. Among other plates there is 
one of Hieronymus Bartholomeus, executed with 
the graver, in a neat style. 

MGREUTER, Matthew, a reputable Ger- 
man engraver, born at Strasburg, accord- 
ing to Fuseli, in 1566 ; died at Rome in 1638. He 
acquired the principles of the art in his native city, 
and afterwards went to Lyons and Avignon, where 
he was for some time employed. He subsequent- 
ly visited Rome, where he settled permanently, and 
executed a number of plates in a very neat style, 
but often incorrectl}^ designed. Some of them 
are wrought entirely with the graver, and others 
are etched, and finished with the graver, in a sliglit- 
er style. The following are his principal plates : 

Pope Sextus V. with an ornamental border. Cardinal 
Seraphinus Oliverius Razzalius. The Virgin seated, with 
the infant Jesus and St. John ; after P. Baroccio. Mary- 
Magdalene sitting, in a landscape, holding a Book, leaning 
her hand on a Scull; after Gaetano. 1584. Venus stand- 
ing on a Globe, with figures emblematical of Virtue and 
Vice; very neatly finished with the graver; marked M. 
Greuter, inv. et fecit 1587. The Fall of Phceton ; after 
W. Dieterlin. 1588. The Burning of Troy ; after Lanfran- 
co. The grand Cavalcade of the Emperor Charles V. ; en- 
graved conjointly with Z/Wcas Vosterman. A set of small 
plates of Insects ; etched in a style like that of Gayicood. 

GREUTER, John Frederick, the son and 
scholar of Matthew G. ; born at Rome about 1600 ; 
died, according to Nagler, in 1660. He executed 
the plates for the Flora of P. Ferrari, in a clear, 
neat style, also a variety of others, among which 
are the following : 

The Portrait of Gio. Battista Marino; after J. Vouet. 
Hercules in the Garden of the Hesperides ; after P. da 
Cortona. Marc' Antonio Colonna carried in Triumph by 
Sea Gods ; do. The Forge of Vulcan ; after Lanfranco. 
The Hesperides arriving in the Port of Naples, with their 
Fruit, borne by Britons ; do. Apollo and the Muses ; af- 
ter A. Camassei. The Virgin and Infant, with St. Fran- 
cis kneeling ; after his own design. The Death of St. 
Cecilia ; after Domenichino. An emblematical subject of 
the Growth of Christianity ; after RomaneUi. A Battle ; 
after A. Tempesta. 

GREUZE, Jean Baptiste, an eminent French 
painter of fancy subjects, and conversation pieces ; 
iDorn at Tournus in 1726. He early manifested 
a strong inclination for design, in which he was 
violently opposed by his father ; but happening to 
attract the notice of Grandon, a portrait painter 
of Lyons, he was taken to his school, and soon 
made rapid progress. He afterwards went to 
Paris, and produced his celebrated picture of the 
Father explaining the Scriptures to his Children, 
which at once established his reputation, and he 
was soon extensively employed. His works are 
highly valued for their exquisite coloring, parti- 
cularly in his carnations ; and for the fine models 
of his heads and countenances. His pictures 
are full of life and sensibility, and his heads of 



young girls possess a charming innocence and sim- 
plicity that deserves the highest praise. His dra- 
peries, however, are often in bad taste ; and he 
not unfrequentl}^ produced works of a debasing 
character, totally the opposite of those pure produc- 
tions which have given him such high reputation. 
There is often a similarity in his heads, and his 
works generally display so much mannerism, that 
they have been easily and frequenth^ copied ; many 
duplicates, as they are called, exist of heads of young 
persons ascribed to Greuze. but they lack his spi- 
rit, and exquisite coloring, and are often termed his 
unfinished pictures, of which he is said to have 
left a great number. His works are highly prized, 
and bring large prices • the Girl and Dog was sold 
for $3125, at London, in 1832. Among his other 
principal works are. La Confidence, UAveugle 
trom/pL Le Pere de Famille. UAccordee de Vil- 
lage, in the Louvre ; La Latiere, in the collection 
of Baron Rothschild, at Paris ; and Le priere du 
Matin, in that of M. Waldo. There is also a fine 
specimen of his talents in the National Gallery, 
London. Many of his works have been engraved 
by eminent French artists. He died at Paris in 
1805. 

GRIBELIN, Simon, a French engraver, born at 
Blois in 1661 ; died at London in 1733. He ac- 
quired a knowledge of his art at Paris, and went 
to England at the age of nineteen, but did not at- 
tract much attention for several years, until he 
executed an excellent copy of Gerard Edelinck's 
fine print of the Tent of Darius, after Le Briin. 
He afterwards engraved the cartoons of RafFaelle, 
which had considerable success. There are also a 
number of portraits and subjects from various 
masters, among which are the following : 

POETRAITS. 

William III. ; after Foicler. Mary, his Queen ; du. 
William, Duke of Gloucester ; after Kneller. Queen 
Anne. Frederick, Prince of Wales. George Granville, 
Lord Lansdowne. James Butler, Duke of Ormond ; after 
Dahl. 1713. Thomas Herbert, Earl of Pembroke. "The 
Duke of Schomberg. The Earl of Shaftesbury; cfter 
Clostcnnan ; affixed to the Characteristics. Sir William 
Dawes, Archbishop of York ; do. 

SUBJECTS AFTfiR VARIOUS MASTERS. 

The Cartoons, seven small plates ; after Rafaelle. On the 
title is the portrait of Queen Anne, and the representation 
of the apartment in which the paintings then hung. The 
Apotheosis of James I. ; after the ceiling at Whitehall, 
hxj Ruhens ; in three plates. Hercules between Virtue 
and Vice ; after P. Matheis. The Adoration of the Shep- 
herds ; after Palma- Esther before Ahasnerus ; after 
Tintoretto. Apollo and the Muses ; do. The Birth of 
Jupiter ; after Giulio Romano. 

GRIFF, or GRYEFF, Anthony. This painter 
lived about 1650, but nothing is known of his life. 
There are man}^ of his works in commerce, which 
are generally wooded landscapes with dogs, dead 
game, and other accessories of the chase. They 
are usually of a small size, but designed in a spirit- 
ed style, and well colored. 

GRIFFIER, John, a Dutch painter, born at 
Amsterdam, according to Nagler and Balkema, in 
1656. He first studied under a flower painter ; but 
preferring landscape painting, he placed himself 
under Roland Rograan, who then held a high repu- 
tation. He is said to have imitated the works of 
Ruysdael and Lingelbach ; but it is more probable 
that he formed his style from the works of Her- 
man Zachtleven, as his manner resembles that 



GRIF. 



376 



GRIG. 



master. He painted a number of fine landscapes 
and views on the Rhine, after which he visited 
London in 1067, and met with great encourage- 
ment. He often painted views on the Thames, 
and in order to observe nature more intimately, 
he purchased a yacht, embarked his family, and 
passed his whole time on the river. After mnny 
years he departed to Holland, but was wrecked 
near the Texel, losing all his paintings and the 
fruits of his industry. He then returned to Eng- 
land, and died there in 1718. There are a few 
plates of birds and animals by Griffier, after Bar- 
loio, finely drawn, and etched with great freedom 
and spirit. 

GRIFFIER, Robert, the son and scholar of 
John G.. born at London in 1688 ; died in 1750. 
He chiefly resided at Amsterdam, where his pic- 
tures were highly esteemed. They usually repre- 
sent views on the Rhine, with boats and figures, 
designed in a neat st34e, and very agreeably colored. 

GRIFFONI, Annibale, a native of Carpi and 
a celebrated worker in scagliola. lie studied with 
Guido Fassi, and applied the art to monuments. 
a»d even ventured upon the composition of pic- 
tures intended to represent not only engravings 
but oil paintings. He flourished about 1656. He had 
a son, Don Gaspare G., born in 1640, whom he in- 
structed in the art. See Guido Fassi or del Conte. 

GRIFFONI, FuLvio, a painter of Udine, who 
flourished there in 1608. Little is known of him, 
further than that he received a commission from 
the cit}^ to paint part of the picture of the Miracle 
of the Manna, to be placed in the public palace 
near the Supper of Amalteo. 

GRIFONI, GiROLAMO. a Bergamese painter, 
who studied with Gio, Paolo Cavagna, and ''in 
whose productions." says Lanzi, " we seem to 
trace the copy of a copy of the style of Paul Ve- 
ronese," i. e., he copied his master who was an im- 
itator of Veronese. He flourished in the first part 
of the 17th centur}^. 

GRIGNON, James, a French engraver, who 
flourished about 1680. His portraits are more 
highly esteemed than his other works ; they poss- 
ess great merit, and are executed entirely with the 
graver, in a neat clear style. In his subjects of 
history the drawing is incorrect, and his chiaro- 
scuro is badly managed, with little effect. He en- 
graved several plates for a work entitled Les Tab- 
leaux de la Penitence; after designs by Chaveau ; 
also the following portraits : Francis Maria Rhi- 
ma ; an ecclesiastic. Peter Barbareau. Doctor in 
Theology ; after Champagne. Jacques Caur de 
St. Fargeau ; /. Grignon. Jean Bureau, Mayor 
of Bordeaux ; /. Grignon^ sc. 

GRIGNON, Charles, a French engraver, born 
about 1710, and was probably a relative of James 
G. He went to London in 1750, and engraved 
some plates in a masterly style, among which 
were several of the Antique Statues, after designs 
of Dalton ; and the Tapestries of the Vatican, pub- 
lished in 1753. His plates are executed in a clear, 
bold manner, and with great facility and neatness. 
The following are the principal : 

A View taken from the Star and Garter at Richmond ; 
after Heckel. Two perspective Views of the Foundling 
Hospital ; after Valee, Four plates of the Election ; af- 
fzr Hogarth ; engraved conjointly with Le Cave and Ave- 
line. Garrick, in the character of Richard III, ; W. Ho- 



garth and Ch. Grignon, scuL 1745. Phryne and the 
Philosopher Zenocrates ; after Sal. Rosa. 

GRIGNON, Charles. This painter was pro- 
bably the son of Charles Grignon. the French en- 
graver, who settled in England about 1750. He 
was born at London in 1754, and having obtained 
a prize from the Society of Fine Arts, and the gold 
medal from the Royal Academy, he proceeded to 
Rome, where he remained three years. At Pal- 
ermo he painted the portrait of Lord Nelson, and 
was rapidly rising to eminence, when he died, at 
Leghorn, in 1804. His case of pictures, contain- 
ing among others, two splendid landscapes by 
Claude, were preserved for him by Lord Nelson, 
and sold for ^35,000. 

GRILLENZONE, Orazio, a painter of Carpi, 
born about 1540, and died in 1617. He resided 
chiefly at Ferrara, where he enjoyed the friend- 
ship of Tasso, who has immortalized his name 
in that dialogue, bearing for its name II Grillen- 
zone, or, The Epitaph. Tiraboschi speaks of him 
as an accomplished artist, but Lanzi says there 
are none of his works at Ferrara, and even those 
claimed as his at Carpi, are of a disputable char- 
acter. 

GRIMALDI, Francesco, a Neapolitan archi- 
tect, born at Oppido, and floui-ished from 1590 to 
about 1630. His first work at Naples was the 
monastery of the Teatini, called Santi x4postoli ; 
after which he erected the chapel of the Treasury, 
one of the best specimens of the art in the whole 
city. He designed the church of S. Andrea della 
Valle. at Rome; and in 1622, thatoftheSanti Apos- 
toh, at Naples. He afterwards built that of S. 
Maria degli Angioli, which Milizia characterizes 
as the best proportioned edifice in Naples. 

GRIMALDI, Gig. Francesco, called il Bo- 
LOGNESE, an eminent landscape painter, born at 
Bologna in 1606; died in 1680. He studied un- 
der the Caracci, to whom he was related, and be- 
came a skilful and correct figurist, though rather 
inclined to landscape, in which he imitated the 
style of Annibale. Having acquired considerable 
proficiency in their school, he went to Rome for 
improvement, and soon rose to eminence. He 
was employed by Innocent X. in the Vatican, and 
at Monte Cavallo ; after which the Prince Pam- 
philo, nephew of the Pope, engaged him in several 
works for his villa of Bel Respiro, where he paint- 
ed several admirable landscapes, decorated with 
figures in the stj'le of the Caracci. The Pope was 
so much charmed with his conversation and gen- 
ius, that he frequently visited him while at work. 
His landscapes are of grand and select scenery; 
his foliage extremely beautiful, his pencil light and 
flowing, and his coloring fresh and pleasing, though 
occasionally too green. Grimaldi attained a very 
high rank as a painter, though inferior to Anni- 
bale Caracci and Domcnichino in his aerial tint, 
energy of handling, and selection of forms. He 
was invited to Paris by Cardinal Mazarin, and 
was employed in the Louvre by Louis XIV., who 
rewarded him with great liberality. On return- 
ing to Rome he received numerous commissions ; 
was patronized by Alexander VII. and Clement 
IX. ; was twice appointed president of the Acad- 
emy of St. Luke, and attained both fame and for- 
tune. He also deserves great praise for his kind 
and humane character. There are a great num- 
ber of pen-drawings by Grimaldi, some of which 



GRIM. 



377 



GROE. 



have been engraved by Bartolozzi ; also many | 
etchings, executed with great freedom, taste, and | 
spirit. Among others are the following : I 

A set of four small Landscapes. A grand Landscape' { 
with Buildings, and in the fore-ground Figures at play > j 
Gio. Fran. Grimaldi Bolognese, inv. et fee. A grand j 
Landscape, with Buildings and Fishermen ; do. A Land- i 
scape, with the Baptism of Christ. A Landscape, with 
Ruins and Figures ; i^V. Grimaldi Bolognese, fee. A 
mountainous Landscape, with Figures ; no mark. Two ; 
upright Landscapes ; after An. CaraccL A set of four . 
Lanclscapee ; do. 

GRIMALDI, Alessandro, the son and scholar i 
of the preceding, whose style he followed. His j 
landscapes are greatly inferior to the admii-able j 
works of that master. There is a spirited etching 
by him, of the Brazen Serpent, Alex. Grimaldi. \ 
inv. et. fee. | 

■ GRIMALDI, Francesco, a Neapolitan painter, 
born in 1550 ; died in 1609. He studied under j 
Domenichino, and produced a number of historical ! 
subjects, characterized b}^ ingenious composition, ' 
fine coloring, and good perspective. 

GRIMANL See Jacorsz. 

GRIMM, Samuel Henry, a Swiss painter in 
water-colors, who studied in his native country, 
and then went to England, where he painted land- 
scapes in a good style. He was much employed 
by the Society, of Antiquaries, in drawing ar- 
chitectural views. One of his best produc- 
tions was a picture of the Departure of Henry 
VIIL for Boulogne. He died in 1794. 

GRIMMER, or GRIMM A A R, Jacob, a Flem- 
ish painter, born at Antwerp in 1510, and studied 
successively under Matthew Cock and Christian 
Queburg. Balkema says he painted landscapes, 
and views of cities and villages, in an excellent 
style. His skies and distances are admired for 
their color and lightness of handling. In 1546 he 
was chosen a member of the Academy at Ant- 
werp. 

GRIMOU, Alexis, a French painter of portraits 
and familiar subjects, who lived about 1725. His 
pencil was delicate, his coloring frequently bril- 
liant, and his heads had much expression. He ac- | 
quired a good practice, and executed many works [ 
of estimation. He died in 1740. j 

GRIMOUX, a French painter, born at Paris in i 
1688 ; died in 1740. He copied the works of Van- I 
dyck and Rembrandt, and without further in- I 
struction attempted history and portrait, but did I 
not produce any reputable works. | 

GRISONI, Giuseppe, a Florentine painter, born | 
about 1700, and died in 1769. He studied under | 
Tommaso Redi, and painted history, portraits, j 
and landscapes. He visited Rome, Venice, and \ 
other cities for improvement, and is also said to ! 
have gone to England. He acquired great skill in i 
■figures, but still more in landscape ; and there is ' 
an admirable portrait of him, executed by himself, i 
in the Florentine Gallery. In a chapel of the \ 
Nunziata, at Florence, he rivalled Vincenzio Meuc- 
ci, in a picture of St. Barbara, according to Lanzi, 
and it is said that vexation at this circumstance 
shortened the days of that painter. 

GROBBER, Francis, a Dutch painter, born at 
Haerlem in 1579 ; died in 1636. He studied un- 
der Roland Savery at Utrecht, and attained some 
distinction in history and portrait. 



GROENSVELT, John, a Dutch engraver, born 
at the Hague about 1650. He etched several 
views and landscapes, after Lingelbach, Berghem, 
and others ; also a number of historical subjects 
and portraits, among which are : 

The Portrait of Dorothy, Countess of Sunderland ; after 
Vandyck. A Girl, with a Cat ; after Ah. Bloemaert. A 
Man sleeping on a Barrel. The Adoration of the Magi ; 
after P. Veronese : J. Groensvelt, fee. Christ before 
Pilate; after A. Schiavone ; J, Groensvelt^ fee. A set 
of six Landscapes ; after Berghem. A set of four Land- 
scapes ; do. ; Berghem, del. Groensvelt, fee. Cle. de 
Jonghe^ exe. ; fine. 

GRONIGIUS, Gerard, an engraver of little 
note, who executed, according to Strutt, ten plates 
emblematical of human life, from ten to one hun- 
dred 3^earS; which have some merit, though incor- 
rectly drawn. The}^ are marked Ger. Gronigius^ 
inv.faciehat. 

GROPALLO, PiETRO Maria, a Genoese paint- 
er, born in 1610 ; died in 1672. He studied under 
Gio. Battista Paggi. and became a good artist in 
history. 

GROS, Jean le. a French portrait painter, born 
at Paris in 1671 ; died in 1745. He attained dis- 
tinction in portrait painting, in which he had con- 
siderable success. 

GROS, Antojne Jean, an eminent French paint- 
er, born at Paris in 1771. He early manifested a 
strong inclination for art, and at the age of fourteen 
was placed in the school of David, where he made 
rapid advances. In 1793 he left Paris, on account 
of the troubles of the times, and visited Genoa, 
where he practised painting portraits in miniature, 
of which he has left a great number, very delicate- 
ly touched, and beautifully colored. He afterwards 
visited Milan, and met with Bonaparte, who 
warmly patronized him, and employed him to 
paint his full-length portrait. The General gave 
him a large atelier in the Casa Serbelloni, and often 
visited him while at work. On returning to Paris 
in 1801, he was much employed, and painted his 
picture of Sappho, which was greatly admired for 
its correctness of design, harmony of coloring, 
grace and fine expression. He was commissioned 
by Government to execute several works, illustrat- 
ing the most stirring events in the history of Na- 
poleon, among which were the Battle of Aboukir; 
that of the Pyramids ; and the Battle of Eylau, 
which gained the grand prize. His picture of the 
Persons attacked by the Plague at Jaffa, is a mas- 
ter-piece of art, according to the French writers, 
who say that for depth of conception, fertility of 
invention, correctness of design, and vigor of col- 
oring, it deserves to rank with the productions of 
the most eminent French painters. His most ad- 
mired work, however, is the cupola of St. Gene- 
vieve, for which he is said to have received 100,000 
francs. Le Gros was a member of the Legion of 
Honor, and of the Order of St. Michael ; Profess- 
or of the Institute, and of the School of Fine 
Arts. He was subject to tits of melancholy, and 
finally drowned himself in the Seine, near Meu- 
dan,in 1835. 

GROS, Pierre le, an eminent French sculptor, 
born at Paris in 1656. He was instructed by his 
father, who was a reputable sculptor, and a pro- 
fessor' in the Academy. At the age of twenty, he 
gained the grand prize for a bas-relief representing 
the Entry of Noah and his Family into the Ark 



GROS. 



378 



GUAR. 



and was sent to Rome with the royal pension. 
On arriving there, he soon became distinguished, 
and was commissioned to execute a marble group 
for the altar of St. Ignazio, in the church del Gesu, 
representing the Triumph of Religion over Here- 
sy, lie also executed several other important 
works, among which are the statues of Sts. Tom- 
maso and Bartolomeo, in S. John of Lateran ; and 
his admirable statue of St. Domenico, in St. Pe- 
ter's. Le Gros returned to Paris, but remained 
there only two years, after which he revisited Ita- 
ly, and settled permanently at Rome. During 
this time, he produced his admired statue of Si- 
lence, for the garden of the Tuileries, and several 
works for the Hotel Crozat. His works are highly 
praised by Cavaliere Cicognara in his Ilistor}^ of 
Sculpture, for their purity and simplicity, in the 
antique style, as well as for their grace and spirit, 
and delicacy of execution. He was much employ- 
ed at Rome, and executed, among other works, the 
statue of Cardinal Casinata, in the church dell a 
Minerva ; the tomb of the same Cardinal, in S. 
John of Lateran ; and the mausoleum of Pope 
Pius IV., in S. Maria Maggiore. He died at 
Rome in 1719. 

GROSNIER, Mlle., a French lady, who is said 
by Basan to have engraved several plates after va- 
rious masters ; but he gives no further account of 
her works. 

GROSSI, Bartolomeo, an old painter of Par- 
ma, some of whose works are in the church of 
S. Francesco in that city, dated about 1450. Lan- 
zi says they are executed in the dry manner of the 
time, but in a more polished style. 

GRUND, NoRBERT, a reputable German paint- 
er, born at Prague in 1714. His works are nearly 
all of small dimensions, and he succeeded equally 
in portrait, history, battle-pieces, and subjects from 
common life. His works are distinguished for 
good composition, correct design, and harmony of 
coloring. He died in 1767. 

GRUNEWALD, Matthias, a German painter, 
born at Aschaffenburg about 1450. His pictures 
have not much merit, although he is said to have 
been in some measure a rival of Durer. There 
are several of his works at Munich and Mayence. 
Fuseh says he died in 1510. 

fT [ GRUNEWALD, Hans, a German engra- 
ij^ ver, the brother of Matthias G,, who execu- 
ted a number of inferior copies of the plates of 
Albert Durer ; also several wooden cuts, among 
which is a Landscape, with a view of the Sea. 

GUADAGNINI, Jacopo. This artist was a 
son of the daughter of Jacopo da Ponte the 



Younger, and died at Bassano in 16c 



says he acquired considerable reputation as a por- 
trait painter, and imitated feebly the works of his 
ancestors, and upon his decease^ every vestige of 
the school of Jacopo became extinct at Bassano. 

GUALDORP. See Gf.ldorp. 

GUALLA, PiETRO, a Piedraontese painter, and 
a native of Casale. He painted both in oil and 
fresco at Turin, and in many other places. Lanzi 
says he painted portraits with great spirit, to 
which branch of the ai't he ought to have confined 
himself, for he did not possess a sufficient know- 
ledge of design, nor the genius to attempt great 
works. When verging on old age, he assumed the 



habit of a friar of St. Paul, and undertook to paint 
the cupola of the church of his order at jNlilan, 
but he died before he had finished his work, in 
1760. 

GUARDI, Francesco, a Venetian painter, born 
in 1712; died in 1793. He studied under Cana- 
letto, and; like his instructor, excelled in architec- 
tural views of Venice. Lanzi says he was es- 
teemed a second Canaletto ; that his works attract- 
ed the attention of Italy, and of foreign countries, 
and were especially noted for their spirit, taste, 
and fine effect ; although as to accuracy of per- 
spective and intelligencce of chiaro-scuro, they are 
inferior to his instructor. 

GUARDOLINO. See Carlo Natall 

GUxVRGENA, Domenico. See Padre Felici- 

ANO DA Mr.SSINA. 

GUARIENTI, Pietro, a painter of Verona, 
born about 1700, He studied under Giuseppe 
Maria Crespi. He was a good artist, had a thor- 
ough knowledge of the art, and was an eminent 
connoisseur. He resided chieliy at Venice ; wrote 
the additions and corrections to Oi'landi's Diction- 
ary of Painting, published at Venice in 1753 ; and 
afterwards went to Dresden, at the invitation of 
the King of Saxony, and was appointed Director 
of the Dresden Gallery, where he died, about 1769. 

GUARIENTO, a Paduan or a Veronese painter, 
of the school of Giotto, who flourished at Venice 
about 1365. According to Ridolfi, he was an emi 
nent artist in his time ; received many commis- 
sions from the Venetian Senate ; and executed 
many works for the churches at Venice, and other 
places. One of his frescos and a Crucifixion yet 
remain at Bassano, and in the choir of the Eremi- 
tani at Padua, there are many of his figures, now 
retouched. Zanetti highly recommends him, for 
his rich invention, the spirit of his attitudes, and 
the felicity with which, at so early a period, he 
disposed of his draperies. 

GUARINI, Bernardino, a painter of the Bo- 
lognese school, and a native of Ravenna, of whom 
little is known. Lanzi says there is a Pieta, or a 
Dead Christ, by him, in the church of S. Frances- 
co at Rimini; bearing his signature, and dated 1017. 
He says it shows an artist of a sound style, not 
far removed from that of the Caracci. 

GUARINI, Fra Guarino, an Italian architect, 
and a monk of the Order Teatini, born at Modena 
in 1624. He was learned in philosophy and math- 
ematics, and was acquainted with the works of 
Vitruvius, Alberti, and Palladio, but all his archi- 
tectural works display the extravagancies of Bor- 
romini. carried to the greatest excess. They are 
full of whims and irregularities, both in the plans, 
elevations, and ornaments. Notwithstanding his 
many faults, he seems to have been much employ- 
ed, and like many others whose works have been 
condemned by posterity, to have enjoyed a great 
reputation in his da}^. He was appointed archi- 
tect to the Duke of Savoy, and erected a number 
of buildings at Turin, among which Milizia men- 
tions the following : The gate of the Po, concave, 
convex, and disgusting ; the Chapel of the Suda- 
rio, of a round form, heavy in its arrangements and 
ornaments ; the church of S. Lorenzo, which 
has not a single right line throughout. At Mo- 
dena, he erected the church of S. Vincenzio ; at 



GUAil. 



S79 



GUCH. 



Verona, the tabernacle of S. Niccolo ; at Messina, 
the church of the Sommaschi. He visited Paris, 
and erected the church of St. Anne ; at Prague, 
he built that of S. Maria d'Ettinga ; and at Lisbon, 
that of S. Maria della Divina Providenzia. Gua- 
rini died in 1683. 

GUARNANA, Giacomo, an Italian painter, 
born at Verona in 1720. He studied at Venice, 
under Sebastiano Ricci. and afterwards in the 
school of Tiepolo, where he made rapid advances, 
and soon rose to an elevated rank. He executed 
a large number of fine works, in oil and fresco, 
which were greatly admired, and gained him great 
reputation. The Procurator of St. Marc commis- 
sioned him to execute a picture for the Ducal pal- 
ace ; the Academy of Copenhagen offered him its 
directorship ; and the Empress of Russia invited 
him to St. Petersburg ; but he declined all these 
honors. According to his biographer, the Abbe 
Zendrini. Guarnana painted a splendid picture for 
the Empress Catherine, which is said to rival Cig- 
nani in coloring. He was commissioned to paint 
in fresco the cupola of S. Vitale at Ravenna, which 
for composition and coloring, is one of the most 
remarkable fresco paintings of modern times. — 
This artist etched several fabulous subjects, from 
his own designs. He died at Venice, in 1807. His 
son, Vincenzio G., painted in oil and fresco, and 
died in 1815. 

GUAY, JAcauES, a French engraver on precious 
stones, born at Marseilles about 1715. He ac- 
quired the elements of design under Boucher, but 
having seen the fine collection of engraved stones 
in the cabinet of Crozat, he determined to devote 
himself to that art. In 1742 he went to Italy, 
where he gained great improvement from the col- 
lection of the Grand Duke at Florence. He copied 
many antique gems, and engraved a head of Anti- 
noiis. after a statue in the collection of the Cardi- 
nal Albani at Rome, which was highl}^ esteemed. 
On returning to Paris, he soon gained great repu- 
tation ; was appointed engraver to the king's cab- 
inet, at the death of Barrier ; and in 1742 was cho- 
sen an Academician. He died in 1787. 

GUBBIO, Oderigi da, or Oderigi d'Agubbio, 
an old Italian painter, and a native of Gubbio, a 
small town near Perugia. Baldinucci aflQrms that 
he was a disciple of Cimabue, and Vasari tells us 
that he was the friend of Giotto at Rome. Dante 
has immortalized him in his second Cantica, and 
calls him an honor to Agubbio, excelling in the 
art of miniaturist. He settled at Bologna, and 
instructed many pupils there, so that Malvasia 
says that " the most noble and ever glorious city 
of Bologna received the first seeds of the beautiful 
art of painting from him." He died shortly be- 
fore 1300. 

GUBBIO, Cecco and Puccio da, supposed to 
have been pupils of the preceding, painted in the 
Cathedral of Orvieto, in 1321. 

GUBBIO, Giorgio da, or Giorgio da Ugubto, 
a famous manufacturer and painter of porcelain, 
who flourished at Gubbio from 1519 to 1537. He 
made statues, well modeled, and painted and then 
baked them, so as to render them indestructible by 
the weather. Lanzi says there are many services 
in various noble houses, of his beautifully painted 
wares, almost rivalling painting, bearing his name, 
M. Giorgio da Ugubio. See Federigo Brandani. 



GUCHT, Michael" vander, a Flemish engra- 
ver, born at Antwerp in 1660; died in 1725. He 
studied under one of the Boutats, and afterwards 
went to England, where he met with considerable 
encouragement, and executed many plates for the 
booksellers, among which were the portraits for 
Clarendon's history ; several plates of anatomical 
figures ; and a large print of the Royal Nav3^ af- 
ter Boston. He was the instructor of George 
Vertue. The following are his principal prints : 

Queen Elizabeth ; after Sir Anthony More, William 
III. and Mary his Queen. Queen Anne ; four plates. — 
George II. ; two plates. Edmund Grindall, Archbishop 
of Canterbury. Lord Astley. James Butler, Duke of 
Ormond. Edward Montague, Earl of Manchester. Sir 
Josiah Child ; after Rile]/. J. Savage, prefixed to his 
History of Germany ; after Foster ; fine. James Drake, 
M. D. ; do. James Stanley, Earl of Derby ; after Win- 
stanley, George Granville, Lord Lansdo^vne. Francis 
Atterbury, Bishop of Rochester ; after Kneller. William 
Congreve, poet ; do. Simon Patrick, Bishop of Chiches- 
ter ; do. Thomas Sprat, Bishop of Rochester ; after Lely. 
Offspring Blackall, Bishop of Exeter ; after M. Dahl. 
William Beveridge, Bishop of St. Asaph ; after Ferrers, 
Joseph Addison, poet ; after Kneller. Thomas Betterton, 
actor; do. 

GUCHT, Gerard VANDER, the son and scholar 
of the preceding, executed a number of plates for 
the booksellers, among which are the following : 

James II. and Maria his Queen. John Tillotson, Arch- 
bishop of Canterbury ; after Kneller. Matthew Wren, 
Bishop of Hereford. The Countess of Clarendon. John 
Milton, poet, three plates. John Dryden, poet; after 
Kneller. John Hughes, poet ; do. John Philips, poet ; 
do. John Barber, Alderman of London ; after Dandridge. 
John Allen, D. M. CoUey Cibber, poet and actor ; after 
Vanloo. Charles Jervas, painter, 

GUCHT, John vander, the younger son and 
scholar of Michael vander G. He also studied at 
London, under Louis Cheron, and designed from 
the models at the Academy. He engraved six ac^v 
demical figures from the drawings of Cheron, 
which gained him great reputation ; and he was 
employed by William Cheselden, the surgeon, to 
execute the plates for his Osteology. There are also 
several portraits by him, and a plate of Tancred 
and Erminia, after N. Poussin. He died in 1776. 

GUELARD, B., a French engraver, who lived 
about 1750, and executed, according to Basan, sev- 
eral plates after Oudry, P. van Bloemen, &c. 

GUERARDS. See Gerards. 

GUERARDS, N., a French engraver of httle 
note, who lived about 1700, and executed the 
plates for Les Edifices Antiques de Rome, after 
the designs of A. Desgodetz j also a number of 
other plates, among which is one of Soldiers 
marching, in imitation of Callot. 

GUERCINO. See Gio. Francesco Barbieri. 

GUERIN, Christopher, a German designer 
and engraver, born at Strasburg in 1758, and 
studied under Jolain and Miiller. His plates are 
after RafFaelle, Correggio, Giulio Romano, and Lu- 
therbourg. He was keeper of the Museum at 
Strasburg. and was living in 1831. 

GUERIN, J. B. Paulin, a distinguished French 
painter of history and portraits; born at Toulon 
in 1783. He was much patronized by the nobili- 
ty, and painted the portraits of several of the Bour- 
bons, their generals, and courtiers, after the Res- 
toration. There are a number of fine historical 
pieces by him, mostly of scriptural subjects, in the 



GUER. 



380 



GUER. 



churches of Paris. Guerin was a member of the ' 
Legion of Honor, and professor of i^ainting to the 
maison royale de St. Denis. He was living in 
1831. 

GUERINj Baron Pierre Narcisse, an emin- 
ent French painter, born at Paris in 1774. He 
studied under Brenet, and afterwards under Reg- 
nault. In 1797 he gained the grand prize of the 
Royal Academy, and went to Rome with the 
royal pension. By studying with great assiduity 
the antique and the productions of the old masters, 
he made rapid advances, and adopted a grand and 
classic style. His picture of Marcus Sextus. ex- 
ecuted while at Rome, excited great admiration 
at Paris, and gained him a high reputation. On 
his return to Paris, he was received with great 
honors, and was loaded with commissions. Among 
his principal works, are Phedra and Hippolyta; 
Cephalus and Aurora ; and Andromache and Pyr- 
rhus, exhibited in 1810. Most of his pictures 
have been engraved. He was honored with the 
title of Chevalier of the Legion of Honor and of 
the Order of St. Michael ; was a member of the 
Academies of Fine Arts at Rome, Florence, Turin, 
Antwerp ; director of the French School at Rome ; 
and Professor of the Royal School of Arts at Paris. 
He died in 1833. 

GUERNIER, Louis du, a French painter, born 
about 1550. He was distinguished for his min- 
iatures on vellum, and was much patronized by 
the eminent personages of the time. The Duke 
of Guise ordered him to paint the illustrations for 
a praj^er-book, and Guernier introduced the por- 
traits of the gayest ladies of the court, to represent 
saints. He had several sons who followed the 
same profession, among whom Alexander attained 
considerable distinction, and his miniatures are 
much esteemed for the brilliancy of coloring which 
they still retain. The latter had a son, born in 
1614, and died in 1659. He was an eminent 
painter on enamel, and surpassed all those who 
had preceded him, for accuracy of likeness and 
beauty of coloring. Another son of Alexander 
G., who died in 1656, was also considered a repu- 
table artist in this branch. 

GUERNIER, Louis du, a French engraver, born 
at Puris in 1677. He studied under L. de Chas- 
tillon, and afterwards went to England in 1708, 
where he was chiefly emplo^ved b}^ the booksellers. 
Among his principal plates is a large print of Lot 
and his Daughters, after M. A. Caravaggio, en- 
graved for Lord Halifax ; also two portraits of 
James Douglas, Duke of Queensberry, and his 
Duchess, after Kneller. He assisted Du Bosc in 
engraving the Duke of Marlboro's battles. He 
died at London in 1716. 

GUERNIER, Rene, a French engraver, men- 
tioned by Le Comte as a good artist in ornaments 
and grotesques. 

GUEROULT, Guillaume, a French engraver, 
who executed, according to Strutt, a set of wooden 
cuts for a Bible published at Paris in 1564. 

GUERRA, Giovanni, called da Modena, an 
Italian painter, designer, and architect, born at 
Modena in 1544. He visited Rome at the age of 
eighteen, where he made great improvement, and 
rose to considerable eminence. He executed a 
number of works in concert with Cesare Nebbia, 
and Lanzi says that both these artists were en- 



dowed with a facility essential to the vast works 
on which they were employed during the reign of 
Sextus v., in the chapel of S. Maria Maggiore, in 
the library of the Vatican, in the Quirinal and Lat- 
eran palaces, at the Scala Santa, and in other places 
Tiraboschi also mentions several pictures by Guer 
ra, which adoi'U the tribune of the church of the 
Rotonda, at Modena. He made a great number 
of designs of subjects from the Old and New Tes- 
tament, and from Greek and Roman history, some 
of which have been engraved. As an architect, 
he designed the Scala Santa at Rome, and the 
church of S. Maria di Paradiso and la Madonna 
delle Asse, at Modena. He died at Rome in 1618. 
GUERRI, DiONisio, a painter of the Venetian 
school and a native of Verona, who, according to 
Pozzo, possessed great talents. He was born in 
1610. studied under Domenico Feti, and formed a 
very clear and striking style of his own, which 
gave promise of excellence, but he died young 
in 1640, greatly lamented. Lanzi says he left a 
few works behind him, which are highly esteemed. 

GUERRIERE, Francois de la, a French en- 
graver, who lived about 1630, and executed, among 
other plates, a set of seventeen etchings, after the 
grotesque figures by Raflfaelle, in the Vatican. 

GUERRIERI, Gig. Francesco, born at Fossom- 
brone, in the Roman states, and flourished about 
1650. He painted in the style of Caravgiggio and 
Guercino, and there are a number of fine works 
by him in different cities, particularly one in the 
Filippini at Fano, of St. Carlo contemplating the 
Mysteries of the Passion, with two laterals, repre- 
senting subjects from the life of that saint, in 
which the style of Caravaggio is improved by 
softer tints, and more elegance in the forms. In a 
church at Fabriano is a picture of St. Sebastiano, 
by torchlight, in the style of Guercino, with a fine 
effect. 

GUEVARx^, Don Juan Nino de, an eminent 
Spanish painter, born, according to Bermudez, at 
Madiid, in 1632. His father was a captain in the 
Guards of the Viceroy of Arragon, and the latter 
took him under his protection and placed him in 
the school of Miguel Manrique, formerly a pupil 
of Rubens. Guevara subsequently studied at 
Madrid, under Alonso Cano, and with such ad- 
vantages he made great progress, combining the 
grandeur and correctness of Cano, with the ad- 
mirable coloring of Rubens. There are many of 
his works at Malaga, Cordova, and Granada. — 
Palomino mentions several of his portraits at Cor- 
dova, in the cloister of the Augustines, and com- 
pares them to Vandyck In the church de la 
Charidad at Malaga, is a fine picture of the Tri- 
umph of the Cross ; and in the cathedral, the 
Ascension of Christ, and the Assumption of the 
Virgin. He died at Malaga in 1698. 

GUGLIELMELLI, Arcangelo, a Neapolitan, 
mentioned in the Life of Solimena, as a very skil- 
ful painter of bamhocciati, in the Flemish man- 
ner. He flourished about 1750. See Peter dc 
Laer, called Bamboccio. 

GUGLIELMI, Gregorio, an eminent fresco 
painter, was born at Rome in 1714. It is uncer- 
tain with whom he studied ; some assign him to 
Trevisani. but Lanzi says he rather belonged to 
the school of Conca. He says also that his fresco 
paintings in the Hospital of the S. Spirito in Sassia, 



GUGL. 



381 



GUID. 



entitle him to rank among the most eminent young 
artists who painted at Rome in the pontificate of 
Benedict XIY. He left Kome early and went to 
Turin, where he executed some paintings in the 
church of S. S. Solutore e Comp. He afterwards 
went to Vienna, Dresden. St. Petersburg, where 
he painted in fresco, with much applause, for the 
respective sovereigns of those cities. Among his 
most esteemed works are the ceilings in the Uni- 
Tersity of Vienna, and the imperial palace at 
Schoenbrunn, which are highly extolled. He was 
remarkably facile in composition, his stj^Ie was 
elevated, and his coloring harmonious and pleasing. 
He also painted in oil, but this was not his forte. 
He died at Petersburg in 1773. 

GUGLIELMO, an old Venetian painter, sup- 
po.se(! to have been a scholar of Guariento. some 
of whose works are found at Venice, signed Gug- 
lielmus 'pinxit^ 1368. 

GUGLIELMO, or WTLHELM, a German archi- 
tect who visited ital}' about 1174, in which year he 
commenced the celebrated Leaning Tower of Pisa, 
in the rear of the cathedral, in concert with Bo- 
nano, an Italian architect. It is built of marble, 
177 feet high, decorated with 200 columns. It is 
not distinguished, according to Milizia, for beauty 
of design, or varietj^ of material, but from its sin- 
gular inclination of fifteen feet from the perpendi- 
cular. During its construction the archit^ects were 
not careful to sufficientl}^ secure the foundation 
by piles, and when it was half completed, the 
work gave way, which obliged them to strengthen 
the foundations on the inclining side. Nearly all 
the towers of Pisa, as w<3ll as many level lines and 
supports of the cathedral, and the observatory 
erected in 1755, incline towards the South, in the 
direction of the Anio. the soil there being weakest. 
Several authors assert that this bell-tower was 
purposely built inclining ; but an examination of 
the jambs and courses of the stones, which are 
broken and pendent, will counteract this opinion. 

GUIDI, Raffaelle, a Florentine engraver, born 
in 1540. Erora his style, it is supposed he studied 
under Cornelius Cort or Agostino Caracci. His 
design is tasteful and correct, and though inferior 
to Agostino. his plates possess great merit, and 
are executed entirely with the graver, in a master- 
ly manner. The following are the principal : 

King David playing on the Harp ; after Giuseppe Ce- 
sari. Daedalus and Icarus ; do. The Crucifi.xion ; after 
Christopher Schwartz. The Entombing of Christ ; after 
F. Baroccio. ..^neas carrying his father Anchises; do. 
Jupiter, with his Thunder ; after Polidoro da Caravag- 
gio. Vulcan, with his Hammer ; do. 

GUIDO. See Reni. 

GUIDO, AscANius. an Italian engraver, who 
lived about 1567. and executed among other plates, 
one of the Last Judgment, after Michael Angela] 
marked Ascanis. Don. Giiido faciebat. 

GUIDOBONO, Bartolomeo. This painter 
was born at Savona in 1654. His father was a 
painter on china, and had him instructed in draw- 
ing, to assist him in that art. The young artist 
afterwards copied several pictures by Benedetto 
Castiglione with such exactness that it was diffi- 
cult to distinguish them from the originals. He 
then went to Venice and Parma for improvement, 
and settled at Genoa, where he painted animals, 
fruit and fiowers with good reputation, and was 
much employed. His pencil was soft and pleasing, 



I and he was a perfect manager of the chiaro-scuro. 

There are also several fine pictures of fabulous sub- 

I jects by him, in the Palazzo Centurioni ; and in the 

I Palazzo Brignolc Sale, is an excellent picture of 

i Lot and his Daughters. He died in 1709. 

I GUIDOBONO, DoMENico, a brother of the pre- 

j ceding, was born at Savona, according to Ratti, in 

j 1670, and died in 1746. He painted at Genoa, 

i Turin, and in various other cities. He vras a 

I very unequal painter, sometimes surpassing his 

I brother, at others falling below him. Lanzi 

j says that his best works are distinguished by a 

delicate and -graceful pencil, and that his Glory 

! of Angels in the dome of the cathedral at Turin 

i is worthy of the school of Guido. 

j GUIDOTTI. Cav. Paolo, a painter and sculp- 
tor, born at Lucca in 1569, and according to Bag- 
lioni, visited Rome while young, in the pontificate 
of Gregory XIII , where he gained improvement 
from the study of the great works of art. He 
I was employed b}^ Sextus V. in several fresco 
[ works in the library of the Vatican, in the Scala 
I Santa, and in the palace of St. John of Lateran. 
In S. Giacomo dcgli Schiavoni, is a picture of St. 
Matthew ; and in the cupola of S. Maria in Monti, 
the Assumption of the Virgin, As a sculptor, he 
deserves considei-able praise. He executed several 
fine works, among which were a group of six fig- 
ures in white marble, presented to the Cardinal 
Borghese. on account of which Paul V. honored 
Guidotti with the knighthood of the order of 
Christ. He died at Rome, in 1629. 

GUIGOU; v.. a French engraver, who lived at 
Paris about 1076, and wrought for the booksellers. 
Among other plates, he executed several portraits, 
and views of chateaux, and other edifices. 

GUILLATN, Simon, a French sculptor, born at 
Paris in 1581; died in 1658. His father was a 
reputable sculptor of Cambray, and sent his son 
to Rome for improvement. He subsequently re- 
turned to France, and settled at Paris, where he 
gained great reputation, and v/as charged with 
many important commissions. He has the credit 
of being the first who proposed the weekly reun- 
ions of artists, from which arose at length the 
Academ}^ of Painting and Sculpture, and Guillain 
was one of its first directors. Most of his works 
were destroyed in the Revolution. Among the 
most important, were the Monument at the Pont 
au Change, consisting of the bronze statues of 
Louis Xill. and Anne of Austria, with Louis XIV. 
as a child. In the Musee des Monuments Fran- 
cais, are the statues by him which decorated the 
grand entrance of the' church of the Sorbonne ; 
the Four Evangehsts which were at St. Gervais, 
etc. He etched a number of plates, in a slight but 
masterly style, among which are twenty plates 
from the life of St. Diego ; and eighty plates of 
the Cries of Bologna, engraved in concert with 
Alessandro Algorgi ; all after Annibalc Caracci. 

GUILLAUMOT, Charles Axel. This eminent 
architect was born at Stockholm in 1730, of 
French parents, and went to Paris at the age of 
fifteen, to study architecture. In 1749 he visited 
various cities of Germany, and in 1750 went to 
Rome, where he carried away the first prize in 
architecture in the French Academy. In 1754 
he returned to Paris, and was employed by gov- 
ernment to erect the barracks of St. Denis, of Ru- 



GUTL. 



382 



GUIR. 



el, and of Courbevoie. At the death of Le Blanc, 
he was appointed chief engineer of Paris, which 
office he held eighteen 3-ears. In 1769, he laid out 
a camp for 25,000 soldiers in the environs of Yer- 
berie; constructed a bridge of boats across the 
Oise ; and the following year erected the barracks 
of Joigni. In 1773 he was chosen a Ro3'-al Acade- 
mician; and in 1789 was appointed Director of the 
Gobelins. He was honored with the Cross of the 
Legion of Honor, and was appointed director of 
the quarries under the city of Paris. Guillaumot 
was principally employed in public works ; among 
his private ones are the chateaux of Savigny and. 
de la Brosse, and the ecclesiastical palace of Veze- 
lar in Bourgogne. Pie also wrote several profound 
works on architecture. He died in 1807. 

GUILLAUME, Frere, an eminent French 
painter on glass, born at Marseilles in 1475. He 
was a member of the Order of Dominicans, and in 
concert with Frere Claude, a brother of the same 
order, executed man}^ excellent works in the south 
of France. Claude being invited to Rome by Bra- 
mante. took Guillaume with him, and they execu- 
ted two admirable works at Rome, which gained 
them great reputation. These were the windows 
of one of the Vatican galleries, and two more in S. 
Maria del Popolo. The latter still remain, and pre- 
serve their pristine brillianc}^ At the death of 
Claude, which happened soon after the comple- 
tion of the latter work, Guillaume applied himself 
with assiduity, and attained great skill in the art. 
He executed a window in S. Maria dell' Anima, 
which was much admired ; and the Cardinal da 
Cortona invited him to that place, where he paint- 
ed several windows for the Cathedral. His talents 
were also in request at Arezzo, Florence, and other 
cities. In the Cathedral at Arezzo, he painted sev- 
eral admirable works, among which were the Bap- 
tism of Christ, the Resurrection of Lazarus, and 
Christ driving the Money-changers from the Tem- 
ple. Not content with the fame he had acquired, 
Guillaume studied painting and architecture. In 
S. Maria de la Miseracordia, near Arezzo, is a fres- 
co painting of his execution. He established a 
successful school for teaching the art of painting 
on glass, which produced many excellent scholars. 
Among these were Vasari, who wrote his life ; Ben- 
edetto Spadari ; Battista and Maso Borro ; and 
Michele Angelo Urbani. Vasari highly extols his 
correct and noble design, the softness of his carna- 
tions, truth of his perspective, lively expression, 
and the brilliancy and harmony of his coloring. 
He says that the abilities of Guillaume deserve 
infinite praise; and that he first carried the art 
of glass painting in Tuscany to the highest degree 
of perfection. The state of Arezzo presented him 
with a territorial property, which afforded him a 
good income. He died in 1537, aged 62 years. 

GUILLEMART, a French engraver of uncer- 
tain age, who executed a number of plates for the 
booksellers, among which is that of the Abbe de 
St. Genevieve. 

GUINACCIA, Deodato, a Sicilian painter, born 
at Messina about 1510. He studied under P. da 
Caravaggio, while the latter resided at Messina, 
and finished the fine picture of the Nativity in the 
Chiesa dell' Alto Basso, left imperfect at the death 
of that master. He afterwards executed a num- 
ber of works, in the grand style of CaravaggiOj 



among which are the Transfiguration, in S. Salva 
tore de Greci ; and the Trinity, in the Pellegrini. 

GITIRRO, Francisco, a Spanish historical paint- 
er, born at Barcelona in 1630 ; died in 1700. He 
executed a number of fine works for the churches 
of his native city, among which are several at the 
convent of Recoletas. 

GUISONI, Fermo, a Mantuan painter, who 
flourished about 1568. He was a favorite pupil 
of Giulio Romano, and painted, in the dome of the 
cathedral, a fine fresco work from the cartoons of 
his master, representing the calling of Peter and 
Andrew, which is considered one of Giulio's best 
compositions. In S. Andrea is an excellent pic- 
ture of the Crucifixion, from his own design. 

[/pGULDENMUNDT, Hans, a German en- 
S\\j graver and printer, who flourished at Nu- 
remberg, according to Brulliot, from 1520 to 1550. 
Among other prints, there is one of two Soldiers 
standing, one of them holding a halbert, and the 
other a flag. It is executed in a bold, spirited 
style, and the figures are correctly dressed in the 
manner of the time. 

GUMIEL, Pedro de, a Spanish architect who 
flourished, according to Milizia. about 1500, and is 
supposed to have erected the church of S. Engra- 
cia at Saragossa, the fa9ade of which is of fine 
sculptured stone. In 1498 he commenced the col- 
lege of Alcala, a sumptuous edifice, built entirely 
of stone, and divided into three ample courts. — 
The first of these has a Doric portico, with arch- 
es, and two orders of galleries above, one having 
Doric columns, the other Ionic ; comprising in all 
ninety-six columns : the second court has thirty- 
two composite columns, and several fine heads be- 
tween the arches ; the third court has thirty-six 
Ionic columns, beyond which is the theatre. The 
church has Ionic columns, richly sculptured, and 
the whole edifice is executed in a masterly style. 

GUNDULPHUS, an old English architect, who 
flourished in the eleventh century. According to 
Vertue, he erected the cathedral at Rochester; 
also the Tower of London, so famous in English 
history. 

GUNST, Peter van, a Dutch engraver, born 
at Amsterdam about 1667. His style resembles 
the Drevets, and his plates are executed entirely 
with the graver, in a neat, clear style, although 
there is a want of eifect, and sometimes incorrect 
drawing. His works are principally portraits. 
His most important work was ten full-length por- 
traits, after Vandyck, of Charles L, his Queen, 
and some of the English nobility. He also en- 
graved nine plates of the Loves of the Gods ; af- 
ter Titian ; a set of portraits of Larrey's History 
of England ; and many others, among which are : 

PORTRAITS AFTER VANDYCK. 

Charles I. Henrietta Maria, his Queen. William Vil- 
lers, Viscount Grandison. Lucy Percy, Countess of Car- 
lisle. Viscount Chaworth. Margaret Smith, Lady Her- 
bert. Ann, Countess of Chesterfield. Lady Wharton. 
Elizabeth, Countess of Lindsey. Arthur Goodwin, of 
Winchendon, Bucks. 

PORTRAITS FOR LARREy's HISTORY. 

Edward VI. Edward Seymour, Duke of Somerset. Sir 
Thomas More, Lord Chancellor. Mary, Queen of England. 
Philip of Spain, her Consort. Mary, Queen of Scots. James 
Hamilton, Earl of Arran. Thomas Howard, Duke of Nor- 
folk. Sir Francis Walsingham. Cardinal Pole. Sir Richard 
Bacon, Lord-keeper. 



GUTT. 



383 



GUTT. 



VARIOUS PORTRAITS. 

King William III. ; after Brandon. Mary, his Queen ; 
do. Queen Anne ; after Kneller. George, Prince of 
Denmark ; after Wissing. John Churchill, Duke of 
Mai'lborough ; after Kneller. George I. ; do. Earl of 
Peterborough ; do. John Locke ; after Greenhill. John 
Dryden ; after Riley. 

GUTTENBERG, or GUTJSNBERG, John, an 
ingenious German artisan, born at Mentz about 
1400, to whom we are indebted for the invention 
of printing types. Although this subject does 
not come under the legitimate head of the fine 
arts, 3'et it is interesting to know that the German 
antiquarians have clearly proved, that John Gut- 
tenberg was the inventor of moveable wood and 
metallic types, and that he drew his first ideas 
from the earl}' wood cuts of the German engravers, 
explanations of which were given by letters carved 
on the blocks. When and where his first attempts 
at printing were made, can never be determined, 
for he never attached either his name or any date 
to the works he printed. This much is certain, 
that in 1424, he was living in Strasburg ; that in 
1436 he entered into a contract with Andrew 
Dryzehn, or Dritzehn, and others, binding him- 
self to teach them all his secret and toonderfid 
aris^ and to emplo}'- them for their common ad- 
vantage. The death of Dryzehn, which happened 
soon after, broke up the contract. In 1438 he 
made use of moveable types of wood. In 1443 he 
returned from Strasburg to Mentz. and in 1450 
formed a copartnership with John Faust, a rich 
goldsmith of that city, to carry on his art and 
mystery ; Faust agreeing to furnish the necessary 
funds. A third person concerned in this busi- 
ness was Peter Schuffer, or Schasffer, who had mar- 
ried the daughter of Faust. To him is allowed 
the honor of having invented punches and matrices 
for founding the type, thus perfecting the art. 
The first book they published was the Bible in 
Latin, called the forty-two lined Bible, because 
each page contained forty-two lines, published in 
1455. Guttenburg and Faust soon after disagreed, 
and dissolved their connexion in 1456, and a law- 
suit was the consequence. The result was that 
Faust retained the presses and printing materials 
of the establishment, and carried on the business 
conjointly with SchOffer. Faust and Schuffer in 
1459 printed a book called Durandi Rationale 
Divinorum Officiorum, and in 1462 another edi- 
tion of the Bible, in which year Faust went to Pa- 
ris to sell his books, where, it is pretended, he 
was arrested on supposition that he multiplied 
them by means of Lucifer, the art being kept a 
profound secret. This however is ascertained to 
have been mere fable, and his history has been 
mixed up with that of Doctor John Faust, or 
FaustuS; a very different person from the printer. 
It seems probable however, that the monks, who 
found the profits of copying diminished, became 
involved in a violent quarrel with him. and charged 
him with having formed a league with Satan. — 
Faust and Schuffer published the Bible in Ger- 
man, and several other books previous to 1466, 
when Faust again went to Paris, where it is sup- 
posed he died of the Plague. 

After the separation of Guttenberg and Faust, 
the former found means to carry on his business, 
and printed, soon after, as is supposed, a work 
entitled Hermanni de Saldis Speculum Sacer- 
dotum, in quarto, without date or name of printer. 



He likewise printed, as some maintain, four edi- 
tions of the Donat. (Latin grammar of Donatus) 
which others attribute to the office of Faust and 
Schuffer. In 1457 he printed the Psalter Math a 
typographical elegance that shows a rapid advance 
in the new art, and that it was cultivated with the 
utmost diligence. Guttenberg's printing office re- 
mained at Mentz till 1465, about which time he 
was ennobled by Adolphus of Nassau. From this 
time the art of printing rapidly spread over Eu- 
rope. Guttenberg died Feb. 24, 1468. 

GUTTENBERG, Charles, a German engraver, 
born at Nuremberg in 1744. He acquired the art 
in his own country, and then went to Paris for 
improvement, where he received further instruc- 
tions from J. G. Wille. His plates are numerous, 
and are engraved in a brilliant and agreeable style, 
with great delicacy of execution. He died at Pa- 
ris in 1792. Among his principal works are some 
plates in the Voyage Pittoresque du Royaume de 
Naples, by Abbe St. Non; also the following: 

The Portrait of Catherine II., Empress of Russia ; after 
Rotari. William Tell ; after Filessli. Le jDetit Bou- 
deur ; after Greuze. L'Invocation a TAmour; after 
Theolon. The Death of General Wolfe ; neatly copied 
from the print by Woollet. A pair of Views in Switzer- 
land ; after Schutz. 

GUTTENBERG, Henry, the brother and schol- 
ar of Charles G. ; born at Nuremberg in 1749 ; 
died about 1818. He executed many fine plates 
in the style of his brother after various masters, 
among which are : A Dutch family ; after C. 
Bega, A Repose in Egypt ; after Baroccio. A 
Mountainous Landscape ; after Dietricy. 

GUTTENBRUNN, L., a German painter, a na- 
tive of Dresden, who was a member of the Florentine 
Academy, from which it supposed that he studied 
in Italy. He visited England about 1789, and 
painted*^ portraits and histoiical subjects ; exhibit- 
ing for three years at the Royal Academj^, until 
] 792. when he went to Petersburg at the recom- 
mendation of the Russian Ambassador, and realized 
a fortune from his art, after which he returned to 
Berlin. Several engravings have been published 
from his drawings. 

GUTTIERER, or GUTTIEREZ, Gennaro, 
an Italian engraver, who lived about 1760. and exe- 
cuted several plates for the Museo Fiorentino; also 
a plate of the Virgin and Infant in the Clouds, 
after Carlo Maratti, in a neat style, similar to 
James Frey, but greatly inferior. 

GUYARD, Laurent, an eminent French sculp- 
tor, born at Chaumont, in Bassigni, in 1723. His 
parents were poor, and apprenticed him to a black- 
smith ; but one day while Voltaire and Madam 
Duchatelet were passing the shop where he w&s 
at work, they saw the sketch of a horse, which 
Guyard had drawn with a coal on the wall, and 
highly praised the attempt. This encouraged 
him, and he entered the school of Lallier, a repu- 
table painter of Chaumont ; but prefering model- 
ing, he studied under Landsmann, a sculptor of 
ornaments. Here he soon manifested fine tal- 
ents, and made great advances. On visiting 
Paris he was admitted to the school of Bouchar- 
don. 'and in 1750 carried ofi* the grand prize of 
sculpture. He then went to Rome, where he re- 
mained several years, and was employed by M. 
Bouret, to copy many antique statues, among which 
were the ApoUo Belvidere ; the Dymg Gladiator, 



GUY A. 



384 



HAAS. 



and Cupid and Psyclie. In 1767 he returned to 
Paris, and was invited to, Berlin by king Freder- 
ick; also to Parma by the Grand Duke, who 
possessed an admirable work by Guyard, a group 
of-^neas and Anchises. He accepted the latter 
invitation, and was loaded with honors by the 
duke, who employed him on several important 
negociations at Pome. He was elected a member 
of the academics of Bologna, Padua, and Parma ; 
and was employed to erect for the abbc}^ a monu- 
ment of St. Bernard, upon which he was employed 
when he died suddenly, at Carrara, in 1788. 

GUYARD, Adelaide Labille, a French paint- 
ress of reputation, born at Paris in 1749. She 
painted portraits in miniature, oil, and crayons, 
which have considerable merit. She married M. 
Vincent, a distinguished artist ; but is best known 
by her maiden name. She died in 1803. 

GYSEN, or GYSELS, Peter, a Flemish paint- 
er, born, according to Nagler. in 1510. He studied 
under John Breughel, called Velvet Breughel, and 
painted landscapes, in the highly finished style of 
his instructor, with small figures, neatly drawn ; 
also views on the Rhine, with boats, in the man- 
ner of Zachtleven. His small pictures are more 
highly esteemed than his larger ones, and possess 
considerable merit, though deficient in harmony 
of coloring. He died, according to Nagler, in 1570. 



H. 



HAACK, G. Marge LLus, a Hutch portrait 
painter, who was living in 1700, but of whom lit- 
tle is known. 

HAAG, J. F. C, a German portrait painter, 
died at the Hague in 1759, whither he had accom- 
panied his patron, William Charles Henry Friso, 
Prince of Orange. 

HAAG. Tethart Philip Chretien, son of the 
preceding, was born at Cassel in 1737, and died at 
the Hague in 1812. He was instructed by his fa- 
ther, and painted portraits ; but excelled in paint- 
ing horses, by which he gained great reputation. 

HAAN, Abraham de, a disciple of Cornehus 
Pronk, was born at Amsterdam, and died in 1748, 
or 1750, aged about 40 years. He painted por- 
traits and architecture, in oil and on glass. 

HAAN, David de, a good historical painter, 
but whose chief excellence was in battle-pieces. 
He was born at Rotterdam in 1602. studied in Ita- 
ly, and died at Rome in 1659, according to Balke- 
ma ; or in 1674, according to Fiiessli and Zani. 
He painted his own portrait when he was in his 
57th year. 

HAANSBERGEN, John van, was born at 
Utrecht in 1642, and died at the Hague in 1705. 
He was the scholar of Cornelius Poeleraberg, and 
for some time followed the manner of his master 
very closely, in landscape, figures, back-grounds, 
and ornaments; but at length his pictures lost 
their credit, in comparison with those of his mas- 
ter, being accounted inferior in correctness of 
drawing, in the delicacy of his figures, and neat- 
ness of touch. Under the advice of friends, he 
abandoned landscape painting, and applied himself 
entirely to portrait painting, with a success an- 
swerable to his most sanguine expectations. The 
tint of his coloring was exceedingly adapted to del- 



icate complexions, and he had a happy talent of 
succeeding in his likenesses. 

HAASTERT, Isaac van, a reputable painter 
of landscapes and views of cities, was born at 
Delft in 1753 ; w!is instructed by Jerome Lapis, a 
Venetian painter ; and died there in 1834. He 
published a collection of prints of wild animals, 
and translated a vrork on Physiognomy. 

HABERT, Nicolas, a French engraver, born 
at Paris about 1050. He engraved several por- 
traits of literar}^ and other celebrated persons, in a 
neat style ; also an emblematical print, in the style 
of and dedicated to Anthony Masson. We have 
by him the following : 

PORTRAITS. 

James II. ; after Kneller. Maria Louisa of Orleans, 
Queen of Spain ; after Champagne. Louis Maimbourg, 
a celebrated Jesuit ; after his own design. 1683. Cor- 
nelius Jansenius, Bishop of Ypres ; after Chavipagne. 
Felix Vialart, Bishop of Chalons ; do. John Milton.- 
John Dun ; called Scotus. Old Parr. 1715. 

HACCOU, John Cornelius, was born at Mid- 
dlebourg in 1798 ; was a student in the Academy 
in that city, and a pupil of J. H. Koekkoek. He 
visited France, German}^ and Switzerland, and 
finally established himself in London, where he 
died in 1839. He painted with considerable talent, 
winter scenes, lakes with vessels, moonlights, and 
landscapes. 

HACKAERT, or HAKKERT, John, was one 
of the ablest landscape painters of the Dutch 
school. He was born at Amsterdam in 1636. His 
master is unknown. His pictures are true to na- 
ture, and present to the spectator a view of what- 
ever is grand, pleasing, or uncommon in her as- 
pects. Some of his landscapes exhibit a beautiful 
and extraordinary eifect of sunshine penetrathig 
through rocks and openings in the woods. To 
furnish himself with subjects, he traveled through 
the most romantic parts of Switzerland and Ger- 
many. On his return to Holland, he lived on 
terms of intimacy with Adrian Vandervelde, who 
painted for him figures and cattle, giving great ad- 
ditional value to his pictures. Hackaert etched 
six landscapes from his own designs. They are 
inscribed Joannes Hackaert, inv. et fecit. He died 
in 1099. 

HACKEN, or HAECKEN, Alexander van, a 
Dutch mezzotinto engraver who resided in Lon- 
don. He engraved several portraits, of which the 
following, among others, possess considerable 
merit : 

George II. Caroline Wilhelmina, his Queen ; after 
Amiconi. William Augustus, Duke of Cumberland ; do, 
Charles Hamilton, Viscount Binning ; after Richardson. 
James Keith, Prussian Field-Marshal ; after Ramsay. 
General Wade ; after J. Vanderbanck. General Went- 
worth ; after Ravisarj. John Christopher Pepusch, mu- 
sician ; after C. Lucy. Carlo Broschi, ctilled Farinelli 'r 
do. 

HACKERT, James Philip, a Prussian painter 
and engraver, born at Prentzlau in 1737. His fa- 
ther was a portrait painter, and placed him under 
N. B. le Sueur, at Berlin. He afterwards visited 
Sweden, and made a number of drawings of the 
wild scenery of that country. He went to France, 
and was employed by the Bishop of Metz to paint 
several pictures for his chateau at Ivry. In 1768 
he visited Rome, and was employed by the Em- 
press Catharine to paint twelve pictures illustrat- 



HACK. 



385 



HAER. 



ing the n<aval successes of the Russians, which are 
now in the Imperial Gallery at Peterhof. He was 
much patronized by the Roman nobility, and paint- 
ed many admirable landscapes and marines for 
their palaces, among which are four grand paint- 
ings in the Villa Pinciana of the Prince Borghese. 
He was a faithful imitator of nature, and an adept 
in perspective; his pencil was vigorous, and color- 
ing harmonious. According to Nagler, he execu- 
ted a large number of works, which may be found 
in the best European collections. He died at Flo- 
rence in 1807. There are a number of etchings 
by Hackert, executed with great fire and spirit, 
among which are the following : Twenty-one views 
in Pomerania and the Isle of Rugen ; J. Ph. Hack- 
ert. fee. 1763, 1764. Six Views in Sweden ; do. 
Six Views in Norwa3^ Four Views in the King- 
dom of Naples. Rome, 1779. 

HACKERT, George, a younger brother and 
pupil of James Philip H., wasbgrnin 1755, and died 
in 1805. In 1786 he established himself as an 
engraver and print-seller at Naples. AYe have the 
following prints bj^ him, principally from the de- 
signs of his brother, James Philip : 

A View of the Environs of Carpentras. The Ruins of 
the Aqueduct at Frejus. Two Views of the Ruins of the 
Bridge of Augustus at Narni Two Views of Tivoli. A 
View of Rome, from the Villa Mellini. A View of Csstel 
Marc. A View of the Bay of Naples. A pair, Morning 
and Evening; after Gaspar Poussin. 

HACKERT, JoEiN Gottlieb, brother of the 
preceding, Avas born in 1744. He excelled in ani- 
mal painting. He studied in Italy with his bro- 
thers, went to England, and in 1773 exhibited sev- 
eral of his pictures at the Royal Academy. The 
same year he died at Bath. 

HAEFTEN, Nicolas van, was born at Gorcum, 
and flourished about the year 1700. He was a 
painter of portraits and merry meetings, and both 
etched and engraved. He painted and engraved 
his own portrait. 

HAELWEGH. A., a Flemish engraver, who en- 
graved several portraits and frontispieces for the 
booksellers, in a formal style. He resided at Co- 
penhagen for a time. We have the following by 
him : 

PORTRAITS. 

Sophia Amelia, Queen of Denmark and Norway ; after 
A. Wachters. Christian, Count of Rantzou, Minister of 
State : do. Louis, Landgrave of Hesse Cassel ; after Du- 
arte. The Duke of Argyle, in armor. The reverend pat- 
riot, G-eorge Walker, Governor of Londonderry. Jacob 
Oldenborg, Phil, Doct. ; after A. Houbraken. The Four 
Seasons ; after Karel van Mander. 

There were three Haelweghs, Adrian, Albert, 
and Adam, about whom there is great obscurity. 
There are prints by Adrian with the date 1673, 
and one by Albert with the date 1666, and some 
are quoted earlier. 

IIAERLEM, Cornelius Cornelisz, called 
Cornelius van, was born at Haerlem in 1562. 
The name of Cornelisz is an abbreviation of 
Cornehszoon, signifying the son of Cornelius, 
and probably his proper name should read 
Cornelius, son of Cornelius of Haerlem. He 
studied under Peter Aersten the Younger, called 
Long Peter, until he was seventeen years of age, 
when he embarked for Rome, intending to travel 
through France and Italy, but was prevented from 
landing on account of the plague raging in that 



city, and was forced to return to Holland. Soon 
after, at Antwerp, he became a disciple of Francis 
Pourbus, and afterwards of Giles Coignfet, under 
whom he made such rapid progress that, abandon- 
ing the intention of visiting Italy, he returned to 
Haerlem in 1583. Deprived of the advantages of 
visiting Rome, he collected for study and the 
formation of his taste, the most celebrated models 
and casts. He is said to have painted a large pic- 
ture of the Deluge, for the Earl of Leicester. Lie 
painted a large picture for the Hall of the Com- 
pany of Archers at Haerlem, which was an assem- 
blage of the portraits of the principal members of 
that society, but composed with the aiTangement 
of an historical pa,hiting, and was admirable in 
composition, coloring, and design. Many of his 
works are in the galleries at Vienna and Dresden. 
MuUer and Goltz have engraved many plates after 
him, among which are the Punishment of Tanta- 
lus ; the Fall of Icarus ; the Fall of Phaeton ; the 
Punishuient of Txion ; all by Goltz : and by Mul- 
ler. a large composition, rcpresentina: Fortune dis- 
tributing her Girt«. He died in 1638. The fol- 
lowing is a list of his monograms : 

^im:' (Hi6i4.^ 

HAERLEM, Dirk (Theodore) van, was born 
at Haerlem about 1410. Dirck of Haerlem^ Dirck 
of Louvain, and Theodore ^tuerhout. are all 
names applied to this one painter. Stuerbout was 
probably the family name, and the other names were 
given from the place of his birth or residence. He 
studied nature diligently, and had considerable mer- 
it for the age in which he lived. An ancient altar- 
piece by him in one of the churches of Leyden, 
representing Christ, is highly spoken of by Van 
Mander. On the folding doors are the figures 
of St. Peter and St. Paul, as large as life. It is 
less hard and dry than most of the works of his co- 
temporaries, and is highly labored in the finishing. 
There are also two large pictures undoubtedly by 
him in the private collection of the King of Hol- 
land, which were discovered in the Council House 
of Louvain. He died at Haerlem in 1470. 

HAESKEL, was a Dutch or Flemish portrait 
painter, who flourished about the middle of the 
17th century. His manner of painting resembles 
that of Dobson. It is probable, from the costume 
of his portraits, that he visited England. 

HAFFNER, Enrico and Antonio, two Bo- 
lognese painters, who studied under Canuti, and 
were employed at Rome, Genoa, and other places, 
in painting perspective pieces for the churches, in 
which branch of the art they excelled. Lanzi 
says they were the followers of Mitelli indelicacy 
and harmony of coloring. T\\qj painted much in 
concert. Enrico was chosen by Franceschini to 
paint the perspectives in the church of Corpus 
Domini at Rome. Antonio was invited to Flo- 
rence by the Grand Duke, to direct the execution 
of some works. He was superior to his brother 



IIAFF. 



386 



HATD. 



in invention, and in the sweet union of his tints. 
He joined the monks of the Order of St, Philip, 
in Genoa, and decorated their church, and other 
places in that city. Enrico was born in 1640. 
and died in 1702. Antonio was born in 1654. and 
died in 1732. 

HAFFNER. Melchior, a German engraver, 
who worked principal!}'' for the booksellers, and 
who flourished about 1680. His chief performance 
was a set of neatly executed portraits, for a work 
published at Vienna in 1673, entitled Templum 
Honoris ; also the frontispiece of a book called 
Rihliotheca Realis Universalis. 

"L_P\HAGEDORN, Christian Louis de, a 
JVl— /German engraver, who flourished about 
1745. He was an amateur, and etched landscapes, 
caricatures, and heads in a spirited style, from his 
own designs. The following is a list : 

Six sheets of Heads and Caricatures, called his Erster 
Versuch, or his First Essay ; dated 1744. Six sheets of 
studies of Heads, containing thirty-six heads ; in two of 
the slieets there are landscapes below the heads, with the 
cipher, and inscribed Appendix, 1744. Thirty-six Land- 
scapes ; called Landsc/iaften {Landscapes) ; dated in 
1744 and 1745; numbered. Six sheets, containing seven 
Landscapes ; called Neue Versuch ; dated 1765. 

HAGEN, John van, was born at the 






Hague, or, as some say, in the Duchy of 
Cleves, in 1635. His pictures are generally small, 
nnd mostly consist of views in the neighborhood 
ui' Nimeguen and Cleves. They are mostlj^mark- 
(.*(! 1G50 and 1662. One of his pictures, represent- 
ing a village, having in the foreground a sports- 
man with a servant and dogs, is in the Louvre. 
His manner was pleasing, but the coloring is much 
deteriorated, in consequence of the fading of the 
blue and green into black, from the too great use 
of Sphaltum, or Haerlein blue, a color generally 
used at that time. He died in 1679. 

HAGENS, Christopher, a Dutch engraver, 
lived about the year 1664. He engraved a por- 
trait drawn by himself, of Sir William Davidsone. 

HAID, John Jacob, was born at Wurtemberg 
in 1703, and died in 1767. He became an excel- 
lent portrait painter, under Ridinger of Augsburg. 
He was also distinguished as an excellent mezzo- 
tinto engraver. He engraved the portraits of the 
Illustrious Personages of Germany^ which, with 
their Lives, were published in 1741. The follow- 
ing are some of his best prints : 

Carl Ludwig, Count of Hohenloe. Christophorus Fri- 
dericus. Baron of Seckendorf. Felix Meyer, painter. Egi- 
dius Verhelst, sculptor. Joannes Carolus Hedlinger. sculp- 
tor. Marcus Fridericus Kleinert, painter. Georgius 
Brandmuller, painter. 

HAID, John Elias, the younger son of the 
preceding, was born at Augsburg in 1730, and 
died in 1809. He was instructed by his father in 
mezzotinto engraving, and engraved numerous por- 
traits of distinguished personages, and various 
subjects after different masters : 
portraits. 

Joannes Jacobus Haidius, Pictor et Calcographus ; after 
Graf. Antonius Graflf, Pictor ; seipsepinz. 1766. Jo- 
annes Koella Pictor Tigur ; J. Koella, pinx. 1776. Jo- 
hann Winkelmann ; after Liotard. 1782. 



The Nativity ; after Rembrandt. The Raising of Laz- 
arus ; do. 



IIATD, John Gottfried, also a son of John 
Jacob Haid, was born in 1730, or, according to 
Zani and Nagler, in 1710 ; and died in 1776. Like 
the preceding, he was instructed by his father in 
mezzotinto engraving. His works are numerous, 
and consist mostly of portraits. He engraved some 
plates in mezzotinto for Mr. Boydell. Some of his 
plates possess great merit. The following are 
some of the principal prints : 

PORTRAITS. 

George II. Maria Theresa, Empress of Germany. Jo- 
seph II., Emperor of Germany; after Weickart. 1770.' 
Lord Camden ; after Reynolds. Garrick, in the Farmer's 
Return ; after Zoffany. Foote, in the character of Ma- 
jor Sturgeon ; do. James Anthony Arlaud, painter ; af- 
ter Largilliere. 

SUBJECTS AFTER VARIOUS MASTERS. 

Virginia ; after Nathaniel Dance. Absalom's Submis- 
sion to his Father ; after F. Bol. Abraham offering up 
his son Isaac ; after Rembrandt. 

HAINZELMAN, Elias, an engraver born at 
Augsburg in 1640 ; died in 1693. He became a 
pupil of Frangois Poilly at Paris, and followed the 
manner of his master. His portraits in particu- 
lar possess great merit : 

PORTRAITS. 

S. Franciscus Xaverius, Societatis Jesu. Aegcdius 
Strauch, Theologies Doctor. 1682. Marcus Huberus, 
Reipubl. Augustanos Senator. David Thoman ab Hagel- 
stein, Juris consultus. Carolus liber Baro a Frieson. Ga- 
briel Wilier, Juris consultus. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Virgin presenting Pinks to the infant Jesus ; after 
Rqifaelle. Christ appearing to Magdalene ; after Albano. 
St. Francis praying before a Crucifix ; after Domenichino. 
The Virgin, with the Infant sleeping, and St. John, called 
the Silence ; after An. Caracci. This subject has been 
engraved by Michael Lasne, Stephen Picart, and Barto- 
lozzi. The Holy Family, with St. John presenting a Lamb 
to the infant Christ ; after Sebastian Bourdon. The Ho- 
ly Family, with the Virgin washing Linen ; do. The Ho- 
ly Family, with St. John presenting an Apple to the in- 
fant Jesus ; do. 

HAINZELMAN, John, a brother of the pre- 
ceding, was born at Augsburg in 1641, and died 
about 1700. He became, with his brother, a pupil 
in engraving of Frangois Poill}^ In design, he was 
more correct than his brother Elias. The follow- 
ing are some of his prints : 

PORTRAITS. 

John Sobieski, King of Poland ; J. Hainzelmann, del. 
et sc. 1684. The Elector Frederick William ; after le 
Clerc. Philippe Dufour, Chevalier ; Paris, 1682. J. B. 
Tavcrnier, Ambassador to Persia, in an Oriental dress. 
1679. Claude le Peletier, Minister of State. 1687. M. F. 
le Teller, Marquis de Louvois ; after F. Vouet. 

SUBJECTS AFTER VARIOUS MASTERS. 

The infant Jesus embracing the Virgin ; after An.. Ca- 
racci. The Virgin and Infant, with St. John ; after J. 
Guillebault. The Annunciation ; after Sebastian Bour- 
don. The Holy Family ; do. The Repose in Egypt ; do. 

HAKEWILL, Henry James, an English sculp- 
tor, born in 1813. His father was opposed to his 
following the career of an artist, but at length 
consented, and Hakewill commenced studying 
sculpture under Gass, in 1830. The following 
year he produced a clay model of such excel- 
lence, that it drew the silver medal, and his ad- 
mission as a student of the Royal Academy. In 
1832, he produced a statue of Sir Richard Beau- 
mont in armor, and soon after, one of Lady Beau- 
mont. His statue of Lord Gray, however, gained 
him the most reputation, and is indeed an admira- 



HAKK. 



i87 



HALL. 



ble work for so young an artist. Hakewill also 
produced a number of busts, and some capital de- 
signs. He bid fair to attain great eminence, but 
died in 1834, at the age of twenty-one, greatly re- 
gretted by the friends of art. 

HAKKERT. See Hackert. 

HAL, Nicholas van, an historical painter, born 
at Antwerp in 16G8, and died in 1738. His early 
pictures are much esteemed for their composition, 
color, and design. His latter productions display 
less merit. He painted the figures in the flower- 
pieces of Hardime and others. 

-7^XJ^HALBECK, John, was an engraver born 
JlV • at Copenhagen, and who executed, entirely 
with the graver, in a stiff and formal style, a vari- 
ety of prints. He engraved a large plate of the 
Heads of the Emperors, from Julius Caesar to 
Ferdinand II. ; also a set of grotesque ornaments, 
dated 1618. 

IIALBOU, John Louis, was born at Paris in 
1730. He was a pupil of N. G. Dupuis. We 
have, amongst others, the following prints by him, 
executed in a pleasing style : 

Le Jeune Aubergiste ; after Coquetet. Le galant Bou- 
langer ; do. Le Biiveur trop grave ; after F'. Mleris. 
La Toilette du Savoyard ; after Murillo. Le Terns perdu ; 
after P. A. Wille. Les* Intrigues araoureuses ; after 
Schenau. Lo Beau Commissaire ; after Eisen. La jolie 
Charlatane ; do. La Sultane favorite ;. after Jeaurat. 
Le Sultan galant ; do. 

HALDENWANG, Christian, an eminent land- 
scape engraver, was born at Durlack in 1779. For 
five years he lived in the establishment of Christian 
von Mechel at Basle, as an apprentice. Obtaining a 
sight of some of Middiman's and Woollett's views, 
he determined to make the latter his model. Du- 
ring the latter portion of his time with Mechel, he 
made some attempts at aquatint, and obtained the 
notice of the Chalcographic Society. In 1796 he 
went to Dessau, v/here he remained for eight years. 
His improved skill in landscape engraving pro- 
cured for him from Charles Frederic of Baden, 
the appointment of engraver to the Court of Carls- 
ruhe. He worked for the booksellers during the 
French ascendency in Germany. He executed 
four landscapes for the '• Musee Napoleon," after 
Claude and Ruysdael ; two masterly engravings 
for the '"Travels in Brazil ;" and the Views in the 
" Rhenish Pocket-book." As an engraver of land- 
scapes, he is awarded a high station by his coun- 
trymen. His best pieces are after Poussin, Claude, 
Hackert. Paul Potter, Claude, Ruysdael, Bolognese, 
and ^Isheimer. He has united vigor with judi- 
cious moderation, and freedom with delicate exe- 
cution and grace. He died at Rippoldsau in 1831. 

HALEN, Arnould van, a painter and engraver, 
who resided in Antwerp, and died there in 1732. 
He excelled in mezzotint, but is best known by 
his designs in chiaro-scuro. 

HALEN, Peter van, flourished at Antwerp 
about 16G0. He is said to have painted historical 
subjects, but is chiefly known as an excellent land- 
scape painter. He introduced a number of small 
figures to enliven his landscapes. 

HAIjL, Charles, an English engraver, born 
about the 3'ear 1720, and died at London in 1783. 
Originally a letter engraver, he was afterwards 
ruuch employed in engraving portraits, coins, med- 



als, and antiquities. His portraits are faithful as 
likenesses. Among them are the following : 
portraits. 
Thomas Howard, when Earl of Surrey, who gained the 
victory at Flodden Field. Henry Fitzallen. Earl of Arun- 
del ; after Holbein, Catherine, Marchioness of Pembroke ; 
after Passe. Mary Sidney, Countess of Pembroke ; do. 
Sir Francis Wortley ; after Hertocks. Sir George Barnes, 
Lord Mayor of London. William Hervey, Herald. Thom- 
as Goodrich, Bishop of Ely, Lord Chancellor. 

HALL, John, an English engraver, was born at 
Wivenhoe, near Colchester, in 1739. He went to 
London at an early age, and was placed under the in- 
struction of Mr. Ravenent the engraver. At the age 
of seventeen he executed an admirable drawing in 
pen and ink, in imitation of engraving, from which 
it is scarcely discernible. Sir Stephen Theodore 
Jansen and Jonas Han way, Esq., were his earliest 
patrons at London. He was, upon the decease of 
Woollett, appointed historical engraver to the 
king, and upon being introduced by Mr. West, pre- 
sented to his Majesty his print of the Battle of 
the Boyne. He engraved several plates for the 
collection of Mr. Boydell. All his engravings are 
what are called line or stroke engravings, and are 
executed in a bold and clear style, possessing 
great merit. The following are among his prin- 
cipal plates : 

PORTRAITS. 

Pope Clement IX. ; after Carlo Maratti. 1767. Sir 
Robert Boyd, Lieutenant Governor of Gibraltar. William 
Warburton, Bishop of Gloucester ; after Hoare. Richard 
Chenevix, Bishop of Killaloe. Richard Brinsley Sheridan, 
M. P. ; after Reynolds. Sir William Blackstone, Justice 
of the Common Pleas; after Gainsborough. George 
Colman; do. Edward Gibbon, historian ; after Reynolds. 

SUBJECTS AFTER VARIOUS MASTERS. 

Timon of Athens ; after Dance. William Penn treat- 
ing with the Indians for the Province of Pennsylvania ; 
after West. Oliver Cromwell dissolving the Long Parlia- 
ment ; do. The Death of the Duke of Schomberg at the 
Battle of the Boyne ; do. 

HALLE, Claude Guy, a French painter, was 
born at Paris in 1651, and died there in 1736. He 
was instructed by his father, Daniel Halle, an his- 
torical painter of little note. He does not appear 
ever to have travelled out of his native country, or 
to have had any superior advantages of instruc- 
tion. His coloring is pleasing and vigorous, but 
his design is mannered and constrained. He was 
in 1682 made a member of the Royal Academy 
at Paris. In the church of Notre Dame, is a large 
picture by him of Christ driving the Money-chang- 
ers out of the Temple, and an excellent picture of 
the Annunciation. There are several other pictures 
by him in the churches of Paris. 

HALLE, Noel, the son and scholar of Claude 
Guy IL, born at Paris in 1711. He gained the 
grand prize of the Academy, and went to Rome 
with the king's pension. On his return to Paris, 
he was admitted to the Academy, and soon gained 
a good reputation. His design is not in good taste, 
and his coloring is too red, but his architecture and 
perspective are most admirable. In 1771 he was 
appointed superintendent of the Gobelins, and ex- 
ecuted several fine works as m.odels for the manu- 
facture of the royal tapestries. Halle returned 
to Rome, where"^ he was made director of the 
French Academy, and on returning to Paris, was 
honored with the Cordon of St. Michael. There 
are manj works by him in the churches ami 



HALL. 



388 



KAMI. 



palaces at Paris, among which are the Prediction 
of St. Vincent de Paul, in the church of St. Louis 
at Versailles. He died at Paris in 1781. There 
are a few etchings by him from his own designs, 
among which is Antiochus thrown from his Char- 
iot, and the Companion. 

HALLEMAN. Thoivias, a portrait and histori- 
cal painter, concerning whom little is known, ex- 
cept that he flourished at Rotterdam about 169L 

n HALS, Francis, a celebrated Flemish por- 
IHtrait painter, was born at Mechlin in 1584, 
and died in 1666. He was a disciple of Karel van 
Mander. He was a cotemporary and friend of Van- 
dyck, and in their particular branch of the art of 
painting, he has been surpassed by none of the art- 
ists of his country, except by the latter. His col- 
oring is chaste but vigorous, and his heads are full 
of life and character. It is said that Vandyck in- 
vited him to accompany him to England where his 
talents would be properly rewaTded ; and that great 
painter was of the opinion that no Flemish artist 
would have equalled him, had he given more ten- 
derness to his coloring. He painted with remark- 
able accuracy and vigor, a large picture containing 
the portraits of the members of the Company of 
Archers at Delft for their hall. 

HALS, Dirk (Theodore.) a brother of the pre- 
ceding artist, was born at Mechlin in 1589. and 
died in 1656. He was a pupil of Abraham Bloe- 
maert. In early life he painted animals and hunt- 
ing scenes, but he afterwards changed his subjects 
for village festivals and merry-makings, which he 
treated with much humor. 

HALS, Nicolas, the younger son of Francis 
Hals, was a painter of landscapes and villages, with 
animals and figures. 

_^HAiMEL, A. B. du, was a French engraver, 
^ and resided at Paris about 1760, where he 
was employed chiefly by the booksellers. Amongst 
others we have the following portraits: Johot de 
Crebillon. Jean Jacques Rousseau. 

HAMILTON, Gavin, the author of Schola Ital- 
ica PicturcR^ was descended from an ancient Scotch 
family, and received a liberal education. He reached 
a reputable position as a painter, but is chiefly dis- 
tinguished for his enthusiastic attachment to, and. 
ardor in promoting the advance of the Pine Arts. 
The greater period of his life was spent at Rome, 
where he became a chaste and careful designer. 
He possessed such advantages from early educa- 
tion as a scholar and a painter, as gave to him a 
respectable rank among modern historical paint- 
ers. He is distinguished for a rigid adherence to 
the propriety of costume and a familiarity with 
the antique. His best pictures are from subjects 
taken from the Iliad : Achilles grasping the Dead 
Body of Patroclus, and rejecting the Consolation 
of the Grecian chiefs; Achilles dismissing Briseis; 
and Hector tied to his Car. He died in 1797. 

HAMILTON, William, a member of the Royal 
Academy, is supposed to have been born in Lon- 
don in 1751. When very young he went to Rome, 
where he studied several years. In England he 
soon became distinguished for his quickness of 
design, sweetness of style and beauty of coloring, 
and beloved for his gentle and amiable manners. 
He was actively and successfully employed in for- 
warding the magnificent enterprise of Mr. Boy- 



dell's Illustrations of Shakspeare; Macklin's Bib- 
lical and Poets' Galleries ; and that of English 
History b^^ Mr. Bowyer. In these undertakings 
he added to his own reputation and that of the 
enterprises in which he was engaged. His colored 
drawings are peculiarly tasteful and effective. 

HAMILTON, Charles William van, a paint- 
er of birds and insects, was born at Brussels in 
1668, and died at Augsburg, in 1754. 

HAMILTON, John George van, a painter of 
horses and animals, was born at Brussels in 1666, 
and died at Vienna in 1740. 

HANCOCK. R., an English mezzotinto engrav- 
er, who flourished about the year 1785. and by 
whom we have among others, the following por- 
traits : 

General William Kingsley ; after Reynolds. Lady- 
Chambers ; do. Miss Day, afterwards Lady Fenhoulet ; 
do. Mark Noble. Rector of Barming ; prefixed to his 
History of the House of Cromwell. John Wesley, M. 
A. ; after Miller. James Wright, of Frome ; after J. 
Wright ; scarce. William Hopley, Verger of the Cathe- 
dral of Worcester; do. Robert Hancock, Engraver, of 
Worcester; do. This print is called unique in Bromley'g 
Catalogue. 

HANDERIOT, FRAN901S, a French engraver, 
who engraved, among others, a print represent- 
ing St. John thrown into the Caldron of boiling 
oil. after C. Le Brun. 

HANDERIOT. See Anderiot. 

HANDMANN, Emanuel, a Swiss painter, born 
at Basle in 1718. He acquired the elements of 
design in his own country, after which he visited 
Paris, and entered the school of J. Res tout. He 
went to Italy, where he remained four years, and 
then returned to Switzerland. He painted por- 
traits and history with reputation, and many of 
his pictures have been engraved, among which 
are the portraits of Euler and Albert Haller. He 
died in 1781. 

HANGEST, Robert Marinus Frederick d. 
was born at Utrecht in 1746. While studying 
the law. he took lessons of Verstegh as an amateur 
in painting. His pictures are worth}^ of a profes 
sor. After the completion of his legal studies, he 
traveled on an artistical tour, painting views of the 
Rhine, rocky scenery, landscapes, with lakes and 
rivers, sunsets and moonlights. He died in 1810, 
and his pictures, about thirty-six in number, were 
distributed among his friends. 

HANNAN, William, a Scotch painter, who 
flourished about 1760. Originally an apprentice 
to a cabinet-maker, he afterwards became a paint- 
er, went to London, and received the patronage of 
Lord le Despenser, who emplo3^ed him to paint 
several of the ceihngs of his seat at West Wycombe, 
one of the designs being by Cipriani. Some of 
his landscapes were engraved by Woollett. He 
died in 1775. 

HANNEMAN, Adrian, was born at the Hague 
in 1611, and was a pupil of John Ravesteyn. He 
resided sixteen years in England. Mdiere he paint- 
ed the portraits of several of the nobility. He was 
a successful imitator of the style of Vandyck. He 
returned to Holland during the civil wars in Eng- 
land. He was made painter to Mary, Princess of 
Orange, and in 1665 was director of the Academy 
of the Hague. He painted a portrait of Charles 
II. before the Restoration. His best historical 



HANS. 



389 



HARL. 



performance is an emblematical picture of Peace in 
the Council Chamber of the States at the Hague. 
He died in 1680. 

flANSEN, Charles Louis, was born at Am- 
sterdam in 1765, and died in 1840. He was a pu- 
pil of Peter Barbiers Pieteisz, and painted land- 
scapes, interiors, and views of cities and villages. 

HARDIME, Peter, was born at Antwerp in 
1678, and died in 1748. at Dort, where he had re- 
tired during the latter part of his life. He was a 
scholar of his brother, Simon H., and became an ex- 
cellent flower painter, celebrated for his coloring and 
the arrangement of his groups. The best of his per- 
formances are four large designs representing the 
Seasons, in which he introduced all the fruits and 
flowers peculiar to each. They are in the monas- 
tery of the Bernardines near Antwerp. He ac- 
quired such reputation that his works were 
spread through all the Low Countries. His fruits 
and flowers are fine imitations of nature, freely 
handled, with an agreeable tone of coloring, and 
well finished. He, in conjunction with Terwes- 
ten, who painted the figures, ornamented the 
apartments of the Hotel of the Count of Was- 
seuaer. 

HARDIME. Simon, was born at Antwerp in 
1672. and died at London in 1737. He was the 
elder brother and instructor of the preceding art- 
ist, but was inferior to him in the practice of the 
same branch of the art. 

HARDOUIN, Michel, an engraver who flour- 
ished at Paris about the year 1680. He executed 
in a neat style, principally with the graver, the 
plates for a work entitled Livre des Plans, Pro- 
Jiles. et Elevations du Chateau de Clayny, pres 
de Versailles, published at Paris by M. Cossin, 
engraver to the king. 

HARDRINE, Peter. See Hardime. 

HAREFELDT, or HAREVELD, Bernard, an 
indifferent Flemish engraver by whom we have the 
Crucifixion, after Rubens. He flourished at Ant- 
werp about 1650. 

HARGREAVES, Thos., a reputable English 
miniature painter, born at Liverpool in 1775. — 
When young he evinced a talent for the art, and 
painted a miniature of a lady, which was shown 
to Sir Thomas Lawrence. The latter was much 
pleased with the attempt, and advised Hargreaves 
to visit London, which he did, and apprenticed 
himself to Lawrence. After spending several 
years in London, he returned to Liverpool, where 
he practised the art with considerable success. His 
pictures are esteemed for their firmness and breadth, 
as also for their faithfulness and natural ease of 
character. He died at Liverpool in 1846, and left 
three sons who are following their father's pro- 
fession with success in that city. 

HARING, Daniel, a portrait painter, born at 
the Hague about the year 1636. He painted the por- 
traits of some of the most distinguished families 
in Holland. His works were in the manner of 
Netscher, and though inferior to his, were much 
esteemed. He died in 1706. 

HARINGS, Mathew, a portrait painter, born 
at Leu warden, in 1636, or 1637. He produced 
excellent likenesses and well painted. 

HARLING, Daniel, a portrait painter, born at 
the Hague in 1636, and was probably the same art- 



ist as Daniel Haring, although mentioned different- 
ly by Immerzcel and Balkema. 

HARLOW, George Henry, was born at Lon- 
don in 1787. His father, an English resident at 
Canton, died a few months before his birth, and he 
was left entirely to the care of his mother. The 
son manifested a strong inclination for the arts, 
and was placed first under a landscape painter 
named De Cort, next with Mr. Drummond, and 
lastly with Sir Thomas Lawrence. Although em- 
ployed by the latter merely in filling in the dead 
coloring and other merely mechanical drudgery, 
yet his progress was rapid, and he acquired the 
peculiar style and character of that master's per- 
formances. His first historical picture was Bo- 
lingbroke's Entry into London ; the next was the 
quarrel between Queen Elizabeth and the Earl of 
Essex. This was followed by Hubert and Prince 
Arthur, from King John ; and the next was the 
Kemble family in the characters of King Henry, 
Queen Catharine, and Cardinal Wolsey, in the Trial 
of Queen Catharine. The last great work exhib- 
ited by him in London, was Christ healing the 
Woman who had an issue of blood. He painted 
most excellent portraits upon a small scale. In 
1818 he went to Italy, where he acquired great re- 
putation by the rapidity with which he copied the 
Transfiguration of Raffaelle. He there executed 
the Presentation of the Cardinal's Hat to Wolsey 
in Westminster Hall, which by the desire of Ca- 
nova was exhibited first at his own house, and af- 
terwards at the Academy of St. Luke, of which he 
was elected a member. In 1819 he returned to 
London, and died there in the same year, aged 
thirty-two years. 

HARNSIUS, P. A., an engraver who was born 
at Haerlem, and flourished about 1611. We have 
by him. among others, a plate of the Ecce Homo, 
from his own design, dated 1611, and the Funeral 
Procession of William Ludwich of Nassau, in four 
sheets, in a spirited style. 

HARP. Gerard van, an excellent artist, the 
di.sciple and happy imitator of Rubens in design 
and manner of coloring. He copied, on a reduced 
scale, some of his master's works so closely that 
good judges have mistaken them for originals by 
Rubens. His own compositions represent farm- 
houses and the festivals of peasants. His easel 
pictures are generally on copper. 

HARREWYN, Francis, an engraver born at 
Brussels about the year 1675, was the pupil of 
Romeyn de Hooghe, but inferior to his master. 
We have by him the following: 

PORTRAITS. 

Henry of Lorraine, Duke of Guise. Margaret o£ Valois. 

Albert, Archduke of Austria, kneeling, with a Book, and 

St. James by his side ; after Rubens. Isabella, Infanta 

of Spain, kneeling, with" St. Margaret presenting her a 

I Crown of Flowers ; do. Two Views of Rubens' House, 

i one from the court and the other from the garden ; Harre- 

j y^yn^ftjcit. 

I HARRIS. J., an English engraver, who flourish- 
! ed about the year 1700. We have by him a plan 
I of the Encampment of the Royal Army on Houns- 
low Heath; architectural views for the fourth 
I volume of the Vitruvius BriUanicus, published 
i in 1739 ; and views of gentlemen's country-seats, 
I engraved in conjunction with John Kip. 
i HARRIS. Moses, an English engraver, who 



HARR. 



890 



HAVE. 



flourished about 1778, and engraved a book of In- 
sects, with his own portrait prefixed. 

HARRISON, Thomas, an eminent English ar- 
chitect, born at Richmond, in Yorkshire, in 1744. 
He visited Rome, where he gained great improve- 
ment from designing the admirable remains of an- 
tiquit}'-, and was chosen a member of the Academy 
of St. Luke. On returning to England, he settled 
iit Lancaster, and was commissioned to design and 
execute the extensive improvements and alterations 
in the castle at that place. He rebuilt the court- 
house and gaol at Chester, and the new bridge 
across the Dee, formed of a single arch of two 
hundred feet span. He first proposed a grand 
quay on the Thames, to be built from Westmin- 
ster Bridge to that of Blackfriars. He designed 
the Doric column at Shrewsbury, in honor of Lord 
Hill ; and one for the Marquis of Anglesea, erect- 
ed near the residence of the latter, on the Straits 
of Menai. Among his other works, are the Lyce- 
um, and St. Nicholas' tower, at Liverpool ; and 
the Theatre and Exchange Buildings at Manches- 
ter. Harrison deserves great credit for first di- 
recting the attention of Lord Elgin to the marbles 
which the latter caused to be removed to England. 
He died in 1829. 

HARTCAMP. See Smits. 

HARTLEY, Miss, an ingenious young lady who 
etched a landscape dated Dec. 5, 1761 ; also a 
charming etching of Jedediah Buxton, the celebra- 
ted mathematician, from the life, dated 17G4. 

HARTZOEKER, Dirk or Theodore, was 
born at Utrecht in 1G96, and died in 1740. He 
studied in Italy under Bales tra, and was a good 
historical and portrait painter. 

HARWEYN, James, an engraver born in Flan- 
ders, who flourished about ] 696. and executed, in 
a neat, pleasing st^^le, several views of chateaux 
and gentlemen's seats in the Netherlands. 

HASSEL, Jacob van, flourished about 1650. 
He painted landscapes and views, principally taken 
from the environs of Rome. 

HATTIN, or HATTINS, John, an English en- 
graver, by whom we have a view of old St. Paul's, 
executed with the graver, in a neat but tasteful 
style. 

HAUGHTON, Moses, was born in Staflbrd- 
shire in 1734, and was first employed as an enamel 
painter, and an ornamenter of tea-boards. He 
afterwards devoted himself to painting still-life in 
water-colors, in which he attained considerable 
excellence. He died in 1804. His son Matthew 
engraved some of the ornaments to the first edi- 
tion of Roscoe's Life of Lorenzo de' Medicis. 

HAUGHTON, Moses, a nephew of the above, 
Tras born in Staffordshire about 1772, and was a 
pupil of the celebrated horse painter, Stubbs. He 
was distinguished in miniature, and also painted 
scriptural and moral subjects in oil. His portraits 
on ivor}^ and prepared paper, although in water- 
colors, have the appearance of oil paintings. He was 
a frequent exhibitor at the Academy, and number- 
ed among his friends the celebrated Fuseli, and 
numerous men of literary talents. " The Love- 
Dream" and " The Captive" have, among other of 
his works, been engraved. 

HAUSSARD, or HAUSSART, Jean, was born 
at Paris about the year 1700, and as an engraver 



was generally correct, clear, and neat in his style. 
He was a successful imitator of the style of Be- 
noit Andran. His best prints are those he en- 
graved for the Crozat collection, which are the fol- 
lowing : 

The Creation of Eve ; after Giulio Romano. Jupiter 
and Semele ; do. An allegorical subject ; after Sermo- 
neta. Christ driving the Money-changers from the Tem- 
ple ; after Bart. Marfredi. An Assembly at Table ; do. 
Moses striking the Rock; after P. Romanelli. The Rich 
Man and Lazarus ; after Dam. Feti. The Virgin and 
Infant ; after la Fosse. Pan and Syrinx ; after J. Corr- 
tin. 

HAVEr«, John, a German engraver, who 
flourished about the year 1612. We have 
by him some small copper plates ; also a set of 
wooden cuts of the portraits of the Electors of 
Saxony, executed in conjunction with Moses 
Thym. 

HA VERM AN, Margaret, the daughter of a 
school-master of Amsterdam, was a scholar of 
Jan van Huysum. She resided at Paris. Her 
works are held in high esteem, and are sometimes 
sold as those of Van Huysum. Many of his un- 
finished sketches, it is said, were completed by her. 

HAWKSMOOR, Nicholas, an ingenious and 
skillful Enghsh architect, born in 1666. At the 
age of seventeen, he became a scholar of Christo- 
pher AVren. He soon gained considerable reputa- 
tion, and was successively appointed deputy-sur- 
veyor of the building of Chelsea college, and clerk 
of the works at Greenwich, iij which posts he was 
continued by William III., Queen Anne, and George 
III. Under the reign of Queen Anne, a statute 
was passed for the erection of fifty new churches, 
and Hawksmoor was appointed surveyor of the 
works. He designed many of them, and erected 
the beautiful church of St. Mary Woolnoth ; 
Christ Church, Spitalfields ; and St. George, Mid- 
dlesex. He also built part of All Souls' College, 
Oxford ; a mansion at Easton Neston, Northamp- 
tonshire ; and assisted Vanbrughat Blenheim and 
Castle Howard. He died in 1736. 

HAYDON, Benjamin Robert, an English his- 
torical painter, was born at Plj^mouth in 1786. 
He was a student of the Roj-al Academy, but at 
an early period in his career became involved in a 
quarrel with that institution, and thereby defeated 
his chances of becoming a member. His impetu- 
osity of temper was ever leading him into contro- 
versies with those who gave tone to popular appre- 
ciation, and who were malevolently disposed to use 
their power against one who would neither render 
them homage or submit to their dictation. His 
ambition was to be the founder of an elevated 
school of art, for which he was qualified by his 
energy and knowledge. His enthusiasm made him 
despise the difficulties he had to encounter in over- 
turning the prejudices of long cherished tastes, 
and the enmity of those who, in their hatred of the 
man, overlooked the merits of the artist. When 
his adversaries, in imitation of his example, drop- 
ped the pencil and seized the pen, they aimed at 
him so many shafts of malice that he found no pro- 
tection against their attacks. Though the man 
was not crushed, he was involved in difficulties and 
pecuniary embarrassments which finally made him 
an inmate of the King's Bench prison, and only 
ended with his desperate and melancholy death on 
the 22d of June, 1846. Since his death, that merit 



HAYE. 



has been accorded to him which was denied to 
him when living, and the Queen and the most emi- 
nent of his countr3'men have provided the means 
of support to his widow and daughter. Haydon 
is now confessed to have been one of the most 
eminent of modern English historical painters; 
and though his productions are not to the taste of 
the manj'' of this fastidious age, j^et they are no- 
ble works, worthy of the best days of art. At 
the time of his death he was in the sixtieth year 
of his age. and his efforts as an artist had been 
continued nearly forty years. He exhibited his 
first picture, a Repose of the Holy Family, in 1807. 
In 1809, he received for his Dentatus the great 
prize of the Roj^al Institution. For his Judgment 
of Solomon, exhibited soon after, he received from 
the British Institution a present of one hundred 
guineas. In 1827. a pubhc subscription was made 
for his relief. While in prison, he painted his 
Mock Election, which was purchased by George 
the Fourth for five hundred guineas ; and its com- 
panion, Chairing the Member, which was bought 
by Mr. Francis, of Exeter, for three hundred 
guineas. Pharaoh dismissing Moses was pur- 
chased for five hundred guineas. Notwithstanding 
these liberal prices, his difficulties clung to him. 
and he turned his attention to portrait painting. 
Bat he would not flatter : his portraits were too 
life-like, and their boldness and vigor were rather 
annojang than pleasing to his sitters. His heads 
of men of intellect are many of them admirable. 
Among his most celebrated works in addition to 
those mentioned, are his Entry into Jerusalem, 
Lazarus, the Reform Banquet, the Anti-Slavery 
Society (the two latter being merely collections of 
portraits) ; Napoleon at St. Helena, of which he 
made four copies ; Wellington at Waterloo ; Nero 
playing on the Lyre, while Rome is burning ; Cur- 
tius plunging into the Gulf; and Alexander the 
Great encountering a Lion. At the time of his 
death he was employed on a large picture, the 
subject being Alfred the Great and the First Eng- 
lish Jury. But he saw a preference given to me- 
diocrity. While the public, to the number of 
120,000, during the week preceding his death, 
flocked to the exhibition of the dwarf Tom Thumb, 
Haydon's Banishment of Aristides, which was be- 
ing exhibited in an adjoining apartment, received 
the visits of only 133. He died desperate and bro- 
ken hearted. 

HAYE, Charles de la, a French engraver, 
was born at Fontainbleau in 1641. His style of 
engraving resembles that of Cornelius Bloemaert. 
His plates want harmony. Conjointly with Blo- 
emaert. Spierre, Blondeau, and others, he engraved 
the paintings by P. da Cortona in the Palazzo 
Pitti at Florence. The following are among his 
best prints : 

The Virgin and Infant, with St. Catherine and other 
Saints ; after Ciro Ferri. St. Philip JSTeri kneeling be- 
fore the Virgin ; do. Coriolanus refusing to see the Roman 
Ambassadors ; do. The Grecian Philosophers in Confer- 
ence ; after Romanelli. 

HAYE, Renier de la, a Dutch painter of scenes 
in private life, after the manner of Terburg and 
Metzu. He lived about 1670. 

HAYLS, John, an English portrait painter of 
the time of Charles the Second. There are seve- 
ral portraits by him at Woburn, the seat of the 
, Duke of Bedford, of the Russell family, painted in 



391 HAYM. 

a good style. He also painted the portrait of Fa- 
ther Pep3^s and Flatman the poet. He was a ri- 
val of Sir Peter Lely, and copied the paintings of 
Vandyck with extraordinary talent. He died in 
1679. 

■J. I' -HAYM, NicoLO Francesco, an Italian en- 
Jr^O. graver who resided in London in the year 
1719, when he etched the plates for a work he 
published, entitled Tesoro Britannico. 

HAYM AN, Francis, an English artist, was 
born in 1708, and died in 1776. He was a scholar 
of Robert Brown, a portrait painter in London, 
and acquired considerable reputation as an histori- 
cal painter. He decorated Vauxhall Gardens with 
historical pictures. He wa5 much employed by 
the booksellers, for whom he furnished drawings 
for Moore's Fables, Congreve's Works, Newton's 
Milton, Hanman's Shakspeare, Smollett's Don 
Quixote, Pope's Works, &c. He etched a few 
small plates, one of which represents Falstaff seat- 
ed on a Drum. He was one of the first members 
of the Royal Academj-, and was librarian at the 
time of his death. 

HAYNSWORTH, William, an English engra- 
ver, by whom we have a portrait of Richard Crom- 
well, and also a copy of the print by Jerome David 
of Geffro)'- le Grandent le Lusignan. He was an 
indifferent engraver. 

HEAD, Gdy, was the son of a house painter of 
Carlisle, and at an early age was enabled, by the 
patronage of a gentleman, to visit Italy. He there 
painted the portraits of several gentlemen, and 
copied their most valuable paintings, which he con- 
ceived to be the best method of perfecting himself 
in the art of painting. He painted some original 
pictures, which, although rather dry in the outline 
and tame in execution, still are not without merit. 
He returned to his native country with a large 
collection of drawings, designs, and copies of the 
finest pictures in the Vatican, with which he in- 
tended to make an exhibition ; but while prepar- 
ing a room for that purpose he died, in the early 
part of 1801. 

HEAPHY, Thomas, an Enghsh painter and en- 
graver, who died in 1835. He gained some repu- 
tation, and enjoyed considerable patronage as a de- 
lineator of low life. Afterwards he turned his 
attention to portrait painting, and executed the por- 
traits of Queen Caroline, the Princess Charlotte. 
Prince Leopold, and the Duke of Wellington. In 
1831 he visited Italy, and copied many celebrated 
paintings. He was of a most versatile genius. 
Brought up as an engraver, he was also an admirable 
painter in water-colors as well as in oil, and pos- 
sessed much ingenuity and mechanical invention. 
But he was changeable and intractable. His works 
possess much simplicity and truth, delicacy of col- 
oring, and appropriate expression. He was the 
first president of the Society of British Artists. 

HEARNE. Thomas, was bornatBrinkworth,in 
Wiltshire, in 1744 ; died in 1817. He was for six 
years an apprentice to Mr. Woolett, the engraver. 
At the expiration of that time, he accompanied Sir 
Ralph Payne as draughtsman, to the West India Is- 
lands, where he remained five years. In 1778 he as- 
sociated with Mr. Byrne in the publication of the An- 
tiquities of Great Britain, for which he executed the 
whole of the drawings. His works are chiefly to 
be found in private collections, and are execute<l 



HEAT. 



392 



HECK. 



with care and fidelity. He was peculiarly distin- 
guished for all that is excellent in painting of land- 
scapes in water-colorSj and has been styled the fa- 
ther of that art, 

HEATH, James, an eminent English engrayer, 
born in 1756. His fame extended all over the con- 
tinent, and was by no one more highly appreciated 
than by the celebrated Raphael Morghen, at Flor- 
ence. During many 3'ears he confined himself to 
book illustrations, but afterwards struck out a 
more enlarged sphere for the display and exercise 
of his talents, and executed many admirable spec- 
imens of the art. Among these are the death of 
Maj. Pearson, and the Death of Lord Nelson, after 
West ; the Dead Soldier, from a picture by 
Wright of Derby ; a whole-length of Gen. Wash- 
ington, engraved from Stuart^s well-known por- 
trait in the possession of the Marquis of Lans- 
downe ; the portrait of Pitt, from the statue at 
Cambridge University ; and several scenes from 
Shakspeare, after Smirke and Peters. He died in 
1834. 

HEATH, Charles, a reputable English engra- 
ver, born in 1784. He was the son and scholar 
of James H,. and acquired considerable distinc- 
tion by his illustrations of the various Annuals of 
the day. His plates are executed with a delicacy 
of line which was well adapted for book illustra- 
tions, and these are much superior to his larger 
works. Some of his plates after the single figures 
of G. S. Newton, R. A., were treated in exquisite 
style 5 and his portrait of Lady Peel, after Law- 
rence, deserves high praise. He died in 1848. 

HECK, John van, an eminent Flemish painter, 
born at Quaremonde, near Oudenarde, about 1625. 
At an early age he went to Rome, where he pur- 
sued his studies, and resided many years, enjoying 
a great popularity. He was particularly patron- 
ized by the Duke of Bracciano. He painted flow- 
ers and fruit, landscapes and vases, in imitation of 
the antique, in all of which he manifested a fine 
taste and pleasing composition. His productions 
were held in high esteem. In 1660 he returned 
to Flanders, and resided at Antwerp until the pe- 
riod of his death, in 1669. 

HECK, Nicholas vander, was born at the 
Hague about the year 1580, and died in ] 638. — 
His great excellence was in landscape painting, but 
he also distinguished himself in historical paint- 
ing. His drawing was bold and firm, and his col- 
oring natural and lively. By his knowledge of the 
chiaro-scuro he gave a striking effect to his pic- 
tures. In the Town House at Alkmaer are three 
compositions by him. The first is the Beheading 
of the Bailiff of South Holland ; the second is the 
Flaying alive of an unjust Judge by Cambyses ; 
and the third is the Judgment of Solomon. He 
was one of the founders of the Academ}^ at Alk- 
maer in 1631. 

HECK, Martin Hemskerk vander, the son 
of the preceding artist, by whom he was taught 
drawing, design, and coloring. He was inferior 
to his father, particularly in landscape painting. 
His principal subjects are views of old castles and 
ruins, painted in the dark style of Roland Rog- 
man, 

HECKEL, G. van. a Dutch artist, who flour- 
ished about the year 1660. He is supposed, from 
his style, to have been a pupil of Gerhard Douw, 



He designed and colored well, and managed his 
masses of light and shade admirably. 

HECKENAVER, Leonard, a German engra- 
ver, born at Augsburg about the year 1640. He 
engraved several plates for the Academia Artis 
Pictoriae by Sandrart, published in 1683 ; also a 
Holy Family, after Pietro Libert, dated 1675. 
His plates are formal and heavy, done principally 
with the graver. 

HECKINS, Abraham, engraved a set of orna- 
ments for goldsmiths and jewelers in a neat style, 
dated 1634. He is supposed to have been a gold- 
smith. 

HECQUET, Robert, a French engraver, was 
born at Abbeville about the year 1730, and resided 
several years in Paris. He engraved a Woman 
Bathing, after Nicolo Poussin ; also four small 
plates from the large plates of the Labors of Her- 
cules by Rousselet, ujter Guido. 

HEDA, GuiLLAUME Klaasz. was born at Haer- 
lem in 1594. His pictures of still-life, insects, 
flowers, and fruit, were in the manner of De Heemj 
and were held in high esteem, Jacob de Bray 
painted his portrait in 1678, when he was in his 
eighty-fourth year. 

HEDLINGER, Chev. John Charles, a cele- 
brated Swiss medalist, born in the canton of 
Schweitz in 1691. In 1709 he was placed under 
William Graver, director of the Mint at Sion, 
where he made rapid progress. In 1717 he visit- 
ed Paris, where he acquired the friendship of 
Charles Roettiers, medalist to Louis XV., and of 
Nicholas de Launai, who engaged him to execute 
several medals for the king. After residing 
eighteen months at Paris, he proceeded to Sweden, 
and was appointed director of the mint, by Charles 

XII, In 1723 he was invited to Russia, with the 
offer of the appointment of medalist to Peter the 
Great ; but he declined. In 1726 he visited Italy, 
and while at Rome executed a medal of Benedict 

XIII. After visiting Venice, he proceeded through 
Germany to Copenhagenv where he remained a 
year and a half, and then returned to Stockholm. 
The Empress of Russia having requested the 
Queen of Sweden to permit him to make a short 
visit to St. Petersburg, he went there in 1735, 
and executed an admirable medal of her imperial 
majest}^ After two years he returned to Stock- 
holm, loaded with favors. In 1748 he went to 
Nuremberg, to execute the medals distributed as 
prizes by the Academ^^ of Berlin, for which he re- 
ceived the first impressions of each in gold, and 
was elected a member. He died in 1771. All his 
medals were engraved and published in Switzer- 
land, by M. Mecheln, under the title of CEuvres de 
Chevalier Hedlinger, 1776, fol. 

HEEDE, William van, was born at Furnes, 
in Flanders, in 1660, When young, he traveled 
in France and Italy, where he resided many years. 
On his return to Flanders, he was invited to the 
court of Vienna, and was much patronised by the 
Emperor, and the German princes. In the church 
of St. Walbourgh, at Furnes, is a capital altar- 
piece by him, representing the Martyrdom of a 
Saint. His pictures are finely composed, correctly 
drawn, and richly and harmoniously colored. His 
works are better known and more highly esteemed 
in foreign countries than in his own. He died in 
1728. 



HEED. 



a?3 



HEGR. 



HEEDE, Vigor van, a younger brother of the 
preceding artist, was born at Furnes in 1661. He 
accompanied his brother to Italy, but returned be- 
fore him. He was distinguished as a painter of 
still life, but was very inferior to his brother as an 
historical painter. 

HEEM, David de, the father of John David 
de Heem, was born at Utrecht in 1570, and died 
in 1632. Many of his productions are claimed by 
their possessors as the works of his son. He was 
an excellent painter of fruit, flowers, and still life. 
A group of flowers by him is in the Museum at 
Brussels. 

HEEM. John de, a son of the preceding, was 
born in 1603, and died in 1650, He was a pupil 
and careful imitator of his father in subjects and 
execution. There is a picture of still life by him 
in the Museum at Amsterdam. 

HEEM, John David de, also a son of David de 
Heem, was born at Utrecht in 1600. He received 
his instructions in painting from his father, but 
soon surpassed him, and rose to the height of per- 
fection in the particular line which he adopted. 
His pictures of fruit, flowers, and insects, were en- 
riched with vases of gold and silver, musical instru- 
ments, ornaments of glass, crystal and gems. He 
had a perfect knowledge of the chiaro-scuro, and 
he grouped his objects admirably, colored them ex- 
quisitely, and gave them the highest and most 
delicate finish. His imitations of insects, crystal 
and glass have particularly the appearance of re- 
ality. His pictures were eagerly sought after, and 
purchased at high prices. In 1671, on account of 
the troubles of the times, he was obliged to leave 
Utrecht for Antwerp, where he died in 1674. 

HEEM, Cornelius de, the son and scholar of 
the preceding artist, was born at Utrecht in 1623. 
He painted similar subjects to those of his father, 
but they are far inferior, though well colored and 
highly finished. 

HEEMS, N. van, was born at Rotterdam, and 
iis only known as an admirable copyist of the pic- 
tures of the Chevalier and Peter vauder Werf. 

HEERE; Lucas de. was born at Ghent in 1534. 
His father, John de Heere. was a sculptor and arch- 
itect, and his mother, Ann Smyters, painted land- 
scapes in miniature. He was instructed by his 
father in design, and placed under Francis Flo- 
ris, and soon became his equal, and even supe- 
rior in composition. On quitting Floris he went 
to France, where he was employed by the court 
for some 3'^ears in drawing designs for tapestry. 
On returning home he gained much applause in 
portrait painting, and he had such a retentive 
mind, that if he saw a person but once he could 
draw his perfect likeness* from memory. In the 
church of St. Peter at Ghent, is an altar-piece re- 
presenting the Descent of the Holy Ghost, and on 
the folding doors the Last Supper, by him. In the 
church of St. John is a picture of the Resurrec- 
tion, and on the folding doors Christ and his Dis- 
ciples at Emmaus, and his appearance in the garden 
to Mary iNIagdalene. He visited England in the 
reign of Queen Elizabeth, where he painted her 
majesty's portrait, and was^jimch employed by the 
nobility. His manner is stiff, but his coloring and 
draperies are good. He died at Ghent in 1584. 

HEERSCHOP, Henry, was a pupil of Rem- 



brandt, and lived about 1649. In the collection 
of Cassel is a picture by him representing a soldier 
and a woman playing cards. 

HEGRET, Theodore, a scholar of C. Beering, 
was born at Malines in 1643. In the churches and 
convents of his native city are several pictures by 
him. 

HEIL, Daniel van, was born at Brussels in 
1604, and died in 1662. He first acquired rep- 
utation as a landscape painter, but is more dis- 
tinguished for his pictures of conflagrations and 
winter pieces. His coloring was brilliant, well 
suited to his subjects, and he was well acquainted 
with the management of chiaro-scuro. His pic- 
tures are numerous. Among the most celebrated 
of them are The Destruction of Troy and the 
Burning of Sodom. 

HEIL, John Baptist van, the younger brother 
of the preceding artist, was born at Brussels in 
1609. and was living in 1661. His chief merit 
was in portrait painting, but he also painted some 
historical pictures which are to be found in the 
churches of his native city. 

HEIL, Leo van, the youngest of the brothers 
Heil, and was a painter of architecture, flowers, and 
insects. He etched a plate of a Dance of Flem- 
ish villagers ; after Rubens. He is more known 
as an architect than as a painter. Some date his 
birth in 1603, and others in 1605. 

HEINCE. Zachary, a French engraver who 
flourished about the year 1690, and who, conjoint- 
ly with Francis Bignon, engraved a set of portraits 
of personages of France after the pictures by Simon 
Vouet in the Palais Royal. They were published 
in 1790, and are etched in a spirited style. 

HEINS, or HEINSIUS. Gioseffo, See Ens. 
HEINS, a German painter and engraver, who 
visited England, and resided at Norwich about 
1740. He painted several portraits, and engraved 
some of them in mezzotinto, in a very inferior 
style. Among them is that of Thomas Gooch, 
bishop of Norwich, half-length, signed Heins, pinx. 
et fecit. 1741. 

HEINS, J., the son of the preceding, was born 
I at Norwich about 1740. His father apprenticed 
I him to a woolen manufacturer, but he afterwards 
I devoted his attention entirely to art, and painted 
• portraits in oil and miniature, but succeeded bet- 
I ter in engraving. His plates are executed in a 
I style resembling that of Worlidge, by scratching 
with the dry point, without the help of aquafortis. 
He made the drawings for the views and monu- 
ments of Bentham's History of Ely ; and engraved, 
among other plates, a print of a cat and kittens, 
after Collet; and the portraits of Mr. Grasse and 
his wife. He died at Chelsea in 1770. 

HEINS, W. C. This engraver was probably a 
native of Germany, and flourished about 1640. 
Among other portraits, he executed several for 



Boissard's Bibliotheca Chalcographica. 

HEINTZ, Joseph, a Swiss painter, and a native 
of Berne, flourished in the latter half of the 16th 
century. His instructor is not mentioned, but he 
was a reputable historical painter, and was in- 
vited to Prague by Rodolphus II., who favored 
him with his patronage, and sent him to Italy for 
improvement. He visited Parma and studied the 
works of Correggio with great assiduit}-. On re- 



HEIN. 



394 



HELM. 



turning to Germany, he gained considerable repu- 
tation, and painted a number of excellent works, 
somewhat in the style of Correggio, among which 
are three pictures of Jupiter and Leda, Diana and 
Acteon, and the Kape of Proserpine. 

HEINZELMAN. See Hainzelman. 

HEISS, Christopher Elias, a German painter 
and engraver in mezzotinto, born at Memmingen, 
in Suabia. about 1670. He painted portraits with 
reputation, and was among the first German art- 
ists that practised mezzotinto engraving on a large 
scale, some of his plates being about two feet wide, 
and three feet high. They possess considerable 
merit for the time, although indifferently drawn, 
and executed in a dark heavy style. The follow- 
ing are his principal prints : 

PORTRAITS. 

Petrus Alexiewitz, Czar, et Magn. Dux Moscoviae. Fri- 
dericus August. Eex Polon. et Elect. Saxon. ; after Hoyer, 

SUBJECTS AFTER VARIOUS MASTERS. 

St. Paul and St. Anthony, the first Hermits. Christ 
praying on the Mount ; a large plate ; after C Maratli. 
The Virgin and Infant on a globe ; do. The Adoration of 
the Shepherds ; do. The Annunciation ; after J. G. Berg- 
tauller. 

HBKEL, Augustine, a German en£2,Taver, born 
at Augsburg about 1690. He visited England, and 
practised ornamenting gold and silver with great 
success, so that his reputation exceeded that of 
any other artist of his time. He drew views in 
water colors, some of which were engraved by 
Bowles and Sayer. He also executed eight small 
plates of views in Richmond and its environs ; a 
Horse after Wootton ; and a Book of Flowers. 
He had a sister, who engraved several plates for 
Kilian's Bible, in a ver}^ neat style. 

HELIODORUS, a Greek sculptor, who is men- 
tioned by Pliny as exceUing in statues of wrestlers, 
warriors, hunters, and priests. In the time of 
that author, there was a master-piece by Helio- 
dorus, in the portico of Octavius at Rome, — a 
Symplegma, or combat of wrestlers with their 
limbs interlaced in violent struggle. It is, how- 
ever, supposed by some, that this work, and the 
famous Symplegma by Cephisodotus, are by the 
same hand. 

HELLE, Isaac del, a Spanish painter, who 
flourished about 1568. He is said to have been a 
scholar of Michael Angelo, but this is uncertain, al- 
though he seems to have studied the style of that 
master. He painted for the Cathedral of Toledo 
a fine picture of St. Nicasius, which Pons mistook 
for the work of Berruguette ; wherefore he may 
be considered as an artist of excellent abilities. 

HELM AN. Isidore Stanislaus, a reputable 
French engraver, born at Lisle in 1743 ; died about 
1798. He early went to Paris, and entered the 
school of Le Bas. of whom he became one of the 
best disciples. His plates are executed in the neat, 
finished style of his instructor. Helman pub- 
lished three pictorial works illustrative of Chinese 
history, and engraved the plates himself. Among 
others the following are by him : 

Joseph and Potiphar's Wife ; after Lagrenee. Susan- 
na and the Elders ; do. The Death of Cleopatra ; do. 
The Useless Precaution; after le Prince. The Useless 
Lesson ; do. The French Quack-Doctor ; after Bertaux. 
The German Quack-Doctor ; do. The Temple of the Si- 
byl at Tivoli ; after Robert. 

HELMBRECKER, Theodore, an eminent 



Dutch painter, born at Haerlem in 1G24. His 
father was a musician, and intended him for the 
same profession; but his genius leading him to 
painting, he was placed in the school of Peter 
Grebber, at the time that Sir Peter Lely was a pu- 
pil of that master. On the death of Grebber he 
visited Italy, and found at Venice a generous pat- 
ron in Senator Loredano, for whom he executed 
several excellent works, which gained him consid- 
erable reputation. He then visited Rome, and 
met with a liberal protector in Cardinal de' Med- 
icis ; after which he spent some time in Florence 
and Naples. On returning to Haerlem, he met 
with most flattering encouragement, and received 
so many commissions, that it was with difficulty 
he fulfilled them. This capital success, however, 
did not detain him in Holland : returning to Ita- 
ly, he settled at Rome, where he was immediately 
employed by the Jesuits, for two years, and exe- 
cuted some of his finest pictures for that Society. 
He painted history and landscape ; also markets, 
fairs, public places, and views in Rome, with monks 
administering alms to the poor. His vrorks are 
most admirably composed ; his figures designed 
with elegance and taste, with the most expressive 
character ; his touch is broad and free, and his 
coloring clear and harmonious. His landscapes 
have abundance of truth, variety, and nature, pro- 
ducing a striking effect; his animals and figures are 
finished with a free and delicate pencil, and his I 
chiaro-scuro is managed with great inteUigence. I 
He sometimes resembles Bamboccio in the subjects 
and tone of his pictures, but they are painted in a 
more elevated stjde. His most admirable works 
are of a small size. At Rome, in the church of 
the Jesuits, is a noble landscape by Helmbrecker, 
in which is introduced the Temptation of Christ 
in the Desert. At Naples, in the Refectory of the 
Jesuits' College, are three sacred subjects, most 
admirably executed; Christ in the Garden; Christ 
carrying his Cross ; and the Crucifixion. At Am- 
sterdam is a most capital work, representing a 
convent, of which the architecture is in the Italian 
taste, excellently designed, and highly finished ; 
and before the building appear a number of men, 
women and children, who are being served by 
monks with victuals. He died at Rome in 1694. 

HELMONT, Lucas Gassel van, a Flemish land- 
scape painter, born at Brussels in 1480 ; died in 
1528. His pictures are very rare. 

HELMONT, Matthew van, a Flemish painter, 
born at Brussels about 1650. He studied under 
D. Teniers, and painted similar subjects to those 
of that master, such as fairs and Italian markets, 
with shops of confectionery, vegetables, &c., in a 
style which had evidently been improved by a re- 
sidence in Italy. He visited Paris, where his works 
were much admired by Louis XIV., for whom he 
painted some of his best pictures. He died in 
1719. 

HELMONT, Segres James van, a Flemish 
painter, the son of Matthew van H., was born at 
Antwerp in 1683. He studied under his father, 
who took great pains in instructing him ; and af- 
ter his death, Helmont sought no other master, 
but improved himself by studying the fine works of 
art which abounded at Brussels. He painted his- 
tory with great reputation ; his compositions are 
grand and copious, his design correct, and his col- 
oring chaste and pure. His principal works are 



HEMM. 



395 



HEMM. 



in the churches at Brussels, where they are much 
esteemed. In the church of Mary Magdalene, is a 
fine picture of the martyrdom of St. Barbara, de- 
signed and painted in the style of Vandyck. In 
S. Michael is the Triumph of David ; and at the 
Carmelites one of his most capital works, repre- 
senting Elisha sacrificing before the Priests of 
Baal. He died in 1726. 

HELST, Bartholomew vander, a Dutch paint- 
er, born at Haerlem in 1613. His instructor is 
not mentioned, but he painted subjects of history 
in an excellent style, and as a portrait painter, he 
ranks among the alDlest artists of his country. 
Several of his works are to be seen at Amsterdam, 
among which is one in the Stadt-House, represent- 
ing a company of trained bands, about thirty full 
length figures ; highly praised for its correct draw- 
ing, lively and true expression of the figures and 
countenances, and admirable coloring. He died 
at Amsterdam in 1670. 

■if-, ortr HEMMELINCK, or HEMLING, 
K. ' JjTL. John, an old Flemish painter, born 
at Bruges, according to C. J. Nieuwenhuys, about 
1440. According to Dr. Kugler, he studied under 
Roger of Bruges ; and was one of the best artists 
of the school of van Eyck. There has been a great 
deal written, to prove him identical with Juan 
Flamenco and Juan de Flandes (q. v.). but the 
subject is involved in obscurity, and the little 
which, is known of his history is merely tradi- 
tional. According to van Mander, he was of a 
Very dissolute character, and was reduced to the 
necessity of engaging as a private soldier. Sick- 
ness compelled him to seek refuge in the hospital 
of St. John at Bruges about 1479, where he was 
restored to health. Influenced by the feeling of 
gratitude, he disclosed his profession, and paint- 
ed several works for the chapel of the hospital. 
among which were an altar-piece, representing the 
Nativity, and the Adoration of the Shepherds ; on 
one of the laterals is a group of Angels adoring 
the Infant Jesus in a Cradle ; on the other, the 
Presentation in the Temple. It is inscribed Opus 
JoHANNis Hemmelinck. m.cccc.lxxix. This ad- 
mirable work is composed with an order and in- 
telligence little known at that time. Several of 
his heads are greatly superior to his cotempora- 
ries in character and expression ; it is colored with 
wonderful delicacy and beauty, and is preserved 
with the greatest care and veneration. The fol- 
lowing elegant criticism on this artist is from the 
pen of Dr. Franz Kiigler. '• Hemling adopted the 
mode of conception peculiar to the school of van 
Eyck, tinged, however, with greater severity. The 
features are less lovel}', but more earnest ; the fig- 
ures less elegant ; the movements less soft ; the 
handling sharper, with greater finish of detail. 
His grouping is strictly symmetrical, and he con- 
fines himself in general to the characters absolute- 
ly necessary ; while on the other hand, he en- 
deavors to exhaust the history, and often intro- 
duces the events which preceded or followed the 
principal action, in a smaller size, in the back- 
ground. We trace his more serious feelings par- 
ticularly in the conception and colorings of his 
landscapes. If in John van Eyck these shine in 
the light of spring, in Hemling they glow with 
the richness of summer ; the greens are darker, 
the meadows are more equally tinted, the foli- 
age of the trees more dense, the shadows strong- 



er, the masses of light broader, and more tranquil. 
In other cases the tone of his landscapes is a clear, 
uniform, autumnal tint. . He is always successful 
in scenes which require the highest brilliancy of 
strong lights, as the rising sun ; or forcible and 
singular combinations of color, as in visions and 
similar subjects." Besides the altar-piece al- 
ready mentioned, there is in the chapel of St. 
John's hospital, the celebrated Rehquary of St. 
Ursula, a shrine of about four feet in length, dec- 
orated with small pictures in the very best style 
of the Flemish school, representing subjects from 
the history of that saint. In the private collec- 
tion of the king of Holland, are two long panels, 
containing ten adniirable scenes from the life of 
St. Bertin. At Munich is a similar work " re- 
presenting the principal events of the Life of Christ 
and the Virgin (the Seven Joys and the Seven 
Sorrows of the Virgin) ; not in separate compart^ 
ments, but in one great whole, united in a land- 
scape, with an endless number of subordinate 
events ; a whole world of life, and joy, and sor- 
row, executed with -sYonderful grace and beau- 
ty." In the Academy at Bruges are also pre- 
served two pictures by Hemmelinck ; and in the 
chapel of St. Julian, was formerly one of St. 
Christopher carrying the Infant Jesus across a 
River, with St. Benedict and St. Giles, which was 
taken to France, and is now in the Louvre. The 
small traveling altar of Charles V., enriched with 
subjects by this master, and valued at ^15,000, is 
in the king of Holland's collection, where is also a 
large Breviary, formerly in the Library of St. Mark 
at Venice, illustrated by John Hemmelinck. with 
the assistance of two scholars, Livin of Antwerp, 
and Gerard of Ghent. The miniatures in this 
work, are composed in an elevated style, and exe- 
cuted with delicacy and richness. This artist was 
living, according to Nieuwenhuys, in 1499. 

HEMMESSEN, or HEMMISTEN, John van, 
a Flemish painter, who flourished about 1550. — 
He studied at Rome, and was so diligent an imi- 
tator of the works of Leonardo da Vinci, that 
many of his pictures, particularly of children, 
have been attributed to that master. In the Mu- 
seum at Brussels is a picture by him, represent- 
ing the Descent from the Cross ; in the Louvre is 
another, of Tobit restoring Sight to his Father ; 
and in the collection at Dusseldorf is an Ecce Ho- 
mo, dated 1544. 

HEMRICH, C. H. This engraver resided at 
London about 1705, but was probably a native of 
Germany. Among other plates, he executed a 
set of butterflies and insects, after Boesel, in a 
very neat style. 

J\nHEMSKERK, Martin van Veen, called 
^Y Martin, a Dutch painter, born at Hems- 
skerk, near Haerlem, in 1498 ; died in 1573. He 
was the son of James William van Veen, but ac- 
quired his surname from his birthplace. He first 
studied under John Lucas, at Delft ; after which 
he went to Utrecht, and entered the school of John 
Schoorel. Here he made such rapid progress that 
his master became jealous, and dismi.'^sed him from 
his academy. He executed a picture of St. Luke 
painting the portrait of the Virgin, for the Paint- 
er's Chapel at Haerlem, so entirely in the style of 
Schoorel, that it was generally ascribed to that 
master. At the age of thirty-four he visited Italy, 



HEMS. 



396 



HENR. 



and remained three j^cars at Rome, studying the 
antique, and the works of Michael Angelo. On 
returning to Holland, he executed several works 
for the public edifices at Amsterdam, among 
whicli is an altar-piece of the Crucifixion, in the 
old church, with two folding doors, representing 
subjects from the Passion of Christ. Ilemskerk 
gained a high reputation, and was considered an 
eminent artist in his day. His draperies, how- 
ever, are clumsy, with a confusion of folds ; his 
heads have little grace or beauty of expression. 
His compositions are abundant, but with little 
taste or judgment ; and. like many other imita- 
tors of Michael Angelo, his design is frequently 
strained and overcharged. There are a few etch- 
ings by this artist, among which are four plates 
representing Judah and Thamar, the Annuncia- 
tion, the Wise and Foolish Virgins, and Industry 
and Commerce. 

HEMSKERK, Egbert, called the Elder, a 
Dutch painter, born at Haerlem about IGIO. His 
subjects are of the lowest order, representing the 
interiors of Dutch taverns, with Boors drinking 
or quarreling. They are executed with considera- 
ble ability, and a good imitation of nature, though 
greatly inferior to the works of Brower and Te- 
niers. 

HEMSKERK, Egbert, called the Younger, 
probably the son of the preceding, was born at 
Haerlem in 1G45. He studied under Peter Greb- 
ber, but imitated the style of the elder Hcmskcrk. 
He painted drunken scenes and drolls with con- 
siderable humor, and sometimes incantations, 
spectres, and similar subjects, characterized by in- 
genuity and fertihty of invention, although the col- 
oring is cold and heavy. He visited England in 
the reign of King William, and was much patron- 
ized by the Earl of Rochester. He died at Lon- 
don in 1704. 

HENDRTKS, Wybrand, a Dutch painter, 
born at Amsterdam in 1744. He settled at Haer- 
lem, where he practised the art with great reputa- 
tion for many years, and painted portraits, inte- 
riors, and landscapes. His flower-pieces and sub- 
jects of still-life, in the style of Wccninx, how- 
ever, are the most admired of his works. In the 
Museum at Amsterdam is a View in Haerlem, exe- 
cuted by this artist. He died in 1830. 

HENGEL, H. F. van, a Dutch painter, a native 
of Nimeguen, flourished in the last century. He 
studied under Herman vander Myn, and painted 
landscapes and conversations of a cabinet size ; 
but whether from want of ability, or disinclination 
to part with his pictures, he never disposed of any, 
retaining them in his collection till his death, 
which occurred at Utrecht, in 1785, when they 
were all sold. 

HENNEQUIN, P. A., a French painter, born at 
Lyons in 1763. He studied under David, gained 
the grand prize of the Academy, and visited Rome 
with tlie ro3'al pension. On returning to France, 
he went to Paris, and soon after settled in his na- 
tive city, where he was commissioned to execute a 
painting for the Hotel de Ville, which he finished 
in six months. He became involved in the Revo- 
lution, and came near losing his life. He prac- 
tised the art at Paris under the rule of Napoleon, 
and produced several good works, among which 



was Orestes pursued by the Furies, characterized 
by correct design and vigorous coloring. In 1815 
he left France and settled at Liege, where he was 
patronized by the Prince of Orange. He finally 
retired to Tournay, and directed the Academy of 
Design in that city, until his death. 

HENRIET, Israel, a French designer and en- 
graver, born at Nancy in 1608. lie was the son 
of Claude Henriet, a painter on glass, who in- 
structed him in the elements of design, and then 
sent him to Rome, where he became a pupil of 
Tempesta. On returning to Paris, he devoted 
himself to engraving, and was appointed to in- 
struct the Dauphin, afterwards Louis XIV.. in de- 
sign. He engraved a number of plates of the His- 
tory of the Prodigal Son, some landscapes, and oth- 
er subjects, from his own designs, in the style of 
Callot. Henriet established himself as a print- 
seller, and published many engravings, from his own 
designs, and after Callot, Delia Bella, and Israel 
Sylvestre, all of whom he employed. He died at 
Paris, in 1661. 

HENRIQUEZ, Blaise Louis, a French engra- 
ver, born at Paris in 1732. He studied under N. 
G. Dupuis, and was chosen an Academician in 
1779. His plates are executed with the graver, in 
a very neat style. The following are the princi- 
pal : 

PORTnAITS. 

Louis XVI. King of France ; after J. Boze. Denis Di- 
derot; after Vanloo. John d'Alembert; mfter Jollain. 
Francis Maria Arouet de Voltaire ; after Borat, 

SUBJECTS AFTER VARIOUS MASTERS. 

Minerva driving away the God of "War ; after Rubens. 
Mercury and Argus ; after G. van Ecckhout. Honors 
paid to the Constable du Guesclin ; after Brenet. 

HENSTENBURGH, Herman, a Dutch paint- 
er in water-colors, born at Hoorn in 1667. He 
excelled in painting birds and flowers, and his pic- 
tures are still esteemed. 

HERACLIDES. the Macedonian, a celebrated 
ancient marine painter, who flourished about b. c. 
180. 

HERCK, Jacob Melchior van, a Flemish 
flower-painter, who lived about 1720. He married 
the daughter of P. G. Verbruggen, and copied 
some of the works of that master. 

HERISSET, A., a French engraver, who flour- 
ished about 1750. His plates do not po.s.se.ss much 
merit. Among them are several after J. F. de 
Troy ; also some plates of fortifications, published 
in 1757 ; and a part of the plates for the folio pub- 
lication of the Views of Versailles. 

HERLIN, Frederic, a Flemish painter, a na- 
tive of Nordlingen, flourished in the latter part of 
the 15th century. He had a brother named Hu- 
bert, who was also a painter ; and there were sev- 
eral other artists of this name, who flourished 
about the same period, but little is known of their 
histories or works. Frederic Ilerlin was a close 
imitator of the style of van Eyck. In the church 
of St. George, at Nordlingen, are two pictures by 
him — the Crucifixion, and the Virgin and Infant, 
with Saints — dated respectively 1462 and 1488. 
In the choir of the Cathedral at Meissen, is a 
beautiful picture by him, in an elevated style, 
which closely resembles the works of van Eyck, 
i both in composition and the naked figures, although 



HERM.. 



397 



HERR. 



the latter are not so well treated. The draperies 
are cast in a grander style than in John van Eyck, 
although they do not exhibit the particular stuffs 
so distinctl}^ as in the works of that master. Un- 
fortunately, this gem has been greatly injured by 
the so-called process of restoration. 

HERMODORUS. or HERMODUS, a Roman 
architect and engineer, who flourished about b. c. 
104. According to Yitruvius. Metellus commis- 
sioned him to erect the porticos surrounding the 
temple of Jupiter Stator. He also erected the 
temple of Mars, in the Flaminian Circus ; and he 
is probably the architect praised by Cicero for his 
abilities in constructing all works necessary for 
sea-ports. 

HERMOGENES. a Greek architect, a native of 
Alabanda in Caria. He is cited by Vitruvius as 
one of the most celebrated architects of antiquity, 
and as having greatly contributed, by his works, 
discoveries, and teachings, to the progress of the 
art. In the city of Magnesia, he erected a temple 
to Diana, of the Doric order ; at Tros, he built a 
temple to Bacchus ; and he also published a work 
on these edifices, which was extant in the time of 
Augustus. There was a sculptor of this name, a 
native of Cythera, who executed, among other 
works, two statues of Apollo and Venus, at Co- 
rinth. 

HERMON, an ancient Greek sculptor, a native 
of Trezene, by Avhora there were several statues 
in the time of Pausanias. in a temple of his na- 
tive city, which that author regards as the most 
ancient edifice of the kind in Greece. At Elis he 
executed the treasurj- of the Epidamnians, in con- 
cert with his brother Lachares, and his father 
Pyrrhus. 

HERREGOXITS, Henry, a distinguished Flem- 
ish painter of history, born at Mechhn about 166G. 
It is not known by whom he was instructed. His 
works are characterized by grandeur of composi- 
tion, correctness of design, great freedom of pen- 
cilling, and a pure and chaste stj^le of coloring, re- 
sembling that of Yandyck. The airs of his heads 
are graceful and expressive, and his draperies are 
simple and well cast. There are several of his 
pictures in the churches of Antwerp, Louvain, 
and Bruges. In the Cathedral at Antwerp is a 
fine picture by Herregouts, of the Martyrdom of 
St. Matthew ; and at Bruges, in the church of St. 
Anne, is his master-piece, representing the Last 
Judgment. It is an immense composition, with 
figures larger than life, grandly composed, and de- 
signed in a bold style. Herregouts died at Ant- 
werp in 1724. 

HERREGOUTS, John Baptist, the son and 
scholar of the preceding, born at Bruges about 
1700. He painted historical subjects in the style 
of his father, and his works possess considerable 
merit, although inferior to that master. In the 
church of St. Anne, at Bruges, is a picture of the 
Virgin and Infant in the Clouds with a Glory of 
Angels ; in the church of the Carmelites, the Pre- 
sentation in the Temple, and the Virgin and seve- 
ral Saints kneeling before Christ, considered his 
best work. There are a few etchings by this art- 
ist, executed in a slight, free style, among which 
is a plate of St. Cecilia, surrounded by a Glory of 
Angels, signed /. Baptista Herregouts,/. et invent. 
a Brugge. 



HERREGOUTS, Maximilian. Little is known 
of this painter. There is a picture representing 
the Interior of a Kitchen, with a Woman making 
Pancakes, signed with his name, and dated 1674. 

HERRERA, Francisco de, the Elder, a 
Spanish painter, born at Seville in 1576. He is 
also said to have been an architect, but none of his 
works are mentioned. He studied painting under 
Luis Fernandez, and was among the first who at- 
tempted to reform the dry and tasteless style that 
had previously prevailed in Spain. His works 
are distinguished for a clear and bold color- 
ing, and the figures have a fine relief. He visited 
Madrid, and painted several subjects from the life 
of St. ilamon, in the cloister of Merced Calzada. 
Besides historical works, he also excelled in paint- 
ing fairs, markets, and merry-makings, which 
were greatly admired. Among his principal works 
is the Last Judgment, in S. Bernardo at Seville ; 
and his fresco paintings in the cupola of San Bue- 
na Ventura. Herrera established a successful 
school, in which the preeminent Don Diego Velas- 
quez was educated. There are a few etchings by 
him, after his own designs, particularly of his pic- 
tures in S. Buena Ventura. He died in 1656. 

HERRERA. Francisco de. the Younger, the 
son and scholar of the preceding, born at Seville 
in 1622. He visited Rome for improvement, where 
he resided six years, studying with great assiduity 
the beauties of antiquity-, and the best works of 
art. On returning to Spain he manifested great 
abilities, and soon gained a high reputation. Some 
time after his return to Seville, the Academy of 
Painting was commenced, ]Murillo being chosen 
president, and Herrera vice-president. Not liking 
this inferiority, he left Seville and went to Madrid, 
where he soon gained reputation. He was appoint- 
ed painter to Charles II., and superintendent of 
the royal works. He also excelled in painting 
still-life, flowers, and fish, particularly in the lat- 
ter, for which he was called by the Italians, 
il Spagnuolo degli Pesci. Among his principal 
works at Paris are the great altar-piece of the Car- 
melites, representing St. Hermendildo ; the As 
sumption of the Virgin, in the cupola of the con- 
vent Nuestra Sennora d' Atocha ; and in the 
convent of Corpus Christi. St. Anne teaching the 
Virgin to read. He died in 1685. 

HERRERA, Cav. Giovanni d', an eminent 
Spanish architect, who flourished about 1570. He 
was a pupil of Giovanni Battista di Toledo, and 
succeeded that architect in the erection of the Es- 
curial, which is a high testimonial of his abilities. 
For a description of this magnificent edifice, see 
Giovanni Batiista. Herrera was appointed roy- 
al architect, and gained great reputation for his 
numerous edifices. He designed the church of St. 
James in the vicinity of Cuenca ; erected the 
bridge of Segovia, entirely of granite; and was 
the first architect of the royal pleasure-house at 
Aranjuez. He died in 1597. 

HERRLIBERGER, David, a Swiss engraver, 
born at Zurich in 1697, and died there in 1777. 
He studied under Melchior Fuessli, and then visit- 
ed Amsterdam, where he gained much improve- 
ment from the instructions of Picart. He then 
visited England and France, returning thence to 
his own country. He engraved and published 
several pictorial works, among which is a Topo- 



HERS. 



398 



, HESS. 



graphical Description of Switzerland, 3 vols., 
illustrated by 323 plates. 

HERSENT. Louis, a French painter of historj'- 
and portraits, born at Paris in 1777. He studied 
under Regnault, and painted many subjects from 
poetry, and from French history, which are great- 
ly esteemed. He also painted many eminent per- 
sonages, and his works are to be found in the best 
French collections. Some of them have been en- 
graved by Adam, Tardieu, Laugier, and others. 
Hersent was a member of the Legion of Honor, 
the French Institute, and the Royal Academy at 
Berlin. His wife, Madame Hersent, whose maiden 
name was Mauduit, w^as born in 1784. She gain- 
ed great distinction as a paintress of history and 
portraits, and some of her works may be seen in 
the Luxembourg and Fontainbleau galleries, which 
have been engraved by Tardieu. 

HERTOCKS, A., an English engraver, who 
lived about 1660. He wrought chiefly for the 
booksellers, and executed a number of portraits 
and frontispieces, entirely with the graver, in an 
indifierent style. Among them are the following : 

/ 

PORTRAITS. 

Charles I. kneeling, holding a Crown of Thorns ; after 
P. Fruytiers. Charles II. when Prince of Wales. Sir 
Edward Nicholas, Secretary of State ; after Hanneraan, 
Sir Francis Wortley, Bart. Henry Rolle, Juris-consul ; 
prefixed to his Abridgment. Robert Rawdon, a Governor 
of St. Thomas's Hospital. William Chamberlaine, M. D. 
and poet ; prefixed to his Pharonnida. Hugh Crompton, 
poet. Alexander Brome, poet. Gideon Harvey, M. D. 
Edward Waterhouse, Juris-con. and antiquary. 

HERZ, or HERTZ, John Daniel, a German 
engraver, born at Nuremberg, according to Basan, 
in 1599 ; died in 1635. He etched several plates 
from his own designs, and those of other masters, 
among which is a large plate of St. Paul in the 
Areopagus, afttir his own design. 

HESS, Louis, a Swiss landscape painter, born 
at Zurich in 1760. He studied under Solomon 
Gessner, and made excursions among the moun- 
tains, to design views of the grand scenery of his 
native country. Irj. 1794 he visited Rome for im- 
provement, and on returning to Switzerland he 
soon gained reputation, and was much employed. 
There are many of his landscapes in the collections 
of France, England, Germany, Denmark, and Rus- 
sia, which are distinguished for correctness of de- 
sign, fine choice of objects, and truth of coloring. 
In the latter part of his life he engraved a num- 
ber of fine plates, from his own designs. He died 
in 1800. 

HESS, Charles Ernest Christopher, an 
eminent German engraver, born at Darmstadt in 
1755. He lost his father at the age of thirteen, 
and was afterwards taken under the protection of 
his relative Hohleisen, a medalist and goldsmith 
of Manheim, who taught him those arts. During 
his leisure hours, Hess devoted himself to the 
study of the works of art in the gallery of Man- 
heim, and by the advice of Krahe, director of that 
gallery, resolved to devote himself to copper-plate 
engraving. In 1776 he settled at Augsburg, and 
engraved several good plates. Meanwhile his 
friend Krahe had been appointed director of the 
Dusseldorf Gallery, and he invited Hess thither, 
to engrave some plates after the pictures in that 
collection. He executed several fine plates after 
Rembrandt, which gained him admission to the 



Academy, in 1780. In 1782, the Elector Palatine 
appointed him engraver to the court, and in 1787 
he visited Italy for improvement, where he lived 
on terms of intimacy with eminent men of 
learning and talents. On his return to Germanj'-, 
he remained some time at Munich, and afterwards 
practised the art with great success at Dusseldorf, 
until that city was attacked by the French in 1794, 
when he removed back to Munich. He executed 
many plates after the pictures in the Dusseldorf 
Gallery, for a pictorial work, and his plate of the 
Painter and his Wife, after Bubens, is esteemed 
the finest one in the collection, although Barto- 
lozzi executed many plates for the same work. 
He received many commissions from England, and 
from the German Libraries. Among his other 
esteemed productions are the Ascension, a/?er Gtd- 
do ; the Charlatan, after G. Douw ; the Holy 
Family, after Raff'aelie ; the St. Jerome, fi-equent- 
ly attributed to the Elder Palma ; the Madonna, 
after Carlo DoLci ; and a large plate of the full- 
length portrait of King Maximilian, a//er Stieler. 
He died in 1828. His three sons distinguished 
themselves as painters. Peter Hess, a painter of 
battle-pieces, born at Dusseldorf in 1792, and for 
three years after 1813, accompanied the Bavarian 
army into France, to design the battles. Heinrich 
Hess, born at Dusseldorf in 1798, was professor 
of historical painting in the Academy of Fine 
Arts at Munich. Carl Hess, a painter of land- 
scapes and familiar subjects. 

HESS, Carl Adolphus, was born at Drcvsden 
in 1769, and attained a skill in painting horses 
equal to that of any other German artist. He 
was not related to the preceding family. 

HETSCH, Philip Frederic de, a German 
painter, born in 1758. While very young, he en- 
tered the school established at Stuttgard by the 
Duke of Wurtemburg, where he had the advantage 
of the advice and instruction of Guibal, a pupil of 
Mengs. Hertsch gained several prizes, and in 
1780 went to Paris, where he formed his style by 
studying the works of Vien and Joseph Vernet. 
After two years he returned to Stuttgard, and was 
appointed one of the court-painters. In 1785 he 
visited Italy for improvement, and while there, 
was elected a member of the Bolognese Academy. 
On returning to Germany, he soon gained reputa- 
tion, and received many commissions. For Prince 
Eugene he executed an equestrian portrait, besides 
many subjects of history. In 1800 he was ap- 
pointed Director of the Gallery at Stuttgard, and 
was soon after received into the Academy of Fine 
Arts at Berlin. He visited Paris in 1808, where 
he remained a short time, and painted a picture of 
the Resurrection, which was greatly admired. 
Among his other works, are several in the royal 
palace at Stuttgard, representing Brutus and Por- 
cia ; the Farewell of Regulus ; Tullia driving her 
Chariot over the Body of her Father ; and the 
King of Wurtemburg and his Suite. He practised 
the art but little in the latter part of his life, and 
died in 1838. 

HEUDELOT, J., a French engraver, who lived 
about 1760. Among other prints, he executed a 
portrait of Margaret Goyen, after a picture by 
Jan Steen, her husband ; also a few plates after 
A. van Ostade and Lingelbach. 

HEUMAN, George Daniel, a German engra- 



HEUS. 



399 



HEWV 



ver, who resided at Nuremberg about 1724. — 
Among other plates, he executed several portraits 
in a very neat style, of distinguished Germans, 
and a set of architectural views of the churches 
and public edifices of Vienna, published by John 
Andrew Peeflfel, at Augsburg, in 1724. 

HEURTIER, Jean FRAN901S, a French archi- 
tect, born at Paris in 1739. He gained the grand 
prize in the Academy of Architecture, and passed 
three years at Rome, with the royal pension. On 
returning to Paris he settled at Versailles, and 
was appointed architect to the king. He erected 
several fine edifices at Versailles and elsewhere ; 
was a member of the Royal Academ}^ of Archi- 
tecture, and also of the Institute. He died at Ver- 
sailles in 1822. 

HEUSCH, William de, a Dutch painter, born 
at Utrecht in 1638. He acquired the elements of 
design in his native city, after which he visited 
Rome, and entered the school of John Both, where 
he made great proficienc}'. He adopted the admi- 
rable style of his instructor, and was so success- 
ful that his works have often been mistaken for 
those of Both. His landscapes exhibit the most 
agreeable scenery, with more of the Italian than 
his native taste, and embellished with figures and 
cattle neatly drawn, and touched with great spirit. 
He designed after nature, and sketched views on 
the Rhine and the Tiber, of Frescati and Ti- 
voli. Though inferior to Both, his talents were 
very highly esteemed, and high prices were paid 
for his works. He executed twelve spirited etch- 
ings, with figures, after his own designs, which 
are now very rare. He died in 1702. 

HEUSGH, Jacob de. a Dutch painter, the 
nephew and scholar of the preceding, born at 
Utrecht in 1657. After attaining considerable 
ability under his instructor, he visited Italy, where 
he particularly attached himself to studying the 
works of Salvator Rosa, and followed the style of 
that master with considerable success. He met 
with very flattering encouragement at Rome, his 
pictures being greatly admired, which represent 
the finest views in the vicinity of Rome, dec- 
orated with figures and animals in admirable 
style, correctly drawn, and vigorously touched. 
There are a few etchings by him, executed in a 
neat, slight style, after his own designs. He died 
in 1701. 

HEUSCH, Abraham de, a Dutch painter, prob- 
ably a relative of the preceding, born at Utrecht 
in 1650. He studied under Christian Striep, an 
artist of little note. He excelled in painting 
plants, insects, and reptiles, copied from nature 
with wonderful accuracy and finish. His works 
are very scarce, as he used a vast amount of care 
in finishing every picture ; and they are equal to 
Gerhard Douw or Mieris for their delicate polish. 
There are a few etchings by this artist, after his 
own designs. 

HEUVELE. Anthony vander, a Flemish 
painter, born at Ghent about 1605. He studied 
under Gaspar de Grayer, and afterwards visited 
Italy. On returning to Ghent, he painted a num- 
ber of good pictures for the churches and private 
collections in that city, and other towns in Flan- 
ders. In the Museum at Brussels is his Martyr- 
dom of St. Aurelia ; but his master-piece is in the 
Museum at Ghent. 



HEWVICK, Gaspard, a Flemish painter, born 
at Oudenarde in 1550. At an early age he visited 
Italy, and entered the school of Lorenzo Costa, by 
whose instructions he became a good painter of 
large historical subjects, for churches and public 
edifices. He died in 1611. 

HEYDEN, or HEYDE, John vander, an em- 
inent Dutch painter, born at Gorcum in 1(337. He 
obtained his knowledge of design from an ordinary 
glass painter ; but his energy and talents enabled 
him to improve, by studying after nature, and his 
taste directed him to the choice of subjects very 
rarely seen in such perfection as he has represent- 
ed them. He painted churches, palaces, ruins, and 
views of cities, with the greatest precision ; and 
enriched them with landscapes, trees, and lovely 
distances. His pictures are finished with unconi- 
mon neatness and patience ; and he painted his 
buildings with such exactness, that each brick or 
stone might be counted in the walls. Notwith- 
standing this careful finishing, his touch and color- 
ing are so light, free and soft, that his pictures 
have no labored appearance. He was a perfect 
master of the principles of perspective and chiaro- 
scuro. Many of his works were decorated with 
figures in admirable style by Adrian Vandervelde, 
after whose death they were usually painted by Lin- 
gelbach. Vander Heyden had a secret of printing 
pictures in oil colors, which he afterwards re- 
touched with the pencil. Several of them, done on 
parchment, were fixed on a panel, in a very inge- 
nious manner. Vander Hej'den visited Germany, 
Belgium, and England. Among other works, he 
executed a View of the Roj-al Exchange and Mon- 
ument, London; the Town House. Amsterdam; 
and several views in Cologne, Brussels, Delft, and 
other cities. He died in 1712. 

HEYDEN, John vander, a Flemish portrait 
painter, who visited England, and resided at Lon- 
don, where he died about 1686. 

HEYLEN, Gonzales van, a Flemish wood en- 
graver mentioned by Papillon, was a native of 
Antwerp, and flourished about 1694. There are 
several frontispieces and other book illustrations 
by him, executed in a free, spirited style. 

HIBBART, William, an English engraver, who 
lived at Bath about 17C0, and etched several por- 
traits in a free, painter-like style, which are some- 
what in the style of Worlidge. Among them are 
the portraits of Antoine Watteau, and Laurence 
Delvaux. 

HIDALGO, Don Jose. Se3 Garcia. 

HIGHMORE, Joseph, an English painter, born 
at London in 1692. Against his inclination, he 
was articled to an attorney in 1707, but in about 
three years he commenced employing his leisure 
hours in drawing, and frequented the Painters' 
Academy, under the direction of Sir Godfrey Knel- 
ler, who noticed him particularly. On the termi- 
nation of his clerkship he commenced painting as 
a profession, and soon met with employment. He 
was eno-aged by Mr. Pine to make the drawings 
for the^ prints of the Knights of the Bath, on the 
renewal of that order in 1725. He also painted 
the portraits of several of the members of that 
order, among which was one of the Duke of Rich- 
mond. Shortly after he was commissioned by 
George I. to paint the portrait of the Duke of 
Cumberland. In 1732, Highmore visited the con- 



HIGM. 



400 



HIPP. 



tinent, for the purpose of seeing the Dusseldorf 
Gallery ; and two years after he went to France 
for a snnilar purpose. In 1742 he painted the 
Pi-incc and Princess of Wales, for the Duke of 
Saxe Gotha. He executed a series of pictures, 
which v/ere engraved and published b}^ subscrip- 
tion, in 1745. Among his subjects of history, 
were the Good Samaritan ; the Finding of JMoses ; 
Hagar and Ishmael, and the Graces unveiling Na- 
ture. He died in 1780. 

HIGMORE, an engraver of uncertain age and 
country, whose name is affixed to several large 
portraits, among which is that of Le Sage, the au- 
thor of Gil Bias. 

HILLEGAARD, Paul van, a reputable Dutch 
historical painter, of whose history little is known. 
He painted battles, skirmishes, and drunken quar- 
rels. In the Museum at Amsterdam is a picture 
by him, representing Prince Maurice dismissing 
the Trained Bands in 1618. 

HILLIARD, Nicholas, an English miniature 
painter, born at Exeter in 1547. He acquired the 
business of a goldsmith and jeweller, and having a 
taste for design, he studied the works of Holbein, 
and gained something of the neatness of his finish- 
ing, though greatly inferior in clearness and vig- 
or of coloring. He attained estimation in his day ; 
painted several court personages ; and was appoint- 
ed goldsmith, carver, and portrait painter to Queen 
Elizabeth. He died in 1019. 

HILTON, William, an eminent Enghsh his- 
torical painter, born at Lincoln in 178G. He stud- 
ied under his father, who practised portrait paint- 
ing in his native place; after which he went to 
London, and entered the Royal Academy. Here 
he made good advances, and in 1806, produced his 
picture of Cephalis and Procris, from Ovid, suc- 
ceeded by Venus carrying ^neas, and Ulysses and 
Calypso. These -and several other works were 
large compositions, and attracted much attention 
for their skilful composition, and harmonious col- 
oring. His conceptions were elevated, and many 
of his works possess great beauty, and delicacy of 
touch, although they lack that poetical fire so es- 
sential to the art, and have an alloying tameness 
which is easily distinguished. Hilton practised 
the art for many years, but like Barry and other 
English historical painters, did not gain much 
encouragement. Cunningham says of this, that 
" he shut his eyes to the fact, that neither reli- 
gion nor history, now, since general intelligence 
had opened their pages to all. required Art as an 
interpreter, and that the nation desired the magic 
of color and the graces of outline to be employed 
on unexhausted and original topics." Hilton was 
chosen a member of the Royal Academy in 1819, 
and in 1825 was appointed Keeper. This office af- 
forded him a modest independence, so that he was 
enabled to pursue his favorite branch of the art, 
without interruption, and he produced ten histor- 
ical and poetical works, from this period to 1836. 
Among his principal pictures are, Sir Calepine 
rescuing Serena, in the National Gallery ; Venus 
seeking Cupid at the Bath of Diana, in the collec- 
tion of Lord Charles Townshend ; the Rape of 
Proserpine ; and Nature blowing Bubbles for her 
Children. Hilton was greatly beloved for his 
mild and amiable manners. He died in 1839. 

IIINDE, T., an obscure English engraver, who 



flourished about 1645, and executed a number of 
plates, among which is a portrait of Prince Ru- 
pert, and Robert. Earl of Warwick. 

HIPPODAMUS, a famous Milesian architect, 
w^ho built the port of Athens. According to Stra- 
bo, his most celebrated work was the city of 
Rhodes, founded about B. C. 408. It was dis- 
posed in the form of an amphitheati-e, ornamented 
with magnificent buildings, ample streets, squares, 
walks, and groves. According to Suetonius, there 
were temples for all the gods of paganism, among 
which, that of Apollo was considered the finest; 
and those of Isis and Diana were master-pieces of 
architecture. Pliny says that Rhodes possessed 
more than three thousand statues, besides the fa- 
mous Colossus of the Sun. 

HIRE, Laurence de la, a French painter, born 
at Paris in 1606; died in 1656. He was the son 
and scholar of Stephen de la II., an historical paint- 
er of some reputation. He afterwards entered the 
school of Simon Vouet, and although he did not 
follow the style of that master, like all other of 
his cotemporaries, yet he did not adopt a better, 
but continued a mannerist. Two of his best works 1 
are the Entry of Christ into Jerusalem, and his | 
Apparition to the Marys, in the church of the 
Carmelites at Paris. There are several etchings 
by this artist, some of which he has assisted with 
the graver, executed in a slight, free style, but incor- 
rectly drawn. Among others are the following : 

The Holy Familj', with St. John kissing the foot of the 
infant Jesus ; L. de la Hire, inv. etfec. The Holy Fami- 
ly reposing, surrounded by Angels. The Repose in Egypt. 
The Crucifixion, with the Virgin, Magdalene, and St, John. 
1639. The Conversion of St. Paul. The Judgment of 
Paris. Venus and Adonis. Different sets of Children 
playing, in the form of friezes. Several Landscapes, of 
various sizes. 

HIRE, Philip DE la, the grandson of the pre- 
ceding, born at Paris in 1677. He acquired the 
elements of design, but afterwards entered the 
medical profession, in which he attained distinc- 
tion. During his leisure hours he occasionally 
indulged his taste for art, and painted several fine 
pictures in the style of Watteau. He died in 1719. 

.j^ HIRSCHFOGEL, Augustine, a German 
^W^ engraver and enamel painter, born at Nu- 
remberg about 1506. He was the son of Viet H., 
a glass painter, who instructed him in the ele- '! 
ments of design. His drawing of the figure is in- 
correct, but his etchings of landscapes are execu- 
ted in a masterly style. Among other plates by 
him there are the following : 

A set of six mountainous Landscapes, with castles. 1546. 
A Landscape, with a Canal and a Stone Bridge. 1525. A 
View of a Village by the side of a River, with a Wooden 
Bridge. 1546. A Landscape, with a figure representing 
the Death of Cleopatra. 1547. Two Views of Sea-ports, 
with Shipping. 1549. Part of the Murder of the 
Innocents; after a sketch by Rafaelle, different from 
that by Marc' Antonio. 1545." A Vase, Avith gold- 
smith's ornaments. 1543. A Sword, the handle ornament- 
ed with eagles' heads, and the scabbard with goldsmith's 
ornaments. 

IIOARE, William, an English portrait painter, 
born at Eye, in Suffolk, about 1707. After re- 
ceiving a libeial education, he was placed under 
Grisoni, an Italian painter in London, on leaving 
whom, he visited Italy, and entered the school of 
Francesco Imperiale, the disciple of Carlo Maratti. 
Here he formed a close intimiicy with Pompeo 



HOAR. 



401 



HODG. 



Batoni. which lasted through life. He made manjr 
studies and copies from the works of the best mas- 
ters, and after nine yetirs. returned to England. 
Finding little encouragement to historical paint- 
ing, he had recourse to portraiture, and practised 
at Bath successfully, for many years. He gained 
considerable distinction as a painter in crayons, 
and produced many elegant figures in that branch 
of the art. When the Royal Academy was formed, 
Hoare was chosen a member, and exhibited for 
many years. For the Octagon Chapel, at Bath, 
he painted a picture of the Pool of Bethesda ; and 
for the church of St. Michael, Christ bearing his 
Cross. He died in 1792. 

HOARE, PiiiNCE. an English author and an 
amateur painter, the son and scholar of William 
H., born at Bath in 1755. He studied in the 
Royal Academy, and in 1776 visited Rome, where 
he was a pupil of Raphael Mengs, at the same time 
with Fuseli and Northcote. In 1799 he became 
foreign correspondent of the Royal Academy. He 
wrote a number of works, some of which related 
to art, and gained considerable reputation. He 
was a member of sevei-al academies, and died in 
1834. 

HOBBEMA, MiNDERHouT. Little is known 
of the life of this eminent painter. According to 
the generally received opinion in Holland, he was 
born at Coeverden, about 1611; although some 
writers assert that he was a native of Vriesland ; 
others, that he was a Noord Hollander ; and Rev, 
Mr. Pilkington says he was a native of Antwerp. 
He resided at Amsterdam, and lived on terms of 
intimacy with Nicholas Berghem, A. Vandervelde, 
John Lingelbach, and Ruysdael, who are said to 
have adorned his landscapes with figures and ani- 
mals. His style was similar to the latter, with a 
richer and more harmonious system of coloring. 
His subjects are usually of a very humble charac- 
ter, often representing a cottage embosomed in a 
clump of trees, with a sandy road leading through 
a wood, and a brook or small lake. His pictures 
arejexecuted with charming simplicity, and he is 
not surpassed by any Dutch painter, for pure and 
chaste tints, finish and freedom of touch, and in- 
telligence of chiaro-scuro. In some of them he 
has most happily introduced the sunlight penetra- 
ting the forest shade, and illuminating the centre 
of his picture in a most admirable manner. His 
skies are light and floating, and his verdure poss- 
esses a charming dewy brightness. The pictures 
of Hobbema are dated from 1657 to 1669. They 
were long considered less desirable than the works 
of Ruysdael, but are now in great estimation, and 
fine specimens bring the very highest prices ; even 
$15,000 has been paid for one. 

HOCKNER, John Gaspar, a German engrav- 
er, who resided at Dresden about 1655. He 
wought chiefly for the booksellers, and engraved 
a number of plates m a neat style, but devoid of 
taste. ^ 

HODGES, Charles Howard. This portrait 
painter was born in England, in 1774, but visited 
Holland, and settled at Amsterdam. He was 
much patronized by distinguished personages, and 
was greatly esteemed for his firm and broad pen- 
cil, beautiful tone of coloring, and correct like- 
nesses. He engraved a number of plates in mez- 



zotinto, after Vandyck, Metzu, and Rembrandt, 
He died at Amsterdam in 1837. 

HODGES, William, an English landscape 
painter, born at London in 1744. He studied un- 
der Wilson, on leaving whom he was engaged as 
draughtsman to accompany Capt. Cook on his sec- 
ond voyage of discovery round the world, and de- 
signed many interesting views of the various coun- 
tries which they visited. On returning to London, 
he painted several pictures for the Admiralty, of 
views in Otaheite and other islands of the Pacific 
ocean ; after which he visited India, where he re- 
sided until 1784, and acquired a competent fortune. 
On his return to England he practised the art for 
a few years, but in 1790 engaged in a commercial 
speculation, by which he lost his property. He 
died in 1797. 

HOECK, John van, an eminent Flemish paint- 
er, born at Antwerp in 1600. After acquiring a 
liberal education, he entered the school of Rubens, 
and became one of the most distinguished scholars 
of that great master. On quitting Rubens, he 
went to Italy, and resided several years at Rome. 
He devoted himself with great assiduity to study- 
ing the works of the old masters, and painted sev- 
eral pictures for the nobility, which gained him 
great reputation. On returning to Flanders, he 
was invited to Vienna by Ferdinand IL, and paint- 
ed the portraits of the imperial family, and the 
principal personages of the court ; also several 
historical works for the churches and public edi- 
fices. He accompanied the Archduke Leopold, 
governor of the Low Countries, on his return to 
Holland, who appointed him first painter to the 
court, and employed him on several important 
works. The portraits of van Hoeck are remarka- 
ble for their accurate resemblance, and are little 
inferior to those of Vandyck. Among them are 
his admirable pictures of Albert and Isabella, for- 
merly in the collection of Prince Charles of Lor- 
raine. His subjects of history are finely composed, 
designed in a correct and delicate style, with a col- 
oring and penciling so closely resembfing that of 
Rubens, that his pictures have occasionally been 
ascribed to that master, even in Flanders. Among 
his historical works, is a capital picture of the 
Deposition from the Cross, in the Church of Our 
Lady, at Mechlin. He died in 1650. 

HOECK, Robert van, a Flemish painter, born 
at Antwerp in 1609. His instructor is not men- 
tioned, but he excelled in painting encampments, 
skirmishes, and battles, with a great variety of 
small figures, neatly drawn, and touched in a very 
spirited style. He also painted historical subjects, 
of which there are twelve in the Abbey of Berg 
St. Vinox, near Dunkirk, representing the Twelvu 
Apostles, Avith the Martyrdom of each beneath. 

)i; HOEFNAGEL, George, a Flemish designer, 
ti painter, and engraver, born at Antwerp in 1546. 
His father was a diamond merchant, and intended 
him for the same occupation ; but manifesting a 
genius for art, he was allowed to follow his incli- 
nation. After acquiring the elements of design, 
he visited Italy for improvement, and made many 
drawings of the most remarkable monuments and 
other antiquities. On returning to Flanders, he 
published a volume of plates after those designs ; 
and then applied himself to painting animals, 
plants, and insects, which he finished with great 



HOEF. 



402 



IIOFL. 



correctness and beauty. When Antwerp was 
taken by the Spaniards, Hoefnagel was plundered 
of all his possessions, and fled to Bavaria, w^here 
he obtained the protection of the Elector, and re- 
mained several years at Munich. He was after- 
-wards employed by the Emperor Rodolphus, who 
settled upon him a pension, retaining him in his 
service until his death, in 1600. As an engraver, 
Hoefnagel executed a map of Bristol ; some of the 
plates for the Theatrum Orhis Terrariim j and a 
part of those in Braun^s Civitates Orhis Terra- 
rum. 

HOEFNAGEL, James, a Flemish engraver, the 
son of George H., born at Frankfort in 1575. He 
executed several plates from his own designs and 
those of other masters ; also a set of fifty plates 
of beasts, birds, flowers, insects, &c., after the de- 
signs of his father. 

fTJ or rJHOEKGEEST, or HOGEEST, G. 
v_ll. vXXThis painter flourished in the 17th 
century, and was distinguished for his pictures of 
interiors of churches, in the manner of De Wit. 
There are two of his works in the Museum at the 
Hague, representing the new church at Delft, with 
t^e monuments of the Princes of the House of 
Orange. One of them is dated 1651. His cabi- 
net pictures are occasionally seen in commerce. 

HOET, Gerard, a Dutch painter, born atBom- 
mel in 1648. His father was a glass painter, 
whom he assisted for some time m that branch of 
the art, and then entered the school of Warnar 
van Rysen, a painter of considerable eminence. 
After remaining under that master about one year, 
he was obliged to quit him on account of his fa- 
ther's death, w^ho had left imperfect a number of 
glass paintings, which Hoet was compelled to fin- 
ish for the support of the family. He was thus 
engaged until 1672, when the French took posses- 
sion of Bommel, which obliged him to take refuge 
at the Hague, and he employed himself in orna- 
menting saloons, and painting the ceilings of 
the principal hotels. He also painted cabinet pic- 
t'lres of historical and fabulous subjects, which 
were greatly admired. He afterwards painted at 
Amsterdam, and finally settled at Utrecht, by in- 
vitation of M. van Zuyden, for whom he executed 
some of his best works. His figures are designed 
with elegance, and drawn with correctness ; his 
coloring is lively, natural, and harmonious, though 
deficient in vigor. His pictures are composed in 
an ingenious and appropriate manner, and are held 
in high estimation. Hoet succeeded in establish- 
ing a School of Design at Antwerp, of which he 
was appointed Director, and he conducted it with 
great honor and success. He died in 1733. 

IIOEY, or HOOY, Jan van. This painter was 
born at Leyden in 1545, but visited Paris while 
young, where he acquired a knowledge of his art, 
and settled in that city. He painted subjects of 
history ; and is supposed to have engraved a num- 
ber of portraits and landscapes, but there is no 
certainty about this. His talents were highly es- 
teemed by Henry IV., who appointed him super- 
intendent of the royal collection of pictures. He 
died in 1615. 

HOFFMAN, Francis, an engraver of little 
note, who lived in England about 1711. Among 
other plates, he engraved one representing the por- 



traits of three dignitaries of the British govern- 
ment, dated 1711. 

HOFLAND, Thomas Christopher, an English 
landscape painter, born at Worksop, in Notting- 
hamshire, in 1777. He acquired the elements of 
design from a landscape painter named Eathbone, 
and afterwards went to Derby, where he passed 
several years as a teacher of drawing, and then 
went to London, intending to copy the pictures in 
the British Gallery. In this enterprise he met 
with good success, and settled at London in 1814, 
in which 3-ear he was awarded one hundred guineas 
for his picture of a Storm off the Coast of Scar- 
borough, purchased by the Marquis of Stafford. 
The Duke of Marlborough employed him for some 
time at White Knights, to paint a series of pic- 
tures to illustrate a description of that place, but 
the affair had an unpleasant termination, greatly 
injurious to Hofland, and dishonorable to the 
Duke. He aided in establishing the '' General Be- ■ 
nevolent Society of Artists," and also in project- | 
ing the building of the Gallery in Suffolk street. ■ 
In 1840, he visited Italy, under the protection of 
the Earl of Egremont, and designed many beauti- 
ful sketches of the scenery near Naples, Rome, | 
Tivoli, and Florence. Sickness compelled his re- | 
turn home, and he died at Leamington in 1843. 

HOFMAN, Samuel, a Swiss painter, born in 
the Canton of Zurich, in 1589. He acquired the 
elements of design under Gotthard Ringgli, but 
afterwards visited Antwerp, and entered the school 
of Rubens, where he made such rapid advances 
that he was soon considered a distinguished 
artist, both in history and portrait, particu- 
larly in the latter branch. He also painted fruit, 
game, and other objects of still life. On re- 
turning to Switzerland, he gained great encourage- 
ment, and was highly esteemed for his portraits, 
in which he united fidelity of resemblance to 
grandeur of style and dignity of character. He 
died in 1648. 

HOGARTH, William. This eccentric genius 
w^as born at London in 1697 or 1698. His father 
was a schoolmaster, and apprenticed him, at an 
early age, to an engraver of arms on plate. While 
thus engaged, his inclination for painting manifest- 
ed itself in a remarkable manner. Going out with 
some companions on an excursion to Highgate, the 
weather being hot, they entered a public house, 
where before long a quarrel occurred. One of 
the disputants struck the other on the head with 
a quart pot, which cut him severel)^ ; and the 
blood streamed down the man's face, giving him a 
singular appearance, which, with the contortions 
of his countenance, presented Hogarth a laugha- 
ble subject, and taking out his pencil, be sketched 
the scene in a most truthful and ludicrous man- 
ner. At the expiration of his apprenticeship, he j 
entered 'the Academy of St. Martin's Lane, and 
studied drawing after the model, but did not at- 
tain excellence in the figure. His first painting 
was a representation of Wanstead Assembly, the 
figures of which were sketched from the life, with 
great accuracy, but without any circumstances of 
burlesque. His first employment appears to have 
been engraving shop bills, and next the execution 
of prints for the booksellers. In 1725 he engraved 
some prints for Beaver's Military Punishments of 
the Ancients, and in 1726, seventeen prints for an 
edition of Hudibras. As a painter, he had great 



nOGA. 



403 



HOGE. 



facility in catching a likeness, and adopted a novel 
method of grouping families in conversation pieces, 
which for a time gained him considerable employ- 
ment. He also painted a number of portraits, but 
was entirely unable to please his patrons. He 
therefore devoted himself to the delineation of 
the calamities and crimes of private hfe. and the 
vices and follies of the age. His series of " The 
Harlot's Progress," •' The Rake's Progress," and 
"Marriage a-la-Mode," gained him great reputa- 
tion ; and the prints which he engraved and pub- 
lished from them, although rude specimens of the 
art, met with an enormous sale, greatly to his 
emolument. His talents were eminently in bur- 
lesque and satire. He has portrayed vice as lead- 
ing to disgrace and misery ; while virtue is repre- 
sented as conducting to happiness and honor. 
Lord Orford characterizes him as a painter of 
comedy. '' If catching the manners and folhes of 
an age, ' living as they rise' ; if general satire on 
vices and ridicules, familiarized by strokes of na- 
ture, and heightened by wit, and the whole ani- 
mated by just and proper expressions of the pas- 
sions, be comedy ; Hogarth composed comedy as 
much as Moliere." It is not surprising that he 
did not excel in portrait or historical painting. 
His design and coloring possessed little merit. 
He was incapable of conceiving or illustrating 
a single noble passion of the human soul, and 
combined his burlesques wnth elevated subjects 
in a most disgusting manner, of which his Sig- 
ismonda is an example. His mind was of a 
very low order, totally devoid of delicacy, refine- 
ment or education. Naturally of a vulgar and 
satirical disposition, his asperities were never 
softened by contact with refined society. Like 
many others, who attam position by wealth alone, 
he evinced his narrowness of mind by affecting to 
despise all knowledge which he did not himself 
possess, and continued gross and uncultivated du- 
ring his whole life. In 1730, he married the only 
daughter of Sir James Thornhill, against her 
father's consent ; but when the latter perceived 
his abilities, he became reconciled to the marriage. 
He visited France in the year of the peace of Aix- 
la-Chapelle, but incurring suspicion of being a 
spy, he did not proceed farther than Calais. This 
event he afterwards satirized in his print of " 
the Roast Beef of Old England." In 1753 he pub- 
lished his '• Analysis of Beauty," a work contain- 
ing some sensible hints and observations, but that 
did not convince nor meet the universal acquies- 
cence he expected. In this he was assisted by Dr. 
Hoadley and Dr. Morrell. Hogarth became in- 
volved in a controversy with Wilkes, in which he 
gave the first offence, by an oblique attack on the 
friends and party of the latter, in publishing his 
print of " The Times." Wilkes answered by a 
severe article in the North Briton, and Hogarth 
retorted by a caricature of the writer. Churchill, 
the poet, then entered the arena of this ludicrous 
and disgraceful strife, and wrote his Epistle to Ho- 
garth, which the latter answered by a caricature 
of Churchill, represented as a canonical bear, with 
a ragged staff' and a pot of porter. While this 
contest was being carried on, Hogarth visibly de- 
clined in health, and finally expired the 26th of Oc- 
tober, 17G4:. The following are his principal plates, 
comprising nearly all those engraved by himself : 
The Portrait of William Hogarth, with two figures and 
'WO Cupids. 1720. An emblematical print on the South- 



sea Bubble ; W.. Hogarth, inv. et sculp. 1721. Thirteen 
prints for Aubrey de la Motraye's Travels, in 1723. Seven 
small prints for Apuleius's Golden Ass ; in 1724. Fifteen 
head-pieces for Beaver's Military Punishments of the An- 
cients. A Burlesque on Kent's Altar-piece in St. Clement's. 
1725. A Masquerade, invented for the use of ladies and 
gentlemen by the ingenious Mr. Heidegger. 172.5. A Just 
View of the British Stage. 1725. Twelve prints forHudi- 
bras ; the large set. 1726. The small set, containing sev- 
enteen, with Butler's head. (The head engraved for But- 
ler, is that of J. B. Monnoijer, the flower-painter, of which 
there is a mezzotinto.) Mary Tofts, the rabbit w(.man of 
Godalmin. 1726. Rich's Glory, or his triumphant entry 
into Covent Garden. 1728. Sarah Malcolm, executed in 
1732 for murder. W. Hogarth, ad vivum pinxit et sculp- 
sit. This woman sat to him for her picture two days before 
her execution. A Midnight Modern Conversation. 1733. 
Southwark Fair. 1734. The Harlot's Progress; in six 
plates. 1733, 1734. The Rake's Progress ; in eight plates. 
1735. The Sleepy Congregation. 1736. The Distressed 
Poet. 1736. The Lecture : datur vacuuvi. 1736. The 
Four Times of the Day. 1738. Strolling Actresses in a 
Barn. 1738. The Enraged Musician. 1741. Marriage 
a-la-mode ; engraved under his direction by Scotin, Rav- 
enet, and Baron. 1745. The Portrait of Martin Folkes, 
Esq. 1745. Simon, Lord Lovat ; an etching. 1746. Gar- 
rick in the character of Richard III. ; engraved by Ho- 
garth and Grignon. 1746. The Stage-coach, an Election 
Procession in the yard, 1747. The Effects of Industry 
and Idleness ; in twelve plates. 1747. The Gate of Calais, 
" the Roast Beef of Old England !" by Hogarth and 
Mosely. The March to Finchley ; L. Sidivan, sc. W. 
Hogarth, dir. 1748. The Portrait of Hogarth, with a 
pug dog. 1749. The Stages of Cruelty ; four prints. 1751. 
Paul, before Felix ; scratched in the manner of Rembrandt. 
1751. Paul before Felix ; after the picture in Lincoln's 
Inn Hall. Moses brought to Pharaoh's daughter ; by Ho- 
garth and Sulivan. Columbus breaking the Egg. 1755. 
(The ticket to the Analysis.) Four prints of an Election. 
1755; by Hogarth, Grignon, la Cave, and Aveline. The 
Portrait of Hogarth, painting the Comic Muse. 1758. The 
Cockpit. 1759. The Five Orders of Periwigs. 1761. Cre- 
dulity, Superstition, and Fanaticism. 1762. The Times ; 
two plates. 1762. John Wilkes, Esq. ; drawn from the 
life, and etched by W. Hogarth. 1763. The Bruiser, 0. 
Churchill, in the character of a Russian Hercules, 1763. 
The Good Samaritan. The Pool of Bethesda. Sigismon- 
da. The Analysis of Beauty ; two plates. 

HOGEN, J., an engraver of little note, who ex- 
ecuted, among other works, a print of Daraianus 
Agoess. in a neat style, signed, lo. Hogen fee. 

HOGENBERG, Remigius. This engraver, from 
his name, was probably a native of Germany. He 
visited England, and executed two portraits of 
Archbishop Parker, about 1573, entirely with 
the graver, possessing wqtj little merit. He also 
executed a large genealog}^ of the sovereigns of 
England, from the inscription of which it would 
appear that he was retained in the service of the 
Archbishop. It is signed Remigius Hogenberg- 
ius servus D. Matt. Archiep. Cant, sculpsit, 1574. 

HOGENBERG, Francis, the brother of the pre- 
ceding, was employed by the English booksellers. 
There is a print by him, of Queen Mary, dated 1555, 
whence it is supposed that he visited England be- 
fore his brother ; but some think this date to re- 
fer to the era of her reign. The following are his 
principal plates : 

The Portrait of Mary I.. Queen of England; 1555; in- 
scribed Veritas temporis filia. The Maps of Gaul and 
Belgium, in Saxton's Atlas. Part of the Views in Braun's 
Civitates Orbis Terrarum ; printed at Cologne in 1572; 
engraved in conjunction with Simone Novelani and George 
Hoefnagel. The pompous Funeral of Frederick II., 
King of ^Denmark ; dated 1592; engraved in conjunction 
with Simone Novelani ; in twenty-one plates. An em- 
blematical print of Charity ; inscribed Franciscus Her- 
genhergus,sculpsit. Jacobus Christianas, ex audit. En- 
graved in a poor, dry style. 



HOGE. 



404 



HOLE. 



HOGENBERG. Abraham, supposed to have been 
a younger brother of the preceding artists. His 
plates are executed in a neat formal st3de. and 
very incorrectly drawn. He assisted Francis H. 
in his plates for the Theatrum Orbis Terrarum, 
by Abraham Ortelius. Among his other works, 
were the Equestrian portrait of the Duke of Ba- 
varia, and some frontispieces for the booksellers. 

HOGENBERG, Jo.hn. a relative of the prece- 
ding, flourished at Cologne about IGOO, and en- 
graved several portraits and historical subjects in 
a clear, neat style, somewhat resembling Crispin 
de Passe, but greatly inferior. Among them are 
the following : 



PORTRAITS. 



John Adams, Electoral Prince, Archbishop of Mentz ; 
J. Hogenberg^ scul. Lotharius, Electoral Archbishop of 
Treves; do. George, Cardinal Radzivil, Bishop of Cra- 
cow ; do. The Scourging of Christ ; after M. de Vos. 

HOI, or HOY, Nicholas van, a Flemish engrav- 
er, who was employed in concert with J. van Os- 
senbeck; Francis Vandersteen, and others, on the 
plates after the collection of the Archduke Leo- 
pold, called the Gallery of Tenters. It consists 
of 243 prints, and wa;s nublished at Antwerp in 
1660. 

TIDqj. TIT HOLBEIN, Hans, or John, an 
ITJLJ J_J J. eminent Swiss painter, designer, 
and wood engraver, born at Basle, according to 
some accounts, in 1498 ; although others think he 
was a native of Augsburg. He was the son and 
scholar of John Holbein, who settled at Basle, and 
resided there during the rest of his life. At the 
early age of fourteen, he manifested great abilities, 
and painted the portraits of himself and his father, 
which were engraved in SandrarVs Academia, 
in 1512. He had already gained considerable dis- 
tinction, particularly in portraits, when he was 
invited by an English nobleman, to visit England, 
but he did not feel inclined to go. Several years 
afterwards, he formed an intimacy with Erasmus, 
and painted his portrait. The latter persuaded 
him to visit England, and gave him a letter to Sir 
Thomas More. On arriving at London, he sought 
out that nobleman, who received him with great 
kindness, giving him apartments in his house, and 
emploj'ing him to paint the portraits of himself, 
his family, and friends, with other works. One 
day Holbein happening to mention the nobleman 
who some years before had invited him to Eng- 
land, Sir Thomas was desirous to know who it 
was. Holbein replied that he had forgotten the 
title, but thought he could draw his likeness from 
memory ; and this he did so strongly, that it was 
immediately recognised. This peer was either the 
Earl of Arundel or the Earl of Surrey. The Chan- 
cellor having now enriched his apartments with 
the productions of Holbein, adopted an expedient 
to introduce him to Henry VIII. He arranged 
the pictures in the great hall in an advantageous 
manner, and invited the king to an entertainment. 
On entering, his Majesty was so impressed with 
the beauty and merit of these productions, that 
he anxiously inquired for the artist. Holbein was 
soon presented, and Henry immediately took him 
into his service, assigning him apartments in the 
palace, with a liberal pension, besides the price of 
his pictures. Holbein painted the portrait of the 
king several times, also the principal personages 
of the court, and many others of the nobility. On 



the death of Jane Seymour, he was sent to Flan- 
ders to draw the portrait of Christiana, Duchess 
dowager of Milan, whom Charles V. had recommend- 
ed to Henry for a fourth wife, but as the king dis- 
solved his connection with the Romish Church, 
the marriage did not take place. Holbein painted 
in oil, distemper, and in water- colors. He had 
never practised the last till he went to England, 
where he acquired the art of Lucas Cornelii, and 
carried it to a high degree of perfection. His por- 
traits are distinguished for a pure and simple de- 
sign ; his carnations are tender and clear, with a 
peculiar enamelled bloom ; and his heads, without 
much shadow, have a surprising relief. He gen- 
erally painted on a green ground ; in his small 
pictures often on a blue. There are but few his- 
torical works by Holbein in England. The most 
important is that in the Surgeons' Hall, of Henry 
VIII. granting the Charter to the Company of 
Surgeons ; in which the character of the king is 
admirably expressed, and all the heads are finely 
drawn. Another large picture is in the Hall of 
Bridewell, representing Edward VI. delivering to 
the Lord Mayor the Royal Charter, by which he 
gave up his loyal palace of Bridewell to be con- 
verted into a hospital and workhouse. There are 
a great number of genuine portraits by Holbein, 
in the mansions of the nobility throughout Eng- 
land. At Basle, in Switzerland, are eight pic- 
tures of the Passion of Christ ; and in the Library 
of the University a Dead Christ, painted on a 
panel, in 1521. It has been doubted whether the 
celebrated Dance of Death was originally designed 
by Holbein ; but this has been occasioned by con- 
founding the set of prints of the Dance of Death 
engraved by Matthew Merian, with the wooden 
cuts by Holbein, after his own designs, the origi- 
nals of which are preserved in the public library 
at Basle. In the reign of George IL, a valuable 
collection of his drawings was discovered, of the 
portraits of eminent personages in the reign of 
Henry VIII., some of which have been engraved 
by Bartolozzi, in the style of the original draw- 
ings. 

As a wood engraver, Holbein is said to have ex- 
ecuted some works as early as 1511. and before 
his departure from Switzerland, he engraved a 
great many wooden cuts, for the publishers of 
Basle, Zurich, Lyons, and Leyden. The most im- 
portant of these, are a set of wooden cuts entitled 
the Dance of Death, after his own designs, which 
complete, consists of fifty-three small upright 
plates, but is sekk>m found above forty-six. The 
first impressions are said to have been made in 
1530; but there are later publications, especially 
one at Lyons, entitled Simolachri Histor)(E. e fig- 
ure dclla 3Iorte, in Lyone oppresso Giov. Frel- 
loni, MDXLix. They have been copied on wood by 
an old engraver, in a very inferior style. There 
are also by Holbein a set of ninety small cuts of 
subjects from the Old Testament, executed in a 
bold masterly style, but with great delicacy. The 
best impressions of these were published at Lyons 
in 1539, by Melchior and Caspar Treschel ; but 
there is a later edition, with two Latin verses, eu 
logising Holbein ; and they have been copied by 
Hans Brosamer, in an inferior style. He made a 
number of designs for the Bible, which were en- 
graved and published at Leyden, in 1547, under 
the title of Icones Historiarum veteris Testamenti. 
In St. John's college, Cambridge, is Henry VIII.'s 



HOLE. 



405 



HOLE. 



Bible, printed on vellum, with Holbein's cuts fine- 
ly illuminated. He made many designs for Eras- 
mus' Moria3 Encomium, or Panegyric of Folly. 
He also modelled and carved ; and designed a num- 
ber of vignettes, frontispieces, and ornaments, for 
the goldsmiths. He died of the plague, at Lon- 
don, m 1554. The following is a list of his por- 
traits in England, taken from Wal pole's Anecdotes 
of Painting, edited by Rev. James Pallaway. A 
list of publications from his works, real and pre- 
sumed, is also added, from Nagler's Kunstler 
Lexicon : 

PORTRAITS BY HOLBEIN NOW IN ENGLAND. 
In the Royal Palaces, 
Windsor. 
Sir Thomas More. Thomas, third Duke of Norfolk. 
Henry, Earl of Surrey, whole length. Holstoflf, a mer- 
chant. 

Kensington. 
Holbein's Father, and his Mother, by J. H. sen. or his 
son Sigismond. Himself and wife, (small) water-colors. 
Henry VIII., a head, white fur in the shoulders. Kathe- 
rine of Arragon, with a Dwarf. Sir Henry Guldeford. — 
Williani Somers, the King's Jester, looking through a lat- 
tice. Erasmus, valued at Charles the First's sale at £200. 
Frobenius, his printer (the Architecture added by Steen- 
wyck). Others at Hatfield, before 1527, at Althorp and 
Strawberry-hill. Erasmus, at Althorp ; and at Straw- 
berry-hill, (round) at Longford Castle, formerly Dr. Mead's, 
sold for £110. ^gidius, or Peter Giles the Lawyer of 
Antwerp, his friend. In the same collection. 
Hampton Court. 
Erasmus. John Reiskimer. Several portraits by Hol- 
bein are said to have been preserved in the Royal Palaces 
of Somerset or Denmark House, taken down in 1775. — 
Whitehall was burned in 1698,' and St. .James' in 1809, 
and the pictures have been either destroyed, or replaced 
in others of the king's residences. Erasmus, (small) Grey- 
stoke Castle, Cumberland.— The Original. Thomas, Third 
Duke of Norfolk, (small) H. Howard, Esq. Corby Castle. 
Do., half-length, Norfolk House Do., half-length, Castle 
Howard, with a View of two Castles. Do., half-length, 
Thorndon. Do., half-length, Gorhambury. Henry VIII., 
whole-length, bought at Lord Torrington's sale, in 1778, 
for £112, sitting, holding a walking staff, at Knowle. — 
Francis I. at Lord Harrington's, 1780, brought from Spain. 
Henry VII. and Henry VIII., sketch in black chalk, size 
of life, Chatsworth. Henry VIII. (small.) was in the Duke 
of Buckingham's collection. Do., whole-length, at Pet- 
worth. Do., whole-length, at Belvoir Castle. Do., head, 
Apuldercombe. Do., from Lee Court, Kent, Sir T. Baring. 
Do., and Queen Catharine with the divorce in her hand, 
(small) Dalkeith. Q. Anne Boleyne, half-length, with a 
velvet bonnet and single feather, many jewels, ANNA 
REGINA, IH., 1533. Q. A. Boleyne, Warwick Castle. 
Q. Jane Seymour, (1536,) Woburn. Q. Katherine Parr, 
Dawson Turner, Esq. Margaret. Q. of Scotland. New- 
battle Abbey. K. Edward Sixth, whole length, Petworth. 
The same, when a child, with a rattle, Apuldercombe. Do., 
small whole length, Houghton. W. Warham, Archbishop 
of Canterbury, Lambeth ; at Ditchley. Martin Luther, 
Stowe. J. Fisher, Bishop of Rochester, St. John's Coll. 
Camb. ; Diddlington, Norfolk. Sir John Gage, K. G., Bel- 
videre, Kent. Judge Montagu, Liscombe, Bucks. Lord 
Paget, a repetition, Beaudesert. Sir Nicholas Carew, Lum- 
ley Castle. Sir W. Petre, Thorndon. At Lumley Castle. 
H. Fitzalan, Earl of Arundel, Longleat. John Dudley, 
Duke of Northumberland, Penshurst. Sir J. Brydges, 1st 
Lord Chandos, Avington. Sir A. Denny and his Lady, 
Northumberland House. The same, when Lord Denny, 
Longford Castle. Sir H. Guldeford and his Lady, North- 
umberland House. Sir J. More, Judge, Longleat. Sir 
Edward Grimstone, (1548, set. 20,) Gorhambury. Sir 
Thomas Smyth, Secretary of State. Edward Seymour, 
Duke of Somerset, at Longleat, Stowe, and Castle Ashby. 
Thomas, Lord Seymour of Sudeley, at Longleat, and at 
Stowe. Gregory, Lord Cromwell, Tixhall, Purnham, D6r- 
set. Sir T. Chaloner, (aet. 28, 1548.) Henry Chesman, 



(1533,) Falconer to Henry VIII. — This portrait, or a repe- 
tition of it, is noticed by Sir J. Reynolds, (Works, v, ii. p. 
346,) at the Hague, as being " admirable for its truth and 
precision, and extremely well colored. The blue flat 
ground, which is behind the head, gives a general effect of 
dryness to the picture : had the ground been varied, and 
made to harmonize more with the figure, this portrait might 
have stood in competition with the works of the best por- 
trait painters. On it is written, Henry Chesman, 1533." 
Moret, the King's jeweler and enchaser, who wrought from 
Holbein's designs, cups, daggers. &c., Northumberland 
House. Sir Thomas Pope, Founder of Trin. Coll. Oxon., 
Wimpole, brought from Tittenhanger, Herts, at Wroxton. 
Holbein, his wife, four boys and a girl, (small.) Mereworth 
Castle, Kent. — " As a whole it has no effect ; but the heads 
are excellent. They are not painted in the common flat 
style of Holbein, but with a round, firm, glowing pencil, 
and yet exact imitation of nature is preserved ; the boys 
are very innocent, beautiful characters." — Gilpin. (May 
not this be a repetition of the family picture mentioned by 
Mr. W., in a note p. 147. as baring been in Holbein's house 
on London Bridge, and destroyed in the great fire 1 Or 
may it not be the same picture, rescued 7) Edward Stan- 
ley, third Earl of Derby, Knowsley. Sir T. Wyat.— E. of 
Romney, the Moat, Kent. John Lord Berners, Diddling- 
ton, Norfolk, as Chancellor of the Exchequer. He holds ar 
lemon in one hand to prevent infection ; alluding probably 
to his having escaped the plague, when sitting as a Judge 
in court. Henry VIII. Diddlington, Norfolk. John Dud- 
ley, Viscount Lisle, afterwards Duke of Northumberland, 
1.545, Penhurst. The Princess, afterwards Q. Elizabeth, 
when young, in red, holding a book, formerly at Whitehall, 
now at Kensington Sir Brian Tuke, Corsham. Sir John 
Gage, 1541. W. Parr, Marquis of Northampton, Kensing- 
ton. Anne Boleyne ; sold at Sir L. Dundas's sale for £78 
15s. W. Herbert, first Earl of Pembroke, Wilton. Dr. 
Butts, Henry VIII.'s physician, and his AVife, at Anthony, 
Cornwall. W. Fitzwilliam, Earl of Southampton, destroy- 
ed at Cowdray. In the collection of G. Villiers, Dake of 
Bucks., were four portraits, none exceeding two feet square. 
1. King Henry VIII. ; 2. Mary Queen of France ; 3. Eras- 
mus ; 4. T. 3rd Duke of Norfolk. Attributed to Holbein ia 
B. Fairfax's Catalogue. 

MINIATURES BY HOLBEIN. 

Himself, round. Strawberry Hill. Katharine of Arragon, 
ditto. Q. Katherine Parr, ditto. Q. Anne of Cleves, Lee 
Priory, Kent. Henry Brandon, Duke of Suffolk, and 
Frances (Grey) Duchess of Suffolk, two children of Charles, 
Duke of Suffolk, {limning) ^Kensington. Himself, small 
round, Althorp. 

[The perfect editions of Holbein's Dance of 
Death contain fifty-five plates ; nevertheless, we 
must not seek here for au}^ complete list of editions 
of the Holbein Dance of Death, neither of the ori- 
ginal nor copied pieces. 

The Editio princeps bears the title ; — Les Simulachres 
et historiees faces de la mort autant de garnet pourtraites, 
que artificellement imaginees. A. Lyon soubz I'escu de 
Coloigne, 1538. It has Latin and French verses, and at 
the end stands, Excudebant Lugduni Melchior et Gaspar 
Trachsel fratres, 8vo. The wood cuts of this edition are 
exceedingly fine, and of uncommon power. This is shown 
particularly in the copy belonging to the court and state 
library in Munich. 

Imagines Mortis, <^c. Lugd. apud Joannem et Francis- 
cum Frellonius fratres, 1542, 9 plates.Svo. In the years 1545 
and 1546, a Frenchman, Vaugris or V. Valgrisius, produced 
some very beautiful and finely executed imitations, far su- 
perior to the Cologne imitations of Sylvius Antonius, given by 
Birkman and Erben. Vaugris brought out, in 1546, a 
Latin edition by G. ^milius, and in 1545 also an Italian 
edition. 

Imagines Mortis, <^c. Lug. exc J. Frellonius, 1547, 
53 plates, 8vo. 

Immages de la Mort, cf«c. Lyon chez Johann. Frellon., 
1547, 8vo. 

Simmolachri historic et figure de la Morte, &c. In Lyon 
appresse G. Frelloni, 1549, 53 plates. 

Les Immages de la Mort, auxquelles sont adjoutees, 17 
figures, &c. Lyon, Frellon., 1562, 8vo. 

Cologne Imitations of Birkmann and Erben. 



HOLB. 



406 



HOLB. 



Imagines Mortis, d^c. Colon, apiid liaDredes Birkmanni, 
1555, 53 plates. 

Imagines Mortis, <|«c. 1557, 53 plates^^Of which there 
is a Lubeck imitation with a few variations. A German 
(Augsburg) edition of the same year has a preface in 
rhyme by C. Scheyt, 53 plates. 

Imagines Mortis, Colon. &c. 1566, 53 plates. 

Imagines Mortis, Colon. &c. 1567, 8vo. 

Dance of Death of 1651. Abraham a Diepenbeck. H. 
B. i. (Holbein invenit.) Another edition is of 1682. The 
borders are by Diepenbeck, and W. Hollar engraved them 
with copies of Holbein. 

Dance of Death. D. Urban! Regii MDLVII.— This edi- 
tion is praised by Fiorillo as the non plus ultra of all in the 
art of figure- engraving. 

Dance of Death, by Bellerus, 1654, 8vo, with frontis- 
piece. — These wood-cuts are copies after Holbein by A. 
Sallaert, and not originals, as is stated by all biographers, 
even Mr. Douce. Vide Weigel's Cat. II., p. 64. No. 2133. 

Dance of Death, engraved by W. Hollar, 1647, 51 
plates, 4to. 

Dance of Death, engraved by W. Hollar, 1789, 12mo. 
splendidly printed. 

Dance of Death, engraved by "W. Hollar. The Dance 
of Macaber, &c., by J. Lydgate, edited by W. Douce. — 
London, 1790. 

Dance of Death, Historical Dissertation, &c., 30 plates, 
by W. Hollar ; and Dance of Macaber by Lydgate, as 
represented in St. Paul's, &c. London, 1796, 8vo. 

Dance of Death, 52 engravings on wood by Bewick, 
with letter-press illustrations, by Douce. 3rd edition. Lon- 
don, 1825. 

Dance of Death, (^c, by Douce. The wood cuts are by 
Bonner. London, 1833, 8vo. — Especially good are the cop- 
ies by the court-inspector, F. A. G. Frenzel, in Dresden, 
and Professor J. Schlotthaner, in Munich. The former 
are imitated by Frenzel himself on copper, but the latter 
Prof S. had lithographed by the clever artist, C. Hoegerl. 
In these stone impressions, the greatest fidelity and purity 
of outline are presented, and the character of the wood 
cuts is to be traced here with undoubted certainty. The 
number of plates is 53, but only 33 are by Iloogcrl ; his 
progress in the execution of the rest was terminated by the 
hand of death. These were completed by two unnamed 
artists. The poetry to Frenzel's edition is by Dr. L. Bech- 
stein, and the text to Schlotthaner' s was given' by Profes- 
sor Schubert. The former appeared in 1831, the latter in 
the following year. 

To Holbein's celebrated Triumph of Death are 
appended the following wood cuts, generally very 
scarce. These are, to a certain extent, formed into 
entire works. 

1. Catechismus. That is to say, a short instruction into 
Christian Religion, for the singular commoditie and profyte 
of children and young people, set forth by the raooste rev- 
erende father in God, Thomas, Archbyshop of Canterbury, 
Primate of all England and metriopolitane. Cwalterus 
Lyne excudebat, 1548. At the end : Enprynted at Lon- 
don in St. James Street by Nicolaus Wyll for Cwalder 
Lyne, dwelling in Somers Kaye by Kyllings gate. 8vo. 

The wood cuts of this extraordinary and rare work are 
attributed in part to Holbein. Edward Burton, at Oxford, 
republished this work in 1829. 

2. The Pastime of People, or the Chronicles of divers 
realms, and most especially of the realm of England. — 
Printed by Russell of Cheapside, 1529. The wood cuts to 
this work were attributed to Holbein. T. F. Dibden re- 
published it in 1811, with wood cuts by John Nesbit, 4to, 
This work is likewise very scarce, as only very few copies 
exist. 

3. Historiarum veteris instrumenti icones ad unicum 
expressoc. Lugd. sub scuto Coloniense, MDXXXVIII. 
Excud. Melchior et Gaspar Trechsel fratres. — This is the 
first very rare edition, with 92 wood cuts, in 4to. The sec- 
ond edition appeared 1530, Liege; the third in 1540, Ant- 
werp ; the fourth, 1549, in Liege (at the brothers Frellon, 
with 94 wood cuts) ; the fifth, 1543, at Lyons (with Spanish 
text) ; the sixth, 1547, in Liege, at Frellons', with 94 wood 
cut^s ; the seventh, 1549, in Lyons, at Frellons', with Eng- 
lish and French text, and 94 plates. The single impressions 
of the wood cuts are printed on one side, and without text. 

A new edition has the title : Icones veteris Testament! : 



Illustrations of the Old Testament, &g., with wood cuts by 
John and Mary Biefield, and text in five languaares. Lon- 
don, 1830, 8vo. 

4. The New Testament, now clearly into German from 
the right foundation. Also the Revelation of St. John, 
with beautiful figures. Le Basle, T. WolflP, 1523. The 
21 wood cuts of the Apocalypse are attributed to Holbein ; 
the ornamented title bears Liitzelberger's mark. 8vo. 

5. Erasmus of Rotterdam. Upright figure, under a 
decorated gate. A celebrated wood cut, bearing the fol- 
lowing inscription in the first impressions : 

Pallas Apelloeam nuper mirata tabellam 
Hanc ait ; aeternum bibliotheca colat. 
Daedaleam monstrat musLs Holbeinius artem 
Et summi ingenii magnus Erasmus opes. 
In the second impressions we read : 

Corporis effigiem si quis non vidit Erasmi, 
Hanc scite ad unium picta tabella dabit. 

The copper still exists, from which there are more recent 
impressions, with and without these lines. 

6. The Alphabet with the Dance of Death. Each let- 
ter is 11 lines in height and breadth, masterly cut. 

7. The Latin Alphabet, with Children at sport, 24 pi., 
not quite one inch in height and breadth. 

8. The Peasant's Dance, and the Peasants who drove 
the Fox from the Goose. Title border of a Lactantius, fol. 
1542. 

9. Cebes Table. Title Border having several allegori- 
cal figures ; Felicites, the Virtues, and Vice. This is found 
as title to the Lexicon-Graecum Basilias apud Val. Curio- 
nem ; to the Dissertation of S. Cocceius Promot. Cand. lect. 
ex Off. par in. 

10. Female Figure, clothed in a cuirass, as decoration 
on the blade of a poignard, 

11. Venus, on the blade of a poignard. 

12. City Arms of Freiburg, in Brisgau, with mark and 
date of year 1519 ; fol. 

13. Bordering of Title, with Herod at the Beheading 
of St. John the Baptist ; 4to. 

14. Bordering of Title, with the Triumph of Infants ; 
4to. 

15. Bordering of Title, with Tarquin and Lucretia ; 4to. 
These three titles have been used to the works of Erasmus 
of Rotterdam. 

16. Bordering of Tt'/Ze, with the Dying Lucretia, 8vo. 

17. Bordering of Title, similar to the above, with Ce- 
res and Pelop. 

18. Bordering of TV^/e, with the Bishop. 

19. Bordering of Title, with the Fathers of ye Church. 

20. The larger Title Border, with Peter and Paul, and 
the city arms of Basle, after Holbein, to the Geography of 
Ptolemy. 

21. The smaller ditto, with the mark of the printer, A. 
Petri. 

22. Border of Title, with David dancing before the 
Ark of the Covenant, after Holbein, with the mark of A. 
Petri. 

23. Title, with the feasting of the 5000, Children danc- 
ing, and Fight of Tritons. 

24. Plates in Erasmi encomium Morias. (Stultitiae.) 
After Holbein's humorous drawings. 

25. The Lord's Prayer, illustrations from the old and 
new Covenant, probably after Holbein, — excellently en- 
graved by V. C. ; 8 plates, 8vo. ; very scarce. 

26. Title Page in Genii and the name Hans. Holb., be- 
fore the Paraphrase in Epistol S. Pauli ad Galatas per 
Erasmum Roter. Balileae S. Frobenium. 1519, 4to.] 

^jOq Pjd HOLBEIN, Sigismond. This art- 
Aj) \y ^ 3^ ist was a painter and wood engrav- 
er, and is said to have been the uncle of Hans 
Holbein. Little is known of his pictures; but 
there are several indifferent wooden cuts, marked 
with the accompanying monogram, which are 
usually attributed to him. 

HOLE, William, an obscure English engraver, 
who flourished about 1613. He wrought for the 
booksellers, and executed a number of plates, en- 
tirely with the graver, in a formal, labored style, 
among which are the following : 



HOLL. 



407 



HOLL. 



PORTRAITS. 



Prince Henry Frederick, son to James I. ; full length. 
Thomas Egerton, Viscount Brackley, Lord Chancellor. 
Sir John Hayward, Knt., LL.D. Martin Billingsley, 
writing-master. Giovanni Floris, Italian master to Anne 
of Denmark. Michael Drayton, prefixed to his works. 
The Frontispiece to Michael Drayton's Polyobion. 

"pHOLL, Elias, an engraver mentioned by 
Jl'Prof. Christ, as residing at Nuremberg, about 
1638. Among other plates, he executed several 
after C. Reverdus, and others. 

HOLLAND, J., an obscure English engraver, 
who flourished about 1755. Among other plates, 
he etched the Head of a Turk, in a spirited style, 
but with little effect. 

HOLLAND, Sir Nathaniel. See Dance. 

HOLLAND A, Francisco de, or in the French 
writers, Francois de HoUande, a Portuguese paint- 
er of miniatures in manuscripts, who flourished 
during the 16th century, and was living in 1571. 
He was sent to Italy by King John HI., where he 
resided some time, and made many drawings from 
the most beautiful remains of antiquity. On re- 
turning to Portugal, in 1549. he wrote a treatise 
on ancient painting, dedicated to the king, con- 
taining much valuable information. This pubh- 
cation may be found in Raczinski's work, Les Arts 
en PortugaL under the title of " Manuscrit de 
Fran9ois de Hollande." By his own account, he 
lived during his residence at Rome on terras of 
intimacy with Michael Angelo, and other artists 
of eminence. Pons, in his Voyage en Espagne, 
mentions a book of drawings in the Library of 
the Escurial by this artist. It contains a por- 
trait of the reigning pontifl*, and of Michael Angelo, 
illuminated ; with drawings of the most beautiful 
antiquities at Rome, Naples, and Venice ; also the 
amphitheatre at Narbonne; drawings of mosaics, 
ancient statues. &c. ; all of which are recorded in 
the ^IS. above mentioned. 

HOLLAND AIS, Jan le, or John of Holland, 
a Flemish landscape painter; born at Antwerp in 
1494. He was the grandfather of Cooninxloo. 
His style was imitated by Breughel, and his pro- 
ductions were formerly in great demand. He died 
at Antwerp in 1553. 

HOLLAR, Wenceslaus, an eminent German 
engraver, born at Prague in 1607. He studied at 
Frankfort, under Matthew jMerian, and at the age 
of eighteen published his first plates — an Ecce 
Homo, and the Virgin and Infant. He made the 
tour of Germany, and published several views of 
Strasburg, Frankfort, IMentz, Cologne, and other 
cities. At Cologne he formed the acquaintance 
of the Earl of Arundel, traveling as ambassador 
to Austria, who took him into his employment, 
and on returning to England brought him thither. 
Hollar executed several plates from the iVrundel- 
ian collection ; also an equestrian portrait of his 
patron ; in 1640, a beautiful set of twent3^-eight 
plates, representing the different habits of English 
women ; in 1642, '43, and '44, his other sets of 
women in the costumes of the various nations of 
Europe. About this time the civil war broke out, 
in which Hollar became involved on the side of 
the Royalists, and was made a prisoner by the op- 
position, in 1645. On obtaining his libert3^ he 
I went to Flanders, and settled at Antwerp, whither 
[ the Earl of Arundel had withdrawn, and had ta- 



ken his collection. He employed Hollar to en- 
grave from his pictures, for some time, but as he 
visited Italy for the benefit of his health, the art- 
ist was obliged to work for the booksellers at xVnt- 
werp for a small remuneration. In 1652 he re- 
turned to England, but gained little encouragement, 
and was reduced to great distress. He was sent 
to Africa by Charles II., to make drawings of the 
town of Tangier, with the fort and adjacent coun- 
try ; but on his return he received for his labor 
and expense, the miserable pittance of $500. In 
1672 he visited the north of England, and made 
designs of Lincoln, Southwell, and Newark. He 
died in the deepest poverty and distress, under the 
most afflicting circumstances, in 1677. There are 
about 2,400 prints by this artist, executed with 
great lightness, freedom, and spirit, but in a firm 
and finished style. Some of his prints possess 
considerable merit, and his subjects comprise por- 
traits, landscapes, animals, insects, still-life, ruins, 
furs, shells, &c. Large prices have been obtained for 
a few of his prints, which have become extreme- 
ly rare. The following are his principal works : 

PORTRAITS. 

Richard II. kneeling by his three patron saints. Ed- 
ward V ; prefixed to his life, with that of Richard III. 
Henry VIII. ; after Holbein. Ann Bolen, his Queen j 
after Holbein. Catherine Howard ; do. Ann of Cleves ; 
do. Edward VI. ; do. Thomas Cromwell, Earl of Essex; 
do. Henry Howard, Earl of Surrey ; do. ; rare. Sir An- 
thony Denny; do. Sir Henry Guilford, Comptroller of the 
Household; do. Lady Guilford; do. Duchess of Suf- 
folk ; do ; sometimes called Queen Catherine. Doctor 
John Chambers ; do. ; fine. Queen Mary ; do. Sir Thos. 
Chaloner ; do. ; ex. scarce. Hans Holbein, painter ; fine 
and scarce. Charles I. ; ten prints. Henrietta Maria, 
his Queen ; five prints. Mary, daughter of Charles I., 
consort of William, Prince of Orange. William, Prince 
of Orange. Francis Bacon, Lord Keeper. Thomas How- 
ard, Earl of Arundel ; six prints ; one with his son, Henry 
Howard, Baron Mowbray. Robert Devereux, Earl of Es- 
sex, on horseback. Philip Herbert, Earl of Pembroke; 
after Vandyck. Thomas Wentworth, Earl of Strafford; 
do, Robert Rich, Earl of AVarwick. Alathea Talbot, 
Countess of Arundel; after Vandyck. Ann D' Acres, 
Countess of Arundel ; after Vostennan. Teresia, Lady 
Shirley ; after Vandyck ; scarce. Dorothy, Countess of 
Sufi"olk. Mary Villiers, Duchess of Richmond and Len- 
nox ; after Vttndyck. Mary Stuart, Countess of Port- 
land ; do. Edward Calvei*, of Wilbie; scarce. Henry 
Colthurst, holding a helmet ; scarce. Sir Edward Deering, 
Bart. William Laud, Archbishop of Canterbury; after 
Vandyck. Peter Smart, Prebendary of Durham ; scarce. 
Sir Edward Coke, Chief .Justice of the King's Bench, Doc- 
tor Richard Harvey ; rare. John Thompson; rare. Sir 
Peter Paul Rubens, painter ; after Vandyck. Sir Antho- 
ny Vandyck; from a picture by himself. Inigo Jones, ar- 
chitect ; after Vandyck. Charles II. ; eight prints. Cath- 
erine, his' Queen. Prince Rupert. George Digby, Earl of 
Bristol; rare. Lady Catharine Howard, Counie.ss of Bris- 
tol. Algernon Percy, Earl of Northumberland, on horse- 
back. — This plate has also been used for James, Duke of 
York, Oliver Cromwell, and General Fairfax. Jerom^ 
Weston, Earl of Portland ; after Vandyck. James II. 
when Duke of York ; after Teniers ; scarce. Philip 
Wharton, Lord Wharton. Richard Cromwell, son of Oli- 
ver ; scarce. Wenceslaus Hollar, engraver ; three prints. 

SUBJECTS AFTER HIS OWN DESIGNS. 

A View of London, before and after the fire ; in two 
sheets; 1666. The Tower. The Royal Exchange, West- 
minster Hall. Whitehall. The Cathedral Church at Stras- 
burg. The Cathedral at Antwerp ; very fine. The besi 
impressions with a single line of writing at the bottom. Six 
1 Views of the town and environs of Tangiers ; inscribed. 



HOLL. 



408 



HOLS. 



Divers Prospects in and about Tangiers. 1673 ; scarce. 
Four Views near Aldbrough. 1645. A set of twenty-eight 
plates ; entitled, Ornatus Muliebris Anglicanus, repre- 
senting the habits of English women of all ranks ; very- 
fine. Several plates of the different Female Dresses in 
the different nations in Enrope ; fine and scarce. A set of 
twelve plates of Insects, entitled, Muscarum, Scarabeo- 
rum, Vermiumque varice figurcB et formce, Antverpice. 
Anno 1646 ; rare. A Mole." 1646. An Elephant, a Cam- 
el, two Monkeys, and two Bears. Several MuflFs, Gloves, 
Fans, Tippets, &c. 1647 ; scarce. Five plates of MuflFs ; 
1645 ; very fine and scarce. A set of small Plates of Shells ; 
very rare and fine. A set of Butterflies ; small plates. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Virgin suckling the infant Jesus and caressing St, 
John, in a landscape ; after Rotenhamer. The Holy 
Family ; after Pierino del Vaga. The Ecce Homo, with 
many figures ; after Titian. The Queen of Sheba visit- 
ing Solomon ; after Holbein. Seleucus causing the law 
against adultery to be executed on his own sons ; after Giu- 
lio Romano. Cupid sleeping at the Foot of a Tree ; af- 
ter Parmiggiano. The infant Hercules ; do. The sa- 
cramental Chalice, adorned with figures ; after a drawing 
hj Andrea Mantegna. 1640; rare. Mausoleum of the 
Earl of Arundel ; rare. A Winter-piece, with the Nativi- 
ty ; after A. Braun. 1644. The Magdalene in the Desert, 
kneeling before a Crucifix, in a landscape ; after P. van 
Avoyit ; rare. A set of twenty plates, including the por- 
traits of George Etenhard and P. van Avont, of Children 
at Play ; entitled, Pcedopagnion, sivepuerorum ludenti- 
um Schemata varia, d^'c. ; after P. van Avont. A set 
of thirteen plates of the Caricatures of Leonardo da Vinci ; 
entitled, Varice et figurce et probce art em pictures incipi- 
endcB inventuti utiles. 1645 ; rare. A set of thirteen 
plates of Hunting and Fishing ; entitled, Several ways of 
Hunting, Haiokiiig, and Fishing, according to the Eng- 
lish manner ; invented by Fras. Barlow. 1671. The 
Emblems ; after Ottovenius ; entitled Emblemata Nova ; 
in eight plates ; rare. A set of thirteen Landscapes ; af- 
ter Artois. A dead Hare, and other game ; after Peter 
Bo el ; rare. 

HOLLINS, Wm., an English architect, born in 
1763. He resided chiefly at Birmingham, where 
he erected a number of fine edifices, among which 
are the Public Office and Prison, the old Birming- 
ham Library, and the Dispensary. His best work, 
however, was the country seat of the Earl of 
Shrewsbury, which has been highly commended. 
He also designed the plans for the Royal Mint at 
St. Petersburg, by order of the Empress. He died 
in 1843, aged 80. 

HOLLOWAY, Thomas, an Enghsh engraver, 
born in 1748. He was first apprenticed to a steel 
engraver, and executed several specimens of seals 
and medals, particularlj'" a fine head of Ariadne ; 
but this branch of the art was passing somewhat 
into disuse, and Hollo way therefore devoted him- 
self to copper-plate engraving. He executed a 
number of portraits and other plates for the mag- 
azines ; also many of those in Lavater-^s Essays 
on Physiognomy., translated by Rev. Dr. Hunter, 
and containing about seven hundred illustrations. 
He also executed a number of prints for the pub- 
lications of Boydell, Macklin, and Bowyer. and the 
engravings of the cartoons of Raflfaelle, which oc- 
cupied him many years, and are esteemed as deco- j 
rative prints for their elaborate execution. Hol- 
loway died in 1827. 

HOLMES, P., an obscure English engraver, who 
executed, among other plates, a great part of those 
in Quarks'' Emblems, published in 1696. 

HOLST, Theodore van. This painter was 
born at London in 1810, of German extraction. 
At a very early age he manifested a very strong 
inclination for art. and at the age of ten years he 



attracted the notice of Lawrence, who gave him 
three guineas for one of his pencil sketches. After 
drawing from the antique in the British Museum, 
he was admitted as a student of the Academy, and 
subsequently executed many drawings for Law- 
rence, several of which were supposed to be com- 
missioned by George IV. His pictures are entirely 
in the German taste, and many of them were cha- 
racterised by eccentricities; consequently they 
were not popular. His subjects are all of a ro- 
mantic and gloomy character, and no considera- 
tion could induce him to 3neld to the English 
taste, — not even commissions, or the privations he 
was compelled to undergo, from the unpopularity 
of his subjects. It must be remembered, however, 
in assigning the cause of his ill success, that Bar- 
ry in the last century, and Hilton in the present, 
although artists of acknowledged talent, were very 
poorly encouraged. Hogarth, in one of his satirical 
works, represents British Painting as a tree with 
three branches, on which a shower of patronage 
is falling; the bough of Landscape is only moist- 
ened, and grows not ; the bough of Portrait is 
drenched, and flourishes ; but not a drop falls on 
the Historical branch, which is therefore parched 
and withered. Van Hoist left a large number of 
drawings and sketches, and some imfinished paint- 
ings. His picture of the Raising of Jairus' Daugh- 
ter, has been engraved. He died in 1844. 

HOLSTEIN, Peter, a Dutch engraver, and a 
painter on glass, born in 1626. He engraved a 
variety of portraits, among which is a set of twen- 
ty-six of the ambassadors to the Congress of Mun- 
ster, executed with the graver, in a s,t\ff style, but 
possessing some merit. The following are his 
principal plates : 

PORTRAITS. 

Cardinal Fabio Chigi, negotiator at the Peace of West- 
phalia ; afterwards Pope Alexander VII. Jacob vander 
Burchius; oval. John Ernest Pictoris, Counsellor to the 
Elector of Saxony. John Huydecooper, Burgomaster of 
Amsterdam. John Keyner Historiographer of the Peace 
of Munster. 1648. John Saenredam, engraver. Albert 
Vinkenbrinck, sculptor. 

HOLSTEIN, Cornelius, a Dutch painter and 
engraver, the son and scholar of the preceding, 
born at Haerlem according to Balkema, Zani, and 
Fiiessli, in 1653. Nagler and others say, however, 
that he was born in 1623. but this is impossible, 
as his father was born in 1626. He painted his- 
tory with considerable reputation. Houbraken 
mentions 'a picture by him, of the Triumph of 
Bacchus, as being well composed, correctly drawn, 
and agreeably colored ; he also praises his painting 
on the ceiling of the Treasury'- at Amsterdam. 
Holstein engraved a number of plates from his 
own designs ; also some of those in the cabinet of 
Gerard Reynst, published at Amsterdam about 
1663. Among others are the following : 

Infant Bacchanalians ; a frieze, in six sheets, numbered; 
Clement de Jonghe, e.vc. ; rare. A Lady seated in a 
Chair, richly habited, supposed to be the portrait of Isa- 
bella d'Este, Marchioness of Mantua ; after a picture said 
by some to be painted by Correggio, by others Giulio 
Romano. Corn, Holstein, scul. 

HOLZER, John, a German historical painter 
and engraver, born at Burgriess. in the Tyrol, in 
1708. He visited Augsburg, and studied under J. 
G. Bergmuller. There are a number of fresco 
works by him, in the public places at Augsburg, 
some of which havo been engraved by J. J. Nil son. 



HOLZ. 



409 



HOND. 



He etched a number of plates in a spirited style, 
among- which are the following : 

The Adoration of the Shepherds ; J. Holzer, inv. etfec. 
The Four Seasons ; after Bergmuller. The Adoration of 
the Magi ; do. The Ecce Homo ; Holzer, del et fecit, 
aquaforti. The Virgin, with a Glory of Angels ; Holzer, 
del. et sc. 

HOLZHALB, John Rudolph, a Swiss engrav- 
er, born at Zurich about 1730. He wrought 
chiefly for the booksellers, and engraved, among 
other works, several plates for the Lives of the 
Swiss Painters, by Fiiessli. and Lavater^s Phy- 
siognomy. 

HONDEKOETER. Giles, a Dutch painter, born 
at Utrecht about 1583. His father was the Mar- 
quis of Westerloo, a Protestant Belgian nobleman, 
whose castle was between Herenthals and Diest, 
and who was obliged to take refuge in Holland, by 
the Spanish Inquisition, who confiscated his es- 
tates. Giles Hondekoeter followed the styles of 
Roland Savery and David Yinckenbooms, parti- 
cularly the latter, in the forms and foliage of his 
trees. He also painted birds and fowls, with truth 
and exactness, frequently filling his landscapes 
with no other objects, highly finished, with great 
transparency of coloring. 

HONDEKOETER, Gysbrecht, the son and 
scholar of Giles H., born at Utrecht in 1613 ; died 
in 1653. He painted various kinds of domestic 
fowls, which possess considerable merit, although 
greatly inferior to those of the succeeding artist. 

A/1 T) /-/HONDEKOETER, Melchior, 
w/FI J^ 'Jl^ an eminent Dutch painter, born 
at Utrecht in 1636. He was the son of Gysbrecht 
H., who instructed him in the art till his death, 
when Melchior had reached the age of seventeen. 
He then entered the school of John Baptist "Ween- 
inx, and under the excellent instruction of that 
master, he became an admirable painter of live 
fowls, game, and similar subjects. His principal 
guide was nature, and he is said to have trained a 
cock to stand for hours in any particular attitude. 
He imitated the plumage of each fowl in the most 
perfect manner ; his touch is firm and bold, and 
his coloring rich and mellow. Although not so 
glossy and highly finished as those of Weeninx, 
they are painted with more freedom, and a fuller 
pencil ; and his productions are unsurpassed. He 
died in 1695. 

HONDIUS, Abraham, a Dutch painter, born at 
Rotterdam in 1638. He painted huntings and ani- 
mals in a masterly style; also conflagrations and 
towns on fire ; but his best productions were dogs, 
in which he attained great perfection, almost equal 
to Snyders or Fyt. He painted a picture of 
thirty species of dogs, designed in a spirited 
style, with great freedom of touch, and each par- 
ticular animal characterised in an admirable man- 
ner. He visited England in the reign of Charles 
n.. where he resided many years and died in 
1695. There arc a few very spirited etchings by 
Hondius, which are scarce and highly esteemed. 
Among them are a Boar-Hunting, and a set of 
Huntings of various animals. 



^ 0. /$■ o. f£^ 



HONDIUS, or 
DE HONDT, 

JoDOCUS, or JosT. a Flemish engraver, born at 
Ghent in 1563. At the age of twenty, he was 



obliged to leave his native place, on account of 
the troubles of the times ; and he went to Eng- 
land in 1583, where he engraved portraits, maps, 
and charts. He also practised making mathemat- 
ical instruments, and printing types. The follow- 
ing are his principal portraits : 

PORTRAITS. 

Queen Elizabeth. Henry IV. of France. Sir Francis 
Drake, with two hemispheres. Thomas Cavendish, the 
famous navigator. The Maps and Charts of Sir Francis 
Drake's Voyages. Several Maps for Speed's Collection ; 
some with figures. Some plates for the Atlas Major of G. 
Mercator, with his portrait. 

Elder, a Flemish engraver, born at Duffel in 
1576, and was probably a relative of the preced- 
ing. He studied under J. Wierix, and imitated 
the style of that master, though inferior in design 
and execution. He engraved a large number of 
portraits, landscapes, and other subjects, after 
Breughel, van Mander, and others. The following 
are the principal : 

PORTRAITS OF REFORMERS. 

John Wickliffe. Philip Melanethon. John Bugenha- 
gen ; H. Hondius. 1599. John Knox. John Calvin. 
Jerome Savonarola. 

PORTRAITS OF PAINTERS AND ENGRAVERS. 

Cornelius Cort ; H. H. fee. 1598. Henry de Cleeve. 
Giles Cooninxloo. Hans Holbein. Joas van Cleeve. Geo, 
Hoefnagel. John Mabuse. Sir Anthony More. Henry 
Cornelius Vroom. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Judgment of Solomon ; after Karel van Mander. 
The Adulteress before Christ; 'do. 1597. St. Paul cast- 
ing the Viper into the Fire, in a landscape ; after Giles 
Moestaert. Christ with the two Disciples going to Emma- 
us; do. 1598. Four plates of Drolleries ; after P. Breu- 
ghel. Tobit and the Angel ; after G. de Saen. 1600. St. 
John preaching in the Wilderness ; do. A View of ttio 
Hague ; iftscribed Curia Hollandias ; do. ; scarce. 

HONDIUS, or DE HONDT, Henry, the 
Younger, the son and scholar of Jodocus H., born 
at London in 1588. He completed some of the 
plates left imperfect by his father, and also execu- 
ted a number of portraits in a neat style, marked 
with a similar monogram to that of the preceding 
artist. The following are his principal plates : 

PORTRAITS. 

Queen Elizabeth. James I. Charles I. John Bale, 
Bishop of Ossory. Thomas Cranmer, Archbishop of Can- 
terbury. Robert Cecil, Earl of Salisbury. William, 
Prince of Orange, Mary, Princess of Orange. Sir Rich- 
ard Spencer, Ambassador. Sir Ralph Win wood, Secretary 
of State. 

ffijr _„/feT HONDIUS, or DE HONDT, 
XT- • yjl William, the son of the preced 
ing, flourished at the Hague about 1640. He en 
graved a number of good plates, after Vandyck 
and others, among which are the following : 

Ladislaus IV., King of Poland; W. Hondius, fecit. 
1637. Jahn Casimir, King of Poland ; after Schulze. 
Louisa Maria, Queen of Poland ; after J. van Egmont. 
Charles, Prince of Poland, Bishop of Breslau ; after 
Schulze. Prince Maurice of Austria. 1623 ; fine. Ber- 
nard, Duke of Saxe Weymar. Theodore ab Werden- 
Burgio. Henry Cornelius Longkius ; after J. Mr/tens. 
Francis Franck, the younger, painter ; after Vandyck. 
His own portrait ; do. 

HONE, Nathaniel, an Irish painter, born at 



HONG. 



410 



HOOG. 



Dublin about 1730. He visited England in the 
early part of his life, and practised itinerant por- 
trait painting, particularly in York, where he mar- 
ried a lady of some fortune. Shortly afterwards 
he settled in London, and continued to follow his 
profession with reputation, both in oil and minia- 
ture, but chiefly in enamel ; and after the death of 
Zincke. he was ranked among the first artists of 
his time in that branch. He was chosen a mem- 
ber of the Royal Academy, at its founding in 
1768, but offended that society by his picture of 
the Magician, in which he exposed the plagiarisms 
of Reynolds. He also produced another, reflecting 
on Angelica Kaufiman. He died in 1784. 

HONGRE, Etienne le, a French sculptor, 
born at Paris in 1628. After studying under 
Jacques Sarrazin, he visited rtal}^ and remained 
there six years. He was invited by Colbert to 
assist in the works at the palace of Versailles, 
where he executed a figure of Air, the statues of 
Vertumnus and Pomona, and also a number of 
bas-reliefs, which possess considerable merit. He 
designed the bronze equestrian statue of Louis 
XIV., erected in the Place Roy ale at Dijon. — 
Among his other works, were a part of the sculp- 
tures in the Mazarin College, now the Palais de 
1' Institute. He was admitted to the Academy in 
1668, and died in 1690. 

EIONT, or HONDT, H. van. This painter is 
said to have been a scholar of D. Teniers. He 
painted scenes similar to those of that master, and 
often very much in his style. 

HONTANON, Giovanni di. See Gil. 

HONTHORST, Gerard, called Gherardo 
DALLE NoTTi by the Italians, from his often rep- 
resenting scenes by torch-light, was an eminent 
Dutch painter, born at Utrecht in 1592. After 
studying under Abraham Eloemaert, he visited 
Rome, and closely apphed himself to the study of 
the works of M. A. Caravaggio. He succeeded in 
combining, in a most admirable manner, the vigor- 
ous coloring and powerful lights and shadows of 
that master, with dignit}^ of character, and a 
more correct and elevated taste of design. He 
was patronized by Prince Giustiniani, for whom 
he painted some of his finest works, among which 
are two capital pictures of St. Peter delivered from 
Prison, and Christ before Pilate. There is an ad- 
mirable torch-light scene by Honthorst in the 
church of the Madonna della Scala, at Rome, rep- 
resenting the Decollation of St. John. After re- 
turning from Italy, he visited England, and painted 
several pictures for Charles I., who liberally re- 
warded him. He afterwards settled at the Hague, 
and was patronized by the Prince of Orange, for 
whom he painted several excellent pictures for the 
Palace of Ryswick and the Palace in the Wood. 
He died in 1660. 

HONTHORST, William, the younger brother 
of the preceding, born at Utrecht in 1604. He 
was instructed by Abraham Bloemaert, and though 
he sometimes painted historical subjects in the 
style of his brother, his chief excellence was in 
portraits. He died in 1683. 

HOOFT. Nicholas, a Dutch painter, born at 
the Hague in 1664. He studied first under Daniel 
Mytens, and afterwards became the pupil succes- 
sively of Doudyns and Terwesten. He excelled 



PDH 



both in history and portrait, and was chosen Di- 
rector of the Academy at the Hague, where be 
died in 1748. 

HOOGE, Peter de, a Dutch 
painter of admirable talents, 
but of whom little is known. He flourished about 
the middle of the 17th century. His usual sub- 
jects were the interiors of Dutch apartments, with 
figures in the prevailing costume of the day. Al- 
though his touch is more free and spirited than 
that of Metzu or Mieris, he is inferior to them in 
neatness of finishing. His coloring is most admi- 
rable, and his chiaro-scuro is managed with great v 
intelligence. He had the peculiar excellence of rep- 
resenting the sun shining through a window, illu- 
minating a part of the room with a highly pleas- 
ing effect. His works are widely known, and uni- 
versally admired ; the best of them are dated 
1658. In the English royal collection, and also in 
those of the Duke of Wellington and the late Sir 
Robert Peel, are several pictures by de Hooge, 
which are invaluable. 

HOOGHE, RoMEYN DE, a Dutch designer and 
engraver, born at the Hague about 1638. He nat- 
urally possessed fine talents, and great facility of 
invention, which are manifest in his works ; but 
these very excellencies led him to neglect correct- 
ness of design, and he used little judgment in the 
selection of his subjects. He handled the point 
with great spirit andfacilit}^, and his small figures 
and distances are executed with great delicacy and 
neatness. His foregrounds and principal figures, 
however, are less happy, and there is a lack of har- 
mony of effect, and of light and shade. He exe- 
cuted a considerable number of prints, some of 
which are highly esteemed. The following are 
the principal : 

The portrait of Michael Adriaensz de Ruyter, Admiral- 
General of Holland ;• very fine. An Allegorical subject, in 
honor of Leopold II. Another, in honor of William Hen- 
ry, Prince of Orange. The Marriage of William, Prince 
of Orange, with the Princess Mary. The Entry of the 
Prince of Orange into London. The Coronation of Wil- 
liam and Mary. The Army of William III. in order of 
Battle, on the Banks of the Boyne, with the medallions of 
the King and Queen Mary. The Siege of Vienna by the 
Turks. 1683. The Triumphal Entry of John III., King 
of Poland, into Warsaw, after raising the siege of Vienna. 
Constantinople taken by the Turks. A set of plates, rep- 
resenting the excesses committed by the French in Holland. 
1672, 1673. The Deluge of Coerverden, The Massacre 
of the two De Witts. 1672. The Defeat of the Erench at 
Hochstadt in 1704, with medallions of the Duke of Marl- 
borough and Prince Eugene. The taking of Narva, by 
Charles XII. The Battle of St. Deny's near Mons ; in 
two sheets. The Jewish Synagogue at Amsterdam. The 
Entry of Louis XIV. into Dunkirk; two sheets; after 
vander Meulen. Charles II. of Spain descending from 
his carriage to pay homage to the Host. Six emblematical 
subjects, relative to the abuses of the clergy of the Romish 
Church; dated 1679. The Fair at Arnheim. Twelve fig- 
ures habited in the mode of the latter part of the seven- 
teenth century. 

HOOGHENBURG, John, a German painter, 
born at Cologne in 1500. Little is known of the 
events of his life, but he attained considerable ex- 
cellence in historical painting. He died at Malmes 
in 1544. 

HOOGSTADT, Gerard van. a Flemish painter, 
born at Brussels in 1625. His instructor is not 
mentioned, but hi."? works evince considerable abil- 
ity, both in design and execution, several of which 



HOOG. 



411 



HOPF. 



are in the churches of Brussels, particularly his 
pictures of the Passion of our Savior, in S. G::- 
dule. He died in 1675. 

HOOGSTRAETEN. Dirk (Theodore) van, a 
Flemish painter, born at Antwerp in 1596. He 
was brought up to the business of a goldsmith, 
but having gained the friendship of several Flem- 
ish painters, who instructed him in the art, he ac- 
quired such a proficiency that he quitted his 
original occupation, devoting himself entirely to the 
pencil. He painted historical subjects, but chiefly 
landscapes, designing them after nature with great 
truth and exactness, and distinguished himself 
above many of his cotemporaries, who had been 
regularly educated. He died in 1640. 

Hori-J HOOGSTRAETEN, Samuel 
>$Vlvan. a Dutch painter, the son 
of the preceding, born at Dort in 1627. After ac- 
quiring the elements of design from his father, he 
visited Amsterdam, and entered the school of Rem- 
brandt. On leaving that master, he applied him- 
self to portrait painting, in the dark, vigorous 
style he had acquired under Rembrandt ; but find- 
ing this rather unpopular, he adopted a more clear 
and agreeable manner, and met with great encour- 
agement, both at the Hague and at Dort. He also 
painted landscapes, flowers, fruit, and subjects of 
still-life, touched with great neatness, and agreea- 
bly colored. Hoogstraeten visited Vienna, where 
he was patronised by the Emperor, to whom he 
presented three pictures; one a portrait; another 
an Ecce Homo ; and the third a subject of still- 
life, highly finished ; with which the monarch was 
so highly pleased that he honored him with a 
chain and medal of gold. From Vienna he went 
to Rome, and after spending some time there for 
improvement, he visited England about 1663. Ver- 
tue mentions a picture by him, representing sub- 
jects of still-life, among which was an English 
Almanac for that year. After remaining a few 
years in England, he returned to Dort, and died 
there, in 1678. 

HOOGSTRAETEN, John van, a Dutch paint- 
er, the younger brother of the preceding, born at 
Dort in 1629. According to Houbraken, he paint- 
ed history and portraits with reputation, and was 
chosen a member of the Societ}^ of Painters at 
Dort in 1649. He was invited to the court of Vi- 
enna, where he remained several years in the ser- 
vice of the Emperor. He died at Vienna, accord- 
ing to Nagler, in 1654. 

HOOGZAAT, John, a Dutch painter, born at 
Amsterdam, in 1654. He studied under Gerard 
de Lairesse. who considered him among his best 
disciples. In consequence of the favorable expres- 
sions of Lairesse, he was employed to paint the 
ceiling of the Burghers' Hall at Amsterdam, rep- 
resenting an allegorical subject, ingeniously com- 
posed and agreeably colored. He was afterwards 
employed by William III. in his palace at Loo. 
He died at Amsterdam, in 1712. 

HOOSTAD,orHOOGSTADT, Gerard van, a 
Flemish painter, born at Brussels in 1625. His 
instructor is not mentioned, but Descamps says 
he was an excellent painter of history, with a cor- 
rect design, and ingenious composition. He paint- 
ed some pictures for the churches of Brussels, 
among which are several in S. Gudule. of subjects 
from the Passion of our Saviour. 



^\u HOPFER, Jerome, 
I^JTa the younger brother of 



HOPFER, David or Daniel, 
an old German engraver, born 
at Nuremberg about 1510. He was the eldest of 
three brothers, who were all engravers, and mark- 
ed their plates with the initials of their names on 
a tablet, with a hop-blossom between the letters, 
in allusion to their name, which means a hop 
plant. Marolles mistook it for a candlestick, and 
calls them the Masters of the Candlestick. Da- 
vid was the ablest and most industrious of the 
three. He executed a great variety of etchings, in 
a spirited and pleasing style ; although his design 
is stiff and formal, and his composition inferior. 
He excelled in ornamental buildings and decora- 
tions. Nagler has a list of his prints, among 
which the following are the principal : 

David cutting off the Head of Goliah. David playing 
on the Harp before Saul. 1531. The Woman taken in 
Adultery. The Last Judgment. The Presentation in the 
Temple. The Holy Family, with St. Elisabeth and St. 
John. Christ curing the Blind Man. The Crucifixion of 
Christ between the two Thieves. Another Crucifixion, with 
the Virgin and St. John. St. Christopher. The Representa- 
tion of an Altar, m.d.xxvii. A large Altar, with the Virgin, 
Christ, and St. John. Venus, with Cupid playing on a 
Madoline. A Combat of Marine Monsters ; copied from 
Andrea Mantegna. Five Swiss Soldiers. Several Vil- 
lage Festivals. Grotesque figures dancing ; of various 
sizes. The Fountains, ornamented with figures. Military 
Ornaments, with grotesque figures. 

portraits. 
Martin Luther, m d.xxiii. Claus Sturzenbecher ; very 
scarce. Carolus Rex Catholicus, a medallion. 

the preceding, nourished at Nuremberg about 1535. 
He etched a number of plates in the style of Da- 
vid H., some of which, after his own designs, pos- 
sess considerable merit. He copied, in a poor style, 
several of the prints of Durer. His plates are 
marked with his initials on a tablet, with a hop 
blossom between them. The following are the 
principal : 

portraits. 
Franciscus von Sickingen, with a German inscription ; 
fine and scarce. Wolfgang Juriger zu Toledt; fine and 
scarce. Julius Secundus, Pontifex Maximus ; a bust In- 
nocentius Octav. Pontifex Maximus ; do. The Emperors 
Charles V. and Fei-dinand I. ; on one plate. Leopoldus, 
Dickius, Juris-consultus, &c., fine. Erasmus Roterdamus ; 
fine. 

VARIOUS SUBJECTS. 

Samson overcoming the Lion. The Virgin suckling the 
infant Jesus. St. Hubert; copied from Albert Durer. 
St. Jerome ; do. ; rather smaller than the original. _ St. 
George standing upon the Dragon ; from his own design. 
An emblematical Print, representing several naked figures, 
with Diana in the front, holding a moon in her right hand, 
and a flambeau in her left ; do, Hercules strangling Ante- 
us; after Mantegna. Roma; Pallas seated, holding the 
figure of Victory. The English and French armies before 
the battle of Agincourt ; very scarce. A Roman Battle ; 
after Giulio Romano ; rare. The great Cannon; after 
Albert Durer. 

HOPFER, Lambert, the youngest brother of 
the preceding artists, was inferior to them in tal- 
ents. His plates are marked with the initials L. 
H., on a tablet, and sometimes with the hop plant. 
There are a number of etchings from his own de- 
signs, and after the prints of Albert Durer, among 
which are the following : 

The Fall of our First Parents. A set of fifteen plates 
of the Life and Passion of Christ ; copied from the wood- 



HOPP. 



412 



HORR. 



en cuts of Albert Durer, Christ praying in the Garden; 
with an arabesque border. A Triton on a Sea-horse, and 
Cupid on a Dolphin ; the same. The Conversion of St. 
Paul. Three circular subjects on the same plate, a Man 
caressing a Woman, Paris dying on Mount Ida, St. Jerome 
praying. An arabesque ornament, with four candelabra ; 
esteemed his best print. 

HOPPNER, John. This painter was descend- 
ed from a German family, but was born at London 
in 1759. His natural taste led him to landscape 
painting, but prudence restrained him to portraits, 
as the only certain means of pecuniary success. — 
The back- grounds of his pictures, however, afford 
ample proof of his abilities in the former branch 
of the art. His style was founded on that of Rey- 
nolds, but he was not a servile imitator of that 
master. His coloring is natural, chaste, and vigor- 
ous, and his tones are generall}^ mellow and deep ; 
his pencilling is full, and his carnations fresh and 
transparent. His pictures of children were full 
of unatlected ease and plaj'-ful grace. He possessed 
the power of greatly improving the appearance 
of a portrait, without destroying the resemblance; 
consequentl}'- his talents were in great demand 
among the ladies. In his portraits of men. how- 
ever, he seemed to have ver}^ inadequate concep- 
tions of the noble passions visible in the ''human 
face divine," and in his anxiety to represent the 
gentleman, he sometimes failed to delineate the 
man. Hoppner was a member of the Royal Acad- 
emy. He died in 1810. 

HORBERG, Peter, a Swedish painter, was 
originally a shepherd, born about 1730. While 
pursuing his humble duties, he was accustomed to 
make drawings on pieces of birch bark, and at 
last, having heard of the Academy of Painting at 
Stockholm, he visited that c\ty. and succeeded in 
finding patrons. He was indefatigable in his ex- 
ertions, and became an artist of distinction. He 
practised the art for many years, and in his latter 
days obtained a pension from Gustavus IV. He 
died at an advanced age, in 1814. 

HOREBOUT, Gerard Lucas, a Flemish paint- 
er, born at Ghent in 1498. He painted several 
historical subjects for the churches of Ghent, after 
which he visited London, and entered the service 
of Henry VIII. He painted portraits in the style 
of Holbein. He died at London in 1558. 

HORFELIN, Antonio l', a Spanish painter, 
born at Saragossa in 1587. After acquiring- the 
elements of design from his father, Pedro I'Hor- 
felin, an obscure artist, he visited Rome for im- 
provement, and studied the works of Raffaelle and 
Michael Angel o. His principal performance is a 
picture of St. Joseph in the Augustine monastery 
at Saragossa, which evinces a grandeur of design 
and harmony of coloring, superior to his Spanish 
cotemporaries. He died in 16G0. 

IIORION, Alexander le, a Flemish painter, 
born at Leige about the close of the 16th century. 
He painted several subjects from sacred history, 
for the churches of Liege and the convent of St. 
Claire; but he excelled chiefly in portraits, which 
were correctly drawn and good likenesses, but 
with little expression. He adorned his pictures 
with accessories in a most beautiful manner, which 
contributed considerably to the popularity of his 
works. He died in 1G59. 

HORREMANS, John, the Elder, a Flemish 
\ ainter, born at Antwerp in 1685^ and died in 



1759. His favorite subjects were conversation 
pieces, of which the characters were generally 
taken from the peasantry of the country. 

HORREMANS, John, the Younger, the son 
of the preceding, was born in 1717. He painted 
similar subjects to those of his master, but se- 
lected his characters from the higher classes of 
society, with an occasional analogy to Hogarth. 
He died in 1759, the year of his father's decease. 

HORST, Nicholas vander, a Flemish painter, 
born at Antwerp in 1598. He studied under Ru- 
bens, and then visited Germany, France, and Italy. 
On returning to Flanders, he settled at Brussels, 
where he painted history and portraits with great 
credit. He was appointed painter to the Arch- 
duke Albert, for whom he executed several works. 
He died at Brussels in 1646. 

HORTEMELS, Frederick, a French engraver, 
born at Paris about 1688. His best works were 
engraved for the Crozat collection. A part of 
his plates were executed almost entirely with the 
graver, and have very little etching; but in his 
best prints he has equally united the point and 
graver, and they possess a great deal of merit, 
with unusual harmony of effect. The following 
are the principal : 

The Portrait of Philip, Duke of Orleans ; after Santerre. 

SUBJECTS ENGKAVED FOR THE CROZAT COLLECTION. 

Christ bearing his Cross ; after Giorgione. The "Wise 
Men's Offering ; after P. Veronese. The Virgin in Med- 
itation ; after Do'm. Feti. The Marriage of St. Cathe- 
rine ; do. The Birth of St. John Baptist ; after Tinto- 
retto. The Death of Abel ; after A. Sacchi. Christ and 
the Woman of Samaria ; after B. Garofalo. The Descent 
of the Holy Ghost ; after Gaudenzio Ferrari. 

HORTEMELS, Mary Magdalene, a French 
engraver, mentioned by Watelet, as the daughter 
of Frederic H., and the wife of Charles Nicolas 
Cochin. She etched several plates and finished, 
them with the graver, in a light, pleasing style, 
among which are the following : 

PORTRAITS. 

Cardinal de Blissy, Bishop of Meaux ; after Rigaud. 
Cardinal de Rohan, Bishop of Strasburg ; do. 

SUBJECTS AFTER VARIOUS MASTERS. 

Mercury announcing Peace to the Muses ; a ceiling ; 
after Corneille. Penelope occupied in the midst of her 
Women ; do. Aspasia disputing with the Philosophers of 
Greece ; do. St. Philip baptizing the Eunuch ; after N, 
Bertin. Iphigenia; inscribed, Quantum religiopotuit ; 
do. The Triumph of Flora; after N. Poussin. The 
Conquest of Franche-Comte ; after C. Le Brun. 

•ijy HOSKINS, John, an English portrait paint- 
•T'- . er, who lived in the firs't part of the 17th 
century, during the reign of Charles I. For sev- 
eral years he painted portraits in oil, but after- 
wards in miniature, in which he succeeded best. 
The King, ■ the Queen, and the principal nobility 
sat to him ; and he had the satisfaction of educa- 
ting two good disciples, Alexander and Samuel 
Cooper, who were his nephews. The portraits 
of Hoskins have a natural and truthful expression, 
but his carnations are not suflBciently varied, and 
have an unpleasing red monotony. He died in 
1664. He had a son, who also painted in minia- 
ture, and usually marked his works with the in- 
itials I. H. 

HOUASSE, Rene Antoine, a French painter, 
born at Paris in 1645. He studied under le Brun. 
and became a reputable artist in history. He | 



HOUB. 



413 



HOUE. 



visited Rome and became successively Professor 
and Director of the French Academy in that city. 
He died at Paris in 1710, leavmg a son, Michel 
Angel o Houasse, who was instructed by his father, 
and followed his style. He died at Arpajon in 
1730. 

HOUBRAKEN, Arnold, a Dutch painter and 
biographer of artists, born at Dort in 1660. After 
receiving a liberal education, he was placed under 
William van Drillenbourg, and subsequently under 
Samuel van Hoogstraeten. He painted portraits 
and small subjects of history, which were more 
esteemed for correctness of design than for truth 
of coloring. He visited England to make the draw- 
ings of the portraits of Vandyck, which were en- 
graved by Peter van Gunst. Houbraken is best 
known by his biographical work in Dutch, in 3 
vols., entitled The Great Theatre of the Dutch 
and Plemish Painters^ with their Portraits. — 
There are a few etchings by him, after his own 
designs, among which are the following : 

A set of slight etchings of Boys, with vases. Vertum- 
nus and Pomona. 1699. Christ with the Disciples at Em- 
maus ; in the manner of Rembrandt. An emblematical 
subject, representing three Women looking at a Child lying 
in a sort of Basket, encircled by a Serpent ; A. Houhra- 
keU) jiiax. et fecit. 

HOUBRAKEN, Jacob, an eminent Dutch en- 
graver, the son of the preceding, born at Dort in 
1698. It is not known by whom he was in- 
structed, but he appears to have founded his style 
upon those of Nauteuil and Edelinck. He chieHy 
excelled in portraits, and many of his productions 
are equal to those of the most eminent artists in 
this branch ; designed in excellent taste, correctly 
drawn, and executed in a very soft and delicate 
style. Houbraken executed many of the plates in 
Knapton's Collection of Illustrious Personages. 
published at London ; also a large number of 
others, among which are the following : 

PORTRAITS. 

His own portrait; after J. M. Quinkharf. Jacob van 
Hoorn ; do. Jacob van Selsted, his Wife ; do. Albertus 
Seba ; do. John Burman, physician ; do. Francis Bur- 
man of Utrecht, Doctor in Theology. Gustavus William, 
Baron d'Imhof, Grovernor- General of Dutch India. Peter 
de Musschenbroeck, Professor of Medicine at Leyden. Fer- 
dinand van Collen, Burgomaster of Amsterdam. 1727.— 
Hermann Alexander Ptoell, Doctor in Theology. Peter 
Burman, Professor at Utrecht. 1727. Jerome Gaubius, 
physician. 1744. John Conrad Rucker, juris-consult. 1736. 
William James Sgravesande, mathematician ; after Van- 
dyck. Sigbert Havercamp, Professor of Leyden ; after 
Mieris. John de Wit":, Grand Pensionary of Holland ; af- 
ter Netscher. John Rodolph Faesch of Basle ; after Ru- 
ber. Henrietta Wolters, paintress ; se ipse pinx. Cornel- 
ius Troost, painter, of Amsterdam ; se ipse jnnx. Jacob 
Campo Weyermans, painter, and author of the Lives of 
the Dutch Artists. Nicholas Verkolie, painter ; after a 
picture by himself. He also engraved two plates for the 
Gallery of Dresden : The Portrait of Daniello Barbaro ; 
after P. Veronese. The Sacrifice of Manoah ; afler Rem- 
brandt. 

HOUDON, Jean Antoine, an eminent French 
sculptor, born at Versailles in 1741. At an early 
age he went to Paris, and studied in the Royal 
Academy. At the age of eighteen he gained the 
grand prize, and visited Rome with the king's pen- 
sion, where he executed, among other works, a 
marble statue of St. Bruno, which was highly 
praised by Clement XIV. for its lively and ani- 
mated expression. After spending ten years at 
Rome, he returned to Paris, and soon gained rep- 
utation and employment. In 1775 he was admit- 



ted to the Royal Academy, on the exhibition of 
his admirable statue of Morpheus, which gained 
him great reputation. He was invited to Ameri- 
ca by Franklin, where he executed the statue of 
Washington and the bust of Lafayette, in the Cap- 
itol at Richmond, Virginia. His statues of young 
girls have also been much admired for their ex- 
pression of modesty and purity. In 1781 he ex- 
ecuted a statue of Diana for the Empress of Rus- 
sia, which was greatly admired. Among his other 
principal works, are a statue of Voltaire, in the 
peristyle of the French theatre ; the busts of 
Rousseau, D'Alembert, Barthelemy, the Margrave 
of Anspach, Marshal Ney, Napoleon, Josephine; 
and his celebrated statue of Cicero, representing 
the orator denouncing Cataline before the Roman 
Senate. Houdon also executed for the use of the 
academy, two models of the human frame, repre- 
sented without the skin, and evincing great know- 
ledge of anatomy. He died in 1828. 

HOUEL, J. P. L. L., a French painter and en- 
graver, born at Rouen in 1735. He studied paint- 
ing under Descamps ; and then visited Paris, 
where he studied engraving under Mire ; and after- 
wards became a pupil of the painter Casanova. 
He then went to Italy, and traveled through the 
kingdom of Naples, and the islands of Sicily, Malta, 
and Lipari, designing many fine landscapes. On 
returning to Paris, he commenced his great work, 
entitled Voyage Pittoresque de Sicile, de iMalte, 
et de Lipari, fol., Paris, 1782 to 1788, embellished 
with 261 plates of his own execution. He also 
engraved a number of other plates, and painted 
some fine landscapes. He died in 1813. 

HOUSEMAN, or HUYSMAN, Cornelius, an 
eminent Flemish landscape painter, was born at 
Antwerp in 1648, but afterwards settled at Mech- 
lin, wherefore he is often denominated Houseman 
of Mechlin. He was the son of an architect, but 
losing his father while young, he was placed in 
the school of Gaspar de Wit to study paint- 
ing. Happening to see some of the landscapes of 
Jacques Artois, he visited Brussels and studied 
under that master. He made nature his guide. 
and studied a great deal in the forest of Soignes, 
where he sketched a great man}' beautiful views. 
On quitting Artois, he went to Mechlin, and soon 
gained a high reputation. Vander Meuien was so 
favorably impressed with his talents, that he en- 
deavored to prevail upon him to visit Paris, but 
was unsuccessful. Houseman is ranked among 
the best Flemish artists in landscape. His style 
is much in the Italian taste ; his coloring rich and 
harmonious. He always painted the figures and 
animals in his pictures, (a rare excellence in an 
artist eminent iii landscape,) and designed them 
so well, that he was frequently employed by Min- 
derhout, Achtschelling, and others, to decorate 
their pictures in the same manner. His chiaro- 
scuro is managed with great intelligence, and he 
was fond of introducing a fine effect of sunshine 
in the foreground, which is enriched with plants 
and foliage. Some of his landscapes, however, 
appeag:- to have changed color, exhibiting a reddish 
brown appearance, which has considerably dimin- 
ished their value. Houseman practised the art 
with success at Mechlin for many years, and died 
there in 1727. 

HOUSEMAN, or HUYSMAN, James, a rep- 
utable Flemish painter of history and portraits, 



IIOUS. 



414 



HOWA. 



born at Antwerp in 1G5C, and was probably a re- 
lative of Cornelius H. lie studied under Giles 
Backerecl. Becoming obnoxious to the Jesuits, 
and obliged to leave Antwerp, he visited England, 
in the time of Charles II., where he practised the 
art with great success. In portrait painting he 
was a successful rival of Sir Peter Lely, and 
among the Beauties at Windsor, is a portrait of a 
lady by Houseman, equal to any by that artist. 
He also painted a fine portrait of the Duchess of 
Richmond, which is in the palace at Kensington; 
but his most admired production was that of 
Catharine of Portugal, Queen of Charles II. In 
the National Gallery at London, is his portrait of 
Izaak Walton. Houseman died at London in 
1696. 

HOUSEMAN, F., an English mezzotinto en- 
graver, who executed among other plates, a por- 
trait of Nancy Parsons, afterwards Lady May- 
nard. 

HOUSSARD. This engraver was probably a 
native of France. Among other plates he execu- j 
ted a portrait of Saveur Fran9ois Morand. 

HOUSTON, Richard, an English engraver in 
mezzotinto. and in the chalk manner. He at- 
tained considerable eminence in these departments 
of the art, and executed a variety of portraits and 
other subjects, many of which possess considerable 
merit. The following are the principal : 

PORTRAITS. 

Several portraits for Holt's Lives of the Reformers. 
George II. ; after Worlid^:e. Henry Pelham, Chancellor 
of the Exchequer ; after Hoare. John Byng, admiral ; 
after Hudson. James Wolfe, general. 

AFTER SIR JOSHUA REYNOLDS. 

Charles, Lord Cathcart. Philip Dormer Stanhope, Earl of 
Chesterfield. John Manners, Marquis of Granby. Rich- 
ard Robinson. Archbishop of Armagh. Eliza, Duchess of 
Argyle, with her son and a greyhound. Maria Walpole, 
Duchess of Gloucester, with her daughter. Lady Selina 
Hastings. Caroline, Duchess of Marlborough, with Lady 
Charlotte Spencer. The Duke of Marlborough. Mary, 
Duchess of Ancaster. Elizabeth, Duchess of Northumber- 
land. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Virgin and Infant ; after RaJfiaeUe. The Tempta- 
tion of St. Anthony ; after Teniers. An old Man, with a 
beard ; after Rembrandt ; fine. A Man seated, with a 
large baton his head; do. Bust of a Woman, called the 
great Jew Bride ; do. An Old Woman plucking a Fowl ; 
do. A Man holding a Knife ; do. The Pen-cutter ; do. 
The Philosopher in contemplation ; do. The Gold- Weigher ; 
do. Christ with the Woman of Samaria ; do. Avarice 
and Innocence ; after Mercier. 

HOVE, Frederic Henry van, a Dutch en- 
graver, born at Ilaerlem about 1625. He visited 
London, where he resided from 1648 to 1692, and 
executed a number of })latcs for the booksellers, 
particularly for Robert Morison's Ilisloria Plan- 
tarum. His productions are chiedy portraits, 
among which are the following ; 

James II. William III. Mary his Quoen. King Wil- 
liam and Mary, on their throne. Thomas Sutton, Mercat. 
Lond. founder of the Charter House. Sir Nathaniel Ber- 
nardiston, of Kclton, Suffolk. Arthur Capol, Earl of Es- 
sex; prefi.xed to his Murder. Thomas Butler, Earl of Os- 
sory. Sir Edmund Bury Godfrey ; prefi-xed to his Life. 
Sir Matthew Hale ; prefixed to his Origin of Mankind.— 
Samuel Speed, poet. Sir Thomas Browne, M. D. Hansard 
Knollis, V. D. M. Lady Mary Armyne, grand-daughter 
to George, Earl of Shrewsbury. Mary Trfucy, Lady 
Vere. Sir Henry Morgan, Governor of Jamaica. John 



Hopkins, poet. Joseph Moxon, mathematician. John 
Taylor, mathematicifin. William Winstanley, biographer. 

HOWARD, Henry, an English painter, born 
in 1769. After acquiring the elements of design 
under Philip Reinagle, he entered the academy as a 
student, in 178*8. In 1790 he gained the grand 
medal for the best historical painting, Caractacus 
recognizing the Dead Body of his Son ; and the 
silver medal for the best drawing from the life; 
a remarkable instance of success. In 1791 he 
visited Italy, where he lived on terms of intimacy 
with Flaxman. In concert with that artist, and 
another sculptor named Dearc. Howard executed 
a set of outlines of the most celebrated works of 
antique sculpture ; each one correcting the sketches 
of the others, until perfection was attained; and 
they were then traced off. He sent a picture of 
the Dream of Cain to the Royal Academy. On 
returning to England he was engaged on the se- 
ries of unfinished drawings of the Dilettanti So- 
ciety, and made many designs for illustrating the 
Poets and Essayists for the publications of the 
day. In 1801 he was elected an Associate, and in 
1808, a member of the Academy. His favorite 
subjects were of a poetical and classical nature ; 
his pictures evince an exquisite taste of delineation 
and a strongly imaginative temperament, infinitely 
superior to the common taste, consequent!}^ he was 
not generally appreciated. Howard was chosen 
Secretary of the Academy in 1811, and Professor 
of Painting in 1833. In the latter capacity, he 
delivered a course of lectures to the students, 
which are remarkable for eloquence of diction, 
clearness and vigor of reasoning, and Cicvated 
views of art. Howard also painted several fine 
landscapes, one of which, a View in Knowles 
Park, is in the collection of the Earl of Egremont. 
He died in 1847. The following are some of his 
principal paintings, the subjects of which evince 
his taste in art : 

The Pleiades, in the possession of the Duke of Suther- 
land. — A duplicate of this picture long formed the chief 
ornament of the Leicester Gallery. The birth of Venus, 
and Fairies on the Sea-shore, Sir Matthew White Ridley. 
The Solar System, Jesse Watts Russell. — Of this subject 
the original was exhibited in 1796, as The Plaiicts draw- 
ing Light from, the Sun ; a duplic.ite picture was painted 
for Mr. Morrison ; and an adaptation of the composition to 
a circle, 12 feet in diameter, decorates the ceiling of the 
Duchess of Sutherland's boudoir at Stafford House. The 
House of Morphrus, the Earl of Egremont. A series of 
pictures from JMilton's Comus, of which Sabrina is the 
chief personage, and a Riposo, Mr. T. W. Budd. The 
Story of Pandora, and other works, in the Soane Muse- 
um. A Lady in Florentine Costume, Lord Colburne. — 
Of this there is a duplicate in the possession of Lord Ken- 
ned}^ and a similar subject in the collection of Mr. Vernon. 
Hebefeeding the Bird of Jove, Love listening to theflat- 
teries of Hope, Hylas carried of by the Nymphs, Venus 
carrying off Ascanius, The Moon unveiling her Light, 
and other subjects of a similar poetical charactei*. 

W HOWARD, William, an English engrav- 
er, who flourished about 1665. Among 
other plates he executed a set of marine views, 
somewhat in the st3de of Hollar. 

HO WITT, Samuel, an English artist, who, with- 
out instruction, attained considerable skill in de- 
signing wild animals and huntings, which he exe- 
cuted in a correct and spirited style. There are 
also a few prints by him, etched from his own de- 
signs. He died at Somerstown, in 1822. 

HOY. See Hol 



HUBE. 



415 



HUGF. 



nUBER, John Rodolph, an eminent Swiss 
painter, born at Basle in 1668. His father was 
Alexis Huber. a member of the Council of that 
city. After studying under Gaspar de Meyer un- 
tilthe death of that master, he entered the school 
of Joseph Werner. At the age of nineteen he 
went to Italy, and visited Mantua, to study the 
paintings of Giulio Romano. At Venice and Ve- 
rona he attached himself particularly to the works 
of Titian and Veronese, and while in the latter 
city became intimate with Tempesta. for whom he 
painted the figures in his landscapes. At Rome 
he lived on terms of friendship with Carlo Maratti, 
and by designing the antiques, frequenting the 
academy, and pursuing his studies with unwearied 
diligence for six years, he became an accomplished 
artist. On returning to Switzerland he soon gained 
great encouragement. His first remarkable work 
was a large family picture for the Mai-grave of 
Baden Dourlach, by which he gained great ap- 
plause. In 1696 he was employed at Stuttgard 
by the Duke of Wurtemberg, to paint several 
large compositions for the grand apartments of 
his palace. His pictures were in great demand 
among the German princes, and were highly es- 
teemed for correctness of design, freedom of pencil, 
and vigorous coloring. Huber painted three thou- 
sand and sixty-five portraits, besides a great num- 
ber of historical paintings, all finished with his 
own hand; and on account of this wonderful fa- 
cility of execution, he was called the Swiss Tinto- 
retto. He died in 1748. 

HUBERT, rRAN90is, a French engraver, a dis- 
ciple of Beauvarlet ; flourished at Paris about 1780. 
He executed a variety of portraits and other sub- 
jects, among which are Le Retour de laNourrice. 
after Greuze ; and La Nouvelle Heloise, after le 
Fevre. 

HUBERTZ. C, an obscure Dutch engraver, who 
wrought chieliy for the booksellers, and executed, 
among other plates, several prints for the Figures 
de la Bible, published at Amsterdam in 1720, from 
the designs of Picart and others. 

IIUCHTENBURG. See Hugtenburg. 

HUDSON, Thomas, an English portrait painter, 
born in Devonshire in 1701. He was the scholar 
and afterwards the son-in-law of Jonathan Rich- 
ardson, after whose death he became very much 
patronized in portrait painting. He was the in- 
structor of Reynolds, who, by effecting a revolu- 
tion in English art, overthrew the popularity of 
Hudson. The latter relinquished the practice of 
his profession, and retired to his villa at Twick- 
enham, where he died, in 1779. 

HUE, J. F., a French painter of landscapes and 
marines, who exhibited in the French Academy 
from 1800 to 1824, in which year he died. There 
are a few poetical or historical pictures by him, 
and he occasionally introduced classical subjects 
into his landscapes ; but most of his works are 
views of sea-ports and marines. 

HUERTA, Gasparo de la, a Spanish painter, 
born near Cuenca in 1645. He visited Valencia, 
and was received into the school of Jesualda San- 
chez, the widow of a painter named Pierre Infant. 
Here he copied all the pictures and prints that he 
could find, and attained sufficient ability to gain 
an extensive patronage. Although his works 
have little vigor, yet they are correctly designed, 



and finely colored. He is said to have amassed a 
large fortune by the practice of the art, which he 
bequeathed to the poor of his native city. He 
died at Valencia, in 1714. 

HUGFORD, Ignatius. This painter was born 
at Florence, of English parents, in 1703. He was 
esteemed an excellent connoisseur in art, and paint- 
ed history with reputation. For the church 
of S. Felicita, at Florence, he painted an altar- 
piece, representing St. Raphael, which is praised 
by Lanzi. Hugtbrd also painted easel pictures of 
historical subjects, some of which ai-e in the Flo- 
rentine Gallery. He died at Florence in 1778. 

HUGTENBURG, James van. a Dutch painter, 
born at Haerlem in 1 639. He studied under Nich- 
olas Berghem. after which he visited Rome, where 
he met with much encouragement, and his tal- 
ents in landscape painting were highly esteemed. 
He would probabl}^ have attained eminence in the 
art had he not died young. 

03 or T \71-R HUGTENBURG, John 
jLTlJ • -L VI -L/ van, an eminent Dutch 
painter and engraver, the younger brother of the 
preceding, born at Haerlem in 1646 ; died in 1733. 
After studying under John Wyck, he visited Italy 
for improvement, and remained there two years, 
until the death of his brother, when he returned 
to Holland by the way of Paris, where he spent 
some time, and became intimate with vander Meu- 
len, who gave him much valuable instruction. On 
his arrival at Haerlem, he soon gained a high rep- 
utation for his admirable battle-pieces, which were 
greatly admired. He was an adept in represent- 
ing the human passions, and has delineated the 
characters of rage, pain, despair, &c., with perfect 
truth. His costumes are always appropriate ; and 
the features of different nations are as easily dis- 
tinguished in his works, as their habiliments. 
His pictures have a clear and vigorous coloring, 
light and floating skies ; and a neat, yet spirited 
touch, surpassing vander Meulen. and approaching 
the excellence of Wouwerman. Hugtenburg was 
employed by Prince Eugene to paint the battles 
of his campaign with the Duke of Marlboro', in 
1708 and 1709. In 1711 he was invited to the 
court of the Elector Palatine, for whom he painted 
several pictures, and was rewarded with a chain 
and medal of gold. 

As an engraver. Hugtenburg etched a great num- 
ber of plates, and finished some of them with the 
graver. They are executed in a very spirited and 
masterly style, after his own compositions, and 
the designs of vander Meulen and others. He 
also engraved several plates in mezzotinto, but 
these are inferior to his other productions. He 
designed and executed the plates for a large folio 
volume of military operations, published at the 
Hague in 1720. The following are his principal 
plates : 

A Halt Of Travelers, before a Forge ; Hugtenburg, fe- 
cit. William III. reviewing near Arnheim ; do. A set 
of eight Battles, Skirmishes, and Marches ; after Vander- 
meulen; marked with his cipher ; ovals. Four Mountain- 
ous Landscapes ; Vandermeiden, pinx. with cipher. A 
Halt of Sportsmen, in a landscape ; do. A Battle of Cav- 
alry ; dedicated to the Duke D'Enghien ; do. Anothei 
Battle of Cavalry ; dedicated to the Duke de Chevreuso ; 
do. A View of Lisle, with the French Army ; Vander- 
meiden, pinx. Hugtenburg et Baudouin,fec. The tak- 
ing of Dole in Franche-Comte ; do. ; in tvvo sheets. Louis 
XIV. with his Guards, passing the Pont-neuf ; Vander- 



HULE. 



416 



HUMP. 



meuhn, pln.v. Hugtenherg, fecit. The Battle between 
the French and Germans in Italy ; D. Hoogstraeten, inv. 
J. V. Hugtenberg,fec. et exc. ; very fine. A Horse-Fair 
in Holland ; dedicated to Prince Frederick William of 
Prussia ; do, ; very fine. Several Battles, and other sub- 
jects, in mezzotinto. 

IIU[;ETT, Jame.'s. an obscure English engraver, 
who flourished about 1710. He wrought chiefly 
for the book.sellers, and executed several plates 
for the Life of Queen Anne, published by Walker ; 
also a number of portraits, among which are Mary, 
Queen of Scots, after Janet. There was another 
indifferent artist named Hulett, who executed the 
plates for an edition of Fielding's Joseph Andrews. 
He died in 1771. 

HULLE, Anselm van, a Flemish historical and 
portrait painter, born at Ghent in 1605. There is 
a picture by him, in the Museum at Ghent, repre- 
senting the Dead Christ on the lap of the Virgin. 
Hulle died in 1660. 

HUES, EsAiAs VAN, a Dutch engraver, men- 
tioned by Prof. Christ as a native of Middleburg. 
He resided chiefly at Stuttgard, and executed, 
among 'other plates, several grotesque drawings 
marked E. V. H., and drawn in a very correct and 
tasteful manner. 

HULSBERG, Henry. This engraver was a 
native of Amsterdam, but resided chiefly at Lon- 
don, where he executed a number of plates for the 
booksellers, of architectural views and buildings, 
in a neat, but tasteless style. He also engraved a 
larire view of St. Peter's ; the illustrations for the 
first volume of the Vitruvius Britannicus ; and 
a number of portraits, among which are the fol- 
lowing : Sir Bulstrode Whitelocke, Robert War- 
ren, M. A., Rector of Bow. Joseph Warder, ph)'-- 
sician. Aaron Hill ; prefixed to his Histor}^ of 
the Ottoman Empire. 1711. 

HULSE, or HULSIUS, Frederick, a German 
engraver, and a native of Frankfort. According 
to Florent le Comte, he studied under Theodore 
de Bry. He visited London, and executed a number 
of plates for the booksellers, among which are 
some frontispieces, and the portraits of Bishop 
Carleton, and Dr. Nicholas ab Prambesarius. 

HULST, Peter vander, a Dutch painter, born 
at Dort in 1652. He w^as called Tournesol, be- 
cause he usually painted a sun-flower in his pic- 
tures. After acquiring the elements of design in 
his own country, he visited Italy, where, not suc- 
ceeding in historical or portrait painting, he 
adopted the style and subjects of Mario di Fiori, 
who painted flowers, fruit, insects, and reptiles. 
His design is chaste, his touch free, and his color- 
ing I'ively and pleasing. His manner of painting 
partook more of the Italian than the Dutch school. 
He died in 1708. 

HULSWIT, John, a Dutch painter and en- 
graver, born at Amsterdam in 1766. There are 
two beautiful pictures by him, in the Museum at 
Amsterdam, painted for Louis Napoleon, king of 
Holland. He was a capital designer of landscapes, 
river views, and animals ; and his drawings are 
more numerous than his paintings. He died in 
1822. 

HUMBELOT, JAcauEs, an obscure French en- 
graver who lived at Paris about 1760, and execu- 
ted several plates after le Brun, in a stiff, tasteless 
style. 



HU^MPHREY, William, an English mezzo- 
tinto engraver, who flourislied about 1795, and 
executed a naml)er of portraits, among which are 
the following : Georgiana, Duchess of Devonshire, 
after Eeynolds ; Doctor Arne. after Dimkarton ; 
Colonel Richard Kmg, after Kneller j William 
Broomfiold, Surgeon. 

HUMPHREY. OziAS, an English painter, born 
at Honiton, in Devonshire, in 1742. At the age of 
fourteen he was sent to the drawing school taught 
in London, b}^ William ShiplcA^ where he remained 
three years, and was then obliged to return to 
Devonshire, on account of the death of his father. 
Shortly afterwards he was engaged with Samuel 
Collins, a miniature painter of Bath, whom he 
succeeded in that city until 1763, when he removed 
to London, under the auspices of Reynolds. In 
1766 he exhibited at Spring Gardens, a miniature 
of John Mealing, the living model of the Royal 
Academy, which was universally admired, and was 
purchased by the king for one hundred guineas. 
Soon afterwards, Humphrey painted a miniature 
of the Queen ; and gained considerable reputation 
and encouragement. In 1773 he visited Italy in 
company with Romney, and resided there four 
years, endeavoring to become a good artist in oil 
painting. On returning to England, he began to 
practise that branch of the art, continuing it until 
1785, when he visited India, and adopted minia- 
ture again. While in that country, he painted the 
portraits of several Indian princes, as well as Eu- 
ropean residents ; but in 1788, the state of his 
health compelled his return to England, and two 
years afterwards he was elected an academician. 
He greatly injured his eyesight by the labor of 
copying in miniature, the portraits in the Duke 
of Dorset's collection, on account of which he de- 
voted himself to painting in crayons. His last 
performances were the portraits of the Prince and 
Princess of Orange. He died in 1810. 

HUQUIER, jAcauES Gabriel, a French engrav- 
er and print-seller, born at Orleans in 1695 ; died \n 
1772. He executed a great number of plates, af- 
ter Boucher, Watteau, and others, among which 
are the following : 

The Five Senses ; after Watteau- The Temple of Di- 
ana, and the Temple of Neptune ; do. The Triumph of 
Galatea, and a Shepherd caught in a Storm ; do. Pour 
Pastoral subjects of the Seasons; do. The Four Elements; 
do. A large Pastoral subject ; after Boucher. The Five 
Senses ; do. The Four Seasons ; do. 

HUQUIER; Gabriel, the son and scholar of 
the preceding, born at Paris about 1725. He 
painted portraits in crayons, and engraved several 
plates after Boucher, among which are the follow- 
ing: Le Repos champetre. Le Sommeil, et le 
Re veil. Two Corps de Gardes. A Girl with a 
Bird, and the Infant Travelers ; a pair. 

HURET, Gregoire, a reputable French engrav- 
er, born at Lyons in 1610; died in 1670. Accord- 
ing to Wateiet, his plates are distinguished for 
their ingenious composition, fine expression in the 
heads, and good draperies. The following are his 
principal plates : 

PORTRAITS. 

Pierre Seguier, Chancellor of France ; Greg, Huret, 
fee. Francois de Bonne, Duke de Lesdiguieres ; after 
Dumoutier. Jacques Bouceau, Sieur de la Baranderie ; 
after A. D. Vries. 



HURT. 



417 



HUTI. 



SUBJECTS FROM HIS OWN DESIGNS. 

A Set of thirty-two, of the Life and Passion of our Sav- 
iour. The Stoning of Stephen. St. Peter preaching. The 
Holy Family, with St. Catharine. Christ crowned with 
Thorns. 

HURTAULT. Maximilian Joseph, a French 
architect, born at Hunino-ue m 1705. He went to 
Paris, and studied architecture under Percier; 
drew the grand prize and visited Italy, where he 
gained great improvement by designing the noble 
remains of ancient architecture in the vicinity of 
Rome. On returning to Paris, he was appointed 
architect to the chateau of Fontainbleau, and exe- 
cuted many improvements in that edifice. He 
practised the art at Paris for many years, and 
gained fame and fortune. He died in 1824. 

HUSSEY, Giles, an English painter, born at 
Marnhull, in Dorsetshire, in 1710. He was de- 
scended from a very ancient family, and at seven 
years of age was sent to Douai. in France, for his 
education, where he continued two years, and was 
then removed to St. Omer, where he pursued his 
studies for three years longer. He commenced 
studying painting under rachard.=^on, but disli- 
king a seven years apprenticeship, he engaged -with 
Damini, a Venetian painter of reputation, practi- 
sing in London, and remained with him four years. 
He then visited Italy in company with his instruct- 
or ; but while at Bologna, Damini absconded with 
Hussey's mone}^ and most of his apparel. By the 
kindness of Signer Gislonzoni, however, he was 
relieved from his distress ; and afterwards prose- 
cuted his studies at Bologna for three years and a 
half. He then removed to Rome, and received 
much kind attention and advice from Ercole Letti. 
Dissatisfied with the prevailing rules of art, Hus- 
sey endeavored to produce a satisfactory theory, 
combining fixed principles, which ended in his 
adopting the ancient hypothesis of musical or 
harmonic proportions, as the governing principles 
of beauty, of all forms in art and nature ; and 
thought he had made an important discovery. Af- 
ter attaining considerable reputation at Rome, he re- 
turned to England, and settled at London in 1742, 
when he submitted to the drudgery, as he was accus- 
tomed to term it, of painting portraits for a subsist- 
ence, in which he excelled far more than in histo- 
ry. His pencil drawings from the life are highly 
esteemed for characteristic likeness ; and his fancy 
sketches are perhaps unsurpassed for accuracy, 
elegance, and beauty. His academical drawings 
are still exhibited at Bologna, as master-pieces of 
taste and skill. Hussey had a zealous eulogist in 
the painter Barry, who often spoke of him with 
enthusiasm. He met with considerable opposition 
from other artists, whose envy was excited by 
his masterly and graceful performances, which 
seriously affected his spirits, and he left London 
for his native place. In 1773, by the death of his 
brother he succeeded to the family estate, and lived 
in retirement until 1788, when he died at Beeston, 
near Ashburton, in Devonshire. 

SI_Ij HUTER, Simon, a German wood en- 
. Li, graver, who flourished about 1560. 
His prints are executed in a neat style, and possess 
considerable merit. In concert with Justus Am- 
man, he engraved a number of prints from the 
designs of that master, for a work entitled Neuwe 
Biblischi Figuren, published at Frankfort in 
1564 J also a part of a set of small cuts for the 



History of the Bible, in concert with Virgilius 
Solis. 

HUTIN, FRAN901S and Charles, were two 
French engravers, and flourished at Paris about 
1760. There a number of plates of their execution, 
among which are the following, etched in a slight 
st3de: Apollo and Dsuphne, after de Troy ; The 
Seven Works of Mercy, and the Twelve Apostles. 
after their own designs. 

HUYBERTS, C, a Dutch engraver, who resi- 
ded in England about 1G9G. Among other plates, 
he executed the Triumph of Julius Cassar. in nine 
Y)]iites, after Mantegna ; also several prints in a 
work on anatomy, entitled Johannis Gauhii Epist. 
Proh. 'prima, ad Fed. Buyschiiim, M. D., 1696. 

HUGOT, Jean Nicolas, a French architect, 
born at Paris in 1780. He studied at Rome, and 
obtained the grand prize of the French Academy in 
that city in 1807 ; after which he was appointed to 
restore the Temple of Fortune at Preneste. After 
visiting the Greek islands and the Levant, he re- 
turned to Paris in 1821. He executed a number 
of good works in that city, and was appointed 
Professor in the Academy of Architecture. He 
was commissioned to superintend the restoration 
of the Palais du Justice, but died in 1840, at the 
commencement of his labors. 

HUYS. or HUS, Peter, an old Flemish engrav- 
er, who executed, among other plates, several small 
subjects from sacred history ; and the prints in a 
work by Arius Montanus, entitled Monumenta Hu- 
mance Salutis. 1571. 

HUYSMAN. See Houseman. 

HUYSUM, Justus van, the Elder, a Dutch 
painter, born at Amsterdam in 1659. He studied 
under iSTicholas Berghem, and evinced considera- 
ble abilities, but did not adhere to the style of his 
instructor. Owing to a singular fickleness of dis- 
position, and to a desire of gaining distinction in 
various branches of art, he attached himself to 
history, portrait, battle-pieces, marines, landscapes, 
and flowers ; but attained distinction only in the 
latter. He died in 1716. 

HUYSUM, John van, a celebrated Dutch flower- 
painter, the eldest son and scholar of the preceding 
artist, born at Amsterdam in 1682. Having at- 
tentivel)^ studied the flower-pieces of Mignon, de 
Heem, and others, he devoted himself to designing 
after nature, and adopted an original style, in which 
he gained great eminence, and his productions soon 
commanded enormous prices. The most curious 
florists in Holland, vied in supplying him with 
the choicest flowers, as models for his pictures. 
This success encouraged him to fresh endeavors. 
He admitted no one into his room while painting, 
not even his brothers, and never disclosed his 
method of mixing his colors. He made many ex- 
periments to purify his oils, and to procure the 
most lustrous and durable tints. His cloths were 
prepared with the greatest care, and primed white 
with all possible purity, and his colors were laid 
on very lightly. He painted every thing after na- 
ture, and even watched the hour of the day when 
his model appeared in full perfection. His pic- 
tures are distinguished for their unsurpassed del- 
icacy of penciling, exquisite finishing, and a taste- 
ful arrangement, superior to any other artist. He 
usually represented them in elegant vases, adorned 
with bas-reliefs in a masterly style. He introduced 



HUYS. 



418 



ICMU. 



birds' nests with eggs, into his pictures; also in- 
sects, butterflies, dew-drops, in so skilful a man- 
ner as to cause perfect illusion. Those painted 
on a clear or yellow ground are most esteemed, 
having a superior touch and more harmonious 
coloring than his earlier works, which are usually 
on a dark ground. Van Huysum also painted 
landscapes, somewhat in the styles of Glauber and 
Lairesse, which are composed in good taste. He 
died in 1749. 

HUYSUM, Justus van, the younger, was a 
Dutch painter, and the second son of Justus van 
Huysum, born at Amsterdam about 1684. He ac- 
quired the principles of art from his father, and 
painted battle-pieces, both in small and large size. 
He manifested great ability in this department of 
art, and would undoubtedl}'- have attained high dis- 
tinction, had he not died at the early age of twen- 
ty-two, in 1706. 

HUYSUM, Jacob van, the third son of Justus 
van Huysum the Elder, born at Amsterdam, ac- 
cording to Balkema, in 1687. He was distinguish- 
ed for his copies of the productions of his brother 
John, which he imitated so exactlj^, as often to de- 
ceive the best judges. His usual price for each 
copy was $100. He also composed subjects from 
his own designs, in the same style, which possess 
great merit, and are highly prized. He visited 
England in 1721, where his talents were much es- 
teemed. He died, according to Nagler, in 1740 ; 
though others say in 1746. 

HYLE, Francis, an English engraver, who ex- 
ecuted a number of plates, among which Basan 
mentions several portraits after Kneller and other 
masters. 

HYPATODORUS, a Greek sculptor, flourished 
about B. C. 372, and was cotemporary with Ce- 
phisodorus, Polycles, and Leochares. He execu- 
ted many fine works, the principal of which was a 
colossal statue of Minerva in bronze, placed in the 
temple of that goddess on the citadel of Aliphera, 
a city of Arcadia This work is very highly praised 
by Pausanias. Hypatodorus also executed in con- 
cert with Aristogilon, the statues of Aliterses and 
Amphiaraiis, which the people of Argos consecra- 
ted at Delphi in memory of their victory over the 
Spartans. 



IBBETSON, Julius Cjesar, an English land- 
scape painter, and native of Masham in Yorkshire. 
He was liberally educated, and studied painting for 
amusement, but he met with such success that he 
made it his profession. He painted landscapes 
and cattle, which were eagerly sought after by 
persons of the highest rank. Mr. West compli- 
mented him by calling him the Berghem of Eng- 
land, which has as much relevancy as the English 
Tintoretto to Dobson. and the English Raffaelle 
to Thos. Kirk. Ibbetson was a good landscape 
painter, and attempted history with less success. 
He died at his native place, in 1817. 

ICTINUS, a celebrated Grecian architect, who 
flourished about b. c. 430. He was distinguished 
for the magnificent temples which he erected to 
the heathen gods. Among these were the famous 
Doric temple of Ceres and Proserpine at Eleusis, 
of which he built the outer cell, capable of ac- 



commodating thirty thousand persons ; also the 
Temple of Apollo, near Mount Ootylion, in Arca- 
dia, which was considered one of the finest of an- 
tiquity, and was vaulted with stone. But his 
most important work was the famous Parthenon 
at Athens, erected within the citadel, by Ictinus 
and Callicrates, by order of Pericles. According 
to Vitruvius, the two artists exerted all their powers 
to make this temple worthy the goddess who pre- 
sided over the arts. The plan was a rectangle, 
like most of the Greek and Roman ; its length! 
from east to west, was 227 feet 7 inches, and its 
width 101 feet 2 inches, as measured on the top 
step. It was peripteral, octastyle ; that is, sur- 
rounded with a portico of columns, with eight to 
each fa9ade. The height of the columns was 34 
feet, and their diameter 6 feet. Within the outer 
portico was a second, also formed of isolated col- 
umns, but elevated two steps higher than the first ; 
from thence the interior of the temple was enter- 
ed, Avhich contained the famous statue of Minerva 
in gold and ivory, by Phidias. This famous tem- 
ple was built entirely of white marble, and from 
its elevated position, could be seen from an im- 
mense distance. On a nearer approach, it was ad- 
mired for the elegance of its proportions, and the 
beauty of the bas-reliefs with which its exterior 
was decorated. It was preserved entire until 
1677, when it was nearly destroj^ed by an explo- 
sion during the siege of Athens by Morosini. 
The ruins still remain, but in the centre the Turks 
have erected a mosque, covered with a low cupola. 

ICMULUS. an ancient Greek sculptor who is 
immortalized in the Odyssey, as the sculptor of 
the Throne of Penelope. 

IMBERT, Joseph Gabriel, a French painter, 
born at Marseilles in 1666, He first studied un- 
der Charles le Brun, and afterwards under A. F. 
vander Meulen. He was a man of talents, adopt- 
ed a style of his own. and after he had gained con- 
siderable reputation as a portrait painter, he be- 
came a monk of the Order of St. Bruno, at the 
Carthusians of Yilleneuve d' Avignon, at the age 
of thirty-four years, after which he was wholly 
employed in painting sacred subjects, chiefly altar- 
pieces for the churches of his order. His most es- 
teemed work is a grand altar-piece for the church 
of the Carthusians at Marseilles, which is highly 
commended by Watelet. He died in 1749. 

IMOLA, DA. See Innocenzio Francuccl 

IMPARATO, Francesco, a Neapolitan painter, 
who flourished about 1565. He first studied under 
Gio. Filippo Criscuolo, but afterwards went to Ve- 
nice, and became a pupil of Titian, whose style he 
adopted on his return to Naples, where he execu- 
ted some works for the churches. His master- 
piece is a picture of St. Pietro Martyre, in the 
church of that Saint, which Caracciolo praises as 
the best painting then to be seen in Naples. Oth- 
er fine works by him are the Martyrdom of St. 
Andrew in S. Maria Nuova, and the Annunciation 
in S. Severino. 

IMPARATO, GiROLAMO, was the son and schol- 
ar of the preceding, in whose style he at first 
painted. He afterwards went to Venice for im- 
provement, traveled through Lombardy, and par- 
ticularly studied the works of Correggio, at Par- 
ma. On his return to Naples, he executed some 
works for the churches, the chief of which is a 



IMPE. 



419 



INGO. 



picture of the Madonna da Rosario, with several 
Saints, and a Glory of Angels, in the church of 
S. Tommaso d' Aquino, which, according to Do- 
minici. is finely composed, and designed and col- 
ored with great beauty and taste ; but the Cav. 
Stanzioni, who was his competitor, naturally 
enough considers him inferior to his father, and 
describes him as vain and ostentatious. He died, 
according to Dommici, about 1620. 

IMPERIALl, GiROLAMo, a native of Genoa, 
who flourished about 1G40. He first studied 
painting, but afterwards learned engraving under 
Giulio Lensi. He engraved some portraits of em- 
inent persons, and there are some spirited etch- 
ings by him after his own designs. 

INDACO, Jacopo. called l'Indaco, a Floren- 
tine fresco painter, who. according to Bottari. was 
one of the artists employed by Michael Angelo to 
assist him in his works in the Sistine Chapel ; but 
Lanzi says that Angelo afterwards effaced their 
works after his cartoons, and painted them him- 
self. He was a pupil of Ghirlandaio and flourished 
about 1534. He had a brother named Francesco, 
who painted some at Florence and more at Monte- 
pulciano. 

INDIA, TuLLiO; a painter of Verona, who, ac- 
c-o: ling to Vasari, flourished about 1530. He was 
an able fresco painter, in which branch he distin- 
guished himself. He was also celebrated for his 
powers of imitating or copying other masters, and 
he excelled in portraits. 

INDIA, Bernardino, the son and scholar of 
the preceding artist, was born about 1535. He 
imitated the grand style of Giulio Romano in sev- 
eral pictures he executed for the churches at Vero- 
na, the chief of which are three altar-pieces, two 
of which are in the church of S. Bernardino, dated 
1572 and 1579, and the third in S. Nazaro,' dated 
1584. They are tastefully designed, and executed 
with great vigor and strength of character. He 
also painted much for the private collections of 
Verona. 

INGEGNO, II. See Assist. 

INGHEN, William van, a Dutch painter, was 
born at Utrecht, according to Houbraken, in 1651, 
and Weyermans. in 1G50. x\fter having learned 
the rudiments of the art in his native city, he be- 
came the pupil of Peter Grebber, at Haerlem, with 
whom he continued till he was twenty years 
of age, when he went to Italy in the retinue of the 
Vicar-General of the Netherlands, who, on his ar- 
rival at Rome, recommended him to the care of 
Carlo Maratti. He remained with that master 
above a year, yet by close application he made 
such progress a.s to be enabled to execute several 
pictures for the churches at Rome, which gained 
him much applause, and the warm friendship and 
kindly offices of his preceptor. These works were 
elegantly designed, with correct drawing and a 
pleasing tone of color. He afterwards went to 
Venice, where, according to Descamps, the splen- 
did coloring of Titian seduced him from attention 
to design in which he says he was very deficient. 
On his return to Holland he settled at Amsterdam, 
where he pain led history and portraits with repu- 
tation and success till his death, in 1709. 

INGLES. Stanley says this artist was called 
II Maestro Giorgio by the Italians, and El Maestro 



Jorge by the Spanish writers, and all that is known 
of him is that he was a celebrated architect, and 
painted an altar-piece for the Hospital of Buitra- 
go for the Marquis de Santillana,who had founded 
it, which he executed in two compartments, and in- 
troduced the portraits of his patron and lady, one 
on either side, kneeling in the act of prayer. He 
then asks. Who is Master George ? and thinks 
that George and Ingles are both English names. 
England has as good a right to claim him as Italy 
or Spain. The Italian and Spanish writers doubt- 
less refer to different persons. The altar-piece re- 
ferred to was painted in 1455, and there are two 
or more old Italian painters of little note called 
Giorgio. Francesco di Giorgio of Siena was a cel- 
ebrated architect, and flourished about 1460, which 
see. 

INGOLI, Matted, a painter of the Venetian 
school, was born at Ravenna in 1587. He went to 
Venice when young, and studied under Luigi del 
Friso. According to Boschini, he adopted as his 
models the works of Palma and Veronese, and ex- 
ecuted some works for the churches at Venice, 
where he resided till his death by the great plague 
in 1631. Lanzi says that, judging from his works 
at the Corpus Domini and other places, and from 
his picture at San Apollinare, he aspired to a more 
solid but less pleasing style than those of the 
masters before mentioned, and that in them we 
trace the hand of precision and assiduity. He was 
also a distinguished architect. 

INGOUF, Pierre Charles, a French engraver, 
was born at Paris in 1746, and died in 1800. He 
studied under Jean J. Flipart, and executed some 
plates after his own designs and the French mas- 
ters, in the neat, finished style of his master. The 
following are given as among his best prints : 

The Portrait of John George Wille ; after a drawing 
by his son. Four Heads, of various characters ; after 
Greuze. La Paix du Menage ; after Greuze ; etched 
by Morcau, and finished with the graver by P. C. Ingouf. 
La bonne Education ; do. ; do. A Girl caressing a Dog ; 
do. The contented Mother; after P. A. Wille. The dis- 
contented Mother ; do. 

INGOUF, FRAN901S Robert, a brother of the 
preceding, was born at Paris in 1747.. and died in 
1812. He also studied with Flipart. He executed 
a considerable number of plates, in a neat, finished, 
and agreeable style. He "was one of the artists 
employed in engraving the plates of the Musee 
Fran9ais. He engraved a large number of beau- 
tiful vignettes for the booksellers, and some of the 
subjects for Le Voyage en Egypte. The follow- 
ing are his other principal plates : 

PORTRAITS. 

John James Flipart, engraver ; a medallion. Simon, 
printer. Bust of John James Rousseau ; from a model in 
wax. Gerhard Douw, playing on a violin to his bird ; af- 
ter a 'picture by himself. Armand Jerome Bignon, mas- 
ter of the ceremonies ; after Drouais. 

SUBJECTS after VARIOUS MASTERS. 

A Boy presenting a Bird to a Cat ; after A. Va7\der- 
werf The Winter Evening ; after FVeudenberg. The 
Soldier on Furlough ; do. The Ambulating Merchant ; 
do. The Return of the Laborer; after Benazech. 

INGRAM, John, an English engraver, who 
went to Paris in 1755, where he greatly improved 
his st3-le, and engraved some vignettes for the 
booksellers, and a few plates after Boucher and 
other masters. He was employed in engraving for 
the Academj^ of Sciences at Paris, about 1767. 



IRAC. 



420 



JACH. 



IRACE, Severo. a Neapolitan painter who 
flourished about 1534. According; to Dominici.hc 
studied under jMarco Cardisco, called Tl Calabresc, 
in whose f^tjle he painted history with considera- 
ble reputation. In the church of the Nunziata is 
a fine altar-piece by him, representing the Virgin 
with the Infant in the Clouds, with a Glory of 
Angels, and below, St. Peter and St. Paul. It is 
signed with his name, and dated 1534. 

IRELAND, Samuel, an English amateur en- 
graver, w^ho flourished about 1785, and etched a 
few plates after Hogarth and others, and some 
plates of views from his own designs, executed in 
an indifferent style. 

IRIARTE, Ignacio de, an eminent Spanish 
painter, born at Biscayan in 1620. He went early 
in life to Seville, where he studied under the elder 
Ilerrera, and settled for life. On leaving his mas- 
ter, according to Palomino, his genius led him to 
landscape painting, and by attentively studying 
nature, he became very eminent in this branch of 
the art. His works are truthful to nature, and 
are found in the best collections of Seville, where 
they are highly prized. Murillo w^as Iriartc's 
personal friend, and a great admirer of his works, 
in some of which he inserted the figures. His 
landscapes thus ornamented are exceedingly valu- 
able. He died in 1685. 

ISAACS, Peter, a Dutch painter, was born at 
Ilelvezor in 1569. He first studied under Corne- 
lius Ketel at Amsterdam, but afterwards John van 
Ach. with whom he traveled through Germany 
and Italy. On his return to his own country, he 
settled at Amsterdam, where he practised with 
great success. He painted historj^ wnth reputation, 
but excelled in portraits, and painted many dis- 
tinguished personages. His heads are full of dig- 
nity, life, and character, and he drew the hands 
with great correctness. He died in 1618. 

ISAC, Jaspar, a Dutch engraver, who flourish- 
ed about 1625. He resided chiefly at Paris, and 
was principally employed hy the booksellers. He 
executed a number of portraits, in a neat but taste- 
less style, among which are those of Charles 
L'Oyseau, and Stephen Paschasius. 

ISEMBERT, of Xaintcs, a French architect of 
the 12th centur3^ who erected the bridges of Xain- 
tes and Rochelle. These works had procured him 
great reputation, in consequence of which he was 
recommended by King John to the citizens of Lon- 
don, in 1201, to effect the completion of the bridge 
then being erected over the Thames. This struc- 
ture was commenced under the direction of a priest 
named Peter of Colechurch, in 1176 ; and was fin- 
ished in 1209, probably by Isembert. 

ISIDORUS. SeeANTiiEMius. 

RISSELBURG, Peter, a German engraver, 
born at Cologne about 1585. He lived the 
greater part of his life at Nuremberg, Avhere he 
was principally employed in engraving vignettes 
and portraits for the booksellers, and executed a 
multitude of such works which possess little in- 
terest to the connoisseur. Nagler, in his Kunstler- 
Lexicon, gives a list of two hundred prints attrib- 
uted to him. He engraved a set of thirteen plates 
after Rubens, representing Christ and the Twelve 
Apostles. 

IVARA, Cav. Abate Filippo, an eminent Ital- 
ian architect, born at Messina, in 1685, of an an- 



cient but poor family. He took the ecclesiastical 
habit, and then visited Rome to study architecture. 
He entered the school of Fontana, who directed 
him to copy the Farnese palace, and other simple 
ediflces, recommending him alwa3^s. according to 
Milizia, to adopt the greatest simplicity, without 
fear of falling into the extreme; as he perceived 
his style was too much inclined to redundancy of 
ornament. Ivara now progressed with great ra- 
pidity, and was employed by Cardinal Ottoboni 
in his celebrated theatre at Burattini. The Duke 
of Savoy, afterwards King of Sicily, sent for him 
to Messina, and commissioned him to ere«t a pal- 
ace near the gate of that city. The design so 
much pleased the king, that he declared Ivara his 
chief architect, with a pension of six hundred 
crowns ; and took him to Turin, where he present- 
ed him with the rich abbey of Solve, worth 1100 
scudi a year. By order of Madame Reale, Ivara 
erected the fa9ade of the church of the Carmel- 
ites, at Turin. He also erected the temple and 
buildings on the Superba Hill, and several othex 
fine works, by order of the king, Vittorio Aniadeo. 
While on a visit to Rome, he was invited to Lisbon 
by the king of Portugal, who entreated the king 
of Sardinia to allow him to depart. The latter 
consented, and Ivara visited Lisbon, where he de- 
signed a temple, a most magnificent royal palace, 
and various other edifices. He brought from 
thence jewels, porcelains, a brilliant cross, a pen- 
sion of 3000 scudi, and wns made Cavaliere di 
Cristo. Previous to returning to Turin, he made 
a visit to London and Paris. Immediately on ar- 
i-iving at his diocese, he was sent for to Mantua, 
to flnish the cupola of S. Andrea; to Como. that 
of the Cathedral ; and to Milan, the fa9ade of the 
Cathedral. After erecting a number of excellent 
woiks in different cities of Italy, he was invited to 
Spain by Philip V.. to rebuild the royal palace, 
which had been destroyed by fire. He according- 
1}^ went to Madrid, but had scarcely finished the 
design, when a violent fever terminated his exist- 
ence, in 1735. at the age of fifty years. 

IXNARD, Michael d'. a French architect, born 
at Nismes in 1723. After acquiring a knowledge 
of his art, he was employed by the Prince de Mon- 
taubon, and was presented to Cardinal Rolian,who 
sent him to Strasburg, and recommended him to 
several German princes. He was employed by 
the elector of Treves, who appointed him Superin- 
tendent of the royal edifices. Among his princi- 
pal works, are the Hotel du Miroirat Strasburg; 
the Electoral Palace at Treves ; and the Abbey of 
St. Blaise, in the Black Forest. The plans of these 
and other of his edifices, were published at Paris 
in 1782 ; forming a collection of fifteen sheets. — 
Ixnard died at Strasburs in 1795. 



J. 



JACHTMANN, Johann Ludwig, a celebrated 
Prussian medalist, was born at Berhn in 1776. 
He practised in that city for many years, with 
great reputation, and may be ranked among the 
first artists in this branch, of the 19th century. 
One of his best works was the medal struck for 
the festival in honor of Albert Durer, held on the 
18th of April, 1828. This artist died at Berlin, 
in 1842. 

JACKSON, John Baptist, an English wood 



JACK. 



421 



JACO. 



engraver, who flourished about 1745. He went to 
Paris in early life, and worked for some time for 
Papillon, but meeting with little encouragement, 
he proceeded to A^enice. where he seems to have 
settled and practised with considerable success. 
He executed a number of wooden cuts, printed in 
chiaro-scuro, in imitation of the drawings of the 
great masters, among which are the Descent frcm 
the Cross, after Bicbens, and seyenteen large cuts 
published by Gio. Battista Pasquali, at Venice, in 
1745, entitled Titiani Vecellii, Pauli Caliari. Ja- 
cobi Robusti, et Jacobi da Ponte, opera seleciiora 
a Joanne Baptista Jackson. Anglo, ligno caelata 
et coloribus adunibra.ta. Among these are the 
following : 

St. Peter Martyr ; after Titian. The Descent of the 
Holy Ghost; do. The Martyrdom of St. Mark; after 
Tintoretto. The Murder of the Innocents ; do. The 
Presentation in the Temple ; after P. Veronese. The 
Marriage of St. Catherine ; do. Christ praying in the 
Garden; after Basan. The Entombing of Christ; do. 
The Raising of Lazarus ; do. 

JACKSON, John, an eminent English portrait 
painter, born at Lastingham, in Yorkshire, in 
1778. The life of this artist is a capital illustra- 
tion of the reward of merit ; for, though he des- 
pised to represent the affected graces of fashiona- 
ble life, yet he disputed successfully the wide do- 
main of portraiture with the accomplished cour- 
tier, Lawrence, than whom no one knew better 
how to '• win golden opinions of all sorts of men" 
by flattering vanity. He was the son of a poor 
tailor, and he early exhibited a passion for the fine 
arts. His first attempts at art were made at the 
village school, where his companions were his sit- 
ters, and his boyish outlines exhibited a rude free- 
dom and striking likeness that attracted the atten- 
tion of one of his neighbors, a house painter, who 
supplied him with colors to fill up his outlines. 
Without any instruction, he made such progress 
as to be emboldened, at the age of seventeen, to 
offer his services as a miniature painter at York, 
and had the good fortune to obtain tV»e patronage 
of Lord Mulgrave and the Earl of Carlisle. At 
Castle Howard he had the opportunity of studying 
and copying the magnificent collection of paintings 
by the old masters, which was in itself a school. 
The Earl of Mulgrave was so much pleased with 
his assiduity and talents that he took him under 
his protection, and sent him to London at his own 
expense, confiding him to the care of his friend, 
Sir George Beaumont, who greatly befriended 
him. He went through the usual routine of study 
at the Royal Academy, and gained considerable 
reputation from the drawings he executed for Ca- 
dell's publication of " Illustrious Personages." — 
Cunningham says " his hand had, in 1804, attained 
such mastery in portraiture, that he ventured to 
exhibit some of his productions ; and as these were 
likenesses of people of note and condition, others 
* flocked to his easel, charmed with the force of ex- 
pression, the freedom of posture, the brightness of 
his colors, and the rapidity of his execution. In 
his happiest hours, when his hand was in and his 
sitters to his liking, he produced portraits which 
fairly rivalled those of Reynolds in all their varie- 
ty of excellence ; but when his hand was out, and 
his sitters not to his wish, he sunk far below that 
great master." His portraits are numerous, and 
include nearly one-half of the nobility of rank or 
of mind in the kingdom. Among the former are 



the Duke of Devonshire, Earl Grenville, the Duke 
of Wellington, the Marquis of Chandos, and Lord 
Braybrooke. Of the latter are Canova, Flaxman, 
Chantrey, West, Stothard, Nollekens, Thomson, 
Shee, &c. His portrait of Canova was a won- 
derful work, considered his masterpiece. The 
fame of his Lady Dover has also been borne over 
the world by a masterly engraving. Jackson 
wrought with extraordinary ease and facility when 
in the right spirit, giving to his portraits all 
the dignity and intellect possessed by the originals ; 
and his likenesses were exact, for he never flat- 
tered. Cunningham says it would have been 
more for his fame, had he taken more leisure, and 
bestowed the same care and study on all his heads 
that he did on that of Canova. He was elected a 
Royal Academician in 1818, and died in 1831, aged 
53, of a cold he caught in attending the funeral of 
his early patron. Lord Mulgrave. 

JACOB, Louis, a French engraver, born at Li- 
seux, in Normandy, in 1712. He went to Paris 
in early life, and first became a pupil of Gerard 
Scotin the younger, and afterwards of Jean Au- 
dran. His works are not numerous, nor are they 
much esteemed. His drawing is incorrect, and his 
heads lack character and expression. The follow- 
ing are his best prints : 

Perseus and Andromeda ; after P. Veronese ; for the 
Crozat collection. The Departure of the Israelites from 
Egypt ; do. ; do. The Adoration of the Shepherds ; do. ; 
do. Rebecca meeting the Servant of Abraham ; do. 

JACOBE, JoHANN, a German mezzotint en- 
graver, born at Vienna in 1733. He went to Eng- 
land, where he scraped a few mezzotints ; but not 
meeting with much encouragement, he returned to 
his own country. He executed a considerable 
number of prints, among which are the following : 

PORTRAITS. 

George Sackville Germaine, Viscount Sackville; after 
Reynolds. Mary, Countess of Corke ; do. Joseph Adam, 
reigning prince of Schwarzenberg ; after Kollonitz. — 
Elizabeth, Princess of AVurtenberg Stuttgard. 1783. Car- 
lo Antonio Martini : after Moesner. Francis Ferd. 
Schroetter ; after Donat. 

VARIOUS SUBJECTS. 

The Academy of Vienna, -with the portraits of the mem- 
bers ; after Guadal. A Bull attacked by Dogs ; after 
Rhein. A Stag-hunt, by moonlight ; after Casanova. 
A Tiger killed by the Prince of Nassau-Ziegen ; do. 

JACOBELLO DEL FIORE. See Fiore, Ja- 

COBELLO DEL. 

JACOBONL Gio. Battista, an Italian engra- 
ver, who flourished at Florence about 1760, and 
engraved several plates for the Museo Fiorentino, 
and other works. The following are by him : 

An Angel protecting a Child from an Evil Genius ; after 
A. Sacchi. The Holy Family; after Raffaelle. The 
Virgin and Infant ; after Seb. Conca. St. Fidelius de 
Simarrnga ; do. 

JACOBS, Lucas. See Lucas van Leyden. 

JACOBS, Simon, a Dutch portrait painter of 
considerable eminence, born at Gouda in 1520. He 
was a scholar of Charles d'Ypres. His drawing 
was very correct, his coloring pure and brilliant, 
his touch free and decided, his expression ani- 
mated ; and he met with good encouragement. He 
was killed at the siege of Haerlem, in 1572. 

JACOBSZ, C. Philip, a Dutch engraver, who 
flourished about 1767. He engraved several plates 



JACO. 



422 



JAME. 



representing views in and near Amsterdam, exe- 
cuted in a neat and pleasing style. 

JACOBSZ, Hubert, called by the Italians Gri- 
MANi, a Dutch portrait painter, was born at 
Delft in 1599. After having learned the rudiments 
of the art in his own country, he went to Venice, 
where he carefully studied the works of Titian, 
and became an excellent colorist. His talents re- 
commended him to the patronage of the Doge 
Grimani. in whose employment he passed nine 
years with distinction, and was called by his name. 
He afterwards returned to his own country, where 
he began to practice his profession with success 
and reputation, when he died at Briel, in 1628 or 
1629, in the morning of life, deeply lamented. 

JACOBSZ, JuRiAEN or Julian, a German 
painter, was born at Hamburg in 1610. He went 
to Antwerp while young, and entered the school of 
Francis Snyders, whose subjects and style he first 
adopted. He painted hunting-pieces, combats of 
animals, and similar subjects, which he designed 
and executed with spirit and animation. Des- 
camps says his pictures of this description are lit- 
tle inferior to those of his master. He afterwards 
painted history and portraits with considerable 
reputation, though his works in this line are not 
so much esteemed as his former subjects. His 
history of Venus and Adonis, and other kindred 
subjects, are highly commended. He was engaged 
on several grand designs, when himself and all 
his family were cut off by the great plague at 
Amsterdam, in 1664. Ilis works are principally 
to be found in the best collections at Antwerp and 
Amsterdam. 

JACOBUS, an old German engraver on wood, 
who flourished about 1480. His principal works 
are sixteen or eighteen cuts of the Life of Christ, 
some of which are signed, in German letters. Opus 
Jacobi. Papillon mentions a large upright plate 
by this artist, and says it belonged to a set of plates 
representing the history of Rome in allegorical 
figures, and adds that it was well executed. 

JACONE, a Florentine painter who, according 
to Vasari, was the friend and assistant of Andrea 
del Sarto. He was a bold but fantastical design- 
er, and extravagant in his attitudes. His best 
works are imitations of the style of del Sarto. 
and mostly to be found in the churches at Corto- 
na. He died in 1555. 

JACOPSEN. H., a Flemish engraver, who flour- 
ished about 1620, and executed a set of plates, 
chiefly portraits of eminent persons, for a History 
of the Netherlands, published at Antwerp in 1620. 

JACQUART, Antoine de, an engraver who is 
supposed to have been a native of France, though 
he passed at least a part of his life in Flanders. 
There are some finely engraved vignettes, with fig- 
ures and grotesque ornaments, marked A. D. I. F., 
which Florent le Comte attributes to him. 

JAGER, Gerhard DE.a Dutch painter, and a na- 
tive of Dort, who flourished about 1646. He was 
a good marine painter, and he was particularly 
excellent in his representations of river scenery, 
with still water, in which every object is beauti- 
fully reflected. 

JAGER, R., an obscure Dutch engraver, by 
whom there is an indifferent etching, representing 
the fleets of Spain and Holland, without a date. 



JAMES, William, an English landscape paint- 
er of little note, who studied with Canaletti, when 
that artist was in England. He resided in Lon- 
don, and in 1768 exhibited some indifferent views 
of oriental scenery, supposed to have been copied 
from some other person's designs, as he was never 
out of England. His chief business was that of a 
picture dealer and restorer. 

JAMES; George, an English portrait painter 
of little note, born in London — perhaps a brother 
of the preceding. He went to Italy, and resided 
some time at Rome. On his return home he set- 
tled in London, as a portrait painter, but meeting 
with little encouragement, he removed to Bath, 
where he was not more fortunate. Finally he went 
to France, and was thrown into prison during the 
Revolution, where he died in 1794. He was an 
early associate of the Royal Academy, in which 
institution he occasionally exhibited his pictures, 
which never rose above mediocrity. 

JAMES, John, an English architect of good 
abilities, who flourished about 1740. He was em- 
ployed by the Duke of Chandos, to erect his man- 
sion at Cannons ; besides which he erected the 
church of Greenwich in Kent, a noble mansion at 
Blackheath, for Sir Gregory Page, and St. George's 
church, Hanover Square, the west front of which 
consists of six Corinthian columns, forming a 
handsome portico, crowned by a pediment, over 
which is a steeple of an octangular form. 

JAMESON, Alexander, a Scotch architect of 
considerable eminence, who flourished at Aberdeen 
about 1600. 

JAMESON, George, an eminent Scotch por- 
trait painter, was the son of the preceding, born 
at Aberdeen in 1586. He went abroad, and had 
the advantage of studying under Rubens at Ant- 
werp, at the same time with Vandyck. On his re- 
turn home he settled at Edinburgh, where he ac- 
quired a great reputation as a portrait painter, and 
he is justly termed by his countrymen, the Scotch 
Vandyck. His largest portraits are somewhat 
less than life size, and his excellence consists in 
delicac}'- and softness, and a clear and brilliant 
coloring, without much shadow — principles he ac- 
quired in the great school in which he was educa- 
ted. He also painted in miniature, with equal suc- 
cess. When Charles I. visited Scotland, the mag- 
istrates of Edinburgh, knowing his 'taste, employ- 
ed Jameson to make drawings of the Scottish 
monarch, which they presented to the king, with 
which he was so much pleased that he sat to the 
artist for a full-length picture, and rewarded him 
with a diamond ring from his own finger. Jame- 
son being troubled with weak eyes, the king al- 
lowed him to be covered, a privilege he ever after 
used, and commemorated by painting his own por- 
trait with his hat on, in imitation of Rubens. He 
executed a great number of portraits of the no- 
bility and distinguished personages of his time, 
which are chiefly in the mansions of the nobility 
of Scotland. He occasionally painted history and 
landscape, but these are not to be compared with 
his portraits. The largest collection of his works 
are at Taymouth. the seat of the Earl of Breadal- 
bane, the descendant of Sir John Campbell, the 
early friend and patron of Jameson, who traveled 
with him on the Continent. The portrait of Jame- 
son is in the Florentine Gallery. He died at Edin- 



JAMI. 



423 



JANS. 



burgh, in 1644. He left a widow and several chil- 
dren, of whom Mar J Jameson seems to have inherit- 
ed a portion of her father's genius, in pictorial era- 
broidery, specimens of which are still preserved, 
particularly Jepthah's rash Vow, and Susanna and 
the Elders, which now adorn the east end of St. 
Nicholas' church, Aberdeen. 

JAMITZER, or JAMNITZER, Bartholomew, 
a German engraver who, according to Prof. Christ, 
flourished at Nuremberg about 1547, and engraved 
some plates which he marked with his initials 
and the date, but he does not specify them. Zani 
says he worked as late as 1571. 



f-df 



JAMITZER, or JAMNITZER, 

Christopher, a German engraver, 
probabl}^ the son of the preceding, was born at 
Nuremberg about 1560. He engraved and pub- 
lished, in 1600, a set of grotesque subjects, etched 
with spirit, and neatly executed. He also engraved 
some other plates, among which are the following, 
marked with a monogram of his initials. There 
are prints by him, dated as late as 1610. 

His own Portrait, studying perspective. A set of twelve 
plates of the Sports of Children. A set of twelve, of Chil- 
dren mounted on Sea Monsters. Four plates of Children, 
with the Wings of a Bat. A Dance of four Children round 
a Tree. A set of six Grotesque subjects. 

JAMPICOLI. See Giampicoli. 

JAN, Langen. See Bookhorst. 

.JANET, rRAN90is, an eminent French portrait 
painter, who is generally known by the name of 
Clouet. He flourished at Paris during the reigns 
of Francis I., Henry II., Francis II., Charles IX., 
and Henry III. of France, and executed a multi- 
tude of portraits in oil, and in white and black 
chalk, of the eminent personages of the courts of 
those monarchs, which are greatly valued. There 
are many of his works in England, particularly at 
Castle Howard, where there are eighty -eight por- 
traits, in black and white chalk. His portraits in 
oil are found mostly in the public edifices and the 
houses of the nobility of Paris. His pictures in 
oil are elaborately finished, and so highly prized 
that they are said to have been multiplied of late 
years, so skilfully as to deceive the unwary. 

JANOTA, Johann Georg, a native of Bohe- 
mia, who flourished at Vienna about 1775. When 
young, he was taken under the protection of the 
Prince of Lichtenstein, who sent him to study in 
Itsdj. After his return to Vienna, he distinguished 
himself as an engraver, and was elected a mem- 
ber of the Imperial Academy. He engraved some 
choice plates from the pictures in the Lichtenstein 
Gallery, among which are following : 
portraits. 

The Emperor Joseph II. The Archduke Maximilian. 

SUBJECTS. 

Bust of a young Man ; after Rembrandt. Christ bear- 
ing his Cross ; after Leonardo Vinci. St. Catherine of 
Siena praying ; after Alessandro AUori. The Funeral 
Pomp of Joseph Wenceslas, Prince of Lichtenstein. 

JANSON. Jacob, a Dutch painter, who flour- 
ished at Leyden about 1785. He painted land- 
scapes and cattle in the manner of Paul Potter, 
which are held in considerable estimation. His 
pictures resemble those of Potter only in design, 
and the coloring is very pleasing. It is said that 
he could copy Potter remarkably well. He etched 



some plates after his own designs in a neat, spirit- 
ed, and painter-like style. 

JANSON, John Christian, a son of the pre- 
ceding artist, was born at Leyden in 1763. He 
was instructed in the art by his father, but hav- 
ing a passion for military life, he entered the army 
and served in several campaigns, attaining the 
rank of Captain of Artillery. On the union of 
Holland with France, he settled at the Hague, and 
returned to the practice of his first profession. He 
painted landscapes, with cattle and figures, in the 
style of his father, also winter-pieces and other sim- 
ilar subjects, which have considerable merit, and 
are found in good collections in his native coun- 
try. 

JANSON, Peter, a younger brother of the pre- 
ceding, born at Leyden in 1768. He was also in- 
structed in the art by his father, but abandoned 
painting for the field of glory. After having been 
well hacked, and incapacitated from further milita- 
ry service, he retired on a pension with the rank 
of Captain, and amused himself in painting land- 
scapes and cattle, which were in great favor with 
the amateurs of the time. 

JANSSEN, Cornelius, an eminent Dutch por- 
trait painter, was born at Amsterdam in 1590. 
After having obtained considerable reputation in his 
own country, he went to England in 1618, where 
he met with great success. He entered the service 
of James I,, whose portrait he painted several 
times, as well as those of the royal family and 
the principal nobility of his court. His style of 
coloring is clear, lively, and natural, his touch 
light, his pencil delicate, his carnations soft and 
sweet, and he painted his pictures with remarka- 
ble neatness. Though he had not the freedom of 
hand and the grace of Vandyck, yet in other re- 
spects he was deemed his equal, and in finishing, 
his superior. His pictures are easily distinguished 
by their smooth, clean, and delicate tints, and by 
that character of truth to nature with which they 
are stronglj^ marked. He generally painted on 
brown, and his draperies for the most part are 
black, probably because the opposition of that tint 
made his flesh colors appear more clear and bril- 
liant, especially in his female figures. The same 
kind of draperies were often employed by Rubens 
and Vandyck in portraits, which served to give a 
roundness, relief, and liveliness to the figures. It 
is said that Janssen used ultra- marine both in 
his black colors and carnations, which may be one 
cause of the original lustre continuing in all its 
brilliancy to the present day. He frequently 
painted in small size in oil, and often copied his 
own works in this manner. His fame began to 
wane on the arrival of Vandyck, and the civil war 
breaking out, he returned to Amsterdam in 1648, 
where he continued to practice his art with dis- 
tinguished success till his death in 1665. One of 
his finest pictures, a portrait of Sir George Vil- 
liers, the father of the celebrated Duke of Bucking- 
ham, is still at the family seat at Strawberry Hill. 
He is represented with his hand on a greyhound, 
which animal is painted to the life. Another cel- 
ebrated picture is the portrait of the Princess 
Elizabeth, who married the Elector Palatine, and 
is commonly called the Queen of Bohemia. His 
name is oiften incorrectly written Jansen. and 
Johnson. 

JANSSENS, Abraham, an eminent Flemish 



JANS. 



424 



JANS. 



painter, was born at Antwerp in 1569. It is not 
known under whom he studied, but he was en- 
dowed with extraordinary genius, surpassing even 
in his first efibrts any competitor, till the time of 
Rubens, and was one of the most celebrated paint- 
ers of his day. He executed many works for the 
churches of Flanders, which justly rank him 
among the ablest artists of the Flemish school. 
Ilis composition and his design possess the judg- 
ment and fire of the greatest masters, supported 
with an admirable coloring and an intelligent man- 
agement of the chiaro-scuro. He had acquired a 
brilliant reputation, when the extraordinary tal- 
ents of Rubens began to display themselves and 
eclipse his fame; and the success of Rubens is said 
to have excited in Janssens feelings of disgust 
which threw him into dissipation and excesses 
that impaired his fortunes and injured his reputa- 
tion. Confident of his own ability, and not justly 
appreciating his rival, he had the imprudence to 
send Rubens, then in the zenith of his fame, a 
defiance to paint a picture in opposition to him 
only for fame. Rubens declined the challenge with 
dignity and modesty, telling him that he freely 
submitted to him, and that the world would cer- 
tainly do justice to them both. According to San- 
drart, Janssens had no superior in coloring ex- 
cept Rubens. He designed from the living mod- 
els, his figures are correctly drawn, and have a 
striking appearance of truth and nature. His 
touch was free and his draperies well cast. He 
gave a fine roundness and relief to his figures, and 
such a warmth and clearness to his carnations, 
that they had all the look of real flesh. His col- 
ors too were so judiciousl}^ compounded, that they 
still retain a remarkable clearness and brilliancy. 
His paintings in the church of the Carmelites at 
Antwerp, representing the Virgin and the Infant, 
and the Entombment, give a just idea of his merits. 
The composition in both is exceedingly rich and 
grand, the fi.gures larger than life, and the design 
and coloring every way excellent. In the cathe- 
dral at Ghent is an Ecce Homo, and a Descent 
from the Cross worthy of Rubens himself, which 
is often taken for a work by that master. The 
Resurrection of Lazarus in the collection of the 
Elector Palatine is considered his master-piece. 
The time of his death is not exactly known, some 
place it in 1631. and others in 1650, which last date 
is probably wrong. 

jT/ JANSSENS, H., a Flemish engraver, by 
*^& whom we have some plates of ornaments 
for goldsmiths and jewellers, enriched with fig- 
ures and other embellishments, some of them 
after his own designs, and others after H. Tan- 
gers and other masters. They are executed in a 
neat and delicate style. 

JANSSENS..J. Alexander, a Flemish engraver, 
probably a relative of Victor Honorius Janssens, 
after whom he engraved a set of plates from the 
life of Achilles, etched in a firm, neat style, with a 
commanding effect of light and shadow. 

•JANSSENS. Peter, a Dutch painter on glass, 
was born at Amsterdam in 1612. He studied un- 
der John van Bronkhorst, a celebrated painter in 
that branch. He became eminent in his line, and 
was much employed for the churches. He painted 
on glass from his own designs, correctly drawn ; 
and executed them in an elegant manner. Le 



Comte says he also engraved some plates of de- 
votional subjects and images of the Virgin, from 
his own designs. He died in 1672. 

JANSSENS, Victor Honorius, aFlemish paint- 
er, was born at Brussels in 1664. His father was 
a tailor, and intended to bring his son up to his 
own business, but he showed such an early passion 
for the fine arts, that he was induced to place him 
under the tuition of one Volders, an indifferent 
painter, with whom he remained seven years, and 
made such progress, that he far surpassed his in- 
structor. On leaving his master, he showed so 
much ability that the Duke of Holstein invited 
him to his court, and appointed him his painter, 
with a pension of 800 florins a year. After pass- 
ing four years in the service of that prince, he 
solicited and obtained permission to go to Italy 
for improvement, and the liberahty of his patron 
supphed him with the necessary means. At Rome 
he studied the works of the best masters with 
great assiduity, especially the works of Raffaelle 
and the antiques ; and sketched the beautiful scene- 
ry about that great metropolis, and soon distin- 
guished himself as a ready and correct designer. 
He formed an intimacy with Tempesta, and paint- 
ed the figures in his landscapes. He painted his- 
torical subjects both in large and small size, prin- 
cipally the former, which were the most saleable at 
that time in Rome. He chose Albano for his mod- 
el, and in that style he was not equalled by any 
of his cotemporaries. He soon gained an immense 
reputation, and could scarcely execute all the or- 
ders he received. After a residence of eleven years 
at Rome, a desire to visit his own country, induced 
him to abandon these fine prospects ; and he re- 
turned to Brussels, where he was warmly received, 
and where his performances were as much admired 
and as much in request as they had been in Italy. 
He had hitherto confined himself to easel pic- 
tures, but he was now called upon to exert his 
talents on a new and larger scale, for he received 
commissions to paint several altar-pieces for the 
churches at Brussels and other cities of Brabant. 
In 1718 he was invited to Vienna, and appointed 
painter to the Emperor, where he resided three 
years. Descamps sa3^s this artist visited England 
about this time, but no mention is made of him, 
by the English writers of that period. He con- 
tinued to practice his profession with great dis- 
tinction till his death at Brussels in 1739. His 
works are numerous, especially his easel pictures, 
which are found and prized in the best collections. 
Among his most esteemed works for the churches, 
are his St. Roch curing the Diseased in the church 
of S. Nicholas at Brussels ; and St. Charles Bor- 
romeo, interceding with the Virgin for persons in- 
fected with the Plague, in the church of the Car- 
melites. He adorned most of the principal 
churches and palaces of the Netherlands. He 
had an extraordinary facility of design and exe- 
cution, as is seen from the great number of works 
he executed for the churches at Brussels and its vi- 
cinity. His invention was fruitful, his design cor- 
rect, his coloring natural and pleasing, his pencil 
broad and free, and the airs of his heads have dig- 
nity, beauty, and elegance. His large and small 
pictures are designed and executed with equal cor- 
rectness and taste, but the coloring of the latter is 
more brilliant. The coloring of his large works 
I appears more raw and cold, probably intentional. 



JANS. 



425 



JARD. 



to give them more dignity and solemnity. He 
also excelled in his representations of gallant sub- 
jects, and assemblages of belles and beaux in the 
curaberous paraphernalia of the time, engaged in 
dancing, or employed in amatory conversation. 
His Cavaliers and Damsels act by the card, and 
sustain the airs of persons of quality. These com- 
positions are very lively and pleasing ; not so 
polished as those of Watteau, but appearing less 
aflfected, with more of real life and manners. 

J ANSZ. Egbert, a German engraver, who flour- 
ished about 1660. He engraved among others, a 
set of small prints entitled Icones venantum species 
varias. ^c.^ 1663; after Antonio Tempesta. He 
wrought chiefly with the graver in a style some- 
what resembling that of Crispin de Passe. 

JARDIN, or JARDYN, Karel du. This emin- 
ent painter was born at Amsterdam in 1640. He 
studied under Nicholas Berghem, and was the best 
of all his disciples. On leaving his master, he went 
to Rome, where he was received by the Bente- 
vogel Society, who initiated him into their mys- 
teries, and conferred on him the title of Barbe de 
Bouc. He possessed extraordinary talents, but 
gave himself up alternately to study and dissipa- 
tion with his boon companions. Yet, amidst this 
singularity his progress \va,s most surprising, and 
he soon gained an immense reputation, so that 
his works were eagerlj^ sought after, even by the 
Italians, who preferred them to those of any other 
artists of his countrj-, who were numerous and 
famed at that time in Rome. After a residence of 
several years he set out for home, and stopped some 
time at Lyons, where he met with sufficient en- 
couragement, but his extravagance plunged him 
into debt, and to escape the vengeance of his credi- 
tors, he married his hostess, who was old and dis- 
agreeable, but veiy rich. Mortified and ashamed 
of what he had done, he returned to Amsterdam 
soon after, accompanied b}'' his wife, and there, for 
some time practised his profession with great suc- 
cess, notwithstanding which, he returned to Italy 
and died soon after his arrival at Venice, in 1678, 
in the 38th year of his age. The life of this artist 
is a useful lesson to those of a gay, giddy disposi- 
tion, incHned to dissipation and excess. With the 
most brilliant talents, that could command admi- 
ration and success, he degraded his character, ru- 
ined his happiness, and sunk into an untimely 
grave. The works of this artist are mostly con- 
fined to landscapes, executed in a style founded 
on that of Berghem, modified by his own genius 
and his residence in Ital3^ His landscapes are 
always of the most pleasing scenery, decorated 
with charming figures and animals. They com- 
bine the exquisite finish of the Flemish school, 
with the warm glowing tints of the Italian. In 
all his landscapes he showed great genius and 
taste. As he died young, and wrought up his pic- 
tures to a high degree, they are not numerous, 
and command enormous prices. One called " Le 
Passage du Gue," or Passing- the Ford, sold at 
Count Perregaux's sale for 26,500 francs, and 
others in England at incredible prices. Several 
of his pictures may be seen in the museums at the 
Hague, Amsterdam, and Paris. Karel du Jar- 
din has left us fifty-two etchings of landscapes, 
figures and animals, from his own designs. They 
are sometimes marked with his name in full, and 
at others with his initials, as K. D. T., or K. D. Y. I. 



fee, with the date. Good impressions of these 
interesting works are scarce and valuable, but the 
plates not having been destroj-ed. poor impres- 
sions are more common. For a full description 
of 150 paintings by him, see Smith's Catalogue 
JRaisomie, voL 5th and Supplement. 

JARDINIER. Claude Donat, a French en- 
graver, was born at Paris in 1726 ; died in 1774. 
He first studied with Nicholas Dupuis, but after- 
wards with Lawrence Cars. He executed a con- 
siderable number of plates with the graver in a 
neat, firm, and agreeable style, among which are 
the following : 

The Virgin and Child ; after the picture by C. Maratti; 
in the Dresden collection. The Genius of Glory and Hon- 
or, represented by a figure in the air, holding a crown, sur- 
rounded by Cherubs ; after An. Caracci. A Mother, with 
three Children ; after Greiize. A Girl sleeping ; do. Two 
Soldiers playing at Cards ; after Valentin. 

JARENUS, a German painter, who flourished 
at Soest, in Westphalia, about the close of the 
15th century. Little is known of him except a 
few paintings remarkably well executed for his 
time and country, somewhat in the style of van 
Eyck. There is a remarkable one in the museum 
of Berlin, painted on a gold ground, and forming 
a large altar-piece. The middle portion repre- 
sents scenes from the Passion ; the right wing the 
Resurrection, the Ascension, the Pouring out of 
the Holy Spirit, and the Last Judgment, in four 
compartments. The left wing, the Annuncia- 
tion, the Nativity, the Adoration of the Magi, and 
the Presentation. The figures of the Virgin are 
simple, and gracefully drawn ; beautiful German 
heads, with auburn hair falling down over the 
shoulders. Another little picture representing 
the Dead Body of Christ, mourned by his friends 
and followers, is in the collection of the Earl of 
Pembroke at Wilton. 

JARYIS, John Wesley. This eminent Amer- 
ican portrait painter was born in South Shields, 
on the Tyne, in England, in 1780. Lie was the 
nephew of John Wesley, the celebrated Methodist 
divine, with whom he lived during infanc3^ and 
was taken b}- his father, at the age of five years, 
to America. His youth was passed in Philadel- 
phia, where he acquired some knowledge of the 
art from Mr. Clark and Mr. Pratt, artists of re- 
spectable abilities. He afterwards engaged with 
Mr. Savage, a painter, engraver, and print-seller; 
but seems to have learned more from Mr. David 
Edwin, an engraver in the employ of Savage, than 
from his instructor. The latter removed fo New- 
York some time afterwards, taking Jarvis with 
him, who chiefly devoted himself to engiaving ; 
but the success of Martin in portrait painting, 
induced him to pursue that departm.ent of art. 
Girted with great natural abilities, he became an 
excellent portrait painter, without any adequate in- 
struction, surpassing for many years, everjr Amer- 
ican artist, excepting Stuart. He studied anatomy 
with Dr. John Augustine Smith, and practised 
modeling in clay. His coloring was truthful and 
vigorous. He was esptecially distinguished for a 
remarkable faculty of seizing the characteristic ex- 
pression of his subjects ; and for his great facility 
of execution, generally requiring but one sitting 
to complete a portrait. He was of a frank and 
generous character, and liberal towards the pro- 
ductions of other artists. About 1814, Jarvis occu- 



JARV. 



426 



JEGH. 



pied a studio in Murray st., where Henry Inman 
was his pupil. Ele passed some time in Balti- 
more, and met with the same flattering success 
as in New York. He also visited Charleston, 
Richmond, and other southern cities, where he 
was greatly patronized. In company with In- 
man, he went to New Orleans, and in the course 
of six months, received ^GOOO for portraits ; which 
he repeated the next year with the same success. 
Jarvis painted the portraits of all the eminent 
men of his day, among whom were John Ran- 
dolph and Bishop Moore; and his talents were 
highly esteemed by Henry Clay and other dis- 
tinguished citizens of our country. He painted 
several admirable historical portraits for the City 
Hall of New York, among which are those of 
Commodores Bainbridge and Perry. He died in 
1840. 

JARVIS, John, an Irish painter on glass, born 
at Dublin about 1749. He removed to London, 
where he settled permanently, and executed many 
capital works which were greatly admired. — 
Among them are a picture of the Resurrection, 
after the designs of West, in St. George's chapel, 
Windsor ; and his master-piece, in the west win- 
dow of New College Chapel, Oxford, from a de- 
sign of Sir Joshua Reynolds. Jarvis died in 1804. 

JEAN, Gherard de St., an old Dutch painter, 
was born at Haerlem in 1366. He studied under 
Albert Ouwater, to whom he was superior in de- 
sign and composition. He painted history and 
portraits with reputation, but died young in 1394. 

JEAN, Phtlip, an English painter, and native 
of Jersey, born in 1755. who served in the navy 
during the American Revolution, at the close of 
which, he settled in London, and painted portraits 
and miniatures with some distinction. He died 
in 1802. 

JEAURAT, Edme. an eminent French engraver, 
born at Paris about 1680. He studied under Ber- 
nard Picart. He executed a considerable number 
of plates which are highly esteemed. He poss- 
essed the faculty of expressing in his prints, the 
peculiar style of the painter whose work he en- 
graved. His drawing is correct, and his execu- 
tion is bold and free, with a fine effect of light and 
shadow. The following is a list of his best works : 

The Portrait of Peter Puget, called the Michael Angelo 
of France ; after Puget the younger. The Meeting of 
David and Abigail ; after N. Vleughel The Resurrec- 
tion ; do. Thetis plunging Achilles into the Styx; do. 
Telemachus in the Island of Calypso ; do. The Triumph 
of Mordecai; after le Clerc. Christ among the Doctors ; 
do. Achilles discovered among the Daughters of Lyco- 
medes ; do. St. John Baptist baptizing the .Jews ; after 
N. Poussln, Pan and Syrinx ; after P. Mignard. The 
dead Christ on the knees of the Virgin ; after le Brim. 
The Interview between Jacob and Rachel ; after P. P. 
Mala ; for the Crozat collection ; very fine. The Repose 
in Egypt ; do. ; do. The Finding of Moses ; after P. 
Veronese ; do. 

JEAURAT, Etienne, a French painter of his- 
tory and conversation-pieces, who was of suffi- 
cient distinction as to be admitted a member of 
the Royal Academy in 1743. This artist is con- 
founded with Edme Jeaurat by Basan, Smith, and 
others. He designed the illustrations for La Fon- 
taine's Fables which were engraved by Edme, and 
hence the error. They were doubtless brothers. 

JEFFERIESj James, an English painter, was 



born at Maidstone, in Kent, about 1756. He first 
studied engraving under Woollett, but afterwards 
applied himself to painting, and became a student 
of the Royal Academy, where he made such pro- 
ficiency as to obtain, in 1773, the gold medal for 
the best historical picture, which entitled him to 
go to Rome and study four years at the expense 
of that institution. Soon after his return to Eng- 
land, he exhibited at the Academy a fine picture 
of the Siege of Gibraltar, which was much ad- 
mired, and was engraved by Woollett. He died 
soon afterwards of consumption in 1784. 

/JT JEGHER, Christopher, a German engrav- 
!bl>^ er on wood, was born about 1590. He re- 
sided chiefly at Amsterdam, where his great merit 
recommended him to the notice of Rubens, who 
employed him to engrave some wood cuts from his 
designs. They are executed in a bold, free style, 
with spirited strokes in imitation of cross-hatch- 
ings with a pen, producing a powerful effect. Af- 
ter the death of Rubens, Jegher bought the greater 
part of the blocks and published them on his own 
account. He also engraved after the designs of 
other masters. The following are after Rubens. 
The best impressions are with the name of Rubens, 
as the publisher. Those with the name of Jegher 
substituted are less valuable : 

The Bust of a Man with a thick beard ; in chiaro-scuro. 
Susanna and the Elders. The Repose in Egypt. The in- 
fant Jesus and St. John playing with a Lamb. The Coro- 
nation of the Virgin. Christ tempted by Satan. Hercules 
destroying Fury and Discord. Silenus drunk, supported 
by two Satyrs ; the same subject is engraved by Bolswert. 
Lovers in a Garden, called the Garden of Love. 

JEHNER, J., an English mezzotinto engraver, 
who flourished in London about 1780, and en- 
graved a few plates, among which are the por- 
traits of the Marquis of Titchfield, after Reynolds ; 
the Earl of Barrymore, as Cupid, after Cosway; 
and the Four Seasons, after Breughel. 

JELGERHUIS, John Rienksz, a Dutch 
painter, was born at Leeuwarde in 1770. He 
painted landscapes, marines, interiors of churches, 
market-places, &c. He died in 1836 at Amster- 
dam, and was buried at Haerlem. 

JELGERSMA, Tako Hajo, a Dutch painter, 
born at Harlingen in 1702. He studied with Vi- 
tringa, and settled at Haerlem. He painted ma- 
rine subjects in an excellent manner, but he devo- 
ted himself almost entirely to portraiture, in which 
he excelled, and found abundant and profitable em- 
ployment. He painted an immense number of por- 
traits. His marines, founded on the styles of Van- 
dervelde and Backhuysen, are said to be exquisite 
productions, and it is regretted that he did not de- 
vote more of his time to these subjects. He died 
at Haerlem in 1795. 

JENICHEN, or JENCKEL, Balthasar, a Ger- 
man engraver, who executed a set of small plates 
of the Labors of Hercules, dated 1568, somewhat 
in the style of Hans Sebald Beham, though great- 
ly inferior to the works of that engraver. He 
marked his plates with his initials, B. J., with the 
date, enclosed in a small square. 

JENKINS, ThoiMas, an English painter, who ji 

studied under Hudson' at London, and went to !| 

Rome with Richard Wilson. He did not attain 
any eminence in art, but he turned his attention 
at Rome to dealing in ancient paintings and an- 



JERV. 



427 



JODE. 



tiques, by which he realized a fortune. Upon the 
irruption of the French into Italy, he returned to 
his own country, where he died in 1798. 

JERYAS, Charles, an Irish portrait painter, 
who studied a short time under Kneller, and ac- 
quired so much reputation in his day, as to be 
eulogized by Pope, and obtain abundant employ- 
ment. Lord Orford thus sums up his merits : — 
" Such was the badness of the age's taste, and the 
dearth of good masters, that Jervas sat at the 
h€ad of his profession, and his own vanity thought 
no encomium disproportionate to his merit. Yet 
he was defective in drawing, coloring, and composi- 
tion ; and even in that most necessary, and perhaps 
most easy talent of a portrait painter, likeness. 
In general his pictures are a light flimsy kind of 
fan painting, as large as life." His vanity and 
conceit knew no bounds. He copied a picture of 
Titian in the Royal Collection, which he thought 
so vastly superior to the original, that on contem- 
plating it on its completion, he exclaimed with 
great complacency, " Poor little Tit, how he would 
stare"! He affected to be violently in love with 
Lady Bridgewater; yet after dispraising her ear 
as the only faulty point about her, he exhibited 
his own as a model of perfection. When Kneller 
heard that he had set up a carriage with four hor- 
ses, he said, " Ah, mine Cot, if his horses do not 
draw better than he does, he will never get to 
his journey's end." He died in 1739. 

JOANES. See Juanes, 

JOANSUINI, GiACOMO, an Italian painter and 
engraver, of whom little is known. There is an 
indifferent etching, representing the Presentation 
in the Temple, inscribed Jacobu Joansuiniis pictor 
et incisor, without date. 

JOCINO, Antonio, a landscape painter, com- 
mended by Hakert, who flourished at Messina 
about 1750. 

JOCONDUS, or JUCUND US. Giovanni, a Yer- 
onese architect, who flourished about 1515. He 
was a monk of the Dominican order, but practised 
as an architect at Rome and Paris, where he erect- 
ed two bridges over the Seine. While resident 
there, he recovered some of the epistles of Pliny the 
Younger, and the works of Julius Obsequens on 
Prodigies, which he prepared for publication, and 
sent to Aldus, by whom they were published in 
1508. He illustrated Caesar's Commentaries with 
notes and figures. On returning to Italy, he pub- 
lished an edition of Vitruvius. After the death 
of Bramante. he was employed on St. Peter's. His 
last architectural work, was a bridge over the 
Adige at Yerona. He died about 1530. 

JODE, Gerhard de, a Flemish engraver and 
print-seller, born at Antwerp in 1521. He en- 
graved a considerable number of plates, which 
seem to be an humble imitation of the style of 
Cornelius de Cort. among which a set of twenty- 
nine portraits of the Popes, 1585 ; a Roman Tri- 
umph, in twelve sheets, qftej- Martin Hemskerk ; 
the Crucifixion, a large print in three sheets, after 
Michael Angela, marked G. de Jode. with the 
name of the painter. He was the head of a fam- 
ily, greatly distinguished in the art of engraving, 
and died in 1591. 

JODE, Peter de, the elder, the son of the 
preceding, was born at Antwerp in 1570. After 



having learned the rudiments of the art with his 
father, he studied under Henry Goltzius, and af- 
terwards went to Italy for improvement, where he 
engraved several plates after the great masters. 
About 1601; he returned to Antwerp, where he 
greatly distinguished himself. His drawing is 
very correct, and though his command of the 
graver is less daring and bold than that of his 
instructor, yet his style is more chaste and artis- 
tic. He died in 1634. The following are his prin- 
cipal plates : 

portraits. 
Erycius Puteanus, or Henry du Puy, a learned Holland- 
er ; in a circle formed by a serpent ; Pet. de Jode^ sculp. 
J. Meytens, exc. Joannes Bocatius ; Titian, pinx. Pet. 
de Jode, fecit. Ferdinand Count Palatine of the Khine ; 
oval ; after Rubens. Philip III, King of Spain ; oval ; 
do. Francis de Mello, Count d'Azumar ; P. de Jode, fee. 
Ambrose Spinola ; do. 

various subjects. 
The Five Senses ; apparently from his own designs. 
The Life and Miracles of St. Catherine of Siena ; twelve 
plates ; after Francesco Vamii. 1606. The Life of Christ, 
in thirty-six plates ; without the painter's name. The 
Virgin and Child ; after Titian. The Marriage of St. 
Catherine ; do. The large Holy Family ; do. The Ado- 
ration of the Shepherds . after Ad. van Oort. Christ, 
with Nicodemus ; do. The Decollation of St. John ; after 
Rubens ; oval ; scarce. Christ giving the Keys to St. 
Peter ; do. ; fine ; the best impressions are before the ad- 
dress of Vanden Enden. The Crowning of St. Catherine ; 
do. The Last Judgment ; after John Cousin ; on twelve 
plates ; one of the largest prints known. 

JODE, Peter de, the younger, the son of the 
preceding, was born at Antwerp in 1606. He was 
instructed by his father whom he surpassed in the 
taste and facility with which he handled the graver. 
His plates are unequally executed, and Basan says 
of him. '• in some of his prints he has equalled the 
best engravers, and in others, he has sunk below 
himself. His works are highly esteemed, though 
they are considered generally inferior to those of 
his cotemporaries, the Bolswerts, Pontius, and 
Yostermans. Perhaps his best performances are 
his portraits, some of which are after Yandyck. 
The exact time of his death is uncertain. The la- 
test authentic date on his prints is 1659. Nagler 
mentions one dated 1699, but this is probably a 
misprint. The following is a list of his most es- 
teemed prints ; for a full list the reader is referred 
to Nagler's Kunstler Lexicon : 

portraits after vandyck. 

Charles I. Henrietta Maria, his Queen. Thomas Went- 
worth, Earl of Strafford. Prince Rupert, Catherine, Coun- 
tess of Newburgh. Peter de Jode, junior; se ipse scut. 
Jacob Jordaens, painter of Antwerp. Cornelius Poelem- 
berg, painter, of Utrecht. John Snellincks, paintor, of Ant- 
werp. Daniel Meytens, painter. i\ dam de Coster, painter, 
of Mechlin. Andrew Colyns de Nole, sculptor, of Ant- 
werp. Henry Liberti, organist. Albert, Duke of Fried- 
land, Count of Wallenstein. Genevieve d'Urphe, Duchess 
de Croye. Jane de Blois. John Tzerilaes, Count de Tilly. 
Diodorus van Tulden, professor at Louvaine. Anthony 
Trieste, Bishop of Ghent. 

portraits after various masters. 

Charles Henry, Baron de Metternich ; after A. van 
Hulle. Augustus Adolphus, Baron de Trantorf; do. — 
Thomas Ricciarni ; after Simon Vouet. Ernest. Count 
d'Isembourg; after J. Willeborts Boschaert. Petrus de 
Francavilla, sculptor and architect ; after Bun el. 
subjects after various masters. 

St. Augustine, bishop, crowned by Religion ; P. de Jode, 
fee St. Francis kneeling before a Crucifix ; after Baroc- 
cio. The Holy Family, with St. Elizabeth. St. John, and 



JODE. 



428 



JOHN. 



Zachary ; after Titian. The Visitation of the Virgin to 
St. Elisabeth ; after Rubens ; fine and scarce. The Three 
Graces ; do. ; fine. Venus rising from the Sea, surround- 
ed with Nymphs and Tritons ; do. St. Francis and St. 
Clara adoring the infant Jesus ; after Gerard Segers. 
Christ with Nicodemus ; do. The Nativity ; after J. Jor- 
daens; fine. St. Martin de Tours, working a Miracle ; do.; 
fine. Folly and Ignorance ; do. St. Augustine supported 
by Angels; after Vandyck. Rinaldo and Armida; do. 
The Holy Family, with St. Anne ; after A. Diepenheck. 
An allegorical subject on Peace ; do. St. John in the Des- 
ert ; after P. van Mol. 

JODE, Arnold de, was the son of Peter de 
Jode the younger, and was born at Antwerp in 
1636. He was instructed in the art by his father, 
but he never rose above mediocrity. His best 
prints are his portraits. We have the following 
by him. 

PORTRAITS. 

Cardinal Palavicini ; after Titian, Sir Peter Lely ; 
after a picture by himself. Alexander Browne ; prefixed 
to his Ars Pictoria ; after Huysmans. 

VARIOUS SUBJECTS. 

Mercury educating Cupid ; after Correggio. [1667.] 
Magdalene ; a half-length, circular ; after Vandyck. The 
infant Christ embracing St. John ; do. ; inscribed, Arnoldus 
de Jode, sculp. Londini, tempore incendii maximi. A 
Landscape; after L. de Vadder ; Arnold de Jode, sculp. 
1658. 

JOHANNOT, Charles Henry Alfred, a de- 
signer, engraver, and painter of the French school, 
was born in 1800, at Offenbach on the Maine, in 
the Duchy of Hesse. He was the son of Fran9ois 
Johannot, a rich merchant of Frankfort, descended 
from a family whom the Revocation of the Edict 
of Nantes compelled to remove from France. His 
father removed to Paris in 1818, and Johannot 
studied design and engraving under his elder bro- 
ther Charles J., an engraver of some eminence, 
who executed the plates for a number of illustra- 
ted works, and a large print of the Wounded 
Trumpeter, after Horace Vernet. Alfred J. made 
good progress, and produced his plate of the Or- 
phans, after Schefftr. His plates are executed in 
a very spirited and graceful style, and he was much 
employed in illustrating the works of Walter 
Scott, J. Fenimore Cooper, Lord Byron, and 
other eminent authors. About 1830, he devoted 
himself to painting, and exhibited in the following 
year, a picture of the Arrest of Jean de Crespiere, 
under Richelieu. Among his other pictures, are 
two subjects from the life of St. Hyacinth, in a 
chapel of the church of Notre Dame ; Mary Queen 
of Scots leaving Scotland; and the Parting of 
Charles I. and his Family. His works are re- 
markable for grace and harmonj^, more than for 
vigor of effect. He died in 1837. 

JOHNSON, Cornelius. See Janssen. 
JOHNSON, Lawrence, an English engraver of 
little note, who flourished about 1603, and en- 
graved some heads for the General History of the 
Turks^ published in that year. They are poorly 
engraved. 

JOHNSON, C, another English engraver of lit- 
tle note, who engraved some portraits, among 
which is the Queen of James I. 

JOHNSON, T., an English engraver, who scraped 
a few mezzotints in a poor style, among which are 
the following ; 

PORTRAITS. 

Edward Hyde, Earl of Clarendon ; after G. Zoust. 



John Churchill, Duke of Marlborough. Marquis of Gran- 
by. William, Lord Cowper. Lord Anson. Sir John Wil- 
lis, Chief Justice of the Common Pleas. Bullock, the 
comedian ; T. Johnson ad vivum pinx. et sculp. Thom- 
as Britton, the musical small-coal man. 

VARIOUS SUBJECTS, 

Four plates of the Seasons ; Johnson, fee. The Holy 
Family returning from Egypt ; after Rubens. Adam and 
Eve ; a small plate. 

JOHNSON, John, a reputable English archi- 
tect, born at Leicester in 1754. He left his na- 
tive place at a very early age, and by his natural 
abilities, arrived at considerable distinction. He 
filled for twenty-six years the office of Architect 
and Survej^or of the county of Essex. Among 
his principal works, are the County Court House, 
and a large Stone Bridge, erected from his de- 
signs. He died in 1814. 

JOHNSTON, Andrew, an English mezzotinto 
engraver, who executed a few portraits of little 
merit. 

JOLI, Antonio, an Italian painter, was born at 
Modena in 1700. He studied under Gio. Paolo 
Pannini at Rome, and became an eminent painter 
of perspective and architectural vicAvs in the style 
of his master. Lanzi sa5^s he distinguished him- 
self as a painter of theatrical decorations at the 
courts of England, Spain, and Germany. He was 
appointed court painter to Charles III. of Naples 
and to his son. He painted a great number of 
landscapes and sea-views of an oblong form, for 
the villas in the vicinity of Naples, to serve as dec- 
orations of interior doors. He died in 1777. 

JOLLAT, a French engraver on wood, who, ac- 
cording to Papillon, flourished at Paris about 1510. 
He executed the cuts of ornamental borders, fig- 
ures. &c., for a missal in octavo, printed at Paris 
in 1490. He also executed the plates for an ana- 
tomical work by Carolus Stephano, M. D., which 
are neatly cut, though the drawing is incorrect. 
TuQj are dated from 1530 to 1532. 

JONES, Inigo. This eminent architect, to 
whom England is indebted for her first specimens 
of classical architecture, was born at London in 
1572. He was intended for a mechanical employ- 
ment ; but manifesting a strong inclination for 
landscape painting, his talents attracted the atten- 
tion of the Earl of Arundel, and of William, Earl 
of Pembroke, the latter of whom supplied him 
with the means of visiting Italy. He went to Yen- 
ice, where the worksofPalladio inspired him with 
a taste for architecture. His reputation procured 
him the appointment of chief architect to Christian 
IV. king of Denmark, who, visiting his brother- 
in-law, James 1., in 1606, brought Jones with him 
to England. He was induced to remain, and Avas 
appointed architect to the Queen, and subsequent- 
ly to Henry Prince of Wales. After the death 
of that Prince, he revisited Italy, and divested 
himself of the remains of rudeness that appear in 
his first works, so that on returning to England 
the second time, he erected many edifices, charac- 
terised b}^ great purity of taste. He was appoint- 
ed surveyor-general of the Board of Works, and 
finding that this Society had incurred a consider- 
able debt under his predecessors, he would not 
accept any salary until it was paid ; which excel- 
lent example was followed by the comptroller and 
paymaster ; and the debts were discharged without 
any extra tax upon the people. He invented 
many ingenious decorations, and wonderful ma- 



JONC. 



429 



JORD. 



chines for shows and diversions. At the request ' 
of James I. he wrote a dissertation relative to that 
curious monument of former ages, Stonehenge, on 
Sahsbury Plain, published after his death by his 
son-in-law. Mr. Webb. The object of this treatise 
was to prove that Stonehenge was a hypa^thral 
temple, erected b}^ the Romans, dedicated to the god 
Coelus. Under the tempestuous reign of Charles I., 
Jones suffered much from the parliament, who 
were equally violent against all attached to the 
king; and he was also obliged to pay a fine of 
about $2,700. The execution of the king affected 
him deeplj", and injured his health so seriously, 
that when replaced in office by Charles II., his 
debilitated frame would not allow him fully to 
satisfy the magnificent ideas of that voluptuous 
monarch. At length, worn out with sorrow and 
suff'ering, he died July 21, 1652. The Banqueting- 
House at Whitehall, one of his principal works, 
consists of a rustic basement, surmounted by an 
Ionic order, then a Composite, with an attic and 
a balustrade above. In this edifice, elegance is 
united with strength, ornament with simplicity, 
and majesty with beauty. This superb building 
is only a small part of a magnificent royal palace 
which Jones designed, but which was never erect- 
ed. In 1639, he erected a palace in Greenwich 
Park, as a retirement for the queen dowager. 
Among his other works are the beautiful palace 
of Lord Pembroke at Wilton, in the county of 
Wilts; the Queen's chapel, St. James'; thefa9ades 
of Holyrood House, and Ileriot's Hospital, Edin- 
burgh ; besides many other important edifices. 
Jones left a great number of admirable architec- 
tural designs, which were highly praised by Van- 
dyck. A collection of them was published by 
Kent in 1712 and 1724; and others more recent- 
ly, by Ware, and by Leoni. 

JONCKHEER, J., an artist, probably a native 
of Holland, who engraved a set of small plates, 
lengthways, representing dogs and other domestic 
animals, which bear date from 1650 to 1660. They 
are etched in a free and spirited style, and appear 
to be the work of a painter. He harmonized the 
etching with the graver in the manner of Rem- 
brandt. 

JONG. LuDOLPH DE, a Dutch painter, born at 
Overschie, near Rotterdam, in 1616. His father 
was a shoemaker, and instructed his son for his 
own trade, but Ludolph, having an inclination for 
painting, ran away and studied the art under 
Cornelius Sachtleven for two years. He after- 
wards studied successively under Anthony Pala- 
medes at Delft, and John Bylaert at Utrecht, and 
then went to Paris, where he found sufficient em- 
ployment to detain him seven years. He then re- 
turned to his own country, and settled at Rotter- 
dam, where he acquired great distinction as a por- 
trait painter, found abundant and profitable em- 
ployment, and became rich. He also painted some 
small pictures of hunting scenes and battle-pieces, 
ingeniously composed and spiritedly touched. His 
most remarkable picture is in the Salle des Prin- 
ces, at Rotterdam, containing the portraits of the 
officers of the Company of Burghers. There is 
another similar picture in the Armory^ containing 
the portraits of some artillery officers. He died 
in 1697. 

JONG, or JONGE, J. M. de, a Dutch painter, 
to whom are attributed a set of very spirited etch- 



ings of battles, executed in a masterly manner ; 
also some etchings of horses, equally spirited. — 
These plates are usually marked I. M. D. I. Stan- 
ley says his name was Jan Martss or Marssen, and 
that de Jonge (the younger) was added to distin- 
guish him from, another of the same name. 

JONGELINEX, Anthony, an engraver, sup- 
posed to be a Fleming, who resided in England 
about 1762, and engraved some small plates of 
fishes, after Arnold van Achen. 

JONGELINX, J. B., a Flemish engraver of lit- 
tle note, who executed a few portraits in an indif- 
ferent style, which are marked with his name, 
with the letters Ant. for AntwerpicE. 

JORDAENS, Hans, a Flemish painter, born at 
Antwerp in 1539. He studied under Martin van 
Cleef; and painted a variety of subjects with repu- 
tation in his day, such as landscapes, moonlights, 
corps-de-gardes, village festivals, &c. He died at 
Delft, in 1599. 

JORDAENS, Jacob. This eminent painter 
was born at Antwerp, in 1594. He studied under 
Adam van Oort, an able artist, whose daughter 
Catherine he married while he was very young. 
This step prevented him from carrying his design 
of visiting Italy for improvement into execution; 
therefore he contented himself with closely study- 
ing and copying the works of such Itahan masters 
as he could find at Antwerp, particularly those of 
Titian and Paul Veronese. Rubens was residing 
at this time at Antwerp, in the plenitude of his 
fame, and Jordaens very naturally made him his 
model. The discerning eye of Rubens also soon 
discovered the great talents of Jordaens, and with 
his wonted liberality, he took every opportunity 
of rendering him service. The King of Spain had 
applied to Rubens for a series of cartoons for tap- 
estry, and he employed Jordaens to paint them 
from his designs, and aided him with his assist- 
ance and advice, thus conferring on the young art- 
ist a mark of approval and distinction that could 
not but be highly advantageous to him in bring- 
ing him before the public. Sandrart, who is fol- 
lowed by de Piles and other authors, assertSj 
without any probability of truth, that " Rubens, 
jealous of the coloring of Jordaens, and apprehen- 
sive of being rivaled in a point wherein consisted 
his own greatest excellence, employed him to paint 
for tapestries designs in distemper, after his 
sketches, so that thereby the latter weakened his 
powers, and enfeebled his tints, which before were 
strong, and wonderfully natural." Fortunately 
for the purposes of truth, this story is palpably 
erroneous and unjust, for Jordaens was then 
young, and the works on which his reputation is 
founded, the coloring of which is admitted to 
be equal to that of Rubens, were executed at a 
much later period of his fife; so that it is evident 
that he derived the greatest advantage from his 
intercourse with that great master. In short, his 
fault was that he was the imitator of Rubens, 
without possessing his powers of invention, his 
correctness of design, or his elegance of composi- 
tion. This is proved by the fact that some of his 
best works have often been attributed to Rubens 
by good judges. Some authors, in comparing Jor- 
daens with JRubens, have said that the latter pos- 
sessed more genius, a finer imagination, and nobler 
ideas in his characters, but that the former had 
better expression and more truth, with an equal 



JORD. 



430 



JORD. 



excellence of coloring j but this last can only ap- 
ply to the best works of Jordaens. He painted 
with extraordinary freedom, ease, and facility ; 
there is great brilliancy and harmony in his color- 
ing, with good understanding of the chiaro-scuro. 
He studied and copied nature, yet he did not select 
her beauties, nor reject her defects. His composi- 
tion is sufficiently rich, and his expression strong 
and natural, but his design wants elegance and 
taste. He knew how to give his figures a good 
relief, though he is frequently incorrect in his out- 
line. His penciling is always excellent ; and for a 
free, spirited touch, hardly any painter can be ac- 
counted his superior. His works are very numer- 
ous, and abound in the churches and public edifices 
of Netherlands ; and, though he never received 
large prices for them, he acquired considerable 
wealth from the numerous commissions he re- 
ceived, and the facility with which he designed and 
wrought. Some of his most celebrated works are 
the Martyrdom of St. Apollonia, in the church of 
the Augustines at Antwerp; Christ disputing 
with the Doctors, in that of St. Walburg at Fumes, 
which has often been mistaken for a painting of 
Rubens ; the Triumphal Entry of Prince Freder- 
ick Henry, of Nassau, in a car drawn by four 
white horses, admirably executed, which is in the 
Palace in the Wood, near the Hague ; the famous 
Merry-making in the Dusseldorf Gallery, and the 
equally celebrated pictures of the Satyr and the Man 
blowing hot and cold, in the Orleans collection ; 
and the story of Pan and Syrinx, which were fin- 
ished in six days, although the figures are as large 
as life, and the whole admirably designed and exe- 
cuted. The powers of Jordaens were better adap- 
ted to the representation of fabulous subjects, or 
the festive scenes of tumultuous revelry, than to 
sacred or historical compositions, which require a 
greater dignity and elevation of character. Jor- 
daens died at Antwerp in 1678, aged 84. There 
are a few etchings by Jordaens, which, though ex- 
ecuted in a hasty and slight style, are very spirit- 
ed, and evince the hand of a great master. They 
are the following : 

The Flight into Egypt ; dated 1652. Christ driving the 
Merchandizers from the iemple. The Descent from the 
Cross. 1652. Mercury and Argus. Jupiter and lo. 1652. 
The Infancy of Jupiter. A Peasant stopping an Ox by the 
tail, with several spectators. 

JORDAENS, Hans, a Dutch painter, was born 
at Delft in 1616. He went to Italy when young, 
where he soon acquired considerable reputation, 
and passed the greater part of his life at Venice, 
Rome and Naples, his works being much admired 
by the Italians. He afterwards returned to his 
own country, and settled at the Hague, where he 
found abundant employment. He painted history 
with uncommon facility, somewhat in the style of 
Rottenhamer. He died at Voorburg, a village near 
the ilague, in 1669. 

JORDAN, EsTEBAN, a Spanish painter and 
sculptor, born at Valladolid in 1543. Little is 
known of the circumstances of his life, but it is 
sufficient proof of his abilities, that Philip II. ap- 
pointed him first sculptor to the court. Among 
his most important works are the statues of St. 
Peter, St. Paul, and a Marj" Magdalene ; also a 
group of the Adoration of the Kings. It is said 
there are six excellent pictures by this artist, in 
the church of the Magdalen, at Valladolid. He 
died about 1605. 



JORDAN, Gregorio, an Italian engraver, who 
published at Venice, in 1622, a set of plates with 
explanations, entitled Prophetice sen Vaticinia 
XIV. tdbellis expressa. representing the subver- 
sion of the Mahometan Religion. The plates are 
slightly etched, and the figures incorrectly drawn. 

JORDAN, Salvador, an artist classed among 
the Spanish painters, though he was doubtless a 
Fleming, who flourished at Madrid about 1636, at 
which time his portrait of the celebrated Quevedo 
de Villegas was engraved by Gazan, the originality 
of the design and striking likeness of which gained 
Jordan a great reputation at the time. Nothing 
farther is known of him ; but he was so excellent 
a portrait painter in the style of Velasquez that 
his works are generally attributed to that master. 

JORDANO, LucA. See Giordano. 

J(JRIS. Augustine, a Dutch painter, born at 
Delft in 1525. After studying three years with 
James Mondt, a painter of little note, he went to 
Paris, where he resided some time, and made such 
excellent progress that, on his return to Delft, his 
picture of the Virgin and Infant gained him dis- 
tinction, and it is supposed by his countrymen 
that he would have become one of the ablest art- 
ists of his time, had he not been drowned in a 
canal in 1552. 

JORIS, Augustine, an eminent Dutch painter 
on glass, for the churches, who died at Delft, in 
1537. ' 

JOSSE, Abraham, an engraver who, according 
to Florent le Comte, executed a multitude of prints 
(about 600), but he does not specify any of them, 
nor has any other writer. 

JOUE, Jacques le, a French painter, was born 
at Paris in 1687, and died in 1761. He excelled in 
perspectives, architectural subjects, and decorations 
for the theatres. 

JOULLAIN, Jacques, a French engraver of 
little note, who flourished at Paris about 1730, and 
executed some vignettes and other book-plates in 
a stiff, formal manner, with incorrect drawing. 

JOULLAIN, FRAN901S, a French engraver, and 
eminent printseller, who flourished at Paris about 
1750. He engraved some plates, principally after 
the French masters, in the style of Lawrence Cars, 
which, though inferior to the works of that mas- 
ter, have considerable merit. The following are 
his best prints : 

The Flaying of Marsyas ; after P. Veronese ; for the 
Crozat collection. Mercury and Herse ; do. ; do. The 
Ecce Homo ; after Charles Coypel. The Annunciation ; 
do. The Boar-hunting ; after N. Desportes. The Wolf- 
hunting ; do. The Portrait of N. Desportes ; after a pic- 
ture hy himself. The Rural Recreation ; after N. Lan- 
cret. 

JOUSSE, Mathurin, a French architect, and a 
writer on the art, flourished about the middle of 
the 17th century. He resided chiefly at Fleche, 
and is known by several architectural treatises, 
among which are Le Secret cV Architecture decou- 
vrant Jidelement ics traits geometriques, coupes 
et derohements necessaires dans les batiments. 
Fleche, 1642, fol. 

JOUVENET, Jean, an eminent French painter, 
was born at Rouen in 1644. He was the son of 
Laurent Jouvenet, a reputable painter of that city, 
who instructed his son in the first principles of the 
art. At the age of seventeen he went to Paris, 



JOTTV. 



431 



JUKE. 



and studied with Nicholas Poussin, under whose 
instructions he made such rapid progress that, at 
the age of twenty-seven, he produced his celebra- 
ted picture of Christ curing the Paralytic— a no- 
ble and grand composition — in the church of Notre 
Dame. Soon afterwards he painted, in the Hos- 
pital of the Invalids, between the windows of 
the dome, the Twelve Apostles, with Angels and 
attributes, designed in a grand style, the figures 
being fourteen feet high. In 1665, Charles le 
Brun presented him as a candidate for the honors 
of the Academy, and he was received with marks 
of distinction, on which occasion he painted his 
picture of Queen Esther before Ahasuerus, one of 
the finest works in the halls of the Academy. — 
About this time he executed four pictures for the 
church of St. Martin aux Champs^ representing 
Mary Magdalene at the Feet of our Saviour, in 
the house of Simon the Pharisee ; Christ driving 
the Money-changers from the Temple ; the Mirac- 
ulous Draught of Fishes ; and the Raising of 
Lazarus. The most capital work of Jouvenet is 
his Deposition from the Cross, painted for the 
church of the Capuchins at Paris, but now in the 
gallery of the Louvre. The French are justly 
proud of Jouvenet as one of the greatest painters, 
and some allowance must be made for national 
partiality. M. Watelet, speaking of the Deposi- 
tion from the Cross, says : '• In this picture, Gu- 
ercino is united to Caracci, or rather it is Jouvenet 
breathing defiance to all the great masters. Had 
it been painted at Rome, or had Poussin seen it 
there, he would have ranked it as the fourth of 
the chef d'izuvres of that emporium of art." Jou- 
venet had a ready invention and a fruitful genius, 
and a taste for grandeur in composition. His de- 
sign is correct, and his draperies are cast in an 
elegant and graceful manner. In France, his merit 
is universally allowed, but some foreign critics con- 
demn his taste of design, as being too much load- 
ed, and his coloring as having too predominant a 
tint of yellow in the carnations. In 1713. towards 
the close of his life, he lost the use of his right 
arm by paralysis, when he attempted to paint with 
his left hand, and to the astonishment of every- 
body succeeded, and in this manner he painted his 
picture of the Magnificat, in the choir of Notre 
Dame. He died in 1717, aged 73. 

JOUVENET, FRAN901S, a brother of the pre- 
ceding, was born at Paris in 1669, and died in 1749. 
He studied under his brother, and was an excel- 
lent portrait painter, to which branch he devoted 
himself. 

JUANES, Juan Baptist a, an eminent Spanish 
painter, born at Valencia in 1523. He is called the 
Spanish Raffaelle. Palomino incorrectly states 
that he studied under Raffaelle, for Raffaelle died 
before Juanes was born. He, however, studied at 
Rome, and afterwards settled at Valencia, where 
his works are only to be found. The Spanish wri- 
ters rank him as one of the greatest artists of the 
glorious age of Pope Leo X. Pacheco bestows 
upon him the highest encomiums, and Palomino 
Velasco does not hesitate to prefer him to Morales, 
or even to Raffaelle himself. Much of this adula- 
tion doubtless arises from national partiality ; yet 
it may be fairly presumed that the artist, on whose 
works such general and distinguished praise has 
been conferred, possessed great abilities. But, un- 
fortunately for his fame abroad, his works are en- 



tirely confined to the churches and convents of his 
native city. Like the celebrated Morales, he confined 
himself to subjects from sacred history. His pic- 
tures are composed in the grand style, and colored 
with great truth and beauty ; and, though they 
are finished with extraordinary care, it does not 
impair their force, nor impoverish their effect. Ju- 
anes' chef d'ceuvre is the Baptism of Christ, a 
grand composition of several figures entirely in the 
style of Raffaelle, in the Cathedral of Valencia. 
In the chapel of S. Thomas de Villanueva, belong- 
ing to the Augustine monks, are three grand works 
by him, representing the Nativit}^. the Martyrdom 
of St. Ines, and the Burial of a Monk of their Or- 
der. Another fine picture is a Dead Christ in the 
church of San Pedro, which is greatly admired. 
He died at Bocairente, near Valencia, in 1579. — 
Bermudez calls this eminent painter Vicente 
Joanes, and gives a list of his genuine works, and 
others attributed to him, and the places and edifi- 
ces where they are to be found. 

JUKES, Francis, an English aquatint engraver, 
born about 1750, and flourished till about 1800. — 
He engraved Walmesley's Views in Ireland, and 
Nicholson's Views in England, and numerous other 
similar productions by artists of the time. Most 
of his landscapes and sea-pieces are washed with 
colors, so as to resemble drawings. 

JULIEN, Pierre, an eminent French sculptor, 
born in 1731. at St. Paulien, near Puy en Velai. 
He studied for two years under Simon, a sculptor 
of the last mentioned place, after which he entered 
the school of Perache, at Lyons, and made great 
progress. After gaining a prize in the Academy 
at Lyons, he visited Paris, and in 1765 entered the 
school of Guillaume Coustou, sculptor to the king. 
Here he soon became distinguished, and drew the 
grand prize of the Royal Academy for a beautiful 
bas-relief, representing Sabrinus offering his Char- 
iot to the Vestals, when the Gauls were about to 
invade Rome. In 1768, he visited Rome with the 
royal pension, and devoted himself to the study 
of the noble remains of antiquity. Among the 
works he executed at Rome, were a marble mau- 
soleum for the wife and daughter of President Be- 
lenger ; and copies in marble, for President Hoc- 
quart, of the Apollo Belvidere, the Flora in the 
Farnese palace, and the Dying Gladiator. After a 
residence of four years at Rome, he was recalled 
to Paris to assist Coustou in the mausoleum for 
the Dauphin and Dauphiness, destined for the Ca- 
thedral at Sens. Of this he executed the figure 
of Immortality. His fame being fully established, 
he was desirous of gaining admission to the Royal 
Academy, and for this purpose presented them 
with a statue of Ganymede ; but, notwithstanding 
its acknowledged merit, he was not at this time 
successful. In 1779. however, he made another 
effort, and his statue of the Dying Warrior gained 
him admission to the Academy. He was then 
commissioned by the king to execute a marble 
statue of La Fontaine, which is considered his 
master-piece in that style. He also produced va- 
rious bas-reliefs for the castle of Rambouillet, and 
a statue of a Female bathing, which is now in the 
Hall of the Chamber of Peers, and is allowed to 
be one of the finest specimens of modern art. His 
last work was a statue of Nicolas Poussin. for the 
Hall of the Institute. He died in 1804. 

JULIEN, SiMONj also called Julien of Parma, 



JULI. 



432 



JUST. 



I 



an eminent French painter, born at Toulon in 1736. 
He studied under Bardon at Marseilles, and after- 
wards visited Paris, where he became a pupil of 
Carlo Yanloo, and grained the grand prize of the 
Royal Academy. He then visited Rome with the 
king's pension, and remained in that city ten years, 
lie I'clinquished the stj^le he had acquired in Paris, 
and adopted one entirely in the Italian taste. On 
returning to Paris, he soon gained reputation, 
and produced several works of great merit. — 
He was elected an Academician, and exhibited 
oi\ that occasion, his fine picture of the Tri- 
umph of Aurelian. In 1788, he exhibited in 
the saloon of St. Louis his admirable master-piece 
of art, representing Study spreading her flowers 
over Time, which was sent to England, and was 
engraved. Among his other capital performances, 
are Jupiter on Mount Ida, asleep in the arms of 
Juno ; and Aurora and Titan. His last impor- 
tant work was an altar-piece for the chapel of the 
Archbishop of Paris, at Conflans, representing St. 
Anthony in a trance. Julien died in 1800. 

JULIO. See Alessandro. 

JULLIENNE, Jean de, a French connoisseur, 
who made a noted collection of pictures, most of 
which were engraved. He also etched a few plates, 
merely for amusement, after Teniers, Watteau, 
and other masters. 

JUNCOSA, called Fra. Joachim, a Spanish 
painter, was a native of Oornudella. When young, 
he painted mythological subjects with such suc- 
cess as to gain him considerable reputation. In 
1660. he joined the Carthusians, and entered their 
monastery of Scala Dei, where he painted several 
pictures, and the portraits of the most meritorious 
members of the brotherhood. He next painted 
in the Carthusian monastery at Monte Alegre, 
the Birth of the Virgin, the Coronation of the 
Virgin, and thirty-six other pictures of a large 
size, which were placed round the cornice of the 
church. He then went to Italy to study, where 
he resided some time, and returned much improved 
in his style. In 1680 he was empIo3^ed. in con- 
junction with his cousin, Dr. Juncosa, to paint the 
major chapel of the Hermitage De Ruis. in which 
he represented various subjects from the Life of 
the Virgin. Juncosa is considered a distinguished 
painter of the Spanish school. His works are 
numerous, and are celebrated throughout Spain, 
for correctness of design, freedom of execution, 
beautiful coloring, and a good understanding of the 
chiaro-scuro. It is related of this artist, that in 
the Jatter part of his life the Superior of his con- 
vent, who was no great lover of painting, compelled 
him to devote more time to his beads and other 
holy offices than he was accustomed to. which so 
irritated him that he fled to Rome, and laid his 
case before the pope, who not only pardoned his 
disobedience, but permitted him at a hermitage 
without the walls of Rome, and commanded that 
he should be allowed to paint when he liked, and 
not be tormented any more with religious formal- 
ities and duties. He died in this retreat, in 1708. 

JUNE. J., an English engraver of little note, 
who flourished about 1760, and executed a few 
portraits, in a poor style for the booksellers. 

JUSTE, Jean and Juste le, two old French 
sculptors, were brothers, and natives of Tours. 
They flourished in the first part of the 16th cen- 



tury, and acquired a high reputation for th*ir 
works, which they always executed in concert. 
Jean was considered the most talented, and Fran- 
cis I. commissioned him to execute, in white mar- 
ble, the mausoleum of Louis XII. and Anne of 
Bretagne, in the church of St. Denis. They also 
executed the mausoleum of the children of Charles 
VIII. and Anne of Bretagne ; that of Philibert 
Babou, in the chapel of Bon Desir, a few leagues 
distant from Tours ; and a reclining figure, in 
white marble, in the same chapel, said to be the 
statue of Agnes Morin, wife of Philibert Babou. 
Jean Juste is supposed to have died about 1534. 

JUSTER, Joseph, a French engraver, who went 
to Venice, where he engraved a great number of 
plates for the books published there from 1691 to 
1700. His plates are etched, and then finished 
with the graver, in a coarse, indifferent style. In 
conjunction with N. Cochin, H. Tournheyser, and 
H. Vincent, he engraved a part of the collection 
of prints from select pictures, published at Venice 
in 1691, by Catherine Patin, which are his best 
works. 

JUSTUS OF GHENT, supposed to be the same 
as GiusTO Di Alemagna, of the Italians. Little 
is known with certaintj- of this old artist. He 
flourished in the second half of the 15th century. 
He is supposed to have studied under the van 
Eycks, and afterwards went to Italy. There is a 
celebrated picture of the Last Judgment in the 
church of St. Mary at Dantzig, long supposed to 
be by John van Eyck, but it is now attributed by 
good judges to Justus of Ghent. (For a descrip- 
tion of this famous picture see the English trans- 
lation of Kiigler's Hand Book of Oil Painting.) 
In the church of S. Agatha, at Urbino, is a fine 
picture of the Communion, by him. See Giusto 
di Alemagno. 

JUVANI, Francesco, an Italian painter, who, 
according to Basan. was a native of Rome, and a 
scholar of Carlo Maratti. Of his works as a paint- 
er little is known. He etched a few plates from 
the designs of his master, among which is the Ad- 
oration of the Shepherds. 

JUVARRA, FiLippo, an eminent Sicilian archi- 
tect, designer, and engraver, born at Messina in 
1685. He designed and etched a set of ornamental 
shields, which were published at Rome in 1722. 
They are executed in a free and masterly manner, 
and possess great merit. They are signed Cav. D. 
Filippo Juvarra, Architetto e Academico de S. 
Liica. He studied architecture at Rome under 
Fontana, and distinguished himself by the beauti- 
ful edifices he erected at Turin. He visited Spain 
at the invitation of Phihp V., and executed a model 
for a magnificent palace to be erected on the ruins 
of that which had been destroyed by fire ; and it 
was highly approved, but in consequence of the in- 
trigues of the queen, was not executed. Juvarra, 
disappointed and chagrined, died of grief, at Mad- 
rid, in 1735. 

JUVENEL, Paul, was a son of Nikolaus Ju- 
venel, a reputable painter of perspective, who died 
in 1597. After learning the rudiments of the art 
from his father, he studied with Adam ^Ishei- 
mer, and became eminent as a copyist of the old 
German and Flemish painters, particularly of Al- 
bert Durer. He painted at Nuremberg, Vienna, 
and Presburg, and died in 1643, aged 64. 



EABE. 



433 



KALL. 



JUWEEL, Nicolas, a German painter, who 
flourished at Rotterdam about 1690, and imitated 
the style of Chev. vander Werf, without arriving 
at the peculiar merit of that master. 



K. 



KABBETE, Jan, a Dutch painter, who flourish- 
ed about 1G40, After acquiring the elements of de- 
sign in his own country, he visited Paris and other 
cities of France, where he practised his art. He 
also visited Italy, and gained great improvement 
from the study of the antique, and the productions 
of the old masters ; after which he settled at Am- 
sterdam. His pictures are chiefly lanciscapes, en- 
riched with architectural ruins, for which he made 
many designs while in Italy. Some of them poss- 
ess great merit, and have been engraved by Perel- 
le. Kabbete died in 1660. 

KABEL. See Cabel. 

MKAGER, Matthew, an eminent German 
painter, was born at Munich in 1560. He 
went to Italy while young, where he passed sev- 
eral years, studying the works of the best masters 
with great assiduity. Soon after his return, the 
Duke of Bavaria appointed him his principal paint- 
er, Avith a considerable pension. Kager was one 
of the most eminent artists of his country. His 
works are chiefl}^ in the churches and public edi- 
fices of Munich. Toward the close of his life, he 
resided at Augsburg, where he painted his most cel- 
ebrated picture of the Last Judgment, in the Hall 
of the Senate, which is a sublime production. 
The works of Kager are scarcely known out of 
his own country, except by the numerous prints 
engraved from them by the Sadelers, the Kilians, 
and others, amounting to more than sixty. He 
etched a few plates from his own designs in a free 
and painter-like style, among which are the fol- 
lowing. He died at Augsburg in 1634. 

The Adoration of the Shepherds ; M. Kager, inv. et sc. 
1610. The Baptism of Christ by St. John ; do. The 
Holy Family ; M. Kager, fecit. 1605. St. Francis sur- 
rounded by the monks of his order, and the Virgin and 
Child in the Clouds ; after P. Reras. Bozzulo. 

KAISER, Friedrich, a German engraver, born 
. at Ulm in 1779. He studied at Basle under Chris- 
tian de Mechel, and afterwards visited Weimar. 
■ where he was emploj^ed by the directors of the 
library, and drew the silver medal at the school 
of design in that citj'-. He visited Paris, and stud- 
ied under Berwick. In 1811 he drew the silver 
modal at the School of Fine Arts, and also executed 
St.;u8 good plates of antique busts, and one of Mel- 
pomene crowned by Calliope, for Berwick's work, 
entitled Galerie de Florence. He visited Naples, 
and joined his brother, who resided in that city. 
Here Kaiser taught design, and engraved a num- 
ber of good plates. He afterwards settled at Vien- 
na, and executed some plates of Gothic architec- 
tural monuments in Austria, for Prince Lich- 
nowsky. He also published a treatise embellish- 
ed with fifteen plates, on the elements of design 
in landscape. He died at Vienna in 1819. 

KALCAR. See Calcar. 

KALF. William, a Dutch painter, born at Am- 
sterdam in 1630. He studied under Hendrick Pot, 
a historical painter, with whom he continued for 
several years. After leaving his master, he applied 



himself to historical painting for some time, but 
not succeeding to his satisfaction, he turned his 
attention to still-life, in which he acquired great 
reputation. He excelled in painting vases and 
other ornamental work in gold and silver, and all 
kinds of metallic vessels and implements, which 
he imitated with a delicacy and precision that 
produced perfect illusion. His pictures are very 
highly finished, his touch is neat and spirited, his 
coloring clear and sparkling, and his chiaro-scuro 
is managed with great intelligence. He also paint- 
ed fruit, flowers, kitchens, with all kinds of cook- 
ing utensils, earthen pots, stone-ware, &c. His 
works are found in the best collections of Holland, 
where they are highly esteemed. He died at Am- 
sterdam in 1693. 

KALLE, Albert C, a German engraver of 
little note, who flourished at Strasburg about 
1648, and engraved some frontispieces and por- 
traits for the booksellers in a stiff and formal 
style. 

KALRAAT, Abraham van, a Dutch painter, 
born at Dort in 1643. He was the son of a sculp- 
tor, who instructed him in the rudiments of his own 
profession, but on the death of the latter, he stud- 
ied painting under Samuel Hulp. He excelled in 
painting fruit and flower pieces, which he composed 
with elegance, and executed with great tasteful- 
ness. He died in 1699. 

KALRAAT, Bernard van, the younger bro- 
ther of the preceding, was born at Dort in 
1650. He first studied under his brother, but af- 
terwards became the scholar of Albert Cuyp, 
whose charming style he endeavored to imitate 
for some time, but feeling that he had no chance 
of rivaling, or equaling his instructor, he changed 
his manner for that of Herman Sachtleven, and, 
like him, painted cabinet pictures of views on the 
Rhine, with boats and figures, which he highly 
finished, and touched with great neatness and pre- 
cision, though inferior to Sachtleven. His best 
works are found in the choicest collections of Hol- 
land, and his second style is far preferable to his 
first, in which he painted landscapes, figures, and 
cattle, on the banks of the Maes, sportsmen going 
or returning from the chase, halts of travelers, 
&c.. in the stjde of Cuyp. He died in 1721. 

KAMBLI, Melchior, a Swiss sculptor, born at 
Zurich in 1718. He was much patronized by 
Frederick II. of Prussia, who appointed him sculp- 
tor to the court, and employed in many works for 
the royal palace. After acquiring a competent for- 
tune by the practice of his profession, he died, in 
1786, leaving a son, Henry Frederic Kambli, who 
equalled hiui in talents, and succeeded to his office 
of sculptor to the couit. The latter died in 1801. 

KAMPEN, jAcauES. See Campen. 

KAMPEN, John Joachim, an ingenious paint- 
er on porcelain, born at Selingstadt, in Saxony, in 
1706. He was much employed in the porcelain 
manufactory at Meissen, and his figures were great- 
ly admired for their grace, and beauty of execu- 
tion. Among them are his St. Paul ; the Flagel- 
lation ; the Deathof St. Xavierj the Twelve Apos- 
tles, &c. The group which he completed for 
Louis XV. of France, at the desire of Augustus of 
Poland, was deservedly commended, and gained the 
artist a very handsome reward from the French 
monarch. He died in 1776. 



KAMP. 



434 



KAUF. 



i 



KAMPER, G., a Flemish painter, supposed to 
have been a native of Leyden. who flourished about 
1700. and imitated the subjects and manner of Yan- 
dernecr, but did not arrive at his excellence, though 
his works have often been mistaken and sold for 
originals by that master. His coloring is colder 
and less transparent, and the general tone of his 
pictures darker than those of Vanderneer. 

KAMPHUYSEN. See Camhuysen. 

KAPPELLE. John van. a Dutch painter, who 
studied under the younger Vandervelde, whose 
style he imitated with considerable success, though 
he could never equal his master's performances. 
He flourished about the first part of the I8th cen- 
tury. 

KAPPEN, Francis vander, a Flemish painter 
of whom little is known. He was a native of 
Antwerp, and went to Italy to complete his stud- 
ies, where he acquired considerable reputation as 
a historical painter. He flourished about 1660. 

MKARTARUS, or KARTARIUS, Marius, 
supposed to be a German, who flourished at 
Rome about 1565. There is a great difference in 
prints bearing his monogram, which has led to the 
supposition that he was a print-seller, as well as 
an engraver, and that he attached his mark to the 
works of others whom he employed. Some of liis 
plates are coarsely etched and finished with the 
graver. He copied some prints after Albert Durer 
in a neat, finished manner. The following are by 
him, marked with his monogram : 

The Adoration of the Shepherds ; neatly executed with 
the graver. Christ crowned with Thorns ; do. Diana nnd 
Acteon ; a harge plate. Christ praj'ing in the Garden ; 
after A. Durer. RomcB. 1567. St. Jerome seated in a 
chamber ; after the famous print by the same, Christ de- 
scending into Ilell ; roughly copied from Andrea Man- 
tegna. The Last Judgment ; after Mlcliael Angela. 

KAUFFMAN, Maria Angelica. This celebra- 
ted paintress was the daughter of Joseph Kauff- 
man, a Swiss portrait painter, who resided at 
Coire, the capital of the Grisons, where she was 
born, in 1742, At a very early age, she discov- 
ered a passion for music and painting, which was 
encouraged by her father, who instructed her in 
the elements of design, and procured for her the 
best instructors in music. Her advancement in 
both arts was so extraordinary as to induce her 
father to take her to Italy, where she could have 
the best advantages for improvement. In 1757 
he accordingly conducted her to Milan, where she 
applied herself with great assiduity to copying 
the best masters, and designing from her own 
fancy. In 1763 she went to Naples, and in the 
following year to Rome, where her talents and ac- 
complishments, joined to the charms of an elegant 
person, excited a great degree of interest and ad- 
miration, .and brought her abundant patronage. 
She apj^vvArs to have confined herself to portrait 
paintin,' ' during her first residence at Rome. — 
Amon, ler numerous admirers was the celebrated 
connCL veur and critic, the Abbe Winckelmann, 
who, -4;. a letter to his friend Franck, written in 
1764, speaks of her accomplishments in the most 
flattering terms. '• I have just been painted," said 
he, " by a stranger, a young person of rare merit. 
She is very eminent in portraits in oil ; mine is a 
half-length, and she has made an etching of it as 
a present to me. She speaks Italian as well as 
German, and expresses herself with the same fa- 



cility in French and English, on which account she 
paints all the English who visit Rome. She sings 
with a taste which ranks her among our greatest 
virtuose. Her name is Angelica Kauffrnan." At 
Rome, she was so fortunate as to secure the pat- 
ronage'and friendship of the British Ambassador 
and his lady, who prevailed upon her to accompany 
them to England, with assurances of success. Ac- 
cordingly she accompanied Lady Wentworth to 
Venice in 1764, and the following year to London, 
whither her reputation had preceded her, and where 
she was received with the most marked distinc- 1 
tion. She resided seventeen years in England, and I 
her talents were recompensed with every honor, 
distinction, and reward that the most exacting 
ambition or cupidity could desire. In 1769, she 
was elected a member of the Roj^al Academy. 
She was high in royal favor, and in the public es- 
timation — affluent, respected, admired, and caress- 
ed, when unfortunately she poisoned all these en- 
joyments by a matrimonial alliance which is said 
to have embittered the rest of her life. She was 
deceived by the footman of a German count, who 
passed himself oif for his master, and when the 
cheat was discovered, he ran away with her jew- 
els, and money £300. Seven years afterward she 
married Signor Zucchi. an Italian artist, but not- 
withstanding this change in her condition, she was 
still called by her maiden name. In 1782, she ac- 
companied her husband to Rome, where she con- 
tinued to exercise her talents with distinguished 
success and undiminished reputation till the time 
of her death, which happened in 1807, at the age 
of sixty -five years. The merits of this highly 
gifted lad}'" have been so highly rated by her ad- 
mirers, and so harshly judged by severe critics, 
that it would probably be a just and candid esti- 
mate of her abilities to strike a line between the 
two. Her great forte lay in those poetical and 
mythological subjects in which the youthful figure 
could be introduced in all the charms of graceful 
attitude, and these subjects she treated in a fasci- 
nating manner peculiarly her own. Her pictures 
are distinguished by an air of mild and virginal 
purity. She had a fine taste. She drew correct- 
ly ; her figures are generally modeled after the 
antique; her compositions are graceful and her 
coloring sweet and harmonious, and well suited 
to her subjects. Her style was not at all 
adapted to grand historical paintings ; consequent- 
ly these are her poorest performances, by which a 
correct estimate of her merits cannot be formed. 
There is, however, too great a similarity in her 
forms, which appear to have been drawn from an 
ideal model which she had conceived to be perfect, 
and which led her into an unavoidable mannerism. 
She also etched a few plates in a spirited style, 
sometimes after her own designs, and at others 
after Correggio, of which the following are the 
principal : | 

The Portrait of John Winkelman ; Ang. K, fee. 1764. 
The Marriage of St. Catherine ; after Correggio. The 
Virgin and Child ; from her own design. A Girl reading. 
A Youth in meditation. Bust of an old Man, with a 
beard. Bust of an old Man reading. Bust of an Artist, 
with a crayon in his hand. Two Philosophers, with a book. . 
Hope; a half-length. A young Female embracing au j 
Urn. L' Allegro. II Penseroso. !' 

KATJPERZ, John Vitus, a modern German 
engraver, was born at Gratz. in Stiria, in 1741 
He studied with James Schmutzer of Vienna, in 



KEAR. 



435 



KELL. 



Tvhich citj he chiefly resided. He acquired con- 
siderable distinction, and was elected a member of 
the Imperial Academy. He engraved quite a num- 
})er of plates of various subjects, some in mezzo- 
tint, and some v^ath the graver, among which are 
the following : 

PORTRAITS WITH THE GRAVER, 

Maria Theresa, Empress of Germany. Minerva hold- 
ing the Portrait of the Empress. 

VARIOUS SUBJECTS IN MEZZOTINTO. 

The Flute-player; after Gerard Douw. A Peasant 
smoking ; after Tenters. Mary Magdalene ; after Gui- 
do. Artemisia ; after A. D. Therbusch, Venus asleep, 
watched by a Satyr ; after Weisskircher. 

KAY. See Key. 

KEARNE, Andrew, a German sculptor, who 
visited England, where he practised his art. for a 
number of years, and died in 1710. He was a 
brother-in-law of Nicholas Stone, by whom he was 
employed on arriving in England. At Somerset- 
stairs, he carved a figure of a River- God ; and a 
Lioness at York-stairs. Among his other works 
were two statues, of Venus and Apollo, for the 
Countess of Mulgrave, and several statues for Sir 
Justinus Isham, at his house near Northampton. 

KEEBLE, William, an English portrait paint- 
er of little note, who flourished in London about 
1750, and was a member of the Academy in St. 
Martin's Lane. He painted the portrait of Sir 
Crisp Gascoyne, lord-mayor of London, which was 
engraved by Mc'Ardell. 

KEISAR. William de, a Flemish painter, born 
at Antwerp about 1647. He was bred a jeweller, 
but having a great inclination for painting, and 
having had the advantage of a good education with 
some instruction in the elements of design, he 
spent all his leisure in painting in miniature, as 
W€ll as in enamel and oil, both in large and small. 
He acquired considerable reputation at Dunkirk, 
whence he went to England, where he was warm- 
ly received by the king, who promised him his 
patronage and assistance ; but the revolution 
breaking out about that time, entirely destroyed 
his prospects, when he turned his attention to Al- 
chemy, and died a few years after in distressed cir- 
cumstances. He left a daughter, whom he had 
taken great pains to instruct, and w^ho copied well. 
She possessed a picture of St. Catherine, painted 
by her father for the chapel of the Queen Dowa- 
ger of Charles II. at Somerset House, and his own 
portrait in water colors. 

KELDERMAN, Jan, a Dutch amateur painter 
of fruit flowers, and birds, born at Dort in 1741. 
He studied under Wouter Dam, and was benefitted 
by the advice and instruction of several other art- 
ists of reputation. He executed several pictures 
of the above subjects, richly composed, and well 
executed. He died at Dort in 1820. 

KELERTHALER, Johann, a German engraver, 
born at Dresden about 1530. He engraved seve- 
ral plates after the works of John Nosseni, a sculp- 
tor who flourished in that city about 1575, among 
which are the following. Some authors write his 
name Kellerdaller. 

The Building of the Tower of Babel; J. Nosseni, inv. 
Kelerthalers, sculp. The Destruction of Babylon ; do. 
The Roman Empire, with the death of Caesar in the back- 
ground. The Pope receiving the Homage of Charlemagne. 



Q^ ^-JK^ KELLER, George, a German engra- 
l\^^0: ver of httle note, born at Frankfort 
about 1576, and died in 1640. He engraved chiefly 
for the booksellers. He also engraved a few plates 
of views of Towns and Camps, with Soldiers skir- 
mishing, slightly etched, and sometimes retouched 
with the graver. 

KENT, William, an English painter and archi- 
tect, born at Yorkshire in 1685. He was appren 
ticed to a coach painter, but left his master, and 
went to London. By the liberality of several pa- 
trons of art, he was enabled to visit Rome, where 
he studied under Cav. Benedetto Luti, and gained 
the second prize in the Academy of St. Luke. He 
there became acquainted with Lord Burlington, 
who, on Kent's return to England in 1719, gave 
him apartments in his own house, and obtained 
him considerable employment, both in history and 
portrait. He designed some of the ornaments for 
Gay's Fables, Spenser's Faerie Queen, and Pope's 
Works. On the death of Jervas, Kent became 
painter to the King. As an architect, he gained 
considerable eminence, and his abilities are well 
attested in the Temple of Venus, in Stowe Gar- 
dens. Holkham [louse in Norfolk, and many other 
edifices. By the patronage of the dukes of Graf- 
ton and Newcastle, he was made architect and 
keeper of the pictures to George II. He also exe- 
cuted the Shakspeare ^Monument in Westminster 
Abbe}', and is considered as the inventor of modern 
gardening. Among his works in this branch are 
the royal gardens at Richmond. He died in 1748. 

KERKHOFF, D., a Dutch painter, born at Am- 
sterdam in 1766. He studied under Barbier Pie- 
tersz. He painted landscapes and figures, wild 
scenery with waterfalls, views of cities, &c., with 
great reputation. His works are not known out 
of Holland, but his own countrymen place him in 
the first rank of landscape painters. He died in 
1821. 

KERKHOVE, Joseph van der, a Flemish paint- 
er, born at Bruges in 1669. He studied at Ant- 
werp, under Erasmus Quellinus. the Younger, 
by whose able instructions he made rapid pro- 
gress. On leaving his master, he set out with the 
intention of passing through France to Italy, but 
meeting with great encouragement at Paris, where 
his works were much admired, he gave up the idea 
of going to Italy, and after a residence of several 
years at the French metropolis, he returned to his 
own country with an established reputation, and 
settled at Bruges, where he received more commis- 
sions than he could execute. He adhered con- 
stantly to the style of his master; bis composi- 
tion is generally simple, in the grand style, 
and he introduced nothing superfluous to embel- 
Hsh his subjects ; his design is correct, and his 
coloring warm and harmonious. He Wi a perfect 
master of perspective, and his pictwes a e enrich- 
ed with noble architecture. His princi{ works 
are a series of fifteen pictures of the Lif >f oui 
Saviour, in the church of the Dominicans Bru- 
ges ; a fine picture of the Resurrection, aud four 
of the Works of Mercy, in the Collegiate Church 
of the Saviour. At Ostend, he painted in fresco 
the ceiling of the Town Hall, representing the 
Council of the Gods— ingeniously composed, cor- 
rectly designed, and well colored. He died at 
Bruges in 1724. 



KERV. 



436 



KESS. 



iKo or \ \^ KERVER, James, a Ger- 
^^^^^^^ I A x-.™^^ engraver on wood, 
who, according to Florent le Comte, resided at 
Frankfort aboiit 1540. To him are attributed a 
set of tvooden cuts of grotesque figures, standard- 
bearers, &c., in the old German taste, published at 
Frankfort in 1540; also the heads and small his- 
torical subjects which embellish a folio volume, en- 
titled Catalogus Annorum, &c., published at 
Berne the same year. He usually marked his 



j>}([or -"l^ to which 



plates with his monogram 

he sometimes added a knife with a snail on the top 
of it. A similar mark was also used by James 
Kobel. 

KERVER, Thielman, a German wood engraver, 
who flourished in the first part of the 16th cen- 
tury. There are many devotional books, missals, 
&c., with wood cuts to embellish the borders, 
printed at that time, which bear his name on the 
title. Zani mentions him as a designer and en- 
graver. He was also probably a bookseller and 
publisher. 

KESSEL. John van, the elder, a Flemish 
painter, born at Antwerp in 1626. He imitated 
the highly finished style of Velvet Breughel, and 
painted small pictures of landscapes, fruits, flow- 
ers, plants, birds, insects, and reptiles, with extra- 
ordinary neatness and precision. His coloring is 
clear and transparent, approaching the sweet and 
silvery tones of Teniers. He studied entirely after 
nature, and faithfully imitated all her beauties. 
. Phihp IV., king of Spain, was a great admirer of 
his works, purchasing as many of them as he 
could procure, and at last invited the artist to his 
court, where he was appointed painter to the 
Queen, at whose death he returned to Antwerp, 
where he died in 1708. It is worthy of mention 
that van Kessel was accustomed through life to 
make sketches after nature, and studied at differ- 
ent seasons, when his objects were in full bloom 
and beauty. Some of these he only designed, oth- 
ers he colored, and of some he took models, so 
that he always had abundant materials on hand 
for any work he undertook. This artist is gene- 
rally confounded by English writers with his son, 
the following artist, called the Younger, who was 
an eminent portrait painter. 

KESSEL, John van, called the younger, was 
the son of the preceding, who instructed him in 
the art. He accompanied his father to Spain, 
where he raised himself to great distinction as a 
portrait painter. He was largely patronized by 
the king and queen, and the nobility, and settled 
permanently at IMadrid. He painted in the man- 
ner of Vandyck, and his portraits are said to be 
not much inferior to those of that master. 

KESSEL, Ferdinand van, born at Antwerp in 
1660, was the second son of the elder van Kessel, 
who instructed him in his art, and whose style he 
followed, though he never fully equalled his fa- 
ther. The King of Poland invited him to his 
court, where he executed many ingenious works, 
for which he was munificently rewarded by that 
prince, who knighted him. He designed landscapes 
in an agreeable style, and every plant, fruit, flow- 
er, and animal that he introduced was well design- 
*^.d and colored ; but he was deficient in figures, for 



which reason they were usually inserted by Eyck- 
ens, Maas, van Opstal, and Biset, in return for 
which, he painted in their pictures those objects 
in which he particularly excelled. His most es- 
teemed works are his four pictures in the Dussel- 
dorf Gallery, representing the four quarters of 
the world, in which the plants, flowers, trees, and 
animals peculiar to each are introduced. He died 
in the prime of life at Breda, in 1696. 

KESSEL, Nicholas van. This painter was 
the nephew of Ferdinand van Kessel, and was born 
at Antwerp in 1684. He adopted the manner and 
subjects of David Teniers with great facility, so 
that his best works approached very near to the 
excellence of that master. He vrent to Paris, 
where his works were much admired, and he found 
abundant employment. His subjects were the 
rustic conversations, assemblies, feasts, and merry- 
makings which he had observed among the peas- 
ants of his own country. He designed his figures 
with admirable freedom and readiness, in the man- 
ner of La Fage, and through all his compositions 
there appears everywhere great spirit and truth- 
fulness to nature. Unfortunately this artist, who 
might have shone as one of the brightest ornaments 
of the Flemish school, destroyed all his prospects 
by a course of reckless dissipation, which impaired 
his powers. His uncle left him a considerable for- 
tune, which he soon squandered away, and he end- 
ed his days in poverty, obscurity, and misery. In 
the latter part of his life he attempted portraits 
without any success. He died at Antwerp in 
1741. 

qWTT KESSEL, Theodore van, a Flemish 
jLV I V engraver, probably a relative of the 
preceding artists, was born at Antwerp about 
1620. He engraved a considerable number of 
plates in a free and spirited manner. Some of 
them are etched, and others wrought up afterwards 
with the graver. He also etched the plates for a 
volume of vases and ornamental compartments, in 
eight parts, from the designs of Adam de Viane, 
published at Utrecht. Most of his plates are 
marked with the initials of the designer, and his 
own monogram; sometimes with his initials T. 
V. K. in Italic capitals, or in cursive letters. The 
following is a list of his best prints. Nagler gives 
a complete list. 

The Portrait of Charles V. ; after Titian. St. Grego- 
ry in meditation ; after T. Willehorts. A Reposo ; after 
Giorgione. Magdalene at the feet of Christ in the House 
of Simon ; do. Christ and the Woman of Samaria ; after 
Caracci. The Adulteress before Christ ; do. Susanna 
and the Elders; after Guido. The Virgin and Child, 
■with Angels ; after Vaiidyck. An allegorical subject of 
Abundance ; after Rubens. A set of four, representing 
the Triumph of Galatea ; a Triton embracing a Sea 
Nymph ; a Nymph in the arms of a Sea God ; a Faun 
seated near a Rock, with two Children and a Goat; after 
Rubers. A Boar Hunting; do. A Landscnpe, with a 
Man driving a Cart with Vegetables, and a Man and Wo- 
man with Oxen ; do. A Landscape, the companion, call- 
ed the Milk-maid; do. A set of Battles, and Attacka of 
Banditti ; after P. Snaijers. 1656. 

•KESSEL, Jan van. was born at Amsterdam in 
1648. He painted landscapes and winter .scenes, 
in the style of Jacob Ruysdael. Pie particularly 
excelled in his winter- pieces, in which he intro- 
duced glare ice, with skaters, and other parties 
frolicking, very spirited and life-like. 

KETEL, Cornelius, a Dutch painter, born at 



KETE. 



437 



KEUN. 



Gouda, in 1548. At twelve years of age, he be 
gan to study design with his uncle, who was a 
better scholar than a painter, and took more pains 
to teach his nephew polite literature than the art 
of painting. At eighteen, he went to Delft, and 
studied under x^nthony Blocklandt. He then w ent 
to France, and was employed with others of his 
countrymen, in the chateau of Fontainbleau. But 
these works being discontinued, he retired to Gou- 
da, where he found little employment, on account 
of the troubles that then existed in Holland. He 
accordingly went to England, and bent his atten- 
tion to portrait painting, though his genius natu- 
rally led him to historical painting. He painted 
the portraits of Queen Elizabeth and some of the 
court, many of which were full length, well drawn 
and colored, with a just expression. In 1581, he 
went to Amsterdam, where he painted a large pic- 
ture, in which he introduced the portraits of the 
chief officers of the trained bands, as well as his 
own, for the Gallery of the Mall. In 1589 he 
painted another large picture of the members of 
the confraternity ojf St. Sebastian. Both these 
considerable works were greatly admired. The 
disposition of the figures was remarkably good, 
and the different stuffs of the draperies admirably 
imitated. Sandj-art says that Ketel visited Ve- 
nice and Rome, and returned to Amsterdam, where 
he died in 1602. More notoriety has been given 
to this artist than he deserved, from the ridicu- 
lous stories that are told of his having abandoned 
the use of brushes in the latter part of his life, 
and like Ugo da Carpi, painting with the ends of 
his fingers, even with those of his left hand, which 
any artist might do, but when practised to any 
extent shows a capricious vanity more worthy the 
mountebank than the skilful artist. 

KETERLAER, Johann, a Dutch artist, men- 
tioned by le Comte as the engraver of a print rep- 
resenting a Globe, with several animals, supported 
in the air by a figure of Death, whose head ap- 
pears above, with two wings and two trumpets. 

KETTLE. Tilly, an English portrait painter of 
no note, born at London about 1740. He was 
the son of a house painter ; studied in the Duke 
of Richmond's Gallery, and at the Academy in 
St. Martin's lane ; spent several years in the East 
Indies; returned to London in 1777; met with 
no encouragement, and died at Aleppo in 1798, as 
he was returnins: to the Indies by land. 

KEULEN, or CEULEN, Janssens or Jan- 
sons VAN. This painter is said to have been born 
in London, of Dutch parents. Before the arrival 
of Vandyck he had acquired so much reputation 
as a portrait painter as to be employed by Charles 
I., who held his works in high esteem, which roy- 
al favor procured him considerable employment 
from the nobility. Though Vandyck was superior 
to him. they formed a strong personal friendship. 
Fuseli says that portraits by Janson van Keulcn 
are not rare in England, if those who possess 
them, and dealers, would not rob him of the credit 
by attributing them to Vandyck. It is supposed 
he went to the Hague during the great rebellion, 
as there is a large picture in the Town Hall, rep- 
resenting the portraits of fourteen of the magis- 
trates of that city, dated 1647. He died at the 
Hague in 1665. His names are variously spelled, 
Keulen or Ceulen, Janssen or Janssens, Janson 
or Jansons 



KEUNE, Henry, a Dutch painter, born at Haer- 
lem in 1738. He painted views of cities and villa- 
ges, enlivened with numerous figures, in the man- 
ner of Berkheyden, which have considerable merit. 

KEUX, John le, an eminent English archi- 
tectural engraver, was born at London, in 1783. 
He studied with Basire, and imbibed a decided 
taste for architectural subjects, especially edifices 
in the Gothic style, in which he became very emi- 
nent. He formed a style of his own. which was 
admirably adapted to this class of subjects, com- 
bining high finish with great taste and truthful- 
ness, which was far removed from a mere mechan- 
ical, pains-taking correctness of delineation. John 
le Keux's peculiar talent has contributed much to 
the celebrity of many architectural publications 
in England, and to a diff'usion of a taste for Gothic 
architecture. His works embrace nearly all the 
choice publications, illustrative of Gothic architec- 
ture, that appeared in his time, as Britton's Archi- 
tectural Antiquities, Cathedrals, &c. ; the elder 
Pugin's Antiquities of Normandy ; Gothic Speci- 
mens and Gothic examples ; Neal's Westminster 
Abbey (in which the interior of the chapel of Hen- 
ry VII. is an admirable performance) ; the plates 
of the first volume of Neale's Churches ; Memori- 
als of Oxford, &c. He died in 1846. 

KEY, or KAY, William, a Dutch painter, born 
at Breda in 1520. He studied under Lambert 
Lombard, at Liege, at the same time with Francis 
Floris. He settled at Antwerp, where he painted 
history with reputation, but was more eminent in 
portrait painting, in which branch he was little in- 
ferior to Sir Anthony Moore. His historical sub- 
jects are well composed, and though they exhibit 
less fire than those of Floris, yet they are tem- 
pered with more judgment, and designed with 
more correctness. His works are found in the 
best collections of Holland, where they are highly- 
esteemed. He was elected a member of the Acad- 
emy at Antwerp in 1540, and died in 1568. 

'"Kr ()• TS/" ^^^? Adrian Thomas, was a 
sy£\. * / ^\ cousin and scholar of William 
Key. Little is known of this artist, and probably 
most of his works are attributed to his cousin. 
There is a fine picture in the Museum at Antwerp, 
representing Christ and his Disciples at Supper, 
said to be the portraits of the family of Franco y 
Feode-Briez. Balkema mentions another picture 
in the Museum, representing the females of the 
same family. The first mentioned picture is in- 
scribed Adrianus Tkomcc Keii— fecit. 1575. 

KEYL, Michael, a German engraver, who flour- 
ished at Dresden about 1750, and executed some 
plates after pictures in the Dresden Gallery and 
the collection of Count Bruhl, among which are 
the Dead Christ, after Annibale Caracci ; and the 
]Martyrdom of St. Lawrence, after Spagnoletto, 
both in the Dresden Gallery, 

* I •.• > T A KEYSER, Theodore de, an 
IX or be eminent Dutch painter, whose 
XA. XjL .pictures date from 1620 to 

1660. Little is known of the events of his life, 
but his pictures are to be found in the choicest 
collections of Holland, where they are highly es- 
teemed. One of them, representing the Burgo- 
masters of Amsterdam deliberating on the honors 
they should pa}^ to Mary do Medicis, on her en- 
trance into that city in 1638, is admirably execu- 



KEYS. 



438 



KTLI. 



<M. 



ted, with a richness of coloring nearly approach- 
ing Rembrandt. This picture was transferred to 
the Louvre by the order of Napoleon, and was re- 
stored to its rightful owners in 1815. 

KEYiSER, Henry de, a Dutch painter of whom 
little is known, save that he lived at Amsterdam, 
where there are several of his portraits of distin- 
guished persons in the Museum, executed in a 
style of excellence. 

KHEL, Andrew, a German engraver, who flour- 
ished about 1650. He was chiefly employed by 
the booksellers, and he executed a few portraits 
with the graver, in a neat style, possessing con- 
siderable merit. 

KICK, Cornelius, a Dutch painter, was born 
at Amsterdam in 1635. He was the son of a por- 
trait painter, who according to Houbraken, brought 
him up to his own profession, in which he excelled, 
and had acquired a good reputation, when he was 
so captivated with the works of John David de 
Heem, that he abandoned portraiture for fruit and 
flowers, which subjects he treated with great suc- 
cess. His manner of painting was light and deli- 
cate, and his coloring had all the brilliancy and 
freshness of nature. His favorite flowers w^tq tu- 
lips and hyacinths, which he cultivated with great 
care in his garden for the purpose of models, as 
he always painted from nature. 

KIERINGS, KIERINCX, or CIER- 
INCX, James, a Dutch painter, born at 
_^ Utrecht in 1590. His name is varioush' 

spelled by authors, and Descamps calls his Chris- 
tian name Alexander. He painted landscapes 
with considerable celebrity, in which the figures 
were inserted by Cornelius Poelemberg, w^hich 
greatly increased their value. His views and ob- 
jects are copied from nature, and he finished his 
pictures with amazing care, even the bark and foli- 
age of the trees being so distinctly marked that 
every species could be readily distinguished. He 
went to England in the reign of Charles I., and ac- 
companied that monarch to Scotland, where he 
painted several views of the king's palaces. His 
pictures are generally marked with a monogram 
of his initials. He died at Amsterdam in 1646. 

KIESER, Eberhard, a German engraver, who 
flourished at Frankfort about 1630. He engraved 
a part of the plates for a work published at Frank- 
fort in 1625, entitled Thesaurus Philo-Politicus. 
hoc est, Emblemata sive Moralia-Politica, con- 
sisting of views of cities and towns in Germany, 
Spain, Italy, and other parts of Europe. He also 
engraved some portraits, and, among others, that 
of Prince John of Austria, with a battle raging in 
the distance. 

KILIAN, Lucas, an eminent German engraver, 
born at Augsburg in 1579. He studied under 
his step-father, Dominic Custos, who not only in- 
structed him in the art as far as lay in his power, 
but sent him to Italy for improvement. He resi- 
ded chiefly at Venice, where he executed a consid- 
erable number of plates, in a style having some 
resemblance to those of Goltzius and Muller. 
His design is not very correct, and the efiect of his 



prints is injured by overworking his lights. The 
following is a list of his best prints : 

PORTRAITS. 

Lucas Kilian ; oet. 55; se ipse sc. in argento. 1635; 
scarce. Petrus Custos, vulgo Baltens, pictor et poeta 
Avtwerpianus. 1609 Prince Henry Frederick of Nassau. 
1620. Nicholas Christopher, Prince of Radzivil. Gusta- 
vus Adolphus, King of Sweden. Maria Eleonora, his 
Queen. Franciscus Pisnnus, scriptor Genuensis ; after 
L. Borzone. Albert Durer ; from a picture by himself. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Adoration of the Shepherds ; after the younger 
Palma. The Miracle of the Loaves and Fishes ; after 
Tintoretto. The Resurrection ; after P. Veronese. 'The 
Pieta, or the dead Christen the Lap of the Virgin ; after 
Michael An gelo Buonarotti. The Holy Family; after 
Cornelius van Haerlem. Another Holy Family: after 
B. Spranger. 1605. Wisdom fettered by Love ; do. The 
Nativity; after J. Rottenhamer. 1601. The Crucifixion •, 
after a picture in the style of Tintoretto. Christ praying 
in the Garden ; after Fred. Sustis. The Adoration of 
the Shepherds ; after J. Heintz. The Descent from the 
Cross ; after the same. The Rape of Proserpine ; do. 

W KILIAN, Wolfgang, a younger brother 
of the preceding artist, was born at 
Augsburg in 1581. He also studied 
under Dominic Custos, and afterwards went to 
Italy. He resided several 3^ears at Venice, and 
engraved some plates after the Venetian masters. 
His style resembles that of his brother Lucas, 
though he never equalled him in the skilful man- 
agement of the graver. Yet his plates are neatly 
executed, and possess much merit. His best pro- 
ductions are his portraits. The following are 
among his best prints, and they are marked with 
his monogram. He died at Augsburg, in 1662. 

PORTRAITS. 

Wolfgang Kilian ; inscribed, Labor improbus omnia vin- 
cit, se ipse sc Ernest, Count of Mansfield. Frederick, 
Baron of Teuffenbach. John Godefroi, Bishop of Wurtz- 
bourg. Ferdinand IIL, Emperor. John Suiccard, Arch- 
bishop and Elector of Mentz. Ferdinand of Bavaria, 
Archbishop and Elector of Cologne. Lotharius, Arch- 
bishop and Elector of Treves. John Major, mathemati- 
cian of Augsbourg. The Emperors and Archdukes of Aus- 
tria, from 1229 to"l623 ; published at Augsbourg in 1629. 
A set of neat heads for a volume, entitled Genealogia se- 
reniss. Boiarice Ducum, et Quorumdam Genuince Fo- 
gies. 1605. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Baptism of Christ ; after P. Veronese. The As- 
sumption of the Virgin ; after Tintoretto. The Merciful 
Samaritan ; after Giaco7no Bassano. The Resurrection ; 
after Francesco Bassano. The Descent from the Cross ; 
after Paolo Farinato. The Four Evangelists ; after his 
own designs. The Festival of the Peace of Web-tphalia, 
given in 1649 ; after J. Sandrart ; in two sheets ; scarce. 
Part of the plates of the Saints of the order of St. Bene- 
dict, for the volume entitled Imagines Sanctorum, Ord. 
S. Benedicts &c. 1625. Part of the Architectural Views, 
and others, for the history of the Monastery of St Udal- 
ric, at Augsbourg ; from the designs of Matthias Kager. 

KILIAN, Philip, the eldest son of AVoIfirang 
Kilian. was born at Augsburg in 1628, and died 
in 1693. He was instructed in the art of en.erav- 
ing by his father, and though he never attained 
any great eminence, he engraved some plates of 
portraits and other subjects, which have consider- 
able merit. 

KILIAN, Bartholomew, the youngest son of 
Wolfgang Kilian, was born at Augsburg in 1630, 
and died in 1696, After having studied under his 
father, he went to Frankfort, and became the pu- 
pil of Matthew Merian for two years. He after- 



KILL 



439 



KILL. 



wards went to Paris, where he resided several 
years, and engraved some plates from Testelinand 
Philip de Champagne. He then returned to his 
native city, where he permanently settled, and en- 
graved some plates of theses, portraits, and other 
subjects, in a very neat and pleasing style, which 
are deservedly admired. He wrought both with 
the graver and the point. The following are 
some of his most admirable works : 



PORTRAITS. 



Benedict Winkler ; after J. Ulric Mayr. Michael In 
Hof, Noriberg. Leonhard Fussenegger; Bart. Hopfer, 
pinx. Johan Conrad Bobel ; do. Johan Heiurich F^ber ; 
do. Hartman Creid ; do. Johan Leonhard Schorer ; af- 
ter P. Pranck. 1665. Bernhardus Verzaseha, Medicus 
Basiliensis ; oval; fine. Augustus II. Abbas Einsid- 
lensis. 1686. Joannes III. PolonicB Rex ; Ad. Bloem- 
aert, del. ; as large as life. Maximilian Emanuel, Elec- 
toral Prince of Bavaria. The Emperor Joseph on horse- 
back ; one of the largest prints known ; as large as life. 
A set of Portraits, represented in an emblematical man- 
ner; after J. Schreyer. Three Medallions of Archbish- 
ops of Saltzbourg. The Virgin and Child ; after C. 
Sing ; fine. 

KILIAN, Wolfgang Philip, the son of Philip 
K., was born at Augsburg in 1654. and died in 
1732. He was instructed by his father, but he 
had no great capacity, and was chiefl}^ employed 
on vignettes and portraits for the booksellers, which 
he e2:ecuted in a feeble style. 

KILIAN, Philip Andrew, of the same family, 
was born at Augsburg in 1714, and died in 1759. 
He was instructed in the art of engraving by An- 
drew Friedrich of Augsburg, but he afterwards 
studied with George Martin Priesler at Nurem- 
berg. He engraved several plates after pictures in 
the Dresden Gallery, in a very neat and pleasing 
manner, which are highly esteemed. He wrought 
both with the graver and the point. The follow- 
ing are some of his principal plates. Engravers 
of the name of Kilian are quite numerous ; Zani 
mentions about twenty. 

PORTRAITS. 

Clemens Rezzonicus, Venetus, Pontif. Max, G. D. 
Porta., jpinx. Francis I., Emperor of Germany ; after 
Meytens. Maria Teresa, Empress ; the com.panion. C. 
Christopher, Count von Schiden, Prussian Field Marshal ; 
after Stranz. Ferdinand, Duke of Brunswick ; after 
A. Pesne. Johan Martin Cristell ; A. P Kilian, dd et 
sculp. 

SUBJECTS AFTER VARIOUS MASTERS. 

Christ praying in the Garden ; after his own design. 
Magdalene washing the Feet of Christ ; after Nic. Grassi. 
The Adoration of the Magi ; after P. Veronese ; from 
the Dresden collection. The Adulteress before Christ ; af- 
ter Tintoretto ; do. The Baptism of St. Augustine by 
St. Ambrose ; after Pittoni. The Daughter of Herodias 
■with the Head of St. John ; after C. Dolci. St. Cecilia ; 
do. The Holy Family ; after Carlo Loti. The Virgin, 
with a Glory of Angels ; Regina Angelorum ; after J. 
G. Bergmuller ; fine. The Virgin giving plenary Indul- 
gences to St. Francis ; after C. T. Schemer ; fine. St. 
Cosmus and St. Damian ; after J. W. Baumgaertner. 

KILLEGREW, Anne, an English poetess and 
paintress, the daughter of Henry Killegrew, D.D., 
Master of the Savoy, and one of the prebendaries 
of Westminster. Dryden immortalized her name 
in an ode dedicated to her praise. She was Maid 
of Honor to the Duchess of York, whose portrait 
she painted, as well as that of the Duke, after- 
wards James II. She also painted some histori- 
cal subjects, and pieces of still-life. She died of 
the small pox in 1685, at the age of twenty-five. 



KILLENSTEYN, or KITTENSTEYN, 0., a 

Dutch engraver of little note, who executed some 
Bible plates, among which are a series of the his- 
tory of Joseph. 

KING, Daniel, an English engraver, who flour- 
ished about 1650. He etched some prints in imi- 
tation of the style of Hollar, but which are not to 
be compared with the works of that master. He 
also published the Vale Royal of Cheshire., with 
plates of his own engraving, representing views of 
churches, castles, palaces, &c. 

KING, George, an English engraver of little 
note, who flourished about 1 "40. He engraved a 
few portraits and embellishments for the book- 
sellers, in a coarse and very indifferent manner. 

KING, Giles, an English engraver, who flour- 
ished about 1762, and engraved for the publishers. 
He also engraved some plates of Fish, after Ar- 
nold van Achen. 

KING, Thomas, an English painter, who stud- 
ied with Knapton, and though possessed of talents 
as a portrait painter, he destroyed all his reputa- 
tion and prospects by intemperance, and died in 
misery in 1769. 

KINSON, Fkancis. an eminent modern Flemish 
portrait painter, born at Bruges in 1774. He met 
with extraordinary success, and painted many 
royal personages from the time of Napoleon to 
that of Louis Philippe. He painted Jerome Bo- 
naparte, when king of Westphalia ; Bernadotte, 
king of Sweden, when prince of Ponte-Corvo ; 
the prince of Orange, now king of Holland; 
the Duchess do Berri, and the Duchess dWngou- 
leme. He also painted the portraits of many mar- 
shals, and other distinguished oflicers and person- 
ages of the imperial reign, William I. of Holland 
honored him with the order of knighthood. His 
biographer says his portraits are distinguished for 
dignity and elegance of position, a happ}^ choice 
of accessories, a soft and brilliant coloring, and a 
striking resemblance. He died in 1839, 

KINTS, Peter, a Dutch engraver on wood, who 
flourished from 1610 to 1635. There are some 
prints by him in imitation of pen and ink sketch- 
es, from the designs of Anthony Sallaert. They 
are marked with a monogram of the initials of 
the latter, and the initials of his own name, P. K. 

KIP, William, an Enghsh engraver, mentioned 
by Lord Orford as the engraver of some triumphal 
arches, dated 1603. 

KIP, Johann, a Dutch engraver of little merit, 
born at Amsterdam about 1652, who went to Eng- 
land soon after the Revolution, and settled in Lon- 
don, where he engraved a large number of plates 
of castles, palaces, and seats of the nobility in the 
kingdom, chiefly after the designs of Leonard 
Knyf. He also engraved a few portraits, among 
which is one of Marcel lus Malpighius. He died 
at Westminster in 1722. 

KIRBY. John Joshua, an English landscape 
painter, born at Pasham in Suffolk, in 1716. He 
was a good landscape painter, but more eminent 
for his literary talents. In 1754, he delivered a 
series of lectures on perspective, by request, be- 
fore the Society of Arts. About this time he pub- 
lished his work entitled, " Dr. Brook Taylor's 
Method of Perspective made easy." He next re- 
moved to London, where he obtained the patron- 



KIRK. 



mo 



KLEI. 



age of the Earl of Bute, through whose influence 
he was made clerk of the works of Kew. In 1761 
he published his " Perspective of Architecture," 
in two vols, folio. He was a member of the Royal 
and Antiquarian Societies, and for a time, president 
of the Society of Artists. He died in 1774. 

KIRKALL, Edward, an English engraver, born 
at Sheffield, in Yorkshire, about 1605. He went 
to London, where he was chiefly employed in en- 
graving plates for the booksellers. He was also 
the inventor of a patched-up method of producing 
prints in chiaro-scuro, by a mixture of etching, 
mezzotinto, and wooden blocks. The outline is 
boldly etched, the dark shadows are supplied by 
mezzotinto, and the demi-tints by wooden cuts, pro- 
ducing a curious effect. The following are his 
best prints: 

PRINTS IN MEZZOTINTO. 

The Cartoons of RalFaelle ; in eight plates. The Bust 
of the Saviour ; do. Apollo a.nd Daphne ; in green. A 
Rustic Family, with their Flocks and Herds ; after Rossa- 
no ; do. A set often Sea-pieces; after W. Vander- 
velde ; printed in sea-green. A set of thirty, of Plants 
and Flowers ; afUr van Haysum. 

SUBJECTS IN CHIARO-SCURO. 

-ffineas carrying Anchises on his shoulders ; after the 
cut by Ugo da Carpi, from Ra.ffacUt, inscribed, Jraitan- 
do cce'lavit E. Kirkhall 1723. "The Holy Family, with 
St, Joseph leaning on a chair; do- The Adoration of the 
Shepherds ; after Pierino del Vaga. St. Jerome con- 
templating a Crucifix. 

KITCHENMAN, John, an English portrait 
painter in miniature and oil. He studied in the 
Royal Academy, became a good draughtsman, and 
obtained several premiums from the Society of 
Arts. He died in the prime of life, of debauch, in 
1782. 

KITCHIN, Thomas, an English engraver of lit- 
tle note, who flourished about 1750, and engraved 
some portraits and other subjects for the booksel- 
lers. 

KLASS, Charles Christian, a German paint- 
er, was the elder brother of Frederick Christian 
Klass. He studied under Casanova, and devoted 
himself to historical painting. He was appointed 
inspector of the Dresden Collection of prints, and 
held this office until his death, in 1794, when it 
was given to his brother. 

KLASS. Frederick Christian, a German 
painter and engraver, the younger brother of the 
preceding, born at Dresden in 1752. He studied 
under Casanova, and became one of the most emi- 
nent modern German landscape painters. He was 
a member of the Electoral Academy. He also 
etched some spirited prints of picturesque scenery, 
after his own designs, among which are the follow- 
ing. He died in 1827. 

A set of fourteen small Landscapes, inscribed, Erster 
Versuch (first essay) ; Vo7i F. C Klass. Six views in 
Saxony, with figures and cattle. Four larger Landscapes ; 
very pleasing scsnery. Two Mountainous Landscapes ; 
F. C. Klass Jec. 1775. 

KLASSZEN VAN WIERTNGEN, Cornelius, 
a Dutch landscape and miniature painter, who 
died at Haerlem in 1635. Little is known of him. 
but his pictures are richly ornamented with fig- 
ures and vessels, and have considerable merit. 

KLAUBER, Sebastian Ignatius, an eminent 
German engraver, born at Augsburg in 1754. He 
was instructed in the art by his father, John Bap- 



tist Klauber, an obscure artist. He afterwards 
went to Paris and studied with J. G. Wille. He 
soon distinguished himself, and in 1787, was elect- 
ed a member of the Royal Academy of Paris, and 
appointed engraver to the King. On the breakino- 
out of the French Revolution, he returned to Nu^ 1 
remberg, where he published the gems in the col- I 
lection of the Baron de Stosch, now in the cabinet 
of the King of Prussia ; the greater part of which 
were engraved by himself. He wrought chiefly 
with the graver in a neat and finished style. He 
also engraved some portraits and other subjects, 
among which are the following. There are prints 
by him dated as late as 1811, and it is supposed 
he died about 1820. 

PORTRAITS. 

Gaspar Netscher ; seipsepinx. The Wife of Francis 
Mieris; after Mieris. Charles Vanloo, painter; after F, 
le Sueur ; his reception plate at the Academy in 1787. 
Christopher Gabriel Allegrain, sculptor ; after Duplessis. 
Count de Herzberg ; after Schroeder. 1795. 

various subjects. 
Salvator Mundi ; after Stella. Petit ecolier de Haer- 
lem ; after Poelemhurg. 

KLEINSCIIMIDT, Johann Jacob, a German 
engraver of little note, who flourished at Augs- 
burg about 1700. He engraved some plates for 
the booksellers, M^hich are indifierently executed, 
and the drawing is inaccurate, 

KLENGHEL, John Christian, an eminent 
German landscape painter, born at Kesseldorf in 
Saxony, in 1751. He went to Dresden, and entered 
the school of Dietrich, whose style he followed, 
and where he manifested abilities of an uncom- 
mon order. In 1783 he was chosen a member of 
the academy at Dresden; and in 1786, honorary 
member of that at Berlin. In 1780 the King of 
Saxony sent him to pass a year in Italy, and he 
there made many excellent designs, which were 
of great use to him in his subsequent works. His 
landscapes are faithful imitations of nature, and he 
particularly excelled in representing the water and 
foliage. His design is correct ; his compositions 
well arranged; coloring skilful; and his grada- 
tion of light and shadow admirable. His works 
are to be found in many of the chateaux of Ger- 
many and Russia; the Prince Baratinski poss- 
esses some very beautiful specimens. Klenghel 
was appointed Professor in the Dresden Acad- 
emy, and was the instructor of Mencke, Stamm, 
Wehle, Reichel, Faber, and other excellent artists. 
One hundred and thirty-two of his landscapes were 
engraved and published at Dresden in 1800. He 
died in 1824. There are a number of spirited etch- 
ings by Klenghel, in the style of Dietrich : 

A set of twelve Views in Saxony ; by J. Ch. Klenghel. 
Four Landscapes ; dated 1770. Two Mountainous Land- 
scapes. 1771. Twelve Landscapes ; after designs by Die- 
trich ; J. Ch. KlengheL 1773. A large Landscape ; after 
Ruysdael. 1784. Two Views near Rome ; K. F. Romce. 
1791. 

KLERCK, Henry de. a Flemish painter, born 
at Brussels in 1570. He studied under JMartin 
de Vos, and painted history in the style of his 
master. There are some of his works in the 
churches at Brussels and other places in the Low i 
Countries, which maintain respectability among 
the works of the most distinguished artists of his , 
time. His principal works are the Crucifixion, 
with the Three Marys and St. John, in the church 



KLIM. 



441 



KNAP. 



of St. James at. Brussels, the Holy Family, in the 
church of Our Lady, and the Martyrdom of St, 
Andrew, in the church of St. Elizabeth, in the 
same city. It is said that he painted the figures 
in some of the landscapes of John Breughel. He 
died in 1G29. 

T/I V^Qy I |/^ KLTM. Hans, a German en- 
J/ jr\_ JlJ^^ graver on wood, who nourish- 
ed about I'iOO. There are some wooden cuts pub- 
lished at Nuremberg between tbe A-ears 1590 and 
1603. marked with a monogram of his initials, 
H, K,. which are attributed to him, 

KLINGSTADT. Claude Gustavus. This 
painter was born at Riga in 1057. At the age 
of fifteen he entered the Swedish army, and five 
years after went to France, where he engaged in 
the French arm3^ and remained there until the 
age of thirty- three, when he devoted himself to 
indulging his taste for design. Unfortunately, his 
subjects were of a very licentious character, but 
they were suited to the French manners of his 
day. and were in great demand. His pictures 
are faulty in design and other high qualities of 
art ; but the heads have a striking boldness and 
relief, and are finished in exquisite style, partic- 
ularly in his lar<rer works. He was called the 
Raphael of the Snuff- Boxes. His designs in In- 
dia ink v.ero much admired. He died in ITS-i. 

KLOCKEU. or KLOCKNER, David, a Ger- 
man painter, born at Hamburg in 1G29. He stud- 
ied under George .Jacob, a Dutch artist, who paint- 
ed animals and hunting-pieces, then resident in 
that city. He afterwards went to Italy, where 
he resided several years, chiefly at Rome and Yen- 
ice. The king of Sweden invited him to Stock- 
holm, and appointed him his court painter. He 
painted the portraits of the king and other m.embers 
of the royal family, and the chief personages of 
his court; and adorned his palace with many his- 
torical and poetical paintings. His works are 
chiefly conflned to Sweden, where they are highly 
esteemed. He had a remarkable freedom of hand, 
and observed a strict propriety in his characters. 
He was fond of introducing a number of figures 
into his compositions, and his designs are adorned 
with agreeable landscapes and enriched with noble 
architecture, which he had copied from the antique 
vestiges about Rome. His coloring was excellent 
and his drawing very correct. He died at Stock- 
holm in 1698. 

KLOMP, Albert, a Dutch painter, whose pic- 
tures have date from 1602 to 1622, and who is 
erroneously said by most authors to have imita- 
ted Paul Potter, who was born in 1625. He paint- 
ed the same class of subjects as Potter did, and 
some of them have much merit. 

KLUPFFEL, J. C. an engraver of little note, 
probably a German, who engraved some prints 
of the Cries of Rome, after prints by Villamena, 
They are executed in a neat, but stiff and formal 
style. 

KLUYT, Peter Thierry, a Dutch portrait 
painter, who studied under M. J. Mirevcldt, and 
was one of the ablest of his scholars. The por- 
traits by Mire veldt are exceedingly numerous. 
Some writers say he painted 5000. and Descamps 
swells the number to 10.000 ! His portraits are 
so admirably executed, that there must be im- 
mense exaggeration with respect to the number of 



his works, and many of those claimed as originals 
by him, were doubtless executed by his pupils. 

KNAPTON, George, an Engli.sh painter and 
engraver, born at London in 1698, was the son of 
an extensive bookseller. He was placed at an 
early age. umler the instruction of Jonathan Rich- 
ardson, lie first painted portraits in ciayons. 
In 1740 he went to Italy, where he wrote nn in- 
teresting account of the discoveries in Hercu- 
lanjTsnm. On his return to England, he associated 
himself with Arthur Pond, m engraving and pub- 
lishing prints after the most celebrated masters, 
among which arc twenty-seven prints, engraved 
by Knapton. mostly after Gucrcino. In 1765,, he 
was appointed painter to the Dilettanti Society. 
and after the death of Slaughter, surveyor and 
keeper of the King's pictures. He died at Ken- 
sington in 1788. 

KNELLER, Sir Godfrey, an eminent German 
painter, born at Lubeck in 1648, His father was 
an architect, and held the office of Survej'or-gen- 
ei'al to the Mines, and inspector of the revenues of 
Count Mansfeldt, He intended his son for the 
il?ilitary profession, and with this view sent him 
to London to study mathematics and fortification. 
But young Godfrey exhibited so strong a predi- 
lection for painting, that his father allowed him to 
follow the natural bent of his genius, and sent him 
to Amsterdam, where he entered the school of 
Rembrandt, and afterwards that of Ferdinand 
Bol, When he was seventeen years of age, he 
I went to Rome, and became successively the pupil 
\ of Carlo Maratti. and Cav, Bernini, At Rome, he 
made considerable progress in architecture, and 
began to acquire fame as a painter of histor3^ Ho 
; next went to Yenice, where he received great civili- 
ties from the principal nobility, particularly the 
Donati and the Gartoni, for whom he painted some 
portraits and family groups which gained him coji- 
siderable distinction, particularly the portrait of 
Cardinal Bassadonna, These marks of distinction 
' however could not prevail upon him to remain in 
; Ital}'' after he had completed his studies, as he 
' had heard that England contained the golden fieece 
: for the Jason of portraiture, therefore ho went 
j to that country with his brother -John Zachary 
i Kneller in 1674. He had letters of recomraenda- 
! tion to Mr, Banks, a noted Hamburg merchant, 
i then residing in London, for whom he painted a 
I famil}^ picture which was muc]i admired. Mr. 
I Vernon, secretary of the Duke of Monmouth, hav- 
I ing seen this picture, sat to him for his poitrait, 
1 which on being shown to the Duke, the latter was 
I so much pleased with it that he sat for his own, 
and induced the king, his father, (Charle.s II,) to 
I have his portrait painted by the new artist. The 
i King had promised the Duke of York his por- 
1 trait, to be painted by Sir Peter Lely, and unwil- 
! ling to go through the ceremony of a double sit- 
' ting, he proposed that both artists should paint 
him at the same time, Lely, as the established 
! painter, took the light and station he liked, but 
I Kneller took the next best he could find, and went 
I to work with so much expedition, that he had 
I nearly finished his portrait, when Lely had only 
! laid on his dead coloring. This novelty pleased, 
and Lely himself had the candor to acknowledge 
his merit, and Kneller immediately found himself 
\ in possession of great reputation and abundant em- 
[ ployraent, and the iramen.se number of portraits 
he executed proves the stability of his reputation. 



KNEL. 



442 



KNEL. 



He was equally patronized by Kings Charles, 
James and William. He had the honor of paint- 
ing ten sovereigns, viz: Charles II.. James II. 
and his Queen, William and INIary, Queen Anne, 
George I., Louis XIV., the Czar Peter the Gi-eat, 
and the Emperor Charles Y.; a list that Lawrence 
did not rival. His best friend was King AVilliam, 
for whom he painted the Beauties of Hampton 
Court, and by whom he was knighted in 1692, 
and presented with a gold medal and chain worth 
£300. In his reign also he painted the several 
portraits now in the gallery of the Admirals, which 
are among his best works. In the latter part of 
this reign also he painted the portraits of the Kit- 
cat Club. He lived to paint the portrait of George 
I., and was made a baronet by him. He died in 
1723, aged 75. His body lay in state, and he was 
buried at his country seat at Wilton, and a mon- 
ument was erected to his memory in Westminster 
Abbey, for which he left £300. with particular 
instructions for the erection of it by Ilysbrack. 
Kneller executed a prodigious number of portraits, 
among which were almost all the nobility and 
distinguished people of the land. After the deatlf^ 
of Lely in 1680, he stood at the head of the pro- 
fession of his art in England, and his character 
was made so conspicuous b}^ the many royal fa- 
vors heaped upon him, that it is not at all surpri- 
sing that he met with the great encouragement 
he did. In those days kings governed the fash- 
ions, and fashions always govern the world. Knel- 
ler left some few good pictures behind him as 
proofs of the natural powers he possessed, but his 
most sincere admirers who are good judges, acknow- 
ledge that the greater part of his works are a dis- 
grace to himself and his patrons. The truth is, he 
was a man of excessive vanity, and so covetous that 
he made his reputation subservient to his fortune. 
" History painters," said he, " make the dead live. 
I paint the living, and they make me live " ; and 
this tells the story of his merits and his demerits. 
A rapid pencil and a ready talent in taking like- 
nesses first laid the foundation of his reputation, 
and the royal favors and the ignorance of the age, 
enabled him successfully to barter a lasting rep- 
utation for gold, during the whole of his long life. 
That he possessed powers of a high order is ad- 
mitted by his severest critics, for some of the best 
portraits, as those of Newton and Dryden, are 
painted in a masterly manner, and had he lived in 
a country where his services would have been re- 
warded according to his merits, his name would 
have shone among the greatest portrait paint- j 
ers. It is allowed that he was a correct and grace- I 
ful designer of the head, but it seldom amounts to j 
character in his portraits ; the hair is admirably j 
disposed, and if the locks seem unnaturally ele- 
vated, it must not be attributed to defect in the j 
painter's art, for he lived in an age when the ! 
w^omen erected edifices of three stories on their i 
heads. Had he painted them in this preposterous j 
attire, wholly devoid of grace and beauty, his por- ' 
traits would have appeared ridiculous in the next ! 
half century, and to lower the dress to a natural 
level, when the age was accustomed to pyramids, 
would have shocked their prejudices and injured 
the resemblance ; therefore he took a middle 
course. He did not often drape his women in the 
monstrous dresses of the time, but in one more 
ideal, consisting of nothing more than loose robes 
thrown open and discovering the bosom and a 



robe-de-chambre, loosely drawn over it. His male 
portraits are altogether his best. His prices M'ere 
fifteen guineas for a head, twenty, if with one 
hand, thirty for a half, and sixt}- for a whole 
length. Even at those prices, he accumulated a 
large fortune for those times, for although he lost 
£20.000 by the South Sea speculation, he left at 
his death an estate worth £2.000 a-year. Kneller 
was a man of wit and soul. Orford has related 
many anecdotes of him, some of which are vulgar 
and profane. 

KNELLER, John Zachary, was the elder bro- 
ther of Sir Godfrey Kneller, and born at Lubec in 
1035. After traveling through Italy, he accom- 
panied his brother to England, in 1074. He paint- 
ed architecture in fresco and in oil. and copied some 
of Sir Godfrey's pictures in water colors. He did 
not acquire any distinction, perhaps for want of 
encouragement, for portrait painting was the only 
branch of the art then in vogue in England. He 
died at London in 1702. 

KNIEP, Christopher Henry, a German paint- 
er, born at Hildeshcim in 1748. He studied under 
a scene painter at Hanover, who was related to 
him. He afterward settled at Hamburg, and di- 
vided his time between painting portraits and the 
enjoyment of the society of Klopstock, Voss, 
Campe, Schroeder, and others, with whom he was 
intimate. Froyi Hamburg he went to Cassel, 
where he lived on terms of intimacy with the 
Tischbein family. The Piince Bishop Krasinski 
appreciated his "talents, and furnished the funds 
to enable him to visit Italy; but soon after his 
arrival at Rome^ his patron died, and he was 
obliged to depend upon his own resources. By 
the influence of Wilhelm Tischbein, he was em- 
ployed by the poet Goethe, to accompany him 
in a tour through Sicily, where Kniep made many 
designs of the varied scenerj^ of their travels. He 
afterward settled at Naples, and devoted himself 
entirely to landscape painting. His works were 
much in request, and were highly esteemed. 
Count Maurice of Lichtenstein assigned him a 
pension, and commissioned him to paint a picture 
once a year. Kniep was appointed Professor of 
the Academy of Fine Arts at Naples. He died in 
1825. 

KNIP, NicoLAUs Friedrich, a German paint- 
er, born at Nimeguen in 1742. He painted land- 
scapes, fruit, and flower-pieces of small size, usual- 
ly from twelve to eighteen inches, for which his 
price was from fifty to sixty florins. He always 
painted after nature, and his best works have great 
merit. In early life he traveled about, seeking 
employment wherever he could find it. At thirt}'' 
years of age he married and settled at Fribourg. 
At the age of fifty-three he became blind and died 
in 1809. He left a large collection of drawings, 
which are said to be of surpassing excellence. 

KNIP, Henriette Gertrude, was the daugh- 
ter of the preceding, born at Tilbourg in 1783. 
Her father having become blind, she received in- 
structions from van Spaendonck, and painted in 
water-colors from drawings of her father. She 
afterwards took lessons of the celebrated van 
Dael, and commenced painting in oil. She paint- 
ed fruit and flower-pieces with great skill, and 
produced numerous works w^hich were exhibited 
at Paris. Amsterdam, the Hague, and other places 



KNTP. 



443 



KOBE. 



and were greatly admired. She died at Haerlem 
in 1842. 

KXIPBERGEX. or KNIBERG. X.. a Dutch 
landscape painter of whom little is known, except 
that he was a successful imitator of the man- 
ner of Paul Brill. He always painted after na- 
ture, and selected for his subjects the wild moun- 
tainous scenery of Switzerland and Germany. He 
had an uncommon freedom of hand and a fine pen- 
cil ; the expeditious manner in which he painted 
the skies, mountains, cascades, trees, and figures. 
was surprising, notwithstanding, e%'ery object ap- 
peared well finished and touched with spirit. He 
wanted elegance in the choice of his subjects, and 
also in the forms and attitudes of his figures. His 
perspective is not always good, and his distances 
do not recede with just degradation, but the foliage 
of his trees is loose, free, and bright, though some- 
what too green, as are occasionally his grounds 
and hills. The clouds in his pictures are remark- 
ably bright and floatinjr. and his foregrounds are 
well broken and diversified 

KNOBELSDORF. Hans Geoeg TVexceslaus, 
Baron de. an eminent Prussian architect, and a 
painter of considerable merit, bom in 1C97. He 
early cultivated a natural taste for design, but en- 
tered the military profession, in which he re- 
mained until 1730, wb^n he devoted himself to 
architecture. After a long sojourn in Italy for 
improvement, he returned to Prussia, and settled 
at Berlin. Frederick the Great remarked his tal- 
ents, and employed him in re-arrangmg the Zoo- 
logical Gardens ; after which Knobelsdorf com- 
menced the Royal Opera House, and completed it 
in 1742. He was appointed Royal Architect, and 
was highh" esteemed by the king. His master- 
piece was the beautiful chateau of Sans SoucL the 
favorite retreat of his monarch. As a painter, he 
executed a number of good portraits and land- 
scapes. 

KXORR. George "Wolfgang, a German paint- 
er and engraver, born at Nuremberg in 1705. He 
executed a number of landscapes, but is chiefly 
known as an engraver of subjects of natural his- 
tory, with which he was intimately acquainted. 
and often delivered lectures u]->on it. He executed 
many of the plates for his Thesaurus rti Her- 
baricB Hortenmsque Universalis. <^c.. Nuremberg. 
1750, .301 plates. He died in 1761. 

KXUFER. or KXUPFER, Nicholas, a Ger- 
man painter, bom at Leipsic in 160-3. He early 
.showed a genius for painting, and was placed 
under Emanuel Nysens. an obscure painter, with 
whom he remained two years, and then went to 
Utrecht and studied with Abraham Bloemaert. 
who, observing in him fine talents, took him into 
his own house. Under the able instructions of 
that master he made rapid progress, and became 
a very reputable painter of history and battle- 
pieces' of small size. The King of Denmark com- 
missioned him to paint three pictures, represent- 
ing the victories of his ancestors, which he execu- 
ted to the entire satisfaction of his royal patron. 
He resided many years at the Hague, where he 
met with good encouragement, and where his 
works are much esteemed. One of his compositions 
represents a Council of the Gods, formerly in the 
collection of Greffier Fagel. at the Hasnie. He 
died in 1660. 



KOBEL Jame.s, a German engraver on wood, to 
whom are attributed the cuts of a work, entitled 
iHaprn Hes fje^Uficn Jiomisrfjtn Jacitfjs, consist- 
ing of single figures of soldiers holding banners, 
with the arms of all the provinces and cities of the 
German empire. They are executed in a xqtv spir- 
ited manner, and are generalh- marked with the 
initials I. K. He flouri.shed about the 3 ear 1520. 

KOBELL. Ferdinand, a German painter and 
ensrraver. bom at Manheim in 1740. He distin- 
guished himself at an earh* age for .some views he 
executed in the "vncinity of his native city. He ex- 
celle^l in land.scapes. and was appointed landsca^H? 
painter to the King of Bavaria. He also executed 
a large number of etchings from his own designs 
with great taste and .spirit. The Baron de Sten- 
gel has given a list of 230. He died in 1799. 

KOBELL. AViLLiAM. was the .son of the prece- 
ceding, and born at Manheim in 1706. He was 
instructed in land.scape painting and engraving b}' 
his father, in which branches he greatly distin- 
guisherl himself. He painted landscapes with fig- 
ures, rural subjects, and water-pieces, in which he 
imitated the manner of AVouwerman. He etched a 
large number of charminjr plates after the princi- 
pal land.scape painters of the Dutch school, in 
which he imitated the style of each particular 
master with great suc-3ess. The followinfr are a 
few of his Vjest prints ; for a full list of which see 
Nagler's Kunstler Lexicon. He was living in 18.34. 

A Land=caj>€, with Traveler?, and Horses loade-J ; afler 
W. Romeyn. Two Landscape;, with Figures and Cattle ; 
after Btrshtra. Cavaliers and Horses at the door of an 
Inn ; afttr Wouwermans. A pair of Landscajje.?. with 
Cattle ; afler Jokn Henry Roos. A Landscape, with a 
Woman carrying a Lamb, with an Ox, and some Sheep ; 
after J. le Ducq. A Shepherdess, with a Cow and some 
.Sheep ; after 'Ph. ran Bereerx. A Lanftcape. with a 
Waterfall ; after J. Both. A View in Holland ; after J. 
Wynants. A Landscape, with a Shepherd playing on his 
Pipe, and several Animals ; afler A. Vanderrelde. Fig- 
ures going a hawking ; after Karel dii Jardin. 

KOBELL, Franz, was a younger brother of 
Ferdinand Kobell, bom at Manheim in 1740. — 
From a strong predilection for art. he joined his 
brother, who wa.s .Secretary to the Electoral Court 
of Manheim. and with his instruction and as.sist- 
ance he made such proficiency as to attract the 
notice of the Elector Charles Theodr.re. who sent 
him to Italy to study, where he remained nine 
years, studying the classic scenery and antique edi- 
fices and ruins about Rome and making numerous 
sketches from them. On his return to Manheim, 
the Elector appointed him his principal painter. 
He exc-elled in sketching and drawing landscapes 
and buildings with a pen which was his favorite 
pursuit, and he executed a multitude of such. (hi.s 
biographer says 10,000) in so exquisite a manner 
that they were much sought after. Consequent- 
ly his oil paintings are rare. He died at Munich 
in 1822. 

KOBELL. Hendrick or Henry, a Dntch marine 
and landscape painter, bom at Rotterdam in 1751. 
His father was a merchant, and intended his son 
for that profession, but showing an early predilec- 
tion for painting, by sketching the shipping of the 
port, and the river scenery in the vicinit\', he wa.s 
allowed to pursue the bent of his genius after hi.s 
return from London, whither he had been sent on 
commercial matters while young, and where he 
devoted more time to his favorite art than to 



KOBE. 



444 



KOEC. 



trade. He accordingly went to Amsterdam, where ; 
he made such progress, that in two years he was [ 
admitted a member of the Academy in that city. ; 
lie went to the Rhine and the Meuse, and made ' 
finished drawings of some of the most beautiful ': 
scenery of those rivers. He then settled in his 
native city, where he continued to paint land- | 
scapes and marines with distinction till his death ' 
in 1782. He executed a great number of drawings 
of landscapes, marines, battle-pieces and other sub- 
jects, which were eagerly sought after by con- j 
noisseurs. There are some etchings of marine j 
subjects attributed to him. 

KOBELL, Jan, an eminent painter of landscapes \ 
and animals, was the son of the preceding, and born ! 
at Utrecht in 1782. His father dying the same I 
year, he was placed in the Orphan Asylum. — j 
AVhen he had grown a j^outh, he was placed un- | 
der the instruction of W. R. vander Wal, who 
paid great attention to his studies, and made him 
design from nature, and adopt Paul Potter for 
his model. He made great progress, and produced 
various landscapes and animal subjects, which 
were received with great applause and were ad- 
mitted into the choicest collections. His reputa- 
tion continued to increase till his death in 1814, 
in the bloom of life, when he bid fair to rival the 
most illustrious painters of his country in his 
time. He died greatly lamented by his country- 
men, who are justly proud of his works, and consid- 
er that he upheld the celebrity of the old Netherland 
school of painters. His pictures for truthfulness 
of representation, skilful composition, and beau- 
tiful coloring, rival the works of Paul Potter. As 
a proof of his merit, it is only necessary to men- 
tion that, though he received liberal prices for 
them, the commercial value has more than quad- 
rupled since his decease. He left some exquisite 
drawings, which are -very valuable. He also 
etched a few prints from his own designs in a 
very spirited manner. 

KOBELL, Jan, Senior, was the younger bro- 
ther of Hendrick Kobell, with whom he stud- 
ied landscape painting, but not succeeding in this 
branch of the art to his expectations, he bent his 
attention to engraving. He does not seem to have 
acquired much distinction. 

KOBELL, Jan, Junior, was a son of the pre- 
ceding, and cousin-german to Jan, the son of Hen- 
drick K., was born at Rotterdam in 1800, or 1802. 
for authors differ. Like his cousin, he painted 
landscapes and cattle with great reputation, and 
like him he died young, in 1838. Some opinion 
of his merits, and the estimation in which his 
works were held in his own country, may be 
formed from the fact that, at the sale of his ef-' 
fects soon after his death, his pictures brought at 
auction from 1000 to 2800 florins, and his draw- 
ings 300 to 400 florins. 

KOCK, Matthew. See Cock. 

KOCK, M., a Hutch engraver of little note, 
who flourished about 1690. He went to England, 
where it seems he engraved a large plate represent- 
ing the Procession of William III., which took 
place Feb. 5th, 1691. 

KOEBERGER, Wenceslaus, a Flemish paint- 
er and architect, born at Antwerp in 1554. He 
studied painting under Martin de Vos, and after- 
wards went to Rome, where he resided several years. 



studying and designing from the choicest monu- 
ments of art in that metropolis. He went to Na- 
ples, where he formed an intimacy with a Flemish 
painter named Franco, whose daughter he married. 
This union fixed his residence at Naples for several 
years, during which time his reputation extended, 
so that be found abundant employment, and he 
received numerous invitations to return to his 
country. He received a commission from the 
confraternity of the monks of St. Sebastian, to 
paint a picture of the martyrdom of that saint for 
their chapel in the cathedral of Notre Dame at 
Antwerp, which he executed in such a manner as 
to increase his reputation, and the work was ad- 
mired even in that rich assemblage of the choice 
productions of the Flemish school. The arch- 
duke now invited Koeberger to Brussels, and he 
quitted Italy with regret, and returned to his na- 
tive city, and soon after settled at Brussels, where 
he was appointed chief painter and architect to 
the Archduke. He painted several altar-pieces 
for the churches of Flanders and Brabant, and du- 
ring many years had the superintendence of the 
public buildings. Vandyck painted his portrait, 
which was finely engraved by Lucas Vosterman. 
As an architect, Koeberger gained considerable 
eminence, and was commissioned to conduct the 
embellishments for the chateau of the Archduke, 
near Brussels, who appoipted him his principal 
architect. He erected a number of fine edifices at 
Brussels, among which are the church of Notre 
Dame de Montagu, after the plan of St. Peter's. 
He died, aged seventy, in 1624. Authors disagree 
as to the time of his birth and death. Balkema 
says he was born in 1560, and died in 1630. 

KOECK, or COECK, Peter, a Dutch painter, 
architect, and engraver on wood, born art Alost in 
1500. lie studied under Bernard van Orley at 
Brussels, and then went to Italy, where he prin- 
cipally devoted himself to the study of architecture. 
On his return to Brussels, he was engaged by a 
company of speculators to paint the cartoons for a 
manufactory of tapestry they intended to estab- 
lish in Turkey. For this purpose Koeck went to 
Constantinople and made designs of whatever he 
thought most interesting in the manners and cus- 
toms of the Turks. The project fell through, and 
Koeck returned to Brussels, and bent his atten- 
tion to the practice of his profession, in which he 
acquired so much distinction, that the Emperor 
Charles V. appointed him his painter. He painted 
some pictures for the churches in Brussels and 
other places, and the portraits of the Emperor and 
other distinguished personages. He also engraved 
the designs he had made in Turkey in seven large 
wooden cuts, which, when joined together, form a 
ver}^ long print, resembling a frieze. They repre- 
sent, in seven compartments ; 1, the March of the 
Grand Signior with his Janizaries ; 2, the Grand 
Signior with his Suite in his promenade ; 3, a 
Turkish Marriage, with the Dances ; 4, the Cere- 
monies of the Turks in the burial of their dead ; 

5, the Festivals of the Turks at the New Moon ; 

6, their Customs at their Repasts ; 7, their mode 
of Traveling and making War. The whole forms 
a very curious work, containing a multitude of 
figures habited in their appropriate costumes, and 
very carefully executed. 

Peter Koeck was appointed architect to Charles 
V. None of his edifices are mentioned, but he 
left several treatises on architecture, geometry, and 



KOED. 



445 



KOER. 



perspective, Avhich possess considerable merit, and 
contributed to the advance of the art. He died in 
1550. 

KOEDYCK. D.. a Dutch mezzotinto engraver, 
who flourished about 1730, and executed some 
prints after Metzu and other masters, and some 
portraits in an indifferent style. 

KOEDYK, Nicholas, a Dutch painter, born at 
Zaandam in 1681. Little is known of this artist. 
He is said to have enjoj'^ed the favor of Peter the 
Great. Balkema says there is no doubt of the 
fact that Koedyk painted the famous picture called 
UEscalier Tournant (the Winding Stair,) which 
was purchased in Holland to be sent to Russia. 
This picture, together with La Chambre de VAc- 
couchee, by Gerard Douw, and a large picture of a 
Herd of Cattle by Paul Potter, intended for the 
Imperial Collection at St. Petersburg, were lost at 
sea. There is a fine portrait of Admiral Pieter 
Pieterz Hein, in the Museum at Amsterdam, by 
Koedyk. 

KOEKKOEK, Jan Hermann, a Dutch marine 
painter, born in 1778. He was the father of the 
Koekkoeks of the present day, whose fame has 
spread over all Europe, as among the first marine 
painters of the age. He was a good artist, and 
was hving at Amsterdam in 1844. His son Jan, 
was born in 1811, and died in 1831. He possessed 
extraordinary talents. It may be interesting to 
know that there are still three Koekkoeks, sons 
of the preceding, residing at Amsterdam, viz : Ber- 
nard Cornelius, Marinus Adrian, and Hermann. 
Their subjects are marines and landscapes with 
figures and cattle. 

KOELLA, John, a Swiss painter, born at Staefa, 
in the canton of Zurich, in 1740. He studied un- 
der Gaspard Fuessli, and became a reputable artist. 
He died in 1778. His nephew, Henry Koella, was 
born in 1737, and studied under John K., and S. 
J. Fuessli. He visited Rome for improvement, 
and on returning to Switzerland, soon gained con- 
siderable reputation. He painted several excel- 
lent portraits and historical compositions, and 
would probably have attained eminence, had he 
not died young. 

KOENE, Isaac, a Dutch painter, born at Haer- 
lem in 1650. He studied under Jacob Ruysdael, 
and painted landscapes and waterfalls in the charm- 
ing style of that master. The figures are fre- 
quently inserted by Barent Gaal. His pictures in 
private collections only, retain his name. Most 
of those which have passed through dealers' hands 
have been converted into the works of his master, 
b}'- the erasure of his name, and the substitution 
of that of Ruysdael, for the sake of greater prices. 
Koene died at Haerlem in 1713. 

KOENIG, Anthony Balthasar, a Prussian 
engraver, was born at Berlin about 1676. He en- 
graved some portraits of distinguished personages, 
among which are the following : 

PORTRAITS. 

Frederick William, King of Prussia ; after Weidemann. 
Frederick, Baron of Derfflinger, General of Cavalry. — 
Charles Gottfried Schrader, Aulic-counsellor to the King. 
Alexander Hermann, Count of Wartensleben. 1716. The 
Monument of Charles Gottfried Schrader, 

KOENRAAT, a Dutch painter, born at the 
Hague in 1678. He was a pupil of Constantine 
Netscher, and painted flower-pieces in an elegant 



style, with a light, free pencil, and brilliant color- 
ing. He died in 1747. 

KOERTEN, Joanna. See Joanna Block. 

KOETS, RoELOF, a German painter, born at 
ZwoU in 1655. He was first instructed by his 
father, who was a portrait painter of little note, 
and who placed his son at the age of sixteen with 
Gerard Terburg. Under the able instruction of 
this master he made rapid progress, and soon sur- 
passed all his fellow students. The praise be- 
stowed upon him by his master is said to have 
excited so much envy that he was obhged to leave 
the school at the nge of eighteen, when he made 
nature his study. Ke now devoted himself en- 
tirely to portrait painting, and having succeeded 
in painting the portrait of Count Dalwigh, that 
nobleman recommended him to Henry Casimir, 
Stadtholder of Friesland, who received him into 
his patronage and favor. Through his influence 
he painted the portrait of William III., which 
brought him the patronage of all the English no- 
bility who attended that monarch at Loo. Pat- 
ronage now poured upon Koets to his heart's con- 
tent, and he is said to have painted five thousand 
portraits with his own hands, all of them well 
finished, without any assistance whatever. This, 
however, is one of those marvelous stories that 
some authors love to trumpet abroad, no matter 
how incorrect. He painted with great freedom 
and readiness, designed well, selected an agreeable 
choice of attitudes, and he was strictly attentive 
to nature. He died in 1725. 

KOHL, Andrew, an obscure German engraver, 
who flourished at Nuremberg about 1609. Among 
other things he engraved an ornamental frontis- 
piece to a work on architecture marked A. K,. 
1609. It is executed on copper in a free and mas- 
terly style, resembling drawing with a pen. 

KOHL, Clement, a German engraver, born at 
Prague in 1752. He studied under J. Schmutzer, 
at Vienna, where he took up his residence. He 
executed some portraits and historical subjects 
with great neatness and delicacy, among which 
are the following : 

portraits. 

Frederick William, Prince of Hohenlohe ; after J. Kreut- 
zinger. Serges, Prince of Gagarin ; L. Posh, p. CI. 
Kohl, sc. Viennce ; fine. The Princess of Gagarin ; do. ; 
fine, Charles William Ferdinand, Duke of Brunswick ; 
Ant. Graff, pinx. Ferdinand, Duke of Brunswick and 
Lunebourg ; after Ziesenis. 

SUBJECTS. 

Jacob's Blessing ; after L. Kohl. 1775. An Astrologer 
explaining the Sphere ; do. A Professor instructing his 
Students : do. 

KOK, Jan Matthew, a Dutch painter, was 
born at Amsterdam in 1720. He studied under 
Nicholas Verkolje. He possessed considerable tal- 
ent, and would have distinguished himself had he 
confined himself to one branch of the art ', but he 
loved variety, and painted sea-pieces, landscapes 
and cattle, views of chateaux, figure-pieces, &c. 
The time of his death is not recorded, but his col- 
lection of pictures was sold in 1771. 

KOLBE, Carl Wilhelm, a German engraver, 
born at Berlin in 1757. He received a good edu- 
cation, and was for many years professor of lan- 
guages in the Academy at Dessau. At the failure 
of this institution, he was obliged to seek some 



KONI. 



446 



KOOT. 



other way of obtaining a livelihood, and by the 
?idvice of his relative Chodowiecki, he entered the 
Academy at Berlin, at the age of thirty-six. He 
soon made rapid progress, and manifested excel- 
lent talents for engraving landscape. His style is 
formed on those of Gessner and Waterloo. He 
wrought with great rapidity, yet his design is very 
correct. The best of his plates are those after his 
own designs. Most of them have been published 
in collections, among which are forty-nine plates, 
mostly of landscapes, published at Leipsic in 1796. 
Kolbe was chosen a member of the Berlin Acade- 
my of Fine Arts. He died in 1835. 

KONINCK, David de, a Flemish painter, born 
at Antwerp in 1636. He studied under John Fyt, 
and painted subjects similar to those of that mas- 
ter, excelling particularly in designing all varieties 
of birds. His progress was so great, that Fyt is 
said to have become jealous of his pupil, who 
quitted Antwerp, and traveled through France, 
Germany, and Italy, residing several years at 
Rome, where his pictures were esteemed. The 
works of Koninck possess considerable excellence, 
though greatly inferior to those of Fyt. He died 
in 1087. 

KONINCK. See Coninck. 

KONING. See Coninck. 

KONING, James, a Dutch painter, born at 
Amsterdam in 1650. He studied under Adrian 
Vandervelde, under whose able instructions he be- 
came an eminent artist, and painted landscapes 
with figures and cattle, in the style of his master, 
with great success. He also painted small pictures 
of historical subjects, in a style of excellence. He 
was invited to the court of Denmark, where it is 
supposed he died. 

KONING, William, a Dutch engraver and 
printseller, who resided at Amsterdam, and en- 
graved a few indifferent prints, among which are a 
set of sixteen, representing the building, use. and 
destruction of ships. 

KONING, N. There was formerly in the Lou- 
vre collection, a full-length portrait by this artist, 
of Charles I. of England. 

KONINGH, Philip de, a Dutch painter, born 
at Amsterdam in 1619. and was one of the ablest 
scholars of Rembrandt. He painted historical 
subjects and portraits, but was particularly emi- 
nent in the latter. His portraits are remarkable 
for the striking resemblance and great character 
of nature that appears in them, for choice and va- 
riety of attitude, and for rich and harmonious col- 
oring, free from the dark shadows of Rembrandt, 
and approaching the chaste and tender touching of 
Vandyck. His portrait, painted by himself, is in 
the Florentine Gallery. He also painted land- 
scapes, which are among the finest of the Dutch 
school, blending the styles of Rembrandt and 
Ruysdael. They are generally bird's eye views 
of the country, representing distance and va- 
riableness of aspect with wonderful success. He 
died in 1689. 

KOOGEN, Leonard vander, a Dutch painter, 
born at Haerlem in 1610. His parents were in 
affluent circumstances, and on his exhibiting a de- 
cided taste for the fine arts, they sent him to Ant- 
werp, and placed him in the school of Jacob Jor- 
daens. His cotemporary in this school was Cor- 



nelius Bega, and a friendly intimacy and rivalry 
sprang up between them, which was advantageous 
to both. Koogen at first painted historical pictures, 
with figures nearly of life size, but he afterwards 
painted conversations and boors regaling, in the 
manner of Bega. His pictures are ingeniously 
composed, his figures are correctly and spiritedly 
designed, and his coloring is clear and transparent. 
As he possessed an affluent fortune, he onl}^ paint- 
ed for his amusement, and his pictures are scarce, 
being hardly known out of his own country, 
where they are highly esteemed. He died in 1681. 
He executed a few spirited and masterl}^ etchings, 
in the style of Salvator Rosa, among which are 
the following : 

A set of six prints of Soldiers ; dated 1664, 1665, and 
1666. A set of four, representing Apollo and the Muses; 
the Battle of the Giants ; a Sacrifice near a Tomb ; a 
Standard-bearer, with Soldiers. Another set of four ; a 
Female Head, 1664 ; an Ecce Homo, 1664 ; St. Sebastian, 
1665 ; and two Men playing at Trictrac. 

KOOI, WiLHELM Bartel VANDER, was bom 
at Augustinusga, in Friesland. in 1768. He went 
to Amsterdam, where, in 1808. he obtained the 
prize of two thousand francs for the best pic- 
ture in the exhibition. The subject was a Lady 
receiving a letter from her domestic. In 1823, he 
exhibited his Flute-Player, at Ghent, which at- 
tracted great attention. His pictures of domestic 
scenes and fancy subjects have received the warm 
approbation of the public. He died at Leeuwarde, 
in 1836. 

KOORNHERT. See Cuernhert. 

KOOTWYCK, or COOTWYCK, Jurian, a 
Dutch engraver, born at Amsterdam in 1714. He 
engraved some plates in imitation of the drawings 
of the Dutch masters, in aquatint, as well as oth- 
ers after his own designs, among which are the 
following : 

SUBJECTS AFTER VAKIOUS MASTERS. 

A Sea-piece ; after Lud. Backhuysen ; scarce. A 
Landscape, with figures and animals ; after Berghem. 
Three Landscapes, with cattle ; after P. van Bloemen. 

SUBJECTS SUPPOSED TO BE FROM HIS OWN DESIGNS. 

A Shephei'd playing on the Flute to a Shepherdess. An 
old Woman sitting, holding a Paper. A Man holding his 
Hat on his Knee. Three Landscapes. An Ox and a Cow. 
An Ass with Panniers. 

KOUWENHOVEN, Jacob, a Flemish painter, 
born at Rotterdam in 1777. He studied under 
Ommeganck at Antwerp, in whose style he paint- 
ed landscapes and cattle, in an excellent manner. 
Many of his works are to be found in the English 
collections. He died at Rotterdam, in 1825. 

KOUWENBERG, or KAUWENBERG. Chris- 
tian VAN, a Dutch painter, born at Delft in 1604. 
He was instructed in the rudiments of the 
art by John van Es. He afterwards went 
to Italy, where he resided several years, study- 
ing with great assiduity, and became an emi- 
nent historical painter, more in the Italian than 
the Flemish manner. On his return to Holland, 
he was employed by the Prince of Orange to exe- 
cute several works in the chateau of Ryswick and 
the Palace in the Wood. His subjects are de- 
signed in the grand style, with figures of life size. 
His design is tasteful and correct, and his coloring 
exceedingly natural. He particularly excelled in 
designing the nude figure. There were many of 



KRAP. 



447 



KRIE. 



his works in the royal palaces and public edifices 
of the Netherlands. He died in 1667. 

KRAFFT, James Louis, a Flemish engraver, 
born at Brussels in 1710 ; died in 1790. He en- 
graved several plates after Rubens, and other mas- 
ters, in a coarse, tasteless style, among which the 
following are the best : 

SUBJECTS AFTER RUBENS. 

Job tempted by bis Wife. Ghrist giving the Keys to St. 
Peter. Christ with Nicoderaus. Jupiter and Danae ; af- 
ter a drawing by Rubens from Titian. Venus and Cu- 
pid ; do. ; from Giorgione. 

KRAHE, Lambert, a German painter and emi- 
nent connoisseur, born at Dusseldorf. about 1730. 
After having received instruction in his native 
city, he went to Rome, and studied under Subley- 
ras and Benetiali. After his return to Dussel- 
dorf he acquired considerable distinction, and was 
appointed inspector of the Electoral Picture Gal- 
lery, which office he held till his death, in 1790. 
There are several of his works in the Dusseldorf 
Galler}-. He possessed an excellent knowledge 
of art, of which he was an enthusiastic lover, and 
he was an affectionate and active friend to all 
young artists with whom he came in contact. 

KRANAOH. See Cranach. 

KRAUS. Jane Sibyl. See Kusell. 

KRAUS. or KRAXS, George Melchior, a 
German painter and engraver, born at Frankfort 
in 1727. lie first studied under J. H. Tischbein, 
at Cassel, and afterward went to Paris, and be- 
came the pupil of J. B. Greuze. He painted land- 
scapes, which were much esteemed, and procured 
him the patronaj^e of the Duke of Saxe Weimar, 
for whom he executed several fine pictures of 
views about his capital. He also executed some 
spirited etchings after his own designs, among 
which are a set of six views near "Weimar, and a 
set of six views of chateaux in the Duchy of Wei- 
mar. 

KRAUS, John Ulric, a German designer and 
engraver, born at x\ugsburg in 1645, and died 
there in 1710. He imitated, in engraving, the 
manner of J. le Clerc. He also copied several of 
the prints of Albert Durer and Lucas van Leyden. 
He engraved some landscapes and perspective 
views, and many biblical subjects from his own 
designs for the booksellers. The following are 
among his principal works. For a complete list 
see Nagler's Kunstler Lexicon. 
portraits. 

Christophorus Scbultzius, Pastor Memel. ; after Fischer. 
John Dolle, physician ; after C, Lahert. 

VARIOUS SUBJECTS. 

The History of the Old and New Testament, in quarto, 
four subjects in each plate ; intended to be bound in octavo, 
so as to have two subjects on a leaf; the number of leaves 
would then amount to one hundred and eighty-eight, 
and they are so numbered. The Life of Christ, in thirty 
plates, two compositions on each plate ; published at Augs- 
burg in 1705. A set of six pleasing Views of Gardens. 
A set of six Landscapes. Thirteen plates of the most in- 
teresting Views in Nuremberg ; after the designs of J. A 
Graaf. A View of St. Peter's at Kome ; do. ; fine, 

KRx\USE, Francis, a German painter, born at 
Augsburg in 1706. His parents were extremely 
poor, but he early exhibited so much genius for 
painting, that a liberal gentleman, traveling to 
Italy, took him to Venice, and placed him under 
the tuition of G'o. Battista Piazzetta, under whose 



instruction he applied himself with such assiduity 
as to make surprising progress, and ultimately to 
imitate his master with such exactness as to de- 
ceive even him. On leaving Piazzetta he went to 
Paris, but unfortunately he was so conceited and 
illiberal to his brother artists, magnifying his 
own works and depreciating theirs, that he gained 
their ill will, and a fine picture of the Death of 
Adonis which he presented to the Academy was 
rejected. He afterward visited several cities in 
the south of France, where ho found some emploj^- 
ment in painting for the churches and convents, 
but not sufficient for his support, so that he was 
obliged to condescend to paint portraits in cray- 
ons. At length he reached Lyons, where he met 
with employment more worthy of his talents, and 
executed some fine pictures for the church of de 
la Sainte Croix, and a series of works for the 
church of Our Lady, on which he was engaged 
when death overtook him. in 175L Notwithstand- 
ing the vanit}^ of this painter, he possessed consid- 
erable talent. His design was good, his drawing 
very correct, and he excelled in the extremities of 
his figures ; his coloring had force and brilliancy, 
and his penciling great freedom, though unequal, 
sometimes appearing diy, at others full of spirit. 
He has been censured for using too strong an op- 
position of light and shadow ; but this is doubt- 
j less owing to an injurious mixture of colors, for 
I his pictures are said to have had a surprising bril- 
! liancy and lustre when first executed, but seem 
I to have undergone a great change — the lights fad- 
I ing. and the shadows turning darker, — so that his 
i pictures now appear heavy and unharmonious. 
'\ His most esteemed work is a picture of Mary 
I\Iagdalene anointing the feet of Christ, in the re- 
', fectory of the Carthusians at Dijon. 

j KRIEGER, Carl Friedrich, a German en- 
graver, who resided at Nuremberg, and engraved 
! some of the portraits of learned men to be found 
I in a book entitled Icones Virorum omnium Or- 
\ dinum, Eruditione, &c. 

KRUG, or KRUGEN, Lucas, or 

LuDwiG, a German artist, who 

fiourished in the first part of the 

IGth century. He was a goldsmith, painter, and 

engraver; but it should be recollected that many 

of the old gold.smiths were really artists, having 

an excellent knowledge of art. and being elegant 

designers. He is sometimes called the Master of 

the Pitcher, from his monogram, which is an L. 

I and a K. on a tablet with a pitcher between them, 

I Krug signifying a jug, or pitcher. His drawing 

j is tolerably correct, and he handled the graver 

j with great spirit and delicacy, somewhat in the 

I style of Lucas van Leyden. The following prints, 

{ which are extremely rare, are attributed to him, 

I though Brulliot and others think, without suffi- 

I cient reason, that they were by another artist 

I whom they call Lucas Kornelisz, called the Cook, 

but Kornelisz is a Christian name, and were it 

I not, the monogram (jug) can have no reference to 

I it. The prints are as follows : 

The Nativity. 1516. The Adoration of the Magi ; the 
same date. The Virgin suckling the infant Jesus. An 
I Ecce Homo, with the Instruments of the Scourging. St. 
i John the Evangelist writing, Avith the Virgin in the Clouds, 
' and below, the Devil emptying his Inkhorn. Two naked 
I Women holding a Skull, with an Ilour-glass upon it. A 
1 naked Female, seated with her back towards the Spectator. 



L 



KRUG. 



448 RUNS. 



/-N „ -.- V 



KRUGER, or 
_ .. _, ^ORUGER, Theo- 
dore, a German enuraver, born at Munich about 
1576. He went to Italy early in life, and passed 
the greater part of his life at Rome. He imitated 
the style of Francesco Villamena. He handled 
the graver with more vigor than taste, and there 
is a want of harmony in his lights and shadows. 
The following are his best prints, marked with his 
monogram. He spelled his name Oruger. 

The Life of St. John Baptist ; from a series of paintings 
by Andrea del SaHo, in the vestibule of the Confraternity 
del Scalza, at Florence ; T. Cruger, sc. 1618. The Last 
Supper ; do. The Keturn from Egypt ; after Francia 
Bigio. The infant Jesus, with St. John ; do. 

-^ TWF KRUGER, or ORUGER, Mat- 

^ ^or ^y^.rpyjj^y ^as a brother of the pre- 
ceding. According to Florent le Comte he en- 
graved some plates after Guido, Cav. Borghese, 
and other masters, as well as from his own de- 
signs, marked with his monogram. 

KRUGER, Andrew Louis, a German en.oraver, 
who flourished at Potsdam about 1760. He en- 
graved some plates for the Dresden Gallery. 

KRYNS, EvERARD, a Dutch painter, born at 
the Hague in 1568. He first studied under Charles 
van Mander. on leaving whom, he went to Rome, 
where he greatly improved himself in design and 
coloring. He afterward returned to his own 
country, where he painted history and portraits 
with reputation till his death in 1627. 

KUICK, John van, an eminent painter on glass, 
born at Dort in 1530. Having given some of- 
fence to the Jesuits, he was accused of heresy, and 
imprisoned. He was kept in irons for a long time, 
though John van Boudewinze endeavored to procure 
his enlargement. Out of gratitude, Kuick painted 
a picture representing the Judgment of Solomon, 
in which he introduced the likeness of his benefac- 
toi" as the principal figure. This gave new offence 
to the Jesuits, who increased the miseries of his 
imprisonment, and finally extorted an order for 
his condemnation, which was immediately carried 
into execution, and he was burned alive at Dort 
in 1572. 

KULGELGEN, Gerhard and Oarl Von, Ger- 
man painters, twin brothers, born at Bacharach, 
on the Rhine, in 1772. Their father was Ex- 
chequer Councillor in the service of the Elector 
of Cologne, and after the completion of their stud- 
ies at home, he sent them to Rome in 1791 to per- 
fect themselves. Gerhard painted history and 
portraits, and Carl landscape. On quitting Rome 
they went to St. Petersburg, where they met with 
great encouragement, and married two sisters of 
a noble family of Curland. In 1804 Gerhard re- 
moved to Dresden, where he soon obtained a high 
reputation, and was appointed Professor of Paint- 
ing in the Academy. His career was cut short 
in a melancholy manner in 1820, by a highway- 
man, who robbed and murdered his victim as he 
was traveling from Pillnitz to Dresden. His com- 
positions are simple, seldom having more than two 
or three figures, designed according to the most 
rigid principles of academic art, and executed with 
great precision and delicacy. His pictures are 
mostly sacred subjects. 

Carl continued to reside at St. Petersburg, where 
he acquii-ed great distinction, and was successively 



appointed court painter by the Emperors Paul 
and Alexander. He executed numerous paintings 
and drawings of scenery in Northern and South- 
ern Ru.ssia. It is recorded that he painted one 
hundred and seventy-one pictures, and made two 
hundred finished drawings. His works are most- 
ly confined to Russia, as they were executed by 
the order of the Emperors before mentioned. He 
died at Revol in 1832. 

KUNST, Cornelius, a Dutch painter, born at 
Leyden in 1493. He studied under Cornelius 
Engelbrechtsen. whose daughter he married. He 
painted scriptural and historical subjects in the 
style of his master with considerable success, 
though his works partake of the Gothic character 
of his time. His design was good, his expression 
forcible, and his coloring warm and harmonious. 
He also painted portraits and views of cities. He 
died at Le3^den in 1544. 

KUPETZKI, John, a Bohemian painter, born 
at Porsina in 1667. His father was a weaver, and 
compelled his son to work at the same trade, con- 
trary to his inclination, and treating him with 
severity. He ran away at the age of fifteen, and 
being destitute, his necessities compelled him to 
solicit charity at the gate of a nobleman, who took 
compassion on the youth, and received him into 
his castle, where a Swiss painter named Clans, was 
employed in decorating some of the apartments. 
The youth watched the progress of the painter 
with admiration and delight, and during his ab- 
sence, began to imitate his work, in which he 
showed such extraordinary talent, as to excite the 
astonishment of the artist and the Count. The 
latter now took him under his protection and en- 
gaged Claus to instruct him. He accompanied 
that artist to Vienna, and was soon able to assist 
him in his works. After studying three years, he 
went to Venice with letters to Cav. Liberi, who 
received him into his studio : he afterwards went 
to Rome, where he was taken into the patronage 
of Prince Stanislaus Sobieski, who employed him 
two years and liberally rewarded him. He after- 
ward visited other cities of Italy, studying with 
assiduity the works of the best masters, espe- 
cially those of Correggio and the Caracci. After 
a residence of tAventy-two 3'ears in Italy, he re- 
turned to Germany and settled at Vienna, where 
he was made painter to the Emperor Joseph 
I. On the death of that sovereign, Charles III. 
of Spain, who had succeeded to the Imperial 
throne, offered to continue him in the office, but^ 
he declined the honor, being desirous of visiting 
the different courts of the empire. He passed 
some time at those of the Elector of Mentz, 
the Duke of Saxe Gotha, m\di the IMargraA^e of 
Anspach, whose portraits he painted. It is also 
stated by Descamps that he was invited to Eng- 
land by George II., when that monarch visited 
Hanover, but the artist declined the proposal on 
account of age and ill health. It is also said that 
Peter the Great invited him to enter his service, 
and accompanj'- him to St. Petersburg, and that ho 
left Vienna on account of attacks of the Jesuits, 
who accused him of heresy ; which last, is probably 
a fact, as he was fond of variety and of his liberty. 
He died in 1740. The German biographers arc 
loud in their praises of the talents of Kupetzki, 
and they compare his coloring to that of Reni- 
brandt, and his drawing of the human figure to 



KUSE. 



449 



LAAR. 



that of Vandyck. He appears however to have 
confined himself almost exclusively to portraiture, 
in which he was very distinguished. 

KUSELL, Matthew, a German painter and 
designer, born at x^ugsburg in 1621, and died in 
1682. He engraved some plates of portraits and 
other subjects, both with the point and the graver, 
executed with great neatness and spirit. He also 
executed quite a number of etchings. Among 
others, we have the following by him : 

PORTRAITS. 

Christophorus Bender, Preetor Reipubl. Francofurtensis. 
Carolus Sulzer, Patricias Augustanus, &c. ; after Ulric 
Mays. Adolphus Zobelius, Patricius Augustanus ; J- Bey- 
schlag^pinx. Andreas Winkler, Lipsiensis. Johannes Mi- 
chael Dilherrus Theologus, &c. ; with an octagon border of 
sixteen medallions of Theologians; after Ulric Mayr ; fine 
and scarce. Leonardus Weissius ; Joh. Werner, pinx. ; fine. 

VARIOUS SUBJECTS. 

The Virgin and Child. A set of forty- two etchings of 
the Scenes and Decorations of an Opera ; Lodovico Bur- 
nacini, inv. Mat Kusell. 1668 

KUSELL. Melchiok, a German engraver, bro- 
ther of the preceding, born at Augsburg in 1622, 
and died in 1683. After learning the elements of 
the art in his native city, he went to Frankfort 
and studied under Matthew Merian. He executed 
a large number of portraits and other subjects in 
a highly finished, delicate, and agreeable style. 
He also executed many etchings with great neat- 
ness and spirit, and with a charming effect. His 
principal work is a set of ono hundred and forty- 
eight etchings, of various sizes, chiefly from the de- 
signs of William Baur, known by the name of 
the Miniatures of the Emperor, consisting of the 
Life, Miracles, and Passion of Christ, sea-ports, 
views in Italy, &c. For a complete list of the 
works of these brothers, see Nagler's Kunstler- 
Lexicon. The following are among his best prints : 

PORTRAITS. 

Sebastianus Kirchmajerus, professor public. Ratisbonen- 
sis ; after Ben. Block. 1680. Johannes Hozius, Augustae 
Consul ; Melchior Kusell. Maximilianus Curz. Lib. Bare 
in Senfftenu. 1658. Antonius Schottius. 1680. 

SUBJECTS. 

The Life and Passion of Christ ; twenty-five plates ; af- 
ter William Baur. A set of sixteen Landscapes and 
Views in Italy ; do. Seventeen Marines and Sea-ports ; 
do. Eighteen Views of Country Houses and Gardens ; 
do. Forty different Views ; published in 1681 ; do. The 
Scenes and Decorations for the Opera of Paris and Helen. 

KUSELL, Jane Sibyl, was *the daughter of 
Melchior Kusell, born at Augsburg in 1646. She 
was instructed in the art of engraving by her 
father, and married an engraver, John Ulric 
' Kraus. Among other subjects she engraved four 
landscapes after ^Isheimer, and a set of battles 
from the designs of Le Clere, executed with del- 
icacy and considerable spirit. She marked her 
plates with her initials, J. S. K. 

KUYP, See Cuyp. 

KYTE, Francis, an English mezzotinto en- 
graver of little note, who lived about 1730. He 
executed a few portraits in an indifferent style. 



LA AN, Adrian vander, a Dutch engraver, 
born at Utrecht about 1690, and was living in 
1742. He visited Paris, and wrought for the book- 
sellers. Among other plates, he etched a set of 



landscapes, in a neat, finished style, after the de- 
signs of J. Glauber ; also several plates after Fa7i- 
der Meulen ; and the portrait of Lawrence Coster, 
of Haerlem. 

LAAR. See Laer. 

LABACCO. Mario, an Italian engraver, who 
flourished from 1551 to 1567. Among other 
prints, he executed several for an architectural 
work by his father, Antonio Abacco. published at 
Rome in 1559. He also copied the Torment of St. 
Anthony, by Martin Schoen ; and Peter walking 
on the Sea, after Giotto^ by Beatrici. It is sup- 
posed that he executed many of the prints classed 
as anonymous in the catalogues. 

LABACCO. See Abacco. 

LABRADOR, Juan, a Spanish painter, born at 
Badajoz about 1530. He studied under Morales, 
but did not follow the style of that master, pre- 
ferring to paint flowers, fruit, and still-life, in 
which he attained great skill. In the catalogue of 
pictures in the King of Spain's collection, by Mr. 
Cumberland, two of Labrador's flower-pieces are 
very highly praised ; and Bermudez says they are 
superior to the productions of any other painter 
in this department of art. He died at Madrid in 
1600. 

LABEYLE, Charles, a Swiss architect, who 
died in France about 1762. He was invited to 
England by the Earl of Pembroke, who strongly 
recomm.ended him to the court. The principal 
work of Labe3^1e is Westminster Bridge, which is 
a lasting monument of his skill. 

LACER, C. Julius, a Roman architect, who 
flourished about a. d. 100, in the reign of Trajan. 
He built a small but elegant temple in lienor of 
that emperor, in the province of Alcantara in 
Spain, which still exists under the name of San 
Giuliano. He also constructed a bridge over the 
Tagus. 670 feet long, with six arches, considered 
the most celebrated in Spain. 

LACOUR, N., a French historical painter, born 
at Bordeaux in 1746. He visited Rome for im- 
provement, where he resided some time, and then 
returned to France. He settled at Bordeaux, and 
was chosen Professor in the Academy of that city. 
There are m^nj of his works in the churches and 
private collections of Bordeaux, among which are 
a picture of Orpheus rescuing Eurydice ; a Miser 
sleeping on his Treasure ; and St. Paulin opening 
his palace to the afflicted. Lacour also painted 
portraits, landscapes, and marine views. He died 
in 1814. 

LACRATES. See Hermon. 

LACROIX. Isaac Jacob, a Swiss engraver, 
born in the canton of Berne, in 1751. He studied 
under Christian de Mechel, with whom he remain- 
ed five years, and was employed on the collections 
of Hedlinger's Medals, and of the pictures in the 
Dusseldorf Gallery. He afterwards visited Rome, 
where he gained the friendship of Volpato and 
Hackert, and engraved a number of good plates, 
among which was a View of St. Peter's, after 
Hackert. On returning to Switzerland, he devo- 
ted himself to engraving vignettes, and other book 
ornaments. He died about 1805. 

LACRUZ, Manuel de, a Spanish historical 
painter, born at Madrid in 1750. At the age of 
nineteen ho gained the grand prize of the Acado- 



LADE. 



450 



LAER. 



my. and in 1789 was chosen a member. His pic- 
ture in the Cathedral at Carthagena, representing 
the four Guardian Saints of that city, gained him 
great reputation. He executed nine pictures for 
the convent of S. Francisco, at Madrid, which are 
now in the church del Rosario. He died in 1792. 

LADENSPELDER, Johann, or Hans ton 
Essen, a German engraver, born at Essen, in the 
Duchy of Berg, in 1511. Little is known of the 
ev'jnts of his hfe. Ottley mentions a third set of 
the cards entitled II Giuoco di Tarocchi, copied 
about 1550, by this artist. Bartsch describes about 
twenty pi'ints. marked /. L. V. E. S., and inter- 
prets it Johann Ladcnspelder von Essen, sculpsH ; 
one of them is dated 1548. Several are also mark- 
ed in.^ or inventor^ and are probably from his own 
designs. 

LADMIRAL. John, a Dutch engraver, born at 
Lej^den. about 1680. He executed many prints 
in colors, of anatomical subjects and natural his- 
tory, and was much employed by Frederick 
Ruysch. 

LAENEN, Christopher Jan, or Jacob van- 
DER, a Flemish painter, born at Antwerp about 
1570. According to Balkema, he studied under 
Rubens, and painted conversation pieces and sub- 
jects of gallantry, well composed and correctly de- 
signed. His pictures are not often seen out of the 
Low Countries, but they are much esteemed in the 
Flemish collections. He died in 1628. 

LAER. Peter de. called Bamboccio by the 
Italians, from his subjects. This eminent Dutch 
painter was born at Laaren. near Naarden, in Hol- 
land, in 1G13. He early manifested an inclination 
for art, and after acquiring the elements of de- 
sign in his own country, visited Rome for improve- 
ment, where he lived on terms of intimacy with 
Claude and N. Poussin, and was accustomed to de- 
sign the remains of antiquity near that city, in 
company with those celebrated painters. He resi- 
ded at Rome sixteen years, and was highly es- 
teemed by all classes, not only for his professional 
abilities, but for his amiable temper and vivacity 
of genius. His favorite subjects were fairs, rural 
festivals, farriers' shops, beggar-scenes, &c. ; usu- 
%\\j termed Bambocciate by the Italians, from 
whence he derived his surname. He had a partic- 
ular bias to all that is low and common, but his 
pictures are faithful imitations of nature, admira- 
bly composed, spiritedly and correctly designed, 
colored in a rich and vigorous style. He studied 
nature incessantlj^, and skilfully adapted his lights 
and shadows to the exact hour of the day he 
wished to describe. His invention is abundant ; 
his penciling vigorous ; and his chiaro-scuro is 
managed with the greatest intelligence. In 1639, 
at the earnest request of his friends, he returned 
to Holland, and settled at Haerlem, where he soon 
gained a high reputation, and his pictures were 
greatly admired. It is said by Houbraken that 
Peter de Laer became so jealous of the popularity 
of Wouwerman that his life was shortened ; but 
this story is highly improbable, as their subjects 
were very different, and Bamboccio had alread}^ 
attained great popularity in Holland when Wou- 
werman rose into public notice. Moreover, de 
Laer, being troubled with asthma, was subject to 
melancholy, and finally committed suicide by 
drowning, in 1673, five years after the death of his 



pretended rival ; wherefore his mortification must 
have been of ver}' long continuance. There are 
many of the admirable pictures of Bamboccio in 
the Italian collections, particularly in the Uifizj 
(xallery at Florence ; also in the Augsburg and 
Vienna Galleries. He etched a number of plates 
from his own designs, in a spirited and masterly 
style, among which are the jfollowing : 

A set of eight plates of Animals and Rural subjects ; in- 
scribed, P. de Laer, RomcB. 1636 A set of six of Horses; 
numbered ; do. A Blacksmith shoeing a Mule ; P. v. 
Laer,/.; scarce. A Blacksmith's Shop; P. D. Laer,/. 
Pomas; sometimes attributed to Visscher. 

LAER, or LAAR, Roeland van, a Dutch 
painter, the elder brother of the preceding, born at 
Laaren, according to Fuseli, in 1610. He visited 
Italy in company with Bamboccio, and adopted 
the style and subjects of that master, being not 
much inferior to his brother in design, touch, or 
coloring. After practising at Rome with good 
success for several years, he visited Venice, and 
died there in 1640. 

LAFOND, Charles Nicholas Raphael, a 
French painter, born at Paris in 1774. He stud- 
ied under Regnault, and attained a high rank 
among the modern French painters. His subjects 
are often of a poetical character, although he some- 
times painted scriptural pieces, and events in 
French historj^. The ceiling and the four large 
landscapes in the saloon of M. le Baron Barbiei*, 
are by Lafond. There are many of his works in 
the public and private collections of France, where 
they hold a distinguished rank. 

LAGRENEE, Louis Jean Fran90ts, an emi- 
nent French painter, born at Paris in 1724. He 
studied under Charles Vanloo, and at an early age 
gained the grand prize of the French Academ}^ for 
his picture of Joseph interpreting the Dream of 
Pharaoh. He visited Rome with the royal pen- 
sion, where he remained several j^ears, and then 
returned to Paris, in 1753. His picture of the 
Rape of Dejanira gained him admission into the 
Academy, and he soon attained such high reputa- 
tion that the Empress of Russia appointed him 
Director of the St. Petersburg Academy, and 
principal painter to the court. He painted sub- 
jects from sacred and profane history, and from 
the ancient poets. His portraits, also, are much 
admired, and most of his works have been en- 
graved. In 1804 he was presented with the Cross 
of the Legion d'Honneur, by Napoleon. Lagrenee 
was also Rector of the School of Fine Arts, and 
honorary conservator and administrator of the 
]Musee. He died in 1805. There are a number 
of small etchings by him, in a very spirited style, 
among "vhich are the following : 

The Virgin, with the Infant sleeping ; a/ter Guido. St. 
Peter and St. Jerome ; two prints ; /rom his own designs. 
The Virgin and Child. Charity and Justice, two emblem- 
atical subjects. The Sacrifice ' of Noah. A Sacrifice to 
Pan. 

LAGRENEE, Jean JAcauES, called the young- 
er, an eminent French painter, born at Paris in 
1740. He was the brother and scholar of Louis 
Jean Francois L., whom he followed to Russia, 
after visiting Rome. His master-piece is a picture 
of Telemachus in the island of Calypso. He was 
much attached to the antique, and succeeded in a 
process by which he made exact copies of ancient 
paintings of baths, Etruscan vases. &c., upon mar- 



LAGU. 



451 



LAIR. 



ble, porcelain, glass, and wood. He was connected 
with the manufactory at Sevres, and his designs 
for porcelain contributed greatly to the advantage 
of that famous establishment. He died in 1821. 

LA GUERRE, Lodis, a reputable French paint- 
er, born at Paris in 1663. He studied under 
Charles le Brun ; also in the French Academy; 
and made such good use of these advantages that 
at the age of twenty he visited England, and was 
employed by Antonio Verrio upon the large pic- 
ture in St. Bartholomew's Hospital. After this 
he obtained plentiful employment on his own ac- 
count, and painted a great number of ceilings, sa- 
loons. &c., for the nobihty. King William gave 
him apartments in Hampton Court, where he 
painted the Labors of Hercules, and restored the 
large picture called the Triumphs of Caesar, by 
Andrea Mantegna. He was also employed by 
Kneller to paint the decorations in his house at 
Wilton, where he produced works superior to his 
other productions. According to Lord Orford, he 
was unanimously chosen by the commissioners 
to paint the cupola of St. Paul's, but the interest 
of Sir James Thornhill prevented him from re- 
ceiving the commission. There are a number of 
prints by Laguerre, engraved in a good st3'le. 
among which is one of the Judgment of Midas. 
He died in 1721. 

LAGUERRE, John, the son of Louis L., was 
a native of London, and studied under his father, 
but quitted the pencil for the stage and music. Af- 
ter many years he returned to painting, and exe- 
cuted a number of scenes and other theatrical dec- 
orations. He also engraved several plates of dra- 
matic subjects. He died in 1748. 

LAIR, Jean Louis Cesar, a reputable French 
painter, was a native of Janville, and studied un- 
der Regnault and David. He painted manj^ sa- 
cred subjects of large dimensions for the churches, 
and a multitude of portraits and smaller pic^'ures. 
After practising the art with success at Paris for 
many years, he finally retired to his native place, 
and died there, in 1828. 

LAIRE. SiGisMUND, a German painter in minia- 
ture, born at Baviere about 1550. He visited 
Rome during the pontificate of Gregory XIII., 
and studied under Fran9ois du Chatel. His works 
are distinguished for their high finish, and softness 
of coloring. He painted a large number of Ma- 
donnas, which were greatly admired, and succeed- 
ed in acquiring fame and fortune. He died at 
Rome in 1636. 

LAIRESSE, Gerabd. an eminent Flemish paint- 
er, born at Liege in 1640. He was the son of Re- 
nier Lairesse, a painter of reputation, who had 
him instructed in music, poetry, and polite lit- 
erature, and taught him the elements of design. 
He afterwards studied under Bertholet Flem- 
ael, and at the age of sixteen painted several 
portraits and historical subjects for the Elec- 
tors of Cologne and Brandenburg, which gained 
him considerable reputation. Although he receiv- 
ed excellent prices for his works, j'-et his dissolute 
course kept him in indigence. He visited Utrecht, 
and afterwards removed to Amsterdam, where his 
reputation rose so high that the Dutch esteem 
him their greatest historical painter. Intimately 
acquainted with history and fable, his style was 
i grand and poetical, with a lively and ready inven- 



tion. He imitated N. Poussin in the choice and 
composition of his subjects, but hs fell far short 
of the purity, elegance, and elevated conceptions 
which distinguish the works of that great master. 
Although his figures are often short and ungrace- 
ful, 3^et they are draped in strict accordance with 
propriety of costume. His facility of operation 
was extraordinary, and he is said to have painted 
a picture of Mount Parnassus, with Apollo and 
the Nine Muses, in a single day. His works are 
enriched with architecture in a masterly style. 
Had Lairesse visited Italy, he would probably 
have attained great eminence; and, although with- 
out this advantage, his style is very accomplished, 
and his productions are greatly esteemed. In 1690, 
at the age of fifty, Lairesse was unfortunately de- 
prived ofhis sight, but he continued till his death to 
discourse to his brother artists on the theory and 
practice of painting, from which were collected the 
materials for the Treatise on Design and Coloring, 
which was published after his death, and passes 
under his name. He died at Amsterdam in 1711. 
His pictures are usually of easel size, among which 
the most celebrated are, Achilles discovered among 
the Daughters of Lycomedes ; the Death of Alex- 
nnder ; the Death of Germanicus ; Antony and 
Cleopatra ; the Ilistor}^ of Ileliodorus ; and Moses 
trampling on the Crown of Pharaoh. Among his 
altar pieces are the Martyrdom of St. Ursula, at 
Aix-la-Chapelle ; and the Penitence and the Bap- 
tism of St. Augustine, in S. Ursula, at Liege. 

As an engraver, he etched a great number of 
plates from his own designs, in a free and spirited 
style, admirably composed, with broad and power- 
ful lights and shadows. He also made many de- 
signs, which were afterwards engraved by Pool, 
Glauber, and other artists. His plates are some- 
times marked G. L., and sometimes with one of his 
monograms. The following are the principal : 

The Fall of our first Parents. Adam and Eve driven 
from Paradise. Joseph and his Brethren. Solomon con- 
secrated by the High Priest. The infant Jesus explaining 
to his Parents the Divine Will. The Incredulity of St. 
Thomas. Saint Teresa. The Parting of Hector and An- 
dromache. Antony and Cleopatra. A March of Ama- 
zons A large Bacchanalian subject. Venus lamenting 
the Death of Adonis. The Four Seasons ; designs for ceil- 
ings. Diana and Endymion. Bacchante, with Silenus 
asleep. 

Gerard Lairesse left two sons : Abraham, 
who died in 1739; and Jan, -who died in 1728. 
Neither of them rose to distinction. 

LAIRESSE, Ernest, a Flemish painter, the 
elder brother of Gerard L.. born at Liege about 
1635. After acquiring the elements of design 
from his father. Renier L., he visited Italy for im- 
provement, at the expense of the Prince of Liege, 
who on his return took him into his service, in 



LAIR. 



452 



LAMB. 



which he continued during life. He excelled in 
painting animals and huntings, and his pictures 
were much esteemed. He died in 1675. 

LATRESSE, James and John, the younger bro- 
thers of Gerard L., resided chiefly at Amsterdam, 
and gained reputation for their flowers, fruits, and 
bas-reliefs. 

LALLExMAND. George, a French painter and 
wood engraver of little note, born at Nancy about 
IGOO. There are a number of wooden cuts by 
him, which possess considerable merit. 

LALLEMANT, Philippe, a French painter, 
born at Rheims in 1629. He painted history with 
reputation, and died at Paris in 1716. 

LAMA. Gio. Bernardo, an Italian painter, 
born at Naples, according to Dominici, in 1508. — 
His father, Matteo Lama, an artist of little note, 
taught him the elements of design, and he after- 
ward became a pupil of Gio. Antonio Amato. 
The flight of P. da Caravaggio from Rome to Na- 
ples, in 1527, enabled Lama to study under that 
great master, whose stj-le he followed with excel- 
lent success. Among his principal works is his 
admirable Deposition from the Cross, in S. Giaco- 
mo degli Spagnuoli, frequently mistaken for the 
work of Polidoro ; and in S. Lorenzo a picture of 
the Stoning of Stephen. Lama is said to have dis- 
tinguished himself in architecture, but none of 
his works are mentioned. He died at Naples, in 
1579. 

LAMA, Gio. Battista, an Italian painter, born 
at Naples in 1670. He studied under Luca Gior- 
dano, at the same time with Paolo de Matteis. 
He painted subjects of history ; also easel pictures 
of mythological subjects, valued for their elegance 
of style and sweetness of coloring. Several of his 
works were in the Gallery of the Duke di S. Nic- 
colo Gaeta, at Naples. He died about 1740. 

LAMANNA, Girolamo, a painter and poet of 
considerable reputation, born at Catana, in Sicily, 
about 1580. He executed many pictures of merit, 
which are to be found in the Florentine collec- 
tions. He died in 1640. 

LAMBERT, George, a reputable English land- 
scape painter, born about 1710. He studied under 
William Hassell, but afterwards followed the style 
of Wootton, whom he decidedl}^ surpassed. His 
landscapes have a pleasing effect, but he chiefly 
excelled in theatrical decorations. In concert with 
Samuel Scott, he painted several views of the set- 
tlements in India, for the East India Company's 
House. One of Lambert's best works is a land- 
scape at the Foundling Hospital. Several of his 
views have been engraved, and he etched two 
plates from his own designs, with figures. He 
died in 1765. 

LAMBERTI, Bonaventura. an Italian painter, 
born at Carpi, in 1652. He went to Bologna, 
where he entered the school of Carlo Cignani, 
whose style he followed. According to Mengs, 
he was one of the last scholars of that master who 
attained eminence. After executing everal works 
at Modena. in concert with Lana. he vLsited Rome, 
mikI was commissioned to execute three pictures for 
tlio church della Minerva, and the Madalena. He 
piiated. also, the cupola in the church della Vittoria, 
i\v(] several other works, which displayed such per- 
Tl •lion of design, admirable composition, and beau- 



t}^ of coloring, as gained him great reputation. He 
did not execute many large public works. In the 
Palazzo Gabrieli are several of historical subjects, 
which have been much admired. The pictures in 
St. Peter's, by Lamberti. have been copied in mo- 
saic by Ottaviani. There is also a large engraving 
by Jacob Frey, of his fine picture of St. Frances- 
co de Paolo resuscitating a Dead Child. In 1693, 
Dorigny engraved a plate after Lamberti 's picture 
of the Virgin and Infant, with Saints. He died in 
1721. 

LAMBERTINI, Michele, an old Bolognese 
painter, who flourished from 1443 to 1469. Among 
other works he painted a picture in the Hall of 
the Fish-market at Bologna, mentioned by Lanzi, 
who says that Albano preferred it to the works of 
Francesco Francia, in regard to softness and deli- 
cacy, although painted considerably previous to 
the time of that master. It is dated 1443. 

LAMBORN, P. S., an Engli.sh engraver born in 
1722 ; died in 1780. He engraved a number of 
plates for Mr. Boydell ; also several portraits, 
among which are those of Samuel Johnson ; and 
Oliver Cromwell, after Cooper. 

LAMBRI, Stefano, a painter of Cremona, who 
studied with Cav. Gio. Battista Trotti. He was 
a reputable artist, and there are some of his works 
in the church and convent of the Padri Predicatori, 
at Cremona. He was living in 1623. 

LAME, GiDLiA. a Venetian paintress, who flour- 
ished in the first half of the last century. She 
acquired considerable reputation by her fine pic- 
tures in the churches Nunziata de' Miracoli. and 
S. Maria Formosa. 

LAME, DELLE. See Pupini. 

LAMI, Charles, a French painter, born at 
Montagne-au-Perche in 1679. He painted histo- 
ry, but did not attain much distinction. He died 
at Paris in 1733. 

L AMINO YS, Simon, a French painter, born at 
Noyon in 1620. His chief excellence was in paint- 
ing battle-pieces, and he attained considerable rep- 
utation in this branch. He died at Urianv in 
1683. 

LAMMA, Agostino, a Venetian painter, born 
about 1636. He studied under Antonio Calza. a 
scholar of Borgognone, and, according to Lanzi. at- 
tained considerable excellence in painting battle- 
pieces. He wrought chiefly for private collections, 
and executed many excellent works in the style 
of Matteo Stom, among which is a fine picture of 
the Siege of Vienna, in the collection of Sig. Gio. 
Battista Curti. Lamma was living in 1696. 

LAMOUREUX. a French sculptor, born at Ly- 
ons in 1674. He studied under Coustou, the El- 
der, and was employed to execute several impor- 
tant works at Lyons, among which are two excel- 
lent bas-reliefs in the chapel of Gonfalon, repre- 
senting Christ in the midst of the Doctors, and 
the Death of the Virgin ; also several statues in 
the church of the Annunciation. 

LAMPARELLI, Carlo, a native of Spello. and 
a pupil of Giacinto Brandi, mentioned by Orlandi 
as a reputable painter, one of whose works is in 
the church of Spirito Santo at Rome. He flour- 
ished about 1700. 

LAMSVELT, John, a Dutch engraver, born at 



LAMS. 



453 



LANG. 



Utrecht about 1660. His plates are executed in a 
style resembling that of Romej^n de Hooghe. 
The}^ are quite scarce, particularly his portraits, 
among which are the following : 

PORTRAITS. 

Oliver Cromwell ; an oval. John de "Wit, pensionary 
of llollanrl. Cornelius Pieterszoon Hooft. George Cas- 
sander. Hubert Duishuis, of Rotterdam. The Siege of 
Tournay, by the Duke of Marlborough and Prince Eugene. 

LAMSWEERDE, Simon Anthony van, a 
Dutch designer and engraver, born at Utrecht, 
according to Nagler, in 1625, and was living in 
1683. He executed several portraits in the style 
of Suyderhoef, but much inferior to him. among 
which are the following : 

Francis Gomarius, professor of theology at Groningen. 
Henry Alting, professor of theology at Heidelberg. Anna 
Maria Schurmans. 1657. Cyprian Regnier, juris-consult 
of Utrecht. Charles de Maets, professor of theology at 
Utrecht. 1659. 

LANA, Lodovico. an Italian painter and en- 
graver, born in the Modenese in 1597, and studied 
under Ippolito Scarsellino at Ferrara. He was a 
great admirer of the works of Guercino. whose style 
he imitated with success, exhibiting the vigorous 
opposition of his masses, with the spirited move- 
ment of Tintoretto. He settled at Modena, where 
he practised the art for many 3'ears, and founded a 
successful Academy, which was very highly es- 
teemed throughout Italy. There are many admir- 
able pictures by him in that city, the principal of 
which is in the church del Veto, representing the 
deliverance of Modena from the Plague. It has 
been highly extolled for abundance of invention. 
Originality and ingenuity of composition, correct- 
ness of design, vigor and harmony of coloring. 
Bartsch gives a list of his prints. He died in 1646. 

LANCASTER, Hume, an Enghsh painter of 
the present century, who was an old member of 
the Society of British Artists, and whose name 
was favorably mentioned every year in the reports 
of that institution. His subjects were chiefly ma- 
rine views, especially of Dutch scenery. He was 
obliged, by the force of circumstances, to paint for 
the picture-dealers, at prices barely sufficient to 
afford him sustenance, and the latter part of his 
histor}^ is sad indeed. He died in 1850. 

LANCE, Michel, a French painter, born at 
Rouen in 3 613. He attained considerable reputa- 
tion for his pictures of animals, fruits, and flowers, 
lie died at Paris in 16G1. 

LANCHARES, Antonio de, a Spanish painter, 
born at Madrid, in 1586. According to Palomino, 
lie studied under Eugenio Caxes ; but Bermudez 
says he was a scholar of Patricio Caxes, and a fel- 
low disciple of Eugenio C. He gained eminence 
in historical painting. There is a noble picture by 
him, in the choir of the convent de la Merced Cal- 
zada, at Madrid, representing the Virgin surround- 
ed by Angels ; and in the church of La Santa 
Cortesa da Paula, are two fine works, represent- 
ing the Ascension, and the Descent of the Holy 
Ghost. One of them is signed with his name, 
md dated 1620. He died in 1658. 

LANCILOTTI, Francesco, a Florentine paint- 
er, who flourished about 1500, and imitated the 
style of F. Mostaert, Vasari says he excelled in 
fire and candle-light scenes. He wrote a poem on 
the art. published in 1508. which has been reprint- 
ed in Bottari's Letters on Paintins:. 



LANOISI, ToMMASo, a painter of the Floren- 
tine school, was born at Citta S. Sepolcro in 1603, 
and died in 1682. He studied under Scaminossi, 
and painted in the style of Pietro da Cortona. 
Orlandi says that painting was hereditary in his 
family, and that two of his brothers were painters 

LANCONELLO, Cristoforo, an Italian paint- 
er, a native of Faenza, flourished about 1587. 
Lanzi says his style resembles that of Federigo 
Baroccio. There is a picture by him in the Erco- 
lani palace at Bologna, representing the Madonna 
and Child, with Saints, and a Glory of Angels. 
It is entirely in the style of Baroccio ; the airs of 
his heads are beautiful , it is pencilled with great 
delicacy, and colored in a rich and harmonious 
manner. 

LANCRET, Nicolas, a French painter, born at 
Paris in 1690. He studied under Claude Gillot 
and A. Watteau. and imitated the style of the lat- 
ter so closely that his pictures were often taken 
for those of that master, who became jealous 
of his pupil. His works are numerous, generally 
conversation pieces and gallant subjects, which 
have little of the grace of nature, and are inferior 
to Watteau in spirit of penciling, and transpa- 
rency of coloring. Many of his works have been 
engraved, and they were much in request at Paris. 
In 1719. he was chosen a Royal Academician, with 
the title of Peintre de fetes galantes, which suffi- 
ciently indicates the pecuharity of his style. He 
died in 1743. 

LANCRINCK. See Lankrinck. 

LANDERER, Ferdinand, a German engraver, 
born at Stein, in Austria, according to Nagler, in 
1743. He resided chiefly at Vienna, and executed 
a number of plates, both etchings and in the cray- 
on manner ; among which are the following : 

PORTRAITS. 

France Maurice, Count of Lary ; after Konolitz. Jo- 
seph de Kurz, author and actor ; from his own design. 

SUBJECTS AFTER VARIOUS MASTERS. 

Samson and Dalilah ; after Rembrandt. Two Land- 
scapes, with ruins and animals ; a.fter Dietricy. Two 
mountainous Landscapes ; after Pillem,ent. Two large 
Landscapes, with figures and cattle ; after Loutherbourg, 
Ten Heads; engraved in a style imitating Rembrandt. 

LANDFIELD, Ahas- 
UERUS DE. an old Ger- 
man wood engraver. — 
There are several small prints, marked with the 
accompanying monogram, which are attributed to 
this artist. See Londersell. 

LANDI, Cav. Gasparo, an eminent Italian 
painter, born at Piacenza in 1756. He entered the 
school of design in his native city, and was very 
assiduous in the study of the grand productions 
of Correggio and the Caracci. He gained the 
grand prize of the Academy at Parma, for his fine 
picture of Tobias and Sarah ; after which he was 
sent to Rome by the Marquis of Landi, and stud- 
ied under Pompeo Batoni. He was favored with 
the friendship of Canova, and other distinguished 
artists. After gaining a number of prizes at the 
exhibitions, he was chosen Professor of the Acad- 
emy of St. Luke by Pope Pius VI. He surpass- 
ed most of his cotemporaries in the grace of his 
compositions, and his beauty of coloring, particular- 
ly in the carnations. In 1813 he was commission- 
ed by the French government to execute several 



]OCL,»'Mi., 



LAND. 



464 



LANF. 



Tvcprks. and was appointed a Director of the School 
of l)csign established in the convent of Apollina- 
rius. His masterpiece is the picture in the church 
of the Dominicans at Piacenza, representing Christ 
ascending Mount Calvary. Landi left Rome in 
1829, and retired to Piacenza, where he died in 
1830: 

LANDON, Charles Paul, a French painter, 
and an eminent writer on art, was born at Nonant, 
in the department of Orne, in 1760. He entered 
the school of J. B. Regnault at Paris, where he 
made rapid progress, and having gained the grand 
prize of the Academy, he went to Rome with the 
royal pension, and remained there five years. On 
returning to France, he devoted himself to literary 
pursuits during the bloody scenes of the Revolu- 
tion. He exhibited at the Louvre three pictures : 
the Maternal Lesson, the Bath of Paul and Vir- 
ginia, and Dasdalus and Icarus, the two latter of 
which were for a long time in the Luxembourg 
Gallery. Landon was appointed painter to the 
Duke de Berry ; Chevalier of the Legion of Hon- 
or ; Correspondent of the French Listitute ; Con- 
servator of the Musee Royal, and of the Duchess 
de Berry's gallery. Among his works on art are the 
celebrated Annalesdu Musee, in 33 vols. ; and Les 
Vies et les CEiivres des Peintres les plus celebres. 
m 21 vols. He died in 1826. 

LANDRIANI, Paolo Camillo, called Duchi- 
NO, a Milanese painter, who flourished about 1600. 
He studied under Ottavio Semini. and became a 
good historical painter. He painted several altar- 
pieces for the Milanese churches, particular!)'- a 
Crucifixion and a Nativity, in the church of S. 
Ambrogio. The latter has more harmony and 
softness than the works of Semini. Landriani 
died about 1619. 

LxA.NDRY, Pierre, a French engraver^ born at 
Paris about 1630, and died about 1720. He en- 
graved a number of portraits, frontispieces, and 
other subjects for the booksellers. His plates 
are executed entirely with the graver, and his 
portraits possess considerable merit. Among 
them are the following : 

PORTRAITS. 

Louis XIV. of France ; after J. Prancois. Louis de 
Bourbon, Prince of Conty; after Grihelin. Charles de 
Bourbon, Bishop of Scisson. 1660. Abel Brunier, Physi- 
cian to the Duke of Orleans. 1661. Charles Brulart, 
Marquis of Genlis. Eustache de la Salle ; after C. Le 
Pebre. Anthony Godeau, an ecclesiastic ; after Ardisson. 
Francis Lescuyer, Cons. Beg. &c. 

SUBJECTS. 

St. Jerome ; P. Landry, sc. The Virgin and Child. 
Christ and the Woman of Samaria ; after Albano. The 
Head of St. John Baptist ; after An. Caracci. 

LANDULFO, Pom peg, a Neapolitan painter, 
born in 1515. Dominici says that he was of a 
noble family, and was placed under Gio. Bernardo 
Lama, where he made such rapid progress as to 
paint, while very young, an altar-piece for the 
church of S. Matteo at Naples, representing the 
Virgin and Infant in the Clouds, surrounded by 
worshipping Angels. He afterward painted a 
noble picture of the Holy Family, with Saints, for 
the church of La Pieta, which was considered his 
best production. He died at Naples in 1590. 

LANETTI, Antonio, a painter of the Milanese 
school and a native of Bugnato, according to Or- 
landi. He was a scholar of Gaudenzio Ferrari, in 



whose manner he painted. He lived about 1550- 
LANFRANCO, Cav. Giovanni, an eminent 
Italian painter, born at Parma on the same day 
with Domenichino, in 1581. While young he was 
placed as a page in the service of Count Orazio 
Scotti at Piacenza. Having a strong inclination 
for art, he often amused himself with designing 
upon the walls, with a piece of chai'coal. This 
was observed by the Count, who became his pat- 
ron, and placed him under Agostino Caracci, who 
was at that time employed by the Duke Ranuccio 
at Ferrara. Here Lanfranco made such rapid 
progress, that at the age of sixteen he painted a 
picture of the Virgin, with Saints, which was 
greatly admii-ed, being placed in the church of S. 
Agostino at Piacenza. Stimulated by this success, 
he applied himself with great assiduity, studying 
carefully the works of Correggio at Parma. At the 
age of twenty he lost his instructor, and then vis- 
ited Rome, becoming the pupil of Annibale Caracci, 
who employed him in the Farnese Palace, and in 
the church of S. Jago, where he executed a num- 
ber of works after the designs of Annibale. He 
studied attentively the works of Raflaelle, and af- 
ter the death of his instructor, was employed by 
the Cardinal Sannese. in several works ; and his 
fresco paintings in S. Agostino, were greatly ad- 
mired, particularly his Assumption of the Virgin. 
For Pope Paul V. he painted a number of pic- 
tures in S. Maria J^Iaggiore ; and also in the pal- 
ace at Monte Cavallo, among which were Moses 
striking the Rock, the Sacrifice of Abraham, and 
the Flight into Egypt. Like his great model Cor- 
reggio, the conceptions of Lanfranco are grand, 
and his foreshortening bold and daring ; his pen- 
cil is lively and animated ; his groups are artfully 
combined; his draperies cast with taste and judg- 
ment. His compositions are copious and ingen- 
ious, though sometimes tumultuous and confused; 
and his design rather negligent than incorrect. 
Resting in his great natural endowments for fame, 
he bestowed little study upon his works, which 
are deficient in expression, seldom harmonious, and 
occasionally characterized by the violent contrasts 
of Caravaggio. hy the death of Cardinal Mont- 
alto, the patron of Domenichino, Lanfranco suc- 
ceeded through intrigue, in procuring the commis- 
sion to paint the cupola of S. Andrea della Valle. 
It had been promised to Domenichino. who had 
previously painted the four angles in a most ad- 
mirable manner ; and stimulated by the presence 
of these Avorks of his rival, Lanfranco exerted ever}'' 
pawer he possessed, and produced a wonderful 
work of art, on an immense scale, some of the 
figures being twent}^ feet high. It represents the 
Virgin seated in the clouds surrounded with saints, 
and contemplating the figure of Christ, which is in 
the upper part of the picture, from which ema- 
nates a celestial light which irradiates the whole 
composition with great tenderness and harmony. 
This celebrated work may well rank among the 
greatest works of this description, next to the 
domes of Correggio, for its grandeur and judgment 
of composition, boldness of design, and daring fore- 
shortening. In 1646 he was invited to Naples to 
paint the cupola of the church of del Gesu, which 
he completed in one year and a half Domenichi- 
no was engaged to paint the cupola of the Treas- 
ury at Naples, and had already partly com})leted 
it, when the intrig-ues of Lanfranco occasioned the 
work to be suspended. After the death of that 



LANG. 



455 



LANG. 



i 



modest artist, whose merits were infinitely supe- 
rior to Lanfranco. tlie latter was employed to finish 
the work ; and he destroyed all of Domenichino's 
performance, except the angels, which abundantly 
attest the surpassing excellence of that painter, 
in comparison with his base competitor. On ac- 
count of the disturbances at Naples, Lanfranco 
was so-on afterwards compelled to return to Rome, 
during the pontificate of Urban VIII., who em- 
ployed him to paint a picture for the church of 
St. Peter, representing that saint walking on the 
sea, engraved by Gerard Audran ; also a series of 
pictures of subjects from the Passion of Christ, 
for the chapel of the Crucifix. The pope was so 
highly pleased with these works, that he confer- 
red upon Lanfranco the honor of knighthood. His 
last works were in the tribune of S. Carlo Cati- 
nari, which are the feeblest of his productions. 
He died in 1647. There are a number of spirited 
and masterly etching's by him, which are usually 
signed with his name, or with his initials, G. L. 
x4mong others are the following : 

The Messengers of Moses returning from the Land of 
Cnnp-an. The Triumph of a Roman Emperor. An Em- 
peror haranguhig his Soldiers. Part of the pla,tes engra- 
ved conjointly with Sisto Badaloechio, from the paintings 
by Raffaelle in the Vatican, called Rafaelle's Bible. The 
whole consi.«ts of lifty-one prints, besides the titles, [and 
many others, of which aji account will be found inNagler.J 

LANG, Mauritius or Moritz, a German en- 
graver, who flourished about 1670, and was living 
in 1681. He wrought entire]}^ with the grav- 
er, and resided chiefl}'" at Vienna, where he execu- 
ted a number of frontispieces, book-plates, and 
portraits for the booksellers, among which are 
several in Priorata's History of the Emperor Leo- 
pold. 

LANGE, Francesco, an Italian painter, born 
at Anneci in 1676 ; died in 1756. He studied 
first under his father, and afterward at Turin un- 
der Andrea Chevilli, his maternal grandfather, 
where he remained eight A^ears. He then settled 
at Bologna, whei-e he devoted himself to the study 
of the works of Albano. There are many excel- 
lent works by him at Turin and Bologna. 

LANGE. Johannes Remigius, a Flemish paint- 
er, who flourished about 1555. He studied under 
Vandyck, and is said to have been a close imita- 
tor of the style of that master, particularly in his 
coloring. His works are generally of large size ; 
and there are a few of them in the churches of 
Brussels and other cities of the Low Countries. 
His design was greatlj'- inferior to his coloring, 
but his works are probably ascribed principally 
to Vandyck. 

LA.NGEN, Jan. See Bronkhorst. 

LANGENDYK, Thierry or Theodore, a 
Dutch painter, born at Rotterdam in 1748. He 
studied under D. A. Bisschop, and became an 
excellent painter of battle-pieces, in which he por- 
trayed the passions with great fidelity, and fin- 
ished his subjects carefully. Several of his land- 
scapes, decorated with cattle and horses, have been 
engraved. He died at Rotterdam in 1805. 

LANGENDYK, John Anthony, a Dutch 
painter, son of the preceding, born at Rotterdam 
in 1780. He followed the style of his father, and 
particularly excelled in drawings in water-colors 
and India ink. There are a few etchings of land- 



scapes by him. with horned cattle and horses. 
He died at Amsterdam in 1818. 

LANGETTI. Gio. Battista. a Genoese paint- 
er, born, according to Zanetti, in 1635. He stud- 
ied successively under P. da Cortona. and Gio. 
Francesco Cassana. Lanzi mentions a good pic- 
ture by him. in the church of S. Teresa at Genoa; 
but he appears to have chiefly excelled in painting 
heads and busts of old men, particularly hermits 
and philosophers. There are many of his pictures 
in the private collections of Lombardy and the 
Venetian States. Langetti died at Venice in 1676. 

LANGHANS, Charles Gothard, a German 
architect, born at Landshut, in Silesia, in 1733. 
He acquired the principles of his art in his native 
country, and afterward visited Ital)^ and other 
parts of Europe for improvement. On returning 
to Germany he settled at Berlin, and was appoint- 
ed principal director of public buildings in that 
city. He erected many edifices at Berlin, among 
which are the Brandenburgh Gate, and the Thea- 
tre. He was a member of the Academy of Fine 
Arts at Berlin, and that of the Arts and Sciences 
at Bologna, and of the Patriotic Society of Silesia. 
He was also the author of several memoirs on 
architecture. He died in 1808. 

LANGLEY, Thomas Batty, an English ar- 
chitectural engraver, who flourished during the 
first part of the 18th century, and died in 1751. 
He published a work on Gothic architecture, of 
which the plates were engraved by himself, and 
possess considerable merit for his time. 

LANGLOIS, Jean, a French engraver, born at 
Paris in 1649 ; died about 1712. He acquired the 
elements of design in his native city, and then vis- 
ited Rome, where he became a member of the 
French Academy. He engraved several plates 
from the antique statues ; some architectural sub- 
jects from Andrea Palladio ; also a number of 
others, among which are the following : 
portraits. 

William Brunetiere, Bishop of Saintonge ; after Bou- 
longne, Peter Loisel, Doctor of Sorbonne. Julian Gar- 
den, Curate of St. Etienne du Mont ; after Lombard. 
John Law. 

various subjects. 

St. Luke painting the Virgin ; after Raffaelle. The 
Stoning of Stephen ; after P. da Cortona. Tobit and the 
Angel ; after An. Caracci. The Martyrdom of St. Paul ; 
after L. Boulongne. Christ curing the Paralytic ; after 
Bon Boidongne. 

LANGOT, FRAN901S, a French engraver, whose 
plates possess considerable merit. He was chiefly 
occupied in copying the works of other masters, 
particularly Cornelius Bloemaert, Huret, and 
others. 

LANGREMUS, M. F., an engraver of little 
note, who lived about 1650, and executed several 
portraits, &c., in an inferior style. 

LANIERE, Nicholas. This artist was born 
in Italy in 1568, but settled at London, and gained 
favor with Charles I. for his various talents. He 
was a painter, engraver, connoisseur, picture-deal- 
er, and musician ; but seems to have been most 
distinguished in the latter. He participated large- 
ly in the purchases made for the royal collection. 
He drew a Holy Family for the King ; and his own 
portrait, which is in the Music-School at Oxford. 
Laniere possessed a collection of drawings, several 



LANL 



456 



LAOD. 



I 



of which he caused to be engraved, and etched 
some of them himself. He died in 1646. 

LANINI, Bernardino, an eminent Italian 
painter, born at Vercelli about 1522. He studied 
under Gaudenzio .Ferrari, and imitated the style 
of that master with such success, that his picture 
of Christ in the lap of the Virgin, in S. Giuliano 
at Milan, was often taken for a work of that mas- 
ter. He was much employed at Milan, and No- 
vara, where he painted the personification of the 
Deity, in the dome of the cathedral, also several 
subjects from the life of the Virgin, and his cele- 
brated Sibyls. In some of his works, it appears 
that he was emulous of rivalling Leonardo da Vin- 
ci, particularly in a picture of our Saviour after 
the Flagellation, between two angels, in S. Am- 
brogio at Novara. This admirable work glows 
with pious and beautiful expression, and is parti- 
cularly distinguished for its admirable relief. He 
afterwards adopted a more independent style, and 
Lomazzo highly praises an altar-piece of St. Cate- 
rina, in the church dedicated to that saint, as fall 
of fire and feeling, colored with Titian tints, and 
an expression in the head that might well vie with 
Guido. Lanini died about 1578. 

LANINI, Gaudenzio and Giholamo. the bro- 
thers of the preceding artist, whose style they im- 
itated, but in a very inferior manner. According 
to Lanzi, the former painted a picture of the 
Virgin and Infant, in the sacristy of the Barna- 
bites ; the latter a Deposition from the Cross, in 
a private collection at Vercelli. 

LANKRINCK, Prosper Henry, a German 
painter, born about 1628. His father was a sol- 
dier of fortune, and brought his wife and child 
to Antwerp, where he obtained a Colonel's com- 
mission, and died in that city. The young Lank- 
rinck received a liberal education, and was intend- 
ed by his mother for the church ; but manifesting 
a strong inclination for art, he was allowed to at- 
tend the Academy, and gained great improvement 
by studying the works of Titian and Salvator 
Rosa, in the collection of Mr. van Lyan. On the 
death of his mother he went to England, in the 
reign of Charles II., and was patronized b}'- Sir 
Edward Spragge, but more particularly by Sir 
William Williams, for whom he painted a great 
many landscapes, which were destroyed when that 
gentleman's mansion was burned. His pictures 
were held in considerable estimation, characterized 
by wild and romantic scenery, with rocks and bro- 
ken grounds, in the style of Salvator Rosa. Lank- 
rinck was much courted by Lely, for whom he of- 
ten painted the landscapes and backfjrounds in his 
pictures. He died at London in 1692. 

LANTARA, Simon Mathurin. a French land- 
scape painter, born near Montargis in 1745, He 
excelled in painting the natural appearances of 
sunrise, mid-day, sunset and moonlight ; and he 
had a masterly skill in aerial perspective. He 
gained a high reputation, but fell into habits of in- 
temperance, which reduced him to extreme indi- 
gence, and he died in 1778. 

LANZANI. Andrea, a Milanese painter, born 
about 1645. He acquired the elements of design 
from Luigi Scaramuccia, a pupil of Guido ; and 
then went to Rome, to stud}' under Carlo Maratti. 
Preferring a style more energetic than that of his 
instructor, he attached himself to the works of 



Lanfranco, and adopted his style. On returning 
to Milan, he painted several fine works, among 
which are a picture of St. Carlo Borromeo ; and a 
subject from the life of Cardinal Federigo, in the 
Ambrosian Library. He died in 1712. 

LAODTCIA, DE Pavia, an old artist of Pavia, 
mentioned by Lomazzo, supposed to have been of 
Greek origin, who flourished about 1330. To him 
and Andrino di Edesia are attributed some frescos 
still preserved in the church of S. Martino and 
other places in that city. 

LAP, John, a Dutch painter, who flourished 
about 1650. His drawings of landscapes are more 
known than his oil paintings, although there are 
some landscapes by him, with ruins and numerous 
figures, in the style of John Both. 

LAPI, NiccoLO, an Italian painter, born in 1661; 
died in 1732 ; was a pupil of Luca Giordano. There 
were several engravers of this name, among whom 
Giovanni Lapi flourished about 1750, and executed 
some of the plates for the Museo Etrusco. 

L APICCOLA, NiccoLo, a painter of the Roman 
school, born at Crotone, is said to have studied 
under Francesco Mancini. He was an able artist, 
and painted the cupola of a chapel in the Vatican, 
which was afterwards copied in mosaic for its 
preservation. There are some pictures by him in 
other churches at Rome. He also painted much 
for the churches in Ro magna, particularly at Vel- 
etri. He flourished about 1750. 

LAPIS, Gaetano, an Italian painter, born at 
Cagli, in the Roman States, in 1704. He studied 
under Sebastiano Conca, and is praised by Rossi 
for his original taste, possessing great fire, but 
correct in his design. There is a fine picture by 
him on a ceiling of the Borghese Palace at Rome, 
representing the Birth of Venus. He died in 1776. 

LAPO. This old architect was a native of 
Germany, according to Vasari, but settled at 
Florence, where he died in 1262. He acquired 
great reputation by the church and convent of 
Assisi, completed in 1218. In Florence he erected 
various edifices, among which were the Bargello 
palace. 

LAPO, Arnolfo, an able Florentine architect, 
born in 1232. He attained great eminence in his 
da}^, and executed many excellent works. His 
taste and skill are sufficiently attested by the Ca- 
thedral of S. Maria del Fiore at Florence; the 
tomb of Cardinal de Bruges, in S. Domenico at 
Orvieto ; and the marble tribune in S. Paolo, at 
Rome. He died in 1300. 

LAPO, Arnolfo di, an Italian painter and sculp- 
tor, about whom there is much disagreement 
among authors. Vasari calls him Arnolfo di 
Lapo. Others call Lapo the father of Arnolfo. 
Lanzi says that it is now fully proved by an au- 
thentic document in the cathedral ^at Siena, that 
Lapo and Arnolfo are the names of different scalp- 
tors, who were the disciples of Cimabue, and as- 
sisted him in his works in that edifice in 1266. 
Arnolfo is variously called Arnolfo^ Arnolfo di 
Lapo, and Arnolfo Fiorentino, which last is the 
proper name. See Arnolfo. 

LAPPOLI, Gig. Antonio, an Italian painter, 
born at Arezzo in 1492. According to Vasari, 
he studied under Domenico Pecori, and afterward 
in the school of Jacopo Carrucci, called Pontormo. 



LAQU. 



457 



LARM. 



Early in life he visited Rome, and formed a friend- 
ship with Pierino del Vaga, and il Rosso. Fa- 
vored with the protection of Clement VII., he was 
employed in several public works, but in conse- 
quence of the sacking of Rome in 1527, he was 
obliged to leave them incomplete, and quit the city. 
He returned to Arezzo, and painted several^ pic- 
tures for the churches and private collections. 
He died in 1552. 

LAQIIY. WiLHELM Joseph, a Dutch painter. 
born in 1738. He studied under John Remmers, 
at the same time with Wybrand Hendriks. He 
painted a number of cabinet pictures which are 
esteemed for their beauty of coloring and admira- 
ble accessories, and are placed in the best collec- 
tions. He was patronized by the distinguished 
amateur Braamcamp, and made copies of the works 
of Gerhard Douw, P. Potter, Meizu. and others. 
Hendriks often employed him to paint the figures 
in his landscapes. He died at CI eves in 1798. 

LARCHER, Antoinette, a French female en- 
graver, who flourished about 1725. She engraved 
several historical subjects, among which is Judith 
with the Head of Holofernes. after Rafaelle. Her 
plates are usually signed Toinette Larcher. 

LARCHEVEQUE, a French sculptor, born in 
1721. In 1755 he was made associate to the Roy- 
ai Academy at Paris, and afterward received the 
knighthood of the Order of St, Michael. About 
^ 1760 he was invited to Stockholm, and commis- 
^ sioned to execute the models for a statue of Gusta- 
vus Vasa, and for an equestrian statue of Gusta- 
vus Adolphus. They were both cast in bronze, 
of colossal size, by a Swede, named ]Meyer. Lar- 
cheveque established a school for sculpture in Swe- 
den, and was honored with the Order of the Polar 
Star. After a residence of sixteen years in Swe- 
den, he returned to France, in 1776, and died there 
in 1778. 

LARGTLLIERE, Nicolas de. This painter 
was boi'n at Paris in 1656, and was intended for 
the commercial business by his father, who settled 
at Antwerp as a merchant ; but manifesting a 
genius for art, he was placed under Francis Go- 
beau, a painter of landscapes and still-life. After 
making considerable advances in these branches 
of the art, he devoted himself to history and por- 
traits with considerable success. In the reign of 
Charles II. he visited London, where he acquired 
the friendship of Sir Peter Lely, and became 
known to the king, for whom he painted several 
pictures. He went to Paris, where he gained the 
friendship of Charles le Brun, and painted the por- 
trait of that artist, which has been admirably en- 
graved by Edehnck. Patronized by Louis XIV., 
he painted the portrait of that monarch, and was 
afterward chosen a member of the Academy. 
His most important historical work was the Cru- 
cifixion, in the church of St. Genevieve. His por- 
traits are drawn with great fidelity ; his penciling 
is light and spirited ; and his coloring exceedingly 
chaste and delicate. He visited England at the 
coronation of James IL, and painted the king, 
queen, and several of the nobility ; but when the 
revolution broke out, he returned to Paris, and 
practised the art in that city until his death, which 
occurred in 1746. 

y-v J LARMESSIN, Nicolas de, the Elder, 
I si I ^ French engraver, born at Paris about 
USLi 1640. He executed a number of por- 



traits entirely with the graver, in a very agreea- 
ble style, possessing considerable merit. Among 
them are the following, usually marked with his 
monogram, or the initials N. L. : 

PORTBAITS. 

Pbilip de Bourbon, Duke of Orleans, brother to Louis 
XIV. Henrietta, Duchess of Orleans. Henry Julius de 
Bourbon, Duke d'Enghien. Charles XI., King of Sweden. 
Claudia Felieita of Austria, Empress of Leopold I. Max- 
imilian Henry, Archbishop of Cologne. Godfrey, Count 
d'Estrades, Marshal of France. Gabriel Nicholas de la 
Beynie, Lieutenant of Police. Louisa Frances, Duchess 
de la Valiere, in the habit of a Nun. Balthasar Moretus. 
Paul Manutius, Librarian of the Vatican. Lawrence Cos- 
ter, for a history of Piiuting. John Guttenberg ; do. 

LARMESSIN, Nicolas de. the Younger, was 
the son and scholar of the preceditig, born at Pa- 
ris in 1684 ; died in 1755. He executed a great 
number of portraits and historical subjects, with 
the point and graver, in a neat, finished style, pos- 
sessing considerable merit. He was appointed en- 
graver to the king ; member of the Royal Acade- 
my ; and executed several subjects for the Crozat 
collection. The following are his principal plates: 

PORTRAITS. 

James II., King of England. Maria, his Queen. Wil- 
liam and Mary. Louis XV, on horseback ; after J. B. 
Vanloo. Maria, Queen of Louis XV. ; do. Louis XV. 
on foot ; do. Maria, Dauphiness of France ; do. Charles 
Henry of Lorraine ; after Ranc. Woldemar de Lowcndal, 
Marshal of France ; after Boucher. William Coustou, 
sculptor to the King ; after Lien ; engraved for his recep- 
tion into the Acp.deray. 1730. Claude Halle, painter to 
the King ; after Le Gros ; do. Philip Vleughel, painter ; 
after P. de Champagne' 

PORTRAITS FOR THE CROZAT COLLECTION. 

Ratfaelle and Jacopo Pontormo ; half-lengths ; after 
Rafaelle. Federigo Carondeletto. Archdeacon of Bitonto ; 
do. Cardinal Pole ; after Rafaelle, or .S. del Piombo. 

SUBJECTS FOR THE CROZAT COLLECTION. 

St. Michael vanquishing the Evil Spirit ; after Rafa- 
elle. St. George and the Dragon ; do. St. John the Evan- 
gelist ; do. The Holy Family ; do. The Virgin and in- 
fant Jesus ; do. The Vision of Ezekiel ; do. Christ bear- 
ing his Cross ; do. 

VARIOUS SUBJECTS AFTER FRENCH MASTERS. 

The Four Seasons ; after Lancret. The Four Ages of 
Man ; do. A set of Four Prints from the Fables of La 
Fontaine; after Boucher. The Amorous Savoyard; af- 
ter Pierre. The Savoyard Family ; do. 



H.-M 



LAROON. Marcellus, 
_ a Hutch painter, born at 

the Hague in 1653, and was instructed in paint- 
ing by his father, whom he accompanied to Eng- 
land, where he was placed with La Zoon. a portrait 
painter. He subsequently studied under Flechiere, 
and gained great distinction for his talent of imi- 
tating the styles of diff'erent masters. He paintdd 
portraits, conversation-pieces, and historical sub- 
jects with success. His talent in draperies was 
very great, and his services in this branch were 
often in request by Kneller. There are a few 
spirited etchings by Laroon. in a style resembling 
Ostade, but very inferior, representing Dutch boors 
reo-aling, and similar subjects. He died at London 
inl705. 

LARRAGO, Apollinario, a Spanish painter, a 
native of Valencia, who formed his style by study- 
ing the works of Pedro Orrente. His works are 
chiefly to be found in the churches and convents 
of his native city, where they are highly esteemed. 
He died in 1728. 



LASN. 



458 



LATE. 



LASINIO, Tl Conte Cavaliere Carlo, an em- 
inent Italian engraver, born at Trevigi about 1757. 
He resided chiefly at Florence, and executed a 
number of plates after the old masters, remarka- 
ble for correctness of design, and beauty and vigor 
of expression. Among other works by him, Na- 
gler mentions a number of prints after the pic- 
tures remaining at Campo Santo di Pisa ; por- 
traits of the ecclesiastical dignitaries assembled at 
Florence in 1787 ; L'Etruria Pittrice, published 
in 1791 ; and several plates after the ancient pic- 
tures in Florence. The time of his death is not 
recorded. In Rosmi's Storia della Pittura lial- 
iana, are several fine illustrations, signed with the 
names of his sons, Ferdinando and Giovanni Paolo. 

-^ /|- LASNE, Michel, an eminent French 
l\/i engraver, born at Caen, in Normandy, 

JlV i i *'m 1595. His style seems to be found- 
ed on those of C. Bloemaert and F. Villamena, and 
he was among the first French artists who handled 
the graver with freedom and dexterity. There are 
a large number of prints by Lasne, characterized 
by a tolerably correct drawing, and a bold and 
free stroke, although there is sometimes an appear- 
ance of dryness in his works. The following are 
the principal : 

portraits. 
Louis XIII. on horseback, the back-ground representing 
a battle ; was engraved by Callot ; Michael Asinus, 
sculptor Regius. Bernard, Duke de la Valette ; the back- 
ground with the town of Metz, is also engraved by Callot. 
Anne of Austria, Queen of France. Armand, Cardinal de 
Richelieu. Julius, Cardinal de Mazarin. Charles de Cre- 
qui, Marshal of France. Francis de Bassompierre. Marshal 
of France Peter Seguier, Chancellor. Nicholas de Bailleur, 
President of the Parliament. Francis Fernandez,Franciscan. 
Father Joseph, celebrated Capuchin. John Franc's Niceron, 
Monk, and famous mathematician ; rare. Giulio Strozzi, Ve- 
netian poet ; ajier S. Vouet. 1627. Francis Quesnel, painter 
to Henry III. ; from a picture by Kim self. Father Nicho- 
las Caussin ; engraved in the manner of Mellan. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family ; after Rubens. St. Francis d'Assisi 
receiving the infant Jesus from the Virgin ; do. The Vis- 
itation of the Virgin ; after Lod. Caracci. The Virgin, 
with the Infant sleeping, and St. John, called the Silence ; 
after Annibale Caracci. A dead Christ, with Mary Mag- 
dalene ; from his own designs. An Ecoe Homo ; after 
Titian. Jesus Christ in glory, with St. Peter and' St. 
Paul ; after P. Veronese. The Virgin in the Clouds, with 
a Crescent ; after Albano ; oval. St, Francis de .Paula 
receiving the Infant ; after Rubens. 

LASTMAN, Peter, a Dutch painter, born at 
Haerlem, according to Balkema, in 1581 ; died in 
1649. Nagler, Brulliot, Fuseh. and Zani place his 
birth in 1562 ; but do not mention his death. He 
studied under Cornelius Cornelisz. and, according 
to van Mander, visited Rome in 1604, for im- 
provement. He usually painted subjects of histo- 
ry, introducing a great number of figures. " His 
works are deficient in grace and correctness of de- 
sign, but are characterized b}'- great vigor of color- 
ing, and considerable intelligence of chiaro-scuro. 
He was the instructor of several eminent painters, 
among whom was Rembrandt. There are a few 
etchings by Lastman, from his own compositions, 
among which are a plate of Judah and Thamar, 
in a landscape, marked P. L. ; also a Female seat- 
ed before an Arch. 

LASTMAN, Nicholas, was the son of the pre- 
ceding artist, born at Haerlem in 1609. He ac- 
quired the elements of design from John Pinas, 
and subsequently learned engraving from John 



Saenredam. His plates arc executed in a very 
neat style, but without much taste. Writers are 
disagreed as to the time of Nicholas Lastman. 
Balkema and Nagler place his birth in 1619. Zani 
denominates him Nicolaus Petri, or Nicholas the 
son of Peter ; and says he wrought in 1606 and 
1626. Nagler cites a print of Christ in the Gar- 
den, after A. P. Lastman, signed Nicola Petri, sc. 
1648 ; but Brulliot, mentioning the same picture, 
reads 1608. Others are signed A^. Lastman on\y. 
without any dates. The following are his princi- 
pal prints : 

The Portrait of Karel van Mander ; copied after J. 
Saenredam. Christ praying in the Garden ; after Peter 
Lastman. St. Peter delivered from Prison ; after J. Pi- 
nas. The Martyrdom of St. Peter ; after Guido. The 
Merciful Samaritan, in a land.scape ; after his oxen de- 
sign. This print is not generally known ; it is executed 
in a very pleasing style. Nicol. Lastman, inv. et scul. 

LATER, or LATRE. J. de, an obscure engraver, 
who lived at Amsterdam about 1720. and executed 
several plates for the work entitled Figures de la 
Bible, from the designs of Picart and others. He 
also engraved several mez/.otinto portraits, among 
which is that of William III. 

LATOUR, Maurice Quentin de, an eminent 
French painter, born at St. Quentin in 1705. He 
early manifested a strong inclination for art, and 
was allowed to follow his favorite profession. He 
settled at Cambray, and painted the portrait of the 
English Ambassador, who took him to London, 
and procured him consi<lerable employment. On 
returning to France, he relinquished oil painting 
for crayons, in which art he made great improve- 
ment. At the age of thirty-three he was chosen 
an Academician. His talents were highly esteemed 
by Louis XV.. who greatly patronized him. He 
painted the portraits of all the royal family, and 
was twice offered the Order of St. Michael, but 
refused. Latour deserves honorable notice as a 
friend of art, for founding an annual prize in the 
Parisian Academy, for the best piece of linear and 
aerial perspective ; also another at Amiens, for the 
most useful discovery in the arts. He endowed 
two institutions for the support of indigent chil- 
dren, and founded a free drawing school at St. 
Quentin. He died in that cit}^, in 1788. 

LATROBE, Benjamin Henry. This eminent 
architect and engineer was born in England, of 
Moravian parents, in 1763. He acquired a know- 
ledge of the art from a reputable architect at Lon- 
don, and afterwards erected several fine country 
mansions. In 1795 he resolved to depart to 
America, and embarked for Philadelphia, where he 
had an uncle residing; but the vessel was driven 
into Norfolk, Virginia. Here Latrobe attracted 
the attention of a gentleman of Norfolk, by whose 
influence he obtained patronage at Washington, 
and was finally entrusted with the most important 
works. He rendered the James river navigable, 
and was appointed Engineer of the State of Vir- 
ginia. Invited to Philadelphia, he there erected 
the Bank of the United States, a magnificent edi- 
fice of white marble, in imitation of the Parthenon 
at Athens. Latrobe erected light-houses along 
the sea-coast, besides several important hydraulic 
works; also the buildings of the Fairmount Wa- 
ter Works ; the granite cathedral at Baltimore, 
surmounted by a cupola one hundred feet high ; the 
Merchants' Exchange of the same city ; and the 
Hall of the Representatives at Washington, form- 



LAUB. 



459 



LAUR. 



ing the southern wing of the capitol. In 1811, he 
sent his eldest son to New Orleans, to commence 
the hydraulic works for supplying that city with 
water ; and at the death of his son. in 1817, La- 
trohe removed to New Orleans, but died before the 
completion of the works, in 1820. 

LAUB, Tobias. This mezzotinto engraver was 
probably a native of Germany, born in 1685. 
Among other portraits he executed one of John 
James Scheuchzer. He died in 1761. 

LAUDATI, GiosEFFO. a painter of Perugia, 
who flourished at Rome in 1718, where he execu- 
ted several excellent works, according to Orlandi, 
who says that •' he contributed to restore the art, 
which, after the support it had found in Bassotti 
and others had fallen into decay," 

LAULNE, Etienne or Stephanus, an eminent 
French engraver, born at Orleans, according to 
Brulliot. in 1520; although Nagler says he was 
born in 1510, and Fuseii and Zani in 1518. His 
prints are very numerous, usually of a small size, 
characterized by great fertihty of invention, ingen- 
ious composition, and tasteful drawing. His plates 
are executed entirely with the graver, with great 
dexterit}'^ of handling, and very highly finished. 
He copied several of the prints of Marc' Antonio 
with success, but the greater part are from his 
own designs, usually marked S. or S.F. The fol- 
lowing are the principal : 

A set of thirty prints of subjects from the Old Testament. 
A set of eighteen mythological subjects ; oval, very small. 
The Twelve Months of the Year ; circular. Four ; Jupi- 
ter, Neptune, Mercury, and Ceres ; circular. Four sub- 
jects of Ancient History ; oval. The Four Monarchies ; 
oval. Four, of Rural Occupations ; oval. The Three 
Graces. David and Goliah ; after Marc' Avtonio. The 
Murder of the Innocents ; do. The Martyrdom of St. 
Fclicita ; do. The Rape of Helen ; do. The Brazen Ser- 
pent ; after John Cousin. This is one of his largest prints. 

LAUNAY, Nicholas de, a French engraver, 
born at Paris in 1739 ; died about 1792. He 
studied under J. L. Lempereur, and was chosen 
an Academician in 1777. There are a large num- 
ber of prints by Launay, neatly executed with 
the graver, among which are the following • 

The Portrait of Abbe Raynal ; after Cochin. The 
Wise and Foolish Virgins ; after Schalken. The March 
of Silenus ; after Rubens. Christ driving out the Mer- 
chandizers ; after Jordaens. Angelica and Medoro ; af- 
ter J. Raoux. Leda ; and its companion, Endymion ; af- 
ter Pierre. The Good Mother ; ajfter Fragonard. The 
Favorite Child ; after le Prince. The Lime-kiln ; after 
Loutherbourg. A pair of Views of Ruins ; after Dietri- 
cy. The Triumph of Taste, a frontispiece for the History 
of the French Theatre ; [and many others after painters 
of his time.] 

I;AUNAY, Robert de, the younger brother 
and scholar of Nicholas L., born at Paris in 1754; 
died in 1814. He was much employed in orna- 
menting for books ; and also executed a number 
of plates in a neat finished style, similar to his 
brother, among which are the following : 

The unforeseen Misfortune ; after Greuze. The Mar- 
riage Contract ; after A. Bur el. The Marriage broken 
off; after E. Aubrey. The Egg-sellers ; after A. Van- 
dericerf The Turkish Bath; after Barb'ier. 

LAURA. See Lauri. 

LAURATI. See Lorenzetti, 

LAURENT, or LAWRENCE, Andrew. Ac- 
cording to Basan, this engraver was an English- 
man, but visited Paris and studied under J. P. 



le Bas. He settled in that cit}-, and flourished 
about 1750. Among other plates, he engraA'ed 
those of the great gallery at Versailles, after the 
designs of Cochin ; also the following: Saul con- 
sulting the Witch of Endor, after Sal. Rosa; a 
Conversation, after Teniers ; The Hay Harvest, 
and its companion, after Wouwerman. 

LAURENT, Pierre, an excellent French en- 
graver, born at Marseilles in 1739: died in 1809. 
He settled at Paris, and practised the art with 
good success. In 1802, in concert with Robillard, 
he published a beautiful pictorial work entitled 
Le Miisee Francais. The following are his prin- 
cipal plates : 

The Water-Mill ; after Boucher. The Washer-woman ; 
do. Saying Grace ; after Greuze. A Caravan ; after 
Vander Does. The Passage of the Ferry-boat; after 
Berghem. The Shepherdess ; do. The Fortune-Teller ; 
do. A pair of Landscapes, with figures and animals; af- 
ter Dietricy. An Italian Landscape, with figures and 
cattle ; after H. Roos. Shepherds rejoicing ; after Lou- 
therbourg. A View of Mondragon, in Dauphiny; do. 
A Sea-port, with architecture ; do. The Death of the 
Chevalier d'Assas ; after Casanova. [Also others after 
P. Potter, K. du Jardin, AVouwerman, Poussin, Van Goy- 
en, D. Feti, &C.J 

LAURENT, Pierre Louis Henri, a French 
engraver, the son of the preceding, born at Paris 
in 1779. He published the collection of engrav- 
ings of the Musee Royal, as the supplement to his 
father's work. Among other plates, he engraved 
some subjects from the life of St. Bruno, after le 
Sueur ; the Martyrdom of St. Peter, after Titian; 
the Death of the Virgin, after Caravaggio ; the 
Rape of the Sabines, and the Finding of Moses, 
after Poussin ; the Communion of St. Jerome, af- 
ter Dome nic kino ; also many others after the 
great masters. 

LAURENT, Peter Joseph, a Flemish archi- 
tect and engineer, born in 1715. He early mani- 
fested a strong inclination for art. and at the age 
of eight years he is said to have constructed a hy- 
draulic machine. When twenty-one years old, he 
was entrusted with the superintendence of several 
public works, besides the direction of the canals 
in the Low Countries and Hainault. He formed a 
grand design of joining the Soome vfith the Scheldt, 
and performed many other nearly insurmountable 
schemes. At the invitation of Louis XV.. he un- 
dertook a sui'vey of the public roads in France, 
and greatly added to the facility and improvement 
of traveling. According to D'Argenville. he also 
repaired and beautified the palaces of Versailles, 
Trianon, and Marly. He died in 1773. 

LAURENTIO, C, an engraver mentioned by 
Strutt. as the artist of several portraits in Prio- 
rata's History of the Emperor Leopold. He lived 
about 1660. 

LAURETTLToMMAso, called il Siciliako. from 
his native country, was an eminent Sicilian painter, 
born at Palermo about 1530. According to Vasari, 
he studied under Sebastiano del Piombo, and settled 
early in life at Bologna, practising his profession 
there for a number of years. He subsequently 
visited Rome, at the invitation of Gregory XTIL, 
to finish the ceiling of the Sala di Constantino. 
He was much employed by Sextus V, and Clement 
VIIL, and was honored with the appointment of 
President of the Academy of St. Luke, being the 
second president after its foundation. After prac- 
tising the art with great reputation for many years 



LAUR. 



4C0 



LAUR. 



in that city, he died about IGIO, in his eightieth 
year. Ainono; his principal works at Rome, arc 
the fresco paintin.iis of the Histor}^ of Brutus, in a 
saloon of the cajjitol. Among his principal works 
at Bologna are, the Crowning of the Virgin, in 
S. Mattia; the Resurrection, in S. Giacomo Mag- 
giore ; and a grand and copions composition in the 
same church.representing the burial of St. Agostino. 

LAURI. Baldassare, a reputable Flemish 
landscape painter, born at Antwerp in 1587. He 
studied under Paul Bril, whose style he followed, 
and after visiting various European countries, he 
settled at Rome, where he practised the art with ex- 
cellent success for many years. He died at Rome 
in 1641. 

LAURT. Francesco, an Italian painter, the son 
of the preceding, born at Rome in 1610. He stud- 
ied under Andrea Sacchi, and afterward traveled 
through Italy, France, and Germany for improve- 
ment. He manifested great abilities, and would 
undoubtedly have attained a distinguished rank 
in the art, had he not died in 1635, at the early 
age of 25. In the Palazzo Crescenzi at Rome, is 
a ceiling painted by him representing three God- 
desses. 

LAURI, FiLippo, the second son of Baldassare 
L._ was born at Rome in 1628. He studied under 
his brother, Francesco L., at whose death he en- 
tered the school of Angelo Caroselli, his brother- 
in-law, and made such rapid advances as soon to 
surpass his instructor. He painted several pic- 
tures of historical and fabulous subjects, composed 
in a very ingenious manner, the figures designed 
with correctness and spirit, with pleasing land- 
scapes in the backgrounds. He also painted sev- 
eral altar-pieces for the churches, and particularly 
one of Adam and Eve, in la Pace. His works 
evince a good acquaintance with history and fable, 
and an excellent knowledge of perspective. jMany 
of them have been engraved by Woolett and other 
English artists. Lauri died in 1694. 

LAURI. Giacomo. an Italian engraver and anti- 
quary, born at Rome about 1570. He was en- 
gaged for twenty-three years in engraving the 
most celebrated antiquities of Rome, and finally 
published the collection in one volume, entitled 
AntiqucB urbis splendor, hoc est prcccipua ejus- 
dem tem.pla, ^c, 1612 and 1613, fol. This work 
was very highly esteemed, and has been frequent- 
ly republished, with new plates; one edition had 
descriptions in German, French, and Italian. — 
There are also a number of other plates by Lauri, 
among which is a Nativity, after Annibale Ca- 
racci. He died at Rome about 1630. 

LAURI, or LAURIER, Pietro, a native of 
France, but a painter of the Bolognese school, and 
a pupil of Guido. He flourished about 1650. There 
are a number of works by him in the Bolognese 
churches, among which is a fine picture of St. An- 
tonio, in la Madonna dell a Liberta ; and the Vir- 
gin and Infant with St. Felice, at the Cappuccini. 

LAUREN, Heinrich Friedrich, a German en- 
graver, born at Dresden in 1756; died in 1830. 
He studied under Adrian Zingg. and executed a 
number of landscapes in a neat and spirited style, 
after Salvator Rosa. Kobell. and others, among 
which are the following : Two Landscapes, after j 
Kleushel ; a pair, the Fishermen, and the Water- j 



fall of Liebethal ; after Zingg ; two large Views 
of Fano; after The'd ; a land.scape and Cattle, af- 
ter A. Vandervelde. 

LAURO. Giacomo, an Italian painter, and ac- 
cording to Federici. a native of Venice ; died young 
in 1605. He studied under P. Veronese, and settled 
at Trevigi. where there is a gi-and composition, in 
the church of the Dominicans, rcpi-e.^cnting St. 
Roch interceding for the persons attacked b}^ the 
Plague. 

J -|- ^ LAUTEXSACK, 

H irro ^"^ if^l^l Heinhich anoldGer- 
J i i JOjo [L^^~^^ \ man engraver, born 

at Nuremberg about 1506. His father was a paint- 
er of little note, and taught him the elements of 
design. He is said to have engraved on wood, and 
there are a number of prints by him. in the style of 
Sebald Beham. but greatly inferior to that master. 
Among them are the following : 

The Martyrdom of St. Catherine. The Crucifixion, in- 
scribed, Christum non istuvi. Sed Cliristum crede -per 
istum. The Decollation of St. John ; a small circular 
print. A Boy holding a Flag. A Boy standing on a 
Globe, with a bow in his hand. 



\j56t* 



or 



1534 



LAUTENSACK. Hans 

Sebald. a German engrav- 
er, the son of the prece- 
ding, born at Nuremberg about 1528. He etched a 
number of land-scapes in a dark unpleasant style; 
and also several portraits, etched and finished with 
the graver, possessing considerable merit. Among 
them are the following : 

portraits. 
Paulus Lautensack, painter of Nuremberg. Hang Se- 
bald Lautensack ; se ipse sc. 1552. Ilieronymus Schur- 
stab, half-length ; on one side his Arms, and on the other a 
Village -with a Church, m.dliiii. Georgius Roggenback. 
1554. The half-length of a Nobleman, with a beard ; on 
one side bis Arms, and on the other a fortified castle. 1554. 

SUBJECTS and landscapes. 

A Landscape, with David and Goliah. 1551. Christ 
curing the Blind at Jericho. 1559. A mountainous Land- 
scape, with the history of Balaam and his Ass. 1559. Vil- 
lagers occupied in the ^'intage. 1559. A Landscape with 
a Farm- Yard. 1551. Two pleasing Landscapes ; dated 
1553 and 1555 A grand Tournament ; 1560 ; very scarce. 
A large View of Nuremberg, from the east; in three 
sheets. 1555. A similar View of that city from the west ; 
do. 1552. 

LAUW, or LAW, an English engraver, who has 
executed several mezzotints, after Teniers and 
other masters. 

LAUWERS, Nicholas, a Flemish engraver, 
born at Leuze, near Tournay, about 1620. He 
studied at Antwerp, following particularly the 
style of Paul Pontius; but did not equal that 
master, either in the correctness of his design, or 
the firmness of his graver. He executed a number 
of plates after various masters, the best of which 
are after Rubens. Among them are the follow- 
ing : 

PORTRAITS. 

Isabella, Infanta of Spain, with two Children, one hold- 
ing a crown, the other her arms ; after Rubens. Fran. 
Lelio Blancatio ; after Vandyck. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Adoration of the Magi ; after Rubens Christ be- 
fore Pilate ; do. In the latter impressions of this print, 
the name of Bolsicert is substituted for that of Lamcers. 
The Descent from the Cross ; do. The dead Christ on the 



LAUW. 



4C1 



LAWR. 



knees of the Virgin, with Mary Magdalene ; do. The 
Triumph of the New Law ; in two sheets ; do. St. Cecilia, 
with Angels ; after Gerard Seghers. Gamesters and 
Smokers in a Tavern ; do. Jupiter and Mercury, with 
Baucis and Philemon ; after J. Jordaens. The Virgin 
appearing to a Carmelite : after Diepenbeck. St. Agabus 
before the Virgin ; do. 

LAUWERS, Conrad, the j-ounger brother of 
the preceding, born at Leuze about 1623. He 
studied engraving at Antwerp, and executed a 
number of plates after the Flemish masters ; also 
others with the graver, in the style of his brother, 
but inferior to him. Among them are the follow- 



PORTHAITS. 

Aertus Quellin us, junior, architect; after J. de Decyts. 
Peter Verbrugghen, sculptor ; after E. Q^uellinus. M. 
A. Capello, Bishop of Antwerp ; after Diepenbeck. Antho- 
ny Vigier, Jesuit ; after J. Cossiers. 

SUBJECTS AFTER VARIOUS MASTERS. 

Elijah in the Desert, with an Angel bringing him food ; 
after Rubens. Christ bearing his Cross ; do. The Peni- 
tence of St. Peter ; after Cossiers. The Crucifixion ; do. 
The Virgin, with the infant Jesus, St. Elizabeth, and St. 
John in a Landscape; after Schiavone. 

LAVES QUE. Jacob, a Dutch painter, born at 
Dort in 1G24. lie studied under Rembrandt, but 
instead of following the st)'leof that distinguished 
artist, he attached himself to the works of John 
de Baan, who was ver}- inferior to Rembrandt. He 
devoted himself entirely to portrait painting, and 
gained considerable reputation. He died in 1674. 

LAYIZZARTO, Vincenzio, a Milanese painter, 
who flourished in 1520. He was an excellent por- 
trait painter, and Lanzi saj^s " he may be esteemed 
the Titian of the Milanese." 

LAWRENCE, Sir Thomas, an English por- 
trait painter, born at Bristol in 1769. His father, 
who was a hotel keeper, taught him to recite poe- 
try, and encouraged him to cultivate the arts of 
design, for which he manifested a strong inclina- 
tion while very young. In 1782 his father settled 
at Bath, and placed him under Mr. Hoare, a paint- 
er in craj^ons, where his talents were developed 
with great rapidity, and in the same year, at the 
age of thirteen, he received for a copy of the Trans- 
figuration, the great silver palette,"^gilt, with the 
addition of five guineas, from the Societj^ of Arts. 
At the age of sixteen he drew portraits with a 
grace and accuracy nearly approaching the excel- 
lence of the productions of his riper years. These 
extraordinary talents, united with a handsome per- 
son, and great courtesy of manners, attracted many 
sitters of all ranks, and his works were exceeding- 
ly popular. 

In 1787 Lawrence visited l^ondon, and entered 
as a student of the Royal Academy. He was en- 
couraged by Reynolds, who advised him to imi- 
tate the coloring of nature, rather than the rich- 
ness of hue visible in the works of the old mas- 
ters ; and not to represent things too like them- 
selves. Lawrence profited by this sage counsel, 
and after diligently applying himself to become 
expert in the u.se of oil colors, he produced his 
portrait of Miss Farren, afterward the Countess 
of Derby, which was well received by the public. 
During the first year of his residence in London, 
he exhibited seven portraits of females at Somer- 
set House, which added greatly to his reputation. 
In 1788 he was honored with royal patronage, 
and painted the Queen and Princess Amelia. In 



1791 ho was chosen an Associate of the Academy ; 
in 1792 George III. appointed him successor to 
Sir Joshua Reynolds, as principal painter in or- 
dinary ; and the Dilettanti Society also chose him 
as their painter. In 1795 he was received into 
the Royal Academy. His fame in portraiture had 
now reached a high point, but he determined to 
try his skill in historical composition. Accord- 
ingly he painted the Satan of Paradise Lost, calling 
upon his legions to arise. This work was highly 
praised for grandeur of design and splendid color- 
ing, bat it was evident that his strength lay in 
portraiture, and to that he devoted his entire en- 
ergies. Among the many noble ladies who sat to 
him, were Lad}' Templeton, the Marchioness of 
Exeter. Lad}^ Conjmgham, Lady C. Hamilton, and 
Lady Peel, besides nianj^ others, including nearly 
all the beauty and fashion of the times. Among 
his portraits of men were Lord Grey, Lord Am- 
herst, William Pitt, Thomas Campbell, Walter 
Scott, Benj. West, Henry Euseli. and many others. 
The design of Lawrence is graceful and unaffect- 
ed ; his coloring is clear and brilliant, with a soft 
splendor, particularly in his female portraits, which 
renders them fascinating in the highest degree. 
His male heads possess a great deal of elegance 
as well as vigor. 

In 1802, he received thirty guineas for his 
heads 5 sixty guineas for half-lengths; and one 
hundred and twenty guineas for full -lengths. En- 
couraged by increasing fame, he advanced his pri- 
ces ; in 1806, his price for the head was fifty guin- 
eas ; and the whole lengths two hundred. In 1808, 
he raised ihe small size to eighty guineas, and the 
whole size to three hundred and twenty. In 1810, 
at the death of Hoppner, he increased his heads 
to one hundred, and his full-lengths to four hun- 
dred guineas. Notwithstanding these prices, his 
popularity and practice continued to increase. 

In 1814, Lawrence was commissioned by the 
Prince Regent to paint a number of the sove- 
reigns, statesmen, and generals, who had partici- 
pated in the allied war against France. He com- 
menced with the portraits of the King of Prussia, 
Platoif, and Blucher, who* were then in England. 
In 1816 he was knighted by the Regent; in 1818 
he visited the Congress of Aix-la-Chapelle ; thence 
to Vienna, where he painted the Emperor of Aus- 
tria. In 1819 he visited Rome, and painted Pius 
VII. and Cardinal Gonsalvi. There were many 
others in this collection, which is now in Waterloo 
Hall at Windsor castle. During the absence of 
Lawrence on the continent, Benjamin West, then 
president of the Academy, died in 1820, and he 
was elected to the vacant chair. After enjoying 
all possible honors and distinctions, both at home 
and abroad, for many years, he died on the 7th of 
January, 1830. 

LAWRIE, Robert, an English mezzotint© en- 
graver, born about 1740, and probably died about 
1804. There are a number of portraits and vari- 
ous subjects by him, which possess considerable 
merit. Among them are the following : 

PORTRAITS. 

George III. ; after Zofany. 1772. The Queen ; do. 
1772. The Prince of Wales, and Duke of York. 1772. 
Elizabeth, Duchess of Hamilton ; after C. Read. Ste- 
phen Francis. Duke de Choiseul ; after Vanloo. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Nativity ; after Eubens. The Holy Family re- 



LAZZ. 



462 



LAZZ. 



turning from Egypt; do. The Crucifixion; do. The 
same subject; after Vandyck. The Incredulity of St. 
Thomas ; after Rembrandt. The Adoration of the Magi ; 
after A. C'azali. Sun-rise, a landscape ; after G. Barret. 
A hard Gale ; after Vernet. A Squall ; do The Quack 
Doctor ; after Dletricy. 

LAZZARI, DoNATO. called Bramante d'Urbi- 
NO, an Italian painter, and a preeminent architect, 
was born, according to Colucci. at Castel Durante, 
in the Duchy of IJrbino, in 1450 ; although Va- 
sari dates his birth in 1444. Others say that his 
family was of Castel Durante ; but that he was 
born at Monte Asdrualdo, a villa of Fermignano, 
four miles from Urbino ; whence he is called As- 
druvaldinus. He first applied himself to paint- 
ing; but his inclination for architecture soon 
gained the ascendancy, and he devoted his entire 
energies to that department of art. He studied the 
paintings of Fra Bartolomeo Corradini, and paiifted 
portraits, as well as subjects from sacred and pro- 
fane history, in a style resembling Andrea Man- 
tegna. Lomazzo mentions with distinction the 
few paintings, by him, remaining at Milan and in 
the State. Most of his frescos in the Milanese 
churches have nearly or quite perished ; but some- 
thing has been preserved in the Palazzo Borri, and 
the iPalazzo Castiglione. At Pavia, in the chapel 
of the Carthusians, is a chapel painted by Bra- 
mante, in fresco, in which the figures are grossly 
and heavily designed, and the coloring is crude and 
raw. Rosini gives a print, which exemphfies his 
style of painting. 

Bramante shares with Brunelleschi the honor 
of restoring pure architecture. He visited Lom- 
bardy, and studied the proportions of the Milan- 
ese cathedral, after which, according to Milizia, he 
went to Rome, and devoted his whole attention to 
studying and measuring the great remains of anti- 
quity in the vicinity of that city. He afterward 
visited Naples for improvement, and on his return 
to Rome was commissioned by Cardinal Oliviero 
Caraff'a to rebuild the cloister for the Fathers della 
Pace. It was built of travertine, and without pos- 
sessing much beauty of design, it gained him great 
reputation, as Rome was at that time without an 
eminent architect. He was appointed pontifical 
architect by Alexander VI., and erected the foun- 
tain of Trastavere ; the principal part of the Pa- 
lazzo della Cancel! aria ; and several other works, 
all of which were built of travertine stone, in a 
regular style, manifesting a great improvement in 
architecture, although not entirely purified from 
barbarism. Bramante's style was at first cold and 
formal, but afterward became elegant and majes- 
tic. His invention was fertile, and his buildings 
possess the requisite solidity. His genius was un- 
doubted, and his abilities were highly estimated 
by Michael Angelo. as is evident from a letter 
written by the latter to his friend, Sig. Bartomeo, 
'• It cannot be denied that Bramante is superior in 
architecture to all others, since the time of the an- 
cients," &c. He was the uncle of Raffaelle, and 
induced that artist to visit Rome, where he gave 
him great encouragement, and taught him archi- 
tecture. In the School of Athens, Raffaelle drew 
the portrait of his instructor leaning against a pi- 
laster, and describing a geometrical figure, sur- 
rounded by youths, who are regarding him with 
great attention. Appointed pontifical architect by 
Julius II., Bramante was commissioned to reduce 
to the form of a rectangular theatre the space be- 



tween the Belvidere and the Vatican palace, which 
he executed in a most admirable manner ; but his 
work has been injured by various alterations. — 
There was an engraving by Enrico van Schoel. in 
the Corsini Library, representing the court as Bra- 
mante left it. The graceful and beautiful temple 
in the cloister of San Pietro Montorio. is one of 
his most esteemed works, of which he executed a 
large number. That by which he gained the most 
fame, however, was the celebrated Basilica of St. 
Peter. Julius II. conceived the grand design of 
demolishing the old church, and erecting a new 
one. whose equal should not be found in Rome, or 
in the world. The plan, although a Latin cross, 
was well divided, and of a vastness unequaled. 
The principal nave was well proportioned, with 
peristyles forming three naves ; the cupola and 
steps were on the plan of the Parthenon, and the 
general arrangement of his design resembled the 
plan of that edifice, being composed of eight 
masses, between each of which were two columns, 
forming three intercolumniations. In 1513 the 
foundation of this edifice was laid, and the work 
progressed with incredible despatch until the suc- 
ceeding year, when Bramante died, at the age of 
seventy, and was pompously interred in St. Peter's, 
attended by all the papal court, and professors of 
the Fine Arts. The architects who succeeded him 
in this great work altered his original design, leav- 
ing none of his workmanship standing except the 
four great arches which support the tower of the 
dome. Bramante was highly esteemed during his 
whole life, for his amiable qualities, as well as for 
his talents. His writings, both in prose and 
verse, were first discovered in 1756, and were 
published in the collection of Opusculi, at Milan, 
in that year. 

LAZZARI, Gig. Antonio, a Venetian painter 
of noble descent, was born, according to Melchiori, 
in 1639, and died in 1713. Lanzi says he was a 
scholar successively of Cav. Liberi, of Langetti, 
of Ricci, and of Diamantini. He was more cele- 
brated as a copyist than as an inventive genius. 
Melchiori says he copied the works of Bassano so 
skilfully as to deceive the best judges, and to 
sell them for originals by that master. He. also 
excelled in painting with crayons, and was the in- 
structor of the famous Rosalba Carriera in that 
art. 

LAZZARINI, Canon. Gig. Andrea, a painter 
of the Bolognese school, was born at Pesaro in 
1730. He studied under Francesco Mancini. and 
notwithstanding his clerical duties, he executed 
many beautiful works for the churches. He was 
a profound scholar and an excellent connoisseur ; 
and Lanzi, speaking of the beauty and propriety 
of his compositions, says, " How widely different 
in point of invention appears an artist versed in 
literature, and one with no taste for letters." He 
painted two historical pictures for Count Alga- 
rotti, representing Cincinnatus called to the Dic- 
tatorship, and Archimedes absorbed in his scien- 
tific studies during the Storming of Syracuse, 
which Lanzi pronounces well executed and classi- 
cal productions, at once noble and graceful, and 
free from all affectation or parade. He executed 
many altar-pieces and other subjects for the 
churches in his native city, and in other places. 
His master-piece is a picture of the Virgin and 
Holy Child, between St. Catherine and B. Marco 



LAZZ. 



463 



LEBA. 



Fantuzzi, which adorns the chapel of the Counts 
Fantuzzi in Gualdo, a diocese of Rimini, and which 
Lanzi says is executed in true Raffaellesque style. 
He had spent several years in Rome, at the house 
of Cardinal Fantuzzi, for whom he made a superb 
collection of paintings, among which were several 
of his own works. He also succeeded admirably 
in pictures of Magdalens and Madonnas, which he 
represented with great sweetness of coloring, and 
appropriateness of expression. A weeping Mag- 
dalene in the Varani Collection at Ferrara, is high- 
ly commended as a masterly and studied perform- 
ance. He wrote several admirable treatises on 
the Fine Arts, especially his Dissertation upon the 
Art of Painting, which has often been republish- 
ed. He died in 1801, at the great age of ninety- 
one years. 

LAZZARTNI, Gregorio, a Venetian painter, 
born, according to Zanetti. in 1654 ; although 
Longhi places his birth in 1658. He studied un- 
der Francesco Rosa, a Genoese painter, then resi- 
dent at Venice, but soon renounced the gloomy 
style of that master for one of a more simple and 
natural character. Although Lanzi asserts that 
Lazzarini never left Venice, yet his works resem- 
ble those of the Roman or Bolognese school. He 
was highly esteemed by his cotcmporaries, partic- 
ularly by Carlo Maratti ; for when the Venetian 
ambassador at Rome proposed to have a picture 
painted by a Roman artist, to adorn the Sala 
della Scrutinio of his native city, Maratti refused 
the offer, saying it would be an act of great injus- 
tice, while Venice possessed so great a painter as 
Lazzarini. The latter was accordingly emploj^ed, 
and produced his admirable work of the Triumph 
of the Morosini. His best performance, however, 
is a picture of St. Lorenzo Giustiniani, in the Pa- 
triarchal church at Venice. This work was es- 
teemed by Lanzi, as the finest oil painting of the 
Venetian school of that time, and he highly praises 
it for grandeur of composition, variety in the 
heads and attitudes, and elegance of contours. 
Longhi places the death of this artist in 1730, but 
Zanetti in 1740. 

LAZZARONI, Gig. Battista, a painter of 
Cremona, was born in 1620, and died in 1698. He 
studied under Gio. Battista Tortiroli. according to 
Zaist, and devoted himself mostly to portraiture, 
in which he became very eminent, and was much 
employed by the princes and nobility at Milan. 
Parma, and Piacenza. 

LEADER, William, an English mezzotint en- 
graver, who executed a number of prints, among 
which is a small upright plate of Samson in Pris- 
on, after Rembrandt. 

LEAL, Leon, Don Simon de, a Spanish paint- 
er, born at Madrid in 1610. He studied under 
Pedro de las Cuevas^ and becaine eminent in his- 
torj^ and portraits, in which last he approached the 
clear and harmonious coloring of Vandyck. He 
was appointed painter to the Queen, and was 
much employed by the Spanish court. There are 
several historical works by him at Madrid, among 
which are the Conception, at the Capuchins ; and 
the principal altar-piece, as well as a series of sub- 
jects from the Infancy of Christ, in the church of 
the Noviciado of the Jesuits. He died at Madrid, 
in 1687. 

LEALj Don Juan de Valdes. See Valdes. 



LEARCHUS. one of the most ancient Greek 
sculptors, born at Rhegium b. c. 700. According 
to some authors, he was a disciple of Da3dalus ; 
though others say he studied under Dipenos and 
Scyllis. Pausanias mentions a statue of Jupiter 
by Learchus. which was formed out of several 
pieces, fastened together in a very ingenious man- 
ner. 

LEBARBIER, Jean Jacques FRAN901S, a 
French painter, born at Rouen in 1738. He gain- 
ed the first prize in the Academy of that city, and 
then went to Paris, where he studied under Pierre, 
the first painter to the king. He was afterward 
sent to Switzerland, to make designs for the beau- 
tiful work of Zurlauben, entitled Tableaux tope- 
graphiques de la Suisse. Here he formed a pleas- 
ing intimacy with the distinguished Gessner. and 
afterward visited Rome for improvement, where 
he made many designs from the most celebrated 
Avorks of art, and on returning to France distri- 
buted them among the different schools of paint- 
ing. By this means he is said to have prepared 
the way for the revolution in the French school, 
commenced by Vien and completed by David. He 
practised the art for many years with reputation ; 
was a member of the old Academy of Painting, 
and also of the Institute. He wrote several works 
on art. which possess considerable merit. He died 
in 1826. 

LEBARRE, Eloi, a French architect, born at 
Ourchamp in 1764. He earl}^ manifested a taste 
for design, and was sent to Paris in 1782. where 
he studied under Raymond, architect to the king. 
He made excellent progress, and gained great rep- 
utation. He was made a member of the Legion 
of Honor, and succeeded Thibaut in the French 
Institute. He was employed in many important 
works, among which was the palace intended for 
the Merchants' Exchange, and the Tribunal de 
Commerce. He died in 1830. 

LE BAS. See Bas. 

LEBEL, Charles Jacques, a French painter, 
who flourished during the first quarter of the 
present century. He painted portraits and histo- 
rical subjects, which possess considerable merit. 
He produced a number of interesting subjects 
from French history, from 1806 to 1827, among 
which were the Taking of Paris hy Henry IV. ; 
Napoleon visiting the Hospital of St. Bernard, &c. 
In the collection of Baron Holland was a picture 
by Lebel, representing Turenne asleep on the 
Field of Battle, in winter, and his officers covering 
him with their cloaks, 

LEBEREOHT, Charles de, a celebrated med- 
alist and engraver on precious stones, born at 
Meiningen in 1749. At the age of twenty-six he 
went to Russia, and executed several medals, which 
attracted the notice of Catharine II., and he 
was sent to Rome for improvement, at the expense 
of that Empress. Here he made rapid advances, 
and on returning to St. Petersburg he soon gained 
reputation. At the accession of Paul I., he was 
appointed medalist to the court, and Director of 
the Mint. In 1806 he was chosen a member of 
the Academy of Fine Arts ; in 1809, Chevalier of 
the Order of St. Anne; in 1812, member of the 
Academies at Stockholm and Berlin. Most of his 
works relate to the history of Russia, among 
which are the four medals struck in 1803, for the 



LEBL. 



404 



LECL. 



centennial jubilee of the Founding of Peters- 
dburg. Leberecht established a successful school, 
and instructed many scholars in the art. He died 
in 1827. 

LEBLANC, Horace, a French historical and 
portrait painter, a native of Lyons, who flourished 
in the seventeenth century. He visited Italy, and 
studied under Lanfranco, but adopted the style of 
Cav. d'Arpino. On returning to Lyons, he soon 
gained reputation, and was appointed painter to 
the city. His portraits were much esteemed for 
their accuracy of resemblance. Among his prin- 
cipal historical works are, Christ at the Sepulchre, 
in the church of the Carmelites ; and the Martyr- 
dom of St. Irenaeus and the first Christians of 
Lyons, for Les Feuillants. He practised the art 
at Lyons for many years, and finally died there at 
an advanced age. 

LEBLOND, Jean, a French painter, born in 
1635. He painted history with considerable rep- 
utation, and died at Paris in 1709. 

LEBRUN, Jean Baptiste Toping, a French 
historical painter, was a native of Marseilles. He 
studied under David, and painted a number of 
good works, among which his picture of the 
Death of Caius Gracchus was purchased by the 
government, and placed in the Museum of Mar- 
seilles. This artist became unfortunately involved 
in a conspiracy against the life of Napoleon, while 
First Consul, and was condemned to death in 1801. 

LEBRUN, Marie Louise Elisabeth, an emi- 
nent French paintress, born in 1755. Her maiden 
name was Vigee, but she married Jean Baptiste 
Pierre Lebrun. a dealer in works of art. She 
studied under Davesne, Briard, and Joseph Ver- 
net ; after which she gained great improvement 
by copying the works of Rubens and Rembrandt ; 
also the beautiful heads of young girls, from the 
pencil of Greuze. She soon gained a great repu- 
tation ; was patronised by many distinguished in- 
dividuals ; and, during the whole course of her 
long career, her talents were very highly esteemed 
throughout all Europe. Her subjects are princi- 
pally portraits, semi-allegorical subjects, and land- 
scapes. She painted the famous Count Orloft'; 
Cardinal de Fleury ; Marie Antoinette ; Madame 
de Stael as Corinne; Madame Catalina, and many 
others. She was admitted to the Academy of 
Paris, and presented her picture of Peace renew- 
ing Plenty, as her reception piece. She visited 
Italy in 1789, and was chosen a member of the 
Academy of St. Luke, at Rome, where she painted 
Miss Pitt as a Hebe, an admirable work ; also 
Lady Hamilton as a Sibyl and Bacchante ; the 
painter Robert ; the Queen of Nappies and the royal 
family. She afterward visited Switzerland, Prus- 
sia, Russia, and England, receiving everywhere the 
most flattering attentions and honors. After spend- 
ing three years in England, and painting the por- 
traits of Lord Byron and the Prince of Wales, 
she returned to France. During her travels she 
painted many admirable landscapes, and the result 
of her indefatigable exertions during a long life 
was 662 portraits. 15 compositions, and 200 land- 
scapes. She was honored by admission to the 
Academies at Paris, Bologna, St. Luke at Rome, 
Geneva, Berlin, St. Petersburg. Rouen, and Vau- 
cluse. Madame Lebrun died in 1842, aged 87. 

LECARPENTIER, C. L. F., a French painter. 



born at Rouen in 1750. He is principall}" distin- 
guished as a writer on the art. and acquired suffi- 
cient reputation to be chosen Professor in the 
Academy at Rouen, and was a member Of several 
literary societies at Paris. One of his principal 
works was his Galerie des Peintres celebres, avec 
des remarques sur la genre de chaque maitre, 
Rouen and Paris, 1800, 2 v^ols. 8vo. He died in 
1822. 

LECCE, or LECCIO. Matteo da, called Perez 
d'^Alesio. This painter flourished at Rome, ac- 
cording to Baglioni, about 1580. His works are 
chiefly in fresco, and he attempted the style of 
Buonarotti, but with little success. In the Chiesa 
Nuova is a large altar-piece by him, representing 
the Transfiguration ; and in S. Eligio degli Orefici, 
is a picture of the Virgin and Infant, with saints. 
It is supposed he died in 1600. 

LECCHI, or LECH, Antonio, a Venetian paint- 
er, eminent for his flower-pieces, who flourished, 
according to Martinioni, in 1663. 

LECLERC, David, a Swiss painter, born at 
Berne in 1680. He studied under Joseph Wer- 
ner, and then visited Frankfort, where he practised 
the art for several years, and acquired considera- 
ble reputation for his pictures in oil, miniature, 
and enamel. He was invited to the court of Hesse 
Darmstadt, and executed the portrait of the Land- 
grave, Ernest Ludwig ; after which he entered 
the service of the Landgrave of Hesse Cassel, and 
remained there thirty years. During this period 
he visited France ; and in 1715 went to Eng- 
land, remaining there two years, after which he 
returned to Germany, and settled at Frankfort. 
Most of his works are portraits, in oil and minia- i 
ture. designed in an elevated st3'le. with a S3'Stcm of 
coloring founded on those of Rigaud and Rubens. 
There are also by him a number of fine historical 
subjects, landscapes, and flower-pieces. Leclerc 
was much patronized by the German piinccs. He 
died at Frankfort in 1738. He had a brother, 
named Isaac L., a very ingenious engraver on steel 
and on precious stones, who was appointed medal- 
ist to the court of Cassel, and died in 1746. Jan 
Friedrich, the son of David L., was born at Lon- 
don in 1717, and practised miniature painting, in 
Germany, with reputation. 

LECOMTE, Felix, a French sculptor, born at 
Paris in 1737. He studied under Falconet and 
Vasse, and having gained the grand prize of the 
Academy, he visited liome with the royal pension. 
On returning to Paris, he soon gained a high rep- 
utation, and was admitted to the Academy in 1771. 
By order of the government, he executed the stat- 
ues of Rollin and Fenelon, the latter of which is 
in the Hall of the Institute, and is consider- 
ed his master-piece. During the Revolution Le- 
comte lived in retirement; but in 1810 he was 
appointed a member of the fourth class of the 
Institute ; and on the accession of the Bourbons, 
he was appointed Professor in the Academy of 
Sculpture. He died in 1817. 

LECOMTE. Marguerite. This lady was born 
at Paris about 1719, and distinguished herself by 
her fine taste for the arts. She engraved a number 
of portraits and landscapes ; also several vignettes 
for a translation of Gessner, 1764. It would ap- 
pear that she attained considerable eminence in 
art and literature, as her portrait, designed by 



LEDE. 



465 



LEES. 



Watelet, enprraved by Lempereur, is inscribed 
Mnr<rupriie Lecomte. des Academies de Peinture 
etdes Belles- Lettres de Rome, de Bologne, et de Flo- 
rence. 

aLEDERER, Hans. There is considerable 
uncertainty among various authors with 
re.2.arrl to' this artist. Professor Christ 
and r>ralpe attribute to Hans Lederer several en- 
gravings marked with the accompanying mono- 
gram. Hrulliot ascribes to -Jerome Lederer four 
prints expressing the different temperaments, as 
the Samiuine, the Melancholy, the Choleric, and 
Phlegmatic. The first, has the name H. Lederer; 
and the second a mark resembling I. L., or H. L. 
Nagler also agrees with BruUiot, giving the Latin- 
ized name as Hieronymus. 

T" LEDERLTK .Jacob, a German wood en- 
I V li graver, born at Tubingen about 1565. 
TSTc He executed a number of wooden cuts, 
some of which are dated L590 ; also a set of por- 
traits of some of the professors of the University 
of that city, published in 1596, by Erhard Zell. 

LEDERSBx\SCH, Christopher, probably a 
German engraver, who etched a number of plates, 
among which is a large upright print of the Pre- 
sentation of Samuel, after Romanelli. 

LEDESMA. Jo3E de. a Spanish painter, born 
in Old Castile in 1630. After acquiring the ele- 
ments of design in his native country, he went to 
Madrid, and entered the school of Don -Juan Ca- 
renno. Palomino highly praises him for his cor- 
rectness of design and admirable coloring ; and 
mentions his master-piece of the Deposition from 
the Cross, with the Virgin. Mary Magdalene and 
St. John, in the church of the Recollets of St. Au- 
gustine. He died at Madrid in 1670. 

LEDOUX, Claude Nicolas, a French archi- 
tect, born at Dormans, in the department of the 
Marne, in 1736. He was edu("ated at the college 
of Beauvais, and then went to Paris, where he 
learned engraving, and for some time devoted 
himself to that branch of art. He then applied 
himself to the study of architecture, and in 1771, 
Madame Dubarry appointed him her architect. 
For her he erected the elegant pavihon De Lou- 
veciennes, and the chateau de St. Vrin, near Ar- 
pagon. Among his other works were a hotel at 
Paris, for the Count d'Halleville ; in Rue Michel 
Lecomte, that of Prince de Montmorency ; the Ho- 
tel de Thelusson, with its noble gateway ; and the 
chateau de Benonville, at Caen. His most import- 
ant work, however, was the Barriers of Paris, 
which were- erected after his designs. The most 
remarkable part of this great work, is the trium- 
phal columns of the Barriere du Trone. He pub- 
lished a work entitled U Architecture Consideree 
sur le Rapport de fArt, des Mceurs. et da Legis- 
lation, Paris, 1804, 125 plates. Ledoux died in 
1806. 

LEEPE. John Anthony vander, a Flemish 
painter of landscapes and marines, born at Bruges, 
of a distinguished and opulent family, in 1664 
Manifesting a strong inclination for art, he was 
permitted to indulge his desires, by devoting him- 
self to painting. He made nature his chief mod- 
el, spending much time in the fields and forests, 
or on the sea- shore ; consequently his works are 
very truthful, particularly his marine views. In his 



landscapes he followed the tastes of Genoels and 
Caspar Poussin. His coloring is pleasing, though 
occasionally too cold ; and his pencil is free and 
flowing. In the church of St. Anne at Bruges, is 
a picture by vander Leepe, representing the Flight 
into Egypt. His landscapes are generally dec- 
orated with the figures of Kerckhove and Duven- 
ende. He died in 1720. 

LEEST. Antonius van, an engraver mentioned 
by Papillon, as possessing considerable talent, 
by his cuts of the Four Evangelists. 

LEEUW. Gabriel vander, a Dutch painter, 
born at Dort in 1643. He was the son and scholar 
of Sebastian vander Leeuw, formerly a disciple of 
Jacob Gerritze Ouyp. He made such rapid pro- 
gress, as soon to surpass his father, and then went 
to Amsterdam, from whence he traveled to France, 
in company with David vander Plaas. After prac- 
tising the art with good success at Paris and Ly- 
ons for four years, he visited Rome for improve- 
ment, and studied the works of Benedetto Cas- 
tiglione. and Rosa da Tivoli. His subjects were 
usually landscapes with cattle, and he often spent 
whole days in the fields, designing after nature, 
by which he acquired great correctness of design 
and truth of coloring. His compositions are inge- 
niously arranged, the animals well drawn, and 
touched in a bold and masterly style. After 
practising the art for ten years in Italy with ex- 
cellent success, he returned to Holland, and at first 
received great encouragement ; but as he wrought 
with surprising facility, his works became less 
popular, not being finished with the laborious pre- 
cision of the Dutch artists, but pencilled in a free, 
bold, and spirited style, and colored in the Ital- 
ian taste. Discouraged by this ill success, he re- 
solved to return to Italy, but died soon after at 
Dort, in 1688. He etched a number of plates in 
the styles of Castiglione and H. Roos, which du- 
ring his residence in Ital}^ he signed G. Leone ; 
Leone signifying a lion in Italian, as does Leeuw 
in Dutch. The Italian writers incorrectly ascribe 
these plates to a Gugliemo Leone, placing his 
birth at Parma, in 1644. 

LEEUW, Peter vander, a Dutch painter, the 
younger brother of the preceding, was born at 
Dort in 1644, and studied under his father, Sebas- 
tian vander Leeuw, mentioned in the foregoing ar- 
ticle. He painted similar subjects to those of his 
brother, and with great merit ; but his style of 
penciling and coloring was better adapted to the 
taste of his country, his pictures being very neatly 
and carefully finished. He was a close imitator of 
the works of Adrian Vandervelde, and his pictures 
are often mistaken for the productions of that mas- 
ter. His skies are bright and clear, his distances 
very agreeable, his touch and coloring closely ap- 
proaching the excellence of Yandervelde. although 
his animals are inferior to that master, in cor- 
rectness of design or beauty of finishing. He died 
at Dort in 1705. 

LEEUW, John de, a Dutch engraver, born at 
the Hague about 1660. In concert with John 
Lamsvelt. he executed the portraits for le Vassor's 
History of Louis XIII. There are also a number 
of other plates by him, among which are the fol- 
lowing : 

Carolus Niellius, D. Theol. J. de Leeuw, sc. James 



LEEU. 



466 



LEGI. 



"M'-M^A^ 



William Imhof, Senator of Nuremberg ; D. Leeuw, fee, 
Joseph Justus Scaliger. John, Duke of Marlborough ; 
vent, vidi, vici. Abraham Cowlej, poet ; for the edition 
of his works published in 1700. 

LEEUW, Thomas de. See Leu. 

LEEUW, William de, 
Flemish engraver, born 
Antwerp in 1610 ; 
died about 1665. He studied under Peter Sout- 
man, but instead of adopting the neat and fin- 
ished style of that master he etched his plates with 
boldness and freedom, although in a coarse and 
inharmonious style. He executed a number of 
plates, which are much esteemed, particularly his 
paintings, after Rubens, to which his manner was 
well adapted. The following arc the principal : 

Lot and his Daughters ; after Ruhens. The first im- 
pressions arc before the name of C. Danker tz. Daniel in 
the Lion's Den ; do. The first impressions of this plate 
are also before the name of Dankertz. The Virgin, sup- 
ported by Angels, called Mater Dolorosa ; do. ; scarce. 
The Martyrdom of St. Catherine ; do, ; fine and scarce. 
Four large plates of Huntings ; do. The same subjects 
are engraved by P. Soutman, viz. the Lion-hunt, the Boar- 
hunt, hunting the Wolf, and the Crocodile and Hippopota- 
mus. Tobit and his Wife ; ajter Rembrandt. David 
playing on the Harp before Saul ; do. The Portrait of 
Rembrandt's Wife ; do. A Female with a Veil ; half- 
length ; do. ; inscribed Marianne. St. Francis in medi- 
tation ; after J. Lievens. A set of four large Landscapes ; 
after Adrian Nieidant. These prints are in a more fin- 
ished stylo than is usual with him ; thoy are scarce. 

LEFEBURE. See Fevre. 

LEPEVRE, Robert, an eminent French painter 
of portraits and history, born at Bayeux. (Calva- 
dos) in 1756. He early manifested an inclination 
for art. and although of a very poor family, he 
succeeded in amassing a small sum to enable him 
to visit Paris. The sight of the works of art in 
that metropolis, decided him to study painting; 
and on returning home, he began to practise or- 
namental painting, for apartments, by which he 
gained the means of revisiting Paris, where he en- 
tered the school of Regnault. His instructor was 
surprised at his fine coloring, and told him that he 
could teach him nothing in that department of the 
art. In 1791. Lefevre exhibited several portraits 
and other subjects, which were admired, and en- 
couraged him to fresh exertions. In 1804, he ex- 
hibited a full length portrait known as The Lady 
in black velvet, which gained him great reputation, 
and from this time his success was complete. He 
painted the portraits of Napoleon and Josephine. 
and made twenty-seven copies for different princes 
and dignitaries of Europe. At the restoration of 
the Bourbons, he was emploj^ed to paint the por- 
trait of Louis XVIII., for the Chamber of Peers, 
which gained him the appointment of painter to 
the King, and admission to the Legion of Honor. 
Among his other portraits are tho.se of Charles X., 
and the Duchesses d'Angouleme and de Berri. 
Among his subjects of history are, A^enus dis- 
arming Cupid, engraved by Desnoyers ; Phocion 
taking the Poison, treated in a vigorous and ele- 
vated style ; the Crucifixion, and the Apotheosis 
of St. Louis, in the Cathedral at Rochelle. He 
died in 1831. 

LEGAT, Fkancis. This engraver resided at 
London about 1780. His plates evince an imita- 
tion of the style of Sir Robert Strange, though in- 
ferior to that master in power and brilliance of 
eficct. They are executed in a very finished style. 



Among them are the following, engraved for John 
Boydell : 

Mary, Queen of Scots, resigning her Crown ; after Gav- 
in Hamilton. The Continence of Scipio ; after N. Pous- 
sin. The King, Queen, and Laertes, in Hamlet ; after 
West. Also a Scene in Richard the Third, after North- 
cote ; and another Scene in King Lear ; after Barry. 

LEGI, GiACOMO, a painter of Flanders, who, 
according to Soprani, died 5^oung at Genoa in 1640, 
but left there some exquisite pictures of animaly, 
flowers, and fruit. 

LEGNANI, Stefano, called Lrgnanino, a Mi- 
lanese painter, born, according to Lanzi, in 1660. 
After acquiring the elements of design from his 
father, a portrait painter, named Cristoforo Leg- 
nani, he studied successively under Carlo Cignani 
at Bologna, and Carlo Maratti at Rome. Ilis 
style combines those of the Roman. Milanese, and 
Bolognese schools ; and he executed a number of 
subjects from sacred history and the fable, com- 
posed with elegance and taste, and evincing great 
intelligence of the chiaro-scuro, a free and spirited 
touch, and charming clearness of coloring. He 
painted a number of pictures at Genoa, and Tu- 
rin, and particularity several fresco works at Milan, 
among which is a picture in S. Angiolo, represent- 
ing a battle fought under the protection of St. Cia- 
camo. At Novara, in the cupola of S. Gaudenzio. 
is one of his finest productions. He died in 1715. 

LEGNx\NO. See Francesco Barbieri. 

LEGOTE, Pablo, a Spanish historical painter, 
who practised at Seville about the middle of the 
17th century ; and was living at Cadiz in 1602. as 
appears from payments made to him there for 
painting standards for the Indian naval armament. 
He was patronized by Cardinal Spinola. Arch- 
bishop of Seville, for whom he painted twelve full- 
length pictures of the Apostles, life size, for the 
archiepiscopal palace. These works evince an as- 
siduous study of nature, con-ectness of design, and 
great truth and beauty of coloring. Several of his 
paintings have been ascribed by good judges to 
the elder Herrera and Alonso Cano, particularly 
twelve half lengths of the Apostles, in la Misera- 
cordia at Seville ; and the grand altar-piece of Santa 
Maria de Lebrixa, in the same church. 

LEGRAND, Jacuues Guillaume, an eminent 
French architect, born at Paris in 1753. He was 
educated for his profession in the school des Fonts 
et Chaussees, where he attracted the notice of 
Perronnet, and while very 3'oung, was commis- 
sioned to erect the bridge at Tours. He studied 
also under Blondel, and after his death, under 
Clerisseau. In company with Molinos, he made 
the tour of Italy, but was recalled to Paris by 
the government, in whose employment he re- 
mained twenty years. He erected many public 
edifices, and restored others, which had fallen into 
decay. One of his most noted works, which he 
executed in concert with Molinos, was the cupola 
of the Halle aux Bleds. He also erected the Thea- 
tre Fleydeau, and effected the restoration of the 
Fountain of the Innocents, the Halle aux Draps, 
and the interior of the Hotel Marboouf He wrote 
the text for the pictorial works entitled Edifices 
de Paris, and Galerie Antique ; also the descrip- 
tions and criticisms of man}'- architectural sub- 
jects in the Annales diiMusce ; the architectural 
portion of Cassas'' Voyage Pittoresque d'lstrie et 
de P/ieniciej and also an octavo volume to ac- 



LEIG. 



467 



LELY. 



company Durancfs ParalUle (VEcUJices. He 
died in 1806. 
■J. LEIGEL. Godfrey, a Swiss wood engraver, 
/t who flourished from 1527 to 1560. according 
^l^ito Bartsch and Brulliot. Amono; othei- prints, 
he executed a set of wooden cuts of sacred sub- 
jects marked with his monogram. 

LEIGH, Jared. an English amateur painter, a 
Proctor in the Doctors' Commons. He painted 
landscapes and marine views, and frequently ex- 
hibited at the Society's Rooms in Spring Gardens. 
He died about 1769. 

LEIPOLDT, J. There is a small oval por- 
trait of Mary, Queen of Scots, surrounded by the 
arms of England, Scotland, Ireland and France, 
marked with the name of this artist. 

LEISMAN, John Anthony, See Eismann. 

LEJEUNE. Louis Fean90is. This painter 
was born at Strasburg, in Germany, in 1775. He 
was an aid-de-camp to Gen. Berthier. and was en- 
gaged in many of the battles of the French armies 
during the career of Napoleon. He made designs 
of the engagements on the spot, and afterward 
painted the pictures. Among his principal pro- 
ductions are, the battles of Marengo, Lodi, Abou- 
kir, (on land) Mount Tabor, the Pyramids, Mos- 
kowa, and several others. He was honored with 
the titles of Baron, and Chevalier of the Order of 
St. Louis ; in 1831 he filled the highly honorable 
appointment of Commander of the Legion of Hon- 
or. Bovinet and Coiny have engraved several of 
his battles. 

LELIE, Adrian le. a Flemish painter, born at 
Tilbourg, in the province of Brabant, m 1755. He 
studied under Quertenmond at Antwerp; but by 
the advice of Prof, Camper, he settled at Amster- 
dam, where he was greatly patronized, and prac- 
tised the art for many years. He painted many 
portraits and cabinet pictures, which are highly 
esteemed throughout Holland and Germany, be- 
ing placed in the choicest collections. He visited 
Dusseldorf, and copied many portraits hj Rubens 
and Vand3^ck, as well as historical subjects by 
Italian and Dutch masters. In the Museum at 
Amsterdam, is a picture by him, representing the 
interior of a peasant's dwelling. One of his best 
works, was a picture of a young student at his 
lesson, in the collection of Madame Vanderberghe 
of Ghent. He died at Amsterdam in 1820. 

LELIENBERG. Little is known of the per- 
sonal history of this artist. He flourished in Hol- 
land about 1663, and painted pictures of dead game 
and subjects of the chase, in the style of Ween- 
inx. 

LELLI, Gio. Antonio, a Roman painter, born, 
according to Baglioni, in 1591, and painted a number 
of fine historical subjects for the Roman churches ; 
although he was prmcipally employed on easel 
pictures for private collections. There is an ex- 
cellent picture of the Annunciation by him, in S. 
Matteo in Merulano ; but his master-piece is the 
Visitation, in the cloister della Minerva. 

LELLI, Ercole, an Italian painter, engraver, 
sculptor, and architect; born at Bologna about 
1700. He studied under Gio. Pietro Zanotti, and 
painted a few pictures, among which is the Virgin 
and Infant, with saints, in S, Andrea at Bologna ; 
and St. Fedele, in the Cappuccini, at Piacenza. As 



a teacher of the art, however, he attained great em- 
inence, and held a high reputation for many years. 
He also taught sculpture and architecture with 
equal success. He executed many excellent mod- 
els in wax, for the Bolognese Institute; also a 
number of fine works in marble, which evince a 
high order of talent in this branch of art. He 
wrote a work entitled Compendio /hiatomico per 
iiso rfe' Pittori e Scultori. As an architect, none 
of his works are mentioned. As an engraver, he 
executed a number of good plates, among which 
the following are after his own designs: Hagar 
and Ishmael ; the Virgin and Infant ; St. Filippo 
Neri, surrounded by a Glory of Angels ; St. Te- 
resa at prayer ; a number of portraits, among which 
is that of his preceptor Zanotti. His plates are 
usually marked E. L. He died in 1766. 

LELY, Sir Peter, an eminent German portrait 
painter, born at Soest, in Westphalia, in 1617. The 
family name was vander Faes, but his father, an 
officer in the army, being lodged in the house of a 
perfumer, the sign of whose shop was a lily, re- 
ceived the appellation of Captain du Lys, or Lely ; 
and the son retained this name. Manifesting an 
inclination for art. he was placed in the school of 
Peter Grebber of Haerlem, with whom he con- 
tinued onl}'- two years ; having, at the age of twen- 
ty, made sufficient progress in portraits and land- 
scape, to enter on his profession. In 1641 he vis- 
ited England, where Vandyck had died the year 
before. At first he painted landscapes with his- 
torical figures; but soon devoted himself entirely 
to portrait painting, in the style of Vandj^ck, and 
gained great reputation. Through the influence 
of William. Prince of Orange, who visited England 
in 1643, Lely was presented to Charles I., and 
painted his portrait, as well as those of William 
and the Princess Mary. During the civil wars, 
he remained in favor with both Roj^alists and Re- 
publicans, and was commissioned to paint the por- 
trait of Cromwell, who said to the artist, " Mr. Lely, 
I desire you will use all your skill to paint my pic- 
ture truly like me, and not flatter me at all ; but re- 
mark all these roughnesses and pimples, warts, and 
every thing as you see me, otherwise I will never 
pay you a farthing for it." After the i-estoration, 
Lely was appointed court painter to Charles II., 
who also conferred on him the honor of knight- 
hood. He gained great reputation and encourage- 
ment, and for many years was the most eminent 
painter in England. He acquired a considerable 
fortune by his art, and deported himself in a man- 
ner worthy of his success. There are a large num- 
ber of his works, which are portraits to the knees, 
mostly of ladies. The backgrounds in his land- 
scapes were usually painted by others, especially 
when landscape was required. There are a few 
historical subjects by him, among which is Su- 
sanna and the Elders, in the possession of the 
Marquis of Exeter. His works are characterized 
by a beautiful and permanent coloring, and grace 
ful attitudes. Inferior to Vandyck in simplicity 
elevation of design, and purity of coloring, he 
endeavored to supply his want of taste with af- 
fectation in the airs of his heads, and a loose, 
capricious arrangement of his habiliments, greatly 
inferior to the tasteful draperies of Vandyck. The 
eyes of his female figures have a sleepy, languish- 
ing look, which in some cases might give a fine 
effect, but is almost universally visible in his por- 
traits, exposing him to the charge of aiannerism. 



LEMA. 



468 



LEMP. 



The hands of his ladies are very beautiful, and 
some of his female portraits surpass those of Van- 
dyck. There is an etching by Lely of a Shepherd 
and Shepherdess. He died in 1680, and was buried 
in Covent Garden, where there is a monument with 
his bust by Gibbon, and a Latin epitaph by Tho- 
mas Flatman. 

LEMAIRE, Jean, a French painter, born at 
Dammartin in 1597. After acquiring a know- 
ledge of the art from Vignon. he visited Italy, and 
studied the great remains of antiquity. On re- 
turning to France he chiefly devoted himself to 
historical, architectural, and perspective subjects. 
He died at Gaillon in 1659. 

LEMAIRE, FRAN901S, a French painter, born 
at Maison Rouge in 1627. He painted portraits, 
and colored them in a good style. He died at 
Paris in 1688. 

LEMBKE, JoHANN Philip, a German painter, 
born at Nuremberg in 1631. He studied under 
M. Weyer and George Struch. About 1653, he 
visited Ital3^ and having a strong inchnation for 
painting battle-pieces, he devoted himself to the 
study of the works of Borgognone, and became a 
very reputable artist in that branch. On return- 
ing to Germany, he wa,s invited by Charles XI. 
to the court of Sweden, and executed a number of 
works, among which two grand battle-pieces in 
the palace of Drottningholm, attest his talents. 
He etched a number of plates in a spirited style. 
He died at Stockholm in 1721. 

LEMENS, Balthasar van, a Flemish painter, 
born at Antwerp in 1637. He visited England af- 
ter the Restoration, and painted small historical 
subjects, characterized by fertility of invention and 
facility and neatness of execution. Meeting with 
little encouragement, he devoted himself to paint- 
ing the draperies and backgrounds in the portraits 
of other artists. 

LE MIRE. See Mire. 

LEMOINE. See Moine. 

LEMOYNE. See Moyne. 

LEMPEREUR, Jean Denis, a French amateur 
engraver, born at Paris in 1710. He etched a va- 
riety of plates after P. da Cortona, B. Castiglione, 
and Vandyck. He was a connoisseur in art, and 
possessed an extensive collection of drawings and 
paintings. 

LEMPEREUR, Jean Baptiste Denis, the 
son of the preceding, was born at Paris in 1740. 
He etched a number of plates from his own designs, 
and after different masters, among which are 
the following: The Angels announcing to the 
Shepherds the Nativity of Christ, after Boucher ; 
the Murder of the Innocents, after Pierre ; two 
Landscapes, after Ruysdael. 

LEMPEREUR. Louis Simon, an eminent French 
engraver, born at Paris in 1725. He studied un- 
der Pierre Aveline, and followed his style. His 
plates possess great merit, and he was chosen a 
member of the Royal Academy. The following 
are the principal : 

portraits. 

E. Jeaurat, painter to the King ; after Roslin ; engra- 
ved for his reception into the Academy in 1775. P. L. B. 
de Belloy, a dramatic poet ; an emblematical portrait. 
1765. Philip Cayeux. sculptor; after Cochin. Claude 
Henry Watelet ; do. 



M 



SUBJECTS AFTER VARIOUS MASTERS. 

The Bathers; after C Vanloo. The Triumph of Sile- 
nus ; do. Aurora and Tithon ; after Pierre. A Sacri- 
fice to Pan ; do. Bacchus and Ariadne ; do. The Forge 
of Vulcan ; do. The Rape of Europa ; do. Pyramus 
andThisbe; after J. B. Cazes. The Garden of Love; 
after Rubens ; the same subject is engraved by Clouet 
and C. Jegher. A Spanish Festival; after Palamedes. 
A pair, Flemish Merry-makings ; after Turners. The 
Eape of Proserpine 5 after La Fosse, 

LEMPEREUR, Catherine Elizabeth, a 
French engraver, the wife of the preceding artist, 
born at Paris in 1726. She studied under Law- 
rence Cars and Fessard. and executed a number of 
prints in a neat and agreeable style, among which 
are the following : 

Two Views of Architecture ; after Pannini. The Milk- 
maid ; after Teniers, The Dangerous Forest ; after 
Wouvcerman. The Rural Labors ; do. The Departure 
of Jacob ; after Boucher. A set of six Marine Subjects 
and Sea-ports ; after Vernet. 

LENARDI, do. Battista, a painter of the Ro- 
man school, who studied under Baldi, and after- 
ward under Pietro da Cortona, in whose style he 
painted in several churches in the Romagna, espe- 
cially in the chapel of the B. Rita at San Agostino, 
and the church of the Buonfratelli at Trastevere. 
He was not a great, but a reputable artist, and 
flourished about the middle of the 17th century. 
LENCKER, Hans, a German goldsmith 
and engraver, who flourished at Nuremberg, 
according to Brulliot, about 1573. That 
author cites two prints, one of Pyramus and 
Thisbe ; the other of Birds on the Branches of 
Trees and Stalks of Flowers ; marked with his 
monogram. He observes that these prints ought 
to be attributed to Lencker, because we are ac 
quainted with other works in the same style, en 
graved and enameled in silver, and marked with a 
monogram composed of the letters H. L. N.. for 
Hans Lencker, Nur ember gensis. dated 1573. It 
is found on silver enameled arabesques, decorated 
with birds, animals and figures, among which are 
the covers of a book of pra3^ers, in the royal 
library at Munich, which bear the monogram, 
with Lencker's name, and the date, 1573. 

LENDINARA, Lorenzo Oanozio da, a native 
of Modena. and a fellow-student of Andrea Man- 
tegna, who was esteemed an excellent artist. He 
inlaid the whole choir of the church of S. Antonio 
with beautiful figures. He died in 1477. This 
edifice was afterward destroyed by fire. None 
of his works are now certainly known to be in ex- 
istence, though there are other works of the same 
kind in the churches at Venice, attributed to him, 
or to his brother Oristoforo, or to his son-in-law 
Pier Antonio, who assisted him in his labors, 
and who are applauded by Siculo as worthy of 
vieing with Phidias and Apelles themselves. Ti- 
raboschi also commends these artists. 

LENFANT, Jean, a French engraver, born at 
Abbeville in 1615 ; died at Paris in 1674. He 
studied under Claude Mellan. and executed a num- 
ber of plates with the graver, in a neat but formal 
manner, following the first style of his instructor, 
with the cross strokes. His plates are principally 
portraits, which are his best productions. Among 
them are the following : 

PORTRAITS. 

The Count de Brienne ; after Le Brun. Jacobus de 
Souvre ; after Mignard. Franciscus du Tillet ; Lenfant 



LENG. 



469 



LEON. 



ad vivum facicbat. 1664. Nicholas Bliisset, architect and 
sculptor. "1653. rranciscn.s de Harlaj-, Rothomagenis 
Archiepisconn'' ; after Champagne. Ludovicus Bou- 
cherat. D. de Compans. 1670. 

SUBJECTS. 

The Bu^t '.f onr ?n-i iir ; ov'l : after Rafaelle. The 
Virgin sueklins: the Tufiuit ; circular; after An. Caracci. 
The Virgin adoring the Infant; cival ; after Guido. 

LP^X(iEf.E. Marj'in. a Dutch painter, bom at 
the Ilai:uc in IGOl. He painted history with re- 
putarion and \ras chosen f)resident of the Acade- 
my of I^intins: at his native cit}^, in 1656. He 
died at the Hague in 1G61. 

LEXS. Andrew Cornelius, a Flemish histori- 
cal painter. l)orn at Antwerp in 1739. He stud- 
ied under Eyckeu'^ and Balthasar Besschey. — 
Among his pviuci])al works are the Annunciation, 
in the church of St. Michael at Ghent; several 
pictures from the History of Mar}^ Magdalene, in 
the charch of that Saint at Lisle ; and Delilah 
cuttim;' olf the Ha'r of Sampson, in the Museum 
at Brussels. He died in 1822. 

LEXS, Bernard, the Elder, a mezzotinto en- 
graver, the son of an obscure painter of the same 
name. wa,> born iti 16-39. and died in 1725. Be- 
sides his mezzotints, he also etched a ^q\y plates, 
in an indiiterent style. Nagler mentions about 
twent3'-five of his prints, among whiah are the 
follo\'v'ing: 

David, with the Head of Goliah ; after Dom Fetl. 
The Judgment of Paris ; after Sir Peter Lei;/. Bacchus, 
A'enus, and Ceres ; after P. Badens. Three Landscape?, 
with figures and cattle ; after Berghcm. Rinaldo and 
Armida ; after J. Vandcrvaart ; and about twenty more 
enumerated bj xsTagler. 

LEXS Bernard, the A^'ounger, was the son of 
the preceding, and floiinshed in England about 
1730. lie became distinguished ns a ])ainter in 
miniature, and a teacher of drawinii'. in which ca- 
pacit^y he was clio^on to instruct the Duke of Cum- 
berland. II'S i.'liief exci'Ilence was in cop>"ing llie 
works of Ilnben-, ^'an. Ivclc and other masters in 
water-col oi-s. He etched a few portraits ; also 
two or three drawina-books of landscapes and 
views, pubiislied for X\\v use of his scholars. Xa- 
gler mentions twenty-three mezzotints by him. 
He died at Knightsbrid^e. in 1741. 

LEXZEX. J. F.. a Flemish painter, born at 
Antwerp in 1790. He is chielly known b}^ his 
successfal copies of the pictures of Ommeganck, 
which have doubtless increased the number of 
works asci'ibed to that master. He died in 1840. 

LEOOARUS, an eminent Greek sculptor, flour- 
ished in the 4th century before Christ, and was 
the cotemporary and rival of Polycles, Cephiso- 
dorus. Scopas. Brj^axis. and Timotheus. In con- 
cert with the three latter, he executed the famous 
tomb of Mausolus, for Queen Artemisia. (For a 
description of this work see Bryaxis.) Leocarus 
also made the bronze st.atne of Isocrates, for the 
temple of Eleu^is ; tlie C >lossus in the temple of 
Mars at Halicarnassus ; the statues in gold and 
ivory, of Aravntas. Philip, Alexander. Olympias, 
and Eurydice, which were consecrated by Philip, 
after the battle of Cheronea, in a temple erected at 
Olympia. ALany other of the works of Leoca- 
rus are mentioned by Pausanias. Pliny, and other 
writers, but his most admired production seems 
to have been a group of Ganymede carried off by 
the Eagle ; a statue of Autolvcus ; and a statue 
of Jupiter, placed in the capitol at Rome. 



LEON, Don Simon de, a Spanish historical 
painter, born at Aladrid in 1610. Under the able 
instructions of Pedro de las Cuevas, he made rap- 
id advances ; and by studying the works of Yan- 
dj-ck. he acquired a brilliant and vigorous system 
of coloring. He was commissioned by Cardinal 
Everard to execute som.e paintings in the church 
of the Jesuits at Madrid, where he painted the 
grand altar-piece, representing the Apparition of 
the Father and the Son to St. Ignatius ; and also 
the dome of the same cliurch. in twenty-one com- 
partments representing the History of the Infant 
Jesus. The Cardinal was so highlj^ pleased with 
his talents, that he recommenled him tothe Queen. 
and he soon atta'ned a high reputation. He paint- 
ed many fine works for the churches of Madrid, 
which WQTQ highly esvcmed. He died in 1687. 

LEOX. Fei-ipe de. a Spanish painter, who flour- 
ished at Seville in the first part of the 18th cen- 
tur}-. He painted several historical subjects from 
I his own designs, in a style closely resembling that 
i of ]Murillo. among which is a picture of Elijah as- 
I cen<Iing to Heaven in a Fiery Chariot. He copied 
the woiks of Murillo with great exactness, and 
mau\^ of his copies were formerly at Seville, 
where the}^ were highly esteemed. He died in 
I that cit)^ in 1728. 

I LEON. Christopher de, a Spanish painter, 
i brother of Felipe de L.. was born at Seville about 
I 1650. He studied under Murillo and Yaldes. and 
' nearly approached the style of the latter master. 
[ He painted history with reputation, and executed 4 
j nnmbei- of good works in oil and fresco, among 
wliich are twcnt3^-eight portraits in S. Felipe de 
Xeri. at Madrid. He died at Seville in 1729. 

LEOX'. or LEONI. Carlo a native of Rimini, 
; who is commended in the Guida da Rimini for his 
; fi-esco paintings in the churches of that city. He 
also peinted sevci al pictures in the church and con- 
vent of the Conventuali at Venice, which are high- 
ly extolled. He died at Rimini in 1700. 

LEON, or LEONL Giovanni, a native of Carpi, 
was born in 1639. and died in 1727. He studied 
v^'ith Griffoni; and was a very eminent artificer in 
his time of works in scagliola. Two very beau- 
tiful specimens of his work are preserved in the 
Ducal Museum at Modena. He resided chiefly at 
Cremona, where he introduced this then new art. 
See del Conti. 

LEON, or LEONI, Girolamo da', a painter of 
Piacenza, who. according to Orlandi, lived about 
1580. The Guida da Parma also makes mention 
of some of his works in that city. 

LEONARD, John Francis, a Flemish engra- 
ver, born at Dunkirk in 1633 ; died at Nuremberg 
in 1687. Among other plates, he executed the 
portrait of Merstraten. Syndic of Brussels, and 
his wife, after Vandyck; also a part of the por- 
traits for the History of the Emperor, published 
at A'ienna in 1674. 

LEOXARDIS, Giovanni, an Italian engraver, 
born at Venice in 1712. He studied painting un- 
der Gio. Battista Tiepolo. but afterward devoted 
himself to engraving. ' There are a number of etch- 
ings by him. "after various Italian masters, among 
which are the following : 

Cupids at Play ; after Giulio Carpioni. The Triumph 
of Silenus ; do. Neptune and Thetis ; after Seb. Conca. 
1765. The Rape of Europa ; do. Two subjects of the 



LEON. 



470 



LEON. 



Amusements of the Carnival ; after Tlepolo. The Gold- 
en Calf ; after Tintoretto. 1768. The Last Judgment ; 
do. 1768." 

LEONARDO, Fra. Augustin, a Spanish his- 
torical and portrait painter, born at Madrid, ac- 
cording to Palomino, in 1580 ; though other wri- 
ters phice his birth at Valencia. He was a monk 
of the Order of St. Felipe, and painted several 
pictures for the monastery Nuestra Sennora de la 
Merced. His portraits are said to possess great 
merit. Among his subjects of history -was a 
Battle between the Moors and Spaniards, with St. 
George assisting the latter. Palomino highly 
praises his picture of tlie Miracle of the Loaves 
and Fishes, in the Refectory of the convent de la 
Merced at Toledo. He died at Madrid in 1G40. 

LEONARDO. Jose, an eminent Spanish paint- 
er of battles, born, according to Palomino, at Mad- 
rid in 1616. though Martinez says he was a na- 
tive of Catalonia. He studied under Pedro de las 
Cuevas. and became so distinguished as to be ap- 
pointed painter to the King. He executed a num- 
ber of excellent works for the palace of Bueno 
Retiro, among which are the Siege of Breda ; and 
a large composition of great merit, representing a 
March of Soldiers, with the Duke of Fiias con- 
versing with an OlBcer. He was poisoned in 1656, 
probably by those jealous of his merits. 

LEONARDONI, Francesco, an Italian painter, 
born at Venice in 1654. He visited Spain, and 
settled at Madrid. According to Palomino he 
gained great eminence in portrait painting ; and 
also executed several historical works for the 
churches, characterized by a grand style of design, 
bold and spirited touch, and great intelligence of 
chiaro-scuro. Among his principal works is a 
large altar-piece of the Incarnation, in S. Geroni- 
mo el Real, at Madrid ; and two subjects from the 
Life of St. Joseph, in the church of the Colegio 
d'Atocha. He died at Madrid, in 1711. 

LEONBRUNO, Lorenzo, an Italian painter, 
not mentioned by Lanzi and other writers on art. 
In 1825. Girolamo Prandi. professor of the Uni- 
versity at Bologna, published a notice of the life 
and works of this artist. He was born at Man- 
tua in 1489, and studied under Count Castiglione, 
the friend of Raflfaelle. Appointed painter to the 
Duke of Mantua, he gave offence to Giulio Roma- 
no, and was obliged to quit Mantua, and settle at 
Milan, where he died about 1537. There are three 
pictures by Leonbruno at Mantua, which are very 
highly praised, even to a comparison with the 
works of Annibale Caracci and Domenichino. — 
They are St. Jerome, the Metamorphosis of Midas, 
and the Body of Christ in the Arms of the Vir- 
gin. 

LEONCINI, Francesco, an engraver mention- 
ed by Strutt, as the artist of a plate representing 
the Flight into Egypt. It is etched in a slight, 
free style, and signed Francesco Leoncini di S. 
Geminiano^ inv. etf. 

LEONE, GuGLiELMO. The plates attributed 
to this imaginary artist, who, according to the 
Italian writers, was born at Parma in 1644, are in 
reality by Gabriel vander Leeuw, which see. 

LEONE, Arto, called Coriario. This painter 
was born in 1498, and studied under Cornelius 
Engelbrechtsen. He painted sacred and poetical 
subjects in a grand style, decorated with architec- 



ture, which he designed and executed with great 
freedom and taste. The figui-es in his works are 
general!)^ of hfe-size, and sometimes larger. lie 
died in 1564. 

LEONI, Giovanni da, a painter briefly men- 
tioned by Vasari, of whom little more is known 
than that he studied under Giulio Romano at 
Rome. 

LEONI, LuiGi. called il Padovano, a reputable 
Italian painler, engraver, and modeler, was born 
at Padua in 1531, but practised at Rome. He 
])ainted history with reputation, both in oil and 
fresco. As an engraver, he executed several plates, 
coins, and medals. His models in wax, however! 
were greasy admired, and it is said that after 
once seeing a person he could easil}^ model a cor- 
rect likeness. He died at Rome, in 1606. 

LEONI. Cav. Ottavfo. called il Cav. Pado- 
vano and Padovanino, the son of Luigi L., was 
an eminent Italian painter and engraver. His 
family was from Padua, which gave him his sur- 
name; but he was born at Rome, according to 
Nagler and other authorities, in 1574; died in 
1628. Baglioni says he was the son of a painter ; 
and during the pontificate of Urban VIII. he was 
held in high esteem for his talents in portrait and 
history, being employed to paint the pope, cardi- 
nals, and principal nobility of the time. Among 
his historical works is the Virgin and Infant, in 
S. Maria della Minerva ; the Annunciation, in S. 
Eustachio ; and St. Carlo. St. Francesco, and St. 
Niccolo. in S. Urbano. He was chosen Director 
of the Academy of St. Luke, and was appointed 
Knight of the Order of Christ, on which occasion 
he painted the Martyrdom of St. Martina, for the 
church of the Academj^ 

As an engraver, Cav. Ottavio Leoni executed 
about forty plates, described by Bartsch and Na- 
gler, among which are about twenty portraits of 
painters, engraved in a singular manner, but pro- 
ducing a very pleasing effect. The hair and dra- 
peries arc engraved with strokes ; the shadows 
assisted with strokes ; the faces delicately dotted ; 
the heads finely drawn, and the whole highly 
finished. Among them are the following, signed 
Eqiies. Ottav. Leonus. Romanus pictor. fecit : 

PORTRAITS. 

Ludovicus Leonus, Pictor et Sculptor Celebris. 1625. 
Eques. Ottav. Leonus, se ipse fee. 1625.' Joannes Fran- 
ciscus Barbieri, Centinus pictor, 1623. Marcellus Proven- 
zalis, Centensis. 1623. Eques Christopher. Ronehalis de 
Poraeranciis, pictor. 1623. Eques Joseph. Caesar Arpinas, 
pictor. 1621. Antonius Terapesta, pictor Florentinus. — 
1621. Thomas. Salinus, Romanus, pictor. 1625. Fr. D. 
Antonius Barberinus. 1625. 

LEONI, Leone, an Italian sculptor and medal- 
ist, a native of Arezzo. in Tuscany. He gained a 
high reputation, and was commissioned to execute 
the magnificent bronze mausoleum in honor of 
Giacomo de' Medicis. brother to Pms IV., erected 
in the cathedral at Milan. This work greatly in- 
creased his reputation, and he was patronized by 
the Emperor Charles V., who assigned him apart- 
ments in his palace at Brussels. He executed 
three marble statues of the Emperor, his Empress, 
and their son, Philip II. He also cast a bronze 
colossal statue of Charles V., at Madrid, and made 
several bronze and marble statues for the E.-cu- 
rial. He died in 1660. 

LEONI, Giacomo, a Venetian architect, who 



LEOP. 



471 



LEPR. 



visited Germany, and was employed by the Elec- 
tor Palatine, for whom he erected a number of 
good edifices. He afterward visited England, and 
published at London a fine edition of the Works 
of Palladio, in 1742. He died in 174G. 

LEOPARDI, Alessandro. an eminent Itahan 
sculptor, born at Venice about 1450. Little is 
known of the circumstances of his life, but his 
works are very highl}^ esteemed for their elegant 
and masterly execution. Among his finest pro- 
ductions, according to Cicognara, is the Mauso- 
leum of the Doge Andrea Vendramino, in the an- 
cient church of the Serviti. It is enriched with 
a great number of admirable statues and bas- 
reliefs. The three bronze pillars in the Piazza di 
San Marco, which support the standards of the 
Republic, are also by this artist ; and the elegance 
and perfection of their proportions have been 
highly praised. He executed the bronze eques- 
trian statue of the Colleoni. after the design of 
Andrea da Yerocchio. He died in ]510. 

LEPICIE, Bernard, a reputable French en- 
iraver, born at Paris in 1699,and died there in 1755. 
He formed his style upon that of Jean Audran, of 
whom he was probably a pupil. At the invitation 
of Claude du Bosc, he visited England to assist 
that artist in engraving the Cartoons of Raffaelle 
for the print-sellers. These plates, however, are 
far below his other productions. On returning to 
Paris, he engraved a number of plates which 
gained him great reputation, and he was chosen a 
member of the Royal Academy, of which he was 
appointed secretary and historian. He published 
two works relating to art, entitled La Descrip- 
tion des Tableaux du Boi, and Les Vies des pre- 
miers Peintres du Roi. depuis Charles le Brun, 
jusqu^ a Francois le Moine. The following are 
his principal prints : 

PORTRAITS, 

Nicholas Bertin, painter to the King ; after Lien ; en- 
graved for his reception into the Academy in 1740. Louis 
deBoullonp;ne, first painter to the King; after Rigaud. 
Philibert Orry. Minister of France ; do. Peter Grassin, 
Director of the Mint ; after Largilllere. Charles Cappe- 
ronnier, Librarian to the King ; after Aved. Francis 
d'Aubigne, Marchioness de Maintcnon ; after Mignard. 
John Baptist Moliere ; after Charles Coypel. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Circumcision ; after Giulio Romano ; for the Cro- 
zat collection. Jupiter and lo ; do. ; do. Jupiter and 
Juno; do.; do. St. John preaching in the Wilderness; 
after Baciccio ; do. Vertumnus and Pomona ; after 
Rembrandt. Two Subjects ; after Teniers. The Chess- 
players ; after C- de Moor, The Players at Piquet ; af- 
ter G. Ne'tscher. Town Love and Village Love ; after 
Charles Coypel. The Pacha having his Slistress' picture 
painted ; after C Vanloo ; fine. Charles I. taking leave 
of his Children ; after Raoux. 

LEPICIE, Renee Marie Elizabeth, was the 
wife of the preceding, and engraved a number of 
plates in a neat style, after Boucher, Vanloo, Char- 
din, Rigaud, and others, among which are a pair 
after Chardin, Saying Grace, and the Industrious 
Mother ; also the "^Flemish Cook, after Teniers. 
§he died in 1752. 

LEPICIE. Nicholas Bernard, a French paint- 
er, the son of Bernard L., born at Paris in 1735. 
He studied under Carl Vanloo. and gained some 
distinction by his picture of William the Conquer- 
or. In 1768 he was admitted to the Academy, for 
liis picture of Chiron instructing Achilles in mu- 
sic. In 1770 he exhibited several pictures, among 



which were Narcissus metamorphosed, and the 
Martyrdom of St. Andrew. His works are quite 
numerous, but they are abundantly open to ciiti- 
cism for their unstudied and unnatural design, and 
their false system of coloring. He died in 1784. 

LEPRINCJS, A. Xavier, a reputable French 
painter, who flourished in the first quarter of the 
present century. He painted landscapes, fairs, car- 
nivals, and various other subjects, which are to be 
found in some collections. A few partially finish- 
ed compositions which he left at his death, in 
1826, were completed by Renou and Potdevin. 

LERCH. J. M., a German engraver of little 
note, who flourished at Vienna about 1670. He 
executed several portraits for Priorata's History 
of the Emperor Leopold, and a large print, in three 
sheets, in concert with Hoffman, of the Siege of 
Brandenburg. 

LEROY, Jean David, an eminent French wri- 
ter on architecture, born at Paris in 1728. He 
earl}' manifested a strong inclination for art. and 
visited Greece in order to collect materials for his 
work which appeared in 1758, entitled Buines des 
plus beaux monuments de la Grece. In 1770 he 
published a revised edition, which was greatly ad- 
mired. He was made a member of the Acade- 
mies of Inscriptions and of Fine Arts at Paris, 
and also of the Institute; member of the Bo- 
lognese Institute ; and was also Professor of Ar- 
chitecture in the French Academy for many years. 
Leroy wrote several excellent works on archi- 
tecture and engineering; and by his teachings and 
writings succeeded in greatly elevating and im- 
proving the architectural taste of France. He 
died in 1803. 

LERPINIE RE, Daniel de. This engraver flour- 
ished in England in the latter part of the 18th 
century. Nagler mentions a print by hioi. dated 
1790, He was probably of French extraction, and 
a pupil of F. Vivares. There are several naval 
subjects by him, engraved in concert with Fittler ; 
also a number of landscapes and views, which 
possess great merit. Among them are the fol- 
lowing : 

A Landscape, with the Flight into Egypt ; after Claude 
Lorraine. The Companion,with St. George and the Drag- 
on ; do. A grand Landscape, with the Israelites worship- 
ping the Golden Calf ; do. A Sea-piece, a Calm; after 
Vernet. The Companion, a Storm ; do. Two Italian 
Landscapes; after the designs of John Taylor. Two 
Landscapes, with cattle ; after Cuyp. A Landscape, 
Evening ; after Pynacker. Six Views of Sea-fights, &c. ; 
after R. Paton. 

LESCOT. Pierre, an eminent French architect, 
born at Paris in 1510. He has the credit of be- 
ing among the first to reform the Gothic and bas- 
tard styles of architecture, which till then pre- 
vailed in France. Convinced of the surpassing ex- 
cellence of the beautiful remains of antiquity, he 
endeavored to substitute them in place of the prev- 
alent modes, and to reform the public taste. The 
first important work confided to Lescot, was the 
Louvre, commenced in 1541, under Francis I. The 
Hall of the Hundred Swiss, was much esteemed ; 
and the Fountain of the Innocents, in which the 
genius of the sculptor Goujon is united with that 
of Lescot. This artist died in 1571. 

LESCOT, Hortense Victoire Haudebourt. a 
reputable French paintress, born at Paris in 1785. 
She studied under Lethiere, the severity of whose 



LETE. 



472 



LEUP. 



style scarcely admits of the supposition that 
she could adopt that for which she was afterward 
distinguished. When Lethiere was appointed Di- 
recto'/of the French Academy at Rome, she also 
accompanied him thither, and produced several 
Avorks in that cit}'-, which gained her considerable 
reputation. She first exhibited at the Louvte in 
1810; and in 1812 she produced the '-Salutation 
of the Feet of St. Peter," and the '• Confirmation," 
in the church of St. Agnes at Rome; which are 
now in the gallery of the Luxembourg. In 1814 she 
married M. Haudebourt the architect ; after which 
she was appointed artist to the Duchess de Berri. 
Her pictures were mostly historical, very numer- 
ous, and remarkable for felicity in the selecting of 
the subjects. She practised the art with consid- 
erable success till her death, which occurred in 
1844. 

LETELLIER, C. F., a French engraver, who 
flourished about 1780. He executed several plates 
of conversations, &c., with the point and graver, 
after the French painters and other masters. 

LETH. Henry de, a Dutch engraver, who re- 
sided at Amsterdam, and according to Basan, exe- 
cuted many views of Kennemland. in a poor style. 
LETHIERE, Guillaume Guillon, an emin- 
ent French painter, born at St, Anne, in the island 
of Gaudeloupe, in 1760. He was sent while very 
young to France, and after receiving a very liberal 
education, was placed under a professor of the art 
at Rouen, where he remained three years, and 
then studied at Paris, under Doyen. In 1786, 
having gained the grand prize of the Royal Acad- 
em}^, he visited Rome for improvement, and made 
rapid advances. His classical education, and the 
stirring scenes then transpiring in France, sug- 
gested the representation of subjects connected 
with resistance and destruction of tyranny, and 
he therefore painted several pictures of the Death 
of Virginia, the Death of Caesar, and Brutus con- 
demning his Sons. The latter he sent to Paris, 
where it was received with great applause, and 
gained for Lethiere a great reputation. In 1792 
he returned to France, where he became involved 
in the Revolution, but without participating in its 
excesses. He formed a friendship with Louis Bo- 
Tiaparte, which was of great advantage to him 
during the Consulate, but subsequently obliged 
him to follow his protector into exile. Through 
his influence Lethiere obtained the Cross of the 
Legion d'Honneur, and the directorship of the 
French Academy. In 1815 he was chosen a mem- 
ber of the fourth class of the Institute, and al- 
though Louis XVIII. refused at first to confirm 
him, yet by the same prince he was afterward ap- 
pointed Professor of Painting. His works are char- 
acterized by great elevation of design, evincing a 
mind enriched with classical and poetical beauties, 
and may be ranked among the greatest historical 
productions of modern art. In 1816 his pictures 
of the Judgment of Brutus, and Homer reciting 
his verses to the Greeks, were exhibited at Lon- 
don with great applause. Among his other most 
important works, are ^neas and Dido fleeing from 
the Storm, exhibited in 1819 ; and Philoctetes in 
the Isle of Lemnos. Lethiere died in 1832. 

LEU. Thomas de, a French engraver, born at 
Paris in 1562, and died about 1620. It is un- 
known under whom he studied, but he engraved 
a large number of plates of distinguished person- 



ages, and a few other subjects, possessing much 
merit, executed entirely with the graver, in a neat, 
finished style, somewhat resembling that of the 
Wierixes. His prints are generally marked with 
his name, among which are the following : 

PORTHAITS. 

Henry III., King of France and Poland, Henry de 
Bourbon, Prince of Conde, at the age of nine years. Cesar, 
Monsieur, the companion, aged five years. Bust of Henry 
IV. ; after Bunel. Busts of Henry IV. and Mary of Me- 
dicis ; after Quenel. Mary of Medicis ; T. de Leu, fee. 
Mary, Queen of Scotland and France ; T, de Leu. Charles 
de Bourbon, Count of Soisson. Francis de Bourbon. Prince 
de Conte. Charles de Lorraine, Duke du Mayne. Henry 
de Savoy, Duke de Nemours, Henry de Montmorency, 
Constable of France. Louisa de Lorraine, Dowoger of 
France. Anne, Duke de Joyeuse, Admiral of France. 
Charles de Biron, Marshal of JFrance, 

SUBJECTS. 

Twenty-five plates of the Life of St. Francis. !rhe 
Twelve Sibyls ; from his own designs. Justice rewarding 
the Labor of the Husbandman ; after F. Zucchen). The 
Ecce Homo, with Angels bearing the Instruments of the 
Passion. 

LEUPENICIE, J., a Dutch engraver, and pro- 
bably a painter, who flourished about 1677. There 
are a few slight but spirited etchings, retouched 
with the graver, representing views in Holland, 
which appear to be the work of a painter, signed 
and dated as above. 

LEIJR, Nicholas vander, a Dutch painter, born 
at Breda in 1667, and died there in 1726. He 
went to Italy while young, and spent several years 
at Rome, diligently studying and copying the best 
works of the great masters. On his return to 
Holland he acquired considerable reputation, both 
as an historical and portrait painter, in which last 
branch he excelled, and might have been without a 
competitor, had he confined himself to it, but he 
aspired to a higher rank without properly estima- 
ting his own capacity. His drawing and coloring 
were good, and he understood perspective and ar- 
chitecture well, but his imagination was cold, his 
invention narrow and confused, and his composi- 
tion labored. His best work is an altar-piece in 
the church of the Recolets at Breda. 

LE VASSEUR. See Vasseur. 

LEVESQUE, Pierre Charles, a French en- 
graver, born at Paris about 1727. He is better 
known as the continuator of the Dictionnairedes 
Beaux Arts, begun by M. Watelet, than for his i 
works as an engraver, although he executed a num- 
ber of plates which possess considerable merit. 
The following are the principal : 

PORTRAITS. 

Louis Phelippeaux, Duke de la Vrilliere ; after Van- 
loo. Michael Francis Sedaine ; after J. L. David. Johii 
Causeur, aged 130 years ; after Cofjieri. 

SCBJECTS after VARIOUS MASTERS. 

Venus and Cupid ; after Pierre. 1770. Cupid sharp- 
ening his Arrows ; after Cazes. Sleeping and Waking ; 
after Boucher; two prints. 1765. The Dutch Toilet', 
afcer Metzu. Lot and his Daughters ; after Diepenbeck. 

LEVO. DoMENico, a painter of Verona, who, 
according to Pozzo. flourished about 1720, and 
M^as an excellent painter of flower-pieces, which 
he composed and executed with great elegance and 
truth. Lanzi says his works were extremely ad- 
mired. 

LEYDEN. Lucas Jacobs, called Ltj- 



/sfzo 



CAS VAN Leyden, from the place of his 
nativity, was born in 1494. He was 



LEYD. 



473 



LEYD. 



the son of Hugo Jacobs, an obscure painter, who 
instructed his son in the rudiments of art. Al- 
most in infancy, he exhibited the greatest passion 
for the fine arts, and an extraordinary precocity of 
genius. lie bestowed all his time, night and da}^, 
to his favorite pursuits, and had scarcel}^ attained 
his ninth year, when he produced some plates 
from his own designs. His father now placed him 
with Cornelius Engelbvechtsen, to study paint- 
ing, under whose instructions, he made such pro- 
gress, that at twelve 3^eaT's of age he produced his 
picture of St. Hubert, the excellence of which, as- 
tonished the artists of his time, and procured him 
the greatest applause, only stimulating him to 
greater exertions. In 1508, when he Avas four- 
teen years of age. appeared his celebrated print 
of Mahomet drunk, having killed the Monk Ser- 
gius. Cotemporary with Albert Durer, there ex- 
isted between these distinguished artists the most 
intimate friendship and correspondence, which was 
never interrupted by any jealousy occasioned by 
their noble emulation of excelling each other in 
art. He is allowed to have surpassed Durer in 
composition, tliough inferior to him in design. He 
painted in oil, in distemper and on glass, and treat- 
ed with equal success, history, landscape, and por- 
traits. His coloring is fresh and clear, and his 
pencil is light, though his pictures are highly fin- 
ished. His drawing is taken from the model 
in the stiff Gothic style, then universall}^ preva- 
lent throughout Germany and Flanders, divest- 
ed of grace and elegance, and his heads, though 
they have an expression of truth, have neither 
dignity or beauty, and there is too great a simi- 
larity in them. His draperies are stift", and bro- 
ken into too many folds. He had an imperfect 
acquaintance with the principles of perspective, 
then not well understood in his country, but he 
endeavored to overcome this dilBculty by appor- 
tioning the strength of his coloring to the difierent 
degrees of distance in which his objects were placed. 
These defects, however, may be fairly attributed 
to the predominant taste of his country, which he 
had no opportunity of improving by the advanta- 
ges of travel. His most famous pictures are the 
Last Judgment, an immense composition, with a 
multitude of figures, in the Town House at Lej'- 
den. Cbi-ist curing the Blind jMan at Jericho, dated 
1531 ; tlie Virgin and Infant holding a bunch of 
Grapes, in the imperial collection at Vienna, dated 
1522, and the Descent from the Cross, in the church 
formerly of the Jesuits at Paris. 

" As an engraver." says Strutt, '• Lucas van Ley- 
den claims particular attention. At a period when 
Albert Durer had carried the art of engraving to 
such perfection in Germany, and Marc' Antonio ex- 
ercised it with the greatest reputation in Italy, 
Lucas disputed the palm with those celebrated 
competitors, in the Low Countries. He learned 
the use of the point and graver from a goldsmith, 
which he carried to a surprising pitch of perfec- 
tion for the short time he lived. His style dif- 
fers from that of Albert Durer, and seems to have 
been built on that of Israel van Mecheln. His ex- 
ecution is neat and clean; but as his strokes are 
equally fine in objects in the forgeround, as in those 
in the distance, and as there is a want of connex- 
ion in the masses, his plates, though extremely 
neat, are inferior to those of Durer in firmness and 
harmony of effect. His figures are tall and meagre, 
the extremities rather mannered than correct, and 



though his attitudes are not ill chosen, they arc 
generally stiff and ungraceful. He engraved on 
wood as well as on copper, but his cuts are not 
very numerous. They are spirited and masterly, 
though inferior to those of Albert Durer." 

Lucas van Leyden died in 1533, aged 39. It is 
said that he was fond of display and corporeal en- 
joyments, and that he indulged himself to .'•uch 
an extent as to destroy his constitution. His chief 
companion in dissipation was John de iMabuse. Yet 
he executed an astonishing number of woi-ks for 
so short a life. There are considerably over one 
hundred paintings, (of which above eighty are his- 
torical subjects) considered genuine by him in the 
galleries and collections of Europe. Doubtless 
some of these were executed by cotemporary art- 
ists, who availed themselves of his prints and 
drawings in imitating his style. It is the fate of 
all imitators to have their best works attributed 
to their prototype, and the possessor never has any 
doubt of their originality. His prints are very 
numerous. Bartsch. Zani, and Ottley, agree that 
Lucas van Leyden did not engrave on wood ; that 
he merely traced the design and employed others 
to execute the work. The same has been said df 
Albert Durer and other eminent artists, whose 
wooden cuts are so highl}^ prized. — (See Durer.) 
The following list comprises all his principal prints, 
of which fine impressions are now very scarce and 
valuable. For further details, and catalogues of his 
prints, the reader is referred to Bartsch's Peintre 
Graveur, and to Ottley 's History of Engraving. 
His prints are usually marked with the Gothic 
letter L : 

SUBJECTS OF THE OLD TESTAMENT. 

A set of six, of the Creation and Fall of Adam and Eve. 
1529. Adam and Eve driven from Paradise. 1510. Cain 
and Abel 1524. Abraham and the Angels. Abraham 
sending awa,y Hagar ; one of his first plates; very scarce. 
The same subject, differently treated ; smaller ; called the 
Little Hagar. Lot and his Daughters ; 1530 ; fine. A 
set of five of the History of Joseph. 1512. Jeptha and 
his Daughter. Samson and Dalilah. Tho Triumph of 
David. David praying, with an Angel api>earing to him. 
1520. David playing on the Harp before Saul. Solomon 
worshipping the Idols. 1514. Esther before Abasuei-u.s. 
1515. Susanna and the Elders ; one of his earliest prints. 

SUBJECTS OF THE NEW TESTAMENT. 

St. Joachim and St. Anne. 1520. The Annunciation. 
The Visitation. The Adoration of the Magi ; very fine. 
1513. H. Goltzius has engraved the same subject, v.'ith 
very little difference. The Repose in Egypt ; one of his 
early prints. The Baptism of Christ ; a composition of 
many figures. Christ tempted by the Devil. 1518. The 
Resurrection of Lazarus ; one of his early prints. A set 
of fourteen, of the Passion of our Saviour. Another set 
of nine, circular prints, of the Passion. The Ecce Homo; 
a rich composition ; engraved in 1510. The Crucifi.xion ; 
another capital composition ; one of his finest prints. 1517. 
Christ appearing to Magdalene. 1519. The Prodigal Son ; 
fine. 

fc-UBJECTS OF THE VIRGIN, SAINTS, <fec. 

The Virgin and Infant, with St. Anne. 1516. The Vir- 
gin and Infant, with a Glory of Angels. The Virgin and 
Infant, seated at the foot of a tree. The Virgin and In- 
fant, in a landscape, with two Angels ; very fine. 1523. 
The Holy Family, with St. Joseph presenting an Apple. 
A set of thirteen, of Christ and the Twelve Apostles. The 
Four Evangelists ; in four plates ; dated 1518. St. Peter 
and St. Paul; half-length. 1517. The Conversion of St. 
Paul. 1509. St. Peter and St. Paul, in a ]and.«cape. 1527. 
St. Christopher carrying the infant Jesus. 1521 ; very fine. 
St. John the Baptist in the Desert. 1513. The Decolla- 
tion of St. John. St. Jerome, with a Book, a Skull, and a 
Lion. 1521. The Martyrdom of St. Sebastian. St. An- 
thony, the Hermit. The Temptation of St, Anthony. — 



LEYS. 



474 



LEYT. 



1509 ; very fine ; cngravcJ when ho was thirtoon, St. 
Francis reooivinj; tlio Sdgmiita. St. doorgo combating 
the Dragon. Rlar}' Miigdalono in the midst of tho Pleas- 
ures of tho Worhl ; tho oolcbratod print called Maf^da- 
Icnc-s Dance ; very fine, and cxtrcnioly rare. Mary Mag- 
dalene in the Desert. St. Catherine ; half-length. 1520. 

VARIOUS SUBJECTS 

Tho Monk S<'rg'.u.^, killed by Mahomet, who is sleeping; 
dated 1508 ; very fine, engraved when ho was fourteen. — 
The Seven Cardinal Virtues ; in seven ])rints. 1530. The 
Death of Tuu-rotia, by .<!omo called tho Death of Dido — 
Pyranins and Thisbe. 15M. Mars and Venus. 1530 Mi- 
nerva seated ; sup))osed to have been his last plate, which 
he did not quite iinish. The Standard-Hearer. A young 
Man at tlie head of an armed company, listening to a Man 
wlio is speaking to him, with his hat in his hand ; fme. The 
Wedding-Uing ; an old I\Iau putting a lling on tho fiugor 
of a young Wonuni ; a highly finished etching; scarce. 
An old Wouuui, with a Bunch of Ih-apos. The Musicians. 
15*21. The Surijeon j)orforming an Operation. 1524. The 
Quack-doctor. 1523. The scarce and celebrated print call- 
ed the (?i/lr)ispicg'c,l. It represents a man playing on the 
Bag-pipes, carrying two children in a basket, and a woman 
with a. child on her shoulilor. loading an ass with panniers, 
in which arc three umrc children. This group is preceded 
by the I'l/lciispici^cl, in the form of a boy, with a hood, 
having an owl on his shoulder, carrying a pitcher and a 
staff The extreme rarity of this ]uint is well known to 
the collectors. It was for some time believed to bo unique, 
and existing only in tlic collection of tlie King of France : 
but it has since appoaretl that an imprcssionof it was in IMa- 
rletto's collection; and it is thougl\t that there aro not 
more than ft)ur or live of them in existence. Its scarcity 
constitutes its groat value, as i( is very inferim- to many of 
his works It was coi>ied by llomlius :ind others ; and 15a- 
san mentions another copy of it, without tho name of tho 
engraver, so exact as easily to be mistaken for tho original. 
It is da,ted 1520. 

rORTUAITS. 

The Emperor Maximilian I. ; after a picture painted by 
Lucas when he visited Leyden. The head is executed with 
tho graver, the rest etched, and in parts harmonized with 
tho graver 1520; very line and scarce. Tho Portraits 
of LuiMs van Leyden. inscribed Elfigies Luc<c Lcidcnsis 
propria vutnu incidcrc. A young Man, half-length, with 
a cap and feathers, holding a skull ; usuall\' called his own 
portrait, though it beai-s no resemblance to the preceding 

OQO. 

WOODEN CUTS, ALL SCARCE. 

The Kings of Israel ; in ehiaro-scuro. The illustrious 
Women of the Old Testaiuent. Four large Tournaments. 

LEYSKHFiTTEN. Pk tkr van. a Flemish engrav- 
er, born at Brussels about IGIO. In conjunction 
with John van Troyen, he enoraved part of the 
plates for the (i alien/ of Tenicrs. The drawing 
is incorrect, and they are executed in a coarse, 
tasteless style. Anionp; others ai*c the following : 

Tho Portrait of David Teniors, tho elder ; after P. ran 
Mol. Jupiter and Danae ; after Titian. The Marriage 
of St. Catherine ; after P. Veronesie. Tho Visitation of 
the Virgin to St. Elizabeth ; after Palma. Tho Virgin, 
with the Infant Jesus and St. John; do, Cupid present- 
ing Fruit to Venus ; after Paris Bordonc. Diana imd 
Endymion ; do. 

I.EYSSENS, Nicholas, a Flemish painter, born 
at Antwerp in UilU. After studying under Peter 
Fiyckens in his native city, he went to Rome, where 
he resided several years. assiduously stiulynig nature 
anil the works of the best masters, became an ele- 
gant designer, and had already acquired consider- 
able reputation in that metropolis of art, when ho 
was sunnuoned home to attend his father, who 
was poor, aged, and in declining health. lie in- 
stantly obeyed the summons, left his bright pros- 
pects and hastened to comfort his parent with every 
lilial duty, and never left his side except to attend 
to his professional or religious duties. Providence 



rewarded the goodness of his heart, and he found 
abundant en\ploynicnt at Antwerp in decorating 
the saloons and ceilings of the mansions of the 
wealthy. He designed lustorical and mytiiologi- 
cal subjects with great taste, and he excelled in his 
nymphs, cupids, and statues ; his drawing was ex- 
tremely correct and his tone of coloring pleasing. 
He frequently inserted the figures, with great ele- 
gance and propriety, in the works of Boschaert, 
Verbruggen, and Hardime. lie died at Antwerp in 
1710. 

LEYTO, Andrks, a Spanish historical and per- 
spective painter, who flourished at Madrid about 
1080. In conjunction with Jose de Sarabia, he 
executed a series of pictures in the cloister of the 
convent of S. Francesco at Segovia. But his chief 
excellence lay in painting pcrs])ective, or the dec- 
orations of interiors, in which branch he had few 
equals among tho Spanish painters. 

LEYVA, Fkay Jacor de, a Spanish painter, 
boi-n at Daro de la Kioja, about 1580. After ac- 
quiring the elements of design in his native coun- 
try, he visit ed Homo for improvement. and on return- 
ing to Spain, settled at Burgos and soon gained 
reputation. In 10*28, the clergy of Burgos com- 
missioned him to paint a number of portraits of 
eminent personages, and several historical subjects, 
which were distinguished for their fine composi- 
tion and coloring, although they lack elevation 
of design. At the age of lifty-three ho lost his 
wife, and entered the monastery of Miiallores, 
which he decorated with several pictures. He 
died in 1037. 

LTAGNO, Teodoro Filippo da, a Neapolitan 
designer and engraver, who ilom-ishcd about 1035. 
There is a set of military and other costumes, de- 
signed and engraved by him, and published at 
Bome by G. Bossi, in 1035. Bermudez and oth- 
ers, from the similarity of names, confound him 
with Felipe Liano. 

LTANO, Felipe, a Spanish painter, born at 
Madrid in 1575, and died in 1025. According to 
Bermudez, he studied under Alonzo Sanchez Coel- 
lo, and excelled in painting small portraits, which 
such fidelity of resemblance and such beauty of 
coloring, that he acquired the title of El Titiano 
Pequino. He found abundant employment among 
the nobility at the Spanish court. 

LTANORI, PiETRO, a Bolognese painter, of 
whom are notices from 1415 to 1453, and some of 
whose works are to be found in the churches and 
collections of his native cit}'. He enjoyed consid- 
erable reputation in his day, but Lanzi says his 
works ])artake of the Gothic dryness of an earlier 
age. and his contours and folds arc overcharged 
with dark lines. He signed liis pictures Petncs 
Joannis. 

LIART, ]\Iatthew, a French engraver, born at 
Paris in 1736. lie went to England, where he 
was employed by Boydell in engraving some of tho 
numerous plates he published. The following are 
among his best prints : 

The Sacrifice of Abraham [of Noah?]; after Andrea 
Sacchi. The Convention between .Jacob and Laban ; ajUr 
P. da Cortona. Tho Jovial Companions ; after Ostade 
Venus lamenting tho Death of Adonis ; after West. Co- 
phalis and Procris ; do. 

LIBERAL, Giorgio, an Italian painter and en- 



LIBE. 



475 



LIBE. 



graver, who flourished at Venice about 1548. In 
conjunction with M. Wolfgang Miererpeck, he 
executed on wood the cuts of animals and plants 
for MaUliiobis^ Commentaries on DioscoHdes, 
published at Venice in 1548. He is styled by that 
Avriter, Homo Artis pingendi peretissimus. 

LIBERALE, da Verona, an Italian painter, 
born at Verona in 1451. He was a disciple of Vin- 
cenzio di Stcfano. but he imitated the style of Gia- 
como Bellini and Andrea Mantegna. Some of his 
works contain a multitude of figures of small size. 
Vasari mentions his Adoration of the Magi as con- 
taining an infinite number of small figures, horses, 
camels, dogs, and other animals, in which the 
whole were so highly finished as to give the work 
the appearance of a miniature rather than an oil 
painting. His design was good, his drawing pre- 
cise, his coloring excellent, the expression in his 
heads graceful, and he finished his pictures with 
extraordinary care and neatness ; for which rea- 
son he was much employed in illuminating mis- 
sals, which are now to be found at Verona and 
Siena — or, as Lanzi will have it, he acquired this 
extraordinary expertncss in finishing, from his 
habit of illustrating books. Vasari says he inva- 
riably adhered to the style of Bellini, but his De- 
scent of the Holy Ghost in the dome of the Cathe- 
dral at Verona is more in the style of Mantegna. 
He died in 1536, aged 85. 

LIBERALE, Genzio, a painter of Udine, who 
flourished about 1568. Ridolfi calls him Genne- 
sio and Renaldis Giorgio, or Gennesio. His forte 
was in painting fish, which he executed with ex- 
traordinary truth 

LIBERT, Cavaliere Pietro. This eminent 
painter was born at Padua in 1605, and studied 
under Alessandro Varotari, called II Padovanino. 
He ranks among the great men of his art, and is 
esteemed by many as the most learned in point of 
design, of all the Venetian school. He carefully 
studied the antique, and the works of the most 
famous Italian masters,. as Michael Angelo, Raff'a- 
elle, Correggio, and Titian, and from these he 
formed a style of his own, partaking of every 
school, which gained him great celebrity, not only 
in Italy but in Germany, and the titles of Cava- 
liere and Count, with abundant means to support 
these dignities at Venice. Few artists have dis- 
covered so great a variety of character in their 
works as Liberi, and Lanzi says in order to esti- 
mate his merits rightly, we ought not to consider 
him as a painter in one style, but in many. Accord- 
ing to his own confession, he employed for the in- 
spection of true judges a free and rapid pencil ; and 
for the less intelligent a very careful and finished 
one, in which the very hairs might almost be count- 
ed. These last he executed on panels of cypress 
wood. Lanzi also says the works of this artist may 
be distinguished into the sublime and the beauti- 
ful, but he produced fewer specimens of the former 
than of the latter. Among the sublime, he cites 
his Murder of the Innocents, at Venice ; Noah 
just landed from the Ark, in the Cathedral at Vi- 
cenza ; and the Deluge, in the church of S. Maria 
Maggiore.at Bergamo — all of them grand in design, 
displaying a fine variety of foreshortenings and of 
attitudes, with naked parts in grand character, 
more in imitation of the Caracci than of Buona- 
rotti. Others of his grand pictures are, the De- 
struction of Pharaoh's Host, in the Cathedral at 



Vicenza ; Moses striking the Rock, at Bergamo ; 
and the Story of Job, in the Palazzo Zambeccari 
at Bologna, which last shows the styles of Cara- 
vaggio and Calabrese. He was more employed in 
depicting fabulous than sacred subjects. He some- 
times painted capricci and allegorical subjects, 
too obscure for Oedipus himself to unravel, but he 
more frequently painted naked figures, as Venus, 
in the style of Titian, which are esteemed his 
master-pieces, and acquired for him the name of 
Libertino. His coloring is sweet and rosy, with 
the delicate shading of Correggio ; his profiles often 
borrowed from the antique, and frequently repeat- 
ed, and his touch is free and elevated. His easel 
pictures are very numerous, and are found in the 
best collections in Italy, as well as other European 
countries. He died in 1687. 

LIBERI, Marco, was the son and pupil of the 
preceding artist, born at Venice about 1650. He 
copied his fiither's works so accurately that they 
might easily be mistaken for originals, but when 
left to his own invention he did not rise above me- 
diocrity. Ilis best originals are cabinet pictures 
of mythological subjects, which are found in nu- 
merous collections beside those of his father, great- 
ly to their detriment. 

LIBON, an eminent Grecian architect, who 
flourished about b. c. 450, and erected the fa- 
mous temple of Jupiter, near Olympia. Ac- 
cording to J^iusanias, this famous s'tructui-e was 
of the Doric order, two hundred and thirty feet 
long, ninety-five wide, and sixty-eight high ; sur- 
rounded 1)}' marble columns, and covered with 
marble cut in the form of tiles. The famous stat- 
ue of Jupiter in gold and ivory, executed by Phid- 
ias, was in this temple. The pediment in front, 
as well as that of the rear of the temple, was 
adorned with sculptures; the interior was of 
two orders of columns, supporting lofty galleries, 
through which there was a passage to the throne 
of Jove, glittering with gold and gems. 

LIBRI, GiROLAMO DA, a painter of "\'cronaj 
born in 1474. He was instructed in the art by 
his father, who was a miniature painter, and was 
much employed in illuminating books, and hence 
he acquired the name of da' Libri. Accordiiig to 
Vasari, at the age of sixteen he painted a Descent 
from the Cioss, for the church of S. Maria in Or- 
gano. at Verona, which excited univei-sal admira- 
tion. Lanzi says he frequently painted in conjunc- 
tion with Francesco Morone, to whom he was 
bound with the strictest tics of fiiendship from 
his youth, but that he excelled him in taste and 
celebrity. In the church of S. Gioi-gio at Verona, 
which is extremel}'" rich in master-pieces of art, is 
a small altai'-piece by him, representing the Virgin 
between two Saints, with three Cherubs, dated 
1529, which Lanzi says " shines almost like a. 
precious jewel, surprising the spectator by an in- 
describable union of what is graceful, bi'ight, and 
lucid." There are seveial of his works in the 
churches and public edifices of Verona. Dr. Franz 
Kiigler says his earlier works decidedly incline to 
the manner of Andrea Mantegna, and his later ones 
approach nearer to that of Jacopo Bellini. 

LICINIO, Giovanni Antonio, called il Porde- 
NONE, from the place of his nativity, a small town 
in the Friuli, where he was born m 1484. The 
family name of this great artist was Licinio, or 
Licino. He is also called Corticellis, Sacchiense, 



LICI. 



476 



LICI. 



and Regilio, which last name he adopted, and re- 
nounced all title to his family name, in consequence 
of a q!iarrcl with his elder brother. 1'he follow- 
ing- insciiptions are found on his paintings, Lycin- 
ius P. — Joh. Antoniiis CorticeUis P., 1520 — Joh. 
Antonius Regillus P. 1535. and in the marriage 
contract oF liis dan,<ihter with Poniponeo Amalteo, 
he is sUded D. {Domino) Jo. Antonio SaccMense. 
l>nt he is almost universally known by the name 
of Pordenone. It is said that he showed an early 
passion for the fine arts, but it is not known from 
whom lie derived his instruction. Some have sup- 
posed that he first studied in the school at Castel- 
franco, and Renaldis, that he was a fellow-student 
w^ith Titian, under Giovanni Bellini. Lanzi adopts 
the opinion of Ridolfi, that he studied under Pelle- 
grino di San Daniello at Udine, and subsequently 
under Giorgione at Venice, whose manner he 
adopted, modified by the bias of his own genius, 
— the surest guide to an artist in the formation of 
his style. Other followers of Giorgione acquired 
something of his manner, but Pordenone adopted 
his mind, and the grandeur of his compositions. 
" In this province," (Friuli) says Vasari, '" there 
flourished during his time many excellent artists, 
but he stood preeminent above all, surpassing his 
predecessors in the conception of his pieces, in de- 
sign, in boldness, in the use of his colors, in his 
frescos, in rapidity, in grandeur of relief, and in- 
deed in every other attribute of the art." After 
a residence of some years at Venice, he returned 
to his native town, w^here he painted, in 1515, his 
picture of the Holy Famaly with St. Christopher, 
for La Collegiata, and soon afterwards the Annun- 
ciation, an admirable performance, for the church 
of S. Pietro Martiro. at Udine. He returned to 
Venice, where he painted his celebrated picture of 
S. Lorenzo Giustiniani, with St. John the Baptist, 
and St. Agostino. in the church of S. Maria dell' 
Orto, one of his greatest works. The celebrity 
of this and other performances brought his 
talents into comparison with those of Titian, 
who is said to have conceived some apprehen- 
sion as to his success, and to have expressed no 
little indignation at being put in competition 
with Pordenone. This jealousy was considera- 
bly aggravated by his being commissioned to 
paint a picture of the Annunciation for the con- 
vent degli Angeli, at Murano, instead of one by 
Titian, which was rejected on account of the exor- 
bitant price demanded for it, and at length, when 
he painted his frescos in the cloister of S. Stefano, 
avowedly in competition with Titian, this jealousy 
or enmity ran so high that Pordenone deemed it 
but prudent to paint with arms at his side. This 
state of open hostility little congenial to the dis- 
position of Pordenone, occasioned him to quit Ve- 
nice and go to Mantua where he painted the fa- 
9ade of the Palazzo de' Cesarei. From thence he 
went to Piacenza, where he was employed to paint 
a picture of St. Agostino, in the tribune of S. Ma- 
ria di Campagna, and two chapels in fresco, in one 
of which he represented the history of St. Cathe- 
rine, and in the other the Nativity and the Adora- 
tion of the Magi. He next went to Cremona, 
Trevigi, and Parma, where he was successively 
employed in executing works for the churches. 
At length he returned to Venice, when he -vas 
immediately engaged to paint the cupola in the 
church of S. Rocco, one of his most considerable 
works, where he represented the Four Evangelists 



and the Four Doctors of the church. Also in the 
great niche over the altar he painted the Transfig- 
uiation, with the Prophets and the Apostles, The 
reputation of Pordenone reached Germany, and 
he w^as invited to Prague by the Emperor Charles 
v.. who employed him to decorate a grand saloon 
in his palace, with emblematical subjects repre- 
senting the Cardinal Virtues, with the execution 
of which he w^is so much pleased that he conferred 
upon him the honor of knighthood. Pordenone's 
last w^orks were a series of cartoons, representing 
the Labors of Hei'cules, for Ercole II., Duke of 
Ferrara, designed for tapestry. He died at Man- 
tua in 1540. strongly suspected of having been poi- 
soned by some one of his envious rivals. Porde- 
none, though posterity has given the palm of Vic- 
tory to Titian, must be allowed no small honor to 
have contended with so transcendent a genius, and 
to have acquired at least the second rank in the 
Venetian school at a period so prolific in excellent 
artists. Less tender in his tones, and less seduc- 
tive in his contours than Titian, he at least rivals, 
and some say surpasses him in the energy of his 
style and the boldness of his execution. To a 
grand character of design, he added the rich and 
glownng coloring of Giorgione, with an admirable 
chiaro-scuro. He w'as more successful in the ro- 
bust and muscular delineations of men than in 
the delicacy and softness of female forms, on which 
account his frescos are preferable to his oil paint- 
ings, though he arrived to great excellence in the 
latter. His best w^orks are at Venice, where the 
emulation and enmity between him and Titian, 
hke the rivalship of Michael Angelo and Raffaelle, 
was of the greatest advantage to both, and, as in 
the latter instance, the one excelled in strength, 
the other in grace of hand. 

LICINIO, Bernardino da Pordenone, proba 
hly a nephew, and certainly a relative and pupil 
of the preceding, was an artist of considerable 
merit, but the glory of the great Pordenone so 
completely eclipsed him that little is known of his 
history or his works. There is an altar-piece in 
the church of the Conventuali at Venice by his 
hand, quite in the style of the elder P. He ex- 
celled in portraits, which are still preserved in the 
different collections, and are often attributed to 
his master. 

LICINIO, GiuLio DA Pordenone, was the ne- 
phew and scholar of Gio. Antonio Licinio, born at 
Pordenone in 1520. According to Sandrart and 
others, he distinguished himself as an historical 
painter, particularly in fresco, and imitated the 
manner of his uncle so closely that his works are 
often attributed to him — the certain fate of all 
imitators — so that now there are no authenticated 
works by him in Italy, unless, as Lanzi supposes, 
he is the same as Giulio Lizino, who, in competi- 
tion with Paul Veronese, Schiavone, and other 
artists, produced the three circular pictures in the 
Library of S. Marco at Venice in 1556. Accord- 
ing to Sandrart, however, he passed a gi-eat part 
of his life in Germany, where he left many proofs 
of his ability, especially at Augsburg, where he 
died in 1561. 

LICINIO, Gio. Antonio da Pordenone, the 
Younger, was a j^ounger brother of Giulio C, and 
is more commonly called Sacchiense. According 
to Renaldis, he followed the school of Licinio, and 
his works are highly commended j but Lanzi says 



LTEF. 



477 



LIEV. 



there are no longer any authentic works by him, 
not even in Como as far as he could learn, where 
he lived, and died in 1576. 
LIEFRINOK, Hans. See Lencker. 
LIEMAEKER, Nicholas, called the Rose, an 
eminent Flemish painter, born at Ghent in 1575. 
He first studied under Mark Gerards, and. after 
the death of that master, with Ottovenius, whose 
school was then the most eminent in the Low 
Countries. Rubens was his fellow student, and 
the emulation that existed among the pupils con- 
tributed to the production of several artists of 
great celebrity. On leaving Ottovenius, he was 
invited to the court of Prince Paderborn, where he 
met with liberal encouragement ; but the climate 
not agreeing with his health, he returned to his 
native city, where he settled, and exercised his tal- 
ents with great reputation during the remainder 
of his life. The name of Rose was given to him 
when a boy, on account of his ruddy cheeks, by 
which appellation he was generally known. He 
was one of the most eminent painters of the Flem- 
ish school, and his works are in almost every 
town in the Low Countries. He painted sacred 
and historical subjects. His design was grand, 
his composition good, his drawing correct, his col- 
oring rich and harmonious, and he wrought with 
great facility. According to Descamps, Rubens, 
having been applied to by the confraternity of St. 
Michael at Ghent to paint them an altar-piece, re- 
fused the commission in the most liberal manner, 
observing that, " while you possess so fine a Rose, 
you may well dispense with flowers of foreign 
growth." In the church of St. Nicholas at Ghent 
are two of his best works, the Good Samaritan 
and the Fall of the Rebel Angels, which last is 
considered his master-piece. Also in the church 
of St. James are several of his works, one of 
which is a grand composition, with a multitude of 
figures, representing the Last Judgment. He died 
at Ghent in 1647. 

LIENARD, Jean Baptiste, a French engra- 
ver, born at Lisle about 1750. He was a pupil of 
Jacques Philippe le Bas.whose style he imitated with 
considerable success. He executed some plates of 
views and landscapes, and he engraved a part of 
the plates for the VoyagedesRoyaumesde Naples 
et de Sidle, by the Abbe de St. Non. 

LTENDER. Peter van, a Flemish painter, born 
at Utrecht in 1727, and died there in 1797.' He 
painted landscapes and views of cities with con- 
siderable success. His favorite subjects were scenes 
on the Rhine. 

LIERRE, Joseph van, a Flemish painter, born 
at Brussels in 1530. He settled at Antwerp, 
but in consequence of the troubles of the times, 
was obliged to take refuge at Franckendal, where 
he practised the art with reputation, but embrac- 
ing the principles of Calvin, he became a Protest- 
ant preacher. His works are much sought after 
for their rarity and beauty. He died at Swin- 
drecht in 1583. 

LIE YENS. John, an eminent Dutch painter 
and engraver, born at Ley den in 1607. He dis- 
covered a passion for the fine arts in his childhood, 
and his father placed him under the direction of 
George van Schooten, to learn the rudiments of 
design, and when he was ten years of age with 
Peter Lastman, with whom he remained only two 



years, and it does not appear he had any other in- 
struction. When he was only twelve years old, 
he copied two pictures of Democritus and Herac- 
litus, by Cornelius van Haerlem, so exactlj^ that 
his copies might have been mistaken for the origi- 
nals. He occupied himself diligently in studying 
after nature, and before he was eighteen he had ac- 
quired an established reputation as a portrait and 
historical painter ; he was applauded by the 
artists, and his praise sung by the poets of his 
time. About this time he painted a portrait of 
his mother, which is described as a wonderful per- 
formance. Another picture of Lievens, which 
gained him great applause as well as great benefit, 
was the Student in his Librarj^, with figures of 
life size. This picture was purchased by the 
Prince of Orange, who presented it to Charles I. 
of England, who was greatly pleased with the ex- 
cellence of the work, and astonished when inform- 
ed that the artist was not above twenty years of 
age. This picture procured him a favorable re- 
ception at the court of England, where he resided 
three years, and painted the portraits of the king 
and other members of the royal family, also some 
of the principal nobility of his court. On leaving 
England, he went to Antwerp, where he was in- 
cessantl}^ occupied in executing large works for 
the churches and convents, and smaller historical 
subjects for private collections. At Brussels, in 
the church formerly belonging to the Jesuits, is 
his Visitation of the Virgin, and in the church of 
St. James at Antwerp, a fine picture of the Holy 
Family. In 1641 he returned to Ley den. where 
he executed his celebrated pictures of David and 
Bathsheba, the Sacrifice of Abraham, and the Con- 
tinence of Scipio, in the Town Hall of Ley den, 
which last is one of his finest works. Every one of 
these is a sufficient proof of his genius for com- 
position, the sweetness of his coloring, and the ex- 
cellence of his pencil so highly commended. 

Lievens distinguished himself not less as an en- 
graver than as a painter. His plates are partly 
etched, and finished with the graver, in a manner 
somewhat resembling that of Rembrandt, and lit- 
tle inferior to the admirable prints of that great 
master, either in picturesque style of execution, 
or the charming effect of chiaro-scuro. His cele- 
brated print of the Raising of Lazarus is superior 
to that of Rembrandt of the same subject in com- 
position, and equal to it in execution. His prints 
amount to about sixty, and are usually marked 
with his name, which is sometimes spelt Lyvyns, 
and sometimes with his initials I. L. only. He 
died, according to Nagler, in 1663. The following 
is a list of his best prints : 

PORTRAITS AND HEADS. 

Ephriam Bonus, seated in a Chair ; Joannes Lyvyns, 
fecit Joost Vondel, Dutch poet. Daniel Heinsius, Pro- 
fessor of History at Leyden ; very fine. Jacobus Gouters, 
musician ; very fine. The Bust of an old Man, bald, with 
a long beard. Bust of a Man with a furred Cap ; after 
Rembrandt ; fine. Several Busts and Studies of Heads, 
&c. 

VARIOUS SUBJECTS. 

The Holy Family, with figures kneeling. The Virgin 
presenting a Pear to the Infant Jesus ; fine and scarce. 
The Raising of Lazarus ; a grand composition ; fine and 
scarce. St. John the Evangelist. St. Jerome in a Cell, hold- 
ing a Crucifix. St. Francis holding a Skull. St. Anthony ; one 
of his early plates ; scarce. Mercury and Argus. An Orien- 
tal Figure, with a furred cloak and cap. Another Orien- 
tal Figure, with a gold chain. The half-length of a Man, 



LIGA. 



478 



LILI. 



with long hair over his shoulders ; a wooden cut ; rare. A 
Landscape with three trees ; a wooden cut ; fine and scarce. 

LTGARIO, Gio Pietro, an Italian painter, born 
at Sondrio, in the Valteline, in 1686. iVfter learn- 
ing the elements of the art in his own country, he 
went to Rome, where he studied for some time 
under Lazzaro Baldi. He then went to Venice, 
and carefully studied the works of the most emi- 
nent masters of the Venetian school. On his re- 
turn to his native place, he executed some works 
for the churches, well designed, correctly drawn, 
and beautifullj^ colored. He also painted small 
historical subjects for private collections in a style 
of excellence. He died in 1748, or, as some say, 
1752. 

LIGHTBODY, John, an English engraver of 
little note, by whom there are a few small etch- 
ings of beggars, very indifi'erently executed. 

LIGHTFOOT, William, an English painter, 
engraver, and architect, who flourished about the 
middle of the 17th century. He painted land- 
scapes and perspective views, and as an architect 
he was employed at the building of the old Royal 
Exchange in London. Evelyn says he was little 
inferior to Wierix for the neatness of his graver, 
and that he *' published two or three Madonnas 
with much applause." He died about 1671. 

LIGORIO, PiRRO, a Neapolitan nobleman, born 
in 1493. He studied painting, but devoted him- 
self principally to architecture and the study of the 
antique. He was employed as an architect by 
Paul III., Paul IV., and Paul V. ; and after the 
death of Michael Angelo, he was appointed to su- 
perintend the building of St. Peter's, in concert 
with Vignola. Pius IV. employed him to design 
the sepulchre of Paul IV. ; and ho also erected 
the small palace in the Belvidere wood, besides the 
Lacillotti palace, on the Piazza Navona, on the 
Cuccagna. Ligorio was strongly attached to the 
study of the antique, and designed a vast number 
of monuments, medals, &c., with the intention of 
making a complete collection of the kind for the 
illustration of the writings of antiquity. His rep- 
utation caused him to be invited to the court of 
Alfonso II., Duke of Ferrara, who gave him the 
title of Antiquary to the court, in 1568. He 
wrote several works, among which is a treatise on 
the Antiquities of Rome, printed in 1553. He 
(lied at Ferrara in 1573. 

LIGOZZI, Jacopo, an Italian painter, born at 
Verona, in 1543. He first studied under Giovanni 
Ermanno, and subsequently, according to Baldi- 
nucci, Paul Veronese, while that artist was at Ve- 
rona. He painted both in oil and fresco, acquired 
n;reat distinction, and was appointed by Ferdinand 
II., Duke of Florence, court painter and superin- 
tendent of the Ducal Gallery, in preference to the 
many able Florentine painters of his time, which 
offices he held for many years — an honorable testi- 
mony of his abilities. He executed some works 
at Rome, and " introduced," says Lanzi, '• at Flo- 
rence a freedom of pencil, an art in composition, a 
taste for the ornamental, and a grace and elegance 
till then rare in that city. His design was suffi- 
ciently correct, and he uniformly improved while 
in Tuscany. His coloring, although not that of 
Veronese, was full of truth and vigor." His sev- 
enteen semi-circular fresco paintings in the clois- 
ters of the Ognissanti (All Saints) at Florence are 
particularly valued, especially the one represent- 



ing the Interview between Sts. Francis and Dom- 
inic, the founders of the Order, on which he 
wrote '' To the confusion of our friends," meaning 
the envious and malignant. This is considered 
his master-piece in fresco. He painted more fre- 
quently in oil colors for the churches. His St. 
Raj^mond reanimating a Child, in the church of S. 
Maria Novella, is a picture full of art ; and his 
Martyrdom of St. Dorothea, in the Conventuali at 
Pescia, Lanzi does not hesitate to call a wonderful 
picture, in which we recognize a disciple of the 
school of Paul Veronese. He thus describes it: 
" The scaffold, the executioner, the prefect on 
horseback ordering him to strike, the great crowd 
of spectators varioasl}'- affected, and all the appa- 
ratus of a public execution, strike and astonish 
equally the connoisseur and the unskilled in paint- 
ing ; the holy martyr especially interests us, who. 
on her knees, with a placid composure, willingly 
resigns her life, and is about to receive from angels 
the eternal crown purchased with her blood." He 
executed many works for the churches and public 
edifices. He also painted many cabinet pictures 
for individuals, which are admirably designed and 
colored, and very highly finished. Some of his 
works were engraved by Agostino Caracci and 
others. He also etched some prints after his own 
designs. Some say that he engraved both on cop- 
per and wood, but Zani denies that he ever en- 
graved on wood. He died in 1627. 

LILIO, Andrea. See Ancona. 

LIMAN, LuDwiG Dirk, a German architect, 
born at Berlin in 1788. In 1811 he visited Paris, 
and studied under Percier ; in 1814 he visited Ita- 
ly, and made a large number of designs after the 
antiquities of Rome. Ilerculaneum, Pompeii, and 
Paestum. On returning to Berlin, in 1819, he 
soon manifested fine talents, and was chosen Pro- 
fessor in the Academy of Architecture. In 1820, 
Baron Minutoli formed a project for visiting 
Egypt and the ancient Gyrene, with a view of pub- 
lishing a pictorial work descriptive of those coun- 
tries. He accordingly formed an expedition, of 
which Liman was a member ; and they visited 
Upper Egypt and the temple of Jupiter Ammon, 
in the Libyan Desert. Liman died at Alexandria, 
on the 11th of December. 1820. He made manj'' 
desie;ns for the work, which was published at Ber- 
lin in 1824. 

LIMBORGH, Henry van, a Dutch painter, 
born at Rotterdam about 1675. He studied un- 
der Adrian Vanderwerf, and painted small histo- 
rical pictures and portraits in the polished and 
highly finished style of that master, and though 
much inferior they are highly esteemed, and are 
to be found in the best collections. One of his 
best works, representing the Holy Family, is in 
the Gallery of the Louvre. His name is various- 
ly spelled. Limborgh, Limborch, and Limburg. 
He died in 1758. 

LIN, Hans van. a painter of whom little is 
known, and who flourished, according to dates on 
his pictures, from 1667 to 1675. He painted bat- 
tles and hunting pieces with great spirit and truth, 
and his works are highly esteemed. Authors fre- 
quently call him Jan (James), which they mis- 
take for John or Hans, and Zani calls him Giovan- 
ni van Lint. His pictures are marked H. V. L., 
for Hans van Lin, his true name. 



LIN A. 



479 



LINS. 



LTNAIUOLO, Berto, a Florentine painter, who 
flourished about the middle of the 15th century, 
and obtained considerable celebrity for his cab- 
inet pictures, which were held in great repute in 
the private collections. According to the account 
of Vasari, he received several commissions from 
the King of Hungary and other princes for his 
works. 

-|-- LINCK, Hans or John van, a German 
{ i I engraver, mentioned by Professor Christ, 
XjiI. fwho executed some prints bearing the 
above monogram, but which he does not specify. 

LTNDAER. Giacomo, a painter of German de- 
scent, born at Florence in 1488. He studied un- 
der Domenico Ghirlandaio, and afterward went to 
Kome to improve himself by studying the works 
of Michael Angelo. He designed in a grand style, 
and was a reputable historical painter. 

LINGELBACH, John, an eminent painter of 
the Dutch school, born at Frankfort on the 
Maine, in Germany, in 1625. It is not known 
by whom he was first instructed, but he went 
to Amsterdam when very young, and in 1642, at 
the age of seventeen, he had made such pro- 
gress that he resolved to go to Ital}^ and set 
out for Paris in search of employment, to raise 
the means. In this he happily succeeded, and af- 
ter a residence of two years in that c\tj, he pro- 
ceeded to Italy, where he passed six years, mostly 
at Rome, studying and designing from the most 
remarkable objects in and near that metropolis, 
with great assiduity. In 1650 he returned to Am- 
sterdam, with his portfolio filled with the studies 
he had made during his tour, of which he made 
ample use in the compositions of his pictures. 
He acquired great reputation, and his works are 
still prized and found in the best collections. — 
His usual subjects are fairs, mountebanks, mar- 
kets, landscapes, sea-ports and quarries, and naval 
engagements. His landscapes are enriched with 
ancient ruins, animals, and spirited figures. His 
sea-fights are full of expression, exciting pity and 
terror. He introduced into his Italian sea-ports 
a multitude of figures, habited in the costumes of 
the different nations, touched with great spirit, 
and with a character as expressive as varied. He 
was equally successful in his representations of 
fairs, Italian markets, the amusements of the Car- 
nival, with appropriate figures, ingeniously group- 
ed, of mountebanks surrounded by crowds of 
spectators, and other assemblages. His figures, 
cattle and animals are correctly drawn, and touched 
with great neatness and spirit. His skies and dis- 
tances are treated with an exact attention to aerial 
perspective, and his coloring is clear and agreea- 
ble. His pictures are embellished with architec- 
ture, and the ruins of ancient monuments and stat- 
ues, introduced with the happiest effect. In paint- 
ing figures and animals he had a wonderful readi- 
ness of pencil, for which reason he was employed 
by several of the most eminent artists of his 
time, particularly by Wynants and Ruysdael, to 
decorate their works with these objects. He also 
executed some very spirited etchings of his favor- 
ite subjects, after his own designs. He died at 
Amsterdam in 1687. 

LTNSOHOOTEN, Adrian van, a Dutch histo- 
rical painter, born at Delft in 1590. After learn- 
ing the elements of the art in his own country, he 



went to Rome, where some say he studied under 
Spagnoletto. At all events, he studied the works 
of Michael Angelo Caravaggio, whose vigorous 
style he followed with considerable success, and on 
his return to Holland might have gained a distin- 
guished reputation, had he not indulged in such 
excessive dissipation that his employers could with 
difficulty get him to finish their commissions. — 
Two of his most esteemed works are at the Hague, 
and represent the Denial and Repentance of St. 
Peter. He died in 1678. The history of this 
artist seems imperfect and unfair. A very dissi- 
pated man would not be likely to attain the great 
age of 88 years. 

LINSEN, John, a Flemish painter who, after 
having studied the art in his own country, went 
to Italy, where he resided several years. His 
subjects were marines and naval engagements. 
While he was making a cruise in the Mediterra- 
nean, the ship was captured by an African corsair, 
and his best picture is a representation of this en- 
gagement. He gave promise of distinction, but 
was killed in the prime of life in a quarrel with a 
gamester. 

LINT, Peter van, a Flemish painter, born at 
Antwerp in 1609. After being instructed in the 
rudiments of the art in his native city, at the age 
of seventeen he went to Itsily, and passed several 
years at Rome, where he studied diligently, in the 
Academy, and after nature. At length his talents 
attracted the attention of Cardinal Gevasi, Bishop 
of Ostia, who employed him seven years in the 
execution of works for his Cathedral, and in the 
chapel of La Santa Croce in S. Maria del Popolo 
at Rome. After an absence of nine years he re- 
turned to Antwerp, whither his reputation had 
preceded him, and where he found abundant em- 
ployment in executing works for the churches and 
private collections. His design was correct, his 
composition good, and his coloring excellent. In 
the church of St. James, at Antwerp, is a fine pic- 
ture by him, representing the Virgin and Infant, 
with several Saints, and in the church of the Car- 
melites, one of the Virgin making a gift to the 
monks of that order, painted in the manner of 
Vandj^ck, and not much inferior to that master. 
He painted in distemper as well as in oil. His 
easel pictures of historical subjects are highly es- 
teemed, and he received several commissions from 
the King of Denmark. He also painted portraits 
with great reputation, many of which are still to 
be found in the Low Countries, where they are 
highly esteemed. The time of his death is not ex- 
actly known ; some say he died in 1668, and oth- 
ers say that he was living in 1675. 

LINT, Henry van. called Studio, was the son 
of the preceding, who instructed him in the first 
principles of the art, and sent him at an early age 
to Rome, where he passed the greater part of his 
life. He spent all his leisure hours in studying 
and designing after nature, the beautiful scenery 
and rich remains of antiquity in the vicinity of 
that city ; and so great was his assiduity that the 
Bentevogel Society named him Studio, by which 
appellation he was afterward known. He paint- 
ed landscapes and views in the vicinit)^, in the 
style of John Francis van Bloemen, called Oriz- 



LINT. 



480 



LIPA. 



zonte, with gi'eat reputation, and his works are 
to be found in the collections in Italy. Lanzi 
calls him Wallint, confounds him with his father, 
and says that he painted small landscapes and 
sea vie-ws, with very beautiful figures, and that 
he imitated Claude Lorraine. There are several 
of his pictures in the collections of the nobility 
of England. He etched a few spirited plates of 
landscapes from his own designs, some of which 
are dated about 1680. The time of his birth and 
death are not known. 

LINTHORST, J., a Dutch painter, born at Am- 
sterdam in 1755, and died there in 1815. He ex- 
celled in painting fruit and flower-pieces, which he 
executed with a delicacy, freshness, and brilliancy 
of coloring rivalling nature. There are two fine 
specimens of his skill in the Museum at Amster- 
dam, and his works are received into the best 
collections. 

LINTMEYER, or LINDMEYER, Daniel, a 
Swiss painter, born at Schaff hausen about 1540. 
He was an eminent painter on glass, and his works 
are admired for their ingenuity of composition and 
brilliancy of coloring. 

LIONE, Andrea di, a Neapolitan painter, was 
born in 1596, and died about 1675. Lanzi says 
he painted battle-pieces in the style of Falcone, 
his cotemporary, but his works are easily dis- 
tinguished from those of that master, by less fire 
and animation, and the more timid touch of an 
imitator. 

LIONI, Cavaliere Ottavio. See Leoni. 

LIOTARD, John Stephen, called the Turk, a 
Swiss painter, born at Geneva in 1702. His fath- 
er intended to bring him up to mercantile pur- 
suits, but discovering an early passion for the fine 
arts, he allowed him to follow the bent of his 
genius, after he had successfully copied a minia- 
ture by Petitot. He went to Paris in 1725, where 
he soon got into practice in painting portraits in 
crayons, miniature and enamel. In 1738, he ac- 
companied the Marquis de Puisieux to Rome, and 
while in that city became acquainted with the 
Earls of Sandwich and Bessborough, who engaged 
him to go with them to Constantinople. There 
he got the patronage of the English Ambassador, 
Sir Edward Faulkener, on whose recommendation 
he went to London, where he resided two years, 
and then returned to Switzerland, where he died 
about 1776. Liotard painted portraits exquisite- 
ly, but with such rigid fidelity that they failed to 
please, for he would not suppress any blemish 
that he might perceive in his sitter's countenance. 
While at Vienna he painted the portraits of the 
Emperor and Empress, and by the imperial com- 
mand he drew his own likeness, which is in the 
Florentine Gallery. When he went to Constan- 
tinople, he adopted the Turkish dress, and would 
never wear any other ; hence his cognomen, the 
Turk. There are several pastel paintings in the 
Gallery at Dresden by this master, among which 
is a portrait of Marshal Saxe. He etched a few 
plates, among which are the following : The Em- 
press Maria Theresa, in a Turkish dress. The 
Archduchess Maria Christina; the same. Rene 
Herault, Lieutenant-General of police. The Por- 
trait of John Stephen Liotard, with a long beard. 
The Sick Cat, with some French verses. 

LIOTARD, Jean Michel, was the brother 



of the preceding. He went to Paris, where he 
learned the art of engraving under Benoit Audran, 
whose style he imitated. He afterward went to 
Venice, where he appears to have settled, or at 
least resided many years. The following are his 
principal prints: Five large plates; from the 
Cartoons, painted in fresco, in the Palace of the 
Duke of Parma, by Carlo Cignani^ represent- 
ing Venus in her Chariot. Apollo rising from 
the Waves. Bacchus and Ariadne. Pan and Sy- 
rinx. The Rape of Europa. A sot of prints of 
subjects from the Bible ; after Sehastiano Ricci. 
LIPARI, Onofrio, a Sicilian painter, who stud- 
ied at Naples, and settled at Palermo, where he 
flourished in the latter part of the 18th century, 
and executed some works for the churches, parti- 
cularly two pictures of the Martj-rdom of St. 
Olivia in the church de' Paolotti. 

LIPPI, GiACOMO, called Giacomone da Bu- 
DRio. He studied in the school of the Caracci. 
He was a distinguished artist, and a universal 
genius ; and executed some excellent works for the 
churches at Bologna and other places. Lanzi says 
that ''in his fresco histories in the Nunziata, we 
trace the pupil of Lodovico Caracci, not so select, 
but of a prompt and practised hand." 

LIPPI, Fra. Filippo, an old Florentine paint- 
er, born, according to Baldinucci, about 1400. 
When a youth, he was received into the convent 
of the Carmelites at Florence, where the works of 
Masaccio, several of which were in the convent, 
inspired him with such ardor, that he set him- 
self to copying them, in which he made extra- 
ordinary progress, and ultimately imitated his 
style so exactly that he was called the ''Spi- 
rit of Masaccio." Lanzi says that Vasari was 
in error, from the above circumstance, in making 
him a pupil of Masaccio. The applause he re- 
ceived only stimulated him to greater exertions, 
and he forsook the convent, threw off the habit, 
and devoted himself entirely to the profession of 
painting, in which he acquired great renown, and 
was accounted among the greatest of the Italian 
painters from the time of Masaccio to that of Raf- 
faelle. Some of his first performances after he 
left the convent, when he was seventeen years of 
age, were several small pictures for the sacristy of 
the church of S. Spirito, and a picture of the Vir^ 
gin and Infant, with a choir of Angels in the 
church of S. Ambrogio, at Florence, in which the 
expression of the heads is far more graceful and 
pleasing than any thing that had preceded him. 
About this time, as he was making a voyage to, 
Ancona, the ship was captured by a Barbary cor- ^ 
sair, and he was carried into captivity, in which 
situation he continued eighteen months, when, one 
day, having sketched an exact likeness of his mas- 
ter on the wall with a piece of charcoal the latter 
was so pleased with it, that he generously set him 
at liberty. On his return to Florence, he was con- 
stantly employed in executing works for the 
churches, the Grand Duke, and the nobility. He 
was the first of the Florentine painters who at- 
tempted to design figures as large as life, and the 
first who remarkably diversified the draperies, or 
gave his figures the air, dignity, and grace of the 
antique. His coloring was excellent, and pecu- 
liarly his own ; his tints very clear, but delicate, 
and often subdued by a purplish hue, not com- 
mon to other painters. In the parochial church 



LIPP. 



481 



LIPP. 



at Prato, he painted in fresco, the Martyrdom of 
St. Stephen, and the Decollation of St. John, the 
figures larger than life, which, in the opinion of 
Vasari, were his most capital works. He also ex- 
ecuted many works at Naples, Padua, and other 
cities. He died at Spoleto in 1469, while engaged 
in executing a grand altar-piece, which he left 
in an unfinished state. Lanzi says that Lorenzo 
the Magnificent payed extraordinary respect to 
his memory by demanding his ashes of his towns- 
men, which being refused, he erected a handsome 
monument to his memory, with an inscription by 
Angelo Poliziano, in the Cathedral at Spoleto. 
There is an astonishing amount of fiction and con- 
tradiction, among authors about the minutiae of 
this artist's life, which are not worthy of men- 
tioning. 

LIPPI, FiLippiNO, was the natural son of Fra 
Filippo Lippi, born at Florence in 1460. Accord- 
ing to Vasari, he was a disciple of Sandro Boti- 
celli. who had studied with his father. He as- 
sisted Boticelli in the execution of his works. He 
excelled in portraying the usages of antiquity, and 
Vasari says he was the first among the moderns 
who decorated their paintings by the introduction 
of grotesques, trophies, armor, vases, edifices, and 
draperies, copied from the models of antiquity. 
This however had before been attempted by Squar- 
cione. Cellini also says that he liad seen several 
books of antiquities drawn by Lippi. He did not 
design the human figure so well. At Florence, in 
his pictures of St. Bernardo in the Abbey of that 
name, the Adoration of the Magi, in the Floren- 
tine Gallery, and his two pictures of St. John and 
St. Philip, in the church of S. Maria Novella, he is 
more admired for the admirable accessories he in- 
troduced into them, than for the figures themselves. 
He was invited to Rome, to paint a chapel in the 
church of S. Maria della Minerva, where he repre- 
sented the Assumption of the Virgin, and some 
histories from the life of St. Thomas d'Aquinas. 
in which he shows great improvement in his heads. 
He died in 1505. 

LIPPI, Lorenzo, a Florentine painter, born in 
1606. He was a boon companion of Salvator Ro- 
sa, and, like him, divided his time and attention 
between painting, poetry, and music. Lanzi says 
that his poem // Malmantile Racquistato, (the 
Ragged Cloak Recovered,) is a model of Tuscan 
puritj'- of language, sprinkled with those graceful 
Florentine idioms that are regarded as the Attic 
salt of Italy. He first studied painting with Mat- 
teo Roselli. " In looking about," sa3^s Lanzi, " for 
a prototype among the artists of his own school, 
guided by a similarity of genius, he made choice 
of Santo di Titi. A delineator of the passions ac- 
corded with the genius of the poet, and a painter 
of the choicest designs was highly congenial to an 
elegant writer.'* Lippi added to the style of Titi, 
a greater force of coloring; in his draperies, he 
followed the practice of the Lombard school, and 
of Federigo Baroccio. The delicacy of his pencil, 
the softness and beauty of his coloring, and the 
general good taste pervadmg his works show that 
he had a feeling of natural beauty superior to 
most of his cotemporaries. Roselli admired his 
pictures, and with a hberality seldom found 
among painters, frankly admitted his superiority. 
He acquired great distinction, was invited to the 
court of Inspruch, and appointed court painter, 



where he resided many j^ears. He executed man}' 
works at Florence, the best of which are a Cruci- 
fixion in the Ducal Gallery, and the Triumph of 
David, in the hall of Angiolo Galli, in which he in- 
troduced the portraits of his seventeen children, the 
eldest as the son of Jesse, and the other sixteen, 
as the youths and virgins that, with songs and 
timbrels, greet the victor, and hail the deliverance 
of Israel'. He died in 1664. 

LIPPO, Andrea de,' an old architect and sculp- 
tor of Pisa, who was employed on the cnthedral 
of Orvieto about 1336, probably the sa;!ie as An- 
drea Pisano, which see. 

LIPS. JoHANN Heinrich. a Swiss designer and 
engraver, born at Kloten, near Zurich in 1758. 
He settled at Zurich and distinguished himself 
by his engravings after the Italian and Flemish 
masters, executed in a very masterly manner. He 
also engraved many portraits and book illustra- 
tions. He was living in 1817. 

LIPS, JoHANN Jacob, a son of the prece- 
ding, was born at Zurich in 1790. He first was 
instructed by his father, and afterward went to 
Munich for improvement. He was an engraver of 
abilit}', and executed some historical plates, as well 
as portraits and other subjects. 

LIS, or LYS, Jan vander. This eminent artist 
was born at Oldenburgh, in Germany, in 1570, 
but studied at Haerlem, under Henry Goltz. and 
adhered to the style of that master, until he went 
to Italy, where he studied with great assiduity 
the works of P. Veronese, and Domenico Feti, and 
changed his manner entirely. Llis compositions 
were universally admired for their correct design, 
fine expression, lively and natural coloring, and 
sweetness and delicacy of penciHing; although he 
could never totally divest himself of the taste he 
had acquired in Holland. He became so eminent 
that he has been compared with Rubens and Van- 
dyck. His subjects are principally taken from sa- 
cred history. The principal of them are a picture 
of Adam and Eve mourning over the Bodj^ of 
Abel ; and in S. Nicolo at Venice, is a celebrated 
painting by him. representing St. Jerome in the 
Desert, with an Angel sounding a Trumpet, which 
is designed in an admirable style. Lis died at 
Venice in 1629. 

LIS, or LYS, Jan Vander, a Dutch ])ainter, 
born at Breda in 1600. He studied under Corne- 
lius Poelemburg, and imitated his style with such 
success that many of his works are attributed to 
that master. He painted subjects of history, land- 
scapes and conversations ; some of which he en- 
graved. At Rotterdam is a picture by Lis. repre- 
senting Diana in the Bath, attended by her Nymphs j 
but his most capital performance is said to be in 
England, in the collection of Lord Middleton. He 
is supposed to have been the same as Giovanni 
Lutz, after whom Mogalli engraved the Sacrifice 
of Abraham. He died in 1657. 

LISEBETTEN. See Leysebetten. 

LISSANDRINO. See Magnasco. 

LITTERINI. Agostino. a Venetian painter, born 
in 1642. According to Melchiori; he was an em- 
inent artist in his time, and painted much at Ve- 
nice and in the State. His works were well de- 
signed, and distinguished for clearness and bold- 
ness of style. He was living in 1727. He had a 



LTTT. 



482 



LLOY. 



son named Bartolomeo, who was born in 1GG9, and 
who excelled his father. Also a daughter named 
Caterina. born in 1675, whom IMelchiori also high- 
ly commends for her small historical and cabinet 
pictures. Lanzi says the works of these artists 
are well known in Venice. 

LTTTRET. Claude Antoine, a French engrav- 
er, born at Paris in 1735. He engraved some 
plates of historical subjects and portraits, executed 
with the graver in a neat, clean style, which poss- 
ess considerable merit. He went to England about 
1708, but not meeting with much encouragement, 
he returned to France and died at Rouen in 1775. 
Among others, we have the following by him : 

PORTRAITS. 

Madame de Pompadour; after Schenau. Mademoi- 
selle Clairon, celebrated actress ; do. J. J. Rousseau ; af- 
ter la Tour. P. L. de Belloy. M. de la Sartine, Lieu- 
tenant General of Police ; after Viger. Antoine de Mal- 
v'm, Archbishop of Lyons ; after Vanloo. 

VARIOUS SUBJECTS. 

Venus sleeping ; a/ier S"^. Quintin. Diana reposing ; 
do. Love conducted by Fidelity ; after Schenau. Love 
distributing his Gifts ; do- Two Views of the Rhine ; af- 
ter Weirotter. The Concert of the Grand Sultan ; after 
C. Vanloo. 

LIVE, Ange Laurent de la. a French amateur 
engraver, who executed a few plates after Boucher 
and Greuze, a few portraits, and a set of caricatures 
after Salis. 

LIVENS. See Lievens. 

LIVERSEEGE, Henry, an English painter, 
born at Manchester in 1803. He was from his 
birth deformed and weakly, and being neglected 
by his father, his lot had been sorrowful indeed, 
but for a kind uncle who took him under his own 
protection and educated him, and was rewarded 
by seeing him rise to eminence. It is not known 
under whom he learned painting. He first tried 
portraits, but failing in this branch, he directed 
his attention to fancy subjects, which were more 
congenial to his nature, and in which he met with 
such success that his works found ready purchas- 
ers, and are well known by engravings from them. 
Such are. Adam Woodcock, from Scott's romance 
of the Abbot; Isabella and the Recluse, from the 
Black Dwarf; the Inquiry; the Cobbler reading 
Cobbett's Register, Percie Shafton and Mysie Hap- 
per ; the Fishermen ; Don Quixote in his study, 
&c. He died suddenly in 1832, aged 29. As an 
artist, his powers lay in the delineation of charac- 
ter, and his early death has left it doubtful wheth- 
er he would have excelled most in seriousness or 
comic humor. 

LIZINI, GiULio, an Italian artist, who, accord- 
ing to Zanetti, painted in competition with Paul 
Veronese and Schiavone, the three circular pic- 
tures in the Library of St. Mark at Venice, in 
1556. Renaldis asserts the same, and calls him a 
Roman artist, perhaps from his long residence at 
Rome. Lanzi says he believes this artist to be 
the same as Giulio Licinio da Pordenone, which 
see. 

LLANOS. See Valdes. 



LLORENTE, Don Bernardo German, a 
ish painter, born at Seville in 1685. He was the son 
of an obscure painter, who instructed him in the 
art. He carefully studied the works of Murillo, 
and acquired so much distinction that, when Philip 
V. visited Seville, he was commanded to paint the 



portrait of the infant Don Philip, which gave so 
much satisfaction, that he became the favorite paint- 
er of the court. Notwithstanding this honorable 
and flattering patronage, from some religious feel- 
ing, or other fancy, he retired from the world. In 
his seclusion, however, he continued to exercise 
his art in painting pictures of the Virgin and 
other religious subjects, which partake of the 
sweet and simple style of Murillo. One of the 
most esteemed, represents the Virgin as a Shep- 
herdess, in the midst of her flocks. He died in 
1757. 

LLOYD, Mary, an English paintress, whose 
maiden name was Moser, the daughter of George 
Michael Moser, who instructed her in the art. 
She distinguished herself so much by her admi- 
rable flower-pieces, that she was elected a member 
of the Royal Academy. After her marriage, she 
practised the art only for amusement. She died 
in 1819. 

LOCA, Battista, a Neapolitan painter, who. 
according to Dominici, studied under Gio. Anto- 
nio d'Amato il Vecchio, but adopted the manner 
of Andrea da Salerno, and acquired considerable 
reputation. He executed some works for the 
churches, the chief of which is the Conversion of 
St. Paul, in the church of II Spirito Santo at Na- 
ples, dated 1543, which is pronounced an admira- 
ble performance. 

LOCATELLL See Lucatelll 

LOCHOM, Michael van, a Dutch engraver, 
who resided at Paris, and was chiefly em})loyed by 
the booksellers. He executed some portraits and 
frontispieces in a poor, indifferent style. He en- 
graved some portraits for the works of Hippo- 
crates, published at Paris in 1639, and the plates 
for Les Peintures de la Bible, published in 1656. 

LOCHOM or LOCHON, B. V., a Dutch engra- 
ver, who, in conjunction with H. Janssens, execu- 
ted a set of plates of ornaments for goldsmiths, af- 
ter designs by Tangen. He also engraved a set 
of Huntings of various kinds, executed in a neat 
style. 
^-^ LOCHON. Rene, a French engraver, born 
V| at Poisjr about 1630. He went to Paris, 
-/ -1-4 where he engraved some portraits and 
other subjects, in which he imitated the style of 
Nanteuil, though greatly inferior to that master. 
Among others, we have the following b}^ him • 
portraits. 
Charles de Bourbon, Bishop of Soison. 1657. Eustache 
de Lesseville, Bishop of Coutanccs. 1661. Felix Vialart, 
Bishop of Chalon. B. Phelipeaux de la Vrilliere. 1667. 
Jerome Bignon. Louis de Marilla, Doctor of Sorbonne. 
Hardouin de Perefix, Archbishop of Paris ; after Cham- 
pagne. Antoine Aniauld, Priest of the Oratory ; do. 

SUBJECTS. 

Christ bearing his Cross ; after Caracci. The Virgin 
and Infant, with St. John ; after N. Coypel. 

LOCKLEY, David, an English engraver, who 
flourished at London about 1719, and engraved a 
few plates of views and portraits in a poor style. 

LODER, a German painter and engraver of little 
note, mentioned by Basan, who flourished about 
1760. He etched a few plates after his own de- 
signs. 

•i: V" 7" LODGE, William, an English designer 
W/ ^^^ engraver, born at Leeds in 1619. 

VV— # He received a liberal education, and 



LODI. 



483 



LOPV. 



studied law at Lincoln's Inn. He went to Venice 
in the suite of Lord Bellns)'Se, in his embassy to 
Venice, where he improved his abundant leisure, 
in studying the fine arts. During his travels, he 
sketched various scenes which he afterwards 
etched. On his return to England, he was em- 
ployed b}' Dr. Lister to draw some rare shells 
and fos.sils. which were transmitted to the Royal 
Society, and published in their Transactions. He 
died at Leeds in 1689. 
prints, marked with his monogram : 

The Pont du Gard, in Lan;2:uedoc ; with cipher. A View of 
Gaeta, with the Mole and Plancus' Tomb. Pozzuolo, Car- 
aealla's Mole, Baia, &c. Ruins of the Amphitheatre and 
Aqueduct at Minturnum. Promontory of Circe, Temple 
of the Sun, &c. Lambeth Palace, from the Thames. 
Westminster Hall and the Abbey. The Monument. Sher- 
iflf Hutton Castle. Clifford's Tower. View of York- 
Leeds, with a View of Kirkstall and Fountain Abbeys. 
The Portrait of Oliver Cromwell, and his Page. The Por- 
trait of Samuel Malines ; after Claret. 

LODI, Carlo, a Bolognese painter, was born in 
170L and died in 17C5. He studied with Nunzio 
Ferraiuoli at Bologna, in whose style he painted. 
According to Crespi he was an excellent painter of 
landscapes in the style of Poussin, but Lanzi con- 
siders him only a tolerably good landscape painter, 
yet he says, "he was an excellent disciple of his 
master." To understand the criticism of Lanzi, it 
should be observed that he takes occasion to cen- 
sure the Padre Orlandi for his partiality to Ferrai- 
uoli, who.se friend he was, and whom he compares 
to Poussin, and Claude Lorraine. 

LODI. Albertino da, an old painter, who flour- 
ished at Milan from 1447 to 1466. He is briefly 
mentioned by Lomazzo, as excelling in '"'the art 
of correctly viewing objects," or perspective. He 
executed some works for the churches at Milan. 
and perhaps other cities. 

LODI, Callisto Piazza. See Piazza. 

LODI, Ermenigildo, a painter of Cremona, 
who flourished in 1616. He studied under Cav. 
Gio. Battista Trotti. called Molosso ; was one 
of his most successful pupils, and assisted that 
master in the execution of many of his works. 
Baldinucci and Orlandi speak of him in terms of 
high commendation, and assert that it is difficult 
to discern which of two paintings belonged to the 
master and which to the scholar. Lanzi conjec- 
tures that this arose from painting under the eye 
of his preceptor, and says that if we consult a few 
which he executed alone, particularly at the church 
of S. Pietro, we shall not find it difficult to make 
the distinction. 

LODI, Manfredo, was a brother of the prece- 
ding artist, and studied under the same mas- 
ter. He was a reputable painter. There is an 
altar-piece by him in the church of S. Agostino 
at Cremona, dated 1601. 

LOEMANS, Arnold, a Flemish engraver and 
printseller, who flourished at Antwerp about 1690. 
He engraved some prints after the Flemish mas- 
ters, and a few portraits, among which is one of 
J. Callot. 

LOFVERS, Peter, a German painter, born at 
Groningen in 1710. He studied under John 
Abel AVassenberg. whose subjects and maimer he 
at first adopted. He afterward directed his atten- 
tion to marine views, in which he excelled, and his 
pictures were in great request not only in Ger- 



many but in France and England. He died in 

1788. 

LOFVERS, Henry, was the son of the prece- 
ding, born in 1739. He was instructed in the art 
by his father, and he painted marine subjects, 
fruit and flower-pieces with ability. He died at 
Groningen in 1805. 

LOGGAN, David, a Prussian engraver, born 
at Dantzic in 1630. He is said to have received 
his first instruction from Simon de Passe, in Den- 
mark : and afterward passing through Holland, he 
studied under Hondius. He went to England be- 
fore the Restoration, whei-e he found full employ- 
ment He engraved forty plates of views of the 
public buildings of the University of Oxford, which 
were published collectively in 1675, under the title 
of Oxonia Illustrata, in a folio volume ; thirty 
plates do. of the University of Cambridge, pub- 
lished in 1688 ; a set of plates of costumes for the 
Oxonia Antiqua^, and a set of eleven plates for a 
work entitled Habitus Academicorum Oxonice a 
Doctore ad Servientem. ^ His works are executed 
with the graver in a neat but formal style, among 
which are the follo\ving : 

Charles I. on horseback ; scarce. Henrietta Maria, his 
Queen. Charles II. ; four plates. Catherine, his Queen. 
James, Duke of York. George, Duke of Albemarle ; fine. 
Sir Edward Coke. Chief Justice. Edward Hyde. Earl of 
Clarendon ; fine. James Stanley, Earl of Derby ; rare. 
Lord-keeper Guilford ; fine. James, Duke of Monmouth ; 
fine. James, Duke of Ormond. Crew, Bishop of Dur- 
ham. Sancroft, Archbishop of Canterbury. Sir Henry 
Pope Blount. Pearson, Bishop of Chester. Sir George 
Wharton. George, Prince of Denmark. Mother Louse, 
of Louse-Hall ; one of his earliest prints. 

LOIR. Nicolas, a French painter and engraver, 
born at Paris in 1624; died in 1679. He was the 
son of a goldsmith, who, perceiving his inclination 
for art. placed him under Sebastian Bourdon ; on 
leaving whom, he visited Italy, at the age of twen- 
ty-three. Being in easy circumstances, he devo- 
ted his time to contemplating, rather than copying 
the works of the great masters, and his memory 
was so retentive that, on arriving at his rooms, he 
was able to sketch the pictures which had pleased 
him most. He became particularly attached to the 
works of Nicolas Poussin, and his best produc- 
tions are his easel pictures, painted in the style of 
that master. After remaining at Rome for two 
years. Loir returned to Paris, and met with good 
encouragement. He was emploj^ed in several im- 
portant works for Louis XIV., in the palaces of the 
Tuilleries and Versailles. His pictures are lacking 
in the dignit}^ of the figures and elevation of the 
conceptions ; but he had great facility of invention, 
and a rapid manner of pencilling; his female fig- 
ures and children were characterized by graceful 
forms and attitudes, In 1663, Loir was chosen an 
academician, and presented, as his reception piece, 
the Progress of Painting and Sculpture. Among 
his finest productions, is the Marriage of St. Cath- 
erine, in the church of St. Bartholomew. As an 
engraver. Loir etched a large number of plates in 
a slight but spirited style, among which are the 
following : 

Set of Twelve, subjects, Virgin and Holy Families. The 
infant Jesus embracing the Cross. The Judgment of Pa- 
ris. Apollo and Daphne. Cleobis and Biton drawing the 
Chariot of their Mother to the Temple of Juno. Two largo 
Landscapes. See Dumesnil, P. G. Frangais, torn, iii., for a 
description of 113 prints by Nicholas Loir. lie conjectures 
that the number mentioned in the text is an exaggeration 



LOIR. 



484 



LOLM. 



by D'Argenville, who probably included some of the anony- 
mous piece?, which were executed by his brother Alexis. 

LOIK; Alexis, a French engraver, the j^ounger 
brother of the preceding, born in 1630 ; died in 
1713 ; although some authors place his birth in 
1640. He was brought up to his father's profes- 
sion of a goldsmith, but became eminent as an en- 
graver. His drawing is correct ; his execution 
rapid and spirited ; and he had the peculiar ex- 
cellence of faithfully preserving in his plates the 
different styles of the masters after whom he en- 
graved. He etched several plates after his broth- 
er's designs ; also a number of others, among which 
are the following : 

The Education of Mary de' Medicis ; after the 'picture 
by Rube7is in the Luxembourg Gallery. Time discover- 
ing Truth ; do. The Fall of the Rebel Angels ; after Le 
Brun ; fine. The Massacre of the Innocents; do.; do. 
The dead Christ in the lap of the Virgin ; after Mignard. 
The Finding of Moses ; after N. Poussin. Venus giving 
the Arms to ^neas ; do. The Presentation in the Tem- 
ple ; after Jouvenet. The Descent from the Cross; do.; 
fine. The Virgin with the Infant sleeping ; after N. Loir, 
The Holy Family ; do. Mary Magdalene praying ; do. ; 
fine. 

LOISEL, an obscure French engraver, who 
flourished at Paris about 1645. All that is known 
of him is that he engraved the plates for the folio 
volume of Plans and Views published by Beau- 
lieu in 1645. 

LOISI, or LOISY. There were four French 
engravers of this name, who flourished at Besan- 
^on in the 17th century, but did not attain much 
distinction. Pierre de L., called the Elder, was 
a medalist, and was appointed engraver to the 
mint at Besan9on. Jean de L., his son, executed 
the plates for the work of Jean Terrier, entitled 
Portraits des S. S. Vertus de la Vierge, Paris, 
1635, Besan^on, 1668. Pierre de L., called the 
Younger, applied himself more particularly to en- 
graving medals, although he executed several 
plate?. Claude Joseph de Loisy, his son, en- 
graved the plates for the Breviary published by 
the Archbishop of Besan^on. 

LOLT. Lorenzo, a Bolognese painter and en- 
graver. l)orn in 1612. He was a favorite disciple 
of Gnido. for which reason he is called by the 
Italians Lorenzo del Signor Guido Reni. He 
painted some altar-pieces for the churches at Bo- 
logna, in imitation of the style of his master, the 
most admired of which is his St. Antonio di Pa- 
dova in the church of S. Caterina de Strada Mag- 
giore. He also distinguished himself hj his etch- 
ings, which he executed in a slight but spirited man- 
ner, in imitation of Guido. and though greatly in- 
ferior to the works of that master, they possess 
much merit. He sometimes signed his plates with 
his name, and at others, L. LL, F., or Lo. F., or 
Laur. Lol. The following are his best prints. He 
died in 1691. 

The Flight into Egypt ; after Guido ; there is a. fine 
print by Poilly of this subject The Holy Family, with 
St. John, in Avhich St. Joseph is leaning on a Pedestal ; do. 
The Holy Fivmily, with St. Elisabeth and St. John ; after 
Sirani. Tlie Virgin with the Infiint sleeping ; after Elis. 
Siranl. The Virgin, with the Infant, to whom an Angel 
pre.'ents a Hasket of Flowers ; after Sirani. The Assump- 
tion of the Virgin ; do. ; fine and scarce. St. Jerome ; do. 
Mary Maglalene, with a Crucifi.N:; after his own design. 
The Virgin appearing to St. Francis and St. Augustine ; do. 
Fame flying over a Globe ; after Sirani. Perseus and 
Andromeda ; do. Cupid breaking his Bow ; after his own 



I design. Infant Bacchanalians; do. A similar subject," 
do. 

LOLMO, Giovanni Paolo, a native of Berga- 
mo, who flourished at Venice in the latter part of 
the 16th century. According to Tassi. he was an 
excellent artist, and excelled in cabinet pictures. 
There is an altar-piece by him in the church of 
S. Maria Maggiore at Venice, dated 1587, highly 
commended for its design and execution. Lanzi 
says he was a good artist in diminutive pictures, 
and a diligent and minute observer of refine- 
ment in figures, though he displayed a great par- 
tiality for the design of the 14th century. He died 
in 1595. 

LOMAZZO, Gio. Paolo, a Milanese painter 
and writer on the fine arts, born in 1538. He 
studied under Gio. Battista della Cerva, and after- 
wards traveled through Italy and acquired a pro- 
found knowledge of art. He was a rnan of pen- 
ius, and rose to considerable eminence as an his- 
torical painter, but unfortunately lost his sight at 
thirty-three years of age, when he devoted himself 
to literary pursuits. He painted both in oil 
and fresco, and executed some works for the 
churches and convents of Milan and Piacenza. the 
best of which are Christ giving the Keys to St. 
Peter, in the church of St. Marco ; the Sacrifice of 
Melchisedec, in the library de Passione, at Milan ; 
and the Forty Days' Fast, in the refectory of S. 
Agostino at JPiacenza. As an author, he wrote a 
Treatise upon Painting: published at Milan in 
1584, which he condensed in his Idea of the Tem- 
ple of Painting, printed in 1590. Lanzi finds a 
good deal to condemn, but enough to commend to 
think it worth while to remodel them, and sepa- 
rate the fruit from the husk. They contain much 
historical information, with excellent observations 
upon the practice of the best masters, and much 
critical knowledge relating to the mytholog3^ his- 
tory, and customs of the ancients. His rules of 
perspective were compiled from manuscripts of 
Foppa, of Zenale, of Mantegna, and of Vinci, and 
are therefore particularly valuable. He died in 
1600. 

LOMBARD, Lambert. There is, perhaps, no 
name in art about which there is so much contra- 
diction and confusion as that of Lambert Lom- 
bard, arising from the confounding together three 
artists, viz.: Lambert Lombard, born in 1506; 
Lambert Suterman or Suavius, his disciple, both 
natives of Liege ; and Justus Sustermans, born at 
Antwerp in 1597. Part of this confusion arose 
from Sandrart's assertion that Lambert Lombard 
and Lambert Suavius were one and the same art- 
ist, and as Lambert Lombard and Justus Suster- 
mans both studied in Italy, the Italian authors, 
even Lanzi, confound them together. Baron 
Heineken, however, has settled the whole ques- 
tion, and we cannot discuss it any farther, but re- 
fer the reader to Lambert Suterman and Justus 
Sustermans. 

Lambert Lombard was born at Liege, accord- 
ing to Lampsonius. his biographer, in 1506, 
(others say in 1500,) and first studied under Ar- 
nold Beer, and then under John de Mabuse. At 
the age of thirty-two he went to Italy, in the suite 
of Cardinal Pole, at the recommendation of Erard 
de la Marck, bishop of Liege. During his resi- 
dence in Italy he studied the works of the great 
masters, both in painting and architecture with 



LOMB. 



485 



LOMB. 



intense application. Lampsoniiis says he did not 
remain in Ital}^, being compelled to return to Liege, 
in consequence of the death of his patron, the bish- 
op of Liege ; and he describes him as a man pos- 
sessing uncommon knowledge of ancient art and 
literature, self-acquired, and an artist consummate 
in design. Sandrart says he studied under Andrea 
del Sai-to. which the foregoing account would lead 
us to doubt. On his return to Liege, he rose to 
great distinction, and introduced a more elevated 
style of painting among his countrymen. He 
taught them a better taste of design by substitut- 
ing the antitjue for the Gothic, and thus enabled 
them to distinguish between the simplicity and 
elegance of the former and the unnatural stiffness 
of the latter. He also taught them rules of per- 
spective, and to enrich their works with noble ar- 
chitecture. His academy became the most cele- 
brated of the tim^e in his country, and he has the 
credit of having been the instructor of some of the 
most eminent Flemish artists of that period, as 
Francis Floris, Hubert Goltzius, William Key, 
and others. He designed and wrought with great 
facility, and it is said that he could produce in a 
short time more works and better finished, than 
others could by long continued application •, 
that he availed himself of this facility while in 
Italy to copy some of the works of the best Ital- 
ian masters, and that he imitated Oorreggio so ex- 
actly that several of his works passed for origi- 
nals by that master. But this does not accord 
with the works now attributed to him. What 
renders it difficult to decide on his merits is the 
fact, that the king of Bavaria collected all his 
best works in his palace at Bonn, where they fell 
a prey to the flames when that city was bombard- 
ed. Several of his works were engraved by his 
pupil, Lambert Suterman. The time of his death 
is uncertain, but probably about 1565. 

-g-^ y-- LOMBARD,orLOMBART, Pierre, 
IJ L a French designer and engraver, born 
B A X •at Paris about 1612. It is said that 
he learned the principles of design under Si- 
mon Vouet, but it is not known who was his 
instructor in the art of engraving. He went 
to England before the Reformation, where he was 
much employed by the booksellers, for whom he 
executed a large number of subjects, chiefly vig- 
nettes and portraits, executed with the graver, in 
a neat but rather tasteless style. His portraits 
are his best works, and the following are his prin- 
cipal plates : 

PORTRAITS. 

A set of twelve plates, half-length, two of the Earl of 
Arundel and Earl of Pembroke, and ten of Ladies, called 
the Countesses ; after V a tidy ck. Charles I. on horseback ; 
do. After the death of that monarch, the head of Crom- 
well was substituted for that of the King. Oliver Crora- 
Avell, with his Page ; after Walker. AValker, the Paint- 
er; after a picture by himself ; oval. Sir Samuel Mor- 
land ; after Lely. Anne Hyde, Duchess of York; do. 
Brian Walton, Bishop of Chester ; scarce. Jeremy Tay- 
lor. Bishop of Downe. De la Eond, Gazetteer of Holland. 
1667 ; scarce. Samuel Malines. Sir Henry Wootton. 
Dr. Charlton. 

VARIOUS SUBJECTS. | 

St. Michael vanquishing the Demon ; after Rafaelle. 
The Virgin and infant Jesus ; after Ann. Caracci, The 
Nativity, or Adoration of the Shepherds ; after N. Pous- 
sin. The Last Supper ; do. The Angel appearing to St. 
Joseph ; after Ph. de Champagne. The Crucifixion ; do. 
The Holy'Family ; after C le Fevre. 



LOMBARDELLL See Bella Ma rca. 

LOMBARDI, Alfonso, an Italian sculptor, 
born at Ferrara in 1487. He studied under Nico- 
lo da Puglia, and soon became distinguished for 
his medallion portraits in wax, plaster, and terra 
cotta. He was patronized by various distinguish- 
ed personages, among whom were Andrea Doria, 
the Duke of Ferrara, Clement VII., and Ariosto. 
He was also commissioned with more important 
works, among which is the marble tomb of Ramaz- 
zetto, in S. Michele at Bologna. His group in ter- 
ra cotta, in the same cit}^. has been greatly admired 
for the extreme beauty of the heads. Lombardi 
executed a medallion portrait, in marble, of the 
Emperor Charles V., which so highly pleased that 
monarch that he recommended him to Cardinal 
Ippolito de' Medicis, who received him into his 
palace, and commissioned him to execute the tomb 
of Clement VII. ; but in consequence of the death 
of the Cardinal, it was given to Baccio Bandinelli. 
Lombardi died in 1536. 

LOMBARDI, Gig. Domenico, an Italian paint- 
er, born at Lucca in*1682. He was a pupil of Pie- 
tro Paolini, whose manner he adopted, but consid- 
erably improved by studying the design of the 
Caracci, and the best colorists of the Venetian 
school. " The genius of this artist," says Lanzi, 
'•his taste, his grand and resolute tone, appear in 
several of his pictures executed in his best time 
and with real pains. Such are his two laterals in 
the choir of the church of the Olivetani, which 
represent St. Bernard, their founder, administering 
relief to the citizens infected with the plague. 
There are two others in the Chapel of S. Romano, 
painted with a magic force approaching to the 
best manner of Guercino.-' Lanzi further remarks 
that he should always have painted thus, and nev- 
er prostituted his pencil to manufacture pictures 
at all prices. He died in 1752. 

LOMBARDO, Biagio, a Venetian landscape 
painter, who flourished in 1648. According to 
Ridolfi, he was an excellent artist, rivaling both 
the French and Flemish painters in his land- 
scapes, which are admirably designed, enriched 
with figures and animals, and touched in a very 
spirited manner. 

LOMBARDO, Giulio Cesare, a painter com- 
mended by Zanetti, who flourished at Venice in 
the latter part of the 16th century. He was a 
good perspective painter, and was emplo3^ed in 
decorating the churches and the palaces of the no- 
bles. 

LOMBARDO, Girolamo, an Italian sculptor, 
born at Ferrara about 1510. He studied under 
Andrea Contucci, and finished a bas-relief of the 
Adoration of the Magi, left incomplete at the death 
of that master. He settled at Recanati, and prac- 
tised the art with reputation for many years. His 
works are distinguished for their delicate and taste- 
ful execution. The principal are, a bronze statue 
of the Virgin, in the fa9ade of the Capella Santa j 
and the four magnificent bronze gates of the San- 
ta Casa. Lombardo had four sons, named Anto- 
nio. Pietro, Paolo, and Giacomo, who were repu- 
table sculptors. Their principal work was the 
middle gate of the Santa Casa, enriched with many 
beautiful ornaments, and representing the History 
of Adam and Eve. 

LOMBARDO, Fba Aurelio, an Italian sculp- 



LOME. 



486 



LOME. 



tor, the brother of Girolamo L. He took the mo- 
nastic habit, but continued to prosecute his art. 
Invited by his brother to Recanati, he assisted him 
in several of his works, particularly a magnificent 
bronze tabernacle, which was intended by Paul V. 
for the Pauline chapel in the Vatican, but was pre- 
sented by Pius IV. to the Cathedral at Milan. 

LOMBARDO, Pietro, a Venetian sculptor and 
architect, who flourished in the latter part of the 
IStli century. In 1482, he sculptured the tomb 
of Dante, near the church of S. Francesco at Ra- 
venna. In concert with his sons, Tullio and An- 
tonio, he executed the sepulchre of Cardinal Zeno, 
in S. Marco. 

As an architect he erected, according to Milizia, 
the church of Sts. Giovanni and Paolo, at Venice. 
It is designed in the Greek style ; of a quadrangu- 
lar form, with an elevated chapel at the extremi- 
ty, the ascent to which is by sixteen steps, orna- 
mented with a balustrade. The exterior is of two 
orders, the first Corinthian, the second Ionic, di- 
vided into arches supporting a rich entablature, 
over which is a circular pediment, also ornament- 
ed. The clock-tower in the square of St. Mark, 
does him great honor. A vaulted portico, sup- 
ported by Corinthian columns and pilasters, rises 
majestically from the piazza, surmounted by three 
stories, ornamented with Corinthian pilasters, each 
having a cornice. In the first is the dial plate; 
in the second a tabernacle, with a Madonna in 
metal ; in the third a large lion in marble ; at the 
top is a terrace and the bell, on which the hours 
are struck by two bronze giants. Lombardo also 
designed the church of S. Maria Mater Domini ; 
the school of the Miseracordia ; and many other 
excellent works. 

LOMBARDO, Antonio, the son and scholar of 
Pietro L., was a reputable sculptor, and flourished 
about 1510. He was commissioned to complete 
the works in sculpture in the chapel della Scarpa 
in S. Marco at Venice, which had been left unfin- 
ished by Alessandro Leopardi. Among his other 
works were two statues of the grand altar of S. 
Justino at Venice ; and the beautiful has reliefs 
in the Capella del Santo, at Padua, which he exe- 
cuted in concert with his brother Tullio. 

LOMBARDO. Tullio, a sculptor and architect, 
the son and scholar of Pietro L., flourished about 
1525. As a sculptor, he executed the statues of 
Adam and Eve, at the mausoleum of Andrea Ven- 
dramino ; the two marble lions, at the entrance of 
the college of S. Marco ; the bas-reliefs of the 
twelve Apostles, in the church of S. Giovanni 
Grisostomo, and the grand bas-reliefs in the Ca- 
pello del Santo, with figures of nearly life size, in 
which he was assisted by his brother Antonio. 

As an architect, he erected, among other works, 
the church della Madonna Granda, at Treviso ; 
three chapels in S. Paolo ; and the chapel della 
Sacramento, in the Cathedral. He died in 1559. 

LOMBARDO, Sante, the nephew and scholar 
of Tullio L., born at Venice in 1504. He gained a 
high reputation for his abilities in architecture, 
and executed the Palazzo Vendramini. which, ac- 
cording to Milizia, deserves great praise for its ad- 
mirable proportions, and superb entablature. He 
also executed the fa9ade and steps to the college 
of S. Rocca. The Palazzo Gradenigo, and the 
Palazzo 'frevisani, at S. Maria Formosa, are also 
attributed to this architect. He died in 1560. 



LOMBARDO, Martino. This architect wa.s 
of the same family as the preceding. His princi- 
pal work was the College or Confratcrnita of St. 
Marco, at Venice, consisting of two ample halls ; 
one distributed into three naves, hy two files of 
Corinthian columns ; the other with a chapel at 
the end. divided from the hall by three interco- 
lumniations. The church of S. Zaccaria has also 
been attributed to him. Moro Lombardo, the ar- 
chitect of S. Giovanni Grisostomo. is supposed to 
have been his son. 

LOiNIBARDO, Carlo, an Italian architect, born 
at Aretino in 1559. According to Milizia, he was 
both a civil and a military architect. He visited 
Rome, and rebuilt a small palace for the Vitelli 
family, on Monte Magnanapoli, which afterward 
belonged to the Pamfilj inheritance. He also 
erected the fa9ade of Santa Francesca Romana, in 
Campo Vaccino ; and for the Cardinal Giustiniani 
he designed a villa without the Porta del Popolo. 
He died in 1620. 

LOMI, Alessandro, a Florentine painter, born 
in 1655 ; died in 1702. He studied under Carlo 
Dolci, and was an exact imitator of his style. Ac- 
cording to Baldinucci, he not only copied and re- 
peated the works of his master, but painted the 
same class of subjects from his own designs. 
Doubtless some of the works now claimed to be 
originals b}- Carlo Dolci, were executed by him. 
He was employed for several years by the Grand 
Duke of Tuscany ; and among the celebrated 
paintings in the Florentine Gallery is a picture by 
Lomi, which, although of very small size, contains 
nearlji^ one hundred figures, all well disposed, ju- 
diciously grouped, and most delicatel}'- colored and 
pencilled. 

LOMI. AuRELio, an Italian painter, born at Pisa 
in 1556. He first studied under Bronzino, but af- 
terwards with Lodovico Cardi, called Cigoli. He 
painted both in oil and fresco, and is considered 
the head of the school of Pisa. His frescos in the 
dome of the Cathedral of Pisa, partake of the 
manner of both his masters, though when com- 
pared to Cigoli, he is more minute, and has much 
less softness. Lanzi says his aim appears to have 
been to surprise the multitude by an agreeable 
coloring, and a magnificence of draperies and orna- 
ments. This style pleased at Florence and Rome, 
and more especially at Genoa, M^here he was pre- 
ferred to Sorri, an artist many years established 
in that city, and in good repute. He executed sev 
eral works for the churches and convents of Genoa, 
the best of which is his St. Antonio, in the church 
of the Franciscans ; and his Last Judgment, in the 
Church of S. Maria di Carignano. The first is 
graceful, and rich but modest in the tints ; the sec- 
ond is grand and terrible, and the colors more 
vivid than those he usually employed. His St. 
Jerome, in the Campo Santo at Pisa, is less glow- 
ing, but is esteemed by the Pisanese his most capi- 
tal work. This picture is signed with his initials, 
A. L,, 1595. He died in 1622. 

LOMI, Orazio, called Gentileschi, an Italian 
painter, born at Pisa in 1563. He studied under 
Aurelio Lomi. his half-brother, and adopted the 
name of Gentileschi from his maternal uncle. Af- 
ter a few years he visited Rome, and formed his 
style from the finest works of art in that cit>'. as- 
sisted bj^ his friend, Agostino Tassi. The latter 
was an eminent landscape painter, and Gentileschi 



Lo:\n. 



487 



LOND. 



executed appropriate figures to his inventions in 
the Loggia Rospigliosa, in the saloon of the Quir- 
inal palace, and in other places. He also painted 
several smaller pictures in Eome, particularly in 
la Pace, though these are greatly inferior to his 
subsequent productions. In the Palazzo Borghese 
is a fine specimen, representing St. Cecilia and St. 
Yaleriano, admirably colored, vsnth great intelli- 
gence of chiaro-scuro, Lanzi says the choicest are 
in the royal palace of Turin, and several mansions 
at Genoa. In the collection of Cardinal Cambiasi 
is a picture of David and Goliah, so admirably re- 
lieved, and with tints so vivid and well contrasted, 
that it gives the idea of a style entirely new. 
Gcntileschi was so highly esteemed as to be invi- 
ted to England by Charles L, who gave him a 
pension, and employed him in several works for 
the palaces, and in painting some ceilings in that 
of Greenwich. He was highly esteemed by Van- 
dyck, who painted him in his series of portraits 
of one hundred illustrious men, which has been 
fineh' engraved by Vorsterman. Gentileschi paint- 
ed two pictures for the Duke of Buckingham, of a 
Magdalene and a Hol}^ Family. After the death 
of Charles I., when his valuable collection was 
sold, nine pictures by this artist brought £600, 
and are now in the Hall at Marlborough House. 
He died at London in 1647. aged 84. 

LOMI, Artemisia, called Gentileschi, an emi- 
nent Italian paintress, the daughter and disciple of 
the preceding, born at Rome in 1590. She follow- 
ed her father to England, and painted some por- 
traits for the nobility, and several historical pic- 
tures for the king, the best of which was David 
with the Head of Goliah. Her best years, how- 
ever, were passed in Italy ; she resided a long time 
at Naples ; married there a Pictro Antonio Schiat- 
tesi ; was greatly improved by Guido Reni ; and 
studied attentively the works of Domenichino, 
Lanzi highly praises her picture of Judith slaying 
Holofernes, in the Ducal Gallery at Florence ; and 
another of Susanna and the Elders, in the collec- 
tion of Sig. Averardo de' Medici, remarkable for the 
elegance of the principal figure, and harmony of 
coloring. She was more celebrated for her por- 
traits, however, in which she surpassed her father, 
attaining great reputation throughout Europe. 
She died in 1642. 

LOMI, Francesco, called Gentileschi. was 
the son of Orazio L., who instructed him in the 
art; but he afterward entered the school of Do- 
menico Fiasella. called Sarzana. He flourished 
chiefly at Genoa, and, according to Soprani, paint- 
ed several pictures for the churches of his native 
city. 

LOMEO, Baccio, an Italian painter, who flour- 
ished at Pisa in the latter part of the 16th centu- 
ry. According to Lanzi, he was a reputable art- 
ist, and executed some works for the churches and 
convents of his native city, the best of which is 
an Assumption of the Virgin at the residence of 
the Canons. His works, though partaking of the 
hardness of the age, are well designed and colored. 

LOMMELIN, Adrian, a Flemish engraver, 
born at Amiens about 1636. He went to Ant- 
werp, where he learned the art of engraving (his 
master is not mentioned) and took up his resi- 
dence. He engraved quite a large number of 
plates, many of them after the best works of I 
Rubens and Vandyck. His drawing is incorrect, ' 




and his plates are executed with the graver in a 
heavy, coarse, and tasteless style, possessing lit- 
tle interest, except from the selection of his sub- 
jects. The portraits he engraved after Yandyck 
are his best prints. The following are his best 
works : 

SUBJECTS AFTER RUBEN?. 

Abigail appeasing David with her presents. The Ado- 
ration of the Magi. The Circumcision. The Baptism of 
Christ. Christ washing the Feet of his Apostles. Christ 
appearing to Magdalene. The Triumph of Charity. Time 
discovering Truth. The Assumption of the Virgin. St. 
Cecilia. The Judgment of Paris. Christ taken in the 
Garden; after Vandyck. The Virgin and Infant, with 
the four Doctors of the Church ; after Diepcnbeck. 

m/^TT LONDERSELL,orLON- 
or /Mi/ DERSEEL. Ahasuerus 
±33LA' van, a Dutch engraver 
on wood, born at Amsterdam in 1548. His wood- 
en cuts, marked with his monogram, are executed 
in a very neat style, resembling that of Virgilius 
Solis. Among these, the principal are some Bible 
cuts ; some small prints for an Herbal, by Matthi- 
as de Lobel; and others to illustrate The Travels 
of Nicolas de Nicolay into Turkey, published at 
Antwerp in 1576. There are prints by him dated as 
late as 1599. 

LONDERSELL, or LONDERSEEL, 

^n^ John van. a Flemish engraver, born 
I cy ' %y ' Sit Bruges in 1582. He is supposed, 
j from resemblance of style, to have been a pupil of 
i Nicholas de Bruyn. His plates are executed with 
the graver, in a neat, finished style, but there is 
not much effect in his prints, from his ignorance of 
the principles of chiaro-scuro, yet some of them 
possess considerable merit. He usually signed his 
plates with his name abbreviated, as /. Lond., or 
J. Louder., fee. The time of his death is not 
recorded. Among others, are the following : 

Faith. Hope, and Charity ; represented by allegorical 
figures ; fj'oin his own designs. The Five Senses, em- 
blematically represented ; do. A set of Landscapes, with 
figures ; after J. Savary. Four Landscapes, with biblical 
subjects ; after G. Hondecoeter. Four Landscapes, with 
the same ; after G. Cooninxloo. Nine Landscapes, with 
the sa i;e ; after D. Vinckenbooms. A View of the inte- 
rior of St. John of Lateran ; after Heiidrick Arts. 

LONDONIO, Francesco, an Italian painter 
and engraver, born at Milan in 1723. It is not 
known under whom he studied. He first at- 
tempted historical painting ; but failing in this, he 
directed his attention to landscapes with animals, 
and making nature his model, he gained considera- 
ble reputation. His landscapes, with herds of 
cattle ; and his rural and pastoral views, with shep- 
herds' cots and flocks ; are highly esteemed, and 
are to be found in the noble collections of Milan, 
Genoa, and Naples. He etched a large number of 
plates of simflar subjects after his own designs, in 
a spirited and painter-like style. Nagler gives a 
list of ninety-four. Stanley says that some years 
ago, a large number of his studies in oil and on 
paper, chiefly of goats and horned cattle, were 
brought to England. He died in 1783. 

LONGE, Ubekto or Roberto la, a Flemish 
painter, born at Brussels. According to Lanzi, he 
passed his fife in Italy, and died at Piacenza in 
1709. He is also called by the Italians II Fiam 
mingo, an appellation that has given rise to many 
mistakes, and caused much confusion ; especially 
with regard to Flemish artists; as the Italians ap- 



LONG. 



488 



LONG. 



plied this name not onlj^ to the Flemings, but to 
their own countrymen who were their imitators. 
Roberto la Longe frequented the Academy of 
Agostino Bonisoli, at Cremona; and if he was not 
a pupil of that school, he adopted much of its 
manner, though he occasionally conformed to that 
of Ma sarotti. He resided mostly at Ciemona and 
Piacenziu and executed some excellent works for 
the churches. Lanzi says that in his histories of 
St. Teresa, in the church of S. Sigismondo at Cre- 
mona, he emulates the style of Gaido, and in his 
histories of S. Antonio Martire, in the church of 
that name at Piacenza, he approaches Guercino. 
In other works he displays a strength, delicacy, 
and beauty peculiar to himself, as in his fine pic- 
ture of the djdng St. Saverio, supported by An- 
gels, in the Cathedral at Piacenza. He enriched 
his pictures with beautiful landscapes in his back- 
grounds, which give his figures a singular attrac- 
tion. In the Guida da Piacenza. the name of 
this artist is written Da Longe. 

LONGEUIL, Joseph de, a French engraver, 
born at Lisle in 1736. It is not mentioned under 
whom he studied. He engraved some plates after 
various masters, executed with the graver in a 
clean, neat style, which possess considerable merit, 
but he engraved more for the booksellers. The 
following are among his best prints : 

Two Allegorical Subjects ; after Cochin. Heroic Fidel- 
ity ; after Moreau- Two Rural Subjects ; after Lepicie 
and Aubrey. A pair of Dutch Merry-makings ; after Os- 
tade. The Fishermen ; after Vernet. A View of the 
Environs of Naples ; after Mettai. A Sea-storm ; do. 

LONGHI, Giuseppe, an Italian painter and very 
distinguished engraver, born at Monza, in 1766. 
His father was a silk mercer, and intended his 
son for the church, but Giuseppe was so much op- 
posed to this course, and showed so strong a pre- 
dilection for the fine arts, that he was induced to 
place him with Vicenzio Vangelisti, the Florentine 
artist, who was Professor in the Academy of the 
Brera at Milan, from whom he learned the art 
of engraving. He afterward went to Rome, where 
he studied some time, and formed an acquaintance 
with Raffaelle Morghen. He soon distinguished 
himself by his print after the Genius of Music by 
Guido, in the Chigi Palace, which raised him high in 
public estimation. After his return to Milan, he 
is said to have principall}'- occupied himself with 
miniature painting. In 1798. on the death of 
Vangelisti, he was appointed his successor in. the 
Academy, and filled his professorship with great 
honor and distinction, and to him many of the 
most distinguished Italian engravers of the present 
day owe their education. He taught and prac- 
tised as a first principle, that an engraver should 
make the means subservient to the end, and not 
the end to the means ; in other words, in copying 
a painting, he should endeavor to give as nearly 
as possible the characteristics of the original, and 
that he should invariably make cleverness of line 
and manual dexterity subservient to this end. The 
etching needle was accordingly his chief instru- 
ment. Fqw engravers have excelled him in this 
first great principle of his school. He also ex- 
celled in chiaro^scuro. Among his great works 
are the Vision of Ezekiel, the Marriage of the 
Virgin, and a Holy Family, after Raffaelle; the 
Entombment, after D. Crespi; the Magdalene, 
after Correggio ; the IMadonna del Lago, after 



Leonardo da Vinci; Galatea, after Alhano; and 
many heads after Rembrandt. It would occupy 
too much space for the limits of this work, to 
specify all the productions of Longhi's graver 
worthy of enumeration. But the fine series of 
portraits published at Milan under the title of 
Vite e Riiratti di Illustri Ilaliani, must not be 
omitted ; of those he engraved the portraits of Na- 
poleon with the Iron Crown on his head, as King 
of Italy ; Michael Angelo ; and Dandolo, Doge of 
Venice ; all of them master-pieces of the art. The 
superb work entitled Fasti di Napoleone ilgrande, 
after the designs by Appiani. was in part engraved 
by Longhi, and the whole of it, as far as it exists, 
under his direction. Six of the plates were en- 
tirely engraved by him in what the Italians call 
sem.ilibero* manner; five of those represent the 
Battle of Marengo, and the sixth, Time with the 
Fates. The rest are by Michele Bisi, Giuseppe Be- 
naglia, and the two brothers Rosaspina ; all of 
them worthy disciples of their master. This work 
was commenced by the order of Napoleon, and 
prosecuted at his expense till his abdication, when, 
it is said, its further progress was forbidden, and 
the plates destroyed ! By whose soever order this 
sacrilege was committed, it shows a littleness and 
baseness of soul, incapable of appreciating genius, 
or of performing any nobler deeds than those of a 
Tarquin or a Nero. In 1827. Longhi commenced 
his last and greatest work, the Last Judgment, 
after Michael Angelo, which, though far advanced, 
he left incomplete at the time of his death, which 
happened in 1831, by apoplexy, in the 65th year 
of his age. 

LONGHI, LucA, an Italian painter, born, ac- 
cording to Lanzi, at Ravenna, in 1507. As there 
are many confiicting statements concerning the time 
of his birth and death, Lanzi gives for his authority 
the formal oration pronounced by Vincenzio Car- 
rari, which states that he died August 12th, 1580, 
aged 73 years. He passed his life at Ravenna, 
where he executed many works for the churches 
and public edifices. He also painted manj'- portraits, 
which are now to be found at Ravenna, Ferrara, 
Mantua, and Padua. The author above referred to 
says that his style was correct and highly finished, 
his conceptions sweet, varied, and graceful, with a 
powerful union of colors more nearly resembling 
those of Innocenzio da Imola. than any other artist 
of the time, though inferior to him in point of 
grandeur and beauty. His best pictures are in 
the churches of S. Vitale, S. Agata, and S. Doraeni- 
co, at Ravenna, all of which are representations of 
the Virgin, between two or more saints, with some 
graceful cherubs above. In the church of S. Benedet- 
to also is an admirable picture of the Circumcision. 
Vasari regrets that he should always have resided 
in his native place, as with the advantages of study 
and travel, he might have become a very distin- 
guished artist. 

LONGHI, Francesco, was the son and scholar 
of the preceding, and painted history and por- 
traits in the manner of his father, though greatly 
inferior to him. In 1576, he painted an altar- 



* Semilibero. Semi-free, in imitation of painting, in 

which the heads and extremities require a higher finish 

than the draperies and accessories. So in this method of 

engraving, some parts are highly finished, and others exc- 

i cuted with great boldness and freedom. 



LONG. 



489 



LONS. 



piece for the church of the Carmine at Ravenna ; 
and there are accounts of him down to IGIO. 

LONGHI, Barbara, was a daughter of Luca 
L., and older than her brother Francesco. She 
was instructed in the art by her father, and paint- 
ed history and portraits with considerable suc- 
cess. 

LOXGIII. PiETRO, a Venetian painter, born m 
1702, and died in 1762. He first studied under 
Antonio Balcstra, and afterward with Cav. Giu- 
seppe Crespi. iVccording to Zanetti. he acquired 
considerab'.e reputation by the beauty and novelty 
of his works. Lanzi says ' he aimed at pleasing 
the eye with harmonious representations of masks, 
of conversations, and landscapes. &c., which are 
found in the collections of various noble houses," 
which last part is a proof of high estimation. 

LONGHI, Alessandro, an Italian painter and 
engraver, the son of Pietro L., born at Venice in 
1733. He studied under Giuseppe Nogari, and 
painted many portraits for the Venetian nobility. 
He also prosecuted the art of engraving, and in 
1703 published a folio volume of the Lives of the 
Venetian Painters of that age. illustrated with 
their portraits. In this work he has not forgot- 
ten to place his own portrait, with a favorable no- 
tice ; and he is said to have omitted, from jealousy, 
the names of many distinguished artists. He died 
in 1813. The following are his principal plates : 

PORTRAITS OF PAINTERS. 

Giacomo Amiconi. Antonio Bale,stra. Sebastiano Kicci. 
Gio. Battista Piazzetta, Gio. BattistaTiepolo. 

SUBJECTS. 

A Venetian M.asquerade. A Gondolier dancing with a 
Lady. A Quack Doctor on his stage. A Moor boating a 
Drum. The Philosopher Pythagoras, 

LONGR.\FF, a Dutch engraver, who flourished 
about 1G98. There is a set of ornaments for gold- 
smiths by him, well designed and executed with 
the graver in a very neat style. 

LONI, Alessandro. See Lomi. 

LONS, DiRCK EvERSEN, an obscure Dutch en- 
graver, who flourished in the first part of the 
17th century. There is a Holy Family with St. 
Elizabeth and St. John, engraved by him, after A. 
van Nieulandt, dated 1G12. spiritedly executed, 
but incorrectly drawn ; and four landscapes, each 
having a windmill, dated 1G22. 

LONGUEIL, Joseph de, a French engraver, a 
native of Givet, who flourished about 1770. He 
acquired the elements of design at Lisle, and then 
visited Paris, where he entered the school of 
Aliamet, of whom he became a distinguished schol- 
ar. His best plate is Les Pecheurs, after Vernet. 
He also engraved many illustrations for several 
editions of the Counts of Lafontaine, and of the 
Henriade Among his principal plates are the fol- 
lowing: An Interior of a Flemish Tavern, a/i;er 
Ostade ; the Housekeeping of Good People, and 
the Companion, after Lepicie and Aubry ; View 
of the Environs of Naples, with Vesuvius in the 
distance, after Le Mettay ; View on the coast of 
Campania, with a wreck in the foreground, do ; 
the Russian painter in his atelier, after Le Prince ; 
also several Battles in China, from designs sent to 
France by the missionaries, and published by order 
of M. Bertin. 

LONSDALE, James, an Enghsh portrait paint- 



er, born in Lancashire in 1777, and died at London 
in 1839. He was not a fashionable portrait paint- 
er, therefore his practice was mostly confined to 
male sitters ; but he showed great discrimination 
of character in his likenesses, and painted some of 
the really great men of his time. 

LONSING, Francis Joseph, a Flemish painter 
and engraver, boi-n at Brussels in 1743. He was 
intended for the military profession, and entered 
as a cadet in one of the Belgian regiments in the 
service of Austiia. Being in garrison at the cita- 
del of Antwerp, ho showed such a taste for the fine 
arts, that Prince Charles of Lorraine, the governor 
of the Low Countries, took him under his protec- 
tion, and allowed him to frequent the academy 
which he had organized. Lousing made such pro- 
gress that in 1759 he obtained the principal prize, 
a gold chain and medal, bearing the effigy of the 
Prince, with the inscription. Artis delineatorice 
pra^mium. After this he entered the school of 
Martin J. Geeraerts, a distinguished painter of 
bas-reliefa, and continued to impi-ove so much to 
the satisfaction of his patron, that he sent him with 
a pension to Rome, where ho became a pupil of 
Raffaelle Mengs. Jn 1772, he made the acquaint- 
ance of Sir AYm. Hamilton, who employed him to 
engrave some of the plates for his Schottc Ilaliccc 
Picturce. The rest of his life is somewhat ob- 
scure. It is not known how long he resided at 
Rome, or whether he returned to his own country. 
He is known to have practised at Paris, at Lyon.s, 
and at Bordeaux, in which latter city he died in 
1799, while engaged in adorning the mansion of 
a rich merchant. He devoted his attention chief- 
ly to portraits, though he painted some pictures 
of historical subjects in a mixed style, partly Flem- 
ish and partly Italian, which pi'oved attiactivefrom 
its novelty. He designed and composed with fa- 
cility, disposed his groups with intelligence, and 
was a good colorist. 

LOO. Peter van. a Flemish painter, born at 
Haerlem in 1731. He painted land.'-capes. fruit, and 
flower-pieces, in the latter of which he paiticular- 
ly excelled. He died in 1784. 

LOOFF, Peter, an obscure Dutch engraver, 
who executed some portraits an(l a piint of Fred- 
erick Henry, Prince of Orange, drawn in a trium- 
phal car, dated 1630. 

LOON, Peter van, a Flemish painter, who 
flourished at Antwerp about IGOO. He painted 
architectural pieces with considerable reputation. 
His pictures are very carefully finished. 

LOON, Theodore VA.^^ a Flemish painter, boi-n 
at Brussels in 1G30. It is not known with whom 
he first studied, but he went to Italy when young, 
where he resided several years, chiefly at Venice 
and Rome. While in the latter city, he formed 
an intimate friendship with Carlo Maratti, who 
was five years older than himself, and the two 
friends continued their studies in amicable compe- 
tition, drawing after the works of RaHaelle, from 
whom each of them derived the simplicity, digni- 
ty and bcaut3^ found in their compositions. All 
the works of van Loon partake much of the style 
of Maratti. His design is correct, the chai-acter 
of his heads noble and dignified, and his coloring- 
excellent, except that his shadows are frequently 
rather sombre and heavy. There are some of his 
earlier works still preserved in the churches and 



LOON. 



490 



..ORE. 



palaces at Rome and Venice. On his return to 
Brussels he acquired a high reputation, and exe- 
cuted many works for the churches of that city 
and its vicinity. In the church of St. Gery at 
Brussels, is a s-eries of his pictures, representing 
the Life and Passion of Christ ; and in the Ab- 
bc}'^ Dillinghem, near that city, a fine picture of the 
Nativit3\ His most esteemed works are a series 
of seven pictures of the Histor}^ of the Virgin in 
a church at Aerschot. near Mechlin. He died at 
Brussels in 1678. 

LOON, H. VAN, a Flemish engraver, probably a 
relative of the preceding. He went to Paris, where 
he engraved some of the plates for a work enti- 
tled Les Forces de P Europe, consisting of fortifi- 
cations, plans of towns, &c., published at Paris in 
1695. 

LOON, VAN, a painter of Amsterdam, whose 
subjects were birds, fruit, and flowers, ingeniously 
composed and highly finished. He died in 1787, 
aged 60. 

LOPEZ, Jose, a Spanish painter, who flourish- 
ed at Seville about 1670. He was a disciple of 
Murillo, whose style he closely imitated. He had a 
passion for painting pictures of the Virgin, who is the 
theme of most of his works, represented as a love- 
ly girl just bursting into womanhood, a gentle 
shepherdess, or a yearning mother. These sub- 
jects gained him great credit, and are still highly 
esteemed for their simphcity and beauty. 

LOPEZ, Pedro, a Spanish painter, who flour- 
ished at Seville about the beginning of the 17th cen- 
tury. He was a pupil of El Greco, and executed 
some excellent works for the churches and con- 
vents of that city. His Adoration of the Kings 
in the convent of the Trinitarians at Toledo, is 
pronounced by his countrymen a magnificent pic- 
ture, alone sufficient to entitle him to the rank of 
a great artist. It bears his name, and the date 
of 1608. 

LOPEZ, Gaspero, a Neapolitan painter, who 
first studied under Dubbisson, and afterward with 
Belvedere, and who. according to Dominici, painted 
cabinet pictures of flowers in such an exquisite 
manner that his works were preferred before those 
of all other artists of his time, in the same line. 
He traveled through Italy, and wherever he went, 
he found abundant employment, and his works are 
sought after for the best collections. He is some- 
times called Gaspero da Eiori, or Gaspar, the 
flower painter. He also was a good landscape 
painter. He died at Florence, or, as some au- 
thors say, at Venice, in 1732. 

LORCH. See Lorich. 

LORENZETTI, Ambrogio, an old Sienese paint- 
er, born in 1257. Vasari erroneously states that 
he was a pupil of Giotto, who was born in 1276. 
His style is also different from that of Giotto in 
design, color, and drapery. Vasari says he was 
the first who attempted to describe in landscape, 
storms of wind, tempests and rain, which he re- 
presented with great success. He was considered 
a great artist in his time. His invention was very 
ready, the disposition of his figures good, and his 
coloring lively. For the most part, he painted in 
large size ; in small, as in the History of S. Nicolo 
in the church of that name, at Florence. His 
principal work, as described by Lanzi, is a large 
emblematical picture in the public palace at Siena, 



representing the effects of good and vicious gov- 
ernment. He says farther, "had there been a 
greater variety in his heads, and a superior ar- 
rangement in his composition, this picture would 
have been little inferior to the finest in the Campo 
Santo at Pisa." He had a brother named Pietro, 
who was also an able artist, and assisted him in his 
works, or painted conjointlj^ with him. Vasari 
erroneously calls him Pietro Laurati. On a pic- 
ture painted by them, is this inscription, Hoc opus 
fecit Petrus Laurentii et Amhrosius ejus frater^ 
1335 ; and on one painted by Pietro alone. Petrus 
Laurentii de Senis me pinxit anno 1342. Am- 
brogio died in 1340. There were several Sienese 
artists of this name, who flourished in the 15th 
century, but their works, if any remain, possess no 
interest. 

LORENZI, Francesco, a Venetian painter, was 
born in 1719, and died in 1783. He studied un- 
der Gio. Battista Tiepolo. Lanzi says he was dis- 
tinguished for his works both in fresco and in oil, 
and that he always adhered to the example of his 
master. There are some of his ceilings, and works 
in oil at Verona and at Brescia, which evince an 
able artist. 

LORENZI, Stoldi di Gino, an eminent Italian 
sculptor, a native of Settignano, who flourished in 
the latter part of the 16th centurj^ He at first 
studied painting, and was a fellow disciple of Gi- 
rolamo Macchietti ; but at length devoted him- 
self to sculpture, in which he became very distin- 
guished. He executed an admirable statue of St. 
Paul, which was so great!)'- admired by a rich Pi- 
san, named Martini, that he invited Lorcnzi to his 
house, where he remained six years. He decora- 
ted the Palace of the Grand Master of the Order 
of St. Stefano at Pisa, with two fine statues of 
Justice and Religion ; and a statue of Diana, which 
adorns the gardens of Don Garcias di Toledo, at 
Chiaja. near Naples. On his return to Florence, 
the Grand Duke Cosmo commissioned him to ex- 
ecute the bronze Fountain of Neptune, in the gar- 
dens of the Palazzo Pitti. He was afterwards in- 
vited to Milan, where he decorated the fa9ade of 
S. Celso with four beautiful statues in marble, of 
Adam, Eve, the Virgin Mary, and the Angel Ga- 
briel. In the Duomo at Pisa, he executed in 1583, 
the Angel in bronze, which supports a very beau- 
tiful candelabra. This statue is replete with grace 
and beauty, and covered with a light and delicate 
drapery. Lorenzi also executed many other capi- 
tal works, by which he gained great distinction. 
The time of his death is not recorded. 

LORENZI, Antonio di Gino, the brother of 
Stoldo L., was also a native of Settignano, and a 
good sculptor ; flourished in the latter part of the 
16th century. He studied under Tribolo, and is 
chiefly known as the author of the admirable stat- 
ue of Matteo Corte, which decorates the tomb of 
the Grand Duke Cosmo, erected by that savant. 
This work has been often attributed to his broth- 
er Stoldo, but Morona shows conclusively that it 
was by Antonio, from the design of Tribolo. He 
also executed several works in the Ducal Palace 
and gardens at Castello. 

LORENZI, Cav. Gig. Battista, an Italian 
sculptor, born at Florence in 1528. He studied 
under Baccio Bandinelli. and soon became distin- 
guished in the art. His first works were the 
statues of the Four Seasons, executed for the Sig- 



LORE. 



491 



LORI. 



nori Guadagni. After producing many other fine 
works, he was commissioned to execute the beau- 
tiful statue of Painting, and the bust of Michael 
Angelo. -vhich adorn the tomb of that great mas- 
ter. For Giacomo Salviati he made a marble stat- 
ue of Perseus, and a group of St. Michael over- 
throwing Lucifer. He died in 1594. 

LORENZINT, Fra. Gig. Antonio, a Bolognese 
painter and engraver, born in 1665; was a scholar 
of Lorenzo Pasinelli. Little is known of his works 
as a painter, but he executed a large number of 
spirited etchings after the best Italian masters, 
some of which are scarce and very valuable. In 
1699, he was employed at Florence in conjunction 
with Theodore Ver Cruys. Mogalli and others, to 
engrave the pictures in the gallery of the Grand 
Duke, which were published in a single volume, 
under the title of " Gallery of the Grand Duke of 
Tuscany," consisting of 147 subjects, engraved on 
167 plates. This work is extremely scarce. A 
full description of it may be found in Bohn's Gu- 
inea Catalogue, p. 66. His plates are almost en- 
tirely etched. Nagler gives a list of seventy-six 
of his prints, of which the following are the prin- 
cipal. He died in 1740. 

St. Anthony of Padua working a Miracle ; after Pasi- 
nelli. The Martyrdom of St. Ursula; do. St. John 
preaching in the Wilderness; c?o. The Ascension ; after 
L. Caracci. The Virgin and Child ; after Ag. Car'acci. 
St. Dominic taken up into Heaven; 'after Guido. St. 
Philip Neri kneeling before the Virgin ; 'after C. Maratti. 
St. John, surrounded with Angels; after Correggio. The 
Annunciation; after P. Veronese. The Baptism of 
Christ ; do. The Raising of Lazarus ; do. Noah build- 
ing the Ark ; after Giac Bassano. St. Augustine with 
a Glory of Angels ; after Tintoretto. Joseph sold by his 
Brethren; after Andrea del Sarto. Joseph governing 
Egypt ; do.' David with the Head of Goliah ; after Guer- 
cino. Christ, with the Disciples at Emmaus ; do. St. 
Peter delivered from Prison ; do. The Holy Women at 
the Sepulchre ; after P. da Cortona. Venus and Cupid ; 
after Carlo Cignani. 

LORENZINT, Lorenzo, an Italian engraver, 
who flourished about the middle of the 18th cen- 
tury. He engraved a part of the plates for the 
pictures in the collection of the Marquis Gerini. 

LORENZINO. DA Venezia, a Venetian painter 
of whom little is known. According to Ridolfi, 
he studied under Titian, and was an excellent art- 
ist. Lanzi says there is an excellent picture of the 
Virtues, with several finel}^ designed ornaments, in 
the church of Saints Giovanni and Paolo at Venice. 
The figures are nobly designed, and much admired 
for their symmetry, their attitudes, and their color- 
ing. 

LORENZINO, DA Bologna. See Sabbatini, 
and LoLi. 

LORENZO, Firenzo or Fiorenzo di, a painter 
of Perugia, who is mentioned by the celebrated 
Mariotti in his catalogue of the painters of the 
14th century, as one of the first artists of his 
time. There are pictures by him dating from 
1472 up to 1521. 

LORENZO. See Bicui. 

LORENZO, Don, called Camaldolese, an old 
Florentine painter, of the order of the Camaldu- 
lites ; was a scholar of Taddeo Gaddi, and flour- 
ished about the end of the 14th century. He is 
honorably mentioned by Vasari, and executed 
numerous excellent works in Florence, most of 
which have been destroyed in the sieges which that 



■wT»- T^ LOR] 

XVJLi; iVir graver 



city has endured. He had considerable facility of 
invention, and a more bold and correct design than 
most of his cotemporaries. Most o£ his pictures 
were in chiaro-scuro. and some of them are still 
preserved in the monastery degli Angeli. The 
works of this artist most regretted were the por- 
traits of Petrarch and Dante, painted after natui-e, 
in the church of S. Trinita at Florence. Loren- 
zo died, according to Baldinucci, aged 55, but the 
time is not recorded. 

LORICH, or LORCH, 
lOR, a German en- 
graver on wood and copper ; 
born at Flensburg, in the Duchy of Sleswick, in 
1527. His wooden cuts are executed in a bold, 
free style, and his copper-plates are engraved with 
great neatness and delicacy. He sometimes sign- 
ed his prints with his name and date ; at others, 
with the above monogram. The following are the 
principal. He died in 1586. 

PORTRAITS. 

The Portrait of Martin Luther ; inscribed, Faciehal 
Flenshurg. 1548. The Portrait of Albert Durer. 1550 ; 
scarce. Aristoteles Stagirites Philosopbus ; with the ci- 
pher. 15G1. St. Jerome at Prayer. 1546. A Woman's 
Head. 1551. Two Portraits of the Grand Siguior and his 
favorite Sultana ; very scarce. 

WOODEN CUTS. 

A Set of Prints of the Habits, Customs, &c of the Turks ; 
dated from 1570 to 1581. A Sibyl. 1571. A Woman 
standing, pressing her breasts, with a variety of animals 
below, with an inscription at the top, ®3JS Sntlljrni 
confup que ^at r JDfOrum : dated 1565. A Lady in 
full dress. 1551. The Deluge ; a large print, in two sheets. 

LORIO, Camillo, a native of Udine. who flour- 
ished about 1650. He was a reputable artist, and 
executed some works in his native city, and in 
other places. 

LORIONE, probabl}^ an Italian painter, whose 
name is found attached to some etchings of land- 
scapes, with ruins and figures, executed in a free 
painter-like style. 

LORME, A. DE, orDE L'ORME, a Dutch paint- 
er, of whom little is known. His pictures are 
frequently met with in Holland, and represent in- 
teriors of churches and other edifices. Thej^ are 
remarkable for great delicacy of penciling, and the 
peculiar manner in which the lights are introduced 
and distributed. The figures were usually- insert- 
ed by Terburg, and other eminent artists. Some 
of his pictures are dated about 1660. It is sur- 
prising that so able an artist is not better known. 

LORME, Philibert de, a French architect, 
born at Lyons in the beginning of the 16th centu- 
ry. At the age of fourteen, he visited Italy to 
study the antique, and was patronized by Marcello 
Cervino, afterward Pope Marcellus II. With a 
mind highly enriched, he returned to France in 
1536, and exerted all his industry to strip archi- 
tecture of her Gothic dress, and clothe her in that 
of ancient Greece. On visiting Paris, for the Car- 
dinal du Bel ley. his merit was soon discovered by 
King Henry II.. and afterward by his successors. 
He erected a staircase at Fontainbleau, and de- 
signed the castles of St. Maur and Meudon. He 
also rebuilt a number of royal houses, and was 
employed by Catherine de' Medicis to build the 
palace of the Tuileries — a superb edifice, in which 
the architect displayed his most magnificent ideas j 



LORO. 



492 



LORR. 



but in consequence of some unfavorable astrolo- 
gical predictions, the Queen stopped the works 
when partially completed, De Lorme was elected 
almoner and counsellor to the king, and was enrich- 
ed with a number of abbej's. He left a treatise on 
the manner of building well at a small expense, 
besides ten books on architecture. He died in 
1577. 
LORO, Carlo da. See Portelli. 

LORRAIN, Robert le, an eminent French 
sculptor, born at Paris in 1666. He was instruct- 
ed in drawing by Lemonier ; and at the age of 
eighteen entered the school of Girardon. who com- 
missioned him to execute, in concert with Noulis- 
son, the tomb of Cardinal Richelieu in the Sor- 
bonne ; and also his own tomb, in St. Landres, at 
Paris. In 1690 he went to Rome, and on his re- 
turn to France was appointed to complete several 
works of sculpture at Marseilles, which had been 
left imperfect at the death of Puget. In 1701, he 
was elected a member of the Academy, when he 
designed his statue of Galatea, a work universally 
admired. In 1717 he was chosen Professor of 
Sculpture; and in 1737, Director of the Academy. 
Among his principal works, are his sculptures in 
the episcopal palace at Saverne, which are greatly 
admired for their grace and purit}^ of outline. He 
also executed a Bacchus for the gardens at Ver- 
sailles ; a Faun and several bronze statues for 
those of Marly. He died in 1743. 

LORRAINE, Claude, or Claude Gelee. This 
illustrious painter was born in the small town of 
Chamagne. in the diocese of Toul. in Lorraine, in 
the year 1600. As there are many absurd tradi- 
tional. errors respecting this great artist.(such as his 
having been brought up a pastry cook, his going 
to Itaij^ in that capacitv, his imbecihty of mind, 
his being employed b}'- Agostino Tassi to grind his 
colors and clean his brushes, and other ridiculous 
nonsense.) the author has written a somewhat 
lengthened notice of his life and works, condensed 
from the most reliable authorities. 

His parents. Giovanni Gellee and Anna Podosa, 
according to Baldinucci, were very poor, and had 
several children, of whom Claude was the third of 
five sons. The death of both his parents happen- 
ing when he was about twelve j^ears of age, he was 
thrown upon the world ; and traveled alone, on foot, 
to Fribourg, to seek the protection of his eldest 
brother, who was an engraver on wood, and who 
instructed him in the first rudiments of art. How 
long he continued with his brother is not known, 
but it is certain that while he was thus engaged, 
the latent seeds of his extraordinary genius began 
to germinate, and to show decided proofs, at least 
to discerning eyes, that it would ultimately pro- 
duce abundant fruit. He was anxious to go to 
Rome, to pursue his studies in that greatest store- 
house of art, and an opportunity soon presented 
itself by the arrival of a relative, a dealer in lace, 
then on his journey through Fribourg to Rome, 
who offered to take the young artist under his pro- 
tection, which liberal offer was gladly embraced. 
This period of his history on his arrival at Rome 
is quite obscure, nor is it known whether he. at 
this time, had any other instructor than nature 
and the world of art before him ; but it is evident 
that he was at least partially sustained by this 
same relative, that he studied with the utmost as- 
siduity, and that he made great progress in his 



studies ; for while he was thus engaged, acci- 
dentally-seeing at one of the public fairs some of 
the superb architectural views of Godfrey Waal, 
which had been sent on from Naples for sale, 
these works so won his admiration, that he re- 
solved to go to Naples, and place himself under 
the instruction of that master. AVhile impatiently 
waiting forjoromised remittances from his relative, 
he received the mortifying intelligence that, in con- 
sequence of heavy losses by the conquest and pil- 
lage of his goods by the Swedish armies, it was 
impossible for him to render him any further as- 
sistance. In this forlorn situation his courage did 
not forsake him ; gathering his scanty means, 
and animated with a zeal that shows at least a 
resolute and undaunted mind, determined to tri- 
umph over every difficulty, he set out for Naples 
on foot. Here history again announces the simple 
fact that Waal admitted the young painter into 
his academy, that he soon won the esteem and 
friendship of his master, who took ever}^ occasion 
to promote the advancement of his pupil ; that 
he probably remained in Waal's studio about two 
years, and acquired that knowledge of architectu- 
ral painting and the science of perspective, which 
he subsequenth^ used to such advantage in his 
landscape scenery ; that he felt that this class of 
art, however well performed, was only a part or 
adjunct of the beautiful scenery around/ him that 
daily attracted his admiration and inspired him 
with a desire to depict what appeared so lovely to 
his eye ; and that, having accidentally heard that 
Agostino Tassi. a famous landscape painter, had 
just arrived at Rome, he resolved to return to that 
city and place himself under his instruction ; and 
that Waal learned his resolution with deep regret. 
These simple facts leave little for the imagina- 
tion to conjecture, but merely show that the sim- 
ple tale of the young enthusiast completely won 
the painter's heart, and that his talents, and re- 
spectful and urbane deportment gained him the 
esteem and warm friendship of his instructor. — 
There was evidently something in the character 
and manners of Claude that won for him the es- 
teem and friendship of those with whom he be- 
came acquainted, for Tassi, soon after his arrival 
at Rome, not onl}^ gave him the benefit of his in- 
struction, but took him into the bosom of his fam- 
ily, and made him his familiar companion. This 
gave rise to the story of his having had compas- 
sion on the poor boy, and emploj^^ed him to grind 
his colors; whereas, at this very time, he must 
have been an artist of extraordinary promise. 
And let it be remembered that the most eminent 
artists, in those days, often prepared their own 
colors, and the grateful pupil would not have 
thought any service beneath his dignity which such 
a master might require. Under the able instruc- 
tions of Tassi, Claude pursued his studies with the 
utmost zeal and assiduity, and so successfully im- 
bibed his principles and style, that his earlier 
works bear a close resemblance to those of that 
master. 

Claude, naturally of a contemplative and reli- 
gious disposition, feeling profound gratitude for the 
many benefits he had received, and the happy 
change in his circumstances, soon after leaving 
Tassi and quitting Rome, about 1625, made a pil- 
grimage to the Holy Virgin of Loretto, where he 
remained some days in devotional meditation. 
From thence he made a tour through Italy, trav- 



LORR. 



493 



LORR. 



ersing Romagna. Lombardy. and on to Venice, 
where he is supposed to have remained some time, 
in the study and practice of his profession — for he 
was always a student of nature, nor did he neg- 
lect to study art. It was his intention to return 
d-rect to Rome on quitting Venice, but circum- 
stances induced him to bend his course toward his 
native country, taking a circuitous route through 
Germany, in order to view and study the beautiful 
scenery of the Tyrol and other picturesque re- 
gions. This journey was far from being propi- 
tious, for he was attacked with a severe fit of ill- 
ness on the way, and robbed of all his money 
while confined to his bed. After much delay he 
arrived at Lorraine in a sad state of health and 
spirits, where he remained a short time to recruit, 
and then proceeded to Nantes. Here it is said he 
met with a relative, an artist, engaged at that time 
to execute some works for the Duke of Lorraine, 
to decorate the church of the Carmelites, who in- 
vited him to his house, and induced him to assist 
in the execution of the works, to which proposi- 
tion Claude reluctantly acceded, on certain condi- 
tions, one of which was that he should paint the 
landscape and architectural parts. 

Claude soon grew weary of this unprofitable 
and humiliating employment, which offered no 
scope for his genius, and from which he could de- 
rive no reputation. He daily sighed to contem- 
plate the beautiful prospects and serene skies of 
Italy, which had become to him as it were his na- 
tive land, continually haunting his imagination ; 
and he resolved to put an end to the engagement 
as soon as possible. His relative endeavored in 
vain to dissuade him from these intentions. At 
length an event occurred, which hastened his de- 
parture, and caused him to abandon his work and 
bid adieu to his country forever. While he was 
engaged with his relative at work, the scaffolding 
gave way and precipitated them to the ground, and 
though they both escaped serious injury, yet the 
effect from fright acted so powerfully on his sensi- 
tive mind that he fainted ; and taking it for an 
evil omen, he could not be persuaded to resume his 
work, but set out in a few days for Italy, by way 
of Lyons, and thence to Marseilles. In the latter 
city, he was attacked by another severe and dan- 
gerous illness. While thus suffering, some villain 
stole his money and left him almost penniless. 
But undismayed by this misfortune, he obtained 
a commission from a wealthy merchant for two 
pictures, which put him in possession of sufficient 
funds to pursue his journey, and he joyously em- 
barked in the first. vessel saihng for an Italian 
port. He was again doomed to disappointment, 
however ; a tremendous storm nearly wrecked 
the vessel; but after much delay he got safely in- 
to port, and arrived at Rome in 1627. There he 
took up his permanent abode, and soon found 
abundant employment. One of his earliest pat- 
rons was the Cardinal Bentivoglio, for whom he 
painted two pictures, which so much delighted 
his eminence that he showed them to the Pope 
(Urban VIIL). who commended them exceedingly, 
and desired to see the artist. The interview 
was highly flattering to Claude, and ended by 
his receiving an order to paint four pictures, rep- 
resenting the following subjects : A View of the 
Port of Marinella ; a Sea-port, embeUished with 
noble edifices and numerous vessels ; a Pastoral 
Scene j and an Arcadian Landscape, with Nymphs 



and Satyrs dancing. The production of these pic- 
tures established his ^reputation, for although he 
was little more than thirty years of age. 3^et they 
exhibited all the science and skill of an experienced 
master, and soon rose exceedingly in public es- 
timation. About this time he was employed 
by the Cardinal Crescenzi to decorate the ro- 
tunda of his palace; he was also similarly en- 
gaged in the Muti of the Holy Apostles, and of 
the Medici alia Trinita de' Monti. These were 
succeeded by the following commissions ; the Duke 
of BraccianO; the Duke de Bouillon, and the Prince 
de Leancour, for each a picture ; the Signer de 
Bourlemont and the Cardinal Mellini, for each five 
pictures ; for the Cardinal Giori, seven ; the Con- 
stable of Colonna, eight ; Prince Paul Falconieri, 
Prince Pamphili, and Count Valdestain, for each 
four. He also painted, b}^ order of Pope Alexan- 
der v.. several pictures for the Ghigi family. The 
fame of Claude now extended to every part of Eu- 
rope, and he received commissions from the most 
distinguished persons, beyond his ability to supply. 
A reference to the Liber Veritatis shows that his 
orders were not confined to Rome, Milan. Parma, 
Lombardy, and Venice, but extended also to Paris, 
Lyons, Montpeliier, Avignon, Antwerp, Amster- 
dam, and Madrid. He painted eight pictures for 
the King of Spam. 

Among the many pictures from his pencil, Pas- 
coli mentions one in particular, representing a 
woodland scene, which he painted with extraordi- 
nary care, from the choicest groups of trees in the 
vicinitjA of Madama Villa and Mount Marius. 
This he constantly placed near his easel as a model 
to work from. This exquisite study so delighted 
the Pope, that he offered to cover it twice over 
with gold, if the artist would part with it ; but 
such was its value and importance to him that he 
respectfully declined to do so on any terms, giving 
as a reason that it was indispensably necessary as 
a model to govern his eye, and that it would be 
still more needful in case he should leave behind 
him any unfinished works, or be confined to his 
house by sickness. This apprehension was not 
without reason, for towards the middle of his life 
he was affected by the gout^ which often prevent- 
ed him from pursuing his profession, and which 
increased wnth his 3'^ears. Notwithstanding these 
severe visitations, his patience and good humor 
never forsook him. and if unable to paint, his 
greatest pleasure was in conversing on the subject 
of his profession, and freely communicating his 
opinions on the principles and practice of his art. 
When surrounded by his intimate friends, he took 
great delight in recounting the events of his life, 
the struggles and privations of his boyhood, and 
the difficulties and dangers he had experienced in 
his maturer years ; for though Claude was gentle 
and unassuming in his manners, kind and commu- 
nicative to his professional brethren, and generous 
to a fault, yet his great talents and reputation 
gained him bitter and malignant enemies, Artists 
w^ho pretended to be his friends would often visit 
him while painting, with a view of borrowing his 
ideas and compositions, and then imitate his 
works and sell their productions secretly under 
his name, and thus injure his reputation. In or- 
der to prevent a practice so injurious to himself 
and others for the future, he made drawings of 
every picture he painted, and wrote the name and 
place of residence of every purchaser on the back, 



LORR. 



494 



LORR. 



with the date. This precaution was rendered 
still more necessary by the frequent applications 
he received from persons possessing spurious pic- 
tures, which they continuall}'' sent to him to be 
identified, having purchased them as his produc- 
tions. The enemies of his fame and prosperity 
being thus checked, and their designs frustrated, ' 
spread a report that he now rarely wrought with 
his own hands, but employed a clever man, named ; 
Giovanni Domenico to execute his ordei-s. The j 
latter was a cripple, whom Claude had compas- 
sionately taken into his service, and employed | 
to grind his colors and wait upon him while 
painting. At length they carried their malice so 
far as to suborn this servant, who, instead of re- 
quiting his kind master with gratitude, assumed an 
air of importance, declaring that he had served him 
thirty years, not in the capacity of a servant, but 
his assistant, and demanded the payment of a suit- 
able salary. Claude, now in his old age, having 
ever led a peaceful life, and abhorring dispute and 
litigation, paid the unjust demjyid. These malig- 
nant attacks tended greatly to disturb his calm 
and peaceful disposition, and embitter his latter 
days. He died of a severe attack of the gout, 
which had afflicted him more or less for forty 
years, on the 21st of November, 1682. 

Claude left a property of only 10,000 scudi, which, 
together with the whole of his effects, he bequeathed 
equally to three of his nephews, for whom, as well 
as all his relations, he had ever shown the warm- 
est regard. To his free and generous disposition 
must be attributed the smallness of his fortune, 
for he executed an amazing number of works, and 
received for them his own prices. Claude did not 
attain the proud position of the first landscape 
painter of modern times by his genius alone, but 
he united with it wonderful energy and persever- 
ance in the study of nature as well as works of art. 
lie exerted his utmost industry to explore the 
true principles of his art. He made his studies in 
the open fields, where he frequently continued 
from early dawn till the dusk of evening com- 
pelled him to withdraw from his contempla- 
tions. He drew the most beautiful groups of 
trees so accurately that the different species could 
at once be distinguished. Every beautiful appear- 
ance in the sky, every curious tinge of light on all 
kinds of objects, he marked in his sketches with 
similar colors. Sandrart relates that Claude, with 
the precision of a philosopher, used to explain to 
him, as they walked through the fields, the causes 
of the dilferent appearances of the same prospect 
at did'erent hours of the day. from the reflections 
or refractions of light, and from dews and vapors 
in the morning or evening. He also frequented 
the Academy, and took great pains to acquire a 
knowledge of the drawing of the human iigure, 
but although he succeeded so well as not to offend 
the eye. even of the critic yet he was sensible of 
his defect, and used jocosely to say that he " sold 
his landscapes, and gave his figures into the bar- 
gain." lie somciimes employed Filippo Lauri, 
Courtois, or Jan Miel to execute his figui'es. Ar- 
chitecture, in his early life, was a favorite branch 
of the art with him, for which he possessed a I'C- 
fined taste and ready invention ; and he lost no 
opportunity of showing his predilection for such 
subjects whenever his scenes permitted. His 
work.s, therefore, are combinations of beautiful o))- 
jects borrowed from the inexhaustible source of 



nature, enriched by art, and exhibited under the 
most lovely forms and alluring media. Sir Joshua 
ReynoMs says, in his Discourses, that Claude 
Lorraine " was convinced that taking nature as he 
found it seldom produced beauty." If the scene 
represents the early morning, the hemisphere is 
suffused with light and warmth, and all nature 
visibly feels their inlluence ; the mists are seen dis- 
persing, and the cool freshness of the dawn of 
day is yielding to the absoibing rays of the sun ; 
the soft zephyrs appear to agitate in gentle ripples 
the surface of the lucid streams, and to brcatlie in 
whispers among the foliage of the surrotmding 
groves. The shepherd is seen leading his flocks to 
the pastures, or Diana with her attending UA-mphs 
is sallying forth to the chase. Every period of 
the day, with all its elemental vicissitudes, has 
been successfully embodied by his magic pencil, 
and even the gorgeous splendor of a summer even- 
ing, with all its daz/ling brightness, was not be- 
yond the ]-each of his master hand. His pictures 
are enriched with palaces, temples, and other no- 
ble edifices; and the ruins of ancient niighty struc- 
tures are so appropriately introduced, and com- 
posed with so much skill and taste, that it is easy 
to imagine that they once liad existence at some 
glorious era of the Greek or Roman States. This 
illusion is still farther heightened by the introduc- 
tion of some event from sacred or profane historj'-, 
poetry, or romance, which accords with the style 
of the buildings and the scenes depicted. The 
landscapes of other great artists, as Caspar Pous- 
sin and Salvator Rosa, engage little of our time 
and contemplation to run over the scanty confines 
of their scenery, compared Avith the august and 
boundless expanse of Claude. He presents the 
beholder such an infinity of objects, and conveys 
him over such a '• variety of hill and dale and 
misty mountains" that the eye seems to be con- 
strained, as it wanders, to repose on the way. — 
His marines and magnificent sea-ports contend for 
superiority with his inimitable landscapes, in the 
purity and freshness of the atmosphere, and the 
gentle, undulating swell of the water, sparkling 
with the reflection of a clear and brilliant sunshine. 
Claude painted his great works for public places, 
and sometimes for private dwellings, in fresco. 
The following description of a grand saloon, with 
lofty ceilings, painted for a nol)leman at Rome, 
will give a good idea of the grandeur and beauty 
of these works. On the first side he represented 
the vestiges of an ancient palace, bounded by a 
deep grove, incomparably expressed as to the 
forms, stems, barks, branches, and foliage of the 
trees, the propoitional grandeur of which, as well 
as the length of the grove, were perspective!}^ and 
beautifully set off by the shrubs and plants with 
which the ground was diversified. The eye was 
pleasingly conducted to the second wall, which 
seemed, by an artful contrivance and disposition, 
to be only a continuation of the same scene, the 
same elevation of the horizontal line being observ- 
ed throughout the work. On this side he showed 
an extensive plain, interspersed with mountains 
and waterfalls, groves, travelers, flocks and herds, 
which connected with the third Avail, and on Avhich 
a lengthened prospect shoAved a sea-port at the 
foot of some high hills, Avith a view of tlie ocean, 
and vessels laboring amongst the Avaves, which 
appeared in violent agitation. On the fourth wall 
he represented a wild scene, with caverns among 



LORR. 



495 



LOTH. 



rude rocks, ruins of temples and antique statues. 
This composition, though divided into so many 
parts, constituted but one entire, connected pros- 
pect, the beauty, truth, and variety of which the 
power of language cannot expre£>s. 

Claude was accustomed to preserve, as before 
mentioned, in a book, drawings of the different 
subjects he executed. He left, at his death, six of 
these registers, which he called Libri di Veritd. 
One of these, containing two hundred drawings, is 
in the possession of the Duke of Devonshire ; they 
were engraved by Earlom, and published by Boy- 
dell under the title of Liber Veritaiis. The pic- 
tures of Claude Lorraine are exceedingly valuable, 
and command enormous prices. Some of the 
choicest are valued as high as five thousand guin- 
eas. England is said to be richer in his works 
than all the rest of Europe together. In Smith's 
Catalogue raisonne, part viii., may be found a de- 
scriptive account of four hundred of Claude's 
works ; their sizes ; the names of those who for- 
merly had them in their collections ; the names of 
the present possessors ; and the prices they have 
brought at various sales. 

The life of Claude Lorraine is full of instruc- 
tion to the young artist, showing him that the 
zeal, fortitude, and untiring industry which he ex- 
hibited, cannot fail of leading to distinction. 

LORRAINE, Jean Baptiste, a French engra- 
ver of little note, who, according to Basan, flour- 
ished about 17C0. He engraved some plates of 
portraits and other subjects. 

LORRAINE, Louis Joseph de, a French paint- 
er and engraver, born at Paris in 1715. He 
learned the art of painting under Dumont, after 
which he went to St. Petersburg, where he was 
chiefly employed as a painter of theatrical decora- 
tions. He engraved some prints after his own de- 
signs, and a few after other masters, the best of 
which arc the Judgment of Solomon, Solomon 
sacrificing to the Idols, Queen Esther before King 
Ahasuerus, and the Death of Cleopatra, after J. 
F. de Troy. 

LOSCIII, Jacopo, an old painter of Parma, 
whose works are found in the churches of that 
city, dated from 1462 to 1488. They are executed 
in a more polished style than was common at that 
age. 

LOSCHI, Bernardino, a painter of Carpi, of 
whom there are notices from 1495 to 1533. He 
was an artist of distinction in his time, and was 
employed in the service of the Duke of Modena. 
There are some of his works at Carpi, and perhaps 
other places, executed somewhat in the style of 
Giotto. His pictures are signed Carpense. 

LOTEN, John. This painter was born in Swit- 
zerland, although some writers say he was a na- 
tive of Holland. He went to England about 1G70, 
and died at London in 1681. He painted land- 
scapes, and particularly excelled in representing 
dark oaken grove.s and glades, wild craggy scene- 
ry, with cataracts and foaming torrents ; land- 
storms attended with rain, &c. His touch was 
free and spirited, and he had an excellent know- 
ledge of chiaro-scuro. but the effect of his compo- 
sitions would have been greater if he had been less 
cold and dark in his coloring. 

LOTH, or LOTI, Cav. Giovanni Carlo, was 
born at Munich in 1032. Both Orlandi and Za- 



netti are mistaken in making him a pupil of Cara- 
vaggio, for the latter died in 1609, before Carlo 
was born. Lanzi says he took rank among the first 
four painters of his age. all of whom bore the 
name of Carlo. He was much employed in Ger- 
many for the Emperor Leopold L, as well as for 
the churches in Italy, especially at Venice, and 
still more for the private collections. Many cabi- 
net pictures of historical subjects from his hand 
ai-e to be seen in the collections of almost every 
city in Italy, executed in the style of Caravaggio 
and Guercino, The Death of Abel, so much prais- 
ed, in the Florentine Gallery, and Lot and his 
Daughters, in the Trivuizi Palace at Milan, are of 
this class. He resided many years in Venice, 
where he died, in 1698. 

LOTH, or LOTI, Onofrio, a Neapolitan paint- 
er who, according to Dominici, first studied under 
Paolo Porpora, and like his master, painted fish, 
shells, and other marine objects, as well as fruit 
and flowers. Abraham Breughel, who painted 
these subjects in an exquisite style, having settled 
at Naples, Loth adopted his style, and became emi- 
nent. He excelled in depicting fruit, especially 
grapes, which rivaled nature. He died in 1717. 

LOTO, or LOTI, Bartolomeo, a Bologneso 
painter, and a pupil of Viola, who flourished about 
]622. He was an excellent artist, and executed 
some works in competition with his master, for 
the churches at Bologna, in the pure style of the 
Caracci. 

LOTTI, Cosmo, a Florentine painter, architect, 
and ingenious mechanician. He studied painting 
under Benedetto Pocetti. but probably did not 
practice this art to any extent, as his pictures are 
very rare. In the Palazzo Pinadori at Florence, is 
a picture by him of the Virgin Mary. He was 
greatly disiinguished for his ingenious inventions, 
among which was a grotto at Castellano, contain- 
ing a huge grotesque head, which discharged thirt}^- 
three jets of water upon any person who chanced 
to step on a particular stone near the entrance. 
His talents were much esteemed by Cosmo 11. 
In 1628. Philip IV. King of Spain applied to the 
Grand Duke Ferdinand for a good architect, to 
erect a theatre in his palace of Bueno Retiro, and 
by the advice of Giulio Parigi, his chief architect, 
he recommended Lotti. On arriving at Madrid, 
the latter commenced the theatre, and completed 
it so much to the satisfaction of the king that he 
was appointed royal architect and engineer, which 
posts he occupied for many years. He died at 
Madrid, but the time is not recorded. 

LOTTO, Lorenzo, an eminent Italian painter, 
the time of whose birth and the place of whose na- 
tivity are uncertain, though it is generally con- 
sidered that he was born at Bergamo about 1490. 
Lanzi thinks he was a Venetian, and cites a docu- 
ment to prove it, in which he is called M. Laurhi- 
tiiis Lottus de Venetiis nunc habitaior Bergomi. 
According to Tassi, he was instructed in the rudi- 
ments of the art by Andrea Previtali at Bergamo, 
and afterwards studied at Venice under Gio. Bel- 
lini. There is something uncertain about this ; 
but it is sufficient to know that his manner is 
wholly Venetian, bold in his colors, luxurious in 
his draperies, and like Giorgione, of a deep red in 
his flesh tints. Lanzi .says he profited by his vi- 
cinity to Milan, to cultivate an acquaintance with 



LOTY. 



496 



LOUV. 



da Vinci, and to imitatehimin many pointy, particu- 
larly in the distribution of his lights. - His works, 
however, have a strong resemblance to those of Gior- 
gione, and though his touch is less bold, and his 
colors less glowing, he equals him in the truth of 
his carnatiojis, and the copious cast of his drape- 
ries ; and perhaps surpasses him in the choice and 
elegance of his forms, and in the beauty, finish, 
and expression of his heads. His principal works 
are in the churches at Bergamo, Venice, and R,e- 
canati. Ridolfi applauds his picture of the Virgin 
and Infant, with vSts. Stephen. Sebastian, and Dom- 
inic, in the church of S. Bartolomeo at Bergamo, 
as a wonderful performance. Lanzi also sajH of 
this picture, that " the painter has bestowed upon 
the Virgin and infant Jesus such finely diversified 
and contrasted motions, that they seem as if con- 
versing with the holy bystanders, the one on tho 
right, and the other on the left hand." In the 
church of S. Spirito is another exquisite picture 
of the Virgin and Child, with the infant St. John 
standing at the foot of the throne embracing a 
Lamb, designed and executed with such simplicit}?-, 
grace, and innocence, that Lanzi says, " we can 
hardly believe, while we gaze upon it, that Raifa- 
elle or Correggio could have gone beyond it. Such 
master-pieces as these, with others that are to be 
seen at Bergamo in the churches and private col- 
lections, place him almost upon a level with the 
first luminaries of art." There is a difference in 
his works, which has caused a contrariet}^ of opin- 
ion as to his merits. Thus Kiigler says his man- 
ner varied according to the master under whom he 
studied, or whose works he studied. '■ Three dif- 
ferent influences," says he. " appear in the different 
pictures of the artist. Thus one in the Museum 
at Naples is in the style of BeUini ; another in the 
Pitti Palace inclines to the Milanese (L. da Vinci), 
and others to the Venetian manner." But we are 
not to judge of the powers of an artist by his un- 
ripe or over-ripe fruit. Lanzi's authority is worth 
all the rest, and he says that his powers declined 
as he advanced in years, of which the artist him- 
self was sensible, and he used to retire to Loretto 
and supplicate the Virgin that she would preserve 
his faculties and guide him into a better method ; 
and there he closed the period of his days in tran- 
quillity, at an advanced age, in 1560. He also ex- 
celled in historical subjects of easel size, and in 
portraits. 

LOTYN, John, a Flemish artist, born at Brus- 
.^els. He excelled in painting flowers, and went to 
England, where he was emplo3^ed a long time hy 
Queen Mary, after whose death he returned to his 
own country. 

LOUTHERBOURG. Philip James. Authors 
have bestowed more praise and comment, than his 
real merits deserve, upon this ingenious rather than 
great artist. The time of his birth is uncer- 
tain, being given at Strasburg in 1728, 1730, 1734, 
1740, and 1741, which last is probably not far 
from the truth, as he died in 1812. His father 
was principal painter to the Prince of Hanau- 
Darmstadt, and intended his son for the engineer- 
ing department of the arm}'-, and gave him a libe- 
eral education in the college' of Strasburg. While 
in college, his genius led him to painting, and his 
parents sent him to Paris, where he studied un- 
der Carlo Vanloo, as some say, and others Fran- 
cesco Casanova. He made great progress, and was 



admitted into the x\cademy at Paris at the age of 
twenty-two, contrary to the standing regulations, 
which prescribed that the candidate should have 
reached thirty. He became a very popular paintr 
er of battles, huntings, sea-pieces, and landscapes 
with figures and cattle, in which last he imitated 
the charming style of Nicholas Berghem. He left 
Paris, and made a tour through Germany, Swit- 
zerland and Italy. In 1771 he went to England, 
and was immediately employed by Garrick to de- 
sign and paint scenery for Druiy Lane Theatre, in 
which he discovered extraordinary abiJit3^ and 
gained much applause. In 1782 he was elected a 
member of the lloj-al Academy, of which institu- 
tion he afterwards became a visitor, and one of 
the Council. He executed a numbei- of easel pic- 
(.ures and some large historical subjects, among 
which last are the Review of Warley Camp, now 
in the royal collection, Lord Howe's Victory of the 
first of June, and the Siege of Valenciennes. — 
When Macklin projected his publication of the 
Bible, with illustrations from original paintings, 
he employed Loutherbourg to paint two pictures 
— the Angel destroying the Assyrian Host,and the 
Universal Deluge. Loutherbourg possessed gen- 
ius and talents, but by attempting too much, he 
fell into the foibles of a mannerist. Had he con- 
fined himself to one branch, his reputation would 
have been more lasting. His best works are his 
sea-coast scenes, which are excellent. He design- 
ed and wrought with great facilit3r, but his color- 
ing is gaudy, and his chiaro-scuro ver}'' defective. 
He obtained a great reputation, and his works 
were much sought after. They have been multi- 
plied by imitators to such an extent that they are 
now •' as thick as blackberries in summer." He 
also published some aquatinted etchings of land- 
scapes, marines, and soldiers from his own de- 
signs. He died at Chiswick in 1812. 

LOUVEMENT, FRAN901S dr, a French engra- 
ver, who flourished about 1680. According to 
Florent le Comte, he went to Italy, where he re- 
sided some years, and engraved several plates af- 
ter P. da Cortona, Ciro Feiri, Lanfranco, Solimena, 
and other Italian masters. 

LOUYS, or LOYS, John, a Flemish engraver^ 
born at Antwerp about 1600. He studied under 
Peter Soutman, whose style he imitated. He 
wrought with the graver and the point, his carna- 
tions being chiefly excited with the point. The 
following are his best prints : 

PORTRAITS. 

Philip the Good, Duke of Burgundy. Louis XIII.» 
King of France; after Rube7is. Anne of Austria, his 
Queen; do. Philip IV., King of Spain ; do. Elizabeth 
of Bourbon, his Queen ; do. Francis Thomas of Savoy, 
Prince of Carignan ; after Vandyck. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Resurrection of Lazarus ; a fine copy from the print 
by ./. Lievens. Diana and her Nymphs reposing after the 
Chase ; after Rubens. The Interior of a Dutch Kitchen ; 
after Os'tade. Peasants amusing themselves ; after A, 
Botlu A Dutch Kitchen ; after W. Kalf. 

LOWRY, Wilson, an eminent English engrav- 
er, born at Whitehaven in 1762. In his eighteenth 
year he went to London, and studied under John 
Browne, the landscape engraver. He also became 
a student of the Royal Academy, where he distin- 
guished himself by his skill in drawing the hu- 
man figure, and made rapid progress in the art, 



LOYE. 



497 



LUOA. 



to the improvement of which he contributed a va- 
riety of useful inventions. Among these may be 
reckoned a new ruling machine, possessing the 
property of ruling successive lines, either equi- 
distant, or in just gradations, from the greatest re- 
quired width to the nearest possible approxima- 
tion. Upon this instrument, originally invented 
in 1790, he several years after made considerable 
improvement, and constructed a new one, capable 
of drawing lines to a point, and of forming con- 
centric circles. In 1798 he first introduced the 
use of diamond points for etching ; a highly im- 
portant invention, on account of the equalit}'- of 
tone which they produced, and also for their dura- 
bility. Many other useful improvements in steel 
engraving were also introduced by Lowr}^, and he 
was the first who succeeded well in what is techni- 
cally termed " biting steel in" ; the secret of which 
was purchased from him by Mr. Heath. In 1812, 
he was elected a Fellow of the Royal Societ}^. His 
mathematical knowledge of drawing, his deep re- 
searches in the laws of mechanics, his extensive 
acquaintance with physics and the general proper- 
ties of matter and form, combined with the cor- 
rectness of an eye that never erred, and a hand that 
could not deviate — all highly qualified him for 
that department of the art in which he excelled. 
He was employed more or less for about twenty 
years in engraving architectural and mechanical 
subjects for Rees' Cyclopaedia. There are also many 
plates by Lowry, in Wilkins' Vitruvius. and Mag- 
na Gr£ecia ; Nicholson's Architectural Dictionary ; 
and the Encyclopaedia Metropolitana. on which he 
was employed till his death, in 1824. 

LOYER, a French engraver, who flourished 
about 1760. and executed some plates of architec- 
tural subjects, after Dumont, Bernini, Marieschi, 
and others. 

LUBIENETSKI, Theodore de. a Polish paint- 
er and engraver, born at Cracow in 1653. He 
went to Hamburg, where he studied painting un- 
der Jurian Stur, and from thence to Amsterdam, 
and became the pupil of Gerard Lairesse. On 
leaving that master, he went to ItRly, and resided 
some years at Florence, where he was particularly 
patronized by the Grand Duke, who showed him 
many marks of honor and esteem. On his return 
to Germany, he was invited to the court of Berlin. 
He was afterwards made painter to the Elector of 
Brandenburg, and appointed director of the Ac- 
ademy. He was an able artist, and painted his- 
tory and landscape, much in the style of Gerard 
Lairesse. He also etched some plates after his 
own designs, among which are six grand land- 
scapes, signed Th. de Lubienetzki fecit. 1698, 
He died in 1716. 

LUBIENETSKI, Christopher, was the young- 
er brother of the preceding, born at Stettin in 1659. 
After receiving some instructions in design with 
Theodore, under J. Stur, he accompanied his 
brother to Amsterdam, and entered the school of 
Adrian de Backer. He painted history and por- 
traits in the style of his master, and rose to dis- 
tinction. His historical works are commended for 
invention and composition, correctness of design 
and an agreeable tone of coloring. He returned 
to his own country, where he died about 1720. 

LUBIN, Jacqes!, a French engraver, born at Pa- 
ris in 1637. His portraits have a strong resem- 
blance to those of Gerard Edelinck, for which 



reason he is supposed to have studied under that 
master. His works, though inferior to those of 
Edehnck, possess much merit. The time of his 
death is not known, but there are prints by him 
dated 1694. Among others, are the following by 
him : 

PORTRAITS. 

Armand John du Plessis, Cardtaal de Richelieu. John 
Peter Camus. Bishop of Belley. John Papire Masson, 
celebrated advocate. Vincent Yoiture, of the French 
Academy. Peter Corneille, Dramatic Poet. Olivier Pa- 
tru. of the French Academy. Robert Arnauld D'Andilly. 
John Baptist Colbert, Minister of State ; and many others, 
particularly thirty-eight portraits in Perrault's " Hommes 
illustres de France." 

SUBJECT. 

The Entombing of Christ ; after Le Sueur. 

LUC A. Santo, a Florentine painter, who lived 
in the 11th century. To this artist is attributed 
a picture of the Virgin in S. Maria Maggiore, at 
Rome, and many others in Italy, claimed and be- 
lieved by the vulgar to have been painted by St. 
Luke the Evangelist. Lanzi says the tradition 
was first impugned by Manni, and subsequently 
confuted by Piacenza, so that it is now preserved 
only among the vulgar and the credulous, who 
shut their eyes to every rational criticism, as an 
innovation of their faith. In the early ages of the 
church, the Virgin was not represented with the 
Holy Infant in her arms, but with the arms ex- 
tended, in the act of prayer, as is seen in several 
ancient monuments. Lanzi also assures us that 
these pictures of the Virgin were executed by a 
Florentine named Luca, who, for his many virtues, 
obtained the title of Saint. Rude portraits and 
images of the Virgin are found in many Italian 
churches, and also throughout the East, believed 
by the vulgar to be the genuine works of St. Luke, 
the Evangelist. 

LUCA DI TOME, an old painter of Siena, 
who studied with Bernardo da Siena, and executed 
some works for the churches and convents. A 
Holy Family bearing his signature, and dated 
1367. is in the convent of the Capuchins at Siena. 
Lanzi says it has not sufficient softness, but in 
other respects it is a reputable work. 

LUCAS, VAN Leyden. See Leyden. 

LUCAS, a French engraver, who flourished at 
Paris about 1700. He engraved some plates of 
architectural subjects for the collection of the 
Views of Versailles, published by P. Men ant. He 
had a son, whom he instructed in the art, but none^ 
of his works are specified. 

LUCAS, FRAN901S. a French sculptor, born , at 
Toulouse in 1736. His father, one of the founders 
of the Academy in that city, instructed him in the 
elements of sculpture. In 1761, he gained, the 
grand prize ; and in 1764 was appointed Professor 
of Sculpture. Convinced of the defects in_ the 
models of the Academy, he had the courage to 
prefer a few figures modelled after the antique, as 
studies for his scholars, instead of the works of Le- 
moine and Pigalle. He afterwards visited Rome for 
improvement, and made a fine collection of antiqui^ 
ties, which are greatly admired. Among his prin^ 
cipal works, are the Statues of Worshippers, in -the 
church of St. Peter at Toulouse ; and the jMau- 
soleum of M. de Puyvert, one of the finest orna- 
ments of the church of St. Stephen. Lucas died 
in 1813. 



LUCA. 



498 



LUCC. 



LUOASZ, Peter Francis, a Flemish painter, 
born at Malines in 1606. He went to Antwerp 
and studied under Gerard Seghers. Pie painted 
landscapes with figures, designed and executed with 
great beauty and spirit. He acquired considera- 
ble distinction and was largely patronized by the 
Arch-duke Leopold, for whom he executed many 
works. He also painted portraits with reputation. 
He died in 1654. 

LUCATELLI, or LOCATELLI, Pietro. a dis- 
tinguished Homan painter, born in 1660. His real 
name was Lucatelli, though his name is spelled in 
most books, Locatelli. lie is said in the Catalogue 
of the Colonna Gallery to have studied under Gi- 
ro Ferri, but Titi and others make him a dis- 
ciple of Pietro da Cortona. He acquired distinc- 
tion, was elected a member of the Academy of St. 
Luke in 1690, and executed some works for the 
public edifices at Rome. Orlandi commends his 
works in the church of S. Agostino, and in the 
Collegio Fuccioli. He died in 1741. 

LUCATELLI, Andrea, a landscape painter of 
considerable eminence, born at Eome in 1540, and 
died in 1602. He excelled in painting the views 
and ancient monuments about his native city. He 
had an excellent knowledge of chiaro-scuro, and 
expressed admirably the light of the sun upon 
objects at different hours of the day. He im- 
itated the various shades of color produced by 
time on stone and marble, and represented the 
bark and foliage of his trees with great accuracy » 
His figures were well designed and spiritedl)^ ex- 
ecuted. He also represented landscapes with 
striking effect. 

LUCATELLI, or LOCATELLL Andrea, an em- 
inent Roman landscape painter, whose history is 
a mixture of the most admirable contradiction and 
confusion, no two authors hardly agreeing as to his 
time of birth and death, his merits and'the char- 
acter of his works ; and some doubt whether An- 
drea and Pietro Lucatelli were not one and the 
same artist. Now this arises from overlooking 
facts and dates, and confounding the two artists 
together. It is well known that this artist flour- 
ished at Rome at the same time with Orizzonte, 
and occasionally wrought in conjunction with 
Marco Ricci and Gio. Paolo Pannini, all of whom 
flourished in the first part of the 18th century, 
their births and deaths being, of Orizzonte, 1656 — 
1740, of Ricci, 1680—1730, and of Pannini, 1691— 
1758. The elder Lucatelli lived then more than 
a hundred years before. Lanzi says that this 
artist is not to be confounded with that other 
Lucatelli (Pietro) who flourished at Rome about 
the same time. He says farther, that he was 
highly celebrated in every inferior branch of the 
art. •' In the Archbishop's Gallery at Milan are a 
number of his pictures, historical, architectural, 
and landscapes- In those he appears original in 
composition and in the disposition of his masses ; 
he is varied in his touch, delicate in his coloring 
and elegant in his figures, which he was accus- 
tomed to paint ill the Flemish style, separate 
from his landscapes." He mentions some emin- 
ent Flemish painters of the same class then living 
at Rome, (1686 — 1690) as Peter van Bloemen, 
the brother of Orizzonte, who painted battle-pieces 
and Bambocciaid; Francesco Wallint, (H. van 
fiint) and others, and that " in Rome and the eccle- 
siastical states, we find many pictures of this sort 



by that Lucatelli who has been mentioned among 
the landscape painters. The connoisseurs attribute 
to him two different manners, the first good, the 
second still better, and exhibiting great taste both 
in coloring and in invention." Stanley saj^s there 
are many of his works in England, and that in 
them are blended the manners of Francesco j\Iola, 
and Orizzonte, with less depth than the former, 
and more freedom than the latter. 

LUCCA, Deodato da, an old painter of Lucca, 
by whom there is a Crucifixion in good preserva- 
tion, in a church at San Cerbone, not far from Bo- 
logna, on which is subscribed Deodatus jilius Or- 
landi de Luca me pin:rit, A. D., 1288. 

LUCCA, Michel Angelo da. See Anselmi. 

LUCCHESE, II. See Ricci. 

LUCCHETTO. See Luca Cambiaso. 

1L J LUCCHESE, or LUCEN- 

Ivn ^^TVyi'lT'.^^^' ^'^'chele, an Itahan 
•*- -*- Jl T^J. 'engraver, and native of Luc- 
ca, who flourished at Rome about 1550. He en- 
graved some prints after the best Italian masters, 
as Michael Angelo, Rajfaelle and Polidoro di Car- 
avaggio. His pi'ints are usually marked with his 
monogram as above. 

LUCCHESINO, II. See Pietro Testa. 

LUCENA, Don Diego de, a Spanish painter 
of a noble family of Andalusia, who studied under 
Velasquez, and imitated his manner with con- 
siderable success. He excelled in portraits, which 
Bermudez highly commends. He painted the poet 
Pantaleon, who sang his praise in his verse. He 
died young in 1650. 

J^ LUCINI, Antonio Francesco, a Flo- 
T t* dentine engraver, who flourished about 
1 4 i? 1646. He was cotemporary with, and 
probably a pupil of, Stefano della Bella, whose 
stjde he imitated very closely, and even copied 
some of his prints, as the Festival on the Arno. 
He usually marked his prints with a monogram 
composed of his initials. 

LUDINS, a Roman painter, who distinguished 
himself in the reign of Augustus for his views 
and landscapes, embellished with figures, and for 
his marines. He was the first Roman ai-tist who 
painted in fresco, and he was much employed in 
decorating the villas near Rome, in which he ex- 
celled. 

LUFFOLC, Giovanni Maria, a native of Pe- 
saro, and a painter of the Bolognese school, whose 
works date from 1665 to 1707. He studied un- 
der Simone Cantarini, in whose style he painted 
many works for the churches of his native city. 
particularly at S. Giuseppe and S.Antonio Abate. 
Oretti commends him as a sound and judicious 
artist. 

LUGARO, Vincenzio, a painter of Udine, of 
whom there are notices from 1589 to 1619. Ri- 
dolfi commends him for his altar-piece of St. An- 
tonio at the Grazie in Udine. Lanzi saj'S he was 
one of those artists whose works arc reasonably 
well executed, but more or less borrowed from 
familiar models. 

LUGRENCELIS. an engraver, and probably 
painter, by whom there are some spirited etchings 
of mythological subjects in the style of Benedetto 
Castiglione, inscribed Lugi'encelis inv. et scul. 



LUIG. 



499 



LUIN. 



LTTIGHt. See Lunghi. 

LUIKEN, See Luyken. 

LUINT, or LOYINL Bernardino, an eminent 
Italian painter, about the time of whose birth and 
death there is much disagreement. He was born at 
Luino, a small town in the Milanese, on the Lago 
Maggiore. some say in 1480. and died in 1530 ; and 
others, that he flourished from 1500 to 1550. In 
a picture dated 1525. he introduced his own por- 
trait as that of an old man, which, if correct, would 
make his birth about 1455 ; but there is no cer- 
tainty about this, for his son Aurelio was born in 
1530. He is generally considered, from his style, 
to have been a pupil of Leonardo da Yinci, but 
there is much dispute on this point. Padre Resta 
asserts that Luini did not visit Milan until after 
the departure of Vinci in 1500: on the other 
hand, the Abate Bianconi in his Guida di Milano, 
gives it as the opinion of all the best critics and 
connoisseurs, that he was a pupil of Vinci. Lanzi 
says he certainl}^ frequented his academy. At all 
events, it is impossible for one artist to approach 
nearer to the style of another than Luini does to 
that of Vinci, in his best works ; he exhibits the 
same taste in design and composition, the same 
peculiarit}'- of color and extraordinar}^ relief, so 
that, according to Lanzi, out of Milan, many of his 
works pass for those of that master. His two 
pictures of Mary Magdalene and St. John embra- 
cing his Lamb, in the Ambrosian Gallery at Mi- 
lan, can hardly be called inferior to the works of 
Leonardo in the beauty and suavity of his pencil, 
and the piety and feeling of his expression. There 
are also many other pictures by him in the differ- 
ent collections at Milan, possessing nearly equal 
merit. To form a just idea of Luini's merit it 
would be necessary to contemplate his series of 
pictures at Sarono. representing the life of the 
Virgin, in which he approaches the dignity and 
grace of Raffaelle. He was no less distinguished 
for his frescos, of which the most celebrated are 
Christ crowned with Thorns, in the Collegio del 
S. Sepolcro ; and the choir of the Monistero Mag- 
giore at Milan. Luini is scarcely known out of 
Milan, as his works are attributed to da Vinci — 
the sure fate of all imi tators. The finest. Christ dis- 
puting with the Doctors, now in the English Na- 
tional Gallery, attributed to da Vinci, is now gen- 
erally given hj connoisseurs to Luini. 

LUINI, Aurelio, was the son of the preceding, 
born at Milan in 1530, and died in 1593. Accord- 
ing to Lomazzo, his coteraporary, residing at Mi- 
lan, he was one of the most distinguished artists 
of his time in that city ; and he especially com- 
mends him for his knowledge of anatomy and 
his skill in landscape and perspective, and savs 
that he was a successful rival of Polidoro da Oara- 
vaggio in his large frescos. Lanzi says. " After a 
lapse of two centuries, Bianconi has written of him 
with more freedom, declaring that though the son. 
he was not the follower of Bernardino, the purity 
of whose style he was far from attaining. And in 
truth, if we except his composition, there is not 
much to please in this artist. We may indeed of- 
ten trace the paternal manner, much deteriorated 
and tainted with mannerism ; his ideas are com- 
mon, his attitudes less natural, the folds of his 
drapery are minute, and drawn in a mechanical 
manner." He then goes on to say that this is the 
character of his genuine works, but admits that 



there are others at Milan attributed to him, in 
better taste; and specifies the Baptism of Christ 
in the church of S. Lorenzo, as a work worthy of 
his father. 

LUINI, Evangelist A, was the second son of 
Bernardino L. Lomazzo remarks that in the art 
of ornamenting and festooning he w^as equally in- 
genious and fanciful as his brother, and at the 
same time, he gives him a high rank as an histori- 
cal painter ; but he does not specify any of his 
works. 

LUINI, GiDLio Cesare, a painter of the Mi- 
lanese school, who studied under Gaudenzio Fer- 
rari. He was a reputable artist, and there are 
some of his works in the chapels at Varallo. He 
flourished about 1550. 

LUINI, PiETEo. See Gnocchi. 

LUINI, ToMMASo, who died in the pontificate 
of Urban VIIL, aged 35 years. According to 
Baglioni, was the scholar of Andrea Sacchi, 
and painted in the style of Caravaggio, from which 
circumstance, and his quarrelsome disposition, he 
was called R Caravaggino. He was a man of abi- 
lity, and executed some esteemed works for the 
churches at Rome. Lanzi says he appears to the 
best advantage when he painted the designs of his 
master, as in the church of S. Maria in Via, where 
he combined his own ideas. His design was rather 
dry and his coloring too dark. 

LUMLEY, George, an English amateur en- 
graver, who resided at York about 1720, and ex- 
ecuted a few mezzotinto portraits. 

LUNARDUS; an old engraver on wood, by 
whom there are some frontispieces and book or- 
naments executed in a spirited and masterly man- 
ner, which appear to be after his own designs. He 
flourished about 1520. 

LUNDENS, Gerrit, or Gerard, a 
;>r Dutch painter of interiors and conver- 
' y sations in low life, boors, merry-ma- 
kings, &c. Little is known of him. His pictures 
are executed in a very pleasing and spirited man- 
ner, and are admitted into good collections. He 
is supposed to have flourished from 1650 to 1670. 

LUNGHI, Martino, an Italian architect, who 
flourished in the latter part of the 16th century. 
He was a native of Vigiu, in the Milanese ; and his 
first profession was that of a stone-cutter, after 
which, by study and practice, he became an archi- 
tect. Under Gregory XIIL, he erected that part 
of the pontifical palace on Monte Cavallo. at Rome, 
called the " Tower of the Winds." For the fathers 
of the Oratorio he erected the majestic ChiesaNuova, 
on the usual plan of a Latin Cross. He also de- 
signed the fa9ade of S. Girolamo degh Schiavoni, 
at Ripetta, in a very beautiful and correct style. 
Among his other works, are the Campanile of 
the Carapidoglio ; the palace of the Dukes of AI- 
temps at Apollinare ; and the Palazzo Borgheso 
at Rome. 

LUNGHI, Onorio, an Italian architect, the son 
and scholar of Martino L,, was born in 1569. He 
became quite distinguished in civil and military 
architecture. His most esteemed work is the 
church of S. Carlo, on the Corso at Rome, designed 
in a beautiful and magnificent style, with threo 
naves, in the form of a Latin cross. Among his 
other productions, are the court, galler}-, and log- 




LUNG. 



500 



LUTM. 



gia, of the Palazzo Verospi, on the Corso ; and 
the church of S. Maria, at Campo Vaccino. He 
was but little esteemed for his private character, 
rendering himself odious by his unsocial and ca- 
lumniating disposition. He died in 1619. 

LUNGHI, Martino, an Italian architect, the 
son and scholar of Onorio L.. flourished about the 
middle of the 17th century. He visited Sicily. 
Naples. Venice, and Milan, and erected a variety 
of edifices. At Rome, he restored the church of 
S. Adriano ; erected the fa9ade of the Madonna 
del' Orto; and the grand altar of S. Carlo, on the 
Corso. His best work is the staircase, made by 
order of Cardinal Gaetano, in his palace on the 
Corso. It is generally cited as the most perfect in 
Rome, but Milizia has contrived to find a number 
of defects in this beautiful work. The Cardinal 
Ginetti was greatly delighted with it, and commis- 
sioned Lunghi to erect a similar one in his palace 
at Venice. Ho died in 1657. 

LUNG Fir, An TON 10, a Bolognese painter, born 
in 1685. He studied under Gio. Giuseppe dal Sole, 
and acquired considerable reputation as an histor- 
ical painter. He was chiefly employed for the 
churches and convents of Bologna and the vicinity. 
Among other works, one of Christ appearing to 
Mary Magdalene, is highly commended. He died 
in 1757. 

LURAGO, Rocco, a Lombard architect, a native 
of Pelsopra, flourished in the latter part of the 
16th century. His principal work is the Palazzo 
Doria Tursi, in Strada Nuova, at Genoa, greatly 
praised by the citizens and foreigners, but is more 
admired for its extraordinary size, and the abun- 
dance of marble with which it is decorated, than 
for the purit)'- of its architecture. This is the judg- 
ment of Milizia, who also says that this edifice 
surprises at the first view, and conveys an idea of 
something more than ordinary magnificence. By 
order of Pius V., Lurago erected at Bosco, the 
convent and church of the Dominican friars. This 
edifice so pleased the pontiff, and his nephew, the 
Cardinal Ghisleri, that they invited the architect 
to Rome, but could not prevail upon him to leave 
Genoa. He died in 1590. 

LUSARCHE, Robert de, an old French ar- 
chitect who flourished about 1220. and designed, 
according to Felibien, the Cathedral of Amiens, 
which was continued b}'- Tommaso of Charmont, 
and completed by his son Rinaldo, in 1269. This 
edifice is of great size and beauty, in the Gothic 
style prevalent in those days. The principal nave 
is 213 feet long, and the choir 153 feet ; making 
the entire length of the edifice 366 feet. The 
transverse nave is 182 feet, and its width fortj'-- 
nine feet. The roof is 132 feet high ; the choir, 
the nave, and the transept, are surrounded by 
small aisles eighteen feet wide, and forty-two feet 
high, which have also recessed chapels. 

LUTI, Cav. Benedetto, a Florentine painter, 
born in 1666. His parents were very poor, and 
unable to give him any education, but he early 
showed a love for the fine arts, and amused him- 
self by sketching everything that struck his fancy, 
and at length acquired so much skill as to at- 
tract the notice of Antonio Domenico Gabbiani, 
who generously took the ji-outh into his studio, 
instructed him in the art, and was so highly 
pleased with his deportment, talents and assiduity, 



that he recommended him to the patronage of the 
Grand Duke, who sent him to Rome to study un- 
der Ciro Ferri. On his arrival there, he had 
the misfortune to find that that master had re- 
cently died. He did not place himself under any 
other instructor, but diligently studying the works 
of the best masters, he formed for himself a style 
which, Avithout exactly resembling that of any 
other master, was distinguished for elegance of 
design and suavity of color, together with an ex- 
cellent conduct of the chiaro-scuro. One of his 
earliest works at Rome was the Death of Abel, 
publicly exhibited at the festival of St, Bar- 
tholomew, when it excited universal admiration 
by the sublimity of its composition and the 
characteristic expression of the head of the mur- 
derer. This work established his reputation, and 
he was commissioned by Pope Clement XI. to 
paint a picture of the Prophet Isaiah in St. John 
of Lateran, and other works, which were executed 
so much to the pontiff''s satisfaction that he con- 
ferred on him the honor of knighthood of the or- 
der of the Holy Cross. He acquired a great rep- 
utation, and was considered among the ablest ar- 
tists of his time. The Elector of Mentz presented 
him a valuable diamond cross. Among his other 
most admired works at Rome are St. Anthony of 
Padua in the church of the Apostles; Mary Mag- 
dalene anointing the feet of Christ, in S. Caterina 
da Siena. His portrait, by himself, is in the Flo- 
rentine Gallery. It is to be regretted that this 
talented artist should have devoted so much of 
his time to crayon painting, so transient in its na- 
ture, when he possessed powers for nobler exer- 
tions. He died in 1724. He executed a few spir- 
ited etchings, among which are the Crucifixion, with 
St. John and Mary Magdalene at the foot of the 
Cross, after his own design, and a landscape, after 
Guercino. 

LUTMA, Abraham, a Dutch engraver of whom 
little is known. There is a portrait by him of 
Rubens after Vandj^ck. 

LUTMA, Janus, or John, a Dutch engraver 
and goldsmith, born at Amsterdam about 1629. 
He was the inventor of a method of engraving, 
which he called opus mallei, and which has noth- 
ing to recommend it. It is done with a punch, or 
chisel and mallet. Fair impressions of his plates 
are now extremely scarce, and for this reason, 
valuable. The}^ are as follow : 

The Portrait of his Father ; Janus Lutma, Posteri 
fati; opus mallei per Janum. fee. His own Portrait; 
Janus Liutma Batavus, per se opere Mallei 168L J. 
Vondelius. Oloi' Batavus. Opus mallei, per J. Lut- 
ma. P. C. Ilooft. Alter Tacitus. Opus mallei, per J. 
Lutma. AVe have also by him two portraits, engraved in 
the style of Rembrandt, which are scarce, and highly es- 
teemed, viz. — Joannes Lutma Aurifex. It is the por- 
trait of his father, in a furred robe, holding a port-crayon 
in one hand, and his spectacles in the other ; signed Joan- 
nes hutma, Junior, fecit Ao. 1656. Joayines Lutma 
Junior. He is seated at a table drawing, with a large hat, 
which throws a shadow over the face ; this portrait is ex- 
tremely scarce. He also engraved some views of ruins, 
&c., in a style executed with the point, and assisted with 
the mezzotinto tool, one of which represents a Fountain, 
with Statues, and the Trajan Column ; dated 1656. 

LUTMA, James. This engraver was the son 
of the preceding. He etched and finished with the 
graver a set of ornamental plates, of shields and fo- 
liage, from the designs of his father. He also en- 
graved a plate of three portraits, in a frame, in- 



LUTT. 



501 



scribed Jan Lutma (POude, inv. Jac. Lutma, 
fecit aqua forti, et exc. 

LUTTEREL. Henry, an Irish painter and en- 
graver, born at Dublin about 1650. He went ear- 
ly in life to London, and was educated for the law, 
but abandoned that profession, and studied por- 
trait painting with Ashfield. About this time 
Blooteling had established himself in London, and 
his mezzotinto prints were in great repute. Lut- 
terel contrived to possess himself of his secrets, 
and afterwards formed a connection with Isaac 
Becket ; and they became the earliest English en- 
gravers in mezzotinto. He acquired a high rep- 
utation in his time, and executed quite a number 
of poi-traits of distinguished persons. His cray- 
on portraits too, were highly esteemed. He died 
about 1710. 

LUTZELBURGER, or LEUTZELBURGER. 

Hans, called also Hans Frank, a Swiss wood en- 
graver, who flourished at Basle in the earl}^ part of 
the IGth century. Little is known of him. He is 
supposed by some to have cut the blocks of the 
celebrated Dance of Death, attributed to Hans Hol- 
bein. This supposition is founded on the facts of 
his having been, as is supposed, cotemporary with 
Holbein, a native of the same place, and from one of 
the cuts being marked H. Ij. But there is no certain- 
ty in this. There are many other celebrated old cuts, 
singly and in sets, some of them after drawings 
by Holbein, which are attributed to Lutzelburger. 
Those who are curious about the facts, with regard 
to these and other disputed points, may find a de- 
tailed statement of the views of all parties in 
Dr. Nagler's Neues Allgemeines Kunstler- Lexicon. 

LUYKEN, John, a Dutch painter and engrav- 
er, born at Amsterdam in 1649. He studied 
painting and design under Martin Zaagmoolen, 
and for some time applied himself to the practice 
of the art ; but not succeeding in his expectations, 
he turned his attention to engraving, and became 
very eminent in that branch. He executed a mul- 
titude of works, very many of them after his own 
designs. Bohn, in his new catalogue, mentions 
upwards of 900, all having the name of this inde- 
fatigable artist. He discovers great fertility of in- 
vention, and a remarkable facility of execution, 
and his plates are executed with neatness and 
spirit. His compositions are crowded with an in- 
finite number of figures. These qualities pro- 
cured for him the honorable title of the Callot 
of Holland. He died in 1712. The following are 
among his principal plates : 

A set of sixty-two plates of Histories of the Bible, ex- 
hibiting uncommon power of invention and freedom of 
execution. Some of the plates for Mortier's Bible. A set 
of ten plates of the Commandments. Seventeen plates for 
the History of Finland. Seventeen plates for the Voyages 
Orientaux de M. Tkevenot. One hundred and five plates 
for the History of the Martyrs. The Prophet Jonas 
preaching to the Ninevites. The Assassination of Henry 
IV. of France. The Massacre of St. Bartholomew ; in 
two sheets. A great variety of emblematical subjects, 
fairs, public ceremonies, book ornaments, &c. 

LLTYKEN", Gaspar, was the son and pupil of 
the preceding, born at Amsterdam in 1670. He 
designed and engraved in the manner of his father, 
but his works are every way inferior to him. He 
was chiefly employed by the booksellers. Among 
his works are the following : Twelve plates of 
the Months of the Year ; Four, of the Seasons ; 



LUZI. 

St. Francis Xavier preaching before the Emperor 
of Japan ; the Miracle of the Loaves. 

LUZIO, Romano, a Roman painter, who stud- 
ied under Pierino del Yaga ; was his ablest 
scholar, and assisted him in his works. Accord- 
ing to Vasari, Luzio and some Lombards painted 
four chambers in the Ducal Palace at Genoa, after 
the cartoons of his master. He executed some 
excellent works at Rome from his own designs. 
A frieze by him in the Palazzo Spada still exists, 
and is highly commended. He flourished about 
1530. 

LUZZO, Pietro, da Feltro. See Morto da 
Feltro. 

MZrp\ LYS. or LIS, John vander, 
Of 1/ ) (not Jan, as frequently called) 
I ^ As\. Dutch painter, born at Breda 
in 1600. He studied under Cornelius Poelemburg, 
whose manner he imitated so .successfully that many 
of his works are attributed to that master. He 
painted historical subjects, conversations and land- 
scapes. He is supposed to have been the same as 
Giovanni Lutz of the Italians, after whom Mo- 
galli engraved the subject of Abraham about to 
sacrifice Isaac. His works are very highly fin- 
ished. There is a famous picture by this artist at 
Rotterdam, representing Diana in the Bath, attend- 
ed by her nymphs. His works are found in the 
best collections, not only in Holland but in Eng- 
land. 

LYSIPPUS, a celebrated Greek sculptor, was 
a native of Sicj^on, and flourished about B. C. 325, 
in the time of Alexander the Great. He at first 
applied himself to painting, until taught by his 
talents and inclination that he was born to excel 
in sculpture. He improved the art of statuary by 
a better imitation of the hair, and by an attentive 
study of S3rmmetry, in which he considered how the 
human figure appears to the eye, not what are 
its exact proportions. For this reason he was the 
first that reduced the size of his heads, and thereby 
made his figures appear more tall and elegant. 
His reputation was so high, and he was so much 
favored by Alexander, that that monarch forbid 
any sculptor but Lysippus to make his statue. 
He executed a series of figures of Alexander, be- 
ginning from his childhood ; and likewise made 
statues of Hephestion and his other friends ; all 
of which were taken to Rome by Metellus, after 
the conquest of Macedonia. Among his works, 
the figure of a man scraping himself with a 
strigil, called Apoxyomenos, was particularly ad- 
mired. It was placed hy Marcus Agrippa before 
his public baths ; but being removed by Tiberius 
into his own chamber, the Roman people were so 
clamorous for its restoration, that the Emperor 
thought best to give way to their wishes. A chariot 
of the sun at Rhodes was one of his great works ; 
which, however, was surpassed by a colossus at 
Tarentum, forty cubits high. He also executed a 
statue of Hercules, which was removed to Rome 
from Alyzia, in Acarnania; one of Socrates ; one 
of ./^sop ; a statue of Opportunity, represented as 
a youth with wings attached to his ancles, in the 
act of rising from the ground. This work is ad- 
mirably described by Welcker. The statues of 
Lysippus were 610 in number, and in the age of 
Augustus, his works were sold for their Aveight in 
gold. 



LYSI. 



502 



MAliU. 



LYSISTRATITS, a Creek sculptor, il»e brother, 
or brother-in-law of Lysippus. ilourished about 
B. C. 1*25. The only work mentioned a.s by 
him, is th(i Tiead of Menalippc. a woman distin- 
p;uished for her wisdom. lie was princi{)ally dis- 
tin;2,nishe(l as the inventor of takin<i; impressions 
in plasLei- from the human ibrm, which produced 
an accurate resemblance. 



I. 



MAAN, or MAN, CoRNnMUri ni;. an etninent 
Dutch painlcr, born at Delft in 1()21. Afler 
nCi'iving some instruction in the art in his na- 
tive city, he went to Paris while young, where he 
met with suflicient encouragement to enable him 
to visit Italy, which was the o})ject of his wishes. 
lie ti'aveled through Lyons to Lombardy, and 
spent two years in Florence, where he executed 
some considerable works for a nobleman, who 
wished to continue him in his service; but 
the artist declined his commissions, as he was anx- 
ious to go to Rome, whither he proceeded, and dur- 
ing a residen(H>, of thiee years in that metropolis 
of art, he applied himself to the study o( the a,n- 
tifpie and the best masters with gi-eat assiduity, 
and became an able designer, lie next went to 
Venice, where he carefully studied the works of 
Titian, particularly his i)ortraits, and strove to im- 
bibe his delicacy and glowing colois. After an 
absence of nine years, he leturned to his own 
country, and settled in his native dty, where ho 
greatly distinguished himself as an liistorical 
and portrait painter. He particularly excelled in 
portraits. One of his most admired paintings is 
a large picture in the ITall of the Surgeons at 
Delft, in which he introduced the portraits of the 
most eminent medical men of his time. His com- 
positions partake more of the Italian than of the 
Dutcli school, and his coloring is founded on that 
of tlie Venetian. Bridliot, who erroneously calls 
his name Charles, says he engraved several por- 
traits in a stylo approaching that of Jean Moiin, 
but doubtless the prints he j-efers to were engra- 
ved by another artist of the name of Maan. lie 
died in 170C. 



MA AS. 
MAAT. 



See Mae a. 

See Bi.ANKiioF. 



1\/\D MAIUISFi. John ok, a Flemish paint- 
JyjLJ ^' ■? born at Maubeuge, asmall town in 
Oy llainault, according to Harms in 

141)2, and to Descamps in 1499. There is an as- 
tonishing contradiction among authors as to the 
name, time of nativit}'", death, merits, and works 
of this artist. He is called b}-- some Jan (James) 
and others John de Mabuse, Maubeuge, and Alal- 
beugius. I''rom a singular whim of the artist, his 
name is found dillereutly wriiten on his works, as 
Joimnvi^ Alc/hoi^iiifi. Joara Ma/hoiriiffi. JoIkdhich 
or Jcxiiincs i] fa I hot linn, and Jours Afa/hofj^i. AVe 
cannot discuss these nuitters here, but i)r{)ceed to 
give what is authentic. His famil}'^ nanu^ was 
Gossaert or Gossard. It is not known under 
whom he first studied. Ho went to Italy when 
very young, where he made extraordinary im- 
provement, and was the first among the Flemish 
masters who treated historical and allegorical sub- 
jects accoi'ding to strict rules of art, and the first 
to introduce the nude into his compositions, which 



luul never before been pi-actised among them. To 
a])i)reciate the extraordinary merits of this artist, 
it is necessary to see some of his genuine wojIvH, 
instead of the wretched reniains of Gothicity 
which are attributed to him, and which liave 
caused the ("ontradictions as to his merits. His 
design surpasses his cotemporaries of the Flemish 
school ; his coloi ing is fresh and clear, and his ])ic- 
tures are of a iinish so ])recious and polished that 
they are not surpassed by the productions of Mie- 
ris or Douw. There can be no greater ])ioof of his 
merit than the fact tliat the fame of his Descent 
from the ('ross, in the great chuich at Middleburg, 
induced both Albert Durcr and Luais van Leydcn 
to make ajouiuey to that city expressly to see the 
l)ictuie. and that they both expressed their admi- 
ration of the work in the strongest terms. He 
bestowed extraordinary labor in iinish ing his 
works. His Wise Men's Offering, painted for the 
chuich of the Abbey of Granunont, according to 
the register of that Abbey, occujn'ed him seven 
years, and he received 2()()() golden pistoles for it. 
This pictuie, after having j)assed through the 
hands of various ])rinces and nobles, is now in the 
po.^se.ssion of the Farl of Carlisle. His liistory is 
very confused. He was a considerable time in the 
service of (he Marquis de Veren, and for him 
painted some of his most capital woiks. one of 
which \vas a i)ictiu e of the Vii'gin and Infant, in 
Avhich he complimeided his ])atron by making the 
heads of his lady and his son the models for his 
ligures. lie was immoderately given to dissipa- 
tion, and spent all his money as fast as he earned 
it in carousing with his boon companions. It is 
related that, when the Emperor Charles V. visited 
the Marquis de Veren, the latter gave Mabuse a 
splendid court dress to appear in. which he sold at a 
tavern, and painted a paper one in which he made 
his ai)peai-ance, and that it so exactly resembled 
brocade that the Empei-or would not be convinced 
of the decepti(m till lie examined it with his own 
hands. Van Mander says he went to England, 
and was i)atroiii/ed by Ileiuy VII. and some of 
the nobility ; Pilkiugton and Bryan, on his author- 
ity, state the same. Fiorillo em])hatfcally denies 
that he ever was in England, and Stanley is of this 
opinion. There is. however, a picture in the royal 
collection at Windsor, containing the portraits of 
three of the children of Henry VII.. attiibuted to 
liim. It is ])robable that lie led a short and mer- 
ry life. The earliest authenticated ])icture bearing 
his signature is dated 15 IT), and the latest discov- 
ered, 1527. B.y the general concurrence of most 
writers of authority, he was born betAveen 140G 
and 1500. If so, he must have painted his Nep- 
tune and Amphitrite. now in the Royal Museum 
at Berlin, dated 151(5, at a very early age. Des- 
camps says he died in 15f'>2 ; but it is believed 
that he died in 15:52, from the latest date found on 
his pictures, 1527. and from a ])rint of his ])ortrait 
published by Philip Galle, on which is inscribed 
Fiiit IJami'o palria Malbodensis. ohiit Anlvrrp- 
iic atin()}C)'\2. Yet, if he bestowed as much la- 
bor on all his pictures as he did on his Wise ]\Ien's 
Ollering, he could never have executed a tenth i)art 
of the [nctures considered genuine by him. The 
following are claimed as original by him. Many 
others are cited by authors, but in such general 
terms as to make* it impossible to specify them. 

PICTURES BY, AND ATTRIBUTED TO, JOHM DE MABUSE. 

1. Noptuno and Amphitrite. This picture is signed Jo- 



MABU. 



603 



MACO. 



hannes Malbodiua, pingebaf, 151G. In the Royal Museum 
at liorlin. 

2. iJuuac receiving the Shower of Gold. This picture is 
signed Joannes Malbodius pingebat, 1527. In the Pina- 
cothek. 

3. Ju.stico, drawing of the Figure of a Feinalo in a cir- 
cle. Tn the collection of the Archduke CharicH at Vienna. 

4. Lucretia, a ]jicturo inonLioned hy Karelvnn Mander. 

5. Adam and Eve, formerly in Charles I.'s collection, 
and now, or lately, at Kensington Palace. 

G. Adam and Eve, mentioned hy K. van Mander, for- 
merly at Amsterdam. 

7. Adam and Eve near the Tree of Knowledge. In the 
Museum at IJerlin. 

8. Noah drunk and nsleep. The figures are imitations 
of tiie fresco of Michelangelo in the Sistine chapel. 

9. Ahimelech offering presents to Ahraliam ; a drawing 
in the collection of the Archduke Charles, at Vienna. 

10. Tlio Visitation, right wing only, at Altliorp. 

11. Adoration of the Shepherds, in the royal chateau at 
Wur/.bourg. 

12. The Adoration of the Magi, a rich composition, with 
about, thirty principal figures. This is one of the moat im- 
port.int works of Jan de Malvjso. It w.-vs formerly in the 
Oile.ins Callery, and is now at Castle Howard. 

13. Adoration of t!ie Magi (probably by Mabuse), in the 
gallery at iJresdon. 

14 T!io Holy Family. Mary and Anno seated on a 
t))rono, surrounded by their relations of both sexes. In the 
Pinacothek. 

15. The Virgin and Child, on a Throne, .St. Joseph, St. 
Catlierine, and another Saint, who is offering a Pear to the 
Virgin At Corsham House, if it has not been sold re- 
cently. 

16. The Virgin, Child, and St. .Joseph. In the chapel 
St. Maurice, at Nuremberg. Another of the same subject, 
formerly in the lioisserce collection, in which Christ ex- 
tends his hand to take an Apple. Thli has been litho- 
graphed by Heindel. 

17. Hi)ly Family. In the Pinacothek. 

18. The Virgin. A picture mentioned by Karel van 
Mander. 

19. The Virgin and Infant, under a Gothic canopy, sur- 
rounded by six angels. In the collection of Sir Thomas 
IJaring. 

20. The Virgin holding the Child on her Knees, who has 
his hands full of ChcrricH ; after a composition of L. da 
Vinci. At Berlin. 

21. The Virgin offering a Grape to the Child. At Ber- 
lin. 

22. Mary holding the sleeping Child to her Breast. In 
the style of Mabuse. At Berlin. 

23. Mary holding the Child on a Cornice. In the chapel 
St. Maurice, at Nureml>erg. 

24. Mary holding the Child on a Cornice, on which she 
is seated ; the picture is signed yo/ianncs Malbodius pin- 
i/cbat, l.'S27. in the Pinacothek. 

25. The Virgin seated in a Niche, holding the Infant on 
her KnecH. At Vienna. 

26. The Virgin on a Throne. Tn the ducal palace at 
Genoa, 

27. Mary, with the Child seated on a Throne, in the 
form of a shell, with two Saints and a third person. The 
Archduke Charles, at Vienna. 

28. Mary, with the Child asleep on her Knees. En- 
graved by (;. Wyns. 

29. Mary seated, the Infant standing. An engraving 
with the date 1.589. 

30. Jesus with the rich Young Man. In the palace at 
Kensington. 

31. Christ led out from before Pilate. A grisaille, in 
the collection of the councillor Kirschbaum, at Munich. 

32. The Crucifixion, a picture containing a great num- 
ber of figures. In the lower part, in a separate compart- 
ment,is .'^een the Flagellation and the Crowning with Thorns. 
In the Pinacothek. 

33. Descent from the Cross. Formerly at Middelbourg, 
but destroyed by fire. Vasari mentions it : " di sua mano 
in Silando euna gran tribuna nella badia di Middel- 
borgo." 

34. Descent from the Cross, mentioned by Karel van 
Mander. 

35. Descent from the Cross ; on the wings are St. John 
the Baptist and St. Peter, in the middle of rich architect- 



ure. This picture formerly ornamented the dmroh of St. 
Donat at Bruges, and was afterwards in the po.ssession of 
Mr. Edward Solly, of London ; it is b'lgnbd Joaes Malbogi, 
pingebat, anno 1521. 

36. Clirifit at the house of Simon the Pharisee ; the mid- 
dle part of a triptique. In tlio Museum at Brussels. 

37. The Resurrection of Lazarus ; the left wing of the 
preceding. In the Museum at Brussels. 

38. Resurrection of the Magdalene ; right wing (>£ the 
same. Tn the Museum at Brussels. 

39. The Dead Body of Christ, surrounded l)y three Men 
and two Women ; a drawing in the collection of the Arch- 
duke Charles. 

40. Mary seated at the foot of the Cross, with the body 
of Christ extended on the ground and supjiorted by her 
knees; in the di^;tancfMS the city of Jerusalem. An en- 
graving which bears the following in.«criptions : JooJi. Ma- 
bus ius inventor, riieronymas Wicrinx ( Wierix 7) scutp- 
sit ; Gerardus de Jode, cxcudit. 

41. Christ in Glory, with the symbols of the four Evun- 
gelist,s. In the Pinacothek. 

42. Twelve sul)jects from the Life of St. Augustine, 
I Collection of the king of Holland. These form one pic- 
ture, the subjects Ijcing separated by ornao.ents. 

43. The Pope reading the Mass, surrounded by Cardinals 
and Priests. In the church of St. James at Lubeck. 

44. Jesus appearing on the Altar, while a Priest is con- 
secrating the llost. A very rare engraving ; in the posses- 
sion of tiie Chevalier van Eersel. 

45. Bust of St. Jerome ; middle of an altar-piece. At 
Al thorp. 

46. The Decollation of St. James, cu grisaille. For- 
merly at Amsterdam, according to Van Mander. 

47. St. John the Baptist ; one of the wings of a folding 
picture, formerly in the churcli of St. Donat at Bruges, and 

; afterwards in the collection of Mr. Edward Solly, at Jiondou. 
j 47. The Archangel Michael. In the Pinacothek. Litho- 
I graphed by Strixnerin 1821. 

I 49. The Apostle St. Peter, formerly in the church of St. 
I Donat, at Bruges, afterwards in the collection of Mr. Ed- 
ward ,SoIIy. 

50. The legendary Tale of Albaniw^ht presenting his 
three daughters naked to King Alfred; a drawing in the 
collection of the Archduke Charles, at Vienn.a. 

51. Portrait of the Mother of Henry Vlll. ; at Cors- 
ham. "\Vaagen believes it to be of the time of Holbein. 

j 52 .Marriage of Henry VII. with Elizabeth of York ; 

I attributcrl to Mabuse. 

I 53. The three CbiMren of Henry VII. ; at Hampton 

j Court; attributed to Mabuse. 

I 54. A repetition of the same ; at Kensington. 

55. A copy of the same ; at Corsham House. 

56. Francis and Maximilian Sforza, dukes of Milan; 
left wing of a triptirjue ; at ,\ I thorp. 

57. Portraits ; formerly in the gallery at Whitehall. 

58. At Leo Priory there were formerly aotno pictures at- 
tributeil to Mabuse. 

59. A small painting in one of the armories, in the li- 
, braryof the Vatican. 

j MAC ARDELL. Sec Ardell. 

MACCIII, Florio, an Italian painter, who stud- 
j ied undor Lodovico Carary;!, and was an able dis- 
ciple of hi.s .school. Ife executed many works for 
the churclies at Iiolof,^na, among which is a Cruci- 
fixion, in the church of S. Andrea del Mercato, 
and the Raising of Lazarus in la Morte, aie the 
most admired. His greatest work is a grand fres- 
co, representing the Annuiiciation, in the churcli of 
II Spirito Santo, which has often been taken for a 
work of his rruister. Malvasia states that }ie was 
a native of Bologna, and flourished about Uj20. 
Orlandi .speaks of him also as an engraver, hut he 
does not specify any of the productions of his bu- 
rin. 

MACCIIIETTr, GiROLA.MO, called i)i:i, Caoci- 
FissAio, from his father having V>eon a carver of 
crucifixe.s, was born at Florence in 15''5. After 
studying some time under Michele Ridolfi d(j Chir- 
landaio. he became the pupil of Ciorgio Vasnri, 



MACE. 



504 



MACO. 



whom he assisted for some j^ears in the execution 
of his works in the Ducal Palace at Florence. He 
then went to Rome, remained there two years, and 
then returned to Florence, where he acquired con- 
siderable reputation, and executed some excellent 
works for the churches, the chief of which is the 
Adoration of the Magi, in the church of S. Loren- 
zo : and the Mart3^rdom of St. Lorenzo, in the 
church of S. Maria Novella. These works are 
highly commended by Lomazzo and Borghini. 
Lanzi also commends his works. His best works 
are said to be at Naples, Pisa, and Benevento, He 
also painted some battle-pieces in the Hall of the 
Albani, at S. Giovanni in Urbino. Lanzi says he 
also went to Spain. 

MACE, or MASS:^, Charles, a French design- 
er and engraver, born at Paris about 1631. He 
was much employed by M. Jabach to make de- 
signs from his celebrated collection of drawings, 
and to etch them. The set consists of two hun- 
dred and eighty prints, engraved b}^ him in con- 
junction with his brothers, Corneille and Rous- 
seau M.. and Jean Pesne. There is a set of twelve 
etchings of landscapes and figures illustrative of 
biblical subjects, after Benedetto Castiglione. exe- 
cuted in a bold, free style, which M. Huber at- 
tributes to this artist. They are marked C. Mace 
sculp., in the margin. Dumesnil gives a list of 
one hundred and twenty-three prints by him. 

MACERATA, Giuseppino da, an Italian paint- 
er, born at Maccrata about 1600. He is said by 
tradition to have studied under Agostino Caracci. 
His works have a strong resemblance to the school 
of the Caracci in grandeur of style and chastity 
of composition. His works are to be seen in the 
two collegiate churches of Fabriano. viz. : an An- 
nunciation, in oil, in S. Niccolo.and two chapels in 
S. Venanzio, painted in fresco, in one of which he 
represented the Miracles of the Apostles, in which 
Lanzi says he surpassed himself in the beauty of 
the heads, and in the general composition. Two 
of his works remain in his native place ; the Vir- 
gin and Infant, surrounded with a Glory of An- 
gels, with Sts. Nicola and Girolamo. in the church 
of the Carmelites, and St. Peter receiving the Kej'S 
at that of the Capuchins. Both these pictures are 
in the Caracci style ; the latter is so much like the 
composition of Guido's picture of the same sub- 
ject in the church of the Fillippini at Fano, that 
it may be considered a copy. It is signed Jos. 
Ma.faciehat. 1630. 

MACHELLI. Rolando, a Genoese artist, born 
in 1664, and died there in 1728. He was a reputa- 
ble painter of portraits and history. 

MACHEREN, Philip van, a Dutch marine 
painter, who flourished at Middlebourg in the lat- 
ter part of the 17th century. In 1672 he entered 
one of the vessels of war. for the express purpose 
of seeing and depicting the horrors of a naval 
combat. He also made several voyages in Danish 
and Swedish vessels for the same purpose. His 
works are rarely seen with his name, nor are there 
any further particulars recorded of him, except 
that Balkema says he died at Amsterdam, and Im- 
merzeel at Rotterdam. 

MACHUCA, a Spanish architect, who flourish- 
ed in the latter part of the 16th century, and erect- 
ed according to Milizia, the royal palace of Gra- 
nada, entirely of wrought stone, by order of Charles 



V. The principal facade is rustic, with three large 
gates, and eight Doric columns on pedestals, sculp- 
tured with historical bas-reliefs The second sto- 
ry is Ionic, with eight columns, and above them 
pilasters. The internal vestibule is circular, with 
a portico and gallery, on columns of the same or- 
der ; the architraves are one single piece of mar- 
ble. Unfortunately there are arches springnig 
from the columns ; but the rest of the work is 
well arranged ; the vestibule, especially, is in- 
geniously managed, and of good proportions. 

MACOURT, C., a German artist who, accord- 
ing to Lord Orford, resided several years in Lon- 
don, was a member of the Chartered Society of 
Artists, in whose rooms he exhibited his works 
from 1761 to 1767. He painted portraits in oil 
and in miniature. One of his best M'-orks is a 
three-quarter portrait of Morier, the animal paint- 
er, which has great merit. He died in 1768. 

MACRET, Charles Franqois Adrien, a 
French engraver, born at Abbeville in 1752, and 
died at Paris in 1783. He studied under N. G. 
Dupuis. at Paris, and engraved several plates in a 
neat and pleasing style, among which the following 
are the principal : 

Christ and the Woman of Samaria ; after Vanderwerf. 
The Arrival of Rousseau in the Elysian Fields ; after Mo- 
reau. The Reception of Voltaire in the Elysian Fields ; 
after FauveJ. The Sacrifice to Cupid ; after Greuze. 
The First Fruits of Self-love ; after Gonzalez. 



citizen of Alba, whence he signed his name Ma- 
crinus de Alba. Lanzi says his real name vt^as 
Gio. Giacomo Fava, but he is known at Turin and 
other places by the name of Macrino. He was an 
excellent painter, and there are many of his works, 
both large and small historical pictures, at Turin 
and other places, especially at Asti and Alba, 
which are held in high esteem. It is not known 
with whom he studied, or when he was born or 
died, but some of his works are dated about 1508. 

MADDERSTEG, Michael, a Dutch painter, 
born at Amsterdam in 1659. He studied under 
Backhnysen, and, according to Houbraken, was his 
ablest scholar, and imitated his style with extraor- 
dinary success. His sea-pieces and storms ap- 
proach so near the works of his master that they 
have been mistaken for them. He was invited to 
the Court of Berlin, where he passed the greater 
part of his life. His works are mostly confined 
to the collections at Berlin, and other parts of 
Germany. He died in 1709. 

MADERNO, da Como. a painter of Como, who 
flourished about 1700. Lanzi says he painted in- 
teriors of kitchens, with all kinds of household 
utensils, in the taste of the Bassani. with whom 
less experienced judges are apt to confound him. 
His works of this kind displa}'' great ingenuity 
and beauty. He also painted flower-pieces, taste- 
fully composed, and beautifully executed. 

MADERNO. Carlo, an eminent Italian archi- 
tect, born at Bissone. in the Couiasco, in 1556. He 
was a nephev/ of Domenico Fontana, and visited 
Rome to study under that master. According to 
Mihzia, his first profession was that of stuccoing, 
but from practising with Fontana, and studying 
his works, he became an architect; though he al- 
ways retained an attachment to his original pur- 



MADE. 



505 



MADE. 



suit, his buildings being invariably loaded with 
stuccoes. Like the Fon tanas and others, he fell 
into the extravagancies of Buonarotti. without his 
excellencies, and erected many works which gained 
hiui great repu'ation in his time, but which cannot 
stand the test of enlightened criticism. He com- 
pleted the church of S. Giacomo degP Incurabili, 
and made the facade of two orders of pilasters, 
the first Doric, with plain metopes, very improp- 
erly placed ; the second Corinthian, with separated 
pedestals, but at very small distances. The whole 
work abounds in defects. Tlis facade of Santa Su- 
sanna is grand and rich in travertine and sculpture, 
but is a group of absurdities. 

Maderno was appointed to complete the building 
of St. Peter's, in which nothing remained to be done 
but to finish that part toward the entrance, giving it 
the same form as that at the upper end, and thus 
complete the Greek cross, which had been the in- 
tention of Bramante, Peruzzi, and Buonarotti. In- 
stead of doing this, however, he changed the Greek 
into the Latin cross, and destroyed the harmony of 
the whole edifice. According to Milizia, this work 
is exceedingly disproportioned. He says, ''the ef- 
fect produced on the spectator who enters St. Pe- 
ter's for the first time will be that of an ordinary 
church, appearing much less than it really is. It is 
eas}^ to see whence this grand defect arises, when we 
consider the disproportion between the two lateral 
aisles added by Maderno, and the grand centre 
nave planned hy Buonarotti, the former being no 
wider than one of the many altars which are in 
them. This result, by incorrect judges, has been 
attributed to the beauty of the proportions ; and 
even Montesquieu, in his Treatise on Taste, sub- 
scribes to this singular opinion. But the real 
effect of just proportions is to make an edifice ap- 
pear larger than it really is. as is the case in the 
Sforza chapel in S. Maria Maggiore ; that of the 
Medici in S. Lorenzo at Florence ; the Library in 
the same church ; the temple of the Madonna de- 
gli Angeli, near Assisi, reduced by Michael Angelo 
to its present proportions. When one enters these 
or similar edifices, the heart expands, becomes en- 
nobled, and more capable of receiving the grand 
impressions which the building is calculated to 
inspire. Were one to enter St. Peter's with the 
ej'-es closed, and not open them until he reached 
one of the lateral arms, in which is the altar of St. 
Simon and St. Jude, or that of Sts. Processo and 
Martiniano, he would be astonished at the sur- 
rounding grandeur, magnificence, and vastness, 
which are not evident upon entering the principal 
gate." In addition to the above, Milizia severely 
criticises the fa9ade, and many other additions by 
Maderno. and concludes by calling him " a perfect 
master of distorted architecture." 

Notwithstanding the imperfections of Ma- 
derno, his work at St. Peter's gained him such 
great reputation, that scarcely an edifice was erect- 
ed without his designs and advice. His reputa- 
tion extended beyond Rome, and many of his de- 
signs were sent to the first cities in Italy. Spain, 
and France. He completed the palace at Monte 
Oavallo ; removed a column from the ancient Tem- 
ple of Peace, and erected it in the square of S. Ma- 
ria Maggiore. He was commanded by the Pope 
to examine the different ports of the State, and to 
take the plan of the fortress of Ferrara. Among 
his other works are the church and monastery of 
Santa Lucia in Selcej that of Santa Chiaraj the 



choir and cupola of Santa Andrea della Valle, char- 
acterized by simplicity ; and the Palazzo Mattei, 
which does great honor to the archiicct, being ina- 
jest'.c and well disposed, and the dooivs and win- 
dows well set out. His last Avork was the mag- 
nificent Barberini palace of Urban MIL, which 
he did not live to finish. He died in 1G29. 

MADEllNO, Stefano. an Italian sculptor, born 
in Lombardy in 1570. During the fii'st years of 
his profes.sional career, he made many models af- 
ter the antique, which were afterwards executed in 
bronze. In the Pauline chapel of S. Maria Mag- 
giore, he executed a nuuble bas-relief, representing 
a Battle ; also the model of a bas-relief in bronze, 
representing the Historj^ of the Foundation of S. 
Maria Maggiore. After executing a large number 
of good works, he was presented by Count Gas- 
paro Rivaldi with a commission in the civil govern- 
ment of Ripetta, which completely occupied his 
time, so that he relinquished the art. Maderno 
died at Rome in 1G3G. 

MxADlONA, Antonio, a Sicilian painter, was 
born at Syracuse in 1G50, and died in 1719. He 
studied under Agostino Scilla, at Rome, and after- 
wards accompanied Cav. Pieti to Malta. Accord- 
ing to Lanzi. he was an able artist. He painted 
some pictures at Malta, and more after his return 
to his native country, executed in a strong, vigor- 
ous style, resembling those of both his masters, 

MADONNE, Dalle, an epithet applied by Ital- 
ians to some artists who excelled or had some pe- 
culiarity in j)ainting Madonnas. Thus Carlo Dolci 
and Carlo Maratti were called Carlo dalle Madon- 
ne, and Lip[)o i)iihn;i?,\o. Lippo dalle Madonne, &c. 
MADONNINA. Francesco, a painter who 
flourished at Modena about 1550, According to 
Vidriani, he was one of the most celebrated art- 
ists of that city, but Lanzi says thei-e are not 
enough of his works remaining in Modena to form 
a judgment of his style. 

MAENNL. See Mannl. 

MAES, or MA AS, Arnold, a Dutch painter, 
born at Gouda in 1G20. He studied under David 
Teniers the yoimger. and for a time imitated his 
style and subjects with consideral)le success and 
spirit, and it is supposed he would have arrived 
at eminence, had he devoted his powers m this 
line ; but aspiring to a higher department of art^ 
he went to Italy for the purpose of studying the 
works of the great Italian historical painters. — 
After a residence of several years at Rome, he re- 
turned to Holland, and died soon after his ari-ival ; 
Balkema says in 16G4, while on his way home. 
He left a large number of designs, which are still 
preserved and esteemed in the collections of con- 
noisseurs. Descamps states that he etched several 
plates, and that he studied engraving under Renier 
Persyn. but he does not specify any of his prints. 
Zani also mentions him as an engraver. 

MAES, or MAAS. Dirk or Theodore, a Dutch 
painter, born at Haerlem in 165G. After study- 
ing .some time under Ilendrick Mommers, dis- 
liking his style and subjects (markets and still- 
life), he placed himself under Nicholas Berghem, 
whose works were then held in the liighest esti- 
mation, and with which he was highly delighted, 
and it is supposed that he would have become emi- 
nent had he confined himself to this master, and 
adopted his subjects ; but happening to see some 



MAES. 



50G 



MAFF. 



of the works of .Tolm vnii Ilnclitonbiirg, he quit- 
ted HeriAhem for that mast or, whoso slyU^ and sub- 
jects 1)0 atloptoil, and ])aintod ovor afterwards, bat- 
tles, skiruiishos, huntin[>,s, horse-fairs, i^c. His 
pictures are inj^oniousl^' couiposod, and touched 
with an intolIij;ont and spirited ])encil. He par- 
ticularly excelled in his horses, which he desijined 
and drew in various attitudes, with surpassinj:; 
spirit and correctness, lie went to England in 
the ri'ign of Iving AVilliani, where he met with 
some oncoura<ieinent, and. among other works, 
painted the l>attU^ of the Hoync for the Earl of 
Portland, of which there is a j)rint engraved in 
two sheets. He also etched some s])irited ])rinls, 
from his own designs, among which is a Cavalier 
on Mor.seback, line and scarce. He died at Haer- 
leui in 1715. 

A MAES, or 1\I AAS, Peter, a Dutch en- 
graver, and probably a painter, who nour- 
ished about 1578. Little is known of him. 
Hi' etched a lew prints in a slight but spirited 
style. There are some b}' him, copied from Hen- 
ry (5oltzius, marked with his nauio. Pclcr Mars. 
liryan mentions a print by him, representing the 
Vii-gin and ('hild. signed P. Maas, fh'it, in aipta 
forti. lirulliot gives two [)rints marked with his 
inonogram. dated 1577 and 1578, one of which is 
a portrait of Mary Queen of Scots. 

IMAES, or MAAS. Nichoi.as. a Dutch ])ainter, 
born at Dort in 10o2. After learning the rudi- 
ments of the art in his native city, he went to 
Amsterdam, and entered the school of Rembrandt. 
Under that nuistor he became an excellent colorist, 
and, on leaving him, distinguished himself as a 
painter of historical subjects of small size, in 
which he imitated with great success the richness 
of tone and harmony of elTect to be found in the 
works of Ivombrandt. Finding portrait paint- 
ing a more prolitable pursuit, and possessing great 
facility of execution and a spirited pencil, he devo- 
ted himself afterwards almost exclusively to this 
branch of the art, in which he fomid such abun- 
dant employment that it was accounted a great fa- 
vor to get a ])or trait jiainted by him. His cabinet 
pictures are very scarce. Smith, with all his re- 
search, specifies only forty-five in his Catalogue 
raisonne and supplement. They are chielly found 
in public galleries, and the private collections of 
opulent persons, and they are so much esteemed 
that they bring very high prices when they appear 
in the publit> sales. There are some of his linest 
subjects in the public galleries and the collections 
of the nobility of England, ]>articularly the Idle 
Servant, anii a (Jirl seated l)y a Cradle with a 
Child asleep, in the National (]aller3% His works 
so nearly aj)proach Kembrandt. that it requires a 
connoisseur to distinguish them from those of that 
master. Ho signed his name N. Maes^ not JNIaas. 
Ho died in 1093. 

MAES, or MAAS, Godfrey, an eminent Flem- 
ish painter, born at Antwerp in 1()()0, lie was 
the son of an obscure painter, who instructed him 
in the elements (^i the art. Po.ssessing genius and 
a deep love of art. and being surrounded with the 
grand ])roductions of Kubens and other eminent 
artists, he studied them so attentively that he bc- 
can\e one of the most en\inent artists of his time. 
He painted sacred and historical subjects in the 
grand Flemish style, which are to bo found in the 



churches and public edifices of the different cities 
of the Netherlands. esi)ecially of Antwerj). where 
his works aj^poar to the greatest advantage. In 
the (.'athedral of that city is a fine picture by him. 
representing the Death of St. Euciaj in the 
church of St. (Jeorge is his celebrated altar-piece 
of the death of that Saint; and in the church of 
the Hospital is his Assunq)tiou of the A' irgin, com- 
posed and executed in the groat style of Rubens. 
In l(uS2. when he was admitted a mend)er of the 
Academy at Antwerj), he painted for his reception 
jiicture a subject emblematical of the Liberal Arts, 
which is one of the most admirable works in the 
Hall. His compositions aro ingenious and abun- 
dant, his design more correct than is usual with 
the Flemish painters, and like the generality of 
his countrymen, he was an excellent colorist. He 
draped his figures elegantly, wiih broad folds, and 
was a strict observer of the ])roj)rioty of costunie. 
His back-grounds were enriched witli noble archi- 
tecture, or the vestiges of ancient magnificent 
buildings in api)ropriato landscajios. He was con- 
stantly euq)loyod in executing works for the 
churches, the palaces of the nobility, and for seve- 
ral foroig\i princes, lie was appointed to the hon- 
orable otlice of Director of the Academy of Antwerp. 
He died in 17l22. 

There are numy other artists of the name of 
Mars, whose biogi-aphy has not been wiitten, but 
the foregoing are the pi-incipal. 

MAFFEL Fhancksco, was a native of Yicenza, 
and studied imder Santo Poranda. some of whose 
pictuies loft unlinishod at his death, he completed. 
lie afterwards adopted the manner of Paul Ve- 
ronese with considerable success. His style is on 
a lofty scale, insomuch that IJo.schini calls him a 
great mannerist and a j^ainter of giants. Accord- 
ing to Lanzi and other authors, he displays so much 
originality of design, with so much grace, that he 
cannot be i-anked among the mannerists. His col- 
oring too, exhibits the true glow of the Venetian 
school. Lanzi says his picture of St. Anna at 
San Michele di Vicenza. besides many works pro- 
duced at the same place (or the })ub]ic edifices, and 
elsewhere, extremely poetical, lull of fine portraits, 
and colored in the best Venetian style, show that 
he was able to compete with his ablest coteni])ora- 
ries. His great fault was that he did not linish 
his w'orks, or at least some of them, with snilicient 
care, often leaving some of his heads and figures 
incomplete. He was scanty in liis coloring, em- 
ploying dark grounds, and painted lather for im- 
mediate etlect, than for permanence. His gi-and pic- 
ture of Paradise, in the chiu'ch of S. Francesco at 
Padua, owing to this method, has lost almost 
every trace of color, so that the praise of Eoschini, 
that with four strokes of his i)encil he could make 
the beholder raise his eyes in admiration, should 
rather be a warning to our expeditious artists who 
wish to preserve their reputation to posterity. 
He died at Padua in IGCO. 

MAFFET, Jacopo, a Venetian painter, who, ac- 
cording to Lanzi, was an admirable painter of ma- 
rines and incidents at sea, some of which were en- 
graved by Boschini. He flourished in 1063. 

MAGAGNOLO, Francesco, a painter of Mo- 
dena, who flourished there about 150t). Accord- 
ing to Tiraboschi, he was an excellent artist, and 
one of the first who drew his countenances in such 



MAGA. 



507 



MAGG. 



a manner as to appear looking at the spectator at 
whatever point of view he might observe them. 

MAGAN/iA, Gio. Battista, the elder, was 
born at Vicenza in 1509. He was brought up in 
the school of Titian, whose style he imitated with 
great success, especially in portraits, which are his 
best works, though he left some historical pic- 
tures at Vicenza which evince a chaste and refined 
taste. He was the head of a family of artists 
who did honor to their country. He was also 
quite famous as a poet, and wrote verses in the 
rustic idiom of Parma, under the name of *' Ma- 
gagno," while such cotemporaries as 'I'asso, Tris- 
sino, Sperone. and other celebrated wits, not ig- 
norant of the dialect, applauded the excellence of 
his rude sylvan strains. He died in 1580. 

MAGANZA, Alehsandho, the son of the pre- 
ceding, was born at Vicenza in 155G. After re- 
ceiving instructions from his father, he studied 
with Gio. Antonio Fasolo, who inspired him with 
his own taste. He was also a fine imitator of /elotti 
and Paul Veronese, as he has shown by his Ad- 
oration of the Magi, in the church of S. Domenico, 
and the Martyrdom of S. Giustina. in S. Pietro, 
at Vicenza. Lanzi says he executed many works 
which are to be found in the private and public 
edifices at Vicenza, and in the provinces and adja- 
cent cities. He had great facility of execution, 
was judicious in his composition, and pleasing in 
his countenances, which are often repeated in dif- 
ferent works. He enriched his pictures with no- 
ble architecture. Lanzi says that his flesh tints 
incline towards white, the folds of his draperies 
are somewhat hard and monotonous ; and that he 
not unfrequently presents us with the same fea- 
tures, and the same attitudes and motions. This 
last could not be from want of genius, which some 
of his works show to have been of a high order, 
but from the necessities of a numerous family for 
whom he had to provide. He was exceedingly 
unfortunate as a father. His son Gio. Battista died 
in 1G17, leaving a young fiimily to the care of their 
grandfather. His .second son. Girolamo. who had 
also to provide for his own children, and Marc' 
Antonio, his third son, then a youth, afterwards 
assisted their father in his works, and began to 
acquire distinction themselves, when the great 
plague that ravaged Italy in 1G30, swept the whole 
femily away, first his two sons, then all his grand- 
children, one after another, until. '- left the last of 
his race," to lament over the destruction of his kin- 
dred, he soon followed them to the tomb, in the 
same year, aged 74. 

MAGANZA, Gio. Battista, the younger, was 
the son of Alessandro M., born at Vicenza in 1577, 
and died in 1617. He studied under his father, 
whom he afterwards a.ssisted in many of his prin- 
cipal work.s, and whom he nearly equalled, as is 
proved by his fine picture of St. Benedetto in the 
church of S. Giustina at Padua. 

MAGATTI, Pietro, a native of Vare.se, who 
flourished at Milan about 1770. He was a good 
artist, and execute^l some works for the churches. 
Lanzi says his works are somewhat tinctured with 
the greenish hues, introduced by Solimena in Na- 
ples, and which spread over Italy. 

MAGGI. Giovanni, an Italian painter and en- 
graver, who flourished at Rome in the last part 
of the 16th. and first part of the 17th centuries. 



He painted landscapes and architectural views, 
but is more known as an engraver. In 1618. in 
conjunction with Domenico Parasachi. he pub- 
lished a series of plates representing the principal 
fountains of Rome. He also undertook to engrave 
a plan of Rome, with its principal edifices, on a 
very extended scale, but it was abandone^l for want 
of patronage. The following prints are also by 
him : A Landscape with Ruins and a Waterfall, 
with figures; J. Maivj^.m. at. fac. 1595. Figu- 
ra del la V^ita humana; Jok. Maius. fee. 1600. 
The portrait of a Cardinal ; as large as life. 

MAGGI, PiKTUo, a Milanese painter, who stud- 
ied under Filippo Abbiati. whose manner he im- 
itated. He was a reputable artist, and flourished 
about 1700. 

MAGGIERI, Cesari:. a painter of Urbino, who. 
according to Lazzari, was a good and an industrious 
artist, and executed many works for the churches 
of his native city and other places. Lanzi says his 
style inclines to that of Barocci and the Roman 
school. In a picture of St. Agostino. at Castel di 
Castello, he signs his name Maccerius. He died 
in 1629. 

MAGGIERI, Basilic, a painter of Urbino, pro- 
bably a brother of the preceding, who flourished 
about the same time, and excelled in portraits. 

MAGGIOTTO. Domenico, a Venetian painter, 
who studied under Gio, Battista I'iazzetta. whose 
style he adopted, though much subdued. He paint- 
ed history with considerable reputation, and some 
of his works have been engraved at Venice and in 
Germany. He died in 1794. at an advanced age. 

MAGISTRTS, Simone de, a native of Caldarola, 
who flourished in the Roman States about 1585. 
He acquired considerable eminence, both as a paint- 
er and a sculptor, and left many works in the prov- 
inces. His best works are at Ascoli; and his 
Madonna del Rosario in the church of S. Domen- 
ico, and another of the same subject at S. Rocco, 
are highly commended by Orsini. None of his 
sculptures are mentioned. 

MAGLIAR, Andrea, an Italian engraver, bom 
at Naples in 1692. He engray^ed some plates after 
Pranceno Solimena. He had a son named Gio- 
seffo, whom he instructed in the art. and who gave 
promise of uncommon ability, but died very young. 
He engraved a plate representing Chri.<-t appearr 
ing to St. Guglielmo, after t^oLimena 

MAGLIONE. Sec Benincaha. 

MAGNANI, Cristoforo, a native of Pizzigh- 
ettone; studied under Bernardino Campi. He 
was an artist of great promi.se, but died young 
about 1580. Antonio Campi laments the short- 
ness of his career, and Lamo mentions him and 
Trotti as the two greatest geniuses of the school 
of Cremona. He painted some con.siderable frescos 
in conjunction with Cav. Molosso and Mainardi. 
Lanzi says nothing of his works remain that has 
not been questioned. His chief talent lay in por- 
traits, and it is said his memory was .so retentive 
that he could draw the portrait of any person he 
had ever seen. 

MAGNASCO, Alessandro, called Ldsnandri- 
no, was born at Genoa in 1681. He was the son 
of Stefano M., a pupil of Valerio Castello, who died 
while he was in his infancy. He studied under 
Filippo Abbiati at Milan, and though he painted 



MAHU. 



508 



MAIL. 



different subjects, on a smaller scale than those 
of his master, yet he acquired much of the bold- 
ness and spirit of his touch. Tie was ver}- fond 
of painting military evolutions, public processions, 
schools of girls and boys, chapters of friars, artists' 
shops. Jewish synagogues. &c., which he painted 
with great humor and delight. His fignres are 
seldom more than a span in length, executed with 
a bold, simple stroke of the pencil, Lanzi calls him 
the Cerquozzi of the Genoese school. There are 
many of his works in the private and public col- 
lections at Milan, and especially at Florence, where 
he resided many years, and was a great favorite 
with the Grand Duke Gio. Guastone, and all his 
court. Several are in the Pitti Gallery. He was 
an eccentric character, and wdien he inserted the 
figures in the works of his brother artists, which 
he was often solicited to do, he frequently added 
the most opposite subjects, which produced a most 
comical effect. This he did in the architectural 
ruins of Clemente Spera, and in the landscapes of 
Tavella and others. He died in 1747. 

MAHUE, WiLHELM, an eminent Dutch por- 
trait painter, born at Brussels in 1517, and died 
there in 1569. Little is known of the events of 
his life. He is said to have enjoyed great repu- 
tation in his day. His works are rare, and most- 
ly confined, to his own country. 

MAIA, Giovanni Stefano, a native of Genoa, 
was born in 1672, and died in 1747. According 
to Ratti, he went to Naples and studied under 
Solimena. He was a reputable painter, and ex- 
celled in portraits. 

MAIANO, GiuLiANO DA, a Florentine archi- 
tect, a native of the village of Maiano, near Fie- 
sole. His father was a stone cutter, and v/ished 
him to pursue a literary career ; but the son first 
devoted himself to sculpture, and afterwards to 
architecture. Invited to Naples by King Alfonso, 
he erected the magnificent palace of Poggio Keale, 
in the form of a square, with an arched portico in 
the centre, at the wings of which are Ionic pilas- 
ters, on high pedestals. The second floor has 
Corinthian pilasters, between which are windows, 
with a pediment. He erected a noble gate to the 
Castel Nuovo of Naples in the Corinthian style, 
like a triumphal arch, enriched with large figures 
and bas-reliefs. He also made designs for various 
works, particularly for manj^ fountains in private 
palaces, qontrived in a very ingenious manner. 
Being invited to Kome by Paul II., he made a 
court yard in the Vatican palace, which appears, 
according to Milizia, to be that now called S. Da- 
maso, surrounded on three sides by three galleries 
of three orders. His principal work, however, was 
the palace and church of St. Mark, where he em- 
ployed a great quantity of travertine stone taken 
from the ruins of the Coliseum. The pope sent 
him to Loretto, to adorn the body of that church, 
and he then returned to Naples, to complete the 
edifices he had commenced in that city. Vasari 
says that he died at Naples in 1447, in the reign 
of King Alfonso; but this statement is evidently 
incorrect, from the fact of Giuliano being employed 
by Paul II., Avho was pope from 1464 to 1471. 
Eumohr has clearly ascertained that Maiano was 
living at Florence in 1471. 

MAIANO, Benedetto da, the nephew of Giu- 
liano da M., was born in 1444. He studied sculp- 
ture and architecture with success, and also gained 



I great reputation for his performances in inlaid 
work, of which several specimens maybe seen in 
: the sacristy of S. Maria del Fiore at Florence, re- 
1 markable for their richness, good taste, and fin- 
j ished ornaments. King Alfonso of Naples invited 
: him to that city, where his uncle was at that 
i time employed, and he executed several works ; 
I but on receiving an invitation from Matthias Cor- 
vinus. King of Hungary, he visited that country, 
and remained some time in the King's service. 
Returning to Florence, he was commissioned to 
erect the grand entrance to the Hall of Audience, 
and executed the sculptures, besides the admirable 
portraits of Dante and Petiarch in inlaid work. 
By order of Lorenzo the Magnificent, he executed 
a marble bust of Giotto, placed in the church of S. 
Maria del Fiore. He was invited to Naples, and com- 
missioned with many works, among wliich were a 
marble bas-relief of the Annunciation, in the mon- 
astery of Monte Oliveto. He afterwards returned 
to Florence, and executed the grand marble pulpit 
in the church of Santa Croce, representing the 
History of St. Francesco, which has been engraved 
in the Notizie (telle Chiese Floreiiline, by P. Richa. 
vol. I., plate 56. Maiano died in 1498. and was 
buried with honors in the church of S. Lorenzo 
at Florence. 

jMAILLET, Joseph, a French engraver, who 
flourished at Paris about 1775. There are some 
plates of landscapes engraved by him in a neat, 
pleasing style. 

MAINARDI, Lattanzio, a Bolognese painter, 
who studied in the school of the Caracci, and went 
to Rome where he was emplo3^ed in the Vatican in 
the Pontificate of Sextus V. He possessed genius, 
and the w^orks he conducted there, gave promise 
of great renown, but he died at the early age 
of 27 years. Baglione calls him Lattanzio Bo- 
lognese. 

MAINARDI, Andrea, called II Chiaveghino, 
was a native of Cremona, where he exercised his 
art from 1590 to 1613. He was brought up in the 
school of Bernardino Campi, was one of his ablest 
scholars, and instructed several pupils. In con- 
junction with his nephew. Marc' Antonio Main- 
ardi. he executed several considerable works at 
Cremona. One of his best pictures is the Mar- 
riage of St. Anna in the church of the Eremitani, 
which is pronounced an admirable performance in 
design, coloring, and execution. Unfortunately 
for his reputation, he did not alwa3^s bestow equal 
I care and attention upon his works, some of which 
j show negligence in design, and haste in execution. 
' MAINARDI, Marc' Antonio, was a native 
I of Cremona, and studied under Campi. He was 
i an excellent artist; assisted his uncle Andrea M.- 
I in many of his works, and also painted several 
pictures from his own designs, one of which, at 
I Castel Buttano. in the Cremonese, is dated 1629. 

! MAINARDI, Bastiano. a reputable mosaic 
j painter, and a native of Florence, who studied under 
! Domenico del Ghirlandaio. 

MAINE RO, Gio. Battista, a Genoese painter, 
born in 1610. He studied under Luciano Bor- 
zone, under whose instruction he made rapid pro- 
gress, and at an early age distinguished himself by 
some cabinet pictures of hisf"orical subject.s. which 
w^ere much admired. He excelled in portraits, and 
meeting with ample patronage from the nobility 



MAIR. 



509 



MALA. 



MHlR-s 



and gentry, he afterwards made this branch his 
exclusive occupation. He died of the plague in 
1657. 

MAIR. an old German en- 
graver, who flourished about 
'i499. From resemblance of 
style, it is supposed that he was a disciple of 
Martin Schoen, though greatly inferior to that 
master. Their design is equally Gothic. He is 
said to have been the inventor of that species of 
engraving called chiaro-scuro. There are some fif- 
teen or sixteen prints attributed to him. generally 
marked with his name, and dated 1499, among 
which are the following : 

Samson carrying the Gates of Gaza. The Wise Men's 
Offering. The Martyrdom of St. Sebastian. A Man talk- 
ing to a Woman, seen through the door of a house, with a 
Dog snarling at a Monkey. The Virgin and Infant, with 
St. Anne. The Virgin and Infant, with St. Joseph holding 
a Candle ; in chiaro-scuro. 

A MAIR, Alexander, a German engra- 
ver on wood and copper, who flourished 
at Augsburg about 1600. He was chiefly 
employed in engraving plates and frontispieces for 
the booksellers, some of which are executed in so 
masterly a manner, that it is regretted his talents 
had not been emplo)-ed on more important sub- 
jects. He usually marked his plates with a mo- 
nogram of his initials, as above. 

MAIR, a German painter of insects, serpents, 
lizards, and other reptiles, in the manner of Otho 
Masseus or Marcellis, to whom his works are gen- 
erall)^ attributed, though they are painted on a 
hghter ground. He particularly excelled in paint- 
ing butterflies. Little is known of him, except 
that he lived at Nimeguen in the 18th century. 

MAISON-NEUVE. a modern French engraver, 
briefly mentioned by Basan. He engraved several 
portraits, among which is one of Jacques Theodore 
Klein. He also engraved the French Parnassus, 
from a bronze. 

MAITRE, Roux. See Rosso. 

MAJOLI, or MAJOLA, Clemente, a painter 
of Ferrara, was born about 1640, and studied at 
Rome under P. da Cortona. He acquired consid- 
erable reputation, and there are some of his works 
in the Rotunda at Rome, and many in the church- 
es at Ferrara and other cities, which are commend- 
ed, especially a picture of S. Maria Maddalena de' 
Pazzi in the church of S. Paolo, and S. Niccolo da 
Tolentino, supported by an Angel, in the church 
of S. Giuseppe at Ferrara. 

MAJOR, Isaac, a German painter and engra- 
ver, born at Frankfort about 1576. He went to 
Prague, and studied painting for some time under 
Roland Savery, the painter to Rodolphus 11. He 
afterwards studied engraving under Giles Sadeler, 
in whose style he engraved several plates, which 
have considerable merit, though they are greatly 
inferior to the works of his master. In the exe- 
cution of his plates he united the point and the 
graver. The following are among his best prints : 

A set of six Landscapes, Views in Bohemia ; after P. 
Stephani. A set of nine romantic Views, numbered ; 
Isaac Major, fee. A very large Landscape, with the fig- 
ure of St. Jerome; after Roland Savery. Isaac Major, 
sul., Viennae. 1622. The Emperor in a Triumphal Car, 
with Swans and Eagles ; inscribed Ite Triumphalis fell- 
oes, &c. 

MAJOR, Thomas, an English engraver, born 



about 1715. According to Strutt, he went to Pa* 
ris while young, where he learned the art, and en- 
graved several plates after Berghem, Wouwerman, 
and others. On his return to England he settled 
in London, where he distinguished himself b}" a 
variety of plates of portraits, landscapes, and oth- 
er subjects, executed in a neat, firm style. In 1768 
he published a set of twenty-four prints, entitled 
Tlxe Ruins of Paestum. otherwise Posidonia, in 
Magna Grcecia, after the designs of J, B. Borra. 
On some of his earlier prints after Berghem and 
others, he put his name in an anagram, as Jorma, 
or Jor. sculp. The following are his best plates : 

PORTRAITS. 

.John Carteret, Earl of Granville. 1757. Cardinal Pole. 

VARIOUS SUBJECTS. 

The Departure of Jacob ; after F, Lauri. The Good 
Shepherd ; after Murillo. Two Landscapes ; after Gas- 
par Poussin. A L.indscape, Avith a Man driving Sheep ; 
after Rubens. Two Flemish Festivals ; after Teniers. 
The Manege ; after Wouwerman. The Travelers ; after 
N. Berghem. Two Landscapes ; Morning and Evening ; 
do. The Four Seasons ; after Ferg. A View near Haer- 
lem; after Vander Neer. A Sea-port; ajter Claude 
A View of Ponte Mole, near Rome \ do. 

MALAGA VAZZO, Coriolano, born at Cre- 
mona about 1555, was a pupil of Bernardino Cam- 
pi, whom he assisted in his great work in the 
church of S. Gismondo, at Cremona. He is more 
known as the coadjutor of that eminent artist than 
from any original productions of his own. His 
principal work is a picture of the Virgin and In- 
fant, with Sts. Francis and Ignatius, in the church 
of S. Silvestro at Cremona, which is a fine picture, 
and supposed by Lanzi, Zaist, and others, to have 
been executed from the designs of Campi. It is 
dated 1585. 

MALBONE, Edward G., an American portrait 
painter, was a native of Newport, Rhode Island. 
He early manifested an inclination for art, and 
during boyhood, he delighted in sketching objects 
from nature. Possessing few advantages for im- 
provement, he was accustomed to frequent the 
theatre, to witness the illusions of scenery, and 
finally attracted the attention of the scene-painter, 
who gave him opportunities of exercising his tal- 
ent. He occupied his leisure hours in drawing 
heads, and finally devoted his entire energies to 
painting miniature portraits. He practised the 
art with considerable success in Boston, New 
York, and Philadelphia; and in the winter of 
1800. he went to Charleston, where he received 
considerable patronage. In May, 1801, he visited 
England, and passed several months at London, 
studying the best works of art in that city. Mr. 
West, the president of the Academy, gave Malbone 
free access to his study, and showed him every at- 
tention. He even encouraged the young artist to 
remain in England ; but Malbone returned to 
Charleston in the winter of 1801, and practised 
the art with success in different American cities, 
until 1806. when he was obliged to relinquish it, 
on account of ill health. He died at Charleston 
in 1807. 

MALDUCCI, Mauro, a priest of Forli, who, 
according to Guarienti, studied with Carlo Cigna- 
ni, and was a reputable artist. 

MALEUVRE, Pierre, a French engraver, born 
at Paris in 1740. He first studied under Beauvar- 
let, and afterwards went to London, and placed 



MALI. 



510 



MALO. 



himself under Sir Robert Strange. On his return 
to Paris, he engraved some plates of portraits and 
other subjects^ in a neat, pleasing style, among 
which are the following: 

PORTHAITS. 

Gustavus Adolphns, King of Sweden. Count d'Aranda. 
M. d'Alerabert. M. de Lalande. 

VARIOUS SUBJECTS. 

The Dozer ; after Craesbeck. The Satyr and the Peas- 
ant ; after Dieiricy. The Spoiled Child ; after Greuze. 
A Sea-storm ; after Backhuysen. Boors regaling ; afler 
Brower. The Bath of Diana ; after Marillier. 

MALTNCONICO, Andrea, a Neapolitan paint- 
er, born about 1600. According to Dominici, he 
studied under Cav. Massimo Stanzioni, and was 
one of his ablest scholars. His frescos are almost 
entirely perished, but there are many of his works 
in oil in the churches and public edifices of Na- 
ples, particularly in the church de' Miracoli, where 
he painted almost all the pictures himself. The 
best of these are the Four Evangelists, and the 
Doctors of the Church. Dominici says they are 
most beautiful pictures ; the design is original, the 
attitudes noble, and the whole painted with the 
spirit of a great artist. Lanzi says there are oth- 
er works by this artist, but several are fee- 
ble and spiritless, and not worthy of his reputa- 
tion. 

MALLERY, Charles de, a Flemish designer 
and engraver, born at Antwerp about 1576. It is 
not known with whom he studied, but from his 
style being founded on that of the Wierixes, it is 
supposed he was instructed by them. He wrought 
entircl}^ with the graver, in a highly finished style, 
though his drawing is sometimes incorrect. He 
was an extremely laborious artist, and executed a 
multitude of prints, with the greatest delicac}^ 
The Abbe de Marolles possessed three hundred 
and fort3^-two prints by him. Vandyck painted 
his portrait among the celebrated artists of his 
time, which vi'as engraved by Lucas Vorsterman. 
The following are some of his best prints : 

The infant .lesiis, with two Angels, in a landscape ; C 
de Malldry, fee. The Adoration of the Magi. The Holy 
Fauiily, with Mary JIagdalene. St. Francis. Several 
Heads of Christ, the Virgin. Saints, the Apostles, and oih- 
ardevot'xonx] swhydcts; from his own designs, and after 
Anthony Salacrt, and other masters. Part of the plates 
of the great Huntings; after Stradan ; engraved in con- 
junction with the Cullaerts, the Galles, and others. The 
History of the Silkworm ; in si.K plates ; after Stradan. 
A set of plates of Horses, for a book entitled Z/a CauaZc?-ie 
Francoise. 1603. Four plates of the Miller, his Son, and 
the Ass; after Atnbrose Franck ; scarce. 

MALLERY, Philip de. a Flemish engraver, the 
scholar, and probably the son. of Charles de M.. 
born at Antwerp in 1600. His plates are executed 
with a precision, delicacy, and taste resembling 
that of his instructor. He engraved the plates 
for a work entitled Typus Mundi. published at 
Antwerp in 1627. and afterwards in 1652. x\mong 
other prints there are by him the following : The 
portrait of John Lelio. Archbishop of Prague; 
the Crucifixion, with a Table at the foot of the 
Cross, where a number of Men and Women are 
engaged in merriment ; twenty-three prints, enti- 
tled Ara Cadi ; but the first one is by Anthony 
Wierix. 

MALO, Vincent, a Flemish painter, born at 
Cambrav about 1625. He first studied under Ru- 



bens, and after the death of that great master, with 
David Tenicrs the Elder. Under those masters he 
acquired such excellence of design and beauty 
of coloring, that his works were eagerly sought 
after. He afterwards went to Italy, where he 
passed the remainder of his life, and where his 
reputation rose so high that he could scarce!}^ ex- 
ecute all the orders he received, and almost every 
cabinet in Genoa, Florence, and Rome, possessed 
some of his works. He painted some sacred .sub- 
jects for the churches at Genoa, but his forte lay 
in landscapes and battles, and humorous pieces. 
He died at Rome about 1670. 

MALOMBRA, Pietro. a Venetian painter, 
who studied under Giu.seppe Porta, called Salviati. 
Born in easy circumstances, he acquired an excel- 
lent education, and imbued with a deep love of 
art. he strove to reach excellence, adopting the 
axiom, that '' honor is better than gain." Meet- 
ing with reverses, he entered upon the art as his 
profession, and acquired considerable distinction. 
He made the works of Palma his model, but he 
was no servile imitator. His composition and de- 
sign are more studied and correct than is usual 
with the Venetian painters. He was much em- 
ployed in decorating the churches, and the public 
and private edifices of Venice. Among his most 
admired works are his four pictures in the church 
of S. Francesco de Paolo, representing the miracles 
of that saint, which Lanzi says display such an 
originality of design, precision of contours, elegance 
and grace, as to lead us to doubt whether they can 
belong to that epoch and to the Venetian school. 
He is still more adnnred for his easel pictui-es of 
historical sulijccts ; and he painted portraits with 
equal success. He also painted architectural views 
of noted places in Venice, as the grand Piazza, and 
the great ILill of the Council, enriched with assem- 
blages of figu>-es, repi-e.senting sacred and civil cere- 
monies, pul)lic au licnces, processions, and grand 
spectacles, wiih such grandeur, truth, and spirit, 
that they extorted the {)laudits of all ranks. He 
was born at Venice in 1550, and died in 1618. 

MALOSSO. See Tkotti. 

MALPIEDI, DoMENico, a native of San Gine- 
sio. and a painter of the Roman school who. accord- 
ing to Colucci, studied under Federigo Baroccio. 
There are several of his works in the churches of 
his native place, especially two pictures of the 
Martyrdom of Saints Ginesio and Eleuterio, in 
the Collegiate church, are highly commended. He 
was esteemed an excellent artist, and received high 
prices for his works. He was living in 1596. 

MALPIEDI, Francesco, another painter of 
S. Ginesio, who flourished about the same time as 
the preceding at S. Ginesio. Lanzi mentions a 
Deposition from the Cross by him in the church 
of S. Francesco di Osimo, inscribed Pranciscus 
Malpedius di S. Ginesio^ which he says' is feeble 
in composition, and little resembles the school of 
Baroccio, except in coloring. 

MALTESE, Francesco, an artist so called from 
the place of his nativity. There are no particulars 
of his life recorded. He flourished about 1670. 
His subjects were fruit, caskets, jewels, shells, 
books, and musical instruments, placed upon ta- 
bles covered with rich cloths and tapestry, which 
he executed with great truth and spirit. He was 
a perfect master of chiaro-scuro. and by a judi- 



MALT. 



511 



MAND. 



cious distribution of his masses of light and 
shadow, he gave every object a surprising relief. 
His touch is bold and free, and his tone of coloring 
natural. The manner of his penciling was peculiar, 
being I'ough or smooth, according to the objects 
represented. Some of his compositions appear 
crowded, and he did not always make the most 
agreeable choice and disposition of his objects. 
Sandrart mentions two of his pictures in the gal- 
lery at Munich. There are some in England, others 
have been brought to the United States. 

MALTON, Thomas, an English designer and 
engraver, born in 1748. He wrote a " Treatise 
on Perspective, in Theory and Practice." and a 
'•Picturesque Tour through London." He also 
engraved some aquatint plates of many of the prin- 
cipal edifices of London. He died about 1804. 

MAN, Cornelius. See Maan. 

MANAIGO, SiLVESTRO, a Venetian painter, 
born about 1G80. and a scholar of Gregorio Laz- 
zarini. He possessed a fertile invention, which 
was matured by an attentive study of nature and 
the antique, and his compositions evince both gen- 
ius and taste ; but his love of gain too often seduced 
him to negligence of design and rapidity of opera- 
tion, so that he fell into the tameness and repeti- 
tion of a mannerist. Lanzi sa3^s his works have a 
fine character, but he was too rapid, and too much 
of a mannerist. Zanetti praises his Joseph sold 
by his Brethren, formerly in the possession of 
Giuseppe Pedrini at Venice, in which the char- 
acters are so true to nature, as to make it a work 
*• worthy of the greatest painter." Other fine 
works by this artist are Christ driving the Money 
Changers from the Temple, in the church of S. 
Felice, and a grand picture of St. Matthew in the 
church of S. Eustachio at Venice. 

^ MANASAR, Daniel, a German engraver, who 
flourished at Augsburg about 162G. He engraved 
chiefly architectural views, plans of buildings, &c., 
executed with the graver in a neat, but formal 
style. In conjunction with Wolfgang Kilian, he 
engraved the plates for a work entitled Basilica:. 
S. S. Udalrici et afrce Augustcc Vindelicorum, 
Historicc. published at Augsburg in 1G26. He 
usually marked his plates with his initials, D. M. F. 

MANCHETTI, MrcnELE, a native of Genoa, 
born about 1550 ; who, according to Dominici, stud- 
ied under Marco di Pino at Naples, and acquired 
considerable reputation as an historical painter. 
He executed some works for the churches of Na- 
ples, the best of which was a picture representing 
the Virgin and Infant, with St. John, Mary Mag- 
dalene, and Lucia, painted in 1586. 

MANCINI, Ann IB ALE, an historical painter, 
extolled by Marini, who flouri.shed at Turin about 
IGIO. 

MANCINI, Francesco, an eminent painter, was 
a native of S. Angelo, in Vado, and studied under 
Carlo Cignani at Bologna. Lanzi says, when he 
went to Rome he did not adhere exclusively to his 
master's manner, but rather attached himself to 
the focility and freedom of Franceschini. He 
designed well, colored in a charming manner, 
and was numbered among the first artists of his 
age in Rome. He executed many works for the | 
churches at Rome and in various places in the do- 
minions of the church. He painted the miracle of 
St. Peter, at the Beautiful Gate of the Temple, a 



picture which is now in the palace of Monte Ca- 
vallo, and is copied in mosaic in St. Peter's. This 
picture is a spirited and grand composition, and is 
considered his master-piece. He painted many 
pictures for foreign collections, and he was espe- 
cially commended for his large compositions. He 
was elected a member of the Academy of St. Luke 
in 1725, and died in 1758. 

MANDER, Karel Van. See Vanmander. 

MANDROCLES. an ancient architect. \\ ho flour- 
ished about B. C. 500 ; and constructed the great 
bridge of boats across the Thracian Bosphorus, by 
order of Darius, King of Persia. It was joined to- 
gether in such a firii) and ingenious manner, that 
the army passed over it in safety. Ilx^rodotus 
mentions a picture in the Temple of Juno at Samos, 
representing the Bosphorus with the Bridge, King 
Darius entlironed. and the Persian army. Upon 
it was inscribed, Mandrocles^ after having- con- 
structed a bridge of boats over the Bosphorus, 
by order of the King Dariits of Persia, dedicated 
this monument to Juno, which does honor to Sa- 
mos, his country, and the artificer. 

MANDYN, John, a Dutch painter, born at Ilaer- 
lem about 1450. He painted drolls, incantations, 
and grotesque subjects, conflagrations and rocky 
landscapes, with great ingcnuit}'- and wit, in a style 
resembling that of Jerome Bosche, of whom he is 
said to have been the imitator; yet Bosche was 
born in 1470, twenty years after him. Tliere are 
great discrepancies among authors about this artist. 
He is called Jaji and Johann Mandyn, Mandin, 
Madyn, and Madin. Balkema says he was born 
in 1450, and died in 1568, making him 118 years 
old. Immerzeel places his birth in 1568, and says 
he instructed Bartholomew Spranger. who Avas 
born in 1546, and it is generally stated by au- 
thors in their biography of Spranger, that he first 
studied under John Madyn, which makes an error 
somewhere of an hundred years. Zani says, Man- 
dyn died in 1500. So it is evident, from these and 
other contradictions, that there were two Mandyns, 
or a Mandyn and a Madyn, who lived a hundred 
years apart. 

MANENTI, ViNCENZio, an Italian painter, born 
at Canimorto. in the province of Sabina in 1600, 
and died in 1674. He was the son of Ascanio M., 
who instructed him in the rudiments of the art. 
He afterwards studied at Rome, first under Giu- 
seppe Cesari; and next Domenichino. Lanzi says 
there are several of his works at Tivoli, which, 
though they do not exhibit an artist of great 
genius, .show one assiduous and expert in color- 
ing, and he specifies his St. Stephen in the Duomo 
(cathedral), and his St. Saverio in the church of 
11 Gesu. In coloring he imitated Domenichino, and 
it should be recollected that when a severe critic 
and a connoisseur like Lanzi, (a profound scholar, 
brought up amidst the gems of ancient and mod- 
ern art. and one who pays more attention to acad- 
emy^ or the strict rules of art, than to coloring.) 
commends such an artist, in some countries he 
would be called a Domenichino, whose pictures, 
the Italians say, will bleed if pricked. 

MANETTI, or MANNETTI, Rutilio, an em- 
inent Sienese painter, born in 1571. and died in 
1637, according to Lanzi. from authentic docu- 
ments. He studied under' Francesco Vanni, and at 
first imitated his graceful style and pleasing col- 



MANE. 



512 



MANG. 



oring, but lie afterwards adopted much of the 
manner of ^lichael Angelo da Caravaiigio, whose 
fame was then captivatinji; Italy. He acquired 
great reputation, and executed many works for 
the churches and monasteries at Pisa. Florence, 
and Siena. There is considerable discrepancy 
amonp; authors as to his merits, but it is allow- 
ed that he was a man of genius, had a fine in- 
vention, was correct in design, and disposed his 
figures with elegance and grace. He enriched his 
pictures with noble architecture, and hence, at 
times he approaches nearer to Guercino than to 
Caravaggio. Lanzi .sa3's his pictures arc easily 
recognized by a tenebrosity that injures a just 
balance of light and shade, — a fault that is doubtless 
parti}'- owing to changes wrought by time, from 
an injudicious mixture of colors, for the histoi-ian 
of the cathedral of Siena, in describing his Elijah 
under the Juniper Tree, in that edifice, commends 
the force of the coloring, and says it is juicy and 
natural. Lanzi further says that in private collec- 
tions, where pictures are better preserved than in 
churches, we find very beautiful jMadonnas b}'- 
this artist ; and he mentions "a most exquisite 
Lucretia iu the possession of the liandinelli ftim- 
ily." There are many of his works at the Certosa, 
and the Carthusian monasteiy at Florence ; his 
chef d'cruvre is the Repose of the Holy Family, in 
the church of S. Pietro, at Castelvccchio. 

MANETTT. Domenico. a Sienese painter, pro- 
bably a relative of the preceding, who acquired 
considerable reputation for his easel pictures of 
historical subjects, many of which are found in 
the private collections of Siena, l^anzi says his 
Baptism of Constantine, in the Casa ]Magnoni at 
Siena, has been highly commended. 

^lANFREDT. BARroLOMEO. an Italian painter, 
born at Mantua in 1574. He first studied under 
Cristofovo Boncalli. but afterwards became a dis- 
ciple of Michel Angelo da Caravaggio, whose style 
he imitated with such precision, "that his works 
were often attributed to that master, though his pic- 
tures show a superior choice of forms, and a more 
dignified taste of design. He did not work much 
for the churches, but painted easel pictures repre- 
senting corps-de-garde, soldiers or peasants gaming 
with cards and dice, fortune tellers, banditti ; which 
he represented with ajjpropriatc ferocity of char- 
acter, and an extraordinary eflect of light and 
shadow. His pencil was freo and firm, and his 
knowledge and skill in chiaro-scuro. enabled him 
to give his pictures a very striking ellect of broad 
masses of liirht and shadow. He is said to have 
shortened his days by a dissolute and irregular 
life. Zani. whose dates are often incorrect, says 
he was born in 1580. and died in 1617. 

MANGTX. Ch.vrlks. a French architect, born 
at Mitiy. near Meaux, in 1721. His uncle caused 
him to be instructed in mathematics and design, 
and placed him under .several good architec:s. Af- 
ter passing the period of his tutelage, he visited 
Paris, and was commissioned to erect several im- 
portant works, among which were the primitive 
Halle an Bfe ; the S''uiinaire dii Saint-Esprit ; 
the church of Gros-Caillou ; and the restoration of 
the grand entrance to S. Sulpice. He was much 
esteemed by Souifiot and Chalgrin, and projected 
a ])1an for the embelli.'^hment of Paris, which gained 
him an honorable notice, and a gold medal. He ! 
died at Nantes in 1807. I 



MANGLABD, Adiuen. a Fiench jjainlcr and 
engraver, born at Paris in 1G88. or. according to 
Dumesnil. at Lyons in IGOG. He went to Home 
early in life, where he acquired a great reputation 
for liis sea-pieces and landscajies, and met with 
considerable emjjloyment. He executed .'^ome of 
his choicest works for the Villa Albani, and the 
Palazzi Colonna and Kospiglioi^i at l^ome. Jo- 
seph Vernet was his scholar, and far surpassed 
him. He executed quite a number of spirited 
and pleasing etchings after his own designs. Du- 
mesnil describes fortj^-four pieces by him. He died 
at Rome in 17G1. 

MANINL Gaetano, a Milanese painter, born 
in 1730. He painted history in a gaudy and 
frivolous style, went to England about 1774, as- 
sumed the title of Cavalicre, occasionally exhibit- 
ed with the Chartered Society of Artists, and died 
about 1790. 

MANLIO, Ferdinando. an Italian architect of 
the IGth century. He Mas probably a pupil of 
Giovanni da Nola. According to Milizia. by or- 
der of the Vicero}' of Toledo, he opened the road 
to the Porta Nolana ; built a royal summer house 
at Pozzuoli ; and drained a number of marshes. 
He also executed the legulations of the Viceroy, 
duke d'xMcala. in opening the noble road of Monte 
Oliveto. and erecting palaces where there were 
originally only the gardens of monks. He en- 
larged the grotto of Pozzuoji. and built the bridge 
of Capua. 

MANNINL or MANINL Giacomo Antonio 
a Bolognese painter, born in 1G4(>. He studiea 
i under Domenico Santi, and according to Zanotti, 
became a ver}' eminent painter of pcis|,cctive and 
architecture. He was exceedingly accurate, but 
slow in his work. Lanzi says that he was em- 
ployed to decorate a chapel at Colorno for the 
Duke of Parma, in which the Cavalicre Draghi was 
employed as figurist. whose genius was as eager 
and rapid as Maunini's was slow. Much like two 
steeds of opposite temper, yoked to the same veh- 
icle, their sole occupation seemed to be biting and 
kicking each other, till it became necessary to sep- 
arate them, and the slow one was sent back to 
Bologna, where, owing to this blemish, he never 
met with the encouragement he deserved. Ho 
etched some plates of architectural designs and 
perspective views, full of taste and spirit, Bartsch 
gives a detailed account of sixteen perspective views 
by him.— (P. Gr. tom. xix. p. 322.) 

J\LA.NNL, or MAENXL. Jacor, a German inez- 
zotinto engraver, born at Vienna about 1G95. Tn 
1720. Christopher Lauch. the Inspector of the 
Imperial Gallery, which had been augmented by 
the purchase of the collection of the AiThduke 
Leopold, undertook to have all the pictures en- 
graved, and emploved Mannl for that purpose. 
But the death of both Lauch and Gianni hajipen- 
ing about the same time, prevented the completion 
of the project, and only thirt3'-one were engraved. 
Heineken, in his idea of a complete collection of 
prints, gives a particular description of them. They 
arc as follows : 

Tho Portrait of the Emperor Charles Yl, The dead 
Christ, supported by an Angel ; after Palina. The Vir- 
gin with the inf.mt Christ, who is caressin:^ St. .John ; af- 
ter Vandyck. Mary Magdalene penitent, accompanied 
by an Angel; after Correggio. St. Francis praying; 
after Bassano. " St. Clara kneeling ; do. The Repentance 
of St. Peter ; after Sjmgnoktto. The Martyrdom of St 



MANN. 



513 



MANS. 



Bartholomew; after L. Giordano. Cliri.st praying in the 
Garden ; after M. A. Caravas^gio. Venus, with Cupid 
holdinfj a mirror; after Titian^ Juditli leaving the Tent 
of lIolofornoH ; after P. Vcrnnr.ffe. Christ disputing with 
the Doctors ; after Spagnoletto. Samson delivered to 
the I'ijilistines; after Vandyck. The Eeco Homo; half- 
longth ; after Titian. The Virgin, or Mater Dolorosa; 
do. A Philosopher meditating on a Skull ; after L. Gi- 
ordano. A (Jcomctnci.'in ; do. St, Margaret treading on 
the Dragon ; (fter RiifarlJe. Tobit restoring Sight to his 
Father; after JM. A. Caravaggio. Clirist taken in tho 
(Jarden ; after li. Manfredi. Susanna at tho Bath ; af- 
ter Tintoretto. Susanna and the Elders ; after Ann. Ca- 
racci. Jupiter and Mercury, with Baucis and Philemon; 
after Carlo Lotti. Diana and her Nymi)hs; after Wil- 
lehorts liosrhaert and John fyt. Tiie Virgin and In- 
fant ; after Titian. A Warrior giving his Hand to a 
Man ; after (iiorginne. A dying Magdalene ; after Vie 
younger Pcdma. Christ hearing his Cross ; after Jiassa- 
no. Judith with tlic Iloadof Ilolofernos; after A. Varo- 
tari. .Judith ; after Carlo Vencziano. A Cliild holding 
a Dog ; after P. Veronc-^e. 

MANNOZZr. GtovANNi. called C^ovanni da 
San Giovanni, from the place of his nativity, near 
Florence, was l^orn in 1500. lie studied under 
Mattco Rosclli. Tie did not follow the chaste, cor- 
rect, and finished sl3de of his master, hut poss- 
essing a lively imagination, ready invention, and 
great facility of ex(;cution, he struck out into a 
style of his own, which, though sometimes marked 
with ahsurd extravagancies, gained him an immense 
reputation, and he was considered one of the ahlest 
fresco painters in Italy. lie was employed by the 
Cardinal Bentivoglio at Rome, to paint a picture 
of Night, as a contrast to the Aurora of Guido. 
This exfiited envy among his enemies, and after 
he had made considera})]e progress with his work, 
one morning, lie had the misfortune to find it en- 
tirely effaced ; hut the miscreants being detected, 
he commenced and completed a new one. which 
gained him immense applause, Lanzi says that, 
although he did not begin to study till he was 
eighteen years old. and died in his forty-eighth 
year, yet he executed an incredible number of 
works at Rome, in the Pontifical States, and at 
Florence. lie died in 1G3G, 

MANNOZZI. Giovanni Gahzia, was the son 
of the preceding, born al)Out 1020. He was in- 
structed in the art by his father, in whose style 
he painted with considerable reputation. Tlierc 
arc some of his works in fresco in the churches at 
Pistoja. Time of his death not recorded. 

MANRIQUK, Miguel, a native of Flanders, 
probably of Spanish descent, who flourished about 
1G50. lie is said to have studied mider RuV)ens, 
and having obtained a commission in the Spanish 
stirvice, he went to Spain, and finally settled at 
Malaga, where he practised the art, and executed 
some works for the churches. He was a good 
colorist, and his works have the characteristics of 
the school of Rubens. 

MANS, F. II. (Franz Herman?) a Dutch 
painter, by whom there are many pictures, small 
in size, of views of towns, villages, coast scenes, 
winter-pieces, &c., spiritedly executed, and signed 
with his name, and .some of them dated about 
1677. His winter pieces are in the manner of 
Klaas Molenaer, and painted with great truth and 
beauty. 

MANSARD. FfiAN^oiB, an eminent French ar- 
chitect, was born at Paris in 1508, and received 
instructions in architecture from his paternal un- 
cle, Germain Gaul tier. At the age of twenty- two 



he began to distinguisli himself by liis restoration 
of the Hotel 'I'oulouse ; and a short time afterwards 
he was commissioned to erect the portal of the 
church dcs Feuillants, in tho Rue St. llonore, since 
destroyed ; the chateau de Renii. near Paris; and 
those of Balleroi, in Normandy, Blerancourt and 
Choi.sy. His only fault was instability, wliich fre- 
quently led him, while aiming at perfection, to al- 
ter his designs during their execution, and to de- 
molish what was done, in order to l)egin afresh. 
This characteristic lost him the finishing of th(5 fine 
abbey of V^al-de-(jrace at J*aris, founded by Anno 
of Austria, which he had commenced in 1G45, but 
when raised to the fiist story, the queen was in- 
formed that large sums were being u.selessly ex- 
pended on the edifice; and when Mansard was in- 
terrogated, lie answered Her Highness with some 
rudeness. The direction of the church was imme- 
diately taken from him and given to others, who al- 
tered the design, and decorated theedifice with lieavy 
sculpture. Notwithstanding this defect. Mansard 
was endowed witli an exquisite; taste, a strong 
mind, a habit of meditation, a A.-rtilc imagination, 
and great industry. His ideas for the general de- 
sign of an edifice were noble and grand ; and his 
choice in the outlines of all the members of archi- 
tecture which he used was delicate and ap[)ropriate. 
He was employed by the President de Longueil to 
build his great Chateau de Maisons, near St. (jler- 
main en Laic ; and when a part was erected, he 
pulled it down without the knowledge of the pro- 
prietor; but he afterwards completed it in a very 
noble style, and it is reckoned one of tlie finest ar- 
chitectural monuments of the age. (Jolbert ap- 
plied to him for a plan of the principal front of 
the Louvre, and Mans;.rd [troduced several sketches 
of great beauty; ])iit when told that he must fix 
upon one to be invariably followed, if approved, he 
declined subjecting himself to such a conditicm. 
Milizia says that this was the reasrm why Reruini 
was invited to Paris. Mansard com[)leted the cha- 
teau de lilois, which had bex;n left unfinislied by 
Gaston de France, Duke d'Orleans. In the p.alaco 
of Fesora he afterwards built a chapel, which is 
considered a perfect model ; and lie invented the 
curb roof, called d la Mdiisardc. He adorned Paris 
and its environs, as well as .several of the j)rovinces, 
with fine edific(!S, of which the last was the portal 
of the church des Miuimes in the Place Royale. 
He seems to have approved this work more than 
any other of his productions, but it is very likely 
lie would have changed his opinion, had he not 
died soon after, in IGGG. 

MANSARD, Jules Hardouin, an eminent 
French architect, nephew of Fran9ois M., born 
at Paris in 1G45, ' He studied imder his uncle, and 
became the favorite architect of Louis XIV., who.sc 
taste he suited throu<rh the variety and magnifi- 
cence of his id(!as. Though superior to his uncle in 
fortune, he did not equal him in merit, Milizia 
says he was too exuberant in his ideas, incorrect 
in his application of the orders ; but ingenious in 
composition and the forms of his cupolas. His great- 
est work, the famous i'alace of Versailles, has been 
severely, though perhaps J ustly criticised. Mil izia 
says, '-'the taste of the exterior decoration is tri- 
fling! and full of defects; the palace im[)()ses on 
the sight at a distance, fiom the large number of 
buildings, and its richness, the roof being all gilt; 
but our admiration diminishes on a nearer ap- 
proach, and entirely disappears on arriving at that 



MANS. 



514 



MANT. 



miserable court called LaCourduMarbre.^^ Chris- 
topher Wren described it as composed of " heaps of 
littleness." It has also been denominated " a fa- 
vorite without merit" ; but the Orangery has Tus- 
can columns, and is managed in the most magni- 
ficent style. The chapel is also an admirable 
work, being adorned with isolated columns, with 
bold architraves. Among other important works 
of this architect, are the chateau de Clagny ; the 
chateaux of Marly and Trianon ; the Mansion of 
St. Cyr; the Gallery of the Palais Royal; the 
Place Vend6me; the Places of Louis le Grand and 
des Victoires ; and the dome and finishing of the 
Hotel des Invalides, commenced by Liberal Bruant. 
Jules Ilardouin Mansard amassed an immense for- 
tune under Louis XIV., who appointed him royal 
architect, cavalier of St. Michael, and general su- 
perintendent of the royal buildings, arts, and man- 
ufactures. He died suddenly at Marly, in 1708, 
and was buried in the parish church of St. Paul 
at Paris, where his tomb was sculptured by Ooy- 
sevox. 

MANSFELD, John Ernest, a German en- 
graver, born at Prague in 1738. He went to Vi- 
enna when sixteen years of age, and learned de- 
sign in the Imperial Academy. He engraved some 
portraits after eminent personages, and a few other 
subjects, mostly executed with the graver among 
which are the following : 

PORTRAITS. 

The Empress Maria Theresa; J. E. Mansfeld, sc. 
The Emperor Joseph II. ; do. Pope Pius V. ; Hage- 
nauer, pinx. 1782. Wenceslaus, Prince Kaunitz ; after 
Vinazer. Francis Anthony, Count Kollowrat ; do. Mau- 
rice, Count Lacy ; after Kollonitz. 1776. Frederick, Ba- 
ron Trenck ; J. E. 'Mansfeld, fee. Joseph Haydn ; do. 
Anthony Stoerk ; do. 1773. S'ir Robert Murray Keith; 
after Graff. 

SUBJECTS. 

A Wfoterfall on the Danube ; after Wenzely. The Cor- 
onation of the Emperor Leopold ; after Schutz, 

MANSUETT, Giovanni, a painter of the Vene- 
tian school, who flourished at Trevigi about 1500, 
and painted for the churches and private collec- 
tions. He was a good artist, though Lanzi sa3-s 
he did not observe the proprieties of costume, and 
that there is not sufficient delicacy in his contours. 



W' 



MANTEGNA, Cav. 

Andrea. There is a 
great deal of fiction interwoven in the history of 
this great artist, which our limits will not allow us 
to discuss. He was born at a small village near 
Padua, according to his picture in the church of S. 
Sofia at Padua, in 1431. Lanzi says he was born 
in 1430, and died in 1505 in his text and 1506 in 
his index ; Pungilione 13th xVugust 1506, and Zani 
15th of September in the same year. He was the 
son of a poor herdsman, and Squarcione. observing 
him, then a lad. making some rude sketches on flat 
stones while tending his flock, took the lad to his 
own house, and instructed him in painting. He 
showed such extraordinary talents and made such 
progress, that he adopted him as his son. At an 
age when others usually commence the stud3r of 
the art, he painted his celebrated altar-piece in the 
church of S. Sofia at Padua, which is inscribed 
Andreas Mantinea Patavinus annos VII. et X. 
natus sua mamt pinxit., 1448. He soon after 
painted the Four Evangelists in the same church. 



The celebrity of these performances, it is said, in- 
duced Jacopo Bellini, the rival of Squarcione, to 
bestow upon the young artist his daughter in 
marriage. This alliance with the bitter enemy of 
Squarcione is said to have changed his love for 
Mantegna into gall, and that he became as inveter- 
ate in his detraction of the merits of his pupil as 
he had been lavish of his praise ; and that his se- 
vere and sarcastic criticism on his works proved 
of the greatest advantage to him, b}^ stimulating 
him to reform his manner. But this must be ta- 
ken with considerable allowance. Lanzi says that 
" Squarcione was so pleased with the early genius 
of Mantegna. that he adopted him as his own son, 
but afterwards regretted his generosity, when he 
found he repaid him with ingratitude by marrying 
the daughter of his rival, so that he blamed 
him, yet continued to instruct him better than 
ever." The truth doubtless is that Andrea, having 
been bred in an academy which adopted the study 
of marbles (for Squarcione had a rich museum of 
designs, statues, and busts, which he had spared 
no expense to procure in his travels throughout 
Italy and Greece ; and his academy was at that 
early period the most famous in Italy, at one time 
frequented by one hundred and thirty students), 
and for which he indulged a profound admiration, 
neglected the study of nature, and being bent upon 
that chasteness of contours, the beauty of the 
ideas and of the figures, he not only adopted that 
straightness of the garment, those parallel folds, 
and that study of parts which so easilj^ degenerate 
into stiifness and formality, but that he also neg- 
lected that portion of the art which animates the 
otherwise lifeless images — expression. This was 
the case with his Martyrdom of St. James, in the 
church of the Eremitani, which drew down upon 
the artist the sarcastic criticisms of Squarcione, 
and led him to change his manner in the picture 
of St. Mark writing his Gospel executed soon af- 
terwards, in the church of S. Giustina, where he 
represented in the head of the Evangelist an admi- 
rable expression of the most fervid devotion. His 
relationship with the Bellini also doubtless contri- 
buted to this result. A knowledge of his defects 
also led him to the study of nature and of the 
Avorks of the celebrated masters ; for, during his 
short residence at Venice. Lanzi saj'^s '• he did not 
fail to avail himself of the best portion of that 
school, and we thus perceive that some of his pic- 
tures, landscapes, and gardens have a Venetian 
character, besides showing a knowledge of colors 
not inferior to the best Venetian masters of his 
age." 

Mantegna settled with his family at Mantua, 
where, under the patronage of the Marchese Lo- 
dovico Gonzaga. he acquired an immense reputa- 
tion. He was invited to Rome by Pope Innocent 
VIII., and employed to paint several considerable 
works, among which a chapel in the Vatican still 
exists, though much injured by time. Some of his 
best works, executed both in oil and fresco in the 
maturity of his powers, are still to be found at 
Mantua. Of these, the most celebrated is a pic- 
ture of Victory, painted on canvass in 1495, for 
the chapel of Gonzaga in the church of the Filip- 
pini, in commemoration of a victory gained by 
that prince over Charles VIII. of France, at the 
Battle of Formoni. Another famous picture by 
him is one of the Virgin, surrounded by the Arch- 
angel Michael and various saints, protecting 



MANT. 



515 



MANT. 



Francesco Gonzaga. Speaking of this picture, 
Lanzi says " Mantua boasts no other specimen 
equally sought after and admired by strangers ; 
and though painted in 1495, it is still free, in a 
conspicuous degree, from the effects of three cen- 
turies, which it has already survived. It is truly 
wonderful to behold carnations so delicate, coats 
of armor so glittering, draperies so finely varied, 
with ornamental fruits still so fresh and dewy to 
the eye. Each separate head might serve as a 
school, from its fine character and vivacity, and not 
a few from an imitation of the antique ; while the 
design, as well in the naked as the clothed parts, 
expresses a softness which sufficiently repels the 
too general opinion that the stiff style and that of 
Mantegna are much the same thing. There is also 
a union of coloring, a delicacy of penciling, and a 
peculiar grace, that appears almost the last stage 
of the art towards that perfection which it acquired 
from Leonardo da Vinci.'' This gem was taken to 
Paris by the French, and restored in 1815. His 
master-piece, according to Vasari, was his Triumph 
of Julius Caesar, represented in a series of nine 
pictures, painted for the great hall of the Palazzo 
S. Sebastiano. This work was taken to Germany 
when Mantua was sacked, and from thence found 
its way to England, and now adorns the royal col- 
lection at Hampton Court. For this picture he re- 
ceived the honor of knighthood from his patron. 
The style of Mantegna greatly influenced that of 
his age, and imitations of it are to be seen beyond 
his school, which was extremely flourishing at 
Mantua. 

As an engraver, Andrea Mantegna claims our 
veneration as one of the earliest practisers of the 
art, and as having contributed more than all his 
cotemporaries in perfecting it, by his superior 
knowledge of design. Cotemporary with Antonio 
Pollajuoli, he resembles him in style of handling, 
but he greatly surpasses him in the drawing of his 
figures, particularly in the naked parts. His 
plates are generally executed by single strokes 
from one corner of the plate to the other, in a man- 
ner resembling drawing made with a pen, without 
hatching or cross-lines. His prints engraved after 
his own designs are distinguished by a simplicity 
and correctness of outline unusual before his time. 
He sometimes marked his plates with one of the 
above monograms, which are similar to those 
afterwards employed by Marc' Antonio Rai- 
mondi, and have led to some dispute as to 
which artist some plates should be attributed. 
Lanzi says that the science of foreshortening, 
originally attributed to Melozio, was greatly im- 
proved, and nearly brought to perfection, by Man- 
tegna and his two sons. His Dead Christ, with 
the two Marys weeping, now in the Pinacoteca at 
Milan, is a model of excellence in this respect. 
" The foreshortening is so perfect, and the perspec- 
tive so correct, that from whatever point it is view- 
ed the body is still seen extended in its full pro- 
portion in length." There is a great deal of dis- 
pute as to the extent of his engravings. Vasari 
says, '' Mantegna, having decorated the chapel of 
Innocent VIII. at Rome about 1490, from that 
date is entitled to the name of engraver, comput- 
ing it from about his sixtieth year. He flourished 
more than sixteen years after this, during which 
period it is believed he executed that amazing 
number of engravings, amounting to more than 
fifty, of which about thirty appear to be genuine, 



on so grand a scale, so rich in figures, so finely 
studied and Mantegnesque in every part," &c. Our 
limits will not allow us to pursue this inquiry far- 
ther than to say it is now the opinion of the best 
critics that Mantegna commenced his career as an 
engraver at a much earlier period (though this 
cannot be positively decided, as there are no dates 
on his prints), and that he did not engrave above 
thirty plates. Bartsch describes twenty-three prints 
by him. and there are two more in the British Mu- 
seum, one of which is of large dimensions, repre- 
senting St. George and the Dragon, and cost £60 
sterling. The following are his principal prints, 
as far as known : 

The Virgin seated, witli the infant Jesus in her Arms. 
The Scourging of Christ. The Entombing of Christ, in- 
scribed, Humani generis Redemptori. Christ descending 
into Hell. Christ holding the Standard of the Cross be- 
tween two Saints. Judith with the Head of Holofemes. 
A Battle of Sea Monsters, with the figures of two armed 
Warriors. A Battle of Sea Gods, with the figure of Nep- 
tune. Hercules between Virtue and Vice. This print is 
sometimes attributed to Marc' Antonio. Hercules strang- 
ling Anteus, inscribed. Divo Herculi invicto. Four Fe- 
male Figures dancing. Bacchus, supported by Fauns and 
Satyrs. The Triumph of Julius Cassar ; in nine plates ; 
after his pictures now in the King's collection. It is diffi- 
cult to meet with a complete set of these plates. They 
have been copied in chiaro-scuro by Andrea Andreani. 

MANTEGNA, Francesco. The most perfect 
imitators of Andrea Mantegna were his two sons, 
Francesco, and another whose name is not men- 
tioned, nor is the time of his birth or death re- 
corded. Their father left many frescos unfinished, 
which they completed, particularly the Camera 
degli Sposi, in the castle at Mantua. Andrea paint- 
ed the walls, and his sons the dome, or as Lanzi 
terms it, the beautiful vaulted recess. " In the 
same work appear several exquisitely drawn in- 
fantile figures, under different points of view, and 
admirably foreshortened." They also added two 
laterals to an altar-piece by their father, in a chap- 
el in the church of S. Andrea at Mantua ; and in 
the same place they erected a superb monument 
to his memory in 1517, which has led some to 
suppose that his death happened in that 3^ear. — 
These sons were exceedingly eminent artists, and 
acknowledged the best disciples of Mantegna's 
school, and it is singular that so little should now 
be known of them and their works. Lanzi says 
that Francesco certainly gave instructions to Cor- 
reggio. The glory of the father has completely 
eclipsed that of the sons. 

MANTEGNA, Carlo del, a Lombard, who 
was a favorite pupil of Andrea Mantegna, and one 
of the most successful followers of his school. 
Lanzi says he is supposed to have assisted the sons 
of Mantegna in the completion of his unfinished 
works at Mantua, and afterwards went to Ge- 
noa, where he " not only painted but taught, with 
a success that would appear almost incredible, were 
it not that the works of his imitators (at Genoa) 
were still in existence." None of his works are 
now clearly identified, most of them having per- 
ished, and others confounded, from resemblance of 
style, with those of his master, and of course at- 
tributed to him. No imitator of an eminent paint- 
er may ever hope for a lasting reputation ; for 
names and dates are easily effaced, and others as 
easily supplied, when this will enhance the value 
of a work. 



MANT. 



516 



MARA. 



MANTOUANO, or MANTOVANO. See An- 
DREANi, see Venusti, see Ghisi. 
MANTOUANO, Teodoro. See Ghigi. 

MANTOVANO, Rinaldo. This painter was a 
native of Mantua ; studied under Giulio Romano, 
and was one of his most distinguished scholars. 
He died very young ; his premature death is re- 
gretted, as his compositions display a sublimity 
of conception and beauty of execution far beyond 
his age. His best work is a picture of the Virgin 
and Child, with St. Agostino and St. Girolamo, in 
the church of S. Agnes, in that city, so beautifully 
designed and executed that it gave rise to a suspi- 
cion of its having been painted from a design of 
his instructor. 

MANTOVANO, Oamillo, a painter of Man- 
tua, whom Vasari commends for his landscapes. 
He was educated in the school of Giulio Romano, 
and was an excellent artist. Lanzi says he 
wrought chiefly at Venice and Urbino. There are 
still some of his frescos in his native place. In a 
chamber of the Ducal palace at Pesaro he painted 
a grove, executed with so much truth and taste 
that it seemed nature in reality. He flourished 
about 1540. 

MANUEL, Nicolas, a Swiss painter, born at 
Berne in 1484. It is said that he visited Venice, 
and studied under Titian, but as he only painted 
in fresco, his productions are lost. A Dance of 
Death, at Berne, is mentioned as by him, the fig- 
ures of which represented persons living at the 
time ; it has been copied by Kauw and Stettler. 
There were also two pictures of the Passion of 
Christ and the Seduction of Solomon by his Wives. 
Manuel was among the most zealous defenders 
of the Reformation. He died in 1530. (See 
Deutsch.) 

MANZINI, Raimondo, a Bolognese painter, 
was born in 1668, and died in 1744. He excelled 
in painting cabinet pictures of fruit, flowers, birds, 
and animals. Lanzi says he was most successful 
in his cartoons or drawings, which were executed 
with such a truth to nature that, when exposed 
to a certain light, they deceived even painters 
themselves. For this excellence, Zanotti extols 
him as a modern Zeuxis. 

MANZONI, Ridolfo, a native of Castelfranco, 
was born in 1675, and died in 1743. He painted 
small historical pictures with great reputation and 
profit, which are prized in the best collections at 
Turin and in his native place. He also painted 
flowers and birds, tastefully composed and beauti- 
fully executed. 

MANZONI, DA Faeinza, a young painter of 
great abilities and rising reputation, who is said to 
have been assassinated by Ferrau da Faenza, mere- 
ly out of professional jealousy. There are several 
of his altar-pieces in the churches at Faenza, 
which are highly esteemed. Lanzi says he would 
have shone a distinguished ornament of the art, 
had his life not been untimely cut short b}^ envy. 
His death happened about 1625. 

MANZUOLT, Ma so, called Maso di San Fria- 
NO, from the place of his nativity, near Florence, 
where he was born in 1536, He first studied un- 
der Pier Francesco di Jacopo, and afterwards with 
Carlo Portelli. Vasari does not hesitate to rank 
this artist with Battista Naldini and Alessandro 



Allori. His most capital picture was the Visita- 
tion of the Virgin to St. Ehzabeth, painted for the 
church of S. Pietro Maggiore at Florence. This 
picture was painted when the artist was only thir- 
ty years old, and is regarded the ablest production 
of the Florentine school at the period in which he 
lived. It was transported to Rome, and now 
adorns a gallery in the Vatican. There are other 
works by him in the churches and public edifices 
at Florence, especially in the church of S. Trinita 
and in the Ducal gallery, though his works are not 
numerous, as he died in the prime of life, in 1575. 
MARACOI, Giovanni. See Marracci. 

MARAIS, Henri, a French engraver, born at 
Paris in 1764. He first attained distinction by 
engraving several plates for the magnificent foHo 
edition of Racine and P. Didot the Elder. He 
also materially assisted Wicar in his Galerie de 
Florence, and engraved the frontispiece of that 
work, after Moitte ; also the Dance of the Muses, 
after Giulio Romano ; the Triumph of Amphi- 
trite, after Luca Giordano ; the portrait of Mieris, 
painted by himself; the Three Fates, after Mi- 
chael Angelo ; Andromeda, after Furino. Ma- 
rais died in 1800, at the age of 36, 

MARASOA, Jacopino, a painter of Cremona, 
commended by Zaist as an excellent artist of his 
age, who enjoyed the friendship and patronage of 
Francesco Sforza. He flourished about 1430. 

MARATTI, Cav. Carlo. This eminent paint- 
er was born at Camurano, in the Marquisate of 
Ancona. in 1625. At a tender age he showed a 
natural taste for the fine arts, and when he was 
twelve years old, his father sent him to Rome, and 
placed him in the school of Andrea Sacchi. where 
he studied several years, and became his most fa- 
vored disciple. By the advice of his master he 
made the works of RafFaelle his chief study. He 
rose to great distinction, and during his life-time 
was considered one of the first artists in Europe. 
Mengs assigns to him the enviable distinction of 
having " sustained the art at Rome, where it did 
not degenerate as at other places." At the com- 
mencement of his career, he confined himself to 
painting Holy Families, pictures of the Virgin, and 
Madonnas, on which account the cotemporary art- 
ists, particularly Salvator Rosa, thought him inca- 
pable of higher productions, and satirically called 
him Carluccio dalle Madonne. To counteract 
the evil efforts of his enemies, Sacchi obtained for 
him a commission to paint a picture for. the Bap- 
tistery of St. John of Lateran, where he represent- 
ed Constantine destroying the Idols, a perform- 
ance which stifled calumny and established his 
reputation as one of the ablest artists of his time. 
It also procured him the patronage of Alexander 
VII., under whose protection, and that of his suc- 
cessors, he became the most popular and the most 
employed artist at Rome. He was commissioned 
to restore the great frescos of Raffaelle in the Vat- 
ican and the Farnesian palace, which had begun to 
suffer from the effects of tinse — a task, says his 
biographer Bellori, " requiring infinite care and 
judgment, and which he performed to the satis- 
faction of his patron." Lanzi says that " Maratti 
was no machinist, therefore neither he nor his 
scholars ever distinguished themselves in frescos 
or in large compositions. At the same time, he 
had no fear of engaging in works of that kind, and 



MARC. 



517 



MARC. 



wilUngly undertook the- decoration of the Duomo 
of Urbino, which he peopled with his figures."— 
Thi$ work, with the cupola itself, was destroyed 
by &n earthquake in 1782, but the sketches of it 
are preserved in the Albani palace at Urbino. — 
Thoilgh Carlo Maratti painted some pictures of 
extra^rdinar}^ magnitude, as his St. Carlo in the 
churcn of that Samt at the Corso. and the Baptism 
of Chiist in the Certosa, jet his pictures for the 
most pirt are on a smaller scale. He had a pre- 
dilection for cabinet pictures and altar-pieces, of 
Holy Families. Madonnas, and other sacred sub- 
jects, of which he executed a multitude, which are 
to be fou»d not only in the churches and every pri- 
vate collection at Rome, but in the State, as well 
as at Florence, Genoa, and other places. He was a 
chaste andelegant designer, but his forms discover 
too little acquaintance with the antique. His 
compositions are rich and magnificent, but they 
bear the character of coldness and languor, and ap- 
pear rather the productions of labor than the in- 
spirations of genius. He prided himself on the 
copious castings of his draperies, but in this he 
displays a species of mannerism, and the multi- 
plicity of his folds exhibits little of the beauty of 
the figures. His coloring is generally silver}^ and 
pleasing, but towards the latter end of his life it 
became somewhat cold and chalky. Yet it is ad- 
mitted that some of his productions are exquisite- 
ly beautiful ; the forms of^his female saints lovely ; 
his Madonnas dignified, and his angels angelic. — 
It were useless to specify his numerous works. 
Lanzi says his pictures approaching nearest to Sac- 
chi are most prized at Rome, among which are the 
Baptism of Christ, in the Certosa, which is copied 
in mosaic in the Basilica of St. Peter's ; the Death 
of St. Francis Xavier, in II Gesu, engraved by J. 
Frey ; the Visitation,' in La Pace ; and the Con- 
ception, in S. Isidore. Among his most charming 
compositions are St. Stanislaus Kostka at the al- 
tar where his ashes repose, and David's first view 
of Bathsheba, which last is a work inexpressibly 
beautiful. His master-piece is the Martyrdom of 
St. Biagio at Genoa, which Lanzi pronounces wor- 
thy of the ablest imitator of the school of Sacchi. 
He died in 1713. 

Carlo Maratti executed a few free, spirited etch- 
ings, after his own designs and other Italian mas- 
ters, though they are more highly finished than is 
usual with painters. The following are the prin- 
cipal : 

A set of ten pla,tes of the Life of the Virgin ; from his 
oicn compositions. Several Holy Families, and subjects 
of the Virgin ; do. Heliodorus driven from the Temple ; 
in two sheets; after Raff aelle. Christ with the Woman 
of Samaria ; after Ann. Caracci. The Flagellation of St. 
Andrew; after Dometiichino. Joseph discovering him- 
self to his Brethren ; after Mola. St. Charles Borromeo 
interceding for the persons afflicted with the Plague ; after 
Cavaliere Perugino. 

MARC. See March. 

MARC ANTONIO. See Raimondi. 

MARCA, BELLA, Gig. Battista Lombarde'l- 
LT, was born at Montenuovo, in 1532 ; hence he 
is sometimes called II Montano di Montenuovo. 
According to Baglioni, he first studied under Mar- 
co Marchetti da Faenza, but afterwards went to 
Rome, and became the pupil of Rafifaellino da Reg- 
gio, whose style he adopted, and whom he assisted 
in the execution of his frescos in the Vatican, for 
Pope Gregory XIII. Lanzi says he possessed 



great natural talents, which were rendered una- 
vailing for want of application. He executed, at 
Rome, a series of pictures from the life of St. Fran- 
cis, in the church of S. Pietro Montorio, and one 
of the Resurrection in S. Maria de' Monti. His 
best works are in his native city. There are also 
some of his frescos at Perugia. He died, accord- 
ing to Orlandi, about 1587. Zani says he was a 
native of Perugia, and that he was living in 1592. 

MARCA, Lattanzio. There is considerable 
dispute about the real name of this artist, which 
we cannot discuss, and which is of no importance, 
since he is known in the history of art by the 
name of Lattanzio Marc?.. He flourished at Pe- 
rugia about 1550. Vasari says he studied in the 
school of Perugino, and others.of Giovanni Bellini ; 
and he is thought to be the same as Lattanzio da 
Rimino, who painted a picture at Venice in rival- 
ship with Conegliano. Mariotti has proved, by 
authentic documents, that he was the son of Vin- 
cenzio Pagani of Monte Rubbiano, a celebrated 
painter, and probably the instructor of Lattanzio. 

On the death of Pietro Perugino, he succeeded 
to his fame and fortunes at Perugia, and received 
all the most important orders. He painted the 
great works in the churches of the Castle, in 
which he was assisted by Raifaclle dalle Colle, 
Gherardi, Doni, and Paparello. Of these works 
the most important, perhaps, was the S. Maria 
del Popolo, a large composition, with a multitude 
of figures in the act of prayer. Lanzi says that 
the figures are well disposed, with a fine expres- 
sion in the countenances ; the landscape beautiful ; 
the coloring clear and strong ; and the taste, on 
the whole, different from that of Perugino. He 
was a man much respected by his fellow-citizens, 
and when somewhat advanced in years, he was ap- 
pointed to the then honorable ofiice of Sheriff of his 
native city. in 1553, M^hen he renounced the art. It 
is not stated of which of the cities claiming his 
birth he was appointed .sheriif — Perugia, Rimini, 
or Monte Rubbiano, but doubtless of the former, 
where he flourished. See Vincenzio Pagani. 

MARCEL, N., a German painter of fruit, flow- 
ers, and still-life, was born at Frankfort in 1628, 
and died in 1683. He was a disciple of George 
Flegel or Vlughels, whose manner he adopted, 
though he far surpassed him. His subjects are 
usually vases filled with diiferent kinds of fruit or 
flowers, beautiful shells, books, and other table or- 
naments, which he always designed from nature. 
His pictures are highly finished and _ delicately 
colored, and are held in considerable estimation in 
his own country. 

MARCELLIS. Otho. a Dutch painter, born at 
Amsterdam in 1613. It is not known under 
whom he studied, but he acquired great celebrity 
by his excellence in a singular branch of the art. 
He painted curious plants, insects, serpents and 
other reptiles to the life, and finished them with 
extraordinary care. He painted everything from 
nature, and is said to have kept a museum of ser- 
pents, vipers, rare insects, exotics, and other curi- 
osities, which he copied with unexampled precision, 
and a wonderful beauty of penciling, so that his 
works were sought after not only in his own coun- 
try, but wherever he went; and they are still 
found in the choicest collections. He resided some 
time at Paris, and was greatly patronized by the 
Queen Mother, who magnificently rewarded him. 



MARC. 



518 



MARC. 



He afterwards went to Italy, and passed several 
years at Florence, Rome, and Naples, in all which 
cities his works were equally admired, and he was 
patronized by princes and nobles. Fuessli saj^s 
his real name was Snuffelaer. He signed many 
of his pictures O. Masseus. He died at Amster- 
dam in 1673. 

MARCENAY, Antoine de Ghuy, a French 
engraver, who flourished about 1760. He was 
one of the most successful imitators of the style 
of Rembrandt. He executed quite a number of 
portraits and other subjects, in which the dry 
point is used with remarkable dexterity. The 
following are his principal prints : 

PORTRAITS. 

Henry IV. of France ; after Janet. The Duke of Sul- 
ly ; after Porbus. The Chevalier Bayard. The Maid of 
Orleans. Viscount Turenne ; after Champagne. Prince 
Eugene ; ofter Kupetzki. Marshal Villers ; after Rigaud. 
General Paoli. Stanislaus Augustus, King of Poland ; after 
Bacierelli. Marshal Saxe ; after Liotard. The Portrait 
of Tintoretto ; after a picture by himself. A half-length 
of Rembrandt, with a Palette. 

VARIOUS SUBJECTS. 

Sun-set ; after Vernef. A View of the Sea-cast, with 
Fishermen ; do. A Land-storm ; after Vanuden. A 
Skirmish of Cavalry; after Par rocel. The Testament of 
Eudamidas ; after N. Poussin. Tobit recovering his 
Sight ; after Rembrandt. The Lady with the Pearl ; an 
oval, Avith the date 1768 ; a/i^er /?em&rar2rf^ The (lady) 
Gardener ; after G. /?ouw, with the date 1766 ; and others, 
to the number of sixty-six. 

MARCH, EsTEBAN, a Spanish painter who, ac- 
cording to Palomino, was a scholar of Pedro Or- 
rente. He painted history with reputation, but he 
was more celebrated for his battle-pieces, which 
are vigorously designed, and executed with a free 
pencil, and an effective style of coloring. His 
works are chiefly at Valencia and Madrid. In the 
former city is an altar-piece of the Last Supper, in 
the church of San Juan de Mercado, highly com- 
mended ; and in the Bueno Retiro a large picture 
of the Marriage at Cana, and one of his most capi- 
tal battle-pieces. He died at Valencia in 1660, at 
an advanced age. 

MARCH, Miguel, the son and scholar of the 
preceding, was born at Valencia in 1633. and died 
there in 1670. He imitated the style and subjects 
of his father, though he was greatly inferior to 
him. He executed some works for the churches 
at Valencia, among which his Death of St. Fran- 
cis, in the church of the Franciscans, is considered 
the best. 

E^/Vf^r/M orlWrorMARCHANT; 
L^ 1: I ^ X, ^ ^ -^Pierre, a French 
engraver who, according to Florent le Comte, flour- 
ished about 1577, and engraved both on wood and 
copper. Professor Christ also attributes to him 
some prints bearing the above monogram, dated 
1577. 

MARCHANT, J., an obscure English engraver, 
by whom there is a portrait of Mrs. Cibber, after 
Hudson, dated 1749. 

MARCHANT, Pierre, a French engraver, by 
whom there is a book of goldsmiths' ornaments, 
executed with the graver in a neat, free style, 
signed Petrus Marchant^fecit. 1623. 

MARCHELLI, Rolando, a Genoese painter, 
was born in 1664, and died in 1751. He studied 



under Carlo Maratti, and, according to Ratti, he 
possessed fine abilities, and executed a few excel- 
lent works ; but, having a very favorable oppor- 
tunity to engage in merchandise, he abandoned 
painting. 

MARCHESI, GiROLAMO da CoTiGNOLi, an 
Italian painter, born, according to Baruffaldi, in 
1480. at Cotignola in the Bolognese state. He 
studied under Francis Francia, and. accorcing to 
Vasari, was one of the most eminent portrait 
painters of the day. He also painted hist3ry, and 
there are a number of historical composi<ions by 
him at Bologna and elsewhere, which prove him 
worthy a high rank among the artists of his time. 
Lanzi mentions among his best works a picture in 
the possession of the Serviti at Pesaro. where the 
Virgin is seen on a throne, before which, in a kneel- 
ing posture, is the Marchesa Ginevra Sforza. with 
her son Constantinus II. The design L>f this work 
is somewhat dry, but the coloring is extremely 
agreeable, the draperies well disposed. He visit- 
ed Rome and Naples in the pontificate of Paul III., 
but did not gain any reputation in those cities, be- 
ing somewhat behind the times. Vasari says he 
died between the years 1534 and 15i9. 

MARCHESI, Giuseppe, called II Sansone, 
was born at Bologna in 1699. He first studied 
under Marc' Antonio Franceschini, and afterwards 
with Aureliano Milani. Lanzi says his style par- 
takes of both his master§. To the vigorous color- 
ing and bold foreshortening of his first instructor, 
whom he nearly approaches, he added the cor- 
rect design of Milani, and distinguished himself by 
many excellent works in the churches at Bologna 
and Rimini, among which some of the most ad- 
mired are the Birth of the Virgin, in the Madonna 
de Galleria ; the Resurrection, in the church of S. 
Croce at Bologna, painted in the grand style of 
Franceschini. Another fine picture is in the 
church of S. Pietro, representing St. Ambrose re- 
fusing the Emperor Theodosius the entrance of the 
Temple. The Martyrdom of St. Prisca, in the 
Cathedral at Rimini, is highly commended. It 
'•' is an altar-piece," says Lanzi, " of many and fine 
figures, and good tints, for which the St. Agnes 
of Domenichino supplied him with some ideas. 
He painted much for the Galleries, and among oth- 
er pieces, one representing the Four Seasons is re- 
puted among the best works of the modern Bo- 
lognese school." He died in 1771. 

MARCHESINI, Alessandro, a Veronese paint- 
er, born in 1664, and died in 1738. He first stud- 
ied under Biagio Falcieri, at Verona ; and at the 
age of sixteen went to Bologna, and became the 
pupil of Carlo Cignani, whose style he adopted. 
On his return to Verona he executed a few 
works for the churches of S. Biagio and La Madon- 
na dell a Seal a. He afterwards went to Venice, 
where he employed himself in painting easel pic- 
tures of historical and mythological subjects for 
private collections, with considerable success ; but 
Lanzi says he afterwards " addicted himself to 
those compositions as a trade, and despatched 
them with more facility than care." 

MARCHETTL Marco, sometimes called Mar- 
co daFaenza, from the place of his nativity. It 
is not known where he was born, or with whom 
he studied, but he flourished at Rome, in the pon- 
tificate of Gregory XIII., and greatly distinguish- 



MARC. 



519 



MARC. 



ed himself. Vasari says " he was particularly ex- 
perienced in regard to frescos ; bold, decided, and 
terrible ; and especially in the practice and man- 
ner of drawing grotesques, not having any rival 
there equal to him. He succeeded Sabbatini in the 
works of Gregory XIII. He decorated the loggia 
of the Vatican with small sculptured histories, 
decorated with beautiful grotesque and arabesque 
ornaments. Such is his Murder of the Innocents, 
'• which," saj^s Lanzi, " are full of spirit and ele- 
gance, and are his best works. His figures form 
a school for design. In the church of the Trinita 
de' Monti, he painted a series of pictures of the 
Life of St. Francis di Paola. His masterpiece is 
the Feast of Christ in the house of the Pharisee, 
in the Communal Collection. He afterwards en- 
tered the service of Cosmo I. of Florence, for 
whom he decorated the Palazzo Vecchio. He 
died in 1588. 

MARCHI, Giuseppe Filippo Liberati, a na- 
tive of Rome, who studied with Reynolds in that 
city, and afterwards accompanied him to England. 
Failing to meet with any encouragement, he 
continued with that master until his death in 
1792, and i-endered him much assistance in paint- 
ing draperies, and forwarding his numerous pic- 
tures. Marchi had little energ3^ and could never 
have risen above mediocrity. He engraved a few 
plates in mezzotinto from portraits of Sir Joshua. 
He died in 1808. 

MARCHIONE, an Italian sculptor and archi- 
tect, was a native of Arezzo in Tuscany, and flour- 
ished in the 13th century. He was chosen by 
Pope Innocent HI., to erect the church of S. Spir- 
ito in Sassia at Rome, afterwards rebuilt by Paul 
III. ; the church of S. Sylvestro ; the Tower of 
the Conti ; and in S. Maria Maggiore the chapel 
of the Presepio, afterwards restored by Sextus V. 
At Arezzo he erected the parish church and bell- 
tower. The fa9ade of this edifice had three orders 
of columns, and was redundant in fanciful orna- 
ment, devoid of taste. 

MARCHIONE. Carlo, a talented Italian sculp- 
tor and architect, born at Rome in 1704. He at- 
tained a high reputation, and was employed to ex- 
ecute a number of works at Rome and Siena. His 
principal work in sculpture is the mausoleum of 
Benedict XIIT.. in the church del1a Minerva. As 
an architect he erected, among other works, the 
Albano palace at Rome, and the new sacristy of 
St. Peter's. He had a remarkable talent for de- 
signing with the pen. and his sketches of scenes 
from low life are in request among amateurs. He 
died at Rome, in 1780, greatly esteemed for his 
private character, as well as for his talents. 

MARCHIONI, La. a paintress of Rovigo, who 
flourished in that city about 1700. Lanzi says she 
possessed singular skill in flower painting, and is 
considered the Bernasconi of the Venetian school. 
Her works are found in the choicest collections of 
her native city. 

MARCHIS, Alessio de, a Neapolitan painter, 
who flourished about 1710. He imitated ihe style 
of Salvator Rosa, and painted landscapes, sea- 
ports, and conflagrations. His principal works 
are at Perugia and Urbino. Lanzi says that, in 
order to imitate nature with greater exactness in 
his conflagrations, he set fire to a barn at night for 
the purpose of study. Being detectedj he was 



sent to the galleys for some years, till he was re- 
leased by Pope Clement XL on account of his 
great abilities, who employed him in his palace at 
Urbino, which he adoi*ned with some of his choic- 
est works. One of his most celebrated pictures is 
the Destruction of Tro3^in the Palazzo Semproni. 
He died in 1742. 

MARCILLA, or MARSIGLIA, Guglielmo da. 
This painter was born at Marseilles in 1475. No- 
thing is known of his real name. According to 
Vasari. he was engaged in a fatal duel when young, 
and fled to the Dominicans for protection, and be- 
came a monk. He afterwards went to Italy, be- 
came a secular priest, and finally a citizen of Arez- 
zo, where he endeared himself to the people by his 
exemplary conduct and his talents as an artist, 
and was made prior of the convent. He excelled 
in painting on glass, and executed many works of 
this kind for the Cathedral and other churches of 
Arezzo, so beautifull}^ designed and colored that 
Lanzi says that they might '• excite the envy of 
much larger cities." To very good drawing and 
uncommon expression he jomed tints that partake 
of the emerald, the ruby, and of the oriental sap- 
phire, and when illuminated by the sun, exhibit 
all the brilliancy of the rainbow. They are so 
finely wrought with subjects from the New Testa- 
ment and other scriptural histories, that they 
seem to have reached the perfection of the art." 
Vasari, speaking of his Vocation of St. Matthew, 
in the great window of the Cathedral, as he saw 
it, says, •' it exhibits perspectives of temples and 
flights of steps, figures so finely composed, land- 
scapes so well executed, that one can hardly imag- 
ine they are glass, but rather something sent down 
from heaven for the delight of mankind." The 
fame of these works induced Pope Julius II. to 
invite him to Rome, for whom he executed some 
considerable works on glass, as well as some 
works in fresco. While at Rome he entirely 
changed his style in fresco painting b}'- studying 
the works of Michael Angelo, and on his return to 
Arezzo he painted the Four Evangelists in the 
dome of the Cathedral, and decorated the ceilings 
and arches of the same edifice with scriptural sub- 
jects in fresco, in the grand style of Angelo. 
Lanzi says, " his frescos at Rome seem the designs 
of the 14th century, while those at Arezzo appear 
the work of a modern. In design, he followed 
Angelo as near as he could, but his coloring is not 
so fine." There is great variation in authors as to 
the time of his birth and death, but Lanzi and Va- 
sari both say that he died at Arezzo in 1537, aged 
62 ; doubtless taken from authentic documents in 
his convent. (See the article Guillaume for the 
French account of this artist.) 

MARCOLA, Marco, a painter of Verona, was 
born in 1728, and died in 1790. Lanzi says he 
was a universal painter, of great fertility of inven- 
tion and rapid in his execution. His style is not 
given, nor is it known with whom he studied. 

MARCOLINI, Francesco, an Itahan wood en- 
graver, born at Forli about 1500. There is a book 
entitled E Giardino de Pensieri, illustrated with 
well executed wood cuts by hira, after designs by 
Giuseppe Porta, published at Forli in 1540. 

MARCONI, Marco, a painter of Como, who 
flourished about 1500. He was a good painter, 
and executed some works for the churches, much in 
the style of Giorgione. It is not known under 



MARC. 



520 



MARG. 



whom he studied, but it is supposed he was educa- 
ted at Venice. 

MARCONL Rocco, a painter of Treyigi, who 
flourished about 1505. Ridolfi classes him as a 
pupil of Raima, but Zanetti says he was one of 
the best disciples of Giovanni Bellini, which ac- 
cords with Lanzi. The last named author sa3^s 
" he excelled in accuracy of design, taste of color- 
ing and diligence of hand, though he is not suffi- 
ciently easy in his contours, and for the most part, 
exhibits a severity approaching to a plebeian coarse- 
ness of countenances." He executed many works 
for the churches and public edifices of his native 
city, the best of which is the Adulteress before 
Christ, in the Chapter of San Giorgio Maggiore, 
which is entirely in the style of Giorgione. There 
are several copies of this picture at San Pantaleo 
and other places, attributed to him. His easel 
pictures are quite numerous. Kugler in his Italy^ 
mentions two fine pictures by him at Venice, viz., 
an altar-piece, of Christ between two Angels, in 
the church S. S. Giovanni e Paolo, and the De- 
scent from the Cross, in the Academy. There is 
also a picture of The Supper at Emmaus, having 
his signature, and dated 1507, in the Museum at 
Berlin. There is a great difference in his works, 
and from the above it appears that he was not al- 
ways mean in his expression, and Lanzi himself 
says that his Adulteress before Christ is entire- 
ly in the stjie of Giorgione. 

MARCUARB, Robert Samuel, an English 
designer and engraver, born in 1751, and died in 
1792. He studied with Bartolozzi, and was con- 
sidered one of his best scholars. He died in the 
prime of life. He executed a few plates after the 
noted English painters of his time. 

MARCUCCl, Agostino, a native of Siena, born 
about 1570. who studied under the Caracci at Bo- 
logna, until a schism arose in that school, when he 
arrayed himself with the foremost adherents of Fac- 
cini, who had the boldness to set up a new Academy 
in opposi tion to the Caracci. He continued to reside 
at Bologna, and to teach till the time of his death. 
He executed some works for the churches, among 
which the Death of the Virgin in la Concezione, is 
higlily commended. Malvasia reckons him among 
" the first men " of that age. 

MARENT, Gio. Antonio, a Piedmontese paint- 
er, who studied under Baciccio, and flourished at 
Turin about 1680. where there are some of his 
works, which are highly commended in the Guida 
di Torino. 

MARESCALCO, Giovanni. SeeBuoNcoNsiGLi. 

MARESC ALCO, Pietro, a painter, whose birth 
place is uncertain, but who flourished at Feltre 
about the middle of the 16th century. He was 
surnamed Lo Spada (the sword), and Lanzi says 
that in the MS. history of Feltre, he is claimed as a 
native of that city. There is one of his altar-pieces 
in the nunnery of the Angeli at Feltre, signed Pe- 
trus Marescalcus P. ; a work of such merit as to 
entitle him to an honorable rank in art. 

MARESCOTTI, Bartolomeo, a Bolognese 
painter, brought up in the school of Guido Reni, 
whose st3de he endeavored to imitate. Lanzi 
says he was a corrupter of the Guido manner, 
rather than an imitator, and that he is scarcely 
worthy of notice ; still, he executed some works 
for the churches and public edifices at Bologna, 



among which are the Martyrdom of St. Barbara, 
in S. Martino Maggiore ; the Crowning of the Vir- 
gin, in S. Stefano; and the altar-piece of St. Sig- 
ismondo condemned to Death, in the church oif 
that saint. He died in 1630. 

MARGARITONE, d'Arezzo, an old Italian 
painter, sculptor and architect, born at Arezzo in 
1198, and died in 1275, according to Vasari, though 
there is considerable discrepancy among authors 
on this point. Lanzi saj's he died after 1289, aged 
77, and Zani places his birth in 1240, and death 
in 1317. It is agreed on all sides that he was 
born before Cimabue, who was born at Florence 
in 1240. He was a disciple and imitator of the 
Greeks. Vasari says he painted on canvass, and 
made the first discovery of a method to render his 
pictures more durable, and less liable to crack ; 
for this purpose he extended his canvass on panel, 
secured with strong glue, and covered the whole 
with a ground of gj^psum before he began to paint. 
He formed diadems and other ornaments of plaster, 
giving them relief by gilding and burnishing. Some 
of his Crucifixions on a gold ground are at Arezzo, 
and there is one in the church of the Holy Cross 
at Florence, near one by Cimabue. Lanzi says 
both are in the old manner, and not so different, 
but that Margaritone may be pronounced as well 
entitled to the name of a painter, as Cimabue. 

Margaritone practised sculpture and architecture, 
and executed, among other works, a marble statue 
for the mausoleum of Gregory X., who had died at 
Arezzo, on his way from Avignon to Rome. He 
decorated the chapel of that pope with his portrait 
and other paintings. He is said to have invented 
the art of gilding with leaf-gold upon Armenian 
bole. As an architect, he erected the governor's 
palace and the church of St. Ciriaco, at Ancona ; 
and was commissioned in his own city to execute 
a design of Lapo, for the cathedral ; but, accord- 
ing to Milizia, the building was nearly stopped, 
in consequence of the great expenditure of money 
in the wars between the Florentines and Argen- 
tines. During the latter part of his life, he had 
the mortification of finding his own credit dimin- 
ishing in proportion as that of other professors in- 
creased. He died in 1289. 

MARGHUCCI, GiACOMO, an Italian engraver, 
of an uncertain age, who executed some plates of 
antique statues and busts. 

MARI, Alessandro, a painter, born at Turin 
in 1650. He first studied under Domenico Piola, 
at Genoa, and afterwards went to Venice and be- 
came the pupil of Cav. Liberi. He then visited 
Bologna, and spent some time in the school of Lo- 
renzo Pasinelli, and, on leaving this master, paint- 
ed a few pictures for the churches, the most ad- 
mired of which is the Martyrdom of St. Sebastian, 
in the church of S. Barbaziano. He ultimately 
became a celebrated copyist, and a successful de- 
signer of capricci and symbolical representations, 
by which he gained great reputation at Milan, 
where he chiefly resided. He went to Spain, and 
died at Madrid in 1707. 

MARI, Antonio, a painter of Turin, some of 
whose works are mentioned in the Guida di Tori- 
no. Count Durando Villa, believes Alessandro 
and Antonio Mari to be the same. 

iVIARIA, Cav. Ercole, a Bolognese painter, 
sometimes called Ercolino di Guido, from his 
having been a favorite disciple of that master. 



MART, 



521 



MART. 



He imitated and copied the works of his instruct- 
or witli such precision, that Malvasia says he de- 
ceived the master himself, b}^ substituting his copy 
for the original. Lanzi says his master willingly 
employed him in multiplying his own designs, two 
of which copies, extremely beautiful, are still to be 
seen at Bologna, though they do not display the 
same freedom as others which he executed for in- 
dividuals at a more advanced age. In those there 
appears a decision and flow of his pencil which im- 
posed upon the best judges, — a talent that procured 
him admiration at Rome, and the patronage of 
Urban VIII,, who conferred on him the honor of 
knighthood. He died at Rome about 1640, in the 
flower of his life. 

MARIA, Francesco di, a Neapolitan painter, 
born in 1623, and died in 1690. He was a disci- 
ple of Domenichino, while that artist resided at 
Naples, and imitated his manner so closely that 
Dominici says his works command great pri- 
ces, and are bought by the inexperienced as the 
works of Domenichino. Lanzi says that he re- 
sembled his master in every quality except grace, 
which nature denied him. Hence Giordano said 
that "his figures were like a man whom con- 
sumption had reduced; the muscles and bones, 
might be correct and beautiful, but still insipid." 
Maria retorted by declaring the school of Gior- 
dano "heretical, and that he could not endure 
works that owe all their merit to ostentatious col- 
oring and vigorous design." His works are not 
numerous, but they are held in the highest esti- 
mation for their excellence, particularly his His- 
tory of St. Lorenzo at the Conventuali at Naples. 
He excelled in portraits, and Lanzi says that one 
of the latter being exhibited at Rome, together 
with one by Rubens, and one by Vandyck, the pre- 
ference was given by thejudges,NiccoloPoussin, Pi- 
etro da Cortona. and Andrea Sacchi, to that of Maria. 

MARIANI, Camillo, an Italian painter and 
sculptor, born at Vicenza in 1565. He devoted 
himself orginally to painting, but subsequently 
turned his attention to sculpture. The grand 
theatre of Vicenza, which had been partially erect- 
ed from the designs of Palladio, was completed 
about this time ; andMarianiwas commissioned to 
execute all the works of sculpture for its decora- 
tion. He afterwards traveled through Italy, and 
left in different cities proofs of his abilities in both 
arts. He finally settled at Rome, where his first 
productions were two figures in stucco for the 
church of St. John of Lateran ; and he subse- 
quently executed the colossal marble statues of 
the apostles St. Peter and St. Paul, which were 
admired by the connoisseurs. Among his other 
works, were eight colossal statues in stucco, in S. 
Bernardo de' Termini, characterized by great ele- 
vation of design. It seems that he continued the 
practice of painting during his whole life, and, ac- 
cording to Baglioni, excelled in easel pictures. He 
died at Rome in 1611. 

MARIANI, Do MEN I CO, a Milanese painter, who, 
according to Orlandi, flourished at Milan about 
the middle of the 17th century, where he prac- 
tised with considerable reputation, and established 
a school for the instruction of young artists. 

MARIANI, GiosEFFO, was the son and scholar 
of Domenico M. Lanzi says, he went to Bologna, 
where he greatly improved his manner, and dis- 
tinguished himself throughout Italy and Germany 



MARIANI, Gio. Maria. This painter was a 
native of Ascoli, and studied under Domenico 
Fiasella at the same time as Valerio Castelli, and 
in conjunction with the latter, distinguished him- 
self by several works in oil and fresco for the 
churches in that city. Lanzi says he painted in 
the Oratory of S. Jacopo, the Baptism of that 
saint, in competition with the chief of his cotem- 
poraries, and eclipsed them all, with the exception, 
perhaps, of Castiglione. He went to Rome, and 
was admitted into the Academy of St. Luke in 
1650. He acquired great celebrity, and his easel 
pictures were much sought after for the best col- 
lections at Rome, Genoa, and Florence. His Rape 
of the Sabines in the Florentine Gallery is highly 
esteemed. He repeated this picture on a more 
extended scale in the Palace Brignole. His works 
are rare, as he died young. 

MARIE, Rene Elizabeth. See Lepicie. 

MARIENHOF, A., a Dutch painter, born at Gor- 
cum in 1650. It is not known under whom he 
first studied, but Descamps says he passed the 
early part of his life in studying and copying the 
works of Rubens. He settled at Brussels, where 
he was much employed in copying the works of 
that master. He also painted small historical pic- 
tures, designed, touched, and colored in the man- 
ner of Rubens. The time of his death is uncertain, 
though Balkema places it in 1712. 

MARTESCHI, Michele, a Venetian artist, who 
excelled in painting architectural views and per- 
spective. He passed the greater part of his life in 
Germany, where he acquired great reputation. On 
his return to Venice, he painted the most remark- 
able views of that city, some of which he etched in 
a spirited and pleasing style. He died in 1743. 

MARTESCHI, Jacopo or Giacomo, was the 
son of the preceding, born at Venice in 1711. Af- 
ter being instructed in design and perspective by 
his father, he became the scholar of Gasparo Di- 
ziani to improve himself in drawing the human 
figure. He painted architectural subjects and 
views in Venice, in which he imitated the style of 
Canaletto so closely that his works are frequently 
taken by the inexperienced for those of that mas- 
ter. Lanzi commends his pictures, and says that 
he was a good figurist. Some of his works are 
in the Algarotti collection at Venice, with those of 
Canaletto and Francesco Guardi, another imitator, 
who painted with more freedom of touch than 
either Canaletto or Marieschi, He died in 1794. 

MARIETTE, Jean, an eminent French engrav- 
er and printseller, born at Paris in 1654. He 
studied drawing and design with J. B. Corneille, 
his brother-in-law, w>f h the intention of becoming 
a painter, but on application to Charles le Brun, 
by his advice, he devoted himself to engraving. He 
executed a great number of engravings, mostly vig- 
nettes and other book plates, some of them after his 
own designs ; but he engraved some large plates after 
the best masters, which possess considerable merit, 
though his drawing is not very correct. He wrought 
with both the point and the graver. He died in 
1742. The following are his best prints : 

The Descent from the Cross ; after le Brun. The An- 
gels ministering to Christ in the Desert ; do. St. Peter de- 
livered from Prison ; after Domenichino. Moses saved 
from the Nile ; after N. Poussin. Joseph making him- 
self known to bis Brethren ; after M. Corneille. Christ 



MAKI. 



522 



MART. 



curing the Paralytic ; do. St. Louis receiving the Com- 
munion , after J. B. Corneille. St. Louis received into 
Heaven ; do. 

MARIETTE, Pierre Jean, was the son of the 
preceding, and died at Paris in 1774. He was in- 
structed in the art by his father, who left him an 
ample fortune, and an extensive collection of prints 
and drawings, which, by continual additions, he 
rendered the most numerous and select of any 
private collection in Europe. For his amuse- 
ment, he etched a few places of landscapes after 
Guercino, and some heads and studies after Ca- 
racci and Pierino del Vaga. He also published 
a work in two vols, folio, illustrated with 250 en- 
gravings of antique gems, entitled Traite des Pier- 
res Gravies. 

MARIGNY, Michel, a French historical paint- 
er, born at Paris in 1797. and died there in 1829. 
He first studied under M. Lafont, afterwards under 
the Baron Gros. He acquired considerable reputa- 
tion, and executed several large works for the 
churches and public edifices at Paris and Rouen ; 
among which, his Moses as the Legislator, in the 
council-chamber at the Louvi-e, is highly commend- 
ed. Also his Wounded Soldier, his last produc- 
tion, which was exhibited at the Luxembourg in 
1830. 

MARILLIER, Clement Pierre, a French de- 
signer and engraver, born at Dijon in 1740. He 
studied painting under an artist of his native place, 
after which he visited Paris, and entered the school 
of Halle ; but being in narrow circumstances, he 
was compelled to devote himself to designing and 
engraving book illustrations. Possessing an ex- 
cellent acquaintance of his art, with great delicacy 
of taste, he soon attained eminence, and was much 
employed. He made designs for the Bible of Defer 
Maison Neuve ; two hundred designs for the Fa- 
bles of Dorat ; also many for the works of Pre- 
vost, de Roucher, and other authors. He designed 
and engraved in a spirited stj'-le, the landscapes for 
Les Voyages en France^ a Naples et en Grece, and 
for various other works. He died in 1808. 

MARIN, Joseph Charles, a French sculptor, 
born in 1773. In 1812, he drew the grand prize 
in sculpture, and visited Rome, from whence, about 
four years after, he sent a Sleeping Cupid, copied 
from the antique. On returning to France, Marin 
gained encouragement. Among his principal works 
was the colossal statue of Tourville, which deco- 
rated the Pont Louis XVI., now the Pont de la 
Concorde, and was subsequently transported to the 
court of the Chateau de Versailles. In 1819, he 
was commissioned to execute a statue of M. de 
Tourny, for the city of Bordeaux. During many 
years he discharged the duties of Professor of the 
School of Fine Arts at Lyons. He died at Paris 
in 1834. 

MARIN ALI, Horatio, an Italian sculptor, born 
in 1643, at Bassano, in the Venetian State. After 
acquiring considerable knowledge from his father, 
a reputable sculptor of Bassano, Marinali visited 
Venice, but finding the art in a comparatively low 
state in that city, he went to Rome, and studied 
under the best masters. In 1676. he returned to 
Venice, and executed for the church of the Augus- 
tini two statues of saints, and a bas-rehef of Christ 
bearing the Cross. In 1681, he was commissioned 
to execute a statue of St. Bassano, to be elevated 
on a column in the public square of his native city, 



which he completed by the assistance of his 
two brothers, mentioned in the succeeding article. 
Marinali then settled at Bassano, and was much 
employed. He executed many vi-orks for the 
churches and palaces of Venice, Vicenza, Padua. 
Verona and other cities. The sculptures in the 
beautiful gardens of Cornaro, called '• the Paradise," 
at Castelfranco, are by this artist. His works 
evince elevated genius and great facility of execu- 
tion. They are mostly of life size, characterized 
by considerable expression, lively attitudes, and 
an agreeable cast of the draperies. While en- 
gaged in executing a number of statues and bas- 
reliefs for the church of Monte Berico. he was at- 
tacked by sickness, and died in 1720. 

MARINALI, Francesco and Angelo, Italian 
sculptors, were brothers of the preceding, born at 
Bassano; the former in 1647; the latter in 1654. 
As they wrought almost entirely in concert with 
their brother Horatio, they attained but little dis- 
tinction. There are however, several works of 
merit, to which their names are attached. For 
minute information of these artists, consult Verci's 
Notizie sopra i pittori, gli scultori e gP intag- 
lialori, delle citta di Bassano, 8vo. Venice, 1775. 

MARINARI, Onorio, an Italian painter, born at 
Florence in 1627, and died there in 1 715. He was the 
cousin and disciple of Carlo Dolci, and for a long time 
imitated the finished and labored manner of that 
master so closely, that his pictures readily passed for 
the genuine works of Dolci, and it is supposed that 
many works in the public and private galleries of 
Europe, now attributed to Dolci, were really ex- 
ecuted by him. He afterwards formed a style of 
his own. more dignified, more ideal, and less con- 
strained, executed with a firm pencil, and his col- 
oring was life itself. He did not confine himself 
to saints and madonnas, but showed a high de- 
gree of merit in historical compositions, with an 
admirable chiaro-scuro. His principal works are 
in the churches of S. Maria Maggiore and S. Si- 
mone, at Florence. He also excelled in portraits. 
Two of his most charming pictures were the Judg- 
ment of Paris, and Diana and her Nymphs, now 
said to be in England. After the death of Carlo 
Dolci, he completed some of his unfinished pic- 
tures, not to their disadvantage. His known 
works are not numerous, though he was indus- 
trious, and lived to the great age of eighty-eight 
years. 

MARINAS, Henrique de las, a Spanish ma- 
rine painter, born at Cadiz in 1620. His real name 
is not known, nor that of his master ; but he obtain- 
ed great celebrity for his marines, storms at sea, 
sea views, sea-ports, &c., executed with great truth 
and beauty ; whence his name. His emlDarkations 
in the bay of his native city are highly commend- 
ed for their spirit and truth, for the transparency 
of the water, and the aerial perspective. He ac- 
quired an ample fortune, and traveled through 
Italy. He died at Rome in 1680. 

MARTNELLI, Girolamo, a "native of Assisi, 
who painted in 1630. There are some of his 
works in the church of S. Francesco at Perugia, 
as mentioned in the description of that church. 

MARINETTI, Antonio, called II Ohiozzot- 
To, from the place of his nativity. He studied at 
Venice, under Gio. Bat. Piazzetta, in whose style 
he painted, but with much more softness of 



MARI. 



523 



MARK. 



manner. He was a good artist, and flourished in 
the first part of the 18th century. 

MARTNI, Antonio, a painter of Padua who 
flourished about 1700. He chiefly painted land- 
scapes, which he executed in a grand and classical 
style. His works are to be found in the public 
and private collections of his native city, where 
they are highly esteemed. 

MARINI, Benedetto, a painter who flourishec^ 
at Urbino about 1625. According to Lanzi, he 
was one of the most distinguished scholars of 
Claudio Ridolfi, and on leaving that master, he 
went to Piacenza. where he distinguished himself 
by several altar-pieces and other subjects, for the 
churches, in which he united the style of Bar occio 
with the Lombard and Venetian. His most 
celebrated work is the Miracle of the Loaves in the 
Desert, painted in oil, in the refector}^ of the Con- 
ventuali, in 1625. This is an immense composi- 
tion, well grouped and well contrasted, and dis- 
plays uncommon powers. Lanzi does not hesitate 
to prefer him before his master, in grandeur of 
ideas and vigor of execution, though pei'haps infe- 
rior to him in the fundamental principles of the 
art; he says, also, that the history of his life and 
his works scattered abroad, in the neighborhood 
of Pavia and elsewhere, are worthy of research 
and commemoration. In the Oretti correspond- 
ence, written in 1777. in a letter from Andrea Za- 
noni to Prince Ercolani, Marini is classed as a 
scholar of Ferrau da Faenza, and Lanzi says there 
are many works by him in the style of that mas- 
ter. 

MARINI, Gig. Antonio, a Venetian artist who 
wrought in mosaic, after the designs of Salviati, 
Tintoretto, the younger Pal ma, and other eminent 
artists. He was a scholar of Bartolomeo Bozza, 
according to Zanetti, and flourished about 1600. 

MARTNI, N., a painter of San Severino, who 
flourished about 1700. He was a scholar of Cip- 
riano Divini, whom he surpassed. He executed 
some works for the churches in his native place, 
and obtained considerable celebrity. 

MARINUS^ Ignatius, a Flemish engraver, who 
flourished at Antwerp about 1630. Little is 
known of him, except some plates after the Flem- 
ish and Italian masters, engraved in a neat but 
singular style ; they ai-e executed entirely with 
the graver, with very delicate strokes crossing 
each other, with long dots in the intervening spa- 
ces. They are highly finished, but the drawing is 
not very correct, and the draperies are rather stiff. 
Fine impressions of his prints are nevertheless 
held in considerable estimation. The following 
are the principal : 

The Flight into Egypt ; a night-piece ; after _ Rubens. 
St. Ignatius curing the Diseased ; do. St. Francis Xavier 
resuscitating a Deiid Person ; do. The Adoration of the 
Shepherds ; after Jordaens. Christ hefore the High-priest 
Caiaphas ; do. The Martj'rdom of St. Apollonia ; do. 
Village Children forming a Concert ; after C. Sachtleven. 
1633. 

MARIO DA FIORL See Nuzzi. 

MARIOTTI, Gio. Battista, a Venetian paint- 
er, who probably studied under Antonio Balestra, 
when that artist resided and taught in Venice. 
At all events, Lanzi says he was an excellent imi- 
tator of his style. There are some of his works 
at Venice and Padua. He also etched some plates 



after his own designs and others, in a spirited 
and painter-like manner. He died about 1765. 

MARK. QuiNTiN, or Quirinus, a German en- 
graver, born at Littau in 1753, and died in 1811. 
He went to Vienna while young, and studied en- 
graving under Schmutzer. He rose to distinction, 
and was elected a member of the Imperial Acade- 
my. He engraved quite a number of plates, in a 
neat and pleasing style, of which the following are 
among the best : 

The Virgin and Infant, with St. John ; after L. Gior- 
dano. Susanna and the Elders ; after Rubens. Alexan- 
der and Diogenes ; do. Herodias with the Head of St. 
John ; after T. van Thulden. Cleopatra showing Augus- 
tus the Bust of Julius Ctissav; after P. Baitoni. Venus 
and Cupid asleep ; after Franceschini. The Amorous 
Miser ; after Braun. 1786. 

MARLET, Jean Henki. a French painter, born 
at Autun in 1771. He first studied in the Acade- 
my at Dijon, and afterwards with the Baron Reg- 
nault. His works are numerous, embracing a 
great variety of subjects, as history, poetiy. fancy, 
and portraits. He published some works in Li- 
thography, among which are Les Tableaux de 
Paris. He was living in 1831. 

MARLIANO, Andrea, a native of Pavia, who. 
according to Lamo, studied fainting under Bernar- 
dino Campi. He was a reputable artist, and exe- 
cuted some works for the church in his native 
city. He flourished in the latter part of the 16th 
century. 

MARLOW, M., an obscure English engraver, 
who lived about 1674, and executed some indiffer- 
ent plates for the booksellers. 

MARLOW, William, an English landscape 
painter and engraver, born in 1740. He studied 
with Samuel Scott, the marine painter. He paint- 
ed English scenery, usually views on the banks of 
the Thames, and in the neighborhoods of Rich- 
mond and Twickenham, in a pleasing manner, and 
sometimes approaching the st3'le of Wilson in 
his English subjects. He painted and etched some 
Italian views, which he marked Win. Marlow, F. 
S. A. He died in 1800. 

MARMION. Edmund, an English designer and 
engraver of little note, by whom there are some 
slight etchings of domestic subjects of ladies and 
gentlemen, from his own designs. He also engra- 
ved a few portraits for the booksellers. 

MARMITTA, Francesco, a painter of Parma, 
of whom there are notices from 1494 to 1506. 
He was esteemed an excellent artist in his time, 
and was the supposed master of Parmiggiano. 

MARMOOOHINI, Giovanna Cortesi, a Flo- 
rentine pain tress, born in 1670. Her tamily name 
was Cortesi. She studied first under Livio Mehus, 
and afterwards Pietro Dandini. She showed so 
much talent that the Grand Duchess took her un- 
der her protection, and had her instructed in mini- 
ature painting by Ippolito Galantini, in which she 
became eminent, and found abundant patronage at 
the court. Her likenesses were striking and life- 
like, her coloring pleasing and natural, and her 
pencilling very neat and delicate. She usually 
worked in oil, but she painted equally well with 
crayons, and gave to those pieces all the warmth 
and tenderness of life. She died in 1736. 

MARMOLEJA, Pedro de Villegas, a Span- 
ish painter ; born, according to Bermudez, at Se- 



MARN. 



524 



MARO. 



ville, in 1520. It is not known under whom he 
studied in his own country ; but he went to Italy 
for improvement, where he made the works of 
RafFaelle his especial study, and formed on them a 
grand style of design, which has led some authors 
to assert that he was a pupil of that great master, 
whereas RafFaelle died the same year in which 
Marmoleja was born. On his return to Seville he 
acquired great distinction, and executed many 
works for the churches and public edifices, espe- 
cially in the Cathedral and the Hospital of San 
Lazaro, which are said to be distinguished for 
grandeur of design, beauty and symmetry of the 
figures, and dignity of character. Bermudez ranks 
him among the greatest artists of his country. 
He died at Seville in 1599. 

MARNE, Louis Antoine de, a French engra- 
ver, born at Paris in 1673. Little is known of 
his personal history, but he attained sufficient dis- 
tinction to be appointed engraver to the king. He 
is chiefly known by his work entitled Histoire sa- 
cree de la Providence. Paris, 1728, 3 vols., 4to. 
in five hundred plates of subjects from the Old and 
New Testaments, after Raffaelle and other mas- 
ters. In the Cabinet of the Duke de Valliere was 
a collection of one hundred designs by de Marne, 
entitled Les Belles Statues de Rom.e^ copied ver};- 
coT-rectlj^ from the antique. The Biographie 
Umverselle notices de Marne as an architect, but 
does not mention any of his works. He died in 
1755. 

MARNE. Jean Louis. See Demarne. 

MAROLI. DoMENico, a Sicilian painter, born at 
Messina in 1612. He studied at Messina, under 
Antonio Ricci, called II Barbalunga, and on leaving 
the school of that master went to Venice, where 
he resided several years and studied diligently the 
works of the best masters, and acquired considera- 
ble reputation for his pastoral and rural subjects. 
He was intimate with Boschini, who extols him as 
a new Bassano, and as a specimen of his talent, 
inserted in his '" Carta del Nevega" an engraving 
after one of his designs. It represents a beautiful 
landscape, a shepherd with his flocks, several 
cows, and a dog, forcibly and beautifully drawn, 
and is one of the best designs in the work. On 
his return to Messina, he did not confine himself 
to these subjects, but devoted at least a part of 
his time to painting sacred subjects, in which he 
showed himself an accomplished artist in that 
branch. He painted some excellent works for the 
churches in that city, which are highly commend- 
ed for beauty of design, freshness of color, del- 
icacy of tints, and for the dignity of his heads, 
which are full of expression and character. Such 
are his pictures of the Martyrdom of St. Placido, 
in the church of S. Paolo ; and the Nativity, in 
the Chiesa della Grotta. This eminent painter 
was killed during the revolution in Sicily, in 1674. 

MARON, Theresa Mengs da. a sister of the 
celebrated Antonio Raffaelle Mengs, was born at 
Auszig, in Bohemia, in 1726. and died at Rome in 
1806. She showed great talents, even in her 
youth, and excelled in enamel, crayon, and minia- 
ture painting. She exercised her talents in full 
vigor till her death, at the great age of 80 years. 
She was the wife of the Cavaliere Maron, an emi- 
nent Italian artist. See Mengs. 

MARONE, Jag PC, an Italian painter, and a 



native of Alessandria, who flourished at Genoa 
about 1480. Little is known of him. Lanzi says 
there is an altar-piece by him in the church of S. 
Jacopo at Savona, painted in distemper in several 
compartments, in the midst of which is a Nativi- 
ty in a landscape, conducted with exquisite care in 
every part. In the church of S. Brigida at Ge- 
noa are two beautiful altar-pieces by the same 
artist, dated 1481 and 1484. 

MAROT, Jean, a French architect and engra- 
ver, born at Paris in 1620. He applied himself 
more particularly to the theory than to the prac- 
tice of his art, but was employed to design several 
important works, among which were the facade of 
the church des Feuillantines, of the Faubourg St. 
Jacques ; the Hotel de Mortemart ; and the fa- 
9ade of the Hotel de Pussort. He was appointed 
architect to the king, and with many other art- 
ists presented a plan for the facade of the Louvre. 
In concert with his son, Daniel M., he published in 
1691 a collection of two hundred plates of the 
plans of different edifices, ancient and modern. 
The same plates were afterwards reprinted by 
Mariette, under the title of JU Architecture Fran- 
caise. Marot also engraved several plates for the 
great cabinet of the King of France. He died 
about 1697. The following are his principal 
prints : 

A set of thirteen plates of Churches and public edifices 
at Paris ; designed and engraved after their measurement 
by J. Marot. A second set of twelve plates of the same. 
Twenty-one plates of Views of the Chateau de Richelieu. 
The Plans and Elevations of the Louvre ; three plates. 
The Plans and Views of the Chateau de Vincennes ; three 
plates. The Plan and Elevation of the Chateau de Ma- 
drid ; two plates. 

MAROT, Daniel, a French architect and en- 
graver, the son of the preceding, was born at Pa- 
ris about 1660. He studied under his father, and 
assisted him in his works ; but after the revoca- 
tion of the Edict of Nantes, he quitted France for 
Holland, where he gained considerable distinction, 
and was appointed architect to William, Prince of 
Orange, whom he accompanied to England, j^fter 
the death of William III., Marot returned to Hol- 
land, and in 1712 pubhshed his Recueil d'' Archi- 
tecture. A number of his plates, with some by 
his father, were published at Paris under the title 
of Recueil des planches des Sieurs Marot. pere at 
Jils. The following are his principal prints: 

The great Fair at the Hague, with the Burghers under 
arms, saluting the Prince and Princess of Orange ; in two 
sheets. The great Fair at Amsterdam, with the Citizens 
under Arms. The Festival of the Birthday of the Prince 
of Orange. 1686. The Interior of the Audience-chamber 
at the Hague. A perspective View of Voorst. 

MAROT, rRAN90is, a reputable French painter, 
born at Paris in 1667. He studied under Charles 
de la Fosse, and painted historj?- in the style of that 
master. Among other excellent works by him, is 
a picture of Christ appearing to Mary, in the 
church of Notre Dame. He was chosen a Royal 
Academician in 1702, and died in 1719. 

MARQUEZ, Esteban, a Spanish histori'jal 
painter, born at Estremadura, and. according to 
Bermudez, studied under his uncle, Joya Fernan- 
do Marquez, at Seville, who followed the school 
of Murillo. His instructor dying young, and be- 
ing thrown upon his own resources, he engaged 
himself in an establishment where pictures were 
manufactured to export to America, but not hav- 



MARQ. 



525 



MARS. 



ing had sufficient practice and experience in that 
sort of work, he became the butt of his companions, 
so that he became disgusted, quitted Seville, and 
returned to his native place. He afterwards re- 
turned to Seville, where by close application in 
studying and copying the works of Murillo, he 
acquired a correctness of design and a knowledge 
of coloring that enabled him to imitate that mas- 
ter with considerable success. He executed some 
good works for the churches and public edifices in 
that city. He died in 1720. 

MARQUEZ, JoYA Fernando, a Spanish por- 
trait and historical painter, who followed the style 
of Murillo, and flourished at Seville from 1649 till 
his death in 1672. He was an excellent portrait 
painter" and his picture of Cardinal Spinola was 
engraved by van Goyen. 

MARRACCI, Giovanni, a painter born at Luc- 
ca in 1637. After acquiring the rudiments of de- 
sign under Pietro Paolini, he went to Rome at the 
age of fourteen, and entered the school of Pietro 
da Oortona. and before the age of twenty-five he 
had acquired considerable distinction as a histori- 
cal painter. He returned to Lucca, where he soon 
acquired distinction, and executed some works for 
the churches and convents. Lanzi says that '•' al- 
though little known beyond Lucca, he is reckoned 
one of the most eminent scholars and most suc- 
cessful imitators of Cortona, and merits this hon- 
or, either when he painted in fresco, as in the dome 
of S. Ignatius at San Giovanni, or when he 
wrought in oil, as in several pictures in the pos- 
session of the brotherhood of S. Lorenzo, in the 
church of S. Michele, and in other places." He 
died in 1704. 

MARRACCI, Ippolito, was a younger brother 
of the preceding, and studied under Giuseppe Ma- 
ria Metelli, at Bologna. Lanzi says he was a suc- 
cessful rival of his master, either when he painted 
by himself, as he did in the Rotunda at Lucca, or 
in conjunction with his brother. Time of his 
birth and death not recorded. 

MARREBECK, J., an engraver, probably a na- 
tive of Holland, who flourished about 1700, and 
engraved a few portraits in mezzo tinto. 

MARSHALL, William, an English engraver, 
who flourished in the first half of the 17th centu- 
ry, and is said to have practised the art upwards 
of forty years. He was wholly employed by the 
booksellers. He engraved a great number of 
plates, executed with the graver in a coarse, stiff, 
tasteless style, supposed to be after his own de- 
signs. His best prints are his portraits, and 
though indifferently executed, they are interesting 
on account of the personages they represent. The 
following are the principal : 

Sir Thomas IMore. Chancellor. Desiclerius Erasmus. 
William Cecil, Lord Burleigh. Robert Dudley, Earl of 
Leicester. Nicholas Pvidley, Bishop of Rochester. Lady 
Jane Grey. James I. William Camden, Historian, &c. 
William Shakspeare. Benjamin Jonson. Charles I. ; 
three prints. Francis, Lord Bacon. George Villiers, 
r>uke of Buckingham. Robert Devereux, Earl of Essex ; 
scarce. William Alexander, Earl of Stirling; do. Wil- 
liam Laud, Archbishop of Canterbury. Nathaniel Ber- 
nard, Rector of Ramenham ; scarce. Dr. Donne, when 18 
years of age. 1635, The Reverend Dr. John Taylor, The 
Reverend .John Sym. The Reverend Josia Shute. James, 
the first Duke of Hamilton. John Milton. James Shir- 
ley, Poet. Sir Robert Stapleton, Poet. 1646. Sir John 
Suckling, Poet. The Frontispiece to the Arcadian Prin- 



cess. 1635. The Frontispiece to the Evangelical Harmo- 
ny. The Frontispiece to Virgil's Works, by Ogilby. 1649. 

MARSIGLIA, GuGLiELMO. See Marcilla. 

MARSY, Balthasar and Gaspar. were bro- 
thers, and distinguished French sculptors, born at 
Cambray ; the former in 1624, and the latter in 
1628. They were instructed by their father, who 
was probably an artist of little note. In 1648, 
they visited Paris, and after remaining for some 
time in the employ of a wood carver, their talents 
were noticed by Sarrazin and Buj^ster, who en- 
gaged their assistance. Commissioned to execute 
the decorations of the Hotel de la Yrilliere (now 
the Bank of France. ) they acquitted themselves 
with great honor. For the Abbey of Montmar- 
tre they executed a statue of St. Denis, in alabas- 
ter, of life-size. At Versailles, however, they pro- 
duced their finest works, among which was a 
group of two Tritons watching the Steeds of Phoe- 
bus. Among their other productions* was the 
mausoleum of the king of Pologne Casimir, in the 
church of S. Germain des Pres, at Paris. Baltha- 
sar died in 1674, leaving his brother Gaspar, who 
afterwards executed a number of works for the 
Park of Versailles, and the bas-relief of the Porte 
St. Martin, representing Mars bearing the French 
Crown and pursuing an Eagle. Gaspar Marsy 
died in 1681. 

MARTEAU, Giles de, the Elder, a Flemish 
engraver, born at Liege in 1722. He went to Pa- 
ris while young, where he acquired considerable 
reputation as one of the most successful revivers 
of stipple engraving, which he brought to great 
perfection. He was elected a member of the Acad- 
emy of Paris in 1764. He engraved quite a num- 
ber of plates, most!}'' after eminent French mas- 
ters, among which are the following : 

The Portrait of C. Vanloo, painter. The Education of 
Cupid; after Boucher. Venus and Cupid; do. The 
Head of Heliodorus ; from a design hy Pierre ; after 
Rafaelle. The Bust of the Virgin; after Pierre. 'The 
Entombing of Christ ; after Stellaert. Justice protect- 
ing the Arts; after Cochin. Lycuvgus wounded by a 
Plebeian ; do, ; his reception plate. An allegorical sub- 
ject on the Death of the Dauphin ; do, A set of six 
Landscapes ; after J. Houel. 

MARTExiU, Giles de, the younger, was the 
nephew and pupil of the preceding, born at Liege 
about 1750, He engraved some plates in the style 
of his uncle, which possess considerable merit. 
Among others we have the following by him : In- 
nocent Pleasure, after Huet ; the favorite Lamb, 
do. ; two Hunting-pieces, du. ; Cupid crying, do. 

MiVRTELLI, Lorenzo. Lanzi says that the 
applause which Salvator Rosa received during his 
seven years' residence in Florence, induced many 
young men to cop}^ and imitate him, and among 
the most successful were Lorenzo Martelli and 
Taddeo Baldini. 

MARTEN A SIE. Peter, a Flemish engraver, 
born at Antwerp about 1730. He went to Paris, 
and studied under Jacques Philippe le Bas. He 
executed some prints, chiefly after the Flemish 
masters, among which are the Rape of the Sabines, 
after Rubens ; the Watering-Place, after Berg- 
hem ; and the Father of a Family, after Greuze. 

MARTIN. David, an English portrait painter 
and mezzo tinto engraver of little note, who flour- 
ished from about 1765 to about 1780. He en- 
graved a few portraits, among which is one of L. 



MART. 



526 



MART. 



F. Roubillac, sculptor, after A. Carpentiers ; 1765. 
Lady F. Manners, daughter of the Marquis of 
Granby. 1772. David Hume. J. J. Rousseau, 
after Ramsay. Dr. Franklinj from a half-length 
portrait by himself. 

MARTIN, Jean Baptiste, a French painter, 
born at Paris in 1659. His father was a contract- 
or of buildings, and placed him under Lahire, 
where he remained several years, and was then en- 
gaged as a draughtsman by Marshal Vauban. Af- 
ter the latter became sensible of the talents of 
Martin, he warmly recommended him to Louis 
XIV.. who placed him under Vandermeulen, the 
eminent painter of battles. At the death of the 
latter, he was appointed Director of the Gobelins, 
with a pension. He painted the battles in all the 
campaigns of the Grand Dauphin, and a part of 
those in which the King commanded in person. 
His numerous battle pieces in the chateau of Ver- 
sailles gained him the title of Martin des Ba- 
tailles. By order of Leopold, Duke of Lorraine, 
he executed twenty pictures of the principal events 
in the reign of Charles V., which were placed in 
the chateau of Luneville. He died at Paris in 
1735. 

MARTINELLI, Giovanni, a Florentine histo- 
rical painter, who flourished about the middle of 
the 17th century. Lanzi says historians do not 
allow him the praise to which his merits entitle 
him. There is a grand picture by this artist in 
the Florentine Gallery, representing Belshazzar's 
Feast, and in the church of S. Lucia de' Bardi, an- 
other fine picture of the Guardian Angel. His 
masterpiece is the Miracle of St. Anthony at the 
Conventuali di Pescia. 

MARTINELLI. Luca and Giulio, two bro- 
thers, who studied under Jacopo Bassano, whose 
style they adopted, and were esteemed excellent 
artists. They were natives of Bassano, and flour- 
ished in the latter part of the 16th century. 

MARTINELLI, DoxMEnico, an Italian architect, 
born at Lucca in 1650. He visited Rome, where 
he gained great distinction ; was appointed Keeper 
of the Academy of St. Luke, and public lecturer 
on perspective and architecture. He was invited 
to Vienna, where he designed a palace for the 
Prince of Lechstentein ; and he erected a number 
of bridges, fortifications, and palaces in various 
parts of Germany. According to Milizia, his 
works are characterized by symmetry, and evince 
an excellent judgment in the combination of an- 
cient solidity with modern elegance. His draw- 
ings in water-colors are much esteemed. He died 
in 1718. 

MxiRTTNET, a French lady who married the 
son of Nicholas Dupuis, and flourished about 
1760. Her father-in-law instructed her in the 
art of engraving, and among others by her hand is 
a large print of Venus and Adonis, after Bianchi. 
She had a brother, who was also an engraver, and 
executed some plates of vignettes, views, and an- 
imals for the booksellers. 

MARTINETTL Giovanni Battista, an Ital- 
ian architect, born at Bironico in 1764. At the 
age of eleven years he visited Bologna, where he 
found a generous protector in the Marquis Zam- 
beccari. After the completion of his course he set- 
tled in that city, and soon received several impor- 
tant commissions, the execution of which gained 



him great reputation. Among them are the Col- 
legio Montalto ; the Villa Ravona, erected for the 
Marquis Zambeccari ; and the magnificent Villa 
Aldini, on the hill called Adel Monte, near Bo- 
logna. Martinetti was appointed architect to the 
city ; and subsequently pontifical inspector of en- 
gineering. He was a member of many learned 
societies of Italy. He died in 1829. 

MARTINEZ, Ambrosio. a Spanish painter, 
born at Granada about 1630. He was educated in 
the school of Alonso Cano, and acquired conside- 
rable reputation as an historical painter. He exe- 
cuted some works for the churches and convents 
of his native city. His best works are in the 
church of the monastery of San Geronimo, and at 
the Carmelites. He died at Granada in 1674, in 
the prime of life. 

MARTINEZ, Sebastian, a Spanish historical 
painter, born at Jaen in 1602. According to Pa- 
lomino, he passed the early part of his life at Cor- 
dova, where he painted several works for the 
churches, particularly three altar-pieces in the con- 
vent of Corpus Christi, representing the Concep- 
tion of the Virgin, the Nativity, and St. Francisco 
di Assisi, which gained him much reputation. On 
the death of Velasquez he went to Madrid, and 
was appointed court painter by Philip IV. His 
best works are his cabinet pictures of historical 
and other subjects, which are to be found in the 
collections at Jaen, Cordova, Seville, and Madrid, 
where they are highly prized. He was also an 
excellent landscape painter. He died at Madrid in 
1667. 

MARTINEZ. See Mazo. 

MARTINEZ, Domingo, a Spanish historical 
painter, born about the end of the 17th century. 
He studied under an unknown painter, named 
Juan Antonio, whom he soon surpassed, and at- 
tained considerable reputation. His works poss- 
ess considerable merit, but are faulty in invention 
and composition ; and he supplied his lack of in- 
genuity by having recourse to his large collection 
of prints. Notwithstanding these defects, his pic- 
tures were quite popular at Seville, and may be 
seen in many of the churches. When King Philip 
visited that city, he commissioned IMartinez to ex- 
ecute a number of works, and he was promised the 
office of king's painter if he would go to Madrid, 
but he declined, preferi-ing to reside at Seville. 
Martinez deserves honorable mention for estab- 
lishing a School of Painters in his own house, and 
for devoting a portion of his fortune and talents 
to the education of young artists. He died irj 
1750. 

MARTINEZ, Gregorio, a Spanish painter, a 
native of Valladolicl, flourished towards the close 
of the 16th century. He painted landscapes with 
success, but attained more reputation for his small 
historical subjects. There is mentioned a charm- 
ing picture by him, on copper, representing the 
Virgin and Infant, with St. Joseph and St. Francis 
of Assisi, remarkable for its delicacy of tints. 

MARTINEZ, Jose, a Spanish historical painter, 
born at Saragossa in 1612. He visited Ital}^, and 
after studying at Rome for several ^years, he re- 
turned to Spain, and attained such distinction as 
to be appointed painter to the King in 1642. He 
painted a number of considerable works for the 
churches and convents of Saragossa, among which, 
Palomino mentions a series of pictures of the Life 



MART, 



527 



MART. 



our Saviour. His works are distinguished for 
beauty of coloring more than for the higher quah- 
ties of art. He engraved a portrait of Mathias Pie- 
dra, from a picture painted bj himself in 1681. He 
died in 1682. 

MxlRTINEZ, ToMMAso, a Spanish painter, born 
at Seville about the close of the 17th centui-y. He 
studied under Juan Siraone Guttierez. a disciple of 
Murillo. and followed the admirable style of the 
latter. For the convent de la Merced at Seville, 
he painted a most beautiful picture of a Mourning 
Mother, entirely in the style of Murillo, which by 
reason of its rare merit, was afterwards transfer- 
red to the Alcazar. 

MARTINEZ, Don Jose Luxan, or Luzan, a 
Spanish painter of history and portraits, born at 
Saragossa in 1710. Patronized by the noble fam- 
ily Pignatelli, he was sent to Naples, and studied 
for five years, gaining improvement from the great 
works of the Italian masters. On returning to 
Spain, he executed several works for his patrons, 
among which were the portraits of the family. In 
1741, he visited Madrid, having previously been 
appointed painter to the King. On returning to 
Saragossa, he was appointed Inspector of Paintings 
by the Inquisition. His pictures are characterized 
by facility of execution and harmony of coloring, 
as well as a good degree of excellence in invention, 
composition, and design. Many of them are in the 
churches' of Saragossa. Huesca. Calahorra, and Ca- 
latyud. Martinez established a successful school 
of design, from whence issued Bayeu, and many 
other artists who have gained distinction in the 
18th century. 

MARTINEZ, D., Bernardo, i>el Barranco, a 
Spanish painter, born in 1738, in the village of 
Cuesta. After acquiring a knowledge of the art 
at Madrid, he visited Italy in 1765, and spent some 
time in Turin. Parma, Naples, and Rome, studying 
particular! 3' the antique and the works of Correg- 
gio. After an absence of four years he returned 
to Spain, and in 1774 was chosen a member of 
the Academy of San Ferdinando. Antonio Mengs 
being at that time first painter to the King, and 
having the direction of all matters relating to the 
Fine Arts, confided to Martinez the execution of 
several important works. Among them were a 
portrait of King Charles III. ; and the Decollation 
of St. John, for the Academy of Painting, of which 
Martinez was one of the most zealous professors. 
He designed some of the figures for an edition of 
Don Quixote, published by the Academy, in 1788. 
He died in 1791. 

MARTINI, Giovanni, a painter of Udine, of 
whom there are notices from 1501 to 1515. Ac- 
cording to Yasari, he studied at the same time with 
Pellegiino di San Daniello, under Giovanni Bel- 
lini. There are some of his works in the churches 
at Udine. the best of which is his St. Mark, in the 
cathedral, painted in competition with Pellcgrino, 
which, in the opinion of Vasari. is little inferior to 
that master. 

MARTINI. Innogenzio, a reputable painter, 
who according to Affo, flourished at Parma about 
the middle of the 16th century. He painted some 
frescos in the churches of S. Giovanni and the Stec- 
cata. 

MARTINI, PiETRO Antonio, an Italian en- 
graver born at Parma in 1739. He went to Paris 



while young, and there etched some plates after 
Teniers and other Flemish artists, which were fin- 
ished with the graver by le Bas. He afterwards 
went to London, where he resided some time, and 
practised engraving. The following are the best : 

Ileliodorus driven from the Temple ; after Solimene. 
Christ driving the Mone3'-ehangcrs from the Temple ; do. 
Architectural Ruins ; after Robert. The Pleasures of 
Summer; after Vernet. A View of Spoletto ; do. A 
View of Porto Ercole ; do. A View of Avignon ; do. The 
Augurs ; after hSai Hosa ; etched by Martini, finished 
by le Bas. 

MARTINI, SiMONE. See Memmi. 

MARTINO, Bartolomeo di, an old painter of 
Siena, by whom there are some paintings in the 
churches of Siena, particularly one in the cathe- 
dral, representing the Translation of the body of 
St. Crescentius. dated 1405 ; and another fine pic- 
ture in S. Antonio Abate. 

MARTINO, Marco San, an Italian painter and 
engraver who flourished about 1680. There is 
some dispute whether he was a native of Venice 
or Naples. He is also variously called by wri- 
ters Sanmartino, Sanmarchi; and Guarienti di- 
vides him into two artists, Sanmariino. a Ven- 
etian painter, and Marco Sanmarchi^ a land- 
scape and figure painter much extolled by Malva- 
sia, who flourished at the same time as San Mar- 
tino. Bartsch settles the question by giving a 
description of thirty-three of his prints, many of 
them bearing his name Marco San Martino. Lan- 
zi says he resided at Rimini, where his pictures are 
frequently met with. He was more eminent for 
his landscapes, but he also painted subjects of a 
higher order, as his Baptism of Constantine, in the 
cathedral at Rimini, and St. John preaching in the 
Desert, in the College of S. Vincenzio, at Venice. 

MARTINOTTI. Evangelista, a Piedmontese 
painter, was born at Castel Monferrato in 1634. 
and died in 1694. According to Lanzi he studied 
under Salvator Rosa, and painted landscapes with 
small figures and animals in a style of great ex- 
cellence, in a manner partaking that of his master. 
His works are found in the collections of Turin, 
where they are highly esteemed. Lanzi mentions 
him as an historical painter, and commends his 
Baptism of Christ in the Cathedral of Casale. 

MARTINOTTI, Francesco, was a brother of 
the preceding, and also a disciple of Salvator Rosa, 
whose style he adopted. He painted landscapes 
and history. He died in 1674. 

MARTIRELLT. See Martoriello. 

MARTIS, or MARTINI, Ottaviano, a painter 
of Gubbio, who matriculated at Perugia in 1400, and 
was living in 1444. Lanzi says there is a fresco 
in the church of S. Maria Nuova, in his native city, 
dated 1403. which represents the Virgin surround- 
ed by a choir of Angels, certainly too much re- 
sembling each other, but in their forms and at- 
titudes, as graceful and pleasing as any cotem- 
porary productions. 

MARTORANA; Giovacchino, a Sicilian paint- 
er, who flourished at Palermo about the middle 
of the 18th ceutury. There are four large pic- 
tures by him, from the life of St. Benedict, in the 
chapel de' Crociferi, and S. Rosalia. 

MARTORIELLO. (sometimes mispelled MAR- 
TORELLI, or MARTIRELLI.) Gaetano, a Nea- 



MART. 



528 



MARU. 



politan painter, born about 1G70, and died in 1723. 
According to Dominici, he studied under Giacomo 
del Po. He first attempted historical painting, 
but not succeeding in this, he devoted his atten- 
tion to landscape painting, as better suited to his 
powers, and became the pupil of Niccola Massaro, 
a scholar of Salvator Rosa. He imitated Rosa in 
the romantic wUdness of his scenery, as well as in 
the figures he introduced to embellish his pic- 
tures. Lanzi says he " was a landscape painter of 
a free style, but often sketchy, and his coloring 
not true to nature," which criticism might be ap- 
plied to Rosa himself. 

MARTOS, Ivan Petrovituh, an eminent Rus- 
sian sculptor, born in 1755. at Itchnia, in Little 
Russia. He was munificently patronized by the 
Em];)ress Feodorowna, who sent him to Rome to 
study at the expense of government. His works 
are numerous, and among the most important ai-e, 
the bronze colossal group of the patriots Minim 
and Pozharsky, at Moscow ; the monument to the 
Emperor Alexander, at Taganrog ; the statue of 
the Duke of Richelieu, at Odessa; Potemkin's 
monument, at Cherson ;' and that erected in honor 
of Lonionosov, at Archangel. They are charac- 
terized by nobleness of conception, truth of expres- 
sion, and freedom of execution, devoid of negligence. 
In the draping of his figures he is esteemed supe- 
rior to Canova, and he had a particular talent in 
bas-reliefs. One of the most admired of these is that 
which adorns the monument of the Grand Duchess 
Helena Paulovna. representing Hymen extinguish- 
ing a torch. In the church of Grusino, are sev- 
eral statues of saints, executed by Martos. He was 
Counsellor of State, and Director of the Academy 
of Fine Ai-ts. at Petersburg. He died in 1835, aged 
eighty years. 

MARTSS. or MARSSEN, Jan, called de Jonge, 
a painter and engraver, who flourished about 1632. 
Little is known of him, except a few rare prints 
by him, engraved in a peculiar manner, which con- 
sists of short strokes, a little bent, and rarely 
crossed with counter strokes; the marks of the 
graver are but little apparent. Bartsch describes 
six prints of battles by him, and others are men- 
tioned by Brulliot and Nagler. Bartsch observes 
that he is learned in the ordonnance of his groups 
and skilful in his drawing; but his horses are not 
correctly designed, and their limbs are heavy, re- 
sembling those that are condemned in the prints 
of Peter de Laer. He marked his prints /. M. D. 
Jonge fecit, or J. M. D. J. fe. 

MARUCELLI, or MARUSOELLI, GiovANNr 
Stefano, an Italian painter, born, according to 
Baldinucci, in the province of Umbria. in 1586, 
and died in 1646. Others say he was a Florentine ; 
and, according to his epitaph, he died in 1656, aged 
seventy-two. He studied under Andrea Boscoli, 
at Florence, and soon distinguished himself, so that 
he was invited to Pisa to paint a grand altar-piece 
in the cathedral, which he executed in a manner 
that added to his reputation. Another admirable 
picture by him was one representing Abraham en- 
tertaining the Angels. It is said that he was more 
eminent as an architect and engineer, and that he 
invented many useful machines. 

MARUCELLI, Valerio, a reputable painter, 
who. according to Baldinucci, studied under Santo 
di Titi. and flourished about 1600. 



MARULLO, Giuseppe, a Neapolitan painter, 
was born at Casale d'Orta about 1620, and died 
at Naples in 1685. According to Dominici, he 
studied under Cav, Massimo Stanzioni, and was 
one of his ablest scholars. His best works ap- 
proach so near to his master in manner, that 
Lanzi says, artists themselves have sometimes 
ascribed them to Massimo, There are some of his 
best works in the churches at Naples, particularly 
in S. Severino. He afterwards changed his style 
of coloring for one of his own, so that he gradual- 
ly lost public favor, and there is a great difference 
in his works. Lanzi says his example may serve 
as a warning to every one, not to estimate his own 
powers too highly, and not to affect genius when 
he does not possess it. 

MARZI. or MAZZI, Ventura, a native of Ur- 
bino, who, according to Lazzari. studied under Fe- 
derigo Baroccio, and flourished there in the first 
half of the 17th century. He painted in the style 
of his master, but there is a great difference in his 
works. 

MARZIALE, IMarco, a Venetian painter, who, 
according to Lanzi, flourished from 1488 to 1506. 
He was a scholar, or at least an imitator of Gio- 
vanni Bellini. In the Conservatorio delle Peni- 
tenti, at Venice, is a picture of the Purification by 
him, signed Marcus Martialis Fenetus, 1488, and 
another of Christ with the Disciples at Emmaus, 
in the Contarini collection, dated 1506. 

MASACCIO. or MASO DI SAN GIOVANNL 
This great artist is reckoned one of the Fathers 
of Painting. His real name is no.t certainly known, 
though Zani says it was Tommaso Guidi. In his 
youth he was called Maso di San Giovanni, from 
the place of his nativity in the Florentine territo- 
ry ; and afterwards the name of jMasaccio was giv- 
en to him from his total disregard of all the com- 
forts and conveniences of life, while eagerly striving 
to improve himself, or deepl3^ engrossed in the st\;d- 
ies of his profession There is also a great deal of 
discrepancy as to the time of his birth and death, 
but Lanzi says he was born in 1401, and died in 
1443, which would seem to be near the truth. Va- 
sari says he was born in 1402, but does not men- 
tion the precise time of his death ; Baldinucci pla- 
ces his birth in 1417, and his death in 1443. — 
Landrino, the commentator on Dante, who was 
his cotemporary, says he died at the age of 26, and 
according to the inscription on his monument, he 
died in 1443, aged 26 ; others say ho died very 
young: It is probable that his monument was 
erected long after his death ; and it seems improba- 
ble that an artist could have gone through the dif- 
ficulties he had to encounter, executed so much, 
and acquired such distinction at the early age of 
26 years. He first studied under Masolino da Pa- 
nicale at Florence, and on the death of that mas- 
ter he finished some works left incomplete b}^ him 
in the chapel of S. Pietro al Carmine. He formed 
his principles by studjnng the works of Ghiberti 
and Donatella. He learned pei'spectiye from Filip- 
po Brunelleschi, and went to Rome to improve 
himself in design b}'- the study of the antique. 
He had a genius calculated to make an era in art, 
and he is regarded as the founder of a new style, 
characterized by the incipient grandeur of the Flo- 
rentine school. Mengs assigns to him the highest 
place among those who explored the untrod paths 
of art ; and Vasari says " what were executed be- 



MASA. 



529 



MASC. 



fore his time might be called paintings, but his 
pictures seem to live, they are so true and natu- 
ral" ; and in another place he adds, " no master 
of that age so nearly approached the moderns." 
He considered painting the art of representing na- 
ture truthfully, by the aid of design and coloring, 
and therefore made nature his constant studj'-. 
He was the first who removed the diflBcilties that 
impeded the progress of art, by judicious observa- 
tions, and by setting an example of their import- 
ance in his own works. He showed the beauty which 
arises from a proper and agreeable choice of atti- 
tudes and motions, and the grandeur which arises 
from a greater boldness and freedom of execution, 
and a better chiaro-scuro than had before been 
practised. He was also the first who studied to 
give his figures more dignity by draping them with 
broad, loose folds, instead of the multitude of 
small ones so commonly practised by preceding 
artists, and by adapting the color of his draperies 
to the tint of his carnations, so as to make them 
harmonize with each other. He was also skilled 
in perspective, as is seen in his picture of the An- 
nunciation in the church of S. Niccolo at Flo- 
rence, in which the eye is pleasingly deceived by 
the receding of different objects, in such a manner 
as to excite general admiration. 

Masaccio's earlier performances retain much of 
the dryness and stiffness that prevailed before his 
time. Such are his St. Anna in the church of S. 
Ambrogio at Florence, and his series of pictures 
of the Passion of our Saviour in the chapel of S. 
Caterina in the church of S. Clemente at Rome. 
But his celebrated frescos of scriptural subjects, 
in the church of S. Pietro del Carmine at Florence, 
are distinguished by a beauty and grandeur of 
style before unknown. Speaking of those works, 
Lanzi expresses his admiration by quoting Pliny, 
" Jam perfecta sunt omniay Mengs also says, 
'• the compositions are studied and judicious, the 
design daring but correct, the foreshortenings of 
his figures diversified and complete beyond those 
practised by Paolo Uccello. The air of the heads 
is in the style of Raffaelle (should be, the air of 
Raffaelle's heads is in the style of Masaccio, for he 
copied him) ; the expression is so managed that 
the mind seems no less forcibly depicted than the 
body. The anatomy of the figure is marked with 
truth and judgment. The figure so highly extol- 
led in the Baptism of St. Peter, which appears 
shivering with the cold, marks, as it were, a new 
era in art. The garments divested of minuteness 
present a few easy folds. The coloring is true, 
properly varied, delicate, and surprisingly harmo- 
nious, and the relief is in the grandest style." — 
His most celebrated work was Christ curing the 
Demoniacs. Vasari gives a long catalogue of 
painters and sculptors who formed their tastes 
and improved their arts by studying the works of 
this great master ; among them he enumerates 
Michael Angelo, Leonardo da Vinci, Pietro Peru- 
gino, Andrea del Sacchi, II Rosso, Pierino del 
Vaga, and Raffaelle. The last named artist was 
not ashamed to adopt largely from Masaccio's de- 
signs, and from them he took the figure of St. 
Paul preaching at Athens ; the figure of the same 
Saint chastising the sorcerer Elymas ; as well as 
that of Sergius Paiilus, and of another figure 
among the listeners, whose head is sunk on his 
breast, and his eyes shut, as though deeply wrapt 



in thought ; and for the Sacrifice of Lystra, he 
took the whole ceremony. 

Such was Masaccio — well, indeed, entitled to the 
appellation of a Father of Painting. His early life,at 
least, was one of privation, and he was remarkable 
for enthusiasm for his art.and untiring industry. He 
cared nothing for food, raiment, or luxuries, beyond 
the simplest wants of nature. His name, instead 
of being a reproach, is his glory. His works pro- 
cured him universal admiration; but the same 
merit which promoted his fame, excited envy, and 
he died deeply lamented by every lover of art, not 
without strong suspicion that some malignant de- 
mon had cut him off by poison. 

MASCAGNI, DoNATO, called Fra Arsenio, a 
Florentine painter, born in 1579, and one of the 
ablest scholars of Jacopo Ligozzi. Soon after 
leaving that master, he became a monk of the Or- 
der of the Servi, taking the name of Fra Arsenio, 
by which he is commonly known. He paint- 
ed some pictures for the churches of Florence, par- 
ticularly for that of his Order. His manner is 
rather distinguished for minuteness and precision 
than for grandeur of design or softness of color- 
ing. Lanzi commends his pictures of the Mira- 
cles in the Nunziata, but more especially one in 
the library of the monastery of his Order at Val- 
lombrosa. which he says " is a picture full of sub- 
ject, and the chief glorj^ of this master." It rep- 
resents, as some suppose, the donation of the state 
of Ferrara to the Holy See by the Countess Ma- 
tilda. He executed some easel pictures before he 
became a monk, which are found in the private col- 
lections at Florence. He died in 1636. 

MASCALL, Edward, an English portrait paint- 
er who flourished about 1650. He painted a por- 
trait of Oliver Cromwell, which was in the pos- 
session of the Duke of Chandos. 

MASCHERINO, Ottaviano, a Bolognese paint- 
er and architect, who visited Rome about 1572, in 
the time of Gregory XIII. He executed several 
pictures in the Vatican, among which was the 
Marriage at Cana ; but soon devoted himself en- 
tirely to architecture, and attained such eminence 
as to be appointed pontifical architect. To the 
palace at Monte Cavallo he added the portico at 
the extremity of the court, with the loggia, the 
small fa9ade of double pilasters, and the elliptical 
winding staircase. Among his other works were 
the palace now called the Monte della Pieta ; the 
church of S. Salvatore in Lauro ; and the fa9ades 
of La Scala and Santo Spirito. The latter work 
is particularly characterized by simplicity. Mas- 
cherino died at the age of 82, in the pontificate of 
Paul V. He was often honored by the Academy 
of St. Luke, to which he bequeathed all his designs 
and his wealth. 

MAS6. F. DE la, a French engraver of whom 
little is known. Mr. Strutt mentions a print by 
him, representing St. Jerome in a Cavern, after L. 
de la Hire, which he says proves him to have been 
an artist of ability. 

MASINI, Giuseppe, a Florentine painter, who 
flourished about 1658. He studied under Giacomo 
Chiavistelli, and assisted him in his works in the 
Ducal Gallery. He was chiefly employed in paint- 
ing for the cabinets. 

MASO. Di S. Fbiano. See Manzuoli. 



MASQ. 



530 



MASS. 



MASOLINO. DA Panicale. See Panicale. 

MASON, James, an eminent English engraver, 
born in 1710, and died in 1780. He enjijraved a 
large number of plates after Claude Lorraine, 
Gaspar Poussin, Swanevelt, Hobbema, Wilson, 
Lambert, Scott, and Zuccarelli, which are held in 
considerable esteem. Two of his best plates are 
the Landing of ^neas in Italy after Claude ; and 
Venus at the Bath, after Andrea Sacchi. He 
was much employed by Boj^dell. 

MASQUBLIER. Louis Joseph, a French en- 
graver, born at Cisoing in 1741, and died in 1811. 
He went to Paris, and studied under J. P. le Bas. 
and executed many plates in the neat, spirited 
style of his instructor. He engraved several plates 
of French victories, after Vernet and Monnet ; 
some of the plates for the Voyage of La Peyrouse ; 
many plates illustrative of the Metamorphoses of 
Ovid and the Fables and the Kisses of Dorat ; 
and, in conjunction with M. Nee. the work entitled 
Tableaux de la Suisse, consisting of two hundred 
and sixteen folio prints. He was also the director 
of the work entitled La Galerie de Florence, and 
engraved some of the plates. His works possess 
much merit, and the following are among the best : 

The Arrival of Voltaire in the Elysian Fields ; after le 
Barbier. An old Man kneeling near a Skull, called Dio- 
genes ; after G. Douw. A View in Flanders ; after Te- 
niers ; etched by Masquetler, and finished by Le Bas. 
A Landscape, with Cattle ; after P. Potter. A pair of 
Landscapes ; after Ruysdael ; by Masquelier and Le 
Bas. A View in Italy ; after Vernet, A Shipwreck ; c^o. 
Two Views of Ostend ; after le May. A Landscape, with 
a Waterfall; after Dietricy. 

MASQUELIER, Nicolas rRAN90!s Joseph, 
called the Younger, was a relative and scholar of 
the preceding. He was born at Lisle in 1760, and 
died in 1809. He wrought in the style of his in- 
structor, and his prints possess considerable merit. 
He engraved a number of plates for the Musee 
Robillard, among which are a Corps-du Garde, 
after Leduc ; Caesar at the Tomb of Alexander, 
after S. Bourdon ; Extreme Unction, after Jou- 
venet ; and Christ at the Column^ after Vouet. 
He also engraved some of the cameos and bas- 
reliefs for the Galerie de Florence. 

MASSA, D. Giovanni, a priest who flourished 
at Carpi about 1700. Lanzi says he excelled all 
other artists in works in scagliola, and produced 
some wonderful specimens of the art in his native 
city, and the adjunct places of Guastalla, Novel- 
lara, and elsewhere. He represented distant 
views, gardens, architectural designs, monuments, 
and altars, so as to reach the perfection of the 
art. The most dignified objects in Rome were 
the subjects he most delighted to introduce into 
his views, such as the facade of the temple of the 
Vatican, its colonnade, and its piazza. The Duke 
of Guastalla took singular pleasure in similar 
works, and at his desire Massa prepared those two 
little tables, so much praised by Tiraboschi. Lan- 
zi says " no objects appeared to him more remark- 
able than such works, abounding in almost every 
church throughout those parts, and it were to be 
desired that this plan of representing architectural 
views should become more frequent." See Del 
Conte. 

MASS ARD, Jean, an eminent French engraver, 
born at Belesme in 1740. He studied under J. 
G. Wille, and attained a high reputation. His 



plates are executed in the neat, finished style of 
his instructor, and are greatly admired, particu- 
larly his plates of the Family of Charles L, and 
the Beautiful Mother, after Vandyck ; the Death 
of Socrates, after David; also a number of plates 
after Raflfaelle, Domenichino, Cignani, and Rem- 
brandt. Several prints in the Galerie de Florence 
and the Musee of Filhol are also by him, Mas- 
sard was chosen a member of the Academy of 
Painting in the time of Louis XVI., and on the 
restoration of the Bourbons in 1814 he was ap- 
pointed engraver to the king. He died in 1822. 
Nagler mentions a number of his plates, among 
which are the following : 

portraits. 
The Family of Charles I. ; after Vandyck. Louia 
XVI. of France, when Dauphin. Marie-Antoinette, his 
consort. Nicholas de Livri, Bishop of Callini^iue ; after 
L. Toque. 

various subjects. 
The Virgin and Infant ; after Vandyck. Abraham and 
Hagar ; do. Eve presenting the forbidden Fruit to Adam ; 
after Cignani. The broken Pitcher; after Greuze. 
The Benevolent Lady ; do. 

MASS ARD, Jean Baptjste Raphael Ur- 
BAiN, the son and scholar of the preceding, was 
born at Paris in 1775. He studied design in the 
school of David. He was an excellent artist, and 
engraved many plates for the beautiful editions of 
Virgil and Racine, published hj Didot, and some 
of the plates for the Musee Robillard and Musee 
Francais. Among his most esteemed works are 
St. Cecilia, after Raffaelle ; Apollo and the Mu- 
ses, after Giidio /?oOTano,-Hippoci'atesrefusing the 
presents of Artaxerxes. He engraved many ex- 
cellent works, which entitle him to a high rank 
as an engraver. 

MASSARI, Lucio, a Bolognese painter, born in 
1569. He first studied under Bartolomeo Passe- 
rotti. and afterwards in the great school of the 
Caracci, at the same time as did Guido and Albano j 
and with the last named artist he formed a strict and 
lasting friendship. After leaving the Caracci, he 
M^ent to Rome to complete his education by the 
study of the antique, after which he returned to 
Bologna, where he settled, soon gained an es- 
tablished reputation, and executed some excellent 
works for the churches and pubhc edifices. His 
style nearest resembled that of Annibale Caracci. 
and he copied some of his works to admiration. 
Lanzi says there also shines in his countenances 
the spirit of his first master, Passerotti, and fre- 
quently the gracefulness of his dear friend Alba- 
no, whose society he enjoyed, both in his studio 
and at his villa, and in works undertaken in con- 
junction with him. His S. Gaetano at the Tea- 
tini is crowned with a glory of exquisitely grace- 
ful cherubs, that seem fi-om the hand of Albano. 
In point of beaut}'-, the Noli me Tangere at the 
Celestini, and the Nuptials of St. Catherine in S. 
Benedetto, are among his most esteemed pieces, to 
say nothing of his New Testament Histories at 
the Cortile of S. Michele in Bosco, where he left 
many very elegant specimens. Malvasia saj^s his 
Marriage of St. Catherine in the church of S. 
Benedetto, Christ appearing to Mary Magdalene 
in the Celestini. and two altar-pieces in S. Michele 
in Bosco, are so much in the manner of Annibale 
Caracci that they might readily be taken for the 
works of that master. In treating tragic sub- 



MASS. 



jects, he was less successful. Lanzi says, " al- 
though he had a real knowledge of art. he con- 
ducted them without that extreme study of fore- 
shortenings and naked parts of which others 
make such lavish display. Yet he showed noble 
clearness and decision, fine coloring, a grand spirit, 
enlivening them with light and graceful figures. 
Such is the Slaughter of the Innocents at the Bon- 
figliuoli palace, and Christ bearing the Cross at 
the Certosini — a most imposing production, from 
the number, variety, and expression of the figures, 
whose pictoric fire surpasses all we could 'mention 
from the hand of Albano." Massari also painted 
cabinet pictures of historical subjects in a style of 
excellence. He died in 1633. 

Mx4.SSAR0. XiccoLO, a Neapolitan painter, and 
scholar of Salvator Rosa. According to Dominici, he 
painted landscapes in the style of that master, adopt- 
ing his forms, and the sublime picturesque, more 
than his coloring, which was tame and insipid. 
He could not design the human figure well, so he 
employed Antonio de Simone. a painter of battle- 
piecss. to insert his figures. Lanzi says he was a 
good landscape painter. He died in 1704. 

MASSAROTTI. Angelo. a painter of Cremona, 
born in 1G55. He first studied under Agostino 
Bonisoli. in his native city, and afterwards went to 
Rome, where he became the scholar of Carlo Cesi. 
Though he resided many 5^ears at Rome, his woi'ks 
partake more of the Cremonese than the Ro- 
man school. He had little imagination, and there- 
fore introduced portraits, rather than ideal forms, 
into his pictures, and by this servile habit, fell 
somewhat into the faults of a mannerist. His 
draperies too. are sometimes heavy. Lanzi says 
'"he boasts a more rich and oily coloring than was 
then prevalent at Rome, which gives his pictures 
an appearance of freshness and roundness, while it 
adds to their preservation." He executed some 
works for the churches, the chief of which is a 
vast picture in the church of S. Agostino, repre- 
senting that saint distributing his regulations to 
his different orders. He died in 1723. 

MASSCEUS, or MASSEUS, Otho. See Mar- 

CELLIS. 

MASSE. Charles. See Mace. 

MASSE. JEA>f Baptiste, a French engraver and 
miniature painter, born at Paris, according to the 
Abbe Fontenai. on the 29th Dec. in 1687. and died 
26th Sept.. 1767; others says 1681, and 1752. 
Doubtless the first dates are correct. He distin- 
guished himself as an engraver, which procured his 
admission to the Academy at Paris. He also paint- 
ed portraits in miniature, with so much success that 
he made it his principal business. He was a cor- 
rect designer, and undertook the direction of that 
great work entitled La grande galerie de Ver- 
sailles et les deux saloiis qui V accompa.gnent. des- 
sinee par J. B. Masse et gravee par les meilleurs 
maitres du terns. Paris. 1752. This work consists 
of fifty-two immense plates, after the great works 
of le Brun, in the Royal Gallery at Versailles. 
Among others, he engraved the following plates : 

Mary de Meclicis, Queen of Henry IV. ; a frontispiece 
to the Luxembourg gallery; after Rubens. The portrait 
of Anthony Coypel, Painter ; after a picture by himself ; 
engraved by Masse for his reception at the Academy. 
Mercury sent by Venus to dispose Dido in favor of j^neas ; 
after J. Cotelle. Minerva showing the .Portrait of Louis 
XIV. ; after Rigaud and Coypel. 



531 MASS. 

MASSfi, Samuel, a French painter, born at 
Tours in 1671; he went to Paris, where he ac- 
quired distinction as a miniature painter, and died 
in 1753. 

MASSEl, GiROLAMO, a painter of Lucca, who, 
according to Baglioni. flourished at Rome in the 
pontificate of Paul V., where he executed many 
works for the churches and public edifices, among 
which the most noted are an altar-piece of the 
Martyrdom of St. Sebastian, in the church of S. 
Luigi de Francesi, and several pictures represent- 
ing the life and miracles of St. Francis in the 
Trinita de Monti. He was a correct designer, and 
an excellent coloi-isi. Lanzi says he was one of 
the artists who reflected a ray of honor on the age 
when the art had much declined from its former 
glory at Rome. No better proof can be required, 
than the flict that the Padre Ignazio Danti. an 
eminent des'gner and connoisseur, who had been 
selected by the pope as a fit person to conduct the 
works then going on at the '\'atican, that the best 
talent should be secured without favoritism, chose 
him as one of the artists to execute the works : and 
he was employed several years in decorating the 
chambers and loggie of the Vatican. He returned 
to his native place in his old age. to die in tran- 
quillity among his friends, and his death happened 
in the pontificate of Paul Y.. at the age of eighty. 

jMASST, D. Antoxio, a Bolognese painter and 
priest, who, according to Colucci. flourished at Bo- 
logna about 1580. and executed some works for 
the churches. None of his works are specified, 
but he was a reputable artist. 

MASSl, G., an Italian engraver, of whom little 
is known. Mr. Stuart mentions a portrait of Car- 
dinal Alaman Salviati, after P. Nelli. by him, 
dated 1730. 

MASSINI, C, an engraver, and probably paint- 
er, b}' whom there are some slight etchings exe- 
cuted in a free, painter-like style, without date. 

MASSON, FRAN901S. a French sculptor, born 
at Vieille Lyre, in Normandy, in 1745. He learn- 
ed the elements of design from a priest, and man- 
ifested such fine talents, that his elder brother 
placed him under Cousin, a sculptor of Pont Au- 
demer, who had studied under Nicolas Coustou. 
Masson made rapid progress, and executed two 
excellent medallion portraits of Marshal Bro- 
glie. and his brother, the Bishop of Noyon, which 
gained him the patronage of this family, who sent 
him to Paris to study under Guillaume Coustou. 
At the termination "of four year.s, Masson was 
commissioned by the Bishop of Noyon to execute 
a fountain for the Palace de I'Eveche. In two 
years it was completed, and pleased the prelate so 
highly, that he sent Masson to liaXj. and main- 
tained him at Rome for five years. By studying 
the noble remains of antiquity, he greatly im- 
proved his style, and on returning to France, was 
commissioned'^ by Marshal Broglie to decorate 
the government palace at Mentz, where he exe- 
cuted among other works, an immense bas-relief, 
forty- two feet in length, with figures of colossal 
size. When the revolution broke out, public 
works being suspended, Masson devoted his en- 
ergies to executing portraits in plaster and in 
marble, characterized by truth of resemblance, ad- 
mirable expression, and careful execution. He ex- 
ecuted the bust of Dufresne. from memory, after 



MASS. 



532 



MASS. 



death, and produced an excellent likeness. Among 
his other works, was a group of Hector tied to 
the Car of Achilles, exhibited in 1792 ; a monu- 
ment to Jean Jacques Rousseau, formerly in the 
garden of the Tuileries, but subsequently removed 
to the Luxembourg ; the statue of General Caffa- 
relli, executed in 1805 ; and a ver}^ beautiful statue 
representing Flora, or Youth, which was greatly 
admired, and after his death, was purchased by 
the government. Masson died in 1807. 

MASSON, Antoine, an eminent French en- 
graver, born near Orleans in 1636 ; die^l at Paris 
in 1700. He was bred to the business of an ar- 
morer, and first exercised the burin by engraving 
ornaments on steel. He visited Paris while young, 
and settled in that city, where he assiduously de- 
voted his energies to drawing, and gained consid- 
erable distinction in designing and painting por- 
traits. As an engraver, however, he gained much 
greater eminence, and some of his portraits have 
scarcely been surpassed. His plates are executed 
almost entirely with the graver, which he handled 
with surprising firmness and facility, and at the 
same time with the greatest delicacy. Among his 
historical plates, that of Christ with the Disciples at 
Emmaus, after Titian, usually called The Table 
Ctoth, may be considered a master-piece in that 
style. His portrait of Brisacier, termed the Gray- 
headed Man, is a most admirable work. The fol- 
lowing is a list of his principal prints : 

PORTRAITS. 

Anne of Austria, Queen of France ; after P. Mignard. 
Maria Theresa of Austria, Queen of France ; after N. 
Mignard. Maria Anne Victoria of Bavaria, Dauphiness. 
Louis Augustus, Duke du Mnine, ad vwum, sc John 
James de Mesmes, Count d'Avaux. 1683. Francis de 
Beauvilliers, Duke de St. Aignau. Francis Rouxelde Me- 
davi, Archbishop of Rouen. 1677. Maria de Lorraine, 
Duchess de Guise ; after N. Mignard. The Count 
D'Harcourt, called the Cadet de la perle ; after N. Mig- 
nard ; extremely fine. Nicholas de Lamoignon, Count de 
Courson. 1676. Jerome Bignon, Librarian to the King. 
1686. Denis Marin. Secretary to the King. 1672. Louis 
Verjus, Count de Crecy. 1679. Frederick William, Elector 
of Brandenbourg. 1633 ; scarce. Guido Patin, Med. Doct. ; 
engraved in a singular style ; rare. Charles Patin, his 
son, M. D. Francis Maria, Doge of Genoa 1685. Harr 
douin de Beaumont, Archbishop of Paris ; after N. Mig- 
nard. Emanuel Theodore, Duke d' Albert; do. Gaspar 
Charrier, Secretai-y to the King ; after Blanchet. Alex- 
ander du Puy, Marquis of St. Andre ; after de Seve. Lou- 
is. Duke de Vendome ; after P. Mignard. G. de Brisa- 
cier, Secretary to the Queen, called the Grey-headed Man ; 
very fine. Olivier le Fevre d'Ormesson, President of the 
Parliament. 1668 ; very fine. Peter Dupuis, Painter to 
the King ; after N. Mignard. Anthony Masson, engra- 
ver to the King ; se ipse fecit. 

The following heads, as large as hfe, though 
finely engraved, are less happy in the execution 
than the preceding portraits : 

Louis XIV. with a Hat; ad vivum fecit. 1687. Louis 
XIV. ; a large oval ; after C le Bran. Louis the Dau- 
phin, his son, with a Hat. Philip, Duke of Orleans. John 
Baptist Colbert, Prime Minister. 1677. Francis de Har- 
ley, Archbishop of Paris. 1684. Claude du Housset. 1681. 
Henry de la Tour d'Auvergne, Viscount de Turenne. — 
Nicholas Potier de Novion, President of the Parliament. 
1679. William de Lamoignon, President of the Parlia- 
ment. 1675. Charles Colbert, Marquis de Croissi; after 
H. Gascar. 



St. Jerome in Meditation ; Masson, sc. The Holy 
Family; after N. Mignard. Christ with the Pilgrims at 
Emmaus ; after Titian. This print is celebrated by the 
name of the Table-cloth ; very fine. The Assumption of 



the Virgin ; after Rubens ; fine and scarce. The Brazen 
Serpent ; do. ; in two sheets ; fine. 

MASSON, Magdalene, a French lady, the 
daughter of Antoine Masson, was bom at Paris 
about 1660. She studied under her father, and 
engraved several fine portraits, of life size, in the 
style of that master. Among them are the fol- 
lowing : 

Elizabeth Charlotte, Duchess of Orleans ; Mad. Mas- 
son, sc. Elizabeth of Orleans, Duchess of Alengon ; after 
P. Mignard. Maria Theresa of Austria, Queen of France ; 
after Hahert. Elizabeth Maria Josephine, Infanta of 
Spain. Victor Amedeus II., Duke of Savoy. Louis Hen- 
ry de Gondrin de Montespan ; after a picture by A. MaS' 
son. 

MASSONE, Giovanni, a native of Alessandria, 
who painted in the church erected by pope Sextus 
IV.. at Savona, about 1490, for the sepulture of his 
family. Little is known of him. Lanzi says that, 
although not mentioned in historj^. he must have 
been a distinguished artist to have received such a 
commission. The picture referred to is a small 
altar-piece, representing the Virgin, with pope 
Sextus, and Cardinal Giuliano his nephew, after- 
wards pope Julius II., kneeling at her feet. It is 
exquisitely executed, and the artist received 192 
gold ducats for his labor. 

MASTELLETTA, II. See Donducci. 

MASTROLEO, Giuseppe, a Neapolitan paint- 
er, who, according to Dominici, was born about 
1744. and studied under Paolo de' Matteis, and 
was his ablest scholar. He painted some works 
for the churches, and his master-piece is a picture 
of St. Erasmus, in the church of S. Maria Nuova, 
which is highly commended. Time of his death 
not recorded. 

MASTURZO, Marzio, a Neapolitan painter, 
who, according to Dominici, first studied under 
Falcone ; and afterwards, Salvator Rosa at Rome, 
and was one of his ablest scholars. He painted 
battle-pieces and landscapes in the style of Rosa. 
Lanzi says he is sometimes rather crude in his 
figures, rocks, and trunks of trees. His flesh tints 
are not painted like those of Rosa, as in those he 
followed Giuseppe Ribera. 

MASUCOI, Agostino, a painter, born at Rome 
in 1691. He studied under Carlo Maratti. and 
was the last pupil instructed by him. He painted 
Holy Famxilies, pictures of the Virgin, Madonnas, 
&c., in the serene and dignified style of his mas- 
ter, rather than one of affability and loveliness, 
though he sometimes adopted the latter, through 
intercession. Lanzi says he was a good fresco 
painter, and decorated an apartment in a summer 
house erected in the garden of the Quirinal by pope 
Benedict XIV. He painted many altar-pieces for 
the churches, and his angels and children are de- 
signed with great elegance and taste. His most 
celebrated works at Rome are a picture of St. Anna, 
in the church of II Nome S. S. di Maria, and the Holy 
Family, in S. Maria Maggiore. There is also an ad- 
mirable picture of St. Francis in the church of the 
Osserva.nti. at Macerata, and one of the Conception * 
in S. Benedetto, at Urbino, which he pronounced " a 
noble composition, full of fine portraits, (in which 
he was long considered the most celebrated paint- 
er in Rome) and finished with exquisite care. He 
died in 1758. 

MASUCOI, Lorenzo, was the son and scholar 
of the preceding. He painted in the style of his 



MASU. 



533 



MATH. 



father, but did not possess his merits, nor acquire 
much distinction. 

MASUCCIO, an old Neapolitan architect and 
sculptor, born in 1230. According to Milizia, he 
completed the Oastei Nuova, and S. Maria della 
Nuova. commenced by Giovanni da Pisa. He 
erected the archiepiscopal palace in the Gothic 
stA'le ; but evinced an improved taste in the 
church of S. Domenico Maggiore ; and a still bet- 
ter style in S. Giovanni Maggiore. Among tlie 
palaces erected by Masuccio, is that no^^ in the 
possession of the Princess of Colombrano. 

MASUCCIO, Stefan 0, called II Secondo, an 
Italian sculptor and architect, the scholar of the 
preceding, born at Naples in 1291. He visited 
Rome, and studied the monuments of antiquity, 
attaining a purity of style greatly surpassing his 
instructor. King Robert, of Naples, recalled him 
to that city, to erect the church of Santa Chiara ; 
but being prevented from immediately complying, 
the edifice was commenced in the Gothic style, 
which is greatly to be regretted. One of his pupils, 
Giacomo de' Sanctis, commenced the church of 
S. Maria delle Grazie, in the same manner, but 
Masuccio corrected its defects, as far as possible. 
He erected the church and monaster}' della Croce 
de' Palazzo ; the magnificent Carthusian monas- 
tery of San Martino ; and the Castle of San Elmo. 
Masuccio completed the church of S. Lorenzo, 
which had been commenced by his instructor ; 
erected the church of S. Giovanni at Carbonaro, 
and sculptured a number of tombs for that edifice. 
The bell-tower of Santa Chiara, is his work, and 
was intended as a specimen of the five orders of 
architecture, with five stories ; the first, Tuscan ; 
the second, Doric ; the third, Ionic ; the fourth, 
Corinthian ; the fifth Composite. Unfortunately, 
this grand tower was only erected to the third 
story. Masuccio died in 1388. 

T , Y MATH AM, James, 

Jy] '^ ^^ ^ A ^^ Jacob, an eminent 

JL I e/X<UlO. IV^L Dutch engraver, born 
at Haerlem in 1571. He studied under Henry 
Goltzius, married his daughter, and by his advice, 
went to Italy for improvement, where he resided 
some time, and executed some plates after the best 
masters. On his return to Holland, he executed 
a great variety and number of plates under the 
eye of Goltzius. He worked entirely with the 
graver, which he handled with great freedom and 
facility, though his design is somewhat incorrect. 
He sometimes marked his plates with the above 
monogram, of his initials, I. M. A., and at others, 
with his name. He died in 1631. The following 
is a list of his best plates, some of which are 
scarce and valuable : 

portraits. 

Philip "William, Prince of Orange ; after M. Mirevelt. 
Henry of Nassau, Prince of Orange. 1610. Bust of Phil- 
ip Winghius, inscribed Henricus Goltzius AmiciticB ergo 
delineabat Romae. Michel Angelus. Buonarotus. Abra- 
ham Bloemaert ; after Paul Moreelze. 

SUBJECTS after VARIOUS MASTERS. 

• The Holy Family with St. Anne ; after Rafaelle.— 
Mount Parnassus, vrith Apollo and the Muses ; do. The 
Holy Family, with St. Catherine ; after Titian. 1592. 
The Alliance of Venus with Bacchus and Ceres ; do. The 
Visitation of the Virgin ; after Salviati. Christ washing 
the Feet of his Disciples ; after Taddeo Zuccaro. Christ 
praying on the Mount ; do'. The JSTativity ; do. The As- 
sumption of the Virgin ; do. The Adoration of the Kings ; 
after Fed. Zuccaro. Christ curing the Sick'; c?o. Christ 



raising the "Widow's Son ; do. The Visitation of the "Vir- 
gin; after Paolo Veronese. 

SUBJECTS AFTER GOLTZIUS. 

The Fall of our first Parents. The Visitation of the Vir- 
gin to St. Elizabeth. The Crucifixion, with the Virgin 
and St. John. Christ appearing to Magdalene. 1602. 
Christ with the Disciples at Binmaus. The Loves of the 
Gods, Jupiter and Europa, Apollo and Leucothoe, Mars 
and Venu.=;, and Hercules andDejanira ; four plates. Per- 
seus and Andromeda. 1597. The Four Seasons; in four 
circular plates. 1589. Faith, Hope and Charity. 1590. 
The seven Cardinal Virtues ; in seven plates. The seven 
Mortal Sins ; in seven plates. The Type of Human Life ; 
in three plates ; scarce. 1592. 

SUBJECTS AFTER Gi-HIvIAN AND DUTCH MASTERS. 

Abraham sending away Hagar ; after Ah. Bloemaert. 
The Annunciation ; do. The Adoration of the Shepherds ; 
do. Jupiter and Danae ; do Cupid and Psyche ; do. 
Samson and Dalilah ; after Rubens. The dead Christ, 
with the Marys ; after Jer. Franck. The Crocifixion ; 
after Albert Durer ; scarce Venus .nsleep, surprised by 
Satyrs; after Rotfenhamer. A set of five prints of Fruit- 
pieces, and the Inte-iors of Kitchens ; after Peter van 
Aertsen, called Long Peter ; scarce. 

MATHAM. Theodore, was the son and scholar 
of the preceding, born at Haerlem. according to 
Nagler, in 1589. others say about IGOO. After en- 
graving a few plates nt home, he went to Italy, and 
entered the school of Cornelius Bloemaert ; and af- 
terwards, in conjunction with Michael Natalis. 
Renier de Pcrsyn, and others, he engraved the 
marbles in the Palazzo Giustiniani. On his re- 
turn to his native city, he engraved a considerable 
number of plates, executed with the graver, occa- 
sionalh^ assisted with the point, in a clear, free 
style. "^ He usually marked his plates T. M. fecit, 
or sculpsit. The following are the principal : 

PORTRAITS. 

Michael le Blon, Agent to the Crown of Sweden ; after 
Vandyck. Joost van de Vondel, Dutch Poet ; after San- 
drart. Vopiscus Fortunatus Plempius, Med. Doct. ; after 
Backer. D. Gerardus Vossius, Canonicus Cantuariensis ; 
after Sandrart. Philip William, Count Palatine of the 
Rhine; after J. Spilherg. Wolfgang William, Count 
Palatine : do. Stephen Vacht, Dean of Sarten ; do. — 
Claudius a Salmasi ; after Dubordieu. Henricus Regius, 
Med. Doct. ; after H. Bloemaert. D. Leonardu? Marius 
Goezanus, Professor Coloniensis ; after N. Aloyacrt. Gas- 
par Barloeus, Med. Doct. ; after Sandrart. 

SUBJECTS. 

The Virgin and Infant, with St. John ; after Bassano. 
The Holy Family; after J. Sandrart. Diana and Acte- 
on ; Th. Matham, 'fee. The Descent from the Cross, 
with the Marys, St. John, and Joseph of Arimathea ; after 
Gerardus Leydanus ; fine. 

MATHAM. Adrian, is supposed to have been 
the second son of .James iM.. born at Haerlem 
about 1600. He studied with his father, and en- 
graved part of the plates for the Academie de 
V Espee. published at Antwerp in 1G28. He also 
engraved some portraits, and a few plates of gro- 
tesque subjects. He worked entirely with the 
graver, in a style resembling that of J. de Gheyn 
the Elder, though much inferior to that artist. 
There is a good deal of discrepancy among Italian 
authors about these artists. Zani says that James 
M. had three sons; Jan, the eldest, a portrait 
]i?Lmter; Adrian, the second, and Theodore, the 
third, both engravers. Lanzi says that Theodore 
Matham, a native of Haerlem, was a portrait 
painter, and that he was employed at the court of 
Turin towards the close of the 16th century. The 
following are Adrian's best prints : 

PORTRAITS. 

James Graham, Marquis of Montrose. Peter Bor 



MATH. 



534 



MATS. 



Christiaensz, Historian ; after F. Hals, D. Sibrandus 
Sixtius Oistervirius ; after N. Moyaert, 

SUBJECTS. 

The Golden Age ; after H. GoUzius. 1620. An old 
Man caressing a Woman, to whom he presents his Purse ; 
do. Two Beggars, the Man playing on a Viol, the Woman 
singing ; after A. vander Venne. A Combat of six gro- 
tesque Figures ; do. 

MATHEUS, a French designer and engraver, 
who flourished at Paris about 1620. He was 
chiefly employed by the booksellers, and engraved 
some frontispieces and other book ornaments, in a 
neat, finished style, which possess considerable 
merit. They are mostly after his own designs. 
Among others, are the following by him : 

The Adoration of the Magi ; from lii» own designs. 
The Frontispiece to a General History of France : pub- 
lished at Paris in 1619. A Frontispiece to the Works of 
Thomas Aquinas. 1622. Another Frontispiece to tI mow ?-s 
d' Endimion et de la Lune. 1624. 

MATHEY, C, an English engraver of no note, 
by whom there is a portrait of Arcangelo Corelli. 
the Musician, after Howard. 

MATHIEU, or MATTHTEU, Pierre, a French 
painter, born at Dijon in 1657. He went to Paris, 
where he acquired considerable reputation as an 
historical painter, but his works are now little 
known or valued. He died at Paris in 1719. 

MATHYSSENS, Abraham, a Flemish painter, 
born at Antwerp in 1570. According to Descamps, 
he painted landscapes and history with reputation, 
and executed some works for the churches. In 
the cathedral at Antwerp, is a picture of the Death 
of the Virgin by him, and an altar-piece, repre- 
senting the Virgin and Infant, with St. Francis, in 
the church of the Recollets. He died at Antwerp 
in 1619. 

MATHIAS. Gabriel, an English painter, born 
about 1725. He went to Rome to complete his 
studies, and on his return to London practised the 
profession for some time, and for several years 
contributed to the Exhibition in the Strand. One 
of his pictures exhibited in 1761, representing a 
Sailor splicing a Rope, was engraved by Mac Ar- 
dell. Through the influence of his brother, Vin- 
cent M., a gentleman of distinction at court, he 
got an office in the royal household, when he aban- 
doned painting. He was afterwards appointed 
deputy paymaster in the Board of Works, and died 
at Acton in 1804. 

MATON, B., a Dutch painter of whom little is 
known, except that he was a copyist and imitator 
of Gerard Douw and William Mieris. He was 
very successful in copying the candle-light pieces 
of Douw, giving them great force and brilliancy, 
but less finish than the originals. His pictures 
are of small size, and painted on panel. They are 
found in the best collections in Holland, sometimes 
with his name, but generally where his pictures 
have changed hands, his liamehas been erased, and 
that of the painter imitated often substituted. 

MATSYS, METSYS, or MESSIS, Quintin, an 
eminent Flemish painter, born at Antwerp in 1450, 
and died there in 1529. Authors vary as to the 
minutiae of this artist's life, the truth of which 
is mixed up with a good deal of fiction and 
romance. Suffice it to say, here, that he was bred 
up to the trade of a blacksmith, or farrier, which 
business he followed till he was in his twentieth 
year. It is not known with certainty what caused 



him to abandon his devotion to Vulcan, and become 
a humble worshipper at the shrine of the Muses. 
Some say that the sight of some prints, others 
that his copying some prints for his amusement 
while confined by sickness, lit up the latent fire; 
and others that the ardent passion he bore for a 
blue-eyed lass whose cruel father, an artist, refused 
her hand to any one but a painter, inspired him. 
This last supposition is probably nearest the truth, 
as it is known that he married the daughter of an 
artist. This account of his conversion to art 
seems to be confirmed by the verses of Lampso- 
nius, affixed to Matsys' portrait engraved by Je- 
rome Cock ; and b^^ the inscription on his monu- 
ment in the Cathedral at Antwerp, Connubialis 
amor de Mulcihre fecit Apellem. It is not known 
under whom he studied, or whether he had any 
instructor, but it is highly probable, from the 
above account, that his intimacy with an artist's 
family first directed his attention to art, and that 
he received instruction from the artist whose 
daughter he married. At all events he possessed 
uncommon talents and genius, and became one of 
the most eminent artists of his time, in the dry, 
minute style prevalent at that period in his coun- 
try ; and it is believed that, had he enjoyed the 
advantages of travel in Italy, to study the antique 
and the works of the great masters, he would 
have become one of the most distinguished paint- 
ers of the Flemish school. His manner was pe- 
culiar, and unlike that of any other master ; and 
his pictures are strongly colored and highly fin- 
ished, though somewhat hard and dry. One of 
his most considerable works is an altar-piece with 
two folding doors, in the chapel of the Circumci- 
sion in the Cathedral at Antwerp. The centre 
picture represents the Dead Christ on the knees 
of the Virgin, with Mary Magdalene and other 
saints. On one of the doors is the Daughter of 
Herodias with the Head of the Baptist, and on 
the other St. John in the cauldron of boiling oil. 
Sir Joshua Reynolds thus describes this curious 
performance : '• In the Pieta the Christ appears 
starved to death, in which manner it was the cus- 
tom of the painters of that age always to repre- 
sent a dead Christ ; but there are heads in this 
picture not exceeded by Raffaelle, and indeed not 
unlike his manner of painting portraits, hard and 
minutely finished. The head of Herod, and that 
of a fat man near the Christ, are excellent. The 
painter's own portrait is here introduced. In the 
Banquet, the daughter is rather beautiful, but too 
skinny and lean." One of his most remarkable 
pictures, the Two Misers, is in the royal collection 
at Windsor, but there are others of the same sub- 
ject, in other collections. Matsys was also a me- 
dalist ; his most celebrated work of the kind is a 
medallion bust of Erasmus. There are some cu- 
rious iron vessels at Antwerp, Arschot, and in 
England, attributed to him ; probably they were 
executed by some other person from his designs. 
His works, about seventy in number, are widely 
scattered in the different collections in Europe, 
highly prized and much sought after for their un- 
ique character. 

MATSYS, John, was the son and scholar of the 
preceding, born at Antwerp about 1480. He paint- 
ed in the manner of his father, though he is said to 
be greatly inferior to him. Some of his best works 
are in the collections at Antwerp and Amsterdam. 
Van Mander mentions one of two Old Men count- 



MATS. 



535 



MATT. 



ing Money, which favorably compares with his fa- 
ther's works. Some of his pictures are certainly 
wrongly attributed to his father, so that it is evi- 
dent that historians and connoisseurs differ as to 
his real merits. 

MATSYS, or METENSIS, Cornelius, a Flem- 
ish engraver, who flourished at Antwerp about the 
middle of the 16th century. He executed a large 
number of plates, generally after his own designs, 
executed in a style somewhat resembling that of 
Francis de Babylone. Nagler gives a list of eighty- 
three prints by him. It is supposed he visited 
Italy, from the manner of his design and some of 
the subjects he engraved. It was a long time sup- 
posed that prints with this monogram were by two 
different engravers, the first by Matsys and the 
second by Metensis. but connoisseurs now consider 
them to be by one and the same artist. His prints 
are sometimes marked with one of his monograms, 
and at others with his name in full or its contrac- 
tions, as Cornelius Matsys or Metensis fecit, or 
Coim. or Cornel. Met. fee. Among others, the 
following are attributed to him : 

Mi"QA«(m-'(M. 

The Portrait of Ernest, Count de Mansfield, and his Avife 
Dorothea. The Cardinal Virtues. Portrait of Henry, 
King of England, with the date 1544. The Death of Cleo- 
patra. 1550. An old Man, with two old Women, one of 
whom holds a Basket of Eggs. 1549. Judith with the 
Head of Holofernes. 1539. A Battle ; after G. Penz. 
The Holy Family, with St. Elizabeth; after Rafaelle, 
Corn. Met. The Miraculous Draught of Fishes ; do. ; 
Cornel Met. fee. The Entombing of Christ ; after an 
etching by Parmiggiano. A set of Prints from the Old 
Testament ; on some of these he has put one of the above 
monograms, and also signed his name at length, Cornelius 
Matsys., fecit. They are dated 1549 and 1550. 

MATTETS, Paolo de, a Neapolitan painter, 
born in 1662, and died in 1728. According to Do- 
minici, he studied under Luca Giordano, and was 
his most celebrated scholar. But Pascoli reckons 
him among the best scholars of Morandi, an artist 
who might vie with the first of his age. He prob- 
ably studied first under Morandi, but his works 
partake more of the manner of Giordano. He ac- 
quired distinction ; was invited to Paris, where he 
resided three years, and obtained considerable ce- 
lebrity at the French court. He was next engaged 
by Pope Benedict XIII. to come to Rome, where 
he painted at the Minerva and the Ara Coeli. He 
was also employed in various other cities, particu- 
larly at Genoa, where there are two fine pictures 
by him in the church of S. Girolamo, one of 
which represents that Saint appearing to St. Sa- 
verio in a dream, and the other the Immaculate 
Conception, with a Choir of Angels, which Lanzi 
characterizes as an admirable production, " with 
figures as graceful as ever were painted." His 
principal residence was at Naples, where he dis- 
tinguished himself by numerous works in the 
churches and public edifices. Lanzi says "he 
there decorated with his frescos the churches, gal- 
leries, halls, and ceilings in great numbers, after 
reaching the celebrity without attaining the merit 
of his master (Giordano). It was his boast to have 
painted in sixty-six days the immense cupola of 
the Gesu Nuovo, (a few years since taken down in 
consequence of its dangerous state) ; a boast which, 
when Solimena heard, he sarcastically replied that 



the work declared the fact itself without his men- 
tioning it. Nevertheless, there were so many 
beauties in it, in the style of Lanfranco. that its 
rapid execution excited universal admiration. — 
When he worked with care, as in the Pii Operai, 
and in the Matalona Gallery, and in many pictures 
for individuals, he left nothing to desire in his 
compositions, in the grace of his contours, and in 
the beauty of his countenances, though there is 
little variety in the latter, or in any of the other 
estimable qualities of a painter. His coloring was 
at first Giordanesque ; afterwards he painted with 
more force of chiaro-scuro, but with a softness and 
delicacy of tint, particularly in his Madonnas and 
Children, in which he sometimes displays the 
sweetness of Albano, and a trace of the Roman 
school, in which he had also studied." 

MATTEUS, Cornelius, a Dutch painter and 
engraver, who flourished about 1637. Little is 
known of him. He painted landscapes and ani- 
mals, and there are a few spirited etchings of land- 
scapes by him, executed in a style resembling 
that of Herman Swanevelt. 

MATTHIEU. See Mathieu. 

MATTHIEU, Baldassare, a native of Ant- 
werp, who painted at Turin in 1656, and by 
whom, according to Lanzi, there is a highly prized 
Supper of our Lord, in the refectory of the Ere- 
mites at Turin. 

MATTIOLI, LoDovico, a Bolognese engraver, 
born in 1662. He first learned design in the 
school of Carlo Cignani, with the intention of be- 
coming a painter ; but having made some essays 
at etching, he showed so much talent that, by the 
advice of his master and others, he directed his 
attention to engraving. He executed a large num- 
ber of spirited etchings, after the best Bolognese 
masters, as well as some from his own designs. 
Bartsch and others mention upwards of one hun- 
dred and sixty prints by him. Among others are 
the following : 

The Annunciation; after Lod. Caracci; scarce. The 
Circumcision ; do. The Nativity ; after Agos. Caracci. 
Christ and the Woman of Samaria ; after An. Caracci. 
The Death of St. Joseph ; after F'^anceschini. The Pre- 
sentation in the Temple ; after G. M. Crespi. The Mar- 
tyrdom of St. Peter ; do. 

MATTIOLI, Girolamo, a Bolognese painter of 
the school of the Caracci, who flourished about 
1577. He executed some works for private houses 
of Bologna, particularly for the noble family of 
Zani. He is highly commended by Malvasia as 
an artist, enthusiastic in his profession, and of 
good abilities, but he died young. 

MATURING, an eminent Florentine painter, 
born in 1490. He was one of the favorite schol- 
ars of Raffaelle, and assisted him in decorating the 
Loggie of the Vatican. He was the intimate 
friend and partner of Polidoro da Caravaggio, with 
whom he applied himself diligently in studying 
the antique bassi-relievi, and other relics of Gre- 
cian sculpture, and became one of the most correct 
and graceful designers of his time. Lanzi says 
that he, in conjunction with Polidoro, •' filled Rome 
with the richest friezes, fa9ades, and ornaments 
over doors," most of which have perished from 
exposure. One of the most celebrated of their 
united works is the fable of Niobe and her Chil- 
dren, in the Maschera d'Oro at Rome, which Lan- 
zi says " has suffered less than any other of their 



MAUB. 



536 



MAUR. 



works from the ravages of time and the hand of 
the barbarian." Fortunately some of their most 
beautiful designs have been preserved by the prints 
of Cherubino Alberti and Santi Bartoli, who en- 
graved them before they perished. Maturino and 
Polidoro lived together, as inseparable in their af- 
fections as their labors ; they had the same taste 
of design, composition, and choice of subjects; and 
the ideas as well as the handling had so close a 
resemblance that it seemed impossible to deter- 
mine the pencil of one from the other in their uni- 
ted performances. No painters could design the 
ancient manners, customs, arms, vases, statues. &c., 
better than these artists ; and though they borrowed 
their hints from the most celebrated Grecian sculp- 
tors, yet they adopted them with so much taste 
that the antique style appeared wonderfully origi- 
nal in their compositions. The sacking of Rome 
in 1527 separated the two friends, and Maturino 
died soon after of the plague, as it is said, aged 37 
years ; which makes his death to happen in the 
same year. 

MAUBERT, James, supposed to be a French 
painter, who, according to Lord Orford, went over 
to England in the reign of George I. He distin- 
guished himself not only by taking the portraits 
of the living English poets, as Dryden. but by 
copjn'nir those of all the dead ones he could find. 
He died in 1746. 

MAUOOCTRT, Charles, a French mezzotint 
engraver, born at Paris about 1743. He went to 
London and executed some prints, among which is 
one of the Expulsion of the Jesuits from Spain, 
after his own design, and signed with his name. 
He died at London in 1768. 

MAUPERCHE, Henri, a French painter and 
engraver, born at Paris in 1606. He acquired con- 
siderable reputation as a painter, decorated several 
apartments in the palace at Fontainbleau with 
frescos, and was admitted into the Academy at 
Paris in 1655. He also painted landscapes, and 
etched a considerable number of plates after his 
own designs, and Swanevelt. Duinesnil enumer- 
ates fifty-one prints by him, man}^ of which he 
says have become scarce, on account of the extreme 
lightness of his point, which he did not strength- 
en by the aid of tb.e graver. The following are 
the principal. He died in 1686. 

A set of sixplafes of the History of Tobit. A set of 
six plates of the History of the Virgin, from the Annunci- 
ation till the Flight into Egypt. Twelve Landscapes ; 
after Hermann Swanevelt. Two plates of the Prodigal 
Son. Four Landsca.pe3, with Figures and Ruins. 

MAURERjJo.-JHUAjaSwiss painter in distemper, 
and more especially on glass, who flourished at 
Zurich in the middle of the 16th century. Little 
i.^ known of him. though he is said to have been 
an artist of considerable genius. 
yJ^ /J -. >^ MAURER, Christopher, 

^ /^Vg or A\/i ^^^s the son of the preceding, 

U V ^JJ^Yi. born at Zurich, in 1558. He 
was instructed in design by his father, and he af- 
terwards went to Strasburg, and studied under To- 
bias Stimmer, a fresco painter and wood engra- 
ver of distinction. He painted in distemper and 
on glass with reputation, but he distinguished him- 
self more as an engraver on wood and copper. In 
conjunction with Stimmer, he published a set of 
animals of the chase. He executed a set of wood- 
en cuts for the Bible, which are admired for their 



neatness. He also etched a set of forty plates of 
emblems, which were published after his death, 
entitled Emhlemata miscel. nova. &c. Zurich, 
1622. He sometimes marked his prints with the 
above monogram. He died at Zurich in 1614. 

MAURER, J., a Swiss engraver, who went to 
England about 1745. He engraved some views of 
buildings in London, which are neatly executed 
with the graver. 

MAYER, Mlle. Constance, a French paint- 
ress, who acquired considerable distinction by her 
portraits and fancy subjects, some of which ap- 
peared in the annual exhibitions at the Louvre, 
from 1800 to 1821. She is said to have had the 
advantage of instruction from Suvee, Greuze, and 
Prud'hon. Among her most popular works were, 
Venus and Cupid asleep, caressed by the Zephyrs ; 
the Torch of Venus ; Innocence between Love and 
Riches ; the Happy Mother; a young Naiad repel- 
inga troop of Lovers ; a Dream of Happiness, &c. 

MAYNO, GiDLio, a Piedmontese painter, who, 
according to Lanzi, was a native of Asti. and flour- 
ished at Turin from 1608 to 1627. He was a rep- 
utable artist. 

MAYNO. Juan Baptista, a Spanish painter, 
born at Toledo in 1594. He studied under Do- 
menico dalle Greche Teoscopoli, under whose able 
instruction he became an eminent artist. He 
joined the Monks of the order of Predicatores. or 
as others say, of St. Dominici, at a very youthful 
period, but this did not preclude the exercise of 
his genius, and he was reputed one of the ablest 
artists of his time and country. In the convent 
of San Pedro, at Toledo, there are four of his most ( 
esteemed works, viz., the Nativity, the Resurrec- 
tion, the Descent of the Holy Ghost, and the Mys- 
tery of the Trinity, and in the church of the same 
Order a fine picture, representing the Repentance 
of St. Peter. He had the honor of being drawing 
master to Philip IV., and also instructed him in 
painting, of which that monarch was a true lover 
and quite a proficient in the art. Philip also em- 
ployed Majmo to paint a battle-piece in his palace, 
the Bueno Retiro, a grand composition, in which 
he introduced the Duke d- Olivarez animating his 
troops to victory by showing them a portrait of 
their king. He died at Toledo in 1654. Stanley 
says he was born in 1569. and died in 1649, at the 
age of 80, but he does not cite his authority. 

MAZO. See Vermeyen. 

MAZO, Don Juan Baptista, or del Mazo 
Martinez, a Spanish painter, born at Madrid in I 
1620. He studied in the school of Velasquez, | 
whose daughter he married. According to Palo- 
mino, he was a general artist, and excelled equally 
in history, landscape, and portraits. He possessed 
an extraordinary talent for copying the works of 
the most eminent masters. Philip IV. employed 
him to copy the best works of the Venetian mas- 
ters, particularly of Titian, Veronese, and Tinto- 
retto, in the roj^al collection, which he performed 
with such surprising correctness in every particu- , 
lar that it was impossible to distinguish them from 
the originals. His landscapes are usually of a ; 
large size, and are considered by his countrymen as 
works of the highest merit. He died Feb. 10, 
1687, according to the inscription on his monu- 
ment, and not as Palomino says, in 1670. 

MAZOT, an obscure engraver of little note, by 



MAZZ. 



537 



MAZZ. 



whom there are some indifferent portraits, and 
among them one of Christian lY., King of Den- 
mark. 

MAZZ A, Damtano, a painter of Padua, who 
studied under Titian, whose style he imitated with 
great precision. Lanzi says he painted a few pic- 
tures for the churches in VcHice, executed in the 
manner of Titian, with strikmg power and relief. 
if not with much delicacy of hand. He died soon 
after his return to Padua, in the flower of life, and 
the only work he left there was a picture of Gan}^- 
mede borne away by the Eagle, in the Casa Sonica, 
a work of such exquisite beauty that it was at- 
tributed to Titian, and removed from the place. 

MAZZx^lNTI, Cav. LoDOvico, an Italian paint- 
er, born at Orvieto in 1674. He studied under 
Gio. Battista Gaulli. called Baccicio, and followed 
the style of that master. His reputation gained 
him an invitation to Naples, where he is said to 
have painted a number of pictures in concert with 
Solimena. According to Ratti, he attained suffi- 
cient distinction to be honored with the order of 
knighthood. He visited Rome, and painted many 
pictures, both in oil and in fresco, particularly in 
the church of S. Ignazio. Lanzi says that his tal- 
ents were not commanding, and that his abilities 
were inferior to his ambition. He died at Viterbo 
in 1766. 

MAZZAFORTE, M. Pietro da, an old painter 

who flourished at' Foligno about 1460. Lanzi 

says that in the church of S. Francesco di Oagli, 
[there exists a most beautiful composition, painted 
iby Pietro da Mazzaforte and Niccolo Deliberatore 

in 1461, for which they received one hundred and 
j fifteen gold ducats. 

I Mx4ZZAR0PPI, Marco, a Neapolitan painter 
I commended by Dominici, who was a native of S. 
' Germano, and flourished at Naples from 1590 to 
Uhe time of his death, in 1620, He painted land- 
' scapes and figures in an animated and natural 

style, with a pleasing tone of coloring, almost in 

the Flemish manner. 

MAZZELLT, Giovanni Marco, a celebrated 

worker in scagliola. who flourished at Carpi about 

1709. See Guido Fassi. 
MAZZI. See Marzi. 

MAZZIERI, Antonio di Donnino, a Floren- 
tine painter who flourished about 1520, and was 
the scholar of Francia Bigio. According to Va- 
sari, he distinguished himself as a painter of land- 
scapes aud battle-pieces. He was a man of fruit- 
ifal invention, a bold designer, and particularly ex- 
''|cellent in his horses. His w^orks also possess 
'^reat vigor and strength of coloring. 

AEAZZOCCHI, Paolo. SeeUccELLo. 
MAZZOLTNI, LoDovico. called Mazzolini di 
■krara. a painter born at Ferrara about 1481, 
1 1 a student of Lorenzo Costa. There is a great 
nfusion of names among Italian authors as ap- 
plied to this artist. Lanzi says he must not be 
iconfounded with Mazzolino (nosegay), an epithet 
■^applied b}' Lomazzo in his Idea del Tempio della 
%Pittii/ra, to Francesco Mazzuoli, as if in sport. 
' Yasavi calls him Malini ; another Marzolini ; and a 
third divides him into two painters, Malini and 
, r>Iazzol;ni. There is also much discrepancy as to 
,his real merits. Lanzi thus describes his manner, 
! after a careful examination of his best works : '' It 



displays an incredible degree of finish, sometimes 
appearing in his smallest pictures like miniature; 
while not only the landscape, but the architecture 
and the bassi-relievi are most carefully executed. 
There is a spirit and clearness in his heads to 
which few of his cotemporaries could attain, 
though they are wholly taken from life, and not 
remarkably select; in particular, those of his old 
men, which in the w^rinkles and the nose some- 
times border on caricature. The color is of a deep 
tone, not so soft as that of Ercole da Ferrara, with 
some gilding, even in the drapery, but sparingly 
applied." His works are scarce, and highly prized. 
In the church of S. Francesco at Bologna is one of 
his altar-pieces, representing Christ disputing with 
the Doctors ; in the Florentine Gallery a small 
picture of the Yirginand Child, with other saints ; 
some small Histories in the Aldobrandini Gallery 
at Rome, and others in the Campidoglio. There 
are two of Lis pictures in the English National 
Gallery. He died about 1531. 

MAZZONI, Cav. Guido, called also Paganini, 
and II J^IoDANiNO, a celebrated painter, sculptor, 
and architect, highly commended by Yasari, vras a 
native of Modena. Little is said of his works, but 
he was twenty years in the employment of,Charles 
YIII. of Spain, and returned to his own country 
with riches and honor, to spend his remaining 
days. 

MAZZONI, Cesare, a Bolognese painter, born 
in 1678. He studied successively under Lorenzo 
Pasinelli. and Gio. Giuseppe dal Sole. Accord- 
ing to Crespi, he was a commendable artist, and 
was much employed in painting for the churches, 
not only at Bologna, but at Faenza, Turin, and 
Rome. Among his principal works at Bologna, 
is an altar-piece, in the church of S. Colombano, 
representing that saint kneeling before the Yirgin 
and Infant ; in S. Tommaso di Strada Maggiore, 
the Crucifixion ; and in S. Giovanni, St. Peter de- 
livered from Prison. lie died in 1763. 

MAZZONI. GiULio. a painter of Piacenza, who 
studied at Rome under Danicllo di Yolterra. Ya- 
sari speaks of him in terms of high commendation. 
His chief work is the Four Evangelists, in the ca- 
thedral at Piacenza. Lanzi says he failed to ac- 
quire a knowledge of foreshortening, as seen from 
below, in the school of Danielle, though respecta- 
ble in QXQTj other part. He was living in 1568. 

MAZZONI.SEBASTiANo,a Florentine painter and 
architect, M'ho flourished at Yenice about 1685, 
As a painter, Lanzi says he belonged to the class 
of naturalists, though he possessed a certain deli- 
cacy, and roundness of style, and ease of handling. 
He was more eminent as an architect, and among 
other fine buildings, he erected the Palace for the 
Cavaliere Liberi. which, in magnificence, appears to 
exceed the fortunes of a painter. 

MAZZUCHELLI. .sometimes miscalled MAZ- 
ZONL and MORZONL See Morazzone. 

MAZZUOLI, Annibale, a fresco painter, born 
at Siena, who. according to Delia Yalle, acquired 
considerable reputation in his native city, and af- 
terwards in Rome, so that his name was inserted 
in the Eulogies of Pio. Lanzi says he was rapid 
in his execution, and possessed but little merit. 
Most of his works are at Siena. He died in 1743, 
at an advanced age. 

MAZZUOLL MAZZUOLA, or MAZZOLA, 



MAZZ. 



538 



MAZZ. 



Pier Ilario, an old painter of little note, who 
flourished at Parma about 1533. There are a few 
of his pictures in the churches at Parma. Lanzi 
says his real name was Mazzola, and he was the 
father of Parmiggiano. He had two brothers, 
Michele, and Filippo, also painters of little note, 
some of whose works are still to be found at 
Parma. 

MAZZUOLI, Francesco, called II Parmiggia- 
no, from the place of his nativity, was the son of 
Pier Ilario M., born at Parma in 1503, according 
to the Padre Aff5, who wrote his life. His real 
name was Mazzola. His father dying while he 
was very young, his uncles, Filippo and Michele, 
brought him up, and gave him what instruction 
they possessed in the art ; but to his own genius 
and his assiduity, he owed his success, without the 
advantage of superior instruction. At the early 
age of fourteen, he painted his Baptism of Christ, 
in the church of the Annunziata, which was the 
astonishment of artists. Surrounded by the ad- 
mirable works of Correggio, he made them his 
model, and at the age of nineteen, he had executed 
several works for the churches, both in oil and fres- 
co, which raised his reputation to a high rank, and 
excited the highest expectations of his future ca- 
reer. His earlier works are entirely in the man- 
ner of Correggio ; but he had too much confidence 
in his own powers, to servilely imitate the works 
of any master ; therefore he was ambitious to 
travel to study the works of the best masters, and 
having painted three small pictures as a sort of in- 
troduction abroad, one of which was an exquisite 
portrait of himself, he set out for Rome, at twenty 
years of age. He diligently studied the works of 
the best masters, particular!}^ of Raifaelle and Giu- 
lio Romano, and formed a style that was pro- 
nounced original, and which Lanzi says ''is at 
once great, noble and dignified ; not abounding in 
figures, but rendering a few capable of filling a 
large canvass ; the prevailing character, however, 
in which he so greatly shone, was grace of manner, 
a grace which won for him at Rome the most flat- 
tering of eulogies, that '■'• the spirit of Raffaelle had 
passed into Parmiggiano.'''' His talents recom- 
mended him to the patronage of Clement VII., for 
whom he painted a picture of the Circumcision, for 
the palace of the Vatican, which was considered a 
wonderful performance. It was not only admi- 
rable for the composition, coloring, and execution, 
but remarkable for the introduction of three dif- 
ferent lights without destroying the harmony of 
the whole. The light diffused on the principal 
figures v/as from the irradiation of the Infant Je- 
sus ; others were illuminated by a torch carried 
by one v/ho attended the sacrifice ; and others 
again in the open air, were enlightened by the ear- 
ly dawn, which showed a lovely landscape with 
villas. When Rome was sacked in 1527, by the 
Emperor Charles V., the story of Protogenes of 
Rhodes, in similar circumstances, is repeated as hav- 
ing happened to this artist ; at all events, he soon 
fled for safety to Bologna, where he executed some 
altar-i)ieces for the churches, among which was 
his celebrated picture of the Virgin and Infant, 
with St. John. St. Margaret, and St. Jerome, in S. 
Margherita, that was the study and admiration 
of the Caracci. and was preferred by Guido to the 
St. Cecilia of Raffaelle. The French connoisseurs 
also selected this picture as one of the gems of 
Bologna, to grace the gallery of the Louvre. In 



the church of S. Petronio, is another grand pic-' 
ture of St. Rocco, a noble and dignified perform- 
ance. At Bologna also, he executed many of his 
choicest easel pictures. On his return to his na- 
tive city, he was engaged to decorate the vaulted 
ceilings of la Madonna della Steccata, where he 
represented Adam and Eve, some of the Virtues, 
and his famed chiaro-scuro of Moses breaking the 
Tables of the Law, in which work the subhmity of 
the ideas, and the great style of the design, render 
it one of the grandest productions of the Lombard 
school. Unfortunately for his reputation, this great 
artist was addicted to that fatal delusion of the 
times, alchymy : he wasted his substance and his 
health, in the absurd pursuit of the philosopher's 
stone. This infatuation occasioned him to neglect, ' 
and finally to abandon the important works he was 
engaged to perform in the Steccata ; and as he had 
been paid in advance, he was prosecuted and impris- 
oned by the confraternity. He was released on 
condition of his proceeding with the work, but of- 
fended or disgusted with the treatment he had re- 
ceived, he fled to Casale Maggiore, where he died 
of a fever, brought on by disappointment and cha- 
grin, in 1540, at the age of thirty-seven years. 
There is a great contrariety of opinion as to the 
merits of Parmiggiano, much of which had its ori- 
gin in enmity, and by taking a single picture, 
instead of several works as a standard of just crit- 
icism. It is, however, conceded by connoisseurs, 
that he had a truly fine and admirable genius, that 
his invention was ready, his design learned, though 
at times somewhat mannered, and that he had a 
peculiar talent in giving beauty, elegance, sweetness, 
and grace, to his figures. His coloring was excel- 
lent; some have called it enchanting; Lanzi says 
" it was moderate, discreet, and as well tempered as 
if the artist feared that too much brilliancy would 
offend the eye and diminish grace." He was a per- 
fect master of chiaro-scuro. His carnations receive 
a remarkable lustre from the yellow and green 
draperies which he frequently used ; his cherubs 
and angels are so exquisitely designed and executed, 
as to appear truly celestial. His attitudes are al- 
ways chosen so as to show the most beautiful j 
parts, and they are so judicious as to give life and i 
motion to his figures. His outline is true and | 
firm, and the light, easy flow of his draperies, gives 
an inexpressible beauty to his pictures. Lanzi 
says " he was accustomed to form the whole piece 
in idea before he once handled the pencil ; though 
he was rapid in his execution. Strokes of his 
pencil ma}^ sometimes be traced so very daring 
and decided, that Albano pronounces them divine, 
and declares that to his experience in design, he 
was indebted for that unequalled skill which he 
always united to great diligence and high finish." 
Lanzi says too, that, if we admit Albano as a good 
judge. Parmiggiano was not very studious of ex- 
pression, unless, indeed, we consider the grace 
which animates his characters and other delicate 
figures as meriting the name of expression; yet 
in another place he says that several of his works 
are conducted with so much feeling and enthu- 
siasm as to have been ascribed to Correggio him- 
self ; such were h=s pictures of Cupid fabricating 
his bow, with two cherubs at his feet, one weeping, 
and the other laughing; and Ganymede and Leda, 
which were positively assigned by Boschini to ' 
Correggio, and still countenanced by many per- 
sons. Mengs and Algarotti accused him of being 



MAZZ. 



539 



MAZZ. 



sometimes guilty of aifectation, and of carrying 
his grace so far as to make his heads border upon 
effeminacy. Agostino Caracci too. said that -a 
painter should have a little of Parmiggiano's grace", 
not all, because he conceived he had too much. 
According to the opinion of others, his excessive 
study of what was graceful, led him sometimes to 
select proportions somewhat too long, in stature, 
in the fingers, and the neck. This is the case with 
his celebrated picture in the Pitti Palace, called la 
Madonna collo lungo, or long neck; but he might 
have pleaded the example of the ancients, who, in 
their draped statues, observed similar proportions, 
to avoid falling into vulgarity. The length of 
the figures was also a subject of praise among the 
ancients, as noticed in the commentators of Ca- 
tullus. A long neck in virgins is also inculcated 
by some modern writers ; Malvasia lays it down 
as a precept of art ; and Cav. Lazzarini drew his 
Madonnas according to this rule. Parmiggiano, not- 
withstanding the shortness of his life, executed 
many works, which are to be found in the royal 
and noble collections of Europe. Some of his 
more favorite subjects he repeated several times, 
as his Cupid fabricating his Bow ; his Holy Fam- 
ilies and Madonnas, frequently somewhat varied. 
He also excelled in portraits. 

Parmiggiano also distinguished himself as an en- 
graver. It was claimed by his countrymen that 
he was the inventor of etching, but this art was 
practised in Germany by Durer and others long 
before his time ; yet he has the merit to be con- 
sidered the first artist who employed the point in 
Italy. This is rendered very probable from the 
appearance of his earliest prints, which show that 
he did not thoroughly understand the mechanical 
part of the process, such as laying the ground, and 
the use of acids; for those plates not being well 
corroded, are retouched with the graver witliout 
much delicacy of execution, while his later ones 
are clear and perfect, and every way superior. It 
was also said that he engraved on wood, but it is 
now well known that the wooden cuts formerly 
attributed to him, were executed after his designs, 
by Ugo da Carpi, Andrea Andreani, Antonio da 
Trento, and others. Some of the etchings marked 
F. P., attributed to him, are supposed to have been 
executed by cotemporary artists. — (See Meldolla.) 
Bartsch gives a description of only fifteen prints, 
which he considers genuine, and of twenty-six 
more, marked F. P.. which, with others, given to 
this artist, he considers to have been executed by 
others, after his designs : 

List of prints hy Parmiggiano, as given by Bartsch. 

1. Judith holding the Head of Holofernes and the Sword, 

2. The Annunciation, with the Holy Spirit descending, 



&c 



< &c 



3. The Nativity. The Virgin seated and covering the 
Infant. 

4. The Holy Virgin holding the Infant in her Arms, 

5. The Entombment of Jesus Christ. 

6. The Resurrection of Christ. 

7. St. Peter and St. John curing the Lame Man at the 
Temple Gate. 

8. St. James the Great. 

9. St. Philip, 

10. St. Thais, or some other holy recluse, 

11. Love Asleep, 

12. A Shepherd standing, supporting himself with a 
Stick, 

13. A young Man and two old Men. 

14. The two Lovers, 



15. The Astrologer. 

Of these, No, 9, St, Philip, is not by Parmiggiano ; 
Bartsch himself describes it among the prints of Guido ; 
neither is the print of the Astrologer, No. 15, by this mas- 
ter. There are two other prints by Parmiggiano which 
were unknown to Bartsch ; a Judith, and the Study of an 
Arm. 

MAZZUOLI, GiROLAMO, was the son of Michele 
M., and the cousin and scholar of Parmiggiano, 
whose graceful st^de he followed. He did not ac- 
company Francesco to Rome, but continued to re- 
side at Parma, where he made the works of Cor- 
reggio his model, and executed many excellent 
works for the churches and convents, both in oil 
and fresco. Lanzi sa3^s " he was more attached 
to the school of Correggio than Francesco was, and 
in his style composed his picture of the Marriage 
of St. Catherine, in the church of the Carmine ; a 
piece full of the characteristics of that great mas- 
ter. He was also excellent in perspective, and in 
his picture of the Supper of our Lord, painted for 
the Refectory of S. Giovanni, he represented a co- 
lonnade so beautifully and so well adapted to pro- 
duce illusion, as to compete with the best speci- 
mens from the hand of Pozzo. He could, more- 
over, boast ease and harmony, with a fine chiaro- 
scuro, while in his larger compositions in fresco, 
he was inventive, varied, and animated." Giro- 
lamo also executed some works for the churches 
at Mantua and Pavia, though he wrought mostly 
in his native c\tj. where he executed more works 
for the churches than any other native artist. He 
also painted many easel pictures ; and it is believed 
that some of the works attributed to Parmiggiano, 
were executed hj him, especiallj^ those displaying 
warmer and stronaer tints, than those usually em- 
ployed b}^ that master, for Girolamo was remark- 
able for his strong- impasto, and few equalled him 
in his knowledge of coloring. This is rendered 
still farther prob/i^-o by the early death of Parmig- 
giano, the numerous works attributed to him. and 
the great age attained by Girolamo, (he was living 
in 1580) his industrious life, and the few oil paint- 
ings now given to him. He also finished some of 
the works left incomplete by Francesco, especially 
his frescos in the Steccata, Among his other great 
fresco works, are a part of the Ten Colossal figures 
of children, in the arches of the cupola of the cathe- 
dral at Parma, six of which are by Correggio, and 
four by Girolamo ; and the Multiplication of the 
Loaves in the church of S. Benedetto, at Mantua. 
Amidst all his beauties, Lanzi says this artist had 
not a few defects ; he was sometimes careless in de- 
signing his naked figures, carried his grace to a de- 
gree bordering on affectation, and his more spir- 
ited attitudes are violent. These defects he at- 
tributes to his rage for accomplishing too much, 
and his often painting in competition with other 
artists. He is supposed to have died about 1590. 

MAZZUOLI, Alessandro, was the son and 
scholar of the preceding artist. He was a weak 
imitator of the family style, and executed some 
works for the churches. In 1571 he was employ- 
ed in some fresco works in the Cathedral at Par- 
ma, which was a great honor, in an edifice abound- 
ing in the works of Correggio and other great art- 
ists. 

MAZZUOLL Giuseppe, called II Bastardolo, 
or Vender of Grain— his father's occupation, not 
his own. He was born at Ferrara about 1525, and 
studied in the school of Dosso Hossi, where Gio. 



MEOH. 



540 



MECH. 



Francesco Surcbi was his fellow pupil. He had 
two manners ; in the first he designed his figures 
too large, and was defective in his perspective, 
which injured his rising reputation, and his rivals 
considered him an artist of mediocrity ; but by 
study and industry he formed a second manner, 
more elevated in design, with a softness of coloring, 
especially in his flesh tints and extremities, that 
approached Titian, with a breadth and intelli- 
gence of chiaro-scuro worth)'- of the school of 
Correggio. He rose to great distinction, and his 
works were held in such estimation that there is 
scarcely a public edifice in his native city which 
does not possess some of his works ; and at this 
day he ranks as one of the most eminent painters 
of the Ferrarese school. Among his most cele- 
brated works at Ferrara are, the Virgin and In- 
fant crowned by Angels, in the Cathedral ; the 
Ascension, in the church of S. Maurelio ; the An- 
nunciation, a Holy Family, and a Crucifixion, in II 
Gesu ; and in the Conservatorio of St. Barbara, 
an altar-piece representing that Saint and St. Ur- 
sula, and a number of female figures, designed 
and executed with such unequaled elegance and 
chastity that Lanzi says the figures seem to live 
and breathe. He also painted easel pictures for 
the collections. This great artist was drowned 
while bathing for his health, in 1589. 

MECHAU, Jacob Wilhelm, a German paint- 
er and engraver, born at Leipsic in 1745. He 
studied under Bernard Rode, at Berlin, and after- 
wards improved himself by frequenting the Acad- 
emy in his native city. He painted landscapes and 
history v/ith considerable reputation in his own 
countr)'', but he is better known as an engraver. 
He executed quite a large number of plates, many 
of them after his own designs, and engraved some 
plates of Views in Italy in aqua-tinta. He died 
in 1808. The following are among his prints : 

St. Michael vanquishing the Demon ; Mechau, fee. 
aqua forth. The Tlesuvrection of LaKai-us. Mechau, fee. 
1761. The Adoration of the Shepherds; after C. Schut. 
A Dance of Nymphs and Fauns ; after Giulio Carpioni. 
A set of six Italian Landscapes ; in the style of Swane- 
velt. 1792. A set of six Views in and near Eome. 1792, 
1793. 

MECHEL, Christian von, an eminent Swiss 
engraver, born at Basle in 1737. He went to Pa- 
ris, and studied under J. G. Wille, and afterwards 
returned to his native cit}^, where he engraved a 
great variety of plates, and carried on a considera- 
ble commerce in prints. He engraved and publish- 
ed the Dusseldorf Gallerj'-, with a catalogue rai- 
sonne ; the Medals of Hedlinger ; the Works of 
Hans Holbein, xnth. explanatory and critical re- 
marks ; and many pictures of cotemporary paint- 
ers. His prints are numerous, and remarkably 
well executed. He died in 1818. 

MECHELN, or MEOKENEN, Israel von, fa- 
ther and son, two old German artists, about whom 
and whose works there has been a great deal of 
disquisition, nor is the matter yet settled. Our 
limits will not allow us to enter into a dis.sertation 
on the subject, farther than to give facts, and refer 
the curious in such matters to Bartsch's P. G. 
tom. vi., and Zani's Enciclopedia delle belle Arti, 
parte i. vol. xiii., in which works all the points are 
fully discussed. According to M. Heineken, there 
are about two hundred and fifty prints, all bear- 
ing the same characteristics, and usually marked 
I. M., or I. V. M.j or Israhel V. M., or sometimes 



Israhel von Meckenen, Goldschmit. or Israhel 
tzu BockhoU, the letters being in the Gothic char- 
acter. All these prints were, until recently, at- 
tributed to one and the same artist; but on ac- 
count of a great diiference observable in the style 
of the different prints, as well as the dates found 
on then^i, Heineken and other critics conclude that 
there were two Meckenens who practised engrav- 
ing, father and son. Israhel von Meckenen the 
Elder is stated by M. Huber to have been born at 
Mecheln, a village near Bockholt, a small town in 
the bishopric of Munster, in Westphalia, about 
1424. He was regarded as one of the earliest en- 
gravers of whom we have any account, and imme- 
diately succeeded or was rather a cotemporary of 
Martin Schoen. That he was not a disciple of 
Schoen, is evident from the total difference in their 
styles. It has not been found practicable to distin- 
guish precisely the prints of the elder Meckenen 
from those of the son, but it is reasonable to con- 
clude that the ruder part of them in point of de- 
sign and execution, and those having the earliest 
date, should be ascribed to the father. If any fur- 
ther proof were wanting of the existence of the 
two Meckenens. the two first prints in the list 
below — the portraits of the father and son — fully 
establish the point. It is also ascertained that the 
3rounger Meckenen died in 1523. There are 
quite a number of curious antique pictures at Co- 
logne, Berlin. Munich, and other places, painted in 
oil, which have been long attributed to Israel von 
Meckenen. from similarity in design to his engraved 
subjects ; but that able connoisseur. Dr. Franz Kii- 
gler, is clearly of opinion that these works must 
be given to some unknoion artist. We copy from 
Kiigler's Hand-Book of the History of Painting, 
part the second; London edition. 1846: -'First 
in the school of Cologne, about the latter half of 
the 15th century, we meet with an excellent artist, 
who, with many traces of the elder Cologne school, 
unites a conscious familiarity with the models af- 
forded by that of van E3'-ck. The name of this 
artist is unknown ; formerly, though, without suf- 
ficient ground, that of a cotemporar}^ goldsmith 
and engraver, Israhel von Mecheln or Meckenen 
was given to him. His chief work, a representa- 
tion of the Passion, on eight panels, is in the pos- 
session of Herr Lyversburg, at Cologne, and it is 
now usual to designate him as the Master of the 
Passion. His pictures have still, indeed, a gold 
ground, and resemble the older school in this cir- 
cumstance, as well as in the style of coloring, 
which is lively, powerful, and clear ; but the}- are 
painted in oil, and moreover, the manner of treat- 
ment, the attitudes, and the arrangement, are gen- 
erally borrowed from the school of van Eyck. 
He appears to have been an able, intelligent, and 
highly gifted artist, earnest in seeking an insight 
into life, zealous and careful, but for the most part, 
it must be confessed, devoid of original inspiration. 
The general character of his drawing is precise 
and hard ; his efforts to mark character in the 
lower classes of persons, such as the persecutors 
of Christ, degenerates into exaggeration. Besides 
this excellent work of the Passion, there are seve- 
ral paintings evidently by the same hand. The 
most important of those in Cologne are, a Descent 
from the Cross, of the year 1488,' in the City Mu- 
seum, less powerful than the Passion, and proba- 
bly of the latest time of the ai-tist ; ' the wings, 
added later, are probably by a scholar or imitator; 



MECII. 



541 



MECH. 



— two very good pictures in the possession of Herr 
Zanoli ; — the paintings in the windows and on the 
walls of the Hardenrath chapel in Sta. Maria, in 
CapitoliOj of the year 1466 ; the first of which, 
however, are injured, and the last considerably re- 
touched. The Crucifixion, on the walls of the same 
place, belongs to a later period. There are, be- 
sides, excellent altar-pieces by him in the churches 
of Linz and Sinzig ; and a considerable number at 
Munich, in the former Boisseree collection, partic- 
ularly an altar-piece with very dignified figures of 
the apostles (John the Baptist in the place of Ju- 
das). Several are in the chapel of St. Maurice at 
Nuremberg ; and a beautiful picture, with female 
Saints, is in the Berlin Museum, The influence 
€f this artist on his cotemporaries was ver}^ im- 
portant, as is proved by the various works of his 
scholars or imitators, extant at Cologne, and in the 
neighborhood, or in the Boisseree collection and 
Berlin Museum. Of those in the Berlin Museum, 
two panels with male and female Saints are par- 
ticularly remarkable, being distinguished as much 
by the dignity of the figures and their noble dra- 
pery, as by the powerful painting and expression 
of their heads." Now, with all due deference to 
the eminent critic quoted above, is it not far more 
reasonable to give these works, as heretofore by 
many excellent critics, to Israhel von Mecheln, but 
to the younger, rather thanto a supposed unknown 
" Master of the Passion" ? because it is certain 
that there were two artists of this name, the elder 
a goldsmith and an engraver, two professions often 
combined in those days ; the younger an engraver, 
certainly instructed in engraving by his father, 
and who might, and probably did, learn painting 
of the van Eycks, and the period of whose life 
agrees with the dates found on these pictures. 
The following is a list of their most remarkable 
prints : 

The Portrait of Israel von Mecheln the elder, with a 
beard, and a kind of turban ; signed Israhel von Mccke- 
nen, GoIdsckmiL The Portraits of Israel von Mecheln 
the younger and his Wife ; inscribed Flguracio facie ruvi 
Israhelis et Ide Uxoris, I. V. M. A set of Prints of the 
Life of Christ ; these, as well as two following prints, are 
supposed to be some of the earliest works of the elder Me- 
cheln. The Descent of the Holy Ghost. St. Luke paint- 
ing the Virgin. Judith with the Head of Holofernes ; in 
the back-ground is a battle, with cannon, and other war- 
like instruments. The Death of the Virgin ; M. Schoen 
and others have engraved this subject. The Virgin stand- 
ing upon a Crescent, crowned by Angels. The Annuncia- 
tion ;■ the Angel holds a Scroll, on which is inscribed A VE, 
GRA. The Virgin seated, in a landscape, em^n-acing the 
Infant, and St. Joseph reposing ; on the right of the print 
is a Grasshopper, on which account it is called the Virgin 
with the Grasshopper. The same subject has been engraved 
by Albert Durer, and copied from him by Marc' Antonio. 
The Virgin and Infant surrounded by four Angels. 1480. 
The Virgin seated, holding the Infant, with a garden-wall 
in the back-ground, inscribed in Gothic letters, Ave pofis- 
sima Maria. The same is engraved by M. Schoen. The 
Feast of Herod ; Hex'odias with the Head of St. John. — 
Herod's Cruelty. Christ bearing his Cross. The Scourg- 
ing of Christ. The Crucifixion ; Israhel, M. ; with a light 
ground. The Crucifixion ; Israhel, V. M ; with a dark 
ground. St. George and the Dragon ; I. V. M. St. Je- 
rome seated in a Room, pointing to a Skull which lies on 
the table. This is considered one of their best prints. It 
has been copied by Lucas van Leyden. St. Anthony tor- 
mented by Devils. The same subject is engraved by Mar- 
tin Schoen. The Death of Lucretia. A Man and a Wo- 
man walking, with Death behind a tree, shaking an hour- 
glass. This print has been copied by Albert Durer and 
others. Several single Figures of male and female Saints. 
A Woman singing, and a Man playing on the Lute. A 



Man playing on the Organ. Three naked Women, with a 
Globe hanging above them. Albert Durer and others 
have copied this print. A Man holding a Skull, inscribed 
Respicefinem. A Cup, richly ornamented. The same has 
been engraved by M. Schoen. A variety of goldsmith's or- 
naments, and a great number of other subjects. 

MECHELN, a painter, doubtless a German, 
whose name is afBxed to a portrait of Pope Urban 
yilL, dated 1623. 

MECHERINO. See Beccafumi. 

MECHOPHANES, a Greek painter, who, ac- 
cording to Phny. was a disciple of Pausias. His 
manner was rather dry and hard, but this defect 
was in a measure compensated by his rigid coiTect- 
ness of design, which was appreciated by his co- 
temporary artists. 

MEDA, Giuseppe, a reputable painter, who, ac- 
cording to Morigi, flourished at Milan about 1590, 
where he was employed in the churches. He was 
also an architect. He represented upon an organ 
in the Metropolitan church, the figure of David 
plaj-ing before the Ark, a work highly commended. 

MEDA. Carlo, a Milanese painter, perhaps a 
brother of the preceding, who painted for the 
churches at Milan in 1595. He does not seem to 
have gained much distinction. 

MEDICI, PiETRO, a member of the illustrious 
house of the Medici, was born at Florence in 1586. 
and died in 1G48. Having a passion for the fine 
arts, he studied under Lodovico Cardi, and became 
a reputable painter of history. He painted seve- 
ral altar-pieces for the churches, which are com- 
mended for correctness of design, a strong and 
pleasing tone of coloring, and a very truthful ex- 
pression. 

MEDINA, Juan Baptista, called in England 
S[R John Baptist M.. was the son of Medina de 
I'Asturias, an ofiicer in the Spanish service, born 
at Brussels in 1C60. He studied under Francis 
du Chatel, and afterwards greatly improved him- 
self by studying the works of Rubens. He paint- 
ed history and landscapes with reputation, but he 
devoted himself mostly to portraits ; and, after 
acquiring considerable reputation in his native 
city, he went to London, where he met with con- 
siderable employment. He went to Scotland un- 
der the patronage of the Earl of Leven, who pro- 
cured him many commissions ; and he painted the 
portraits of most of the Scotch nobility, and ac- 
quired great reputation in his d&j. He was 
knighted^ by the Duke of Qiieensberry, then Lord 
High Commissioner of Scotland. At Wentworth 
Castle is a large picture by him, of the Duke of 
Argyle and his two sons, painted in the Italian 
style, and according to Lord Orford superior to the 
works of most of his cotemporaries. His ^por- 
traits, however, are generally in the style of Knel- 
ler, never equaling his best nor sinking so low as 
his worst. He painted with great freedom of 
touch, and produced striking likenesses. His por- 
trait, painted by himself, was sent by the Duke 
of Gordon to the Grand Duke of Tuscany, and 
was placed in the Florentine Gallery. He died at 
Edinburgh in 1711. 

MEEL. See Miel. 

MEELE. Matthew, a Dutch portrait painter, 
born at the Hague in 1664. He went to England, 
and practised for some time under Sir Peter Lely. 



MEER. 



542 



MEER. 



He afterwards returned to the Hague, where he 
acquired considerable distinction, was appointed 
one of the Directors of the Academy, and died 
there in 1724. 

MEER, Gerard vander, a Dutch painter of 
low life and landscapes in the old Gothic style, 
born in 1450, and died in 1512. His works do not 
possess sufficient merit to deserve attention. 

MEER, or MEEREN, John vander, the El- 
der, a Dutch painter, said to have been born at 
Schoonhoven, but with more probability at Haer- 
lem, in 1G27. It is not known under whom he 
first studied, but when young; he went to Italy. 
On his return to Holland he gained great reputa- 
tion, and his works were much sought after for the 
best collections. His subjects were landscapes and 
figures, sea-pieces, and views on the sea-shore, 
which he painted with great truth and spirit, as 
he was accustomed to sketch every scene from na- 
ture. His sea-pieces are particularly admired, in 
which the vessels are designed with great correct- 
ness and neatness, the skies bright with light, 
fleecy clouds, and the water clear and transparent. 
His tints are warm and tender, and there is a sun- 
ny brilliancy in his coloring that reminds one of 
the sea-ports of Claude Lorraine. His landscapes 
are very pleasing, the scenes well chosen, the 
forms of his trees easy and natural, his distances 
well observed, and the whole scenery has a strik- 
ing effect by a happy opposition of lights and shad- 
ows. He also painted battle-pieces with conside- 
rable success ; his figures and horses in particular 
were designed with great fire and animation, and 
executed with a spirited pencil. He has been re- 
proached for too great a predominance of blue in 
his backgrounds, a peculiarity not uncommon to 
those who have studied in Italy, where nature 
frequently assumes a brightness of atmosphere 
unknown in more northern climates. He died at 
Haerlem in 1691. 

MEER, John vander. de Jonge (the Younger), 
was the son of the preceding, born at Haerlem in 
1655. After studying with his father,he placed him- 
self under Nicholas Berghem, and became one of his 
most celebrated scholars. He made the works of 
Berghem his model, took great pains to imitate 
his delicate style, and tried to improve himself by 
a diligent study of nature. He painted landscapes 
in the manner of Berghem, with cottages and peas- 
ants at their rural occupations and diversions. His 
works are well designed, correctly drawn, and deli- 
cately finished. His skies, trees, and figures are in 
good taste, and there is a freshness in the verdure of 
his plants and the foliage of his trees, that render his 
pictures very agreeable. He seldom introduced 
horses or cows, but he was so successful in paint- 
ing sheep and goats, that in those he equaled, and 
some say, surpassed his master ; his sheep, in par- 
ticular, are so exquisitely and naturally depicted 
that it has been said one could imagine he heard 
the bleat. His works are highly finished, and 
though they are much inferior to those of 
Berghem. they command very high prices, and are 
admitted into the choicest collections. He died in 
1688, in the flower of his life, greatly lamented, 
as he was considered one of the most promising 
artists of his country. His genuine works are 
seldom seen out of Holland, but they have been 
much imitated and passed on the undiscerning for 
originals. He executed a few charming etchings 



after his own designs, which are now extremely- 
scarce. Among them is a set of four landscapes, 
and a Ewe suckling a Lamb, signed /. v. der Meer, 
de Jonge fecit. 1683. 

MEER, John vander, a Dutch painter, born at 
Schoonhoven in 1650. He was taught design and 
coloring at LTtrecht, but went early to Rome, ac- 
companied b}'- Lieven Verschuur, where he first 
studied under his countryman, N. Drost, and af- 
terwards with Carlo Lotti, and is said to have be- 
come an excellent historical painter. He designed 
his subjects on a grand scale, with figures as large 
as life, executed in a bold style, with a firm, broad 
pencil, and excellent coloring. On his return to 
his own country, he settled at Utrecht, where, fall- 
ing into the possession of an ample fortune, he 
practised his profession more with a view of ac- 
quiring a lasting reputation, than augmenting his 
riches. He was also a good portrait painter. He 
died at Utrecht in 1711. 

MEER; John vander, a son of the preceding, 
was born at Utrecht in 1665, and died at Haerlem 
in 1722. He is called de Jonge (the Younger) ; is 
said to have first studied under his father, and after- 
wards with Berghem ; and the whole historj^ of the 
other John vander Meer the younger (if this was an- 
other) is applied to him. In short, the lives of 
these artists are mixed up in such admirable con- 
fusion, even by writers of their own country, that 
it is impossible to say with certainty whether 
there were two or four John vander Meers. Nev- 
ertheless, it seems evident from the difference of 
dates, and total difference of style and history, 
that there were two families of this name— the 
one landscape painters, residing at Haerlem ; the 
other historical painters, of Utrecht. 

MEER, N. vander, a Dutch engraver, who re- 
sided at Paris about 1760, and engraved some of 
the plates for le Brun's Gallery, consisting of in- 
teriors of churches, flowers, &c., which are neatly 
executed. 

MEER, vander, of Delft. See Vermeer. 

MEERT, Peter, a Flemish portrait painter and 
engraver, born at Brussels, according to Descamps, 
in 1618. In portraits, he imitated the style of 
Vandyck, and acquired considerable reputation. 
In the Museum at Brussels are some of his por- 
traits of the magistrates of that city. It is said 
there are prints by him dated as early as 1621, 
which would make Descamps in error as to the 
time of his birth. 

MEGLIO, Di, a Florentine painter, supposed to 
be the same as Coppi, which see. 

MEHEUX, James, a Dutch engraver, who flour- 
ished about 1680. He engraved some plates iu 
mezzotinto, among which is a copy of the Rat 
Catcher, by Cornelius Vi^cher. 

MEHUS, or MEUS, Livio, an eminent Flemish 
painter, born at Oudenarde, in 1630. The war 
which took place in Flanders soon afterwards com- 
pelled his family to flee the country, and they set- 
tled at Milan, where young Livio, discovering a 
genius for painting, received some instruction 
from a Flemish artist then resident in that city. 
At an early age he went to Florence, where he had 
the good fortune to obtain the protection of Prince 
Mattias, who placed him under the instruction of 
Pietro da Cortona, at that time employed by the 



MEIG. 



543 



MEIR. 



Grand Duke Ferdinand II. in decorating the Pitti 
palace. He accompanied his master to Eome, 
where he dih'gentlj studied the antique and the 
works of the best masters, and became a correct 
and skillful designer. He afterwards went to 
Venice and Lorabardy. and improved his coloring 
by contemplating the works of the best masters 
of the Venetian school. By these means he form- 
ed a st3-le of his own. He possessed a fertile and 
inAxntive genius ; retained little of the manner of 
Cortona ; and imitated the Venetians less in color- 
ing than in the light but firm touches of his pencil. 
His coloring was chaste and harmonious, his atti- 
tudes lively, and his shadows most beautiful. On 
his return to Florence, he immediately acquired 
distinction and abundant patronage, for though he 
executed few works for the churches, he painted 
a great many cabinet pictures, was pensioned by 
the prince and employed by the nobility, in whose 
palaces his works are often to be met with. His 
most celebrated works are the Repose of Bacchus 
and Ariadne, painted for the Marquis- Gerini in 
emulation with Giro Ferri ; the Sacrifice of Abra- 
ham, painted for the Grand Duke in the Pitti pal- 
ace ; the History of Hagar and Ishmael ; the En- 
gagement of Achilles with the Trojans ; the Tri- 
umph of Ignorance, &c. His most capital work 
is in the dome of the church of La Pace, in which 
he appears to have outdone himself ; and Lanzi 
says, •• in this he surpassed Cortona. and ap- 
proached the Lombard school." His portrait, 
painted by himself, was placed in the Florentine 
Gallery by the order of the Grand Duke. He 
died in 1691. 

MEI, Bernardino, a Sienese painter, whose 
works bear date from 1636 to 1653. It is not 
known under whom he studied, but Lanzi says 
he was cotemporaiy with Oav. Raffaello Vanni, 
and assisted that master in his works at S. Maria 
della Pace at Rome. His works are mostly at Si- 
ena. The Padre della Valle highly commends his 
genius, and compares his works sometimes to the 
Caracci, at others to Paul Veronese, and to Guercino ; 
very much as the eclectic philosophers adopt or 
change the maxims of the different schools. One 
of his best works was a fresco in the Casa Bandi- 
nelli, with an Aurora in a ceiling, surrounded with 
several elegant figures and designs. 

MEIGEL, Christopher, a German engraver, 
who resided at Nuremberg, where he published a 
folio volume of prints, designed and engraved by 
himself, representing the follies of different people, 
and of all professions. They are indifferently ex- 
ecuted. 

MEIGHAN, R., an English engraver of little 
note, who carried on the business of bookseller 
and publisher in St. Dunstan's churchyard, about 

1628. 

MEIL. John Henry, a German engraver, who 
flourished in the latter half of the 18th century. 
He settled at Leipsic, and wrought for the book- 
sellers. Among other plates, he engraved one hun- 
dred and twelve subjects from the Fables of Gel- 
lert, 

MEIL, John "William, a German engraver, the 
younger brother of the preceding, born at Alten- 
bourg in 1732 ; died in 1805, He went to Berlin, 
where he was much employed in engraving vig- 
nettes and other book ornaments, from his own 



designs, for the publishers. He engraved a great 
number and variety of plates in a neat, spirited 
stjde, somewhat resembling that of Della Bella. 
He was Vice-Director of the Academy of Fine 
Arts at Berlin. Among others, the following are 
by him : 

A set of eiglit small plates of Heads and Caricatures ; 
scarce. Four of Quack-doctors and Ballad-singers ; in the 
manner of Dietricy. A set of ten vignettes for the Poem 
of Joseph and his Brethren ; by Biiaube. Twelve Alle- 
gorical Vignettes. Hercules playing on the Lyre. A set 
of four Landscapes, with figures. Fifty-two subjects, en- 
titled, Speciaculum Naturce et Artmm ; published at Ber- 
lin in 1765. 

MEIRE, Gerard vander, an old Flemish paint- 
er, a native of Ghent, who flourished about 1450. 
Little is known of him with any certainty. He is 
said to have been one of the earliest painters in oil, af- 
ter the van Eycks, in whose style he painted, and 
of whom he probably learned the art. Van Mander 
highly commends a picture by him, representing 
the Death of Lucre tia, which he says was well de- 
signed, beautifully colored, and admirably fin- 
ished. 

MEIRE, Jan vander, was a brother of the 
preceding, and is said to have studied with the 
van Eycks. He is also said to have painted a pic- 
ture of the Institution of the Order of the Golden 
Fleece, for Charles the Bold, Duke of Burgundy, 
whom he followed in all his campaigns, and that 
he died at Nevers in 1471. If this be true. Hans 
Hemling and Jan vander Meire were fellow sol- 
diers. 

MEIRERPECK, M. Wolfgang, a German de- 
signer and engraver on wood, who flourished about 
1550. He went to Italy, where, in conjunction 
with Giorgio Liberali, he designed and executed 
the wooden cuts illustrating the Commentaries of 
Matthiolus on Dioscorides, in Latin, published at 
Venice in 1548, and in Germany in the Bohemian 
language, in 1560. 

MEIS, B., an engraver, by whom there are some 
etchings, somewhat in the style of Benedetto Cas- 
tiglione, marked B. Meis fecit. 

MEISSONIER, Justus Aurelius. This artist 
was born at Turin in 1695. He was a gold- 
smith, painter, sculptor, and architect. He visited 
i France, and obtained the patronage of Louis XV., 
I who appointed him his designer and goldsmith, in 
I which employment he exhibited the most beauti- 
ful specimens of ingenuity and skill. Had he con- 
fined his energies to that branch, it would have 
I been far better for the other departments of art 
! in which his versatile talents were employed. As 
i a painter, he executed among others, the portraits 
I of Vicomte Turenne, and Baron J. V. de Besenval, 
! a colonel in the Swiss Guards. The first has 
i been engraved by Larmessin, and the second by 
I Claude Drevet. His design for the fa^.ade of St. 
I Sulpice, at Paris, is characterized by Milizia as 
I ridiculous in the extreme. He died in 1750. 
I MELAN. See MellaxN. 

I MELANI, Giuseppe and Francesco, two bro- 
: thers, eminent fresco-painters, and natives of Pisa. 
Giuseppe was a pupil of Camillo Gabrielli, but 
painted history in the style of Pietro da Cortona, 
I Francesco excelled in perspective and architecture, 
i and was one of the ablest artists of his time in 
! that branch. They usually painted in conjunction, 
I and executed many beautiful works for the churches 



MELA. 



544 



MELD. 



and public edifices of Pisa, Siena, and other places, 
in the splendid style of Cortona. They were both 
learned in design, and each excelled in his parti- 
cular branch. One of their most capital works is 
the ceiling of the church of S, Matteo, at Pisa, ex- 
ecuted, entirely in the style of Cortona, a work 
greatly admired for the richness of the composi- 
tion, the gracefulness of the figures, the harmony 
of the coloring, the magical effect of chiaro-scuro, 
and the inimitable perspective. Giuseppe was 
made a knight of the Golden Spur; he was also a 
good figurist in oil. His best work of this kind is 
a large picture in the cathedral at Pisa, represent- 
ing the Death of St. Ranieri, a work that Lanzi 
says does honor to its author, who was worthy of 
painting in that sanctuary, so full of the gems of 
art. Giuseppe died in 1747, and Francesco in 
1742. 

MELANTHUS, an eminent Greek painter of 
the school of .Pamphilus at Sicyon, was a fellow 
disciple of Apelles, and like that master, paid a 
talent of gold for ten years instruction in the art. 
According to Quintilian, Pliny, and Plutarch, Mel- 
anthus attained the highest rank among the paint- 
ers of his time, deserving a place with Apelles, 
Protogenes, Nicomachus, Antiphilus, and Euphra- 
nor. Like his instructor, he excelled in the chaste 
propriety of his compositions, and even Apelles 
conceded to him the palm in the judicious grouping 
of his figures. Quintilian particularly mentions 
his skill in the designs of his pictures ; and Pliny 
observes that he was one of those painters, who, 
with only four colors, produced pieces worthy of 
immortality. His works commanded ver};^ high 
prices in the cities of Greece and Asia Minor ; and 
their estimation is also evinced by the act of Ara- 
tus, a good judge of art, who collected from every 
quarter, the pictures of Pamphilus and Me1an- 
thus, and presented them to Ptolemy III., King 
of Egypt. He left a Treatise on Painting, a fiag- 
ment of which has been preserved by Diogenes 
Laertius; and of which Pliny availed himself 
in writing the 30th book of his Natural History. 

MELAE,, Adrian, a Flemish engraver, who 
flourished at Antwerp about 1650. He executed 
some plates of portraits and other subjects, in 
which he attempted to imitate Paul Pontius. 

MELCHIORI, Giovanni Paolo, a Roman paint- 
er, born in 1664. He was brought up in the school 
of Carlo Maratti, to which he proved an ornament. 
According to Orlandi, he had a lively and fertile 
invention, and possessed much of the grandeur and 
sweetness of his master's style, to which he added 
a remarkable correctness of design, with an ex- 
pression full of propriety and spirit. He painted 
easel pictures in the style of his master, and execu- 
ted some works for the churches and public edifices 
of Rome, the most esteemed of which is a picture 
of the prophet Ezekiel, in the Basilica of St. John 
of Lateran. He died in 1721. 

MELCHIORI, Di Oastelfranco, was the fath- 
er of Matteo Melchiori, who wrote the Lives of the 
Venetian Painters. He painted history with repu- 
tation at Oastelfranco, and especially at Venice, 
where he wrought in competition with Cavalier 
Liberi, in the Oasa Morosini, which alone shews 
that he must have been an artist of distinction. 
He died in 1686, 

MELDER, Gerardj a Dutch painter, born at 



Amsterdam in 1693. He showed an early inclina- 
tion for art, and when a boy. preferred drawing, 
and copying from prints and books, to play. He 
was a self-taught artist, and after painting many 
pictures in oil, he devoted himself to miniature 
painting, as best suited to his taste, and as most 
likely to afford him more employment and fewer 
competitors. He became possessed of some min- 
iatures of Rosalba, and by copying them he ac- 
quired great proficiency in that branch of the art, 
and could imitate her style to perfection. He 
also imitated the works of Rottenhamer and van- 
der Werf with equal success. He painted histor- 
ical and allegorical subjects, designed in such good 
taste, and so beautifully executed that they were 
much sought after, and commanded high prices. 
He received many commissions from the King of 
Poland. He also painted small landscapes, com- 
posed in an agreeable style, and enriched with 
figures exquisitely designed and executed. He 
painted the portraits of man^^ distinguished per- 
sonages of his time. He also painted in enamel, 
and was much employed in copying the works of 
Mieris. vander AY erf, and others, in water colors, 
which he finished with surprising delicac}" ; but 
he abandoned this branch of the art, as he found 
it prejudicial to his sight. He however acquired 
most distinction for his miniatures, and is account- 
ed one of the ablest artists of his time in that 
branch. He died at Utrecht, according to San- 
drart and others, in 1740, but Balkema says in 
1746, and Immerzeel in 1754. 

MELDOLLA, Andrea, an Italian designer and 
engraver, who flourished, according to dates on 
his prints, from 1540 to 1550. Nothing is known 
of his history. About one hundred and twenty 
prints are now ascribed to him by connoisseurs, 
many of which were formerly attributed to Andrea 
Schiavone, called Medula; or to Francesco jMaz- 
zuoli, better known as Parmiggiano, because many 
of them are from pictures or drawings bv that cel- 
ebrated master. Zani has the honor of making 
the discovery that Meldolla (or MeldoJa, for it is 
written both ways) was a different artist from 
Schiavone, or Parmiggiano; and the subject has 
been ably investigated by other eminent critics, 
and Zani's opinions confirmed. Zani says he was 
acquainted with one hundred prints hy Meldolla, 
Bartsch enumerates and describes eighty-seven, 
Nagler mentions one moi-e, and the Messrs. Smith, 
Brothers, the eminent dealers in ancient prints, 
London, possess one hundred and ten, and have a 
descriptive account of nine others in foreign cab- 
inets. It is generally believed that the j)lates on 
which Meldolla etched were m^deo^ peiDter. which 
will account for the scratches and corrosions that 
appear in the later impressions, and for the fre- 
quent alterations made in the treatment of the 
subject, and in the accessories. Good impressions 
of these prints are now exceedingly rare and val- 
uable. They are sometimes marked with his name, 
but more frequently with one of the following mo- 
nograms, often very slightly scratched in, and of 
unequal size, sometimes being yery small. There 
are variations in many of the prints, o^ving to alter- 
ations in the plates, and re})airs. when they had 
sustained injury. The following is a list of his 
prints as given by Bartsch and the Jlessrs. Sinith, 
omitting the descriptions, which would occupy 
several pages 



MELD. 



545 



MELE. 



ASi-M^-M-^M 



If 71^ 



m 



.or 



PRINTS DESCRIBED BY BARTSCH. 

1. Jacob's Ladder. 2. Moses saved from the Nile. 3. 
God appearing to Moses. 4. Moses showing the Quails to 
the Israelites. 5. The Annunciation. 6. The Nativity. 
7. The three Kings. 8. Another of the three Kings. 9. 
The Flight into Egypt. 10. The Presentation in the Tem- 
ple. 11. Another Presentation ; very rare. 12. The Cir- 
cumcision. 13. Another Circumcision. 14. Jesus with 
the "Woman on the steps. 15. Christ healing the Sick ; 
very rare ; only two known — one in the Collection of 
the Archduke Charles at Vienna, the other in the 
Ortalli Collection at Parma. 16. Christ healing the 
Leper. 17. The Entombment. 18. Another Entomb- 
ment. 19. Another Entombment. 20. The Miraculous 
Draught of Fishes ; qftei' Rafaelle. 21. St. Peter and 
St. John curing the Lame Maii. 22. St. Paul preaching 
at Athens. 23. The Descent of the Holy Ghost. 24. The 
Saviour giving his Benediction. 25. St. Peter. 26. St. 
Andrew. 27. St James the Great. 28. St. John. 29. St. 
Philip. 30. St. Bartholomew. 31. St. Matthew. 32. St. 
Thomas. 33. St. James the Less. 34. St. Simon. 35. St. 
Judas Thaddeus. 36. St. Matthias. 37. St Paul. 38. 
The Saviour. 39. St. Peter. 39.* St. Peter ; the same in 
design, reversed. 40. St. Andrew. 41. St. James the 
Great. 42. St. John. 43. St. Philip. 44. St. Bartholo- 
mew. 44.* St. Bartholomew; the same, but reversed. 
45. St. Matthew. 46. St. Thomas. 46.* St. Thomas; 
the same., but reversed. 47. St. James the Less. 48. St. 
Simon. 48 * St. Simon ; the same, with slight variations. 
49. St. Judas Thaddeus. 49.* St. Judas Thaddeus ;, the 
same reversed. 50. An Anonymous Saint. 50.* Do. ; but 
diflferent composition. 50.** Do, ; same as preceding, with 
slight variations, 51. The Saviour ; a repetition of No. 
38, with variations. 52. St. Andrew ; a repetition of No. 
40. reversed, with variations. 53. St. James the Great. 
54'. The Holy Family. 55. The Christian Religion tri- 
umphant over Heresy. 56. The Marriage of St. Cathe- 
rine. 57. The Virgin. 58. The Virgin surrounded by 
several Saints. 59. Do., Saints, similar to the preceding, 
but reversed. 60. Do.; similar to the last, with variations. 
61. The Holy Family. 62. The infant .Jesus in a Cradle, 
surrounded by Saints. 63. The infant Jesus and St. John 
embracing, in the presence of several Saints. 64. The 
Virgin and Infant, with St. John paying homage, and sev- 
eral Saints. 65. Saints adoring the Infant Jesus in his 
Cradle, same as 62, with slight variations in size. 66. The 
Present of Flowers. 67. Heliodorus driven from the Tem- 
ple ; after Rafaelle. 68. Bellona. 69. Diana. 70. The 
Coronation of Pegasus. 71. Mei-cury. 72. Hercules, De- 
janira, and Nes^^us. 73. Mars and Cupid. 74. Ganymede 
and Hebe. 75. Venus after Bathing. 76. Bellona. 77. 
Do., another. 78. Mars. 79. Minerva and the Muses 
conversing on Parnassus. 80. The Judgment of Paris. 
81. The Rape of Helen ; signed Andrea Meldolla invent- 
or. 82. Virtue victorious over Vice. 83. A Prophet, with 
a long Scroll in his hands, and a Glory in the distance. 84. 
A Woman carrying a Vase. 85. Ganymede and Hebe ; 
same composition as No. 74. 86. A Woman accompanied 
by a Child, 87. A Woman writing. 

Prints described by the Messrs. Smith and others, not 
mentioned hy Bartsch, 
88. Elcazerat the Well. 89. The Adoration of the 
Shepherds. 90. The Adoration of the Kings ; a grand 
composition of 16 figures. 91. The Holy Family. 92. 
Marri.age of St. Catherine. 93. The Holy Family. 94. 
Christ and his Disciples. 95. Christ healing the Lepers. 
96. Boy bending a Bow. 97. Mars. 98. Return of the 
Prodigal Son. This subject has been copied by Reveidinus. 
99. Mercury. 100. Apollo and Daphne. 101. Do., an- 
other. 102. .Tudith. 103. .ludith ; a copy from an etch- 
ing bv Parmiggiano. 104. St. James. 105. St. Paul. 
106. iSTymph Bathing. 107. Cupid. 108. Bellona, throw- 
ing a Javelin. 109. Do., the same reversed. 110. The 
Virgin and Child, with St. John. 111. Apollo and the 
Python. 112. Diana. 113. Bellona. 114. A female 
Figure walking, and holding up a portion of her dress 



with both hands; doubted genuine. 115. Five Figures. 
116. Faith. 117. Neptune appeasing the Storm; a copy 
of the centre compartment of the celebrated print by Marc' 
Antonio. This print is in the Louvre. 118. St. Christo- 
pher; at Paris. 119. A Woman pouring Water from a 
Vase. This print is in the British Museum. 

MELEUN. Count de, a French nobleman, who, 
according to Basan, for his amusement, etched some 
plates from Berghem, Callot, and other masters. 
He flourished about 1760. 

MELTNI. Carlo Domenico, an Italian engraver, 
born at Turin about 1745. He went to Paris, and 
studied under Beauvarlet. He executed some plates 
in a neat, finished style, among which are the fol- 
lowing : 



The King 
Turenne. 



PORTRAITS. 

Sardinia. The Children of the Prince of 



SUBJECTS. 



La belle Source ; after Nattier. The Education of Cu- 
pid ; after Lagrenie. Morning, a landscape ; after Lou- 
therbourg. 

MELISSI, Agostino, a Florentine painter, born 
at Florence in 1658, and died there in 1738. Ac- 
cording to Baldinucci, he acquired distinction for 
the beauty of his designs for tapestry, and was 
much employed by the Grand Duke to paint car- 
toons in the manner of Andrea del Sarto. for this 
purpose. He also painted in oil, and the author 
above mentioned highl}'- commends his picture of 
Peter denying Christ, in the Palazzo Gaburri. 

MELLAN, Claude, an eminent French design- 
er and engraver, born at Abbeville, according to 
the Biographie Universelle, in 1598. Bryan says 
that he was sent to Paris, where he acquired the 
elements of design in the school of Simon Vouet, 
and subsequently visited Home for improvement, 
at the age of sixteen. But Vouet did not return 
from his first foreign tour until 1627, consequently 
Bryan is in error ; and the authority above cited, 
says that Mellan studied the art at Paris, under 
Thomas de Leu and Leon Gaultier ; after which 
he visited Rome, in 1624, at the age oi twenty-six, 
where he gained great improvement under the 
direction of F. Villamena, assisted by the advice 
of Simon Vouet. He executed several plates 
which were highly esteemed, and was commis- 
sioned to engrave part of the plates of the antique 
statues in the Giustiniani collection, the whole of 
which consists of three hundred and twenty-two 
prints, published in two vols, folio. Komge, 1640. 
The principal part of the plates he engraved at 
Rome, are executed in the usual manner, with the 
strokes crossed a second and third time, as the 
strength of the shadows require. He subsequent- 
ly adopted a novel mode of operating, with single 
parallel lines, without any cross strokes over them, 
the shadows being expressed by the same lines 
being made stronger, and consequently nearer to- 
gether. In this new mode of engraving. Mellan 
acquired considerable celebrity, and many of his 
plates are characterized by a clear, soft, and agree- 
able effect. His success in this style appears to 
have been the result of his singular dexterit}^ in 
handling the graver, rather than of the peculiarity 
of the process. The perfect master, which he at- 
tained over his instrument, is admirably evinced 
in his plate of the Face of Christ, called the Su- 
darium of St. Veronica, executed entirely with a 
single line, commencing at the extremity of the 



MELL. 



546 



MELO. 



nose, and continued, without quitting, over the 
whole face and background. His print of Rebec- 
ca, after Tintoretto, is evidently from the work 
of a great colorist ; and the artist appears to have 
seized the very tones of the painter, but without 
introducing any cross strokes, except in the ac- 
cessories. Mel Ian died at Paris in 1G88, aged 
ninety. He executed quite a large number of 
prints, among which are many admirable por- 
traits, several of them from his own designs, as 
well a,s the greater part of his historical subjects. 
His prints are generally signed with his name in 
full, although he sometimes used the initials C. M. ; 
or the abbreviation C. Mel., or CI. Mell. He exe- 
cuted a part of the plates after the antique mar- 
bles in the royal palaces of France, which were 
completed by S. Baudet. The following are his 
principal plates : 

PORTRAITS. 

Urban VIII. ; after Bernini. 1631. Cardinal Benti- 
voglio. The Marquis Justiniani. Anne of Austria, Queen 
of France. Henry, Duke of Montmorency. The Cardinal 
Duke de Richelieu. The Cardinal de Mazarin. Francis 
de Villemontee, Bishop of St. Malo. 1661. Peter Seguier, 
Chancellor of France, Nicholas Cajffeteau, Bishop of 
Marseilles; after Du Moustier. The Cardinal du Per- 
ron; after Herbin. Victor le Bouthillier, Archbishop of 
Tours. 1658. Nicholas Claude Fabri de Peiresc ; one of 
his finest portraits. Charles de Crequis Lesdigueres, Mar- 
shal of France. 1633. Peter Gassendi, Professor of Math- 
ematics. Louisa Maria de Gonzaga, Queen of Poland. 
1645. Claude Mellan, painter and engraver. 1635. 

SUBJECTS FROM HIS OWN DESIGNS. 

Lot and his Daughters. Eome, 1629. Samson and Da- 
lilah. Moses and the Burning Bush. 1663. The Miracle 
of the Manna. The^ Annunciation ; inscribed £^cce Virgo 
concipiet. 1666. The Virgin flith the infant Jesus on her 
knee. 1659. The Holy Family. Rome, 1635. Christ pray- 
ing in the Garden ; a night-piece ; fine. Christ seized by 
the Soldiers, inscribed Pater ignosce illis, d^c. St. John, 
with Magdalene embracing the Cross. Rome. The Cruci- 
fixion, with the Virgin, Magdelene and St. John. The 
Entombing of Christ, with an inscription, Terra mota est. 
The Resurrection ; inscribed Per se resur^ens. 1683. The 
Face of Christ, called the Sudarium of St. Veronica ; exe- 
cuted entirely by a single spiral line, begun at the extremi- 
ty of the nose, and continued, without quitting, over the 
whole face and back-ground. St. Peter Nolasque. suppor- 
ted by two Angels ; one of the finest and the rarest prints 
of the artist. Four large plates of the Life of St. Bruno. 
St. Bruno praying in the Desert. St. Francis praying. 
1633; very fine. Several other Saints in acts of Devotion. 
Mary Magdalene expiring, supported by Angels. 

SUBJECTS AFTER VARIOUS MASTERS. 

Herodias with the Head of St. John ; after S. Vouet, 
The Roman Charity; do. The Death of Lucretia; do. 
St. Catherine kneeling, to whom an Angel is presenting 
the palm of martyrdom ; do. Rebecca meeting the Ser- 
vant of Abraham ; after Tintoretto ; esteemed the finest 
of his prints. 

MELLTNG, Anthony Ignatius, a German 
painter and architect, born at Carlsruhe in 1763. 
He was the nephew of Joseph Melling. a painter 
of the Academy of Strasburg. After acquiring a 
knowledge of painting under that master, and 
having studied architecture under his brother, he 
went to Italy for improvement, at the age of nine- 
teen. After visiting the different cities of that 
country, he travelled to Egypt, Smyrna, and then 
to Constantinople, where he settled. In 1795, he 
was appointed architect to the Sultana Hadidge, 
the sister of Selim III., which office he held for 
five years. His leisure hours were mostly em- 
ployed in making drawings of the principal views 
in Constantinople. In 1800, he went to Paris, and 



commenced the publication of his work entitled 
Voyage pitioresque de Constantinople^ et des 
lives du Bosphore, which had excellent success, • 
and gained him the honor of being appointed land- 
scape painter to the Empress Jcsephine. Several 
pictures exhibited at the Louvre gained him a 
gold medal. The Minister of Foreign Affairs, ap- 
pointed him his designer and painter ; and after 
the Restoration, he was appointed landscape paint- 
er to the Kmg's Cabinet. After the publication 
of his pictorial work entitled Voyage jpittoresqne 
dans les Pyrenees Francaises^ he was honored 
with a membership in the Legion of Honor. lie 
painted a few subjects of history, among which 
were the Entry of Louis XVIII. into Paris ; and 
the Distribution of the Standards of the National 
Guard. He died in 1831. 

MELONE, Altobello, a painter of Cremona, 
whose works date from 1497 to 1520. He painted 
both in oil and fresco. In 1497, he was employed in 
completing the frieze of the cathedral. According 
to Vasari, he painted a series of pictures of the 
Passion, in fresco, in one of the churches, truly 
beautiful, and deserving of commendation ; but 
Lanzi says he was not consistent in point of style, 
introducing figures of large and small proportions 
in the same piece, and coloring them in a manner 
that now gives them the appearance of tapestry; 
but time has doubtless wrought a great change in 
this respect. Lanzi himself, says he excelled in 
oil painting. Speaking of Christ descending into 
Limbo, in the sacristy del Sacramento, he says, 
" the figures are numerous, of somewhat long pro- 
portions, but colored with great softness and 
strength. His knowledge of the naked is be- 
yond that of his age, combined with a grace 
of features and of attitudes, that conveys the idea 
of a great master." He also painted easel pictures. 
Morelli. in his Notizia, mentions a Lucretia by him, 
painted in the Flemish style, and he says he was 
a pupil of Armanino. perhaps a Fleming. 

MELONI, Francesco Antonio, an Italian 
painter and engraver, born at Bologna in 1676. 
He first studied painting under Marc* Antonio 
Franceschini ; but not succeeding to his wishes, he 
etched some plates after his master, in which he 
showed so much taste, that by his advice, he after- 
wards devoted himself entirely to engraving. He 
was a correct and pure designer, and his plates are 
executed with neatness and spirit, and cai-efully 
finished with the graver. His works are not nu- 
merous, though Bartsch, Nagler, and others, men- 
tion about thirty prints by him. He died young 
in 1713. 

MELONI, Marco, a native of Carpi, who flour- 
ished in that city about 1537. He is supposed to 
have been a pupil of Andrea Costa. He painted in 
the manner of the Caracci, and was exceedingly 
accurate and studied in his design. There are 
some of his works in the churches at Carpi, es- 
pecially in S. Bernardino, which are highlj- com- 
mended by Tiraboschi. 

MELOZZO, DA FoRLi, a native of Forli, and 
one of the Fathers of the Italian school of paint- 
ing. There is much discrepancy about the minu- 
tiae of his life. Zani states that he was born in 
1436 ; Oretti that he died in 1492, aged fifty-six ; 
Vasari that he was best known at Forli about 
1472, and Luca Paccioli, in a work on geometry, 
&c., pubhshed in 1494, mentions him as one of the 



MELZ. 



547 



MEMM. 



most excellent painters, meJi famous and supreme^ ' 
then living. He is said by some to have studied | 
under Ansovino da Forli, and others, Piero della j 
Francesca. Lanzi doubts whether he could have i 
been a scholar of Ansovino, and thinks it at least 
possible that he was acquainted with Francesca, 
and Agostino Bramantino, when these artists were 
employed at Rome by Nicholas V.. about 1455. 
At alf events, his name is revered among his coun- 
trymen, as the first who applied the art of fore- 
shortening, the most difficult and the most severe, 
to the painting of vaulted ceilings. Considerable 
progress had been made in perspective, from the 
time of Paolo Uccello. with the aid of Piero della 
Francesca, a painter, and celebrated geometrician, 
and of a few Lombards. But the ornamenting of 
ceilings with that pleasing art and illusion which 
^vas afterwards brought to such perfection, was 
reserved for Melozzo. About the year 1472, he 
painted his famous work of the Ascension in the 
great chapel at the Santi Apostoli at Rome, for the 
Cardinal Riario, nephew to pope Sexius IV. Va- 
sari says of this work, '• the figure of Christ is so 
admirably foreshortened, as to appear to pierce the 
vault; and in the same manner, the angels are 
seen sweeping through the fields of air in two op- 
posite directions." In 1711, when the chapel was 
rebuilt, this painting was cut out of the ceiling 
with the greatest care, and placed in the Quirinal 
Palace, where it still remains with this inscrip- 
tion. Opus Melotii Foroliviensis qui summos 
fornices pingendi artem vel primus invenit vel 
illustravit. Several heads of the Apostles which 
surrounded it were also cut out and deposited in 
the Vatican. The style of Melozzo resembles, in 
point of taste, that of Andrea Mantegna and the 
Paduan school, nearer than an}' other. His heads 
were finely formed, his coloring good, his attitudes 
well cho.ben, and his foreshortening admirable; the 
lights are well disposed and graduated, and the 
shadows judicious, so that his figures seem to 
stand out and act in space. He painted his works 
also with delicacy of hand, diligence and grace, in 
every part. There are few of his works now in 
existence. There is an apothecary's shop painted 
in arcibesque, and a figure compounding drugs over 
the door, at Forli, venerated as the work of Meloz- 
zo. Vasari states that Francesco di Mirozzo of 
Forli, was employed in the villa of the Dukes of 
Urbino, called the Imperial, about the time Meloz- 
zo flourished; and Lanzi is clearly of opinion that 
'• we are here to substitute the name of Melozzo, to 
correct one of those errors which we have so fre- 
quently before remarked in Vasari." Lanzi also 
calls him in his index, F. Francesco M., perhaps 
from the above circumstance. Lanzi, speaking of 
his great work of the Ascension, before mention- 
ed, with the feelings of a true connoisseur, ex- 
claims, '• what a pity that so rare a genius, pro- 
nounced by his cotemporaries 'an incomparable 
painter, and the splendor of all Italy,' should not 
have had a correct historian, to have described his 
travels and pursuits, which must have been both 
arduous and interesting, before they raised him to 
the eminence he attained, in being commissioned by 
Cardinal Riario. to execute so great a work." 

MELZl, Francesco, il Conte. a Milanese paint- 
er of noble birth, the friend and scholar of Leonar- 
do da Vinci. He practised the art of painting as 
a delighful employment, for he was rich, and he 



approached nearer to the manner of da Vinci than 
any other of his scholars or imitators; and so 
near indeed, that most of his works are now at- 
tributed to his master. Nagler says that the pic- 
ture of Vertumnus and Pomona, in the Berlin 
Museum, formerly attributed to da Vinci, bears the 
signature of Francesco Melzi, and another now in 
England, called " The Flora of Leonardo da Vinci,'' 
is supposed to be b}' Melzi, as Lomazzo mentions 
his having painted an exquisite picture of that 
subject, in the style of da Vinci. He was a man 
of the most amiable disposition, and loved da Vinci 
as his father, and accompanied him in liis last 
visit to France. His master rewarded his affec- 
tion by giving him all his designs, instruments, 
books and manuscripts, which he nobly used by 
furnishing both Vasari and Lomazzo with notices 
of his life, and depositing the numerous volumes 
of his manuscripts in the Ambrosian Library for 
the benefit of posterity, which conclusively show 
the profound acquirements of that great artist, not 
only in painting, but in statics, h3"drostatics, optics, 
and anatomy. Melzi was living, according to Va- 
sari, in 1568, at an advanced age. 

MEMMI, Sim ONE, an eminent Sienese painter, 
and one of the earliest who distinguished them- 
selves after the revival of the art, was born in 
1285. He is sometimes called Simone di Martini, 
and Lanzi says his father's name was Martino, 
and that of his father-in-law, Memmo. a corrup- 
tion of Guglielmo. and that he sometimes assumed 
the one name, and sometimes the other. He signed 
several of his works Simon de Senis, the last in 
1344. He died in 1345, and this inscription is on 
his tomb, Simoni Memmio. pictorum omnium,, 
omnis cctatis celeberrimo. Vixit ann. GO, mensi- 
bus duobus. diebus tribus. These facts are given 
because of disputes as to his name and time of 
birth. Vasari says he was a pupil of Giotto, but 
this is *also disputed, and the writers of Siena 
claim that he was a disciple of their own venerable 
artist. Maestro Mino. Lanzi thinks the claims of 
the Sienese good, and that he derived much ad- 
vantage from the study of the large frescos of that 
master, though he thinks that, when he as.sisted 
Giotto in some of his works at Rome, he studied 
him clo.sely, as many eminent painters have done 
with the most eminent masters. At all events, 
he imitated Giotto so admirably in his works in 
the church of St. Peter, that the pope invited him 
to his court at Avignon, where it seems he painted 
several portraits of the pope, and man}' portraits 
of Cardinals and other distinguished personages, 
among whom were Petrarch and his far-famed 
Laura, and Petraich introduced his name in two 
■ of his' sonnets, and eulogized him in his letters. 
He also decorated a manuscript copy of Virgil for 
his friend Petrarch, which is now in the Ambro- 
sian Library, a gem of attraction. His great pic- 
ture in St. Peter's has perished, but there are 
several of his works in the churches at Florence 
and Pisa, as well as at Siena. In the Campo Santo 
of Pisa, are several frescos of the history of St. 
Ranieri, and the far-famed Assumption of the Vir- 
gin amid a choir of angels, so beautifully executed 
that Lanzi says, they "seem actually floating in 
the air. and celebrating the triumph." Some of 
his larger works may be seen in the chapter-house 
of the Spanish friars at Florence, among which are 
several histories of Christ, of St. Peter the Martyr, 



MEMM. 



548 



MENA. 



and St. Domenico, with others representing the 
Order of the Preachin.^ Friars, engaged in the ser- 
vice of the church. There are more of this class 
of pictures, in which he excelled, in the churches 
of Siena. Vasari saj^s "his works do not appear 
those of a master of that age, but of a most excel- 
lent modern artist." Lanzi says, "his coloring is 
more vivid than that of Giotto, and in floridness. 
seems a prelude to that of Baroccio." 

MEMMT, Lippo. This artist was a native of 
Siena, the brother-in-law and scholar of the preced- 
ing. Although he was not equal in genius to Si- 
mone, he succeeded admirably in imitating his 
manner, and probably assisted him in many works ; 
and, aided by his designs, he produced pictures 
that might have passed for the works of the for- 
mer, had he not inscribed them with his own 
name. When he wrought from his own designs, 
there is a manifest mediocrity in his invention and 
design, but he is still a good colorist. He some- 
times painted in conjunction with Simone, as ap- 
pears from a picture formerly in the church of S. 
Ansano de Oastel Vecchio at Siena, now in the 
Florentine Gallery, inscribed, Simon Martini et 
Lippus Memmi de Senis, me pinxerunt. A. D. 
1333. He finished several works begun by Si- 
mone, at Ancona, Assisi, and other places. He 
also painted some from his own designs, at Siena 
and Pisa. He was living in 1361. 

MENA, Felipe Gil de, a Spanish painter, born 
at Valladolid in 1600. He is said to have studied 
under vander Hamen, a Flemish painter settled at 
Madrid, where he made rapid progress, and soon 
surpassed all his fellow scholars. His instructor 
confided to him the execution of a number of im- 
portant works, and his reputation increased to 
such a degree that he could hardly execute his 
commissions. He excelled particularly in por- 
traits, characterized by natural and animated ex- 
pression. Invited to his native city, he was com- 
missioned to execute a large number of works, 
among which are several in the community of the 
Orphelins, and the convent of St. Francisco, at 
Valladolid. Mena deserves great credit for estab- 
lishing a free school of design in his own house, 
and provided for its use a large number of designs 
and models, subsequently sold for a thousand du- 
cats. He died in 1674. 

MENA, Don Pedro de, a Spanish sculptor, 
born at Adra, in Alpujurra, about 1620. He stud- 
ied the art under his father, and subsequently vis- 
ited Granada, to complete his artistical education 
under Alonso Cano. His first work of any im- 
portance was a group representing the Conception, 
executed for the church of Algendin, near Grana- 
da, which gained him considerable reputation, and 
he received many commi«!sions from the cities of 
Granada, Malaga, Madrid, Cordova, and Toledo. 
Among them are St. Antonio holding in his arms 
the infant Jesus, at Granada ; and a Magdalene 
penitent, at Madrid, admired for its truthfulness 
of expression. For the Prince Doria of Genoa, 
he executed a statue of Christ agonizing, regarded 
as his master-piece. He died at Malaga in 1693, 
leaving a number of distinguished scholars, among 
whom was Miguel de Zayas. 

MENABUOI. See Giusto Padovano. 

MENAGEOT, Francois Guillaume, an emi- 
nent historical painter, born at London, of French 
parents, in 1744. At the age of six years his fa- 



ther took him to France, and afterwards placed 
him in the school of Augustin. He subsequently 
studied under Deshays, Boucher, and Vien. In 
1766, he carried off the grand prize of painting, 
and visited Rome with the royal pension, where he 
remained five years, studying the antique, and the 
works of the great masters. On returning to Pa- 
ris, he gained the favorable notice of the xicademy 
by his grand picture of the Parting of Polyxenus 
and Hecuba; and in 1780 was chosen an Academi- 
cian, for his painting of Study detaining Time. 
He was afterwards appointed Assistant Professor, 
and in 1787 Professor of the Academy. Appoint- 
ed by the King to the Directorship of the French 
Academy at Rome, he discharged the duties of that 
impoitant office during the stormy times which 
led to the dissolution of the institution, in 1793, 
when he went to Vicenza, and resided there eight 
years. Although receiving several invitations to 
visit foreign courts, he declined them all. and about 
1800 returned to Paris. He was honored with a 
membership in the Institute, and the Legion of 
Honor, and was appointed Professor of the Acade- 
my of Painting. Menageot employed his talents in 
painting easel pictures, but is chiefly known by his 
grand historical works. They evince an ardent 
love of nature, and are fall of sweetness and grace. 
His compositions are characterized b}"- excellent 
judgment; his design is elevated and pure; dra- 
peries skillfully cast ; and coloring very harmoni- 
ous. Among his principal works are Astj-anax 
torn from the Arms of his Mother ; Cleopatya at 
the Tomb of Antony ; Diana searching for the 
young Adonis, and fearing to decide between the 
two children placed before her by Venus, lest she 
should choose Cupid ; the Death of Leonardo da 
Vinci ; and King Dagobert I. giving ordei'S for the 
erection of the church of St. Denis. The latter 
picture is placed in the sacristy of that church. 
Menageot died in 1816. 

MENAGEOT, Robert, a French engraver, born 
at Paris in 1748. Heat first studied painting un- 
der Boucher, and practised that art for some time; 
but afterwards devoted himself entirely to engrav- 
ing. He visited England, and executed several 
plates for Boydell. Among others, there are the 
following by him : Friendship, a circular print, af- 
ter Correggio ; Innocence, the companion, Mena- 
geot fecit ; the Virgin and Infant, with St. Elisa- 
beth, a/ifer Guido; an African Woman, a//'er7>ow- 
therbourg. 

MENANT, P., a French engraver, who flourish- 
ed at Paris about 1715. In conjunction with Fon- 
bonne, Scotin. Regnard, and others, he engraved part 
of theplatesfortheViews of the Palaces and Gar- 
dens at Versailles. They are neatly executed, but 
in a formal style, without much eifect. 

MENAROLA, Cristoforo, a painter of Vicen- 
za, who flourished about 1727. According to Mel- 
chiori he first studied under Volpato, and after- 
wards Carpioni. whose manner he chiefl}^ followed. 
He w^as esteemed an excellent artist, and his works- 
were in much request. 

MENENDEZ, Michael HyACiNTH. a Spanish 
painter, born at Oviedo in 1679. He studied paint- 
ing at Madrid, and is said to have attained equal 
skill in invention, design, and coloring. In 1712 
he was appointed by Philip IV. painter to the 
King. There are many of his paintings at Mad- 
rid, among which are tw^o subjects from the life of 



MENE. 



549 



MENG. 



Elijah, in the Carmelite monastery ; a Magdalen at 
the Reccoletos ; and the Apostles, in the church 
of St. Giles. He made designs of all the paint- 
ings in the church of S. Felipe le Royal, which 
were painted after his death, by his scholar, An- 
drea de Oolleja. There is a print by John Barna- 
bas Palomino, representing St. Isidore on horse- 
back, clothed in the pontifical robes, and extermi- 
nating the Moors. 

MENENDEZ. Francisco Antonio, was a 
- Spanish painter, the son of Michael Hyacinth M., 
born at Oviedo in 1682. He acquired the elements 
of the art at Madrid, and afterwards visited Ge- 
noa. Milan, Venice, Rome and Naples. Possessed 
of no fortune, and without a protector, he became 
involved in difficulties, and was obliged to enter 
the Spanish infantry. During his leisure hours, 
however, he devoted his attention to art, and ac- 
quired much important knowledge. After a few 
years, in consequence of a change in the affairs of 
Naples, he was released from the army, and im- 
mediately went to Rome for improvement. In 
1717 he returned to Spain, and commenced paint- 
ing portraits in miniature, with considerable suc- 
cess. In 1726, he addressed a memorial to the 
Spanish king, praying him to establish an Acade- 
my of Design, Painting, Sculpture, and Architect- 
ure ; but it was not until 1744 that he attained 
any succe.ss. In that year a School of Design was 
organized, and Menendez appointed Director. — 
This small beginning at length resulted in the 
foundation of the Academy of St. Ferdinando, 
which was not firmly established until after the 
death of Menendez. He deserves high credit, and 
the grateful remembrance of every lover of art. 
for his endeavors in this work. The masterpiece 
of Menendez is a Marine View, representing a 
tempest through which he passed while returning 
from Italy, characterized by great vigor and strik- 
ing resenjiblance to nature. This beautiful picture 
was in the church of Our Lady d'Atocha, but is 
now in the church of the Rosary at Madrid. Me- 
nendez had three sons, whom he instructed in the 
art. The time of his death is not recorded. 

MENESES. See Osorio. 

MENGAZZINO, II. See Domenico Santi. 

MENGOZZI. GIROLAMOCOLONNA, or COLONNA 

Mengozzi. a painter of the Ferrarese school, and 
a native of Tivoli, was born in 1688, and died 
about 1766. He was a very eminent ornamental 
and architectural painter. He resided at Venice 
many years, and was much employed in painting 
for the churches and public edifices. In the church 
of the Tolentini. and in the Tiepolo at the Scalzi, 
he painted the architectural and ornamental parts, 
while Zompini painted the figures. He conduct- 
ed the architecture in the Ducal palace, and in oth- 
er edifices, Guarienti extols him as the first ar- 
chitectural and ornamental painter of the age, 
which praise he evidently merited. 

MENGS, Cav. Antonio Rafpaelle, one of the 
most distinguished painters of the 18th century, 
was born at Auszig, in Bohemia, in 1728. His 
father, Ishmael Mengs, a Dane by birth, and an 
indifferent miniature painter, settled about this 
time at Dre,sden. He early instructed his son in [ 
the rudiments of art, and perceiving in him supe- i 
rior talents, he compelled him to exercise himself I 
constantly in drawing, made him forego all recrea- ' 



tion, and set him ta.sks which he was required to 
perform in a given time, and severely punished 
him if he failed. As he advanced, he instructed 
him in oil, miniature, and enamel painting. In 
1741, when he was thirteen years of age, he took 
him to Rome, where he was employed in copying 
some of the works of RafTaelle in miniature for 
Augustus III., Elector of Saxony and King of Po- 
land, which were sent to Dresden, where they^ 
were greatly admired. While engaged in ex- 
ecuting these works, his father exercised the 
greatest tyranny over him. He was left in the 
Vatican, to pass the da})- at his work, with no oth- 
er food than bread and water, and at evening his 
studies were examined with great severity. In 
1744. his father returned with him to Dresden, 
when he was appointed court painter by Augustus^ 
with a salary. His royal patron permitted him, 
soon after, to make a second visit to Rome, to pur- 
sue his studies. His first great work was an ori- 
ginal composition, representing the Holy Family, 
on a large scale, which was exhibited at Rome, 
and gained him great reputation. Here he com- 
mitted an act of indiscretion, by marrying the 
pretty servant girl who had served him for a mo- 
del. He was desirous of fixing his residence at 
Rome, but his father compelled him to return to 
Saxony in 1749. after an absence of four years. 
Ho remained three years at ])resden, when the ty- 
ranny of his father rendered his situation so dis- 
tressing that his health became impaired, and he 
asked and received permission of his royal patron 
to return to Rome, and execute a commission he 
had received from him for an altar-piece for the 
Royal chapel. Soon afterwards he was deprived 
of his pension, from the low state of the king's 
finances, occasioned by the seven years' war, and 
being thrown upon his own resources, he wrought 
at low prices for the support of his family. He 
copied Rafi'aelle's School of Athens for the Duke 
of Northumberland, and executed some easel pic- 
tures ; but his reputation continued to increase, 
and he soon found abundant patronage. In 1754, 
he received the direction of the new Academy at 
Rome, and in 1757 was employed by the Celes- 
tines to paint the ceilings of the church of S. Eu- 
sebius, which were his first works in fresco. He 
soon afterwards executed his admired fresco of 
Mount Parnassus, in the Villa Albani, which has 
been finely engraved by Raphael Morghen. He 
also painted some easel pictures for Englishmen and 
other foreigners at Rome. About this time, also, 
he made an excursion to Naples, to execute a com- 
mission for the Elector of Saxony, where his mer- 
its were made known to the king of Naples, who 
soon afterwards succeeded to the throne of Spain 
as Charles III., and in 1761 invited Mengs to 
his court at Madrid, and granted him a liberal 
pension. His first undertaking was the ceiling of 
the King's ante-chamber, which he decorated with 
the Graces; and afterwards the Queen's apart- 
ment, where he painted one of his most celebrated 
works, the Aurora, a grand and beautiful compo- 
sition. He also executed other works, among 
which were a Descent from the Cross, and the 
Council of the Gods. The air of Spain proving 
inimical to his health, he obtained permission to 
return to Rome for its regstablishment. where, 
immediately on his arrival, he was engaged by 
Clement XIV. to paint in the Vatican a picture of 
Janus dictating to History^ and a Holy Family, 



MENG. 



550 



MENG. 



"wliicli have been engraved hy Cunego. After an 
absence of three years, he returned to Madrid, 
where he was received with ever}?- demonstration 
of respect by his royal patron, who loaded him 
with favors. He now commenced his celebrated 
work in the dome of the grand saloon of the roy- 
al palace at Madrid, where he represented the 
Apotheosis of the Emperor Trajan, a composition 
of extraordinary ingenuity and beau t3^ Through- 
out his whole life, Mengs devoted himself with the 
most untiring industr}^ to the study and practice 
of his art, without taking necessary relaxation of 
exercise or society. Being naturally of a feeble 
constitution, his strength again failed him, and per- 
ceiving that the climate of Spain disagreed with 
him, he obtained permission from the king to re- 
turn to Italy, with an increased pension. On his 
way, he stopped at Manaco to recruit, and while 
there painted his picture of the Nativity, in the 
Ro3'-al Collection of the King of Spain, in the style 
of the famous Notte by Coi-reggio, in which the 
light emanates fi-om the infant Saviour — one of his 
finest productions. It was so highly valued by 
his royal pati'on, that he ordered it to be covered 
with glass for its protection. It measures nine 
feet ten inches by seven. His feeble frame began 
to invigorate, and, as he approached Rome, his spi- 
rits brightened at the thought of passinji; the rest 
of his days in tranquillity with his familj^, in that 
world of art and taste. But his visions of happy 
years were not realized, for the death of his wife, 
whom he tenderly loved, happened soon after his 
arrival, and threw him into a most melanchol}^ 
state of despondency, and he sunk into his grave 
in 1779, in the fifty-first year of his age. leaving a 
family of seven children. He left little propert}^, 
besides his splendid collection of works on art, 
drawings of great masters, engravings, vases, and 
other articles of virtii, though he had received 
180.000 scudi during the last eighteen years of his 
life. A splendid monument was erected to his 
memory by his friend Count d'Azara, b}^ the side 
of Raffaelle's ; and another by the Empress of Rus- 
sia, in St. Petei-'s. 

The talents of men of genius are seldom proper- 
ly appreciated during their life-time, and when thoy 
are, they are sure to gain rancorous and bitter 
enemies, as well as warm friends. Hence there is 
great dispute as to the merits of Mengs. The in- 
discreet zeal of his friends has not hesitated to 
rank his powers on a level with those of Rafiaelle, 
and the Al)be Winkelmann places him in a still 
more elevated rank. They call him the great lu- 
minary of modern times, and attribute to him the 
purity of the antique, the composition and expres- 
sion of Raffaelle, the grace and chiaro-scuro of Cor- 
reggio, and the coloring of 'J^itian. On the other 
hand, his enemies call him a plagiarist in his writ- 
ings ; an artist who had seen much and invented 
little; that be dispenses neither life nor death to 
his figures ; excites no terror, rouses no passions, 
and risks no flights ; that by studying to avoid 
particular faults he fell into general ones, and his 
execution bears the stamp of tameness and servil- 
ity ; that the contracted scale and ideas of a mini- 
ature painter are observable in most of his compo- 
sitionSjin which the delicate finishing shows the hand 
of an artist, but manifests no emanations of soul 
in the master. If it be beauty, it does not warm ; 
if sorrow, it excites no pity. Pompeo Battoni 
called his pictures " looking glasses/' i.e. that he 



was an enamel painter. But we are not to judge 
Mengs by his oil pamtings, or his earlier works. 
Thei'e can be no doubt that posterity will award 
him a distinguished position ; and Lanzi thinks 
that he even made an era in art. To form a just 
estimate of his ability, it is necessary to contem- 
plate his best works, Avhich are undoubtedly his 
frescos in Spain. His composition is simple, no- 
ble, and studied ; his drawing is correct and ideal ; 
his expression founded on the digniiied model of 
Raffaelle ; and his coloring in ever}'- respect excel- 
lent. He finished his pictures with the greatest 
care. If his works do not surprise us by tlie liery 
soarings of a lofty imagination, or by the displaj'^ 
of a novel and inventive genius, they satisfy the 
most scrupulous by the chaste arrangement of his 
ideas, and his careful and learned attention to pro- 
priet}^ of costume. His acquaintance with the an- 
tique is profound, and his characters are distin- 
guished by a quiet correctness, and a placid ex- 
pression of tranquil beauty. 

As a theorist, and a writer on art, Mengs is 
entitled to a distinguished reputation. His writ- 
ings were published at Rome, by his friend, the 
Cav. d'Azara, in 1783. and are highly instructive 
to the artist, especially his remarks on the antique 
and his criticisms on Raffaelle, Correggio, Titian, 
and other gieat masters. The libels in regard to his 
being a plagiarist, have been completeh^ demolished 
by Winckelmann, Lanzi, and others. They haye dif- j 
ferent titles, but all the same aim — the discrimina- ; 
tion of real perfection in art. '' The artist," says 
Lanzi, " as characterized by Mengs, may be compar- | 
ed to the orator of Cicero ; both are endued by the 
authors with an ideal perfection which the world has 
never seen and probably never will see. It is the duty 
of an instructor to recommend excellence, that, in 
striving to attain it, we may at least acquire a com- 
mendable portion of it ; therefore I should defend 
his writings when, in the opinions of others, he 
seems to assume a dictatorial tone in the judgment 
he passes upon Guido, Domenichino, and the 
Caracci, the very triumvirate he proposes as mod- 
els in art. Mengs was assuredly not so infatuated 
as to hope to surpass these great men ; but be- 
cause he knew that no one does anything so well that 
it cannot be done still better, he shows where they 
attained the summit of art, and where they failed. 
The artist, therefore, as described by Mengs, to 
whose qualifications he aspired, and was anx- 
ious that all should do the same, ought to unite in 
himself the design and beauty of the Greeks, the 
expression and composition of Raffaelle, the chiaro- 
scuro and grace of Correggio, and to complete all, 
the coloring of Titian. This union of qualities 
Mengs has analyzed with equal elegance and per- 
spicuity, teaching the artist how to form himself 
on that ideal beauty which isitself never realized." 
Lanzi thus concludes his notice of Mengs. which 
is full of instruction to the artist : " As far as re- 
gards myself I cannot but extol (hat inextinguish- 
able ardor of improving him.self by which he was 
so particularly distinguished, and which prompted 
him, even when he enjoyed the reputation of a 
first-rate master, to proceed in every work as if he 
was only commencing his career. Truth was his , 
aim, and he diligently studied the works of the Ij 
best luminaries of the art, analyzing their colors, ',; 
and examining them in detail, till he entered fully 
into the design and spirit of those great models. 
While employed in the Ducal Gallery at Florence, ! 



MENG. 



551 



MENO. 



he did not touch the pencil until he had attentively 
studied the best pieces there, and especially the 
Venus of Titian in the tribune. In his hours of 
leisure, he employed himself in carefully studying 
the frescos of the best masters of that school 
which is so distinguished in this art. He was ac- 
customed to do the same by every work of celeb- 
: jity which fell in his way, whether ancient or mod- 
-ern; all contributed to his improvement, and to 
carry him nearer to perfection. He was, in short, 
a man of most aspiring mind, and may be compar- 
ed to the ancient who declared he wished ' to die 
learning.' If maxims like these were enforced, 
what rapid strides in the art might we expect ! 
But the greater part of artists form for themselves 
a manner which may attract popularitj^, and then 
relax their efforts, satisfied with the applause of 
the crowd ; and if they feel the necessity of im- 
proving, it is not with the design of acquiring a 
just reputation, but of adding to the price of their 
works." 

MENGUCCI, DoMENico, a painter of Pesaro, 
who studied under Gio. Andrea Donducci. at Bo- 
logna, and painted landscapes much in the style 
of his master. He flourished at Bologna about 
1660, where his works were held in considerable 
estimation, and according to Malvasia. are found in 
the best collections. 

MENGUCCI, Gig. Francesco, a native of Pe- 
saro. who studied at Rome under Cav. Lanfranco. 
According to Malvasia, he was an able artist, as- 
sisted his master in the execution of some of his 
grand cupolas, and afterwards painted much in oil 
for the collections. His works were highly es- 
teemed. 

MEXHEERE, Cornelius Laurens, a Dutch 
marine painter, who flourished in the first part of 
the 18th century. He went to England, and re- 
sided a long time at Flushing, where he painted 
many pictures, representing views of the city and 
sea-coast. 

MENICHINO, DEL Brizzio. See Ambrogi. 

MENINI, Lorenzo, a Bolognese painter, the 
scholar and assistant of Francesco Gessi. Ac- 
cording to Dominici and others, Guido Reni 
had received a commission to paint the chapel of 
S. Gennaro at Naples. Belisano, leagued with 
Spagnoletto and others, threatened his life if he 
did not instantly quit Naples, which Guido imme- 
diately complied with. The commission was then 
offered to Gessi, the scholar of Guido, who, re- 
gardless of the threats of the intriguers, set him- 
self about his work, when they inveigled his two 
assistants, Lorenzo Menini and Gio. Battista Rug- 
gieri, on board a galley, which instantly set sail. 
They were never heard of afterwards, and are sup- 
posed to have been murdered. Gessi was then 
compelled to take his departure. It was this in- 
fernal band that drove all foreign artists of talents 
from Naples, and compelled Domenichino to fly to 
Rome, in spite of the protection of the govern- 
ment ; and on his second return they are said to 
have caused his death by the constant excitement 
of their intrigues, or by poison. 

MENISECLES. See Mnesicles. 

MEN JAUD, a French painter, the son of a Pa- 
risian notar}^, born about 1772. He gained the 
grand prize of the Academy, and visited Rome 
with the royal pension. In 1822 he exhibited at 



the Louvre a picture of the Death of the Duke 
de Berri. and another of the portraits of Raffaelle. 
Tintoretto, and Aretino. In 1827 he also exhibited 
two pictures, Francis I. holding a wild boar, and 
Girodet bidding farewell to his Atelier. His mas- 
terpieces are said to be the Crowning of Tasso, and 
the Communion. He died in 1831. 

MENODORUS, or MONODORUS, an Atheni- 
an sculptor, who lived in the time of Nero, about 
A. D. 60. He was principally distinguished for 
his statues of warriors, hunters, wrestlers, and 
priests. His masterpiece, however, was the mar- 
ble figure of Cupid, executed for the Thespians, in 
imitation of the famous Oupid of pentelic marble, 
sculptured for that city by Praxiteles. The latter 
was first carried to Rome by Tiberius, and subse- 
quently restored by Claudius ; but being retaken to 
Rome by Nero, it was shortly after destroyed in 
a conflagration. This Cupid has been frequently 
copied. 

MENTON, Francis, a Dutch painter, born at 
Alkmaer in 1550. According to van Mander, he 
studied under Francis Floris, and painted history 
and portraits with reputation. The encourage- 
ment he met with as a portrait painter, induced 
him to devote himself almost exclusively to that 
branch. The few historical pictures by him 
are well designed, colored, and finished. He died 
in 1605. He established a successful school, and 
instructed many young artists. He is also said to 
have engraved a number of plates in a tasteful and 
delicate style. 

MENTOR, an eminent Greek sculptor of the 
age of Pericles, who wrought principally in gold 
and silver, which he chased with unrivalled skill. 
Cicero and Plinj^ allude to his works ; and the va- 
ses and goblets carved or chased by him are men- 
tioned with high commendation by Propertius, Ju- 
venal, and Martial. Some of the finest produc- 
tions of his chisel adorned the temple of Diana at 
Ephesus. Crassus is said to have paid for two 
goblets of his workmanship the enormous sum of 
100,000 sesterces. 

MENZANI, FiLippo, a Bolognese painter, who 
flourished in 1660. According to Malvasia, he 
studied under Albano, and was his attached disci- 
ple and faithful copyist, whose works might read- 
ily pass among strangers for those of his master. 

MERA, PiETRO, a Flemish artist who, accord- 
ing to Ridolfi, flourished at Venice about 1600, and 
received many comm.issions for the churches, par- 
ticularly for Sts. Giovanni and Paolo, and La 
Madonna dell' Orto. He was an able artist, and 
appears to have been educated in Venice, as his 
style is purely Venetian. 

MERANO, Giovanni Battista, a painter born 
at Genoa, in 1632. He studied under Valerio Cas- 
telli, by whose recommendation he went to Parma, 
to study the works of Correggio and other great 
masters in that city, where he was employed by 
the Duke, and painted much for the nobility. 
On his return to Genoa, he painted some works 
for the churches, among which his Murder of 
the Innocents, in the church of II Gesu, is one 
of his best performances. Lanzi commends it as 
a copious and careful composition, extremely well 
arranged and colored. He died, according to Zani, 
in 1698. 



MERA. 



552 



MERC. 



MERANO, Francesco, called il Paggio, a paint- 
er of Genoa, was born, according to Soprani, in 
1619, and died in 1657. He studied under Dome- 
nico Fiasolla, and was a reputable follower of his 
style. 

MERCxlTI, Giovanni Battista, a Florentine 
painter and engraver, born at Citta San Sepolcro, 
in the latter part of the IGth century. Some of his 
earlier prints are dated 1616, and his latest 1637. 
He was an imitator, if not a scholar, of Pietro da 
Cortona, and painted history in the style of that 
master, though he sometimes resembles the Ca- 
racci. He gained great reputation in his native 
city, where he painted several works for the 
churches, among which, his two frescos of the 
history of the Virgin, in the church of S. Chiara, 
and an altar-piece in S. Lorenzo, are highly com- 
mended by Lanzi. They resemble the Caracci in 
composition and design, in the variety and expres- 
sion of the heads, and especially in the draperies, 
which are well cast in ample folds, and skilfully 
varied. Thei-e are some of his works at Venice, 
Rome, and Leghorn. In the cathedral in the lat- 
ter city, is a picture by him of the Five Saints, ex- 
ecuted with great care. 

He also etched quite a number of plates in a 
free and spirited style, finished with the graver 
in a bold manner, which gives them a vigorous and 
brilliant effect. The following are by him : 

A set of fifty-two phites of Ruins and Views in Italy ; 
engraved in the manner of Sylvestre ; Gio. Bat. Mercatu 
fee. Four Antique Figures, from the arch of Constantino ; 
engraved in the style of Gallestruzzi ; circular; Gio. Bat. 
Mercati. The Marriage of St. Catherine ; after Correg-- 
gio. St. Bibiana refusing to sacrifice to false Gods; after 
P. da Cortona. 

MEROIER. Philip, a painter of Fjench extrac- 
tion, was born at Berlin in 1689, and was brought 
up in the Academy of that city. After visiting 
France and Italy for improvement, he went to 
Hanover, where he painted the portrait of Prince 
Frederick, and some of the nobility. He after- 
wards went to England, and when his Roy- 
al Highness came over, Mercier was appointed 
his painter, was taken into his household, and 
painted the portraits of several of the royal fam- 
ily. After nine years, he fell into disgrace and was 
dismissed from his service. He afterwards lived 
in Covent Garden, and painted portraits and do- 
mestic subjects, in the style of Watteau. He was 
a good portrait painter, and blended the manners 
of Riguud and Knell er. He died in 1760. 

MERCIER, JAcauES le, an eminent French 
architect, born at Pontoise about 1590. After ac- 
quiring the elements of the art in his native coun- 
try, he visited Italy, and remained there several 
years, studying with great assiduity the noble re- 
mains of antiquity, and. the creations of modern 
genius. On returning to France, in 1629, he was 
commissioned by Cardinal Richelieu to erect the 
college de la Sorbonne, and six months after, the 
church of that name, which is considered one of 
the finest architectural works of the age. He was 
appointed architect to the king, and erected many 
important works, among which is the Palais Royal ; 
the church de I'Oratoire, in the Rue St. Honore ; 
the church of the Annunciation, at Paris, &c. He 
commenced the church of St. Roch at Paris, but died 
before its completion in 1660. Dumesnil mentions 
three vc:y rare prints engraved b}'' this architect. 



They are a design of the statue of Henry IV., erect- 
ed at S. Giovanni de Laterano, in 1608 ; the.design 
of a model (not executed) by Michael Angelo, of 
the church of S. Giovanni dei Fiorentini, 1607; 
and the Catafalco at Rome, for the obsequies of 
Henry IV., July 1, 1610. 

MERCIER, Antoine le, a French engraver of 
little note, who flourished about 1633, and en- 
graved among other prints, several slight but 
spirited etchings of architectural ornaments, &c.. 
after the designs of P. Collo. 

MERIAN, Matthew, the elder, an eminent 
Swiss designer and engraver, was born at Basle 
in 1593. Discovering an early inclination for art, 
he was sent to Zurich, and placed under the in- 
struction of Dietrich Me3^er, an engraver and glass 
painter, with whom he remained four years. 'On 
leaving that master he went to Frankfort, where 
he formed an intimacy with Theodore de Bry, 
whose daughter he married, and by whose in- 
struction and advice he greatly improved himself. 
He executed a great number of plates of views 
in Germany, France, and Switzerland. His best 
works are a set of topographical plates of views 
in the environs of Heidelberg, Stuttgard, Schwal- 
bach, and other places, which he afterwards pub- 
lished at Frankfort. They are all from his own 
designs, etched in a slight, free style, and finished 
with the graver. They give a peiFect idea of the 
places they represent, though without much taste 
in the execution. He was the instructor of the 
celebrated Hollar. He died at Frankfort in 1651. 
His plates are usually marked with one of his 
monograms. For a full list of his works the 
reader is referred to Nagler's Kunstler-Lexicon. 
The following are his best prints : 



or 



PORTRAITS. 



David Parous; Prof. Acadevncc Heidelberg. Daniel 
Sennertus ; oval, x^rnold Weickerdus, Med. Doc. 1626, 

SUBJECTS. 

A set of plates from Sacred History. The Last Supper, 
inscribed, Accepit Jesus panein ; a large plate ; very 
scarce. A large plate of the Picture of Human Life ; in- 
scribed, Tabula Cebetis. continens totius vitce humancB 
descriptionem ; scarce. A set of seven Views in France. j 
Six Views in Germany. Sixteen Views in Germany and 
Switzerland. Twelve Views of Gardens, &c. Twenty- 
four Picturesque Landscapes, with figures. 

MERIAN, Matthew, the younger, was the 
son of the preceding, born at Basle in 1621. He 
is said to have studied painting successively un- 
der Sandrart, Rubens, and Vandyck. Fuessii, his 
countryman, commends him as a good painter of 
history, and excellent in portraits, to which latter 
branch he devoted most of his attention, and was 
employed by many of the most distinguished per- 
sonages in Germany. He was famous for his 
equestrian portraits, among the host of which is 
one of Count Serini, in an Hungarian uniform, 
with his right arm bared, and a sabre in his right 
hand, ready for the bloody strife ; a picture ad- 
mirably designed, and executed full of fire, with a 
coloring said to unite the depth of Rembrandt, with 
the tone of Rubens. His best historical pictures 



MERT. 



558 



MERL. 



are the Martyrdom of St. Lawrence, in the cathe- 
dral of Bamberg, and Artemisia mixing the ashes 
of Mausohis in her Cup. In dignity of conception, 
he has seldom been surpassed ; his design was cor- 
rect; and his coloring partook of the vigor of the 
Flemish school. He also etched a few plates. Time 
of his death not recorded. 

MERIAN. ^[ARIA Sybilla. This celebrated 
pain tress was the daughter of IMatthew M., the 
Elder, born at Frankfort in 1647. Her father 
dying when she was four years old. her mother 
married Jacob Murel, a reputable painter of fruit 
and flowers, who, discovering in the child a taste 
for painting, took great pains to instruct her. 
She made surprising progress, and became skilful 
in painting fruit, flowers, insects, and still life in 
miniature. She afterwards studied with Abra- 
ham IMignon, and acquired great neatness of hand- 
ling and delicacy of coloring. Her genius led her 
particularly to the study of natural histor3^ and 
she designed every thing from nature. She usual- 
h' painted in water-colors on vellum, and she soon 
made an extensive collection of drawings of butter- 
flies, caterpillars, and other insects, in the various 
changes they undergo, with remarkable beauty and 
fidelity. She also drew frogs, toads, serpents, and 
other reptiles. In 1665. she married John Andrew 
Graff, an ingenious artist of Nuremberg, who had 
studied with Murel, and settled in that city. Not 
satisfied with the description of insects, and the 
metamorphoses, which she found in the works of 
the naturalists of the time, she formed the design 
of giving to the Avorld her own observations and re- 
searches, illustrated with plates from her own de- 
signs, and partly etched b}^ herself. In 1679. she 
published the first volume of her interesting work 
at Nuremberg, in German, under the title of The 
History of the Insects of Europe, drawn from 
nature, and explained, by Maria Sybilla 3Ierian, 
itjith their Generation and Changes^ with the 
Plants on which they feed. The second volume 
appeared in 1683. Her zeal in pursuit of her fa- 
vorite study induced her to m.ake a voyage to 
Surinam, in 1698, for the express purpose of de- 
signing from nature the insects and plants pecu- 
liar to that chmate. Soon after her return to 
Holland, she pubhshed at Amsterdam, in 1705, 
the fruits of her researches in a work in Latin, 
entitled Drssertatio de Generatione et Metamor- 
phosibus Inseciormn Surinamensium. illustrated 
with .sixty plates. This work was augmented in 
a later edition by her daughter. Dorothea Graff, 
with twelve additional plates. Her drawings are 
executed with a truthfulness, delicacy, and beau- 
ty of coloring, that have seldom been surpassed. 
There are two large volumes of her drawings in 
the British ^Museum, one of the Insects of Europe, 
and the other of those of Surinam, which were 
purchased by Sir Hans Sloane. at the enormous 
price of five guineas for each drawing. Her pic- 
tures commanded high prices in her life time, and 
were much sought after. She died at Amsterdam 
in 1717. 

MERIAN, Gas PAR, a German engraver, proba- 
bly a relative of the preceding family, who flour- 
ished about 1660,. and published in that year a set 
of plates, representing the Ceremonies of the Elec- 
tion of the Emperor Leopold. 

MERIMEE, J. F. L., a French historical paint- 
er, who flourished during the present century. 



His principal merit consisted in the gradations of 
hght and shadow, which he represented with the 
greatest delicacy imaginable. This excellence is 
well evinced in his picture of Travelers discover- 
ing the bones of Milo of Crotona, and endeavoring 
to ascertain, from the position of the arms, the 
manner of his death. His picture of Innocence, is 
well known at Paris, and has been finely engraved 
by Bervic. Merimee gained considerable distinc- 
tion by his treatise on oil painting, which evinces 
an excellent knowledge of chemistry, and great re- 
search. It is entitled De la peiniure a Vhuile, 
ou des procedes materiels employes dans ce 
genre de peinture, depuis Hubert et Jean van 
Eyck jusqu- a nos Jours. Paris, 1830, 8vo. — 
Merimee was appointed perpetual secretary of the 
Academy des Beaux Arts. He died at Paris in 
1836. 

MERLI, Gig. Antonio, an old painter of the 
Milanese school, who flourished at Novara in 1488. 
He was an excellent portrait painter, for his age, 
and painted many distinguished personages. 

MERLTANO, Giovanni, an Italian sculptor and 
architect, born at Nola in 1478. He studied at 
Naples, under Agnello Fiore, and subsequently 
visited Rome for improvement. On his return to 
Naples, he wrought with great assiduit}^, and pro- 
duced so many excellent works in sculpture, that 
his reputation exceeded that of any cotemporary 
Neapolitan sculptor. This is the judgment of 
Milizia, Avho says that the principal chambers of 
that city are decorated with the works of Mer- 
liano. among which are the Tomb of Andrea Boni- 
fazio, in S. Severino ; and the mausoleum of the 
Viceroy, Don Pedro di Toledo, in the choir of S. 
Giacomo. He also adorned La Punta del Molo 
with a fountain, in which were represented the four 
principal rivers of the world. 

As an architect. Jlerliano erected, among other 
works, the church of S. Giacomo degli Spagnuoli; 
and the church of S. Giorgio degli Genovesi. He re- 
duced the Castel Capnano to a hall of justice ; and 
designed the palace of the Prince S. Severo ; which 
Milizia characterizes as "'magnificent and well ar- 
ranged." He also erected a triumphal arch in 
honor of the return of Charles V. from Tunis. At 
the invitation of the Viceroy, Don Pedro Antonio, 
he visited Spain, in company with other Italian 
architects, to embellish the gardens of that noble- 
man. Merliano was universally esteemed for his 
modesty and mildness of character, tie passed a 
very tranquil life until his eighty-first year, and 
died in 1559. 

MERLIN, James and Theodore van, two en- 
gravers, probably brothers, who. according to Flo- 
rent le Comte, flourished about 1600, and engraved 
conjointly, some plates after Martin de Vos and 
other masters. 

MERSION, Madeleine le. a French lady, who 
engraved some plates of landscapes and cattle, 
somewhat in the style of Dankerts, when he en- 
graved after Berghem. 

MERZ, .James, a Swiss painter, born at Besch, 
in the canton of Zurich, in 1783. He early mani- 
fested a strong inclination for art. and studied the 
elements of design under Lips, an engraver of Zu- 
rich. After progressing under that master with 
great rapidity for some time, he visited Vienna for 
improvement; and was greatly assisted by the 



MESA. 554 



MESS. 



counsels of Fugger and Rod. Fuessli. He execu- 
ted a number of portraits and historical subjects, 
characterized bj correctness of design and delicacy 
of expression. His engravings of Canova, Lava- 
ter, and others, are fine specimens of the art. 
Merz would doubtless have attained great emin- 
ence, had he not died in 1807, at the early age of 
twenty-four. His premature decease was deeply 
regretted by the friends of art. The engraving of 
the monument erected at Vienna, in 1806, in mem- 
ory of the Emperor Joseph II., was his last work. 

MESA, Alonso de, a Spanish painter, who, ac- 
cording to Palomino, was born at Madrid in 1628, 
and studied under Alonso Cano. He painted his- 
tory with reputation, and executed several works 
for the churches, convents, and public edifices in 
Madrid, of which, the most admired are a series of 
pictures of the life of St. Francis, in the monastery 
of the Franciscans. He died at Madrid in 16G8. 

MESA. Juan de, a Spanish painter, who flour- 
ished at Madrid about 1605. He painted for the 
college of the Jesuits de Alcala de Henares, a se- 
ries of pictures illustrating the life of St. Ignatius 
Loyola, which were engraved in Flanders. 

MESNIL, E., a French engraver, mentioned by 
Basan, who flourished about 1760, and engraved 
some plates after Mieris, Karel de Moor, and other 
Dutch masters. 

MESSINA, Antonello da, an Italian painter, 
born at Messina, about whose history no two au- 
thors agree. He was the first to practise oil paint- 
ing in Italy, and for this reason, some of the old 
Italian authors claim for him the invention of the 
art. According to Vasari, he was born at Messina 
in 1426, which most probably is not far from cor- 
rectness; though others place it in 1414, and others 
again as late as 1447. The fame of Masaccio drew 
him to Rome, where he studied some time. He 
afterwards went to Naples, where he saw some 
oil paintings by John van Eyck, or John of Bru- 
ges, which had been brought to Naples from Flan- 
ders by some Neapolitan merchants, and present- 
ed or sold to Alphonso I.. King of Naples. The 
novelty of the invention, and the beauty of the 
coloring, inspired Antonello with so strong a de- 
sire to become possessed of the secret, that he 
went to Bruges, and so far initiated himself into 
the graces of van Eyck, then advanced in life, that 
he instructed him in the art, with which he re- 
turned to Italy, and was the first who painted in 
oil in that country. From him the secret was 
communicated to Domenico Veneziano. Such is 
the account given by Vasari, and Lanzi, who had 
carefully investigated the subject, saw no reason 
to doubt its correctness in the main, though others 
give very different accounts. Lanzi and others 
have clearly demolished the claims of the Italians to 
the discovery of oil painting, and give it to the van 
Eycks. Those old paintings at Milan, Naples, Pisa, 
and other places, painted in oil, as was claimed, be- 
fore the time of the van Eycks, have been carefully 
examined ; and some of them being analyzed, were 
found to have been painted in distemper. Those 
at Pisa, were analyzed by the able chemist Bian- 
chi, and though apparently colored in oil, the most 
lucid parts gave out only wax. clearly proving that 
they had been painted in the Greek encaustic man- 
ner. Lanzi says this method fell into disuse after 
1360, and was succeeded by a vehicle that carried 



no gloss. Others were examined at Venice and 
Vienna, and no traces of oil were found ; but the 
vehicle seemed to have been certain gums and 
yolks of eggs, which might easily deceive the eye 
of the less skillful. Lanzi says that after Antonel- 
lo returned to Venice from Flanders, he concealed 
the discovery from every one, except Domenico 
Veneziano, who is known to have availed himself 
of it for many years, both at Venice and elsewhere. 
During this period. Antonello visited other places, 
and more especially Milan, whence he returned to 
Venice for the second time, and, as it is said, "re- 
ceived a public pension," and then he divulged the 
method of painting in oil to the Venetian profes- 
sors, which, according to the inscriptions on his 
pictures, appears to have taken place about 1474. 
Other signatures are met with as late as 1490. So 
that he must have run a longer career than Vasari 
and Ridolfi assign to him. Two altar-pieces by 
his hand, are recorded, which were painted for 
the two churches of the Dominante ; besides sev- 
eral Madonnas, and other sacred subjects, for in- 
dividuals, and about four productions in fresco. — 
There is no doubt that he produced many others, 
both for natives and foreigners, relieving himself 
from the multiplicity of his commissions by the 
aid of Pino da Messina. His works are still pre- 
served in many Venetian collections, and they dis- 
play a very correct taste, united to a most deli- 
cate command of the pencil. Among others, is a 
portrait in the possession of the family Martin- 
engo, inscribed Antonellas Messaneus me fecit, 
1474. In the Council Hall of the Ten, is also 
a Piet^ half-length, subscribed Antonius Messi- 
nensis. 

MESSINA, Pino da, was a scholar, and pro- 
bably a relative of Antonello da M., whom he ac- 
companied to Venice, and was an able assistant in 
the execution of his numerous commissions. He 
also painted some works of his own in the style of 
his master. 

MESSINA. Salvo da. This painter, according 
to Hakert, was a nephew of Antonello da M., and 
flourished about 1511. He was a successful fol- 
lower of Raffaelle, and. according to the above au- 
thor, his Death of the Virgin in the sacristy of 
the cathedral at Messina, is in the pure Raffael- 
lesque style. Lanzi says he was liberally educated, 
and bred to the law, which he abandoned, went to 
Venice, studied with Antonello, became the friend 
of Giorgione, and improved himself b}'- the study 
of the works of the best masters. After many 
years' residence at Venice, he went to Milan to 
study the works of Leonardo da Vinci, where he 
corrected his former dryness of style; but the 
story of his having visited, or studied with da Vinci, 
Raffaelle, and Correggio, cannot be true, as the 
first left Milan in 1499, the second was then a 
youth in Urbino, and the third in his infancy; but 
farther on he says that Salvo arrived at Messina 
in 1514, so that he might have seen Raffaelle, who 
was invited to Rome by Julius IT., in 1508. At 
all events, he was an excellent artist, and executed 
some works for the churches of Messina in the 
style of Raffaelle, and was the first to introduce 
the style of that master into Sicily. The history 
of art is so fall of contradictions, that we must of- 
ten be satisfied with an approximation to truth. 

MESSINA, Padre Feliciano da, a Capuchin 



MESS. 



555 



METT. 



: monk, was born in 1610. He first studied paint- 

' ing under Abraham Casembroodt, while that ar- 
tist resided at Messina. He afterwards studied 
under Guide, in the convent of Bologna, and im- 

' bued himself with his style. He painted some 
works in S. Francesco, the church of his order, at 
Messina, which are highly commended by Hakert, 
who assigns the palm to him '• among the painters 

► of his order, which boasted not a few." 

MESSINESE. See Giulio Avellino and Ga- 



BRIELLO. 

METAGENES. 



See Ctesiphon. 



METELLI. See Mitelli. 

METENSIS. See Cornelius Matsys. 

METGER, J. J., an obscure engraver, who flour- 
ished about 1672. There is a portrait of Cardinal 
Giovanni Nitardo by him, in Prior ata's History 
of the Emperor Leopold^ indifferently executed. 

METEZEAU, Clement, a French architect, was 
a native of Dreux, and flourished in the 16th cen- 
tury. He settled at Paris, and was employed by 
Louis XIII. He acquired high fame by carrying 
into execution, conjointly with Jean Tiriot, a Pa- 
risian mason, the bold plan which Richelieu had 
formed for reducing Rochelle, by means of an im- 
mense dyke, in imitation of what Osesar had done 
at Durazzo, and Alexander the Great at Tyre. 
This amazing work was completed in less than 
six months, and proved the principal means of 
compelling the surrender of the city. In honor 
of Metezeau's successful exertions in this grand un- 
dertaking, an engraved portrait of him was circula- 
ted in France, underneath which were the follow- 
ing lines : 

" Dicitur Archimedes Terrain potuisse movere, 
^quora qui potuit sistere, non minor est." 

METHODIUS. This painter was a native of 
Thessalonica, in Macedonia, and flourished in the 
latter part of the 9th century. In the year 
A. D. 853, while residing at Constantinople, he 
was invited to Nicopolis by Bogoris. the King of 
the Bulgarians, to decorate a banqueting hall in his 
palace. That prince left the choice of the subject 
to the artist limiting him to those of a tragic and 
terrible character. The sister of Bogoris, during 
a long captivity at Constantinople, had become a 
convert to the Greek church, and greatly desired 
that her brother should renounce paganism ; tliere- 
fore it was probabl}^ at her instance in this case, that 
Methodius painted the Last Judgment. The ter- 
ror excited by the representation of this awful 
subject, had the effect of inducing Bogoris, and sub- 
sequently the whole Bulgarian nation, to unite 
with the Greek church. From this time, Metho- 
dius appears to have laid aside the pencil. In con- 
cert with St. Cyrillus, he preached the doctrines of 
his religion to the Moravians and other Sclavonian 
nations. He became archbishop of the Moravians 
and Pannonians, and died at an advanced age. 
The Greeks and Russians celebrate his holy-day 
on the 11th of May. 

METRANA, Anna, an Italian paintress, who, 
according to Orlandi, flourished at Turin about 
1718, and acquired great reputation from her por- 
traits. Her mother also was a paintress. 

METRODORUS, an Athenian painter and phi- 
losopher, who flourished about B. C. 168. None 
of his vrorks are mentioned, but Pliny says that, 



when Paulus ^milius. the Roman Consul, van- 
quished Perseus. King of Macedonia, he demanded 
of the Athenians two men, one to educate his 
children, the other to paint his triumph. In ac- 
ceding to this demand, they sent him Metrodorus, 
with the message that he greatly excelled in both 
philosophy and painting, which judgment was 
subsequently approved and confirmed by the Con- 
sul. Doubtless his merits were very great. 

METTIDORO, Mariotto and Raffaello, two 
Florentine painters, were brothers, and flourished 
about 1568. They were eminent ornamental paint- 
ers, particularly in grotesque, and were the asso- 
ciates of Andrea Feltrini, which see. 

METZ, Conrad Martin, an eminent Swiss en- 
graver, born at Bonn, in 1755. He went to Lon- 
don, and studied under Bartolozzi. and distinguish- 
ed himself by the execution of a multitude of en- 
gravings in the chalk manner, and in aquatint, in 
imitation of the drawings of the old Italian mas- 
ters. His principal plates are a set of fac shniles 
of the drawings of Parmiggiano. in the Roj^al col- 
lection ; another of those of Polidoro da Caravag- 
gio, in the possession of Sir Abraham Hume, and 
numerous detached pieces, from authentic drawings 
in various cabinets. In 1801 he went to Rome, 
where he continued to exercise his ready talent at 
imitation, and otherwise engraving from works of 
the highest order, till his death in 1827. Nagler 
enumerates upwards of two hundred prints by 
him ; nor is his list complete. His works are val- 
uable, as they are correctly drawn, and convey a 
good idea of the originals. 

METZU, or METSU, Gabriel, an eminent 
Dutch painter, born at Leydcn in 1615. It is not 
known under whom he studied, though he made 
the works of Gerard Terburg his model, whom 
he equals in the silky softness of his pencil, and 
surpasses in elegance and correctness of design. 
At an early period he settled at Amsterdam, where 
he soon rose to distinction, and his works were 
eagerly sought after. His pictures represent do- 
mestic scenes; conversations; ladies at the toilet, 
or playing on musical instruments ; sick persons 
attended by the doctor ; chemists in their labora- 
tories ; painters' shops and drawing schools, hung 
with pictures and drawings ; still life and market- 
scenes, as women selling fish, game, fowls, fruit, 
vegetables. &c. These subjects have been frequent- 
ly treated by Dutch and Flemish painters, but by 
few more successfully than by Metzu. He carefully 
studied the works of Douw and Mieris. and avoid- 
ed their defects ; he is less minute in detail, and 
less labored in his finishing than those masters, 
and at the same time he excels them in lightness 
and spirit of touch, and in the chasteness and har- 
mony of his coloring. Though his works are of 
small dimensions, he has been compared to Van- 
dyck in the correct drawing of his heads and 
hands, the delicacy of his carnations, and the 
breadth and facility of his pencil. His works are 
rarely seen out of Holland, where they are held in 
the highest esteem, and command very high pri- 
ces ; but, for these reasons, they have been much 
imitated, to satisfy the foreign demand. Smith, in 
his Catalogue raisonne and supplement, gives a de- 
scriptive catalogue of one hundred and sixty pic- 
tures by Metzu. On the few pictures that bear 
his name, it is written Metsu, not Metzu. He was 
sadly affected with the stone— brought on. as is 



MEUC. 



556 



MEUL. 



said, by his great assiduity and sedentary habits — 
which made necessary an operation that termina- 
ted fatally, in 1658, in the prime of his life. Bal- 
kema says this happened in 1GG9, and there is a 
picture in the Dresden gallery, bearing his signa- 
ture, and dated 1667, which if genuine would cor- 
roborate this statement. 

MEUCCI, ViNCENzio, a Florentine painter, was 
born in 1694, and died in 1766. He studied under 
Gio. Gioseffo dal Sole, and according to Lanzi, was 
one of the ablest fresco painters of his time. He 
was much employed in the churches at Florence 
and- other places in Tuscany, and also at Bologna. 
In oil painting he did not succeed as well, for he 
wrought in too hast}' a manner — an error into 
which all fresco painters, accustomed to rapid exe- 
cution, are apt to fall. 

]MEULEN, Anthony Francis vander, an emi- 
nent Flemish painter, born at Brussels in 1634. — 
His parents, being aitluent, to gratif}' his pas- 
sion for art, placed him under Peter Snayers the 
battle-painter, under whose instruction he made 
great progress, and surpassed his master before he 
left his school. Some of his works ha\'ing been 
sent to Paris, they attracted the attention of 
Charles le Biun. at that time the arbiter of art in 
the French Capitol, who recommended him to M. 
Colbert, minister of State, as a proper person to 
immortalize the victories of his master, Louis 
XIV., and he was accordingly invited to Paris by 
the King, who gave him a pension of 2000 livres, 
besides a remuneration for his work. He attend- 
ed the King in most of his campaigns, design- 
ing on the spot the sieges, battles, encampments, 
and marchings of the royal armies ; also taking 
views of the towns and places rendered memora- 
ble by success. From these sketches he painted 
the principal battles and sieges of that monarch 
in Flanders, to decorate the royal chateau of ]\lar- 
ly. Vander Meulen carefully studied and copied 
every object after nature ; hence his pictures have 
a pleasing effect, although it is to be regretted that 
he was confined to the representations of mod- 
ern military tactics and evolutions, and monoto- 
nous uniforms, than which nothing can be less 
picturesque. His Avorks are admired for an exact 
and local representation of events, a bold design 
and animated pencil, and a clear and silvery tone 
of coloring. His landscapes are distinguished by 
the freshness of the verdure and foliage, the clear- 
ness and brilliancy of his skies, and the pleasing 
degradation of his distances. His figures are de- 
sig)ied and grouped with great judguient, his touch 
is free and full of spirit, and the effect is height- 
ened by a judicious distribution of his lights and 
shadows. If his pictures are less effective than 
those of Borgognonc and Parrocel, it may perhaps 
be attributed to the restrictions under which he 
wrought, and they certainly have more nature and 
sweetness. Few painters could excel him in the 
various attitudes, motions, and actions of his hor- 
ses. Vander Meulen also painted some pictures 
of huntings and cavalcades with equal success. 
His principal works are at Versailles and Marly, 
though there are nmny of his easel pictures dis- 
persed through France, Flanders, and England. 
He is usually classed among the French painters, 
as he passed most of his days in that countr)^ 
The battles and sieges of Louis XIV. by vander 
Meulen have been engraved in a set of large plates. 



some of them by Ilughtenberg, and also in a set 
of smaller size. He was chosen a member of the 
French Academy in 1673. He died at Paris in 
1690. 

MEULEN, Peter vander, was the brother and 
scholar of the preceding, in whose style he paint- 
ed battles and hunting-pieces. In 1670 he went to 
England, where he was employed by King Wil- 
liam, the rival of Louis XIV., in celebrating his 
exploits. He was originally bred a sculptor, but 
abandoned the chisel for the pencil. He did not 
acquire much distinction. Time of his birth or 
death not known. 

IMEIINIER, Louis, a French architectural de- 
signer and engraver, who flourished about 1665. 
His woi'ks consist chiefly of views of royal resi- 
dences and public places in Spain. Dumesnil gives 
a list of eighty-eight prints by him. 

MEURS, J. v., a Dutch engraver, who was em- 
plo3^ed chiefly in engraving frontispieces and other 
plates for the booksellers, which are executed in a 
neat, finished style. He engraved a portrait of 
Tycho Brahe, the astronomer. 

MEURS. C. H. VAN, a Dutch engraver, who 
flourished at Amsterdam, about 1760. According 
to Basan, he engraved some plates after Mieris, 
Vanderweif, and other masters. 

MEUSNIER, Philippe, an eminent French 
painter of perspective and architectural views. He 
studied under Jacques Rousseau, and on leaving 
that master went to Rome, where he resided 
several years, designing the most magnificent edi- 
fices in that metropolis. On his return to France, 
he was patronized by Louis XIV. and his success- 
or. He was elected a member of the Royal Acad- 
emy, and his works were held in high estimation. 
He was a skillful and correct designer. He died 
at Paris in 1734. 

,^d, A_^ MEYER, Andrew, 

or VV or '"V^^a Swiss painter and 
i i- .iA.' engraver, of whom 

little is known. According to Professor Christ, 
he was a native of Zurich, where he practised both 
painting and engraving. There are some prints 
of views of towns b}^ him, which are marked with 
the above curious monogram. 

MEYER, Dietrich, a Swiss painter and engra- 
ver, born at Zurich in 1571. He engraved a set 
of portraits of the illustrious persons of his coun- 
tiy, which are marked with one of the following 
monograms. He died in 1658. 

MEl^ER, RoDOLPH, was the son and 
scholar of the preceding, born at 
Zurich in 1605. He painted history 
and portraits with considei-able reputation, but ho 
was more distinguished as an engraver. He exe- 
cuted quite a number of prints after his own de- 
signs, some of which are portraits and emblemati- 
cal subjects. He made the designs for Death's 
Dance, engraved by his brother Conrad. 

MEYER, Conrad, was the younger brother of 
Rodolph M., born at Zurich in 1618. After re- 
ceivin<:; instruction from his father, he went to 
Frankfort, and studied with Matthew Merian. 




m¥: 



MEYE. 



557 



MEYE. 



He was a man of wonderful industry, and execu- 
ted a multitude of plates, in a free and spirited 
manner. Caspar Fuessli endeavored to make a 
complete collection of his prints, and got together 
upwards of nine hundred, and yet it was far from 
embracing all his works. He also painted a few 
historical subjects, and many portraits, well de- 
signed and colored, and executed with a spirited 
pencil. He died at Zurich in 1689. His prints 
embrace a great variety of subjects, as portraits, 
views, landscapes, emblematical pieces, sports, &c. 
The following are among his principal works : 

A set of thirty Portraits of the Burgomasters of Zurich. 
Twenty portraits of the Clergy of Zurich. Forty Poi-traits 
of Laicks and Artists ; some of which are from the designs 
of his father and brother. One hundred and three por- 
traits of the Reformers, Ecclesia^stics, and literary charac- 
ters. A set of sixty-one plates of the Dance of Death ; 
principally from the designs of Rodolph Meyer. A set of 
fifteen prints ; entitled the Mirror of a Ckristiayi. Twen- 
ty-si.x prints of the Sports of Children. Ten plates of the 
Ages of Man. One hundred and twenty-two subjects from 
the Old Testament. 

MEYER, .John. This artist was probably of 
the same family as the preceding. He resided 
chiefly at Nuremberg, where he practised painting, 
and more especially engraving. He painted his- 
tory and portraits, and executed many prints after 
his own designs, the principal of which are a set 
of battles, finished in a peculiar and beautiful man- 
ner, and a set of the Fountains of Rome, published 
at Nuremberg in IGOO. 

MEYER, Felix, a Swiss painter, born at Win- 
terthur in 1653. He was the son of a clergyman, 
who intended him for the church ; but his passion 
for the fine arts occasioned him to neglect his stu- 
dies, till at length he was permitted to follow the 
bent of his genius, and was sent to Nuremberg, 
where he became the pupil of John Francis Ermels, a 
landscape painter. He made surprising progi-ess, 
and was soon able to draw from nature with facil- 
ity and correctness. Tn company with Roos and 
Rugendas, he was indefixtigable in designing the 
most picturesque scenery of Switzerland, so fa- 
vorable to the studies of a landscape painter. He 
afterwards went to Italy for improvement, and 
carefully studied and sketched the beautiful scene- 
ry and ruins that environ Rome. The climate 
proving inimical to his health, he returned to 
Switzerland, and pursued his studies among his 
own native mountains, till he acquired an extraor- 
dinary facility of hand. He designed everything 
from nature, and being indefatigable in the pur- 
suit of excellence in his art, he made a multitude 
of sketches of the prospects, mountains, craggy 
rocks and precipices, with rivers and waterfalls, in 
Switzerland, sufficient to satisfy any painter of ro- 
mantic compositions. From these, and other draw- 
ings he had made in Italy and Germany, he executed 
many noble landscapes, which procured him high 
reputation. He possessed an uncommon facility 
of invention, and Descamps relates the following 
instance of his extraordinary powers. In his 
travels through Germany, he visited the celebrated 
Abbey of St. Florian, at a time when the abbot 
was desirous of having two of the apartments de- 
corated with landscapes in fresco. x\n artist of 
the country had been applied to for the purpose, 
and having been occupied several months in pre- 
paring designs, the abbot became impatient of his 
dilatory way j and on Meyer's being introduced to 



him as an eminent artist, he took the liberty to 
consult him on the best manner in which the 
work could be accomplished. Our artist being 
shown the apartments, surveyed them for a few 
moments, and then, taking a long stick, to which 
he attached a piece of charcoal, immediatel}^ be- 
gan to design, and in a few moments sketched the 
outline of a noble landscape on the wall, explain- 
ing as he proceeded to the Superior, who beheld in 
mute astonishment the elegance and taste of the 
design sketched before his eyes without an}^ time 
allowed for reflection. At the Abbot's urgent re- 
quest, Meyer undertook to decorate the rooms, 
which he did in a shorter time than the other 
painter had been employed in making his draw- 
ings. This adventure spread his reputation through- 
out Germany, and he was employed by several 
princes, as well as man}'- nobles, in decorating their 
pal aces. 

In the earlier part of his life, Meyer designed 
everything from nature, and finished his pictures 
with great care and attention ; and, as he could not 
design figures well, he often employed his friends, 
Melchior Roos and George Philip Rugendas, to in- 
sert them in his works, and these are esteemed 
his best performances. After he began to paint 
his large works in fresco, and found abundant em- 
ployment, he no longer designed from nature, and 
finished his works with negligence and haste, so 
that his later easel pictures do not compare with 
his earlier works. He etched a iaw landscapes 
after his own designs, among which are a set of 
twelve Views in Switzerland, nearly square, signed 
Felix Meyer. fee; four Italian landscapes, with 
ruins and figures, same mark, 1701 ; four Views 
in Switzerland, with figures; and four mountain- 
ous Landscapes, with buildings. He died in 1713. 

MEYER, or MEYERLE. Francis Anthony, a 
German painter, born at Prague in 1710. It is 
not known under whom he studied, but he went 
to Italy, where he passed the rest of his life, and 
where his works are to be found. He painted 
historical subjects and domestic scenes, of small 
size, in the exquisite style of the Flemings. Lan- 
zi saj^s the royal collection at Turin was enriched 
by the addition of nearlj'- four hundred pictures 
by the best Flemish masters. About this time, 
Francisco Antonio Meyerle. commonlj- called xMon- 
sieur Meyer, from Pi-ague, was court painter at 
Turin. He did not acquire so much fame from his 
larger works as fi'om his small pictures, in the 
Flemish style, which indeed were excellent. He 
was also a fine painter of portraits. The Bishop 
of Vercelli possesses one of an old man, scrutiniz- 
ing some object with an eye-glass, executed with 
great truth and humor. In the same city, Avhere 
he spent his latter days, his works are^ frequently 
met with, and the smaller they are in size, the 
more are they prized. He died at Vercelli in 1782. 

MEYER, Heinrich, a Swiss painter and de- 
signer, born at Zurich in 1759. He produced few 
pictures in oil, but he obtained a high reputation 
for his works in water-colons, and other drawings 
from antique remains and from the works of the 
great Italian masters, which he executed in an 
exquisite manner. His principal work is an 
allegory of human life, reprcsen ed by children, as 
a painted frieze, in the palace at Weimar. He also 
distinguished himself as a writer on art. He died 
in 1832. 



ME YE, 



558 



MEYE. 



MEYER, Hendrick, a Dutch painter, born at 
Amsterdam in 1737. He painted landscapes, 
chiefly in water-colors and India ink, and these 
works are held in high estimation. His design is 
correct, his compositions easily understood, and his 
landscapes are well furnished with objects ; but 
his oil paintings are somewhat deficient in vigor, 
from his having practised so much in water-colors. 
He resided a long time at Haerlem, where he was 
appointed one of the Directors of the Academy. 
Late in life he went to England, and died in Lon- 
don in 1793, 

MEYEK, Henry, an English engraver, born in 
London in 1782, He studied under Bartolozzi, 
and engraved both with the point and in mezzo- 
tint. His best prints are his portraits, which he 
managed very skillfully, and to which he chiefly 
devoted himself. He died in 1846. The following 
are among his best prints : 

Admiral Nelson and Lord Cathcart ; after Hoppner. 
The Princess Charlotte and Prince Leopold ; after Ckalon. 
Miss O'Neal in the character of Bel videra; after DeviR. 
Mr. Matthews in various characters ; after Harlowe. Sir 
John Nicholl ; after Owen. Mary anointing the feet of 
Jesus; after Hilton. Sir Roger de Coverly ; after Leslie. 
The Proposal and the Congratulation ; after Harlowe. 
The Stolen Kiss ; after Kidd. The Dancing Bear; after 
Witkerington ; and other popular subjects of the day. 

MEYER, Joachim, a German wood engraver, 
who flourished at Strasburg about 1570, There 
is a set of sixty-two wooden cuts by him, repre- 
senting a variety of combats with the sword. 

MEYER, Jean Louis, de Knonan, was born 
at Zurich in 1705, and died there in 1785. His 
life was chiefly devoted to science, but he designed 
and engraved the prints to illustrate his Book of 
Fables, published at Zurich in 1758. 

MEYERTNG, Albert, a Dutch painter, born 
at Amsterdam in 1645. He was instructed in the 
rudiments of the art by his father, Frederick 
Meyering, an indifferent artist. When about 
twenty years of age, he went to Paris, where he 
resided some time with no great encouragement ; 
but he contrived, by perseverance and rigid econo- 
my, to raise money enough to enable him to pro- 
ceed to Italy, At Rome, he met with his friend 
and countryman, John Glauber, with whom he 
studied with great assiduity the most remarkable 
views in the vicinity of that city. His abilities 
procured him the esteem and friendship of some 
of the first artists at Rome, and he met with suflB- 
cient employment to induce him to continue his 
residence in that capital for several years. After 
an absence of ten years, he returned to his own 
country an accomplished artist, with his friend 
Glauber ; and they were immediatelj^ employed b}?- 
William, Prince of Orange, in painting the ceilings 
and otherwise decorating the palace of Loo and 
the chateau of Soesdyk. He now found abund- 
ant employment in decorating the halls and sa- 
loons of the wealthy and the nobility. In Italy 
he had acquired a free pencil and a ready hand, 
which peculiarly fitted him for that kind of com- 
positions. His views are agreeably varied, fre- 
quently embellished with the ruins of ancient 
architecture, and decorated with figures represent- 
ing historical or mythological subjects, in the style 
of Gerard Lairessc. There is a grandeur in the 
taste of his trees and buildings, a richness in his 
ornaments, a clearness in his skies, and a transpa- 



rency in his water that gives singular satisfaction 
to the beholder. He painted many easel pic- 
tures, which were handled in an excellent manner. 
He also etched a few plates of landscapes, after 
his own designs, in a free and painter-like manner, 
Bartsch describes twent5^-six prints by him. He 
died at Amsterdam in 1714, 

MEYERS, Jeremiah, a German painter, born 
at Tubingen about 1728, He went to England 
when he was about fourteen years of age, and be- 
came a pupil of Zinck. who at that time had ac- 
quired great fame for his miniature and enamel 
paintings, Meyers acquired great reputation for 
his miniatures, and was considered one of the 
ablest artists of his time in his particular branch. 
He was honored by being appointed miniature 
painter to the Queen, and was one of the forty ori- 
ginal members of the Royal Academy, at its found- 
ation in 1768, He died at London in 1789. 

MEYNIER, Charles, a French historical paint- 
er, born at Paris in 1768. He first studied engra- 
ving under Choff"ard ; but was afterwards placed 
by an elder brother, Meynier St, Phal. under Vin- 
cent. In 1789 he gained the grand prize of the 
Academy, and visited Rome with the king's pen- 
sion. After studying the antique, and the best 
works of art in that city, he returned to Paris. 
His pictures are often too highly labored, and 
evince considerable mannerism, particularly in the 
similarity of his heads ; but they ai-e character- 
ized by excellent judgment of composition, and 
correctness of design. Meynier was appointed 
member of the Institute, of the Academy of Fine 
Arts, and of the Legion of Honor ; also Professor in 
the Ecoles Roy ales. He established a school of 
painting exclusively for ladies, which produced 
many scholars, among whom was Madame Her- 
sent. Among the principal works of Meynier are 
three pictures of subjects from French history, in 
the Museum Historique at Versailles ; Phorbas 
presenting G^dipus to the Queen of Corinth, in the 
Louvre ; Telemachus in the Isle of Calypso ; and 
Wisdom preserving for Youth the lineaments of 
Love. Meynier died in 1832. 

MEYSSENS, John, a Flemish painter and en- 
graver, born at Brussels in 1612. He first stud- 
ied painting under Anthony van Opstal, and after- 
wards with Nicholas vander Horst. He painted 
both history and portraits, but was particularly 
successful in the latter, and having painted that of 
Prince Henry of Nassau, his reputation was es- 
tablished, and he executed the portraits of the 
Countess of Stirum, Count de Bentheim, and other 
noble personages of the court. His greatest ex- 
cellence consisted in producing a striking resem- 
blance, while at the same time, he finished his 
pictures with great care, giving them a lively and 
good expression. One of his best pictures, is a 
portrait of Admiral van Tromp, inthe Museum at 
Amsterdam. He afterwards settled in that city 
where he not only painted portraits, but carried 
on an extensive commerce in prints, and engraved 
man)'- plates after his own designs, as well as other 
masters, among which are several portraits of em- 
inent artists. As an engraver, he is not entitled 
to much praise. His plates are executed in a 
style every way inferior to what might have been 
expected from his abilities as a painter. It is pro- 
per to observe here, to put readers on their guard, 
that Balkema gives this artist a double life, apply- 



MEYS. 



559 



MICA. 



ing the same facts to two persons, under the names 
of Jan Meyssens and Jan Mey tens ; and Immerzeel 
mentions him as Jan M3^tens. Pilkington, and all 
his editors, have copied these errors. He died at 
Brussels in 1666. The following are his princi- 
pal prints : 

PORTRAITS. 

Charles I. Henrietta Maria, his Queen. Henry de 
Keyser, Architect and Sculptor ; J. Meyssens, fee Guido 
Reni ; se ipse pinx. J. Meyssens, fee. Francesco Padoua- 
nino, Painter ; se ipse pinx. Daniel Segers, flower paint- 
er ; after Lievens. Cornelius de Bie ; after Eras. Quel- 
linus. AVilliam de Nieulant, painter. * Mary Ruthven, 
wife of A. Vandyck; after Vandyck. John Meyssens, 
Painter and Engraver ; se ipse pinx. 

SUBJECTS, 

The Virgin and Child ; after Titian. Meleager pre- 
senting the Boar's Head to Atalanta ; after Rubens. 

MEYSSENS, Cornelius, was the son of the pre- 
ceding, born at Antwerp about 1636, though Na- 
gler sa3^s in 1646, which is doubtless an error, 
as his print of Charles II. is dated 1660, and others 
bear earlier dates. He was instructed in engraving 
by his father. He engraved many plates of por- 
traits, some of them after designs of John Meys- 
sens. They are executed with the graver in a 
stiff, tasteless style He also engraved several 
frontispieces and other book ornaments ; the fol- 
lowing are his best works : 

A set of Portraits of the Emperors of the House of Aus- 
tria ; entitled JEjfigies Tmperatorum domus Austriacce, 
delineatcB per Joamiem Meyssens, et ceri insculptce per 
flium suum Cornelium Meyssens. The Portraits of the 
sovereign Princes and Dukes of Brabant ; entitled Les 
Effigies des Souverains Princes et Dues de Brabant. — 
A part of these are engraved by P, de Jode, Waumans, 
and others, 

DETACHED PORTRAITS. 

Charles II. ; for the History of Leopold. Octavius, 
Duke of Aremberg ; C. Meyssens, sc. Cardinal Antonio 
Barberini. Cardinal Rinaldo, Principe Estense. John de 
Witt, Pensionary of Holland. David, Count of Weisen- 
wolff, &c. 

MEYSSONIER. See Meissonier. 

MEYTENS, Martin de, a Swedish painter, born 
at Stockholm in 1695. He studied in Italy, and 
afterwards settled at Vienna, where he painted 
portraits with sufficient reputation to be appoint- 
ed painter to the Imperial Court. He died in 
1770. 

MEZTOS, M., an engraver, of whom little is 
known. Mr. Strutt says he executed some por- 
traits in a neat, clear style, which possess great 
merit ; among others, is one of Petrus Lothicus. 
Medicus et Poeta, prefixed to his works published 
in 1626. 

MEZZ ADRT, Antonio, a Bolognese painter, who 
flourished about 1688. Lanzi saj^s that he so ex- 
celled in fruit and flowers, that the works of the 
famous II Gobbo de' Caracci were scarcely supe- 
rior to many of his productions. 

MIAZZI, Giovanni, an Italian architect, born, 
according to Milizia, at Bassano, in 1699. He 
was originally bred to his father's trade of a car- 
penter ; but by studying the works of Vignola, 
Scamozzi, Palladio, and others, he attained con- 
siderable ability in architecture, and erected a 
small theatre in his native town, a casino for the 
Signori Caffi, of Bassano, and the church of La 
Trinita, in the Borgo of Angarano. It was not 
until the ago of forty, that he applied for regular 



instruction in the art. and availed himself of the 
abilities of Francesco Maria Preti. who was two 
years his junior. Placing himself eutirel}^ under 
the direction of that eminent architect, he adopted 
his plans and style, especially the proportions of 
the harmonic medium in the height of buildings, 
which he subsequently used in works of his own 
invention. He was commissioned to rebuild the 
church of S. Giovanni Battista at Bassano. and ex- 
ecuted the Avork in a highly satisfactory manner, 
notwithstanding the numerous obstacles arising 
from the peculiarity of the site, and the conditions 
annexed to the commission. The Spineda Palace, 
at Venegazza, in the Trevegiano, excited much ad- 
miration for its elegant design, but has since been 
greatly injured by the demolition of the chapel 
and corresponding wing, and the arcades uniting 
them to the principal edifice. Miazzi also erected 
the beautiful theatre at Treviso. The design of 
this admirable work was by Bibiena, but was 
greatly improved by Miazzi, to whom are attri- 
buted the internal arrangements, the vestibule, and 
the fa9ade. Even Milizia says that the work of 
Miazzi "corresponds exactly with that elegance 
and correctness which predominates throughout 
the whole interior building." Among his other 
works, are the Collegiate church at Schio ; that at 
Valdagno ; another at San Vito ; and a fourth at 
Simonzo ; besides that at the convent of Monte 
Gargano, in Puglia. Miazzi continued active and 
vigorous during his old age. and died about 1780. 

MICARINO. See Beccafumi. 

MICHAELIS, J. W., an indifi^erent German 
engraver of portraits, who flourished at Frankfort 
about 1700. He engraved several heads for a 
work entitled Notitia. Universiiaiis Francofer- 
tancc, published in 1707. 

MICHALLON, Claude, a French sculptor, born 
at Lyons in 1751. He early manifested a strong 
inclination for art, and visited Paris for improve- 
ment, where he was successively instructed by 
Bridan and Coustou. Devoting his entire ener- 
gies with incredible assiduity to the prosecution 
of his art, he was successful in gaining the grand 
prize of the academy, and visited Rome with the 
royal pension. He formed an intimate connexion 
with Drouais, the historical painter, and at his 
death, was commissioned to execute the mauso- 
leum erected in honor of that artist, in S. Maria in 
Via Lata. On returning to Paris, he practised the 
art with reputation for a number of years, and 
carried off several prizes in sculpture. He was 
killed by a fall in 1799, while laboring on a bas- 
relief in the Theatre Fran9ais. 

MICHALLON, Achille Etna, a French land- 
scape painter, the son of Claude M., born at Paris 
in 1796. Losing his father during infancy, he was 
reared in the family of his mother, daughter-in- 
law to Francine, sculptor at the Louvre, who at- 
tended to his education with the greatest care. 
Michallon studied under David, Valenciennes, and 
Bertin. He evinced such remarkable talents, that 
the Russian Prince Youssoupofl" gave him a pen- 
sion to assist him in his studies. In 1811, he drew 
the second gold medal of the Academy, and in 
1817. the grand prize, which entitled him to the 
royal pension. He immediately went to Rome, 
where he spent five years, studying the works of 
the great masters. In 1819 he sent to Paris his 
picture of Roland at Roncesvalles, in the style of 



MICH. 



560 



MICH. 



Salvator Rosa. His next production was the 
Combat of the Lapithae and Centaurs, in the style 
of Ponssin, evincing excellent proj2:ress, both in the 
disposition of his groups, and skill in the figures. 
After traveling through Italy and Sicily, Michal- 
lon returned to Paris in 1822, and exhibited a num- 
ber of landscapes, among which were the Ruins of 
a Roman Circus, a Swiss Cascade, and a View near 
Naples. He died very suddenlj'", in the month of 
September, of the same year. 

MICHAU, Theodore, a Dutch painter, born 
at Brussels in 1676. He studied under Francis 
Bout, and painted landscapes and merry-makings, 
village festiA^ils, &c., in which he attempted to im- 
itate David Tenierr the younger, with but very lit- 
tle success. He also painted landscapes and cattle. 
His earlier pictures are his best ; his later ones are 
sketchy and insipid. It is said he became blind 
some years before his death, which happened in 
1755. 

MICHAULT, George, a French engraver, born 
at Abbeville in 1752. He studied under Francis 
Aliamet, and engraved some plates in the style of 
his master, among which are a part of the views 
of the Garden of Monceau, near Paris; Acis and 
Galatea, after la Fosse; and the Dead Christ, in 
the Orleans Collection, after Schiavone. 

MICHEL, Jean Baptiste, a French engraver, 
born at Paris in 1738. He studied under Chenu, 
whom he greatly surpassed. He went to England 
about 1780, and engraved several plates for Alder- 
man Boydell. He died at London in 1804. The 
following are his best prints : 

PORTRAITS. 

Sir Thomas Gresh.im ; after Sir A. More. Rubens' 
Wife ; after Rubens. Francis Hals ; after a picture by him- 
self. La Joconda ; after L. da Vinci. M. F. A. de Voltaire. 

VARIOUS SUBJECTS. 

Two prints of the Bath of Verms ; after Boucher. The 
Death of Dido ; after M. A. Challes. The Death of Her- 
cules ; do. Abrahain, Sarah, and Hagar ; after P. da 
Cortona. The Prodigal Son ; after Salvator Rosa. Her- 
cules and Omphale ; after Romanelli. Venus and Cupid ; 
after Carlo Maratti. The Death of St. Joseph ; after 
Velasquez. The Three Graces ; after Rubens. Faith, 
Hope, and Charity ; do. The Nativity ; after Carlo Cig- 
nani. The Adoration of the Shepherds ; after Guido. 
Clytie; a circular print; after Ann. Caracci. Cupid 
stung by a Bee ; after West. Alfred dividing his last 
Loaf with a Pilgrim ; do. The Continence of Alfred ; do. 

MICHELA, an Italian painter, mentioned by 
Lanzi. He flourished about 1740, and painted per- 
spective pieces, ornamented with figures, in the 
royal castle at Turin, in competition with Lucatel- 
h. Marco Ricci, and Gio. Paolo Pannini, all cele- 
brated artists of the time. 

MICHELE, Parrasio, a Venetian painter, who 
studied under Paul Veronese, and was an exact im- 
itator of his style of design and coloring. He 
painted several works for the churches, which, ac- 
cording to Zanetti; were worthy of his master, es- 
pecially a Pieta, in a chapel of the church of San 
Giuseppe, into which he introduced a portrait of 
himself. He flourished about 1590. 

MICHELINI, Gig. Battista, a native of Fo- 
ligno, was a scholar of Guido Reni, in whose style 
he painted. He wrought in the churches of the 
Romagna, and Lanzi says there are several of his 
works at Gnbbio, particularly a Pieta, or Dead 
Christ, worthy of the school of Guido. He flour- 
ished about 1G50. 



MICHELINO, an old Milanese artist, ranked 
by Lomazzo among the best painters of his time; 
flourished at Milan about 1435. He retained 
the ancient style of making his buildings small 
and his figures large, a practice blamed by Lomaz- 
zo, even in the oldest painters ; but his figures were 
spirited, and he painted animals wonderfully well. 

MICHELOZZI, MiCHELOZzo, an eminent Flo- 
rentine sculptor and architect, born about 1402. 
He studied under Donatello, and obtained a pat- 
ron in Cosmo de' Medicis, for whom he erected the 
edifice since denominated the Palazzo Riccardi, at 
Florence, a noble monument of the older Floren- 
tine style, simple and severe, but characterized by 
an air of grandeur and even magnificence. The 
fa9ade consists of a lofty rusticated basement, with 
comparatively small apertures, above which are 
two ranges of large arched windows, seventeen on 
a floor, each divided into two lesser arches resting 
on a central column. The whole is crowned with 
a very rich cornicione. The interior court has 
upper and lower porticos, with arches resting upon 
columns, and with an enriched frieze between the 
first and second arcades. Michelozzi was so sin- 
cerely attached to his patron Cosmo de' Medicis 
that; in 1433, he followed him into banishment, to 
Venice, where he resided some time ; made de- 
signs for many public and private edifices, and 
erected the celebrated Librar}^ in the convent of 
S. Giorgio. On their return to Florence, Michel- 
ozzi greatly improved the court of the Palazzo 
Vecchio (originall}^ built by Arnolfo.) in a rich, 
though somewhat fanciful style, inclining to Goth- 
ic. He was employed b}^ Cosmo to enlarge and 
embellish a palace at Milan, bestowed upon him 
by Lodovico Sforza, Among his other woi-ks at 
Florence, is the Palazzo Tornabuoni, now Corsi ; 
in the vicinity of that cit}^, the villas Cafaggiuolo 
and Carregi ; also a palace at Fiesole. for Giovanni 
de' Medicis, son of Cosmo I. His last work was 
the monumental chapel of the x\nnunciation, erected 
hj Piero de' Medicis, in honor of Cosmo, in the 
Chiesa dei Servi, at Florence. Michelozzi died at 
the age of sixty-eight, probably about 1470. 

MICOCARD, an old French wood engraver. 
Papillon mentions a wooden cut by him represent- 
ing Diogenes, after Parmiggiano. It is probably 
a copy of a wooden cut of the same subject by 
Ugo da Carpi. 

MICON, an eminent Greek painter, and a sculp- 
tor of some distinction, was the son of Phanochus 
of Athens. He flourished about B. C. 450, and 
was the cotemporar}'" of Phidias and Polj^gnotus. 
His history is less known than that of many other 
ancient Greek painters, but he was the most cele- 
brated of them all, for painting horses. The Athe- 
nians selected Micon to perpetuate their great vic- 
tories in the colonnades of the Ceraraicus, which 
was enlarged or rebuilt by Cimon, after his vic- 
tory over the Persians; and he was also appoint- 
ed to paint the walls of the temple of Theseus at 
Athens ; which sufficiently evince his high repu- 
tation. 

Micon painted the Battle of the Amazons and 
the Athenians under Theseus, in the gallery of the 
Ceramicus. In the temple of Theseus he painted 
another battle of the Amazons and Athenians ; and 
opposite to it the battle of the Centaurs and the 
Lapithge. A third wall also was painted b}^ Micon 
in this temple, but Pausanias says it was nearly 



MICO. 



561 



MIER. 



defaced by age, so that the subject could not be 
ascertained. In concert with Polygnotus, Micon 
decorated the temple of the Dioscuri ; he painted 
there the return of the Argonauts to Thessaly 
with Medea, ^steropea and AntinOe, the daugh- 
ters of Pelias. Pausanias remarks that the best 
part of these paintings was Acastus and his hor- 
ses. It is observable that all of Micon's subjects 
are such as admit of introducing horses ; and he 
showed so much skill in painting these animals, 
that one Simon, an Athenian writer, from whose 
knowledge of horses,- according to Pliny, there was 
no appeal, could only say of Micon, that he repre- 
sented his horses with lashes on their under eye- 
lids. The criticism is correct, but Micon could not 
receive higher praise. 

As a sculptor, Micon executed, according to Pau- 
sanias, the statue of Callias, the Athenian pan- 
cratiast, at Olympia. None other of his works 
are mentioned, and it is probable that they have 
all been destroyed. 

MICON, a Syracuse sculptor, the son of Nice- 
ratus; flourished about B. C. 215. At the re- 
quest of the children of Hiero II., he executed 
two statues of that monarch, one representing him 
on horseback, and the other on foot. They were 
both sent to Olympia. 

MIOONB, NiccoLo, called Lo Zoppo, the Crip- 
ple, was born at Genoa in 1650, and died in 1730. 
He excelled in landscapes, which, according to Rat- 
ti, he executed in the style of Carlo Antonio Tavel- 
la, with warm skies, beautiful distances, and 
pleasing effects of light and shadow ; the trees, 
flowers, and animals, were gracefully touched, and 
true to nature. His works are much esteemed at 
Genoa. 

MIDDIMAN, Samuel, an eminent English en- 
graver, born in 1746. He studied first under 
Woollett, and afterwards with Bartolozzi, and 
he excelled in all the various modes of engrav- 
ing. His forte was landscape, of which he left 
many beautiful examples ; his two large plates for 
Boydell's Illustrations of Shakspeare, The Storm 
Scene in Winter's Tale, and the melancholy 
Jacques, in As You Like It, both engraved in line, 
vie with the best productions of Woollett ; he also 
engraved several other plates, both for the larger 
and smaller Illustrations of Shakspeare ; and 
others, after Berghem, Gainsborough, Barret, Zuc- 
carelli, and Hearne. His Select Views in Great 
Britain, are admirably engraved, and were very 
popular, both in England and on the continent. 
He died at London, in 1818. 

MIEL. Cav. John, (not Jan,) called also Brc- 
KER. and by the Italians, Giovanni della Vjte, 
was born at a small village near Antwerp, in 15991 
He studied under Gerard Seghers, and was one of 
his ablest scholars. Lanzi says he also studied 
under Vandyck. On leaving his master, he went 
to Rome, and entered the school of Andrea Sac- 
chi, where he gave such proofs of his genius, that 
Sacchi employed him to assist in his works 
at the Palazzo Barber ini. where he represented 
a Procession of the Cavalry of the Pope. Miel, 
whose disposition and education naturally led him 
to the grotesque, introduced something ludicrous, 
which was deemed inconsistent with the dignity 
of the subject. This occasioned a dispute, and his 
dismissal. Stung with the reproaches of Sacchi, 



and stimulated by the advice of his friend Bernini, 
Miel visited Lombardy, for the purpose of improv- 
ing himself by the stud}^ of the works of Correg- 
gio and the Caracci, and he also passed some time 
at Parma and Bologna. On his return to Rome, 
he was employed by pope Alexander VII. to paint 
a picture of Moses Striking the Rock, for the gal- 
lery of Monte Cavallo. He also painted a picture 
of the Baptism of St. Cyrillic, for the church of 
S. Martino de' Monti ; and the Annunciation, and 
some frescos of the Life of St. Lamberti. in S. Ma- 
ria dell' Aniraa. In these, and other considerable 
works at Rome and Turin, he showed himself 
capable of treating historical painting with dignity 
and success, though his genius and inchnation 
turned to those familiar and lighter subjects, for 
which the Flemings were preeminent, and which, 
a short time before, were so successfully treated 
in Italy by Peter de Laer and Cerquozzi. On his 
first arrival at Rome, he adopted the subjects and 
manner of Bamboccio with great success, and his 
best works are his easel pictures of huntings, car- 
nivals, fairs, markets, gipsies, beggars, conver- 
sations, and pastoral scenes, which are admired 
for their spirit and truth of design, the brilliancy 
of their coloring, the clearness of their tints, the 
delicacy of their penciling, and the great intelli- 
gence of their chiaro-scuro, in which respects, he is 
not inferior to Bamboccio, though he has less 
dignity in his heads, is less select in the choice 
of his forms, and less graceful in his attitudes. He 
was invited to Turin by Charles Emanuel, Duke 
of Savoy, M^ho appointed him court painter, and 
retained him in his service during the rest of his 
life. It was at this time, that he painted his cele- 
brated hunting pieces and fables, in the saloon of 
the chateau of the Venerie, which were engraved by 
Tasniere. The Duke was so much pleased with 
the execution of these works, that he made him a 
knight of the Order of St. Mauritius, and pre- 
sented him with across set with diamonds of great 
value, as a mark of his esteem. His pictures of 
huntings are particularly admired, in which he 
designed the figures, and every species of animals 
of the chase with uncommon beauty, spirit, and 
nature. His best works are said to be in the 
Grand Saloon of the Ducal Palace at Turin, and 
in the Imperial Gallery at Vienna. He was elect- 
ed a member of the Academy of St. Luke in 1648. 
He died at Turin in 1664. 

John Miel etched a few plates from his own de- 
signs, in a masterl}'- style, and with a charming 
effect. His point is free and playful, and his fig- 
ures and animals are designed with great spirit. 
The following are by him : The Holy Family. 
The Assumption of the Virgin. A set of Four 
Pastoral Subjects; in one of them is a figure seat- 
ed on a bank, picking a thorn from his foot. 
These are charmingly etched. Three Battle Pie- 
ces ; for the History of the Wars in Flanders, by 
Flaminius Strada. 

MIERHOP, Francis van Cuyck DE,a Flemish 
painter, born at Bruges in 1640. He was of a 
noble family, and at first studied painting only for 
amusement. The vicissitudes of fortune at length 
reduced his family to indigence, when he experi- 
enced the benefit arising from his cultivation of the 
art. Unable to bear the shock, or from a feeling 
of false pride, he left Bruges, and settled at Ghent, 
where he acquired great reputation and abundant 



MIER. 



562 



MIER. 



patronage. He particularly excelled in pictures 
of still-life, such as game, fish, fruit, and animals, 
in which he imitated the manner of Francis Sny- 
ders ; and some of his Lest works approach those 
of that admired painter. In the monaster}'- of the 
Alexines, at Ghent^ is one of his pictures portray- 
ing dogs, dead game, and fish, which has frequent- 
ly been mistaken by judges for a work by Sny- 
ders. He died at Ghent in 1701. 

MIERIS, Francis, the Elder, one 
of the most eminent of the Dutch 
painters, born at Ley den in 1635, and 
not at Delft, as asserted by Descamps. He was 
the son of a goldsmith and lapidary, who, discov- 
ering in his son an early inclination for painting, 
placed him with Abraham Toornvliet, an eminent 
painter on glass, and one of the best designers in 
the Low Countries, with whom he learned the 
elements of design. He next entered the school 
of Gerard Douw. with whom he made extraordi- 
nar}^ progress, and was called b}^ his master the 
prince of all his disciples. Being eager for improve- 
ment, he left Douw and went to study with Adri- 
an vander Tempel ; but not finding his expecta- 
tions realized, he again returned to that master, 
whose taste and genius more nearl}^ corresponded 
to his own, and he continued with him until he 
wanted no farther instruction, except in studjnng 
after nature. In fact, before he left Douw, his 
fame was bruited abroad as the prodigy of the 
age. His first work was executed at the commis- 
sion of the Archduke of Austria, and excited uni- 
versal admiration. It represented the interior of 
a mercer's shop, with a beautiful j'^oung woman 
showing various silks to a gentleman, who was 
evidently admiring the bonnie lass more than the 
goods. The Archduke was so much pleased with 
the performance, that he immediately invited him 
to Vienna, and offered him a munificent establish- 
ment, which his engagements or inclinations did 
not permit him to accept. When the Grand Duke 
of Tuscany visited Leyden. he was struck with 
admiration at the exquisite finishing of his works, 
and engaged him to paint a picture, which is re- 
garded as one of his most admirable productions. 
It represents a j^oung lad}- dressed in white satin, 
playing on a lute, with another female and a young 
man seated on a couch, to whom a domestic pre- 
sents a silver salver with refreshments. He also 
painted for that prince his own portrait, which 
was placed in the Florentine Gallery. The works 
of Mieris are similar to those of Douw, though 
on a more extended scale. He sometimes painted 
portraits, but oftener conversations, mercer's shops, 
persons playing on musical instruments, chemists 
in their laboratories, patients attended by the doc- 
tor, &c. He had an unusual sweetness of coloring, 
a neat and wonderfully delicate touch, and the 
same transparency that characterizes the^-)aintings 
of Douw, and they say he excelled him in several 
particulars ; his design is more extensive, his 
drawing more correct, his pencil more free and 
spirited, and his coloring, by being less disturbed, 
is more pure and delicate, and that Douw only ex- 
celled him in the extraordinary finishing of his 
pictures. This, doubtless, is too high praise, and 
his warmest admirers ought to be satisfied to place 
him next in rank to that great artist. His man- 
ner of painting silks, velvets, stuffs, and carpets, 
was so remarkable that the difi'erent kinds and fab- 



ric of any of them could easily be distinguished. 
His works are exceedingly scarce, and command 
enormous prices whenever they are offered for sale. 
Most of them are now in the royal galleries of 
Europe. Smith, in his catalogue raisonne, vols. i. 
and ix., gives descriptions of one hundred and fifty 
pictures by him. He died in 1681. 

MIERIS, John, M^as the eldest son of the pre- 
ceding, born at Leyden in 1660. He was instruct- 
ed in the art by his father, but despairing of ever 
being able to equal him in the minuteness and 
delicacy of his finishing, without which he knew 
he could never hope to acquire any reputation in 
that line, he devoted himself to a different pursuit, 
and painted history and portraits, as large as life. 
After his father's death he went to German}^ and 
thence to Italy. He stopped first at Florence, 
where the fame of his father procured him a most 
honorable reception from the Grand Duke, who 
offered to retain him in his service. But Mieris 
declined the offer, and proceeded to Rome, where 
his abilities were already well known. He was 
unfortunately affected with the stone, and applying 
himself with great assiduity to his studies, his 
malady increased, and he died in the flower of life, 
in 1690. 

MIERIS, William, called the Younger, was the 
second son of Francis M,, born at Leyden in 1662, 
He studied under his father, whose style he adopt- 
ed with, great success, so much so that some of his 
best works have been attributed to the elder Mie- 
ris, though he was much inferior to that master 
in every respect. At the age of nineteen, he 
was already an able artist, when the death of his 
father occurred. At first he continued to pursue 
the same course which had led his father to such 
excellence and renown ; but afterwards he was 
induced by the fame of Gerard Lairesse. tvhosc 
works at that time excited universal admiration, 
to aim at a more elevated style, and to attempt to 
paint historical and mythological subjects, and also 
landscapes. This attempt, however, was not very 
favorable to his reputation, for his incapacity for 
designing the naked, and his ignorance of the 
proprieties of costume, rendered him totally inade- 
quate to the dignity of history. His extreme la- 
bor in finishing, was also prejudicial to the effect 
of the whole ; and his carnations, from their 
smoothness and polish, have the appearance of 
ivory. He did not succeed much better in land- 
scapes. His best pictures are his domestic sub- 
jects, which are deservedly held in high estima- 
tion, and are admitted into the choicest collections. 
Smith gives a descriptive list of one hundred and 
sixty pictures by this master. He also modeled 
in clay and wax, in so sharp and accurate a man- 
ner as to show that he would have distinguished 
himself as a sculptor, had he devoted himself to 
that art. He died in 1747. 

MIERIS, Francis, called the Younger, was the 
son of William Mieris, born at Leyden in 1689. 
He M'as instructed in the art by his father, painted 
similar subjects, and endeavored to imitate his 
style, but with comparatively little success. His 
design is heavy and tasteless, his touch dr}- and 
hard, and his coloring false and unnatural. Ho 
was industrious, however, and bestowed a great 

j deal of time in copying the works of his father; 

i and though these are said to be so much inferior 



MIEll. 



563 



MIGN. 



that the least experienced collector cannot mistake 
them for the works of William M., yet there can 
be little doubt, from reading the accounts of difier- 
ent authors, that at least some of the works of 
this artist are attributed to his father, and greatly 
tend to injure his reputation ; for there is a great 
contradiction about the real merits of William 
Mieiis, some ranking him nearly equal to Francis 
Mieris the Elder in his best works, while others 
put as wide a distinction between them as they do 
between William Mieris and his son Francis. 
Time of his death not known. 

MIERS, a Dutch painter who, taking a part 
in the revolutionary troubles, fled to London in 
1788, where he acquired considerable reputation by 
his landscapes, with figures and cottages, which 
are well designed and executed ; his figures and 
trees are finished with care and neatness. He also 
excelled in water-colored drawings. He died in 
1793. 

MIGER, Simon Charles, a French engraver, 
born at Paris in 1736 ; died in 1820, He studied 
under Charles Nicholas Cochin the younger, and 
engraved a number of plates of historical subjects, 
in a neat, clear style. He acquired considerable 
distinction, and was a member of the Academy of 
Painting. He executed most of the portraits 
which illustrate the Histoire de la maisun de 
Bourbon ; all the designs for the Menagerie du 
Museum ; and several plates for the Voyages of 
Cassas. The following are among his principal 
plates : 

PORTRAITS. 

David Hume, Historian ; after Cochin. John Stanley, 
Musician ; do. Count Maurice de Bruhl ; do. Christo- 
pher Gluck, Musician ; after Duplcssis. Laurent Cars, 
Engraver; after Perenneau. John James Rousseau; 
after Le Moyne. Francis Mieris, Painter; after a pic- 
ture by himself. 

VARIOUS SUBJECTS. 

Hercules strangling Anteus ; after Voiriot ; engraved 
for his reception into the Academ}-^ in 1777. The Flaying 
of Marsyas ; after C. Vanloo ; his other reception plate. 
Hercules and Omphalo ; after Dumont. The Rape of 
Europa ; after Halle. A. View of the Coast near Civita 
Vecchia; after Vernet. 

MIGLIARA, Giovanni, an eminent Milanese 
painter of the present century, born in 1785. He 
excelled particularly in painting interiors of an- 
cient edifices, and his pictures of the Cathedral at 
Milan, and the Portico of the church of S. Am- 
brogio in the same city, have been highly praised. 
At Paris, in 1817, there were exhibited by the 
purchasei'S three of his paintings, representing the 
Interior of the grand court of the iNIilanese Hos- 
pital ; a View of the Canal of Milan ; and a co- 
lonnade of the Baths of Maximus Aurelius. Mig- 
liara subsequently executed many excellent works, 
which were exhibited at Turin, Milan, and Paiis. 
He was appointed painter to the King of Sardinia, 
and Cavalier of the Order of Civil Merit, institu- 
ted in 1831, by the King, Charles Albert. He died 
at Milan, in 1837. 

MTGLIONICO, Andrea, a Neapolitan painter, 
and a scholar and imitator of Luca Giordano. 
According to Dominici, he acquired considerable 
reputation, and executed man}-^ works for the 
churches at Naples, the Descent of the Holy Ghost 
in the church of S. S. Nunziata, which is highly 
commended. He had a fertile invention, a correct 
design, harmonious coloring, and great facility of 



handling, though he was somewhat deficient in 
grace. He died about 1710. 

MlfJNARD, Nicolas, an eminent French 
painter, born at Troyes in Champagne, in 1G08. 
After receiving some instruction in his native city, 
he went to Fontainbleau, where he had the advan- 
tage of studying the works of Priuiaticcio and 11 
Rosso, the antique statues, and other works col- 
lected by Francis I. He afterwards went to Italy 
to complete his education, and studied diligently 
two years at ]lome. On his return to France, he 
stopped at Avignon, where he married, settled, and 
acquired considerable distinction in his profession. 
From his long residence in that cit}^, he was call- 
ed Mignard of Avignon, to distinguish him from 
his brother, Pierre Mignard, who was called the 
Roman. By the advice of Cardinal JVlazarin, he 
was invited to Paris, and employed to execute sev- 
eral important works in the palace of the Tuile- 
ries, among which are Apollo crowning the Muses 
of Poetry, Painting and Music ; Apollo and 
Daphne ; and Mercur}^ piesenting a Lyre to Apol- 
lo. He acquired considerable distinction, was 
elected a member of the Royal Academy, and af- 
terwards appointed Rector, which office he held till 
the time of his death. He had a good invention, 
his composition is ingenious, his design dignified 
and correct, his coloring agreeable, his carnations 
lively, his attitudes and expressions graceful, and 
there is an abundance of union and harmony in 
his works. He also painted many portraits of 
distinguished personages, though his genius in- 
clined him more strongly to historical composi- 
tions, and more esj)ecially to classic and poetic 
subjects, particularly those which call for an ex- 
pression of the gentler emotions. Some of his 
works have been admirably engraved by Antoine 
Masson and others. He also etched a few plates 
in a bold and spirited style, among whicli are a set 
of eight pi'ints after pictures of Annibale and 
Agostino CaraccL in the Fariiesian Gallery. He 
died at Paris in 1GG8. 

MIGNARD, Pierre, called the Roman. This 
eminent painter was the younger brother of Ni- 
colas M., born at Troyes in 1010. His father in- 
tended him for the profession of medicine, and af- 
ter giving him the preliminary education, sent him 
to Bourges, and placed him with an eminent prac- 
titioner of that city; but young Mignard paid 
more attention to drawing than to physic, and 
without the help of an instructor painted the por- 
traits of the professor and his family, which exci- 
ted surprise. The commendation he received for 
these performances induced him to abandon his 
medical studies, and to place himself under the 
tuition of Jean Boucher, a reputable painter in 
that city, with whom he continued two years. He 
then proceeded to Paris, and entered the school of 
Simon Vouet. where he studied some time. About 
this time the Marquis de Crequy. the French am- 
bassador to Rome, returned to Paris, and brought 
with him some valuable paintings by the Italian 
masters. Mignard being allowed to study them, 
soon perceived that Italy was the great cen- 
tre of the art ; and he accordingly proceeded to 
Rome, where he resided twenty-two years, and 
hence acquired the name of Mignard the Ro- 
man. He lived in habits of the closest intimacy 
and friendship with Charles Alphonse du Fresnoy, 
who had been his fellow-student with Vouet, dur- 



MIGN. 



564 



MIGN. 



ing the residence of the latter in that metropolis, 
and derived much adyantaj^e from the counsels 
of that excellent theorist. He studied diligently 
the works of the best masters, particularly of Raf- 
faelle and Annibale Caracci. His pictures of the 
Virgin and other holy subjects, designed and exe- 
cuted in the graceful and dignified style of Raffa- 
elle, were greatly admired at Rome, He acquired 
a distinguished reputation in that city, and found 
abundant employment. He also distinguished 
himself as a portrait painter, and was patronized 
by Pope Urban VIIT.. Alexander VH., and 
many of the nobility. He executed some works 
for the churches, the principal of which is a pic- 
ture of the Trinity, in S. Carlo ; and a Holy Fam- 
ily, in S. Maria in Campitelli. He was invited 
back to Paris by Louis XI V., and on his way, pass- 
ing through Tuscany, Modena, and Parma, he was 
honored by the princes of those cities, whose por- 
traits he painted. Louis sat to him ten times for 
his portrait, and had such a respect for his talents 
that he ennobled him, and after the death of le 
Brun appointed him his principal painter and di- 
rector of the manufactories. Mignardwas chosen 
a member of the Academy, and was successively 
appointed professor, rector, director, and chancel- 
lor of that institution. His principal historical 
works in France are his great cupola in the church 
of Val-de-Grace, and twelve frescos in the Gallery 
at St. Cloud, which are highly commended. He 
also painted the portraits of many of the nobility. 
The works of Pierre Mignard are not distinguished 
for commanding genius, or great originality of in- 
vention, but they claim our approbation for rich- 
ness of composition, a learned and correct design, 
a classic elegance of forms, an amiability of ex- 
pression, and a harmonious coloring, though not 
rich, nor very vigorous. Several of his works 
have been engraved by some of the most distin- 
guished French engravers, as Gerard Audran, 
Poilly, Roullet, Nanteuil, &c. There is a spirited 
etching by him, representing St. Scholastique 
kneeling before the Virgin. He died at Paris in 
1695. 

MIGNARD, Pierre, a French architect, the 
son of Nicolas M.. and the nephew of Pierre Mig- 
nard the painter, was born at Avignon in 1640. 
He traveled through France and Italy, studying 
and copying the linest monuments of architecture, 
after which he settled at Paris, where his father 
was residing. He was commissioned to erect the 
Abbey de Montmajour, near Aries, which gained 
him great reputation ; and he was intrusted with 
many important works. Among them were the 
fa9ade of the church of St. Nicolas, and the Porte 
St. Martin. The Abbey de Montmajour was sub- 
sequently destroyed by fire, and was rebuilt pre- 
cisely according to the designs of Mignard. He 
was one of the six architects who founded, in 1671, 
the French Academy of Architecture, of which he 
was appointed professor, and continued to discharge 
the functions of that office until his death, in 
lf25. 

MIGNON, or MINJOHN, Abraham, an emi- 
nent German fruit and flower painter, born at 
Frankfort in 1639, His father was a merchant, but 
failing in his business, and being reduced to necessi- 
tous circumstances, his friend Jacob Murel, an emi- 
nent flower painter, took the child, and discovering 
in him a genius for painting, instructed him in his 



art, in which he made such progress that at the 
age of seventeen he surpassed his master. Murei 
carried on a considerable commerce in works of 
art ; and about this time, his business leading him 
to Holland, he took his pupil with him, and re- 
commended him to the especial care of John Da- 
vid de Hcem, whose works were held in the high- 
est estimation. Under the instruction of this able 
master he made such progress, and deported him- 
self with so much urbanity, that he won his friend- 
ship and favor, so that he rendered him every as- 
sistance in his power. The pictures of Mignon 
were soon universally admired, and so much sought 
after, that with all his industry he could hardly 
execute all the commissions he received. He 
founded his manner on that of de Heem, but he im- 
proved himself by studying nature with the most 
curious and exact observation. He has seldom 
been surpassed in the selection of his objects, in 
the picturesque manner of his composition, and in 
the beauty and freshness of his flowers and fruit, 
which have all the bloom of nature. His butter- 
flies and other insects seem to live and feed, and 
the dew drops on the leaves have all the transpa- 
rency of real water. He died in 1679. 

MIGNON. Jean, an obscure French engraver, 
who executed a few plates. Among them is one 
of Abraham purchasing the Cave of Machpelali, 
signed lo. Mignon. fee. 

graver, who flourished about 1593. He engraved 
a few plates, among them a set of ornaments for 
goldsmiths, 'marked with one of the above mono- 
grams. 

MIKCKER, John, a Dutch landscape painter, 
who flourished at Amsterdam about 1650. He 
painted well wooded landscapes, ornamented with 
cottages, or gentlemen's parks with country resi- 
dences, in rather a dark tone of color. He was 
the first instructor of J. B. AVeeninx, whose earli- 
est pictures are painted in his style, for which rea- 
son the works of Mikcker are sometimes passed 
upon the ignorant for those of Weeninx. 

MILANESE, II. See Cittadini. See Gug- 

LIELMO DELLA PoRTA. 

MILANESE. Felice, an Italian painter, by 
whom there is a spirited etching of the Virgin and 
Infant seated on a throne, Avith a Bishop, and sev- 
eral children, signed Felice Milanese, fee. 

MILANI, GiuLio Cesare, a Bolognese painter, 
born in 1621. He studied under Flaminio Torre, 
and was the most successful and the most eminent 
follower of his style. He executed many works 
for the churches at Bologna, and in the adjacent 
cities. His most esteemed productions in his na- 
tive city are the Marriage of the Virgin, in the 
church of S. Giuseppe ; St. Antonio di Padova, in 
S. Maria del Costello ; and a Holy Family at the 
Servi, which are pronounced such excellent per- 
formances as not to be " disgraced by the proxim- 
ity of such powerful competitors." Lanzi says 
'• he was the most eminent of Torre's disciples, and 
he was rather admired in the churches at Bologna, 
and extolled in many adjacent states." He died 
in 1678. 

MILAN!, Aureliano, was the nephew of Giu- 
lio Cesare M., born at Bologna in 1675. He first 



MILA. 



565 



MILE. 



studied with Cesare Gennari, and afterwards with 
Lorenzo Pasinelli. He did not attach himself to 
the style of either of these masters, but enamour- 
ed with the works of the Caracci. he devoted him- 
self a long time in copying their compositions en- 
tire, as well as in part, repeating his designs of 
the heads, the feet, the hands, and the outlines, till 
he caught the spirit, without borrowing the forms. 
Crespi remarks that no one showed more of the 
manner of the Caracci in the naked figure, and in 
the symmetiy and whole character of his paint- 
ings ; and, next to Carlo Cignani, no one did more 
to maintain the dignity and credit of the Bolognese 
school. Lanzi says he was not so excellent in his 
coloring. His principal works at Bologna are the 
Resurrection, in the church of La Purita ; the 
Stoning of St. Stephen, in S. Mascarella ; and St. 
Jerome, in S. Maria della Vita. He went to Rome, 
where he resided a long time, and found abundant 
patronage from the churches and individuals. The 
best at Rome, perhaps, is the Beheading of St. 
John the Baptist, in the church of the Bergamas- 
chi. He died in 1749. 

MILAN!, Gjoseffo Maria. This painter was 
born at Pisa in 1678. He studied under Camillo 
Gabrielli, and following the example of his in- 
structor, he attached himself to the style of Pietro 
da Cortona. On leaving his master, he applied 
himself to the study of perspective, and made de- 
signs after the most magnificent buildings, ancient 
and modern, in Pisa and elsewhere, which he after- 
wards introduced into his compositions with great 
effect. He excelled in perspective and architecture, 
which he embellished with figures elegantly de- 
signed, and grouped with great ingenuity, and his 
coloring was rich and harmonious. He acquired 
great reputation, and executed many works in 
fresco for the churches at Pisa and in other cities. 
One of his best works is a grand ceiling in the 
church of S. Matthew, in his native city. He bor- 
rowed so much from Cortona that he has been ac- 
cused of plagiarism. 

MILANO, Agostino. See Agostino di Bra- 

MANTINO. 

MILANO, Andrea, a painter of Milan, who 
flourished in 1495. Pie was an able painter, and 
his altar-piece at Murano extorted the admiration 
of Zanetti. There is no certainty about this art- 
ist. Vasari's annotators call him Andrea Salai, 
and Battoni sa3"s his name was the same as An- 
drea del Gobbo, mentioned by Vasari in his life of 
Correggio. Lanzi thinks otherwise, and that he 
was a Venetian painter, or at least had studied in 
Venice, from his style and coloring, 

MILANO, Andrea da. See Solari. 

MILANO. Francesco da, a painter whose 
name is found on an exquisite altar-piece in the 
parish church of Soligo, quite in the style of Ti- 
tian, dated 1540. 

MILANO, Giovanni da, was a favorite pupil 
of Taddeo Gaddi, and one of his ablest scholars. 
He painted much at Florence and in Lombardy. 
To him, and to Jacopo di Casentino, Taddeo on 
his death-bed commended his two sons for their 
protection. He flourished about 1370. 

MILBERT, Jacques Gerard, a French land- 
scape painter, born at Paris in 1766. He early 
manifested a strong inclination for art, which he 



cultivated with assiduity ; and in 1795, he was ap- 
pointed professor of the Ecole des Mines. In that 
capacity he was sent b}^ government to the Pyre- 
nees, to design the various localities supposed to 
be rich in mineral wealth. In 1798 he was ap- 
pointed a member of the scientific commission to 
Egypt, but was unavoidably prevented from visit- 
ing that country. In 1800 he was appointed chief 
designer of the Australian expedition commanded 
by Baudin, composed of the two corvettes Geo- 
graphe and Naturaliste. Ill health compelled 
him to stop at the Isle of France, where he re- 
mained two 3' ears, and collected the materials for 
his pictorial work, published in 1812, entitled 
Voyage pittoresque a l^IIe de France, au cap de 
Bonne Esperance et a Pile de Teneriffe. Paris, 
1812; 2vols. 8vo. In 1815, Milbert visited the 
United States, in the suite of the French Consul 
General, commissioned by the French Minister, 
M. Hyde de Neuville, to make researches in natu- 
ral history. After employing nine j^ears in this 
mission, he returned to Paris ; and his discoveries 
gained him great reputation, being highly praised 
by Baron Cuvier. Milbert subsequently publish- 
ed his pictorial work, entitled Uf finer aire pitto- 
resque dujleuve Hudson et des parties laterales de 
VAnierique du Nord. dhipres les dessins origi- 
naux pris su.r lienx. Pans. 1827 — 1829 ; 2 vols. 
4to.. with an atlas. Milbert died at Paris in 1840. 

MILE, Francis, sometimes called FRANCisauE, 
and often wrongly written Mille or Millet, was 
born at Antwerp in 1644. His father was a 
Frenchman, and had accompanied the Prince of 
Conde, to whom he was attached, into the Nether- 
lands, at the time of the revolt. He showed an 
early inclination for art, and his father placed him 
with Laurent Franck, under whom he made great 
progress, and whose daughter he married at eigh- 
teen years of age. Having contracted a friendship 
with Abraham Genoels, ihcy studied together af- 
ter nature, and increased each other's ardor by a 
friendly emulation, which, with an unreserved 
communication of observations, ideas, and senti- 
mentSjgreatly tended to the advantage of both. Mile 
was remarkable for such a tenacious memory 
that he could copy any scene he had observed 
in nature, or any particular picture which had 
struck his fancy, and what was still more extra- 
ordinary, he could readily recollect every remark- 
able aspect of nature, as the form of any particu- 
lar cloud, or tints in the skies, and those evanes- 
cent beauties that pleased his eye and imagination. 
Soon after his marriage he went to Paris, where 
he made the works of Nicholas Poussin his study 
and his models. According to D'Argenville, he 
traveled through England and Holland, leaving in 
those countries abundant proofs of his ability. 
On his return to Paris he acquired much distinc- 
tion, was received into the Academ}^, and his works 
were held in high estimation. The favorite sub- 
jects of Mile were heroic landscapes, in the style 
of Poussin ; and though he was unequal to that 
master, he approached him nearer than any of 
his countryuien, or perhaps any other painter; 
like that master his scenery is always appropri- 
ate to and in harmony with his subject. He was 
a strict observer of the propriety of costume, his 
pencil was broad and facile, and his coloring ap- 
propriate and agreeable, though in some of his 
i pictures there is too great a monotony, and a want 



MILT. 



566 



MILL. 



of intelligence in the distribution of his masses of 
light and shadow. He died in 1680, in the prime 
of his life, as some sa}-, b\^ poison administered by 
some one of his profession, envious of his merit 
and reputation. There are a few etchings by this 
able artist, after his own designs, which are much 
admired for their picturesque subjects, and their 
light and spirited execution. Among others are 
the following : 

A Landscape, with Egyptian Ruins, with the subject of 
Moses sav^ed from the waters of the Nile ; F'rancisque, 
inv. Another grand Landscape, with the History of Ce- 
phalus and Proeris. A Mountainous Landscape, with fig- 
ures, and a town in the middle. Six other Landscapes, of 
various sizes. The Tayo Friends. The Voyagers. An An- 
cient City. 

MILIZIA, Francesco, an eminent Italian wri- 
ter on architecture, of a noble and opulent family, 
born in 1725, according to his own authorit}^, at 
Oria, a small town in the province of Otranto, in 
the kingdom of Naples. At the age of nine years, 
he was placed under the charge of his maternal 
uncle, who was practising the medical profession 
at Padua. After remaining with the latter until 
the ago of sixteen, he ran away from Padua to 
Rome, and joined his father, who sent him to 
Naples, to study logic and metaphysics under the 
celebrated Genovesl and physics and geometry un- 
der Padre Orlandi. Desiring to see more of the 
world, he quitted Naples with the intention of go- 
ing to France ; but the low state of his finances 
prevented his going farther than Leghorn. After 
this, he was obliged to content himself with living 
a half studious, half indolent life at Oria; but at 
the age of twenty-five, he married a young lad}^ 
of good family at Gallipoli, and having obtained a 
handsome allowance from her father, he went to 
Rome, and ultimately settled with his wife in that 
city, in 1761. He then began to apply his ener- 
gies to the study of architecture, and published his 
Lives of the Architects, entitled Vitc dei piu cele- 
hri Architetti, antichi e moderni, Rome, 1768, 
8vo. The second edition appeared under the title 
of Memorie degli Architetti antichi e moderni^ 
Parma, 1781, 8vo. It may rather be termed a 
history of the art, than a biograph}'- of architects. 
In 1772. Milizia published his Trattaio Comple- 
to formale e materiale del Teatro. Rome. 1772. 
This work excited so much scandal on account of 
certain observations in it, as to cause its suppres- 
sion by withdrawing the copies; but it was sub- 
sequently reprinted at Venice. Ilis next work 
was the Principi c/' architeitura civile, Finale, 
1781; Bas.sano, 1785; Ibid. 1825, 3 vols. 8vo.— 
This was considered the best production of Milizia, 
and greatly extended his reputation, being almost 
the first attempt to base the art upon rational 
principles, and to expose the pedantry with which 
it had been taught. It is moreover written in an 
attractive style, and the criticisms are character- 
ized by highly caustic qualities. On the latter ac- 
count, although admired by young artists, it was 
censured by many more advanced professors, who 
charged the author with speaking too freely of 
many eminent names, with attacking high authori- 
ties, and propounding his own views without re- 
gard to the example of others. His work entitled 
UArte di Vedere nelle Belle arti del disegno, Ven- 
ice, 1781, is perhaps more fearless and unsparing 
than the preceding. It is written with great elo- 
quence, and attacks Michael Angelo and others, in 



a very spirited style. For a specimen of his criti- 
cisms, the reader is referred to tho article Buona- 
ROTTi. He was appointed Royal Superintendent of 
the Buildings in the States belonging to the King of 
the two Sicilies, but he resigned the office in 1786, 
preferring to be free from the responsibility. 

Milizia published a work entitled Roma delle 
Belle Arti di Disegno, Bassano, 1787. 8vo. ; and 
his Dizionnario delle Belle Arti, Bassano, 1797, 
2 vols., 8vo., which latter is chiefly a translation 
from the French work Encyclopedie Alethodique. 
After this, disgusted with the attacks upon his 
Roma, he desisted from publishing the first and 
second parts which he had prepared of this work, 
abandoned the Fine Arts, and devoted himself 
to the study of Natural History. He died at 
Rome in 1798. 

The works of Milizia are pervaded with great 
severity of criticism, and a general tone of caustic- 
ity, which render it highly improbable that he 
possessed an impartial judgment. He seems to 
delight in finding as much fault as possible with 
every work of architecture, and gives the good 
qualities but a slight prominence. Notwithstand- 
ing this hyper-critical disposition, he undoubtedly 
possessed an intimate knowledge of architecture ; 
his works have overthrown many incorrect ideas 
based upon false principles, and sanctioned b}^ no- 
thing but the prestige attached to great names. 
They have greatly promoted the dissemination of 
the principles of pure architecture. His criticisms, 
if taken with proper allowance for his peculiarity 
of temper, may be safely relied upon. His Lettere 
Inedite. addressed to the Count San Giovanni, 
first published at Paris in 1827, serves to por- 
j tray his disposition, and abundantly proves that 
I he abhorred pedantrj^ dogmatism, quackery, and 
fiilse enthusiasm. Milizia's writings were pub- 
lished in one entire collection at Bologna, in 1826, 
9 volumes 8vo. 
I Pommereul has translated his first work into 
I French, under the title of Essai sur Vhistoire de 
I V architecture, precede d'' observations sur le ban 
gout et les beaux arts, La Haye, 1819, 3 vols. 8vo. 
I jNIrs. Oresy has also translated this work into Eng- 
j lish, under the title of Milizia's Lives of Cele- 
brated Architects, Ancient and Modern. London, 
I 1826, 2 vols., 8vo. 

I MILLER. Andrew, an Iri.sh engraver, who 
I flourished at Dublin about 1740. He executed 
: some portraits in mezzotinto, which possess con- 
siderable merit ; among others are the following :■ 

j Dean Swift; after /''. Bindou. 1743. Robert Boyle, 
I Philosopher. Charles Lucas. M. D. of Dublin. Robert 
I .Josleyn, Lord of Newport, Chancellor of Ireland. 1747. — 
\ Josiah ilort, Archbishop of Tauni. Eaten Staunard, Re- 
corder of Dublin. Joseph Baudin, Painter. Jo.-:eph Mil- 
j ler, Actor, in the character of Teague. John Harper, in 
the character of Jobson. Snowdon, in the character of Ca- 
ied, in the siege of Damascus. Turbutt. in the Character 
of Sosia, in Amphitrion. 

I MILLER, J., an English engraver, who flour- 
j ished in London about 1760. He engraved many 
[ plates, chiefly portraits, which possess considera- 
ble merit. The following are the most interest- 
ing : 

King George III. ; ad vivum. Queen Charlotte ; do. 
Jeffrey, Lord Amherst. George Bridges Rodney, Lord 
Rodney. Charles Townsend, Chancellor of the E.xchequer. 
, Thomas Gray, Poet. Charles Churchill. Poet. Sir John 
! Vanbrugh. John Wilks, M. P. and Chamberlain of Lon- 
don, 



MILL. 



567 



MINI. 



MILLER, John Sebastian. See Muller. 

MILN, Robert, a Scotch engraver, who flour- 
ished at Edinburgh about 1710, and engraved some 
plates of Scottish antiquities for a work er\t\t]ed Mis- 
cellanea qucEdam Eruditcc Antiquitatis^ qiice ad 
Borealem Britannicc maj oris partem pertinent, c^c. 

MILOCCO, Antonio, an eminent painter of Tu- 
rin, the friend and companion of the Cav. Olaudio 
Beaumont, in whose style he painted, but with far 
less merit. He flourished in the first part of the 
18th century. Lanzi says he was more dry in his 
design than Beaumont, less cultivated in his taste. 
and inferior to him in all the qualities of a painter ; 
but from his peculiar facility, he was much em- 
ployed by individuals, and sometimes by the court. 

MILOT, an obscure French engraver, who flour- 
ished at Antwerp about 1620. He engraved some 
frontispieces, portraits, and other book plates, in a 
rather neat, but stiff and tasteless style. 

MINDERHOUT, Hendrick, a Flemish painter, 
born at Antwerp in 1637. It is not known under 
whom he studied, but he painted marines and sea- 
poi-ts. particularly views of Antwerp and Bruges, 
and other ports in the Netherlands. His works 
evidently show that he designed every thing from 
nature; his shipping in particular, are drawn with 
great accuracy and precision. His works are 
usually of a large size, and possess the merit of a 
bold design, a spirited pencil, a pleasing tone of 
coloring, and an intelligent management of the 
chiaro-scuro. which give them a fine effect. — 
He was elected a member of the Academy of Ant- 
werp, and painted for his reception piece a splendid 
view of the port of Antwerp, with a variety of 
shippins:. and many figures, which adorns their 
hall. He afterwards settled at Bruges, where he 
practised his profession the rest of his days. — 
There are some of his best works in the public 
edifices of that city. He was elected a member of 
the Society of Painters of Bruges in 1600. He 
was an unequal painter, and in the latter part of 
his life, seems to have painted with negligence and 
haste. His best works are highly esteemed, and 
are found in the principal collections in Flanders. 
He died at Bruges in 1696. 

MING/V, Andrea del, a Florentine painter, 
who studied under Ridolfo del Ghirlandaio, and 
who is recorded by Orlandi and Bottari, as a fel- 
low student with Michael Angelo. His works are 
generally indifferent. Lanzi says his Prayer in the 
Garden, in the church of the Holy Cross, rivals the 
works of any of his co temporaries ; hence it is 
alleged that he was assisted in its execution by his 
friends. He was living in 1568. 

MINGOT,TEODosio,aSpanish historical painter, 
and a native of Catalonia, born in 1551. Palo- 
mino erroneously states that he studied under Mi- 
chael Angelo at Rome, for Angelo died when he 
was only thirteen years of age ; but he was a pupil 
of Caspar Becerra, at Madrid, an eminent painter, 
who had studied with Buonarotti. It is believed! 
however, that he visited Ital}'-, where it is said he 
acquired a correct and elevated style of design. 
He was also a vigorous color ist. He was em- 
ployed by Philip II. in the palace of the Prado, 
where he executed some excellent works, all of 
which perished in the conflagration that destroyed 
the edifice. He died in 1590. 

MINI, Antonio, a Florentine painter, and a fa- 



vorite pupil of Michael Angelo Buonarotti. He 
did not acquire much distinction for original works, 
which was difficult in that glorious age of painting, 
but there is an anecdote, connected with his his- 
tor}^, worth recording. Angelo, when he had fin- 
ished his famous picture of Leda for Alphonso. 
Duke of Ferrara, offended at the manner of one of 
the courtiers who came for it, refused to sell it 
to that prince, and gave it to Mini, who took it 
with him to Paris. Vasari describes it as "'a 
grand picture, painted in distemper, that seemed 
to breathe on the canvass." Mariette also asserts 
that he saw the picture, and that in coloring " it 
approached the tone of Titian." Mariette is pro- 
bably describing a copy in oil, as D'Argenville in- 
forms us that the original was destroj^ed by fire 
in the reign of Louis XIII. 

MINNEBROER, Frans, a Flemish historical 
painter who flourished at Malines about 1540. 
Little is known of him. There is a Flight into 
Egypt in the church of Notre Dame in that city, 
and the Visitation to St. Elizabeth in the church 
of the same name in Hanswick, by him, which are 
considered remarkable productions. 

MINIATI, Bartolomeo, a Florentine painter, 
was a scholar and able assistant of II Rosso. He 
accompanied that artist to Paris, and assisted him 
in the great works he executed for Francis I. 

MINIERA, BiAGio, a reputable painter, com- 
mended by Orsini; was born at Ascoli in 1697, 
and died in 1755. Some of his works are to be 
found in the churches in his native place. 

MINNITI, Mario, a Sicilian painter, born at 
Syracuse in 1577, and died in 1640. According to 
Hacker t he was a good artist, and executed sev- 
eral works for the churches in his native city. 

MINORELLO, Francesco, an Italian painter, 
born at Este in 1624. He studied under Luca Fer- 
rari at Padua. According to Lanzi, on the death 
of his master, he contributed to support the repu- 
tation of the Bolognese school in that city, where 
are some of his works. He died young in 1657. 

MINOZZI, Bernardo, a Bolognese painter, 
born in 1699, and died in 1769. He studied land- 
scape painting under Nunzio Ferraiuoli, and struck 
out into a style of his own, Avhich gained him con- 
siderable reputation. He painted in fresco, dis- 
temper, and water colors. He was distinguished 
most for his landscapes in water colors, painted on 
fine paste-board, which were much admired and 
sought after, both at home and abroad. 

MINZOCCHI, Francesco, called II Vecchio 
Di San Bernardo. This painter was born at For- 
li in 1513. He first studied the works of Marco 
Palmigiani in his native place, and his earlier pro- 
ductions, as the Crucifixion, at the Osservanti, are 
designed in the stiff formal style of that master. 
He afterwards changed his manner by studying 
vv'ith Girolamo Genga, and, as some writers add, 
with Pordenone, assuming, in his subsequent pro- 
ductions, a more correct, graceful, and animated 
style, with an expression that looks like nature 
herself. He acquired great reputation, and exe- 
cuted many works for the churches in his native 
city and elsewhere. Lanzi says his works are so 
much esteemed at Forli, that whenever a chapel 
was taken down, his pictures were carefully cut out 
of the walls and replaced elsewhere. Among his 
best works are two pictures in a chapel of the ca- 



MINZ. 



568 



MIRA. 



thedral of Loretto, representing the Sacrifice of 
Melchisedec and the Miracle of the Manna, in 
which the prophet and principal characters have 
all the dignity of character, nobleness of drapery, 
and splendor of coloring belonging to the school 
of Pordenone ; but Lanzi says he represented the 
crowd in the most popular features and attitudes, 
almost sufficient to excite the env}^ of Teniers, and 
the most popular painters of the Flemish school ; 
his various and numerous animals are painted to 
the life, and his baskets and different utensils ap- 
pear like reality, though the attempt to excite 
mirth in treating a sei-ious subject always detracts 
from its dignit3^ Scannelli extols one of his 
frescos in the church of S. Maria della Grata at 
Forli, representing the Deity on a ceiling, sur- 
rounded by angels ; the figures are full of spirit, 
majestic, varied, and painted with a power and 
skill of foreshortening which entitles him to greater 
celebrity. There are other excellent works by 
him in the cathedral and the church of S. Domeni- 
co at Forli. He also painted many easel pictures 
for the collections. He died in 1574. 

MINZOCCHI, PiETRO Paolo, and Sebasttano, 
were the sons and scholars of the preceding, but 
far inferior to him. They painted easel pictures 
of historical subjects, and executed some works for 
the churches at Forli. Lanzi says they "painted 
in the same natural style as their father, but they 
were not above mediocritj^ in invention, not select 
in their forms, and their works had little relief." 

MIO, Giovanni di, an eminent artist of whom 
little is known with certainty, save that, from the 
archives of Venice, he painted in the Library of 
St. Mark about 1556. in competition with such 
eminent artists as Schiavone, Porta, Zelotti, Franco, 
and with Paul Veronese himself. He is supposed to 
have been a native of Vicenza, and perhaps a pupil 
of Gio. Battista Maganza. Lanzi thinks he may 
be the same as one Fratina, recorded by Ridolfi, 
as one of the assistants in ornamenting the Li- 
brary. But this degrades him in the face of the 
authentic document before cited. 

MIOZZI, NiccoLo, and Mauc' Antonio, two 
reputable painters of whom little is known, who, 
according to the Guida di Rovigo^ wqyq natives of 
Vicenza, and flourished about 1670. They painted 
in the style of Giulio Carpi oni, of whom they were 
probably scholars. 

MIRADOFtO. LuiGi, commonly called II Geno- 
VESiNO, a painter of Genoa, who, according to Lan- 
zi, after having learned the first principles of the 
art in his native city, went young to Cremona, 
towards the beginning of the 17th century, and 
begati to study the works of Panfilo Nuvolone. 
He afterwards formed a manner partaking much 
of the Caracci, though less select and studied, but 
bold, large, correct in coloring, harmonious, pro- 
ducing a fine effect. He settled at Cremona, where 
he opened a school for the instruction of young 
artists, and executed some excellent works for the 
churches and public edifices of that city and else- 
where. Among his most esteemed works are a 
picture of St. Gio. Damasceno, in the church of 
S. Clemente, at Cremona ; and a Pieta. or Dead 
Christ in the Lap of the Virgin, in the Merchants' 
College at Piacenza. In all subjects he was suc- 
cessful, and reraarkabl}^ so in those of a terrific 
cast. He also painted some excellent works for 
the collections. Lanzi says that, though this ar- 



tist is unknown in his native city, and is not men- 
tioned by Orlandi, he nevertheless is held in high 
repute in Lombard3^ and particularly in Cremona. 
The time of his birth or death is not known, but 
one of his works in S. Imerio, bears date, 1651. 

MIRANDOLA, Domeniuo, an eminent Bolog- 
nese painter and sculptor, who, according to Mal- 
vasia, was educated in the school of the Caracci, 
and acquired much distinction. Lanzi says, that 
when Pietro Facini opened his academy at Bo- 
logna, Mirandola quitted that of Lodovico, and 
entered the former, became a celebrated sculptor, 
enriched himself with the spoils of both, and 
kept an open studio, regulated according to the 
method of his first masters, which, for this reason, 
was called by some, the school of the Caracci. 
Mirandola had possessed himself of the casts, &c,, 
of the Academy of the Caracci, which was closed 
on the death of Lodovico. But Lanzi must be 
in error, for Facini died in 1602, Lodovico in 1619, 
and Mirandola in 1612, according to his monument 
in the church of S. Tommaso at Bologna. Accord- 
ing to Lanzi, he was one of those kind of men who 
gain more reputation, by management and address, 
than by true merit. 

MIRANDOLESE, II. See Pietro Paltro- 
NiERi, and Giuseppe Perraccini. 

MIRE, Noel le. See Lemire. 

MIRETT, or MIRETTI, Girolamo, a reputable 
old painter of Padua. There are authentic notices 
of him and his works from 1423 to 1441. Lanzi 
says this artist is the famous JSicolo Moretto com- 
mended by Vasari, which see. 

MIRETTO. Giovanni, an old artist of Padua, 
supposed b}'- Lanzi to have been a brother of the 
preceding. There is one of the largest pictures in 
the world in the great Hall at Padua, consisting of 
a mixture of sacred and historical subjects, the 
signs of the Zodiac from Igino, and of the various 
operations carried on during the respective months 
of the j^'ear, besides some curious ideas evidently 
suggested by some learned man. This work was 
formerly attributed to Giotto ; but Morelli, in his 
Notizia, upon the authority of Campagnuola, says 
it was executed conjointly by an artist of Ferrara 
and Gio. Miretto of Padua. Lanzi says this dis- 
covery justifies his previous opinions of his being 
unable to prevail upon himself to asciibe such a 
work to Giotto, although executed in his style. 

MIREVELT, or MIREVELDT. Michael Jan- 
sen, an eminent Dutch painter, born at Delft in 
1568. He was the son of a goldsmith, who, per- 
ceiving in him an earl 3^ inclination for art, placed 
him with Jerome Wierix, an eminent engraver. 
When he was twelve 3^ears of age, he executed a 
plate of Christ and the AVoman of Samaria, and 
soon after another of Judith with the Head of 
Holofernes. These juvenile performances attract- 
ed the attention of Anthony de Montfort, called 
Blocklandt, who advised him to apply himself to 
painting, and took him into his school. On leav- 
ing that master, he at first devoted himself to his- 
torical painting, and executed some altar-pieces for 
the churches at Delft ; but having painted the por- 
traits of some of the princes of the House of Nas- 
sau, which were universall3' admired, he ever after 
gained such abundant and profitable employment 
in that branch that he devoted himself entirel}^ to 
it. He executed an incredible number of portraits, 



MIRE. 



569 



MTTC. 



Houbraken and others say five thousand ; but 
Sandrart, Descamps, and others, swell it to ten 
thousand — which number, though he is supposed 
to have lived to a great age, was assiduous and 
wrought with great facilit5^ is beyond credibility. 
He studied and imitated nature exactly, and gave 
a striking likeness ; designed his portraits in good 
taste ; and finished them wnth great care. His 
pencil is free, his touch neat, and his coloring good. 
He obtained so great celebrit}^ that he was invi- 
ted to England by Charles I. ; though the great 
plague, then raging in London, prevented his ac- 
cepting an offer so much to his interest and honor. 
He never left Delft, except at particular times, when 
he went to the Hagae, to paint the portraits of the 
princes of Nassau, who held him in the highest 
esteem. He received a very high price for his por- 
traits, for the time in which he lived, obtaining 
one hundred and fifty guilders for the smallest 
size ; and for full size, half and whole lengths, his 
charges were proportionablj'- large. The portraits 
of Mirevelt are fineh^ drawn and full of expres- 
sion. Several of them were admirably engraved 
b}'- his brother-in-law, James William Delft. He 
died in 1G41. 

MIREVELT, Peter, was the son and scholar 
j of the preceding, born at Delft m 1596, and died 
young, in 1632. He painted portraits exactly in 
the st3de of his father, and in his best pictures was 
j accounted no way inferior to him. One of his 
I most esteemed Avorks is in the Hall of the Surgeons 
y of Delft, representing the portraits of the princi- 
|i pal members of that institution at that time. 

MIROU, Anthony, a Flemish painter, who 

flourished about 1640. Little is known of the 

events of his life. He painted landscapes and 

scriptural subjects, correct in design, and executed 

j\ with a spirited pencil. 

MIRUOLL GiROLAMO, an Italian painter, who, 
according to Vasari, was a native of Romagna, and 
] flourished about 1570. He studied under Pellegri- 
no Tibaldi, and executed several w'orks in fresco 
for the churches at Parma. He acquired so much 
distinction that he was appointed court painter by 
■j the Duke, and died in his service. He also paint- 
jj ed at Modena and Bologna, in which latter city 
J are some of his frescos, in the church of the Servi. 
tj MISCrROLT, ToMMAso, called II Pittor Yil- 
■j LANO (rustic painter), was born at Faenza in 1636, 
according to Orlandi ; died in 1699. He gained 
i^ considerable reputation in his time, and executed 
; some works for the churches. Lanzi says he 
owed his reputation rather to his genius or man- 
oment than to any precepts of the art. In oth- 
words. he was what Fuseli terms a bold adopt- 
'-i\ He took his attitudes and coloring from Gui- 
do his draperies from the Venetians'; and Lan- 
I zi ^;avs that his best works are equal to many of 
' the Venetian school. This remark applies only to 
a few of his best works, executed with much care. 
^ His chief works are in the church of St. Cecilia at 
. Faenza particularly an altar-piece of the Martyr- 
T dom of that Saint, in which he introduced an exe- 
cutioner stirring up the flames— a figure almost 
co])ied from Lionello's grand picture of the Mar- 
tyrdom of St. Domenico, in the church of that 
' 'lint at Bologna. 

MISEROTTI, Domenico, an Italian engraver, 
who flourished about 1750, and engraved several 



plates for the collection of prints from the paintings 
in the Gallery of the Grand Duke of Tuscany. 

MITCHELL. J., a Scotch engraver, who flour- 
ished at Glasgow about 1765. He engraved a few 
plates of historical subjects, most of them execu- 
ted entirely with the graver. 

MITELLT. Agostino, an eminent fresco paint- 
er, born at Bologna in 1609. According to Pas- 
seri. he acquired a knowledge of the human figure 
in the school of the Caracci, and was well ground- 
ed in perspective and architecture under Falcetta. 
He was not only one of the first perspective and 
architectural painters of his time, but an able figu- 
rist. Lanzi says, " his first labors proved very 
attractive to the public ; not that they equaled the 
force, solidity, and reality of Dentone, but on ac- 
count of their peculiar beauty and grace, such as to 
almost obtain for him the name of the Guido of 
ornamental architecture. Emplojnng his own 
taste, he softened down the harder features of the 
art, made his elevations more delicate, the tints 
more mild, and added a style of foliage, scrolls, 
and arabesques, decorated with gold, which seemed 
to breathe of grace and elegance. The style of 
his ornaments was adapted to the nature of the 
edifice, and suited to the solemnit}'' of the temple, 
the elegance of the saloon, or the splendor of the 
theatre. Each ornament filled its appropriate 
place at just intervals, and was executed with such 
delightful symmetry and harmony as to surprise 
and entrance the beholders, b}- the perfection of the 
illusion, and to remind them as it were of the en- 
chanted palaces of the romancers." Mitelli's first 
assistants were two of his fellow pupils, Andrea 
Sighizzi and Gio. Paderna, with occasionall}^ the 
figurist Ambrogi. But Michael Angelo Colonna 
alone seemed boi-n to associate with him. as he did 
on the death of his favorite Curti (Dentone). and 
an intimacy and friendship sprung up between them, 
strengthened by interest and mutual esteem, 
which lasted till the death of Mitelli, and they 
WTOught conjointly for twenty-four years, produc- 
ing many magnificent works at Bologna, Rome, 
Parma, Modena, Genoa, in which Mitelli exe- 
cuted the ornamental, perspective, and architec- 
tural parts, and Colonna the figures. Among 
their most celebrated performances are the chap- 
el of Rosario and the Palazzo Caprara, at Bo- 
logna ; the Palazzo Spada, at Rome ; and in 
the latter, Lanzi says, '• they enlarged the am- 
ple hall, as it were, and dignified it by means 
of feigned colonnades, artful recesses, and mag- 
nificent steps, on which numerous figures, ar- 
ranged in varied and novel drapery. Avere seen as- 
cending and descending." In 1658, they were in- 
vited to Madrid by Philip IV., whose palace they 
decorated with several works, among which were 
a grand saloon in the ro^^al palace at jMadrid, in 
wdiich Colonna painted his celebrated Fable of 
Pandora. Mitelli died at Madrid in 1660. He 
etched some plates of architectural ornaments,and 
a set of forty-eight friezes dated 1645, admirably 
designed, and executed in a spirited style. See 
Michael Angelo Colonna. 

_jy( MITELLI, Giuseppe Maria, was the 
\\a 'Son of the preceding, born at Bologna in 

-TVX 1634. After having received instruction 
from his father, he entered the school of Flaminio 
Torre. He painted history with considerable suc- 
cess, and occasionally introduced the figures into 



MNES. 



570 



MODA. 



the perspective pieces of his father. He executed 
several works for the churches at Bologna, the 
principal of which are St. Reniero healing the Sick, 
in S. Maria della Vita ; a Piet^, in the Nunziata; 
and Christ taken in the Garden, at the Cappucci- 
ni. But he was more distinguished as an engra- 
ver, and he etched a great number and variety of 
plates from his own designs, and after some of the 
most celebrated masters. They are executed in a 
slight, feeble style, and the drawing is often incor- 
rect. He possessed, however, a fruitful and inven- 
tive genius, which renders his works valuable. 
B\rtsch describos one hundred and sixtj^^-two 
I "ints by him, and Nagler has increased the list. 
l!<^ died in 1718. The following are his best 
prints : 



ym'"!M'" 



G^^MJ; 



A set of twelre plates after the most esteemed pictures 
?ja the churches at Bologna, The history of j^neas, in 
twenty plates ; after the pictures hy the Caracci, in the 
Palazzo Favi, at Bologna. The Cries of Bologna, in forty- 
one prints; after An. Caracci. The Adoration of the 
Shepherds ; "called the Noftc ; after Corregffio. The 
Martyrdom of St. Erasmus ; after Poussin. David and 
Goliah ; after Titian. The finding of the Cross ; after 
Tintoretto. The Rich Man and Lazarus; after P. Ve- 
ronese. The' twenty-four Hours of Human Felicity. — 
There are two additional prints, making a set of twenty-six, 
probably' from his own designs. They were published at 
Bologna in 1675, and are now become scarce. 

MNESICLES, an eminent Greek architect, who 
■flourished in the time of Pericles, the golden age 
of Grecian art. He was chiefly distinguished by 
that magnificent portico, the Propylea, which 
formed the fa9ade and entrance to the Acropolis 
or citadel of Athens. It was commenced B. C. 
437, and completed in five vear.s, at a cost of about 
$2,500,000. Each front had a Doric hexastyle 
portico, raised upon three steps ; the columns 
were nearly five feet in djameter, and twenty-nine 
feet high, including the capital. From the west 
front was entered a vestibule fifty-nine feet two 
itiches wide, which was divided into three aisles by 
Ionic columns, three on each side ; these support- 
ed a marble ceiling, divided into lacunaria; these 
lacunaria are formed of blocks twenty-two feet 
long, and extended from the walls to the columns ; 
some of them are nov^r remaining. The wall at 
the end of the vestibule had five openings, in 
which were hung the gates of the Acropolis ; the 
central one is much the widest. The eastern por- 
tico, to which there was an ascent by five steps, 
was entered through these gates : from hence 
there was a descent of three steps, to the level of 
the ground before the interior front. The whole 
was of white marble, with Doric columns ; and 
the fa9ade vras oi'naraented with equestrian stat- 
ues, on isolated pedestals. Among the ruins may 
be observed some of the members of the cornice, 
which were gilt, and other parts painted with a 
reddish ochre. Although the Turks have greatly 
injured this masterpiece of art, sufficient remains 
to immortalize the name of its architect. 

MOCETTO, GiROLAMO, or H[eronymus Mo- 
CETUs, an old painter and engraver, a native of 
Verona, who studied under Giovanni Bellini at 
Venice, and hence some call him a Venetian. Lan- 
zi says he was one of the earliest and least polish- 
ed of the disciples of Bellini, and that the Vero- 



nese boast the possession of his portrait, amonf>: 
those of the painters of the town in Scuola del 
Nudo, and an altar-piece in the church of S. Na- 
zario e Celso, bearing his name, and dated 1493. 
He died about 1500. He is chiefly worthy of no- 
tice as an engraver. His works in this hne are 
extremely scarce and valuable, as early specimens 
of the art. They are executed with the graver, in 
a neat but stiff style, and marked with one of the ac- 
companying monograms. We have about a dozen 
prints b}^ him, among which is the Resurrection, 
with four Soldiers ; the Sacrifice, with many figures, 
from an antique bas-relief; the Virgin and Child, 
with St. John the Baptist and another Saint, now 
in the British Museum ; the Virgin and Child 
seated on a Throne, with lattice work and trees; 
Men sacrificing a Pig ; Judith, in a landscape 
with trees ; a wooden cut of the Entry of Christ 
into Jerusalem. Mr. Ottley attributes two prints 
to him — the Calumny of Apelles. and a Nymph 
sleeping on a Bank, bearing a curious inscription. 
He also engraved some battle pieces and other sub- 
jects. Bartsch describes eight pieces by him un- 
der the name of Jerome Mozzetto. Zani denies 
that Mocetto engraved on wood. 

I^ROM."ffiR0M 



or 



or 



^fK^M, 



MOD ANINO, II. See Cav. Guido Mazzoni. 

MODENA, Barnaba da, an old painter of 
Modena. some of whose works are still found in 
excellent preservation. Lanzi says he was one of 
the first artists of his time. Two of his works 
are in the church and convent of the Conventuals, 
at Pisa. One represents the Coronation of the 
Virgin, and the other, the Virgin surrounded by 
St, Francis and other Saints of the Order. Moro- 
na praises the beautiful character of the heads, 
the draperies, and the coloring, and prefers him to 
Giotto. Delia Valle mentions another fine altar- 
piece of the Virgin, in the possession of the Con- 
ventuals at Alba in Piedmont, which he says is 
painted in a grander style than any of his cotem- 
poraries. This picture bears his name, and date 
1357. 

MODENA, Pellegrino da. The real name 
of this eminent painter was Pellegrino Munari. 
He is also sometinies called Aretusi, but generally 
Pellegrino da IModena, from the place of his nativi- 
ty. According to Tiraboschi. he was born about 
1485, which is evidently 
altar-piece by him at Modena, dated MQ'/ , 
says he studied with his father, Giovanni Munari. 
wiio was also an able artist. In 1509, he painted 
an altar-2:)iece for the church of S. Giovanni at 
Modena, which gained him great reputation. The 
celebrit}^ of llatfaelle. then in the zenith of his 
fame, drew him to Borne, where he became the 
pupil of that sublime master, who, quickly per- 
ceiving his talents, employed him to assist him^ in 
i the great works in the Vatican. He was first 
i emplo3'ed in the open galleries, but he afterwards 
i executed from the'desioins of Baff'aelle the histories 



an error, as there is an 
Lan55i 



MODE. 



571 



MODE. 



of Jacob and Solomon in the Vatican, which Lanzi 
says were painted entirely in the style of his mas- 
ter, in an incomparable manner. After the death 
of Raifaelle he remained some time at Rome, and 
executed some admirable works for the churches 
from his own designs, particularly some fresco his- 
tories of St. James, in S. Giacomo degli Spagnuoli. 
On his return to Modena, with a distinguished 
reputation as one of Raflfaelle's ablest scholars, he 
found abundant employment in the churches and 
public edifices, till his brilliant career was cut 
short by a melancholy event. His son happening 
to quarrel with one of his companions, slew 
his antagonist in the fight that ensued. Pellegri- 
no, apprized of the fatal accident, ran into the 
street to save his son from the vengeance of the 
relatives of the deceased, who, directing their fury 
against him, slew him on the spot. This tragic 
event happened in 1523, and was deeply deplored 
by his fellow-citizens. Another of his sons Tira- 
boschi conjectures to have been Cesare de Pelle- 
grino Aretusi; the same artist who is called by 
munj wnters Modenese ; but Zani says he was 
the son of another Pellegrino, a painter of Bo- 
logna, and a nephew of the present, which is con- 
trary to the opinion of Lanzi, and the name Mo- 
denese would seem to contradict it. (See Aretusi.) 
Pellegrino was the only pupil of Raffaelle who 
came near him in sublimity of style, and purity 
and elegance of design. Titi says that several of 
his pieces in the church of S. Giacomo degli Spag- 
nuoli at Rome " boasted figures designed and exe- 
cuted so truly in the manner of Raffaelle, that the 
modern retouches they have received is a circum- 
stance greatly to be deplored" ; and Lanzi says 
that his celebrated picture of the " Nativity of our 
Lord, in the church of S. Paolo at Modena, seems 
to breathe, in every part, the graces of liim of 
Urbino." 

MODENA, NiccoLETTO da, an old Italian paint- 
er and engraver, who flourished at Modena from 
1500 to 1515. He painted perspective and archi- 
tecture, but is better known as one of the earliest 
engravers in Lombardy. His plates are well de- 
signed, but are rudely executed with the graver, 
which clearly proves that he received no instruc- 
tion in the art, but was obliged to work out his 
own system. Bartsch gives a list of sixty prints 
by him, of which thirty-six have his monogram, 
but in this matter he was very capricious, using 
various characters, rebuses and initial letters, as 
well as his name in full ; and sometimes he omitted 
the distinguishing mark altogether. His prints 
are very rare, and much sought after by the curi- 
ous collector. The following are the principal : 




rM 



N'M- 



The Adoration of the She^jherds. marked with his name. 
St. Sebastian, with Niccoletto on a tablet. Another St. 
Sebastian, inscribed Ora'pro vobis, Sancfe Sebastianc. 
St. Jerome reading, with monogram. St. George, with 
name. A Triton embracing a Syren, marked N. M. on a 
tablet. A whole-length figure of Christ, with monogram. 
St. Sebastian, his arms tied over his head to a column, and 
body pierced with six arrows ; marked with name. An- 
other St. Sebastian, similar to the preceding, except that 
it is much larger, and body pierced with three arrows ; 



marked with monogram. St. George in complete armor, 
wi'.h monogram; in the British Museum. St. Catherine, 
with name. Mars in armor, name on a tablet hung to a 
tree. Three Children, with name on a scroll. A Female 
wearing a Helmet, pouring incense on an altar ; no mark. 
Perseus and Pegasus, marked N. M. The Nativity. St. 
Cecilia. Christ crowned with Thorns. St. Jerome in pen- 
itence. A group of four Women, copy from Albert Du- 
rer. Hercules and the Cretan Bull. Two whole length 
figures on one plate. Two winged figures, supporting a 
Standard ; in the British Museum. St. Roch. A Ma- 
rine Monster holding a Sea-horse ; a Boy with a Torch and 
Olive Branch, sitting on his tail ; marked N. M. on a tab- 
let. A Man crowned with Laurel, looking at some Geo- 
metrical figures ; in the British Museum. David with 
the Head of Goliah, marked with monogram. St. Antho- 
ny, marked with monogram. A Saint, running with a 
large bag on his back ; with monogram. Victory ; a wing- 
ed female figure, standing on the ruins of a large edifice ; 
marked Victoria, N. R. Fame ; a winged figure, sitting 
on some armor, writing Fama Volat on a shield ; marked 
N. M. Neptune, holding a Trident, and sitting on a chair, 
on which is written Neptuni Simolacron ; marked with 
the letters ONRM. Mercury standing, marked N J, RO 
Another Mercury, marked N. R. on a vase. Four Chil- 
dren ; Opus Niccoletti de Mutina on a tablet. The Ves- 
tal Lucia carrying Water in a Sieve, to prove her Virgini- 
ty ; marked with monogram. A Vase surrounded with a 
wreath of Roses, for a goldsmith's ornament ; marked 
N. R. Another do., smaller size ; same mark. 

MODENA, or MUTINA, ToMMASO,an old paint- 
er who flourished at Modena in 1352. There has 
been a great deal of disquisition about this artist, 
among the Italian and German writers, arising 
from the fact that his altar-piece, in three com- 
partments, representing the Virgin and Child, 
with Saints Wenceslaus and Palmatius. patron 
saints of Bohemia, was claimed to be an oil paint- 
ing, and to have been executed in 1297. This pic- 
ture was formerly at Carlestein, but is now in the 
Belvidere Gallery, at Vienna. The two following 
lines are inscribed upon it, in ancient characters : 
Quis opus hoc finxit 7 Thomas de Mutina pinxit, 
Quale vides lector Barisini filius auctor. 

It was. therefore, eagerly caught up by the Ger- 
man and Italian authors, to vindicate the claims of 
their respective countries to the honor of the in- 
vention of oil painting, in opposition to the Flem- 
ings. The indefatigable German historians traced 
his origin to Muttersdorft', and made him master 
of Theodoric of Prague, followed in succession by 
Wemser, Schoen, Wolgemut. and Albert Durer. 
Von Michel reads Barisini in the last line quoted, 
but Federici, Tiraboschi, and Lanzi show that Ba- 
risini is the true reading, and Zani clearly shows 
that the date was 1357, which Michel read errone- 
ous, 1297. At Trevigi, in the chapter house of 
the Padri Predicatori is a very extensive work by 
him, representing the saints and learned men of ^ 
the order, bearing this inscription : ^'Anno Domini 
MCCCLII. Prior Travisinus ordiiiis prccdicato- 
rum depingi fecit istud Capitulum, et Thomas 
Pictor de Mutina pinxit istiuV^ This again led 
to warm disputes as to his real name, and whether 
the artist was a native of Modena or Trevigi. 
Federici. in his learned work on the Antiquities 
of Trevigi, thus admirably proves the paternity of 
Tommaso,' and that he was a native of Trevigi, 
from the archives of the city. He says " he dis- 
covered that the father of Tommaso, named Bora- 
sino or Bizzarrino, an abbreviation of Buzzaccarino, 
became nominated to the citizenship, and to the 
public notaryship of Trevigi in 1315, in all which 
his family was called di Modena, as that of Giro- 
lamo Ferrarese was called di Carpi." In conclu- 



MODI. 



572 



MOGA. 



sion. it will be sufficient to satisfy most persons, 
to add that the picture at Vienna has been proved 
by analysis to have been painted in tempera, and 
not in oil ; and that Lanzi pronounces the works 
at Trevigi, judging from the engravings done by 
the Dominican, Father Federici, " tolerably good in 
design for those times." (See the articles van 
Eyck, and Antonello da Messina.) Those who 
are fond of such profound and intricate disquisi- 
tions, are referred to Bartsch, Nagler, Zani, Lanzi, 
and a host of others, where they can pursue the 
subject ad libitum. 

MODIGLTANT, Francesco, a painter of Forli, 
who flourished about 1600. Lanzi says he was a 
scholar of Pontormo, and, though he was not 
remarkably powerful, nor always consistent, yet 
he was ver}^ graceful and beautiful, and deserves a 
place in pictoric lexicons. He executed some good 
works at Urbino, where he is known under the 
name of Francesco da Forli, the chief of which is 
a Descent from the Cross, in oil, in the church of 
S. Croce, and a ceiling in fresco, of some angels, in 
S. Lucia, which are much commended. His best 
works are in the churches at Forli and Rimino, 
among v/hich are Adam driven from Eden, the 
Deluge, the Tower of Babel, with similar Old Tes- 
tament histories, previously painted by RaiFaelle at 
Rome, and by Agresti at Forli. 

MODONINO, Gig. Battista, a painter, of Mo- 
dena, who. according to Tiraboschi, acquired a dis- 
tinguished reputation at Rome for his frescos of 
perspective and architecture, and is supposed to 
have executed some works in the Palazzo Spada. 
He died of the plague at Naples, in 1656. 

MOELART, Jacob, a Dutch painter, born at 
Dort in 1649. He studied under Nicholas Maas, 
applied himself with great assiduity, and became 
a reputable painter of history, but he most dis- 
tinguished himself as a portrait painter, and was 
much employed in that branch by many of the 
most distinguished persons of that country. Hou- 
braken commends two of his historical works, 
Pharaoh and his Host drowned in the Red Sea, 
and Moses striking the Rock, He died in 1727. 

MOERIKHOFER, John Melchior, a Swiss 
medalist, born at Frauenfeld in 1706. He attain- 
ed sufficient excellence to be honored with the 
friendship of Hedlinger. During the latter part 
of his life, he was employed in the mint at Berne, 
where he engraved the dies. Among his best 
medals, are those of Haller, Voltaire, Frederic XL, 
and George II. He died at Berne in 1761. 

MOERIKHOFER, John Gaspard, a Swiss 
medalist, the nephew and scholar of John Mel- 
chior M., born at Frauenfeld in 1733. In 1759, 
he visited Paris for improvement, and at the death 
of his uncle he was appointed to succeed him in 
the mint at Berne. Among his best medals, are 
those of Catherine II., Stanislaus IL, and the 
Count de Caylus. 

MOFFEI, C. F., an obscure engraver, by whom 
there is an indiffei'ent etching of the Death of St. 
Francis, signed C. F. Moffei fecit. 

MOGALLI, OoMO, or Cosimo, an Italian de- 
signer and engraver, born at Florence in 1667. 
He was instructed in the elements of design by 
Gio. Battista Foggini, a Florentine sculptor; but 
he afterwards applied himself to engraving. He 
engraved a part of the plates for the book of Flo- 



rentine Antiquities, published at Florence in 1724y 
by Thomas Dempster. He was employed in con- 
junction with Antonio Lorenzini, and others, to 
engrave the plates for the Museo Florentino. He 
also engraved some plates after Santo di Titi. F. 
Perucci, and others. He died about 1730. The 
following are from pictures in the Florentine gal- 
lery, and are among his best works : 

The Holy Family reposing; after Albano ; circular. 
Apollo and Marsyas ; afier Guercino. Magdalene car- 
ried np to Heaven by an Angel ; after Guido Cognacci. 
The Holy Family ; after Correggio. Eve presenting the 
Apple to Adam ; after Gab. Cagliari. Adam and Eve 
driven from Paradise ; do. Christ and the Disciples at 
Eramaus; after Pahna. The Marriage of St. Catherine; 
after Fra. Bartolovieo. David and Bathsheba ; after 
Salviati. The Annunciation ; after Andrea del Sarto. 
The Adoration of the Shepherds ; after Titian. A Bac- 
chanalian Dance ; do. Philip II., King of Spain ; do. 

MOGALLI, NiccoLo, was the son of the prece- 
ding, born at Florence in 1723. Losing his fa- 
ther at a tender age, he was placed with Francesco 
Conti, to learn the elements of design, and he was 
afterwards instructed in engraving by G. D. Pic- 
chianti. About 1750, he went to Rome, where he 
was employed by the Abbe Winckelmann to en- 
grave from the designs of Casanova, the plates for 
his work entitled, Monumenti antichi, inediti, spie- 
scati e.t illustrati da Giovanni Winkelmann. Ro- 
m.a, 1767. He also engraved some plates for the 
Florentine galler}^ and for the Cabinet of Portici. 

MOHEDANO, Antonio, an eminent Spanish 
historical painter in fresco, born at Antequera, in 
Andalusia, in 1561. He studied under the cele- 
brated Pablo de Cespedes, at Cordova, but prefer- 
ring fresco to oil, he became one of the most em- 
inent artists of his country at that time. He fol- 
lowed the practice of his master, and designed 
every thing after nature ; he first meditated, next 
studied his composition, and then proceeded to 
trace his figures after nature, or from models ar- 
ranged by himself, and with the assistance of the 
lay figure. Hence, he Avas happy in his composi- 
tions, learned in the art of contrasting groups, and 
gave fine character and grandeur to the forms of 
his figures. He ornamented his works wi th gro- 
tesques \\x the manner of Giovanni da Udine. in the 
Vatican. He distinguished himself by many works 
for the churches and convents at Seville, particu- 
larly by four large pictures in the convent S. 
Fi'ancisco de Seville, and some other woi ks painted 
in the same place, in conjunction with Alonso Vas- 
quez. He also painted some excellent works in 
the cathedral at Lucena. He died in that city in 
1625. He was a poet, as well as a painter, and 
specimens of his poetic talents ma}^ be found in a 
work published by Pedro Espinosa, in 1605, en-^ 
titled Mores de poetas ilustres de Espana. 

MOI, Peter van. See Mol. 

MOIETTA, ViNCENZio, a reputable painter, 
who, according to Morigia, was a native of Cara- 
vaggio. and flouri.shed at Milan about 1500. He 
painted some pictures for the churches, but more 
for the collections. 

MOINE, FRAN90TS LE, an eminent French paint- 
er, born at Paris in 1688. He showed an early in- 
clination for art, and studied with Louis Galioche, 
under whom he made great progress, and drew 
the first prize in the Academy, which entitled him 
to go to Italy with the king's pension, but thcdifil- 
culties of the times prevented his enjoying this 



MOIN. 573 

advantage ; and his parents, being in indigent cir- 
cumstances, had not the means of supporting him 
abroad. But he studied with great assiduity the 
best works in his own countr}^, and soon acquired 
the distinguished reputation of being the most 
promising young artist of his country. He was 
admitted a memlber of the Academy at Paris in 
1718, on which occasion he painted his picture of 
Hercules and Cacus. This picture, though not 
one of his best performances, is remarkable for 
correctness of design, and materially added to his 
reputation. In 1724, he accompanied his friend 
and patron M. Berger, to Ital}'-, and during a short 
residence at Rome, he seems to have been more 
captivated with the splendor of Pietro da Cortona 
! and the celerity of Lan franco, than the sublime 
talents of Michael Angelo, or the elegance and grace 
of Raffaelle. On his return to Paris, he was cho- 
sen to paint the cupola of the chapel of the Virgin 
in St. Sulpice, where he distinguished himself by 
I his elegance of grouping, and the beauty and fresh- 
ness of his coloring. This work, which occupied 
him three years, established his reputation, and he 
was appointed by Louis XV. to paint the ceiling 
of the grand saloon at Versailles, where he repre- 
sented the Apotheosis of Hercules, one immense 
' fresco, deemed the largest in Europe, being sixty- 
! four by fifty-four feet. It consists of nine com- 
I partments, and occupied him four years. At the 
J death of Louis de Boullongne, in 1734, he was ap- 
j pointed painter to the King, with a large salary. 
Notwithstanding this distinction, and the liberal 
! patronage he met with, he fell into a state of mel- 
' ancholy and despondency, and was afflicted with a 
! monomania, so that the officers of justice were in 
I search of him to convey him to prison. His friends 
I endeavored in vain to console him and dissipate his 
: fears. One daj^, being called upon by his old pat- 
ron, M. Berger, for the purpose of inviting him 
to his country seat, he imagined the day of his 
doom had come, and seizing his sword, he stabbed 
himself in several places, and fell dead as his friend 
entered the apartment, in 1737. 

MOINE, or MOYNE, Francis le, a French en- 
graver, who flourished at Paris about 1660. In 
conjunction with Berain and Chaveau, he was em- 
ployed in designing and engraving the ornaments 
of painting and sculpture in the gallery of Apol- 
lo in the Louvre. His plates are executed with the 
graver in a neat, but rather stiff and formal style. 
MOINE, Jean le, a French painter, born at 
Paris in 1635, and died in 1713. He painted his- 
tory and portraits, but di& not acquire much dis- 
tinction. 

MOINE, Le, a French painter, born at Rouen 
in 1740; died in 1803. He studied under Des- 
camps, and executed a number of good works in 
his native city, among which is the Apotheosis of 
Corneille, in the vault of the Theatre des Arts. 

MOINE, Pierre Antoine le, was born at Pa- 
ris in 1605, and died in 1665. He excelled in 
flower and fruit pieces, especially the latter, which 
were admired for their tasteful design, fresh and 
beautiful coloring, and natural expression. 

MOINE. See Moyne. 

MOITTE, Pierre Etienne, a French engraver, 
born at Paris in 1722. He studied under P. F. 
Beaumont, and engraved quite a number of plates 
of portraits and various subjects, executed with the 
graver, in a clear neat style. His principal works 



MOIT. 



are the plates he engraved for the Dresden Gal- 
lery, and the Cabinet of Count Bruhl. He was 
chosen an academician in 1770, upon the presenta- 
tion of his portrait of Restout. He had two daugh- 
ters, Angelique Rose, and Elizabeth Melanie, who 
practised the art with success. He died about 
1780. The following are among his best por- 
traits : 

POETRAITS. 

J. Restout, Painter to the King; after de Latour. 
Charles John Francis Henault, Historian ; after St. Au- 
bin. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family ; after Andrea del Sarto ; Dresden 
collection. Another Holy Family ; after P. Vanni ; do. 
The Marriage of St. Catherine ; after Correggio. Christ 
praying on the Mount of Olives ; 'do. A Halt of Travel- 
ers ; after Wouwerman. The Watering-place ; do. The 
Dutch' Cook ; after Gerard Dome. The Fish Woman ; 
do. J^neas saving his Family from the Burning of Troy ; 
after M. Corneille. The Triumph of Venus ; after Bou- 
cher. The Pleasures of Summer ; do. Several Prints 
after Greuze, Cochin, and other masters. 

MOITTE, FRAN901S Aoguste, a French en- 
graver, the son and scholar of Pierre Etienne M., 
was born at Paris in 1748. His plates are dis- 
tinguished for neatness of the graver, and delicacy 
of the execution. He engraved a number of plates 
after Greuze and other masters, among which are 
a set of twenty-four plates entitled Divers liabil- 
lements, suivant la coutums (Tltalie, dessines 
(Tapres nature, par J. B. Greuze, orncs de fonds, 
par J. B. Lallemande, et gra.ves par A. Moitte, 
dkipres les dessins tires du cabinet de VAhbe Gou- 
genot ; also a pair. Poetry and Painting, after 
Greuze ; and a Flemish Repast, after JordaenSj 
his best plate. 

MOITTE, Jean Baptists Philibert, the bro- 
ther of the preceding, was an able professor of ar- 
chitecture in the school at Dijon, He gained con- 
siderable distinction for his plan of a cathedral, 
and also for one of a triumphal arch, which drew a 
prize in 1792. He died in 1808. 

MOITTE, Jean Guillaume. an eminent French 
sculptor, the brother of the preceding, born at Pa- 
ris in 1747. He early manifested a strong incli- 
nation for design, which was increased by the 
meetings of artists, held frequently at his father's 
house. At the request of Pigalle, he was placed 
under that master, and devoted all his leisure hours 
to studying the living model. After the death of 
his instructor, he entered the atelier of Jean Bap- 
tist Lemoyne. He drew several prizes at the 
Academical exhibitions, and finally, in 1768, carried 
off the grand prize of sculpture, for his statue of 
David with the head of Goliah, which entitled him 
to the royal pension, and he immediately departed 
for Italy. On arriving at Rome he abandoned his 
former ideas of the art, and proceeded at once to 
the study of the antique. By a five years' course 
of assiduous study in the metropolis of art, he ac- 
quired a correct and exquisite taste of design ; and 
his works are characterized by elegance of the 
forms, beauty of proportions, appropriate choice 
of draperies, and great variety of expression. In 
1773 he returned to France, and was received by 
amateurs and artists with great enthusiasm. For 
some time after his return. Moitte was engaged in 
designing figures for M. Auguste, goldsmith to 
the King, which were greatly admired. Associated 
to the Academy in 1783, for a statue of a Priest, 
he was soon employed in many important works. 



MOL. 



574 



MOLA. 



among which were a Vestal scattering the Holy 
Water, for M, Joubert; a statue of Arian, for Mr. 
Brackford ; the bas-reliefs of many of the Pari- 
sian Barrieres ; and his admirable statue of Cas- 
sini. In 1794 a prize was offered for the finest 
model for a bronze statue of Rousseau, to be cast 
in bronze. Moitte was the successful competitor, 
and he gained the prize, but the project was never 
completely executed. After the Battle of Marengo, 
he was commissioned to execute the mausoleum 
of Gen. Desaix, which is lacking in vigor, but has 
been greatly admired for its elegance, grace, and 
finished execution. His statues of Moses and Nu- 
ma, and the Historical Muse, in the court of the 
Louvre, are in a more elevated style. Moitte was 
a member of the Legion of Honor. He died in 
1810. 

MOL, Jan Baptist van, a Dutch painter, of 
whom little is known. He was a cotemporary 
and imitator of Rembrandt, and for this reason his 
works are highly prized. 

MOL, Peter VA N, a Flemish painter, born at Ant- 
werp in 1590. He studied in the school of Rubens, 
and painted many excellent works for the churches 
in Flanders and Brabant, in the style of his master. 
In the cathedral at Antwerp is his Adoration of 
the Magi, beautifully executed in the manner of 
Rubens. Another fine picture by him, represent- 
ing Christ after the Crucifixion, with the Marys, 
Joseph of Arimathea, and St. John, adorns the gal- 
lery of the Louvre. He painted many easel pic- 
tures of large size, in the manner of Rubens, which, 
though they are but coarse imitations, have fre- 
quently been sold as originals by that great mas- 
ter, and it may be safely affirmed that of the many 
paintings sold in the United States as the works 
of Rubens, not one of them is genuine ; because 
his time was wholly occupied by church and state, 
and princes, and it is known where all his works 
are to be found. 

MOLA, PiETRO FrtANCESco, an eminent paint- 
er, born, according to Passeri, at Lugano, in the 
diocese of Como, in 1612. and died in 1668 ; though, 
according to Pascoli, Mariette, and Desaix, at 
Coldre in the Milanese territory, in 1621, and died 
in 1666. Others place his birth in 1609, and death 
in 1665. He was the son of an architect, who 
first placed him under the instruction of Giuseppe 
Cesari d'Arpino, at Rome, with whom he continued 
several years. He afterwards went to Bologna, 
studied with Albano, and became his most dis- 
tinguished disciple. He did not however, adopt 
the principles of either of his masters, but sought 
a bolder style of design and a more vigorous col- 
oring. The works of Guercino were particularly 
the objects of his admiration, and he was ambi- 
tious of acquiring the energy and powerful effect 
of his chiaro-scuro, and the magic of his relief. 
Aiming at a fresher and more harmonious style 
of coloring than found in the works of Guercino, 
he went to Venice, where he assiduously studied 
the works of Titian, Tintoretto, Bassano, and Ve- 
ronese. From all these, he formed a charming 
style peculiar to himself, at once bold, vigorous, ele- 
gant and graceful, which spread his fame through- 
out Italy. He returned to Rome in the pontificate 
of Innocent X., by whom he was immediately 
employed in several considerable works, parti- 
cularly in a chapel of the church del Gesu. where 
he painted in fresco, St. Peter delivered from pris- 



on by the Angel, and the Conversion of St. Paul, 
which gained him great reputation. He was not 
less patronized by Pope Alexander VII., for whom 
he painted his most celebrated work of Joseph 
making himself known to his Brethren, in the pon- 
tifical palace of Monte Cavallo, for which he re- 
ceived the highest commendation and a noble 
reward. He painted many other works in the 
churches at Rome. He also painted at Milan, 
where, in the church of S. Maria della Vita, are 
two of his most admired performances, represent- 
ing St. John in the Wilderness, and St. Paul the 
Hermit; these works are designed with a dignity 
and correctness worthy of the Caracci, and in the 
latter he introduced a noble landscape, resembling 
that in the famed St. Peter Martyr, by Titian. 
Besides the many fresco works he executed for the 
churches, he painted many pictures in oil, both of 
historical subjects and landscapes, which are to be 
found in the private collections in Italy. Lanzi 
says that, " after having diligently studied coloring 
at Venice, he attached himself to the school of the 
Caracci, but more particularly to Albano ; he 
never equaled his master in fresco, though he had 
a bolder tone of coloring, greater invention, and 
more vigor of subject." Although Mola reached 
a distinguished rank as an historical paint- 
er, he is still more esteemed for his admirable 
landscapes, to which his genius and inclination 
seem to have particularly directed him. His 
scenery is generally solemn and sublime, but 
where his sites are more pleasing and extensive, 
they are always marked with a grandeur which is 
hardly surpassed in the best productions of the 
Caracci or Domenichino. His touch is firm and 
free, his coloring usually vigorous and glow- 
ing; his figures are introduced so as to repre- 
sent subjects of history or fable, and with such 
taste, intelligence, and grace, that it is doubted 
whether they were executed by himself or Albano. 
He died suddenly at Rome in the prime of life, as 
he was preparing to set out for Paris, where he 
had been invited by the King of France, and ap- 
pointed his painter, with a liberal pension. He 
executed a few spirited and masterly etchings, as 
follows : 

The Virgin suckling the infant Jesus ; after his own 
design. The Holy Family, -with Angels ; this plate was 
first etched by Mola, and was afterwards finished with the 
graver by a clumsy, unskillful hand. -Joseph discovering 
himself to his Brethren ; this print has been sometimes at- 
tributed to Carlo Maratti. The Holy Family, with An- 
gels presenting Flowers to the infant Jesus ; after Albano. 

MOLA, Giovanni Battista, or Jean Bap- 
TiSTE. This artist is said by some authors to be 
a brother of Pietro Francesco M. ; but, according 
to Malvasia, Orlandi, and others, he was a French- 
man, and born about 1620. This opinion is fol- 
lowed by Lanzi, and adopted by D'Argenville and 
other French writers. At all events, he studied 
under Simon Vouet at Paris, afterwards went 
to Bologna, and became the scholar of Albano. with 
whom he continued many years, and accompanied 
him to Rome. Boschini says he resided for some 
time '-with Pietro Francesco Mola, at Venice, 
where they copied a vast work by Paul Veronese 
for Cardinal Bichi." Lanzi says "he displayed 
surprising skill in drawing rural scenes and trees ; 
and being preferred by many in this branch to 
Albano, he often added landscapes to his master^s 
figures, and occasionally adapted figures to his 



MOLE. 



575 



MOLT. 



own landscapes, very beautiful, in Albano's style, 
but without his softness." While at Rome, he 
studied carefully the works of the best masters, 
particularly those of Annibale Caracci, in the Far- 
nesian Gallery. Among his best performances at 
Rome are four large landscapes in the Palazzo Sal- 
riati, painted so entirely in the charming style of 
Albano that they are universally taken for the 
works of that master. There is an exquisite Re- 
pose in Egypt by him, in the collection of the 
Marches! Riuuccini, at Florence. Though he is 
said to have been far inferior to the other more 
famous Mola in style, dignity, taste, and coloring, 
yet his works are rare, being doubtless attributed 
to his namesake and to Albano. He executed a 
few spirited etchings, among which is one of Cu- 
pid in a Car, drawn by two little Loves ; after Al- 
bano. Malvasia says he died at Rome in 1678, 
but Oretti finds his death inscribed in the Register 
of the Chiesa della Lame, where he was buried in 
1661, aged 45 ; and Zani says that he was born in 
1616, and died in 1661, which accords with Oretti. 

MOLENAER, Cornelius, a Flemish landscape 
painter, surnamed the Cross-Eyed, was born at 
Antwerp in 1540. His talents were unquestioned ; 
his facility was so great that he could paint a 
large landscape in a single day ; and he was high- 
ly esteemed by his co temporaries : but his intem- 
perate habits reduced him to so low a condition 
that he was obliged to paint the backgrounds in 
the pictures of other artists, at the miserable pit- 
tance of thirty sous per day ! He at length sunk 
so low in vice as to work for six or seven sous per 
day, and subsequently died, at Antwerp, in obscu- 
rity and disgrace. 

MOLIGNY, C. D, a French engraver, who flour- 
ished at Paris about 1760, and engraved several 
portraits of distinguished persons, principally after 
Cochin. 

MOLINAER, John or Jan. There were seve- 
ral Dutch artists of the name of Molinaer or Mo- 
lenaar, whose history and subjects are so mixed 
up by the Dutch writers themselves, that is diffi- 
cult to distinguish them. They were probably re- 
lations, if not brothers, and flourished at Amster- 
dam about the same period. John Molinaer is 
said to have painted drolls and merry-makings, in- 
geniously composed, and colored with a richness 
and harmony approaching the admirable produc- 
tions of Adrian van Ostade, though greatly inferior 
to him in the beauty of penciling, and the expres- 
sion of the heads. The name of J. Molinaer, and 
sometimes it is spelled Molenaar, is frequently 
found on paintings, not only of the subjects above 
attributed to him, but on winter pieces, with fig- 
ures skating, and practising other winter amuse- 
ments, which are spirited and faithful representa- 
tions of winter scenes in Holland. 

MOLINAER, Nicholas Miense or Mins, a 
Dutch painter, born at Amsterdam in 1627, and 
■died there in 1686. He painted interiors of farm- 
houses, and rustic sports and employments, admi- 
rably depicted, in a manner approaching Adrian 
van Ostade. 

MOLINAER, Nicholas, a Dutch painter, born 
at Amsterdam in 1629. He also painted land- 
scapes in the manner of Ostade. 

MOLINAER, Jan Miense, a Dutch painter, 



whose subjects are the same as those of -John Mo- 
linaer, and who is probably the same artist. 

MOLINARETTO, II. See Dalle Piane. 

MOLINARI. Gio. Battista, a Venetian paint- 
er, was born, according to Melchioii, in 1636. He 
studied under Pietro Vecchia, and was a good art- 
ist. 

MOLINARI, Antonio, was a son of the prece- 
ding, but lost his father at a tender age. He stud- 
ied under Antonio Zanchi, but, according to Lanzi, 
almost wholly renounced the maxims he had 
learned, and struck out into a style of his own. 
He acquired considerable reputation, and executed 
some excellent works for the churches at Venice 
and other places, though he wrought with an une- 
qual hand. Lanzi ssljs his best works, " as the 
History of Hosea, in the Corpus Domini at Ve- 
nice, he displays a style no less solid than pleasing, 
which equally satisfies the judgment and the eye. 
There is a study of both design and expression ; 
ample beauty of forms ; richness of drapery ; with 
a taste, and a harmony of coloring not surpassed 
by any artist of the time." He was employed at 
Venice in 1727. 

MOLINARI, Giovanni. This eminent painter 
was born at Savigliano in 1721, and died in 1793. 
He studied under Cavaliere Beaumont, and execu- 
ted some works for the churches at Turin and oth- 
er places, which gained him great reputation. On 
his death, he was honored with an elegant eulogium 
by the Baron Vernazza, which will confer lasting 
honor on his memory. He also painted history 
and portraits with great reputation. Lanzi says 
that, owing to his naturally timid, reserved, and 
modest character, he did not paint history as much 
as he ought. His historical works are mostly in 
the collections at Turin. Among his best portraits 
was one of the king, which was highly applauded, 
and has been frequently copied. 

MOLITOR, Martin von, an eminent German 
painter and engraver, born at Vienna in 1759, and 
died there in 1812. He studied under Christian 
Brand, and painted landscapes, both in oil and wa- 
ter-colors, which were greatly admired, and much 
sought after by connoisseurs and others. He also 
executed a considerable number of etchings, after 
his own designs, marked M.M. Bartsch gives a 
fist of fifty-two pieces by him, which Nagler has 
copied into his Lexicon. Bartsch engraved some 
plates after his designs, which are marked M. M. 
inv., A. Bich,f. ; also Gabet, marked M.M.d.G.S., 
signifying Martin von Molitor delineavit, (Fran- 
9ois; Gabet sculpsit. 

JJ MOLYN, Peter, the 

j^tf O . Elder, a Flemish painter 

/V^ or yi 4 . and engraver, born at Haer- 
^ > ^VVjem about 1600. He paint- 
ed landscapes in a very pleasing style. His pic- 
tures are well designed, his coloring pleasing and 
natural, his penciling light and free, but delicate, 
his perspective and distances portrayed with fidel- 
ity and airy gracefulness, his fore-grounds are 
enriched with ruins or edifices in a picturesque 
manner. He executed a few spirited etchings af- 
ter his own designs, erroneously attributed to his 
son Peter Molyn, called Tempesta. They are 
generally marked with his name, the P. and M. 
formed into a monogram, as above. Among oth- 
ers are the following : A set of four Landscapes ; 



MOLY. 



576 



MOMB. 



inscribed P. de Molyn, fecit el exc. 1G26, An- 
other set of four Landscapes ; P. Molyn^ fecit. 
1626. Several Candle-light pieces and dark sub- 
jects. 

MOLYN, Peter, the Younger, called by the 
Italians first II Tempesta, next Cavaliere Ternpes- 
ta, and last Pietro Mulier, was the son of the pre- 
ceding, born at Ilaerlem in 1637. He studied un- 
der his father, but having seen some of the hunt- 
ing pieces of Francis Snyders, he applied himself 
■with great assiduity to imitate the manner of that 
master, and with such success that his pictures 
were scarcely less esteemed than those of Snyders. 
He traveled through Flanders and Holland, to ob- 
serve the works of the best Flemish and Dutch 
masters, and soon changed his subjects for sea pieces. 
At the age of twenty-five he went to Rome, where 
he soon obtained great reputation for his surpiis- 
ing pictures of sea-storms, which acquired him the 
name of U Tempesta. His compositions of this 
class are executed with such wonderful truth and 
force, that they inspire the beholder with real ter- 
ror. The devoted ships are seen overtaken by the 
tempest and darkness, fired by lightning, or driv- 
ing helpless before the demons of the storm, now 
rising on the mountain waves, and again sub- 
merged in the abyss of the ocean, or splitting on 
the rocks, while all on board are stricken with 
horror and dismay. At Rome, he changed his re- 
ligion from Calvinism to Popery, which, together 
with his great talents, recommended him to the 
nobility, and secured him the friendship of Count 
Bracciano, who became his patron. At length his 
commissions became so numerous that he called 
in the assistance of a young Roman artist, who in 
consequence was called Tem.pestino. whose sister, a 
beautiful woman, became the wife of Mol}^. At 
Rome, he not only painted storm-pieces, but hunt- 
ings and animals, for which purpose he kept a great 
variety of them about his house. He also painted 
landscapes with equal celebrity, in some of which he 
showed himself a not unworth}'- follower of 
Claude Lorraine in invention, enriching them with 
a great variety of scenery, hills, lakes, and beauti- 
ful edifices, although far behind that inimitable 
master in tone of color and finishing. At length 
he grew rich, and received the title of Cavaliere, 
and a golden chain from the pope. Having spent 
many years at Rome, he received the most flatter- 
ing invitations to visit Genoa, whither he pro- 
ceeded, met with an honorable reception, and 
found abundant employment. Here a fatal pas- 
sion blasted all his prospects, and from an enviable 
height of public esteem and admiration, he sunk 
into the abyss of guilt, infamy, and remorse. — 
Having become deeply enamored of a Genoese 
lady, he left no art untried to seduce her, but fail- 
ing in this he proposed to marry her, though it 
was well known that he had a wife at Rome. — 
When this objection was urged by the lady and 
her friends, he was exceedingly mortified, and re- 
solved secretly to put his wife out of the way. 
For this purpose, he wrote her an affectionate let- 
ter, desiring her to come to him at Genoa, and 
murdered her by means of the very messenger 
he had sent to accompany her, an hired assassin. 
His crime did not long escape the vigilant eye of 
justice ; he was arrested on suspicion, and so many 
circumstances appearing to confirm his guilt, he 
was condemned to death ; but by the powerful in- 



tercession of the nobilit}'-, and in consideration of 
his extraordinary abilities, his sentence was com- 
muted to imprisonment for life, and he probably 
never would have been released, but for a critical 
accident. When Louis XTV. bombarded Genoa, 
and the city was in danger of being burned, the 
prisons were thrown open, and Tempesta seized 
the opportunity to escape to Piacenza, after a con- 
finement of sixteen years. From this afl'air he 
was nicknamed Pietro Mulier or De Midieribus, 
(wife or mistress). He passed the remainder of 
his days at Parma, Bergamo, Piacenza, and Milan, 
where his works are numerous, especiallj^ in the 
latter city, and held in the highest estimation. 
During his long confinement, he wrought dili- 
gently, and executed mau}^ of his best works ; in- 
deed, his pictures of storms painted at that time, 
which Avere his favorite subjects, seem to have ac- 
quired additional gloom from the horrors of his 
dungeon. Tempesta was the first at Rome to de- 
corate his landscapes with battles and skirmishes, 
which he did with great spirit and effect. He 
died in 1701. Balkema, differing from all authors 
of credit, says he was born in 1643. and died in 
1699. 

MOMBASfLIO, Cavaliere, an eminent portrait 
painter of Turin, who flourished there in 1675. 
Little is known of him. except that his splendid 
portraits are frequently met with at Turin and 
elsewhere. 

MOMBELLI, LucA, a painter of Brescia, who 
according to Orlandi. studied under Alessandro 
Bonvicino, in whose style he painted with consid- 
erable reputation. Lanzi says that after a time 
he changed his style, and by adopting too great 
delicacy of mannei-. his productions became some- 
what tame and feeble. He was living in 1553. 

MOMMERS. Hendrick, a Dutch painter, born 
at Haerlem in 1623. After studying in his own 
country, he went to Rome for improvement, where 
he was called by the Bentivogli Socictjr Meleager, 
from his hunting pieces of the wild boar. He 
painted a variety of subjects, as Italian markets, 
with peasants ; hunting pieces ; landscapes, with 
figures and animals, seldom without an Ass. He 
also painted sea-ports, which might easilj'^ be taken 
for the works of Weeninx. His coloring is warm 
and harmonious, his touch vigorous and clear, and 
his pictures have a pleasing effect. After his re- 
turn to Holland, he acquired considerable reputa- 
tion, and instructed several scholars, among whom 
were Brackenbourg, Thierry Maes, and Bernard 
van Schendel. He signed his pictures sometimes 
with his initials. H, M., and sometimes with his 
name. Balkema mentions an artist of this name, 
who, he says, was a scholar of Karel du Jardin, 
went to Ital}', and painted the same subjects ; but 
says he was born at Haerlem in 1650, and died 
in 1708. He was doubtless the same painter. 

MOMPER. or MOMPERT, Joos or Jodocus, 
a Flemish paintei-, born at Antwerp in 1580. It 
is not known with whom he studied, but as his 
manner differs from that of any other painter of 
his country, he must have founded his style from 
a close observation of nature. He painted moun- 
tainous landscapes in a bold, free st3'-]e, and appears 
to have taken his views fiom the romantic scene- 
ry of Switzerland, rather than from the confined 
prospects of his own country. Contrary to the 



MONA. 



577 



MONA. 



usual style of the Flemish artists, his works have 
nothing of the minute and precise finishing so 
much admired in the works of Breughel and Sa- 
very. His pencil is broad and facile, his coloring 
clear and of an agreeable effect, though in the 
forms of his trees and mountains there is occasion- 
ally an appearance of stiffness and formality. His 
landscapes often show an immense tract of coun- 
try, and the imagination is agreeably amused with 
the vast extent of the prospect, which is admira- 
bly conducted. He was an unequal painter ; but 
his best works are much admired, and admitted 
into the choice collections. His pictures were fre- 
quently decorated with figures by the elder Te- 
niers, Francks, and John Breughel. Vandyck 
painted his portrait among the eminent artists of 
his country. Mom per etched a few plates of 
landscjfpes from his own designs, as well as his 
own portrait, after Vandyck. The}'' are executed 
in a free, spirited style, and are very scarce. 

MONA, or MONNA, Domenico, a painter of 
Ferrara, born in 1550, and a disciple of Giuseppe 
Mazzuoli, called II Bastaruolo. Baruffaldi read on 
his tomb, Domenico Mona, though he is variously 
called by writers Mona, Monna, Moni, and Monio. 
After studying the various professions of law, 
medicine, and theolog}^, he attached himself to 
painting, in which he became eminent, and execu- 
ted an extraordinary number of works for the 
churches and public edifices of Ferrara. His ear- 
liest productions were indifferent, but he applied 
himself with diligence to correct these faults, by 
studying the works of the best masters. Lanzi 
says he possessed fervor and richness of imagina- 
tion, was learned in design, and wrought with a 
rapid hand. There is a surprising inequality in 
his works, and in viewing his best productions, 
works of a high order, as the Birth of the Virgin 
and the Nativity of our Saviour, in S. Maria in 
Vado ; the Deposition from the Cross, in the Ca- 
thedral ; and the Entombment, at the Servi, it ap- 
pears unaccountable that, with the possession of 
such powers, he could be so negligent of his fame 
as to expose to public view the mediocre produc- 
tions which form the majorit}^ of his works. Lan- 
zi attributes this to an occasional derangement of 
his mind, to which he at length became a victim ; 
in a fit of insanity, he slew a courtier of the 
Cardinal Aldobrandini, and ended his days in ban- 
ishment from his native place. This, however, 
was by some attributed to enmity. He sought 
refuge at Modena, and then at Parma, where he is 
said to have afterwards painted some of his best 
works. Orlandi highly extols two of his pictures, 
representing the Conversion and Martyrdom of 
St. Paul, in the church of S. Paolo at Ferrara. 
He died in 1G02. 

MONACO, PiETRO, an ingenious Italian engra- 
ver, born at Belluno in 1720. He visited Rome 
and other Italian cities, after which he settled at 
Venice, and soon gained encouragement. He was 
appointed Inspector of the Mosaics of St. Marco, 
and held that office until his death, about 1804. 
His plates possess considerable merit. Among 
them are a collection of fifty-five prints, published 
in 1743. engraved after the finest pictures in the 
Venetian collections, and entitled Raccolta di 
stampe copiate da gli originally folio. In 1763 
he published a similar work, containing one hun- 



dred and twelve plates. His plates are quite une- 
qual in merit. Among them are the following : 

PORTRAITS. 

Giovanni Battista Tiepolo ; after a picture by himself. 
Jacopo Tatti; called Sansovino, Sculptor ; after Titian. 

VARIOUS SUBJECTS. 

Tobit restoring his Father's Sight ; after Dom. Feti. 
The Adulteress before Christ ; after P. Veronese. The 
Nativity ; after Seb. Ricci. The Murder of the Innocents ; 
after Giulio Carpioni. The Last Supper ; after Pitto- 
ni. Lot and his Daughters ; after P. Liberi. Christ 
conducted to Mount Calvary ; after Gio. Bat. Tiepolo. 
Christ withthe Disciples at Emmaus ; after Bellini. The 
Presentation in the Temple ; after Anio. Balestra. 

MONALDI, a scholar of Andrea Lucatelli, who 
flourished at Rome about 1700. He painted land- 
scapes, in the style of his master. Lanzi says, 
" in some collections we find the works of Monaldi 
approaching those of Lucatelli, though somewhat 
inferior to them in design, coloring, and that natu- 
ral grace which may be termed the attic salt of 
this mute poetry." 

MONAMY, Peter, an English marine painter, 
a native of Jersey, born about 1670. He was 
sent to London when young, and apprenticed to a 
house painter on London Bridge. He acquired 
considerable reputation in his time for his sea- 
pieces, which were compared to those of W. Van- 
dervelde ; but Stanley says, " the pictures of Mo- 
namy should not be named with those of W. Van- 
dervelde ; they are very inferior productions, and 
are seldom admitted into choice collections." 

MONANNI, MoNANNo, a Florentine painter, 
who. according to Baldinucci. studied under Cris- 
toforo Allori, and acquired considerable reputation 
as an historical painter. He went to Rome, where 
he seems to have resided a long time, and was ad- 
mitted a member of the Academy of St. Luke, in 
1652. In the church of S. Giovanni Decollato at 
Rome, is a picture by him, representing the Bap- 
tism of Christ. 

MONCALVO II. See Gdglielmo Caccia. 

MONCE, Ferdinand de la. This architect 
was born at Munich in 1678, of French parents. 
His father was Paul de la IMonce, first painter and 
architect to the Elector of Bavaria. After acquir- 
ing the elements of design from his father, he went 
to Paris for improvement, and subsequently visit- 
ed the principal cities of Italy During his so- 
journ at Rome, the Duke d'Orleans commissioned 
him to purchase the celebrated cabinet of Queen 
Christina, then in the possession of the Duke de 
Bracciano. On returning to France, he stopped at 
Grenoble, and executed several works which gain- 
ed him considerable reputation. In 1731 he con- 
cluded to marry, and settle at Lyons. Among his 
principal works are the Church des Chartreux, 
considered one of the finest edifices of that city j 
the gate of the church of St. Juste, highly esteem- 
ed by connoisseurs for its simple and elevated style ; 
and the grand Hotel Dieu. which is reckoned his 
finest work. In his old age, when prevented by 
bodily infirmities from practising the art, he occu- 
pied his time in designing for the engravers. — 
Among these productions were the illustrations for 
Pope's Essay on Man, published by Lausanne. La 
Monce died at Lyons in 1753. 

MONCHINO, II. See Antonio dal Sole. 

MONCORNET. Balthazar a French engraver, 



MOND. 



578 



MONI. 



born at Rouen, according to Nagler, in 1630, and 
died in 1670. Basan styles him one of the most 
indiiferent engravers of his country ; but France 
has produced many engravers inferior to him. He 
chiefly resided at Paris, vi'here he engraved an 
incredible number of portraits and other sub- 
jects, and carried on quite an extensive commerce 
in prints. Nagler gives a long list of his portraits, 
which possess no interest aside from the persons 
they represent. His best prints are the Battle 
between Constantine and Maxentius, after Rubens ; 
the Triumph of Constantine. do. ; a set of gold- 
smith's ornaments ; and a small etching of Rabbits, 
in imitation of the style of Hollar. 

MONDINI, FuLGENZio, a Bolognese painter, 
and a pupil of Guercino. He acquired considera- 
ble reputation in his native city, and executed 
several frescos for the churches, the principal of 
which are two pictures in the Annunziata, repre- 
senting the Angel appearing to Joseph in his 
Dream, and the Repose in Egypt ; and in S. An- 
tonio di Padoua, two subjects from the life of that 
saint, which are highly commended. He went to 
Florence where his merits recommended him to the 
patronage of the court, and was employed by the 
Marchesi Capponi to decorate their villas of Col- 
onnata. He died in the flower of his life in 1664. 
Malvasia honors his memory in a long eulogy, in 
which he declares that he knew none more gifted 
with qualities that promised so much in that age, 
and he conjectures that, had his life been prolonged, 
he would have become the first fresco painter of 
his age. 

MONEGRO, Juan Baptista, a Spanish sculp- 
tor and architect of Toledo, who flourished in the 
latter part of the 16th century. He situdied under 
Alonso Berruguette, and afterwards visited Rome 
for improvement. On his return to Spain, he 
gained considerable encouragement and reputation. 
By order of Philip II., he made six statues for 
the porticos of the Escurial ; and to him are at- 
tributed the architecture and sculpture of the 
Evangelists, which are in the gardens of the clois- 
ter of that edifice. Among his other works, is 
the chapel of the Sacrament at Toledo, erected 
in 1600. 

MONERT, Giovanni, a Piedmontese painter, 
born at Visone, a small town near Acqui, in 1637. 
He studied in the school of Romanelli at Rome. 
He did not acquire any great distinction, but exe- 
cuted many good works for the churches in the 
provincial towns. In 1657, he returned to his na- 
tive place, and was employed in the cathedral at 
Acqui, where he painted two frescos representing 
the Assumption of the Virgin and Paradise, in the 
style of his master, which were much commended. 
He executed other works for the churches in the 
neighboring cities, in which he continued to im- 
prove, exhibiting a greater copiousness of compo- 
sition, a more correct design, a finer expression, 
and a stronger relief One of his most esteemed 
works is a picture of the Presentation, in the 
church of the Capuchins at Acqui, executed at a 
more advanced period of his life. He was also 
employed in the churches at Genoa, Milan, and 
in their dependencies ; also in several places in 
Piedmont. He died in 1714. 

MONGEROUX, M. de, a French amateur en- 
graver, who, for his amusement, etched a few plates. 



among which is a landscape with figures and ani- 
mals, after Casanova. 

A MONI, J., an engraver who, according to 
T^T"^ Papillon, was a native of Lyons, and flour- 
IVJL* ished about 1570. He was an eminent en- 
graver on wood, and executed a set of plates from 
his own designs, for the Bible History, published 
at Lyons by Guillaume Rouille in 1570. He also 
copied the engravings on wood from the Bible, ex- 
ecuted by Solomon Bernard, called Little Bernard, 
which copies were published at Lyons in 1570. 
He sometimes marked his plates with the initials 
of his name, J. M., and at others with the above 
monogram. 

MONI, Louis de, a Dutch painter, born at 
Breda in 1698. He studied successive!)'- under 
van Kessel_, Emanuel Biset, and Philip Vandyck. 
He painted small pictures, in which he endeavored 
to imitate the manner of Gerard Douw. His com- 
positions are simple and animated, and deserving 
of high commendation. He understood the prin- 
ciples of light and shadow, and the harmony of 
color; and his handling is free, light, and firm. 
His pictures are occasionally found in the best 
collections in Holland. He died at Leyden in 
177L 

MONICA. See Cavagni. 

MONNTCKS, or MONNIX, a Dutch painter, 
born at Bois-le-Duc in 1606. It is not known 
by whom he was instructed, but he went early 
to Rome for improvement, where he resided till 
advanced in life, and acquired great distinction. 
He designed everything from nature, and paint- 
ed the most remarkable views in that capitol, as 
the Coliseum, the Columns of Trajan and Ves- 
pasian, the Campo Vaccino, the public fountains, 
and other noble edifices, ancient and modern. He 
embellished his pictures with numerous figures, 
representing people engaged in different occupa- 
tions or amusements, sports, carnivals, or proces- 
sions. He was a perfect master of perspective, 
and had an excellent knowledge of chiaro-scuro. 
His figures are well designed and grouped, though 
the airs and countenances partake somewhat of the 
Flemish school. His penciling is free, but deli- 
cate, and his coloring transparent. At Rome and 
throughout all Italy, his works were universally 
esteemed. His talents recommended him to the 
patronage of pope Urban VIIL, in whose ser- 
vice he continued for thirteen years. His best 
works are entirely confined to Italy, as he did not 
return to Holland until upwards of seventy years 
of age ; and though he painted a few perspective 
pieces afterwards, his powers had much declined. 
He died at Bois-le-Duc in 1686. 

MONNOT, Pierre Etienne, a distinguished 
French sculptor, born at Besan^on about 1660. 
He went to Italy early in life, and by studying the 
antique, assisted by the instruction of the best 
masters, he attained a high excellence in the art. 
In 1690 he was commissioned to execute the mar- 
ble tomb erected to pope Innocent XL, in one of 
the side chapels of St. Peter's, which gained him so 
much reputation that he had plentiful encourage- 
ment. Among his principal works are two colos- 
sal statues of St. Peter and St. Paul, in St. John 
of Lateran. Monnot was emploj'-ed by the Emperor 
Leopold, and by the Elector of Hesse, the latter 
of whom commissioned him to execute a number 



MONN. 



579 



MONS. 



of copies after the finest antique statues, which are 
still to be seen in the palace and gardens at Cas- 
sel. He was ennobled by the pope ; honored with 
the title of Cavaliere ; and was one of the directors 
of the Academy of St. Luke. He died at Rome 
about 1730. 

MONNOYER, John Baptiste, called Bap- 
TisTE, an eminent Flemish fruit and flower paint- 
er, born at Lisle in 1635. It is not known under 
whom he studied, but he went to Antwerp, and 
at first devoted himself to historical painting, but 
afterwards, following the bent of his genius, he 
painted fruit and flowers, in which branch he ac- 
quired great fame. He went young to Paris, 
where the beauty of his works soon brought him 
into notice. In 1663, he was received into the 
Academy with distinction. He was employed in 
the royal palaces at Versailles, Trianon, Msir\y, and 
Meudon. At the invitation of Lord Montague, the 
English ambassador, he accompanied that noble- 
man to London, where he first displayed his tal- 
ents in painting some of his choicest works, for 
the embellishment of Montague House, now the 
British Museum. During a residence of nearly 
twenty years, he found abundant employment, 
and executed a multitude of pictures which are 
now in the collections of the nobility and persons 
of distinction. He was much employed at Hamp- 
ton Court, Windsor, and Kensington. His pic- 
tures are not so exquisitely finished as those of 
van Huysutn, Rachel Ruysch, and Mignon, but 
his composition and coloring are in a bolder stj^le. 
His flowers have a remarkable freedom and loose- 
ness, as well in the disposition as in the penciling, 
with a tone and brilliancy of coloring, that rivals 
nature herself. The disposition of his objects is 
surprisingly elegant and beautiful. A celebrated 
work of this artist is a looking-glass in Kensing- 
ton palace, which is decorated with a garland of 
flowers, for Queen Mary II., who sat by him du- 
ring the greater part of the time he was engaged 
in painting it. He also produced a few etchings 
after his own designs, representing vases of flowers, 
executed in a tasteful and spirited style ; and about 
eighty prints were afterwards engraved by others 
after his designs, and published in a folio volume. 
He died in 1699. 

MONNOYER, Anthony, called Young Bap- 
tiste, was the son and scholar of the preceding, 
whose subjects and style he imitated with consid- 
erable success, though his works are far inferior to 
those of his father in every respect. 

MONODORUS. See Menodorus. 

MONOSILIO, Salvatore, a Sicihan painter, 
born at Messina about 1700. He went to Rome 
and studied under Cav. Sebastiano Conca, whose 
st3'le he adopted with great success. Lanzi says 
he very nearly approached him, both at Rome and 
in other places. His most esteemed productions 
at Rome are the ceiling in a chapel of S. Paolino 
della Regola, the Conversion of St. Paul, in the 
church of the Priests of the Mission, and other 
works at S. S. Quaranta, and in the Polacchi. At 
Piceno, where Conca was held in great estimation, 
Monosilio was also in high repute, and was em- 
ployed both in public and private edifices. An al- 
tar-piece of St. Barnabas in the church of that 
saint, is highly commended. The time of his death 
is not known, though it is supposed he returned 
to Messina late in life. 



MONSIAU, Nicolas Andre, a French histori- 
j cal painter, born at Paris in 1754. He was a 
' scholar of Peyron, who is said to have been very 
i fond of his pupil. Little is recorded of the circum- 
stances of his life. In 1787 he was admitted to 
the Royal Academy, and exhibited his pictures 
of Alexander and Bucephalus, the Death of Cato 
Uticensis, and the Death of Phocion. His design 
M^as often incorrect, and his coloring defective j 
j but his compositions were arranged with judg- 
I ment ; and although his abilities would never have 
j ranked him among eminent historical painters, yet 
j in conversation pieces he evinced considerable tal- 
[ ent. Monsiau made man}^ designs for book illus- 
trations, particularly lor the works of Delille. His 
I pictures of St. Vincent de Paul, and Moliere read- 
ing the TartufTe to Ninon I'Enclos, have been high- 
ly praised. Among his principal historical works, 
are Philoctetes in the Isle of Lemnos. exhibited in 
1810; Alexander and Diogenes, exhibited in 1819, 
now in the chateau of Versailles; Ajax and Ulys- 
ses disputing for the Arms of Achilles, exhibited 
in 1827. Monsiau died in 1837. 

MONSIGNORI, Francesco, a painter of Vero- 
na, born in 1455, and brought up in the school of 
Andrea Mantegna, by whose precepts he acquired 
a good taste for historical painting, as well as por- 
traits. His talents procured him the patronage 
of the Marquis of Mantua, an excellent and learned 
critic, who employed him for several years. Lanzi 
says of this artist, that, " if he does not exhibit 
the beautiful forms and the purit}- of design so 
remarkable in the works of his master, he ap- 
proaches nearer to the modern taste; his contours 
are full, his drapery less formal, and his coloring 
softer and more studied." He was a master of 
perspective, and in the Refectory of the Francis- 
cans, is a picture of Christ, surrounded by the 
Apostles, in which the architecture produces a 
grand effect. 

MONSIGNORI, Fra Girolamo, was a brother 
of the preceding, born at Verona about 1460. — 
When young, he became a monk of the order of 
the Dominicans. He executed several works for 
the church of his monastery. In the great Li- 
brary of S. Benedetto, is a fine copy of the Last 
Supper of Leonardo da Vinci, by this artist, which, 
according to Lanzi. is considered the best ever ex- 
ecuted of that miracle of art. He died in 1520. 
MONT, Deodato del. See Delmont. 
MONTAGNA, Bartolomeo, an old Italian 
painter, was a native of Vicenza, and studied un- 
der Andrea Mantegna. According to Lanzi there 
are majiy of his works in his native city, and some 
in Venice, which rank him at least among the chief 
of his cotemporaries. His subjects are sacred and 
scripture pieces. He is exact in his design, and 
skilful in his naked parts, and his coloring is fresh 
and warm. His cherubs are particularly pleas- 
ing and graceful, and in his altar-piece at the 
church of S. Michele at Vicenza, he has introduced 
architecture, which recedes from, and deceives the 
eye with a powerful illusion, sufficient of itself to 
have rendered him conspicuous. There are no 
tices of him up to 1507. 

MONTAGNA, Benedetto, was a 
j^ounger brother of Bartolomeo, with 
whom he is often confounded. He is 



BM. 



said to have flourished at Vicenza about 1500, but 
Zani gives the inscriptions and dates on two of his 



MONT. 



580 



MONT. 



pictures, 1524 and 1533. According to Ridolfi, he 
painted some works for the churches of Vicenza, 
so much in the st3'le of Giovanni Bellini, that they 
might easih^ be mistaken for the works of that 
master. He is however, better known as an en- 
graver, and though his prints are feeble and im- 
perfect, both in design and execution, they are de- 
serving of notice, as among the earliest specimens 
of the art in Ital.y. It is probable that the fame 
of the works of Albert Durer, at that time con- 
sidered a wonder at Venice, encouraged him to at- 
tempt the art, then in its infancy in Italy. Marc' 
Antonio had made considerable progress, and suc- 
cessfully imitated some of Durer's prints at Venice, 
though he did not arrive at his zenith till some 
years after, at Rome. The prints of Montagna 
have a slight resemblance to the earliest and ru- 
dest engravings of Marc' Antonio. They are from 
his own designs, and usually marked with his 
name in full, but sometimes with his initials, 
B. jM.. on a tablet, and sometimes B. M., without 
the tablet. They are now very scarce, and their 
antiquity and scarceness renders them valuable to 
the collector of rare prints. The following are 
the principal : 

The Virgin seated, holding the infant Jesus, St, John 
standing by her side, and St. Joseph below. In the back- 
ground is a town, with a river and a bridge over it. A 
young Man sitting on a Rock. Venus punishing Cupid. 
The Rape of Europa. The Judgment of Midas. A na- 
ked Figure standing by a Tree. Two figures, an old man 
playing on the bag-pipes, and a young man on the violin. 
Three AVomen in a landscape, one of them taking a Child 
from a Tree, representing the Birth of Adonis. A land- 
scape with a Cottage, and an old Man seated on a Bank. 
The Nativity, with St. Joseph at the Well ; copied from 
Durer, and marked B. M, on a tablet. St. Anthony stand- 
ing praying ; marked B. M. Two Hunters observing a 
wounded Stag. Venus standing naked, holding a mirror 
in her hand. A River God seated on a Rock on the right, 
Cupid on the left. The Saviour standing in a landscape 
after his resurrection, a banner in his right hand and scroll 
in his left, with Jerusalem in the distance. A Woman, 
with two Children, and a Man, seated in a landscape. A 
Nymph with two Children and two Satyrs. The Holy Fam- 
ily seated near a Fountain. A River Goddess, with a wing- 
ed Boy holding a Sphere ; in the Britisk Museum. The 
Sorceress ; copy from Durer, marked B. M. An old Man 
in a turban, with a book in his hand, sitting on a Bank. 
Christ in the Manger, with the Ox and Ass near him, with 
the Virgin, St. Joseph, St. Catherine, and an Angel. The 
Repose in Egypt. St. Catherine. Christ showing himself 
to his Disciples, after his Resurrection ; marked B. M. — 
The Saviour. The Virgin nursing the Infant ; copy from 
Durer, marked B. M. The Satyr and his Family ; three 
figures. 

MONTAGNA, Marco Tullio, a Roman painter, 
who flourished in the pontificate of Clement VITI. 
He studied under Federigo Zuccaro, and assisted 
him in his works both at Rome and Turin. He 
painted both in oil and fresco, and executed a few 
works for the churches at Rome and elsewhere. 
Lanzi says '' he painted at Rome in the chuich of 
S. Niccolo in Carcere, in the vaults of the Vatican, 
and in many other places, in a tolerable style, but 
nothing more." 

MONTAGNA. Il, an eminent painter of sea- 
pieces, of whom little is known with certainty, ex- 
cept from his works. Lanzi says he was a native of 
Holland, and " left many works in Italy, especially 
at Rome and Florence, where he is sometimes mis- 
taken for Tempesta, in the galleries and in the pic- 
ture sales ; but Montagna is more serene in his 
skies, and darker in his waves and the appearance 
of the sea." Malvasia says he was a Frenchman, 



calling him, Mons. Rinaldo della Montagne, and 
states that he was held in high esteem by Guide, 
for the excellence of his sea views. Felibien says 
he was a Venetian, and calls him Montagna di 
Venezia. There is a magnificent picture of the 
Deluge in the church of S. Maria Maggiore at Ber- 
gamo, in which the figures were inserted by Cav. 
Liberi; supposed to be by this artist, painted in 
1668. Lanzi doubts its authenticity^, as this Mon- 
tagna is known to have died at Padua, and a MS. 
by a coteraporarj'- author says he died there in 
1644. Others confound him with Matthew Plat- 
tenberg, who styled himself in Italy Plate Mon- 
tague, but the style of Plattenberg was entirely 
different, besides, he did not reside in Italy many 
years, and died at Paris in 1660. 

MONTAGNA, Matthew. See Plattenberg. 

MONTAGNANA, Jacopo, an old Itahan paint- 
er, a native of Padua, where he flourished in the 
zenith of his fame, from 1495 to 1508. Vasari and 
Ridolfi erroneously call this artist Jacopo Mon- 
tagna. He is supposed to have studied with Gio- 
vanni Bellini at Venice. He was accounted by his 
townsmen the Apelles of his age. There are sev- 
eral of his works in the Episcopal palace at Padua 
particulai'ly worthy of notice. They represent 
Christ risen from the dead, together with the 
portraits of all the Paduan Bishops, the busts 
of the Apostles, and several histories of their acts. 
Lanzi says they are executed with much elegance 
in chiaro-scuro. There is also a very extensive 
.altar-piece at the Santo, with glowing colors, in the 
Venetian style, though in design and expression, 
it partakes more of the precise and formal princi- 
ples of the Paduan school. There is also a cele- 
brated picture by him in the Council Hall at Bel- 
luno. It is an immense production, representing 
Roman Histories. Lanzi says it so much resem- 
bles Andrea Mantegna, in composition, design, dra- 
pery, and expression, that at first view, one would 
be apt to attribute it to the pencil of that master. 
The following laudatory epigram is inscribed up- 
on it : 

Non hie Parrhasio, non hie tribuendus Apelli, 
Hos licet auctores dignus habere labor. 

Euganeus, vixdum impleto ter mense. Jacobus 
Ex Montagnana nobile pinxit opus. 

MONTAGU, a French engraver, who flourished 
about 1760. Little is known of him. He went 
to Rome, where he appears to have resided some 
time, and engraved several plates of the principal 
edifices and views in that metropolis. 

MONTALTO. See Danedi. 

MONTANI, GiosEFFO, a painter of Pesaro, born 
in 1641, According to Malvasia, he studied at 
Venice, where he flourished about 1G78. He was 
an excellent landscape painter. 

MONTANINI, PiETRO, called Petruccio Pe- 
RUGiNO, a painter, born at Perugia in 1619. He 
first studied under Pietro Barsotti, and afterwards 
with Ciro Ferri. Lanzi says that, ambitious of 
the higher walks of art, he attempted the decora- 
tion of a church, but failing in this, he followed the 
natural bent of his genius, and restricted himself 
to landscape. He then studied under Salvator 
Rosa, whose style he imitated v/ith great suc- 
cess, though his figures are more spiritedly than 
correctly drawn. He was nevertheless a pleasing 
painter, and his pictures were much sought after 
by foreigners. There is an abundance of his works 



MONT. 



581 



MONT. 



in the collections at Perugia ; there are some in 
the church of the Eremitani. which may be said to 
discover a Flemish style. He died in 1689. 

MONTANO, II. See Bella Marca. 

MONTANO, Gio. Battista, an Italian sculptor 
and architect, born at Milan about 1545. He was 
thrown upon his own resources early in life, but 
by great exertion he gained a knowledge of de- 
sign and modeling. Visiting Rome in the ponti- 
ficate of Gregory XIH.. he soon became distin- 
guished for his talents in sculpture. He gained 
great improvement by studying the antique. He 
practised the art with reputation at Rome for 
many years, and died in 1621. His scholar, J. B. 
Soria, published his designs after his death, under 
the title of Architettura con diversi ornamenti ca- 
vati claW antico, Rome, 1684 and 1691. 

MONTE, Giovanni da, was a native of Cremona, 
and a scholar of Titian. He painted some works 
for the churches in his native city. Torri men- 
tions him as one of the most distinguished artists 
who ornamented Milan. Lanzi says he was an 
excellent artist, and deserves to be better known. 
He flourished about 1580. 

MONTELATICI, Francesco, an Italian paint- 
er, supposed by some to have been a Pisan. and 
others, a Florentine, studied under Giovanni Bili- 
vert at Florence, in whose style he at first painted ; 
but Lanzi says he afterwards abandoned it, or ra- 
ther blended it with that of Passignano. He was 
a fanciful and spirited designer, and a good colorist. 
He acquired considerable reputation, painted some 
for the churches, but more for private, and some- 
times for royal collections. There is a very fine 
painting by this artist in the church of S. Simone 
at Florence, representing the history of St. Niccolo 
Vescovo, and another of the Fall of Lucifer, in the 
Teatini. He was invited to Inspruck, and appoint- 
ed court painter, which office he held till his death, 
in 166L He was surnamed II Cecco Bravo, from 
his quarrelsome disposition, 

MONTEMEZZANO. Francesco, a painter of 
Verona, born about 1555. He studied under Paul 
Veronese, whose style he followed in the copiou.s- 
ness of his compositions, the airs of his heads, the 
beauty of his figures, and the splendor of his dra- 
peries ; but his coloring in comparison with that of 
his master was languid and feeble. He neverthe- 
less acquired great reputation, and was employed 
in several of the churches, and in the Ducal Pal- 
ace. His picture of the Annunciation in the church 
of the Osservanti alia Vigna, at Venice, is highly 
commended. Another fine work by him, is Christ 
appearing to Mary Magdalene, in the church of San 
Giorgio, at Verona. He died in the prime of life 
in 1600. 

MONTEN, Dietrich, an eminent German paint- 
er, born at Dusseldorf in 1799. He showed from 
early youth a passion for depicting battles, and 
Homer, Tasso, and Ariosto, were his favorite au- 
thors. In order to acquire some practical military 
knowledge, he entered as a volunteer in the Prus- 
sian army for twelve months. At the expiration 
of his term of military service, he entered the 
Academy at Dusseldorf, and after studying two 
years in that institution, he went to Munich and 
placed himself under the instructions of Peter Hess. 
His talents attracted the attention of Cornelius, 
then at the head of the painters at Munich, who 



entrusted him with the execution of three of the 
frescos in the arcade of the Hofgarten, where he 
represented the Storming of the Turkish Entrench- 
ments by the Bavarians, in 1717 ; the Battle of 
Arcis sur Aube, and the granting of the Bavarian 
Constitution by Maximilian -Joseph in 1818. He 
painted many other large battle pieces represent- 
ing the victories of his country, as well as many 
easel pictures of the same subjects, in which he is 
said to have displaj^ed extraordinary spirit in the 
design and execution, with correct drawing and 
good coloring. His horses in particular were very 
spirited in their motions and attitudes. His faults 
were an occasional extravagance of action, and the 
want of necessary patience for elaborate modeling 
and uniform finish, some parts of his pictures be- 
ing too sketch}^ and undefined. 

MONTENAT, J., a French engraver on wood, 
who executed some cuts from the designs of Simon 
Vouet and others. Dumesnil mentions a print 
by him of the Virgin and Infant, inscribed J. Mon- 
tenat fecit. 

MONTEPULCIANO. See Morosini. 

MONTEREAU. Pierre de, a French architect, 
who flourished under the reign of St. Louis, about 
the middle of the 13th centur3^ He erected the 
Holy chapel at Vincennes, the Refectory, the Dor- 
mitor}^ the Chapter-house, and the chapel Notre 
Dame des Pres. The>ie were all in the Gothic 
style, but distinguished for beauty of proportions 
and delicacy of ornament. His master-piece, how- 
ever, was the Sainte Chapelle at Paris, commenced 
in 1245, and finished in three years. De Monte- 
reau was a man of learning, and was highly es- 
teemed in his day. He died in 12C6. and was 
buried in the chapel built by him in S. Germain 
des Pres; his portrait was carved on the tomb, 
with a rule and compass in his hand. 

MONTERO, de Roxas, Juan de, a Spanish 
painter, born at Madrid in 1613. He studied un- 
der Pedro de las Cuevas, and then went to Italy to 
improve himself, and founded his style on that of 
Caravaggio, many of whose works he copied. On 
his return to Madrid, he acquired considerable 
reputation by the novelty of his style, and was 
much employed in the churches and convents. — 
Palomino highly commends several of his works, 
particularly the Assumption of the Virgin in the 
church of the Collegio de Atocha; the Angel ap- 
pearing to St. Joseph, in. San -Juan de Alarcon; 
and the Destruction of Pharaoh's Host in the Red 
Sea, in the sacristy of the convent de la Merced. 
He died at Madrid in 1683. 

MONTERO, Don Lorenzo, a Spanish painter, 
born at Seville in 1656. He excelled in architec- 
ture, landscapes, fruit and flowers, which he paint- 
ed in distemper, and was thus employed in deco- 
rating some of the churches at Seville and Madrid, 
especially in the Retiro at Seville. His works 
have mostly perished, but there are some traces of 
his skill in ornamental design in the church of St. 
Jerome, at Madrid. He was not equally success- 
ful in oil painting, and seldom practised it. His 
only work in oil worthy of notice is a portrait of 
Philip v., dated 1701. He died at Madrid in 
1710. 

MONTEVARCHI, II, an Italian painter, so 
called from the place of his nativitj^ He was a 
scholar of Pietro Perugino, and executed some 



MONT. 



582 



MONT. 



works for the churches of his own country, out 
of which Lanzi says he is unknown. 
MONTFORT. See Blocklandt. 

MONTI, Francesco, called II Bresciano 
DELLB Battaglie. e painter of Brescia, born in 
1646. He first studied under Pietro Ricci, and 
after svards with Borgo'^none, whose subjects and 
manner he adopted. He painted horses and bat- 
tles, designed and executed with great spirit, but 
much inferior to Borgognone in point of coloring. 
He acquired considerable distinction, was called 
II Bresciano Battaglie, or the Brescian Battle- 
painter, and was much employed for the collections 
at Rome, Genoa, and Parma. He settled at Par- 
ma, where he opened a school, and exerted a mark- 
ed influence on the school of Parma. Lanzi says 
he was employed by the court, and painted for 
the churches as well as for individuals ; and that 
his works are numerous, but in many collections 
they do not appear under his name, but are attrib- 
uted to the school of Borgognone. He had a son 
whom he instructed in the art, and who painted 
similar subjects. He died, according to Orlandi, 
in 1712, but Zani says in 1703. 

MONTI, Francesco, called Bolognese, a paint- 
er born at Bologna in 1685. He studied under 
Giovanni GiosefFo dal Sole. Lanzi says he was 
endowed by nature with an enthusiasm for ample 
and copious subjects. On leaving his master, he 
was patronized by the Count Ranuzzi, for whom 
he painted one of his finest pictures, representing 
the Rape of the Sabines. He was afterwards em- 
ployed at the court of Turin, where he painted 
the Triumph of Mordecai — a copious composition, 
highly commended by Crespi. He also executed 
many oil paintings for the churches, as well as for 
different collections, at Turin, Bologna, and other 
places. Lanzi says, •'' his surprising merit is to be 
sought for in his frescos, particularly at Brescia, 
where he fixed his residence. He also executed 
many pieces for the adjacent cities, which are ap- 
plauded for the fertility of his genius, and the 
masterly style of his coloring." He also decora- 
ted the palaces of many noble houses, on a very 
extended scale, particularly of the Martinengo. Avo- 
gadro, and the Barussi. There are many of his 
works in the churches and other edifices of Bolog- 
na, the most admired of which are Christ with 
the Disciples at Emmaus, at the Osservanti ; the 
Virgin in Glory, St. Barbara and St. Filippo Ne- 
ri, in the Madonna di Galeria ; and the Martyr- 
dom of St. Fidele, at the Cappuccini. He died in 
1768. 

MONTI, E LEONORA, was a daughter of Frances- 
co Monti, of Bologna, born in 1727. She was in- 
structed in the art by her father, and painted his- 
tory, and especially portraits, with great abilit3^ 
Lanzi says her portraits are held in high esteem, 
and that she received constant commissions from 
the nobility. 

MONTI, Giovanni Battista, a painter, born 
at Genoa about 1610. According to Soprani, he 
was the son of a poor mendicant, and, when a boy, 
exhibited an uncommon disposition for the art, by 
sketching rude designs of what he saw on the 
walls of buildings, which attracted the attention 
of a Genoese nobleman, who took him under his 
protection, and placed him under Luciano Borzone, 
with whom he made such rapid progress as 



to surpass his instructor. He became eminent in 
his profession, painted history with reputation, but 
was chiefly distinguished for his excellence in por- 
traits ; and he painted many of the principal per- 
sonages of his country. He died in the great 
plague of 1657. 

MONTI, Gio. GiAcoMO, a Bolognese painter and 
architect. Lanzi, in his Index, places his birth in 
1692, but says that he wrought in concert with 
Baldassare Bianchi, who died in 1679. He was 
undoubtedly born in the first half of the 17th 
century. He studied under Agostino Mitelli, and 
was an eminent painter of perspective and archi- 
tecture. He traveled professionally with his part- 
ner, Baldassare Bianchi, the son-in-law of Mitelli, 
and they met with much employment, particular- 
ly at Mantua. The figures in their works were 
inserted by Gio. Battista Oaccioli, a good disciple 
of Cignani. 

As an architect, he attained deserved eminence, 
and erected a number of edifices which are highly 
esteemed. Among them are the church of S. 
Agostino at Modena ; and the beautiful church of 
Corpus Domini at Bologna. He made the de- 
signs for the galleries of the choir of the Basilica 
of S. Petronio ; and built a magnificent gallery in 
his own house, which is now the Palazzo Monti. 
His principal work, however, was the grand por- 
tico which led from the Saragossa gate at Bologna 
to the Monte della Guardia, a distance of two and 
a half miles. This great undertaking was com- 
menced in 1674, and Monti was indefatigable in 
prosecuting the work, but died, according to Mi- 
lizia, in 1692, before it was completed. 

MONTI, Innocenzio. Crespi classes this artist 
among the Bolognese painters, but Orlandi among 
those of Imola, where he left some works, particu- 
larly one of the Circumcision at the Gesii of Mi- 
randola, executed in 1690 — a work highly com- 
mended. This artist went to Germany and Po- 
land, where he is said to have met with great suc- 
cess, and executed many works. 

MONTI, Antonio de', a native of Rome, who 
flourished during the pontificate of Gregory XIIL, 
and, according to Baglioni, was the first portrait 
painter of his age. 

MONTI, de', or dalle Lodole. See Giuseppe 
Franco. 

MONTICELLf, Andrea, a Bolognese painter, 
born in 1640. He studied under Agostino Mitelli, 
and painted perspective and architecture in the 
style of his master ; but his genius afterwards 
led him to practise in an entirely different branch, 
in which he excelled — that of easel pictures of 
fruit, flowers, vases, carpets, and other objects of 
still life, executed with freedom, spirit, and natu- 
ral coloring. He also painted landscapes. He 
died in 1716. 

MONTICELLI, Michele Angelo, a Bolog- 
nese painter, born in 1678. He first studied under 
Marc' Antonio Franceschini, and afterwards with 
Domenico Maria Viani. He excelled in painting 
landscapes and battle-pieces, which his biographer 
Crespi highly extols. No painter of his time sur- 
passed him in the composition of his subjects, the 
degradation of his distances, and the forms and 
foliage of his trees. He also enriched his pictures 
with noble edifices, and with figures correctly 
disposed, and touched with a spirited pencil. Un- 



MONT. 



583 



MONT. 



fortunately, he lost his si'fijht in the prime of life, 
when his powers were in their perfection. He 
died in 1749. Zani says he was born in 1670, and 
died in 1748. 

MONTMIRAL. Marquis de, a French noble- 
man, who, according to Basan, etched for his 
amusement a few plates of landscapes from his 
own designs, and others after Alheri. They are 
dated about 1733. 

MONTORFANO, Giovanni Donato, a Milan- 
ese painter, who, accordmg to Zani, was born in 
1440, and died in 1510. He executed some works 
for the churches at Milan, the chief of which is a 
Crucifixion, a grand composition, abounding in 
fiiiures, in the Refectory of the Dominicans in the 
church of S. Maria delie Grazie. where Lanzi says 
" it is unfortunately thrown into the shade by the 
Grand Supper of Leonardo da Vinci. He cannot 
compete with a rival to whom many of the great- 
est masters are compelled to yield the palm. He 
excels in his coloring, which has preserved his 
work fresh and entire, while that of Vinci showed 
signs of decay in a few years. What is original in 
Montorfano, is a peculiar clearness in his features, 
as well as a dignity in his attitudes, which, if uni- 
ted to a httle more elegance, would have left him 
but few equals m his line." He introduced into 
this picture a group of soldiers gaming, in whose 
countenances are depicted attention and a strong 
desire of gain. The architecture introduced of the 
walls, gates and edifices of Jerusalem, is both cor- 
rect and magnificent, presenting those gradual re- 
trocessions of perspective, upon which the Milan- 
ese school prided itself at that time. This work 
is dated 1495, and was painted before the Last 
Supper of da Vinci, which was executed about 
1500, Lanzi says he retained the old custom, 
which continued at Milan till the time of Gauden- 
zio, though long before reformed in other places, 
of giving relief to his glories of Saints, and to 
arms and ornaments of men and horses, " by mix- 
ing with his pictures some plastic work in compo- 
sition," , 

MONTORSOLI, Fra Giovanni Angelo, an 
eminent Itahan sculptor and architect, born in 
1507, at Montorsoli near Florence, a villa belong- 
ing to his father, Michele d'Angelo da Poggibon- 
zi. He studied three years under Andrea Fiesole ; 
and, after the death of his father, he found em- 
ployment at Rome. Perugia, and Volterra, where 
he assisted in executing the monument to Raffa- 
elle MafFei. He was next employed by Michael 
Angelo Buonarotti in the church of San Lorenzo, 
at Florence, and gained, according to Vasari, the 
admiration and lasting friendship of that great 
man. In 1530, Montorsoli became a friar of the 
Order dei Servi della Nunziata at Florence, and 
entered the convent of that fraternity ; but he was 
shortly afterwards called to Rome by Clement 
VII., at the recommendation of Buonarotti, to re- 
store several ancient monuments, much to the dis- 
satisfaction of the brothers of the Nunziata. Mon- 
torsoli restored the Laocoon, to which he made the 
right arm ; he made the left arm of the Apollo, be- 
sides several other restorations, and a statue of the 
Pope. After the death of Clement VIL, Montor- 
soli again joined Michael Angelo at Rome, and as- 
sisted him in the monument of Julius II. ; but 
while engaged in this work he was invited by Car- 
dinal Turnone, and advised by Michael Angelo, to 



visit the court of Francis I. On arriving at Pa- 
ris, he was commissioned to execute four colossal 
statues ; but owing to difficulties with the treas- 
ury and servants of the court in the king's ab- 
sence, Montorsoli left Paris, and returned to Italy, 
without executing the works. After completing 
several fine productions in Florence and its vicin- 
ity, he visited Rome by way of Naples, and there 
constructed the tomb of Jacopo Sanazzaro. He 
next finished, at Genoa, the statue of Andrea Do- 
ria. which was commenced by Baccio Bandinelli, 
and ornamented the church of S. Matteo in that 
city with many works. In 1547 he went to Mes- 
sina, and executed the magnificent fountain in the 
square before the Cathedral. The successful com- 
pletion of this great work induced the Messineso 
to commission Montorsoli to erect another foun- 
tain in front of the Custom House. He also de- 
signed at Messina the church of S. Lorenzo, a 
lighthouse, aqueducts, and many other important 
works in sculpture and architecture. In 1557, by 
a decree of Pope Paul IV,, all persons who had 
taken religious orders, and were living at large in 
the world, were ordered to return to their con- 
vents and reassume their religious habits ; and 
Montorsoli was accordingly obhged to leave many 
works unfinished, which he entrusted to his pupil 
Martino, and then returned to his convent at Flo- 
rence, Shortly after, however, he was invited to 
Bologna, to construct the high altar of the church 
of the Nunziata, which he completed in the most 
splendid style in twenty-eight months. In 1561 
he returned to Florence, Possessing an ample 
fortune, he erected a common sepulchre for art- 
ists in the chapter house of the Convent della 
Nunziata, with the requisite endowment for regu- 
lar masses at appointed times ; and gave the whole 
sepulchre, chapter, and chapel to the then almost 
decayed Society of St. Luke, At a solemn feast, 
celebrated by forty-eight Florentine artists in hon- 
or of the completion of the sepulchre, the Society 
was reestaljlished by the consent and authority of 
Duke Cosmo I., upon a firmer and more perma- 
nent basis. The Society has since been considera- 
bl}' enriched, and endowed by successive Dukes of 
Tuscany, and still exists as the Academy of Flo- 
rence. Montorsoli died, according to Vasari, in 
1563. 

MONTPETIT, Armand Vincent de, a French 
painter, born at Macon in 1713. He went to Pa- 
ris, where he gained considerable distinction as a 
portrait painter. He also invented a method of 
painting in miniature, which he termed Eludoric. 
He had a great knowledge of and genius for me- 
chanics, and produced several valuable inventions. 

MONTREUL, Eudes de, an eminent French 
architect, who flourished, according to Felibien, in 
the latter half of the 13th centuiy. His talents 
were highly esteemed by Saint Louis, king of 
France, whom he accompanied in the expedition to 
the Holy Land, and was employed to fortify the 
city of Jaffa. On returning to Paris, he was com- 
missioned by the king to erect a number of church- 
es, among which are those of St. Catherine du Val 
des Ecohers ; de P Hotel de Dieu ; des Blancs 
Manteaux; des Cordeliers; des Mathurinsj and 
les Chartreux. He died in 1289. 

MONVERDE, Luca, a painter born at Udine in 
1501. He studied under Pellegrino di San Dan- 
iello, and early exhibited such extraordinary 



MONZ. 



584 



MOOR. 



talents that, according to Renaldis, " he was re- 
garded as a sort of prodigy of genius" ; but he 
died in 1522, aged 21 years. He painted an altar- 
piece for the church of S. Maria delle Grazie at 
Udine. representing the Virgin and Infant, with 
Sts. Gervasio and Protasio. which is highly com- 
mended. His premature death was lamented by 
every true lover of art. 

MOOJAERT. MOOYAERT, or MOONYA- 
ERT. See Moyaert. 

MONZ A, NoLFO DA, an old painter, who flour- 
ished at Milan about 1500, and studied under Bra- 
mante. Lanzi says, if he was not equal to the 
first painters of the time, he was. nevertheless, of 
a superior character. He is said to have painted 
at the church of S. Satiro and other places, from 
the designs of his master. In S. Satiro, near the 
beautiful temple of Bramante, are several old pic- 
tures, attributed to Nolfo. 

MONZA, Troso da, an old painter much prais- 
ed by Lomazzo, for his works in the Palazzo Lan- 
di, at Milan, - They consist of Roman histo- 
ries," says Lomazzo, " quite surprising for the fig- 
ures, as well as the architecture and perspective, 
which is stupendous." Resta. who saw them in 
1707, says that " he was almost astounded by 
their surpassing excellence, beauty, and sweet- 
ness." He painted much at Milan and his native 
place, particularly at the church of S. Giovanni. 
In the same church are several histories of Queen 
Teodelina. executed in various compartments, in 
1444. which are attributed to him. Lanzi does 
not think this artist worthy of so much praise as 
has been bestowed upon him, yet he admits that 
he had not seen his best works. 

MONY, Louis DE. See Moni. 

MOOR, Chevalier Karel de, an eminent 
Dutch painter, born at Leyden in 1656. He was 
intended by his father for one of the learned pro- 
fessions, but exhibiting an early and decided incli- 
nation for art. he was placed under the instruction 
of Gerard Douw, with whom he made considerable 
progress.bat disliking his slow and tedious manner, 
and anxious to adopt a larger scale, he was sent 
to Amsterdam, and placed under Abraham vander 
Tempel. The death of that master happening soon 
afterwards, he returned to Leyden. and studied 
with Francis Mieris. On leaving this master, he 
went to Dort to practice with Godfrey Schalcken, 
though at that time he was superior to him as a 
designer, but wished to learn his method of hand- 
ling. When he first began to practice his profes- 
sion, he painted portraits and domestic subjects, 
and took the most effectual method to establish 
his reputatioi"! 'ly exhibiting in his works a great- 
er regard to r.riie than fortune. His pictures were 
greatly adraiicl. procured him abundant employ- 
ment, and he was soon considered one of the ablest 
artists of his time. The states of Holland com- 
missioned him to paint a picture for their Council 
Chamber, and left the selection of the subject to 
himself with the proviso that it should relate to 
the administration of -Justice. On this occasion, 
he proved himself capable of nobler exertions than 
had hitherto engaged his pencil, and represented 
the Judgment of Brutus, in the most sublime and 
impressive manner. Moor acquired immense rep- 
utation for his portraits, and being familiar with 
the manners of the best masters of his country, he 



sometimes imitated the dignity, force, and delicacy 
of Vandyck, and at others, the striking effect and 
spirit of Rembrandt. He was commissioned by 
the Emperor of Germany to paint equestrian por- 
traits of Prince Eugene, and the Duke of Marlbo- 
rough, which he executed so much to the satisfac- 
tion of that monarch, that he conferred on him the 
honor of knighthood. These works were regarded 
with universal admiration, and produced several 
poems laudatory of the artist. He also painted 
the portrait of Peter the Great, and of many other 
distinguished personages. The celebrity of Karel 
de Moor reached Italy, and the Grand Duke of 
Tuscany requested him to paint a portrait of him- 
self to be placed in the Florentine gallery, on the 
receipt of which, he rewarded him with a gold chain 
and medal. One of his most capital performances 
is a large picture in the hall of the magistrates at 
the Hague, representing the Burgomasters and 
Echevins, in the year 1719. The pictures of Moor 
are ingeniously composed, his figures are correctly 
designed, and his coloring clear and transparent. 
His works are always very highly finished ; yet 
his touch is firm and free, and they have nothing 
of the appearance of labor. Although he v.-as 
mostly employed on large works, he often painted 
small easel pictures of history or conversations, 
elegantly designed and executed, which are ex- 
ceedingly valued. He also etched a few portraits 
of eminent artists from his own designs, among 
which are those of Gerard Douw. Francis Mieris, 
and John van Goyen. He died in 1738. 

MOORE, Jacob, or James, a Scotch painter, 
born at Edinburgh about 1740, and brought up 
in the school of design established in that city 
under the direction of Alexander Runciman. — 
About 1770, he went to Italy and settled at Rome, 
where he continued to reside till his death in 1795. 
He acquired considerable reputation as a landscape 
painter, and appears to have founded his style by 
studying the works of Claude. He was much em- 
ployed by the English nobility and gentry, who 
visited that capital. 

MOORE, Samuel, an English amateur designer 
and engraver, who flourished about 1715. He ex- 
ecuted a few plates from his own designs, among 
which are the Coronation Procession of King Wil- 
liam III. and Queen INIary, coarsely etched, and 
retouched with the graver. 

MOORTEL, or MORTEL, John, a Dutch paint- 
er, born at Leyden in 1650. He excelled in fruit 
and flower-pieces, and other objects of still-life. He 
carefully studied and painted all his subjects after 
nature, which are elegantly designed, and executed 
with great delicacy and truth. There is a mel- 
lowness and relief in his pictures of fruit, and a 
freshness and brilliancy in flower-pieces, that ri- 
vals nature, and approaches to illusion. He copied 
de Heem and Mignon so skilfully as to deceive 
connoisseurs of his time. His works are chiefly 
confined to Holland, where they are highly es- 
teemed. 

MORA, Giovanni Gomez de, an eminent Span- 
ish architect, who flourished in the first part of the 
17th century. About 1620 he erected the church 
and college of the Jesuits at Alcala, praised by 
Milizia for its correct and magnificent propor- 
tions. The fa9ade is of granite, of two orders; 
one with pilasters, and the other with Doric col- 
umns. Among the other works of Mora, is the 



MORA. 



585 



MORA. 



church and convent of the Franciscans at Madrid ; 
and the royal convent of* the Augustins in the 
same city. His greatest work, hovt^ever, vras the 
grand square at Madrid, in which the size and uni- 
formity of the edifices are worthy of high praise. 
The royal house, called the Panaderia, has a por- 
tico of pilasters, with twenty-four columns of the 
Doric order. 

MORA, Francisco de, an eminent Spanish ar- 
chitect, who flourished in the first part of the 17th 
century. At the death of Giovanni d'Herrera in 
1597, he succeeded that architect in the erection 
of the Escurial, and built a chapel in the villa at 
the foot of the hill. Milizia says it is entirely of 
wrought stone, and is exceedingly attractive on ac- 
count of its simple grandeur, being entirely desti- 
tute of ornament. Mora improved the cloister 
of the convent of S. Filippo el Reale; and erected 
at Madrid the Palace de los Consejos, the most 
superb edifice in that capital. 

MORACE. Ernest, a German engraver, born at 
Stuttgard in 1766. He studied under J. G. Miil- 
ler, and engraved quite a number of plates in the 
neat, finished style of his master. He went to 
Paris, where he resided a long time, and engraved 
several of the plates for the Galerie de Florence^ 
the Galerie (V Orleans^ and for the Musee Fran- 
cais. He died in 1820. 

MORALES, Luis, called El Divino, an em- 
inent Spanish painter, born at Badajos in Estre- 
madura in 1509. Palomino erroneously states 
that he studied with Pedro Campanna, for the lat- 
ter did not arrive in Spain, according to Bermudez, 
till 1548, and there are pictures by Morales in the 
church of the Conception at Badajos, dated as ear- 
ly as 1540. His pictures generallj' represent the 
head of our Saviour crowned with thorns, or that 
of the Virgin in grief, and those of penitent Mag- 
dalens. He seldom painted beyond the bust, and 
it is supposed that he scarcely ever designed full 
length pictures. His heads are of the most admi- 
rable and touching character, and are finished 
with exquisite care, without weakening the force 
or diminishing the expression. His pictures of 
the Ecce Homo, exhibit the height of human suf- 
fering, endured with more than mortal resignation ^ 
while those of the Mater Dolorosa, are expressive 
of the deepest anguish, and Magdalenes of peniten- 
tial sorrow. Hence he was called El Divino Mo- 
rales ; and hence too, his works are said to re- 
semble in many respects those of Leonardo da Vin- 
ci. Yet it must be allowed that he was an artist 
of contracted genius, and barren of invention, never 
venturing beyond the delineation of a single figure, 
and seldom beyond a single head. His works are 
dispersed all over Spain, and seldom seen out of 
that country. His larger pictures are in the church- 
es; his smaller ones are found in the best collec- 
tions, and are usually painted on wood or copper. 
He died in 1586. 

MOHAN, Santiago, a Spanish historical and 
landscape painter who flourished at Madrid about 
1640. According to Bermudez, he is deserving of 

I more notice than he has received. He mentions 

j three pictures by him, one of St. Jerome, in the 
possession of the Baron de Casa-Davalillo, in which 
the design, brilliancy of color, and anatomical 
science displayed, are admirable, and the land- 

) scape part, enchanting ; another, the head of St. 

I Jerome, was in the possession of Don Nicholas 



Lameyra, which le Brun mistook for the work 
of Albano ; and a third, St. Jerome on his knees, 
quite naked, which has been engraved, but the en- 
graver put the name of Guercino to the print. 
Moran designed the Muses which embellish the 
beautiful works of Quevedo, edition of 1670. He 
also painted many fine landscapes. 

MORAND, Jean Antoine, a French architect, 
born at Brian9on in 1727. His father intended 
him for the priesthood, but having a strong incli- 
nation for art, he left the paternal roof at the early 
age of thirteen, and went to Paris, He studied 
perspective and decoration under Servandoni. and 
subsequently entered the school of Soufflot, who 
treated him as a friend. He erected, after the de- 
signs of that master, the Salle de Spectacle of 
Lyons, of which the decorations gained him great 
reputation. In 1759, at the marriage of the arch- 
duchess of Parma, Morand was invited thither to 
erect a theatre with the necessary machines. His 
work was much admired by his patrons, as well 
as by the Italian artists. He subsequently settled 
at Lyons, and erected the great bridge over the 
Rhone, 640 feet long, with seventeen piers. Du- 
ring the siege of Lyons in 1793. Moran used all 
his art to protect this bridge from an infernal ma- 
chine, and was successful. In the next year he 
was proscribed and led to the scafibld. 

MORANDI, Giovanni Maria, an eminent paint- 
er, born at Florence in 1622. According to Pas- 
coli he studied under Giovanni Bilivert, on leav- 
ing whom he went to Venice, where he resided 
sometime, studying and copying the works of 
the best Venetian masters. He afterwards went 
to Rome, where Lanzi sa3'^s he established himself 
and foriined a style of his own, Roman in design 
and Venetian in coloring, while some parts of it 
partook of the manner of Cortona. He acquired 
great reputation and executed several works for 
the churches, the chief of which are the Visitation 
of the Virgin to St. Elizabeth, in the church of 
La Madonna del Popolo, and the Death of the Vir- 
gin in La Pace. The latter may be considered his 
master-piece, and has been engraved by Pietro Aqul- 
la. He was also celebrated for his easel pictures 
of historical subjects. But he was more celebrated 
for his admirable portraits, which gained for him 
a great reputation, both at home and abroad, and 
he was much employed in that branch by the no- 
bility of Rome and Florence. He was invited to 
Vienna by the Emperor Leopold I., whose por- 
trait he painted, and those of the Imperial Family. 
He also painted the portraits of several of the lesser 
princes of Germany, and many of the nobility. 
He lived to the great age of 95, "and died in 1717. 

MORANDINI, Francesco, calledlLPoppo, from 
the place of his nativity, a small town in the Flo- 
rentine territory, where he was born in 1544, He 
was a scholar and imitator of Giorgio Vasari, 
though more minute in detail, and preferring 
more gay and cheerful compositions. He execu- 
ted several works for the churches at Florence, 
the chief of which are the Conception in S. Mi- 
chelino, and the Visitation of the Virgin, in S. Nic- 
colo, which are highly commended by Vasari. 

MORAZONE, GiACOMO, a Lombard painter, 

who flourished at Venice about 1441, where there 

are some of his works. His name is variously 

given by Italian authors. Vasari calls him Giro- 

l lamo Mazzoni, or Morzoni, and Orlandi and Guari- 



MORA. 



586 



MORE. 



enti call him Giacomo Marzone. Zanetti says his 
real name, as appears from his signature on his 
picture of the Assumption of the Virgin, in the 
Island of St. Elena, near Venice, is Giacomo Mo- 
razone, dated 1441. He was an artist of distinc- 
tion in his time, as is evident from the fact that he 
painted at Venice in competition with Jacobello del 
Fiore. 

MORAZZONE, II, or Oav. Pier Francesco 
Mazzuchelli, was born at Morazzone, in the Mi- 
lanese territory, in 1571 ; hence he is usually called 
II Morazzone. After painting for a period in his 
native place, he went to Rome, where he passed 
the early period of his life, and by studying the 
works of the great masters in that metropolis, 
he acquired a correct design, and executed some 
works for the churches, the chief of which are the 
Assumption of the Virgin, in S. Maria Maddalena 
al Corso, and the Adoration of the Magi, in S. Sil- 
vestro in Capite. He afterwards went to Venice, 
where he studied the works of the best Venetian 
masters, especially Titian and Paul Veronese, and 
greatly improved his style of coloring. On his 
return to Milan he executed several works for the 
churches, in which he entirely changed his manner, 
adopting the graceful style of the Roman school, 
with the glowing coloring and rich draperies of the 
Venetian, so that one who had seen his pictures 
at Rome, could not have recognized his hand. The 
Adoration of the Kings in S. Maria Abate, is pro- 
nounced an admirable production. Lanzi says 
the genius of Morazzone was not so well adapted 
to the graceful as to the strorig and magmjicent, 
as is exhibited in his Conquest of the Archangel 
Michael, over the rebel Angels, in the church of 
S. Giovanni at Oomo, which is designed in ^a grand 
and sublime style, and executed with a powerful 
effect. He was also much employed for the diffe- 
rent collections, as well as for the churches of the 
neighboring places, and he received several com- 
missions from the King of Sardinia, who conferred 
on him the honor of knighthood. In 1626, he was 
invited to Piacenza, to paint the great cupola of 
the cathedral, which he only lived to commence. 
It was finished by Guercino, and that magician of 
art made it one of his grandest productions. 

MORE, Chevalier Anthony, an eminent 
Dutch painter, born at Utrecht in 1519. He 
studied under John Schoreel, on leaving whom he 
went to Italy, and spent some time at Rome in 
studying the works of the great masters, especial- 
ly of Michael Angelo and Raffaelle, and thence pro- 
ceeded to Venice, and improved his coloring by 
contemplating the works of the best Venetian 
masters. On his return to Holland he painted 
history, but more especially portraits, with great 
success, and soon acquired the reputation of one 
of the ablest artists of his time. In 1552. he ac- 
companied Cardinal Granville to Spain, who re- 
commended him to the patronage of the Emperor 
Charles V., whose portrait he painted, and that of 
Prince Philip, which gave so much satisfaction to 
the monarch, that he sent him to Portugal, to 
paint the portraits of King John III, Catherine of 
Austria his Queen, and sister to Charles, and that 
of their daughter, the Princess Donna Maria, then 
contracted to Philip ; he also painted the portrait 
of Donna Catalina, Charles' younger sister ; all of 
which gave entire satisfaction, and the artist was 
munificently rewarded, and the honor of knight- 



hood conferred upon him. The Emperor next des- 
patched More to England to take the portrait of 
the princess Mary, previous to her marriage with 
Philip of Spain. On this occasion he is said to 
have employed all the flattering aids of his art, 
and so captivated the courtiers of Spain, with the 
charms of Mary's person, that he was employed 
by Cardinal Granville and several of the grandees 
to make copies of it for them. He accompanied 
Philip to England, where he remained till the 
death of Queen Mary, who highly honored him, 
presented him a gold chain, and allowed him a 
pension of £100 a year. The Emperor Charles 
v.. having abdicated in favor of his son Philip II., 
the latter returned to Spain, and made More his 
court painter, where his talents procured him 
great respect and abundant employment. The 
King was accustomed to honor him with frequent 
visits, and treated him with extraordinary fami- 
liarity, such as he was not wont to bestow on the 
highest dignitary of his realm, and one day, in a 
moment of condescension and admiration, the mon- 
arch jocosely slapped him on the shoulder, which 
compliment, the painter in an unguarded moment, 
plaj^fully returned by smearing his hand with a 
little carmine from his brush. The King with- 
drew his hand and survej^ed it for a moment, seri- 
ously ; the courtiers were petrified with horror 
and amazement ; the hand to which ladies knelt be- 
fore they had the honor to kiss it, had never before 
been so dishonored since the foundation of the 
monarchy ; at that moment, the fate of More was 
balanced on a hair ; he saw his rashness, fell on his 
knees, kissed the King's feet, and humbly begged 
pardon for the offence. Philip smiled, and par- 
doned him, and all seemed to be well again ; but 
the person of the King was too sacred in those 
days, and the act too daring to escape the notice 
of the Inquisition, from whose bigotry and ven- 
geance the King himself could not have shielded 
him. Happily for More, one of Philip's ministers 
advised him of his danger, and without loss of 
time, he set out for Brussels, upon the feigned pre- 
tence of pressing engagements, nor could Philip ever 
induce him to return to his court. More was em- 
ployed by most of the princes of Europe, who lib- 
erally rewarded him, and at every court his paint- 
ings were beheld with admiration and applause, 
but at none more than those of Spain and England. 
He acquired an ample fortune. When he was in 
Portugal, the nobility of that country, in token of 
their esteem, presented him, in the name of their 
order, a gold chain, valued at a thousand ducats. 
He closely imitated nature. He designed and 
painted in a bold masculine style, with a rich tone 
of coloring; he showed a good laiowledge of the 
chiaro-scuro. and he finished his pictures with 
neatness and care ; his style is said to resemble 
that of Hans Holbein, though not possessing his 
delicacy and clearness ; and there is something dry 
and hard in his manner. His talents were not 
confined to portraits ; he painted several historical 
subjects in Spain for the Royal Collection, which 
were highly applauded, but which were unfortu- 
nately destroyed in the conflagration of the palace 
of the Prado. While he resided in Spain, he cop- 
ied some portraits of illustrious women, in a style 
said to approach Titian. His own portrait, painted 
by himself, charmingly colored, and full of life and 
nature, is in the Florentine gaflcry. His best work 
was a picture of the Circumcision, intended for the 



MORE. 



>87 



MOKE. 



cathedral at Antwerp, but he did not live to finish 
it, and died there in 1575. There is a slight dis- 
crepancy among authors as to the time both of his 
birth and death. 

MORE, JoFiN Gaspar, a Swiss engraver, who 
flourished at Zurich about 1694. He was princi- 
pally employed in engraving portraits and other 
subjects for the booksellers, which are indifferent- 
ly executed. 

MORE, Jacob. See Moore. 

MOREAU, Edme, a French engraver, who, ac- 
cording to Florent le Comte, flourished at Rheims 
about the end of the 17th century. He engraved 
some plates from his OMm designs, as well as from 
the works of other masters. 

MOREAU, Louis, a French engraver, born at 
Paris about 1712. He was chiefly employed in 
engraving theses and ornamental subjects. He 
also engraved a few portraits and other subjects, 
among which are Lodovicus de Ponte Societatis 
Jesu ; L. Moreau fee. ; J. B. Rebel, after Watteau, 
and Christ raising the daughter of Jairus, after La 
Fosse. 

MOREAU, Jean Michel, a reputable French 
engraver, born at Paris in 1741 ; died in 1814. 
He attained considerable eminence in the art, and 
was received into the Academy in 1781. There 
are a great variety of vignettes and other book or- 
naments by him, chiefly etched, and assisted with 
the graver, in a very neat style. He wrought with 
great industry, and is said to have executed about 
2000 designs for illustrating the works of La Fon- 
taine, Ma.rmontel, Voltaire, Rousseau, and other 
French authors. Among others, we have by him 
the following : 

The Bath of Bathsheba ; after Rembrandt. The Con- 
secration of Louis XVI. at Rheims. Four plates, forming 
a large print of the Fete given at Paris in 1782, for the 
Birth of the Dauphin. The Tomb of J. J. Rousseau ; J. 
M. Moreau. fee. 1778. A set of twenty-five small plates 
for the first volume of the Chansons de La Borde. 

MOREAU, P., a French architect of little note, 
who flourished from 1750 to 1760. He is chiefly 
known by his tasteful designs ; and there are a few 
etchings by him of architectural subjects, from his 
own compositions. 

, MOREELZE, 

^ -^ o Q ^ Paul, a Dutch 



^ , painter, born at 
^^^^^^'^ -Utrecht in 1571. 



He was a disciple of Michael Mirevelt, whose man- 
ner he adopted. He went to Italj^, where he resi- 
ded some time, and improved himself by a diligent 
study of the works of the great masters. On his 
return to his own country, according to van Mander, 
he distinguished himself as a painter, engraver, 
and architect. He painted history with reputa- 
tion, but excelled in portraits, in which he was lit- 
tle inferior to Mirevelt, and obtained so much 
patronage, that he devoted his talents mostly to 
this branch. During his residence at Rome he 
carefully studied and drew the magnificent edi- 
fices in that city, and applied himself to the study 
of perspective, so that he painted architecture ex- 
tremely well. As an architect, the only work 
mentioned by him, is the Gate of St. Catherine at 
Utrecht, which was built after his designs. As 
an engraver, he executed some wooden cuts in 
chiaro-scuro in a masterly style, after his own de- 



signs, which are very scarce and highl}' prized. 
The harmonious union of the three tints produces a 
very pleasing effect. They are sometimes marked 
with his monogram, and sometimes, with P. Mo- 
reolze, the P. and M. being formed into a mono- 
gram as above. He died about 1638. 

MOREL, Antoine Alexandre, a French en- 
graver, born at Paris in 1764. He studied suc- 
cessively under Pierre Charles Ingouf. and Jean 
Massard. He engraved quite a number of plates 
after David. Ingres, and other French masters, and 
some of the plates for the Galerle de Florence, and 
the Miisee Francais. His plates are executed 
with the graver in a clear, neat, finished style, 
possessing considerable merit. He was living in 
1827. 

MOREL, FRAN901S, a French engraver, who 
flouri.shed about the middle of the 18th century, 
and engraved some plates of landscapes after P. 
Hackert, and others. 

MOREL, Jan Evert, a Dutch painter of fruit 
and flowers, born at Amsterdam in 1777. He 
had first studied under Thierry vander Aa at the 
Hague, and after his return to Amsterdam, with 
J. Linthorst. He made the works of John van 
Huysum his model, and became one of the best 
fruit and flower painters of his time, and is said 
to have very nearly approached that master in the 
lightness of his touch, and the brilhancy and del- 
icacy of his coloring ; which is high commendation. 
There is a superb vase of flowers by him in the 
Museum at Amsterdam. He died in 1808. 

MOREL, Jean Marie, an eminent French ar- 
chitect, born at Lyons in 1728. In early youth 
he manifested a great love of art, and he vigorous- 
ly prosecuted the study of mathematics and archi- 
tecture. At the age of eighteen he was appointed 
architect to the Prince de Conti, who soon became 
convinced of his superior abilities, and gave him 
the entire management of his buildings. jMorel 
showed his admirable taste, in arranging the gar- 
dens of the Isle Adam, which have been highly ex- 
tolled. He subsequently transformed the Pare 
Guiscard into a beautiful landscape for the Due 
d'Aumont, who obtained for Morel the appoint- 
ment of architect des Menus Plaisirs, at the time 
of the marriage of Louis XVI. He preferred how- 
ever, to remain with the Prince de Conti. After 
the death of that nobleman, Morel visited Holland, 
Germany, Switzerland, Italy, and Spain. He was 
constantly employed during a long life in design- 
ing and laying out gardens and parks in France, 
which gained him a wide reputation. His work en- 
titled Theorie des Jardins, Paris, 1776, 8vo., has 
been highly praised for its originality and simpli- 
city. He died in 1810. 

MORELL, Nicholas, a Flemish painter, born 
at Antwerp in 1664. He studied with N. Veren- 
dael, an eminent painter of flowers and fruit, whose 
manner and subjects he imitated with great suc- 
cess. He also excelled in painting vases, bas- 
reliefs, and other objects of still-life. He obtained 
great celebrity, and was invited to the court at 
Brussels, where he found so much employment in 
painting for the nobility and the collections, and 
obtained such round prices for his works, that 
he was enabled to maintain a magnificent estab- 
hshment, and to live on terms of intimacy with 
persons of the first rank, by whom he was great- 



MORE. 



588 



MORE. 



1}^ respected. The pictures of Morell are cor- 
rectly designed, and elegantly disposed ; his pen- 
cil is broad and facile, and shows great facility of 
execution ; his touch is full of spirit; his coloring 
fresh and true to nature, and suitable to the sub- 
jects. In some respects he was superior to his 
master, especially in the foliage of his plants and 
flowers. Two capital flower-pieces by this master 
are painted on the folding doors of the cabinet in 
which are preserved the tapestries belonging to 
the church of the Abbey of St. Peter, at Ghent. 
They are composed in a grand style and beautiful- 
ly executed. He died at Brussels in 1732. 

MORELLI, Bartolomeo, called Tl Pianoro, 
from his native place in the Bolognese Territory, 
was born about 1629. He studied under Francesco 
Albano, at Florence. He painted history with great 
reputation, and some of his works are compared 
by Crespi with those of Albano. He was particu- 
larly excellent in his frescos, and was much em- 
ployed b}^ the churches. Among his numerous 
works at Bologna, the most esteemed are his St. 
Teresa, in la Madonna delle Grazie ; and the Re- 
surrection, in the Buon Gesu. Lanzi says, '' he 
succeeded so admirably in his frescos, more 
especially in the chapel of the Casa Pepoli, in S. 
Bartolomeo di Porta, decorated b}^ him through- 
out in such exquisite taste, that, were Historjr si- 
lent, it would be said to have been designed and 
executed by Albano's own hand." He died in 
1683. 

MORELLI, Francesco, a reputable Florentine 
painter, who flourished about 1600. He painted 
history ; and also instructed pupils, among whom 
was the Cav. Giovanni Baghoni of Rome. 

MORELLI, CosiMO, an eminent Italian archi- 
tect, born at Imola in 1732. He was the son of 
Domenico Morelli, and the scholar of Domenico 
Trifogli. Fortunately for his success, he obtained 
powerful patronage at the very outset of his pro- 
fessional career ; first, that of Gio. Carlo Bandi, 
Bishop of Imola. for whom he made designs for 
rebuilding the Cathedral of that city ; and through 
him that of his nephew, Gio. Antonio Braschi, 
who was elevated to the pontifical office in 1775, 
with the title of Pius VI. The new pontiff, who 
had a personal regard for Morelli, appointed him 
city architect at Cesena ; he also procured him a 
variety of commissions, among which was a de- 
sign for a new sacristy at St. Peter's. The latter 
work, with several others, was not carried into 
execution; but the designs were universally ad- 
mired. 

Morelli executed a large number of works, 
which gained him great reputation. Among them 
are the cathedrals of Macerata and Imola ; the 
metropolitan church at Fermo ; the Conventuali, 
at Fossombrone, &c. It is 'somewhat singular that 
Morelli was almost as much employed in theatri- 
cal as in ecclesiastical architecture. Among his 
productions in the latter department of art, were 
the theatre of Imola (since destroyed by fire) ; 
those of Fermo, Jesi, and Osimo ; also that of 
Ferrara, which he probably erected in concert 
with Foschini. Among his other edifices, are the 
Palazzo Braschi, at Rome ; the Anguisola, at Pia- 
cenza ; the Cappi, at Bologna ; the Berio at Na- 
ples ; the fa9ades of the Ridotto at Cesena, and the 
Hospital at Imola; the fa9ades of the Palazzo 



Pubblico, and the Palazzo Vescovile. He died in | i 
1812. 
MORELLON. SeeF. Morellon le Cave. 

MORENO, Fra Lorenzo, a Genoese painter, 
who. according to Soprani, flourished in 1544. He 
was a Carmehte monk, and was a very skillful 
fresco painter. He painted the Annunciation in a 
cloister at the Carmine, which was so much ad- 
mired, that it was cut out of the wall to preserve 
it, when the edifice was repaired. 

MORESINI. See Fornari. 

MORETTI, Ceistoforo, a Cremonese painter, 
who flourished about 1460. According to Lo- 
mazzo, he painted a History of the Passion, rep- 
resenting our Redeemer before his Judges, oppo- 
site the Epiphany and the Purification of Bembo, 
in the Cathedral at Cremona. He was also em- 
ployed with Bembo at the Court of Milan, and in 
the" church of S. Aquilino. Lanzi considers him 
an able artist of the time, and one of the reform- 
ers of the art in Lombardy, particularly in per- 
spective and design. In his History of the Pas- 
sion, in which he excluded all kinds of gilding, he 
approaches the moderns. On one of his Madon- 
nas in S. Aquilino, he signs his name Christopho- 
rus de Moretis de Cremona. The Cremonese 
writers call him the son of Galeazzo Rivello, and 
father and grandfather of several other Rivelli, all 
artists of Cremona, Moretti being only an assumed 
name. 

MORETTO, II. See Bonvicino. 

MORETTO, NiccoLO, a painter who, according 
to Vasari, was a native of Padua, where he flour- 
ished about 1495, and executed many good works. 
Lanzi says that Vasari is in error, and that this 
artist is no other than Girolamo Mireti ; but the 
names and dates do not at all agree. Mireti flour- 
ished from 1423 to 1441. 

MORETTO, GiosEFFO, a painter of Friuli. who 
flourished about 1588. He studied under Pom- 
poneo Amalteo, whom he assisted in his works, 
and whose daughter Quintilia he married. This 
lady had the reputation of a fine genius, and prac- 
tised both painting and engraving, or rather etch- 
ing. Lanzi says there remains only a single altar- 
piece of his at Friuli, inscribed Jnchoavit Pom- 
ponius Amalteus, perfecit Joseph Moretius, anno 
1588. He was a good artist. 

MORETTO, Faustino, was a native of Valca- 
monica, in the Brescian territory. According to 
Orlandi he was a reputable artist, and painted for 
the churches,both at Venice and Brescia, but mostly 
in the former city. He flourished about the mid- 
dle of the 17th century. 

MORGENSTERN, Johann Ludwig Ernst, a 
German painter, born at Rudelstadt in 1738. He 
excelled in painting views of the interiors of 
churches and other edifices, in which the perspec- 
tive is excellent. His subjects are similar to those 
of Peter Neefs. but have no appearance of imita- 
tion. They are painted with a full, rich pencil, 
a spirited touch, and a good knowledge of light and 
shade. His pictures are also ornamented with fig- 
ures, elegantly designed and skillfully introduced. 
He died at Frankfort in 1819. 

MORGHEN, Giovanni, an Italian engraver, the 
son of a lace merchant of Montpellier of German 
origin, who settled at Florence. Giovanni Mor- 



MORG. 



589 



MORG. 



ghen was born in that city, flourished about the 
middle of the Last centur}^, and was the uncle of 
the celebrated Raphael Morghen. He was em- 
ployed by the ]Marquis Gerini to engrave part of 
the plates after the works of the Florentine art- 
ists, in the Ducal Gallery. In 1767, he published 
six plates of the Antiquities of Paestum, after the 
designs of Antonio Joli. 

MORGHEN, FiLippo, an Italian engraver, the 
brother of the preceding, and the father of Rapha- 
el Morghen, flourished about 1757. He married 
the daughter of Francesco Liani, painter to King 
Charles III. of Naples, where he permanently set- 
tled. He executed part of the plates for the Anti- 
quities of Hercu|aneum, published at Naples in 
1757; also a number of other prints, among 
which are a set of the Twelve Apostles, after the 
statues of Baccio Bandinelli at Florence ; and 
thirtj^-'One Views and Ruins 'in the environs of 
Naples. 

MORGHEN, Raphael Sanzio, a preeminent 
Italian engraver, born at Florence, June 19, 1758, 
by his own account, according to the authority of 
Niccolo Palmerini, his favorite pupil, who publish- 
ed a complete catalogue of his works. His grand- 
father was a lace merchant of Montpellier, of Ger- 
man origin, who married a Genoese wife, and set- 
tled at Florence, where he had two sons, Filippo 
and Giovanni. They both devoted themselves to 
art ; Filippo, the preceding artist, being an en- 
graver. He early settled at Naples, and married 
the daughter of Francesco Liani, court painter to 
Charles III., by whom he had several daughters, 
and one son named Raphael, the subject of 
the present notice. Filippo must have made a 
visit to Florence some time after his marriage, and 
before the birth of Raphael, as the latter was born 
in that city. 

Raphael Morghen was early instructed by his 
father in the elements of the art, and he made such 
rapid progress as to be able to engrave a tolerable 
plate when he had reached the age of twelve years. 
He first gained distinction by seven engravings 
from the masks of the carnival of 1778, the Pil- 
grimage of the Grand Signior to Mecca. This 
work possessed such extraordinary merit that his 
father determined to give him the best advantages, 
and accordingl}^ sent him to Volpato at Rome. 
The latter first set him. at copying Sadeler's print 
of Christ and Mary Magdalene in the Garden ; 
and he shortly afterwards engraved Gavin Hamil- 
ton's allegorical figure of Painting, for the broth- 
ers Hackert. In 1781, he engraved Raffaelle's al- 
legorical figures of Poetry and Theology, from the 
Vatican, and in the same year he married Volpa- 
to's only daughter. Domenica. Morghen then 
wrought in concert with his father-in-law, and as- 
sisted him in his plate of Raffaelle's Parnassus, 
or the Historical Illustration of Poetr}^, in the 
Stanze of the Vatican. In 1787 he engraved the 
Aurora of Guido, painted in fresco in the Rospig- 
liosi palace, which was greatly admired, though 
inferior to many of his works. The impressions 
taken without the vfords In u!Edibus Bospigliosis, 
and those taken before the plate was retouched by 
the Volpato school, are much the most valuable. 
In 1790 Morghen visited Naples, and engraved a 
portrait of his father. The Neapolitan court, in 
1792, wished him to remain permanently at Na- 
ples, and offered him a salary of 600 ducats ; but 



Morghen chose to accept an invitation from the 
Grand Duke of Tuscany, and accordingly settled 
at Florence in 1793, with a salary of 400 scudi 
and free apartments in the city, under the sole 
condition that he should keep a public school ; 
with the privilege of engraving what he might 
choose, his pi'ints remaining his own property. 

The fame of Morghen soon rose to a great height, 
and he received many commissions from the royal 
family of Florence. In 1795, he commenced the 
celebrated Madonna del Sacco, after Andrea del Sar- 
to; and the Transfiguration of Raffaelle. The 
latter was not completed until 1812, when it ap- 
peared, with a dedication to Napoleon.' This print 
was originally sold at twenty scudi, or about twen- 
ty dollars ; but the price was much increased, and 
some impressions commanded one hundred, and 
even one hundred and fifty dollars. He was occu- 
pied three years on his print of the Last Supper, 
after Leonardo da Vinci, v/hich is his master-piece. 
Later impressions are retouched ; the first, and by 
far the most valuable, have no comma after the 
words vobis-dico vobis, &q. The last impressions 
are also without the comma, which was removed. 
All the prints of Morghen have been described by 
his pupil Palmerini, to whom it was his custom to 
give an impression in every stage of the plate, 
from the first outline to the finished proof. Mor- 
ghen was associated with the French Institute af- 
ter the year 1803, and he visited Paris in 1812, at 
the invitation of Napoleon, who honored him with 
many presents. By Louis XVIII. he was honored 
with the decoration of the Legion of Honor, and 
the cordon of St, Michael. 

Although Raphael Morghen cannot, perhaps, be 
ranked with Marc' Antonio, Edelinck. Nanteuil, 
and Gerard Audran, he yet holds a very high rank 
among engravers. He deserves great credit for 
his correctness of design, vigorous and character- 
istic expression, not less than for the delicacy and 
harmony of his execution. His facilit}'- of execu- 
tion was wonderful ; no engraver ever had a more 
perfect control of his instrument. He is also said 
to have been the first to use the point in executing 
the flesh parts. His plates all appear to be after 
one master, consequently they can give no idea of 
the styles of those artists after whom he engraved. 
His execution is generally flat, lacking tone and 
aerial perspective. 

Morghen married three times, and left several 
children. He died at Florence in 1833. His pu- 
pil, Palmerini, published at Florence in 1824 a life 
and portrait of him, with a catalogue of his works, 
entitled Catalogo delle Opere d'' Intaglio di Raf- 
faello Morghen, raccolte ed illustrate da N. Pal- 
merini. According to this catalogue, Morghen 
has engraved seventy-three portraits; forty-seven 
religious subjects; forty-four historical and my- 
thological pieces; twenty-four views; and thir- 
teen vignettes and crests — in all 201 pieces, M. 
Feuillet de Conches, in the Biographic TTniverselle, 
says his entire work amounts to two hundred and 
fifty- four pieces, eighteen of which are after Raf- 
faelle. Among his portraits are those of Dante, 
Boccaccio, Petrarch, Ariosto,_ Tasso, Raffaelle, the 
Fornarini, Leonardo da Vinci, and a magnificent 
plate after Vandyck, of the Duke de Moncada. 
Among his other plates are. Lot and his Daugh- 
ters, after Guercino ; the Repose in Egypt, and 
Angelica and Medora, after Teodoro Matteini; 
the Virgin sleeping, with the infant Jesus, after 



MORI. 



590 



MORL 



Titian ; Magdalene penitent, after Murillo ; Char- 
ity, after Correggio. Besides these are the fol- 
lowing : 

POETRAITS. 

Francesco Moncado, Duke of Ossono, on horseback ; af- 
ter Vandyck. The Family of Earl Spencer ; after An- 
gelica Kaufman. The Family of Holstien Beck ; do. 

SCBJECTS AFTER VARIOTJS MASTERS. 

The Miracle of the Mass of Bolsena ; after Raffaelle. 
The Transfiguration ; do. The celebrated Madonna della 
Seggiola ; do. La Madonna del Sacco ; after A dtl Sar- 
to. The Virgin and Infant with a Book ; after Fra Bar- 
tolomeo. St. John crying in the Wilderness ; after Gui- 
do. The Aurora ; after the celebrated painting by Guic/o 
in the Rospigliosi palace. The Seasons dancing before 
Time ; after N. Poussin. The Holy Family reposing ; 
do. Diana and her Nymphs ; after Domenichino. Apol- 
lo and the Muses on Mount Parnassus ; after Mengs. 

MORIER, David, a Swiss painter, born at 
Berne in 1705. He distinguished himself as a 
painter of battle-pieces, managed horses, &c. He 
went to England soon after the battle of Dettin- 
gen, where he procured, through the interest of 
Sir Edward Faulkener, an introduction to the Duke 
of Cumberland, who took him into his service, and 
settled upon him a pension of £200 a year. He 
also painted portraits with reputation. He died 
in London in 1770. 

MORIN. Jean, an eminent French painter and 
engraver, born at Paris about 1612. He studied 
painting under Philippe de Champagne, prac- 
tised the art for some time, and executed many 
portraits, as well as some historical subjects. He 
afterwards abandoned it, and devoted himself en- 
tirely to engraving, in which he became very emi- 
nent. His plates are executed in a singular style, 
being a mixture of strokes and dots; but they are 
so harmonized as to produce a very pleasing effect. 
They are executed chiefly with the point, in a 
masterly manner; and though they are not finish- 
ed with all the neatness and delicacy which the 
graver is capable of producing, yet they are etched 
with uncommon taste, and great freedom of hand, 
possessing extraordinary merit. His portraits 
are the most esteemed. He died in 1666. The 
following are his best prints : 

PORTRAITS AFTER PHILIP DE CHAMPAGNE. 

Louis XIII. King of France ; octagon. Anne of Aus- 
tria, Regent ; octagon. Armand, Cardinal de Richelieu. 
John Baptist Amador, Abbe de Richelieu. Julius, Cardi- 
ual de Mazarin. Cornelius Jansenius, Bishop of Ypres. 
John Paul de Gondy, Cardinal de Retz. Francis de Sales, 
Bishop of Geneva. S. Charles Borromeus, Cardinal and 
Archbishop of Milan. John Peter le Camus, Bishop of 
Bellay. John du Verger, Abbe de St. Siran. Michael de 
Morillac, Keeper of the Seals. Michael le Tellier, Secre- 
tary of State. James Tuboeuf, President of the Chamber 
of Accounts. Rene de Longueuil, President a Mortier. 
Henry de Lorraine, Count d'Harcourt. Nicholas de Neuf- 
ville. Marquis de Villeroy, Charles de Valois, Duke d'An- 
goul&me. Robert Arnauld, Seigneur d'Andilly. Vincent 
Voiture, of the French Academy. James le Mercier, Ar- 
chitect to the King. Anthony Vitre, celebrated Printer of 
Paris. 

PORTRAITS AFTER VARIOUS MASTERS. 

James Augustus de Thou, President of the Parliament ; 
after Ferdinand. Francis Augustin de Thou, President ; 
do. Guido, Cardinal de Bentivoglio ; after Vandyck. 
The Countess de Bossu ; do. Margaret Lemon ; do. — 
Charles de Mallery, Engraver and Printseller ; do. Je- 
rome Franck, Painter ; se ipse pinx. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Adoration of the Shepherds ; ajier Ph. Cham- 



pagne. The Virgin and infant Jesus ; do. The Cruci- 
fixion, in three sheets ; do. The taking down from the 
Cross ; do. The Assumption of the Virgin ; do. Two 
half-lengths of St. Peter and St. Paul ; do. The Virgin, 
with the infant Jesus on her Knee, holding <a bouquet of 
flowers, inscribed Dilectus mens mihi ; after Raffaelle. 
The Virgin adoring the infant Christ ; after Titian. This 
is a fine specimen of the artist's ability. The Virgin, with 
the dead Christ ; after Caracci. A Landscape, with Ru- 
ins ; after CI. Lorraine. A Landscape, with a Man driv- 
ing two Cows; after Fouquieres. Another Landscape, 
with figures ; do. A set of four Landscapes, with Ruing 
and Figures ; after Cornelius Poelemhurg. A Landscape, 
with Ruins and a Fountain ; after J. B. Corneille. 

MORINA, GiULio, a Bolognese painter, who 
flourished in the latter part of the 16th and first 
part of the 17th centuries. According to Malva- 
sia, he studied under Lorenzo Sabbatini, but 
formed his style of design by an attentive study 
of the works of the Caracci, and the airs of his 
heads show that he Ayas emulous of imitating the 
expression of Correggio. He acquired considera- 
ble reputation, and executed many works for the 
churches at Bologna, the most esteemed of which 
are the Presentation, at the Servi; the Visitation 
of the Virgin to St. Elizabeth, in S. Uomobono ; 
and the Crucifixion, in SS. Sebastiano e Rocco. 
He was also considerably employed at Parma, and 
was some time in the service of the Duke. 

MORINELLO, Andrea, a native of Val di Bi- 
sagno, in the Genoese territorj^, according to So- 
prani, flourished about 1516. Lanzi says he was 
very graceful in his countenances, soft and clear in 
his outlines, and one of the first in those parts to 
open the way for the modern manner. There is a 
fine altar-piece by him at S. Martino di Albaro, 
dated 1516. He also excelled in portraits. 

MORINI, Giovanni, a native of Imola, who 
studied under Giuseppe Maria Crespi, at Bologna, 
and whose manner he imitated. He was living in 
1769. 

MORIS, R., a scholar and imitator of Godfrey 
Schalcken. Little is known of him. He died 
young. 

MORLAND, Henry Robert, an English paint- 
er, born at London in 1724, and died in 1797. He 
was the son of an obscure painter, who instructed 
him in the art. He painted portraits, both in oil 
and crayons, and scraped a few mezzotinto plates. 
He also painted domestic subjects, and was very 
successful in representing scenes by candle-light. 
He found considerable emploj^ment in cleaning and 
repairing ancient pictures. Embarking in the 
business of picture dealing, he became a bankrupt. 

MORLAND, George, was the son of the pre- 
ceding, born in London in 1764. He possessed, 
naturally, extraordinarj^ talents for painting, 
which, if they had been improved by judicious in- 
struction, assiduous study, and a noble ambition, 
would have led him to the very pinnacle of fame 
and fortune ; but unfortunately his early mental 
and moral culture was neglected, and his profes- 
sional instruction was defective ; his early com- 
panions were dissipated and worthless, and he 
sunk a victim to intemperance almost as low as 
the swine he delighted to depict. After he had 
acquired distinction, and his works commanded 
high prices, he was surrounded by harpies, who 
took advantage of his necessities and misfortunes. 
Many of his best pictures were painted in spong- 
ing houses, to clear him from arrest ; or in ale- 



MORL. 



591 



MORM. 



houses, to di.scharge his reckoning. He died in 
one of the former, and his wife survived him only 
two days. He had no other instruction than what 
he received from his father, who early discovered 
in his son a genius for painting, and employed it 
for his own advantage ; he had him indented to 
him, and kept him constantly employed in making 
pictures and drawings for sale. By these means, 
young Morland acquired a wonderful facility of 
execution, but wholly neglected academic studying. 
Owing to the narrow and illiberal manner in 
which his talents were employed, he fell into low 
habits, and formed bad connexions. On the expi- 
ration of his indenture, he left his father's house, 
and the remainder of his life is the history of gen- 
ius degraded by intemperance and immorality, 
which alternately excites our admiration at his 
great talents, and our regrets at the profligacy of 
his conduct. Morland's subjects are usually from 
low life, such as pig-sties, farm-yards, landscapes 
with cattle and sheep, fishermen or smugglers on 
the sea-coast. He seldom or never produced a pic- 
ture perfect in all its parts, but those parts adapt- 
ed to his knowledge and taste were exquisitely 
beautiful. He knew well his faults, and usually 
selected those subjects best suited to his talents. 
His knowledge of anatomy was extremely limited ; 
he was totally unfitted for designing the human 
figure elegantly or correctly, and incapable of large 
compositions. He also possessed little mental re- 
finement, and perhaps lost the little inherent feel- 
ing he possessed by associating with low company, 
and indulging in slothful inebriety. In portray- 
ing the broad and vulgar walks of life he was in- 
imitable, but his landscapes were not always crit- 
ically exact, nor his coloring uniformly good, for 
he had not devoted sufficient time to acquire a 
true knowledge of nature, or to develop the pow- 
ers he possessed. Never having traveled, even in 
his own country, nor seen any romantic scenery, 
his landscapes gen-erally consist of fields, hedges, 
ponds, and clay-banks, introduced as backgrounds 
to his figures. His most admirable pictures are 
his interiors, thos« comprising inland scenery, 
sheep, pigs, and asses. The more confined the 
subject the greater his success ; and his faults in- 
crease as the scene expands. He was peculiarly 
happy in depicting a flock of sheep under a dwarf 
oak. He selected those animals that require the 
least correctness of drawing, as sheep, hogs, asses, 
and old clumsy horses, being unacquainted with 
the anatomy of that noble animal. An old white 
horse was a favorite subject with him, from its af- 
fording a mass of light, with a most favorable op- 
portunity for a display and contrast of coloring. 
But the hog was his favorite animal, and that 
which he introduced most frequently and with the 
greatest success; his touch was well adapted to 
the representation of its bristly hide, and he sel- 
dom failed to depict to the life the appearance and 
character of that lazy and gluttonous animal. Ac- 
cording to his biographer, Mr. George Dawe, who 
wrote an impartial and excellent life of Morland, 
he arrived to the full maturity of his powers about 
1790, in the short space of six years after he left 
his father, and from that time they began and con- 
tinued to decline, till the day of his death. His 
earlier works are hard, formal, labored, and care- 
fully finished ; as he acquired confidence in his 
powers, he adopted a broader style and greater 
freedom of execution, and he wrought with extra- 



ordinary facility. During the last few years of 
his life he was seldom sober, and only painted to 
supply his animal wants and to escape from arrest ; 
and it was a common practice of the sharpers 
about him to get him in debt, shut him up in a 
room, and thus compel him to paint for a guinea a 
picture which they could readily sell for thirty. 
Though Morland wrought with extraordinary facil- 
ity, it is falsely said that he painted four thousand 
pictures. Even in his life-time his works were so 
much admired and sought after that they were 
imitated by some of his cronies, with his consent 
and connivance. Stanley sa5'S that his brother 
Henry " kept a regular manufactory of them." 
His best works now command very high prices. 
He died in 1804. What a melancholy history, and 
how full of admonition ! 

MORMANDO, Gio. Francesco, an Italian ar- 
chitect, born at Florence in 1455. He studied 
architecture under Leon Battista Alberti, and sub- 
sequently went to Rome for improvement. After 
studying the remains of antiquity in that city, he 
settled at Naples, and became the friend and com- 
petitor of Novella da S. Lucano and Gabriello d' 
Agnolo. He erected the church of S. Severino, 
and gained so high a reputation for this admirable 
work, that King Ferdinand invited him to Spain, 
and appointed him first royal architect. On re- 
turning to Naples, he continued the church of S. 
Severino, and made some additions to the monas- 
tery. The Duke de' Viestri commissioned him to 
erect a massive palace, subsequently called Filoma- 
rini, which has been greatly injured by various in- 
surrections. Among the other works of Morman- 
do is the small church del la Stella, near S. Severi- 
no ; and the Palazzo Cantalupo, erected from his 
design. He died, according to Mihzia, in 1552. 

MORO, Anthony. See More. 
MORO, II. See ToRBfno. 

MORO, Gio. Battista d'Angelo, apainter,born 
at Verona about 1512. He was a scholar of Fran- 
cesco Torbido, called II Moro, but afterwards went 
to Venice to improve his coloring by studying the 
works of Titian. He painted both in oil and fresco, 
acquired considerable distinction, and executed sev- 
eral works for the churches at Verona, sometimes 
in competition with Paul Veronese. His design was 
graceful, and his coloring rich and vigorous. His 
picture of St. Paul before Ananias in the church 
of S. Euferaia, is so highly prized that it was sawed 
out of the wall with great care and expense, and 
removed to a place of safety, when that edifice was 
repaired. Another fine picture by him, is an An- 
gel presenting the Palms of Martyrdom to the 
Innocents, in S. Stefano. He also painted at Ven- 
ice, where his most capital work is an altar-piece 
in S. Maria Maggiore, representing the Virgin be- 
tween St. John and St. Mark, surrounded with 
several figures in ducal robes, which are the por- 
traits of the Marcello family, for whom it was 
painted. He also executed some slight, but spir- 
ited etchings, from his own designs, in which the 
extremities in particular, are drawn in a very mas- 
terly manner. In conjunction with Battista Vi- 
centino, he engraved a set of fifty landscapes, 
mostly after Titian, executed in a bold, free style. 
We have also the following prints by him : 

The Nativity, or Adoration of the Shepherds ; after 
Parmiggiano. The Virgin, with the infant Christ and 
St. John ', B. A. del Moro, fee. The Holy Family, with 



MORO. 



592 



MORO. 



St. Elizabeth and St. John ; after Rqfaelle. Another 
Holy Family ; do. The Martyrdom of St. Catherine ; af- 
ter Bernardino Campi. The Baptism of Christ by St. 
John ; do. 

MORO, Marco d'Angelo, was the son of the 
preceding, who instructed him in the art. He as- 
sisted his father in some of his works at Venice, 
and Lanzi says he possessed excellent abilities, 
as is shown by his picture of Paradise, in the 
church of S. Bartolomeo at Venice. He died 
young about 1560. 

MORO, GiULio d'Angelo, was a younger bro- 
ther of Marco M. He studied under his fa- 
ther, whose style he followed, and whose repu- 
tation he justly sustained. Zanetti calls him the 
dotto pittoj^e, the learned painter, and says that 
he distinguished himself alike in all the arts. His 
chief works at Venice are the Four Coronati, in the 
church of S. Apollinare, which discover an ele- 
gance and precision of design, sufficient to rank 
him among distinguished artists. 

MORO, Lorenzo del', a Florentine artist, who 
studied under Jacomo Ohiavistelli, and, according 
to Orlandi. was a spirited painter of fruit, flowers 
and animals. He was living in 1718. 

MORONI, DoMEKico, an old painter of Vero- 
na, born in 1430. According to Vasari, he was 
instructed in the art by one of the pupils of Stefano 
Veronese. There is an altar-piece by him in the 
church of S. Bernardino at Verona, which is highly 
esteemed and preserved with great care. He died 
about 1500. 

MORONI, Francesco, was the son and scholar 
of the preceding, born at Verona in 1474. Va- 
sari says he excelled his father, and commends 
him for the graceful style of his design, and the 
harmony and suavity of his coloring. " in which he 
was inferior to none." Lanzi says he was bound 
by the strictest ties of friendship with Girolamo 
da' Libri from his youth, and that they were fre- 
quently employed together in the same labors. 
The latter part of his life was spent at Rome, 
where he executed several altar-pieces for the 
churches and convents, which hold a respectable 
rank even in that emporium of art. There are 
several i^leasing pictures of Madonnas and Saints, 
inscribed with his name in the Museum at Berlin. 
He died at Rome in 1529. 

MORONI, Giovanni Battista. This painter 
was born at Albino, in the Bergamese Territory, 
in 1528. He was a pupil of Alessandro Bonvicino, 
called II Moretto, and, according to Tassi, was one 
of his ablest disciples, and the most successful fol- 
lower of his style. He executed many works for 
the churches at Bergamo, and other places in the 
vicinity. He was an excellent colorist, but was in- 
ferior to his instructor in invention and design, 
and in the graceful airs of the heads, which dis- 
tinguish the productions of II Moretto, Among 
his most esteemed works at Bergamo are, the 
Crowning of the Virgin, in the church of La Trinita, 
the Assumption, in S. Benedetto, and a Pieta, or a 
Dead Christ in the lap of the Virgin, surrounded 
by several saints, at the Cappuccini. He was one 
of the best portrait painters of his time, excelled 
only by Titian. He died in 1578. 

MORONI, PiETRo, called MoRONE Bresciano, 
was the sou of the preceding, by whom he was 
first instructed. According to Averoldi, he after- 



wards became the disciple of Paolo Veronese. — 
Lanzi says, "he studied a good deal the works of 
Titian, and was one of the most accurate and ele- 
gant designers the Venetian school could boast at 
that period, nor does he yield to any of his cotem- 
poraries in the strong body and clearness of his col- 
oring." He executed some works for the churches 
of Venice and other places, particularly at Bres- 
cia; hence he is sometimes called Morone Bres- 
ciano. His picture of Christ bearing his Cross, in 
the church of S. Barnaba at Venice, is commended 
as one of the most masterly productions of the 
time. He was considered one of the ablest artists 
of the Venetian school. His name is improperly 
written by some authors, Marine. He died at 
Riva di Soldo about 1625. 

MOROSINI, Francesco, called II Montepul- 
ciANO, from the place of his nativity. According 
to Baldinucci, he studied under Orazio Fidani, 
whose stjde he adopted. He executed some works 
for the churches at Florence, but was chiefly em- 
ployed by individuals. His best work is a pic- 
ture of the Conversion of St. Paul, in the church 
of S. Stefano, at Florence. He flourished in the 
last half of the 17th century. 

MORTIMER, John Hamilton, an English his- 
torical painter of considerable eminence, born at 
Eastbourne, in Sussex, in 1739. His father was a 
collector of customs, and his uncle is said to have 
been a painter of talents, whose studio he frequent- 
ed. He was sent to London, and placed under the 
tuition of Hudson, but their tastes being different, 
he did not derive much advantage from his instruc- 
tions. He was indebted for his greatest improve- 
ment to his constant attendance in the Duke of 
Richmond's gallery, which that nobleman liberally 
opened for the study and advancement of the 
young artists of the time. He soon after gained 
the peiision of one hundred guineas, given by the 
Society for the Encouragement of Arts, &c., for the 
best historical picture, which was adjr.dged to his 
St. Paul converting the Britons. This picture es- 
tablished his reputation as an able artist, and 
he successively increased his celebrity by the 
production of several admirable works, among 
which are, King John granting the Magna Charta 
to the Barons, the Battle of Agincourt, Vortigern 
and Rowena, &c. He was a member of the Socie- 
ty of Artists for many years, and exhibited at 
their room in the Strand. In 1779, without 
solicitation or expectation, he was elected a roy- 
al academician. He executed a few etchings from' 
his own designs, and after others, in a bold, fi-ee 
style, among which are a Set of twelve circular 
plates of characters from Shakspeare ; Nature and 
Genius introducing Garrick into the Temple of 
Shakspeare; the Virgin teaching St. John, after 
Guercino ; a set of fifteen plates of Studies, after 
S. Rosa, I^airesse, and other masters. 

MORTO, DA Feltro. See Feltro. 

MORVILLO, SiLVESTRo, called II Bruno, a 
Neapolitan painter, whose works date, according 
to Dominici, from 1571 to 1597. He was a good 
artist, and was considerably employed by the 
churches. 

MOSCA. There seem to have been several ar- 
tists of this name, but they are so vaguely men- 
tioned that it is difficult to distinguish them. Mal- 
vasia mentions a Giovanni Maria Mosca, of Padua, 



MOSC. 



593 



MOST. 



or Milan, who flourished in the first part of the 
16th century, and executed some works in sculp- 
ture at Orvieto. Also a Mosca of Mantua, a paint- 
er, who lived about the same time. Lanzi, in his 
history of the Roman school says, "Mention is 
made of one Mosca, whether a native or a foreigner, 
I know not, as a disciple of this school ; his Christ 
on the way to Mount Calvarj^, now in the Acad- 
emy of Mantua, is certainly a RafFaellesque pic- 
ture ; but we may rather consider Mosca an imi- 
tator, and a copyist, than a pupil of Raffaelle." 
Stanley mentions a picture of the Virgin and Child 
in a landscape, which is supposed to be by this 
master, from its being inscribed with a jiy, his 
rebus. 

MOSOATIELLO, Carlo, a Neapolitan artist, 
born in 1655, and died in 1739. He was an ex- 
cellent perspective painter, and executed the ar- 
chitectural parts of some of the works of Luca 
Giordano, and other eminent artists of the time. 

MOSER, George Michael. This artist was 
born in Switzerland in 1707, but went to England 
very young. He was by profession a gold chaser, 
in which he arrived at great eminence. He did 
not confine his talents to this art, but painted in 
enamel with considerable success. He was also 
a skillful draughtsman, and had a good know- 
ledge of the anatom}' of the human figure, which 
perfectly qualified him for the ofiice of Keeper of 
the Royal Academy, which he held from the foun- 
dation of that institution in 1768, till his death in 
1783. The occupation of the Keeper pnnci pally 
consists in superintending and instructing the stu- 
dents who practise drawing and modeling from the 
antique statues. 

MOSER, Mary, was a daughter of the preceding, 
who painted fruit and flowers in an exquisite man- 
ner, was much patronized by the nobility, and was 
elected a member of the Roj^al Academy ; — an honor 
never conferred upon any other lady, except An- 
gelica Kauffmann. It is said that Queen Caro- 
line entertained so high a regard for her virtues 
and talents, that she paid her the highest respect, 
and frequently visited her studio. Miss Moser 
decorated an entire room at Frogmore with flowers, 
for Queen Charlotte, and received £900 for the 
work. She subsequently married a Mr. Lloyd, 
after which she practised only as an amateur. She 
died at an advanced age in 1803. 

MOSES, called Little Moses. See Uyten- 

BROECK. 

MOSIN. See Mouzyn. 

MOSLEY, Charles, an English engraver, who 
flourished in London about 1760. He was chiefly 
employed by the booksellers. His portraits are 
his best prints, of which King Charles T. on horse- 
back, after Vandyck, and Marshal Belleisle on 
horseback, are worthy of notice. 

MOSNIER, Jean, a French painter, born at 
Blois in 1600. He was the son of a painter on 
glass, who instructed him in his own profession. 
He afterwards went to Italy, and studied under 
Cristofano Ailori at Florence. On his return to 
his native country, he settled at Paris, where he 
acquired considerable reputation as an historical 
painter. He executed some works for the churches 
and public edifices, the best of which are in the 
church of St. Martin at Paris. He died in 1656. 

MOSTAERTj John, a Dutch painter, born at 



Haerlem in 1499. He was of an honorable family, 
and studied under Jacob van Haerlem. His per- 
sonal accomplishments, and the politeness of his 
address, together with his professional merits, pro- 
cured him the esteem and patronage of persons 
of the highest rank, and he acquired great repu- 
tation as an historical and portrait painter. The 
Princess Margaret, sister to Philip I. of Spain, re- 
tained him in her service eighteen years. He paint- 
ed the portraits of many of the nobility, and oth- 
er distinguished personages of his country. Van 
Mander commends several of his historical works, 
which remained in his time in the churches and 
public edifices of Flanders, particularly a Nativity 
in the church of the Jacobins, at Haerlem ; an 
Ecce Homo, in another church ; and the Banquet 
of the Gods, a grand composition, full of dignity, 
and beautifully executed. He died in 1555. Bal- 
kema and Immerzeel both state that he was born 
in 1474, but they differ from all other authors. 

MOSTAERT, Francis and Giles, twin bro- 
thers and Flemish painters, born at Hulst, near 
Antwerp, in 1520. Francis studied with Henry 
de Bles, and Giles with John Mandyn; the for- 
mer excelled in landscape, the latter in figures, so 
they mutually assisted each other. Tbey settled 
at Antwerp, where they gained considerable repu- 
tation. Francis died in 1557, and Giles, as vari- 
ously stated, in 1579, 1598, or 1601. Giles was a 
good historical painter, and in the Museum at 
Antwerp is a picture by him of the Crucifixion, 
with the Virgin, St. John, and eight other large 
figures. 

MOT, FRAN901S Frederic le, a French sculptor, 
born at Lyons in 1773. He early manifested a 
strong inclination for art, and was sent to Paris, 
where he entered the Academy of Painting and 
Sculpture. While occupied one day in designing the 
Hercules of Puget, in the gardens of Sceaux Pen- 
thievre, he attracted the attention of Dejoux. who re- 
ceived him into his school. Here le Mot made rapid 
advances, and at the age of seventeen gained the 
grand prize of sculpture, for his bas-relief of the 
Judgment of Solomon. He then visited Italy 
with the royal pension. Recalled to Paris in 
1795, he was employed on the statue of the French 
Hercules, but it was never completed. He gained 
a high reputation, and was successive!}^ appointed 
member of the Institute 5 Professor of the School 
des Beaux Arts ; Member of the Legion of Honor ; 
Baron ; and Chevalier of St. Michael. Among his 
principal works are the bas-relief which decorates 
the grand facade of the colonnade of the Louvre ; 
the marble bas-relief for the tribune of the Cham- 
ber of Deputies ; and the colossal equestrian stat- 
ue of Louis XIV., at Lyons. He died in 1827. 

MOTTA, Raffaello, called Raffaellino da 
Reggio, was born at Reggio in 1550. He studied 
under Lelio Orsi. and, according to Tiraboschi, he 
was one of the most promising artists of his age. 
He painted a few frescos in his native city, but his 
principal works are at Florence, where his two fa- 
bles of Hercules in the Ducal Hall, and two Gos- 
pel histories in the Ducal Gallery, are highly 
commended. He also painted at Capraruola in com- 
petition with Zuccari and Vecchi, with such suc- 
cess that his Hvely figures make those of his 
competitors seem inanimate. He also painted in 
oil for the collections. Lanzi says he possessed 
an astonishing genius, deserving of Rome for its 



MOUG. 



594 



MOTJC. 



theatre of action. Nothing was wanting in this 
artist except a greater knowledge of design. His 
works are full of delicacj-, relief, and spirit. He 
died in 1578, aged 28 years, deeply lamented like 
another Kaffaelle, prematurely passing away. 

MOUCHERON, Feepekick, called the Old, 
an eminent Flemish painter, born at Embden in 
1633. He showed an earl}^ inclination for art, and 
was placed with John Asselyn, an eminent land- 
scape painter, under whose able instructions, 
united with indefatigable application, he made 
extraordinary progi-ess. When he was about 
twenty years of age he went to Paris, and met 
with such flattering encouragement that he aban- 
doned the visit he had projected to Rome by 
the recommendation of his instructor. After 
a residence of several years at Paris, he returned 
to Antwerp, and afterwards settled at Amsterdam, 
where he acquired great distinction, and met with 
abundant employment. He designed everything 
after nature; consequently, though there is a great 
difference in the choice of his subjects, there is al- 
ways an air of truth in his works. His land- 
scapes are generally well chosen, and exhibit pleas- 
ing scenery ; his touch is light and free ; and his 
coloring generally agreeable ; the forms of his 
trees well chosen, and his foliage light and appa- 
rently in motion. His foregrounds are clear and 
well finished, though his distances have frequently 
the appearance of mistiness or vapor, but they are 
in keeping with his subject. He frequently intro- 
duced waterfalls rushing through the different 
plans of his pictures, and enriched them with pic- 
turesque buildings and other architecture. He 
sometimes painted architectural views on a grand 
scale, with a magnificent effect. He did not succeed 
in his figures so well, and therefore employed oth- 
er eminent artists to insert them for him. as Theo- 
dore Helmbreckerat Paris.and Adrian Yandervelde 
and John Lingelbach at Amsterdam. The works 
of Moucheron, though inferior to those of Berg- 
hem, Both, and other distinguished artist's of the 
Dutch and Flemish schools, are yet esteemed wor- 
thy of a place in the choicest collections. He died 
at Amsterdam in 1686. 

MOUCHERON, Isaac, called the Young, was 
the son and scholar of the preceding, born at Am- 
sterdam in 1670. Although he lost his father 
at the age of sixteen, he had already made such 
progress, and was so thoroughly grounded in 
the principles of the art, that he needed no fur- 
ther instruction, but only an attentive study of 
nature. After having acquired the reputation of 
an able artist in his native city, desirous of fur- 
ther improvement, he went to Italy, where he re- 
sided four years, contemplated the works of the 
best masters, and filled his portfolio with the choic- 
est designs of the picturesque scenery and ancient 
ruins in the vicinity of Rome and Tivoli. He thus 
acquired an extraordinary readiness for designing, 
and facility of execution, and was enabled to ex- 
hibit truth in all his compositions. On his return 
to Amsterdam he acquired great reputation.and was 
chiefly employed in decorating the grand saloons 
and halls of the nobility and wealthy persons with 
landscapes on a grand scale, in which the figures 
were usually inserted by Nicholas Yerkolie. de 
Witt, and others. In the scenery, as well as the 
style of his landscapes, he seems to have emulated 
the grand manner of Gaspar Poussin. His pic- 
tures are enriched with figures and animals, and 



noble architecture. He was a perfect master of 
perspective and architecture. His coloring is ex- 
tremely fresh, clear, and natural, with an abun- 
dance of harmony and union, and his touch is 
full of ease and spirit. He executed many 
easel pictures, which are exceedingly prized in 
Holland, and in every part of Europe. He also 
etched quite a number of plates, in a neat and 
very spirited style, after his own designs and those 
of G. Poussin, as follows. He died at Amsterdam 
in 1744. 

A set of four Views of Gardens, -with buildings and fig- 
ures ; inscribed J. Moucheron inv. piv.v, etfec. Another 
set of four Views of Gardens and Buildings ; inscribed J, 
Moucheron, inv etfec. Four Landscapes, with Figures ; 
qfte)- Gaspar Poussin ; inscribed EinigeLandschapen 
gescheldert door G. Poussin, (f-c. A set of nineteen 
Views of Heemstede in the Province of [Jtrecht ; J. Mou- 
cheron, inv etfec. 

MOUCIIET, Francois Nicolas, a French 
painter, born at Grai, in Franche Comte. in 1750. 
He visited Paris, and entered the school of Greuzc. 
In 1776 he gained the grand prize of the Academy, 
and then devoted his talents to miniature painting. 
When the Revolution broke out, he took an active 
part, and was successively elected member of the 
municipality, and justice of the peace. In 1792 
he was sent to Belgium, to select the finest works 
of art for the Louvre. During the reign of ter- 
ror he opposed its bloody excesses, and was im- 
prisoned fourteen months, during which time he 
painted miniatures for the support of his family. 
Liberated in 1794, he retired to his native place, 
and established a school of design. His portraits 
are distinguished for a broad, free, and vigorous 
pencil. There were two compositions by Mouchet 
exhibited at the Louvre: the Origin of Painting, 
and the Triumph of Justice. He died in 1814. 

MOIJCHY, Martin de, a French engraver, born 
at Paris in 1746. He studied with Augustine de 
St. Aubine. in whose style he executed quite a 
number of prints, chiefly for the booksellers, 
among which are the following : 

A pair of Views in the environs of Triel ; after Hack- 
ert. A View of Marienberg, near Stockholm ; do. An- 
other View in Sweden ; do. A set of sixteen plates from 
the History of Telemachus ; after the designs of Cochin 
and Monnet. 

MOUZYN, or MOSIN, Michael, a Dutch en- 
graver, born at Amsterdam about 1630. He en- 
deavored to unite the point with the graver, in the 
execution of his plates, but with no great success. 
His drawing is incorrect, and his style appears 
heavy and labored. The following are among his 
best prints r 

PORTRAITS. 

Jacob van Wassenaer, Admiral of Holland. Michael 
Ruyter, Dutch Admiral ; after H. van Aide. Cornelius 
de Witt, Pensionary of Holland ; do. John van Galen, 
Admiral of Holland ; after J. Livius. 

SUBJECTS. 

Venus sleeping ; after J. A. Backer. The Four Ele- 
ments under the empire of Venus ; after C Holsteyn. 
A Satyr presenting a Bunch of Grapes to a Woman and 
Child; do. 

MOYA, Pedro de, a Spanish painter, born at 
Granada in 1610. After acquiring some know- 
ledge of the art in his own country, an ardent de- 
sire to view the works of the best Flemish paint- 
ers induced him to go to Antwerp, where he was 
captivated with the style of Vandyck, and set out 
for England to place himself under that master. 



MOYA. 



595 



MOYR. 



i»t 



lie did not enjoy this advantage long, for Vandyck 
died a few months after his arrival in London On 
his return to Spain he acquired considerable repu- 
tation, and executed sevei'al good works for the 
churches of Granada, of which the most admired 
is an altar-piece of the Conception, in the church 
of Nuestra Sennora de Gracia. He died there in 
16G6. 

MOYAERT, or MOOJAERT, Claas or Ni- 
cholas, a Dutch painter and engraver, born at 
Amsterdam about 1600. It is not known under 
whom he studied, but he is said to have formed 
his style by studying and imitating the works of 
Adam JElzheimer, At all events, he could imitate 
Jiilzheimer, Rembrandt, and Lievens so closely 
that some of his pictures have been sold for the 
genuine works of those masters. He was an emi- 
nent artist in his time, and taught many pupils, 
among whom were some of the most distinguished 
masters of the Dutch school, as Berghem, vander 
Does, Salomon de Koninck, John Baptist Wee- 
ninx. The pictures of Moyaert bear a strong 
resemblance to those of Weeninx. He also etched 
some spirited plates after his own designs, among 
which are a set of six different Animals, a Land- 
scape with Cattle, and Lot and his Daughters, in 
the style of Alzheimer, 

MOYART, Christian Louis, a 
Dutch painter and engraver, born at 
Amsterdam about 1600. He is said 
to have engraved a set of eight emblematical 
plates of the History of Mary de Medicis, marked 
Avith the above monogram. But Brulliot and Za- 
ni both assert that he and Claas are one and the 
same artist, and that the part of the monogram 
composed of C. L. signifies Claas, and not Chris- 
tian Louis, as supposed. It is also ascertained, be- 
yond a doubt, that the plates of the History of 
Mary de Medicis, published by Blaeu at Amster- 
dam in 1639, were engraved b}"" Peter Nolpe, from 
the designs of Claas Moyart, 

MOYNE, Jean Louis, a French sculptor, born 
at Paris in 1665. He studied under Coysevox, 
and executed a number of esteemed works. He 
was chosen a member of the Academy, and was 
also honored with the office of rector of that in- 
stitution. Among his best productions are his 
heads of distinguished personages, as the Duke d' 
Orleans, Mansard, and Largilliere ; also two stat- 
ues of Angels, in the church des Irtvalides ; and a 
bas-relief in the church at Versailles, representing 
Christ bearing his Cross. He died at Paris in 
1755. 

MOYNE. Jean Baptiste le, an emment 
French sculptor, the son and scholar of Jean Louis 
le Moyne. born at Paris in 1704. He was also a 
scholar of his uncle, Jean Baptiste le Moyne, a re- 
putable sculptor ; and of Robert le Lorrain. At 
the age of twenty, he gained the grand prize at 
the Academy, for a bas-relief, representing the Sa- 
crifice of Polyxena. Although entitled to the 
royal pension, he did not visit Rome, his father 
being very unwilling to part with him. In 1729, 
he executed a group of St. John baptizing Christ] 
for the church of S. Jean in Greve, which gained 
him so much reputation that the city of Bordeaux 
commissioned him to execute the bronze equestrian 
statue of Louis XV. For this work, the king set- 
tled upon le Moyne a pension of 1500 francs. 
His works have nothing of the purity and sim- 



plicity of the antique, which he regarded as feeble- 
ness of design ; they are in a theatrical taste, and 
deserve no credit, except for mechanical execution. 
Besides those mentioned, there are many others, 
among which are the mausoleums of Cardinal de 
Fleury, Mignard, and Crebillon ; the statues of 
St. Gregory and St. Teresa, at the Invalides ; be- 
sides many heads of distinguished individuals ; 
that of Coysevox is in the Musee des Monuments 
Fran^ais. Le Moyne died at Paris in 1778. 

MOYREAU, Jean, a French engraver, born at 
Paris in 1712. His plates are very unequal in 
merit, but some of them possess considerable ex- 
cellence. In 1736 he was chosen an academician, 
and engraved two fine plates on that occasion, a 
Halt of Hunters and the Rendezvous of the Chase, 
after van Falens, Moyreau also executed eighty- 
nine plates after Philip Wouwerman, which give 
an inferior idea of his correctness of design, and 
the spirit and elegance of his pencil. The follow- 
ing is a list of his best prints : 

Eebecca reoeivin.^ the Presents from the Servant of 
Abraham ; after Paolo Veronese ; for the Crozat collec- 
tion. The Resurrection of Lazarus ; after Bon Boul- 
longne. The Parting of Hector and Andromache ; do. — 
Bacchus and Ariadne ; do. A Halt of Hunters ; after 
van Palens. The Rendezvous of the Chase ; do. (The 
two last plates were engraved for his reception into the 
Academy in 1736, and are among his best prints.) A Sea- 
port ; after Claude. La Partie Quarree ; after Watteau. 
A Waterfall ; do. Of his best prints a/Zer Woutcerman, 
may be mentioned those entitled Le Colombier du Mare- 
chal ; La grande Chasse a I'oiseau ; La Fontaine du Dau- 
phin ; La Fontaine de Neptune. 

MUCCIOLT. Bartolomeo, an old artist of 
Ferrara, who flourished about the middle of the 
15th century. His works have mostly perished. 

MUCCIOLI. Benedetto, was the son of the 
preceding, and flourished at Urbino in 1492, where 
it seems the family had settled. According to 
Lazzari. there is a fine altar-piece by him in the 
chapel of the Muccioli, their descendants, in the 
church of S. Domenico at Urbino, signed Benedic- 
tus quondam Bartholomcci de Fer. Pictor. 1492. 

MITDO, El, an eminent Spanish painter, born 
at Logrono in 1526. His real name was Juan 
Fernandez Navarette, or Juan Fernandez Ximenes 
de Navarette. He was called El Mudo after he 
had acquired distinction as a painter, from his hav- 
ing been deaf and dumb from his infancy. He 
showed a talent for art early in life, and first stud- 
ied under Fray Vicente de Santo Domingo, a monk 
of the Order of the Geronomytes, under whom he 
made such rapid progress, and exhibited so much 
genius, that his parents, by the advice of his in- 
structor, sent him to Italy to study with Titian, 
with whom he remained several years, and thor- 
oughly imbibed his principles and manner of col- 
oring, so that he was called by his country- 
men the Spanish Titian. He remained in Italy 
twenty j^ears, visiting all the principal cities, 
Rome, Florence. Naples, &c., studying the works 
of the best masters, and frequenting the studios 
of the most eminent painters, who entertained for 
him the highest respect for his eminent abilities, 
perhaps he'ightened by his infirmity. He had al- 
ready acquired a distinguished reputation in Italy, 
when, in 1568, he was summoned to Madrid by 
Philip IT., to paint in the Escurial, and on his ar- 
rival he was appointed painter to the king, with a 
pension of two hundred ducats, in addition to the 



MUET. 



596 



HUGE. 



price of his works. He was naturally of a deli- 
cate cofistitution, and he had hardly commenced his 
labors, when a severe malady compelled him to retire 
to his native place, Logrono. with the permission 
of his royal patron, where he remained three years, 
daring- which time he painted four magnificent 
pictures, and brought them with him to Madrid in 
1571. These were the Assumption of the Virgin, 
the }Jartyrdom of St. James the Great, a St. Phil- 
ip and a St. Jerome, which were placed in the Es- 
carial, and the artist rewarded with five hundred 
ducats, besides his pension. The head of the Vir- 
gin in the Assumption is supposed to be a portrait 
of his mother, the Donna Catalina Ximenes. who 
in her youth was very beautiful. In 1575 he add- 
ed four more pictures, the Nativit}^, Christ at the 
Pillar, the Holy Family, and St. John writing 
the Apocalypse, for which he received eight hun- 
dred ducats. In the Nativity, El Mudo success- 
fully overcame a formidable difficulty in painting — 
the introducing of three lights into the picture, as 
in the famous Notte of Correggio ; one from the 
irradiation proceeding from the infant Jesus, an- 
other from a glory of Angels above, and a third 
from a flaming torch. It is related that Pellegri- 
no Tibaldi. on seeing it, exclaimed^ Oh ! ibellipas- 
iori ! This exclamation gave name to the picture, 
and it continues to be known to this daj^ as the 
beautiful Shepherds. In 1576, he painted his fa- 
mous piece of Abraham entertaining the three 
Angels, for which he received five hundred ducats. 
He now undertook a stupendous work, and was 
engaged to paint thirty-two pictures for the Escu- 
rial ; twenty-seven of which were to be seven feet 
and a half in height, and seven feet and a quarter 
in breadth ; and the other five thirteen feet high 
and nine feet broad. He did not live to complete 
tl.is vast undertaking; he painted eight, rep- 
resenting the Apostles, the Evangelists, and St. 
Paul and St. Barnabas ; the others were finished 
by Alonso Sanchez Coello, and Luis de Caravajal. 
He died in 1579. El Mudo's pictures are extreme- 
ly scarce, and little known, as all his works in 
Spain, except a small picture of the Baptism of 
Christ in the Museum at Madrid, are buried in 
the royal solitude of the Escurial. where they are 
almost inaccessible. There were two other Span- 
ish painters, of little note, called El Mudo, one Pe- 
dro el Mudo, and the other Diego Lopez, who 
must not be confounded with the illustrious Nav- 
arette. 

MUET, Pierre le, a French architect, born at 
Dijon, in 1591. He practised the military as well 
as the civil branch of the art. and was emploj^ed 
by Cardinal Richelieu in fortifjnng a number of 
situations in Picardy. He was commissioned to 
complete the church of Val de Grace at Paris, and 
erected a fa9ade of two orders. Corinthian and 
Composite, with windows richly decorated with 
columns and a balustrade. Amonghis other works 
were the designs for the hotels Luynes, Laigle, 
and Beauvilliers; the chateau of Pont en Cham- 
pagne, and Chavigny en Touraine, He com- 
menced the church des Augustins, in the Place des 
Victoires, but died before its completion, in 1669. 
Muet composed a treatise on architecture, and 
translated Palladio's work on the Five Orders; 
also the work of Vignola, adding to both a num- 
ber of his own inventions and reflections. He 
published a work in folio, containing many plans, 



entitled Le Maniere cle Batir pour toutes soiies des 
Personnes. 

MUGELIO. Andrea del Castagno Di,a Ve- 
netian painter, born in 1655, and died in 1726. 
He was deemed a good painter of history. 

MUGNOZ. or MURENOS, a Spanish painter, 
so called by the Italian writers. See Munoz. 

MULDER, J., a Dutch engraver, who flourished 
at Amsterdam about 1720. He engraved a set 
of Bible plates from the designs of Picart, publish- 
ed at Amsterdam in 1720, entitled Figures de la 
Bible. They are executed with the graver in a 
stiff, tasteless style, and the drawing is incorrect. 
There is a set of small plates by him, entitled 
Vues de Gunterstein, inscribed J. Mulder ad vi- 
vum del. et fecit. He also engraved some plates of 
churches and public edifices, which are his best 
prints. 

MULIER, PiETRO, or De MULIERIBUS. See 
Peter Molyn the Younger. 

MULINARI, Giovanni Antonio, called II Ca- 
raccino, a painter born at Savigliano, in Piedmont, 
in 1577. His name is often erroneously written 
Moll ineri. There is considerable discrepancy about 
the history of this artist and bis merits. His 
works are highly esteemed in his native place. 
He is said to have studied under the Caracci, and 
hence his surname of Caraccino. This is denied 
by Delia Valle and others, who say that he only 
studied the prints of the Caracci, and never visit- 
ed either Rome or Bologna. Lanzi says he ac- 
quired great celebi'ity in his native place, and was 
considerably employed at Turin ; he is correct, en- 
ergetic, and if not dignified, yet animated and va- 
ried in his male heads, though his females are all 
deficient in gi-ace. His coloring is also good, 
though not resembling the Caracci ; his tints be- 
ing clearer, differently disposed, and sometimes 
feeble. His Deposition from the Cross, in the 
church of S. Dalmasio, is considered one of his 
best performances at Turin. But his best works 
are at Savigliano, his native place, where he pass- 
ed the greater part of his life, and where his 
works are to be found in almost every church. 
In fact, his talents and his merits are only known 
in his native place. He died about 1640. 

MULINARI, Stefano, an eminent Italian en- 
graver, born at Florence about 1740. He studied 
with Andrea Scacciati. whom he assisted in a se- 
ries of engravings after the most beautiful draw- 
ings in the Florentine Gallery. He is chiefly 
known by his numerous engravings after the best 
Italian masters. Nagler gives a list of 200 of his 
prints in his Kunstler Lexicon, among which are 
four after Leonardo da Vinci, five after JSIichael 
Angelo, twen ty-two after Raffaelle, eight after Giu- 
lio Romano, six after Polidoro da Caravaggio, 
twent3^-six after Parmiggiano, five after Daniello 
di Volterra. eight after Baroccio, seven after Giulio 
Cesare Procaccini, three after Guido, three after 
Andrea Sacchi, and thirteen after Guercino. His 
works are executed in a masterly style, and pos- 
sess great interest and merit. His name is fre- 
quently but erroneously written, Molinari. He 
died about 1800. 

MULLER, Hermann, an engraver who is said 
by Huber to have been a native of Amsterdam, 
though he resided, during the greater part of his 



MULL. 



597 



MULL. 



jife. at AntTverp. He flourished about 1585. He 
is supposed, from his style, to have been a pupil 
of Henry Goltzius. and to have studied afterwards 
in Italy. His plates are executed entirely with 
the graver, in the labored and formal style which 
distinguished the Flemish school of that period. 
He engraved, in conjunction with Cornelius Cort, 
several plates for Jerome Cock ; also in conjunc- 
tion with the Galles, the Sadelers, and others, a 
set of Bible plates, after Martin de Vos, John Stra- 
dan, and other masters. His plates are marked 
with one of the accompanjnng monograms. — 
Among others, we have also the following prints 
by him : 

The Fates ; aftey Cornelius ran Haerlem. The Four 
Cardinal Virtues ; after Martin Hemskerk. The Ten 
Commandments ; do. A set of seven plates of the Crea- 
tion ; after H. Goltzius. The Death of Cleopatra ; after 
C. van Haerlem. The Death of Lucretia ; after Corne- 
lius Ketel. 

MULLER, John. This eminent engraver is 
supposed to have been of the same family as the 
preceding. He was born at Amsterdam about 
1570, and studied under Henry Goltzius, whose 
vigorous style he followed with an enthusiasm 
bordering on extravagance. He handled the gra- 
ver with the most extraordinary and daring facili- 
ty, and his works are worthy of the careful study 
of those who wish to distinguish themselves in the 
free use of the burin, though it is to be regretted 
that his drawing is not more correct. His plates 
are numerous, and though inferior to those of 
Goltzius in taste, correctness of drawing, anatomy 
and finish, they are more freely executed, and are 
considered extraordinary productions. Many of 
his prints are from his own compositions, and are 
very creditable to him as a designer. The follow- 
ing are among his most admired prints : 

PORTRAITS. 

Bartholomeus Spranger, pictor celeberrimus ; J. ah 
Ac/i, pinx. Maurice, Prince of Orange ; after Mirevelt. 
John Neyen, of Antwerp, his hand resting on a Skull ; 
do. Ambrose Spinola; do. Albert, Archduke of Aus- 
tria; after Rubens. Isabella, Infanta of Spain; do. 
Christian IV. King of Denmark ; after P. Isacks. 

SUBJECTS FROM HIS OWN DESIGNS. 

The Baptism of Christ. An Ecce Homo, with angels. 
Balthasar's Feast ; fine and rare. The Adoration of the 
Magi ; do. 

SUBJECTS AFTER BARTHOLOMEW SPHANGER. 

Hagar in the Desert, comforted by an Angel. Lot and 
his Daughters. The Nativity ; J. Miiller, scul. 1606. The 
Holy Family, -with, two Angels. Venus and the Graces. 
Venus, Bacchus, and Ceres. A Satyr taking a Thorn from 
the Foot of a Faun. Venus and Mercury. Perseus arm- 
ed by Minerva and Mercury ; one of his finest plates. 
Cupid and Psyche. The Apotheosis of the Arte. Fortune 
distributing her Gifts. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Raising of Lazarus : after Ab. Bloernaert ; fine. 
Cain slaying Abel ; after Cornelius jmn Haerlem. The 
Rape of the Sabines ; aftei' the sculpture of A. de Vries. 
Mercury and Pandora ; 'do. The Martyrdom of St. Sebas- 
tian : after J. van Ac/ien ; fine. 

MULLER, Solomon, is supposed to have been 
a member of the same family, and, from his style, 
to have been brought up in the school of the Wier- 
ixes, whose neat, finished style, he imitated with 



considerable success, though his drawing is incor 
rect, and his heads often lack expression. Among 
other prints he engraved a set of small plates of 
sacred subjects, which, as they are w^ithout the 
name of the painter, are probably from his own 
designs. He flourished about 16i0. 

MULLER, G. A., a German engraver, born at 
Vienna about 1700. In conjunction with Andrew 
and Joseph Schmutzer, he engraved a part of the 
plates of the life of Decius, after the designs by Ru- 
bens in the possession of the Prince of Lichtenstein. 
Among others, are the following b}^ him : Philip 
Louis, Count de Sintzendorf. Minister of State. Ja- 
cob van Schuppen. Director of the Acadera}^ at Vi- 
enna. The two Children of Rubens ; from a pic- 
ture by that master, in the Lichtenstein collection. 

MULLER. Jacob, a German engraver of little 
note, who flourished at Augsburg about 1750, 
and engraved some frontispieces and other book 
plates, executed with the graver in a neat, but a 
dry and tasteless style. 

MULLER, Chevalier John Gotthard von, 
an eminent German engraver, born at Bernhausen. 
in the Duchy of Wurtemberg, in 1747. It is not 
mentioned under whom he first studied, but he 
showed so much talent that the King of Wurtem- 
berg took him under his protection, and sent him 
to Paris to stud}^ under J. G. Wille, under whose 
able instruction he made rapid progress, and soon 
acquired distinction in his profession. He was ad- 
mitted into the Academy at Paris in 1776. He 
soon afterwards returned to Stuttgard, and was 
appointed Director of the xicadem}^ of Design in 
that city. He was elected successively a member 
of the principal German Academies ; was present- 
ed, in 1808, by King Frederick of Wurtemberg, 
with the order of Civil Merit ; and in 1818. was made 
a knight of the Wurtemberg Crown. Miiller en- 
graved only thirty-three plates, a small number, 
but most of them are of large size, ver}^ elaborate, 
and engraved in a neat, finished, and masterly 
style. His print of the Madonna della Seggiola, 
after Raifaelle, engraved in 1804, for the Musee 
Francais, is considered by many, superior to the 
print of the same subject by Raphael Morghen. 
He died at Stuttgard in 1830. The following are 
his most esteemed prints : 

PORTRAITS. 

Louis XVI. full-length ; one of his finest plates. J. G. 
Wille, Engraver ; after Greuze. Louis Galloche, Painter ; 
engraved for his reception into the Academy. Louis Le- 
ramberg. Sculptor to the King ; do. Augustus Gottlieb 
Spanganberg ; A. Graff, pinx. F.Schiller; do. 

SUBJECTS. 

Ceros ; after Goltzius. The Nymph Erigone ; after 
Jollain. A Lady playing on the Guitar; after P. A. 
Wille. Lot and his Daughters ; after Gerard Honthorst. 
A subject from the Life of Alexander ; after G. Flinck. 

MULLER, Christian Friedrich von. This 
extraordinary engraver was the son of the prece- 
ding artist. 'all whose genius he inherited, and 
whom he surpassed in his last great work, the 
Madonna di San Sisto, and equaled in some others. 
He was born at Stuttgard in 1783. He was care- 
fully educated by his father in all those branches 
of the art which he knew, by experience, to be es- 
sential to constitute an excellent engraver, and in 
1802, he sent him to Paris to complete his studies. 
In 1808, he engraved his admired plate of St. John 
about to write his Revelation, q/iJer Domenichino^ 



MULL. 



598 



MUNA 



in which an eagle brings him a pen in its beak ; and 
shortly after\vnrds, Adam and Eve, under the Tree 
of Life, after Raffaelle. His last and greatest 
work was the Madonna di San Sisto, after the pic- 
ture by Raffaelle in the Dresden ga^er3^ He had 
received a commission from Rittner, the celebrated 
printseller of Dresden, to engrave this work with- 
out any limitation as to time or expense. He 
concentrated all his powers upon it, in the execu- 
tion of which, his soul and existence seemed to be 
wrapped up. He applied himself incessant!}'-, day 
and night, and being naturally of a sickl}' consti- 
tution, the infallible result of such lengthened and 
constant application and excitement, made its ap- 
pearance. He lived to finish the plate, but he 
never saw a finished proof from it. On its com- 
pletion, it was sent to Paris to be printed, and he 
had just strength enough to permit his being car- 
ried to Sonnenstein, near Dresden, where he died 
in 1816, only a day or two before the proof of his 
plate arrived from Paris. It was suspended over 
the head of his bier, as he lay dead, thus remind- 
ing the spectators of the untimely fate of the great 
master of the original. C. F. Muller engraved 
only eighteen plates, most of them portraits, but 
the Madonna di San Sisto is a host in itself, and 
is considered one of the most masterly productions 
of the burin. 

MULLER, or MILLER, John Sebastian, a 
German engraver, born at Nuremberg in 1715. 
After acquiring his art, he visited England with 
his brother Tobias, probably early in life. About 
1760 he was employed by John Boydell, and exe- 
cuted several plates for his collection, which poss- 
ess great merit. He engraved the plates for Smol- 
lett's History of England; Chandler's Arundelian 
Marbles; the Ruins of Paestum ; &;c. His prin- 
cipal work, however, was the Jllustratio systema- 
tis sexualis Linncei, London. 1777, 104 pi. Miiller 
was living in 1783, and is said to have had twenty- 
nine children! The following are among his 
prints : 

The Holy Family ; after Peder'igo Baroccio. Another 
Holy Family ; after Murillo, Nero depositing the Ashes 
of Brittanicus ; after le Sueur. A Landscape, with 
Apollo and Marsyas ; after Claude. A Moonlight ; after 
vander Neer. Two Views in Rome ; after Gio. Paolo 
Pannini. 

MULLER, William John, an eminent Eng- 
lish painter, born at Bristol in 1812. His father, 
a native of Germany, was Curator of the Bristol 
Museum, and from him he acquired a taste and 
knowledge of science, especially of botany and 
natural history. He received some instruction in 
painting from J. B. Pyne, but he owed most of his 
success to his own genius and an attentive study 
of nature. On leaving Pyne. he made the tour of 
Germany, Switzerland, and Italy, filling his port- 
folio with choice drawings after nature, and returned 
to his native city an accomplished landscape paint- 
er. Meeting with little encouragement, he went 
to Greece and Egypt, and made numerous sketches 
of the interesting scenes and objects he met with 
in those countries. In 1839, he returned and set- 
tled in London. In 1841, he published his "Pic- 
turesque sketches of the Age of Francis'L," which 
extended his fame beyond his own country. He 
next, at his own expense, joined the expedition to 
Lycia, projected by the government. On his re- 
turn to London, he exhibited at the Royal Acad- 
emy and at the British Institution, during the last 



three years of his life, several excellent paintings 
from his sketches made in Lycia; but his pictures 
were placed in improper positions, of which he 
bitterly and justly complained, without however, 
obtaining any redress. He died in 1845, and then 
it was that his talents were appreciated, for at the 
public sale of his effects, some of the choice sketches 
he had made in Lj^cia brought extraordinary pri- 
ces, varying from £20 to £60 each, and the whole 
amount of the sale was £4600 ; nor were these fic- 
titious prices, for many of them were bought by 
dealers, who reaped a rich harvest, by their re- 
sales. His works are still greatly increasing in 
value ; Stanley says, they are already being im- 
itated and palmed oft' on the unwary at exor- 
bitant prices, by unprincipled traffickers in the 
fine arts. 

MUNARI, Pellegrtno. See Pellegrino da 

MODENA. 

MUNARI, Giovanni, a painter who flourished 
at Modena in the latter part of the 15th century. 
Lanzi says he was commended by historians for 
his works. He was the father and instructor of 
the celebrated Pellegrino da Modena. 

MUNERO, Giovanni Battista, a painter, born 
at Genoa in 1613, He studied under Luciano Bor- 
zone, and chiefly excelled in portraits, in which 
branch he acquired distinction. He died in 1657. 

MUNIER, Jean, a French engraver on wood, 
who flourished at Toulouse about 1553. He was 
chiefly employed by the booksellers. Among 
others, he engraved a set of 100 emblems for a 
small octavo volume published at Lyons in 1553, 
entitled La Morosophie de Guillaume de la Per- 
riere Tolsain. He also executed some cuts in 
conjunction with Jean Perrin. 

MUNNIKHUYSEN, John, a Flemish engraver, 
who flourished about 1680. He engraved some 
plates, mostl}^ portraits, executed with the graver 
in a neat, clear style, which possess considerable 
merit. The following are among the best : 
portraits. 

Hendriek Dirksen Spiegel, Burgomaster ; after Lim,' 
burg. Francis Burmann, Professor of Theology ; after 
C. Maas. Henry vander Graft. Cornelius Tromp, Ad- 
miral of Holland ; after D. vander Plans. Peter van 
Staveren, of Amsterdam ; after W. Mieris. Peter Zu- 
rendonk, Rector of the Latin School at Amsterdam. 

MUNOZ, Sebastian, a Spanish painter, born 
at Navalcarnero in 1654. He first studied under 
Claudio Coello at Madrid. In 1680, he went to 
Rome, and studied in the school of Carlo Maratti 
six years. On his return to Spain, he settled at 
Saragossa, where he acquired great reputation, 
and in conjunction with his former master, Coello, 
executed some considerable works for the churches. 
In 1688, he was invited to Bladrid by the King, 
who appointed him his painter, and employed him 
in decorating the Royal Palaces, in one of which, 
he painted a series of frescos, representing the fa- 
ble of Cupid and Psj^che. He imitated the man- 
ner of Carlo Maratti, but his coloring was gaudy, 
without dignity in composition, beauty in the 
forms, or expression in the heads. He was killed 
by a fall from a scaffold in 1690. 

MUNOZ, Evaristo, a Spanish painter, born at 
Valencia in 1671. He studied under Conchillos, 
and painted history with reputation. His works 
evince an abundant invention ; but his design is 



MUNT. 



599 



MURA. 



often incorrect, and is lacking in elevation. He 
formed a .school of design at Valencia, which was 
much frequented till his death, in 1737. Most of 
his pictures are in the churches of Valencia. 

MUNTINCK, Gerard, a Dutch engraver, born 
at Groningen, where he flourished about 1640. 
He engraved some portraits, executed with the 
graver in a neat style, but without much eifect. 

MUNTZ, J. H., an English artist, of German 
descent, who was much employed by Lord Orford 
in making drawings for his villa at Strawberry 
Hill. He invented a method of painting in encaus- 
tic^ concerning which he published a volume in 
octavo in 1762. 

MUOLTSOHER, Hans, or John, an old paint- 
er of Ulm, in Suabia, of whom nothing is known 
except an altar-piece, dated 1436. This picture is 
now in England. 

MURAl, Francesco de, called Franceschiel- 
LO, a Neapolitan painter, born in 1696. Accord- 
ing to Domini ci, he studied under Francesco Soh- 
mena, and was his ablest disciple, the most suc- 
cessful imitator of his style, and approached nearest 
to his fame ; hence his acquired name. He was 
much employed in decorating the public and pri- 
vate edifices of Naples. Lanzi sa5'S perhaps none 
of his works procured him greater celebrity than 
his frescos in the Royal Palace at Turin, where he 
successfully competed with Cav. Claudio Beau- 
mont, then in the height of his reputation. He 
decorated the ceilings of several apartments, par- 
ticularlv of those containing the Flemish pictures. 
The subjects which he treated with the greatest 
success were the Olympic Games and the Deeds 
of Achilles, in which his composition is rich and 
ingenious, his figures elegantly designed, and the 
airs of his heads expressive and graceful. His 
coloring unites tenderness with grace, and his dra- 
peries are judiciously cast. He died in 1759. 

MURANO, DA, a name given to several old 
Venetian artists from the place of their nativity, 
the Island of Murano, near Venice. The eldest of 
these was Quirico da M., whose name is found in- 
scribed on ancient pictures, Qidricius de Miiriano. 
The second was Bernardino M., of whose produc- 
tions Zanetti saw nothing but a rude altar-piece. 
The third, and most eminent, was Andrea da Mu- 
rano, who was an excellent artist of his time, and 
established a school, which, through the Vivarini, 
his disciples, was continued at Venice for nearly a 
century, with distinction. There is a fine altar- 
piece by him in the church of S. Pietro Martire, in 
his native place, in which a St. Sebastian forms 
so conspicuous a figure from the beauty of its 
torso^ that Zanetti conjectures he must have copied 
it from an ancient statue. It is dated 1402. 

xMURANO, Natalino da, a Venetian painter, 
who studied under Titian. According to Ridolfi, 
he was a good composer of cabinet pieces, and par- 
ticularly excelled in portraits, which he executed 
and colored in the style of his master. Lanzi says 
he executed many easel pictures, from which the 
Venetian dealers derived more profit than himself, 
and that he saw one of his Magdalenes, put up for 
sal e at Udine, which, in spite of frequent retouch- 
ing;, preserved much of Titian's manner. It bore 
the name of Murano, and the date 1558. 

MURANT, EmanueLj a Dutch painter, born at 



Amsterdam, according to Houbraken, in 1622, but 
probably later, as he was a scholar of Philip 
Wouwerman, who was born in 1620. Though he 
did not adopt the subjects of his master, he acquired 
from him that correctness of design, purity and 
brilliancy of coloring, and neatness of pencil, which 
rendered him deservedly eminent. His subjects 
were views in Holland, cities, towns, and villages, 
decayed castles, and ruined buildings, which he 
drew from nature, and finished with such astonish- 
ing accuracy and precision, that it has been said, 
that "every particular brick or stone might be 
counted in his buildings by the assistance of a con- 
vex glass," in which particular he was only excelled 
by John vander Heydeu, He went to Paris, and 
resided some time in that city, where his works 
were greatly admired. On his return to Holland, 
he settled at Lewarde, where he died in 1700. 
His works are exceedingly valuable and scarce, 
owing to the extraordinary labor he bestowed upon 
them. They have the rare merit of exhibiting the 
most exquisite finish, without the appearance of 
stiffness and labor, and without the interruption 
of that harmon}' of color and union of effect, which 
are usually the attributes of a process so tedious 
and precise. His tones are artfully broken, and 
there appears a vagueness and neutralit}^ in his 
tints, which are only to be found in the works of 
the most intelligent colorists. 

MURATORT, Domenico Maria, a Bolognese 
painter, born in 1662. He studied under Lorenzo 
Pasinelli at Bologna, after which he went to 
Rome, where he resided the greater part of his 
life, and acquired a distinguished reputation for 
the grandeur of his compositions, correctness of 
design, good coloring, and excellent chiaro-scuro. 
He executed many works for the churches in that 
metropolis, as well as in other cities. His Christ 
Crowned with Thorns, in the church of the Sti- 
mate, was universally esteemed, and procured for 
him the commission to paint one of the Prophets 
in the Basilica of St. John of Lateran — a high hon- 
or. In the church of the Apostles, he painted the 
great altar-piece, said to be the largest in Rome, 
representing the Martyrdom of St. Philip and St. 
James, composed and designed in a grand style, with 
a fine efiect of chiaro-scuro, though in coloring, it 
is not equal to some of his other works. In the 
cathedral of Pisa, he painted a large picture of St. 
Ranieri casting out a Demon, which Lanzi con- 
siders one of his best works. He also etched a 
few plates from his own designs, and others, exe- 
cuted in a spirited and masterly style. He died 
in 1749. Zani, whose work is full of errors, as to 
dates, and who seems to delight in contradictions, 
says he was born in 1655, and died in 1742 ; but 
the dates given, were furnished to Oretti by the 
son of Muratori, and Lanzi and others state the 
same. 

MURATORI SC ANNABECCHI, Teresa, a Bo- 
lognese paintress, born in 1662. She was the daugh- 
ter of an eminent physician, and at an early age 
discovered an uncommon genius for drawing and 
music. She studied painting successively with 
Emilio Tarufii, Lorenzo Pasinelli, and Giovanni 
Giosefib dal Sole. She acquired considerable dis- 
tinction, and executed several reputable works for 
the churches of Bologna, the chief of which are, 
St. Benedetto restoring a dead child to life, in S. 
Stefano ; the Annunciation, in S. Trinity j and the 



MURE. 



600 



MtJRI. 



Incredulity of St. Thomas, in La Madonna di GaI- 
leria. She died in 1708. 

MUREL, or MOREELS. Jacob, a German paint- 
er of fruit and flowers, who, accordin2: to Fiiessli, 
was born at Frankfort in 1G28, and died there in 
1683. Little is known of his life, bwt incidents 
mentioned in the histor3^ of art show that he was 
not only a reputable artist, but a true lover of art, 
and an excellent man. He painted fruit and 
jflower-pieces, married the widow of Matthew Me- 
rian the Elder, and was the instructor of at least 
two distin.2:uish6d artists. See Abraham Mignon, 
and Maria Sybllla Merian. 

MURENA, Carlo, an eminent Italian architect, 
born at Rome in 17L3. He studied polite literal 
ture, philosoph_v, and the law, intending to follow 
the legal profession ; but acquiring a strong incli- 
nation for architecture, he studied that art under 
Niccolo Salvi. In order that he might acquire a 
knowledge of hydraulics, the Cardinal Barberini, 
his patron, sent him to Luigi Vanvitelli, who was 
then building the Lazaretto at Ancona. Murena 
made siich rapid progress as to be entrusted by 
his master with those buildings to which he could 
not personally attend ; and he had the entire 
charge of the edifices of his Sicilian majesty, at- 
tached to the Caserta. He was subsequently em- 
ployed to erect the building for the Olivetani 
monks of IMonte Morcino at Perugia, and super- 
intended the church of that order to its comple- 
tion. He designed an isolated tabernacle for the 
cathedral of Terni, adorned with mixed stones and 
gilt metal, producing rather an elegant effect; and 
at Foligno, the church of the monks of the Holy 
Trinity. 

Milizia says of Murena, that "he was a good 
man, possessing a highly cultivated mind, exceed- 
ingly industrious, and rapid in execution. His 
style of architecture was simple and rational. He 
fell into some of the prevailing ei^rors, but never 
into absurdities." Besides the works previously 
mentioned, Murena erected an edifice for the Cis- 
tercians, near Santa Lucia della Chiavica, which is 
simple and solid in the exterior ; the internal ar- 
rangements are distributed with great order, con- 
venience and beauty. His sacristy of the church 
S. Agostino is in a very elegant style. He also 
built the rich Zampaj chapel in S. Antonio di 
Portoghesi at Rome ; and acquired great honor 
by the fa9ade which he designed for the French 
ambassador Rochecouart. Murena died in 1764. 

MURILLO, Bartolome Esteban, a preemi- 
nent Spanish painter, was born at Pilas, a small 
town about five leagues from Seville, on the 1st 
of January, 1613. There is a great deal of con- 
tradiction among authors, no two agreeing about 
the history of this great artist's life, which we 
cannot touch upon, farther than to say that the 
stories of his having gone to South America in the 
early part of his career, and that he studied in 
Italy, are whoUj^ unfounded, for the later Spanish 
historians have proved that he never left Spain. 
He was descended from an ancient family, who 
once held ample possessions in the province of 
Andalusia, but were then in reduced circumstances. 
Young Murillo, discovering an early inclination 
and genius for art, was placed in the Academy of 
his maternal uncle. Don Juan del Castillo, a dis- 
tinguished historical painter of Seville, who was 
the instructor of some of the greatest artists of 



the Spanish school, among whom were Alonso 
Cano and Pedro de Moya, the very mention of 
whose names will contradict some of the asser- 
tions with regard to Murillo. When Murillo left the 
school of Castillo which he did while young, when 
that master went to Cadiz, the first subjects he 
painted were rustics and beggar-boys, in which he 
discovered a faithful and accurate attention to na- 
ture, and a charming simplicity of character that 
was peculiar to him. His pictures of this descrip- 
tion are vigorously colored, but with the dark and 
heavy shadows of his master, and lack that ten- 
derness and suavity that distinguish his later pro- 
ductions. It was the custom of the young artists 
of that time to expose their works for sale at the 
annual fairs held at Seville, and many of his ear- 
lier productions, which were greatly admired, were 
produced in this manner, and exported to South 
America, and there can be little doubt that the 
pictures of the Virgin and Saints, said to be in 
some of the churches of Spanish America, were 
thus procured, and gave rise to the false tradition 
of his having proceeded thither in person. The 
fame of Don Diego Velasquez, then at its zenith, 
inspired Murillo with a desire to visit Madrid, in 
hopes to benefit by his instruction. On his arri- 
val at the capital in 1642, he paid his court to Ve- 
lasquez, who, perceiving his merits, not only re- 
ceived him into his academy, but procured him 
the best means of improvement beyond his own 
instruction, by obtaining for him access to the rich 
treasures of art in the royal collections. Some 
say that when he left Seville he was extremely 
poor, and having disposed of all his pictures and 
effects, set out for Italy, by way of Madrid, with- 
out the knowledge of his relatives, and that on his 
arrival there, Velasquez dissuaded him from his 
object ; which is an improbable story. At all 
events, a new scene was opened to his view, which 
inspired him with such zeal for advancement that 
he redoubled his efforts to attain the highest ex- 
cellence. His attention was particularly directed 
to the works of Titian, Rubens, and Vandyck, 
which he continually studied and copied, and thus 
greatly improved his manner of design and color- 
ing. After passing three years under such favora- 
ble circumstances, with the advantage of the in- 
structions and counsels of Velasquez, he returned 
to Seville in 1645, and resumed the practice of his 
art with redoubled alacrity, and with the .most 
flattering success. His first great w^ork was a 
fresco in the convent of San Francisco, or the Ca- 
puchins, consisting of sixteen compartments, in 
one of which is his celebrated picture of St. Thom- 
as of Villanueva distributing Alms to the Poor. 
This subject suited the bent of his genius, and 
gave full scope for the display of his powers, 
which w^ere peculiarly adapted \o the representa- 
tion of nature in her most simple and unsophisti- 
cated forms. The saint stands in a dignified pos- 
ture, with a countenance beaming with benevolence 
and compassion, while he is surrounded by a 
group of paupers, eagerly pressing forward to re- 
ceive his charity, whose varied character and 
wretchedness is portrayed with wonderful art, and 
truthfulness of expression. At the principal altar 
in the church of the same convent, is a large pic- 
ture of the Jubilee of the Porciuncula, repre- 
senting Christ holding his Cross, and the Virgin 
interceding for the supplicants, with a group of 
Angels of extraordinary beauty. These works 



MURI. 



601 



MURP. 



produced emotions of the greatest astonishment 
among his countrj^men, procured him numer- 
ous commissions, and proved him one of the great- 
est artists of that age, so prohfic in renowned 
masters. About this time he was emplo3^ed by 
the Marquis of Villamanrique, to paint a series of 
pictures from the hfe of David, in which the back- 
grounds were to be painted by Ignacio Iriate, an 
eminent landscape painter of Seville. Murillo 
rightly proposed that the landscape parts should 
be first painted, and that he should afterwards put 
in the figures, but Triate contended that the histo- 
rical part ought to be first finished, to which he 
would adapt the back-grounds. To put an end to 
the dispute, Murillo undertook to execute the 
whole, and changing the History of David to that 
of Jacob, he produced the famous series of five 
pictures, now in the possession of the Marquis de 
Santiago at Madrid, in which the beauty of the 
landscapes contends with that of the figures, and 
which remain a monument of his powers in these 
different departments of the art. In the same col- 
lection are two other pictures, which are considered 
among his finest works ; one represents St. Fran- 
cis Xavier in a dignified and sublime attitude, his 
eyes devoui^ly raised to heaven, and his counten- 
ance beaming with devotion and fervor, while a 
stream of light from above strikes him on the 
breast, as if receiving the divine inspiration previ- 
ous to his entering on his mission to the Indians, 
a group of whom are seen in the distance ; the 
other represents St. Joseph, leading by the hand 
the young Saviour, apparently eight or ten years 
old ; over the heads is a Glory of beautiful An- 
gels, and a fine landscape in the background. He 
painted for the Cathedral of Seville his admired 
picture of San Antonio and the Holy Infant, with 
a glory of Angels, and a background of noble ar- 
chitecture ; the Miraculous Conception ; and the 
portraits of liCandro and Isidore, archbishops of 
Seville, all of them executed in his finest manner. 
He painted in the church of the Hospital of Char- 
ity three admired works — Moses striking the 
Rock, the Miracle of the Multiplication of the 
Loaves and Fishes, both grand compositions of nu- 
merous assemblages of people, the principal fig- 
ures full of dignity, and the people exhibiting a 
striking variety of character, grouped with sur- 
prising ability; and one of St. John supporting a 
poor old man, aided in his charitable office by an 
Angel, whom the Saint regards with a look of 
reverence and gratitude, beautifullj^ expressed. It 
is impossible to specify here Murillo's numerous 
works. He resided most of his life at Seville, 
where he executed many works, not only for the 
churches, but for the private collections. He also 
painted several pictures for the churches at Cadiz, 
Granada, and Cordova. At Cadiz are two of his 
most admired works, an altar-piece of the Concep- 
tion, in the church of San Felipe Neri, and a pic- 
ture of St. Catherine at the Capuchins, which is 
not only remarkable for its beauty, but from its 
being the last picture he ever painted. In the 
Chapel of the Nuns of the Angel, at Granada, is 
one of his most celebrated pictures, representing 
the Good Shepherd. In 1670. Charles II. invited 
him to Madrid, with liberal offers ; but his natu- 
ral humility, love of retirement, and his attach- 
ment to Seville prevailed over every consideration 
of promotion or advantage, and he excused him- 
self to the king. Murillo died at Seville, in 1685, 



his death being hastened by a fall from a scaffold 
while painting the St. Catherine at Cadiz. Few 
painters have a juster claim to originalitj^ of style 
than Murillo, and his works show an incontestible 
proof of the perfection to which the Spanish school 
attained, and the real character of its artists — 
for he was never out of his native country, and 
could have borrowed little from foreign artists ; 
and this originality places him in the first rank 
among the painters of every school. All his 
works are distinguished by a close and lively imi- 
tation of nature. His pictures of the Virgin, 
Saints, Magdalenes, and even of the Saviour, are 
stamped with a characteristic expression of the 
e3'e, and have a national peculiarit}'^ of countenance 
and habiliments, vrhich are very remarkable. There 
is little of the academj'- discernible in his design or 
his composition. It is a chaste and faithful repre- 
sentation of what he saw or conceived ; truth, and 
simplicity are never lost sight of; his coloring is 
clear, tender, and harmonious, and though it pos- 
sesses the truth of Titian, and the sweetness of Van- 
dyck, it has nothing of the appearance of imitation. 
There is little of the ideal in his forms or heads, 
and though he frequently adopts a beautiful ex- 
pression, there is usually a portrait-like simplicity 
in his countenances. In short, his pictures are 
said to hold a middle rank between the unpolished 
naturalness of the Flemish, and the graceful and 
dignified taste of the Italian schools. The works 
of Murillo are numerous and widely scattered 
over the world. His greatest works, as before 
mentioned, are in the churches in Spain, some in 
the royal collection at Madrid, some in France and 
Flanders, many in England, and a few in the Uni- 
ted States. They now command enormous pi'ices. 
The National Gallery ab London paid 4000 guineas 
for a picture of the Holy Family, and 2000 for one 
of St. John with the Lamb, Murillo was of a no- 
ble and charitable disposition, and though he re- 
ceived large and increasing prices for his works af- 
ter his return from Madrid to Seville, he is said to 
have left but little property. 

MURPHY, John, an English mezzotinto en- 
graver, born about 1748, and died about 1810. 
He engraved some of the prints in the Houghton 
collection, and others after the Italian masters ; 
also after Reynolds, West, Romney,' Northcote, 
Stothard, and Ramberg. He was an excellent 
engraver in his branch of the art. The following 
are among his most esteemed prints : 

The Brothers of Joseph showing his bloody Garment to 
Jacob ; after Guercino. Joseph interpreting Phar,aoh',9 
Dream ; do. Mark Antony's Oration over the Body of 
Caesar ; after West. Elisha restoring the Widow's Son | 
after Northcote. The Tiger ; do. 

MITRRAY. Thomas, an eminent Scotch por- 
trait painter, born in 1666. He went to London 
at an early age, where he studied with John Riley, 
at the time he was painter to "William and Mary. 
He studied nature carefully, imitated his master 
in his coloring, to whom his pictures have a striking 
resemblance. He was patronized by the royal 
family and many of the nobility, and acquired a 
considerable fortune. His portrait, painted by 
himself, is in the Florentine Gallery, He died in 
1724. 

MUSIS, Agostino de, 

called Agostino Venezia- 

an eminent engraver, born 



A.V. 

\510 



''A.^, 



MUSI. 

at Venice about 1490, and a disciple of Marc' Anto- 
nio Raimondi, of whose fine style he was one of the 
most successful followers. Several of his earlier 
plates were executed in conjunction with Marco da 
Kayenna, who had been his fellow-student under 
Marc' Antonio. After the death of Raffaelle in 
1520, they separated, and each wrought alone. At 
the sacking of Rome in 1527, the artists in that 
capital sought refuge in other Italian cities, and 
Agostino went to Florence, where he is said to 
have applied to Andrea del Sarto for employment ; 
but having: previously engraved, in 1516,a plate from 
a picture by him, representing a Dead Christ sup- 
ported by Angels, which did not meet the painter's 
approbation, he would not permit him to engrave 
any more of his pictures. Musis was one of the 
most eminent engravers of his time. His prints 
are equally neat and finished as those of Marc' 
Antonio, but they are inferior to him in the purity 
and correctness of his drawing, and the tasteful 
expression of his heads. Very many of his works 
are after Raffael le. The earliest dates found on 
his plates are 1509, and the latest 1536, about 
which time he is supposed to have died. Fine im- 
pressions of his prints are extremely scarce and 
valuable. He sometimes marked them with a tab- 
let, similar to that used by Marc' Antonio, but 
more frequently with a date and A. V., for Agostino 
Veneziano. The following are his principal 
plates : 

PORTRAITS. 

Pope Paul III., in profile ; inscribed Paulus III. Pon. 
Max. 1534. The same Pontiff, with the papal crown ; da- 
ted 1536. Charles V. holding a sword ; after Titian. 
Another Portrait of Charles V. ; dated 1536." Ferdinand, 
King of the Romans ; inscribed Proximus a summo Fer- 
dinandiis, <^c. 1536. Francis I. of France ; dated 1536. 
The Emperor Soliman ; dated 1535. 

SUBJECTS OF SACRED HISTORY. 

The Creation ; engraved in conjunction with Marco da 
Ravenna ; after Raffaelle. The Sacrifice of Isaac ; do. 
The Benediction of Isaac ; dated 1522 ; do. ; very scarce. 
The same subject ; dated 1524. The Israelites passing 
the Red Sea ; do. The Israelites gathering the Manna ; 
do. This plate is supposed to have been begun by Marc' 
Antonio. Samson bound by the Philistines ; circular ; 
from his own design. The Nativity; after Giulio Ro- 
mano. 1531. The Four Evangelists; in four plates ; do, 
1518. The Murder of the Innocents; copied from the 
print by Marc' Antonio. A. V. ; very scarce. The Na- 
tivity ; copied from a wooden cut by A. Durer ; very 
scarce. Christ bound to the Pillar ; do. ; very scarce. 
The Last Supper ; do. ; 1514. The dead Christ, with An- 
gels ; after A. del Sarto. 1516. The Archangel Michael ; 
after Raffaelle. The Virgin and infant Christ, ^ith St. 
John ; after Francia. St. Jerome with the Lion ; after 
Raffaelle. 

HISTORICAL AND MYTHOLOGICAL SUBJECTS. 

Diogenes seated by the side of a River ; after Baccio 
Bandinelli. Tarquin and Lucretia ; after Raffaelle. The 
Death of Lucretia ; copied from the print by Marc' An- 
tonio ; after Raffaelle. Cleopatra ; after Baccio Bandi- 
nelli. 1518. Vulcan giving Cupid's Arrows to Venus ; af- 
ter Raffaelle. 1530. Venus riding on a Dolphin, with 
Cupid holding a Torch; do. Jupiter and Leda. Apollo 
and Daphne ; after Raffaelle ; attributed by some to 
Marc' Antonio. ' The Fall of Phaeton ; marked A. V. on 
a tablet. The Triumph of Silenus ; after Raffaelle ; do. 
The infant Hercules destroying the Serpents ; after Giulio 
Romano. Hercules strangling Anteus ; after M. Angelo 
Buonarotti. Hercules desa'oying the Nemean Lion ; af- 
ter Raffaelle. 

VARIOUS SUBJECTS. 

The Burying-place, an assemblage of emaciated figures 
with skeletons, and a figure of Death holding a book ; af- 



602 



MUSI. 



ter Baccio Bandinelli ; inscribed Augustinus Venetus 
dc Musis faciehat. 1518. A large print, called the Climb- 
ers ; after the famous cartoon of Pisa, by M. Angelo Bu- 
onarotti, dated 1523. This print is very different from 
that of the same subject engraved by Marc' Antonio, which 
consists of many more figures. It is marked with the 
name of the painter on a tablet, and dated 1524. The 
Academy of Baccio Bandinelli, in which that artist is rep 
resented in the midst of his disciples. 1531. The Battle of 
the Sabre, so called from a sword which lies on the ground, 
fallen from the hand of a warrior, who is represented as 
dead, on the right-hand side of the print. An Emperor 
on horseback, with attendants, called by some the Triumph 
of Marcus Aurelius. This print is marked with the tablet 
used by Marc' Antonio, who is supposed to have partly en- 
graved it. An old Philosopher, or Magician, seated on the 
ground, measuring with his compasses a circle, in which are 
seen the sun and moon ; dated 1509 ; after Dom. Cam- 
pagnola. 

MUSIS, Lorenzo and Giulio de. These en- 
gravers are supposed to have been the sons of the 
preceding. They engraved some plates, in which 
they seem to have imitated Agostino de Musis, 
but with no great success. Their prints are 
marked with their names in full. 

MUSS, Charles, a German painter in enamel, 
who ranked high in that branch. He also excelled 
in painting on glass. His picture of the Holy 
Family, after Parmiggiano. is the largest enamel 
ever executed. He died in 1824. 

MUSSCHER, Michael van, an eminent Dutch 
painter, born at Rotterdam in 1645. He first 
studied under Martin Zaagmoolen, an obscure ar- 
tist ; and afterwards successively with Abraham 
vander Terapel. Gabriel Metzu, and Adrian van 
Ostade. He did not exactly follow the style of 
any of his instructors, but adopted one of his own, 
somewhat resembhng Francis Mieris, without ar- 
riving at the harmony of his coloring, or the ex- 
quisite polish of his finishing. He painted con- 
versations and small portraits, which are clearly 
and agreeably colored and highly finished, though 
his drawing is not very correct. He particularly 
excelled in portraits, which he executed with truth 
and fidelity; and he had the faculty of flattering 
his picture without spoiling the likeness, which 
doubtless was one reason for his great success. 
He settled at Amsterdam, where he found such 
abundant employment that he could hardly exe- 
cute the numerous commissions he received. Des- 
camps says he occasionally painted historical pieces, 
for which he received large prices. His works are 
highly esteemed in Holland, and are admitted into 
the choicest collections. His most remarkable 
work was a family picture of himself, wife, and 
children, which was sold fgr more than a thousand 
florins, and is now in the Museum at the Hague. 
He died at Amsterdam in 1705. 

MUSSO, Niccolo, an Italian painter, born at 
Casalmonferrato. According to Orlandi, he went 
to Rome quite young, and studied in the school 
of Michael Angelo da Caravaggio. After spending 
two years at Rome, he returned to his native city, 
where he executed several altar-pieces for the 
churches, and wrought much for individuals. — 
Lanzi says, "his works possess an originality of 
style, though it leans to Caravaggio. His chiaro- 
scuro, however, is more delicate and more trans- 
parent; he is very select in his figures, and in 
expression; and he is one of those admirable 
painters almost unknown, even to Italy itself." 
He also commends his picture in the church of St. 
Francis, representing that saint at the feet of Christ 



I 



MUST. 



603 



MUZI. 



crucified, and a group of Angels, partaking in his 
lamentations and devotions. He flourished about 
1618. 

MUSTACCHI, II. See Revello. 

MUTEL, M., a French engraver little known, 
who executed a few portraits^ among which is one 
of Thomas Fantel de Lagny. 

MUTir, or MUCCI, Giovanni, a native of Cento, 
was the nephew and scholar of Guercino. Accord- 
ing to Crespi, he was a faithful imitator of his 
master, and a distinguished engraver. None of his 
works are specified. He flourished about 1650. 

JilUTIUS. Aius, a Roman architect, who flourish- 
ed about B. C. 100. He erected the Temple of Hon- 
or and Virtue at Rome, near the trophies of Marius. 
The ancient ruins near St. Eusebius are supposed 
by Milizia to be the remains of this temple. That 
author, quoting Vitruvius, says that the cell, the 
columns, and the entablature, were in strict ac- 
cordance with the true laws of art ; and had the 
richness of the materials been suited to the deli- 
cacy of the work, this temple would have been one 
of the most celebrated of all antiquity. 

MUTO II, di Ficarolo. See Ercole Sarti. 

xMUTO II, di Verona. See Francesco Comi. 

MUTTONI. See Pietro Vecchia. 

MUYS, William, a Dutch painter, born at 
Schiedam in 1712. He settled at Rotterdam, 
where he painted portraits, and cabinet pictures, 
somewhat in the style of Mieris and vander Werf. 
He died there in 1763. 

MUYS, Nicholas, was the son of the preceding, 
born at Rotterdam in 1740. He was first in- 
structed by his father, and afterwards studied 
with Aart Schouraan at the Hague. He then re- 
turned to his native city, where he painted por- 
traits and cabinet pictures, chiefly interiors, with 
considerable success. His pictures exhibit a fine 
genius in composition, are correct in design, well 
colored, and carefully finished. He died in 1808. 

MUYS, R., an obscure Dutch engraver, who ex- 
ecuted some portraits, among which is one of Wil- 
liam. Prince of Orange. 

MUZIANO, GiROLAMO. an eminent Itahan 
painter, born at Aquafredda, in the territory of 
Brescia, in 1528. After learning the rudiments 
of the art under Girolamo Romanino in his native 
city, he went to Venice, where he diligently studied 
the works of Titian, and other great masters. He 
next visited Rome in company with Federigo Zuc- 
caro, where he soon acquired distinction. His 
abilities recommended him to the notice of Pope 
Gregory XIII., who employed him to superintend 
the architectural works going on in the Vatican, 
and commissioned him to paint two pictures for 
St. Peter's church, representing St. Jerome and 
St. Basil, which gained him considerable reputa- 
Jtion, and he was considered the great supporter of 
true taste. He derived his principles both in de- 
sign and color from the Venetian school, and ac- 
quired such skill in landscape, that he was named 
in Rome II Giovane de' paesi. The Cardinal 
Farnese employed him in competition with Zuc- 
caro and Tempesta to decorate his villa at Tivoli, 
where he evinced the superiority of his talents 
over both his competitors. But he was ambitious 
to distinguish himself in a more elevated style ; 
therefore he applied himself to study with such 



assiduity, that he shaved his head to prevent his 
goiuj^' abroad. He soon afterwards produced his 
celebrated picture of the Raising of Lazarus for 
the church of S. Maria Maggiore, which was re- 
moved to the Pontifical Palace of the Quirinal. after- 
wards transferred to Paris by Napoleon, and again 
restored to its place in 1815. This capital produc- 
tion procured him the esteem and friendship of 
Michael Angelo Buonarotti. who assisted him with 
his instruction and advice. He soon afterwards 
painted his picture of the Circumcision for the 
church del Gesu, followed by many other admira- 
ble works in the churches and public edifices at 
Rome, the most remarkable of which are, the As- 
cension, in the Ara Coeli ; St. Francis receiving the 
Stigmata, in the church della Concezione ; the 
Descent of the Holy Ghost, in the Hall of the 
Consistory ; the Nativity, in S. Maria de' Monti ; 
Christ giving the Keys to St. Peter, in S. Maria 
degli Angeli, and a Troop of Anchorites attentive- 
ly listening to a Saint, at the Carthusians. He al- 
so executed some excellent works for the churches 
in other cities, particularly in the cathedrals of 
Orvieto and Foligno. In the latter, he painted a 
fresco representing the Miracles of St. Feliciano, 
which Lanzi says were long covered up with smoke 
and dust, but a few years ago they were restored 
to all their original freshness and charm of color. 

The works of Muziano exhibit a grandeur of de- 
sign and an intimate acquaintance with anatomy, 
in which he appears to have emulated the learned 
design of Buonarotti. His composition is copious 
and ingenious, and the character of his heads is 
dignified and expressive. His coloring partakes 
of the truth and harmony of the Venetian school, 
and the back grounds of his pictures are often en- 
riched with admirable landscapes, which remind 
one of the fine style of Titian. He particularly 
excelled in representing hermits and anchorites, 
men of severe aspect, with bodies attenuated by 
abstinence. He was also much employed in de- 
signing from the antique; and to him are we in- 
debted for the engraving representing the bas- 
reliefs on Trajan's column. Giulio Romano had 
begun to copy them, and the laborious underta- 
king was continued, perfected, and prepared for 
the engraver, by Muziano. He died at Rome in 
1592. 

MUZTO, Antonio, a painter born at Verona in 
1600. He studied under Enrico Fiammingo, at Bo- 
logna, the scholar of Guido, whose manner he 
adopted. He acquired considerable reputation, and 
was invited to Madrid, where he settled, and exe- 
cuted several works for the churches and palaces 
in that capital. He died there in 1648. 

MY, Jerome vander, a Dutch painter, born at 
Leyden in 1688. He studied under William Mie- 
ris, whose manner he adopted ; he paid great at- 
tention to the finishing, but his pictures are labo- 
rious, and deficient in vigor of effect. His subjects 
were history, portraits, and domestic scenes, inte- 
riors &c. 

MYCON. SeeMicON. 

MYIN, Henry Arnold, a Flemish painter, born 
at Antwerp in 1760. He studied with Omme- 
ganck, whose manner and subjects he adopted 
with considerable success. His pictures were 
highly esteemed, and are to be found in some of 
the best collections in his native city and country. 



MYLN. 



604 



MYRO. 



There are two fine landscapes with sheep, by him, 
iu the Brentano collection at Amsterdam. 

MYLNE, Robert, an eminent Scotch archi- 
tect, born at Edinburgh in 1734. His father was 
also an architect, and a magistrate of that city. 
The son visited Italy for improvement, and resided 
several years at Rome, where he gained the first 
prize of architecture in the Academy of St. Luke, 
and was honored with a membership in that in- 
stitution. He was also received into the Acad- 
emies of Bologna and Florence. On returning to 
Great Britain, he settled at London ; was com- 
missioned to build Blackfriars' Bridge ; and ap- 
pointed surveyor of St. Paul's cathedral. Among 
other edifices which he erected or repaired, were 
Rochester Cathedral ; Blaze Castle, near Bristol ; 
Addington, the seat of the Archbishop of Canter- 
bury ; the Duke of Northumberland's pavilion at 
Sion, on the banks of the Thames ; and Green- 
wich Hospital, where he was clerk of the works 
for fifteen years. He was consulted in regard to 
nearly all the harbors in England, and held a very 
high reputation during his long career. In 1762, 
he was appointed Engineer to the New River Head 
Company, which office he retained till his death, 
in 1811. 

MYN, A. VANDER, a Dutch engraver, born at 
Amsterdam, who flourished about the middle of 
the 18th century. He engraved a few portraits 
and other subjects, indifferently executed. 

MYN, George vander, a Dutch painter, born 
at Amsterdam in 1725. It is not known under 
whom he studied, but he imitated the manner and 
subjects of Watteau with considerable success. 
He was also a good portrait painter. He died 
young, at Amsterdam, in 1763. 

MYN, Hermann vander, a Dutch painter, born 
at Amsterdam in 1684. He was the son of a cler- 
gyman, who intended him for the church, and edu- 
cated him for that purpose ; but his love of the 
fine arts induced him to study painting under Er- 
Liest Stuven, an eminent painter of fruit and flow- 
ers. Aspiring to a higher department of art, he 
quitted Stuven and flower painting, and devoted 
himself with assiduity to history. He made great 
progress, and acquired so much celebrity that he 
was invited to the court of the Elector Palatine, 
in 1716, where he continued some time. He after- 
wards returned to Holland, where he painted a 
picture of Jupiter and Danae, which excited the 
admiration of the connoisseurs at the Hague. He 
also painted the history of Amnon and Tamar, in 
a noble style, as well as several other subjects 
from sacred and profane history, which were much 
admired for the beauty of the composition, ele- 
gance of expression, and excellence of the color- 
ing ; but. being excessively vain, he asked such 
enormous prices for his works that he could not 
find purchasers for them. He next visited Ant- 
werp, and thence proceeded to Paris, where he 
was patronized by the Duke of Orleans, for whom 
he painted his picture of Peter denying Christ, 
which is considered his most capital work. In 
1722 he went to London, at the recommendation 
of Lord Cadogan, where he was much employed 
in painting the portraits of the nobility, in which 
he carried to excess the laborious minuteness of 
his countrymen, imitating the details of lace, em- 
broidery, fringes, &c., with the most patient pre- 
cision. He painted the portraits of the Prince of 



Wales and the Princess of Orange ; also a picture 
of the Duke and Duchess of Chandos, for which 
he received five hundred guineas. He lived in 
London for a long time in splendid magnificence ; 
but, by indiscreet conduct and an unfoi'tunate 
marriage, he sacrificed his fortune and reputation, 
and died there, in misery and contempt, in 1741. 

MYN, Agatha vander, was a sister of the pre- 
ceding, and painted fruit, flowers, and dead game 
with considerable ability. According to Lord Or- 
ford, she accompanied her brother to London, 
where she practised her profession. 

MYN, Robert vander, perhaps a son of Her- 
mann vander Myn, born in 1724. He resided in 
London, where he painted many portraits, land- 
scapes, and fruit and flower pieces. 

MYNDE, J., an engraver who flourished in Lon- 
don about 1760. He was chiefly employed by the 
booksellers. He also engraved a few portraits, in- 
differently executed. 

p MYRIGINUS, or MYRICINUS, Pe- 

* -r^ ter, a Flemish engraver, who flourished 
JYV 1^* Antwerp about 1550. He engraved 
' *^~^some subjects after Jerome Bosche, Breu- 
ghel, and others, marked with the above mono- 
gram ; also a portrait of Albert Durer, copied 
from another print. He is supposed to be the 
same as Peter Martini, an engraver and print- 
seller of Antwerp, whose name appears on several 
prints published by Jerome Cock, marked Pet. 
Merecinus, sc, one of which is dated 1567. 

MYRON, an eminent Greek sculptor, born at 
Eleutherse, in Boeotia, about B. C. 480. He stud- 
ied under Ageladas, at the same time as Polycle- 
tus, and was therefore in the prime of life M'hen 
Phidias died. At the commencement of the Pelo- 
ponnesian war, Myron was settled at Athens, and 
in the height of his fame. Pliny says he first 
gained reputation by a brazen heifer. He also ex- 
ecuted a Dog ; a Quoit-thrower ; Perseus killing 
Medusa; Delphic pentathletes; Pancratiasts ; a 
Satyr admiring a flute; a Hercules, which was in 
the Temple of Pompeius in the Circus Maximus; 
also a statue of Apollo, taken from Ephesus to 
Rome by Marcus Antonius. but subsequently re- 
stored by Augustus. 

Myron is said to have been the first sculptor 
who represented nature in a multiplicity of forms j 
he sculptured men and animals with equal suc- 
cess ; and, according to Petronius, he imparted 
life itself to brass. Pliny says he was more va- 
ried than Polycletus, but not so exact in his pro- 
portions; curious in all corporeal detail, but paid 
little regard to expression. He appears to have 
adhered in the head and face to the earliei- type ; 
but Pliny appears to imply that he did this from 
taste, rather than from any want of the faculty of 
imparting expression. 

The most celebrated of all Myron's works was 
his cow, lowing, and, according to some writers, 
suckling a calf. There are no less than thirty-six 
epigrams on this work in the Greek Anthology. 
No human figure has attracted so much notice, 
which probably arose from its novelty, for Athens 
abounded in statues of men and gods, with but 
very few animals, even the horses of Phidias be- 
ing of a small size, and only bas-reliefs under a 
colonnade. It was of life-size, fixed upon a mar- 
ble pedestal, in a public place in Athens, as it 



MYTE. 



605 



MYTE. 



stood in the time of Cicero. Pausanias did 
not see it at Athens, however ; and in the time of 
Procopius it was in the temple of Peace at Rome, 
Another celebrated work was the Dioscobolus or 
Quoit-thrower. The original was in bronze, and 
there are several similar marble statues existing, 
more or less perfect, supposed to be copies of My- 
ron's work. One is in the Capitol at Rome ; one 
in the Vatican ; a third in the Villa Massimi at 
Rome ; the one in the British Museum was found 
in the Villa Adriana near Tivoli, in 1791, and pass- 
ed into the possession of Mr. Townley through 
the hands of Mr. Jenkins, a dealer in works of 
art. The Townley copy is said by some critics to 
be incorrectly restored, as it varies from the de- 
scription of the original given by Lucian, which 
exactly corresponds with the Massimi copy. The 
Variation, however, only concerns the position of 
the head ; and Barry says that the deviation in the 
Townley copy is much more consistent with the 
necessary impetus of the throw, the head shooting 
upward and forward, instead of being turned to- 
ward the quoit-bearer. It should also be remem- 
bered that there is no proof whatever that any of 
these statues are really copies of Myron's work. 
Among the other productions of Myron, were four 
oxen in the temple of Apollo on the Palatine 
Mount ; a statue of Hercules, brought by Verres 
to Italy; a statue of Apollo, with Myron's name 
in silver letters on the thigh, in the temple of ^s- 
culapius at Agrigentum ; Jupiter, with Minerva 
and Hercules, a very celebrated colossal work, in 
the Heraeum at Samos. The latter was removed 
to Rome by Antonius, but the Minerva and Her- 
cules were subsequently restored to their places 
by Augustus, who placed the Jupiter in the Capitol. 

MYTENS, John. See John Meyssens. 

MYTENS, Arnold, a Flemish painter, born at 
Brussels in 1541. It is not known under whom 
he studied, but he went to Italy for improvement, 
passing through Venice to Rome, where he resided 
several years, and became thoroughly imbued with 
the principles of that school. He afterwards went 
to Naples, where he painted an altar-piece repre- 
senting the Assumption ; also the Miraculous Con- 
ception, in the church of S. Lodovico, which gained 
him great reputation. At Abruzzo, he painted a 
grand composition, representing Christ crowned 
with Thorns, by the light of Flambeaux, in which 
the lights were judiciously and happily distributed, 
and the coloring excellent, with an admirable chi- 
aro-scuro. On his return to Rome, he was em- 
ployed in some considerable works in the church 
of St. Peter. He also painted much for the col- 
lections. He died at Rome in 1602. 

MYTENS, A., a Dutch portrait pamter, who 
flourished at the Hague from 1612 to 1660. No- 
thing is known of him e:scept his works, which 
are well executed. Amon^ other portraits at the 
Hague by him, are Frederick Henry, Prince of Or- 
ange ; the poet Jacob Cats ; his housekeeper, named 
Havius, and a picture of the Celebration of the Mar- 
riage of the Elector of Brandenbourg with the 
Daughter of the Prince of Orange. 

MYTENS, Daniel, the Elder, a Dutch por- 
trait painter, born at the Hague. It is probable 
that he studied in the school of Rubens, as he imi- 
tated that master in his portraits, and in his back- 
grounds. He went to England in the reign of 



King James, where he painted several of the 
Court. He was appointed court painter by Charles 
I,, in 1625. At Hampton Court are several whole- 
length portraits by him of the princes of the 
House of Brunswick Lunenburg, and one of Charles 
Howard, Earl of Nottingham j at Kensington, a 
head of himself; and at St. James, a fine picture 
of Hudson, the king^s dwarf, holding a dog with 
a string, in a landscape, warmly colored, and freely 
painted. Mytens continued in great reputatioTJ 
till the arrival of Vandyck, when the latter being 
appointed principal painter to the king, his pride 
was wounded, and he asked leave to retire to his 
own country. The king, learning the cause of his 
dissatisfaction, treated him with much kindness, 
and told him he could find sufficient employment 
for both him and Vandyck. He afterwards grew 
quite intimate with his rival, and Vandyck paint- 
ed his portrait. It is supposed that he returned 
to the Hague about 1630, as none of his works in 
England bear a later date. Some of his portraits 
are so much in'the style of Vandyck, that they 
have been taken for those of that master. 

MYTENS. Daniel, the younger, was the son 
and scholar of the preceding, born at the Hague in 
1636. Some authors confound his history with 
his father's. He went early to Rome, where he 
studied in company with his countrymen, William 
Doudyns, and vander Schuur. The works of Car- 
lo Maratti, were particularly the objects of his 
admiration, and he formed an intimacy with that 
master, whose advice and instruction contributed 
much to his advancement ; and he acquired con- 
siderable reputation at Rome, both as an histori- 
cal and portrait painter. He returned to the 
Hague in 1664, where he continued to practise his 
profession with distinction, and was received into 
the Academy there ; but having inherited a con- 
siderable property on the death of his father, he 
neglected his business, became dissipated, and to- 
wards the latter part of his life, degraded his talents, 
and impaired his health by habitual intemperance. 
He died in 1688. 

MYTENS, Martin, a Swedish painter, born at 
Stockholm in 1695. He showed an early inclina- 
tion for art, and before he left Stockholm, painted 
several works which excited the surprise of the 
best judges and principal nobility at that court j 
but feeling satisfied that he could not obtain a 
thorough knowledge of art in his own country, he 
determined to go to Italy, and on his way, to visi^ 
some of the principal cities of Europe. He first 
proceeded to Holland, and thence to London, where 
he carefully studied, and designed after Vandyck, 
and other masters. In 1717, he went to Paris, 
where he obtained the favor of the Duke of Orleans, 
and had the honor of painting the portrait of that 
prince, and of Louis XV. He also drew the Czar 
Peter, who made him liberal offers to induce him 
to settle at St. Petersburg, which he declined. In 
1721, he arrived at Vienna, where he was well re- 
ceived, and painted the portraits of the Imperial 
Family. In 1723, he proceeded to Italy, stopping 
some time at Venice, to study the works of the 
best masters of the Venetian school. At Rome, 
he exerted all his powers to obtain a grand style 
of composition and a correct design. He next 
went to Florence, where the Grand Duke took 
him into his service for some time, showed him 
many marks of favor and esteem, and placed 



NAPO. 



608 



NASI. 



excellent works for the churches, but wrought 
more for individuals. 

NAPOLITANO, Tl. See Filippo d' Angeli. 

NAPPI, Francesco, an Italian painter, born at 
Milan, according to Baglioni, in 1573. After at- 
taining some proficiency in the art, he settled at 
Rome, during the pontificate of Urban VIII. He 
painted a number of pictures for the public edifices 
of that city, but they are little above mediocrity. 
Lanzi says, '• he displays great variety ; and when 
he painted in his Lombard manner, as in the As- 
sumption at the cloister della Minerva, and the 
Annunciation and other works in the Monasterio 
dell' Umilta, he showed himself a naturalist far 
more pleasing than the mannerists of his time." 
Nappi died in 1638. 

NARDI, Angelo, an Italian painter, who, ac- 
cording to Palomino, passed -the greater part of his 
life in Spain, where he flourished about 1645. He 
studied under Paolo Veronese, and imitated the 
style of that master in all his works. It is proba- 
ble that he attained a good degree of excellence, as 
Philip IV. appointed him painter to the court. 
There are a number of his pictures in the churches 
at Madrid, among which the most esteemed are 
the Annunciation, in the Society of S. Justo ; the 
Nativitjr and Conception, in the church of the 
Franciscans ; the Guardian Angel and St. Michael 
the Archangel, in the church of the Barefooted 
Carmelites. Nardi died at Madrid in 1660. 

NARDINI, D. ToMMASo, an historical painter, 
born at Ascoli in 1658, and died in 1718. He 
studied under Lodovico Trasi, an excellent scholar 
of Carlo Maratti. He was much employed in de- 
corating the churches of his native city, the best 
of which are in the church of S. Angelo Magno. 
The perspective was painted by Agostino Collace- 
roni, of Bologna. Nardini executed the figures, 
representing the Apocalypse, and other scriptural 
events. Lanzi says they display great spirit and 
harmony, richness of coloring, and facility of execu- 
tion ; which are the distinguishing characteristics 
of this master. 

NASELLI, Francesco, a distinguished Ferrar- 
ese historical painter, of noble birth, flourished 
about 1610. Lanzi says he practised drawing 
from the naked model with assiduity, and studied 
and copied the works of the Caracci and Guerci- 
no. By such practice he formed an excellent style 
of his own, on a large scale, soft, with vigorous 
coloring and rapid execution, inclining in those of 
his fleshes to a sunburnt hue. He made many 
excellent copies of the works of those masters, 
which are in the churches of his native place, and 
in private cabinets. Among these is his Commun- 
ion of St. Jerome, from Agostino Caracci. He 
was exceedingly industrious and persevering, al- 
though in easy circumstances, and of noble rank. 
He painted at the Scala. in competition with one 
of the Caracci, Bonone, and Scarsellino ; and, 
according to Lanzi, was deemed not unworthy of 
those eminent artists. Among his principal works 
are the Nativity, in the Cathedral ; the Assump- 
tion, in S. Francesco ; and several representations 
of the Last Supper, in private institutions. He 
died at Ferrara in 1630. 

NASELLI, Alessandro, was the son and schol- 
ar of the preceding artist, whose style he imita- 
ted, and executed, according to Orespi, some works 



for the churches at Ferrara. He was an artist 
not above mediocrity. 

NASH, John, an English architect, born in 
1752. He was at first a miniature painter, but 
subsequently devoted himself to architecture, and 
is chiefly known as the promoter and author of 
the important improvements in London, effected by 
the formation of Regent street and the Regent's 
Park. Among his other works, were the designs 
for Buckingham palace, the Pavilion at Brighton, 
the United Service Club House, the Haymarket 
Theatre, and the terraces in St. James' Park. He 
died in 1835. 

NASINI, Cav. Giuseppe, an Italian painter, 
born at Siena, according to Delia Valle, in 1664. 
He first studied under his father, Francesco N., an 
artist of little note ; but afterwards entered the 
school of Ciro Ferri, and became one of his ablest 
disciples. He was deficient in correctness of de- 
sign, and dignity of character, but possessed a fer- 
tile imagination, and a resolute and commanding 
execution, which peculiarly qualified him for grand 
fresco works. At the recommendation of Ciro 
Ferri, he was employed by the Grand Duke of 
Tuscany to paint in the Palazzo Pitti, from the 
designs of P. da Cortona, the Four Ages of Man, 
in emblematical subjects, which he finished to the 
satisfaction of his employer. There are many of 
his subjects at Siena, Foligno, and Florence, among 
which his masterpiece is supposed to be the St. 
Leonardo, in Madonna del Pianto, at Foligno. At 
Rome, he was commissioned to paint the ceiling 
of the Capella Bracciana, in the church de SS. 
Apostoli ; in the large Prophets of the Lateran 
Cathedral, he competed with Luti, and the first 
artists then at Rome. Bartsch mentions a print 
by Nasini, representing the Virgin and the infants 
Jesus and John in a landscape, with Cherubs fly- 
ing in the air ; designed in the style of Ciro Ferri, 
and engraved with a delicate point in the manner 
of P. S. Bartoli. He died in 1736. 

NASINI, Cav. Apollonio, born at Florence in 
1697, was the son and scholar of the preceding, 
whom he assisted in the execution of his numerous 
works. Though he was inferior to his father in 
invention, he was an excellent artist, acquired dis- 
tinction, and was much employed, not only by the 
churches, but by individuals. He died about 1754. 

NASINI, D. Antonio, was a younger brother 
of Giuseppe, with whom he studied. According 
to Della Valle, he held an honorable rank among 
his cotemporaries. He was chiefly employed in 
painting portraits, in which branch he excelled. 
His likeness is in the Florentine Gallery. He en- 
tered the priesthood, but still continued to prac- 
tise his art. He died in 1716. 

NASMYTH, Alexander, a Scottish landscape 
painter, born at Edinburg in 1758. He visited 
London, and became a pupil of Allan Ramsay j 
after which he went to Rome for improvement, 
and remained there several years, studying por- 
trait, landscape, and historical painting. On re- 
turning to Edinburg, he painted the portraits of 
a number of persons, among which was that of 
Robert Burns ; but subsequently devoted himself 
entirely to landscape. His favorite subjects were 
wild and mountainous views, usually designed 
from nature, and painted in a simple and pictu- 
resque style. He was much occupied in teaching 



MYTE. 



605 



MYTE. 



stood in the time of Cicero. Pausanias did 
not see it at Athens, however ; and in the time of 
Procopius it was in the temple of Peace at Rome. 
Another celebrated work was the Dioscobolus or 
Quoit-thrower. The original was in bronze, and 
there are several similar marble statues existing, 
more or less perfect, supposed to be copies of My- 
ron's work. One is in the Capitol at Rome; one 
in the Vatican ; a third in the Villa Massimi at 
Rome ; the one in the British Museum was found 
in the Villa Adriana near Tivoli, in 1791, and pass- 
ed into the possession of Mr. Townley through 
the hands of Mr. Jenkins, a dealer in works of 
art. The Townley copy is said by some critics to 
be incorrectly restored, as it varies from the de- 
scription of the original given by Lucian, which 
exactly corresponds with the Massimi copy. The 
variation, however, only concerns the position of 
the head ; and Barry says that the deviation in the 
Townley copy is much more consistent with the 
necessary impetus of the throw, the head shooting 
upward and forward, instead of being turned to- 
ward the quoit-bearer. It should also be remem- 
bered that there is no proof whatever that any of 
these statues are really copies of Myron's work. 
Among the other productions of Myron, were four 
oxen in the temple of Apollo on the Palatine 
Mount ; a statue of Hercules, brought by Verres 
to Italy ; a statue of Apollo, with Myron's name 
in silver letters on the thigh,' in the temple of ^s- 
culapius at Agrigentum ; Jupiter, with Minerva 
and Herculesr a very celebrated colossal work, in 
the Heraeum at Saraos. The latter was removed 
to Rome by Antonius, but the Minerva and Her- 
cules were subsequently restored to their places 
by Augustus, who placed the Jupiter in the Capitol. 

MYTENS, John. See John Meyssens. 

MYTBNS, Arnold, a Flemish painter, born at 
Brussels in 1541. It is not known under whom 
he studied, but he went to Italy for improvement, 
passing through Venice to Rome, where he resided 
several years, and became thoroughly imbued with 
the principles of that school. He afterwards went 
to Naples, where he painted an altar-piece repre- 
senting the Assumption ; also thfe Miraculous Con- 
ception, in the church of S. Lodovico, which gained 
him great reputation. At Abruzzo, he painted a 
grand composition, representing Christ crowned 
with Thorns, by the light of Flambeaux, in which 
the lights were judiciously and happily distributed, 
and the coloring excellent, with an admirable chi- 
aro-scuro. On his return to Rome, he was em- 
ployed in some considerable works in the church 
of St. Peter. He also painted much for the col- 
lections. He died at Rome in 1602. 

MYTENS, A., a Dutch portrait pamter, who 
flourished at the Hague from 1612 to 1660. No- 
thing is known of him except his works, which 
are well executed. Among other portraits at the 
Hague by him, are Frederick Henry, Prince of Or- 
ange ; the poet Jacob Cats ; his housekeeper, named 
Havius, and a picture of the Celebration of the Mar- 
riage of the Elector of Brandenbourg with the 
Daughter of the Prince of Orange. 

MYTENS, Daniel, the Elder, a Dutch por- 
trait painter, born at the Hague. It is probable 
that he studied in the school of Rubens, as he imi- 
tated that master in his portraits, and in his back- 
grounds. He went to England in the reign of 



King James, where he painted several of the 
Court. He was appointed court painter by Charles 
I., in 1625. At Hampton Court are several whole- 
length portraits by him of the princes of the 
House of Brunswick Lunenburg, and one of Charles 
Howard, Earl of Nottingham ; at Kensington, a 
head of himself; and at St. James, a fine picture 
of Hudson, the king's dwarf, holding a dog with 
a string, in a landscape, warmly colored, and freely 
painted. Mytens continued in great reputation 
till the arrival of Vandyck, when the latter being 
appointed principal painter to the king, his pride 
was wounded, and he asked leave to retire to his 
own country. The king, learning the cause of his 
dissatisfaction, treated him with much kindness, 
and told him he could find sufficient employment 
for both him and Vandyck. He afterwards grew 
quite intimate with his rival, and Vandyck paint- 
ed his portrait. It is supposed that he returned 
to the Hague about 1630, as none of his works in 
England bear a later date. Some of his portraits 
are so much in the style of Vandyck. that they 
have been taken for those of that master. 

MYTENS, Daniel, the younger, was the son 
and scholar of the preceding, born at the Hague in 
1636. Some authors confound his history with 
his father's. He went early to Rome, where he 
studied in company with his countrymen, William 
Doudyns, and vander Schuur. The works of Car- 
lo Maratti, were particularl}?- the objects of his 
admiration, and he formed an intimacy with that 
master, whose advice and instruction contributed 
much to his advancement ; and he acquired con- 
siderable reputation at Rome, both as an histori- 
cal and portrait painter. He returned to the 
Hague in 1664, where he continued to practise his 
profession with distinction, and was received into 
the Academy there ; but having inherited a con- 
siderable property on the death of his father, he 
neglected his business, became dissipated, and to- 
wards the latter part of his life, degraded his talents, 
and impaired his health by habitual intemperance. 
He died in 1688. 

MYTENS, Martin, a Swedish painter, born at 
Stockholm in 1695. He showed an early inclina- 
tion for art, and before he left Stockholm, painted 
several works which excited the surprise of the 
best judges and principal nobility at that court ; 
but feeling satisfied that he could not obtain a 
thorough knowledge of art in his own country, he 
determined to go to Italy, and on his way, to visit 
some of the principal cities of Europe. He first 
proceeded to Holland, and thence to London, where 
he carefully studied, and designed after Vandyck, 
and other masters. In 1717, he went to Paris, 
where he obtained the favor of the Duke of Orleans, 
and had the honor of painting the portrait of that 
prince, and of Louis XV. He also drew the Czar 
Peter, who made him liberal ofiers to induce him 
to settle at St. Petersburg, which he declined. In 
1721, he arrived at Vienna, where he was well re- 
ceived, and painted the portraits of the Imperial 
Family. In 1723, he proceeded to Italy, stopping 
some time at Venice, to study the works of the 
best masters of the Venetian school. At Rome, 
he exerted all his powers to obtain a grand style 
of composition and a correct design. He next 
went to Florence, where the Grand Duke took 
him into his service for some time, showed him 
many marks of favor and esteem, and placed 



NAPO. 



608 



NASI. 



excellent works for the churches, but wrought 
more for individuals. 

NAPOLITANO, II. See Filippo d' Angeli. 

NAPPI, Francesco, an Italian painter, born at 
Milan, according to Baglioni, in 1573. After at- 
taining some proficiency in the art, he settled at 
Home, during the pontificate of Urban VIII. He 
painted a number of pictures for the public edifices 
of that city, but they are little above mediocrity. 
Lanzi says, '•' he displays great variety ; and when 
he painted in his Lombard manner, as in the As- 
sumption at the cloister della Minerva", and the 
Annunciation and other works in the Monasterio 
dell' Umilta, he showed himself a naturalist far 
more pleasing than the mannerists of his time." 
Nappi died in 1638. 

NARDI, Angelo, an Italian painter, who, ac- 
cording to Palomino, passed the greater part of his 
life in Spain, where he flourished about 1645. He 
studied under Paolo Veronese, and imitated the 
style of that master in all his works. It is proba- 
ble that he attained a good degree of excellence, as 
Philip IV. appointed him painter to the court. 
There are a number of his pictures in the churches 
at Madrid, among which the most esteemed are 
the Annunciation, in the Society of S. Justo ; the 
Nativity and Conception, in the church of the 
Franciscans ; the Guardian Angel and St. Michael 
the Archangel, in the church of the Barefooted 
Carmelites. Nardi died at Madrid in 1660. 

NARDINI, D. ToMMAso, an historical painter, 
born at Ascoli in 1658, and died in 1718. He 
studied under Lodovico Trasi, an excellent scholar 
of Carlo Maratti. He was much employed in de- 
corating the churches of his native city, the best 
of which are in the church of S. Angelo Magno. 
The perspective was painted by Agostino Collace- 
roni, of Bologna. Nardini executed the figures, 
representing the Apocalypse, and other scriptural 
events. Lanzi says they display great spirit and 
harmony, richness of coloring, and facility of execu- 
tion 5 which are the distinguishing characteristics 
of this master. 

NASELLI, Francesco, a distinguished Ferrar- 
ese historical painter, of noble birth, flourished 
about 1610. Lanzi says he practised drawing 
from the naked model with assiduity, and studied 
and copied the works of the Caracci and Guerci- 
no. By such practice he formed an excellent style 
of his own, on a large scale, soft, with vigorous 
coloring and rapid execution, inclining in those of 
his fleshes to a sunburnt hue. He made many 
excellent copies of the works of those masters, 
which are in the churches of his native place, and 
in private cabinets. Among these is his Commun- 
ion of St. Jerome, from Agostino Caracci. He 
was exceedingly industrious and persevering, al- 
though in easy circumstances, and of noble rank. 
He painted at the Scala. in competition with one 
of the Caracci, Bonone, and Scarsellino ; and, 
according to Lanzi, was deemed not unworthy of 
those eminent artists. Among his principal works 
are the Nativity, in the Cathedral ; the Assump- 
tion, in S. Francesco ; and several representations 
of the Last Supper, in private institutions. He 
died at Ferrara in 1630. 

NASELLI, Alessandro, was the son and schol- 
ar of the preceding artist, whose style he imita- 
ted, and executed, according to Crespi, some works 



for the churches at Ferrara. He was an artist 
not above mediocrity. 

NASH, John, an English architect, born in 
1752. He was at first a miniature painter, but 
subsequently devoted himself to architecture, and 
is chiefly known as the promoter and author of 
the important improvements in London, effected by 
the formation of Regent street and the Regent's 
Park. Among his other works, were the designs 
for Buckingham palace, the Pavilion at Brighton, 
the United Service Club House, the Ilaymarket 
Theatre, and the terraces in St. James' Park. He 
died in 1835. 

NASINI, Cav. Giuseppe, an Italian painter, 
born at Siena, according to Delia Valle, in 1664. 
He first studied under his father, Francesco N., an 
artist of little note; but afterwards entered the 
school of Ciro Ferri, and became one of his ablest 
disciples. He was deficient in correctness of de- 
sign, and dignity of character, but possessed a fer- 
tile imagination, and a resolute and commanding 
execution, which peculiarly qualified him for grand 
fresco works. At the recommendation of Ciro 
Ferri, he was employed by the Grand Duke of 
Tuscany to paint in the Palazzo Pitti, from the 
designs of P. da Cortona, the Four Ages of Man, 
in emblematical subjects, which he finished to the 
satisfaction of his employer. There are many of 
his subjects at Siena, Foligno, and Florence, among 
which his masterpiece is supposed to be the St. 
Leonardo, in Madonna del Pianto, at Foligno. At 
Rome, he was commissioned to paint the ceiling 
of the Capella Bracciana, in the church de SS. 
Apostoli ; in the large Prophets of the Lateran 
Cathedral, he competed with Luti, and the first 
artists then at Rome. Bartsch mentions a print 
by Nasini, representing the Virgin and the infants 
Jesus and John in a landscape, with Cherubs fly- 
ing in the air ; designed in the style of Ciro Ferri, 
and engraved with a delicate point in the manner 
of P. S. Bartoli. He died in 1736. 

NASINI, Cav. Apollonio, born at Florence in 
1697, was the son and scholar of the preceding, 
whom he assisted in the execution of his numerous 
works. Though he was inferior to his father in 
invention, he was an excellent artist, acquired dis- 
tinction, and was much employed, not only by the 
churches, but by individuals. He died about 1754. 

NASINI, D. Antonio, was a younger brother 
of Giuseppe, with whom he studied. According 
to Della Valle, he held an honorable rank among 
his cotemporaries. He was chiefly employed in 
painting portraits, in which branch he excelled. 
His likeness is in the Florentine Gallery. He en- 
tered the priesthood, but still continued to prac- 
tise his art. He died in 1716. 

NASMYTH, Alexander, a Scottish landscape 
painter, born at Edinburg in 1758. He visited 
London, and became a pupil of Allan Ramsay ; 
after which he went to Rome for improvement, 
and remained there several years, studying por- 
trait, landscape, and historical painting. On re- 
turning to Edinburg, he painted the portraits of 
a number of persons, among which was that of 
Robert Burns ; but subsequently devoted himself 
entirely to landscape. His favorite subjects were 
wild and mountainous views, usually designed 
from nature, and painted in a simple and pictu- 
resque style. He was much occupied in teaching 



NASM. 



609 



NATA. 



the art. In 1813 he exhibited a View in Scotland, 
in the Royal Academy at London. He died in 
1840. 

NASMYTH, Patrick, a Scottish landscape 
painter, the son of the preceding, was born at 
Edinburg in 1787. He early manifested a decided 
inclination for art, and studied under his father, 
after which, at the age of twenty, he went to 
London, and attained considerable reputation. His 
landscapes are of a pleasing character. He often 
painted scenes from the wild, mountainous regions 
of Scotland, greatly wanting in that breadth of 
handling so necessary in grand landscapes, and re- 
markably injured by excessive detail. Had he 
confined his pencil to quiet. Arcadian scenes, his 
reputation would be greater than it is. Nasmyth 
had but little success. He died at Lambeth, near 
London, in 183L 

NASOCCHIO, Giuseppe, a native of Bassano, 
who is said to have studied under Gentile da Fa- 
briano at Venice, whose style he imitated. He 
was doubtless not a scholar, but an imitator of that 
master, as there is a picture by him dated 1529, 
whereas Fabriano probably died about 1423.—^ 
There were two other painters of this name, Bar- 
tolomeo and Francesco, who flourished about 1541. 
Little is known of these painters. 

NASON. Peter, a Dutch painter, who flourished 
about 1670. He painted subjects of still-life, 
which are much esteemed, and are found in some 
' of the principal German collections. It is said 
' that he visited England, and painted the portrait 
of Charles II. ; also that there are a number of 
portraits b}^ him in that kingdom, colored in a 
j delicate style, with considerable neatness of touch. 
J NATALT, Carlo, called II Gdardolino, an 

Italian painter and architect, born at Cremona 
about 1590. He studied successively under An- 
drea Mainardi and Guido Reni ; and subsequently 
resided durins; a number of years at Rome and 
Genoa, observing all that was most valuable, and 
I exerting his own talents in the art. Among his 
I best paintings is his St. Francesca Romana, in the 
church of S. Gismondo at Cremona, which Lanzi 
ranks above mediocrity. Natali did not execute 
many works in painting, being principally devoted 
to architecture. His edifices are principally at 
Genoa and Cremona, but none of them are men- 
tioned. He was living in 1683. 

NATALI, Gio. Battista, an Italian painter and 
architect, the son of Carlo N., was born at Cremo- 
na about 1630. He was instructed in both arts 
by his father, and afterwards went to Rome for 
improvement, where he pursued his studies under 
P. da Cortona. On returning to Cremona, he was 
employed for the churches, and established a school 
of painting upon the principles of Cortona, though 
without many followers. There is a large picture 
by him in the Predicatori, displajnng some skill- 
ful architecture, representing the Holy Patriarch 
burning heretical books, which Lanzi says is not 
unworthy a follower of Cortona. As an architect 
none of his works are mentioned. He died about 
1700. 

NATALI, Giuseppe, an eminent painter, born 
at Casal Maggiore, in the Cremonese territory, in 
1652. According to Zaist, possessing a natural 
genius for the art, he went to Rome, notwithstand- 
ing the oppositiojf of his father ; and from thence 



to Bologna, where he assiduously studied the 
works of Dentone, Colonna, and Mitelli, the most 
famous perspective and architectural painters of 
the age. He flourished precisely at the period 
which the architectural painters consider the hap- 
piest for their art. Lanzi says '' he formed a style 
at once praiseworthy for the grandeur and beauty 
of the architecture, and the elegance of the orna- 
mental parts, judiciously introduced. He gratifies 
the eye by presenting those views which are the 
most charming, and gives it repose by distributing 
them at just distances. In his grotesques, he re- 
tains much of the antique, shunning all useless ex- 
hibitions of modern foliages, and varying the paint- 
ing from time to time with small landscapes. The 
softness and harmony of his tints extorted great 
commendation." He found abundant employment, 
and decorated a great many churches and public 
edifices, as well as many halls and chambers for 
individuals throughout Lombardy. He also exe- 
cuted a great many small oil paintings, which 
were in the highest repute. He died in 1722. 

NATALI. Francesco, was the brother and 
scholar of the preceding, whose style he adopted, 
and whom he nearly approached, and even sur- 
passed in dignity. He executed many works on a 
large scale for the churches in Lombardy and Tus- 
cany. He was also much employed at the courts 
of the Dukes of Massa, of Modena, and of Par- 
ma, in which latter city he died in 1723. 

NATALI, Lorenzo and Pietro, were brothers 
of the preceding, whom they assisted in his works, 
but executed none of importance of their own. 

NATALI, Gio. Battista, was the son and 
scholar of Giuseppe, whom he assisted in many 
of his works. He was afterwards appointed court- 
painter to the Elector of Colog-ne. 

NATALI, Gig. Battista, was a cousin of the 
preceding, and the son and scholar of Francesco. 
He was an excellent artist in the same branch 
practised by his father and uncle. He was invited 
to the court of Charles, King of the Two Sicilies, 
in whose service he continued till his death, about 
1750. 

NATALINO DA MURANO. See Murano. 

iWfor ]\ffjD NATALIS, Michael, a 
J. rlj J. ^-^/^-'Flemish engraver, born 
at Liege about 1589. After acquiring the ele- 
ments of design under Joachim Sandrart, he visit- 
ed Antwerp, and studied engraving under Charles 
Mallery. From thence he went to Rome, and 
adopted the style of Cornelius Bloemaert, which 
he foUowed with some success. He engraved a 
number of plates after the great Italian masters ; 
also part of the plates in the Giustiniani Gallery, 
in concert with Regnier Persyn, Theodore Matham, 
and others. On returning to Flanders, he was in- 
vited to Paris, where he resided some time. His 
plates are executed with the graver, in a free, open 
style, but deficient in taste. His drawing is usually 
incorrect, and the effect is generally cold and 
heavy ; but his strokes are clear and regular, and 
he handled the burin with great facility. His por- 
traits are his best productions. The following are 
his principal plates : 

PORTEAITS. 

Josephus Justinianus Benedicti Filius ; Mich. Natalis, 
Jec. Jacob Catz, Pensionary of Holland, and Poet. Eu- 



NECK. 



612 



NEEF. 



taste, evincing a perfect acquaintance with the 
nu;]e, unusual among his countrymen, and the dra- 
peries are distributed in easy and natural folds. 
He died in 1714. 

NECKER, or NEGKER. Jobst, or Josse de, 
a distinguished wood engraver of Nordlingen, flour- 
ished in the 16th century. He is supposed to be 
the same as Jobst Denecker who wrought at Augs- 
burg about 1544, and engraved the prints for Hol- 
bein's Dance of Death, published in that year. — 
This is very probable, since the subject of this 
article executed part of the plates in the Triumph 
of Maximilian, by Hans Burgkmair, who flour- 
ished at Augsburg ; and at the end of the Dance 
of Death is inscribed Jobst Denecker Form- 
schneyder. Brulliot supposes that the engraver 
of Augsburg was the son of him of Nordlingen ; 
but the dates agree so nearly, as to render this 
theory extremely improbable. 

NEDEK, Peter, a Dutch painter, born at Am- 
sterdam in 1616 ; died in 1678. He studied under 
P. Lastmau, and painted landscapes, portraits, and 
history. His landscapes have considerable merit. 

NEE. Denis, a French engi-aver, bom at Paris 
about 1732. He studied under J. P. le Bas, and 
first gained distinction by restoring the plates of 
the Recueil des peintres antiques^ published by 
Mariette and Oaylus. Having formed a close 
intimacy with Masquelier, he executed in concert 
with that artist the vignettes for an edition of 
Ovid's Metamorphoses, and an Essay on Music. 
They M^ere soon emploj'-ed. however, upon more 
important works, among which were Tableau:^ 
pittoresques de la Suisse^ 1 vol. fol., 430 plates; 
Voyage en Grece, by M. de Choiseul Goufiier; 
Voyage de Naples et de Sidle, by the Abbe de 
St. Non ; and the elephantine Voyage pittoresque 
de la France ; 12 vols, fol., 828 plates. The plates 
of Denis Nee may also be found in Cassas' Voyage 
d'Istrie et de Dalmatie ; and the Voyage de Con- 
stantinople et des rives du Bosphore, after the de- 
signs of Melling. He died in 1818.- The follow- 
ing are a few of his best prints : 

Several Views in Switzerland ; aftei- Chatelet. The 
Massacre of St. Bartholomew ; after Gravelot. Three 
Views in Martinique; after the Chevalier d'Epernay. 
Benjamin Franklin ; after Charmontel. A View of the 
City of Lyons ; after Lallemand. The Environs of Fras- 
cati ; do. A View of Tivoli ; do. 

NEEF, or NEEFS, Peter, the elder, an em- 
inent Flemish painter of interiors, born at Ant- 
werp in 1570, He studied under Henry Steen- 
wyck. and painted similar subjects to those of that 
master, representing interiors of churches and tem- 
ples, which he finished with astonishing neatness 
and precision of pencil. All his architectural or- 
naments and various decorations of the churches, 
fire designed with the utmost correctness, and 
lop.chcil with such delicacy as to render them ob- 
jects of wonder rather than of imitation. Such 
wa^ his knovvle-lge of perspective, that he was ac- 
customel to paint in the small space of a cabinet 
jticture the largest and most magnificent Gothic 
edifices, in so masterly a manner, as to delude the 
spectator into the belief of the reality of the im- 
mense space the building represents. As the reg- 
ularity of lines and great uniformity of tints would 
ajpear dull and insipid, Neefs was accustomed to 
i itrorluce a variety of objects, to animate and di- 
versify the scene \ and by his admirable manage- 



ment of light and shade, he produced a lively and 
pleasing effect, where most artists would have 
been uninteresting and tame. Some of his inte- 
riors are represented by torch-light, with wonder- 
ful skill, and these are perhaps his most desirable 
productions. Neefs was not a good designer of 
the figure, and therefore emploj^ed John Breughel, 
the elder Teniers, and other eminent artists, to in- 
sert the figures in his pieces, which renders to 
them additional value. He died, according to Bal- 
kema, in 1651. 

NEEF, or NEEFS, Peter, the younger, was 
the son and scholar of the preceding artist, born 
at Antwerp, according to Balkema, in 1601. He 
painted interiors, similar to those of his father, 
but greatly inferior to that admirable master, both 
in correctness of perspective and neatness of fin- 
ishing. According to Balkema, he died in 1658 ; 
but it is said there are pictures by him dated 1660j 
and even later. 

NEEF, or NEEFS, James, a Flemish engraver, 
born at Antwerp, according to Nagler, about 1610. 
There are various dates assigned for his birth, but 
Nagler is probably correct, as there are prints by 
him dated 1632 and 1633, His last print recorded 
is dated 1645. James Neefs was probably related 
to the preceding artists. He engraved a number 
of plates after Rubens, Vandyckj and other cele- 
brated Flemish painters. His drawing is correct, 
but stiff and mannered, and his heads often have 
an extravagant expression ; but his prints are 
much esteemed. They are executed entirely with 
the graver, which he handled with great facility. 
Among them are the following ; 

PORTRAITS. 

Gaspar Nemius, Bishop of Antwerp ; after Gerard 
Segers. John Tollenario, Jesuit ; after P. Pruytiers, 
Francis Snyders, Painter ; after Vandyck. Anthony de 
Tassis, Canon of Antwerp ; do. The Marchioness of Bar- 
lemont, Countess d'Egmont ; do. Josse de Hertoghe ; do. 
Martin Ryckart, Painter ; do. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Fall of the Angels ; after Rubens. The Meeting 
of Abraham and Melchisedec ; do. The Crucifixion, with 
the Virgin and St. John ; do. St. Augustine ; do. The 
Martyrdom of St. Thomas ; do. The Judgment of Paris, 
and the Triumph of Galatea, called the Ewer of Charles I. j 
do. ; scarce. Christ and the six Penitents ; after Gerard 
Segers. Job and his Wife ; do. The Martyrdom of St, 
Lievin ; do. Christ appearing to Magdalene ; do. Christ 
brought before Pilate : after J. Jordaens. The Satyr, 
with the Peasant blowing hot and Cold ; do. St. Roch in- 
terceding for the Persons attacked by the Plague ; after 
Erasmus Quellinus. 

NEER, Arnold vander, an eminent Dutch 
painter, born at Amsterdam in 1619, His in- 
structor is not kno\yn. He sometimes painted 
sunsets, in which the glowing richness and har- 
mony of his coloring approach the excellence of 
Rubens and Rembrandt, His pictures of winter 
scenes, with figures skating on the ice, are only 
surpassed by the works of Albert Cuyp ; but his 
views by moonlight are undoubtedly his finest 
productions. They represent views of cottages 
or fishermen's huts, on the banks of a river with 
boats and figures, and the moon pouring a flood of 
effulgence over the landscape, while the sparkling 
radiance reflected from the water produces the 
most fascinating and picturesque effect. Vander 



NAS^I. 



609 



NATA. 



the art. In 1813 he exhibited a Viev7 in Scotland, 
in ihe Royal Academy at London. He died in 
1840. 

NASMYTH, Patrick, a Scottish landscape 
painter, the son of the preceding, was born at 
Edinburg in 1787. He early manifested a decided 
inclination for art, and studied under his father, 
after which, at the age of twenty, he went to 
London, and attained considerable reputation. His 
landscapes ai'e of a pleasing character. He often 
painted scenes from the wild, mountainous regions 
of Scotland, greatly wanting in that breadth of 
handling so necessary in grand landscapes, and re- 
markably injured by excessive detail. Had he 
confined his pencil to quiet, Arcadian scenes, his 
reputation would be greater than it is. Nasmyth 
had but litt'e success. He died at Lambeth, near 
London, in 1831. 

NASOCCHIO, Giuseppe, a native of Bassano, 
who is said to have studied under Gentile da Fa- 
briano at Venice, whose style he imitated. He 
was doubtless not a scholar, but an imitator of that 
master, as there is a picture by him dated 1529, 
whereas Fabriano probably died about 1423.— 
There were two other painters of this name, Bar- 
tolomeo and Francesco, who flourished about 1541. 
Little is known of these painters. 

NASON. Peter, a Dutch painter, who flourished 
about 1670. He painted subjects of still-life, 
which are much esteemed, and are found in some 
of the principal German collections. It is said 
that he visited England, and painted the portrait 
of Charles II. ; also that there are a number of 
portraits by him in that kingdom, colored in a 
delicate st3de, with considerable neatness of touch. 

NATALI, Carlo, called II Guardolino, an 
Italian painter and architect, born at Cremona 
about 1590. He studied successively under An- 
drea Mainardi and Guido Reni ; and subsequently 
resided durins; a number of years at Rome and 
Genoa, observing all that was most valuable, and 
exerting his own talents in the art. Among his 
best paintings is his St. Francesca Romana, in the 
church of S. Gismondo at Cremona, which Lanzi 
ranks above mediocrity. Natali did not execute 
many works in painting, being principally devoted 
to architecture. His edifices are principally at 
Genoa and Cremona, but none of them are men- 
tioned. He was living in 1683. 

NATALI, Gio. Battista, an Italian painter and 
architect, the son of Carlo N., was born at Cremo- 
na about 1630. He was instructed in both arts 
by his father, and afterwards went to Rome for 
improvement, where he pursued his studies under 
P. da Cortona. On returning to Cremona, he was 
employed for the churches, and established a school 
of painting upon the principles of Cortona, though 
without many followers. There is a large picture 
by him in the Predicatori, displaying some skill- 
ful architecture, representing the Holy Patriarch 
burning heretical books, which Lanzi says is not 
unworthy a follower of Cortona. As an architect 
none of his works are mentioned. He died about 
1700. 

NATALI, GiD.sEPPE, an eminent painter, born 
at Casal Maggiore, in the Cremonese territory, in 
1652. According to Zaist, possessing a natural 
genius for the art, he went to Rome, notwithstand- 
ing the opposition of his father ; and from thence 



to Bologna, where he assiduously studied the 
works of Dentone, Colonna, and Mitelli, the most 
famous perspective and architectural painters of 
the age. He flourished precisely at the period 
which the architectural painters consider the hap- 
piest for their art. Lanzi says " he formed a style 
at once praiseworthy for the grandeur and beauty 
of the architecture, and the elegance of the orna- 
mental parts, judiciously introduced. He gratifies 
the eye by presenting those views which are the 
most charming, and gives it repose by distributing 
them at just distances. In his grotesques, he re- 
tains much of the antique, shunning all useless ex- 
hibitions of modern foliages, and varying the paint- 
ing from time to time with small landscapes. The 
softness and harmony of his tints extorted great 
commendation." He found abundant employment, 
and decorated a great many churches and public 
edifices, as well as many halls and chambers for 
individuals throughout Lombardy. He also exe- 
cuted a great many small oil paintings, which 
were in the highest repute. He died in 1722. 

NATALI, Francesco, was the brother and 
scholar of the preceding, whose style he adopted, 
and whom he nearly approached, and even sur- 
passed in dignity. He executed many works on a 
large scale for the churches in Lombardy and Tus- 
cany. He was also much employed at the courts 
of the Dukes of Massa, of Modena, and of Par- 
ma, in which latter city he died in 1723. 

NATALI, Lorenzo and Pietro, were brothers 
of the preceding, whom they assisted in his works, 
but executed none of importance of their own. 

NATALI, Gio. Battista, was the son and 
scholar of Giuseppe, whom he assisted in many 
of his works. He was afterwards appointed court- 
painter to the Elector of Cologne. 

NATALI, Gig. Battista, was a cousin of the 
preceding, and the son and scholar of Francesco. 
He was an excellent artist in the same branch 
practised by his father and uncle. He was invited 
to the court of Charles, King of the Two Sicilies, 
in whose service he continued till his death, about 
1750. 

NATALINO DA MURANO. See Murano. 

TMfox /W^ NATALIS, Michael, a 
1 W±j J. "-^/*'>'Elemish engraver, born 
at Liege about 1589. After acquiring the ele- 
ments of design under Joachim Sandrart, he visit- 
ed Antwerp, and studied engraving under Charles 
Mallery. From thence he went to Rome, and 
adopted the style of Cornelius Bloemaert, which 
he followed with some success. He engraved a 
number of plates after the great Italian masters ; 
also part of the plates in the Giustiniani Gallery, 
in concert with Regnier Persyn, Theodore Matham, 
and others. On returning to Flanders, he was in- 
vited to Paris, where he resided some time. His 
plates are executed with the graver, in a free, open 
style, but deficient in taste. His drawing is usually 
incorrect, and the effect is generally cold and 
heavy ; but his strokes are clear and regular, and 
he handled the burin with great facility. His por- 
traits are his best productions. The following are 
his principal plates : 

PORTRAITS. 

Josephus Justinianus Benedict! Filius ; Mich. Natalis, 
Jec. Jacob Catz, Pensionary of Holland, and Poet. Eu- 



NECK. 



612 



NEEF. 



taste, evincing a perfect acquaintance with the 
nuile, unusual among his countrymen, and the dra- 
peries are distributed in easy and natural folds. 
He died in 1714. 

NECKER, or NEGKER, Jobst, or Josse de, 
a distinguished wood engraver of Nordlingen, flour- 
ished in the IGth century. He is supposed to be 
the same as Jobst Denecker who wrought at Augs- 
burg about 1544, and engraved the prints for Hol- 
bein's Dance of Death, published in that year. — 
Til is is very probable, since the subject of this 
article executed part of the plates in the Triumph 
of Maximilian, by Hans Burgkmair, who flour- 
ished at Augsburg ; and at the end of the Dance 
of Death is inscribed Jobst Denecker Form- 
schneyder. Brulliot supposes that the engraver 
of Augsburg was the son of him of Nordlingen ; 
but the dates agree so nearly, as to render this 
theory extremely improbable. 

NEDEK, Peter, a Dutch painter, born at Am- 
sterdam in 1G16 ; died in 1678. He studied under 
P. Lnstman, and painted landscapes, portraitSjand 
history. His landscapes have considerable merit, 

NEE, Denis, a French engraver, born at Paris 
about 1732. lie studied under J. P. le Bas, and 
fw\st gained distinction by restoring the plates of 
tlie Recueil des peinires antiques, published by 
Marictte and Caylns. Having formed a close 
intimacy with Masquelier, he executed in concert 
with that artist the vignettes for an edition of 
Ovid's Metamorphoses, and an Essay on Music. 
They were soon employed, however, upon more 
important works, among which were Tableaux 
pittoresques de la Suiss'e, 1 vol. fol., 430 plates; 

Voyage en Grece, by M. de Choiseul Goufficr; 

Voyage de Naples et de Sicile, by the Abbe de 
St. Non ; and the elephantine Voyage pittoj'esque 
de la Prance ; 12 vols, fol., 828 plates. The plates 
of Denis Nee may also be found in Cassas' Voyage 
d^ 1st He et de Dalmatic; and the Voyage de Con- 
stantinople et des rives du Bosphore, after the de- 
signs of Melling. He died in 1818. The follow- 
ing are a few of his best prints : 

Several Views in Switzerland ; after Chatelet, The 
Massiicro of St. Barfeholomew \ after Gravelot. Three 
Views in Martinique; after the Chevalier d^Epernay. 
Benjamin Franklin ; after Charmontel. A View of the 
City of Lyons ; after Lnllemund. The Environs of Fras- 
cati ; do. A View of Tivoli ;; do. 

NEEF, or NEEFS, Peter, the elder, an em- 
inent Flemish painter of interiors, born at Ant- 
werp in 1570. He studied under Henry Steen- 
M'yck. and painted similar subjects to those of that 
master, representing interiors of churches and tem- 
ples, which he finished with astonishing neatness 
and precision of pencil. All his architectural or- 
naments and various decorations of the churches, 
are designed with the utmost correctness, and 
touchc.l with such delicacy as to render them ob- 
jects of wonder rather than of imitation. Such 
was his know1e<lge of perspective, that he was ac- 
customed to paint in the STnall space of a cabinet 
jiictnrc the largest and most magniffcent Gothic 
ediiices. in so masterly a manner, as to delude the 
spectator into the belief of the reality of the im- 
mense space the building represents. As the reg- 
ularity of lines and great uniformity of tints would 
ai^pear dull and insipid, Neefs was accustomed to 
i itroduce a variety of ©■bjects, to animate and di- 
versify the scene J and by hi» admh-ablo manage- 



ment of light and shade, he produced a lively and 
pleasing effect, where most artists would have 
been uninteresting and tame. Some of his inte- 
riors are represented by torch dight, with wonder- 
ful skill, and these are perhaps his most desirable 
productions. Neefs was not a good designer of 
the figure, and therefore employed John Breughel, 
the elder Teniers, and other eminent artists, to in- 
sert the figures in his pieces, which renders to 
them additional value. He died, according to Bal- 
kema, in 1651. 

NEEF, or NEEFS, Peter, the YotiNOER, waa 
the son and scholar of the preceding artist, born 
at Antwerp, according to Balkema, in 1601. He 
painted interiors, similar to those of his father, 
but greatly inferior to that admirable master, both 
in correctness of perspective and neatness of fin- 
ishing. According to Balkema, he died in 1G58 j 
but it is said there are pictures by him dated 1660^ 
and even later. 

NEEF, or NEEFS, James, a Flemish engraver, 
bom at Antwerp, according to Nagler, about 1610. 
There are various dates assigned for his birth, but 
Naglerr is probably correct, as there are prints by 
him dated 1632 and 1633. His last print recorded 
is dated 1645. James Neefs was probably related 
to the preceding artists. He engraved a number 
of plates after Rubens, Vandyck^ and other cele- 
brated Flemish painters. His drawing is correct, 
but stiff and mannered, and his heads often have 
an extravagant expression; but his prints are 
much esteemed. They are executed entirely with 
the graver, which he handled with great facility. 
Among them are the following : 

POKTRAFTS. 

Gaspar NemTU&, Bishop of Antwerp ; after Gerard 
Segei's. John Tollenario, Jesuit ; after P. F''ruytiers, 
Francis Snyders, Painter ; after Vandyck. Anthony do 
Tassis, Canon of Antwerp ; do. The Marchioness of Bar- 
lemont, Countess d'Egmont ; do. Josse de Hertoghe ; do. 
Martin Ryckart, Painter ; do. 

SUCJECTS AFTER VARIOUS MASTEHS. 

The Pall' of the Angels ; after Ruhens. The Meeting 
of Abraham and Molchisedec ; do. The Crucifixion, with 
the Virgin and St. John ; do. St. Augustine ; do. The 
Martyrdom of St. Thomas ; do. The Judgment of Paris^ 
and the Triumph of Galatea, called the Ewer of Charles I. ; 
do. ; scarce. Christ and the six Penitents ; after Gerard 
Segers. Job and his Wife ; do. The Martyrdom of St. 
Lievin j do. Clirist appearing to Magdalene ; do. Christ 
brought before Pilate j after J. Jordaerts. The Satyp, 
with the Peasant blowing hot and Cold ; do. St. Roch in- 
terceding for the Persons attacked by the Plague ; after 
Erasmus Q,uelliniia. 

NEER, Arnold vanoer, an eminent Dutch 
painter, born at Amsterdam in 1619. His in- 
structor is not known. He sometimes painted 
sunsets, in which the glowing richness and har- 
mony of his coloring approach the excellence of 
Rubens and Rembrandt. His pictures of winter 
scenes, with figures skating on the ice, are only 
surpassed by the works of Albert Cuyp ) but his 
views by moonlight are undoubtedly his finest 
productions. They represent views of cottages 
or fishermen's huts, on the banks of a river with 
boats and figures, and the moon pouring a flood of 
elfulgence over the landscape, while the sparkling 
radiance reflected from the water produces the 
I niost fascinating and picturesque effect. Vander 



NEER. 



613 



NEGR. 



Ncer died in 1683. There is a picture by him in 
the National Gallery, London, which brought 
1^3,600. He used one of the above ciphers. 

NEER, Eglon IIendrick vanoer, a Dutch 
painter, the son of the preceding, was born at Am- 
sterdam in 1643. He first studied under his fa- 
ther, but his taste leading him to a different 
branch of the art, he was placed in the school of 
James Vanloo, an historical and portrait painter 
of Amsterdam. At the age of twenty he visited 
Paris, where he passed four years, and painted a 
number of small portraits and domestic subjects, 
which gained him considerable reputation. He 
afterwards returned to Holland, and painted some 
portraits and historical and fabulous subjects, col- 
ored with great delicac}'-, and carefully finished, al- 
though deficient in other respects. Among his 
portraits of life size, was that of the Princess of 
Neuburg, painted by order of the King of Spain, 
who was so highly pleased, that he desired van- 
der Necr to visit Madrid, but he declined the invi- 
tation. He also painted conversation pieces and 
gallant subjects, in the style of Terburg, which 
are highly esteemed, and are considered his best 
works, being well colored, touched with great del- 
icacy, and very highly finished, although less mel- 
low and harmonious than those of Mieris or Metzu. 
Vander Neer was the instructor of Adrian Vander- 
werf. He was employed for some time by the 
Elector Palatine at Dusseldorf, and died there, in 
1703. His portrait, by himself, is honored with a 
place among those of the illustrious painters in the 
Florentine Gallery. 

NEGKER. See Necker. 

NEGRE, Matthias van. This painter was 
probably a native of Holland, and is mentioned 
by Descamps as living about 1625. He painted 
historical and architectural subjects. There is a 
Holy Family by him, in the cathedral of Tournay. 

NEGRE, NicoLAus van, a portrait painter, who 
probably flourished in Holland about 1650. There 
are a number of plates after him, engraved by Suy- 
derhoef, van Dalen, and Crispin de Passe. 

NEGRI, or NERI, Pier MARTiRE,a Cremonese 
painter, who flourished about 1600. According to 
Zaist he was a scholar of Oav. Gio. Battista Trotti, 
called II Malosso. He painted history and por- 
traits in the style of that master, but with more 
boldness, and vigor of light and shadow, as is evi- 
dent from his admired picture representing Christ 
restoring Sight to the Blind, which Lanzi says is 
surpassed by his St. Giuseppe at Pavia. Negri 
passed some time at Rome, where he executed a 
number of works, and was received into the Acad- 
emy of St. Luke. 

NEGRI, PiETRO, a Venetian painter, who flour- 
ished about 1680. He is supposed to have studied 
under Antonio Zanchi da Este, but Lanzi thinks he 
was rather an imitator of that master. He exe- 
cuted some works for the churches and public edi- 
fices of Venice, the most important of which is a 
picture in the College of S. Roceo, representing 
the Liberation of the city from the Plague in 1630, 
" in which," says Lanzi, " we perceive the peculiar 
ease and manner of Zanchi. somewhat improved 
and ennobled in the forms." This picture is placed 
opposite to the grand painting by Zanchi, repre- 
eenting the great Plague of 1630. He was also 
much employed in painting for the colleetions. 



NEGRI, Gio. Francesco, an eminent Bolog- 
ncse portrait painter, born in 1648. He studied 
under Odoardo Fialetti at Venice. On his return 
to Bologna, he acquired distinction for the excel- 
lence of his portraits. He is commended by Or- 
landi Malvasia, and others. He was living in 
1718. 

NEGRONE, or NIGRONE, Pietro, called II 
Giovane Zingaro (the young Gipsy) a painter 
of the Neapolitan school, born at Calabria about 
1505. Dominici says he studied first under Gio. 
Antonio d'Amato ; afterwards under Marco Cala- 
brese; and he commends him as a diligent and 
accomplished artist. In S. Agnello at Naples, 
there is a picture of the Virgin and Infant in the 
Clouds, with Saints and a glory of Angels ; also in 
S. Maria Donna Romata, are two pictures by him, 
representing the Adoration of the Magi, and the 
Scourging of Christ, painted in 1541. He died, 
according to Lanzi, about 1565, aged 60. 

NEGROPONTE, Fua Francesco or Antonio, 
a monk of the order of the Cappuccini, who flour- 
ished at Venice in the early part of the 15th cen- 
tury. According to Kiigler, his works resemble 
those of Jacobello del Fiore. 

NELLI, Nello, an old painter of Pisa, by whom 
there is a Madonna painted on panel in the old 
church of Tripallc at Pisa, signed Nerus Nellus de 
Pisa me pinxit, 1299. 

NELLI, Suora Plautella, an Italian paintress 
of noble family, born at Florence in 1523. She 
became a nun of the Dominican convent of St. 
Caterina at Florence, and without other assistance 
than a collection of designs by Fra. Bartolomeo di 
S. Marco, she attained considerable excellence in 
painting. Her pictures are generally in the style 
of that artist, although she also imitated other mas- 
ters. Among them are a picture of the Crucifix- 
ion, with a number of small figures highly fin- 
ished ; a Descent from the Cross, said to be af- 
ter a design by Andrea del Sarto, in the church 
of her order at Florence ; and an Adoration of the 
Magi, of her own composition, possessing great 
merit. She died in 1588. 

NELLI, Nice OLD, a Venetian engraver, who 
flourished about 1568. There is an architectural 
frontispiece, with figures inscribed Niccolo Nelli 
Veneziano f., engraved for a book of plans and 
views of the most illustrious cities and fortresses 
in the world, published in 1568. The figures are 
well drawn, and the plate is executed with con- 
siderable ability, somewhat in the style of Marco 
da Ravenna. It is observed by Strutt, that many 
of the prints without marks, of the above date, 
may be attributed to Nelli, particularly those in 
the style of Marco da Ravenna. 

NELLI. Giovanni Battista, an Italian archi- 
tect, and a writer on the art, born at Florence in 
1661. He was of a noble family, and cultivated 
the Fine Arts, of which he was a zealous protec- 
tor. He was appointed Director of the public 
roads and bridges in Tuscany. He died at Flo- 
rence in 1725, leaving many manuscripts relating 
to literature and art, among which are his Dis- 
corsi di Architettura, Florence, 1753 ; 4to. 

NELLI, PiETRO, a painter of distinction, who 
flourished at Rome in the beginning of the 18th 
century. He was probably a scholar of Gio. Ma- 
ria Morandi. He was a rival of Odoardo Vici- 



NEWT. 



616 



Nice. 



engraved in the Literary Souven'r of 1826. The 
Duke of Bedford commissioned him to paint the 
Visit of the Prince of Spain to Catahna, for which 
Newton received $2,500. His talents were greatly 
admired, and in 1833 he was chosen a member of 
the Royal Academy. He painted slowly, and fin- 
ished his pictures with great care. Besides the 
works already mentioned, Newton painted a small 
picture of Abelard in his study, full of expression 
and sentiment ; Macheath, purchased by the Mar- 
quis of Lansdowne for $2,500 ; Shylock and Jessi- 
ca ; Portia and Bassanio ; King Lear, attended by 
Cordelia and the Physician ; and the Vicar of 
Wakefield restoring his Daughter to her Mother. 
In 1832, Newton visited America and married; af- 
ter which he returned to England. In the next 
year he exhibited symptoms of insanity, and 
died in 1835. His talents were undoubted, and 
had his life been spared, he would have attained a 
high degree of eminence in the art. 

NEWTON, William, an English architect, who 
flourished at London in the latter part of the 18th 
century. He published a translation of Vitruvi- 
us, London, 2 vols. 8vo., 1771 — 1791 ; also a sec- 
ond edition in 1793, folio, illustrated. In 1790, 
Newton published the second volume of James 
Stuart's Athenian Antiquities, with notes and ex- 
planations. 

NEYN, Peter de, a Dutch painter and archi- 
tect, born at Leyden in 1597. He studied paint- 
ing under Esaias Vandervelde, and gave promise 
of attaining eminence in landscape, in the stj^le of 
his instructor ; but subsequently applied his tal- 
ents to architecture. He attained considerable dis- 
tinction in that art, and was appointed architect to 
the city of Leyden. He died in 1639. 
^ NEYTS, Giles, a painter and engraver 

^JXT'of little note, who flourished about 1681, 

t/ as appears from the date on one of the pic- 
tures by him, preserved in the gallery at Dresden. 
Bartsch mentions ten plates by Neyts, and Nagler 
eleven more, etched and finished with the graver in 
a good style. A number of small pen drawings of 
landscapes, washed with India ink, with the trees in 
the style of Swanevelt, are ascribed to this artist, 
being marked A. E. Neyts, perhaps for jEpdius 
instead of Giles. BruUiot supposes that pictures 
of landscapes, with the accompanying monogram, 
are by this artist. 

NICASIUS, Bernard, a Flemish painter, born 
at Antwerp in 1618. He studied under F. Sny- 
ders, and imitated the style of that master in fruit, 
still-life, huntings, and landscapes. He traveled 
through France and Italy for improvement, and 
finally died at Paris in 1678. Like other imita- 
tors, his reputation was transient, and nearly all 
his works are now ascribed to Snyders. 

NICCOLA. DA Pisa, an eminent Italian sculp- 
tor and architect, the precise dates of whose birth 
and death have not been ascertained. It is proba- 
ble, however, that he was born near the commence- 
ment of the 13th century, as he was greatly ad- 
vanced in years in 1273. He is distinguished 
among the earliest restorers of sculpture, which he 
elevated to a much higher state of perfection than 
he found it. He quitted the hard, dry, and me- 
chanical style of his predecessors, and introduced 
a style which, though falling far short of the an- 
tique, was based upon similar principles, and evin- 



ced a vigorous mind and much feeling, if not al- 
ways the most refined taste- In 1225 he was em- 
ployed to execute the area or tomb of St. Domen- 
ico at Bologna, which he embellished with a series 
of bas-reliefs and figures, truly admirable for the 
time. Several of these subjects are given by Ci- 
cognara, in his Storia della Sculiura, and many 
of the heads and countenances are finely expressed. 
Among his other works in sculpture, are the pul- 
pit in the Baptistery at Pisa, executed in 1260 ; 
and the pulpit in the Cathedral at Siena. These 
are highly praised by Cicognara, and are suflicient 
of themselves to prove the great excellence of Nic- 
cola in this department of art. 

As an architect, Niccola seems to have acquired 
no less distinction. In 1231 he erected the cele- 
brated church of S. Antonio at Padua. He was 
subsequently commissioned to build the church 
Dei Frari at Venice ; and his reputation extended 
so widely that he was successively employed at 
Florence, Pistoia, Volterra, Naples, and Pisa. — 
Among his most important works at Florence, is 
the church and monastery of Santa Trinita, high- 
ly extolled by Michael Angelo as an edifice of sur- 
passing excellence for its simple grandeur, and the 
nobleness of its proportions. In 1240 he com- 
menced the cathedral of Pistoia ; and likewise im- 
proved and embellished that of Volterra. Among 
his other works in architecture were the convent 
of S. Domenico at Arezzo ; the church of S. Lo- 
renzo at Naples ; the campanile of S. Niccola at 
Pisa ; and the magnificent abbey on the plain of 
Tagliacozzo, erected by Charles I. of Anjou, in 
1268, in commemoration of his decisive victory 
over Corradino, and thence called Santa Maria della 
Vittoria. 

NICCOLO, del Abati. See Abati. 

NICCOLO, Maestro, an old painter of Friuli, 
some of whose works are still preserved at Gemo- 
na, among which are the facade of the Cathedral, 
and an altar-piece, signed Magister Nicolaus pin- 
tor me fecit. MCCCXXXII. To this artist is 
ascribed, by some writers, that vast and meritori- 
ous production, representing the solemn scene of 
the Consecration, which decorates the Cathedral of 
Venzone, and which is still in a fine state of pre- 
servation. This, however, is a matter of mere 
conjecture, founded on the resemblance of nianner, 
vicinity of the place, and time of execution. 

NICHOLS, Sutton, an obscure English engra- 
ver, who resided at London about 1710. He exe- 
cuted a number of plates of shells and other tri- 
fling subjects for the booksellers, which possess 
little merit. 

NIOIAS, an eminent Greek painter, a native of 
Athens, flourished in the latter half of the 4th cen- 
tury B. C. He lived in the time of Alexander, 
and though probably younger than Apelles, he 
was a cotemporary of that master. He excelled 
in elegance of design, beauty of coloring, and in 
eflect of light and shade. He was famous above 
all the artists of his time, for the beauty and grace 
of his female forms, which were executed with 
such admirable relief that Pliny says " they ap- 
peared ready to leave the ground they were paint- 
ed upon, and walk out of the frames." 

The most celebrated work of Nicias was the 
Region of the Shades, described in Homer's Odys- 
sey, where Ulysses invokes the departed spirits. 



NEER. 



613 



NEGR. 



Neer died in 1683. There is a picture by him in 
the National Gallery, London, which brought 
$3j600. He used one of the above ciphers. 

NEER, Eglgn Hendrick vanuer, a Dutch 
painter, the son of the preceding, was born at Am- 
sterdam in 1643. He first studied under his fa- 
ther, but his taste leading him to a different 
branch of the art, he was placed in the school of 
James Vanloo, an historical and portrait painter 
of Amsterdam. At the age of twenty he visited 
Paris, where he passed four years, and painted a 
number of small portraits and domestic subjects, 
which gained him considerable reputation. He 
afterwards returned to Holland, and painted some 
portraits and historical and fabulous subjects, col- 
ored with great delicac}'-, and carefully finished, al- 
though deficient in other respects. Among his 
portraits of life size, was that of the Princess of 
Neuburg, painted by order of the King of Spain, 
who was so highly pleased, that he desired van- 
der Neer to visit Madrid, but he declined the invi- 
tation. He also painted conversation pieces and 
gallant subjects, in the style of Terburg, which 
are highly esteemed, and are considered his best 
works, being well colored, touched with great del- 
icacy, and very highly finished, although less mel- 
low and harmonious than those of Mieris or Metzu. 
Vander Neer was the instructor of Adrian Vander- 
werf. He was employed for some time by the 
Ejector Palatine at Dusseldorf and died there, in 
1703. His portrait, by himself, is honored with a 
place among those of the illustrious painters in the 
Florentine Gallery. 

NEGKER. SeeNECKER. 

NEGRE, Matthias van. This painter was 
probably a native of Holland, and is mentioned 
by Descamps as living about 1625. He painted 
historical and architectural subjects. There is a 
Holy Family by him, in the cathedral of Tournay. 

NEGRE, NicoLAus van, a portrait painter, who 
probably flourished in Holland about 1650. There 
are a number of plates after him, engraved by Suy~ 
derhoef, van Dalen, and Crispin de Passe. 

NEGRI, or NERI, Pier MARTiRE,a Cremonese 
painter, who flourished about 1600. According to 
Zaist he was a scholar of Cav. Gio. Battista Trotti, 
called II Malosso. He painted history and por- 
traits in the style of that master, but with more 
boldness, and vigor of light and shadow, as is evi- 
dent from his admired picture representing Christ 
restoring Sight to the Blind, which Lanzi says is 
surpassed by his St. Giuseppe at Pavia. Negri 
passed some time at Rome, where he executed a 
number of works, and was received into the Acad- 
emy of St. Luke. 

NEGRI, PiETRO, a Venetian painter, who flour- 
ished about 1680. He is supposed to have studied 
under Antonio Zanchi da Este, but Lanzi thinks he 
was rather an imitator of that master. He exe- 
cuted some works for the churches and public edi- 
fices of Venice, the most important of which is a 
picture in the College of S. Rocco, representing 
the Liberation of the city from the Plague in 1630, 
"in which." says Lanzi, " we perceive the peculiar 
ease and manner of Zanchi, somewhat improved 
and ennobled in the forms." This picture is placed 
opposite to the grand painting by Zanehi, repre- 
senting the great Plague of 1630. He was also 
much employed in painting for the collections. I 



NEGRI, Gio. Francesco, an eminent Bolog- 
nese portrait painter, born in 1048. He studied 
under Odoardo Fialetti at Venice. On his return 
to Bologna, he acquired distinction for the excel- 
lence of his portraits. He is commended by Or- 
landi Malvasia, and others. He was living in 
1718. 

NEGRONE, or NIGRONE, Pietro, called II 
GfovANE ZiNGARO (the young Gipsy) a painter 
of the Neapolitan school, born at Calabria about 
1505. Dominici says he studied first under Gio. 
Antonio d'Amato ; afterwards under Marco Cala- 
brese ; and he commends him as a diligent and 
accomplished artist. In S. Agnello at Naples, 
there is a picture of the Virgin and Infant in the 
Clouds, with Saints and a glory of Angels ; also in 
S. Maria Donna Romata, are two pictures by him. 
representing the Adoration of the Magi, and the 
Scourging of Christ, painted in 1541. He died, 
according to Lanzi, about 1565, aged 60. 

NEGROPONTE, Era Francesco or Antonio, 
a monk of the order of the Cappuccini, who flour- 
ished at Venice in the early part of the 15th cen- 
tury. According to Kiigler, his works resemble 
those of Jacobello del Fiore. 

NELLI, Nello, an old painter of Pisa, by whom 
there is a Madonna painted on panel in the old 
church of Tripalle at Pisa, signed Nerus Nellus de 
Pisa me pinxit, 1299. 

NELLI, Suora Plautella, an Italian paintress 
of noble family, born at Florence in 1523. She 
became a nun of the Dominican convent of St. 
Caterina at Florence, and without other assistance 
than a collection of designs by Fra. Bartolomeo di 
S. Marco, she attained considerable excellence irt 
painting. Her pictures are generally in the style 
of that artist, although she also imitated other mas- 
ters. Among them are a picture of the Crucifix- 
ion, with a number of small figures highly fin- 
ished ; a Descent from the Cross, said to be af- 
ter a design by Andrea del Sarto, in the church 
of her order at Florence ; and an Adoration of the 
Magi, of her own composition, possessing great 
merit. She died in 1588. 

NELLI, NiccoLO, a Venetian engraver, who 
flourished about 1568. There is an architectural 
frontispiece, with figures inscribed Niccolo Nelli 
Veneziano f., engraved for a book of plans and 
views of the most illustrious cities and fortresses 
in the world, published in 1568. The figures are 
well drawn, and the plate is executed with con- 
siderable ability, somewhat in the style of ]\Iarco 
da Ravenna. It is observed by Strutt, that many 
of the prints without marks, of the above date, 
may be attributed to Nelli, particularly those in 
the style of Marco da Ravenna. 

NELLI, Giovanni Battista, an Italian archi- 
tect, and a writer on the art, born at Florence in 
1661. He was of a noble family, and cultivated 
the Fine Arts, of which he was a zealous protec- 
tor. He was appointed Director of the public 
roads and bridges in Tuscany. He died at Flo- 
rence in 1725, leaving many manuscripts relating 
to literature and art, among which are his Dis- 
corsi di Architetfura, Florence, 1753 ; 4to. 

NELLI, Pietro, a painter of distinction, who 
flourished at Rome in the beginning of the 18th 
century. He was probably a scholar of Gio. Ma- 
ria Morandi- He was a rival of Odoardo Vici- 



NEWT. 



616 



Nice. 



engraved in the Literary Souven'r of 1826. The 
Duke of Bedford commissioned him to paint the 
Visit of the Prince of Spain to Catahna, for which 
Newton received $2,500. His talents were greatly 
admired, and in 1833 he was chosen a member of 
the Royal Academy. He painted slowly, and fin- 
ished his pictures with great care. Besides the 
works already mentioned, Newton painted a small 
picture of Abelard in his study, full of expression 
and sentiment ; Macheath, purchased by the Mar- 
quis of Lansdowne for $2,500; Shylockand Jessi- 
ca ; Portia and Bassanio ; King Lear, attended by 
Cordelia and the Physician ; and the Vicar of 
Wakefield restoring his Daughter to her Mother. 
In 1832. Newton visited America and married; af- 
ter which he returned to England. In the next 
year he xjxhibited symptoms of insanity, and 
died in 1835. His talents were undoubted, and 
had his life been spared, he would have attained a 
high degree of eminence in the art. 

NEWTON, William, an English architect, who 
flourished at London in the latter part of the 18th 
century. He published a translation of Vitruvi- 
us, London, 2 vols. 8vo., 1771 — 1791 ; also a sec- 
ond edition in 1793, folio, illustrated. In 1790, 
Newton published the second volume of James 
Stuart's Athenian Antiquities, with notes and ex- 
planations. 

NEYN, Peter de. a Dutch painter and archi- 
tect, born at Leyden in 1597. He studied paint- 
ing under Esaias Vandervelde, and gave promise 
of attaining eminence in landscape, in the style of 
his instructor ; but subsequently applied his tal- 
ents to architecture. He attained considerable dis- 
tinction in that art, and was appointed architect to 
the city of Leyden. He died in 1639. 
^ NEYTS, Giles, a painter and engraver 

^J5\/'of little note, who flourished about 1681, 

«y as appears from the date on one of the pic- 
tures by him, preserved in the gallery at Dresden. 
Bartsch mentions ten plates by Neyts, and Nagler 
eleven more, etched and finished with the graver in 
a good style. A number of small pen drawings of 
landscapes, washed with India ink, with the trees in 
the style of Swanevelt, are ascribed to this artist, 
being marked A. E. Neyts, perhaps for JSgidius 
instead of Giles. BruUiot supposes that pictures 
of landscapes, with the accompanying monogram, 
are by this artist. 

NICASIUS, Bernard, a Flemish painter, born 
a,t Antwerp in 1618. He studied under F. Sny- 
ders, and imitated the style of that master in fruit, 
still-life, huntings, and landscapes. He traveled 
through France and Italy for improvement, and 
finally died at Paris in 1678. Like other imita- 
tors, his reputation was transient, and nearly all 
his works are now ascribed to Snyders. 

NICCOLA. DA Pisa, an eminent Italian sculp- 
tor and architect, the precise dates of whose birth 
and death have not been ascertained. It is proba- 
ble, however, that he was born near the commence- 
ment of the 13th century, as he was greatly ad- 
vanced in years in 1273. He is distinguished 
among the earliest restorers of sculpture, which he 
elevated to a much higher state of perfection than 
he found it. He quitted the hard, dry, and me- 
chanical style of his predecessors, and introduced 
a style which, though falling far short of the an- 
tique, was based upon similar principles, and evin- 



ced a vigorous mind and much feeling, if not al- 
ways the most refined taste. In 1225 he was em- 
ployed to execute the area or tomb of St. Domen- 
ico at Bologna, which he embellished with a series 
of bas-reliefs and figures, truly admirable for the 
time. Several of these subjects are given by Ci- 
cognara, in his Storia della ScuUura, and many 
of the heads and countenances are finely expressed. 
Among his other works in sculpture, are the pul- 
pit in the Baptistery at Pisa, executed in 1260 ; 
and the pulpit in the Cathedral at Siena. These 
are highly praised by Cicognara, and are sufficient 
of themselves to prove the great excellence of Nic- 
cola in this department of art. 

As an architect, Niccola seems to have acquired 
no less distinction. In 1231 he erected the cele- 
brated church of S. Antonio at Padua. He was 
subsequently commissioned to build the church 
Dei Frari at Venice ; and his reputation extended 
so widely that he was successively employed at 
Florence, Pistoia, Volterra, Naples, and Pisa. — 
Among his most important works at Florence, is 
the church and monastery of Santa Trinita, high- 
ly extolled by Michael Angelo as an edifice of sur- 
passing excellence for its simple grandeur, and the 
nobleness of its proportions. In 1240 he com- 
menced the cathedral of Pistoia ; and likewise im- 
proved and embellished that of Volterra. Among 
his other works in architecture were the convent 
of S. Domenico at Arezzo ; the church of S. Lo- 
renzo at Naples ; the campanile of S. Niccola at 
Pisa ; and the magnificent abbey on the plain of 
Tagliacozzo, erected by Charles I. of Anjou, in 
1268, in commemoration of his decisive victory 
over Corradino, and thence called Santa Maria della 
Vittoria. 

NICCOLO, DEL Abati. See Abati. 

NICCOLO, Maestro, an old painter of Friuli, 
some of whose works are still preserved at Gemo- 
na, among which are the facade of the Cathedral, 
and an altar-piece, signed Magister Nicolaus pin- 
tor me fecit. MCCCXXXIL To this artist is 
ascribed, by some writers, that vast and meritori- 
ous production, representing the solemn scene of 
the Consecration, which decorates the Cathedral of 
Venzone, and which is still in a fine state of pre- 
servation. This, however, is a matter of mere 
conjecture; founded on the resemblance of manner, 
vicinity of the place, and time of execution. 

NICHOLS, Sutton, an obscure English engra- 
ver, who resided at London about 1710. He exe- 
cuted a number of plates of shells and other tri- 
fling subjects for the booksellers, which possess 
little merit. 

NICIAS, an eminent Greek painter, a native of 
Athens, flourished in the latter half of the 4th cen- 
tury B. C. He lived in the time of Alexander, 
and though probably younger than Apelles, he 
was a cotemporary of that master. He excelled 
in elegance of design, beauty of coloring, and in 
effect of light and shade. He was famous above 
all the artists of his time, for the beauty and grace 
of his female forms, which were executed with 
such admirable relief that Pliny says "they ap- 
peared ready to leave the ground they were paint- 
ed upon, and walk out of the frames." 

The most celebrated work of Nicias was the 
Region of the Shades, described in Homer's Odys- 
sey, where Ulysses invokes the departed spirits. 



NICO. 



617 



NICO. 



Plutarch says that Ptolemy T. of Egypt offered the 
artist sixty talents (about $75,000) for this pic- 
ture, but was refused by Nicias, who presented it 
to his native city, Athens. Pausanias says that 
on the way from Phar£e to Tritaea, there was a 
sepulchre of white marble, decorated with the 
paintings of Nicias. He also painted in encaustic; 
and, according to that author, he was the most ex- 
cellent animal painter of his time. Among the other 
works of this artist was a picture in the Cura 
Julia, of Neraea sitting on a Lion; Alexander; 
lo; Andromeda; a sitting Calypso; another Ca- 
lypso, in the Hall of Pompey ; Bacchus ; Diana; 
and an elegant Hyacinthus, in the Hall of Concord. 
The latter work was brought from Alexandria to 
P.ome by Augustus, and was subsequently conse- 
crated by Tiberius in the temple of Augustus. 
Nicias appears to have been a very studious and 
absent man ; ^lian says he used to forget to take 
his meals. At his death, he was honored with a 
public burial, and was interred in the road from 
Athens to the Academy, the cemetery of all great 
Athenians, where his tomb was erected. 

NICOLAI, G. D. C, a German engraver, who 
lived at Vienna about 1760, and, in concert with 
A. J. Prenner, executed part of the plates from 
the pictures in the Imperial Gallery, published in 
four sets in folio. 

NICOLAY, Isaac, a Dutch painter, born at 
Leyden in 1539. He designed correctly, and gave 
great animation to his figures. He died in 1597, 
leaving two sons, whom he had instructed in the 
art ; Nicholas Isaac Nicolay, born at Leyden in 
1566, painted history in the style of his father, and 
died at Amsterdam in 1640 ; and James Isaac 
Nicolay, born at Leyden in 1569, painted in the 
style of his father, gained improvement by visiting 
Italy, and died at IJtrecht in 1639. 

NICOLAY. Jan Hendrick, a Dutch painter, 
born at Leeuwarde in 1766. His forte was in 
painting dead birds, which he represented in a very 
skillful manner. His works were frequently ex- 
hibited at Amsterdam, and they are highly es- 
teemed in Holland. He died in 1826. 

NICOLE, Nicolas, a French architect, born 
at Besan9on in 1701. Being of a poor family, he 
was first apprenticed to a blacksmith, but on visit- 
ing Paris, he determined to relinquish his occupa- 
tion ; and accordingly he entered the free school 
of Blondel. After studying some time under that 
master, he returned to Besan9on, and was com- 
missioned to erect the church du Refuge, of 
which the beautiful fagade has been often en- 
graved. He afterwards executed the plan for the 
collegiate church of S. Anne of Soleure, and was 
invited by the authorities of that city, to superin- 
tend the execution of the works. The church of 
the JMagdalen. at Besan9on, is also the work of Ni- 
cole, but has never been completed. These two 
latter works have been justly criticised as to the 
details. He had a very lively imagination, and 
drew his designs with great facility ; but his edi- 
fices have none of that ever attractive simplicity, 
which preeminently distinguishes the antique. — 
Nicole was honored with the confidence of several 
successive intendants of the province of Franche 
Comte, and was consulted concerning all architec- 
tural projects. He died at Besangon in 1784. 



"T- "BjT T-v NICOLE, D. This name is affixed to a 
\\Ar^^ set of views slightly etched, in the style 

VY I'of a painter, and also marked with the 
accompanying monogram, which probably repre- 
sents the initials of the designer. 

NICOLET, Bernard Anthony, a Swiss en- 
graver, born at St. Imer, in the bishopric of Basle, 
in 1740. He visited Paris while young, and en- 
graved several plates after the marines of Vernet, in 
concert with Longueil ; also a number of plates for 
the Abbe de St. Non's Voyage Pittoresque du Roy- 
aume de Naples. There is some confusion among 
writers about this artist, as his name is sometimes 
written Benedict Alphonsius A., and the dates of 
his birth are differently stated: but the above is 
the account of Nagler, who places his death in 
1807. The following are among his best works : 
portraits. 

Noel Halle, Painter to the King. 1775 ; after Cochin. 
Thomas le Sueur, Professor of Mathematics at Rome; do. 
Francis de Paul Jacquier, Professor of Mathematics ; do. 
Nicholas de Monthonon ; do. 

various subjects. 

St. Apollonia ; after the picture by Guide ; in the Or- 
leans collection. Milo Crotoniate ; after Giorgione ; do. 
Susanna and the Elders ; after Deshayes. A View of Na- 
ples ; after Vernet. A Shipwreck ; do. A View of the 
Interior of the Church of St. Januarius at Naples ; after 
Dupres. 

NICOLETTO. See Niccolo Cassana. 

NICOMACHUS, an eminent Greek painter, a 
native of Thebes, flourished in the latter part of 
the fourth century B. C. Plutarch compares his 
paintings with the lines of Homer ; Cicero says 
that, in the works of Nicomachus. Echion, Protog- 
enes, and Apelles, all things are perfect. He was 
the most celebrated of all the Greeks for facihty 
of execution. In illustration of this quality, 
Pliny relates that he executed, in a few days, the 
decorations of the monument to the poet Telestes, 
with remarkable beauty, and to the entire satis- 
faction of Aristratus, tyrant of Sicyon, who short- 
ly before was exceedingly angry with the artist, 
because he thought the works would not be fin- 
ished within the specified time. Nicomachus was 
the first artist who represented Ulysses with the 
cap of Liberty. Stobaeus relates of Nicomachus 
that, hearing some one say he saw no beauty in 
the Helen of Zeuxis, he observed, '• Take my eyes, 
and you will see a goddess." 

Among the principal works of Nicomachus, 
Pliny mentions a picture of Scylla, in the Temple 
of Peace ; Bacchantes, with Satyrs creeping up to 
them ; Cybele sitting on a Lion ; Apollo and Di- 
ana ; a Victory in a Chariot, consecrated in the 
Capitol by Plancus ; a Rape of Proserpine, in the 
Temple of Minerva on the Capitol ; and an unfin- 
ished picture of the Tyndarid^, which was in 
greater repute than his finished works. 

NICOPHANES, a Greek painter, who flour- 
ished about B. C. 300. He studied under Nicom- 
achus, and although little is recorded of his works, 
Pliny ranks him among the most eminent artists 
of his time. He possessed a lively genius, great 
facility of invention, and rapidity of execution. 
From his practice of frequently choosing courtesans 
for his models, he was called '"the Painter of 
Courtesans." 

NIEULANT. Adrian, a Flemish painter, a na- 
tive of Antwerp, flourished in the latter part of 



NIEU. 



C18 



NILS. 



the 16th century. lie painted landscapes of con- 
siderable merit, and decorated them with small 
figures. Among other works, he executed a win- 
ter-piece, with masked figures skating on the moat 
of the citadel of Antwerp, which is now in the 
Museum at Brussels. He died about 1601. 

NIEULANT, John, a Flemish painter, born at 
Antwerp in 1569. He studied under Peter Fransz 
and Francis Badens, and painted landscapes and 
historical subjects of small size, very highly fin- 
ished. He died at Amsterdam in 1628. 

NIEULANT, William van, a Flemish painter 
of landscapes with architecture, born at Antwerp 
in 1584; died in 1635. He acquired the elements 
of design from Roland Savery, and afterwards went 
to Rome, Avhere he studied for three years under 
Paul Bril, and followed the style of that master. 
On returning to the Low Countries, he settled at 
Amsterdam, and adopted a more bold and expe- 
ditious manner of operating. He was much em- 
ployed in painting views of the ruins of ancient 
architecture in the vicinity of Rome, from the de- 
signs he had collected in Italy. His coloring is 
bold and effective ; his buildings are drawn with 
neatness and precision ; and his figures are de- 
signed with tolerable correctness. There are a 
number of plates of architectural landscapes etched 
by Nieulant in a free and spirited style, occasion- 
ally assisted with the graver. Among them are 
the following : 

A Landscape, with ruins, and figures representing the 
Merciful Samaritan ; P. Bril, inv. G. Nieulant. fecit. 
A Mountainous Landscape, with Tobit and the Angel ; do. 
Two Views of the Sea Coast ; do. Three Views of Ruins 
in and near Rome ; Guil Nieulant. A large print, rep- 
resenting three Bridges on the Tiber, and part of the City 
of Rome; in three sheets, inscribed Guilielmus van Nieu- 
lant, fecit et excud. Antverpioe. 1600. 

NIGETTI, Matted, a Florentine architect, who 
flourished in the first part of the 17th century. 
He studied under Buontalenti, and materially as- 
sisted that master in the erection of the Strozzi 
palace at Florence. According to Milizia, he erect- 
ed a number of works in that city, among which 
were the cloister of the monks degli Angeli, com- 
pleted by Silvani ; and he made the design and 
model for the church of Ogni Santi, belonging to 
the brothers Osservanza. Nigetti also erected a 
beautiful edifice after the design of Vasari, near S. 
Lorenzo, intended as a sepulchre for the Grand 
Dukes. This architect was also an engraver on 
precious stones. Among his works in this branch 
of the art, was the wonderful shrine in the chapel 
of S. Lorenzo at Florence. He died in 1649. 

NIKKELEN, J. van, a Dutch painter of inte- 
riors, who flourished about 1660. He was a good 
artist in perspective, and painted interiors of 
churches in the style of van Vliet, which possess 
considerable merit. They are signed J. van Nik- 
kelen. 

NIKKELEN, John van, a Dutch painter, the 
son of the preceding, was born at Ilaerlem in 1649. 
He studied the elements of design under his father, 
but did not pursue the same branch of the art. 
He applied himself to landscape painting, and ac- 
quired considerable distinction, being invited to 
the court of the Elector Palatine, for whom he 
painted several pictures, and was afterwards made 
painter to the Prince of Cassel. His works are 
said to resemble those of Karel Dujardin. He died 



in 1716. His daughter, Jacoha Maria, was a pu- 
pil of vahder Myn, and excelled in fruit and flow- 
ers. She painted several pictures at Dusseldorf, 
which are erroneously ascribed to her father. She 
married William Troost, a portrait painter. 

NILSON, John Elias, a German miniature 
painter and engraver, born at Augsburg in 1721. 
He engraved in a stiff, formal style, several por- 
traits of eminent personages, among which are the 
following ; 

FOHTRAITS. 

Clement XIII. Pontif. Max. ; Nilson, inv. etfec. .Pe- 
trus III., Russorum Imperator. Catherina Alexiewna, 
Russorum Imperatrix. Stanislaus Augustus, Rex. Pol. 

T|- TT- NIMECIUS. Balthasar Meneius, an 
/A/ \ obscure German wood engraver, is said 
_0 VML to have been a native of Saxony. There 
are a number of wooden cuts, sometimes marked 
with the initials B. M. N., and sometimes with the 
accompanying monogram, which Prof. Christ at- 
tributes to Nimecius. 

NIMEGUEN, Elias van, a Dutch painter, born 
at Nimeguen in 1667. He studied the elements of 
design under his elder brother, an inferior paint- 
er of portraits and flowers ; but as his instructor 
died when Elias was only fourteen, he decided to 
dispense with farther assistance, and devote him- 
self chiefly to the study of nature. By great as- 
siduity he became a good designer of the figure, 
acquired a competent knowledge of architecture 
and perspective, and attained excellence in land- 
scape and flowers. In concert with his 3'ounger 
brother Tobias, he executed an extensive series of 
decorations in the palace of Baron van Wachten- 
donk, which gained for the artists such high repu- 
tation, that they were employed by the Princess of 
Orange for several years, in painting emblematical 
and historical subjects on the walls and ceilings 
of her palaces, embellished with bas-reliefs and 
other accessories. The two brothers subsequent- 
ly separated, Tobias going to the court of the 
Elector Palatine, and Elias to Rotterdam, where 
he was fully employed. His style was happily 
adapted to his subjects, being characterized by fer- 
tility of invention, great promptness and facility 
of execution, clear and agreeable coloring. Some 
writers place his death in 1745, aged 78 ; others 
in 1755, aged 87. 

NIMEGUEN, Tobias van, the younger, the 
brother of the preceding, born at Nimeguen in 1670. 
Like his brother Elias, he studied under his elder 
brother, and wrought in concert with Elias, as de- 
tailed in the preceding article, until invited to the 
court of the Elector Palatine. He was retained 
in the service of that Prince during the rest of 
his life. 

NIMEGUEN, Dionysius van, a Dutch painter, 
the son of Elias N., was born at Rotterdam in 
1705 ; died in 1798. He studied under his father, 
and painted similar subjects to those of that mas- 
ter. He also excelled in portraiture, and is said 
to have painted at the age of 81, without specta- 
cles, a perfect likeness of a young lady. 

NIMEGUEN, Gerard van, a Dutch portrait 
and landscape painter, the son and scholar of Di- 
onysius N., was born at Rotterdam in 1735. He 
manifested considerable ability in portraits, a«d 
was much employed, even by Prince William V., 
whom he painted at a very early age. He formed 



NINF. 



619 



NOEL. 



his style in landscape from the works of Everdin- 
gen, Ru3sdael, and Pynacker, His pictures of 
mountains, landscapes, and forest scener}^ with 
rivulets, decorated with figures and animals, are 
highly esteemed, and are placed in the best col- 
lections. Niraeguen made many drawings and 
copies after Ilackert, Ilobbema, Wynants, and 
Ruysdael. Brulliot mentions twelve etchings of 
landscapes by him. He died at Rotterdam in 
1808. 

NINFE. Cesare dalle, a Venetian painter, 
mentioned b}^ Zanetti among the imitators of Tin- 
toretto. Heficurished about 1595. He possessed 
the fertility of invention, and facility of execution, 
which characterized his great model ; and though 
inferior to him in design, he was an excellent 
colorist. His works, probably, are mostly attribu- 
ted to Tintoretto. 

NINO, Don Juan, See Guevara, 

NTQUET, THE Elder, a French engraver, who 
flourished in the present century, and was living 
in 1831. He was employed by Filhol on the 
Galerie dii M usee Napoleon. Among his princi- 
pal plates, are the 'J'rinmph of Flora, after N. 
Poiusin ; Diana hunting; the Laocoon ; Cupid 
and Psyche ; the Death of St. Bruno ; and Raf- 
faellels Transfiguration. 

NIXON, an English engraver, who flourished 
about 1750, and executed, among other plates, a 
number of portraits, in a very neat style, the faces 
entirely finished with dots. Among them are the 
following : 

POnTRAlTS. 

Prefierick, Prince of A?ales. William Augustus, Duke 
of Cumberland ; two plates. Archbishop Tillotson. John, 
J]:irl of Granville. 

\OBTLT, DuRANTK dr\ a painter born at Calda- 
rola, who fji-nied his style on that of Michael An- 
gelo. i^anzi connncnds a Madonna by him, in the 
church of S. Pietro di Castello. at Ascoli, inscribed 
with his name, and dated 157L 

NOB[,KSSE. a French designer and engraver, 
mentioned by Basan as re.si(lin<i- at Paiis. where he 
died at an advanced age, in 1730. He excelled in 
pen-drawings, an 1 appears to have formed his taste 
from studying the woi-ks of Callot. There are a 
h\K etcliiugs by him^ in the neat and spirited style 
of that master. 

NOBLET. an engraver mentioned by Strutt, 
who says he executed a number of vignettes, and 
other book ornaments. 

NOBLIN. H.. an oV)scure engraver, who flour- 
ished about l<i80. Among other plates, he execu- 
ted the portrait of Cardinal Howard, 

NOCHER, J. E., a French engraver, who flour- 
ished at Paris about 1760. He studied under Ste- 
phen Fessard. and engraved several book orna- 
ments and portraits, among which is that of Jean 
Jacques Rousseau. 

NOCRET, Jean, a French painter and engraver, 
born at Nancy in 1G18. He studied under Leclerc, 
and afterwards visited Italy for improvement. On 
returning to France, he was much emplo^'cd at the 
Tuileries and St. Oloud. and painted the portraits 
of several members of the royal family, which 
have been engraved. He is also said to have paint- 
ed historical subjects. Felibien praises his abili- 



ties, and Dumesnil mentions a print by him, char- 
acterized by simple and graceful attitudes, drape- 
ries finely cast, and excellent gradation of the dis- 
tances. Nocret was appointed rector of the French 
Academy. He died at Paris, according to Nagler. 
in 1672, though another authority says in 16761 
His son and scholar, Charles Nocret, was born at 
Nancy in 1647 ; painted portraits with reputation ; 
and died in 1719. 

NOEL, a French marine painter, who flourished 
in the present century. He studied under Silves- 
tre and Joseph Vernet, and painted several marine 
pieces, of views on the coasts of Spain and Portu- 
gal, with falls of siiow, gales of wind, fogs, tem- 
pests, and conflagrations. He also executed views 
of Lisbon and Gibraltar, and exhibited m^any pic- 
tures up to the year 1822. He was living in 1831. 

NOFERL MicHELE, a Florentine painter, who 
flourished about 1060. According to Baldinucci, 
he studied under Vincenzio Dandini, and was a 
reputable artist. 

NOGARI, Giuseppe, a reputable Venetian 
painter, born in 1699. He studied under Antonio 
Balestra. and attained such excellence in portraits 
and half-length figures, that, according to Lanzi, 
he was much patronized b}- the court of Turin for 
many 3^cars, His portraits are characterized by 
truth to nature, vigor of expression, and richness 
of coloring. He also painted history with con- 
siderable reputation, among which Lanzi com- 
mends his S. Pietro, in the cathedral at Bassano, 
combinmg the styles of Balestra and Piazzetta. 

NOGARI, Paris, a Roman painter, born in 
1512. He imitated the style of Raffaellino da 
Reggio. and painted a number of frescos in the 
Vatican Gallery, during the pontificate of Gregory 
XIII. He also executed several oil paintings. 
Among his principal works is a picture of Christ 
bearing his Cross, in the church della Madonna de' 
Monti ; the Deposition from the Cross, in the 
Tiinita de' Monti ; and the Circumcision, in S. 
Spirito in Sassia. He died at Rome, in 1577, aged 
65. 

NOTR, NrcoLAS le. a French architect, born 
at Paris in 1726. He studied under Blondel, and 
having gained the grand prize of the Academy, 
visited Rome, where he devoted himself with great 
assiduity to the study of the admirable remains 
of antiquity. On returning to Paris, he soon 
gained reputation, and \va« commissioned by Vol- 
taire to erect an edifice at Ferney. His principal 
work is the theatre of the Poite St. Martin. He 
was much employed, and died in 1810. 

NOLIN, Jean Baptiste, a French engraver, 
born at Paris in 1657. He studied under Poilly, 
and afterwards visited Rome for improvement, 
where he engraved several plates after the gieat 
masters, among which was the Miracle of the 
Loaves, after RaffaeUe. He also executed several 
plates in the work entitled Vaes. Plans, Coupes ei 
Elevations du Chateau de Versailles. 

NOLLEKENS. Joseph Francis. This paint- 
er was born at Antwerp in 1706, and was the fa- 
ther of Joseph Nollekens, the sculptor. He visit- 
ed England while young, and studied painting 
under Peter Tillemans. He painted land.scapes. 
and musical and fashionable conversations; was 
much employed in copying the works of Wattem 



NOLL. 



620 



NOLL. 



and the architectural views of Gio. Paolo Pannini. 
He was patronized by the Earl of Tilney, and exe- 
^ cuted several ornamental works for Lord Cobham. 
He died at London in 1748. 

NOLLEKENS, Joseph. This eminent sculp- 
tor was the son of the preceding, born in London 
in 1737. Reacquired the elements of the art un- 
der Scheemakers, and subsequently visited Italy 
for improvement, where he studied under Ciavetti, 
and remained nine years. He executed the busts 
of many distinguished Englishmen, among whom 
were Garrick and Sterne ; and he also turned his 
attention to a lucrative, though rather undignified 
branch of the art — that of manufacturing antiques, 
by vamping up fragments ; finding either heads and 
limbs for bodies, or bodies for heads and limbs. 
One of the statues thus compounded was the Mi- 
nerva, afterwards purchased for a thousand guineas, 
and now in the Newby collection at Yorkshire. 
His skill in repairs of this kind was subsequently 
displayed in the Townley marbles. While at 
Rome, he also purchased for a mere trifle, from the 
workmen by whom they were discovered, a num- 
ber of fine terra cottas, which he afterwards dispo- 
sed of to Mr. Townley, and which are now let 
into the walls of the British Museum. He also 
obtained the patronage of Lord Yarborough, and 
the Earl of Besborough, for the former of whom 
he executed a group of Mercury and Venus chid- 
ing Cupid. During his residence at Rome, he 
gained a gold medal from the Academy of St. Luke. 
Nollekens returned to England in 1770, and soon 
after married Mary, the youngest daughter of ; 
Justice Welch, with a handsome fortune. He soon j 
took the lead in his profession, and attained a high 
reputation. Without the advantages of education ! 
it is rather surprising that he accomplished what he 
did in the superior branches of the art, than that j 
his poetical subjects display so little of the higher 
powers of the imagination. His chief excellence was 
in executing busts, and he gained an extensive pat- 
ronage in this branch of the art. Among his pie- 
ces in poetic sculpture were no fewer than five Ve- 
nuses, one of them since known as the Rocking- 
ham Venus ; and one representing the goddess 
anointing her hair. The latter was considered by 
the artist his master-piece. Among his groups 
were a Paetus and Arria, and a Cupid and Psyche. 
His best monumental sculpture was executed for 
the tomb of Mrs. Howard of Corby Castle. It is 
pathetic in composition, and elegant and tasteful 
in execution. In 1772, Nollekens was chosen a 
royal academician. He was a great favorite with 
George HI. Eccentric in many points of his char- 
' acter, he was also distinguished for great penuri- 

ousness during his whole life, until the age of 
eighty, and the death of his wife, in 1817, when he 
began to relax a little of that economy which had 
always prevailed in his establishment. His whole 
histor}'- abundantly proves that he had a most 
contemptible idea of the art, regarding it merely 
as a means of acquiring wealth. During the 
(\i\v remaining years of his life, he was beset by a 
swarm of greedy legaC3''-hunters, all professing 
sympathy and attachment. He died in 1823, 
leaving a fortune of about $1,000,000, excepting a 
iQw small legacies, to his friends Francis Palmer, 
and Francis Douce, the antiquary. 

NOLLET, DoMiNicK, a distinguished Flemish 
painter, born at Bruges in 1G40. He studied un- 



der Jacob van Oost the elder, and painted history 
with reputation ; but was more distinguished for 
landscapes in a grand style, and for sieges and bat- 
tle pieces, with figures and horses correctly drawn, 
and touched with great freedom and spirit. On a 
close inspection, his pictures appear crude ; but 
when viewed at a proper distance, they have a fi^ne 
efiect. His style greatly resembles that of vander 
Meulen, and his talents nearly equaled those of 
that master. NoUet was patronized by Maximil- 
ian, Duke of Bavaria, the governor of the Low 
Countries, who appointed him his principal paint- 
er. He was chosen a member of the Society of 
Painters at Bruges, in 1687. There are a number 
of his works in the Flemish collections ; and in 
the church of the Carmelites, at Bruges, is his pic- 
ture of St. Louis embarking for the Holy Land. 
He died in 1736. 

NOLLI, Gio. Battista, an Italian engraver, 
who flourished about 1755, and executed, among 
other plates, several plans and views of buildings. 

NOLLI, Carlo, an Italian engraver, the son of 
Gio. Battista N., flourished at Naples about 1760, 
and was employed upon the plates engraved by com- 
mand of the king, representing the Antiquities of 
Herculaneum, He is said to have etched several 
plates in imitation of the drawings of Parmiggi- 
ano; 

NOLPE, Peter, a Dutch painter and engraver, 
born at the Hague in 1601. Little is known con- 
cerning his pictures, but he engraved a number of 
plates, etched with the point and finished with the 
graver, in a style of considerable ability ; although 
his drawing is often incorrect, and his chiaro-scuro 
is ill managed. His best works are his landscapes, 
engraved in a free, bold, and masterly style. Na- 
gler is of the opinion that he fiourished until 1670, 
The following are his principal plates : 

The Portrait of John Adler Salvius, Swedish Ministei 
Plenipotentiary. A set of eight Cavaliers ; etched, scarce. 
A set of eighteen etchings of Beggars ; in the style of P 
Quast. St. Peter delivered from Prison ; afier J. V, Vucht 
Judah and Tamar, in a large landscape ; from his own 
design. The same figures were afterwards introduced in- 
to another Iandscape,of a smaller size. The Broken Dyke; 
from his own design. The fine impressions of this print 
are very scarce ; it is one of his most esteemed plates.— 
Daniel in the Den of Lions ; after BlanceH, The De- 
parture of King AVilliam from Holland to England in 1660 
An Emblematical Print on the Marriage of the Prince of 
Orange with the Princess Mary of England. A set of six 
Landscapes; after Adrian van Nieulant ; fine. A set 
of six Landscapes ; after R. Rogman ; fine. "Kight 
Months of the Year; Peter Nolpe, fee. et exc. ; fine. — 
The Prophet Elias speaking to the Widow of Sarepta. St. 
Paul, the Hermit, fed by an Eagle in the Desert ; after 
Peter Potter. The Cavalcade made in 1638 by the citi- 
zens of Amsterdam, on the entry of Mary of Medicis into 
that city ; after C. BJolyn ; a large print in six sheets. 

NON, Richard Abbe nc St., a distinguished 
French author and amateur engraver, born at Pa- 
ris in 1730 ; died in 1792. He edited and publish- 
ed a large pictorial work, entitled Voyage Pitto- 
resque des Royaum.es de Naples et de Sidle. Pa- 
ris, 5 vols. folio; embellished with engravings by 
the most eminent French artists of the day. He 
also etched a variety of subjects, from his own de- 
signs and those of other masters ; and engraved 



NONN. 



621 



NORD. 



several plates in a style resembling washed draw- 
ings. Among them are the following : 

ETCHINGS FROM HIS OWN DESIGNS. 

A set of six Landscapes, with rural occupations and 
amusements ; oval. A set of seven Landscapes and Cot- 
tages. Six Views in Italy, with figures ; in the style of 
Sal. Rosa. 

ETCHINGS AFTER VARIOUS MASTERS. 

Six Views in and near Rome ; qfler Robert. Six Views 
near Rome and Tivoli ; after Frag onard. Tv\o Land- 
scapes, with figures ; after' Boucher. Two, a Village Fes- 
tival, and a Cattle Market; after Bernard. A Land- 
scape, with a figure drawing : after Berghem. A variety 
of Views and other subjects, in aquatinta; after Boucher, 
Le Prince^ Robert, Fragonard, and other artists. 

NONNOTTE, Donat, a French painter, born at 
Besan^on in 1707. He early manifested an incli- 
nation for art, and acquired the elements of design 
under a relative, an artist of little note, whom he 
soon surpassed. In 1728 he visited Paris, and en- 
tered the school of Lemoine. With increased ad- 
vantages he made rapid progress, and was soon 
honored with the particular notice and encourage- 
ment of his instructor, who employed him to paint 
the backgrounds and accessories in several of his 
works. Nonnotte painted an historical sulyect, 
representing the Protestants attacking Besancon, 
which deserves considerable praise for its design and 
coloring. The Duke d'Antin had promised to use 
his influence to obtain a pension to enable him to 
visit Rome, but that nobleman died ; and Lemoine 
also died soon after ; so that Nonnotte was obliged 
to devote his energies to portrait painting. In 1741, 
he exhibited a portrait of such excellence as to 
gain him admission to the Academy. In 1754 he 
was appointed painter to the city of Lyons, where 
he established a free school of design, and sustain- 
ed it for some time from his own resources, for 
which he deserves the grateful remembrance of 
every lover of art. He was subsequently assisted 
by the liberality of Mathon de la Cour. Non- 
notte died in 1785. He left several treatises on 
art, which are preserved by the Academy of Paint- 
ing at Lyons. 

NOP. Gerrit, a Dutch painter, born at Haer- 
lem in 1570; died in 1622. He studied the ele- 
ments of design in his own country, and after- 
wards visited German}' and Italy for improve- 
ment. 

NOOMS, Eemy or Renier. called Zeeman, a 
Dutch painter and engraver of marine subjects, 
born at Amsterdam in 1612. Being the child of 
poor parents, he was obliged to gain a livelihood 
as a common sailor ; but having a great inclina- 
tion for art, he quitted maritime pursuits, and ac- 
quired a knowledge of design. From his original 
occupation, he acquired the surname of Zeeman 
(sailor), by which he is often known. He excelled 
in painting sea views and shipping, which he de- 
signed with great correctness and precision ; his 
figures are well drawn, and touched in a very 
free and spirited style. He attained so high a 
reputation as to be invited to Prussia ; and during 
his residence in that kingdom he executed many 
works for the public edifices of Berlin, and for the 
royal palaces. Nooms etched a number of prints 
in a bold and free style^ among which are the fol- 
lowing : 

A set of eight plates of Shipping ; designed and engraved 
by Remy Nooms. 1632. A set of four Views in Amster- 
dam. 1636. A set of four Sea Ports in Holland ; published 
&t Amsterdam in 1656 ; The Four Elements, Reinier Zee- 



■f man, fee. Two Views in Paris, one of the Faubourg St. Mar- 
ceau, the other of the Gate of St. Bernard. A set of tvvelv( 
Views of Shipping ; published at London by Ar. Tooker. 

NOORDT, J. VAN, a painter and engraver, who 
lived about the middle of the 17th centur}'. Ho 
painted portraits, n^^mphs bathing, and emblemat- 
ical subjects; of which some have been engraved. 
Strutt mentions him as an engraver of great merit, 
and notices a spirited etching by him, of a land- 
scape with ruins, executed in a broad, masterly 
manner, with figures well designed. This plate ].'■■ 
supposed the same as a landscape after P. Last- 
77ian, 1645, mentioned by Bartsch, who also notices 
another, after P. de Laer. Both are very scarce. 
There is a portrait of Cornelius Noordt, engraved 
by himself, who was probably a relative of J. van 
Noordt. 

NORDEN, John, an English engraver of topo- 
graphical subjects, probably born in Wiltshire, 
about 1546. His principal work was his Specu- 
lum Britannice^ or An Historical and Chorograph- 
ical Description of Middlesex and Hertfordshire, 
with a frontispiece and maps. He resided at Hen- 
don, in Middlesex ; was patronized by Lord Bur- 
leigh, and his son Robert, Earl of Salisbury ; was 
Surveyor of the King's Lands in 1614. 

NORISINL See Parasole. 

NORTHCOTE, James, an eminent English his- 
torical painter, born at Devonport in 1746. He 
was the son of a watch-maker, who would not al- 
low him to indulge in his desire to study painting, 
but brought him up to his own business. On at- 
taining his majority, he followed the inclination of 
his genius, and after producing some pictures that 
were commended by his townsmen, he went to 
London and entered the school of Sir Joshua Reyn- 
nolds. in which he continued five years ; and by his 
assiduity, talents, and urbane deportment, he gained 
the esteem and friendship of his master. In 1777. 
he went to Italy, where he gained so much dis- 
tinction that he was elected a member of the im- 
perial Academy of Florence, of the Ancient Etrus- 
can Academy of Cortona, and of the Academy 
del Forti at Rome. He also painted a portrait of 
himself, at the request of the Grand Duke of Flor- 
ence, to be placed among those of distinguished 
artists in the Florentine Gallery. In 1780, he re- 
turned to England, visiting the various academies 
and collections of note in Holland and Flanders. 
He settled in London, and soon gained distinction 
in his profession. Though he mostly confined him- 
self to portraiture fi-om necessity (as there was lit- 
tle encouragement at that time for any higher branch 
of the art in England), he executed a considerable 
number of historical works which materially add- 
ed to his reputation. When Boydell projected the 
Shakspeare Gallery, Northcote entered into the 
project with enthusiasm. " It was this memora- 
ble occasion," says Gould, himself a painter, "that 
enabled Northcote to develope his powers. The 
public excitement at the opening of the Shakspeare 
Gallery exceeded the expectations of even the 
most sanguine. All the fashionable world, and 
crowds of every class, flocked to Pail-Mall to be- 
hold the interesting sight, and subscriptions poured 
in from all quarters in support of- the glorious en- 
terprise. Among the most splendid efforts of 
British art which were thus collected together, 
none were more justly attractive than the compo- 
sitions of Northcote." The most celebrated of 



NORT. 



622 



NOSA. 



these were Piince Arthur and Hubert ; the Mur- 
der of the Princes in the Tower ; the Burial of the 
Princes ; and the Entry of Bolingbroke and Rich- 
ard IL into London. These pictures procured his 
being elected an Associate of the Ro3^al Academy 
in 1787. Among his other principal works are 
the Death of AVat Tyler ; the Death of the Earl of 
Argyle; the Landing of the Prince of Orange; Rom- 
ulus and Remus; Prospero and Miranda; Ja- 
cob blessing the sons of Joseph ; the Angels ap- 
pearing to the Shepherds ; Christ the Good Shep- 
herd ; the Disobedient Prophet slain by the Lion ; 
Joseph and his Brethren. He also painted some 
fancy pieces, among which are a Bacchante ; the 
Cradle Hymn; the Mother's Prayer; the Girl Read- 
ing ; Girl going to the Show of Animals: Girl 
going to the Market;- a Lady crossing the Alps ; 
the Vulture and the Snake ; the Leopards ; Tiger 
Hunting ; Buck Hunting ; the Two Monkeys ; &c. 
He excelled in painting animals, particularly the 
horse. He also painted a series of pictures intended 
to convey a great moral lesson, as follows : 1. The 
Modest Girl and the Wanton, fellow servants in a 
gentleman's house; 2. theWanton reveling with her 
Companions ; 3. Good advice given to both by an 
old Servant ; 4. The Wanton in her bed-chamber ; 
5. The Modest Girl in her bed-chamber ; 6. The 
Wanton turned out of doors for misconduct ; 7. 
The Modest Girl rejecting the illicit advances of her 
Master ; 8. The Wanton dying in poverty and dis- 
ease, visited by the Modest Girl ; 9. The Modest 
Girl receiving the addresses of her Master ; 10. The 
Modest Girl, married to her Master, is led to her 
couch, while the Wanton, having died in misery, 
is laid in her grave. 

As an author, Northcote also distinguished 
himself. Besides several essays on various sub- 
jects connected with the Fine Arts, he wrote 
a Life of Sir Joshua Reynolds, published in 1813, 
in quarto; with a Supplement in 1815, and an 
enlarged octavo edition in 1819. In 1828. he pub- 
lished an octavo vol. of " One Hundred Fables," 
original and selected, and illustrated with nume- 
rous beautiful wood cuts, from his own designs. 
In 1830, appeared his " Life of Titian," and after 
his decease, a second volume of Fables, published 
under the title of '• The Artists' Book of Fables," 
and illustrated with numerous wood cuts, from his 
own designs, executed under the direction of Har- 
vey, by the most eminent engravers in that depart- 
ment. Northcote's life was one of indefatigable in- 
dustry and perseverance. He was rather haughty 
in his deportment towards his brother artists, per- 
haps not without reason, and he was rather feared 
than beloved by them ; — no one trod on his toes 
without receiving a kick in return. Few artists 
have encountered more severe, if not bitter and 
rancorous criticism. They say that he was a good 
portrait painter, to which branch he should have 
contined himself, and when he attempted historical 
painting, he aspired beyond his capacity. They say 
also that he wanted invention, that his composi- 
tions are formal and his heads lack expression. 
Yet his fables at least show that he had invention 
enough, and it is notorious, that his Hubert and 
Arthur, and the Murder of the Princes, drew tears 
from many beholders, that he often displeased his 
sitters, by giving them too exact a likeness. While 
with Reynolds he painted the portrait of one of 
the servant girls, whose evil genius was a large 
macaWj belonging to her master, and upon the pic- 



ture being brought into the room where the bird 
was, it flew at it in a rage. It is also admitted that 
he was a good colorist and a '' tolerably correct 
designer." and he died leaving an ample fortune. 
It would seem therefore fair to infer, that his crit- 
ics have overlooked the fact, that with the exception 
of Boydell, there was little encouragement for the 
historical painters of his day ; that he painted 
histor}^ more for the love of it, in his leisure hours, 
than for profit ; that they measure him by a false 
standard, and demand from him too much, with- 
out duly considering his earlier and later disad- 
vantages. Smith, in his Life of Nollekens, says of 
Northcote (vol. II, p. 424.) " There is one most 
honorable circumstance, which this celebrated ar- 
tist has to boast of, namely, that his pictures, 
whenever they have been resold at auctions, have 
always been knocked down for more than four 
times their original price, and what is more, they 
have generally been purchased by men of rank and 
taste." He died in 1831. 

NOS ADELLA, II. See Gio. Francesco Bezzi. 

NOTHNAGEL, Johann Andreas, a German 
painter and engraver, born at Buch, near Saxe 
Cobourg. in 1729. He resided at Frankfort, where 
he painted a number of good landscapes, with the 
sports of the peasantry, in the style of Teniers. 
As an engraver, however, he gained more distinc- 
tion ; Nagler notices sixty-six prints by him, 
among which are several heads and busts, in the 
style of Rembrandt, which he imitated with great 
success. He died in 1800. 

NOTRE, Peter Francis van. a Flemish paint- 
er and engraver of the present centur}'^, born at 
Waelhem, near Malines, in 1779. He studied 
sculpture for some time under van Geel, but in 
1811 devoted his energies to painting, and attained 
considerable eminence in landscape and marines, 
but was particularly distinguished for his winter 
scenes and views of the intej-iors of cities. His 
pictures are characterized by a faithful imitation 
of nature, and great delicacy of penciling. Three 
of his works are in the Museum of Brussels, and 
many more are preserved in the richest collections 
of his countrj^, where they are highly esteemed. 
As an engraver, Notre published a collection of 
landscapes, among which, several after Hobbema 
are in request. His talents were much esteemed ; 
he was honored with many medals from different 
societies ; was chosen a member of the Academy 
at Amsterdam ; and Professor of Painting in the 
Academy at Ghent. He died in 1842. 

NOTRE, Hermann Augustus van. was the son 
and scholar of the preceding, born at Ghent in 
1806 ; died in 1839. He painted landscapes, win- 
ter scenes, marine views, and other subjects. 

NOTRE, Andrea le. This architect was born 
at Paris in 1613. He visited Italy for improve- 
ment, and devoted his talents to the planning of 
gardens, in which he attained great eminence. He 
was appointed superintendent of the gardens of 
the Tuileries. Among his finest performances, 
are the terraces of St. Germain en Laie ; the woods 
of the Trianon ; the natural porticos of Marly ; the 
espaliers of Chantilly ; the walks of Meudon ; the 
gardens of Versailles, unrivalled in their richness 
and extent. Le Notre evinced his genius in the 
management of a morass near Versailles, the wa- 
ters of which he united into a beautiful canal, enclo- 
sing the royal gardens. He was appointed Pro- 



NOTT. 



623 



NUNE. 



curator- General of the royal buildings, and cheva- 
lier of the order of St. Michael. He died in 1700. 

NOTTI, Gherardo dalle. See Honthorst. 

NOVA, Pecino and Pietro de, two old paint- 
ers of Bergamo, who were conjointly employed 
many years, subsequent to 1363, in decorating 
the church of S. Maria Maggiore in that city. — 
Lanzi says they very nearly approached Giotto. 
Pecino died in 1403. There are notices of Pietro 
up to 1402. 

NOVARA, Pietro da. " There are some pic- 
tures at Domodossola," says Lanzi, "that make 
us acquainted with an able artist of Nova. They 
are preserved in Castello Sylva, and in other pla- 
ces, and have the following inscription, Ego Pe- 
trus Jilius Petri Pictoris de Novaria hoc opus 
pinxi 1370." Doubtless he is the same as Pietro 
de Nova. 

NOVELLANI, Simone. This engraver was 
probably an Italian. In concert with Francis 
Hogenberg, he etched, in a coarse style, twenty- 
one plates, representing the funeral ceremonies at 
the death of Frederick II., King of Denmark, pub- 
lished in 1592. He also etched several plates for 
Braun's Civitates Orhis Terrarum^ published at 
Cologne in 1572. 

NOVELLARA, Lelio da. See Lelio Orsi. 

NOVELLI, Gig. Battista, a painter, born at 
Castelfranco in 1578. He studied under the young- 
er Palma. in whose manner he executed many ex- 
cellent works for the churches and public edifices 
at Castelfranco, and the adjacent places. Lanzi 
says he was a man of wealth, and painted more 
for amusement than for gain. He also instructed 
several pupils. He died in 1652. 

NOVELLI, Cav. Pietro, called II Monrea- 
lese, from the place of his nativity, an eminent 
painter and architect, who flourished at Palermo 
about 1660. He left many works both in oil and 
fresco in his native city, the most remarkable of 
which is his great picture of the Marriage at Cana, 
in the Refectory of the PP. Benedettini, which is 
particularly commended. He resided a long time 
at Palermo, where he painted many works for the 
churches, the most noted of which is the vault of 
the church of the Conventuals, wholly executed by 
himself in several compartments. Guarienti eu- 
logizes him for his style, and says he was dili- 
gent in studying nature, correct in design, graceful 
in his forms, and rich in his coloring, with a slight 
imitation of Spagnoletto. Lanzi says, " the people 
of Palermo confer daily honor on him, since, when- 
ever they meet a foreigner of taste, they show him 
nothing else in this city than the works of this 
great man." 

NUCCI, Allegretto, an old painter of Fabri- 
ano, by whom, in the church of S. Antonio in that 
city, are some histories of that Saint, divided into 
pictures in the early style, resembling the school 
of Giotto, inscTihed Allegrett'us Nutii de Fabriano 
hoc opus fecit. 1366. 

NUCOI, AvANziNO, a painter born at Citta di 
Castello, in 1552. After studying in his native 
place, he went to Rome, and became the pupil of 
Niccolo Circignano, and was his ablest scholar. 
He assisted him in almost all the works he execu- 
ted in the Vatican. He also painted many works 
by himself in the churches and palaces at Rome. 



He afterwards went to Naples, where he painted 
for the churches. He wrought with great facility 
and despatch, in a style resembling his master, 
though he was inferior to him in grandeur. Lanzi 
commends his Murder of the Innocents, in the 
church of S. Silvestro at Fabriano. He died in 
1629. 

NUNEZ, Juan, an old Spanish painter, who 
flourished at Seville about 1505. He was a schol- 
ar of Sanchez de Castro, and probably attained 
great eminence in his day ; but most of his works 
have been destroyed. There is a picture by him 
in the Cathedral of Seville, in an excellent state 
of preservation, representing the Body of Christ 
in the Arms of the Virgin, with St. Michael, St. 
Vincent, and other figures. This work is in the 
stiff, Gothic style prevalent at that time ; but it 
deserves praise for its rich and beautiful dra- 
peries. 

NUNEZ^ Don Pedro Villavicencio, a Spanish 
painter, born at Seville, of a noble family, in 1635. 
He studied design as an accomplishment, but 
made such excellent progress, that he was induced 
to enter the school of Murillo, although without 
the intention of practising painting. He was 
greatly beloved by that master, and studied for 
some time in his school, after which he visited 
Malta in discharging his duties as a Knight of 
St. John, and studied under Mattio Preti, called 
II Calabrese. He followed for a short time the 
vigorous style of that master, but afterwards re- 
turned to the tender and harmonious coloring of 
Murillo. According to Bermudez, he was distin- 
guished in portraits, and painted children in a very 
beautiful manner, little inferior to Murillo. He 
presented several of his pictures to the Academy 
of Seville, where he died in 1700. There is a Holy 
Family by him at Alton Tower, the seat of Lord 
Shrewsbury, which partakes of the dark style of 
Preti. 

NUNEZ, Pedro, a reputable Spanish painter of 
history and portraits, born at Seville in 1614. He 
studied under Juan de Soto, and afterwards visit- 
ed Rome for improvement, where he is said to have 
studied under Guercino. His design was correct, 
and his coloring good, with a firm and vigorous 
execution. According to Palomino, he was one of 
the artists employed to paint the portraits of the 
Kings of Spain, in the Saloon of the Theatre at 
Madrid. There are several pictures by him in the 
church of the convent de la Merced. He died at 
Madrid in 1654. 

NUNEZ, Mateo. See Sepulveda. 

NUTTING, Joseph, an Enghsh engraver of 
little note, who r-esided at London about 1700, and 
engraved a number of portraits for the booksellers, 
among which are the following : 

PORTRAITS. 

Charles I., -with the persons who suffered in his cause. 
Mary Capel, Duchess of Beaufort ; after Walker. Mat- 
thew Mead, father of Dr. Mead. Sir John Cheke. Lu- 
cius Gary, Vicount Falkland. Robert Pierpont, Earl of 
Kingston. George St. Loo, Commissioner for the Navy ; 
scarce. Henry Sacheverel, D. D. John Locke. Aaron 
Hill. Gr. Parker, the Almanack-maker, after Melchior 
Fusslinus. William Elder, Engraver ; after Faitkorne. 

NUVOLONE, Panfilo, a Cremonese painter 
who flourished, according to Zaist. about 1608. — 
He studied under Cav. Gio. Battista Trotti, called 
II Malosso, and was among the ablest disciples of 



NUVO. 



624 



NUZZ. 



that master. Lanzi says he afterwards followed a 
more solid and attractive style. Among his prin- 
cipal works is one in the monastery of Sts. Do- 
menico and Lazzaro, at Milan, representing Dives 
and Lazarus ; and the Assumption of the Virgin, 
in the church of La Passione. 

NUVOLONE, Carlo Francesco, a distin- 
guished Italian painter, the eldest son of the pre- 
ceding, was born at Milan in 1608. He studied 
under his father, but finished his education in the 
school of Giulio Oesare Procaccini, although he 
did not adopt the style of either, but became a fol- 
lower of Guido. According to Lanzi. the forms 
of his figures are elegant, and the airs of his heads 
gra3eful, with a remarkable sweetness and harmo- 
ny of tints, so that he deserved the name which he 
still enjoys, of the Guido of Lombardy. His Ma- 
donnas are in high request for private collections. 
Nuvolone also painted many portraits for the no- 
bility, which possess great excellence ; and he 
was selected to paint the Queen of Spain, when 
she visited Milan in 1649. Lanzi mentions his fine 
picture of the Miracle of St. Peter, in S. Vittoreat 
Milan ; and says he painted many other works in 
excellent taste, at Milan, Parma, Cremona, Piacen- 
za, and Como. He died, according to Orlandi, in 
1651 ; though Bryan says in 1661. 

NUVOLONE, Giuseppe, called II Panfilo, 
was the younger son of Panfilo N., born at Milan 
in 1619. Like his brother, Carlo Francesco, he 
studied first under his father, and afterwards un- 
der Giulio Cesare Procaccini, Lanzi says that in 
his works may everywhere be traced a compo- 
sition and coloring derived from the school of Pro- 
caccini. His compositions are copious, and the op- 
positions of his lights and shadows are conducted 
with great intelligence and vigor ; but his taste is 
often inferior to that of his brother, and his shad- 
ows are occasionally harsh and sombre. He 
wrought with great facility, and was indefatigable 
in the practice of his profession during a long life, 
painting until his eighty-fourth year. His latter 
works bear traces of infirmity. There are many 
of his paintings in the cities of Lombardy ; also 
in Brescia and other Venetian cities, among which 
Lanzi mentions his fine picture of St. Domenico 
resuscitating a Dead Man, in the church of that 
Saint at Cremona, animated by the most natural 
expression, and adorned with beautiful architec- 
ture. He died in 1703. 

NUVOLSTELL A, or NIVOLSTELLA, Johann 
Gborg, a German wood engraver, born at Mentz, 
in 1594 ; died in 1624. Among other prints, he 
executed several of the Holj^ Fathers, after the 
designs of Tempesta ; a set of cuts for Virgil's 
^neid ; and other poetical subjects. 

NUYEN, Wynand Jan Joseph, a Dutch paint- 
er, born in 1813. He studied under A, Schelfhout, 
and in his sixteenth year exhibited a landscape at 
Ghent, which attracted much attention. He sub- 
sequently gained the first prize of the Society at 
Amsterdam ; and in 1838, exhibited a Winter 
Scene at Ghent, distinguished for its beautiful col- 
oring, and faithful imitation of nature. This pic- 
ture gained hirh admission to the Academy of Fine 
Arts at the Hague, and he would probably have 
attained great excellence in the art, had he not 
died in 1839, at the early age of 26. There is an 
admirable landscape by him, in the Pavilion at 
Haerlem. 



NUZZI, Mario della Penna, called Maeio da' 
FioRi, an eminent Italian flower-painter, was born 
at Penna, in the diocese of Fermo, in 1603. lie 
studied under Tommaso Salini, and settled at 
Rome, where his pictures were highly esteemed, 
and were purchased at high prices. Ho was also 
much employed in painting garlands, to decorate 
figures of the Virgin and Saints, in the pictures of 
other artists. Unhappily for his posthumous fame, 
he made use of treacherous colors, which, after a 
number of years, lost their original freshness, and 
assumed a black and squalid appearance. He died 
in 1673. 

NYTS. J., a French engraver, who flourished in 
the latter part of the 16th century. Among other 
plates, he executed several neat and spirited land- 
scapes, and a View of the city of Lisle, in French 
Flanders. 



0. 



0, Leon Henry vander. a German engraver, 
who flourished about 1660. He engraved part of 
the portraits for Priorata's History of the Empe- 
ror Leopold, among which are James, Duke of 
York, J. 0. de Konigsmarch, Gualter Leslie, and 
Pietro Strozzi. 

OBERTO, Francesco di, the earliest painter 
of the Genoese school, whose works are still ex- 
tant. Lanzi mentions an altar-piece by him in the 
church of S. Domenico at Genoa, representing the 
Virgin between two Angels, signed Franciscus de 
Oberto. 1368. 

OBREGON, Pedro de, a Spanish painter, born 
at Madrid, according to Bermudez, in 1597. He 
studied under Vincenzio Carducci, and gained a 
high reputation in historical painting, especially in 
works of an easel size. Palomino commends a 
large picture by him, representing the Trinit}'-, in 
the refectory of the convent de la Merced ; and an- 
other of the Immaculate Conception in the church 
of Santa Cruz. There are some of his easel pic- 
tures in the collections at Madrid, where they are 
highly esteemed. Bermudez says he was also an 
excellent engraver. He had two sons. Diego and 
Marcos, whom he instructed in the art. He died 
in 1659.' There was another Pedro de Obregon, 
who was a miniaturist, and illuminated books of 
devotion.' He flourished about 1564. 

OCCHIALI. See Ferrantini. See Vanvi- 

TELLI. 

OCHOA, Francisco, a Spanish painter, born at 
Seville in 1644. He studied under Murillo, whose 
manner he so successfully imitated, that his works 
have frequently been mistaken for those of his 
instructor, even by connoisseurs. The time of his 
death is not known. 

OCHTERVELDT, John, a Dutch painter, of 
whom little is known, except by his works. He is 
supposed to have studied under Gerard Terburg, 
whose manner and subjects he imitated so closely, 
that his pictures have frequently been taken for 
the works of that master. They usually repre- 
sent domestic subjects, ladies at their toilet, musi- 
cal parties, &c. They are well colored and highly 
finished. He excelled in his draperies, particular- 
ly in white satin, in which he equalled Terburg. 
He sometimes padnted fish stalls, and other famil- 
iar outdoor objects in the towns of Holland, in 



OCTA. 



625 



ODER. 



which he imitated Peter de Hooge. His pictures 
seldom exceed the small cabinet size. He flour- 
ished about 1670. 

OCT AVI AN, Francesco, a painter, born at 
Rome in 1690. He went to Paris, where he ac- 
quired considerable distinction as an historical 
painter. He died there in 1736. 

ODAM, GiROLAMO. a Roman artist born in 1681. 
He studied under Carlo Maratti, and is eulogized 
b}^ Or] audi, in a long and pompous article, as a 
painter, sculptor, architect, engraver, philosopher, 
mathematician, and poet, accomplished in every 
art and science. Lanzi says he should suppose he 
was superficial, as nothing remains of him except 
some engravings, and a slender reputation, not at 
all corresponding to such unqualified commenda- 
tion. He was living in 1718. 

ODxiZZT, or ODASI, Giovanni, a painter, born 
at Rome in 1663. He first studied under Ciro 
Ferri, and on the death of that master became the 
pupil of Gio. Battista Gaulli, called Baciccio. The 
liveliness of his genius, and his remarkable indus- 
try, gained him great distinction, and a multitude 
of commissions, not only for the churches and pub- 
lic edifices, but for individuals. He was one of the 
twelve artists selected to paint the prophets in 
fresco in St. John of Lateran. The prophet pro- 
duced by Odazzi was Hosea, which was highly 
commended for correctness of design and dignity 
of expression. His most remarkable works are 
the Fall of Lucifer and his Angels, in the church 
of Santi Apostoli, and St. Bruno, in S. Maria degli 
Angeli. By aiming at the celerity and rapid ex- 
ecution of Baciccio, without possessing his powers, 
he proved but a feeble imitator of his style, and 
his design is frequently careless and incorrect, 
though he had a commanding facility and great 
freedom of pencil. He died in 1731. 

ODDI, Giuseppe, a painter of Pesaro, who 
flourished about 1675. He studied under Carlo 
Maratti at Rome, and on his return to his native 
place, executed some reputable works for the 
churches, but wrought more for individuals. 

ODDI. Mauro, apaint- 
and engraver, born 
Parma in 1639. Af- 
ter learning the elements of the art in his native 
city, he went to Rome and studied with Pietro da 
Cortona. On returning to his native city, his 
talents recommended him to the patronage of the 
Duchess of Parma, who employed him in decora- 
ting the Ducal Palace and the Villa di Colorno. 
He executed several other pieces in the churches 
of Parma, Piacenza, and Modena. He was also 
an eminent architect, and etched a few plates from 
his own designs, marked with the above mono- 
gram. He died in 1702. 

ODEKERKEN, W., a Dutch painter, who flour- 
ished at Nimeguen about 1650. He painted sub- 
jects of siill life with considerable success. He 
is also mentioned as having copied a picture by 
Metzu, representing a Cook in a Kitchen, sur- 
rounded by various culinary utensils, so exactly, 
that it could with difficulty be distinguished from 
the original. 

ODERICO, Canonico, a priest and miniaturist, 
who flourished at Siena in 1213. There is a man- 
uscript book entitled Or do officiorum Senensis 
EcdesicB, preserved in the library of the Acade- 



A^°M^I 



my at Florence, written on parchment, and dated 
1213, in which the initial letters are illuminated 
with little histories, ornaments of animals, &c., by 
this old painter. There are also other similar 
books, illustrated on the borders of the parchment 
by him, preserved at Siena. They are esteemed val- 
uable, not only on account of their antiquity, but 
as showing the state of the arts at that early pe- 
riod. 

ODERICO, Giovanni Paolo, a Genoese paint- 
er of noble family, born in 1613. Soprani says he 
studied under Domenico Fiasella, and gained great 
reputation as an historical painter, though he chief- 
ly excelled in portraiin. He was a correct and 
tasteful designer, select in his forms, and rich and 
harmonious in his coloring. His principal his- 
torical work is a picture of the Guardian Angel 
in the church of the Padri Scolopi at Genoa. Lan- 
zi says his easel pictures are rare, and only to be 
found iTn the choicest collections. His portraits, 
which display great talents, are of more frequent 
occurrence, as he received numerous commissions. 
He died in 1657. 

ODERIGL See Da Gubbio. 

ODEVAERE, Chev. Joseph Dionysius, an em- 
inent Flemish historical painter, born at Bruges in 
1778. After receiving a good scholastic education in 
the college of the Augustins, and obtaining several 
prizes in the Academy of Design in his native city, 
he went to Paris, and studied successively under 
Suvee and David. In 1804 he drew the grand 
prize of the French Academy, for his picture of the 
Death of Phocion, which entitled him to go to 
Rome, as a pensioner of the government. This 
distinction, so honorable to him, was duly appre- 
ciated by the artists and inhabitants of Bruges, 
and he was received in triumph on his return ; es- 
corted to the city by the students on horseback, 
in fanciful costume, preceded by a band of music ; 
complimented by the Mayor, and the president of 
the Academy ; presented with a gold medal and 
chain, and a silver tea service ; feasted at the Hotel 
de Ville, and was honored in the evening with 
a grand ball and illumination of fire-works, amidst 
continual acclamations of Vive Odevaere ! Short- 
ly after this magnificent reception, he returned to 
Paris ; and the following year went to Italy, where 
he remained about eight years, and executed sev- 
eral pictures of large dimensions, which gained him 
great reputation. On his return to Paris, he was 
presented with a gold medal by the Emperor Na- 
poleon. In 1814, he painted for William I., King 
of the Netherlands, a picture representing the Un- 
ion of Utrecht ; and after the Battle of Waterloo, 
another, representing the action at the time the 
hereditary prince (now king of Holland) received 
his wounds. He also executed for the same mon- 
arch several other works relating to the history of 
the country, for which he received special marks of 
royal favor, and vvas made a Chevalier of the order 
of the Belgic Lion. His pictures are numerous, and 
are to be found at Paris, Brussels, Bruges, and 
Ghent. They are generally of large dimensions ; 
one, painted for the King of the Netherlands, meas- 
ures twenty-four by sixteen feet. Odevaere culti- 
vated letters as well as the\rts, was a member of 
the Royal Institute, and while in Italy, prepared 
a history of the arts in that country, from the time 
of Cimabue to that of Raffaelle. He died at Brus- 
sels in 1830. 



OEHL. 



626 



OEST. 



ODIEUVRE, Michel, a French engraver and 
printseller, who flourished at Paris about 1735. 
He engraved and pubhshed in 1738, a set of por- 
traits of illustrious personages, entitled, Portraits 
des Personages illustres de V un et de V autre Sexe, 
recueillis et graves par les soins de Michel Odi- 
euvre, marchand d^estampes a Pan's. They are 
usually found in the large quarto editions of the 
Memoir es de Sully and Memoir es de Commines. 

OEHLMULLER, Daniel Joseph, an eminent 
German architect, born at Bamberg in 1791. He 
studied under Carl Fischer, and then visited Italy 
and Sicily, where he passed four years in studying 
and copying the principal edifices, until he was 
summoned home in 1819, to superintend the erec- 
tion of the Glyptotheca at Munich, after the de- 
signs of Klenze. In 1831 he was commissioned 
to make designs in the Gothic style for a church 
in the suburbs of Munich, which gained him great 
reputation. He erected in the same style the na- 
tional monument at Wittelsbach, and the Otto 
chapel at Kiefersfelden. Among his other works, 
is the church of S. Theresa at Halbergmoos, in the 
Italian style, commenced in 1833. At the death 
of Domenico Quaglio, in 1837, Oehlmuller was 
employed to complete the works at the Castle of 
Hohenschwangau. He died in 1839. In 1823 and 
1825, he published a work containing designs for 
funeral monuments. 

OERI, Peter, a Swiss painter, born at Zurich 
in 1637. After studying in his native city, he went 
to Italy, where he resided six years. According 
to Fiiessli, he was a correct and graceful designer, 
possessed a read}^ invention, and wrought with a 
spirited pencil. For lack of patronage, he aban- 
doned painting, for the occupation of a gold-chaser. 

OESER, Friedrich, an eminent German histori- 
cal painter and engraver, born at Presburg in 1717. 
He early showed an inclination and talent for art, 
and first studied with one Kamauf, an indifferent 
artist, who made him copy prints; on which ac- 
count he ran away from him and M^ent to Vienna, 
where he frequented the Academy, and continued 
to support himself by the sale of his sketches. 
At the age of eighteen, he gained the first prize of 
that institution. His talents attracted the notice 
of Raphael Donner, an eminent sculptor, who be- 
friended him, taught him to model, and made him 
acquainted with the antique. In 1739, he went 
to Dresden, where his abilities procured him the 
esteem and friendship of several artists of distinc- 
tion, as well as eminent literary men who resided 
in that city. He formed an intimate acquaintance 
with the celebrated Winckelmann, who mentions 
him in these flattering terms in his work on the 
imitation of the Grecian painters and sculptors, 
" These reflections are the result of my conversa- 
tions with my friend Oeser, the successor of the 
Theban Aristides, who sketches the soul and paints 
the mind." In 1764, he was appointed Director 
of the Academy of Leipsic, where he settled, and 
passed the rest of his days. He painted both in 
oil and fresco. His works are mostly to be found 
in Dresden and Leipsic, especially in the latter city, 
where are many of his best productions in the 
churches and public edifices, as well as in private 
collections. He also etched a large number of 
plates from his own compositions, and after other 
masters, executed in a free and spirited style. Na- 
gler calls his name Adam Friedrich, and gives a 



/&\/ua£p or M 



list of forty-five of his principal engravings. He 
died at Leipsic in 1799. 

OESER, John Louis, was the son of the pre- 
ceding, born at Dresden in 1751. He was instruct- 
ed in the art by his father. He was a good land- 
scape painter, but devoted most of his time to en- 
graving. His principal plates are after Rubens, 
Rembrandt, and Salvator Rosa. He died in 1792. 

OESTEREICH, 
Matthew, a Ger- 
man designer and 
engraver, who flourished at Dresden about 1750. 
His principal works are a set of twenty-four cari- 
catures from the designs of Cavaliere Ghezzi, pub- 
lished at Dresden in 1750 ; afterwards republished 
at Potsdam in 1766, with the addition of eighteen 
more, from the designs of Gio. Battista Internari 
and others ; a set of forty plates from the draw- 
ings in the collection of Count de Bruhl, pubhshed 
at Dresden in 1752. He also engraved part of the 
plates from the pictures in the Dresden Gallery. 
He usually marked his plates with one of the above 
monograms. 

OGBORNE, John, an English designer and en- 
graver, born at London about 1725. He studied 
with Bartolozzi, whose manner he followed. He 
engraved quite a number of plates, most of them 
of large size, after some of the most celebrated 
English painters of his time, particularly Romney, 
Stothard, Westall, Smirke, Hamilton, Kauffman, 
&c. He was much employed by Alderman Boy- 
dell, and engraved several plates for the Shakspeare 
Gallery. He died about 1795. 

OGGIONE, Marco da. See Uggione. 

OHMACHT, Landelin, an eminent German 
sculptor, born at Dunningen, near Rottweil, in 
Wurtemberg, in 1760. He studied under J. P. 
Melchior, and during his earlier years executed a 
good bust of Lavater, and several sculptures for 
the Kreuzkirche at Rottweil. In 1790, he visited 
Rome for improvement, and remained two years 
in that city, studying and copying the antique, 
and the works of the great masters. On return- 
ing to Germany, he soon gained reputation, and 
was employed on several important monumental 
works, the first of which was the monument to 
the Burgomaster Rhode, in the Cathedral at Lu- 
bec. In 1801 he settled at Strasburg, and soon 
after executed the monument to Gen. Desaix, erect- 
ed on the Rheininsel near that city. His abilities 
were highly esteemed by the celebrated sculptor 
David, who is reported to have said that Ohmacht 
was the Correggio of Sculpture, and that his works 
could not be sufficiently admired. He executed 
four monuments in the church of St. Thomas, of 
which that to Prof. Oberlin is greatly admired. 
Among his other works are, the monument to the 
historian Koch ; the monument to Dr. Blessig ; 
another to Gen. Kleber, in the Cathedral ; and a 
colossal statue in honor of Adolph von Nassau, in 
the Cathedral of Speyer. Ohmacht was an inti- 
mate friend of Klopstock, and executed several 
busts of that celebrated poet. Among his classi- 
cal sculptures, are the statues of Hebe, Flora. Ve- 
nus, Psj^che, and the Judgment of JParis. The 
latter work is at Nymphenburg. Ohmacht prac- 
tised the art at Strasburg for many years, and died 
there, in 1834. 

OLDONI, BoNiFORTE and Ercole, two old 



OLEN. 



627 



OLIV. 



painters of the Milanese school, who, according to 
Delia Valle, flourished at Yercelli about 1466, and 
executed some works for the churches. 

OLEN, or OLIS, John van, a Dutch painter, 
who flourished at Amsterdam about 1680. He 
painted conversations, game, fruit, and flower- 
pieces, and interiors of kitchens, ornamented with 
various culinary utensils, all of which are painted 
with a broad, free pencil, well colored, and care- 
fully finished. He is also said to have painted 
landscapes, with sportsmen and dogs. Little is 
known of him except his works, and as his name 
is variously spelled by different writers, he may 
be the same as John van Alen, which see. 

OLGTATI, GiROLAMO, an Italian engraver, who 
flourished about 1572. It is not known under 
whom he studied, though his style is evidently 
founded on that of Cornelius Cort. His drawing 
is incorrect, and his heads lack expression. One 
of his best plates is an arched one, representing 
the Trinity, with a number of Saints and Angels ; 
after Federigo Zuccaro, inscribed Hieronymus 
Olgiatiisf. 1572. 

OLINDO, Martino de, a Spanish architect of no 
great eminence, who flourished in the 16th centu- 
ry. According to Milizia, he erected the parochial 
church of Liria, of which the lower story has four 
Doric columns, on pedestals, with niches, statues, 
and bas-reliefs ; the second order has the same 
number of Corinthian columns ; the third order 
has two fluted, twisted columns, with a statue of 
St. Michael in the centre. Olindo also completed 
the monastery of S. Miguel at Valencia, com- 
menced by Cobarrubias. 

OLIV A, PiETRO, a painter of Messina, who 
flourished about 1491. He executed some works 
for the churches, which are highly commended by 
Hackert for correctness of design, and lively and 
natural expression. 

(OLIVER, Isaac, an eminent English miniature 
painter, born about 1556. Lord Orford states that 
he first studied under Nicholas Hilliard, and after- 
wards received some instruction from Federigo 
Zuccaro. Vertue conjectures, from the variety 
of his drawings after Italian masters, that he visit- 
ed Italy, which is doubtful. His principal employ- 
ment was miniature painting, in which branch 
he acquired great distinction, and was patronized 
by the most distinguished personages of his time. 
Many fine miniatures by this master are to be 
found in the collections of the English nobility 
and gentry, among which are portraits of himself, 
Queen Elizabeth, Mary Queen of Scots, Prince 
Henry, James I., and Ben Jonson. In the partic- 
ular branch which he mostly practised, it is said, 
by his countrymen, that he has hardly been sur- 
passed by any artist of any country. He some- 
times painted historical subjects, and executed 
many exquisite drawings after Raffaelle, Parmig- 
giano, and other Italian masters. He sometimes 
worked in oil, but did not succeed so well. He 
died in London in 1617. 

OLIVER, Peter, was the eldest son of the 
preceding, born in London in 1601. He was in- 
structed in the art of miniatiye painting by his 
father, whose excellence he nearly equalled. He 
not only painted portraits, but historical subjects, 
in water-colors. He was much employed by 
Charles L, in copying the finest pictures in the 



Royal collection, as it appears by the catalogue of 
that monarch and of James II. that there were 
thirteen historical miniatures by him in the royal 
collection, several of which are still preserved in 
Kensington palace. Vertue says he etched some 
small plates of historical subjects, but they are 
not specified by him, or any other writer. He 
died in 1660. 

OLIVER, John, an eminent painter on glass, is 
supposed to have been the nephew of Peter Oliver, 
born at London in 1616. He practised his art to 
a great age, as appears from an inscription on a 
window painted by him, in Christ's church, Ox- 
ford, representing the Angel liberating St. Peter 
from Prison, inscribed J. Oliver, cetat. sues, 84, an- 
no 1700, pinxit deditque. He also engraved sev- 
eral plates, some of which are etched and others 
executed in mezzotinto. Among them are the fol- 
lowing : 

portraits. 
King James II., in mezzotinto. Judge JeflFries, styled 
Earl of Flint. Thomas White, Bishop of Peterborough. 
John Woremberg, the Dutch Dwarf. 

SUBJECTS. 

A Boy sleeping, with a Skull by him ; after Art. Genti- 
leschi. A View of Tangiers ; J. Oliver, fee. 1676. A 
View of the Hot Wells at Bath ; J. Oliver, fee. aquaforti, 
1676. 

OLIVIER, M., a French painter of little note, 
born at Paris. He painted history and portraits. 
He went to London, and in 1772 exhibited in the 
Royal Academy six pictures, two of which were 
historical, representing the Murder of the Inno- 
cents and the Death of Cleopatra. Not meeting 
with much encouragement, he went to Spain about 
1783. 

OLIVIER!, DoMENico, an Italian painter, born 
at Turin in 1679. According to Delia Valle, he 
excelled in painting drolls, fairs, markets, merry- 
makings, in imitation of the style of Peter de 
Laer, in which he displayed a humorous talent 
for caricature which has seldom been surpassed. 
Lanzi says, "In his time the royal collection was 
enriched, at the death of Prince Eugene, by the 
addition of nearly four hundred Flemish pictures j 
and none profited more than Olivieri from the 
study of these works." He was a man born to 
amuse, from his singular personal appearance, his 
lively conversation, and the humorous productions 
of his pencil. He was extremely happy in his 
subjects, strong in his colors, and free in his touch. 
In the gallery of the court are two large pictures 
by him, one of which represents a fair with quack- 
doctors, drawers of teeth, villagers sporting or 
quarreling, and the variety of incident usually 
furnished by a busy assemblage of the vulgar, 
composed with an admirable variety of expression 
in the heads. Although he chiefly painted in what 
the Italians style Bambocciate, yet he was per- 
fectly competent to tread in the higher walks of 
history, as is proved by his Miracle of the Sacra- 
ment, in the sacristy of Corpus Domini, in his na- 
tive city. He died in 1755. 

OLOTZAGA, Giovanni de, an eminent Spanish 
architect, was a native of Biscay, and flourished 
during the latter part of the 15th century. His 
instructor is not mentioned, but he attained great 
excellence in the art. He erected the Cathedral of 
Huesca in Arragon, on the site of the celebrated 
mosque of Mislegda. This work gained him great 



OMME, 



628 



ONAT. 



reputation, and is greatly admired for its fine pro- 
portions. Milizia says '' the principal fa9ade is 
grand, with fourteen statues larger than life, on 
eacli side the entrance, placed on pedestals within 
niches ; above these are forty-eight smaller stat- 
ues, a foot in height." Under the reign of Ferdi- 
nand and Isabella, the Grecian style of architec- 
ture became prevalent in Spain, and was adopted 
by Olotzaga. Among his principal works in that 
manner, were the great college of Santa Cruz, at 
Valladolid, commenced in 1480, and completed in 
1492 ; also the Foundling Hospital at Toledo ; and 
the great college of St. Idelfonso. founded by Car- 
dinal Ximenes. 

OMMEGANCK, Cav. Balthasar Paul, one 
of the most eminent landscape and animal painters 
of modern times, was born at Antwerp in 1755. 
lie studied with H. Antonissen. He was not one 
of those artists who astonish us by their precocity ; 
his powers were long in being developed to full ma- 
turity, but he studied nature with wonderful assi- 
duity, and carefully observed and noted every 
changing scene, and so impressed them upon his 
works that they truly represent not only the sea- 
son, as the humidity of spring, the glowing heat 
of summer, and the picturesque alternations of 
autumn, but the very time of the day is percepti- 
ble, from the first roseate blush of the morning 
to the splendors of the evening sun. In his 
scenes of spring, all is dewy freshness ; in those 
of summer, it is breathless sultriness — the ground 
is parched, the verdure withered and tinged, the 
atmosphere glowing with heat, and the very 
streams seem oppressed by its power. He en- 
riched his pictures with figures and animals, espe- 
cially with sheep and goats, which he painted to 
admiration, not only in the forms, but he repre- 
sented their character and habits, to the life. Om- 
meganck acquired immense reputation, and though 
his pictures commanded such prices in his lifetime 
that only the rich could afford to buy them, they 
have more than trebled their value since his death, 
and are only to be found in the choicest collections 
in Holland, France, and England. He received 
many honors, was made a knight of the Order of 
the Belgic Lion, elected a member of several learn- 
ed societies, and appointed in 1815, by Belgium, 
one of t]^ commissioners to reclaim from France 
the works of art which Napoleon had acquired by 
force of arms, during the previous wars. He died 
at Antwerp in 1826. It is proper to caution ama- 
teurs that his works have been largely imitated 
and copied b)" several clever Dutch artists, many 
of which have been sent to England and to the 
United States, and sold as the genuine works of 
this master. 

ONATAS, a Greek painter and sculptor, a na- 
tive of ^gina ; the son of Micon ; cotemporary 
with Polygnotus ; and flourished about B. C. 450. 
As a painter he executed, in concert with Polyg- 
notus, the pictures on the walls of the vestibule of 
Minerva's temple at Plataea. He also painted the 
first Argive expedition against Thebes ; and prob- 
ably the picture of Euryganea lamenting the death 
of her sons Eteoches and Polynices, which, accord- 
ing to Sylburgius. is b}^ a MS. error attributed 
to one Onasias, otherwise not mentioned. 

As a sculptor, Onatas attained great excellence, 
according to Pausanias ; although Pliny does not 
mention him. Pausanius observes that Onatas 



was not surpassed in his own time by any sculptor 
of Attica, since the days of Daedalus. That au- 
thor speaks of a group of Homeric heroes near 
the great temple at Olympia ; Thiersch attributes 
them all to Onatas, but his name was inscribed only 
on one of them — the statue of Idomeneus. The 
Thasians also dedicated a bronze statue of Her- 
cules by Onatas at Olympia, which was ten cubits 
high. Among the other works of Onatas, was a 
statue of Apollo at Pergamus ; and the bronze 
statue of Hiero, at Olympia. 

ONATE. Miguel, a Spanish portrait painter, 
born at Seville in 1535. His parents, being in 
good circumstances, placed him while young under 
the Chev. Anthony More, then in high favor at the 
court of Madrid. He accompanied his instructor 
to Portugal, whither that painter was sent by the 
King of Spain to paint the royal famil3^ He be- 
came one of the most celebrated portrait painters 
of his time, and found abundant employment at 
the Spanish court. His manner was exactly like 
that of More. He died at Madrid in 1606. leaving 
a considerable fortune to his heirs, which he had 
acquired by his profession. 

ONOFRIO, Crescenzio di, a painter born at 
Rome in 1650. He studied under Caspar Pous- 
sin, and painted landscapes in the charming style 
of that master. Lanzi says " he is alone consider- 
ed the true imitator of that master." He resided 
chiefly at Florence, where he was much employed 
by the court, and by individuals. It is said he 
painted much for the Ducal villas. There are few 
of his works remaining, either at Ptome or Flo- 
rence, as he painted many frescos, which have all 
perished. Lanzi says that the Sig. Cancelliere 
Scrilli, at Florence, possesses several exquisite 
landscapes and a portrait of his ancestor by him, 
inscribed with his name, and dated 1712. He 
etched some plates of heroic landscapes, from his 
own designs, executed in a beautiful and peculiar 
style, somewhat resembling those of II Bolognese. 
The time of his death is not exactly known, and 
there are many contradictions as to the time of 
his birth and death, which are evidently erroneous. 
Thus Bartsch says he was born in 1613, and died 
in 1688 ; and Nagler copies him ; while Lanzi and 
Zani both say he was living in 1712, and there are 
prints by him dated as late as 1696. 

OOLEN, John van. See van Alen. 

OORT, Lambrecht van, a Flemish painter and 
architect, born at Amersfort, about 1520. He ac- 
quired considerable reputation as an historical 
painter, but was more distinguished as an archi- 
tect. He resided chiefly at Antwerp, where he 
was received into the Academy in 1547. In the 
Museum at Antwerp, is a picture of the Resurrec- 
tion of Christ by him, and in that of Brussels are 
two, representing the Adoration of the Shepherds 
and the Descent from the Cross. 

OORT, Adam van, was the son of the pre- 
ceding, born at Antwerp in 1557. He w^as in- 
structed by his father, possessed excellent abilities, 
and, had his habits been good and his ambition no- 
ble, he might have been one of the most distin- 
guished artists of his country; but he was the 
slave of intemperance, by which he degraded his 
talents, and brutalized his disposition. His acade- 
my at one time was the most frequented at Ant- 
werp, and he had the honor of instructing several 



OORT. 



629 



OOST. 



of the most distinguished artists of the Flemish 
school, among whom were Rubens. Jordaens, 
Franck, and van Balen, but his outrageous con- 
duct disgusted and drove all his pupils from his 
school except Jordaens, whose tender regard for 
his daughter, whom he afterwards married, induced 
him to remain. Notwithstanding the violence of 
his temper, and the depravity of his habits, van 
Oort executed numerous works for the churches 
in Flanders and Brabant, many of which have 
great merit, and are still highly esteemed. His 
compositions were agreeable, his coloring excel- 
lent, and he had great freedom of handling. His 
earlier works are studied, and the drawing tolera- 
bly correct, but his love of the art diminished as 
his excesses increased; he fell into mannerism, and 
wrought with negligence and haste, so that his la- 
ter pictures have little to recommend them. Ru- 
bens used to say that van Oort would have sur- 
passed all his cotemporaries had he seen Rome, 
formed his taste by studying the best models, and 
been regular in his habits. He possessed a giant 
constitution, and, notwithstanding his dissipated 
life, he lived to the great age of eighty-four years. 
He died in 1641. 

OORTMAN, Jan Joachim, a Dutch engraver, 
born at Amsterdam in 1777. He studied success- 
ively with W. Kock, C. H. Hodges, and L. A. 
Claessens. He resided most of his life at Paris, 
where he acquired distinction for many excellent 
works after Rembrandt, Gerard Douw, van Os- 
tade, and other eminent Dutch masters. He also 
engraved some plates after Titian, Giulio Romano, 
Caravaggio, and Valentino, as well as others of the 
more modern French painters. 

OOST, Jacob van, the Elder, an eminent Flem- 
ish painter, born at Bruges about 1600. It is not 
known under whom he first studied, but in 1621 
he painted an altar-piece for one of the churches 
in his native city, which excited the surprise 
and admiration of cotemporary artists. Being 
ambitious of further improvement, he went to 
Rome, where he attentively studied the works of 
the great masters, and made those of Annibale 
Caracci the particular objects of his imitation. 
During his residence in that metropolis, he pro- 
duced several works of his own composition, so 
much in the style of that great artist that they 
astonished the best connoisseurs at Rome, and 
gained him great reputation. After a residence of 
five years in Italy, the love of country induced 
him to return to Bruges, though he had flattering 
prospects before him to remain. His talents had 
excited the most sanguine expectations of his fel- 
low citizens before he went abroad ; they were im- 
patient to witness the improvement he had made 
in his travels, and they immediately loaded him 
with commissions. Van Oost is justly ranked 
among the ablest artists of the Flemish school. 
His first studies were the works of Rubens and 
Vandyck, and from them he acquired that fresh- 
ness and purity of coloring for which his works 
are distinguished. Following the example of the 
greatest masters, his compositions are simple and 
studied, and he avoided crowding them with fig- 
ures not essential to his subject. In his design, 
and in the expression of his heads, he seems al- 
ways to have had in view the great style of Anni- 
bale Caracci. The back-grounds of his pictures 
are generally enriched with noble architecture, of 



which he was a perfect master. He had a ready 
invention, and wrought with extraordinary facility 
of pencil, though his works are well finished. — 
During a long life he continued to exercise his tal- 
ents with undiminished reputation, and alwa5'S 
abounded with commissions. He executed an in- 
credible number of works for the churches and 
public edifices, as well as for the private collections 
of his country, particularly of Bruges. He also 
excelled in portraits, and painted man}'- distin- 
guished personages. His most famous works are 
the Nativity, in the church of S. Saviour ; the 
Resurrection, in the Cathedral — a grand compo- 
sition ; and the Descent from the Cross, in the 
church of the Jesuits at Bruges, which last is 
considered his master-piece. Most of his pictures 
are of large size. He died at Bruges in 1671. 

OOST, Jacob van, called the Younger, was the 
son and scholar of the preceding, born at Bruges 
in 1637. At twenty years of age, his father sent 
him to Italy to complete his education, where he 
resided several years, and then returned to Flan- 
ders an able and accomplished designer. After 
painting some pictures for the churches at Bruges, 
he settled permanently at Lisle, where he acquired 
a distinguished reputation, and where are the 
greater part of his works. His historical pictures, 
like those of his father, are admirably composed, 
partaking more of the Roman than the Flemish 
school. Among his best works are the Martyr- 
dom of St. Barbara, in the church of St. Stephen ; 
and the Transfiguration, in the church of St. Sav- 
iour at Lisle. He was less eminent than his fa- 
ther as an historical painter, but excelled him in 
portraits, which some have not hesitated to rank 
with those of Vandyck. He died in 1713. 

OOSTEN, John van, a Dutch painter of whom 
little is known. He painted small landscapes, with 
figures and animals, in the manner of Velvet Breu- 
ghel. They are pleasing and spirited little pieces, 
and when they appear in sales, without his signa- 
ture, they are invariably ascribed to Breughel. 

OOSTERHOUDT.Thierry van, a Dutch paint- 
er, born at Tiel in Guelderland, in 1756. He went 
to Dusseldorf, where he studied under R. van Eyn- 
der. He frequented the Electoral Academ^y, and 
carefully studied the works of Rafiaelle, Carlo 
Dolci, Rubens, Vandyck, and other masters in that 
famous collection. He afterwards returned to his 
native city, where he acquired considerable reputa- 
tion as an historical and portrait painter, and exe- 
cuted numerous works, particularly domestic 
scenes, which are to be found at Tiel and Utrecht. 
He wrought much in water-colors, and his works in 
this line are highly esteemed. He died in 1830. 

OOSTERWYCK, Maria van, a celebrated 
paintress of fruit and flowers, born at Nootdorp, a 
small town near Delft, in 1630. She was the 
daughter of a clergyman, who, perceiving in her 
an early disposition "for the art, placed her under 
the tuition of David de Heera, the most celebrated 
flower painter of his time, under whose able in- 
struction she made rapid progress, and in time 
produced works that nearly approached the beauty 
and delicacy of her master. Her pictures of fruit, 
I flowers, and still-life found their way into the choic- 
j est collections, and she not only found abundant 
, employment, but received commissions from many 
^ of the sovereigns and princes of Europe. She 
' painted a picture for the Emperor Leopold, with 



OPIE. 



630 



OPIE. 



which he was so much pleased that he sent her 
his miniature, with that of the Empress, set in dia- 
monds, as a mark of his approbation. William 
III. and Louis XIV. were among the most munifi- 
cent patrons of this celebrated lady. She is ranked 
among the most successful imitators of nature in 
the particular branch to which she devoted her 
talents. She grouped her flowers with great taste, 
and finished her pictures with extraordinary neat- 
ness and delicacy. Her coloring is clear and trans- 
parent, and her touch is admirably adapted to the 
various objects she represented. She imitated the 
freshness and bloom of flowers, and the luscious 
richness of fruit, with a truth and harmony that 
rivalled nature. Her works are extremely scarce 
and valuable, and are held in the highest estima- 
tion. She died in 1693. 

OPIE, John, an eminent English historical and 
portrait painter, born at St. Agnes, a small town 
in Cornwall, in 1761. The life of this artist is no 
less instructive than interesting. He was the son 
of a master carpenter, who designed to bring him 
up to his own business, to which his aspiring gen- 
ius could not submit. Prince Hoare, who wrote 
an excellent sketch of his life, says " he was- very 
early remarkable for the strength of his under- 
standing ; at ten years of age he was able to solve 
many difRcult problems in Euclid; at twelve, he 
kept an evening school, and taught arithmetic and 
writing to some pupils twice his age." At this 
time he ''could write man}?' various hands with 
admirable ease and accuracy.'' He had an uncon- 
querable passion for painting, and sought every 
opportunity to indulge in it, which his father 
thought would prove his ruin, and endeavored to 
restrain. It happened, on one occasion, that his 
father was employed to repair a gentleman's house, 
at Truro, and the youth accompanied him. In the 
parlor hung a picture representing a farm-yard 
scene, which so captivated ,young Opie that he 
stole in to contemplate it, which his father per- 
ceiving, severely corrected him ; but this had little 
effect, and he was soon at the door again. By the 
intercession and kindness of the lady of the house, 
he was permitted to view the picture without fur- 
ther molestation. On his return home in the even- 
ing, he began to cop}^ it from memory. The next 
day he returned to the house, and in the even- 
ing again resumed his task ; in this manner, in the 
course of a few days, he transmitted to his own 
canvass a very tolerable copy. In the same way 
he copied a picture of several hunting figures, 
which he saw exposed for sale in a window. The 
love of painting had now so thoroughly establish- 
ed its dominion over his mind, that nothing could 
divert him from engaging in it as a profession, and 
at the earnest solicitation of his uncle, a man of 
sound mind, and an excellent arithmetician, with 
whom he was a great favorite, and who used to call 
him the little Sir Isaac, in consideration of his tal- 
ent for mathematics, his father was induced to 
allow him to follow the bent of his genius. He 
therefore prosecuted his new studies with ardor.and 
soon obtained considerable skill in portrait paint- 
ing. He soon decorated his father's house with 
all the family portraits, as well as some of his 
youthful companions. His talents attracted the 
attention of Dr. Wolcott, so celebrated under the 
title of Peter Pindar, then residing at Truro, who 
kindly aided him with his advice, allowed him to 



copy some pictures in his possession, and recom- 
mended him to the patronage of the public. Thus 
assisted, his fame found its way through the sur- 
rounding country, and he commenced his career as 
a portrait painter, visiting many of the neigh- 
boring towns, with letters of introduction to all 
the principal families. " One of these expeditions," 
says Prince Hoare, " was to Padstow, whither he 
set forward, dressed as usual in a boy's plain short 
jacket, and carrying with him all the necessary 
apparatus for portrait painting. Here, among oth- 
ers, he painted the whole household of the ancient 
family of Prideaux, even to the dogs and cats. He 
remained so long absent from home, that some un- 
easiness began to arise on his account ; but it was 
dissipated by his returning dressed in a handsome 
coat, with very long skirts, laced ruffles, and silk 
stockings. On seeing his mother, he ran to her 
and kissed her, and then taking out of his pocket 
twenty guineas which he had earned by his pencil, 
he desired her to keep them, adding that in future 
he should maintain himself" Young Opie's fame 
soon spread abroad, and about 1777 he was intro- 
duced to Lord Bateman. by whom he was much 
employed in painting pictures of old men, women, 
beggars, &c., which he designed with uncommon 
vigor, colored well, and gave great truthfulness of 
expression. In 1780. at the age of nineteen, he 
went to London under the auspices of Dr. Wol- 
cott, where his merits, and the extraordinary cir- 
cumstances of his career, excited universal admi- 
ration. His partisans were zealous in their praise 
of the ''Cornish Wonder," as he was called, and 
commissions poured in upon him from many per- 
sons of distinction. The powers of Opie, however, 
were not calculated to flatter the frivolities of 
fashion. He lacked the polish of the couitier, and 
his portraits were rather distingui.shed by identity 
and truth than by dignity of character; his female 
portraits lacked elegance and grace, as well as 
that softening down of harsh features so essential 
to success. Some artists, too, were jealous of his 
fame. It was not long before the curiosity excited 
by his arrival in the meti-opolis began to subside; 
but as his talents were not conHmd to portraiture, 
he continued to meet with considerable emplo}''- 
ment in painting portraits and rural subjects, in 
which last he was particularly succesful. Opie 
now aspired to the highest branch of the art, his- 
torical painting, and bent all his energies to this 
object. The great artistical ujidertaking-;, viz. : 
Boydell's .Shakspeare Gallery. JNlackliii's Poets' 
and Biblical Galleries. Boyer's Illustrations of 
English History, and the other enterpiises of the 
day, opened a new field for the exercise of his abil- 
ities. In all these he was much employed, and the 
pictures he executed on these occasions ar- among 
the most admired productions of the British school. 
Among the most esteemed of these were the jNlur- 
der of James I. of Scotland, the Death of Riz/.io, 
Jephtha's Vow, the Presentation in the Temple. 
Arthur supplicating Hubert Juliet <liscoverfd in 
her Bed-chamber, the Countess of Auvcrgne nnd 
Lord Talbot, &c. 

The works of Opie are distinguished by great 
simplicity in the composition, masterly boldness 
of effect, and uncommon strength of character, 
though sometimes defective in dignit3\ and fa th- 
ful expression of individual nature. His best 
works possess, in an eminent degree, what artists 



OPIE. 



631 



OPPE. 



terra breadth. Few painters have shown so per- 
fect an eye to the purity of color, and in some of his 
Avorks he appears to have emulated the rich and har- 
monious tones of Rembrandt and Titian ; and even 
Fuseli says that nature had endowed him with an 
exquisite eye for color, and pronounces his coloring 
in the Murderof James I. unrivalled among the pro- 
ductions of his cotemporaries, and approaching the 
excellence of Titian. His conduct of the chiaro-sciiro 
was intelligent and masterly. Ilis faults resulted 
from the lack of academic tuition. He was a self- 
made man ; and, self-instructed, he had to find out 
everything appertaining to his art, which is next 
to invention. Narrowed in his acquaintance of de- 
sign, he was constrained to copy with precision the 
model before him. There is little of the ideal, also, 
in his works, and Fuseli observes of him that he 
rather bent his subject to the figure, than his fig- 
ure to the subject. Although his works are defi- 
cient in grace of attitude and elevation of char- 
acter, they invariably exhibit an appearance of 
reality and truth, which almost compensates for 
the absence of the more refined characteristics of 
elegance and grace. He has also been censured 
for laying on his color too thick, as though it 
were spread on with a palette-knife, rather than a 
brush ; but this, as with Reynolds and others, was 
only an occasional experiment — a practice that is 
always to be condemned in oil paintings, unless 
they are viewed at a great height, as such parts 
are liable to crack, and produce unsightly seams. 
In fact, all unscientific experiments in vehicles, 
varnishes, and colors, especially vegetable colors, 
to produce a striking and brilliant effect, cannot be 
too highly condemned, as they are subject to chem- 
ical reaction, producing changes that destroy the 
harmony, and injure the reputation of the master. 
Opie was a man of a strong mind, ambitious'to 
distinguish himself; kind and generous, but bold 
and resolute, scorning all sycophancy or flattery ; 
indefatigable in the pursuit of knowledge and 
excellence in his profession. Prince Hoare says, 
" wherever eminence appeared, he felt and eagerly 
showed himself its rival. He was forward to 
claim the honors which he was still more diligent 
to deserve. He regarded ever}^ honorable acquisi- 
tion as a victory, and openly expressed the delight 
he experienced in success. On the Professorship 
of Painting becoming vacant b}'- the dismissal of 
Barry, he offered himself as a candidate, and being 
told that he had a competition with an artist 
whose learning and talents preeminently entitled 
him to the office, he replied that he abstained from 
farther interference, but that the person who had 
been proposed was the only one in whose favor he 
would willingly resign his pretensions ; consist- 
ently with this declaration, on Mr. Fuseli's appoint- 
ment to the office of Keeper, he renewed his claim, 
and was elected." He delivered two courses of 
lectures before the Royal Academicians, and one 
before the Royal British Institution, which showed 
a profound knowledge of his subject. He also 
contributed several articles, intended to promote 
the advancement of the fine arts in Great Britain, 
to the various periodicals of the day. He died in 
the prime of life in 1807. deeply lamented for his 
talents, and his many excellent qualities. His 
remains were interred in St. Paul's Cathedral, near 
those of Sir Jo.shua Reynolds. His widow, Mrs. 
Amelia Opie. well known as an authoress, wrote 
an impartial and excellent life of her husband. 



OPPENORD, GiLLEs Marie, a French archi- 
tect, born at Paris in 1672. He studied under 
Jules Hardouin Mansard, and afterwards visited 
Rome with the royal pension, where he remained 
eight years. On returning to France, he first 
gained reputation by the grand altar in the church 
of S. Germain des Pres ; and by the altar in S. 
Sulpice. which is highly praised by Milizia. The 
Duke of Orleans, Regent, was so much pleased 
with the abilities of Oppenord, that he appointed 
him director-general of the royal buildings and 
gardens. Among his principal works were the 
decorations of the Gallery of the Palais Royal, the 
interior of the house of the grand prior of France, 
the choir and altar of the church of S. Victoire, and 
the southern fa9ade of S. Sulpice. In the decorative 
branch of the art he possessed great abilities, but 
had little merit otherwise ; and to him has been 
attributed, perhaps with some degree of truth, the 
decadence of the art in the time of Louis XV. Op- 
penord was the instructor of Jacques Francois 
Blondel. He left a number of designs of consid- 
erable merit, some of which were published by M, 
Huquieres. He died in 1742. 

OPSTAL, Gaspar James van, a Flemish paint- 
er, born at Antwerp in 1660. It is not known un- 
der whom he studied, but he painted history, land- 
scapes, and portraits, with considerable reputation. 
He executed several works for the churches in 
Flanders and Brabant, in which his design is cor- 
rect, his composition good, his coloring agreeable, 
and his touch brilliant and free. He copied the 
famous Descent from the Cross by Rubens, in the 
Cathedral at Antwerp, for the Marshal Villeroy, 
in which he imitated in a perfect manner the admi- 
rable coloring and the freedom of touch which dis- 
tinguish the original painting. In the Cathedral 
of St. Omer is a grand picture by him, represent- 
ing several Fathers of that church. He excelled 
in portraits, many of which are to be found at 
Antwerp, where they are highly esteemed. In the 
Hall of the Royal Academy is a noble portrait of 
one of the Directors of that institution. He also 
frequently inserted the figures in the works of the 
cotemporary artists. He died in 1714. 

ORAM. William, an English architect and 
painter, who flourished about 1740. He was bred 
an architect, but finding little encouragement in 
that profession, he devoted his attention to land- 
scape painting, and produced some works possess- 
ing considerable merit. Through the influence of 
Sir Edward Walpole, his principal patron, he was 
made Superintendent of the Board of Works. 

ORAZZI, NiccoLO, an Italian engraver, who 
flourished about 1760. Among other works, he 
engraved a part of the plates for the Antiquities 
of Herculaneuin, published by the authority of 
the King of the two Sicilies. 

ORBETTO, L'. See Alessandro Turchi. 

ORCAGNA, Andrea. This em.incnt Italian 
painter, sculptor, and architect, was a native of 
Florence. According to some authors he was 
born about 1315 or 1320 ; although Vasari places 
his birth in 1329. His real name was Andrea di " 
Cione; but according to Rumohr, he ar'-uired the 
surname of L'Archagnuolo, which was afterwards 
contracted. Lo Archagnuolo, Lo 'rchagnio, L'Or- 
chagno. Vasari calls him Orgagna. He was pro- 
bably first instructed by his father Cione, a cele- 



ORDO. 



632 



ORIO. 



brated goldsmith; after which he entered the 
school of Andrea Pisano. He studied painting 
under his elder brother Bernardo Orcagna. and 
executed several works in the hard, dry style of 
the time, inferior to Giotto both in design and col- 
oring. In concert with his brother he painted the 
frescos in the Strozzi chapel in the church of S. 
Maria Novella at Florence, representing Paradise 
and the Infernal Regions. Lanzi says '• the two 
brothers imitated Dante ; and that style was more 
happily repeated by Andrea in the church of San- 
ta Croce, where he inserted portraits of his ene- 
mies among the damned, and of his friends among 
the blessed. Andrea discovers fertility of ima- 
gination, diligence, and spirit, equal to any of his 
cotemporaries. In composition he was less judi- 
cious, in attitudes less exact, than the followers 
of Giotto ; and he yields to them in drawing and 
coloring." In the Campo Santo at Pisa, is a 
painting by Andrea Orcagna, representing the 
Last Judgment. Bernardo also painted a repre- 
sentation of the Infernal Regions in the same edi- 
fice ; and both these paintings were engraved by 
Lasinio on a single plate, in his Pltture del Campo 
Santo di Pisa. Andrea was accustomed to sign 
his pictures Fecc Andrea di done, Scultore. 

As a sculptor and architect. Orcagna attained, 
according to Vasari, much greater eminence than 
as a painter. According to the prevailing custom, 
he practised both arts in connection with the same 
works. He designed the celebrated tabernacle of 
the Virgin in Or San Michel e, which is a high 
Gothic p^n-amidal altar of white marble, free on 
all sides, and richly ornamented with figures and 
other sculptures. It is inscribed on the base An- 
dreas Cionis pictor Florentinus Oratorii archi- 
magister extilit liujns. MCCOLIX. It is engraved 
in Richa's Notizie delle Chiese di Firenze, after a 
drawing by Andrea himself. In sculpture he was a 
worthy follower of the Pisani ; and in architecture 
he attained great eminence. He erected the church 
of Or San Michele at Florence, and the elegant 
Loggia de' Lanzi in the Piazza Granduca, which is 
in a perfect condition. It was built entirely of 
stone, with great care ; and. according to Milizia, 
had elegant semicircular arches, instead of the 
pointed ones, which had before been universal. 
Between the arches of the front fa9ade were seven 
figures in half-relief, in allusion to the cardinal 
virtues. Michael Angelo was so highly pleased 
with this loggia, that, when asked by Cosmo I. for 
a design for the Senate-House, he answered that he 
should only continue the loggia of Orcagna round 
the square, as he never could produce anything 
superior. This great work, with the sculptures 
which adorn it, was engraved by Lasinio in Mia- 
serini's Piazza delta Granduca di Firenze, con i 
suoi Monumenti, Florence, 1830. The portrait of 
Orcagna, published in Vasari's work, was taken 
from one of the figures of the Apostles in the above 
mentioned Tabernacle of the Virgin, which was un- 
derstood to be his own. Orcagna died at Florence, 
according to Vasaii, in 1389 ; though Manni says 
in 1375. 

ORDONES. Gasp ARO, a reputable Spanish archi- 
tect, who fiourished about IGOO, and erected, among 
Other works, the church of S. Martino at Madrid. 

ORIENT, Joseph, an eminent German land- 
scape painter, born towards the close of the 17th 
century, at Buebach, near Eisenstadt, in Lower 
Hungary. He studied under Faistenberger, and 



became one of the most eminent landscape paint- 
ers of his time. He passed much time in the 
study of nature, and gained great improvement 
from the works of art in the gallery of the Prince 
of Lichtenstein. He was accustomed to repre- 
sent nature in her various appearances, as among 
the wild mountains of the Tyrol, or on the fiow- 
ery banks of the Rhine ; but his favorite subjects 
were storms of wind, and tempests. He some- 
times imitated the styles of Breughel, Savery, 
Sachtleven, and Griffier. He wrought with great 
facility ; his works are characterized b}^ great fer- 
tility of invention, and a faithful imitation of na- 
ture. The figures in his landscapes were usually 
painted by Ferg, Janneck, Querfurt, or Canton. 
Orient settled at Vienna, and executed most of his 
works in that city. He was the instructor of a 
number of excellent artists, among whom were 
Ferg, Lauterer, and Thurner. His portrait has 
been painted in large and small by Ganneck. Ho 
died at Vienna in 1747. 

ORIOLI, Bartolomeo. a painter who flour- 
ished at Trevigi about 1616. He executed nu- 
merous works for the churches in his native city, 
which are commended by Federici, He was also 
a good portrait painter, and frequently introduced 
portraits into his pictures, instead of ideal forms. 
There is a picture of this class in the church of 
S. Croce, representing a numerous procession of 
the people of Trevigi. Lanzi says he painted more 
pictures for public exhibitions at Trevigi. than any 
other artist, and that he belonged to that '' nume- 
rous tribe of painters, who in Italy, were ambi- 
tious of uniting in themselves, the power of poe- 
try and painting ; but who, not having received 
sufficient polish, either in precept or in art, gave 
vent to their inspirations in their native place, by 
covering the columns with sonnets, and the churches 
with pictures, but without exciting the envy of the 
adjacent districts." 

ORIZZONTE See Francis van Bloemen. 
ORLANDI, Odoardo, aBolognese painter, born 
in 1660, and died in 1736. He was a scholar 
of Pasinelli, He executed a few works for the 
churches, but did not acquire much distinction. 

ORLANDI, Stefano, a Bolognese painter, born 
in 1681, and died in 1760. He studied under Pom- 
pco Aldrovandini. According to Crespi, he ex- 
celled in architeclural and perspective painting, and 
in conjunction with Gioseftb Orsoni, painted many 
able frescos in the churches of Bologna and other 
Italian cities, besides decorating several theatres in 
the same places. In these Orlandi painted the ar- 
chitectural parts, and Orsoni the figures. 

ORLANDINI, GiULio, a painter of Parma, who 
flourished in the latter part of the 17th century. 
He executed some works for the churches which 
are commended by Orlandi, but Lanzi says he was 
better quahfied to show the succession of the Par- 
mese school, than that of eminent painters. 

ORLANDO, Bernardo, a Piedmontese painter, 
who flourished at Turin in the first part of the 
17th century. At this time, the rich collections 
of pictures and drawings in the royal galleries at 
that court were made subservient to the instruc- 
tion of young artists, which was intrusted to a 
painter of the court. Orlando was invested with 
this charge, and appointed painter to the Duke in 
1617. He also painted some pictures for the 
churches. 



ORLK 



633 



ORLE. 



ORLEY, Bernard van, called Bernard of 
Brussels, an eminent Dutch painter, born at 
Brussels, according to the best authorities, about 
1490. and died in 1560; though there is consid- 
erable contradiction on these points. Michiels says 
he was born in 1471, and died in 1541 5 and Zani, 
differing from all others, places his birth in 1500, 
and his death in 1550. All however, are agreed 
that he went to Rome at an early age, and studied 
under Raffaelle, under whose instruction he made 
extraordinary progress, and soon acquired distinc- 
tion. He designed in the manner of Raffaelle, and 
it is said that he not only assisted him in his 
works, but that '-he was employed in finishing 
many of the grand compositions of that inimitable 
master " ! Michiels says that he was sent by 
Raffaelle to superintend the execution of the ta- 
pestries manufactured at Arras from the cartoons 
designed by him in 1513 and 1514, for pope Leo 
X., which work was completed in 1519. At all 
events, he returned to Brussels with a distinguish- 
ed reputation. He was employed by the Emperor 
Charles V., and appointed his court painter. He 
painted history, landscape, and animals. He was 
much employed in painting cartoons for tapestries 
for the court. In these he represented hunting 
pictures of Charles and his nobles in the forest of 
Soignes, which were composed and designed in a 
grand st3de. He also painted several altar-pieces 
for the churches, and some sacred and historical 
pictures for the collections. He painted sixteen 
cartoons for the Prince of Nassau, intended to dec- 
orate the palaces of Breda : each consisted of only 
two figures, — a knight and a lady on horseback, — 
being representations of the Nassau family. The 
design was exceedingly correct and grand, worthy 
of the school of Raffaelle ; they were afterwards 
copied by Jordaens in oil. To give brilliancy and 
transparency to his colors, he frequently painted 
on a gold ground. A celebrated picture of this 
kind is his Last Judgment, formerly in the cathedral 
at Antwerp. As many pictures are falsely attribu- 
ted to him, the following list of his works consider- 
ed genuine by connoisseurs, will prove interesting : 

The Sabeatis carrying off Job's Cattle ; the King of Hol- 
land. Job's Children feasting ; do. Job in his Affliction ; 
do. The Death of the Just ; do. A Lady of Rank , do. 
The Restoration of Job ; do. The Virgin and infant Je- 
sus ; do. Portrait of a "Woman ; do. The Holy Trinity ; 
do. Neptune and Amphitrite ; the Duke of Devonshire, 
at Chiswick. Venus and Adonis; at Berlin. Bust of Lu- 
cretia ; at Prague. Antiochus erecting an idol in the 
Temple of Jerusalem, the right wing of a picture ; at Vi- 
enna. The Marriage of the Virgin ; in the Louvre. The 
Annunciation, and several circumstances in the life of 
Christ; in the Museum at Berlin. Connoisseurs are not 
agreed on its authenticity. The Nativity ; formerly in the 
church of S. Gery, at Brussels. The Adoration of the Mag{ ; 
formerly in the refectory of the abbey of Premontres, at Di- 
leghem. The Presentation of Mary in the Temple ; at C^ats- 
worth. This picture, till recently, was attributed to Jan van 
Eyck. St. Anne blessing the Virgin, an imitatiop of Raf- 
faelle ; at Berlin. Mary with the infant Jesus. Sts. John, 
Joseph, and Elisabeth ; Lord Scarsdale, at Kdddleston.— 
Mary with the infant Jesus, under a baldachin, St. Joseph 
gathering dates from a Palm Tree ; Liverpool Institution. 
A riposo during the flight into Egypt, in a rich landscape 
with pilgrims ; at Vienna. Christ curing a Sick Person, 
eighteen figures : a drawing in black lead. (Mentioned by 
Thore, Alliance des Arts.) Christ on the Cross, between 
the two Thieves; in the church of St. Catherine at Brus- 
sels. The dead body of Christ on the knees of the Virgin, 
attended by the jMagdalene, St. John, and five other fig- 
ures ; formerly In the church of S. Gudule, at Brussels. 
Mentioned by" Deseamps in Voyage pittoresque. Dead 
Christ mourned by his friends ; Museum at Brussels. De- 



scent of the Holy Spirit, left wing of a picture ; at Vienna. 
The Last Judgment, a central panel ; in the hospital of 
St. Elizabeth, at Antwerp. In Karel van Mander's time 
it belonged to the Almoners ; and when Deseamps wrote, it 
was in their chapel in the cathedral. The Works of Mer- 
cy ; wings of the preceding. The Last J udgment, central 
panel ; in the church of St. Jacques, at Antwerp. The 
Trinity, St. Peter, St. Paul, St. Teresa, and the Mag- 
dalene ; exterior wings of the preceding. The Last Judg- 
ment ; at Berlin, Connoisseurs not agreed. Death of the 
Virgin ; in the hospital of St. John, at Brussels. St. Je- 
rome ; at Berlin. St. Luke painting the Virgin and 
Child ; the central panel of a sumptuous architectural 
monument, the wings of which are painted by Michael 
Coxcie ; in the church of St. Viet, at Prague. St. Norbert 
refusing the heresy of Tanchelin ; in the Pinacothek. Lith- 
ographed by Bergman. Two wings of a Triptique ; men- 
tioned by Deseamps as being formerly in the church of St. 
Martin, at Alost. Anne of Cleves, the bust only ; Lord 
Spencer, at Althorp. The left wing of a Triptique, in the 
church of St. James at Antwerp, representing the donor 
and his three sons, under the protection of St. George. The 
right wing of the same, in the same church, representing 
the wife and her eleven daughters under the protection of 
St. Catherine. Portrait of a Female ; Duke of Devon- 
shire, at Chiswick. A young Girl reading near a Golden 
Vase ; at Prague. In his style. A Woman holding a Ser- 
pent to her Breast, and supposed to represent Cleopatra ; 
Duke of Devonshire, at Chiswick. Six Men and a Dog 
under Trees ; a drawing in the collection of the Archduke 
Charles, at Vienna. Sportsmen on horseback and foot, 
with a Dog, under Trees ; do. Paintings in the Piccolo- 
mini Palace ; at Vienna. Cartoons for tapestry, designed 
for Charles V., Marguerite of Austria, and for the house of 
Nassau. 

ORLEY, Richard van, a Dutch painter, born 
at Brussels in 1652. He was the son of Peter 
van Orley, an indifferent landscape painter, who 
first instructed him in the art. He possessed 
great talents, and first apphed himself to minia- 
ture painting with considerable success, but being 
ambitious to distinguish himself in a higher branch 
of the art, he applied himself to the study of design 
and nature with great assiduity, and became a cele- 
brated painter of historical subjects of a small 
size, which he designed and executed so much in 
the Italian style, that one might imagine he had 
studied in that country, chough it is not known 
that he was ever in Italy. He painted a prodi- 
gious number of worlds, portraits, historical sub- 
jects, and landscapes, which are correctly designed, 
agreeably colored, and well executed. He en- 
riched his backgrounds with elegant architecture 
and fine perspectives, and his figures are elegantly 
and appropriately grouped. Some of his works 
are sai<^ to bear a strong resemblance to those of 
Alba^Jor others to Cortona, and his landscapes to 
Podssin. He also distinguished himself as an en- 
graver, and etched a number of plates from his 
own designs, and after other masters, executed in 
a free and painter-like manner, among which are 
the following. He died in 1782. 

The Fall of the Rebel Angels ; after Rubens. Bacchus 
inebriated, supported by Satyrs ; do. The Marriage of 
the Virgin and St. Joseph ; after L. _ Giordano, Ver- 
tumnus and Pomona ;/rom his own design. Twelve Pas- 
toral subjects, from Guarini's Pastor Fido ; do. Part 
of a set of twenty-eight plates of subjects from the New 
Testament ; after the designs of John van Orley ^ who 
etched the remainder himself. 

ORLEY, John van, was a younger brother of 
the preceding, born at Brussels in 1656, He first 
studied with his father, but afterwards devoted 
himself to historical painting, with considerable 
success, and was much employed in painting for 
the churches in the Netherlands. In the church 
of St. Nicholas at Brussels, is a picture by him, 



ORRE. 



634 



OUST. 



representing St. Peter delivered from Prison, and 
in the parochial church of Asch, a picture of the 
Resurrection, which are highly commended. His 
master-piece is a large picture of the Adoration of 
the Magi in the Refectory of the abbey of Dilli- 
ghem. He etched a part of the plates from his 
own designs, for the New Testament, mentioned in 
the list of the preceding artist. He died in 1740. 

ORNERIO, Gerardo, a native of Frisio, who, 
according to Orlandi, was one of the most famous 
painters of his time on glass. He especially com- 
mends his windows in the church of S. Pietro at 
Bologna, executed about 1575. 

ORRENTE, Pedro, a Spanish painter, born at 
Montealegre, in Murcia, in 1560. It is not known 
under whom he studied in his own country, but 
he went to Italy and became the pupil of Giacomo 
da Ponte (Bassano), whose manner of coloring he 
adopted, though his style of composition and de- 
sign was very different. Some authors say that 
he was not a pupil of Bassano, and that he never 
went to, Italy, supposing that he was a pupil of 
El Greco, and afterwards imitated the manner of 
Bassano, from seeing his works in Spain ; but 
Lanzi conclusively shows that he visited Italy, 
where he painted some works which Conca pro- 
nounced superior to those of Bassano. On his re- 
turn to Spain he was favored with the protection 
of the Duke of Olivarez, who employed him to 
paint several pictures for the palace of Bueno Re- 
tiro. He painted many works for the churches 
and convents at Valencia, Cordova, and Toledo. 
His works are numerous, and are to be found in 
most of the principal cities of Spain, where they 
are held in high estimation. In the cathedral at 
Toledo, is an admired picture by him representing 
Santa Leocadia, coming out of the Sepulchre, and 
in the chapel of Los Reyes Nuevos. in the same 
church, was a picture of the Nativity, since re- 
moved to the Royal collection at Madrid ; it is a 
grand composition, admirably executed. In the 
same church are some superb landscapes, and a 
picture of Orpheus charming the brute creation, 
one of his most celebrated works. He died at To- 
ledo in 1644, and was interred in the same church 
as El Greco. 

ORSI, Benedetto, a native of Pescia, who 
flourished about 1660. Lanzi says he w&s an em- 
inent pupil of Baldassare Franceschini, called II 
Volterrano. There is a fine picture of St. John 
attributed to him in the church of S. Stefano at 
Pescia. He also painted the Seven Works of Mer^ 
cy for La Compagnia de Nobili, which were shown 
to strangers as among the curiosities of the city 
till the suppression of the Order, when they were 
dispersed. There still exists a large circular pic- 
ture in the church of S. Maria del Letto at Pistoia, 
which was enumerated by good judges among the 
finest works of Volterrano, till an authentic docu- 
ment proved the real painter to be Benedetto Orsi. 

ORSI, BERNARorNO, a painter of Reggio, who 
flourished there in the latter part of the 15th cen- 
tury. According to Tiraboschi, he was an eminent 
artist in his time. Most of his works have per- 
ished. Lanzi says that Reggio still boasts a Ma- 
donna of Loretto, painted by him in the cathedral, 
in 1501. 

ORSI, Lelto, called Lelio pa Novellara, a 
painter, born at Reggio in 1511. Banished from 



his native city for some unknown reason, he es- 
tablished himself at Novellara, where he acquired 
great distinction, whence his acquired name. Not- 
withstanding he was one of the ablest artists of 
his time, and his works have been the admiration 
of succeeding times, very little is known of his life 
with any certainty, and his history is mostly found- 
ed on supposition. The Cav. Tiraboschi wrote his 
life, compiled from a variety of sources. The Ital- 
ian writers say that he was " in pittura grande, in 
architettura ottimo, e in disegno massimo" ; in 
painting grand, in architecture excellent, and in 
design pre-eminent. Tiraboschi conjectures on 
the authority of a MS., that he imbibed his taste 
of design at Rome ; others suppose he was a pupil 
of Michael Angelo, or that he studied the designs 
and models of that master; and others again, that 
he was a pupil of Giulio Romano. There is 
great similarit}'- in his style to that of Correggio, 
though of a far more robust character ; his works 
having the same grace in his chiaro-scuro — in the 
spreading of his colors, and in the beauty and deli- 
cacy of his youthful heads; hence some suppose, 
with great probability, that he was a pupil of that 
master. At all events, it is certain that he was on 
friendly terms with Correggio, that civilities passed 
between them, and that he attentively studied his 
works, some of which he copied, as is evident from 
his fine copy of the celebrated Notte, now in the 
possession of the noble house of Gazzola at Verona. 
Tiraboschi says he painted several works for the 
churches at Rome. It would therefore seem prob- 
able, as Tiraboschi asserts, that he first studied 
at Rome, and afterwards improved his style, by 
contemplating the works of Correggio ; for Lanzi 
says, "his design is evidently not of the Lombard 
school, and hence the difficulty of supposing him 
one of the scholars of Correggio, in which case his 
earlier works at least, would have partaken of a 
less robust character." He painted many noble 
frescos in the churches at Reggio and Novellara, 
most of which have perished. Lanzi says, " we 
are indebted to Francesco HI., of glorious mem- 
ory, for such of his works as are now to be seen 
at Modena, who had them transferred from the 
fortress of Novellara, to the ducal palace, for their 
preservation. Few of his altar-pieces now remain 
in public, at either Novellara or Reggio, the most 
having perished or been removed, one of which 
last, representing Sts. Rocco and Sebastiano along 
with S. Giobbe, I happened to meet in the studio 
of Signer Armanno at Bologna." There are a few 
others of doubtful authenticity, claimed to be gen- 
uine by him, at Parma, Ancona, and Mantua. He 
^ied in 1587. 

ORSI. Prosper 0, a Roman painter, born in 1560, 
who, according to Baglioni, was employed by pope 
Sixtus V. in the palace of St. John of Lateran, 
where Ke painted two ceilings, one representing 
the children of Israel passing through the Red 
Sea, and the other, Isaac blessing Jacob. He was 
the particular friend of the Cav. Giuseppe Cesari 
d'Arpino, whose manner he imitated. He after- 
wards abandoned historical subjects for grotes- 
ques, for which he had extraordinary talents, and 
for this reason was called Prosperino dalle Grot- 
tesche. He died in 1635, in the pontificate of Ur- 
ban VIII. 

ORSONI, GiosEFFO, a Bolognese painter, born 
in 1691, and died in 1755. According to Crespi, 



ORTE. 



635 



OSSE. 



he was a disciple of Pompeo Aldrovandini, and a fel- 
low pupil of Stefano Orlandi, with whom he formed 
an intimate friendship, and afterwards wrought in 
conjunction with him. See Orlandi. 

ORSOLTNI, Carlo, an Italian engraver, born 
at Venice about 1724. He carried on a consider- 
able commerce in prints, and engraved some of 
the plates for the Museo Fiorentino. 

ORTEGA, St. Juan de, a Spanish architect, who 
flourished during the eleventh century'. Accord- 
ing to Milizia, he was the son of Tela Velasquez, 
and a native of Fontana d'Ortunno, near Burgos, 
He is said to have made a pilgrimage to Jerusalem, 
and to have erected at Montesdosa a church, a 
monastery, and a hospital, still existing. De Ortega 
also built a great many bridges in Spain, among 
which was one on the JEbro, near Longronno, and 
one near St, Domingo. 

ORTOLANO, L', See Gio, Battcsta Benve- 

NUTO. 

ORVIETANO, ANOREAand Bartolomeo, two 
painters, probably brothers, mentioned by Delia 
Valle, who iJourished at Orvieto about 1405, and 
were there employed in painting for the churches. 

ORVIETANO, Ugouno. an old painter of Or- 
vieto, who, in 1321, according to Delia Valle, was 
employed in conjunction with Gio. Bonini di Assisi, 
Lello Perugino, and Fra. Giacomo daCamerino, in 
decorating the cathedral of that city. He was an 
artist of distinction in his time. 

OS, John van, a Dutch painter, born at Middel- 
harnis in 1744. and died in 1808. He settled at 
the Hague, where he acquired great distinction for 
his fruit and flower pieces, in which he imitated 
the manner of John van Huysvun with great suc- 
cess, though he had not the tenderness and delica- 
C3'' of touch, of that great master. His works are 
highly esteemed, and are to be found in the 
best collections m his own country. He also 
painted marines, but not with equal success. His 
son, George Jacob John van Os, still living, is pre- 
eminent for his flower pieces. There are two mag- 
nificent flower pieces by him in the Museum at the 
Hague, which are said never to have been sujpassed 
in artistic execution, brilliancy of coloring, and 
powerful effect. 

OS, Peter Gerard van, was a son of the prece- 
ding, born at the Hague in 1776. He studied with 
his father, but he afterwards formed a stjde of his 
own. by studying and imitating the works of Paul 
Potter and Karel du Jardin. He acquired distinc- 
tion, and his works are found in the choicest col- 
lections in Holland. He also executed quite a 
number of spirited etchings from his own designs, 
and others after Potter. Berghem, and Ruysdael, 
which are held in high estimation. His prints are 
sometimes marked P. G. van Os fee. et exc. and 
sometimes with his initials P. G. V. O. f. He 
died at the Hague m 1839. 

OSORTO, Francisco Meneses, a Spanish paint- 
er, a native of Seville, flourished in the latter part 
of the 17th century. He studied under Murillo, 
and became one of the most successful imitators 
of that great artist. In concert with Juan Garzon, 
one of his fellow disciples, he painted several pictures 
in the churches and convents of Seville. In 16C8, 
Osorio was chosen Majordorao of the Academy of 
that city, and presented his picture of the Con- 
ception, which was greatly admired. At the death 



of Murillo, in 1685, he was employed to finish the 
works at Cadiz, left incomplete by that master. 
He copied the works of Murillo to perfection, par- 
ticularly his pictures of children. Among his 
principal works are, Elijah fed in the Desert, in 
the church of San Martino at Madrid ; and the pic- 
ture of St. Catherine, in the Capuchin monastery 
at Cadiz — his finest production. Osorio died at 
Seville about 1700. 

OSSENBECK, John or Josse, a Dutch paint- 
er and engraver, born at Rotterdam in 1627. Af- 
ter studjnng in his own country, he went to Rome, 
where he passed the greater part of his life, and 
acquired distinction for his pictures of landscapes 
and animals, fairs and huntings, in the style of 
Peter de Laer, called Bamboccio, whose works 
were then greatly admired at Rome. Though his 
works are greatly inferior to those of de Laer. 
they are ingeniously composed ; and he designed 
his figures, horses, and other animals, with abun- 
dance of nature and truth. The back grounds of his 
pictures are generally embellished with fragments 
of antiquity, such as ruins of ancient edifices, ves- 
tiges of superb monuments, caves, or waterfalls, 
so exactly designed from scenes in and about Rome, 
that Sandrart says. " he seems in his works to 
have transplanted Rome to his own country." 
His works have the elegance and correctness of 
design of the Roman school, combined with the 
coloring and high finish of the Flemish school, 
executed with a delicate, but spirited pencil. He 
also distinguished himself as an engraver, and ex- 
ecuted some free and spirited etchings after his 
own designs and others. He also engraved a part 
of the plates for the collection called the Gallery 
of Teniers, among which are the following. He 
died at Regensburg in 1678. 

The Children of Niobe ; after Palma. The Children 
of Isr.ael j^atbering the Manna in the Desert ; ajter ^Pin- 
toretiQ. Orpheus playing to the Animals ; after Bassano. 
The Four Seasons ; do. A set of twelve plates of differ- 
ent Animals ; from his own, designs. A set of four diffe- 
rent subjects ; do. Two Views in and near Rome ; do. A 
Boar-hunt ; after Peter de Laer. Six large prints ; after 
Saltaior Rosa, Peter de Laer, and S". de Vlieger ; scarce. 
A grand Festival given at Vienna, with a great number of 
figures on horseback and on foot; A. Lartucci, inv. J. Os 
seiibeck, sc. ; fine and scarce. 

OSTADE, Adrian van, a preeminent Dutch 
painter, born at Lubeck in 1610. He went very 
young to Haerlem, and studied under Francis 
Hals, whose works were then in high repute. He 
was a fellow student of Adrian Brower, with 
whom he contracted an ardent friendship. He 
had great talents and a lively genius, and adopted 
a style peculiar to himself, in which he equalled 
the best masters of his own countr)^ and acquired 
a brilliant reputation for his admirable representa- 
tions of subjects, which, in less skillful hands, 
would only have excited our disgust. His subjects 
are always taken from low life, and usually repre- 
sent interiors of kitchens or ale-houses, with Dutch 
peasants smoking, dancing and regaling themselves, 
drunken frolics or quarrels ; but he has treated 
these grotesque subjects with such infinite humoj' 
and spirit, and has given such a lively and natural 
expression to the various characters of his heads, 
that we forget the low vulgarity of his subjects, 
in admiring the truth and finesse with which he 
animates the uncouth actors in the scene. Hi.-= 
coloring is rich, clear, and glowing, and he was a 
perfect master of the principles of chiaro-scuro. 



OSTA. 



&S6 



OSTA. 



His pencil is uncommonly ligbt and delicate, and 
though his pictures have the most polished finish- 
ing, his touch is free and spirited, and wonderful- 
ly neat. There is an uncommon transparency in 
all his works, and there is such a harmony in the 
tone of coloring, as captivates the beholder. His 
figures were so much admired that the eminent 
cotemporary artists often solicited him to^ insert 
the figures in their works, which adds greatly to 
their value. 

Ostade, after leaving his master, resided many 
years at Haerlem, where his works were so much 
admired and sought after, that he could scarcely 
supply the demand, at his own prices. The ap- 
proach of the French troops, in 1662, excited the 
greatest alarm at Haerlem, and Ostade sold all his 
pictures and effects, and set out for his native city. 
On his arrival at Amsterdam with the intention of 
embarking for Lubeck, he was prevailed upon to 
abandon his fears and settle in that city, where he 
continued to practise his profession with great 
distinction till his death, in 1685. Notwith- 
standing he received high prices for his works, they 
have continued to increase ever since, and now are 
only to be found in the choicest collections, and 
whenever one is offered for sale, no price is ac- 
counted too exorbitant. In Smith's Catalogue 
raisonne of the works of the Dutch and Flemish 
masters, vol. I., and the Supplement, may be found 
a full description of about three hundred and eighty 
paintings by Adrian van Ostade, together with the 
prices they have brought at various sales at differ- 
ent periods, the names of the purchasers in many 
instances, the present possessors, or the collections 
and galleries in which they are to be found. In 
addition to the large number of oil paintings, he 
made a considerable number of drawings, in semi- 
opaque color, which in richness and harmonious ef- 
fect, are little inferior to his oil pictures, and are so 
highly esteemed by connoisseurs, that they com- 
mand very high prices. The commercial value of 
his works has increased to an astonishing degree 
within the last fifty years, as may be seen by one 
or two examples taken from the Catalogue above 
referred to. In the year 1800, the picture de- 
scribed as No. 57, was sold in the famous Geelder- 
mester Collection, for £229 ; in Penrice's sale in 
1844, it brought £1375 10s. No. 104, was sold 
in 1802 for £340 ; in 1844 it brought in Mr. Ilar- 
man's sale £1386. 

Adrian van Ostade also executed upwards of 
fifty plates of charming etchings from his own de- 
signs, which are justly admired, and held by con- 
noisseurs in high estimation. Some of them are 
etched in a bold and spirited manner, and printed 
without the assistance of the graver ; others are 
very neatly etched and finished with the graver in 
the manner of Rembrandt. He sometimes signed 
his prints with his name, and sometimes marked 
them with one of the following monograms of his 
initials A. V. 0. The most accurate account of 
his prints will be found in Bartsch's Peintre Gra- 
veur, tom. i. page 351. The following are bis most 
esteemed prints : 

MOr M--^ Jf-"' M 

The Painter seated at his Easel. The first impressions 
of this plate are with the high cap considerably above the 
eyes; in, the second impression, a lower bonnet nearly 



touches the eye&. An Assemblage of Peasants, oeeupied r& 
killing a Pig ; a night-pieee, producing a fine eff"ect of the 
chiaro-scuro. A Family of Peasants at table, saying: 
grace. 1647. A Mountebank surrounded by several fig- 
ures. Several Peasants at the door of a Cottage, with a? 
foir in the back-groand. Several Peasants fighting with 
Knives. The Cottage Dinner. 1653. The Cobbler's Shop. 
I67I. A Man standing on a Bridge sngling. The Interior 
of a Dutch Ale-house, with figures drinking asrd dancing. 
The Inside of a Cottage, with a Woman su&kling a Child. 
The Spectaicle-seller. A Man, Woman^ and Child at the 
Door of a Cottage. 1652. Several Peasants at a Window; 
one of them is singing a ballad, and another holds the can- 
dle. A Man blowittg a Horn, leaning over a hatch. A 
village Festiyal, with a great nuraber of figures divertin-g 
themselves at the door of an ale-house. His largest plate. 

OSTADE, Isaac van, was the brother of the 
preceding, born at Lubeck about 1617; some say 
in 1613, but it was probably even later than 1617, 
as he was the scholar of his brother, and is said to 
have died young, before he reached the full matu- 
rity of his powers. He probably died about 
1654, as there are none of his works' bearing a 
later date, though Houbraken says he died at 
Amsterdam in 1671, which is rendered improbable 
by the above facta, and the comparative scarcity 
of his works. 

He at first imitated the manner and subjects of 
his brother, and, though they are every way inferi- 
or to the works of that great master, some of his 
own compositions, as well as the copies he made 
of his brother's works, have frequently been im- 
posed upon the inexperienced as the geTiuine pro- 
ductions of the elder Ostade. But he afterwards 
adopted a style of his own, which led him to ex- 
cellence and renown, in painting out-door scenes, 
such as travelers halting at an inn, winter- 
scenes of Dutch villages, frozen rivers and canals, 
with figures skating and otherwise amusing them- 
selves on the ice. To these subjects he confined 
himself, but varied his scene and treatment so 
much that his pictures have no appearance of self- 
imitation or repetition. They are faithful repre- 
sentations of nature, and somewhat resemble the 
bold and admirable productions of Albert Cuyp, 
They are held in the highest estimation, and are 
found only in the choicest collections. Smith, in 
his catalogue, gives a descriptive account of 112 of 
his works. One of these, in the collection of M. 
Robit, was sold in 1801 for £361. The same pic- 
ture, in the Duchess de Berri's collection, sold in 
1837 for £1306. Many others have equally pro- 
gressed in value. 

OSTERWYCK. See Oosterwyck. 

OTHO, Yenius. See Venius. 

OTTAVIANI, Giovanni, an Italian engraver, 
born at Rome in 1735 ; died in 1808. He visited 
Venice, where he studied under Wagner, and en- 
graved several prints. On returning to Rome, he 
soon gained reputation, and became highly es- 
teemed. His principal work was his collection of 
engravings after the pictures by Raffaelle in the 
Loggie of the Vatican, of which the first part ap- 
peared in twelve numbers, folio, at Rome, 1769 — 
1770 ; the second in thirteen numbers, in 1776. 
Among his other prints are the following : 

St, Jerome with a Crucifix ; after Guercino. St. Ce- 
cilia ; do. Angelica and Medora ; do. Mars and Venus ; 
do. Three Women bathing surprised by a young Man; 
do. Diana and Acteon •, do. Twenty-three plates, from, 
the paintings by Rajfaelh, in the Vatican. Four plates 
from the pictures by Raffaelhy in La FarBesia, represent- 



OTTA. 



G37 



OUDE. 



lug Jupiter and Ganymede, Juno on her Car, Neptune on 
the Ocean, and Pluto aed Proserpine. 

OTTAVIANI, Carlo, an Italian engraver, the 
brother of the preceding. lie engraved ten of the 
thirty-three plates published under the following 
title: Le pitture ddla capella pontijicia Quiri- 
nale, opera di Guido Rent, disegnate da Pietro 
Angeletti ed incise da Giov. e Carlo fratelli Otta- 
viani. 

OTTENS, Francis, a Dutch engraver of little 
note, who flourished about 1760. He engraved 
some book plates and a few portraits. 

OTTINI, Felice, a Roman painter, who, accord- 
ing to Pascoli, was a pupil of Giacinto Brandi. He 
possessed excellent talents, a fine taste, and was 
employed, almost in his youth, to decorate the 
chapel of P. P. di Gesu e' Maria, at R<jme. He 
died young, in 1695. 

OTTINI, Pasquale, sometimes called Pasciua- 
LOTTO. w%s born at Verona in 1570. He studied 
with Felice Ricclo, called Brusasorci, whose manner 
he imitated so happily that he was employed to 
finish some works by his master, left incomplete at 
his death. Lanzi says " he was a good artist in 
regard to forms, and of no common expression, 
particularly in the works he conducted after hav- 
ing seen Raffaelle's, Of this we have a striking 
example in his Murder of the Innocents at S. Ste- 
fano, and his picture of St. Niccolo with other 
saints, at S, Giorgio, in the best style of Venetian 
coloring. In other instances, his coloring is some- 
what languid — a defect most probably arising from 
time and unfavorable situation." He was in high 
repute in his native city, and the learned Alessan- 
dro Carli, in his History of Verona, says that he 
approached nearer to Paul Veronese than any other 
artist of that city. He died of the great plague, 
in 1630. He is said to have executed some beauti- 
ful etchings. Bartsch has given a description 
of only one known print by him, which he 
commends in the highest terras. It represents 
the Burial of Christ, and is signed, Pasq°. Otti^, 
Ver^. inv. 

OTTMER, Carl Theodore, an eminent German 
architect, born at Brunswick in 1800. After ac- 
quiring the elements of design and perspective in his 
native place, he went to Berlin in 1822, where he ex- 
ecuted designs for the new Konigstadt Theatre, 
which were so highly valued that the work was 
entrusted to him. He next erected the Musical 
Academy at Berlin, which was completed in 1827. 
He then visited Italy, where he remained, study- 
ing and copying the antique, for two years, when 
he was summoned to Dresden, to prepare designs 
for the new Opera House in that city ; but, for 
some cause, the structure was not erected. In 
1830 he published the first part of his work on 
architecture, entitled Architektonischen Miitheii- 
ungen. In 1833, he commenced the erection of 
the new palace at Brunswick, which was three 
years in completing, and is regarded as one of the 
most magnificent and imposing edifices of the kind 
in Europe. Ottmer also erected at Brunswick 
several other excellent works, but the Palace is re- 
garded as his master-piece. He died at Berlin in 
1843. 

OTTO, H. F., a German engraver, said to have 
been a native of Berlin. He resided at Frankfort, 
and was chiefly employed by the booksellers. He 



engraved a part of the heads for the Notitia Uni- 
versitates Francofertance, published in 1707 ' 
They are indifferently executed. 

OUDENARDE. See Audenarde, 

OUDENDYK, Evert, a Dutch painter, who 
flourished at Haerlem about 1650. He painted 
landscapes, stag-hunts, and similar subjects, witl. 
considerable reputation. 

OUDENDYK, Adrian, was the son and schol- 
ar of the preceding, born at Haerlem about 1648. 
He painted landscapes and views of towns, in some 
of which the figures were inserted by Dirk Maas 
His chief skill lay in copying, or perhaps pillaging, 
the works of Adrian Vandervelde and Thomas 
"Wyck, for which reason he was surnamed Rapi- 
anus. He was living in 1696. 

OUDINET, Marc Antoine, a French medalist, 
born at Rheims in 1643, He at first studied law 
in his native city, but subsequently relinquished 
his profession to go to Paris with his relative 
Rainssant, as keeper of the medals in the King's 
cabinet. The skill with which he arranged this 
valuable collection obtained for him a pension, and 
the honor of a seat in the Academy of Belles- 
Lettres. He wrote three dissertations upon med- 
als, of great merit. He died in 1712. 

OUDRY, Jean Baptiste, a French painter and 
engraver, born at Paris in 1686. He studied un- 
der Nicholas Largilliere. He was an able designei- 
and a respectable colorist, and for some time prac- 
tised historical painting with considerable ability, 
as is shown by his picture of the Nativity, in the 
church of S. Leu, and the Adoration of the Magi, 
in the chapter of S. Martin des Champs. He af- 
terwards adopted a different branch of the art, in 
which he acquired distinction. These were hunt- 
ing pieces, cavalcades, and other similar subjects 
in which the figures, horses, and other animal.'- 
are designed with great correctness and spirit, and 
touched with a facile and vigorous pencil. There 
are many of his works of this class in the royai 
palaces, and the collections in France, where they 
are highly esteemed. He also painted portraits, 
landscapes, architecture, fruit, and flower-pieces. 
He also executed some etchings, from his own de- 
signs, in a bold, free, and masterly style. Bartsch 
gives a descriptive list of 66 prints by him. There 
are some others, of doubtful authenticity, attribu- 
ted to him. He died at Beauvais, in 1755. 

OUGRUMOFF, G., a Russian painter, born in 
1764. He studied in the Academy of Fine Arts 
at Petersburg, and, in 1785, gained a prize in 
painting. He is said to have attained a high rank 
among the artists of his country. Among the 
principal works of Ougrumoff", are his Conquest of 
Kasan by the Czar Iwan IV. ; and the Coronation 
of Michael Romanoffl In 1797 he was chosen a 
member of the Academy, and attained the rank of 
Director in 1820. He died in 1833. 

OUVRIER, Jean, a French engraver, born at 
Paris in 1725. He was chiefly employed by the 
booksellers, and engraved a variety of landscapes, 
vignettes, and other subjects, neatly executed with 
the graver, though somewhat too dark in the shad- 
ows. He died in 1754. The following are among 
his best prints : 

The Villagers of the Appenines ; after Pierre. A View 
of the Alps ; after Vernet. A View of the Appenines ; 
do. The Magic Lantern ; after Schenau. The Flemish 



OUWA. 



638 



OVER. 



School ; after Eisen the elder. The Dutch School ; do. 
The Genius of Design, an emblematical subject ; after 
Cochin. 

OUWATER, or CUTWATER, Albert van, 
an old Dutch painter, born at Haerlem, according 
to van Mander, in 1444, and died in 1515 ; though 
this is disputed by others. Zani says he was born 
in 1370 ; Balkema places his birth in 1366, and 
death in 1424. There is great uncertainty as to 
the time in which he flourished ; nor is this of 
much importance, as little remains by him that is 
authentic. Van Mander and Siindrart extol an 
altar-piece by him in the principal church at Haer- 
lem, representing St. Peter and St. Paul, in which 
the figures are carefully and correctly designed, and 
richly colored, though stilfF and labored in the fin- 
ishing ; and they describe another of his works, 
representing the Resurrection of Lazarus, with 
several figures, designed in a style superior to what 
was usually practised at that early period. Very 
old pictures of the Dutch school, which do not ac- 
cord with the van Eycks and Hugo vander Goes, 
are often attributed to Ouwater. 

OUWATER, Isaac, a Dutch painter, born at 
Amsterdam in 1747. He painted views of the 
chief cities in Holland, especially of Amsterdam, 
Haerlem, and Utrecht, ornamented with numerous 
figures, somewhat in the style of vander Heyden. 
In his larger pictures, in addition to pedestrians he 
introduced carriages and horsemen. His repre- 
sentations are accurate, his perspective of streets 
fine, and the shadows and reflections of buildings 
and vessels in the water produce a fine effect. His 
penciling is minute and neat, his coloring rich and 
harmonious ; and, though his works are far inferior 
to those of vander Heyden, they possess much 
merit, and are held in considerable estimation. 

OUWATER, Jacob, a Dutch painter of fruit 
and flowers, of whom httle is known except his 
works, which denote a painter of very high order 
in this branch of the art. His pictures are admi- 
rably composed, correctly designed, finely colored, 
and highly finished. It is conjectured that he 
flourished about 1750. 

OVENS, JuRiAN, a Dutch painter, born at Am- 
sterdam in 1600, according to Nagler, who cites 
his portrait, dated 1666, anno cetatis 66. He stud- 
ied in the school of Rembrandt, and acquired from 
him an excellent knowledge of coloring, and of the 
principles of chiaro-scuro. He excelled in paint- 
ing night-pieces and subjects by torch-light. His 
portraits are particularly esteemed for their un- 
common truth, and expression of character, as well 
as for the beauty and harmony of their coloring. 
He also painted history with considerable reputa- 
tion. In the Stadt- House at Amsterdam are seve- 
ral of his pictures, representing subjects from an- 
cient history, painted in the vigorous style of his 
master. One of these represents Julius Civilis in 
the consecrated grove, exhorting and animating the 
Batavians to shake off the Roman yoke and tight 
for their liberties. As the consultation of the 
Batavians was held at night, it afforded the paint- 
er an opportunity of exhibiting his genius in his 
favorite style of painting, in representing the 
transaction by the light of flambeaux and fires. 
This performance alone is accounted sufficient to 
establish his reputation as a great master. In 
1665, he was invited to the court of the Duke of 
Holstein, in wljpse service he continued until his 
death, in 1678. 



OVERBECK, BoNAVENTURA VAN. a Dutch 
painter, born at Amsterdam in 1060. His parents 
were in affluent circumstances, and gave him a lib- 
eral education. While at college, he distinguish- 
ed himself by the rapid advancement he made in 
his studies. On leaving the University, having a 
strong predilection for painting, he placed him- 
self under Gerard de Lairesse. He afterwards 
went to Rome, where he applied himself with great 
assiduity in studying and drawing after the works 
of the best masters, and the remains of antiquity. 
He formed a rich collection of drawings and casts 
during his residence of several years at Rome, 
with which he returned to his native city, where 
he was warmly received by his friend and instruc- 
tor Lairesse, and was visited and caresi^ed by all 
the artists of Amsterdam. He executed some his- 
torical works, which were greatly admired. He 
possessed superior talents, with a thorough know- 
ledge of art, and might have become one of the 
most distinguished artists of his time, Ijad he not 
given way to an unfortunate disposition to dissipa- 
tion and excess. His attention was also diverted, 
and his time greatly occupied in the preparation 
of a work he designed to publish, with plates en- 
graved by himselfjfrom the designs lie had n)ade and 
collected at Rome. He died of a fever brought on 
by a debauch, in 1706. Before his death, he en- 
gaged his nephew to undertake the publication of 
the work, which he desired to be dedicated to 
Queen Anne of England. It was published in 
1709, in French, under the title Les Testes de Vmi- 
cienne Rome. 

OVERBECK, Friedrich, one of the great 
leaders of the present German school, was born at 
Lubeck in 1789. In 1809 he went to Rome, where 
he remained till 1831, when he made a journey to 
Munich, to exhibit some of his beautiful designs 
at the Academy of the Fine Arts in that city, the 
grandeur of which caused a great sensation among 
the artists and connoisseurs. He was among the 
first to give impulse to the present aspiring state 
of painting in Germany, by reverting to the almost 
forgotten principles which guided the old masters. 
He has produced many works which prove him an 
artist truly inspired with a love of the grand and 
the beautiful. He was not in a hurry to distin- 
guish himself, but spent many years in acquiring 
a profound knowledge of art. After ascertaining 
his strength, he commenced his picture of Christ^s 
Entry into Jerusalem, now in the principal church 
of the city of Lubeck, which at once established 
his reputation. He next painted the Adoration of 
the Magi for the Queen of Bavaria, and Christ 
visiting Mary and Martha, for his friend Vogel the 
painter.of Zurich. He afterwards returned to Rome, 
where he still resides. He gained immense reputa- 
tion at Rome for his fresco works, and was select- 
ed by Canova to ornament a part of the walls of 
the Vatican. He represented there the Coliseum, 
and placed the Virgin in the centre, appearing to a 
pilgrim, thus ingeniously contrasting the different 
states and feelings of the people of ancient and 
modern Rome. Among his most admired produc- 
tions in fresco are the Joseph sold by his Breth- 
ren, and the Seven Years of Famine, which deco- 
rate La Salle Bartoldi, at Rome ; a series of sub- 
jects from Tasso's Jerusalem Delivered, in the Vil- 
la Massimi ; the Vision of St. Francis di Assisi, in 
the church of S. Maria degli Angeli, which last is 
considered one of the greatest works of the pres- 



OVER. 



639 



OZAN. 



ent epoch. His later productions of Christ in the 
Garden, Judith, and some frescos at Frankfort, 
have tended to increase his reputation. His draw- 
ings are numerous, of rare merit, and have widely 
spread his excellence and fame. His works have 
been criticised as deficient in knowledge of col- 
oring, and his carnations are said to want life and 
energy ; but Overbeck, like Niccolo Poussin, is of 
opinion that talent and tendency that way are more 
injurious than favorable to the perfection of art. 
Though critics will allow this in the classical pro- 
ductions of the latter, they will hardly grant it in 
the different class of subjects adopted by the for- 
mer. Overbeck married the daughter of Schlegel, 
the great German critic. The school of which he 
may be considered the founder, is ably supported 
by several living German artists, among whom 
are Cornelius, Schadow, Bendeman, Weit, Schnorr, 
and Hess, all of whom are emulous of sharing the 
glory of their chief, and handing down their own 
names to posterity. 

OVERBECK, Leendert, a Dutch painter and 
engraver, born at Haerlem in 1752, and a pupil of 
H. Meyer. At first he devoted himself mostly 
to painting designs for tapestry. He afterwards 
abandoned painting for engraving. He etched a 
number of landscapes, a list of which may be 
found in Nagler's Lexicon. He died at Haerlem, 
in 1815. 

OWEN", William, an eminent English painter 
of portraits and fancy subjects, born at Ludlow, in 
Shropshire, in 1769. About 1786, he went to 
London, and studied under Catton, and afterwards 
had the benefit of the advice and instruction of 
Sir Joshua Reynolds. Though he was not a. fash- 
ionable painter, he acquired distinction, and paint- 
ed the portraits of many eminent persons, among 
whom were William Pitt. Lord Grenville, the 
Marquis of Stafford, Sir William Scott, Cyril 
Jackson. Vicary Gibbs, Chief Justice Abbot, the 
Earl of Bridgewaler, Viscount Exmouth, John 
Soane, &c. These he executed in a bold, vigorous 
style, with good coloring ; and he gave a striking 
likeness. He was less successful in his female por- 
traits. He also painted many fancy pictures, which 
are ranked among the finest of that class of works 
by the English artists of that time. Among these 
are the Beggar's Daughter, the Sleeping Girl, the 
School Mistress, the Girl at the Spring,"the Road- 
Side, the Cottage Door. Children in the Wood. 
Cupid, the Fortune-Teller, &c., some of which 
have been engraved. In 1806 he was elected a 
Royal Academician ; in 1810 he was appointed 
portrait painter to the Prince of Wales, and after- 
wards " principal portrait painter to the Prince 
Regent," who offered to knight him, which honor 
he declined, as it promised to be more expensive 
than advantageous. His professional income, when 
at the height of his career, was about .£3,000 per 
annum. During the last five years of his life his 
health gradually declined. He died on the 11th of 
February, 1825, by poison, taken by mistake for 
an aperient draught, through the carelessness of 
an apothecary's boy, who wrongly labelled the 
bottle. He was a man of estimable character, and 
his death was deeply lamented. 

OZANNE, Nicholas, a French engraver, born 
at Paris about 1724. He engraved a number of 
plates of landscapes, marines, and sea-ports, from 
his own designs, executed with the graver in a 



neat, finished style. His vessels, in particular, are 
designed with great precision. Among the others 
by him, are a set of four landscapes, two views of 
the port of Brest, and a set of four marines, signed 
Ozanne^fec. 

OZANNE. Jane Frances and Mary Jane, 
were sisters of the preceding artist, and learned 
engraving of Aliamet. They engraved, in a neat 
style, some plates of marines, sea-ports, pastoral 
subjects, and landscapes, after Vernet, Hackert, 
Wouwerman, and others. They are marked /. F. 
Ozanne, or M. J. Ozanne. 



PACCELLI, Matteo, called della Basilicata, 
a Neapolitan painter, born about 1660. According 
to Dominici, he was the favorite disciple of Luca 
Giordano, and one of his most successful imitators. 
He executed some works for the churches, more 
distinguished for brilliant coloring and facility of 
execution, than for correctness of design. When 
Giordano was invited to Spain in 1692, by Charles 
II., he selected Matteo Paccelli and Aniello Rossi, 
his two favorite pupils, to accompany him as his 
assistants. They continued with him during his 
ten years sojourn at that court, and rendered him 
such valuable assistance in the execution of his nu- 
merous works, that, on their return to Naples with 
their master, the King settled upon them hand- 
some pensions, which enabled them to pass the 
rest of their days in independence. Paccelli died 
in 1731. 

PACCHIAROTTI, Jacopo, a painter of Siena, 
who flourished in the first part of the 16th centu- 
ry. It is not known under whom he first studied, 
but he formed his style by an attentive study of 
the works of Pietro Perugino, whom he at first 
closely imitated. Lanzi says, " Siena possesses 
several cabinet pictures and altar-pieces by him, in 
the style of Perugino," and that he so closely imi- 
tated that master that many of his works have 
passed under his name, or that of his school. He 
afterwards greatly improved himself by studying 
the works of Raffaelle. His best works are his 
frescos in the churches of S, Caterina and S. Ber- 
nardino, in which Lanzi says he emulated the 
ablest artists of Siena ; the chief of these is a pic- 
ture in the church of S. Caterina, representing 
that Saint visiting the Body of St. Agnes di Monte- 
pulciano — a grand composition, in which the airs 
of the heads are said to approach those of Raffa- 
elle. There is much contradiction about the real 
merits of this artist. Speth, a German critic, says 
the works last referred to, can be justly compared 
to those of Raffaelle alone, and that great injustice 
is done to him by classing him in the school of 
Perugino ; but no Italian author gives him any 
such rank, and Vasari only mentions him inciden- 
tally in his life of Razzi, under the name of Giro- 
lamodel Pacchia, "a rival of Razzi himself." In 
1535, he headed an insurrection against the gov- 
ernment, and only escaped an ignominious death 
by seeking refuge in the monastery of the Osser- 
vanti, where he was concealed till an opportunity 
was found for him to flee into France, where he is 
supposed to have died. It is probable that he nev- 
er saw the best works of Raffaelle, as Lanzi 
thinks it doubtful if he had ever been out of Siena 
before 1535. 



PACE. 



C40 



FADE. 



PACE, DEL. See Paci. 

PAOEOCO, or PACICCO. See Francesco 
Di Rosa. 

PACHECO, Francisco, a Spanish painter, 
born, according to Cean Berraudez, at Seville, in 
1571. He studied under Luis Fernandez, a paint- 
er of serges and jQags, to which occupation, and 
that of painting and gilding statues or images, he 
first devoted himself. In 1611 he visited Toledo 
and Madrid. He attentively studied the works of 
the great masters in the Escurial, and greatly im- 
proved himself. On his return to Seville, he open- 
ed an academy for the instruction of young artists, 
and had the honor of instructing Alonso Cano and 
Don Diego Velasquez, the last of whom married his 
daughter. His works are not worthy of much no- 
tice. Palomino says he was a correct and rigid de- 
signer,his compositions are studied and appropriate, 
and the airs of his heads noble and dignified ; but 
his execution was feeble, his coloring indifferent, 
and his manner crude and dry— the last part of 
which criticism efiectuaily destroys the first. He 
painted some pictures for the church of the Bare- 
footed Carmelites, in competition with Alonso Vas- 
quez. in which he was greatl}'- surpassed by his 
rival. In 1623 he again visited Madrid, in compa- 
ny with his scholar and son-in-law, Velasquez, 
where he resided two years, and " dressed, gilded, 
and painted a statue of the Virgin by Juan Gomez 
de Mora,for the Duchess of Olivarez" ; a work that 
was greatly admired, the decoration of which cost 
500 ducats ! He wrote an elementary treatise on 
painting, which is considered in Spain indispensa- 
ble for the instruction of students, and the best in 
the language. He died at Seville in 1654. 

PACHECO, Cristoforo, a Spanish portrait 
painter, of the school of Madrid, flourished in 
1568. He was patronized by the Duke of Alba, 
and executed a number of works for his palace, 
which were destroyed in the conflagration of that 
edifice. His portraits are characterized by a good 
style of design and beautiful coloring ; and the 
draperies are painted with a faithful adherence to 
the style of dress prevailing in his time. 

PACI, Ranieri, called del Pace, a native of 
Pisa, who studied under Antonio Domenico Gab- 
biani, whose manner he adopted. According to 
Morrona, he executed some works for the churches 
of his native city in a reputable manner ; but Lan- 
zi says that by carelessness and inattention, he de- 
generated into a complete mannerist. He flour- 
ished in 1719. 

PACOT, a French engraver, who flourished 
about 1690. He engraved some plates of battles 
and sea-fights, etched in a spirited style, and neatly 
finished with the graver. 

PADERNA, Giovanni, a Bolognese painter, 
born, according to Malvasia, about 1600, and died 
in 1640. Lanzi says he died at the age of 40, 
but does not give the date ; and Zani says he was 
living in 1647. He studied under Dentone (Giro- 
larao Curti), under whose instruction he became an 
eminent painter of perspective and architecture, 
and after the death of that master he was much em- 
ployed in decorating the churches,and the public and 
private edifices of that city. Lanzi says he was 
an accomplished imitator of Agostino Mitelli, one 
of the most eminent painters of perspective and 
architecture of his time. Yet this master was ac- 



counted inferior to Dentone, and he was bom in 
1609, nine years later than Paderna.as above stated. 
Others say that his success excited the jealousy of 
Mitelli. Lanzi also says that he associated him- 
self with Baldassare Bianchi, who on the death of 
Paderna married the daughter of Mitelli. Of his 
numerous works at Bologna, the decorations of the 
Capella Zagoni, in the church la Madonna della 
Liberta, are considered among the best. 

PADERNA, Paolo Antonio, a Bolognese 
painter, born in 1649. He first studied under Guer- 
cino, but on the death of that master he entered 
the school of Carlo Cignani. Although he was a 
reputable painter of history, he chiefly excelled in 
landscapes, in which Lanzi says ''he was an admi- 
rable imitator of the manner of Guercino." He 
was much employed in painting for the collections. 
His pictures are designed and executed in a bold 
and vigorous style, his scenery is grand, his color- 
ing clear and harmonious, and his chiaro-scuro ex- 
cellent. He died in 1708. 

PADOVA. GiROLAMO DA, called also Girola- 
MO DAL Santo, a painter born at Padua, where he 
died about 1550, aged 70. He was celebrated in 
his day for his small pictures of historical sub- 
jects, which he decorated with bassi-relievi, sarcoph- 
agi, and other antique ornaments, with inscrip- 
tions copied for the most part from the Paduan 
marbles. On the death of Bernardo Parentino in 
1531, he was commissioned to continue the admi- 
rable works executed by that master in a cloister 
of the monastery of Santa Giustina. In these 
Lanzi says he showed himself greatly inferior to 
Parentino in his design and expression, but he 
commends his elegant accessories, designed from 
the antique. 

PADOVA, Maestro Angelo, a painter of 
Padua, who painted about 1489, in the Refectory 
of the monastery of Santa Giustina, a picture of the 
Crucifixion, which Lanzi says is designed in a 
grand style, and executed with great spirit. He 
was a close imitator of the style of Andrea Man- 
tegna. 

PADOVANINO. See Alessandro Varotari. 

PADOVANINO, Francesco, a painter born at 
Padua in 1552. It is not known with whom he 
studied, but he painted history with considerable 
reputation. He possessed inventive genius, and 
was a correct and graceful designer. He painted 
some works for the churches, one of the best of 
which is a picture in the church of la Madonna del 
Carmine at Venice, representing a Saint interce- 
• ding for two criminals condemned to death. He 
excelled in portraits, which were admired for their 
truth, dignity, and excellent coloring. He was 
much employed in this branch of the art, and 
painted the portraits of many distinguished per- 
sons. He died in 1617. 

PADOVANINO, Ottavio, was the son of the 
preceding, born at Padua in 1582. After study- 
ing with his father, he went to Rome for im- 
provement. He acquired some celebrity for his 
historical works, but more for his admirable por- 
traits. He died in 1634. 

PADOVANO, or PATAVINUS. See Avibus. 

PADOVANO, GiusTO, an old painter who lived 
at Padua, and died there in 1397, at an advanced 
age. He was a native of Florence, and his name 
was Giusto Menabuoi j but he was called Padovano 



PADO. 



641 



PAES. 



from having been naturally a citizen of Padua, 
Where he chiefly resided. Yasari says he was 
a disciple of Giotto, and attributes to him the 
very extensive works which adorn the church of 
S. Giovanni Battista in that city. In the picture 
over tho altar are represented various histories of 
St. John the Baptist ; on the walls are represented 
various scriptural events and Mysteries of the 
Apocalypse; and in the cupola, is a choir of An- 
gels, where we behold, as in a grand consistory, 
the Blessed, seated upon the ground, arrayed in 
various garments. Lanzi says the composition of 
these works is very simple, but they are executed 
with an incredible degree of diligence and felicity. 
PADOYANO, Giovanni and Antonio, two old 
painters, probably brothers, to whom Morelli at- 
tributes the works in the church of S. Giovanni 
Battista, mentioned in the preceding article. In his 
Notizia, he says that formerly there was the fol- 
lowing inscription on one of the gates. Opus Jo- 
hannis et Antonii de Padua^ for which reason he 
conjectures that they were the painters of the 
whole temple. 

PADOYANO, Lauro. In the Venezia Des- 
critta by Sansovino, this painter is said to have 
been a native of Padua, and a scholar of Francesco 
Squarcione. He was one of the most successful 
imitators of the manner of Andrea Mantegna. 
There are some of his works in the church of La 
Carita, at Yenice, representing subjects from the 
life of St. John, which rank among the best pro- 
ductions of his time. He also painted at Padua. 
He flourished about 1460. Lanzi calls him Lauro 
da Padova, and applies the same history to him. 
Others call him Lauro or Lauri da Padova. Zani 
says he painted from 1470 to 1500. but he is often 
inaccurate in his dates, and evidently often guesses 
at them. Many of the old Italian artists are called 
after the places of their nativity or chief residence, 
and this is always the case when the real name is 
not known ; thus Lauro da Padova, or Padovano, 
or Padovanino, means Lauro of Padua, or Lauro the 
Paduan. or Lauro, the admired Paduan. In the lat- 
ter case, the word is a diminutive, having a significa- 
tion of eminence, and endearment. Thus, Francesco 
Mazzuoli, is generally called by the Italians, Par- 
miggiano, from Parma, his native place, but his fel- 
low citizens endearingly call him Parmiggianino. 
. ^ PADTBRUGGE, II. L., a Swedish 
^^yu/ en graver, who flourished at Stockholm 
C_/ o^^ about 1700. He engraved a part of 
the plates for a work entitled Suecia Antiqua et 
Hodieriia, containing 350 plates. The first edi- 
tion was published at Stockholm in 3 vols. fol. 
in 1693, and the second in 1714. 

PAELINCK, an eminent Belgian painter, born 
at Oostacker, near Ghent, in 1781. He first stud- 
ied under Yerhaegen, then professor of painting in 
the Academ}'- at Ghent. He next went to Paris, 
and entered the school of David, On his return 
to Ghent, he contended for the prize offered by the 
Academy, which he obtained for his Judgment of 
Paris, and he was appointed Professor of Design 
in that institution. He shortly afterwards re- 
signed his professorship, and went to Rome, 
where he remained eight years, diligently study- 
ing the antique and the works of the great mas- 
ters. While at Rome, he distinguished himself, 
and painted a large picture representing the em- 
bellishments of Rome by Augustus, by the com- 



mission of the Pope, for his palace at Monte Ca- 
vallo. On his return to his own country, he ex- 
ecuted many works for the churches and public edi- 
fices, as well as for individuals, which justly rank 
him among the most eminent of the modern Bel- 
gian painters. Among his most esteemed works 
were. The Finding of the Cross, in the church of 
S. Michael at Ghent ; The Adoration of the Shep- 
herds, in the convent of La Trappe, near Antwerp ; 
The Flight into Egypt, at Malines ; The Depar- 
ture of Tobit, at Opbraekel ; The Return of Tobit, 
for Maria Oudenhove ; The Assumption of the 
Yirgin. at Muysen ; The Disciples at Emmaus, 
at Everghem ; The Calvary, at Oostacker, &c. 
These works are designed in a grand and elevated 
style, and display a profound knowledge of art. 
He is accused of over- fondness of academic display, 
and this blemish is more apparent in his profane 
subjects, although those of a sacred character, are 
not entirely free from it. Among his other most 
beautiful productions are. The Dance of the Muses ; 
The Judgment of Midas ; The Abdication of the 
Emperor Charles Y,, and the Toilet of Psyche, in 
the Museum at the Hague. He died at Brussels 
in 1839. 

PAESI, da', a name given to several painters 
of landscapes and rural subjects. See Francesco 
Bassi, Antonio dal 
Girolamo Yernigo. 

PAGANELLLNiccoLO, a painter born atPaenza 
in 1538. and died in 1620. It is not known under 
whom he studied, but according to Oretti, he was 
an excellent artist of the Roman school. Lanzi 
says that some attribute to him a fine picture of 
S. Martino, in the cathedral, supposed to be the 
work of Luca Longhi, and that his genuine works 
are recognised by the initials N. X. P. 

PAGANI. Francesco, a painter born at Flor- 
ence in 1531. According to Baldinucci, after 
learning the rudiments of the art in his native 
city, he went to Rome, where he studied the works 
of Polidoro da Caravaggio and Maturino, but Lanzi 
says he imitated the works of Polidoro and Michael 
Angelo, and that he painted several such admira- 
ble imitations of those masters for individuals of 
Florence, while he was at Rome, that they could 
scarcely be distinguished from the genuine works. 
On his return to Florence, he executed several 
works which gained him great reputation. He 
died in 1561, in the flower of his life, greatly la- 
mented, as one of the most promising artists of 
his time. 

PAGANI, Gregorio. was the son of Francesco 
P., born at Florence in 1558. He first studied un- 
der Santo di Titi, and afterwards with Lodovico 
Cardi, called Cigoli, whose style he adopted. Lanzi 
says he was praised by strangers as a second Cigoli, 
and that he was much emploj-ed by them ; hence 
there are few of his pictures at Florence. His 
most celebrated work, the Finding of the Cross, 
in the Carmine, which has been engraved, was de- 
stroyed with that edifice by fire. He painted a 
few frescos, all of which have perished, except one 
in the cloister of S. Maria Novella, commended by 
Lanzi, though injured by time. He died in 1605. 

PAGANI, Gasparo, a painter of Modena, who 
flourished there in 1543. It is not known under 
whom he studied, but he adopted the manner of 
Raffiaelle. for which reason Lanzi supposes he was 
instructed by Munari or the Taraschi, who succeeded 



PAGA. 



642 



PAGG. 



in the school of that master. Few of his histori- 
cal works now remain. He was also an excellent 
portrait painter. 

PAGANI, Paolo, a painter born at Valsolda, in 
the Milanese territory, in 1661. He went to Ven- 
ice, where he formed a style of his own, founded 
on the works of the best Venetian masters, which 
gained him considerable reputation in that city, 
where he executed several fine works for the 
churches and opened an academy for the instruc- 
tion of young artists. After a residence of some 
years at Venice, he returned to Milan, and was 
employed in the churches and public edifices, and 
painted much for private collections. There are 
several of his best works in the Dresden gallery. 
He died in 1716. 

PAGANI, ViNCENZLO, a native of Monte Rub- 
biano, in the Picenum, of whom there are notices 
from 1529 to 1553, Colucci, in his " Memorie de 
Monte Rubbiano." says he was a scholar of Raf- 
faelle. He executed many works for the churches 
in the Roman territory, particularly in his native 
place, at Fallerone, and at Sarnano. One of his 
most beautiful works is the Assumption of the 
Virgin, in the collegiate church at Monte Rubbiano, 
designed and executed entirely in the manner of 
Raffaelle. The Padre Civalli highly extols two of 
his works in the church of his order at Sarnano. 
In 1553 he was employed to paint the altar-piece 
of the Capella degli Oddi, in the church of the 
Conventuals at Perugia, which is highly commend- 
ed. Little is known of this artist except his works, 
which are of a high character; probably arising 
from his secluded life. Lanzi, and others, doubt 
whether he was really a scholar of Raffaelle. but 
rather think he formed his style by contemplating 
his works. 

PAGANI, Lattanzio. See Marca. 

PAGANINI. See Oav. Gumo Mazzoni. 

PAGANINI, GuGLiELMO Capodoro, a painter 
born at Mantua, according to Orlandi, in 1670. and 
a scholar of Antonio Calza. His genius leading 
him to paint battle-pieces, skirmishes of cavalry, 
encampments, &c., he went to Florence, where he 
carefully studied the works of Borgognone. whose 
manner he imitated with much success. His pic- 
tures are ingeniously composed, and executed with 
great freedom and spirit. The time of his death 
is not known. 

PAGGI, Giovanni Battista, an eminent paint- 
er, born at Genoa in 1554. He was a patrician by 
birth, and having a passion for painting, he in- 
dulged in it from his earliest years, in spite of the 
opposition of his father. He was highly accom- 
plished in letters, and his various attainments 
in history, poetry, philosophy, all served to as- 
sist him in the composition of his pictures. He 
studied painting under Luca Cambiasi, and im- 
proved himself by copying the antique statues and 
bas-reliefs. He had already acquired considerable 
reputation as an historical painter, when he was 
obliged to flee from Genoa, in consequence of a 
duel, in which he slew his antagonist. He sought 
refuge at Florence, where he was protected and 
employed by the court for twenty years. Flor- 
ence at that time abounded with men of genius, 
whom the liberality of the Grand Duke Francis 
T. had drawn to his court. Among them were 
Lodovico Cardi, and several other artists of dis- 



tinction, who contributed to reform the Floren- 
tine school from the languid state into which it 
had fallen, by the introduction of the more rich 
and vigorous style of the Lombard school. Pag- 
gi's first productions were rather distinguished by 
elegance and grace, than energy, in which he seems 
to have imitated the suavity of Baroccio. Such 
is his Holy Family, in the church degli Angeli. 
Lanzi says, ''the great merit of Paggi at this time 
was not vigor, but a certain nobleness of air, 
which always continued to be his characteristic, 
and a delicacy and grace which have led some 
to compare him with Baroccio and Correggio ; as is 
seen in his History of St. Catherine, in the cloister 
of S. Maria Novella, a grand composition, orna- 
mented with beautiful buildings, and so pleasingly 
executed, that I have heard it preferred to all 
others in that court." As he advanced, he adopted 
a more vigorous style, which gained him immense 
reputation, Lanzi pronounces his Transfiguration 
in the church of S. Marco, " a stupendous work, 
which seems almost beyond his powers." He af- 
terwards painted for the Certosa at Pavia, three 
pictures from the Passion of our Saviour, in the 
same grand style, which are considered among his 
best works. About 1600, his great reputation in- 
duced the republic of Genoa to recall him ; at the 
same time, he was invited to the courts of Pavia 
and Madrid, but his love of country prevented him 
from accepting'these honorable appointments, and 
he returned to his native city, where he passed the 
rest of his days, and executed many of his best 
works. Perhaps his master-piece is the Murder 
of the Innocents, in the Palazzo Doria, painted in 
1606. in competition with Rubens. He contributed 
greatly to the revival of the art at Genoa, wrote 
some excellent treatises on the art, and instructed 
several pupils who distinguished themselves. He 
died in 1627. 

PAGGIO, II. See Francesco Merano. 

PAGLIA, Francesco, a painter born at Brescia 
in 1636. He was a scholar of Guercino, whose 
manner he imitated. Lanzi says he w^as excellent 
in laying on his colors, admirable in his chiaro- 
scuro, but he displayed little spirit, and his pro- 
portions were frequentl}^ too long and slender. 
His best work is an altar-piece in the church of 
La Carita. He excelled in portraits, which are 
distinguished for dignity and truth of character, 
great purity of color, and uncommon relief. Or- 
landi says he was living in 1700; others, that he 
died about 1700 ; and Zani, that he died in 1713. 

PAGLIA, Antonio and Angiolo, were sons and 
scholars of the preceding, and were reputable ar- 
tists. Antonio was born in 1680. and died in 1747. 
Angiolo was born in 1681, and died in 1763. 

PAGNI, Bknedetto, was a native of Pescia, 
and studied in the school of Giulio Romano at 
Rome. He accompanied that master to Mantua, 
where he assisted him in his works. He acquired 
considerable distinction as an historical painter, 
and executed some works for the churches. Lanzi 
says his pictui-e of the Martyrdom of S. Lorenzo 
in the church of S. Andrea, at Mantua, is worthy 
of the school of his master. Many pictures are 
claimed to have been executed by him in his na- 
tive city, but Lanzi thinks that the Marriage at 
Cana, in the collegiate church, and the fa9ade of 
the house of the Pagni family, are the only gen- 



PAIG. 



643 



PALA. 



nine ones. Zani says he painted from 1525 to 
1570. 

PAIGEOLINE, an Italian engraver of whom 
nothing is known. There is a slight, but spirited 
etching, bearing his name, after the picture by 
Paul Veronese, representing the Mother of Moses 
brought to Pharaoh's Daughter, as a nurse for her 
son. Zani spells his name Paigeloine. 

PAIOT, a French engraver of little note, who 
flourished about 1627. He was chiefly employed 
in engraving frontispieces, vignettes, and other 
book plates for the booksellers. They are indif- 
ferently executed. 

PAJOU, AuGusTiN, a distinguished French 
sculptor, was born at Paris in 1730. He early 
manifested a strong inclination for art, and was 
placed in the school of Lemoine, where he made 
such rapid advances that, at the age of eighteen, 
he gained the grand prize of the French Academy, 
and went to Rome with the royal pension. After 
pursuing his studies in that city for twelve years, 
he returned to Paris, and was admitted to the 
Academy, on the presentation of his group of Pluto 
holding Cerberus chained. This production gained 
for Pajou a great reputation, and he was soon ex- 
tensively employed. His style was natural and mas- 
terly, and he far surpassed the sculptors of the pre- 
ceding generation. In 1767 he was appointed Profes- 
sor of Sculpture in the French Academy ; and du- 
ring the rule of Napoleon he was a member of the 
Institute. In 1768 he exhibited a sketch of the tomb 
of Stanislaus, King of Poland, father-in-law of 
Louis XV. ; a leaden statue of life size, represent- 
ing Love as the Ruler of the Elements ; and four 
colossal figures in stone, for the garden of the 
Palais Royal, representing Prudence, Liberality, 
Mars, and Apollo. Among his principal works 
are the statues of Bossuet, and Descartes ; Psyche 
abandoned, in the Luxembourg ; the sculptures for 
the fa9ade of the Palais Royal, ordered by Louis 
XVI. ; the sculptures of the Opera House at Ver- 
sailles ; the ornaments of the Bourbon Palace, and 
of'the cathedral of Orleans ; and the Naiads of the 
south and west sides of the Fountain of the In- 
nocents. Pajou died at Paris in 1809. 

PALADINI, FiLippo, a painter commended by 
Hackert, who flourished about 1600, and executed 
several works for the churches in Syracuse, Paler- 
mo, Catania, and other places. Lanzi thinks this 
artist the same as Filippo Palladino, which see. 

PALADINI. Filippo, a painter born at Pisa 
about 1570. He was a reputable painter of his- 
tory, but chiefly excelled in portraits. 

PALADINI, Arcangela, was the daughter of 
the preceding, born at Pisa in 1599. She was in- 
structed by her father, and acquired much distinc- 
tion in her time, for the excellence of her portraits, 
and her beautiful embroidery. She excelled also 
in music. Maria Magdalena, Archduchess of Aus- 
tria, took her under her protection, and she resided 
at the court of Florence many years, universally 
esteemed. She was also much employed by the 
nobility. Her portrait, painted by herself, is in the 
Florentine gallery. 

PALADINI, Cav. Giuseppe, a Sicilian painter, 
who flourished at Palermo about the middle of the 
17th century. Little is known of him. as the lives 
of the Sicilian artists have never been properly 
written. Hackert makes honorable mention of 



two of his works in the church of S. Joseph at 
Castel Termini, representing the Madonna and an 
Altar-piece of the titular Saint. 

PALADINI, LiTTERio. a Sicilian painter, born, 
according to Hackert, in 1591. He studied at Rome 
under Sebastiano Conca, and afterwards improved 
himself by a diligent study of the antique models. 
On his return to Messina, he was employed on 
several considerable fresco works for the churches, 
the chief of which is the ceiling of the church of 
Monte Vergine. This work is on a grand scale, 
and is highly commended for correctness of design. 
He died of the great nlague which ravaged Messina 
in 174.3. 

PALAMEDES. See Staevaerts. 

PALENIER, Joachim, a Flemish painter, born 
at Dinant in 1490. He excelled in landscapes with 
small figures. He settled at Antwerp, where he 
acquired distinction, and was elected a member of 
the Academy in that city, in 1515. He died there 
in 1548. 

PALING, Isaac, a Dutch painter, who, accord- 
ing to Houbraken, flourished about 1670. He 
was a scholar of Abraham vander Tempel, and 
painted portraits and conversation pieces in the 
style of that master. He went to London in the 
reign of Charles II., where he practised portrait 
painting some years, and returned to his own 
country in 1682. 

PALLADINO, Adriano. a painter, born at Cor- 
tona in 1610. According to Orlandi, he was the 
scholar of Pietro Berretini, whose style he imita- 
ted with success. He executed several works for 
the churches and public edifices of his native city, 
which are commended. He died at Cortona in 
1680. 

PALLADINO, Filippo. a painter born at Flor- 
ence about 1544. It is not known by whom he 
was instructed, but Lanzi says he seems to have 
studied the Lombard moi-e than the native artists, 
and to have been acquainted with Baroccio. After 
acquiring considerable reputation by his picture 
of the Decollation of St. John in the church of that 
saint, at Florence, and an altar-piece at S. Jacopo 
a'Corbolini at Milan, he was obliged to fly from 
that city on account of some disturbance. He 
sought refuge at Rome, where he was received by 
the Prince Colonna ; but being pursued, he went 
to Sicily, and resided at Mazzarino, on an estate 
belonging to the Colonna family. There, as well 
as at Syracuse, Palermo. Catania, and other places, 
he executed works for the churches, which Lanzi 
says are elegantly designed and finely colored, 
though they are not free from mannerism. He 
died at Mazzarino in 1614. 

PALLADIO, Andrea, a celebrated Italian ar- 
chitect, born at Vicenza, in the Venetian territory, 
in 1518. Little is certainly known of his fiimily, 
or his first studies; but. according to Milizia, he 
acquired a knowledge of literature, and afterwards 
devoted himself with great diligence to the study 
of Vitruvius and Alberti. He found an encour- 
aging patron in his countryman Gio. Giorgio 
Trissino, who took Palladio three times to Rome, 
where the young architect made the greatest pos- 
sible use of his advantages, measuring and taking 
drawings of all the ancient edifices of Rome and 
the vicinity. He appears to have returned from 
the last of these journeys in 1547, in his twenty- 



PALL. 



644 



PALL. 



ninth year, when he settled at Vicenza, and was 
employed on the Palazzo Pubblico at Udine, com- 
menced by Gio. Fontana, an architect of Vicenza. 
His first important work, however, was the grand 
Portico surrounding the ancient Basilica on three 
sides. It is all of fine stone ; the first floor is 
Doric; the second Ionic, both ornamented with 
arches and columns, with entablatures of exquisite 
sj'^mmetr}'^. The principal excellence of this work 
consists in making the new agree with the old, as 
the columns of the new exterior necessarily come 
in contact with the Gothic pilasters of the interior, 
requisite for its support. Notwithstanding this 
difficulty Palladio produced such an elegant and 
well proportioned edifice, that his reputation im- 
mediately rose to a great height, and he was in- 
vited to Rome by Paul III., who wished to consult 
him in regard to the works in progress at St. Pe- 
ter's. On returning to Vicenza, he seems to have 
been overwhelmed with commissions for mansions 
and villas, of which class of subjects his works 
chiefly consist. Among the numerous private 
mansions designed or erected by him at Vicenza, 
are the Palazzi Tiene, Valmarana, Chieracati, Por- 
ti, Capitanale, Barbarino, &c. ; also the celebrated 
Villa Capra or Rotonda near the city, and a great 
many villas along the Brenta. 

The increasing fame of Palladio caused him to 
be invited to Venice, as Sansovino was then grow- 
ing infirm. His first work there was the monas- 
tery of the Lateran Canons della Oarita, of which 
the entrance was through a beautiful Corinthian 
portico. He afterwards erected two churches at 
Venice, — S. Giorgio Maggiore, and II Redentore. 
The first is built on the plan of a Latin cross, 
with three naves, elevated from the ground on 
seven steps. The fagade is adorned with a Com- 
posite order on a pedestal, which runs entirely 
around, terminated by a proportionate pediment, 
under which are two half pediments, indicating the 
lateral naves. This edifice is characterized by 
unity and simplicity in the ornaments, producing 
a majestic effect. The church of the Capuchins, 
called II Redentore (the Redeemer), is entirely 
Corinthian, with a single nave, ninety two feet long, 
and forty-six wide. Palladio was invited to the 
court of Duke Emanuel Philibert of Savoy, who 
received him with distinguished honors. His de- 
signs were in great request throughout Italy. Be- 
sides the works by him already mentioned, there 
are the following : the fa9ade of the church della 
Vigna, at Venice ; the magnificent Palazzo Barbaro, 
at Maser in the Trevigiano ; and a noble Palace 
at Montagnana for Francesco Pisani. His last 
work was the Olympic Theatre at Vicenza, which 
he did not live to complete. He died in 1580. 
aged G2. 

The merits of Palladio have been extravagantly 
extolled by Goethe, Quatremere de Quincy, For- 
syth, Hope, Beckford. and others ; but these au- 
thorities do not attempt to show wherein his ex- 
cellencies consist. It cannot be denied that his 
works abound in imperfections, chiefly relating to 
details. Among them may be mentioned such 
errors as windows cutting into architraves, win- 
dows within friezes, doors lower than windows, or- 
namented and unornamented windows in the same 
composition, extremely wide intercolumniations, 
heavy pediments, and a certain dryness, manner- 
ism, and monotony of detail. It is very probable, 
however, that most of these defects arose in the 



execution, as Palladio designed many works which 
were executed by others ; also, Milizia instances a 
number of edifices attributed to Palladio, which 
were probably not of his execution. He says, "It 
is in the beauty of architecture that he merits 
particular attention. Having always before him 
the noble style of the ancients, he acquired simpli- 
city and majest3^ He never used recesses or re- 
liefs on the pedestals ; he seldom sculptured the ar- 
chitraves ; and carried his upper ornaments straight, 
and without projections. His doors, windows, and 
niches, were simple, and their pediments never bro- 
ken. He preserved the exact character of each or- 
der, never loaded the members of the cornice, nor 
without reason introduced any new ones. He was 
extremely accurate in the setting out or measure- 
ment of his entablatures. He varied the propor- 
tions of the orders according to the nature of his 
buildings, and also the internal proportions of his 
rooms, halls, and temples, using the arithmetical, 
geometrical, and harmonic proportions. Amid the 
various proportions found among the ruins of an- 
tiquity, he well knew how to select the most per- 
fect. His outlines are bold and easy ; none of his 
buildings want character ; and in them the serious, 
the grand, and the elegant, are all used with equal 
success. He made use of the five orders as they 
might be required, but appears most attached to 
the Ionic, and in it most closely followed Vitru- 
vius. He always placed two faces on the capitals. 
In the Corinthian capital he attached the leaves to 
the drum, which makes it appear rather heavy. 
Instead of pediments to the first story, he some- 
times placed three courses of quadrangular stone, 
diminishing towards the top, and producing a 
very fine effect. All his cupolas are hemispherical. 
Palladio was the Raffaelle of architecture, and most 
justly deserves to be studied over every other au- 
thority. Had a proper opportunity been afforded 
him for displaying his genius upon sumptuous and 
magnificent structures, his simple and majestic 
style would have triumphed over every other." 

Palladio's Treatise on Architecture, in four 
books, folio, was first published at Venice in 
1570, and has often been reprinted. A magnifi- 
cent edition in 3 vols. foL was published at London 
in 1715, in Italian, French and English. Another 
splendid edition has since been published at Venice 
in 4 vols, fol., with the edition of his inedited build- 
ings. Lord Burlington published at London in 
1730, / Diseg7ii delle Terme Antiche cli A7idrea 
Palladio. Palladio also composed a small work 
entitled Le Antichitd di Roma, published after 
his death. 

PALLAJUOLO. See Pollajuolo. 

PALLAVICTNI, Leo, an Italian engraver, who 
flourished at Milan, according to several writers 
of authority, about 1604 ; Zani says about 1616 ; 
Professor Christ says about 1664, and that his 
prints are marked L. P. f. These prints are sup- 
posed to be of an earlier date, and to have been en- 
graved by Luca Penni. There is no certainty, 
however, about this, as there are many prints 
bearing these initials, L. P. or L. P. f., sometimes 
on a tablet, all of which were evidently not execu- 
ted by the same engraver. See Luca Penni. 

PALLIERE. Louts Vincent Leon, a French 
painter, born at Bordeaux in 1787. He went to 
Paris, and studied under Vincent, under whom he 
made great progress, and showed uncommon tal- 



PALL. 



645 



PALM. 



ents. In 1812 he gained the first prize of the 
Academy, for his picture of Ulysses slaying the 
suitors of Penelope, which entitled him to go to 
Rome, on a pension from the government. At 
Rome he painted Argus slain by Mercury, Prome- 
theus chained to the Rock, Juno borrowing the 
Girdle of Venus, and the Flagellation of Christ, 
which were commended. After a residence of 
several years at Rome, he returned to Paris, and 
in 1819 exhibited in the Louvre. St. Peter curing 
the Lame Man, Tobit restoring sight to his Father, 
a Shepherd in repose, a Nymph coming from the 
Bath, Preaching at night in Rome, and other sub- 
jects, and obtained the gold medal of the first class. 
He died in 1820, in the flower of his life, deeply 
regretted as an artist of great promise. 

PALLONI, or POLLONI, Michael Angelo, 
a native of CampI nel Fiorentino, and a scholar of 
Volterrano. Orlandi calls his name Palloni, and 
Baldinucci Polloni. After acquiring considerable 
reputation at Florence, he was invited to the court 
of the King of Poland, in 1674, where he is said 
to have found abundant employment. 

PALMA. Jacopo, called il Vecchio (the elder), 
to distinguish him from his great nephew, called il 
Giovine (the younger), was a native of Scrinalta, 
in the Valle Brembana in the Bergamese Territory. 
There is a perfect chaos of contradiction, not only 
among English, French, and German writers, but 
also the Italian, as to the time this artist flourish- 
ed, and the real merits of his works, owing to his 
having been confounded with the younger Pal ma, 
and his works extensively imitated. Lanzi, in his 
last edition, puts the question in the true light. 
He says, "Jacopo Pal ma. called il Vecchio, was 
invariably considered the companion and rival of 
Lorenzo Lotto, who was born about 1490, and died 
in 1560,until M. La Combe in his Dictionnaire Por- 
tatif confused the historical dates relating to him. 
Ej Ridolfi. we are told that Palma was employed 
in completing a picture left unfinished by Titian at 
his death, in 1576, Upon this and other similar 
authorities. Combe takes occasion to postpone the 
birth of Palma until 1540, adding to which the 
forty-eight years assigned him by Vasari, he places 
the time of his decease in 1588. Others place his 
death in 1596 and 1623. In such arrangements, 
the critics seem neither to have paid attention to 
the style of Jacopo, still retaining some traces of 
the antique, nor to the authority of Ridolfi, who 
makes him the master of Bonifazio Veneziano, who 
died in 1553 ; nor to the testimony of Vasari, who, 
in his work published in 1568, declares that he 
died at Venice several years before that period, 
aged 48. He does even consider, what he might 
more easily have ascertained, that there was an- 
other Jacopo Palma, great nephew of the elder, 
who, according to the authority of Boschini, was a 
pupil of Titian as long as he lived, and that on the 
occasion referred to, Ridolfi called him Palma, 
without the addition of the younger, without 
thinking that any could confound him with the 
elder Palma." Lanzi still further settles the mat- 
ter by the date 1514, which he read on one of his 
pictures at Milan, representing the Saviour with 
several Saints, which he pronounces a ^'wyeniVe/^ro- 
duction. 

His manner, at first, according to Ridolfi, par- 
took of the formality and dryness of Giovanni 
Bellini. He afterwards attached himself to the 



method of Giorgione, and aimed at attaining Ms 
clearness of expression, and rich and harmoni- 
ous coloring, visible in his celebrated picture of 
St. Barbara, in the church of S. Maria Formosa, 
at Venice. In some of his other pieces he more 
nearly approaches Titian in the tenderness and 
impasto of his carnations, and a peculiar grace 
which he acquired from studying the earlier pro- 
ductions of that great master. Of this kind is his 
Last Supper, in the church of S. Maria Mater 
Domini at Venice, and a Holy Famil}^ in S. Stefano 
at Vicenza, esteemed one of his happiest produe- 
tions. Lanzi says " the distinguishing character 
of his pieces is diligence and a harmony of tints 
so great as to leave no traces of his pencil ; and it 
has been observed by one of his historians, that 
he long occupied himself in the production of each 
piece, and frequently retouched it. In the mixture 
of his colors, as well as in other respects, he often 
resembles Lotto, and if he is less animated and 
sublime, he is, perhaps, generally more beautiful 
in the forms of his heads, especially of those of 
women and boys. It is the opinion of some, that 
in several of his countenances he expressed the 
likeness of his daughter Violante, very nearly re- 
lated to Titian, a portrait of whom, by the hand 
of her father, was to be seen in the Gallery of 
Sera, a Florentine gentleman. A variety of pic- 
tures intended for private rooms, met with in dif- 
ferent places in Italy, are attributed to Palma ; be- 
sides portraits, one of which was commended by 
Vasari as truly astonishing for its beauty ; and 
Madonnas, chiefly drawn along with other Saints, 
on oblong canvass, a practice in common use by 
many artists of that age." The genuine pictures 
of Palma are exceedingly scarce and highly prized. 
They are found in all the principal collections on 
the continent, particularly at Paris, Dresden, Mu- 
nich, Berlin, and St. Petersburg. But, above all, 
England is richest in works considered genuine by 
him, and they are not only to be found in the roy- 
al collections, but in many of those belonging to 
the nobility. It is evident that many of these are 
spurious, for he never could have executed half so 
many, even had his process been less tedious. — 
Lanzi explains this. " The least informed among 
people of taste, being ignorant of his cotemporary 
artists, the moment they behold a picture between 
the dryness of Giovanni Bellini and the softness 
of Titian, pronounce it to be a Palma ; and this is 
more particularly the case when they find the 
countenances well rounded and colored, landscape 
exhibited with care, and roseate hues in the dra- 
pery occurring more frequently than those of a 
more sanguine dye. In this way Palma is in the 
mouths of all, while other artists, also very ni3- 
merous. are only mentioned when their names are 
attached to their productions." Vasari describes, 
in high terms of commendation, a picture of his m 
the church of S. Marco at Venice, representing the 
ship in which the body of St. Mark was brought 
from Alexandria to Venice, exposed to a frightful 
tempest. '-The picture is designed with great 
judgment; the vessel is seen struggling against 
the impetuous tempest ; the waves burst with vio- 
lence against the sides of the ship ; the horrid 
gloom is only enlivened by flashes of lightning, 
and every part of the scene is filled up with ima- 
ges of terror, so strongly and naturally represent- 
ed that it seems impossible for the power of art to 
rise to a higher pitch of truth and perfection." 



PALM. 



646 



PALM. 



Lanzi says his most beautiful work is a picture 
preserved at the Servi. It represents the Virgin, 
with a group of beatifierl spirits and a choir of an- 
gels, and other angels at her feet, engaged in play- 
ing in concert upon their harps. " It is an exceed- 
ingly graceful production, delightfully ornamented 
with landscape and figures in the distance, very- 
tasteful in the tints, which are blended in an admi- 
rable manner, equal to the most studied produc- 
tions of the cotemporary artists of Bergamo (Lo- 
renzo Lotto and Giovanni Cariani), thus forming 
a triumvirate calculated to reflect honor upon any 
country." Another admirable picture is his Ado- 
ration of the Magi, formerly in the Isola di S. 
Elena, now in the I. R. Pinacoteca of Milan. 

fi/1) T^ PALMA, Jacopo, called il Gi- 
Vy--^or^^^&r I OVINE, to distinguish him from 
^"^S -i-A the preceding artist, his great un- 
cle, was born at Venice, according to Ridolfi, in 
1544. There is a good deal of contradiction and 
discrepancy about this artist, as well as the elder 
Pal ma, and we shall therefore take Lanzi for our 
guide. He was the son of Antonio Palma, an art- 
ist of confined genius, who instructed him in the 
rudiments of the art. He early exercised himself 
in copying the works of Titian and other Vene- 
tian painters. Ridolfi says he studied with Titian, 
and others say that he was the scholar of Tinto- 
retto ; the last assertion is highly improbable. At 
the age of fifteen he was taken under the protec- 
tion of the Duke of Urbino, and accompanied him 
to his capital. He afterwards sent hira to Rome, 
where he resided eight years, and laid a good 
foundation by designing from the antique, copy- 
ing the works of Michael Angel o and Raffaelle, 
and parti CM larl}"- by studying the chiaro-scuros 
of Polidoro da Caravaggio. The last was his 
great model, and next to him came Tintoretto, he 
being naturally induced, like them, to animate his 
figures with a certain freedom of action, and a spi- 
rit peculiarly his own. His abilities were noticed 
by the Pope, and he was employed to decorate an 
apartment in the Vatican. On his return to Ve- 
nice, he distinguished himself hy several works 
conducted \vith extraordinary care and diligence, 
which gained him much reputation. Lanzi says, 
•' there are not wanting professors who have be- 
stowed upon hira a very high degree of praise, for 
displaying the excellent maxims of the Roman 
school, united to what was best of the Venetian." 
Though he made the greatest exertions to bring 
himself into notice, he was little employed ; the 
post was already occupied by two men of consum- 
mate ability — Tintoretto and Paul Veronese — and 
they monopolized all the most lucrative business. 
Palma. however, obtained the third rank, chiefly 
through the means of Vittoria, a distinguished 
sculptor and architect, who was considered the 
principal judge and arbiter of works of art. The 
indignation which an able artist feels at having 
his works submitted to the capricious tribunal of 
a professor, who did not even practise painting, 
had caused some animosity betwen Vittoria and the 
two distinguished painters before mentioned, so 
that he began to encourage Palma. assist him with 
his advice, and to trumpet abroad his fame. Pal- 
ma now came rapidly into notice, and on the death 
of his antagonists, he was overwhelmed Avith com- 
missions. Lanzi observes of Palma that he was 
an artist who might equall}^ be entitled the last of 
the good age and the first of the bad. When he 



found his reputation established, and himself al- 
most without a competitor, he began to relax his 
diligence for such rapidit}'- of execution that Lanzi 
says many of his works may be pronounced 
rough drafts, a title bestowed upon them in ridicule 
by the Cav. d'Arpino. "In order to prevail upon 
him to produce a piece worthy of his name, it be- 
came requisite not only to allow him the full time 
he pleased, but the full price he chose to ask. Up- 
on such terms he executed the fine picture of S. 
Benedetto, for the church of SS. Cosmo and Da- 
miano, for the noble family of Moro. Such are 
his Santa Apollonia at Cremona ; his St. Ubaldo 
and his Annunciation at Pesaro ; his Finding of 
the Cross at Urbino ; and other valuable speci- 
mens scattered elsewhere. In these his tints are 
fresh, sweet, and clear — less splendid than those 
of Veronese, but more pleasing than in Tintoretto ; 
and though they are scantily applied, they are 
more durable than those of certain other painters 
more heavily laid on." In short, the merits of his 
best works may thus be briefly summed up. Hia 
compositions are more copious than judicious, and 
his design more bold than correct ; his coloring 
distinguished by suavity and freshness, and though 
less brilliant than that of Veronese, it approaches 
nearer to the truth and tenderness of Titian. — 
Among his best works at Venice, are the Deposi- 
tion from the Cross, in the church of S. Niccolodei 
Prari ; the Martyrdom of St. James, in S. Giaco- 
mo del Orio ; Christ taken in the Garden, in La 
Trinita ; the Visitation of the Virgin to St. Eliza- 
beth, in S. Elizabetta ; and the Plague of the Ser- 
pents, at S. Bartolomeo. The last, though a re- 
volting subject, which strikes horror to the behold- 
er, is one of his most masterly productions, and 
equal to Tintoretto. He died in 1G28. We have 
quite a number of etchings by this eminent artist, 
executed in a spirited and masterly style. Bartsch 
gives a list of twenty-seven. They are sometimes 
marked with his name in full, and sometimes with 
a monogram composed of a P. crossed with a palm 
branch. The following are the principal : 

Samson and Dalilah. Judith putting the Head of IIolo- 
ferne? into a sack, l»e]d by an attendant. The Nativity. 
The Holy Family, with St. Jerome and St. Francis. St. 
John in the Wilderness. The Decollation of St. .John. 
The Tribute Money. The Adulteress before Christ. Christ 
answering the Pharisees who disputed his authority. The 
Incredulity of St. Thomas. An emblematical subject of 
Pallas pre.senting Victory. St. Jerome in conference with 
the Pope Damasius ; scarce. An Ecclesiastic and a naked 
Figure, with two boys. i 

PALMA, LoDovico, a portrait painter and en- 
graver, who, according to Zani, was living at Vol- 
terra in 1650. There are some etchings by this 
master, among which are eight prints and a fron- 
tispiece, in a work published at Avignon, entitled, 
" La voye de Lait, ou le chemin des Heros au pa- 
lais de gloire a I'entre triomphante de Louis XIII. 
en la Cite d' Avignon, 1622." They are inscribed 
Palma Ludovicus Liisitanusf. 

PALMAROLT, P., (Pfetro ?) an Italian paint- 
er, who has rendered his name famous, and confer- 
red a great benefit on art, by transferring to can- 
vas, and thus preserving, some of the frescos of the 
great Itahan masters which were in a perishing 
condition. In 1811, he thus transferred from the 
wall the famous Descent from the Cross by Dani- 
ele da Vol terra, erroneously said to be the first 
effort of the kind, which gained him immense rep- 
utation, and he was employed in transferring and 



PALM. 



647 



PALM. 



restoring quite a number of great works at Rome, 
as well as in other places. He freed the frescos of 
the Sibyls, by Raflfaelle, in the church of S. Maria 
della Pace, from the destructive restorations in oil 
made by order of Alexander VIL, and brought 
them back to something like their pristine beauty, 
though before, the objects were so obscured as to 
be scarcely distinguishable. He was also employ- 
ed in Germany, and among others transferred and 
restored the famous Madonna di San Sistobj'-Raf- 
faelle in the Dresden Gallery. As to his claims of 
the invention and the process, see Antonio Contri. 
He died at Rome in 1828. 

PALMEGIANL Marco, called Marco da For- 
Li. a painter of much merit, scarcely known till 
the researches of Lanzi brought him before the 
world. He was a native of Forli. and the favorite 
disciple of Francesco Melozzo. He had two man- 
ners ; the first dry and formal, extremely simple 
in composition, with gilt ornaments, as was the 
custom of the quattrocentisti, or artists of the 14th 
century. In his second, his composition is more 
copious and of greater proportions, his outline 
bolder, and he dispensed with the gilded orna- 
ments. He was accustomed to add to his princi- 
pal subject, some others unconnected with it, as 
in his picture of the Crucifixion in the church of 
S. Agostino di Forli, in which he inserted two or 
three groups on different grounds, one of which 
represents St. Paul visited by St. Anthony, and 
another representing St. Augustine convinced by 
the Angel on the subject of the incomprehensibilit)'- 
of the Supreme Triad. Lanzi says that "in these 
diminutive figures, which he inserted either in the 
altar-piece or on the steps, he displayed an art ex- 
tremely refined and pleasing." He often enriched 
his back-grounds with animated landscapes and 
beautiful architecture. His works are numerous 
in Romagna, and are to be found in the Venetian 
states. In the Palazzo Vicentini, at Vicenza, is 
one of his most beautiful pictures, representing a 
Dead Christ, between Nicodemus and .Joseph. He 
excelled in painting Madonnas and similar subjects. 
Lanzi says he generally signed his name Marcus 
Pictor ForoUviensis, or Marcus Palmasanus P. 
Foroliviensis Pinsehat. He seldom adds the date. 
but there are two pictures in the collection of Prince 
Ercolani dated 1513 and 1537. Vasari calls this 
artist Parmegiano. Others call him Palmezzano. 
Zani says he signed his pictures Marcus Palma- 
sanus. Palmisanus, or Palmezanus, Forolivien- 
sis. (^c. Kugler says there are several pictures by 
Marco Palmezzano in the Museum at Berlin. 

PALMEGTANI, Filippo, an eminent portrait 

■painter, a native of Forli, who flourished about 

1550. It is supposed that he was the son of the 

preceding. ^ 

PALMERINI, da Urbino, a painter of Urbino, 
of whom little is known. Lanzi says he was a co- 
temporary of Raffaelle, and probably his fellow 
scholar under Pietro Perugino. There is an altar- 
piece by him in the church of S. Antonio at Urbi- 
no. which Lanzi pronounces truly beautiful, ap- 
proaching to a more modern style. 

PALMERUCCI, GuiDO, a painter of Gubbio, 
who flourished about 1345. According to the 
Abbe Ranghiasci, he was an eminent artist in his 
time. He was employed in the churches, and in 
the palace of his native cit}-. Lanzi says, ''there 
remains one of his frescos in the hall of the palace, 



much injured by time; but some figures of saints 
are still preserved which do not yield to the best 
style of Giotto." 

PALMIERI. Giuseppe, a Genoese painter, born 
in 1674. He studied at Florence, but it is not 
known under whom. Orlandi extols him as one 
of the first painters of his age, He excelled in 
painting pictures of animals, in which he found 
much employment, and received several commis- 
sions from the King of Portugal. Lanzi thinks 
Orlandi too extravagant in his praise, unless he 
refers to his merit in the subjects above mentioned. 
He adds, ''still, in the human figure he is a painter 
of spirit, and of a mag-cal and beautiful style of col- 
or, very harmonious and pleasing when the shades 
do not predominate ; he is however, frequently in- 
correct in his drawing ; yet he was capable of bet- 
ter things ; for in his picture of the Resurrection, 
in the church of S. Domenico at Genoa, and in other 
works more carefully painted, judges of the art 
find little to reprove." He died in 1740. 

PALOMBO. Bartolomeo, a painter born at 
Rome about 1610. and a pupil of Pietro da Corto- 
na. He is highly commended by Orlandi; and 
Lanzi says he was one of the best scholars of that 
master. There are only two pictures by him at 
Rome, an altar-piece in the church of S. Giusep- 
pe, and another of S. Maria Madalena de' Pazzi, 
now placed in the church of S. Martino a' Monti. 
These works are well designed, strong in coloring, 
excellent in chiaro-scuro ; and the figures are ex- 
tremel}^ graceful. He probablj^ painted much for 
the collections. He was living in 1666. 

PALOMINO, Don Antonio. See Velasco. 

PALTHE. Gerard -John, a Dutch painter, born 
atDegenkamp, in Overyssel. in 1681. and a scholar 
of Juriaan Pool. He painted portraits, familiar 
subjects, and interiors by candle or torch-light, in 
the manner of G. Schalken. He died about 1750. 

PALTHE, John, a Dutch painter, born at De- 
venter in 1719 He is supposed to hare been a 
son of the preceding, and painted similar subjects. 
He settled at Leyden, where he gained considerable 
reputation, and died there in 1769. There were 
two other artists of little note, of the name of 
Palthe. 

PALTRONIERI, Giovanni Francesco, a na- 
tive of Carpi, and a celebrated worker in scagliola. 
He introduced the art into Romagna, where it still 
continues to flourish. He was living in 1737. See 
del Conte. 

PALTRONIERI, Pietro, called II Mtrando- 
lese Dalle Prospf.ttive, a painter born at Bo- 
logna in 1673. According to Oretti, he founded his 
style on that of Marc' Antonio Chiarini, and doubt- 
less was his pupil. He was the Viviano of his age; 
his architectural pieces are numerous, and are 
to be found not only at Bologna, where he resi- 
ded, but at Rome, and in many other cities. They 
consist of ancient temples, ruins, arches, fountains, 
aqueducts, tinged with a certain reddish color, 
which serves to distinguish his works from tho.se 
of many others. To these he adds skies, field.s, 
and waters, which appear real. He frequently 
employed other artists to insert his figures, among 
whom was Ercole Graziani. He acquired great 
reputation, and his works are highly esteemed. 
He is universally called by the Italians 11 Miran- 
dolese dalle Prospettive, The wonderful painter of 



PAMP. 



648 



PANC. 



perspectives. He died at Bologna in 1741. This 
eminent artist must not be confounded with 
Giuseppe Perraccini, also called II Mirandolese, 
which see. 

PAMPHILUS, a celebrated Grecian painter, a 
native of Amphipolis, flourished from B. 0. 388, 
to about B. 0. 348. He studied under Eupompus 
of Sicyon, and succeeded in establishing the school 
founded by that master, which he elevated to the 
height of the most famous school of painting in 
Greece. Pamphilus seems to have been princi- 
pally occupied with the theory of his art, and with 
teaching, as the notices of his works are very 
scanty. His pictures were usually of large dimen- 
sions. Aristophanes mentions one — the Heracli- 
dae ; Pliny mentions three — the Battle of Phlius 
and victor}'- of the Athenians, Ulysses on the 
Raft, and a " Cognatio," probably a family por- 
trait. According to Quintilian, he and his pupil 
Melanthus were the most renowned among the 
Greeks for composition. Pliny says he was the 
first painter who was skilled in all the sciences, 
particularly arithmetic and geometry, without 
which he denied that the arl could be perfect. 
By this it must doubtless be understood that Pam- 
philus reduced the art to rules ; and that he par- 
ticular! }'■ excelled in the sciences of optics and per- 
spective. Flaxmanwell remarks, '• How geometry 
and arithmetic were applied to the study of the 
human figure, Vitruvius informs us from the wri- 
tings of Greek artists, perhaps from those of Pam- 
philus himself — 'a man,' says that author, may 
be so placed with his arms and legs extended, that, 
his navel being made the centre, a circle may be 
drawn around, touching the extremities of his fin- 
gers and toes. In like manner, a man standing 
upright, with his arms extended, is enclosed in a 
square, the extreme extent of his arms being equal 
to his height.'" Flaxman also observes, ''it is 
impossible to see the numerous figures springing, 
jumping, dancing, and falling, in the Herculaneum 
paintings on the painted vases, without being as- 
sured that the ancient painters and sculptors must 
have emplo3'^ed geometrical figures to determine 
the degrees of curvature in the body, the angular 
and rectilinear ext( 
centre of gravity." 

Pamphilus raised the art to so high a position, 
that, chiefly through his influence, noble youth 
were taught the art of drawing before all others ; 
it was considered the first among the liberal arts, 
and was practised exclusively by the free born. 
His school was characterized by a stricter atten- 
tion to dramatic truth of composition, and a finer 
and more systematic style of design. The pro- 
gressive courses of study occupied the period of 
ten years, comprehending instructions in drawing, 
geometry, and the different branches of painting. 
Daily practice was required ; hence the maxim ac- 
quired there by A pelles. Nulla dies sine linea. Ac- 
cording to Pliny, the fee of admission was an Attic 
talent, (about $1000) ; and he says that Apelles 
and Melanthus both paid this fee. Pamphilus 
left writings upon painting and famous painters ; 
but they have unfortunately been lost. 

PAMPURINI, Alessandro, a painter of Cre- 
mona, who, according to Zaist, was employed in 
the cathedral of that city in 1511. He was at least 
a reputable painter, and executed some frescos for 
the churches, which have perished. 



PAN^NUS, an eminent Greek painter, a na- 
tive of Athens, flourished about B. C. 450. Ac- 
cording to Pausanias and Pliny, he was the bro- 
ther of Phidias, although Strabo says he was the 
nephew of that sculptor. Panaenns has been 
termed the Cimabue of the Greeks ; but although 
among the first artists who attained great emin- 
ence in painting, he was many years the junior 
of Polygnotus, Micon, and Dionysius of Colo- 
phon. He assisted Phidias in decorating the 
Temple of the Olympian Jupiter, where he painted 
Atlas supporting the World, with Hercules near 
him, about to relieve him of his burden ; Theseus 
and Pirithous ; Figures representing Greece and 
Salamis, the latter bearing in her hands the rostrum 
of a ship ; the Combat of Hercules Avith the Ne- 
mean Lion; Ajax and Cassandra; Hippodamia, 
with her mother QEnomaus ; Prometheus chained, 
and Hercules preparing to destroy the Vulture 
which preyed upon him; Penthesilea dying, sup- 
ported by Achilles, with Hesperian nymphs bear- 
ing fruit. 

The most famous work of Panaenns, however, 
was his grand painting in the Pcecile at Athens, 
representing the Battle of Marathon. It was in 
four great divisions ; the first representing the po- 
sition of the two armies before the battle ; the 
second and third the principal incidents during the 
conflict ; and the fourth the Overthrow of the Per- 
sians. The portraits of the Athenian generals 
Miltiades. Callimachus, and Cynaegyrus, were 
introduced, as were also those of Datis and Arta- 
phernes among the Persians. It has been assert- 
ed that these were painted from the life; but this 
is impossible, as the Battle of Marathon was 
fought about sixty years before the time of Pan- 
aenus ; Callimachus and Cynaegyrus were both 
killed in the conflict, and Datis and Artaphernes 
had returned to Persia. If these Iconics or por- 
trait figures are to be taken as portraits in the 
fullest sense of the term, then they must have been 
drawn from portraits painted during the life time 
of the generals. 

PANCOTTO, PiETRO, a Bolognese painter, 
brought up in the school of the Caracci, who 
flourished about 1590. According to Malvasia, 
he was an eccentric genius. His principal work 
is a grand fresco representing the Last Judgment, 
in the church of la Madonna di S. Colombano at 
Bologna, in which he attempted to revenge him- 
self on the parish priest by introducing his por- 
trait, in caricature, which excited the indignation 
of the clergy, and probably lost him any further 
employment from them. Lanzi places him in the 
third rank, among the Bolognese painters, Do- 
menichino and Guido holding the first. 

PANDEREN, Egbert van, a Dutch engraver, 
born at Haerlem, according to Nagler, in 1575, 
though others say in 1606. Nagler gives a list of 
thirty-three prints by him. They are executed 
with the graver in a formal style, with little efiect, 
and the drawing is incorrect. Some of them are 
interesting from the subjects. The following are 
the best : 

The Virgin interceding -with Christ for the salvation of 
mankind ; after Rubens. The Four Evangelists ; after 
Peter de Jode. St. Louis, with a border, representing his 
Miracles ; do. Three circular plates of Minerva, Juno, 
and Venus ; after Spranger. The Portrait of Maurice, 
Prince of Orange, on horseback, with a battle in the back- 
ground ; after Tempesta. Four plates of the Sick Man 



PAND. 



649 



PANI. 



and the Doctor; after Goltzius ; scarce. Part of the 
Plates for the Academie de I'Espee ; by G. Thibault, 

PANDERIT, a painter mentioned by Balkema, 
as one of the best scholars of Rembrandt. He 
says he was a native of Saxony, born in 1601, and 
died in 1662. He afterwards notices John Pan- 
dits, also a scholar of Rembrandt, who, he says, 
was born in Saxony in 1618, and died in 1659, and 
was an excellent portrait painter. Both are doubt- 
less the same as ChiHstopher Paudits, which see. 

PANDOLFI, Giovanni Giagomo, a painter of 
Pesaro. who flourished about 1630. He was a 
scholar of Federigo Zuccaro. Lanzi says, '"his 
works are celebrated in his native city, and do not 
yield the palm to those of Zuccaro, as seen in his 
pictures of S. Giorgio and S. Carlo in the cathe- 
dral." He also decorated the whole chapel in the 
Nome di Dio. with various subjects in fresco from 
the Old and New Testament. 

PANDOLFO. See Reschi. 

PANETTI, DoMENico, a painter of Ferrara, born 
in' 1460. It is not known under whom he studied, 
but, according to Baruffaldi, he painted in the dry, 
formal style of the time, till his pupil, Benvenuto 
da Garofolo. returned from Rome after acquis 
ring the new style under Raffaelle. The in- 
structor now became the pupil of his former dis- 
ciple, and although somewhat advanced in years, 
entirely changed his manner, and became one of 
the ablest artists of his time. He executed many 
works for the churches of Ferrara, which Lanzi 
says are worthy of competition with the best mas- 
ters of the fourteenth century. Among his best 
works is the Descent from the Cross, in the church 
of S. Niccolo ; the Visitation of the Virgin to St. Eliz- 
abeth, in S. Francesco ; and a picture of St. An- 
drea, at the Agostiniani. There is one of his pic- 
tures in the Dresden gallery, and Kiigler mentions 
by him a beautiful picture of the Entombment in 
the Museum at Berlin. He usually inscribed his 
name in full upon his pictures, which Lanzi says 
bear evidence of change in pictoric character with- 
out an example. He died in 1530. 

PANFILO. See Ndvolone. 

PANICALE, Masolino da, an eminent sculp- 
tor and painter, born at Panicale, in the Florentine 
Territory, in 1378. He first studied modeling and 
sculpture, under Lorenzo Ghiberti, who at that 
time was unrivalled in composition, in design, and 
in giving animation to his figures. Being already 
a distinguished artist, he studied coloring under 
Gherardo Stamina. Thus uniting in himself the 
excellence of two schools, and diligently cultivating 
the art of chiaro-scuro, he produced a new style, 
not wholly exempt from dryness, but grand, de- 
termined, and harmonious beyond any former ex- 
ampl e ; but which was carried to higher perfec- 
tion by his scholar. Masaccio. The chapel of S. 
Pietro al Carmine is a monument of his genius. 
He there painted the Four Evangelists, the Voca- 
tion of St, Peter to the Apostleship, the Denial of 
Christ, Curing the Lame Man at the Gate of the 
Temple, and the Preaching to the Multitude. He 
died in 1415, before the completion of the chapel, 
and the rest of the acts of St. Peter, as the Trib- 
ute Money, Baptism conferred on the Multitude, 
and the Healing of the Sick, were afterwards paint- 
ed by Masaccio. Some of his works have been en- 
graved. 



PANICCIAGI. See Pannicciati. 

PANICO, Antonio Maria, a Bolognese paint- 
er, who, according to Bellori, was a disciple of An- 
nibale Caracci, whom he accompanied to Rome at 
an early age, and whose manner he emulated. He 
was much employed by Mario Farnese in decorat- 
ing his country seats at Castro and Latera. His 
most celebrated work is a picture of the Mass, in 
the cathedral of Farnese, in which Lanzi says he 
was assisted by Annibale, who even conducted 
some of the figures. This, however, seems doubt- 
ful, as Caracci died in 1609, and Panico in 1652. 
It is not probable that he would have been en- 
trusted with so important a commission almost in 
his youth, which must have been the case were it 
true. 

PANICO, CoNTE Ugo da. See Ugo da Carpi. 

PANNEELS, William, a Flemish painter and 
engraver, born at Antwerp about 1600. Little is 
known of him as a painter, but it appears that he 
was a disciple of Rubens, from the inscriptions on 
some of his prints. He etched quite a number. of 
plates after Rubens, and from his own designs, 
They are executed in a spirited and masterly style, 
but his drawing is frequently incorrect, particu- 
larly in the naked. The following, after Rubens, 
are his most esteemed prints : 

SUBJECTS after BUBENS. 

The Portrait of Rubens, in an octagon border. Esther 
before Ahasuerus. The Nativity. The Adoration of the 
Magi. Mary washing, the Feet of Christ. The Assump- 
tion of the Virgin. The Holy Fanaily, with the infant 
Christ and St John playing with a Lamb. St. John bap- 
tizing Christ. Samson killing the Lion, with a companion, 
David killing the Lion and the Bear. St. Sebastian. Ju- 
piter and Juno. Jupiter and Antiope. Bacchus drunk, 
supported by a Faun and a Satyr. Bacchus supported fcy 
Satyrs and Bacchante. Meleager presenting the Head of 
the Boar to Atalanta. 

PANNEELS, John, a Flemish engraver, proba- 
bly a brother of the preceding. Nagler describes 
only one print by him, after Annibale Caracci. 

PANNICCIATI, Jacopo, a painter of Ferrara, 
who, according to Baruffaldi, was of noble birth 
and studied under Dosso Dossi, whose style he' 
imitated very closely. He died in the flower of 
his life, in 1540. 

PANNINI, Cav. Giovanni Paolo, an eminent' 
painter of perspective and architecture, born at Pi- 
acenza in 1691. He went early to Rome, where he 
studied under Pietro Lucatelli. He had an early 
passion for painting, and applied himself with 
great assiduity in designing the remaining monu- 
ments of antiquity, wherever he found tKem, es- 
pecially at Rome. He formed his style, not on' 
that of Lucatelli, but of Giovanni Ghisolfi. He 
was a perfect master of the art of perspective, in 
which he surpassed all his cotemporaries. He de- 
signed every vestige of ancient magnificence^-the 
ruins of superb edifices, cenotaphs, columns, arch- 
es, obelisks, and some of the most ancient buildings 
which ornament modern Rome. His compositiou 
is rich, and his perspective critically correct. His 
works are universally admired for the grandeur of 
his architecture, the clearness of his coloring, the 
neatness and freedom of his touch, the beauty of 
his figures, and the elegant taste with which he 
disposed them, although he sometimes designed 
his figures of too large a size for his architecture. 



PANS. 



650 



PANZ, 



which injures theeffect that would otherwise be 
produced by the immensity of the buildings. 
This was contrary to the practice of Ghisolfi, 
whose works always afford a pleasing deception to 
the eye, by the exact proportions observed between 
the figures, buildings, and distances. This fault, 
however, is only occasional in Pannini's works. 
He generally painted his pictures of a large easel 
size, but sometimes he wrought on a grander scale. 
Lanzi highly commends a picture of this class in 
the church of the Signori della Missione, repre- 
senting Christ driving the Money-changers from 
the Temple, in which the architecture is truly 
magnificent, and the figures designed with great 
spirit and variety of character, and of much larger 
size than he usually painted. His works are nu- 
merous, and are not only to be found in the princi- 
pal collections of Italy, but in other countries of 
Europe. At Rivoli, in the pleasure house of the 
king of Sardinia, and in the pontifical palace of 
Monte Cavallo, are some of his choicest works. 
Many of his pictures have been engraved by Lem- 
pereur, le Bas, J. S. Miiller, Vivares, Benasech, 
Bartolozzi, and other eminent engravers. He died 
in 1758. " 

PANSERON, Pierre, a French architect, a na- 
tive of Brie, flourished in the latter part of the 
18th century. He studied at Paris, under J. F. 
Blondel ; was appointed professor in the military 
school ; and was chosen by the Prince de Conti as 
inspector of his buildings. He is chiefly known 
by his treatises on the art, which gained him con- 
siderable reputation. Among them are Elements 
d? Architecture. Paris, 1772, 4to. ; Nouveaux Ele- 
ments tV Architecture^ Paris, 1775—80, 3 vols., 8vo., 
with plates. 

PANTOJA, DE LA Cruz, Juan, a Spanish paint- 
er, born at Madrid in 1551. He studied under Al- 
fonso Sanchez Coello. and acquired so much dis- 
tinction as a portrait and historical painter, that 
Philip IT, named him one of his painters. He 
painted many portraits of the Royal Family, some 
of which are to be found in the Escurial, the Re- 
tiro, and in the tower of the Parada. He also 
painted the decorations for the funeral ceremony 
of Charles V.. the original designs of which were 
in the possession of Palomino. On the death of 
Philip IT., he continued in favor with his successor. 
Philip HI., whose portrait he painted, and that of 
his Queen, which are dated 1G03. and still preserv- 
ed in the palace of the Dukes d'Uceda at Montal- 
van. He also painted an equestrian portrait of 
the king, as a model for the famous sculptor Gio- 
vanni di Bologna, then residing at Florence, who 
executed an equestrian group in bronze, placed in 
the garden of La Casa del Campo. It is difficult 
to form any correct opinion of the style of this 
eminent artist, from the accounts of the Spanish 
writers. Palomino says he was greatly distin- 
guished in the school of Coello. Bermudez de- 
scribes his picture of the Adoration of the Shep- 
herds, in which he introduced the portraits of Phil- 
ip II. and his family, as blending the qualities of 
Lucas Cranach and Bronzino, two very opposite 
masters. Again, he is said to strongly resemble 
Anthony More in his portraits. Many of his 
works were destroyed in the conflagration of the 
Prado. He died at Madrid, in 1610. 

PANVINUS, Onulph, an engraver who lived 
at Antwerp, and published a set of 27 portraits 



from his own designs, entitled Elogia et Imagines 
Pont. Max. ad viv. delin. 1568. Zani mentions 
Onofrio Panvinus, a designer and engraver of 
Verona, who flourished about the same period. 

PANZACCHI, Maria Elena, a paintress, of 
noble family, born at Bologna in 1668. According 
to Orlandi, she was instructed by Emilio Taruffi, 
and acquired great reputation, particularly for her 
landscapes, and was much employed in paiathig 
for the collections. Lanzi says her landscipes are 
now scarcely known at Bologna, and Crespi men- 
tions only two. She died in 1737. 

PAOLETTI, NiccoLO Gasparo, an Italian ar- 
chitect, who flourished, according to Milizia, in the 
latter part of the 18th century. He was princi- 
pally distinguished for the restoration of the im- 
perial villa of Poggio, near Florence, in 1773. In 
the course of completing this work, it was neces- 
sary to dismantle an arched roof, twenty-two feet 
long and twelve feet wide ; but the Grand Duke 
Peter Leopold, of Austria, would not consent to 
its destruction, because it was decorated with 
paintings by Matteo Rosselli. Paoletti conceived 
an ingenious plan, by means of which he removed 
the roof entire, greatly to the satisfaction of the 
Grand Duke, who presented him with one hun- 
dred sequins in token of his approval. 

PAOLETTI, Paolo, a painter born at Padua, 
who excelled in painting fruit, flowers, dead game, 
fish, and other objects of still-life. He passed 
much of his life at Udine, and was employed many 
years in the house of the Conti Caiselli, which 
family possesses many specimens of his works. 
His pictures are quite numerous throughout the 
Friuli. and are held in considerable estimation. He 
died at Udine in 1735. 

PAOLI, Francesco da, an Italian engraver, 
who flourished at Rome about 1640. There is a 
large plate engraved by him. representing a View 
of the City of Rome. 

PAOLTLLO. a Neapolitan painter, who flour- 
ished about 1530. According to Dominici. he was 
the ablest scholar of Andrea Sabbatini. whose 
style he imitated so closely that all his works were 
attributed to that master, until Dominici discover- 
ed his name on one of his pictures, and restored 
them to the right master. He says "'he would 
have been a great ornament of this school, had he 
not died young." 

PAOLINI, Pietro. a painter born at Lucca in 
1603. He went early to Rome, where he entered 
the school of Angelo Caroselli, b}'- education a fol- 
lower of the school of Caravaggio, but exceedingly 
expert in copying and imitating other masters. 
Under him, Paolini acquired a manner that shows 
correct drawing, and a style of coloring more re- 
sembling that of the Venetian than the Roman 
school, uniting the richness and harmony of Titian 
and Pordenone. Lanzi says his Martyrdom of 
St. Andrea in the church of S. Michele at Lucca, 
and the grand picture sixteen cubits long in the 
Library of S. Frediano, would be alone sufficient to 
immortalize a painter. The latter work represents 
the pontiff" St. Gregory entertaining some pilgrims. 
" It is a magnificent picture, ornamented in the 
style of Veronese, with a grand architectural per- 
spective, full of figures, and possessing a variety, 
harmony, and beauty that have induced many 
poets to extol it." He also excelled in cabinet 



PAOL. 



651 



PAPA. 



pictures of conversations and rural festivals, which 
fere numerous at Lucca. Baldinucci especially 
commends two pictures of the Massacre of Valdes- 
tain, in the possession of the Orsetti family, and 
reraariis that he had a peculiar talent for tragic 
themes. He was accused of being too energetic, 
and censured for making the action of his females 
too strong. To prove the contrary, and to show 
that he pursued his method from choice, and that 
he was not inferior to his rival Biancucci in his 
own style, he painted his large work in the church 
of the Trinity, in the graceful style. 

PAOLINI, Pio Fab 10, a painter born at Udine. 
He went to Rome, where he studied under Pietro 
da Cortona. and acquired considerable reputation, 
for some historical works, especially for his fine 
fresco of San Carlo, which adorns the Corso. In 
1678, he was elected a member of the Academy of 
St. Luke. He afterwards returned to his native 
city, where he executed several altar-pieces and 
other works for the churches, which Lanzi saj's 
entitle him to a high rank among the followers of 
Cortona. He also painted much for the collections, 

PAOLINL See Paulini. 

PAOLO, Maestro, and his sons Jacopo and 
GiovANNf. Lanzi says that Maestro Paolo is the 
earliest painter in the national manner (i.e. differ- 
ent from the Greek artists of the time), of whom 
there exists a work with the indisputable name of 
its author. It is to be seen in the church of S. Marco 
at Venice, consisting of a tablet, or, as it is otherwise 
called, ancona, divided into several compartments, 
representing the figure of a dead Christ, with some 
of the Apostles, and historic incidents from the 
Holy Evangelist, There is inscribed underneath. 
Magister Paidus cum Jacobo et Johannc Jiliis 
fecit hoc opus.'''' There is no date upon it, but 
Zanetti found his name recorded in an ancient 
parchment, bearing the date 1346. Sig. Morelli 
also discovered a painting in the Sacristy of the 
Conventual i at Vicenza. inscribed Paulus de Ve- 
netiis pinxit hoc opus. 1333, 

PAON. DiT, a French painter, the son of a peas- 
ant, was born in the vicinity of Paris about 1740. 
He earlj' enlisted in the army, and passed through 
several campaigns ; but. having at length obtained 
his discharge, he went to Paris, intending to devote 
himself to art. He showed his designs to Carlo 
Vanloo. then first painter to the King, and to 
Boucher, both of whom encouraged his resolution. 
He entered the school of Casanova, and, according 
to the Biographic Universelle. subsequently be- 
came the rival of that master. Inferior to Casa- 
nova in coloring and spirit, he surpassed him in 
correctness of design, and faithful imitation of na- 
ture. He executed a number of works for the 
Bourbon palace, and the Salle du Conseil of the 
Royal Military School. He died in 1785. 

PAPA, SiMONE, called il Vecchio (the elder), 
a Neapolitan painter, born about 1430. He stud- 
ied under Antonio Solario. called il Zingaro, whose 
works were then held in high estimation. He ex- 
celled in painting altar-pieces with few figures, 
grouped in a pleasing style, and finished with ex- 
quisite care, in which he sometimes equalled Zin- 
garo himself. His chief works are the Triumph 
of St. Michael over the Apostate Spirits, in the 
church of S. Maria Nuova— his greatest efibrt; the 
Annunciation, in S. Niccolo alia Dogana ; the Vir- I 



gin and infant Saviour, with several Saints, in S. 
Lorenzo. He died in 1488. 

PAPA, SiMONE, called il Giovine, (the young- 
er), a Neapolitan painter, born in 1506. He was 
the son of a goldsmith, who desired to bring him 
up to his own business, but showing an early pas- 
sion for painting, he was placed under the instruc- 
tion of Gio. Antonio d'Amato. He acquired dis- 
tinction, and executed several works for the 
churches, the principal of which are the Annunci- 
ation, and the Assumption of the Virgin, in S. Ma- 
ria la Nuova, He died in 1569. 

PAPARELLO. or PAPACELLO. Tommaso, a 
painter of Cortona, who was living in 1553. He 
was a scholar of Giulio Romano, whom he assist- 
ed in his works. Little further is known of him. 

PAPE, Adrian de, a Dutch painter, who. ac- 
cording to Balkema, was a scholar of Gerard 
Douw. He mentions several of his works, one of 
which is an Interior, in the Museum at the Hague, 
which he says is worthy of the school of Douw, 
but he gives no particulars of his life. 

PAPILLON, Jean, THE Elder, a French wood 
engraver, born at Rouen in Normandy, in 1639. 
He studied under du Bellay. Ilis prints evince 
good natural talents, and are well executed, with 
clear and firm strokes ; but in consequence of his 
incorrect design, he never attained distinction. — 
His works are marked J. P. He died at Paris in 
1710. 

PAPILLON, Jean, the Younger, a French 
wood engraver, the son of the preceding, was born 
at St. Quentin, in 1661. After receiving some in- 
struction from his father, he visited Paris, and 
studied engraving under Noel Cochin, who gave 
him every advantage for improvement. He was 
the first who ever engraved on wood without using 
the pen. His prints are correctly designed, and 
executed in a harmonious style. Among them are 
a great variety of vignettes and other book orna- 
ments; also portraits of the popes Paul III.. Jul- 
ius III., Pius IV., and that of James II. of Eng- 
land. Papillon is said to have invented, about 
1688, the art of printing papers in imitation of 
tapestry, commonly called Paper Hangings. He 
died at Paris in 1723. He had a younger brother, 
named Jean Nicolas P., born in 1663 ; died in 1714. 
He attained but little distinction in the art. 

PAPILLON, Jean Baptiste Michel, a French 
wood engraver, the son and scholar of the preced- 
ing, born at Paris in 1698. He gained considera- 
ble distinction in the art, particularly for his cuts 
executed in concert with N. le Sueur, from the de- 
signs of J. J. Bachelier, for the fine edition of /yes 
Fables de la Fontaine. 4 vols. fol. Several of his 
cuts represent ornamented foliage, flowers, and 
shells, executed with great delicacy and skill. Pap- 
illon published a work relating to wood engraving, 
in two volumes, entitled Traite Historique et pra- 
tique de la Gravure en bois. The first volume 
treats of the history of the art, in which his re- 
searches were extensive ; and though there are 
many errors, yet it should be remembered that the 
author had little light or assistance in his labors. 
Doubtless his work proved of great assistance to 
Heineken, and other later writers, who condemn 
it. The second volume treats of the practical de- 
partment of the art, and contains much interesting 
and important matter, besides many beautiful 



PAPI. 



652 



PARA. 



wood engravings, some of which are executed with 
single strokes, without cross-hatchings, producing 
a clear and pleasing effect. Among them are two 
specimens of figures in chiaro-scuro, executed with 
four blocks each, one of which, between the pages 
154 and 155 of the second volume, he gives proofs 
of, from the separate blocks, followed by the figure 
complete. Bryan says, ''there is, perhaps, no 
method by which the sketches and tinted drawings 
of the great masters can be more successfully rep- 
resented." Up to the year 1722, Papillon marked 
his prints with the same initials as those of his fa- 
ther, but afterwards with his name in full. He 
died in 1776. 

PAPINI, orDE PAPINI, Giuseppe Benedet- 
Ti, an Italian engraver, born, according to Zani, in 
1707, and died in 1782. He engraved several plates 
of ceilings and other decorations, for the Tuscan 
Gallery, published by Ignazio Orsini ; and others 
for the Museum Capitolinum ; and for the Museo 
Etrusco, published by Gori. 

PAPPANELLT, Cav. Niccolo, a painter of Fa- 
enza, born in 1537. It is not known under whom 
he studied, but he went to Rome, where, such was 
his enthusiasm for improvement, that he attended 
all the most distinguished masters in that met- 
ropolis. On his return to Faenza, he executed 
some works for the churches of an exquisite char- 
acter. Such is his picture of S. Martino in the 
Cathedral, which Lanzi says is " so well executed 
in point of design, force of coloring, and expres- 
sion, as to be truly admirable." He was a very 
unequal painter, and some of his works are of a 
mediocre character. He died in 1620. 

PARADISI. Niccolo, an old Venetian painter, 
by whom there is a picture of the Crucifixion, with 
the Symbols of the Four Evangelists, in the mon- 
astery of the Agostiniani, in the territory of Ver- 
ruchio. It is inscribed Nicholaus Paradixi miles 
de Venetiis pinxit, 1404. 

PARADISO, Orazto dal. See Castelfranco. 

PARADOSSO, II. See Giuuc Trogli. 

PARASACCHI, DoMENico, an Italian designer 
and engraver, who flourished at Rome about 1630. 
He engraved a set of plates of the Fountains of Rome 
published in 1618. This collection, with addi- 
tions, was republished at Rome in 1636, under the 
title, Baccolta delle principale Foniane delle Citta 
di Roma, disegnate e intagliate da Domenico Pa- 
rasacchi. 

PARASOLE, Leonardo, called Norsini, from 
Norcia, the place of his nativity, was an engraver 
on wood, who flourished at Rome about 1570. He 
distinguished himself by a set of cuts of the plants 
for the Herbal of Castor Durante, physician to 
Pope Sixtus v., engraved by order of that pontiff". 
He also engraved some cuts after the designs of 
Antonio Tempesta and others. 

PARASOLE, Isabella. This ingenious lady 
was the wife of the preceding. She executed a 
part of the cuts for an Herbal published under the 
direction of Prince Cesi of Aquasparta. She also 
wrote and published a book on the method of work- 
ing lace and embroidering, illustrated with cuts 
engraved by herself, from her own designs. 

PARASOLE, Bernardino, was the son of Leo- 
nardo P. He studied painting under Giuseppe 
Cesari. He had great natural talents, and had be- 



gun to distinguish himself as an historical painter' 
when he died in the flower of his life. He execu- 
ted a few wooden cuts, mostly after his own de- 



PARASOLE, HiERONiMA. This lady was of 
the same family as the preceding. She executed 
some engravings on wood, among which is one of 
the Battle of the Centaurs, after Tempesta. 

PARCELLES, John, called the Old, a Dutch 
painter, born at Ley den in 1597. He studied under 
Henry Cornelius de Vroom, and acquired distinction 
for his marines, in which he excelled. His best pic- 
tures are those representing storms and tempests 
with lightning, violent agitation of the water, with 
all the horrors of shipwreck, and vessels in the ut- 
most peril and distress, which he touched with extra- 
ordinary fidelity and effect. His pictures of calms 
also have considerable merit; they generally re- 
present views on the coast of Holland, with fishing 
smacks and fishermen drawing their nets, and 
groups of figures on the strand. The pictures of 
Parcelles are delicately and carefully finished, and 
his figures are correctly drawn, and touched with 
great neatness and spirit. He signed his pictures 
with his initials, J. P. He also executed some spir- 
ited etchings from his own designs, among which are 
a set of twelve sea-pieces, with the figure of a Dutch 
boor on each, and a set of twelve plates of the dif- 
ferent shipping used in Holland, with a Latin in- 
scription. Balkema says he died at Le3^erdorp in 
1641, but others think his death happened at a 
later date, as he is known to have instructed his 
son Julius. 

PARCELLES, Julius, called the Young, was 
the son and scholar of the preceding, born at Ley- 
erdorp in 1628. He painted the same subjects as 
his father, whose manner he imitated so close- 
ly that most of his works are attributed to him, 
and the inexperienced are more liable to be de- 
ceived from the fact that both used the same 
mark. Although his pictures are inferior to those 
of John Parcelles in delicacy of touch and in 
clearness and transparency of coloring, yet they 
are correctly designed, and have great vigor and 
truthfulness. 

PARE JA, Juan de. This painter was the slave 
of Don Diego Velasquez. The accounts of him 
are quite contradictory. According to Palomino 
and others, he was born a Mestizo, in Mexico, a 
name given by the Spaniards to people born of a 
Spanish father and an Indian mother. But Cean 
Bermudez says with more probability, that he waa 
born at Seville in 1606, at which time there were 
many slaves in Spain. He accompanied Velasquez 
to Madrid, when he was called to that court in 
1623. From being employed in his master's stu- 
dio to attend on him, grind his colors, clean his 
palette, brushes, &c., he imbibed a passion for 
painting, and sought every opportunity to practice 
during his master's absence. He spent whole 
nights in drawing and in endeavoring to imitate 
him, for he durst not let him know of his aspiring 
dreams. At length he had made such proficiency, 
that he resolved to lay his case before the King. 
Philip IV., who was not only an excellent judge, 
but a true lover, of art. It was the King's cus- 
tom to resort frequently to the apartments of Ve- 
lasquez, and to order those pictures which were 
placed with the painted side to the wall, to be 
turned to his view. Pareja placed one of his own 



PARE. 



653 



PART. 



productions in that position, which the King's cu- 
riosity caused to be turned, when the slave fell on 
his knees and besought the monarch to obtain his 
pardon from his master, for having presumed to 
practice painting without his approbation. Philip, 
agreeably surprised at his address, and well pleased 
with the work, bid Pareja to rest contented. He 
interceded in his behalf, and Velasquez not only 
forgave him, but emancipated him from servitude ; 
yet such was his attachment and gratitude to his 
master, that he would never leave him till his 
death, and afterwards continued to serve his 
daughter with the same fidelity. He is said to 
have painted portraits so much in the style of 
Velasquez, that they could not easily be distin- 
guished from his works. He also painted some 
historical works, as the Calling of St. Matthew, at 
Aranjuez; the Baptism of Christ, at Toledo, and 
some saints at Madrid. Bermudez says he was 
not emancipated till 1651. He died at Madrid in 
1670. 

PARENTANI, Antonio, a painter of Turin, 
who flourished about 1550. It is not known un- 
der whom he studied, but he received or comple- 
ted his education at Rome, and was a follower of 
the Roman school. There is a grand picture of 
Paradise with numerous Angels, by him, in the 
Chapter-house of the Consolata at Turin. 

PARENTING, Bernardo, called also Era Lo- 
renzo, a painter born at Parenzo, in Istria, in 1437. 
He was a pupil of Andrea Mantegna. Lanzi says 
that he approached so near to Mantegna, that his 
works might easily be mistaken for those of that 
master. In the Cloister of Santa Giustina, at 
Padua, are ten Acts from the life of St. Benedetto, 
with several little histories in chiaro-scuro, which 
are highly commended by Lanzi. He became a 
monk of the order of the Augustines at Vicenza, 
where he died in 1531. 

PARIA. See Perrier. 

PARICOLA, Masoling da, a Florentine paint- 
er, born in 1403, and died in 1440. It is not 
known under whom he studied, but he was ac- 
counted a good painter of history in his time, 
especially in fresco. 

PARTGI, GiuLio, a Florentine architect and en- 
graver, flourished during the first part of the 17th 
century, and died in 1635. He was the son of 
Alphonso Parigi, an architect of ordinary merit ; 
who, after the death of Vasari. completed the build- 
ing of the Ufiizi Nuovi at Florence, and died in 
1590. Giulio Parigi was a disciple of Buontalenti, 
and became a civil and military architect of con- 
siderable eminence. He was selected by the wife 
of the Grand Duke Ferdinand II., to instruct the 
four princes in design and architecture. On the 
occasions of the marriage of Cosmo II., and the 
reception of Queen Maria, in 1612. Parigi was en- 
trusted with the direction of the festivals. He 
established a successful school at Florence, where 
were taught mechanics, architecture and perspec- 
tive. Among his scholars were Ottavio Piccolo- 
mini, Duke d'Amalfi, and the three brothers, Re- 
migio, Antonio, and Gio. Francesco Cantagallina. 
He gained great reputation for the Imperial Villa 
at Poggio, the convent of the Padri Agostini, at 
Florence, that of La Pace, belonging to the Padri 
di S. Bernardo, and the Marucelli palace, at Flor- 
ence. 

As an engraver, Bartsch and Nagler mention 



three prints by Parigi ; the Garden of Love, the 
Temple of Peace, and a Landscape, after Canta- 
gallina, his pupil. In the Biographie Univer- 
selle, are mentioned five plates by him. of the 
Interludes of the Comedy of Flora, with a great 
many figures, similar to the plates of Callot, who 
acquired a knowledge of engraving under this mas- 
ter. Giulio Parigi died in 1635. He had seven 
sons, of whom only one followed architecture. 

PARIGI, Alphonso, a reputable Florentine ar- 
chitect, was the son and scholar of Giulio P. He 
entered the army as an engineer, where he re- 
mained several yenrs ; but subsequently devoted 
himself entirely to architecture. He completed a 
number of edifices left unfinished by that master, 
and particularly distinguished himself by his in- 
genuity in restoring the principal facade of the 
Palazzo Pitti, which had inclined eight and half 
inches from the perpendicular. He made several 
holes through the inclined wall, through which 
he passed chains, and fastened them externally 
with bolts ; then by means of screws turned by 
levers, inside the apartments, he drew the wall 
back to a perpendicular position. Among his 
other works, is the Scarlati palace at Florence, 
with three well divided stories. He died in 1656, 

PARIS, DoMENico and Orazio di. See Al- 
fani. 

PARISjPierreAdrien, a French architect, born 
at Besan9on in 1747. He acquired the elements 
of design from his father (also an architect), and 
afterwards visited Paris for improvement. He 
studied under Trouard, architect to the King, and 
followed for several years the course prescribed 
by the Academy. In 1767 he visited Rome with 
the Royal pension, and studied and designed the 
most remarkable remains of antiquity. On re- 
turning to France, he soon gained reputation, and 
in 1778 was appointed designer to the King's Cabi- 
net. He was charged with the management of 
the fetes at Versailles, Marli and Trianon, and soon 
after succeeded Soufflot in the Academy of Archi- 
tecture. About this time Paris made a second 
trip to Italy, whence he brought many designs. 
While absent he was appointed to superintend the 
decorations of the Opera House, and about 1783 
erected the beautiful gate of the Orleans Cathedral. 
In 1788 Louis XVI, appointed him Chevalier of the 
order of St. Michael. During the stormy scenes 
which followed this period, Paris remained in re- 
tirement. In 1806 he visited Italy for his health, 
and on arriving at Rome, was appointed director 
of the French school in that city ; an honor never 
since accorded to any architect. He was commis- 
sioned by the French government to treat for the 
acquisition of the antiques in the Villa Borghese ; 
which he satisfactorily accomplished. In 1811, 
Paris superintended the excavations of the Coli- 
seum ; and made many drawings of that celebra- 
ted edifice. In 1817 he returned to France and 
retired to Besan9on. where he died in 1819. He 
left a manuscript work entitled, Examendes edi- 
fices antiques et modernes de la ville de Rome. 
Paris translated several works into French, and 
gained considerable reputation for his Recueil des 
dessins et etudes d' architecture de Paris, 9 vols. 
fol. ; also for his U Amphitheatre Flavien, vul- 
gairement nomme le Coliseum, restaure rf' apres 
les details encore visibles de la construction, etc., 
45 plates fol. 



PARI. 



654 



FARM. 



PARISET. D. P., a French engraver, born at 
Lyons in 1740. He is supposed to have been a 
pupil of Martean. He went to London in 1766, 
where he executed quite a number of plates in 
the chalk style. He executed some of the plates 
for the collection of prints after the drawings of 
the great masters, published by Rogers. He also 
engraved several portraits of JEnglish artists and 
others from the designs of Falconet, among which 
are the following : 

Sir Joshua Reynolds ; P. Falconet, del. 1768. Benja- 
min West, with his family ; after West. Francis Cotes. 
William Ryland. Paul Sandby. Ozias Humphrey. J. 
Meyer. Oliver Cromwell ; after Cooper. The Death of 
Admiral Coligny. The Death of the Duke of Guise. 

73 ^rj; 7-T PARISINI, Agos- 

/p\ or /p\ or /^\ •Ti NO, an Italian en- 
-L^ X J. k X f J_ J7_|. graver, who flour- 
ished at Bologna in the first part of the 17th cen- 
tury. In conjunction with J. B. Coriolano and 01i~ 
vieri Gatti, he engraved a book of emblems from the 
designs of Paolo Macchi, published at Bologna in 
1628. He also engraved a variety of other book 
plates, which are executed with the graver in an 
indiflferent style. His prints are sometimes signed 
with his name Latinized {Augustinus Parisinus^) 
but generally with one of the above monograms. 
P ARIZE A U, Philippe Louis, a French engra- 
ver, born at Paris in 1740. He engraved a num- 
ber of plates after Salvator Rosa, and other mas- 
ters, executed with the graver in a neat and 
spirited style, among which are the following. 
He died in 1801. 

An Assembly of Roman Soldiers; after Sal. Rosa. 
Marius seated on the Ruins of Carthage ; do. The Mar- 
tyrdom of St. Andrew ; after Deshays. The Martyrdom 
of St. Bartholomew ; do. Psyche refusing the Honors of 
Divinity ; after Boucher. 

PARKER, James, an English engraver, born 
in London about 1750. He studied with Barto- 
lozzi, in whose style he engraved quite a number 
of plates after the eminent" English artists of his 
time. He died in 1805. 

PARKER, John, an English painter of whom 
little is known. He went to Rome, where he re- 
sided several years, and was employed to paint an 
altar-piece for the church of S. Gregorio in Monte 
Celio, the subject of which was the history of St. 
Silvia. He returned to England about 1762. In 
1763 he exhibited at the Rooms of the Society for 
the Encouragement of the Arts, &c., two pictures ; 
one of the Death of Rizzio, and the other, his own 
portrait. He died soon afterwards, at Paddington. 

PARKER, John, another English painter of the 
same name, who first studied in the Duke of Rich- 
mond's Gallery, and afterwards received some in- 
structions from the Smiths of Chichester. He 
went to Rome in 1774, but returned to London 
the following year, where he practised landscape 
painting with some success. 

PARMA. LoDOvico da, a painter of Parma, 
who, according to Malvasia, was a scholar of 
Francesco Francia, but the Padre Aff5 says he 
studied under Lorenzo Costa, the pupil of Francia. 
Lanzi says his pictures of Madonnas, executed in 
the style of Francia, are common at Parma. 

PARMA, Cristoforo da. See Caselli. 

PARMENSIS, Battista. See Pensieri. 

PARMENSIS, Jacobus, an Italian engraYer, 



whose real name is not known. There are a few^ 
prints after Parmig-g-iano, and other masters, ex- 
ecuted with the graver in a slight stj^'le, somewhat 
resembling those of Gio. GJacomo Caraglio, to 
whom they are attributed by some writers, but 
Carajilio signed his prints Jacobus Veronensis. 
See Caraglio. 

PARMENTFER, Jacques, a French painter,borD 
at Paris in 1658. He was a relative of Sebastian 
Bourdon, by whom he was instructed in the art. 
After the death of Bourdon he went to England, 
in 1676. where he was employed b)'- Charles de la 
Fosse to assist him in his works at the Montague 
House. He was sent to Holland by William III., 
to assist in decorating his palace at Loo, but quar- 
reling with Marot, the superintendent of the 
works, he returned to London. Not meeting with 
much employment, he went to Yorkshire, where he 
painted some historical subjects, as well as por- 
traits. He died in London in 1730. 

PARMENTIER. L., an engraver of little note. 
He engraved a title for the works of Philip Wou- 
werman, with the portrait of that painter at the 
bottom, from a design by J. de la Jove. 

PARMIGGIANO. See Francesco Mazzuoli. 

PARMIGGIANO. Fabrizio,' called also Fabri- 
zio DA Parma, a landscape painter, born at Par- 
ma in 1555. Baglioni commends him among the 
landscape painters of his time. Lanzi says he 
was much employed in painting for the collections, 
in which he was assisted by his wife Ippolita. and 
that he visited various places before his arrival at 
Rome, where he was employed in adorning a few 
of the churches with his wood scenes, and views 
with hermits, &c., in which there is more of the 
ideal than the natural. In the church of St. Ce- 
cilia at Trastevere, are eight large pictures by him, 
painted in fresco. His subjects are designed in a 
grand style, and executed with a spirited penciL 
He died at Rome in 1600. 

PARMIGGIANINO. See Francesco Mazzu- 
OLi, Girolamo Scaglia, and Michele Rocca. 

PAROCEL. See Parrocel. 

PARODI, Filtppo, an Italian sculptor, born at 
Genoa about 1640. He attained the reputation of 
one of the most able artists of his age. There is 
a beautiful statue of the Virgin by him, in the 
church of S. Carlo at Genoa ; also a statue of St. 
John the Baptist, executed in concert with the 
celebrated Puget. He executed for the Italian 
church of Loretto at Lisbon, a number of statues 
which surpass all others in that edifice. There 
are also several of his works at Venice and Padua. 
He died at Genoa about 1708. 

PARODI, Domenico, a sculptor, architect, and 
painter, was the son of Filippo P., born at Genoa 
in 1668. His father, discerning in him an uncom- 
mon genius for the fine arts, gave him an excellent 
classical education, and instructed him in his own 
profession ; but having a partiality for painting, 
he went to Venice and entered the school of Bom- 
belli. improving his coloring by studying and 
copjnng the works of the best Venetian masters. 
Lanzi says there are several excellent copies of 
the Venetian pictures by him in the Casa Duraz- 
zo. He next went to Rome, where he resided 
many years, diligently studying design, but he did 
not forsake the Venetian style of coloring. He at 
tached himself more to Carlo Maratti's manner of 



PARO. 



655 



PARO. 



design than of any other master. " He painted," 
sa3's Lanzi, '•' in a good Marattesque style, the no- 
ble picture of S. Francesco di Sales, at the Filip- 
pini, and other works ; but of him, as well as of 
the Caracci, we find works partaking in an extra- 
ordinary manner of the style of Tintoretto and 
Veronese." His most celebrated performance is 
in the Palazzo Negroni at Genoa, where he deco- 
rated the walls in a style peculiarly his own, in 
which he displays a correct design, great vigor and 
harmony of color, a remarkably poetic invention, 
and a beautiful disposition and grouping of the 
figures. The whole is devoted to the glory of that 
noble family, whose escutcheon is crowned by 
the several symbols of Prudence, Continence, 
and other virtues ; there are also fables of 
Hercules slaying the Lion, and Achilles instructed 
by Chiron, which indicate the honors acquired by 
this family in letters and in arms. Portraits are 
added to these decorations, and every part is so 
well connected, so well varied, and so enriched by 
vestures, draperies, and other ornaments, that Lan- 
zi says " some professors have not hesitated to 
declare it the first performance in Genoa, and 
Mengs' attention was there arrested for several 
hours, by a painter he had never heard of before." 
He also decorated other noble houses at Genoa 
with his frescos. He embellished the Gallery of 
the Sig. Marcello Durazzo with stories, fables, and 
chiaro-scuri, much in the style of the one just de- 
scribed. The chiaro-scuri in particular are so ad- 
mirably executed as to produce illusion, and ap- 
pear like real bassi-relievi. He painted many 
altar pieces for the churches and chapels in other 
cities of Italy as well as Genoa. He also painted 
the portraits of the Duke and other distinguished 
personages, which added to his fame. Parodi was 
likewise a good sculptor. He executed the statues 
of the king of Poland and other members of the 
royal family, and several of the nobility, which 
were greatly admired. He also etched a few plates 
from his own designs. He died in 1740. 

PARODI, Battista, was the brother of the 
preceding, born at Genoa in 1674. He studied at 
Venice, and his style partakes much of the Vene- 
tian school, both in design and coloring. He po.s- 
sessed a fertile invention, was expeditious, free, and 
brilliant in his coloring, but he was not sufficiently 
select in his forms. He executed some works for 
the churches at Milan and Bergamo, but wrought 
more for individuals. He died in 1730. 

PARODI, Pellegrino, an eminent Itahan por- 
trait painter, was the son of Domenico P. To the 
merit of correct resemblance he added beautiful 
coloring, and easy and elegant attitudes. There 
are many of his works in England, Germany, and 
Spain. In 1741, he executed the portrait of Spin- 
ola, the Doge of Genoa, which has been engraved 
by Gregori. He resided some time at Lisbon, and 
was living, according to Lanzi, in 1769. 

PARODI. Ottavio. a painter born at Pavia in 
1659. He first studied under Andrea Lanzano. 
and afterwards went to Rome, where he resided 
many years. On his return to Pavia he executed 
some works for the churches, which are highly 
commended by Orlandi. Lanzi also says he 'was 
one of the ablest scholars of his master. He was 
living in 1718. 

PAROLINI, GiAcoMO, a painter born at Ferra- 



ra. According to Barufi'aldi." who wrote his life, 
his father dying when he was five years old, his 
maternal uncle took him under his protection, and, 
perceiving in him a genius for painting, placed him 
with the Cav. Peruzzini at Turin, with whom he 
remained till he was eighteen, when he entered the 
school of Carlo Cignani. On his return to Fer- 
rara, he finished some pictures left incomplete at 
the death of Maurelio Scannavini, who had been 
his fellow-student under Cignani. He did this 
out of regard to his friend, for the relief of his 
orphan family. He executed many works for the 
churches, and a multitude for the collections. — 
Though inferior to Cignani in the grandeur of his 
conceptions, and the masterly conduct of his chiaro- 
scuro, yet he sustained the credit of his school by 
the elegance of his design and the suavity of his 
coloring, particularly in his flesh tints, in which he 
excelled, for which reason he was fond of intro- 
ducing into his compositions the naked figure. 
He was unusually successful in the design of his 
female figures, children, and cherubs. Lanzi says 
his pictures of Bacchanals, festive dances, and Ca- 
pricci, partake much of the playful and elegant 
style of Albano, and are found in almost every col- 
lection at Ferrara. His principal works for the 
churches are three altar-pieces in the Cathedral, 
and a grand fiesco, representing St. Sebastian 
mounting into Glory, amid a group of Angels, in 
the church of that Saint at Verona. Lanzi pro- 
nounces this work a grand production, well exe- 
cuted, which greatly raised his reputation. He 
died in 1733, and ''with him (says Lanzi), was 
buried for a season the reputation of the Ferrar- 
ese school in Ital}-." Zani. differing from all oth- 
ers, calls him Giacomo Filippo, and says he was 
born in 16G7 and died in 1737. 

PAROLINI, Pio. a painter of L'dine, who, ac- 
cording to the Ab. Titi, resided chiefly at Rome, 
and was admitted a member of the Academy of 
St. Luke in 1678. He painted the ceiling of one 
of the chapels of S. Carlo al Corso, representing 
an allegorical subject, which was ingeniously com- 
posed and well colored. 

PARONE, Francesco, a Milanese painter, born 
about 1600. According to Baglioni, he was the 
son of an obscure artist, who taught him the rudi- 
ments of the art. At an early age he went to 
Rome, where he had the good fortune of being ta- 
ken under the protection of the Marquis Giustini- 
ani. for whom he painted several pictures. He 
studied the works of the best masters with great 
assiduity, and had already begun to distinguish 
himself, when he died, in 1634, in the flower of his 
life. His principal work is an altar-piece in the 
church of the monastery of S. Romualdo at Rome, 
representing the Martja-dom of that Saint — a 
grand composition, of many figures, executed in 
the style of Caravaggio. 

PAROY, JAcauES de, a French painter on glass, 
born at St. Pour9ain-sur-Allier. towards the close 
of the 16th century. After acquiring the elements 
of design and painting, he visited Rome for im- 
provement, and studied under Domenichino. It is 
probable that he gained his knowledge of glass- 
painting in his native country, as that art had al- 
ready been practised in the south of France in 
great perfection, by Frere Guillaume, or Guglielmo 
de Marcilla. Paroy executed several fine works 
in Venice, and then returned to France. At Paris, 



PARR. 



656 



PARR. 



he painted the windows in the choir of the church 
of S. Merry ; and designed the Judgment of Su- 
sanna for a chapel of the same church, executed on 
glass by Jean Nogare. There are four beautiful 
paintings by Paroy in the parish church of S. 
CroiXj at Gannat, representing St. Ambrose, St. 
Jerome, St. Augustine, and St. Gregory. 
' PARR, Remi, or Remigius, an English designer 
and engraver, born at Rochester in 1723. He en- 
graved a few plates for the booksellers, which are 
indifferently executed. 

PARRASIO, Angelo, an eminent painter of 
Siena, who was employed at the court of the Mar- 
chesed'Este in 1449. He also painted the Nine 
Muses in the Palazzo Belfiore, near Ferrara. 

PARRHASIUS, a celebrated Greek painter, the 
son and scholar of Evenor. was a native of Ephe- 
sus, but afterwards became a citizen of Athens; 
flourished about B. C. 390. He raised the art to 
a much higher degree of perfection than it had be- 
fore attained. Comparing his three great prede- 
cessors with each other, he rejected that which 
was exceptionable in them, and adopted that which 
was admirable. The classic invention of Polyg- 
notus, the magic tones of Apoilodorus, and the ex- 
quisite design of Zeuxis, were all united in the 
works of Parrhasius. Plutarch instances Par- 
rhasius' picture of Ulysses feigning insanity, as an 
improper subject for the pencil, yet reconciled to 
our taste through the spirit of the conception, and 
the truth of the execution. Pliny says he gave 
his figures more relief and roundness, with an air 
of life and motion unknown before him. Accord- 
ing to Qaintilian, he so circumscribed and defined 
all the powers and objects of art, that he was termed 
the Les'islator ; he reduced to theory the practice 
of former artists, and all cotemporary and subse- 
quent painters adopted his standard of heroic and di- 
vine proportions. Parrhasius gave to the divine and 
heroic character in painting, what Polycletus had 
given to the human in sculpture, by his Dorypho- 
rus, namely, a canon of proportion. The branch 
of the art in which he chiefly excelled was elegance 
of outline; his figures of children were greatly ad- 
mired for their simplicity, and his young men and 
women for their beauty and grace. When Euphra- 
nor remarked that the Theseus of Parrhasius had 
fed upon roses, and his own upon beef, he seems 
to have alluded particularly to the style of design, 
rather than to the coloring ; for, as Winckelmann 
remarks, the word used by Plutarch, yXavp'y^raT or 
elegantly, reMes expressly to form. It will be 
observed that, according to the taste of Euphranor, 
the figure of Pan-hasius was too elegant and deli- 
cate for heroic beauty. Pliny praises him for 
the beauty of his figures ; the '' sweetness and 
lovely grace about the mouth and lips"; the soft- 
ness and fullness of the hair; and the blended 
tints that melted away in the outline. He quotes 
two ancient writers on painting, Antigonus and 
Xenocrates, now lost, who praised Parrhasius. es- 
pecially for the delicacy with which he painted the 
extremities of the fingers. They cited many por- 
traits on panel, and drawings on parchment, which 
served as examples to other painters, and as proofs 
of his wonderful skill in this part of the art. 

One of the most celebrated works of Parrha- 
sius was his Demos, or allegorical figure of the 
Athenian People. Pliny says that it represented, 
and expressed equallyjall the good and bad quahties 



of the Athenians at the same time ; one might 
trace the changeable, the irritable, the kind, the 
unjust, the forgiving, the vain-glorious, the proud, 
the humble, the fierce, the timid. Supposing it 
to have been a single figure, this description of 
Pliny is scarcely creditable. His Theseus, after 
the general spoliation of Athens, was removed to 
Rome. Among the other works of Parrhasius, 
Pliny enumerates a Naval Commander in his Ar- 
mor; a picture of Mel eager, Hercules, and Perse- 
us ; Ulysses feigning insanity ; Castor and Pollux ; 
Bacchus and Virtue ; a Cretan Nurse, with an In- 
fant in her Arms ; a Priest officiating, with an at- 
tendant Youth bearing incense ; two Boys, in which 
were admirably depicted the innocent simplicity of 
the age, and its happy securitj^ from all care ; a 
Philiscus ; a Telephus ; an Achilles ; an Aga- 
memnon ; an J^lneas ; and two famous pictures of 
Hoplites, or heavily armed warriors, one in action, 
the other in repose. Parrhasius was also distin- 
guished for his small libidinous subjects. The 
Archigallus mentioned by Pliny was most proba- 
bly of this description, both from the particular 
favor of Tiberius with which it was honored, and 
from the peculiar nature of the rites of Cybele, 
whose chief priest was called Archigallus. To this 
class may be added the picture of Meleager and Ata- 
lanta, mentioned by Suetonius. This picture was 
bequeathed to Tiberius on the condition that, if 
he were offended with the subject, he should re- 
ceive in its stead 1.000,000 sesterces (about $40,- 
000). The emperor not only preferred the pic- 
ture, but had it fixed up in his own chamber, 
where the Archigallus was also preserved, which 
was valued at 60,000 sesterces. These produc- 
tions entitle Parrhasius to the epithet of Porno- 
graph, and prove that this style of painting was in 
vogue long before the decay of Grecian art. 

The story told by Seneca, of Parrhasius having 
crucified an old Olynthian captive, when about to 
paint a picture of Prometheus chained, cannot re- 
late to this artist, and is probably a fiction, as it 
is found nowhere but in the Controversies. Oljm- 
thus was taken by Philip, in the year B. C. 347 ; 
which is nearlj?^ half a century later than the la- 
test accounts of Parrhasius. This great artist 
was well aware of his powers, but he became ex- 
travagantly carried away with pride and vanity. 
He assumed the title of The Elegant ; styled 
himself the Prince of Painters ; wrote an epigram 
upon himself, in which he proclaimed his birth- 
place, celebrated his father Evenor, and pretended 
that he himself had carried the art to perfection. 
He also declared himself descended from Apollo, 
and even went so far as to dedicate his own por- 
trait as Mercury in a temple, and thus received the 
adoration of the multitude. From these consider- 
ations, it would appear that Pliny justly terms 
him the most insolent and most arrogant of art- 
ists. That author also mentions a contest between 
Parrhasius and Timanthes of Cythnos, in which 
the former was beaten ; the subject of the picture 
was the contest between Ulysses and Ajax. The 
proud painter, indignant at the decision of the 
judges, is said to have remarked that the unfortu- 
nate son of Telamon was for a second time, in the 
same cause, defeated by an unworthy rival. An- 
other anecdote is well known, respecting his con- 
test with Zeuxis. The latter painted grapes, in 
the hands of a boy, so true to nature that the 
birds endeavored to peck them — no great corapli- 



PARR. 



657 



PARR. 



ment to his abilities in figure painting. Parrha- 
sius painted a curtain so admirably that it deceived 
Zeuxis himself. 

PARROCEL, Barthelemi, a French painter, 
was born at Montbrison, in the first part of the 
17th century. He was at first intended for the 
church, but on account of a strong inclination for 
art. was permitted to study painting. After ac- 
quiring a knowledge of design in his own country, 
he set out for Italy ; but, during his journey, he be- 
came acquainted with a Spanish grandee, who was 
greatly pleased with his talents, and invited him 
to visit Spain. The proposal was accepted, and 
Parrocel spent several years in that country ; af- 
ter which he again started for Italy, but was cap- 
tured b}'- Algerian corsairs. Happily, his confine- 
ment was of short duration ; and upon being re- 
leased he went to Rome. He passed several years 
in that city, and then settled at Brignoles, in France, 
where he died in 1660. The French writers do not 
state what subjects he usually painted, or what rep- 
utation he attained. He left three sons, who studied 
painting ; the eldest died very young ; the second, 
LoTiis Parrocel, practised the art with some dis- 
tinction in Provence and at Paris. He afterwards 
settled in Languedoc. The third son, Joseph P., 
is the subject of the following article. 

PARROCEL, Joseph, an eminent French paint- 
er, born at Brignoles in Provence, in 1648. He 
was the son of the preceding painter, who instruct- 
ed him in the rudiments of the art, but died when 
he was twelve years of age. Without any fur- 
ther assistance, he went to Paris, where he greatly 
improved himself by studying the works of the 
best French masters. His talents and lively dis- 
position recommended him to the notice of some 
of the most distinguished artists in that city, who 
aided him with their advice, and recommended 
him to go to Italy. On his arrival at Rome, he 
found the works of Borgognone in the highest esti- 
mation, and he had the good fortune to be admitted 
into the school of that distinguished master. He 
applied himself with great assiduity to acquire his 
principles. After a residence of several years at 
Rome, he went to Venice, where he improved his 
coloring, which at that time partook of the dark, 
cold style of Borgognone, by studying the works 
of the great Venetian masters. He had already 
acquired distinction at Venice, and such was the 
encouragement he received, and such the homage 
paid to his talents, that he resolved to establish 
himself in that city ; but, in 1675, an extraordi- 
nary circumstance made it prudent for him to re- 
turn to his own country. As he was returning to 
his apartments one night, he was assailed by assas- 
sins, on the Rial to, posted there, as is believed, by 
persons jealous of his merit and success, and he 
escaped death only by his personal valor. He 
therefore returned to Paris, where he immediately 
met with public favor and encoiiragement. He 
was elected a member of the French Academy in 
1676, on which occasion he painted for his recep- 
tion piece the Siege of Maestricht, which greatly 
increased his reputation. He was soon afterwards 
commissioned by the Marquis de Louvois. minister 
of state, to decorate one of the four refectories of 
the Invalides with the conquests of Louis XIV., 
in which he succeeded so admirably that he was 
employed in some of the works in fhe royal galle- 
ries at Versailles. Louis XIV. appointed him his 



state painter, with a liberal pension, and he cod- 
tinued in his service till his death. The fame of 
Parrocel rests mostly on his battle-pieces, wliich 
are designed in the grand style of Borgognone, and 
although they cannot stand in competition with 
that great master, they possess so much merit as 
to rank him with any other artist of his time. 
His battle-pieces are ingeniously and copiously 
composed, designed with great correctness and 
skill, and executed with a spirited pencil, admira- 
bly adapted to the subjects he represented ; his 
figures and horses have attitudes perfectly natu- 
ral and full of fire, and the variety of passions are 
properly expressed. His talents were not limited 
to these subjects ; he painted history and portraits 
with such excellence as plainly shows that he 
would have excelled equally in these branches, had 
he devoted his talents to them. He executed 
several works for the churches and public edifices, 
which display an excellent genius for historical 
composition. They are elegantly designed, his 
tints are unusually clear, his touch is free and 
clean, and there is a happy disposition of the lights 
which produces a pleasing effect. Such are his St. 
John in the Wilderness, in the church of Notre 
Dame at Paris ; and several historical works in 
the Hotel de Toulouse. Parrocel also executed a 
large number of spirited etchings from his own 
designs. Dumesnil gives a list of ninety prints 
by him, among which are a set of forty-eight 
prints of the Life of Christ ; the Four Times of 
the Day ; and four battle-pieces. They are marked 
/. Parrocel inv. ctfec. He died in 1704. 

PARROCEL, Charles, the son of Joseph P., 
was born at Paris in 1689. He studied the ele- 
ments of design under his father, but as the latter 
died when Charles was only sixteen years of age. 
he entered the school of Charles de la Fosse. On 
leaving that master, he visited Italy, and painted 
a picture of the Finding of Moses, which he sent 
to Paris, and thereby gained the royal pension. 
During his residence in Italy he continued to cul- 
tivate the historical branch of the art, but on re- 
turning to France, he determined to become a 
painter of" battles. In order to acquire a better 
knowledge of his favorite subjects, he entered a 
regiment of cavalry, and served for several years ; 
but without relinquishing the practice of his pro- 
fession. In 1721, by order of the King, he painted 
two pictures twenty-two feet in length, represent- 
ing the Entrance of the Turkish Ambassador to 
the Gardens of the Tuileries, and the Exit of the 
same distinguished personage, after an audience, at 
the Pont Tournant. These fine works gained for 
Parrocel, a suite of apartments in the Gobelins, and 
a pension of 600 livres. In 1744 and 1745. he was 
appointed to accompany Louis XV. in his cam- 
paigns in Flanders, to paint the successful battles 
of the French forces. His pictures are inferior to 
those of his father in brilliancy, though superior 
in truth, of coloring. He was chosen a member of 
the Royal Academy. There are a number of spir- 
ited etchings by him, after his own designs, repre- 
senting horse and foot soldiers. He died in 1752. 

PARROCEL, Ignace, a French painter, the 
son of Louis P., and the nephew of Joseph P., was 
born at Avignon, according to Zani, in 1664 ; ac- 
cording to Nagler, in 1688. He studied under his 
uncle, and painted huntings and battle pieces in 
the admirable stvle of that master. He traveled 



PARR. 



658 



PARS. 



through Italy and Austria, and was commissioned 
by the Emperor and Prince Eugene to paint a 
number of battle pieces. The Duke d'Aremberg 
invited him to the Low Countries, whither he went, 
and died at Mons. in 1722. Seven of his pictures 
were taken from the Imperial Gallery at Vienna, 
and placed in the Louvre; but they were restored 
in 1815. 

PARROCEL, Pierre, a French painter and en- 
graver, the younger brother of the preceding, was 
born at Avignon in 1664. He was first instructed 
by his uncle Joseph P., after which he visited 
Rome, and entered the school of Carlo Maratti. 
After returning to France, he traveled through 
Languedoc and Provence, and the Com tat of Avig- 
non, leaving in the various cities through which he 
passed, numerous proofs of his abilities, among 
which were the Resurrection and the Ascension 
of Christ, in the chapel of the White Penitents at 
Avignon. His reputation soon extended to Paris, 
and gained him an invitation to that city, where he 
executed a number of fine works. His pictures are 
distinguished for graceful design, beautiful color- 
ing, vigorous execution, and harmonious effect. 
Among his principal works are sixteen pictures of 
subjects from the History of Tobit, in the Gallery 
of the Hotel de Noailles, at St. Germain en Laie; 
and the Coronation of the Virgin, in the church of 
S. Maria at Marseilles, which is considered his mas- 
ter-piece. As an engraver, he etched a number of 
plates, with rare dexterity and infinite spirit, in a 
style analogous to that of A. Rivalz. He was not 
equally successful with the graver. Dumesnil 
describes eighteen prints of his execution. 

PARROCEL, Etienne, a French painter, the 
son of Pierre P., was born at Paris about 1720. 
He painted subjects of history, but attained little 
reputation. He exhibited several works, among 
which were Cephalus and Procris. and Christ on 
the Mount of Olives. There are several etchings 
by him, in a free, bold style, among which are a 
Bacchanalian Subject, from his own design ; the 
Triumph of Mordecai, after de Troy ; Bacchus and 
Ariadne, after Subleyras. 

PARROCEL, Joseph Ignace, was a native of 
Avignon and a son of Pierre P. He was a mem- 
ber of the Royal Academ}', and the last painter of 
the Parrocel family. According to Nagler, he died 
in 1781. He left several daughters, of whom the 
eldest, Madame de Valranseaux, was distinguished 
for painting flowers and animals. 

PARRY, William, an English painter, born at 
London, in 1742. He first learned the rudiments 
of design in Shipley's drawing school ; he next 
studied in the Duke of Richmond's Gallery, and 
afterwards with Sir Joshua Rej'-nolds. He ob- 
tained several prizes from the Society for the En- 
couragement of Arts, &c. On leaving Reynolds, 
he was favored with the patronage of Sir Watkin 
Williams W3mne, by whose liberality he was en- 
abled to visit Italy in 1770, where he resided four 
years, and painted for his patron, among other 
things, a copy of the Transfiguration by Raffaelle, 
He returned to London in 1775, and was chosen 
an associate of the Royal Academy in 1776. Not 
meeting with much encouragement, he returned to 
Rome in 1778, where he resided till 1791, when the 
state of his health compelled him to return to his 
native country, where he died soon after his ar- 
rival. At Rome he was principally employed in 



executing commissions for his countrymen, who 
happened to stop at that city. 

PARS, William, an English designer and paint- 
er, born at London about 1742. He learned the 
rudiments of art in Shipley's drawing school, and 
afterwards frequented the Academy in St. Martin's 
Lane, from which institution, in 1764. he drew the 
third premium of twenty guineas, for historical 
painting. Soon afterwards the Dilettanti Society 
sent him to Greece to make further researches 
into the remains of antiquity, on which expedition 
he was absent three years. On his return he was 
employed by Lord Palmerston to accompany him 
in a tour through Switzerland and Ital}^, to make 
drawings of the most remarkable views and anti- 
quities. In 1770, he was elected an associate of 
the Royal Academy. In 1775 the Dilettanti So- 
ciety sent him to Rome, on a pension, to study 
painting, where he resided till his death, in 1782. 
Some of his views made in Greece were engraved 
by Byrne, and some of those in Switzerland and 
Italy were executed in aquatinta by Paul Sandby. 

PARSONS, Francis, an English portrait paint- 
er, who flourished at London about 1763. He was 
an indifferent artist, and afterwards turned his at- 
tention to restoring and dealing in old pictures. 

PARSONS, William, an English painter, but 
more distinguished comedian, born at London in 
1736. At the age of fourteen he was apprenticed 
to an architect, and so much distinguished himself 
by his architectural drawings and designs, that he 
obtained several premiums from the Society of 
Arts. &c. On obtaining his majority, he took to 
the stage, and became one of the most popular 
comedians of his time. He is said however, 
never to have relinquished his pencil, but painted 
a variety of landscapes, architectural subjects, and 
fruit pieces, which he gave to his friends. He died 
in 1795. 

PASCH, John, a Swedish painter, born at 
Stockholm in 1706. He acquired the elements of 
design in his native country, and subsequently 
visited Holland. France, and Italy, for improve- 
ment. During his travels, he made a valuable 
collection of drawings and pictures. On return- 
ing to Sweden, he settled at Stockholm, and prac- 
tised the art in that city for many years. Ho 
painted flower-pieces, landscapes, and marine views. 
Among his most important works, is the cupola 
of the Royal Chapel at Stockholm. His know- 
ledge and taste were of great service to the Acad- 
emy of Fine Arts, founded at Stockholm in 1734^ 
He died in 1769. 

PASCH, Lawrence, a Swedish painter, flourish- 
ed at Stockholm in the first part of the 18th century. 
He was distinguished in portrait ; and was ap- 
pointed to the office of Director of the Academy 
of Fine Arts, which he filled for many years. His 
daughter, Ulrica Frederika Pasch, was born in 
1735. She evinced remarkable talents, and in 
1773 was admitted to the Academy. She died in 
1796. 

PASINELLI, Lorenzo, a Bolognese painter, 
born in 1629. He first studied under Simone Can- 
tarini, and next with Flaminio Torre. He after- 
wards went to Venice, where he became enamoured 
of the ornamental and brilliant style of Paul Ve- 
ronese, and he made the works of that master his 
modelj though he did not servilely imitate him. 



PAST. 



659 



PASQ. 



Lanzi says, ''he borrowed from Veronese his ef- 
fective and magnificent composition, but the airs 
of his heads and the distribution of his colors he 
obtained from another source; and, though he 
never acquired the correctness of design which dis- 
tinguishes the works of Torre, yet in this respect 
he surpassed Paolo." On his return to Bologna, 
he found abundant employment in painting for the 
churches and the collections. He was naturally 
mchned to create surprise by the display of copi- 
ous, rich, and spirited compositions ; such are his 
two pictures at the Certosa, representing Christ's 
Entrance into Jerusalem, and his Return into 
Limbo ; and such, too, is his History of Coriola- 
nus,in the Casa Ranuzzi — a piece found repeated in 
many collections. No one can behold these paintings 
without granting to Pasinelli a true painter's fire, 
great novelty of ideas, and an elevated character. 
With these gifts, he was sometimes too extravagant 
in his imitation of the attitudes, pompous specta- 
cles, strange and novel draperies of Veronese, 
which he is thought to have carried to the extreme, 
as in his Preaching of John the Baptist in the 
Wilderness, which gave occasion to his rival Ta- 
ruffi sarcastically to remark that, instead of the 
desert of Judea, he discovered in it the piazza of 
St. Mark at Venice. He, nevertheless, knew how 
to moderate his fire according to his theme, as in 
his Holy Family, in the church of the Barefooted 
Carmelites, which partakes of the elegance and 
grace of Albano, He painted more for private 
collections than for the public edifices, though 
there are several other works by him in the 
churches at Bologna, the most esteemed of which 
are the Resurrection, in S. Francesco ; and the 
Martyrdom of St. Ursula and her companions, in 
the Palazzo Zambeccari. Lanzi says, "his private 
pictures are uniform in spirit, rich and varied in 
the composition, and they boast such a delicacy of 
handling and peculiar brilliancy of coloring, that 
they might be taken for the works of the Vene- 
tians or the Lombards ; in particular some of his 
Venuses, which are supposed to be the portraits 
of one of his three wives. He died in 1700. Ba- 
san erroneously says that Pasinelli etched some 
plates, and mentions two — St. John preaching in 
the Wilderness, and the Martyrdom of St. Ursula 
and other Saints ; but these plates were engraved 
by Lorenzini. a scholar of Pasinelli. See BartscJi's 
P. (?., torn. XIX., pp. 415—417, Nos. 6 and 8. 

PASITELES. a Grecian statuary, mentioned by 
Plin}'- as flourishing in the time of Pompey the 
Great. He executed a statue of Jupiter for the 
first temple erected at Rome by Metellus Mace- 
donicus. and wrote an account of the finest monu- 
ments of art extant in his time. 

PASQUALI, FiLiPPO, a painter of Forli. who 
studied under Carlo Cignani at Bologna. He af- 
terwards associated himself with Marc' Antonio 
Franceschini, in conjunction with whom he paint- 
ed many works at Bologna, Rimini, and other pla- 
ces, in which he executed the ornamental parts. 
Some of his earlier works are to be seen in the 
portico of the Serviti at Bologna. Lanzi highly 
commends his altar-piece in the church of S. Vit- 
tore at Ravenna, which he executed alone, at a 
more advanced age. He is supposed to have died 
about 1690. 

PASQUALTNI. Felice, a Bolognese painter, 
who flourished about 1575. According to Malva- 



sia, he was the scholar of Lorenzo Sabbatim, 
whose style he adopted. He executed some woi'ks 
for the churches, which Lanzi thinks might be 
justly attributed to Sabbatini, such was the part 
he took in their execution. 

PASQUALTNI, or PASCALTNT. Giovanni 
Battista, an Ttalian painter and engraver, born 
at Cento, near Bologna, in the latter part of the 
16th century. His earliest print is dated 1619, 
and the latest 1630. He studied painting under 
Ciro Ferri, but he does not seem to have acquired 
much eminence in that art. He executed many 
etchings, mostly after Guercino, in which he en- 
deavored to imitate with the point the masterly 
pen-drawings of that master, but he did not pos- 
sess a sufficient command of his instrument to ac- 
complish it with much success. He frequently 
signed his plates /. B. Centensis. Nagler gives a 
list of fort)'- prints by him, of which the following 
are the principal : 

SUBJECTG AFTER GUEHCINO. 

Christ dictating the Gospel to St. John. The Resurrec- 
tion of Lazarus. Christ giving the Keys to St. Peter. 
Christ taken in the Garden. Angels showing Mary Mag- 
dalene the Instruments of the Passion. Christ with the 
Disciples at Ernmaus. The Incredulity of Thomas. The 
Virgin and Infant, with an Angel presenting Fruit. The 
Virgin and Infant, to whom St. John presents an Apple. 
St. Charles Borromeus. St. Felix resuscitating a Dead 
Child. Tancred and Erminia. Tithonus and Aurora, 

VARIOUS SUBJECTS. 

St. Felix kneeling before the Virgin and Infant ; after 
L. Caracci. St. Diego working a Miracle ; qfler Ann. 
Caracci. The Death of St, Cecilia ; after Domeniehino. 
The Aurora ; after Guido 

PASQUALTNO. See Pasquale Rossi. 

PASQUALOTTO, Constantino, a painter of 
Vicenza, who flourished about 1700. He studied 
at Venice, and on returning to his native city he 
executed some works for the churches, but more 
for individuals, in which Lanzi says he was more 
distinguished for the richness of his draperies and 
the brilliancy of his coloring, than for the correct- 
ness of his design. 

PASQUTER, Jean Jacques, a French engra- 
ver, born at Paris, and a pupil of Lawrence Cars. 
He engraved a variety of book plates and others, 
after the French masters, among which are two 
Pastoral Subjects, and Arion upon the Dolphin, 
after Boucher ; the Graces, after C. Vanloo ; and 
a set of twelve Academical Figures, after Natoire. 
He died in 1784. 

p PASS, or PASSE. Crispin de, called the 
«'C^7 Elder, an eminent Dutch engraver, born 
\|/ at Utrecht in 1560, according to the best 
authorities, though there is great discrepan- 
cy as to the place and time of his nativity. He is 
said to have studied under Theodore Cuernhert. 
He was a man of letters, and not only a lover of 
his art. but fond of promoting it, as is evident 
from his Drawing Book, published at Amsterdam 
in 1643, when he was an octagenarian, in Italian, 
French, and Dutch, entitled Delia Luce del dipin- 
gere e disegnare. Tn this work, he mentions his 
intimacy with the most eminent artists of his 
time, as Rubens, A. Bloemaert. Freminet, P. Mo- 
reelze, and P. vander Berg. This also farther ap- 
pears from his having incurred the expense of 
publishing Holland's Heroloogia, in which it is ex- 
pressly stated Impensis Crispini Passe. His tal- 



PASS. 



660 



PASS. 



ents recommended him to the notice of Prince 
Maurice, who sent hira to Paris, where he taught 
drawing in the Academj'- of M. Pluvinel. riding 
master to Louis XITT., at which time he designed 
and engraved his celebrated set of prints entitled, 
Instruction duRoi en V exercise de monter d cheval, 
par Messire Antoine de Pluvinel. These plates 
represent the different exercises of the horse, the 
manner of tilting at the barriers, &c. ; and into 
them he introduced the portrait of Louis XIII., 
the Duke de Beligarde, and many of the great per- 
sonages of the court. He went to London, where 
he resided a long time, and executed many plates. 
It is supposed that he returned to his own coun- 
try about 1635, as there are none of his plates en- 
graved in England, bearing a later date. The 
plates of Crispin de Passe are executed entirely 
with the graver, in a neat, clear, and original style, 
and though there is occasionally an appearance of 
stiffness and formality, his prints possess great 
merit, and are highly esteemed. Many of them 
are designed from the life,and the greater part of his 
historical and other subjects are engraved from his 
own designs. His portraits are his best prints. 
Nagler and Bartsch give copious lists of his works, 
which are very numerous, and show a life of ex- 
traordinary industry. The following are his most 
esteemed prints. They are generally marked with 
a monogram composed of an S., V., and a P., uni- 
ted as above. 

ENGLISH PORTRAITS. 

Queen Elizabeth, sumptuously attired, with the Crown, 
Rceptre. and Globe ; after Isaac Oliver. A Head of the 
same Queen ; oval. James I. with the Sceptre in his hand. 
James I. with a Hat and Ruff; oval. Anne of Denmark, 
his consort ; do. Henry, Pince of Wales ; do. Charles, 
his brother, afterwards Charles I. ; do. Frederick, Count 
Palatine, consort of Princess Elizabeth. Elizabeth, daugh- 
ter of James I., his wife. Sir Philip Sidney. The Earl 
of Essex on horseback. Thomas Percy, the conspirator ; 
scarce. 

FOREIGN PORTRAITS, 

Henry IV., King of France. Mary of Medicis, his 
Queen. Philip II., King of Spain. Henry Frederick, 
Prince of Nassau. Albert, Archduke of Austria, and 
Maurice, Prince of Nassau, on horseback. Louisa Juliana, 
Countess of Nassau ; circular. Andrea Doria, Genoese 
Admiral. Adolphus, Baron of Sehwartzenberg. Alexan- 
der Farnese. A set of fourteen Portraits of Women, with 
a frontispiece, entitled Speculum illuslrium feminarum. 

SUBJECTS FROM HIS OWN DESIGNS. 

Adam and Eve. Susanna and the Elders. Three small 
circular plates of Busts, representing Faith, Hope and 
Charity ; fine. Cleopatra. The Inside of a Tavern, with 
Men and Women quarreling ; C. van Pass inv. 1589 ; 
one of his earliest prints. The Seven Liberal Arts. The 
Nine Muses. 

SUBJECTS AFTER VARIOUS MASTERS. 

The History of Tobit, in six plates ; after M. de Vos. 
The Twelve Months, in twelve circular plates ; do. The 
Four Evangelists, in four plates ; after Goltzius Geldorp ; 
very fine. The Angels appearing to the Shepherds ; after 
A. Bloemacrt. The Crucifixion ; after Jod. de Win^e. 
The Judgment of Paris ; after C. vandcr Brocck. The 
Siege of Troy ; do- A set of four Landscapes, with fig- 
ures ; after J. Breughel. 

PASS, or PASSE, Crispin de, called the 
Younger, was the eldest son of the preceding, 
born at Utrecht about 1585. Little is known with 
certainty of him. and there is much discrepancy 
as to the time of his birth. He studied design 
and engraving with his father. Zani says he was 
living in 1659, and quotes one of his prints bearing 



that date. There are only a few prints by him> 
among which are the following : 



PORTRAITS. 



^/ 



Frederick, Elector Palatine ; inscribed Crispin Passeus, i 
jun.fjig. et sculps. ; oval. Johannes Angelius Werdenha- ' 
gen ; C. de Passe flius, fee. 1600, 

SUBJECTS. 

Three, of a set of four plates of the History of the Rich 
Man and Lazarus ; the fourth was engraved by his father. 

PASS, or PASSE, William DE,wa% 
the second son of Crispin de Passej^ 
^'born at Utrecht, about 1590. He was 
instructed by his father, whom he 

very nearly equalled. It is supposed that he ac- j 

companied his father to England, where he resided | 

the greater part of his life, and engraved a great I] 

number and variety of plates, which are highly \ 

esteemed. His best prints are his portraits. The ', 

times of his birth and death arealtogether uncertain. ! 

His birth is variously placed in 1572, 1580, and | 

1590. Zani says he operated in 1640. There is jl 

a portrait of Oliver Cromwell, attributed to him, i! 

dated 1660. He sometimes marked his plates j 

with his name, and at others with a monogram of \ 
his initials. The following are his best prints : 

PORTRAITS. 

James I. and his Family, inscribed Triumphus Jacobi 
Regis Augustce que ipsius prolis ; scarce. James I., 
with Henry Prince of Wales. After the death of that 
prince the face was erased, and that of Charles his. brother 
substituted in its place. Robert Dudley, Earl of Leices- 
ter ; oval, with the cipher. George Villiers, Duke of 
Buckingham, on horseback, with shipping in the back- 
ground ; scarce. Robert Devereux, Earl of Essex, on 
horseback; scarce. Frances, Duchess of Richmond and 
Lenox; very highly finished: inscribed i4 /mo. 1625. in- 
sculptum Guliel. Passeo Londinum. Sir John Hay- 
wood ; W. Pass, f Sir Henry Rich ; very fine. Darcy 
Wentworth. 1624. The King and Queen of Bohemia, 
with four of their Children ; inscribed Will. Pass, fecit, 
ad vivum figurator. 1621. The Palatine Family, in 
which the youngest child is playing with a rabbit ; without 
the name of the engraver. 

■^ PASS, or PASSE, Simon de, was the 
^jT youngest son of Crispin de Passe the Elder, 

^X who instructed him in the art. He resided 
in England about ten years, and engraved quite a 
number of portraits and other subjects, which are 
highly esteemed. He was also employed by Hil- 
liard to engrave counters of the English Royal 
Family. The earliest prints he engraved in Eng- 
land are dated 1613, and the latest 1623. On leav- 
ing England, he entered the service of the King of 
Denmark. Nagler mentions two Danish portraits, 
dated 1644. He marked his prints variously, with 
his name and the above monogram. His portraits 
are his best prints. The following are his princi- 
pal works : 

PORTRAITS. 

Queen Elizabeth ; whole length, James I. crowned, sit- 
ting in a chair. The same, with a hat. Queen Anne on 
horseback, with a View of Windsor ; scarce. The same ; 
dated 1617. Prince Henry with a lance. PhiUp III. 
King of Spain. Maria of Austria, his daughter, the in- 
tended bride of Charles I. ; scarce. The same, as sister 
of Philip IV. ; very fine. General Edward Cecyll, son to 
the Earl of Exeter ; very scarce. George Villiers, Duke of 
Buckingham, 1617, when Earl. The same, when Marquis. 
1620. Robert Carr, Earl of Somerset. Frances Howard, 
Countess of Somerset. Francis Manners, Earl of Rutland. 
Thomas.Earl of Arundel ; after Mirevelt. Sir Walter Ra- 
leigh. Sir Thos. Smith, Ambassador to Russia. William, Earl 
of Pembroke ; after Van Somer. Richard, Earl of Dorset. 
Archbishop Abbot, with a View of Lambeth. R. Sidney, 



PASS. 



661 



PASS. 



Visconnt Lisle ; scarce. Charles, Earl of Nottingham. Ma- 
ry Sidney, Countess of Pembroke ; scarce. Henry Wrio- 
thesly, Earl of Southampton. Edward Somerset, Earl of 
Worcester. Count G-ondomar, Ambassador from Spain ; 
very fine. Frederick Henry, Prince of Orange, inscribed 
Liberum Belgium ; very fine. Four whole-length por- 
traits of the Dukes of Burgundy— John the Intrepid, Phil- 
ip the Bold, Philip the Good, and Charles the Kash ; etch- 
ings ; scarce. 

PASS, or PASSE, Magdalena db, was the 
daughter of the elder Crispin de Passe, born about 
1583. She learned engraving of her father, and 
engraved some small plates of portraits and other 
subjects, in a neat, finished style, which possess 
considerable merit. The following are bj her, 
marked with one of the accompanying monograms : 

PORTRAITS. 

Her own Head ; scarce. Catherine, Duchess of Buck- 
ingham, with a feather in her hand. 

VARIOUS SUBJECTS. 

The Wise and the Foolish Virgins ; after Elsheimer ; 
fine and scarce. The Four Seasons ; after the designs of 
her father. Cephalus and Procris. Salmacis and Her- 
maphroditus. Latona changing the Lycian Peasants into 
Frogs. Alpheus and Arethusa. A pair of Landscapes ; 
after Roland Savery. A pair, one a Storm with a Ship- 
wreck, and the other a Landscape with a Windmill ; after 
A. Willtres ; fine. 

PASS, or PASSE, Simon de. It is said that C. de 
Passe the younger had a son of this name, and that 
he went to Copenhagen, where he engraved some 
plates, among which were a portrait of Frederick 
III. King of Denmark ; an Ecce Homo, dated 
1639 ; and a Woman with three Children, dated 
1643 ; but it seems more than probable that he is 
no other than Simon de P., the son of the elder 
Crispin de P. 

PASSANTE, Bartolomeo, a Neapolitan paint- 
er, who, according to Dominici, was a scholar of 
Spagnoletto. whose style and subjects he imitated 
with great success, but with a more finished de- 
sign and expression. Lanzi justly remarks that 
" those masters who are mannerists form scholars 
who confine their powers to the sole imitation of 
their master, and thus produce pictures that de- 
ceive the most experienced." He painted mostly 
for the collections, and flourished about the middle 
of the 17th century. 

PASSAROTTI. See Passerotti. 
PASSARI. See Passeri. 

PASSERI, Andrea, a painter of Como, who 
flourished about 1505. In the cathedral of his 
native city is a picture of the Virgin surrounded 
by the Apostles, in which the composition and ex- 
pression of the heads are good, but Lanzi says 
there is a dryness in the hands, with the use of 
gilding unworthy of the age in which he painted. 

PASSERI, Giovanni Battista, a painter born 
at Rome about 1610. He is supposed to have 
been a pupil of Domenichino ; at all events, in the 
early part of his life, he lived on terms of intima- 
cy with that master at Frescati, and adhered much 
to his 5tyle in his historical works. Lanzi says 
there are few of his works in public, as he wrought 
mostly for the collections. In the church of S. 
Giovanni della Malva at Rome, is a picture by him 



of the Crucifixion. In the Palazzo Mattel ar© 
some of his pictures, representing butcher's meat, 
birds, and game, touched with a masterly pencil ? 
to these are added some half-length figures and 
some sparrows (passeri), in allusion to his name. 
There is also by his hand, in the Academy of St. 
Luke, the portrait of Domenichino. He was a 
man of letters, possessed a profound knowledge of 
art. and wrote the lives of the Painters, Sculptors, 
and Architects who were employed at Rome, now 
deceased, from 1641 to 1G73, published at Rome in 
1772. Lanzi pronounces him one of the most 
learned and authentic writers on Italian art. He 
was President of the Academy of St. Luke in 
1641, when Domenichino died, and pronounced his 
funeral oration. Malvasia erroneously states that 
it was Passerine. Towards the close of his life 
he entered the priesthood, and in 1675 obtained a 
benefice in the College of S. Maria in Via Lata. 
He died in 1679. 

PASSERI, Giuseppe, was a nephew of the pre- 
ceding, born at Rome in 1654. According to Pas- 
coli, he was a scholar of Carlo Maratti, and one of 
the most successful followers of his style. He 
painted many works for the churches at Rome, 
and at different places in the Roman territory. In 
the church of the Vatican, he painted a pendant to 
the Baptism of Maratti, representing St. Peter 
baptizing the Centurion. This work, after being 
copied in mosaic, was sent to the church of the 
Conventuals at Urbino. It was executed under 
the direction of Maratti himself, and is admirably 
colored ; but in his other works at Rome, such as the 
Conception, in the church of S. Tommaso in Pari- 
one, the coloring is comparatively feeble. At Pe- 
saro is one of his most esteemed works, repre- 
senting St. Jerome meditating on the Last Judg- 
ment. He painted much for the collections, and 
was also an excellent portrait painter. Passeri 
lived in general esteem, and his house was much 
frequented by persons of the first rank for taste 
and literature. He died at Rome in 1714. 



ff* 



Bernardino, an Italian painter and engra- 
ver, who flourished at Rome about 1580, 
There is a great deal of contradiction and confu- 
sion about this artist, from his having flourished 
nearly at the same time with Bartolomeo Passe- 
rotti, and using the same mark. It is said that he 
studied painting under Taddeo Zuccaro, whose 
style he adopted ; but there is no certainty of this, 
though it seems probable. He is more distin- 
guished as an engraver, and he executed a large 
number of plates, mostly of devout subjects, from 
his own designs, which prove him to have possess- 
ed a fertile and ready invention. They are some- 
times marked with his name, and sometimes with 
a monogram of his initials, the B. being reversed. 
Bartsch says he was not a painter, but a designer 
and engraver, and he gives a list of seventy-eight 
etchings by him ; but many of the prints hereto- 
fore attributed to him he gives to Passerotti, which 
see. 

^--|-> PASSEROTTI, Bartolomeo, a Bo- 
>-|Jlognese painter, born about 1540, and died 
C § according to the register of the Church of 
S. Martino Maggi ore, where he was interred, 
in 1592. He studied under Taddeo Zuccaro at 
Rome, and is mentioned by Vasari as one of the 
assistants of that master. He is also commended 



PASS. 



PASS. 



by Borghini and Lomazzo. He resided in the 
early part of his life at Rome, where he executed 
some works for the churches, the most esteemed 
of which is the Martyrdom of St. Paul, in S. Pao- 
lo alle Tre Fontane. On his return to Bologna, 
he painted many altar-pieces for the churches, the 
most celebrated of which are the Adoration of the 
Magi, in S. Pietro ; the Annunciation, in S. Marti- 
no Maggiore ; the Virgin on a Throne, surrounded 
by St. John the Baptist and other Saints, in S. 
Giacomo Maggiore, which last work was avowedly 
painted in competition with the Caracci, and elicit- 
ed their praise. The exquisite degree of diligence 
and refinement which he displayed in this work 
he rarely used ; but he generally painted in a 
bold, free style, with remarkable facility of exe- 
cution. He also excelled in portraits, and in this 
branch Guido ranked him next to Titian, prefer- 
ring him before the Caracci themselves. Lanzi 
says the name of the Caracci, in several galleries, 
is attached to the portraits of Passerotti. The 
most commendable of all his portraits are those he 
executed for the noble family Legnani, which are 
full-lengths, extremely varied in costume, action, 
and attitudes, and, though correct likenesses, they 
appear like true ideal pictures. He opened a 
school at Bologna, which was attended by many 
distinguished masters. Lanzi says " he was the 
first at Bologna to make a grander display, and 
began to vary Scripture histories by drawing from 
the naked torsi. He possessed remarkable skill 
in designing with his pen ; a gift which drew to 
his school Agostino Caracci, and which assisted 
the latter as a guide in the art of engraving ; he 
likewise wrote a book, from which he taught the 
symmetry and anatomy of the human body es- 
sential to the artist." The pictures of Passerotti are 
distinguished by a sparrow, in allusion to his name 
— a custom derived from the ancients, and practised 
by many modern artists. It is a well known fact 
relating to the two ancient sculptors Batrarchus 
and Saurus, that they indicated their proper names, 
the former by a frog and the latter by a lizard. 
Zani describes Passerotti as a designer and engra- 
ver. He says, also, that he is called II maestro al 
Passero (the Master of the Sparrow), from his 
having used a sparrow between the letters B. and 
P., as his rebus ; but this is not mentioned by any 
other writer. Bartsch commends him highly for 
his ability as a designer, and for the freedom and 
boldness of his manner of engraving. He enu- 
merates and describes fifteen prints b}'- him ; also 
two mentioned by Gori and Rost, and one doubt- 
ful, but he does not consider the catalogue com- 
plete. He says that his prints have at all times 
been sought for by artists and connoisseurs, and 
that they have become extremely scarce, the rich- 
est collections possessing one or two at most. 

A list of PasserottVs etchings, as gii^en by Bartsch, 
Peintre Graveur, torn, xviii. 

1. The Chastity of Joseph ; after Par miggiano. 2. The 
Visitation ; after F. Sahiati. 3. The Virgin, with the 
infant and St. John, marlted P. F. 4. A similar subject, 
with the letters B. P. 5. The Virgin sitting on the ground, 
with the infant Jesus on her knees ; signed B. Pasarot. 
6. Jesus Christ holding a Banner ; B. Pasarot. This and 
the five following are supposed to be part of a suite of thir- 
teen, representing Christ and his Apostles. 7. St. Peter ; 
the letters B. P. on the left at bottom. 8. St. Andrew ; B. 
Pasarot at bottom. 9. St. John the Evangelist ; do. 10, 
St. Bartholomew; do. 11. St. Paul; the letters B, P. on 
the right at bottom. 12. Religion, represented by a Wo- 



man seated, and surrounded by the sun; the letter B. on 
the right at bottom. 13. Painting, represented by a 
young Female with Wings. The letters B. P. on the right 
at bottom. 14. A young Woman in Bed, B, Passaroto 
written backwards, the letter B. reversed and joined to the 
P. 15. The Sacrifice, in which there are eight figures. — 
The letters B, P. on the left at bottom. A Charity, men- 
tioned by Gori. The Marriage of Isaac and Rebecca ; 
after Perugino ; mentioned by Rost. A Holy Family, 
doubtful. St. Peter delivered from Prison by an Angel. 
St. Peter is seated, and the Angel, without wings, has 
placed the left hand on Peter's shoulder, and directs the 
way with the right. At the bottom in the corner are the 
letters B. P. 

PASSEROTTI, TiBURZio, was the eldest son 
of the preceding, born at Bologna in 1575, He 
was instructed by his father, whose manner he 
adopted, though he wrought with a less bold, free, 
and rapid pencil. He executed some works for the 
churches, which were admired for their beautiful 
composition, and which Lanzi says possess real 
merit. The principal are the Assumption, in S. 
Maria Mascarella ; the Virgin, with St. Francis and 
St. Jerome, in S. Cecilia; the Annunciation, in S. 
Cristina ; and the Martyrdom of St. Catherine, in S. 
Giacomo Maggiore, which last is his most celebra- 
ted performance. He was also an excellent por- 
trait painter. He died in the prime of life, in 1612. 

PASSEROTTI, AuRELio, was the second son 
of Bartolomeo. He acquired distinction for his 
small pictures of historical subjects. He died at 
Rome about 1605. The third son, Passarotto 
P., died in his youth. 

PASSEROTTI, Ventura, was the fourth son 
of Bartolomeo, born at Bologna in 1586. He was 
instructed by his brother Tiburzio, whom he as- 
sisted in his works, but did not acquire any 
distinction as an historical painter. He however, 
painted portraits equal to any of his cotempora- 
ries. His greatest delight was in drawing with a 
pen or crayons, such subjects as occurred to his 
imagination, in which he aspired to express the 
proportions of the naked figure, and the muscular 
action, in the grand and terrible manner of Michael 
Angelo. He died in 1680. 

PASSIGNANO. See Cav. Domenico Cresti. 

PASTERINI. Jacopo, an excellent mosaic paint- 
er, who wrought for the churches at Venice, in the 
latter part of the 16th century. There are notices 
of him up to 1618. 

PASTI, Matted, an old artist of Verona, who, 
according to Maifei, was a painter, sculptor in mar- 
ble and bronze, gem and wood engraver, who flour- 
ished about the middle of the 15th century. He 
is supposed to have executed the wood cuts for a 
folio volume published at Verona in 1472. entitled, 
Roherti Valturii opus de re MiUtare. They poss- 
ess considerable accuracy and spirit, and show a 
considerable improvement in the art. This was 
the second book illustrated with engravings pub- 
lished in Italy, the first being the Meditations of 
Cardinal Turrecremata, published at Rome in 1467, 
by Hans Ulric, or as he is called by the Italians, 
Ulderico Han. 

PASTTLL, J. DE, a French engraver, who flour- 
ished about the middle of the 18th century. He 
seems to have employed himself mostly in copy- 
ing the prints of other masters, which he did in an 
indifferent manner. Among other plates of this 
description, is one of the Murder of the Innocents, 



\ 



P5^ST. 



663 



PATE. 



after the engraving of Louis Audran, from the 
picture of le Brun. 

PASTORTNI, B., an Italian engraver, who resi- 
ded at London about 1770. He engraved some 
plates in imitation of the style of Bartolozzi, 
among which are the following : 

L' Allegro; Angel. Kaufman, pinx. B. Pastorini,fec. 
IlPenseroso; the companion. A View of London ; ,/ronx 
his own design. Guntherus and Griselda ; J. P. Rigaud, 
pinx. B. Pastorini,fec. Griselda returning to her Fa- 
ther ; the companion. 

PASTORTNO, DA Siena, an eminent painter on 
glass, who flourished at Rome about 1547. His 
greatest works were the windows in the State Sa- 
loon of the Vatican, and of the cathedral of Siena. 

PATAROL, Lawrence, an engraver who flour- 
ished at Venice in 1702. He engraved some book 
plates, among which was a frontispiece for a book 
on coins, published there in that year. 

PATAS, Jean Baptiste, a French designer 
and engraver, born at Paris in 1748. He engraved 
several of the plates for the Galerie de Florence, 
Galerie d' Orleans, Musee Fran9ais, Cabinet Poul- 
lain. and other works of importance. His prints 
are executed with the graver, in a neat, pleasing 
style. He died in 1817. 

PATAVINUS. See Avibus. 

PATCH, Thomas, an English engraver, who 
flourished about 1770. He passed much of his 
time in Italy, and it is supposed that he died there. 
He engraved a set of twenty- six plates, after pic- 
tures by Masaccio. He also engraved some plates 
after Giotto, Frd Bartolomeo, and other old Ital- 
ian masters. 

PATEL, Pierre, an eminent French landscape 
painter, was born in 1654. His instructor is un- 
known, but he probably visited Rome, as his pic- 
tures generally represent views in the vicinity of 
that city. His style is formed on that of Claude 
Lorraine, and in many of his works he imitated 
that master with success. His verdure is fresh 
and agreeable ; his distances retire with a pleas- 
ing gradation ; his scenery is grand and striking ; 
his skies clear and brilliant. His landscapes are 
usually embellished with ruins of ancient architec- 
ture, and decorated with figures correctly drawn, 
touched in a very spirited style. Although the 
works of Patel are inferior to those of his great 
model in purity of aerial tints, and grandeur of 
composition, yet they entitle him to a high rank 
among the artists of his country. According to 
Dumesnil, he usually signed his pictures with a 
monogram composed of the letters A. P. T., fol- 
lowed by his name and the date. He etched two 
plates ; a Landscape, with architectural ruins, 
and Travelers in a Forest, marked A P. Patel, in. 
et fecit. He died 1703. In the Louvre collection 
there was one of his works, representing a land- 
scape with a river and waterfall, the ruins of a 
superb Corinthian Temple in the foreground, and 
adorned with figures and animals. There were 
also three of his pictures in the gallery of the 
great Trianon. 

PATEL, Bernard, called by the French Patel 
le jeime, was the son and schol ar of the preceding, 
whose manner he imitated. Although his works 
possess considerable merit, they are very inferior 
to those of his father. Some of his pictures have 



been engraved by Daulle, Vivares, Benasech, and 
others. 

PATENIER, Joachim, a Flemish painter, born 
at Dinant, in the principality of Liege, in 1480. It 
is not known under whom he studied, but he set- 
tled at Antwerp, where he acquired distinction 
for his landscapes, and was admitted into the 
Academy in that city in 1515. His pictures are 
usually of small size, so exquisitely finished as to 
appear labored. He introduced into them a great 
number of small figures, which are correctly de- 
signed and neatly touched. His distances are 
charmingly preserved, and the foliage of his trees, 
the trunks and the bi-anches. appear like nature. 
He also painted battles and huntings, which were 
highly esteemed. When Albert Durer was at Ant- 
werp, he was so charmed with the works of this 
artist, that he painted his portrait. His works 
were greatly admired, and much sought after, yet 
they are very scarce, as he bestowed much labor 
upon them, and was a man of low dissipated hab- 
its, spending most of his time in the ale houses. 
There is also much discrepancy as to his mer- 
its, which has doubtless arisen from spurious 
imitations of his works, as his genuine pictures 
in the Imperial Gallery at Vienna and other 
places, fully justify the above account. Van Man- 
der mentions one of his pictures, representing 
a battle, in the possession of Melchior Wijntges at 
Middelburg, so delicately wrought that no min- 
iature could surpass it. He is said to have died in 
1548, though there is no certainty as to the exact 
time of either his birth or death, there being much 
discrepancy among authors on these points. 

PATER, or PATERRE, Jean Baptiste, a 
French painter, born at Valenciennes in 1695. 
He went to Paris early in life, and became the 
pupil of Anthony Watteau, whose subjects and 
manner he imitated with considerable success, 
though his works are greatly inferior to those of 
that master. He was an excellent colorist, but 
a negligent and incorrect designer, and his heads 
lack expression. He died in 1736. 

PATERNO, Ignazio Vincenzto Castello. 
Prince of Biscari. This distinguished Sicilian 
nobleman flourished in the latter part of the 18th 
century, and deserves honorable notice in a work 
relating to architecture, for designing and erecting 
at his own expense, the great bridge of thirty- 
one arches, 1450 feet in length, over the Sinieto, 
not far from Catania. Besides serving for the 
transit of freight and passengers, this bridge sup- 
ports an aqueduct. The government of Sicily con- 
fided to Paterno the superintendence of the bridges, 
streets, and other public works. 

PATICCHT, Antonio, an Italian painter, born 
at Rome in 1762. He acquired the elements of 
design from his father, and made such rapid pro- 
gress that, at the age of twenty, he was commis- 
sioned to execute the paintings in the Refectory 
of the Carmes at Veletri. On one of the walls 
he painted the Last Supper ; on another, the Vir- 
gin, surrounded by Saints ; and in the vault, Eli- 
jah ascending to Heaven in a Chariot of Fire. 
This great work gained for Paticchi so high a 
reputation, that Count Toruzzi of Veletri imme- 
diately commissioned him to paint the gallery of 
his palace, where he represented the Car of Night, 
and several fabulous subjects. He wrought with 



PATI. 



664 



PAUD. 



wonderful rapidity ; and, perceiving that his facili- 
ty of execution had led him to neglect excellence 
of coloring, he devoted his energies patiently to 
this branch of the art. Undoubtedly he would have 
attained great eminence, but he died in 1788, at the 
age of twenty-six. Paticchi possessed a great talent 
for imitating the designs of the great masters, and 
he executed very many in the style of Polidoro 
da Caravaggio, which, according to the Biographie 
Universelle, are attributed to that master by the 
best judges, and have a place in many fine col 
lections. 

PATIGNY, Jean or Giovanni, a French en- 
graver, who flourished from 1650 to about 1670. 
He went to Italy, and appears to have imitated 
Agostino Caracci, but with little success. He ex- 
ecuted some prints after Annibale Caracci and 
other Italian masters. 

PATIN, Jacques, a French painter and en- 
graver, who flourished about 1581. According to 
Dumesnil, he was employed by Louise de Lorraine, 
queen of Henry III. of France, to paint the dec- 
orations necessary for a masque, or ballet, given 
by her on the marriage of her sister Marguerite 
de Vaudemont with the Due de Joyeuse, in 1581. 
Patin executed twenty-seven spirited etchings, to 
illustrate a book describing the same ballet, pub- 
lished in 1582. 

PATON, Richard, an eminent English painter 
of marines and sea-fights, born in 1720, and died 
in 1795. He painted the principal naval battles 
of his time, which were very popular, and many 
of them were engraved by Woollett, Fittler, Ler- 
piniere, and Canot. He also executed a few spir- 
ited etchings of similar subjects, among which are 
the following : 

The Victory gained by the English over the French, 21 
September, 1757, The Engagement of the Monmouth 
with the Foudroyant, in which the French ship was taken, 
28 February, 1758. The Engagement between the Buck- 
ingham and Florissant, supported by two Frigates, 3 Nov. 
1758. 

PATOUR, Jean Augustin, a French engraver, 
born at Paris about 1730. He studied under Halle 
and Flipart, and engraved some plates in a neat, 
pleasing style, among which are the following : 

The little Lyar ; after Albert Durer. Le doux Som- 
meil ; after HallL Le doux Repos ; do. Hercules and 
Omphale ; do. Two Views of La Rochelle ; after Lalle- 
mand. 

PATTE, Pierre, a French architect and engraver, 
born at Paris in 1723. After acquiring the elements 
of design in his own country, he visited Italy for im- 
provement. During the principal part of his life, 
he was devoted rather to the theory than to the 
practice of the art ; and during the stormy scenes 
of the Revolution, he lived in retirement. The 
Duke des Deux Ponts, appointed Patte his archi- 
tect, and he designed for him the Chateau de Ja- 
resboure. The Hotel Charost at Paris, is also by 
him. His writings are quite voluminous. Among 
the principal are Memoires sur les objets les plus 
importants de V architecture, 4to ; Traite de la 
construction des Batiments, 3 vols. 8vo., intended 
as a supplement to Blondel's Cours d' architecture; 
and Etudes d^ architecture, 1755, fol., illustrated 
with twenty plates. As an engraver, he executed 
the plates in the latter work ; also several plates 
for Blondel's Architecture Francaise ; Perspec- 
tive Views, after Piranesi ; and the Temple of 
Venus, afttr Claude. He died at Nantes in 1814. 



P AUDITZ, or PAUDITS, Christopher, a Ger- 
man painter, born in Lower Saxony about 1620. 
After receiving some instructions from an obscure 
German painter, he went to Amsterdam and en- 
tered the school of Rembrandt. He applied him- 
self with great assiduity, and became one of the 
ablest disciples of that master. On leaving the 
school of Rembrandt, he was employed by the 
Bishop of Ratisbon, for whom he painted some 
historical works as well as portraits, which gained 
him considerable reputation. He was next taken 
into the employment of the Duke of Bavaria, in 
whose service he continued several years, and for 
whom he painted some of his finest works. His 
subjects are well composed, his coloring is vigor- 
ous, and his heads, especially of old men, are marked 
with dignity and expression. He was particularly 
excellent in portraits, in which he was much em- 
ployed. Sandrart relates, that his death was occa- 
sioned by the unfortunate issue of a contest, with 
one Roster, a painter of Nuremberg, who chal- 
lenged him to paint a picture of the Wolf and the 
Lamb, in competition with him. Pauditz showed 
in his work great superiority in design, force, truth, 
and expression, which gained him the approbation 
of the best judges. But the majority gave the pref- 
erence to the picture of Roster, because it was so 
highly finished that they could count the hairs of the 
wolf, and appreciate the delicacy of the wool. This 
decision so mortified Paudits and depressed his 
spirits, that he died soon afterwards. His works 
are to be found at Munich, Vienna, and other prin- 
cipal German cities. He marked his pictures C. P. ; 
the latest date known is 1665, about which time 
he is supposed to have died. 

PAUL, or DE PAULIS, a Flemish engraver, who 
flourished about 1640. Nagler says he was born 
in Holland in 1598. He engraved some prints af- 
ter the Flemish masters, among which are Peter 
Denying Christ, after Gerard Segers; Titian and 
his Mistress, after the etching by Vandyck ; the 
Tooth Drawer, after Theodore Roelanis. 

PAUL, I. S.. an English mezzotinto engraver, 
who flourished at London about 1760. He scraped 
some portraits, among which are Mrs. Barrj'- the 
actress, after Kettle ; Lady Georgiana Spenser and 
her daughter, after Reynolds. 

PAUL, Robert, a Scotch engraver, who flour- 
ished at Glasgow about 1762. He engraved some 
views of that city, which are neatly executed, and 
bear the above date. 

PALTLUZZI, Stefan 0, a painter who flourished 
at Venice, and executed some works for the church- 
es, which are highly commended by Boschini. — 
Lanzi says his works have deteriorated so much, 
perhaps from the badness of his grounds, that it is 
impossible to form a correct opinion of his merits. 
He was living in 1660. 

PAULINI. See Paolini. 

PAULINI, or PAOLINI, Giacomo, a Neapoli- 
tan engraver, who flourished about 1600. He en- 
graved some plates from his own designs, and 
others, which he marked with his name. 

PAULUTZ. Zachariah, a Dutch painter, born 
at Amsterdam in 1600, and died there in 1657. 
He was a good portrait painter. 

PAULY, Nicholas, a Flemish painter, born at 
Antwerp in 1660. He distinguished himself as a 
miniature painter, and settled at Brussels, where 
he died in 1748. 



i 



PAUL. 



665 



PAUS. 



PATTLYN, HoRATius, a Dutch painter, born at 

Amsterdam, according to Descamps, about 1643, 
though probably at an earlier period. Balkema 
says he died there in 1686. It is not known un- 
der whom he studied, but he excelled in painting 
conversations and gallant subjects, in which he oc- 
casionally gave way to a culpable breach of deco- 
rum and decency. Some of his pictures are gross 
enough to cause the avowed libertine to blush. 
His pictures are exquisitely colored, his touch ex- 
ceedingly neat and delicate, with a sweetness of 
tone that is capable of deluding any lover of the 
art to admire, what modesty must compel him to 
detest. In some of his works he imitated the 
manner of Rembrandt. Though his indecent sub- 
jects lessened him in public estimation, they 
brought large prices from the class for whom he 
pandered. 

PAULYN, Isaac, a Dutch painter, born at Am- 
sterdam about 1630. He studied under Abraham 
vander Tempel, and became an eminent portrait 
painter, in which capacity he visited England, 
where he resided several years. In 1682, he re- 
turned to Holland, and settled at the Hague, where 
he practised his profession with great encourage- 
ment. 

PAUSIAS, an eminent Greek painter, the son 
of Brietes, was a native of Sicyon, and flourished | 
about B. C. 450. After acquiring the elements of 
the art from his father, he studied encaustic paint- 
ing in the school of Pamphilus, where he was the 
fellow disciple of Apelles and Melanthus. He was 
the first painter who acquired a great name for 
encaustic with the cestrum. He particularly ex- 
celled in managing the shadows. His favorite 
subjects were small pictures, usually of children; 
but he also painted large compositions. Some of 
his rival artists pretended that he made choice of 
these subjects as best suited to the slow and la- 
bored style of his execution. To contradict the 
calumny, and to prove that he was capable of 
greater exertions, he finished in a single day a large 
picture of the infant Hercules. Pausias was the 
first who introduced the custom of painting the 
walls and ceilings of private apartments with his- 
torical and dramatic subjects, although the prac- 
tice of decorating the ceilings of temples with stars | 
and arabesque figures, was of very ancient date. 

Pausias undertook the restoration of the paint- 
ings of Polygnotus at Thespise, which had been 
greatly injured by the hand of Time. In this 
work he was judged inferior to the original artist, 
perhaps unfairly, since he contended with foreign ; 
weapons, being accustomed to using the cestrum, \ 
instead of the pencil, as he doubtless did in this 
instance. His most famous work was a picture of j 
the Sacrifice of an Ox. which, in the time of Pliny, 1 
was in the Hall of Pompey. The figure of the | 
animal was foreshortened ; but, to show the ox ' 
to full advantage, the artist judiciously threw its \ 
shadow upon a part of the surrounding crowd ; I 
and he added to the effect by painting a dark ox | 
upon a light ground. In this manner he doubtless j 
produced a very powerful contrast of shadows ; ] 
and some of the modern masters have followed in 
the same track. 

During the younger days of Pausias, he loved a 
native of his own city, called Glycera, who gained 
a livelihood by making garlands of flowers and 
wreaths of roses. Her skill in this art induced 



Pausias, probably in a loving rivalry, to compete 
with her ; and he eventually became an admirable 
flower painter. A portrait of Gljxera with a gar- 
land of flowers, called the Stephanopolis, was reck- 
oned his master-piece; a copy of it was pur- 
chased at Athens, by Lucius Lucullus, at the price 
of two talents, about ^2000. Pausanias mentions 
two of his paintings at Epidaurus, the one a Cu- 
pid with a lyre in his hand, the other the figure 
of Methe, or Drunkenness, drinking out of a glass, 
through which his face is seen. The Sicyonians were 
obliged to part with the pictures which they poss- 
essed of so distinguished an artist, to free them- 
selves from a heavy debt. They were purchased 
by M. Scaurus when sedile, and were taken to 
Rome to adorn the new theatre which he erected. 
From the observation of Horace (Sat. II. 7, 95), we 
may collect that the works of Pausias were well 
known at Rome, 

PAUS ON, a Greek painter, who flourished about 
B.C. 420. He seems to have been an artist of little 
merit, being unfavorably compared by Aristotle 
with Polygnotus and Dionysius. " Polygnotus," 
said Aristotle, " drew men more perfect than they 
were, Dionysius such as they really were, and 
Pauson worse than they were." It may be infer- 
red, then, that Pauson degraded nature by a selec- 
tion of her most vulgar and ignoble forms. His 
abilities seem to have been properly rated, for he 
was reduced to beggary, so that his poverty passed 
into a proverb. 

P AUTRE, Jean le, a distinguished French en- 
graver, born at Paris in 1617 ; died in 1682. — 
While young, he was placed under an architect, 
with whom he learned to draw plans and orna- 
mental designs, in which he manifested excellent 
powers of invention, and astonishing facility of 
execution. He subsequently devoted his talents 
to engraving, both with the point and graver, and 
met with great n success. His plates principally 
consist of architectural decorations, friezes, ceil- 
ings, vases, and other ornaments ; also several his- 
torical and devout subjects. In 1677 he was cho- 
sen a member of the Royal Academy. His plates 
are so very numerous, that Mariette estimates 
them at fourteen or fifteen hundred ; yet, with the 
exception of a few prints from the designs of Pao- 
lo Farinati, they are all after his own designs — a 
striking proof of his industry and facility. They 
are usually marked with his initials I. P. or I. leP. 
Among them are the following : 

PORTHAITS. 

John le Pautre, witk a border of flowers, supported by 
Genii. 1674. Louis XIV. in Roman attire. 1684. John 
Robert. 

VARIOUS SUBJECTS. 

A set of ten plates of the History of Moses. Twenty- 
two of Mythological Subjects. Twelve of Landscapes, 
Views of Gardens and Grottos. Six plates of Italian 
Fountains. Six of Friezes, Mythological Subjects. Twelve 
of Antique Vases. Six plates of Sea-ports and Vessels. 
The Sacre of Louis XIV., in the Cathedral at Rheims ; in 
three sheets. The Baptism of the Dauphin. Two per- 
spective Views of the Canal of Fontainbleau. 

PAUTRE, Antoine le, a French architect, born 
at Paris in 1614. He was appointed architect 
to Louis XIV., and designed a number of edifices, 
among which are the Pont Neuf; the church of 
the Port Royal, in the Fauxbourg St. Jacques ; 
the Hotel de Beauvais ; and the wings of the pal 
ace of St. Cloud. In 1671, at the formation of 



PAUT. 



666 



PAVO. 



the Academy of Architecture, he was chosen a 
member. His taste lay in the decorative branch 
of the art, which he carried to excess. In 1652, 
he published a work on architecture, which is still 
held in high estimation. He died in 1691, of cha- 
grin, because Lenotre preferred Mansard to him- 
self as architect of the Chateau de Clagny, design- 
ed to be erected for Madame de Montespan. 

PAUTRE, Pierre le, a French sculptor, the 
son of Antoine P., born at Paris in 1660. He 
gained the grand prize of the Academy, and then 
visited Rome, where he remained fifteen years. 
His best work is the marble group of ^neas and 
Anchises, executed in 1716, which was in the gar- 
dens of the Tuileries. There are also a number 
of other works by him, as a marble group of the 
Death of Lucretia. Most of his sculptures are in 
bad taste. He died in 1744. 

PA VIA, GiACOMO, a painter born at Bologna, 
Feb. 18th, 1655, according to authentic documents. 
There is much discrepancy as to the time of his 
birth, and about his instruction. He is said to have 
studied under Antonio Orespi, who was twenty-six 
years his junior. Lanzi says he was the pupil of 
Cay. Giuseppe Maria Crespi, ten years his junior ; 
and the Canon Luigi Crespi, the son of Giuseppe, 
states, in the 3d volume of the Felsina Pittrice, that 
he was instructed by Gio. Gioseffo dal Sole, four 
years his junior. He acquired considerable repu- 
tation at Bologna, and executed several works for 
the churches, which were admired for the fine 
taste displayed in their composition. The most es- 
teemed of these is a picture of St. Anne teaching 
the Virgin to read, in S. Silvestro ; and the Na- 
tivity, in S. Giuseppe. He went to Spain, where 
he distinguished himself, and executed many works 
for the churches. He died in 1740. 

PAVIA, DoNATO Bardo da, a native of Pa via, 
who flourished in Savona about 1500. He was a 
reputable artist. There are some of his works 
in that city, on which he inscribed himself, Dona- 
tus Comes Bardus Papiensis. 

PAVIA, Lorenzo da, a native of Pavia, who 
flourished at Savona about 1513. There are some 
of his works in that city, inscribed Laurentius 
Papiensis. 

PAVIA, Giovanni di, a native of Pavia, who, 
according to Malvasia, was a pupil of Lorenzo 
Costa, and executed some works for the churches 
in his native city and elsewhere. He flourished 
about 1530. 

PA VON, Ignatius, an excellent engraver, who 
studied under Raphael Morghen. His works are 
well known, though little is known of him, as his 
life has not been written, and he may yet be liv- 
ing. His master died in 1833. He has copied 
some of the best prints of Morghen, and engraved 
quite a number of plates after the Italian masters. 
They are executed in the manner of his master, 
and though greatly inferior to them, they pos- 
sess much merit. The following are among his 
best works : 

Mater Amabilis ; after Sasso Ferrato. The Virgin 
H,Kd infant Christ, with* St. John, in a landscape ; after 
Raff'aelle ; but copied from the engraving by R. Mor- 
ghen. La Madonna del Trono ; after Raffaelle. La 
Madonna del Foligno; do. La Vierge au Papillon ; do. 
La Vierge a I'Oiseau ; do. ; copied after R. Morghen. 
The Transfiguration ; do. ; do. The Communion of St. 



Jerome ; after Domenichino. St. .John writing ; rfc— 
The Magdalene ; after Schidone. Leda; after Correg" 
gio : and several others after Caracci, N. Poussin, (^c. 

PAVONA, Francesco, a painter born atUdine, 
according to Renaldis, in 1692. He first studied 
under Gio. Gioseffo dal Sole. He afterwards 
studied at Milan, and thence proceeded to Genoa. 
He next went to Spain, Portugal, and Germany, 
at all which courts he was well received and exe- 
cuted many works. He resided some time at 
Dresden, where he married and had a family. He 
subsequently returned to Bologna, where he resi- 
ded some time, and executed some works for the 
churches. Lanzi says he was an excellent painter 
in oil, and better in crayons. He painted many 
large altar-pieces, well designed and colored. He 
also excelled in portraits. He died at Venice in 
1777, 

PAYNE, John, an English engraver, born about 
1606. He studied under Simon de Passe the El- 
der, when that artist was in England, and was the 
first English engraver who distinguished himself. 
Had his application been equal to his genius, he 
would have ranked among the first of his profes- 
sion. But he was indolent and dissipated ; and, 
though recommended to Charles L, he neglected 
his fortunes and his fame, and died in poverty, in 
1647 or 1648. He engraved portraits, frontis- 
pieces, and other book plates, as well as a variety 
of other subjects, such as landscapes, fruit, flow- 
ers, birds, animals, &c. His plates are executed 
entirely with the graver, in a free, open style, that 
produces a pleasing effect. His greatest work was 
an engraving of the Royal Sovereign, a ship of the 
line, built in 1637 ; it was engraved on two plates, 
and when joined together was three feet long, by 
two feet two inches high. His portraits are his 
best prints, of which the following are the most 
esteemed : 

Henry VII., prefixed to his Life by Lord Bacon. Hen- 
ry VIII. Eobert Devereux, Ear] of Essex, with a hat 
and feather. Sir Benjamin Rudyard ; after Mytens. 
Doctor Alabaster ; after Cornelius Jansen ; scarce. Hugh 
Broughton. Alderman Leate ; after C. Jansen ; scarce. 
Roger Bolton, 1632. Arthur Lake, Bishop of Chichester, 
Sir Edward Coke. 1629. Algernon Percy, Earl of North- 
umberland. George Withers, the Poet, Avith a hat on (for 
his Emblems, published in 1635). William Shakspeare. 
Ferdinand of Austria; after Vandyck. Count Ernest de 
Mansfield. Elizabeth, Countess of Huntingdon. 

PAZZI, PiETRo Antonio, an Italian engraver, 
born at Florence in 1706. It is not known under 
whom he studied, but he executed many plates of 
portraits and other subjects, after the Italian mas- 
ters, which are held in estimation. His works are 
to be found in the Museo Fiorentino, Museo Capi- 
tolino, and the Museo Etrusco. Among thera are 
the following : 

POHTRAITS, 

Francesco Albano, Bolognese Painter ; se ipse pinx. 
Federigo Baroccio, Painter ; se ipse pinx. Giacorao Bas- 
sano, Painter. Giovanni Bizelli, Painter ; from a picture 
by himself. Andrea Boscoli, Painter ; do. 

SUBJECTS AFTER VARIOUS MASTERS, 

The Holy Family ; after L. Cambiasi. The Assump- 
tion of the Virgin ; after Raffaelle. The Virgin and in- 
fant Christ; after Vandyck. St. Zanobi resuscitating a 
dead Person ; 'after Betfi. St. Philip refusing the Pope- 
dom ; do. A Sibyl ; after Crespi. 

PEACHAM, Henry, an English amateur art- 
ist, who is said to have "distinguished himself by 
his skill in music, painting, and engraving." He 



PEAC. 



667 



PEDR. 



was born at South Mimms, in Hertfordshire, and 
studied at Trinity College, Cambridge, where he 
took the degree of Master of Arts. He was the 
author of a book entitled The Genllemaii's 
Exercise ; or an Exquisite Practice, as well 
for drawing all manner of Beasts in the true 
Portraiture, as also the making of Colors for 
Limning. Painting, Tricking, and Blazon- 
ing Coats of Arms ; I60O, 4to. The only work 
mentioned by hitn, was a plate of Sir Thomas 
Cromwell, after Holbein. He died about 1650. 

PEACKE, Edward, an English engraver, who 
flourished about 1640. In conjunction with Rob- 
ert Peacke, probably his brother, he executed a 
set of plates of friezes, and other architectural or- 
naments, published in that year. 

PEACKE. William, an English artist, men- 
tioned by Strutt as the engraver of two portraits, 
one of the Earl of Holland, and the other of the 
Earl of Warwick. 

PEAK, James, an English engraver, born in 
1732, and died in 1782. He engraved some plates 
of landscapes, and a few prints from his own de- 
signs, among which are the following: 

A View of Waltham Abbey, in Essex. Two Landscapes ; 
after Pillement. Two Views of Warwick Hall, in Cura- 
Ijerland, and Ferry Bridge, in Yorkshire ; after Belters. 
A Landscape, with Mercury and Battns ; after Claude. 
Morning, a Landscape ; do. A Landscape, with Ruins ; 
after G. Smith. A Landscape, with a Waterfall; the 
companion ; de. Four Views ; after R. Wilson. Ban- 
ditti in a rocky iandscape : after Burgognone. The Beg- 
gars ; the companion ; do. 

PEARSON, Margaret, an English lady, whose 
maiden name was Paterson. She married an art- 
ist by the name of Pearson, a painter on glass. 
She devoted herself to this business, and acquired 
distinction. Among other fine specimens of her 
skill were two sets of the Cartoons of RafFaelle, 
one of wliich was purchased by the Marquis of 
Lansdowne. and the other by Sir Gregory Page 
Turner, She died in 1823. and her husband in 
1805. ' • 

PECCHIO, DoMENico, a painter of Verona, born 
about 1700. He studied at Venice, in the school 
of Antonio Balestra. He afterwards devoted him- 
self to landscapes, which he executed in a style of 
excellence. He died about 1760. 

PECHWELL, Carl von. a German engraver, 
who flourished at Vienna in the latter part of the 
18th century. He engraved the portrait of the 
Emperor Joseph XL, after P. Batoni ; and the 
portraits of several German princes and distin- 
guished personages. The following subjects are 
particularly noticed as among his best works : 

La viellie Amoureuse ; after J. T'oornvliet. The Judg- 
ment of Paris; after A. vander Werjf, with a dedication 
to the (r races of Europe. Venus uncovered by a Satyr. 
The Magdalene in a Grotto ; after P. BatonVs picture at 
Dresden. The angry Mother and her Daughter ; after P. 
delta Vecchia. 

PECORI, DoMENiGo AREtiNO, a painter of Arez- 
zo, who studied under Don Bartolomeo della Gatta, 
and afterwards improved himself by studying the 
works of other masters. In the parochial church 
of his native city is a picture by him, of the Vir- 
gin receiving under her mantle the people of Arez- 
zo, who are recommended to her protection by 
their patron saint. Lanzi says it is a judicious 
compositioB, enriched with good architecture, the 
airs of the heads resemblinK those of Francia. 



He used less gilding than was usual at the time. 
He flourished about 1450. 

PEDRA.LI, Giacomo. a painter of Brescia, born 
about 1590. It is not known under whom he 
studied, but he associated himself with Domenico 
Bruni, in conjunction with whom he executed 
some perspective pieces for the churches in his na- 
tive city, and also at Venice, which are highly com- 
mended by Orlandi. He died about 1660. 

PEDRETTI, Giuseppe, a Bolognese painter, 
born in 1694. He studied under Marc' Antonio 
Franceschini, whose manner he adopted. Soon 
after leaving his master, he passed through Ger- 
many to Poland, where he resided many years, in 
the employment of the court. He afterwards re- 
turned to his native city, and painted a great many 
pictures and altar-pieces for the churches, the most 
esteemed of which are the Martyrdom of St. Pe- 
ter, in S. Petronio ; Christ bearing the Cross, in 
S. Giuseppe ; and St. Margaret, in the Annunziata. 
He died in 1778. 

PEDRINI, Giovanni, a Milanese painter, stated 
by the Padre Resta to have studied under Leon- 
ardo da Vinci. Little is known of him or his 
works. 

PEDRONI. PiETRO, a painter born at Pontre- 
moli, in the Florentine territory. He first studied 
at Florence, and afterwards at Parma and Rome. 
He executed a few excellent works for the church- 
es at Florence, and in his native place ; but, incon- 
sequence of ill health, he opened an academj'- un- 
der the protection of the Senator Martelli, which 
produced many able artists. " If not a rare paint- 
er," says Lanzi, ■' he was at least an able master ; 
profound in theory, and eloquent in conveying 
knowledge to his pupils, of whom history will 
treat in the ensuing age. Their success; their affec- 
tion and esteem for Pedroni, is the best eulogium 
on him which I can transmit to posterity." He 
died in 1803. 

PEE, Engelhart van, a Dutch painter, who 
flourished in the first part of the 17th century. 
He was an excellent portrait painter, and was pat- 
ronized by the court at Munich, where he died 
about 1605. 

There were several other artists of this name, 
but of little account. Emanuel van Pee painted 
subjects from low-life, and copied the works of 
other masters with considerable success. John 
van Pee was the son of the preceding, born at 
Brussels in 1640. He painted the same subjects 
as his father, and is said to have copied the works 
of the Italian masters for the picture-dealers. 

Theodore van Pee was the son of Justus van P. 
He is said to have painted ceilings, portraits, and 
various subjects, with no great success. He went 
to England, where he dealt largely in Dutch and 
Flemish pictures, and realized a snug little fortune, 
with which he returned to the Hague, where he 
died, in 1747. 

PEHAM, George, a German engraver, and prob- 
ably a painter, who flourished at Munich from 
1592 to 1604. by the dates on his prints. There 
are a few etchings by him, executed in a bold, free, 
painter-like style, from his own designs, which are 
variously signed, with his initials G. P., or Georges 
Peham, or Georges Peham Monachi. Among 
them is one of Neptune rising from the Sea, and 
one of Hercules and Anteus. 



PEIN. 



PEINS. SeePi^z. 

PEIROLERI. P(ETRO, an Italian engraver, born 
at Turin about 1738. Little is known of him ex- 
cept his prints. Nagler gives a list of twenty 
prints by him, of which the following are the 
principal. He was living in 1777. 

Portrait of the Fornarina ; after Rafaelh. Portrait of 
Raffaelle ; do. Philip de Champagne ; copied from Ede- 
linck. The Holy Family ; after ScarseUino. The Find- 
ing of Moses ; after Lazzarini. The Roman Charity ; 
do. Abraham's Offering ; after Bellucci. Jupiter and 
Calisto ; after Amiconi. Zephyrus and Flora ; do. ; and 
others, after Rembrandt, Mieris, Nogari, Beaumont^ 
and C. Ruthart. 



•J- PELAIS, Michael, an engraver of 

L^P fp^ whom little is known. There are 
J. JL -' some prints signed Palais, fee. and 
others after the younger Palma and Federigo Zuc- 
caro. marked with a monogram of his initials, M. 
V.fec, which are attributed to him. His manner 
approaches that of Cornelius Cort, and he is sup- 
posed to have flourished at Rome about 1625, as 
some of his prints are dated at that city. He also 
engraved the portraits of Cardinal d^Ossat, and J. 
de Gastebois. 

PELEE, Peter, a Swiss engraver, born at 
Courtedoux, in the canton of Berne, and studied 
under von Schenker. Nagler mentions the follow- 
ing prints by him : The Evangelist St. John, after 
Domenichino ; the President Duranti, after Dela- 
roche ; several Portraits and Vignettes for the 
works of Voltaire and Rousseau, after Desenne 
and Deveria. He was living in 1838. 

PELEGRET, Thomas, an eminent Spanish his- 
torical painter, born at Toledo at an uncertain time. 
After learning the elements of the art in his na- 
tive place, according to Palomino, he went to Italy, 
and studied successively wiih Baldassare da Siena, 
and Polidoro da Caravaggio ; from the last he de- 
rived his admirable chiaro-scuro, and he imitated 
his manner. He returned to Spain in the time 
of Charles V., established himself at Saragossa, 
and acquired considerable reputation for his frescos, 
but more for his black crayon drawings {en gri- 
saille). He had a fertile invention, was well 
versed in perspective, and, above all, was an excel- 
lent designer ; which, together with the novelty 
of his works, made them highly prized by artists 
and amateurs. His drawings were purchased 
with avidity by painters, sculptors, decorators, 
and goldsmiths. He is said to have been an excel- 
lent fresco painter, but the only examples remain- 
ing are some pictures in the monastery of Santa 
Engracia, at Saragossa, executed in the manner of 
Caravaggio. His other works have perished. He 
instructed many pupils, and among them was Pe- 
dro de las Cuevas, who assisted him in painting 
the sacristy of the Cathedral of Huesca, and some 
other works. He died at the age of 84 years, 
but neither the time of his birth or death are 
known ; but from the facts above mentioned, he 
must have been born about 1516. and died about 
1600, as Caravaggio died in 1543, and Cuevas was 
born in 1548. " With him," says the historian. 
'' died the art of painting in chiaro-scuro in Spain." 

PELHAM, Peter, an English eno;raver, born 
about 1684, and died about 1738. He executed 
quite a number of portraits in mezzotinto, among 
which are the following: 

King George I. ; after Kneller. King George II. ; do. 
Anne, consort of the Prince of Orange ; do. Oliver Crom- 



}8 PELH. 

well ; after Walker. Thomas Holies, Dake of K"ew«a«^ 
tle. Robert, Viscount Molesworth ; after Gibson. John, 
Lord Carteret ; after Kneller, James Gibbs, Architect 5 
after Hysing. Peter Paul Rubens ; after Rubens. Ed- 
ward Cooper ; after tander Vaart. J)t. Edmund, Bishop 
of London ; after Murray. 

PELHAM, J. C, was the son of the preceding, 
born in 1721. He painted history and portraits 
with so little reputation, that his works are scarce- 
ly known. 

PELKIN, Cornelius, a Dutch engraver, whc 
flourished at Middleburg about 1663. He en- 
graved some plates for the booksellers in a very 
indifierent style. 

PELLEGRINI, Antonio, a painter born at Ven- 
ice in 1674. He studied under Sebastiano Ricci. 
He was one of those fortunate men who acquire? 
a greater reputation than their merits deserve. 
On leaving Ricci, it is said that he received some 
instructions from Paolo Pagani ; at all events, that 
artist recommended him to Angelo Cornaro, for 
whom he executed some frescos, which gained him 
considerable applause, and laid the foundation of 
his fame. At the invitation of the Duke of Man- 
chester, he'Vrent to England, where he decorated 
the palace of that nobleman, and others of the 
English nobility, for which he was roundly paid. 
In 1719 he went to Paris, where he v»''as employed 
in embellishing the celebrated Hall of the xMississ- 
ippi. and was chosen a member of the Royal Acad- 
em)^ He was next employed at the courts of 
the Electors Palatine and Brunswick. He after- 
wards returned to Venice, where he followed hi& 
profession with great success till his death in 1741. 
His wife was Angelica Carriera, sister to the cel- 
ebrated Rosalba. Lanzi says, " the surprising suc- 
cess he met with in some of the most civilized 
kingdoms in Europe, is to be attributed to the 
decline of the art, and to the lively and mannered 
style he assumed, which procured him a welcome 
reception every where. He may be pronounced 
an artist of some ingenuity, facility, and sprightly 
conception, but he was not well grounded in the 
art, and he expressed his ideas with so little de- 
cision, that the objects appear to float in a kind of 
half existence, between visible and invisible. He 
was so superficial a colorist, that even in his own 
time, it was said his works would not continue 
half a century." His best works are the ceiling 
of the church of the Capuchins, and that of San 
Moise. at Venice. In the first he represented the 
Israelites gathering Manna, and in the second, the 
Brazen Serpent. He executed many works in oil, 
in the same feeble and languid manner of coloring. 

PELLEGRINI, Francesco, a Ferrarese painter 
mentioned by Barotti, who flourished about 1740. 
He studied under Gio. Battista Cozza, and execu- 
ted a number of works for the churches of Ferrara, 
among which is a picture of the Last Supper, in 
S. Paolo ; and another of St. Bernardo, in the Ca- 
thedral, 

PELLEGRINI, Felice, a painter born at Pe- 
rugia in 1567. He studied under Federigo Baroc- 
cio, under whose able instruction he became a cor- 
rect and skilful designer. He was invited to Rome 
by Clement VIII. to assist in the works going on 
in the Vatican. On his return to his native city, 
he executed some good works for the churches. 
He died in 1630. 

PELLEGRINI, Vincenzio, was the brother of 



PELL. 



669 



PELL. 



Felice P., born at Perugia in 1575. He also stud- 
ied in the school of Baroccio. and painted several 
pictures for the churches of Perugia, which Lanzi 
says appear dry and dead, and do not partake 
much of the style of his master. He was called 
n Pittor Bello. for the beauty of his person, not 
that of his paintings. He died in 1612. 

PELLEGRINI, Girolainio, a painter of Rome, 
who flourished there, according to Zanetti. in 1674. 
None of his works are mentioned at Rome, but he 
was employed at Venice, where he executed sev- 
eral frescos on a large scale for the churches, 
which Lanzi says indicates a painter sufficiently 
elevated, though not very select, varied, or spirited 
in his forms. 

PELLEGRINI, Andeea, a Milanese painter, who 
flourished in the last part of the 16th century. 
He is commended by Lomazzo. and executed some 
works for the churches, particularly the choir of 
S. Girolamo. 

PELLEGRINI, Pellegrino, an eminent Milan- 
ese painter and architect, the cousin of the preced- 
ing, born about 1570. After acquiring considerable 
reputation, he was invited to the court of Madrid, 
where he was employed both as painter and ar- 
chitect. He executed some works in the Escurial 
which are highly commended by Palomino. He 
died in 1634. 

PELLEGRINI, Lodovica, a Milanese lady, who, 
according to Morigia, was very celebrated for her 
works in embroidery. She wrought not only fruit 
and flowers, but scripture histories. Lanzi says 
" she was the Minerva of her time. She devoted 
herself wholly to her needle, and embroidered the 
great pallium (vestment), and other sacred fur- 
niture, preserved in the sacristy of the cathedral, 
and still exhibited to strangers with other curious 
specimens of ancient learning and the arts. In the 
new Guide of Milan, she is called Antonia P." She 
was living in 1626. 

PELLEGI 

NO TiBALDl. 

PELLEGRINO, da Modena. See Pellegri- 
no MUNARI. 

PELLEGRINO, di San Daniello. See Udine. 

PELLET, David, a French engraver, whose 
name is affixed to a plate representing Louis XIII. 
when young, on horseback, with the portrait of 
Henry IV., and Mary de Medicis, in small ovals at 
the top. It is executed with the graver in a neat, 
but formal style. 

PELLETIER, Jean, a French engraver, born 
at Paris about 1736. He engraved quite a number 
of plates after the Dutch. Flemish, and French 
masters. They are executed with the graver in a 
neat, clear, and pleasing style. Among them are 
the following. His wife also engraved some plates, 
two of which are after A. Ostade, and one after 
Wouwerman. 

The Watering-place ; after Berghem. Ruins and Fig- 
ures ; do. The Fish Market ; after Pierre. The Green 
Market ; do. Diana reposing ; after Boucher. The Rape 
of Europa; do. Two Pastoral subjects ; do. The Union 
of Design and Painting ; after Natoire. Young Bacchus ; 
after C Vanloo. The Travelers; after Wouwerman. 
Ladies going to the Chase ; do. The Tipplers ; after Os- 
tade. 

PELLI, Marco, an Italian engraver, born at 
Venice about 1696. There are no particulars con- 



cerning him. He engraved some plates of saints, 
a few portraits, and some other subjects, among 
which are a Charge of Cavalry, after Borgog7io7ie, 
and a Landscape, after D. B. Zilotti, marked M. 
PeliU exc. 

T 7¥^^'^^'^^^^" -^^^^^^^ FRAN901S, a French 
I /i-^engraver, born at Besan9on in 1782. — 
|/ .1. There are some plates of landscapes by 
him, engraved with the point m a spirited and 
pleasing manner, from his own designs, marked 
with the above monogram. He died in 1804. 

PELLINI, Andrea, a painter born at Cremona, 
of whom little is known, except some works at 
Milan. He is supposed to have been a scholar of 
Bernardino Campi. Lanzi says that "Pellini, 
though unknown in his native city of Cremona, 
is celebrated at Milan for his Descent from the 
Cross, in the church of S. Eustorgio." This is a 
grand composition, correctly designed and well 
colored, dated 1595. 

PELLINI, Marc' Antonio, a painter of Pavia, 
born, according to Orlandi, in 1664. He first 
studied under Tommaso Gatti, at Pavia, and after- 
wards visited Bologna and Venice for improve- 
ment. He executed a few works for the churches 
in his native city, but did not rise above medioc- 
rity. He died in 1760, at the great age of 96 years. 

PEMBROKE, Thomas, an English historical 
painter of little note, born in 1702, and died in 
1730. He was a protege of the Earl of Bath, for 
whom Walpole says he painted several pictures. 
•v- -|-^PEN, or PENN, Hispel, a supposed Ger- 
Lojman engraver, to whom the Padre Orlandi 
J \I7 erroneously attributes some prints, marked 
with the monogram of Hans Sebald Beham. Strutt, 
and others, have been led into the same error. It 
is satisfactorily ascertained that the prints in ques- 
tion were executed by Behara ; and they are inclu- 
ded in the lists of his works. 

PEN, Jacob, a Dutch painter, mentioned by 
Balkema, who went to England, and was employed 
by Charles 11. He says that he composed with 
intelligence, and to correct drawing added beauti- 
ful coloring. He died in 1674. 

PENALOSA, Juan de, a Spanish historical 
painter, born at Baeza in 1581. He was one of 
the ablest scholars of Pablo de Cespedes at Cor- 
dova, and assiduously imitated his style. He 
painted some works for the churches and con- 
vents, but more for the collections. His picture 
of St. Barbe. in the cathedral at Coidova, is said 
to be a magnificent performance, executed entire- 
ly in the style of his master. He died in 1636. 

PENCHARD, J., a Dutch engraver, who flour- 
ished at Leyden about 1678. He was chiefly em- 
ployed by the booksellers. He engraved the ana- 
tomical plates for the works of Reg. de Graaf. 
with the portrait of the author, published at Ley- 
den in 1678. 

PENCHATJD, Michel Robert, an eminent 
French architect, born at Poitiers in 1782. He 
studied under his father, who was distinguished in 
the art, and assisted him in the chateau de Ver- 
ridre, belonging to the Due de Mortemart ; and the 
chateau de Dissais, erected for M. de Sainte Au- 
laire, Bishop of Poitiers. Penchaud afterwards vis- 
ited Paris, and studied under Percier and Fontaine 
with such assiduity, that in 1799 he was appointed 



PENN. 



670 



PENN. 



designer to the Council of Civil Buildings. In 1803, 
he was made director of the public works at Mar- 
seilles ; and was afterwards appointed head of the 
Department of the Mouths of the Rhone. He was 
employed for many years in embellishing the city 
of Marseilles with promenades, fountains, and pub- 
lic monuments, which gained him great reputation. 
During his engrossing cares, he found time to 
write a number of excellent memorials relating to 
art, which he furnished to the Academy of In- 
scriptions. The Institute awarded him a gold 
medal for a memorial on the Antiquites du Midi. 
Among his principal edifices, were the grand hos- 
pital on the Island of Ratonneau; a triumphal 
arch at the entrance of Marseilles, with a number 
of buildings in that city ; the Palais de Justice at 
Aix ; and a beautiful church at St. Remy. Pen- 
chaud died at Paris in 1832. 

PENNACCHI, PiETRO Maria, a painter of Tre- 
vigi, who, according to Zanetti, flourished at Ven- 
ice about 1520. He painted some works for the 
churches at Venice and Murano, which Lanzi says 
are more excellent in coloring than design. 

PENNEMAKERS, the Recollet, a Flemish 
artist of whom little is known. Balkema says he 
was a scholar of Rubens. In the Museum of 
Antwerp, there is a picture of the Ascension, at- 
tributed to him. 

PENNENSUS, F., an engraver, probably an 
Italian, by vi^hom there are some spirited etchings 
of devout subjects after the Italian masters, and 
from his own designs, marked with his name, 
among which are the Holy Family, with St. Cath- 
erine, and an Angel in the air, after Parmiggiano; 
and the Marriage of St. Catherine, from his own 
design. There is a fine expression in his heads, 
but he was negligent and incorrect in designing the 
extremities. 

PENNEY, N.. a French engraver, by whom there 
are some plates of devout subjects, from his own 
designs, executed with the graver in a very neat 
style, but without much effect, among which is 
one of the Virgin appearing to St. Bartholomew. 
Thej are marked N. Penney, fecit. 

PENNI, Giovanni Francesco, called II Fat- 
tore. This eminent painter was born at Flor- 
ence in 1488. He went to Rome when a boy, and 
entered the studio of Raffaelle, in the capacity of 
a servant, as some say, but more probably, as 
an apprentice, which II Fattore signifies. At all 
events, his talents, assiduity, integrity, and urbane 
deportment, gained for him the confidence and af- 
fection of his master, who made him his most 
intimate disciple, took especial pains to instruct 
him, and confided to him the management of his 
household affairs. Had he derived his appellation 
from this last circumstance, it would have been 
II Maggiordomo, the Steward. He became one of 
his principal scholars, and assisted him more than 
any other in his cartoons and his tapestries. The 
first work on which he was employed by Raffaelle 
was in decorating the Loggie of the Vatican, from 
his designs, where Giovanni da Udine, Pierino 
del Vaga, and other excellent artists were asso- 
ciated with him. There he executed the histories of 
Abraham and Isaac in such an admirable manner, 
as gave entire satisfaction to his master. Raffaelle 
conceived such an affection for him that he made 
him joint heir with Giulio Romano, to his estate. 



After the death of Raffaelle, he was employed con- 
jointly with Giulio Romano, in finishing the fres- 
cos of the Histories of Constantine, in the saloon 
afterwards called after the name of that Emperor. 
Among other woi-ks left incomplete by his master, 
which he assisted in finishing, is the Assumption 
of Monte Luci in Perugia, the lower part of which, 
with the apostles, was painted by Giulio, and the 
upper part, which abounds with the graces of Raf- 
faelle, by Penni. He had also the principal share 
in the history of Cupid and Psyche, in the Far- 
nesina. Of his own compositions, those executed 
in fiesco at Rome, have mostly perished, and he 
painted so few pictures in oil that the}^ are seldom 
to be met with. Soon after the death ©f Raf- 
faelle, some coldness between him and his co-heir, 
Giulio, caused them to separate.. After this, he 
decorated the Chigi Palace in a manner so nearly 
resembling Raffaelle, that they might easily have 
been mistaken for the works of that master. He 
went to Naples at the invitation of the Marquis 
del Vasto. taking with him his admirable copy in 
oil of the Transfiguration of Raffaelle, which he sold 
to that nobleman, and he executed for him some 
considerable works. He died there in the prime of 
life in 1528. He possessed an admirable taste of 
design, which he imbibed from his instructor, and 
his execution was facile and graceful. He par- 
ticularly excelled in landscape and architecture, 
with the advantages of which, in embellishing his- 
torical painting, he was well acquainted. Kugler 
says that Penni could work well, only when under 
the instruction of Raffaelle ; and that when left 
alone he w^as weak and ineffe(;tive. This is con- 
trary to the concurrent testimony of the best Ital- 
ian authors, and it is unfair to judge from the few re- 
mains of his works. Lanzi says that, notwithstand- 
ing the shortness of his career at Naples, he great- 
ly contributed to the improvement of art in that 
city. Kugler and Passavant conjecture that the 
celebrated Madonna del Passeggio in the Bridge- 
water Collection, attributed to Raffaelle, was ex- 
ecuted by Penni. 

PENNI, LucA, was the brother of the pre- 
ceding, born at Florence about 1500. Or- 
Handi says he studied in the school of 
Raffaelle, which Lanzi thinks highly prob- 
able. According to Vasari, he united himself to 
Pierino del Vaga, and worked with him in the 
churches at Lucca, Genoa, and other cities ; 
that he afterwards accompanied II Rosso into 
France, and ultimately passed into England, 
where he was employed for some time by Henry 
VIII. On his return to Italy, he is said to 
have quitted painting for engraving. There are 
quite a number of prints, attributed to him. — 
They are mostly after the works of II Rosso and 
Primaliccio, and usually marked with one of the 
accompanying monograms. Among them are the 
following : 

Two Satyrs presenting Wine to Bacchus ; after II Rosso. 
Leda drawing out the Arrow from Cupid's' Quiver ; do. 
Susanna and the Elders ; do. Abraham sacrificing Isaac ; 
after Primaiiccio. The Marriage of St. Catherine ; do. 
Penelope at work, surrounded by her Women ; do. 

PENNING, Nicholas Louis, a Dutch painter, 
born at the Hague in 1764. He was a scholar of 



Es 



PENN. 



671 



PENT. 



Thierry vander Aa. and painted landscapes, ma- 
rines, and interiors of stables, with horses, with 
some success. He also executed finished draw- 
ings, which are held in considerable estimation. 
He died at the Hague in 1818. 

PENNONE, Rocco, a distinguished Lombard 
architect, who flourished at Genoa in the 16th cen- 
tury. Milizia does not mention his instructor, 
but he warmly commends his abilities, as evinced 
in the enlargement of the government palace at 
Genoa, particularly in the arrangement of a grand 
portico, flanked by two courts, which, although dif- 
fering in size, satisfy the eye by their perfect sym- 
metry. These courts are surrounded by two or- 
ders of galleries; the first supported by Doric, the 
second by Ionic columns. Among the other works 
of Pennone. was a part of the church of S. Sacra- 
mento, which he completed after the designs of 
Galeazzo Alessi. 

PENNY, Edward, an English painter, born at 
Knutsford, in Cheshire, in 1714. He went early 
in life to London, and studied under Hudson, on 
leaving whom, he went to Rome, and became the 
pupil of Marco Benefiali. On his return to Eng- 
land, he joined the Society of Artists, of which he 
was for some time Vice President. At the foun- 
dation of the Royal Academj'. he was one of the 
original members, and was appointed the first Pro- 
fessor of Painting. This situation he continued to 
fill with great respectability, and he delivered an 
annual course of lectures, till 1783, when ill health 
compelled him to resign the office. About this 
time he went to reside at Chiswick, where, having 
previously married a lady of fortune, he lived 
in quiet retirement till his death in 1791. He was 
principally emploj-ed in painting small portraits 
in oil, which were admired. He also painted a few 
historical works and fancy pictures, some of which 
have been engraved ; the principal of these is the 
Death of General Wolfe. 

PENOZZI, B., an engraver on wood, mentioned 
by Papillon. who does not specify any of his works. 

PENSABEN, Era Marco, and Era Marco 
Maraveia. his assistant, two old painters of the 
order of the Dominicans at Venice, who exercised 
their talent at Trevigi in 1520 and 1521. Lanzi 
says Pensaben was an artist of singular merit, 
wholly unknown in the history of art till the P. M. 
Federici discovered some documents relating to him 
in the convent of the Dominicans at Treviso. whith- 
er he had been invited from Venice. '• In this style, 
partaking of the ancient and modern taste, is a large 
picture of St. Nicholas, in a church of the Domini- 
cans at Treviso ; in which the cupola, the columns, 
and the perspective, with a throne, on which is 
seated the Virgin, with the Infant Jesus, surround- 
ed by saints standing, the steps ornamented by 
a harping seraph, all discover the composition of 
Bellini. It was painted by P. Marco Pensaben, 
assisted by P. Marco Maraveia, both Dominican 
priests, engaged for this purpose from Venice." 
Nothing further is known of their works. Pensa- 
ben was born about 1485, and died in 1530. 

PENSIERI, Battista. an Italian engraver, who 
flourished in the latter part of the 16th century. 
He was a native of Parma, and is usually called 
Baptista Parmensis, from his signature. Zani 
calls his name Battista Pensieri da Parma. He 
says he was a designer, engraver, and a seller of 
books and prints j he gives four inscriptions from 



Wor ^Mory, 
i ^kJ^ ensrra 



his prints, as follows : Roitkb Battista da Parma, 
1583, — Battista Pensieri Parmensis fecit RorruE 
1590, — Baptistcc pensier parmensis formis, — 
Baptista panzera formis, 1601. He chiefly re- 
sided at Rome, where he engraved several plates 
after various masters, and others from his own 
designs, executed in a style resembling that of Cor- 
nelius Cort. Among others are the following: 
The Portrait of Philip IL. King of Spain. 1589. 
The Virgin and Infant appearing to St. John, af- 
ter Baroccio. Bantista Parmensis, fee. 1588. The 
Baptism of Christ. Bapt. Parmensis. del. The 
Chastity of Joseph. 1593. The Crucifixion, in 
two sheets. B«i,pt. ParmQnsis, formis. 1584. 

PENTZ, or PEINS, George Greg- 
an eminent German painter and 
engraver, born at Nuremberg in 1500. 
His name is variously written George, or Gregory, 
Pentz, Peins, Pencz, and Pens. On the plate of 
the portraits of himself and wife he signs himself 
Gregori Peins, and on that of the Taking of Car- 
thage, Georgius Pcntz. He studied painting and 
engraving under Albert Durer. On leaving that 
master he went to Italy, where he acquired a cor- 
rect and tasteful design, which distinguishes him 
from the cotemporary artists of his country. Lit- 
tle is known of his works as a painter. Huber says 
there are some of his pictures in the Imperial Gal- 
lery at Vienna, where they are greatly admired. 
His prints are numerous and highly esteemed. — 
His plates are executed with the utmost neatness 
and delicacy, and though they are wrought with 
great care and precision, they have nothing of the 
stiffness and formality which distinguish the pro- 
ductions of the artists of his time. His drawing 
is correct, and the character of his heads is finely 
expressed. The greater part of his plates are of 
small size ; hence he is reckoned among the little 
masters, as such artists are termed by connoisseurs, 
al though perfectly competent to execute plates on a 
large scale, as is seen in his print of the Taking of 
Carthage, after Giulio Romano. While in Italy, 
in conjunction with Marc' Antonio, he engraved 
several plates after the works of Rafiaelle. His 
style of engraving resembles the best manner of 
Raimondi, though his plates are more delicately 
wrought and finished. He usually marked them 
with a monogram of his initials, G. and P., joined 
together as above. 

portraits. 
The Artist and his Wife, on the same plate, inscribed 
Imago Gregori Peins. Imago Duxore Gregori Peins. 
John Frederick, Elector of Saxony, inscribed Spes mens 
in Deo est. 1543 ; scarce. 

BIBLE SUBJECTS FROM HIS OWN DESIGNS. 

Two small prints— Job tempted, and Esther before Abas- 
uerus. Two, Judith in the Tent of Holofernes, and Judith 
with his Head. Two, the Judgment of Solomon, and Solo- 
mon's Idolatry. Two, Lot and his Daughters, and Susan- 
na and the Elders. Four, of the History of Joseph. 1544. 
Seven, of the History of Tobit. 1543. (Considered among 
his best.) Two, the Merciful Samaritan, and the Conver- 
sion of St. Paul. 1545. The Four Evangelists. The sev 
en works of Mercy ; circular. Twenty-five plates of the 
Life and Miracles of Christ ; very fine. 

VARIOUS SUBJECTS. 

Two, Tarquin and Lucretia, and the Death of Lucretia. 
Cephalus and Procris. Medea and Jason. The Death of 
Dido. Thomyris causing the Head of Cyrus to be put in 
a vessel of blood. The Death of Virginia. Mutius See- 
vola putting his hand into the Brasier. Marcus Curtius 
precipitating himself into the Gulf. The Death of Regu- 
lus. Sophonisba drinking the Poison. — Artemisia drink- 



PENZ. 



672 



PERC. 



ing the Ashes of her Husband. (Both highly esteemed by 
amateurs.) The Triumph of Bacchus. A set of six 
plates of the Triumphs of Human Life. The Five Senses. 
The Seven Liberal Arts. The Seven Mortal Sins. The 
Taking of Carthage ; after Giulio Romano^ inscribed 
Georgius Pentz Pictor Nuremberg faciehat, unno 1549 ; 
an admirable specimen of his great ability. 

PENZEL, John George, a German painter and 
engraver, born at Hersbruck, near Nuremberg, in 
1754, and died at Leipsic in 1809. He first stud- 
ied under Schellenberg: at Winter thur, and after- 
wards at Dresden. Nothing further is said of 
him as a painter, and he soon devoted himself en- 
tirely to engraving. He executed many plates for 
the publishers at Dresden. He also engraved many 
of Chodowiecki's designs. 
PEONIUS. See Daphnis. 
PEPIN, or PEPYN, Martin, a Flemish paint- 
er, born at Antwerp in 1574, as appears from the 
inscription on his portrait hereafter mentioned. It 
is not known under whom he studied, but after 
learning the principles of the art, he went to Italy, 
where he is said to have so much distinguished 
himself by his grandeur of composition, correct- 
ness of design, and vigorous tone of coloring, that 
Rubens himself regarded him with jealousy, and 
dreaded his return to Antwerp, fearing his repu- 
tation would suffer from his rivalship. The absur- 
dity of this story is evident. Pepin resided most of 
his life at Rome, j^et his name is unknown in Italy. 
In the church of the hospital at Antwerp, are two 
of his works, which are highly extolled; they are 
altar-pieces, with folding doors, as was customary 
with some of the old Flemish masters ; the cen- 
tre picture of one represents the Baptism of St. 
Augustine, and the laterals on the doors, that saint 
giving alms to the poor, and curing the sick ; the 
other is a similar work, representing St. Eliza- 
beth giving alms to a group of miserable objects. 
who are struggling to approach her. His por- 
trait, by Vandyck. in the private collection of the 
King of Holland, is described by 0. J. Nieuwen- 
huys, in his Catalogue ; it is inscribed Me Picto- 
rem Pictor pinxit D. Ant. Vandijck Eques illus- 
tris. A. D. 1632. ^t me lviii. Nieuwenhuys, 
who saw several of his pictures, says that his 
talents were but second rate, that his first manner 
partook of the school of Otho Venius, but that 
the works he executed in Italy are in a more ele- 
yated style. He died at Rome in 1641. 

PERAC, Etienne du. a 
French painter, engraver, 
and architect, born at Pa- 
ris about 1540. He went to Italy when he was 
young, and resided some years at Rome, where he 
made many designs from the vestiges of ancient 
architecture, and views of Tivoli and Frascati, 
which he engraved and published at Rome in 
1569, 1573, and 1575. On his return to France he 
was appointed architect to Henry IV., and painted 
some architectural pieces for the palace at Fon- 
tainbleau. He also executed some etchings after 
Michael Angelo, Raffaelle, and other Italian mas- 
ters, as well as from his own designs. Nagler 
gives a list of twenty-nine prints by him ; the la- 
test is dated 1583. Zani says he died in 1601. 

PER AND A, Santo, a Venetian painter, born 
in 1566. According to Ridolfi. he first studied un- 
der the younger Pal ma, and afterwards with Leo- 
nardo Corona, of Murano. In his first perform- 



5D-iSl 



ances. he followed the prompt and hasty manner 
of Palma; but he afterwards went to Rome, where, 
by diligently studying the antique and the works 
of the great masters, he formed a style of his own, 
more finished and correct. On his return to Ven- 
ice he improved his coloring, by conteu)plating the 
works of Titian, Tintoretto, and Veronese, so that 
he became as accomplished in coloring, as he was 
before in design. He executed many works for 
the churches and public edifices, and was employed 
in decorating the ducal palaces at Venice, Mii-an- 
dola, and Modena, with various subjects from his- 
tory. ''■ His usual manner," says Lanzi. '• very 
much resembles Palma, while in the large histories, 
which he produced at Venice and Mirandola, he 
appears in a more practical character of his own. 
Yet he was of a more slow and reflective turn, and 
more studious of art, qualities that, in the decline 
of age, led him to adopt a very delicate and la- 
bored manner. He was not ambitious of equaling 
his cotemporaries in the number of his works, but 
his aim was to surpass them in correctness, nor 
did he any where succeed better in his object than 
in his Christ taken down from the Cross, in the 
church of San Procolo, at Venice." He had sev- 
eral disciples, among whom was Matteo Ponzone. 
He died at Venice in 1638. 

PERCELLES. See Parcelles. 

PERCIER, Charles, an eminent French archi- 
tect, was the son of a colonel of dragoons, born at 
Paris in 1764. His name and works are so inti- 
mately associated with those of his friend and col- 
league, Pierre Louis Fran9ois Fontaine, that the 
reputation of the one is inseparable from that of 
the other. Percier was first instructed in the 
elements of the art by an obscure designer named 
Poirson. In 1783 he entered the school of the 
architect Peyre, and afterwards studied under the 
elder Gisors, an architect of considei'able reputa- 
tion. In 1786, he gained the grand prize of the 
French Academ})-, and went with the royal pension 
to Rome, where his friendship with Fontaine first 
commenced. He also became acquainted with 
Flaxman, Canova, and other artists who subse- 
quently rose to eminence. During their residence 
at Rome, Percier and Fontaine made the drawings 
which form the subject of their first publication; 
Palais, Maisons^ et autres Edifices modemes, 
dessines d Rome^ Paris, 1798, folio; illustrated 
with 100 plates, beautifully delineated and en- 
graved in outline. Previous to the publication of 
this work, however, and for some time after their 
return to Paris, they were obliged to contend with 
difliculties ; the agitated state of public affairs be- 
ing exceedingly unfavorable for their success. — 
With laudable energy and perseverance they com- 
menced making designs for various articles of 
ornamental furniture and manufacture ; and their 
careful study and superior taste soon brought 
their talents into notice. Various decorations, ex- 
ecuted by them at Malmaison for the First Con- 
sul and Madame Bonaparte, secured for them the 
powerful patronage of Napoleon ; and soon after 
his gaining the Imperial Crown, they were em- 
ployed to restore, complete, and embellish, the two 
palaces of the Tuileries and the Louvre. The lat- 
ter work was exceedingly extensive and compli- 
cated, occupying their attention for a number of 
years, until some time after the restoration of the 
Bourbons. They enjoyed imperial and royal pat- 



PERE. 



673 



PEEE. 



ronage, with a very hij^h reputation, for many- 
years, but executed only a few original works ; 
and their fame as practical architects, is conse- 
quently merged, to a great extent, in that of the 
original authors of the works which they restored, 
They erected, however, a few edifices, as the arch 
in the Place du Carrousel, before the east fa9ade 
of the Tuileries ; the Chapelle Expiatoire in me- 
mory of Louis XVI. ; and the regular and hand- 
some line of houses termed the Rue Rivoli. 

Percier and Fontaine gained great reputation 
from their publication.^:, among which was the 
Recueil de Decorations Interieures, contenant tout 
ce qui a rapport d VAmeublement, Paris, 1812, 
fol. This was a collection of designs for rooms and 
various articles of furniture, in the prevailing style, 
which Percier outlived. About the same time, they 
published a series of views of Roman villas with 
their "jardens, entitled Choix des plus belles Mai- 
sons de Plaisance de Rome et ses environs ; also 
two magnificent works, one representing the cere- 
monies of the Coronation of Napoleon, and the 
other those which took place upon his marriage 
with Maria Louisa. There is another work at- 
tributed to Percier, which seems not to be gene- 
rally circulated, entitled. Parallele entrc plusiers 
Residences des Soverains de France. d^Allemagne, 
de Suede, de Russie, et d'ltalie, Paris, 1833. illus- 
trated with thirty-eight plates. Charles Percier 
died in 1838. 

PEREDA, Antonio, an eminent Spanish paint- 
er, born at Valladolid in 1599. He first stud- 
ied under Pedro de las Cuevas, and showed so 
much ability that he was taken under the pro- 
tection of Don Francisco de Texada, who sent him 
to Madrid, where he had an opportunity of study- 
ing the works of the great masters in the Royal 
collections. At the age of eighteen he produced a 
picture of the Immaculate Conception, in which the 
Virgin appeared on a Throne of Clouds supported 
by Angels, executed so admirably that no one 
could believe it the work of so young an artist. 
The reputation he acquired by this performance 
induced the Duke de Olivarez, who had the direc- 
tion of the works going on in the palace of the 
Retiro. to employ him and place him among the 
artists of the highest rank. He performed his 
part to the satisfaction of his patron, and was mu- 
nificently rewarded. He acquired great reputa- 
tion, and is said to have executed many works for 
the churches at Madrid, Toledo, Alcala, Cuenca, 
and Valladolid. He also painted much for indi- 
viduals, and no collection was considered complete 
without a specimen of Pereda. It is also said that 
he was a universal artist, painting history, familiar 
life, vases, tapestry, musical instruments,* and other 
objects of still-life. His pictures were well de- 
signed, his drawing correct, and his coloring rich 
and glowing, in the Venetian style, with an ad- 
mirable impasto. Few of his works are known 
to remain at the present day. There are two in 
the Royal Gallery at Madrid, one of which repre- 
sents St. Jerome meditating on the Last Judg- 
ment; one of Christ asleep on the Cross, with 
flowers and skulls, in the collection of Marshal 
Soult ; one of St. Anthony and Christ, in the Es- 
terhazy gallery at Vienna, and three or four in 
the gallery at Munich. He died at Madrid in 
1669, 



PEREGRINI, DA Cesena, or Pellegri- 
NO DA Cesio, an Italian goldsmith, engraver, 
and worker in 7iiello, who flourished in the 
latter part of the fifteenth and first part of the 
sixteenth centuries. He is one of those artists 
about whom and whose works there is a great 
deal of conjecture, and very little that is certain. 
Bartsch gives a descriptive account of ten prints 
by him, (Peintre Graveur, tom. xiii.) five of which 
are marked with the monogram as above, three 
defective in the part where the monogram should 
be, and two have the additional letters 0. P. D. C. 
These letters are interpreted by Duchesne Opera 
Peregrini da Cesina, and Zani says he read on 
some prints by him Opus Peregrini de Ces. Du- 
chesne discovered his name on some admirable 
works by him in niello, which he describes (Es- 
sai sur les Nielles) . Ottley describes ten prints, 
which he supposes to be by the artist who used 
the above marks, but he does not mention Pere- 
grini. Nagler, from these and various other au- 
thorities, gives a list of sixty-four pieces, which 
he attributes to him, as follows : 

List of Peregrini' s Prints, from Nagler. 
[Where it is stated that the print is marked with the letter 
P., it is to be understood in the form indicated above ; a 
P. crossed in the middle, as an abbreviation.] 
1. Abraham loading an Ass for his journey to Mount 
Moriah. 2. Abraham, Isaac, and two servants, on their 
way to the Mount. 3. Abraham and Isaac on the Mount, 
the servants sitting below. 4. Abraham with a knife and 
torch, Isaac bearing a bundle of wood. 5. Abraham 
about to immolate Isaac, is prevented by an Angel ; the 
head of a Ram is seen at the right hand corner. 6. Da- 
vid conquering Goliah ; a very fine plate. According to 
Duchesne, it is probably by Peregrini. 7. Judith with the 
head of Holofernes in her left hand. This print has not 
Peregrini's mark, but the words Ivde te on a scrap of pa- 
per. 8. The Holy Virgin with the Infant on a throne, at- 
tended by Sts. Paul and Francis d' A ssisi. Peregrini's mark 
in the centre. 9. The Baptism of Christ. In the foreground 
to the right and left, are St. Stephen and St. Francis. 10. 
The Resurrection of our Lord, signed de — opvs — pere- 
grini — CE^. An impression of the unfinished plate, in 
which some parts of the figure of Christ are white, was 
sold in Sir Mark Sykes's sale, in 1824, for about £20 ster- 
ling. 11. The Annunciation, in two small medallions. 
12. John the Baptist with the Cross, on which is a medal- 
lion with the Lamb, and the words ece agnus. Duchesne 
is of opinion that this is the work of Peregrini. 13. St. 
Sebastian standing by a Tree, his hands tied above his 
head. 14. St. Jerome kneeling before a Crucifix, the lion 
behind him. Peregrini's mark in the margin. 15. St. Roch. 
On the right hand the first person of the Trinity blessing 
hira. Attributed to Peregrini by Duchesne. 16. St. Mar- 
garet seated on a large winged Dragon, holding in one 
hand a cornucopia, and in the other a cake. In the dark 
back-ground are four trees, and the mark P. Bartsch calls 
the subject Providence. 17. The Triumph of Neptune; 
marked 0. P. D. C. {Opera Peregrini da Cesena.) 18. 
Minerva, with Lance and Shield ; on the latter the head 
of Medusa. Duchesne considers this a work of Peregrini, 
though it has not his mark. 19. The Triumph of Mars. 
On a globe, surmounted by a figure of Cupid, is the letter 
P. Nagler notices that on an early impression of this sub- 
ject it is difficult to distinguish the figure on the shield of 
Mars ; on a later, it is seen plainly. The back-ground is 
very dark. A second impression sold in Sir Mark Sykes's 
sale for £31. 20. A Sacrifice in honor of Mars. Bartsch 
describes this among the prints of the old Italian masters, 
P. Q. tom. xiii. p. 139, No. 69 ; but Duchesne consideis it 
to be the work of Peregrini. An impression sold in Sir 
Mark Sykes's sale for 17 guineas. 206 A Muse playing on 
a Flute ; around her are other instruments. Attributed to 
Peregrini by Duchesne, 21. A Muse playing on the Lyre, 
with other musical instruments lying around her. Attribu- 
ted to Peregrini by Duchesne. 22. A winged Cupid stand- 



PERE. 



674 



PERE. 



incron a Vase, which is ornamented with four figures of 
Cliildren ; attributed to Peregrini. 23. Two Cupids by a 
Monument. Duchesne thinks it is by Marc' Antonio. 24. 
Psyche at the foot of a Tree, Cupid behind her ; in the 
back-ground, on the sea, is a monster about to devour her. 
At the bottom is a mark which resembles that of Peregrini. 
25. Leda and the Swan. According to Duchesne, by Pere- 
grini ; in the centre is a mark resembling Peregrini's. 26. 
A jSTymph bound to a Tree by a Satyr and a Faun. 27. 
A Triton caressing a Nymph. The workmanship of this 
niello is fine, and resembles that of Peregrini. 28. A "Wo- 
man with three Men and a Satyr. Duchesne considers it to 
be by Peregrini. 29. Hercules strangling Anteus. At- 
tributed to Peregrini. 30. Hercules and De.ianira. her- 
cvLE— DEJANiRA — with Peregrini's mark. 296. Hercules 
combating the Hydra. With Peregrini's mark. 306. Her- 
cules killing the Hydra. Duchesne says certainly by Pere- 
grini. 31. Orpheus with a Guitar, surrounded by Ani- 
mals. On the margin the letters 0. P. D. C. 32. Arion on 
the Dolphin ; in the back-ground the ship from which he 
was cast. Duchesne is certain that it is by Peregrini. 33. 
Arion on the Dolnhin, with a violin in his left hand, arriv- 
ing nt Piraeus. 34. Diomede naked, armed with helmet 
and shield, holding the Palladium in his left hand. 0. P. 
D. C. in the margin. 35. Mutius Scaevola before Porsen- 
na, holding his hand over the fire. The letter P. by the 
throne. 36. An Apotheosis On the right hand a naked 
Man with a Helmet before an Altar, on which is an Eagle, 
and a "Woman on the left preparing a libation. In the cen- 
tre of the mnrgin the letter P. 37. A Standard bearer, 
with Peregrini's mark, P, by the trunk of a tree. Ottley 
thinks this piece was copied from the drawing of a German 
master. 38 Two Knights fighting. Duchesne thinks it 
is by Peregrini. 39. Two naked Men fighting with Boughs 
of Trees. Attributed to Peregrini. 40. Three Women 
dancing. In the margin below, the mark P. 41. Three 
Children dancing. At the bottom the mark P. 42. An Al- 
legory of War ; three naked Men with helmets on their 
heads, &c The mark P. in the margin. 43. An Allegory 
of Union. A king on a throne ; a young man and two sol- 
diers before him. On the throne is written vn. fo. di. f. 
Duchesne interprets these Unfondamento di Fraternitcl. 
44. An Allegory of Fame. Considered by Duchesne the 
work of Peregrini. 45. An Allegory of Seamanship. In 
the margin P. D. C. 46. An Allegory of Plenty ; same 
mark. 47. A Wom.an with a Sword and an Apple, i3artsch, 
torn. xiii. p. 206, No. 2. 48. A naked Man sitting under a 
Tree, a Snake in each Hand. The mark in the margin. 49. 
Half-length figure of a Man with a fur Cap ; ornaments 
on both sides. 50. Half-length figure of a young Man with 
a Cap. No mark. 51. Arabesque, with Acanthus and 
Grapes ; do. 52. Arabesque, with winged Sphynx under 
two Satyrs. The mark P. 53. Arabesque, with flying Chi- 
maera carrying a "Veil. Do, on the shield. 54. Arabesque, 
with two Boys riding on Chimaeric Birds; do. 55. Ara- 
besque, with Helmet and Cuirass in the centre, above a 
winged Sphynx. Do., and the initials S. C. 56. Arabesque, 
with the Symbols of Seamanship; in the lower part two 
marine deities on dolphins ; between them a Ship. 57. Ara- 
besque, with two Goats. In the margin a mark which may 
be taken for a P. 58. Arabesque, with a female Satyr 
suckling two Children. 59. Arabesque, with the mark of 
a river Deity. Duchesne thinks this niello is by Peregrini, 
although without the mark. 60. Arabesque, with two Dol- 
phins ; in the centre above a winged head. 61. Arabesque, 
with two Trophies, chimaeric birds, a faun sitting on a bas- 
ket and playing a fl.ute. On a tablet the letters SCOF. 
62. A Coat of Arms with three Nails. On the right hand 
the letter C, on the left Z. orS. Therefore only probably 
by Peregrini. 63. Two Knife-handles with Arabesques. 
On one a head of Medusa in a medallion, and at the end 
two Satyrs, with the initials. P. C. 64. A Knife-handle, 
with two Guitars and two Rings. The letters S. C. in tab- 
lets, identify this piece as the work of Peregrini, in the 
opinion of Duchesne. 

PERELLE, Gabriel, an eminent French de- 
signer and engraver, born at Pari.s, according to 
Nagler. in 1610. It is not known under whom he 
studied, but he executed a prodigiou.s number of 
plates, from his own designs, as well as other mas- 
ters, which prove much fertility of invention and 
extraordinary facility of execution, rather than 



an attentive study of nature, though his views j 
are well composed, and enriched with architecture, " 
ruins, and other objects, which give a pleasing va- i 
riety to the scenery. His plates are executed with | 
neatness and taste, though there is a defect in the ! 
management of his masses, and his lights are i 
scattered and spotty, which injure the effect of 1 
the prints. He wrought both with the point and | 
the graver. He is considered the Hollar of France, I 
both in his style of engraving, and in the estima- , 
tion of his works. His large views of public i 
buildings and gardens in France, Spain, and Italy, ' 
were published with those of Silvestre in 1680, J 
and there is a smaller set of the same by these | 
artists. In addition to the prints from his own ] 
designs, he executed many after Paul Biill, Gas- I 
par Poussin, Asselyn, Poelemberg, Silvestre, and ! 
other masters. He died, according to Nagler, in | 
1675. and to Zani, in 1680. The following are | 
among his principal prints after the works of oth- 
er masters : j 

A set of four Views, the church of St. Michael at Dijon, 
the Palace in that city, the Bridge of Grenoble, and the 
Porte Royale at Marseilles ; after Silvestre. Four Views 
in Paris, the Arsenal du Mail, the Pontneuf, the Lourre, 
the Mail and the surrounding country ; do. A set of four 
Views, the Baths of Bourbon d'Archambaud, the Castle of 
Bourbon Lancy, with the Baths of Julius Caesar, and the 
great Chartreuse near Grenoble ; do. Six Views of the 
Garden de Ruel ; after Israel Silvestre. Two Mountain- 
ous Landscapes, with biblical subjects ; after P. Brill. — 
Six Views of the Vestiges of Rome and its Environs ; af- 
ter J. Asselyn. A View of Ruins, with the Adoration of 
the Magi ; after Poelemberg. 

PERELLE, Adam and Nicolas, were the 
sons and scholars of the preceding, whom they as- i 
sisted in his numerous works ; and, after his ' 
death, engraved a great number of plates of land- 
scapes, architectural views, &c. Their works 
are inferior to those of their father. According 
to Nagler, Adam was born in 1638. and died in 
1695 ; but Zani applies these dates to Nicolas. 

PERERIETTE, an engraver whose name is at- 
tached to a coarse etching of the Holy Family, af- 
ter Paul Veronese. 

PEREYRA, Diego, a Portuguese painter, born 
about 1570. His instructor is not mentioned, and 
little is known concerning his life : but, according 
to the Biographie Universelle, he was one of the 
most distinguished painters of his country. His 
usual subjects were landscapes ; but he had a rare 
talent for painting conflagrations and infernal 
scenes. He often painted the Burning of Troy, 
and the Overthrow of Sodom, but always in a dif- 
ferent manner. He excelled in painting pictures 
of fruit and flowers ; also rural scenes, illumina- 
ted by the radiance of torches or the lightning's 
flash. His landscapes are painted in a spirited 
style, ornamented with small figures in excellent 
taste. They are said to be much in the style of 
Teniers. with the silvery tones of that master. 
Notwithstanding the merits of Pereyra, he met 
with little encouragement, and was finally received 
into the mansion of a nobleman, where he died in 
1640. Soon after his death, his works rose into 
general esteem. There are many at Li.sbon ; the 
cabinet of the Duke d' Almeida contains about 
sixty. 

PEREYRA, Manuel, a Portuguese sculptor, 
was born in 1614. He settled at Madrid, where 
he attained great distinction, and is regarded as 



PERE. 



675 



PERI. 



one of the most able artists that Portugal has 
produced. He was coramissioned to execute a 
great number of works. His masterpiece is a 
statue of our Saviour, in the church of the Rosa- 
rio at Madrid. It is said that, in his old age, hav- 
ing become blind, he made the model of a statue of 
St. John the Divine, and directed its execution. 
This statue is one of his finest works. He died in 
1667. 

PEREZ, Bartolome, a distinguished Spanish 
painter, born at Madrid in 1634. He studied in 
the school of Don Juan de Arellano, and attained 
great excellence in flower-painting. His pictures 
of this kind are composed in a tasteful and delicate 
style, with a brilliancy and harmony of coloring 
deserving of high praise. He also succeeded in 
the figure, following the style of Don Juan de 
Carreno. There were many of his flower-pieces 
at the Retiro, which were subsequently removed 
to the Rosario ; and one of his best productions is 
mentioned, which combines his talents in both 
branches of the art, representing St. Rosa de Lima 
kneeling before the Virgin and infant Jesus, with 
two Angels, one of whom is crowning the Saviour, 
while the other is presenting him a vase of flow- 
ers. Perez was also distinguished for the excel- 
lence of his theatrical decorations, and he was em- 
ployed by the King to paint the scenery in the 
Ro3'al Theatre. The Duke de Monteleone commis- 
sioned n in to paint a grand ceiling in fresco in his 
palace ufc Madrid ; but, while occupied upon the 
work, he unfortunately fell from the scaffold and 
was killed, in 1693. 

PEREZ. Francisco de Pineda, a Spanish paint- 
er, who flourished at Seville about 1660. He stud- 
ied under Murillo, and followed his style with 
considerable success. Among other works, he 
painted several pictures for the churches and con- 
vents of Seville, which show that he was an able 
disciple of that great master. Perez was a mem- 
ber of the Society of Professors who established 
the Academy of Fine Arts at Seville. 

PEREZ, Andres, a Spanish painter, the son 
and scholar of the preceding, born at Seville, in 
1660. He painted historical subjects ; also flower- 
pieces, in which he was more successful. Among 
his principal works were three sacred subjects in 
the sanctuary of S. Lucia at Seville, signed Andres 
Perez. 1707 ; and in the sacristy of the Capu- 
chins of the same city, a picture bv him of the 
Last Judgment, dated 1713. He died in 1727. 

PEREZ, PiETRO, an old Spanish architect, who 
flourished in the thirteenth century, and died in 
1290. He is chiefly known as the architect of the 
Cathedral of Toledo, which measures 404 feet in 
length, and 202 feet in breadth. It has five naves, 
surrounded by chapels of white stone ; the princi- 
pal nave is 116 feet high. 

PERICLES. This celebrated Athenian deserves 
mention in a work relating to art, for the liberal 
patronage he extended to painters, sculptors, and 
architects. Having obtained almost regal power in 
Athens, about B. C. 450, he endeavored to inspire 
the people with a taste for the Fine Arts. By means 
of the wonderful talents of Phidias, and other fa- 
mous artists, he embellished the city of Athens 
with those magnificent works which have been the 
admiration of all succeeding ages. (For a descrip- 
tion of several of these, see the articles Phidias and 



Ictinus.) Pericles also designed the Odeum, a 
building constructed so as to give the greatest pos- 
sible eFect to sound, where the musicians used to 
assemble to rehearse their rival performances. It 
was of an elliptical figure, surrounded by a colon- 
nade, except upon the southern side. After a pe- 
riod of several hundred years, it had suffered much 
from the ravages of time, but was restored by the 
munificent Herodes Atticus to its ancient beautj 
and magnificence. 

PERIGNON, Nicolas, a French painter and 
engraver, born at Paris, according to Zani. in 1727 ; 
died in 1782. He painted flowers and landscapes 
in distemper ; and also etched several plates, after 
his own designs, among which are a set of pleas- 
ing Landscapes, in the style of a painter; also 
four large Landscapes, inscribed Perignon, fecit. 
1771. 

PERIN, Lie Louis, a French miniature painter, 
born at Rheirns in 1753. He entered the free 
school of design in that city, taught by Clermont ; 
and, though opposed by many obstacles, he tri- 
umphed over them all. At the age of twenty-five 
he visited Paris, and commenced practising his 
profession. He was employed by Rosslyn, a 
Swedish artist, to copy a number of his works in 
miniature ; and he gained such improvement by 
studying the works of Greuze. and other masters, 
that his practice greatly increased. He exhibited 
a number of fine miniatures ; and painted, among 
others, the portraits of the duchesses d'Orleans 
and de la Rochefoucauld. During the stormy 
scenes of the Revolution, Perin was constantly 
employed by the friends of condemned persons to 
visit the prisons and paint their portraits. In 
1799 he quitted Paris, and retired to his native 
city, where he practised the art with success for 
many years, occasionally visiting Paris. He also 
painted a number of miniatures at Lyons. He 
died at Rheims in 1817. 

PERINI, Giuseppe Sforza, an Italian engra- 
ver, born at Rome about 1748. He engraved some 
of the statues in the Clementine Gallery, and also 
some of the plates for the Scitola Italica of Gavin 
Hamilton. He was living in 1795. Among oth- 
ers, the following are by him : 

The Frontispiece to the Scuola Italica, with two figures 
by M. Angela, Jupiter and Antiope ; after Jacopo Pal- 
ma. Charity; after Bartolomeo Schidone. Christ hear- 
ing his Cross ; after Lanfranco. 

PERINI, LoDOvico, an Italian engraver of little 
note, by whom there are a few prints, \eTj indif- 
ferently executed with the graver, and possessing 
little interest of subject. 

PERINO, DEL Vaga. See Yaga. 

PERINO, DA Perugia. See Pietro Cesarei. 

PERTSTN, PERSINUS, or 
iPERRISIM, Jacques, an old 
French engraver ; born, ac- 
cording to Nagler, in 1530. In concert with Jean 
Tortorel.he designed and engraved, partly on wood, 
and partly on copper, a set of twenty-four large 
prints, to illustrate a History of the Wars of the 
Huguenots. 1559 to 1570. This book is exceed- 
ingly rare. The copper-plates are etched in a 
coarse, incorrect style ; the wooden cuts are exe- 
cuted with more attention. "When Perisin and 
Tortorel engraved in concert, they marked their 



(E°'@.-I>i 



PERJ. 



676 



PERO. 



prints with the second monogram at the head of 
this article ; when Perisin engraved alone, he 
used the first monogram. Malpe attributes to the 
latter a series of Tritons and Marine Monsters, 
small pieces lengthwa3^s, marked with his mono- 
gram reversed. 

PERJECOUTER, S., a real or supposed 
artist, said to have been a native of Italy, 
residing there about 1535, to whom were for- 
merly attributed some prints bearing the 
above monogram, executed with the graver, in the 
style of Marco da Ravenna. Strutt and Bryan 
have fallen into the same error. The prints re- 
ferred to were executed by some unknown Italian 
engraver, who flourished about that time. (See 
Bartsch P. G., vol. xv., p. 496. See also Ser- 
wouter.) 

PERLA, Francesco, a painter of Mantua, sup- 
posed by Volta to have studied under Giulio Ro- 
mano. There are two fine frescos in the dome of 
the chapel of S. Lorenzo, in that city, attributed 
to him. Little besides is known of this artist. 
He flourished about the middle of the sixteenth 
century. 

PERMOSER. Balthasar, a German sculptor, 
was born at Oammer, in Bavaria, in 1650. He ac- 
quired the elements of the art at Saltzburg, and 
then went to Italy for improvement, where he re- 
mained fourteen years. His works are principally 
at Dresden and Vienna. He had so high an idea 
of his art that he was never satisfied with any of 
his works, and often destroyed them in disgust. 
They are consequently extremely rare. He was 
much employed by Prince Eugene, for whom he 
executed a statue of Charity, and a group of 
Painting and Sculpture. He also made the fine 
statue at Vienna of Prince Eugene, represented in 
the act of preventing Fame from publishing his 
exploits, by taking away her Trumpet. Permoser 
died in 1732. 

PERNA, Peter, an engraver who flourished 
towards the close of the 16th century. There are 
no particulars of him. There are some wood cuts, 
marked P. P. which Strutt and others attribute 
to him. 

PERNET, an obscure engraver, who lived about 
1620. He engraved a few plates of portraits, very 
indifferently executed with the graver. 

PEROLA, Juan and Francisco, two brothers, 
Spanish painters, sculptors, and architects, were 
natives of Almagro, and fioui-ished about 1600. 
They visited Italy ; studied under Michael Ange- 
lo ; and finished their artistic education in Spain, 
under Gaspar Becerra. After leaving that mas- 
ter, they gained considerable distinction, and were 
commissioned by the Marquis de Santa Cruz to 
erect his palace at Viso, near the Sierra Morena, 
and to decorate it with paintings and sculptures 
of their own execution. They painted history, 
landscapes, portraits, battle-pieces, and marines, 
in a style of excellence, evincing a thorough ac- 
quaintance with the principles of art. Of their 
works in sculpture, the Biographie Universclle 
mentions the busts decorating the above mentioned 
palace, and the mausoleum of the Marquis of San- 
ta Cruz, in the church of the Franciscans at Vico. 
They also painted the grand altar-piece in the same 
church: and, in concert with Mohedano, they 
painted several frescos in the sanctuary of Cor- 



dova and the convent of Seville. There was an 
architect, named Esteban Perola, a native of Al- 
magro. and cotemporary with the preceding. He 
designed, and probably erected, the convent of S. 
Francisco at Seville, commenced in 1623. 

PERONI, Giuseppe, a painter born at Parraa, 
about 1700 (Zani says 1710). According to the 
Abate Aff6, he first studied under Felice Torelli, 
at Bologna ; next with Donato Creti ; and after- 
wards went to Rome, where he became the pupil 
of Agostino Masucci. According to Lanzi, he de- 
signed much in the style of Carlo Maratti, but his 
coloring partakes much of the verds, and other 
false coloring of Conca and Giaquinto, who were 
then very popular at Rome. Such are his pic- 
ture of St. Philip, in the church of S. Satiro, at 
Milan, and the Conception, in the possession of the 
Padri dell' Oratorio, at Turin. Lanzi also saj^s 
that his best works are his frescos in the church 
of S. Antonio Abate, at Parma, which rank him 
among the good painters of his age. There he 
also painted an altar-piece of the Crucifixion, in 
competition with Pompeo Battoni. He executed 
several other works for the churches of his native 
city ; adorned its Academy ; and wrought much 
for the collections. He died at Parma in 1776, at 
an advanced age. Lanzi calls him the Abate Giu- 
seppe Peroni, a title probably conferring some fa- 
vor upon him. 

PERONI, Giuseppe, an Italian sculptor, born 
at Rome in 1627. He early manifested a stiong 
inclination for art. and entered the school of Al- 
gardi, who soon perceived in him more than ordi- 
nary talents. Peroni met with every encourage- 
ment ; but his unrestrained passions involved him 
in many private intrigues, so that his professional 
improvement was sadly neglected. Finally, he 
became so irregular as to disgust Algardi, and soon 
after left his academy. He went to Sweden, and 
was patronized by Queen Christina, for whom he 
executed a bust in marble ; but returned before 
long to Rome, married, visited Naples, and execu- 
ted there a statue of Neptune, hfe-size, intended by 
the viceroy for a fountain at Madrid. He subse- 
quently settled at Rome, where the Prince Camillo 
Pamflli patronized him extensively. The path to 
honor was open before him, but he chose to adhere 
to vicious habits, and died in 1663, aged 36. 

PEROXINO, Giovanni, a Piedmontese paint- 
er, who flourished about 1517. According to 
Delia Valle, he was a good artist; and Lanzi says 
" he is well known for the pictures he left in th3 
church of the Conventuals at Alba." 

PERRACCINI, Giuseppe, called II Mirando- 
LESE, a painter born at Mirandola, in 1672. Ac- 
cording to Crespi, he studied under Marc' Antonio 
Franceschini, whose style he adopted. He execu- 
ted some works for the churches at Bologna. He 
must not be confounded with Pietro Paltronieri, 
called Mirandolese dalle prospeitive. (See Paltro- 
nieri.) He died in 1754. 

PERRACHE, Michel, a French sculptor, born 
at Lyons in 1685. At the age of sixteen he visit- 
ed Italy for improvement, and also went to Flan- 
ders, where he executed a number of sculptures 
for a church at Malines, and was honored with the 
freedom of the city. In 1717 he returned to 
France, and settled at Lyons, where he practised 
the art for many years, and executed a variety of 



PERR. 



677 



PERR. 



sculptures for the churches and gardens. He died 
in 1750, leaving a son, who was also a sculptor. 

PERRAULT, Claude, an eminent French ar- 
chitect, born at Paris in 1613. He was the son of 
an advocate, and was bred to the medical profes- 
sion, but extended his studies to other branches of 
science, particularly mathematics and architecture. 
His attention became more especially directed to 
this artjupon being engaged by Colbert to undertake 
a translation of Vitruvius, the first edition of 
which appeared in 1673, in a folio volume, with 
plates after his own drawings. Before the com- 
pletion of this work, Perrault gave indisputable 
proof of his practical ability and superior taste in 
architecture, in his designs for the east facade and 
colonnades of the Louvre. On a very beautiful 
basement, containing a range of apartments, the 
windows of which are without much decora- 
tion, and with circular heads, rests the famous col- 
onnade, 525 feet long, of coupled Corinthian col- 
umns, and fluted, three feet seven inches in diame- 
ter, supporting bold architraves, twelve feet long. 
This colonnade has three breaks— one at each of 
the extremities, and one in the centre. Over this 
is a pediment, embracing eight of the coupled col- 
umns ; and the two inclined planes forming the 
pediment are remarkable, each being fifty-four feet 
long, eight feet wide, and fourteen inches high. 
The whole edifice is surmounted by a balustrade. 
This superb fa9ade fronts the church of S. Ger- 
main. Its excellence was a matter of surprise to 
Bernini, and Milizia saj^s it may be ranked among 
the finest pieces of architecture in Europe. — 
Among the other works of Perrault, are the Ob- 
servatory, and the grand triumphal arch at the 
entrance of the Faubourg St, Antoine. The foun- 
dations of the latter work were laid, but it was 
unfortunately only executed in stucco. It was 
146 feet long in front, and 150 feet high ; dimen- 
sions far superior to the arches of Constantine or 
Septimius Severus. The order was Corinthian ; 
the columns ten and a half diameters instead of 
ten — an addition which appeared necessary, to give 
a greater degree of elegance, and to harmonize 
with the light sculpture which adorned the work. 
The ornaments were admirably selected, and none 
but such a master as Perrault could have used so 
many without overloading the architecture ; eve- 
ry part displayed excellent taste. Milizia says 
that, had it been executed in marble, it would have 
conferred immortal honor on the French nation. 
Perrault was a member of the Royal Academy of 
Sciences. He published an abridged edition of his 
Vitruvius in 1674 ; an enlarged edition appeared 
in 1684 : his work on the Five Orders, folio, was 
published in 1683 ; Essais de Physique, 2 vols. 
4to.. 1680, and a work on natural history; to 
which may be added a posthumous work, publish- 
ed in 1700. giving an account of several machines 
of his own invention. Perrault died at Paris in 
1688. 

PERRET. Petek, an engraver born about 1550. 
It is uncertain whether he was a native of 
France or the Low Countries. His Christian 
name is variously written Pierre. Pedro, and Pie- 
ter, and at Rome he signs himself Pieter Perret^ 
which seems to confirm Basan's assertion that he 
was a Fleming. He went to Rome, where he 
studied under Cornelius Cort. On his return to 
his own country, he was appointed engraver to 



the Duke of Bavaria and the Elector of Cologne. 
He engraved the plates of the monastery of San 
Lorenzo in the Escurial, from the designs of Juan 
de Herrera, T^hich gave so much satisfaction to 
Philip II. that he invited him to Madrid in 1595, 
and appointed him his engraver, which office he 
retained under Philip III. and Philip lY., till his 
death, which happened at Madrid in 1637. His 
chief works are a set of portraits of the Kings of 
Spain, signed Pedro Perret sculptor Regis, fecit. 

FPERRIER; FRAN90IS. a French painter 
and engraver, born at Macon, in Burgundy, 
about 1590. His father was a goldsmith, 
and instructed him in the elements of design, but 
was unwilling that he should become a painter. 
Opposed in his wishes, young Perrier left his na- 
tive place ; and. being without the means of a 
livelihood, he became the conductor of a blind 
mendicant, who was traveling to Italy, and in this 
manner succeeded in reaching Rome. On arriving 
there, he was employed by a picture dealer to copy 
several paintings, and some of his work was shown 
to Lanfranco, who encouraged him to persevere, 
and admitted him to his school. After several 
years' residence at Rome, Perrier returned to 
France, and passed some time at Lyons, where he 
painted the Decollation of St. John, a Holy Fam- 
ily, and other works for the cloister of the Car- 
thusians. Not content with a provincial field for 
the exercise of his abilities, Perrier went to Paris, 
and; associating himself with Vouet, was employ- 
ed by him to paint, from his design, the chapel of 
the chateau de Chilly. Meeting with httle encour- 
agement, he revisited Italy in 1635, and applied 
himself to engraving the principal antique statues 
and bas-reliefs ; also a number of plates after the 
Italian masters. After the death of Simon Vouet, 
he returned to Paris in 1645, and was commis- 
sioned to paint the Hotel de la Vrilliere (now the 
Bank of France), where he represented Apollo in 
his Chariot ; the Four Elements ; Jupiter and 
Semele ; the Rape of Proserpine ; Neptune and 
Thetis ; and Jupiter demanding of Eolus the de- 
struction of the Trojan Fleet. He also painted 
landscapes, in the taste of the Caracci, but defect- 
ive in perspective. His pictures evince great 
warmth of imagination, but the design is often in- 
correct ; the airs of his heads lack elegance and 
dignity, and his coloring is too dark. Perrier was 
a member of the Academy, and died at Paris, ac- 
cording to D'Argenville, in 1650. There are a 
number of etchings by him, incorrectly and negli- 
gently designed, and executed in a slight, hasty 
style, usually marked Paria, or with his mono- 
gram. Among them are the following : 

A set of one hundred prints from the antique statues, 
published at Kome. A set of fifty, taken from the ancient 
bas-reliefs. Ten plates of the Angels in the Farnesina ; 
after Rafaelle. Two plates of the Assembly of the Gods, 
and the Marriage of Cupid and Psyche ; from the paint- 
ings by Rafaelle in the Farnesina. The Communion of 
St. Jerome ; after Agos. Caracci. The Flight into Egypt ; 
do. The Nativity ; after S. Vouet. The Portrait of Si- 
mon Vouet ; F'. Perrier, fecit. 1632. 

SUBJECTS FROM HIS OWN DESIGNS. 

The Holy Family, with St. John playing with a Lamb. 
The Crucifixion ; inscribed Franciscus Perrier, Burgun- 
dus, pinx. et scul St. Roch curing the People afflicted 
with the Plague. The Body of St. Sebastian, supported 
by two Saints. Venus and the Graces. Time clipping 
the Wings of Love, engraved in chiaro-scuro ; fine. 



PERR. 



678 



PERU. 



PERRIER, GuiLLAUME. a painter and engraver, 
tlie nephew and scholar of Fran9ois P., flourished 
about the middle of the 17th century, and died in 
1655. His \^^rks are executed in the style of his 
uncle. Among the principal are several pictures 
in the sacristy des Minimes at Lyons, where he 
had taken refuge, having killed his antagonist in a 
duel. There are a few etchings by him, in the 
style of Francois Perrier, among which are an 
emblematical subject ; the Portrait of Lazarus 
Meyssonier ; the Death of the Magdalen ; and the 
Holy Family. 

PERRIN, Jean, an obscure French engraver, 
who. in conjunction with Jean Munier, executed a 
set of one hundred wooden cuts, for a work enti- 
tled La Morosophie de Guillaumc de la Perriere 
Tolsain, conttnant cent Emblemes, published at 
Lyons in 1553. 

PERRTSSIM. See Perisin. 

PERRONEAU. Jean Baptistk, a French paint- 
er in crayons, and an engraver, born in 1731. He 
studied under Lawrence Cars. Little is known of 
him as a painter. Stanley says he was in Eng- 
land for a short time, and exhibited some portraits 
drawn in crayons. He engraved some plates after 
Boucher, Vanloo, Bouchardon, and Natoire. 

PERRONET, a distinguished French architect 
and engineer, was born in 1708. He studied un- 
der Beausire^ and made such rapid progress that, 
in 1745, he was appointed inspector of the school 
of engineers, and afterwards became director. He 
attained great eminence in constructing roads and 
bridges, and executed several admirable and impor- 
tant works of this kind in France, besides the canal 
of Burgundy, He wrote a description of his bridges, 
in 2 vols. 12mo. ; and some memoirs on the method 
of constructing grand arches of stone, from two 
hundred to five hundred feet. Perronet was hon- 
ored with the Order of St. Michael, and with a 
membership in the Academy of Sciences at Paris, 
the Academy at Stockholm, and the Royal Society 
of London. He died in 1794. 

PERRY. Francis, an English painter and en- 
graver of little note. He engraved some plates 
for the magazines, and a few of coins and medals. 

PERSON, Nicholas, a German engraver, who 
flourished about 1696. He engraved a set of twen- 
ty portraits of the Archbishops of Germany, pub- 
lished in that 3'^ear. They are indifferently exe- 
cuted. 

PERSYN. or PERZYN, Regnier de, an en- 
graver who flourished at Rome about 1650, and, in 
conjunction with Cornelius Bloemaert, Theodore 
Matham, and M. Natalis, engraved the statues in 
the Palazzo Giustiniani. He also engraved some 
other plates, among which are the portraits of Ari- 
09,\o, after Titian ; Balthazar, Count Castiglione, 
after Raffaelle. His plates are executed with the 
graver, in a neat, clear, and pleasing style. There 
is considerable discrepancy about him, arising from 
a variety of signatures found on prints attributed 
to him, as Regnier de Persyn fee, R. a Persyn 
scidp., and Regnerus a Persyn sculp. Lusit. (Lu- 
sitanius), which last signature is found on a plate 
of Leander taken to the shore by Marine Deities, 
and would seem to indicate that he was a Span- 
iard. Nagler says that Regnier de Persyn or Per- 
zyn, surnamed Narcissus, was a native of Am- 
sterdam, born in 1600. Zani says he was born in 



1639, and was living in 1690. Zani also mentions 
another Rcnato or Reniero Perzyn.whom he calls a 
Roman, and says he operated in 1642. He quotes 
two inscriptions from prints, R. a Persyn sculp., 
R. a Persyn fee. 1642. There can be but little 
doubt that they all refer to one and the same per- 
son, as some artists frequently use various signa- 
tures. 

PERUCCI, Orazio, a painter of Reggio, born 
in 1548. According to Tiraboschi he was a good 
artist, executed some works for the churches in 
his native city, and painted much for the collec- 
tions. Lanzi says there remain various pictures 
by him in the private houses, and an altar-piece in 
the church of S. Giovanni at Reggio ; and, judg- 
ing from his style, he thinks he was a pupil of 
Lelio Orsi. He died in 1624. 

PERUGIA, Giovanni Niccolo da, a painter 
of Perugia, born, according toPascoli, about 1478. 
He was probably a scholar of Pietro Perugino. 
Lanzi says '' he was a good colorist, and therefore 
was willingly received by Pietro to assist him in 
his works, however inferior to that artist in design 
and perspective. His works are recognized in the 
Capella del Cambio, near the celebrated Sala of 
Perugino, where he painted the Life of St. John 
the Baptist. In the church of S. Tommaso is his 
picture of that Saint about to touch the wounds 
of our Saviour, and with the exception of a same- 
ness in the heads, it possesses much of the charac- 
ter of Perugino." He died in 1544. 

PERUGIA, Mariano da, a painter who, ac- 
cording to Mariotti, was a reputable artist, and 
executed some works for the churches at Perugia 
and Ancona. There are notices of him from 1547 
to 1576. He commends an altar-piece by him in 
the church of S. Domenico at Perugia, and an- 
other picture by him in the church of S. Agostino 
at Ancona. He is also called Mariano di Ser Eus- 
terio. 

PERUGIA, SiNiBALDO DA, a painter of Peru- 
gia, highly commended by Mariotti, who flourished 
in the first part of the sixteenth century. There 
are notices of him from 1505 to 1528. Lanzi says 
"he must be esteemed an excellent painter, from 
his works in his native place, and still more from 
those in the Cathedral at Gubbio, where he paint- 
ed a fine picture in 1505, and a gonfalon still more 
beautiful, which would rank him among the first 
artists of the ancient school." 

PERUGINI, Petruccio. See Montanini. 

PERLTGINI. There are several other painters, 
natives of Perugia, called by this name. The Cav. 
Ratti, in his life of Alessandro Magnasco, makes 
mention of one Perugini, who flourished at Milan 
at the same time as Magnasco, who inserted the 
figures in his landscapes. He flourished in the 
first half of the seventeenth century. Lanzi men- 
tions another of the same name, who died at Mi- 
lan in 1560. 

PERUGINO, Sante Pietro. See Bartoli. 

PERUGINO, LuiGi. See Scaramuccia. 

PERUGINO, Paolo. See Gismondi. 

PERUGINO, II Cavaliere. See Gio. Domen- 
ico Cerrini. 

PERUGINO, Domenico, a painter of Perugia, 
who. according to Baglioni. flourished in the latter 



PERU. 



679 



PERU. 



part of the 16th and first part of the 17th centu- 
ries. Lanzi says he painted small wood scenes or 
landscapes, and that he is scarcely known at Pe- 
rugia ; though it is believed that one of his pic- 
tures remains in the church of S. Angelo Magno 
at Ascoli. His name also occurs at Siena, and he 
is mentioned by authors as the master of Antive- 
duto Grammatica. lie probably painted history, 
as well as landscapes, and wrought in various cit- 
ies for individuals. 

PERUGINO. Lello, an old painter of Perugia, 
who, in conjunction with Ugolino Orvietano and 
other artists, decorated the Cathedral of Orvieto 
in 1321. See Orvietano. 

PERUGINO, PiETRO. The family name of this 
eminent artist was Vannucci, but he is universally 
known in the history of art as Pietro Perugino, 
and when authors speak of Perugino, they always 
refer to him. There is a good deal of contradic- 
tion about the place of his nativity, and his mas- 
ter. The signatures on several of his earlier 
works show that he was a native of Citta della 
Pieve, a small place near Perugia, where he was 
born in 1446. His parents soon afterwards re- 
moved to Perugia, and, being extremely poor, 
placed him under the tuition of an obscure painter 
in that city. It is generally believed by authors 
that he afterwards studied under Andrea Veroc- 
chio. at Florence. Mariotti raised a doubt whether 
he went to Florence and became the scholar of 
Verocchio. as writers report, but thinks he received 
his principal instruction from Benedetto Bonfiglio, 
at Perugia ; and afterwards improved himself by 
studying the works of Masaccio. Pascoli, Bot- 
tari, and Taja are of opinion that Verocchio was 
never his master ; and the Padre Resta, after re- 
viewing the whole subject, comes to the same con- 
clusion. Notwithstanding all the facts and ingen- 
ious arguments advanced by them, Lanzi thinks it 
highly probable that Perugino, on his arrival at 
Florence, attached himself to that celebrated art- 
ist, was instructed by him in design, and particu- 
larly in the plastic art ; also in that fine st3^1e of 
painting with which Verocchio imbued both Vinci 
and Credi. Traditions generally have some foun- 
dation in truth. At all events, he first distin- 
guished himself at Florence by his picture of the 
Deposition from the Cross, with the Virgin, St. 
John, and other Saints, painted for the church of 
S. Chiara, which was considered one of the finest 
productions of the art at that early period, and 
gained him such immense reputation that he was 
invited to Rome by Sixtus IV., to decorate the 
Sistine Chapel, where he executed several works, 
the most esteemed of which was that of Christ 
giving the Keys to St. Peter. Lanzi gives the fol- 
lowing admirable critique on his manner, works 
and scholars, which places Perugino in the true 
light, and explains away many adverse opinions. 

•' The manner of Pietro is somewhat hard and 
dry, like that of other painters of his time ; and 
he exhibits a poverty in the drapery of his figures, 
his mantles and garments being curtailed and con- 
fined. Bat he atones for these faults by the grace 
of his heads, particularly of his boys and women, 
which have an air of elegance, and a charm of color, 
unknown to his cotemporaries. It is delightful to 
behold, in his pictures and in his frescos which re- 
main at Perugia and at Rome, the bright azure 
grounds which afford such relief to his figures ; 
the green, purple, and violet tints so chastely har- 



monized ; the beautiful and well-drawn landscapes 
and edifices — a thing, as Vasari says, until that 
time never seen in Florence. In his altar-pieces 
he is sufficiently varied ; there is, in the church of 
S. Simone at Perugia, a Holy Family, one of the 
finest specimens of a well composed and well de- 
signed altar-piece. In other respects, Pietro did 
not make great advances in invention ; his Cruci- 
fixions and his Descents from the Cross are nu- 
merous, and of a uniform character. He has rep- 
resented, with little variation, the Ascension of our 
Lord, and of the Virgin, in Bologna, in Florence, 
in Perugia, and in Citta di San Sepolcro. Re- 
proached with this circumstance in his life-time, 
he defended himself by saying that no one had a 
right to complain, as the designs were all his own. 
There is also another defence for him. which is 
that compositions, really beautiful, are still beheld 
with delight when repeated in different places. 
Whoever saw, in the Sistine chapel, his St. Peter 
invested with the Keys, will not be displeased at 
finding at Perugia, the same landscape in a pic- 
ture of the Virgin ', on the contrary, this picture 
is one of the finest objects that noble city affords, 
and may be considered as containing an epitome of 
the various styles of Pietro. In the opinion of 
some writers, his frescos exhibit a more fertile in- 
vention, and greater delicacy and harmony of color. 
Of these, his master-piece is in his native city (Pe- 
rugia), in the Sala del Cambio. It is an evangeli- 
cal subject, with Saints from the Old and New 
Testaments, in which he inserted his own portrait, 
to which his grateful fellow-citizens attached an 
elegant eulogy. He is most eminent, and adopts a 
sort of Raffaellesque style, in some of his later 
pictures. I have observed it in a Holy Family in 
the Carmine, at Perugia. The same may be said 
of certain small pictures, almost of a miniature 
class, as in the Grado of St. Peter at Perugia ; 
than which nothing can be more finished and 
beautiful ; and in many other pieces on which he 
spared no pains, but which are few in comparison 
to the multitude by his scholars which are attribu- 
ted to him.^- 

" In treating of the school of Pietro Perugino, it 
is necessary to advert to what Taja afld the au- 
thors of the ' Lettere Perugine' notice respecting 
his scholars — ' that they were most scrupulous in 
adhering to the manner of their master ; and. as 
they are numerous, they have filled the world with 
pictures, which both by painters and connoisseurs 
are commonly considered as his.' When his 
works at Perugia are inspected, he generally rises 
in the estimation of travelers, of whom many 
have only seen paintings incorrectly ascribed to 
him. At Florence, there are some of his pictures 
in the Grand Duke's collection, and in the church 
of S. Chiara his beautiful Descent from the Cross, 
with other works ; but in private collections, many 
Holy Families are ascribed to him which were ex- 
ecuted by some of his numerous scholars. The 
Papal States also possess many works by his 
scholars, who were of higher reputation, and not 
so wholly attached to his manner." 

Pietro Perugino died at Perugia in 1524. His 
name is illustrious in art, not only for his works, 
but for his having been the instructor of Raffaelle. 

PERUNDT, George. See Pfrundt. 

PERUZZI, Baldassare, DA Siena, a preemi- 
nent Italian painter and architect, born at Accaja- 
no, in the territory of Siena, according to Della 



PERU. 



PERU. 



Talle. in 1481. According to Lanzi, he was the 
child of poor parents ; was nurtured amidst diffi- 
culties; but succeeded in obtaining a knowledge 
of painting from some unknown master in his na- 
tive citj, and then went to Rome for improvement, 
in the pontificate of Alexander VI. He formed 
an intimacy with RafFaelle, whose style he admired 
and imitated, particularly in his fresco works. Pe- 
ruzzi gained great eminence at Rome ; was patron- 
ized by many of the nobility, particularly by Agos- 
tino Chigi, and also by Pope Alexander. In his 
Judgment of Paris, in the Castello di Belcaro ; and 
in his picture of the Sibyl foretelling to Augustus 
the Birth of Christ, Peruzzi manifested such a di- 
vine enthusiasm, according to Lanzi, as Raffaelie 
himself never surpassed in treating the latter sub- 
ject, nor Guido, nor Guercino, of whom so many 
admirable Sibj^ls are exhibited. Lanzi says that, 
in great compositions, he also evinced remarkable 
talents ; as in his celebrated fresco of the Presen- 
tation in the Temple, in la Madonna della Pace at 
Rome, in which he showed himself a perfect mas- 
ter of the delineation of the passions, and une- 
qualled in the excellence of his architecture. This 
magnificent work was a favorite study of Anni- 
bale Caracci. His oil paintings are extremely 
rare ; Lanzi mentions one at Torre Babbiana, 
eighteen miles from Siena, containing three half- 
length figures, of the Virgin, St. John the Bap- 
tist, and St. Jerome. 

Peruzzi was preeminently distinguished in per- 
spective and architecture, which he painted with 
such fidelity and precision, and so judicious a man- 
agement of chiaro-scuro, as to produce perfect illu- 
f^ion. Lanzi says that if other artists surpassed 
him in the vastness of their works, they never did 
in regard to excellence. He was eminently skilled 
in ornamenting fa9ades — painting sacrifices, bac- 
chanalian scenes, and battles, so as to represent 
bas-relitifs. and real architecture ; which was af- 
terwards so successfully practised by Polidoro da 
Caravaggio and Maturino. One of his most admired 
perspectives at Rome, is in the same apartment 
of the Farnese palace where Raffaelie painted his 
Galatea, and represents the Historj^ of Perseus, em- 
bellished with ornaments in imitation of stucco, 
executed in such admirable style that Titian him- 
vSelf was deceived by them, and could only be con- 
vinced of his error by changing the point of view. 
Peruzzi produced a similar ocular deception in a 
hall of the same palace, by painting a colonnade, 
the intercolumniations of which make the hall 
seem much larger than it really is. Of this work 
Pietro Aretino said that " the palace contained no 
picture more perfect in its kind." Lanzi remarks, 
'' had the scenes he painted for the plays, repre- 
sented in the Apostolical palace for the amusement 
of Leo. X., survived to our daj'-s, the perspective 
paintings of Peruzzi would have obtained greater 
fame than the Calandra of Cardinal da Bibiena. 
It would have been said of him, as of the ancient, 
that he discovered a new art, and brought it to 
perfection." 

Peruzzi also attained great excellence in gro- 
tesques — a style of painting which, being the off- 
spring of a whimsical fancy, affords abundant 
play for the imagination. Lanzi says : " Graceful 
in all his works, he was most elegant in grotesque ; 
and. amid the freedom inspired by a subject en- 
tirely of a capricious character, he preserved an 
art to comprehend its principles. He employed 



every species of idea — satyrs, masks, children, ani- 
mals, monsters, edifices, trees, flowers, vases, can- 
delabra, lamps, armor, and thunderbolts; but he 
bridled his caprice by his judgment, in the actions 
represented, in the general arrangement, and in 
every other circumstance. He distorted and con- 
nected these images with a surprising symmetry, 
and adapted them as devices emblematic of the 
stories which they surround." 

Baldassare Peruzzi is said to have engraved on 
wood ; and a print is attributed to him represent- 
ing Apollo, Minerva, and the Muses, with Her- 
cules driving before him a female figure loaded 
with treasure, supposed to represent Avarice. It 
is executed on three blocks, in a fine, bold style; 
marked Bal. Sen., and at some distance the word 
Peritgo. According to Papillon, he wrote a treat- 
ise upon the Antiquities of Rome, and a Commen- 
tary on Vitruvius, which he intended to embellish 
with engravings upon wood, but died before it was 
ready for publication. 

As an architect, Peruzzi attained great excel- 
lence. He is said to have studied under Bramante, 
and, through the liberal patronage of the celebra- 
ted Agostino Chigi, he was enabled to acquire a 
thorough knowledge of the art. Milizia says he 
was a learned and talented architect. Serlio com- 
mends him for a sound taste, facility, and elegance, 
both in the general design and the ornaments of 
his edifices. Lanzi says he ranks among the first 
architects ; that he is even preferred to JBramante j 
and evinces a lively imagination in all his works. 
He was employed in the building of St. Peter's, 
by Pope Leo X., who, thinking the idea of Bra- 
mante too vast, employed Peruzzi to make a fresh 
model. According to the account of Serlio, it was 
to have been of a Greek cross, with a cupola one 
hundred and thirty-eight feet in diameter ; and 
was conceived with such judgment, that every part 
served as a model to the succeeding architects. — 
He designed manj^ elegant fa9ades at Rome, and 
gave proof of his superior ability in the Palazzo 
Massimo, which is one of the most original and 
tasteful edifices in that city. Instead of being per- 
plexed at the awkwardness of the site, Peruzzi 
availed himself of it to curve the front of the 
building, and thereby produced so happy an effect 
that this particular form seems rather the result 
of choice. The loggia and small inner court are 
extremely beautiful, and the whole of this admira- 
ble vfork deserves the attention it has received in 
a folio work by Suys and Haudebourt, Paris, 1818, 
containing engravings of all its parts and details. 
The tomb of Adrian VI., in the church dell' Ani- 
ma, was also erected by Peruzzi. For Agostino 
Chigi, at Longara, he erected the famous palace 
now called La Farnesina, which is highly praised 
by Milizia. Among his other works were the gate 
of S. Michele in Bosco, and the Cathedral of Car- 
pi. He left a number of original manuscripts re- 
lating to architecture, and bequeathed them to his 
scholar Serho. who declares, in his fourth book, 
that whatever merit his work possesses is due, not 
to himself, but to Baldassare da Siena. He died 
in 1536, poisoned by a rival who endeavored to ob- 
tain his appointment of architect to St. Peter's. 
Artists of every denomination assisted at his ob- 
sequies, and he was buried in the Pantheon, by the 
side of Raffaelie. 

Lanzi judiciously remarks that " Baldassare Pe- 
' ruzzi is one of the numerous individuals whose 



PERU. 



681 



PERU. 



merit must not be measured by their good for- 
tune." His life was an uninterrupted series of 
misfortune and injustice. Although his surpass- 
ing talents gained'him the patronage of Agostino 
Chigi to enable him to pursue his studies, yet he 
was reckoned inferior to his rivals, because he was 
as modest and timid as the})^ were arrogant. As 
architect of St. Peter's, he received two hundred 
and fifty crowns per annum ; and for his labors 
in the Cathedral of Siena, he had the yearly pit- 
tance of thirty crowns! He derived but little 
benefit from private commissions, for even wealthy 
nobles took advantage of his modesty, either re- 
warding him scantily or paying him nothing at 
all. Despoiled of all his property in the sacking 
of Rome, he was cut off in the prime of life, just 
as his merits began to be appreciated. "When ly- 
ing at the point of death, the Pope sent him one 
hundred crowns, with offers of further assistance. 
His death demonstrated to the world the great- 
ness of his talents ; and his epitaph, comparing 
him to the ancients, is pronounced b}'- posterity a 
just tribute to his wonderful genius. 

PERUZZTNI. DoMENico, an Italian engraver, 
born at Pesai-o or Ancona. flourished, according to the 
dates on the prints attributed to him. from 1640 to 
166 L He is supposed to be the elder brother of Gio. 
Pp' 'izzini. and. like him, to have studied under Si- 
mone Cantarini. Lanzi says that in a MS. at Pe- 
saro. it is mentioned that Domenico was a native 
of that city, and a scholar of Pandolfi. There is 
much confu^iion and contradiction about both art- 
ists, and still more uncertainty about Domenico; 
the list of prints given below were formerly at- 
tributed to Domenico Piola; but Bartsch repudi- 
ates the idea, and adduces several cogent reasons 
for transferring them to Domenico Peruzzini. — 
They are etched in a masterly style, resembling 
those of Cantarini. It would seem that both 
brothers were natives of Pesaro, but preferred to 
be called after Ancona, the place of -their adop- 
tion. The following are the prints attributed to 
him by Bartsch. For full particulars see Bartsch, 



1. The Holy Virgin, half-length, with the infant Jesus. 
D. P. 1661. 

2. The Virgin seated, with the Infant on her knees. D. P. 
1661. 

3. Christ tempted by the Devil, in the form of an old 
man. D. P. 1642. 

4. Christ bearing his Cross, with other figures, half- 
lengths. D. P. P. F. engraved nn the cross. (Circular.) 

5. The Holy Family and Saints. Domus Pernus Anco- 
ruB 1661. The figures in this print are half-lengths. Hei- 
neken, in his Dictionaire des Artistes, attributes this print 
to Gio. Dom. Cerrini, knoT\Ti under the name of// Cava- 
liere Perugino. 

6. St. Anthony of Padua praying, and the infant Jesus 
appearing to him on a cloud, supported by three cherubim. 
Dom. P. F. This print has been erroneously attributed to 
Z>. Cresti. 

7. The Assassination. A man in his shirt on a bed, as- 
sailed by three soldiers, one of whom thrusts a lance into 
his body. D. P. 1640. 

8 to 11. Landscapes. The first is signed D. P.f. Anco- 
nce ; the others D. P. only. 

12. St. Jerome doing Penance in the Desert. The let- 
ters D. P. F. are on a plant to the right. Bartsch, howev- 
er, considers it doubtful whether it belongs to Domenico Pe- 
ruzzini, as there is a sensible difference in the style from 
that of the others. 

PERUZZINI, Cav. Giovanni, a painter of Pe- 
saro or Ancona, born in 1629. The Canon Laz- 
zarini asserts that both Domenico and Giovanni 



P. were natives of Pesaro, and that they transfer- 
red their services to Ancona, their adopted coun- 
try. He studied under Simone Cantarini, ac- 
quired distinction, and painted several pictures 
for the churches at Ancona, Bologna, and other 
places. He was invited to the court of Turin, 
where he executed several works both in oil and 
fresco, so much to the satisfaction of his protector, 
that he made him a knight of the order of St. Mau- 
rice. He possessed a livelj^ imagination, a ready 
invention, and great facility of execution. He 
formed a style of his own, founded on those of 
Cantarini, the Caracci, and Guido. He was vain 
of his facilit}^ as appears on one of the lunettes of 
the portico de' Servi at Bologna, on which he in- 
scribed Opus 24 Hor. Eq. Jo. P., (the work of 
twenty-four hours, by Gio. Peruzzini, knight,) 
which caused many sarcastic remarks from his 
brother artists. His best works are finished with 
more care. The principal at Ancona are the De- 
collation of St. .John, at the Spedale, and St. Tere- 
sa, at the Carmelitani ; at Bologna, the Descent 
I of the Holy Ghost, in the church of S. S. Vitale ed 
I Agricola. and an altar-piece of St, Cecilia, in the 
j church dedicated to that Saint. Lanzi says, in his 
! picture of St. Teresa are traces of Baroccio's man- 
I ner ; that of the Beheading of St John is ex- 
j tremely beautiful, and there he appears a scholar of 
j the Bolognese. He afterwards took to a wander- 
ing life, and painted in various churches and thea- 
tres, if not with much study, yet with tolerable 
correctness, a knowledge of perspective, and with 
a certain facility, grace and spirit, which delight 
the eye. His paintings are dispersed through va- 
rious places in the Picenum, even as far as Ascoli, 
where are a number of his works. There are also 
some of his works at Rome and Milan. He died 
at Milan in 1694. 

PERUZZINI, Paolo, was the son and scholar 
of the preceding. Lanzi says that, in the MS. at 
Pesaro, from which he had obtained much of the 
information respecting the father, the son is com- 
mended as a good and decided 'painter. He re- 
sided a long time at Rome, where there are some 
of his works. No further particulars are given 
of hira. 

PESARI, Giovanni Battista, a painter of Mo- 
dena, who painted there about 1650. Tiraboschi 
says that he was either a pupil of Guido, or made 
that master his example. Lanzi says he resem- 
bles Guido very closely in his picture of the Ma- 
donna in the church of S. Paolo, at Modena, and 
i in other works. He afterwards went to Venice, 
i where he died, in the flower of his hfe. 
I PESARO, Simone da. See Cantarini. 

PESARO, NiccoLO Trometto, or Niccolo da, 
I a painter of Pesaro, who studied under Federigo 
1 Zuccaro, whose style he at first closely followed. 
1 He executed some works for the churches at Rome, 
I the principal of which are the Nativity, in the Basil- 
ica ; a Pieta in S. Francesco ; the Nativity and the 
Circumcision, in S. Maria da Arac^eli. Lanzi says 
his best piece is the Last Supper, in the church of 
the Sacrament at Pesaro. " It is a picture so well 
conceived and harmonized, and so rich in pictorial 
effect, that Lazzarini has descanted upon it in his 
lectures, as one of the finest works in that city." 
It is said that Baroccio beheld this artist with 
esteem, and Baglioni commends him for his earlier 
works. He afterwards fell into a mannered, in- 



PESO. 



PESN. 



sipid style, which injured his reputation and for- 
tune. He died at Eome in the pontificate of Paul 
V.J aged 70 years. 

PESCI, Gaspero, a Bolognese painter who was 
living in 1776. He painted easel pictures of land- 
scapes with figures, and views of architectural 
ruins. Little is known of him, further than 
that Count Algarotti was his friend and patron, 
with whom he corresponded, and for whom he ex- 
ecuted two pictures of ancient architecture, which 
ai*e described in the Catalogo Algarotti. 

PESCIA, Mariano da, a painter of Pescia, 
whose real name was Mariano Gratiadei. He 
was a scholar of Ridolfo Ghirlandaio, (not. as is 
said, of Domenico G., who died about 1493),' whom 
he assisted in many of his works. He also painted 
some pictures from his own compositions, of which 
the principal are an altar-piece in the Capella 
dell a Signoria, in the Palazzo Vecchio at Florence, 
and a picture of the Virgin and Infant Jesus, with 
St. Elizabeth and St. John, in the Florentine gal- 
lery. It is agreed by all that he died young, but 
the time of his birth and death is variously stated. 
Zani says he died in 1520; others that he was 
born in'^1520 and 1525, and died at Florence in 
1550. See Ridolfo Corradi. 

PESELLO, Francesco, a Florentine painter, 
born in 1380, and died in 1457. He studied with 
Filippo Lippi, and was a good imitator of his style. 
There is a fine picture by him of the Epiphany, in 
the Ducal Gallery. 

PESELLO, Pesellino, was the son of the pre- 
ceding, born at Florence in 1426. Lanzi says he 
imitated Lippi more closely than his father. " He 
painted the Grado for the apartments of the Nov- 
ices of S. Croce, where he represented the his- 
tories of S. Cosmo, S. Damiano, S. Antonio, and 
S. Francesco, denominated by Vasari most won- 
derful productions. Perhaps this is not too much 
to say when we recollect the period." He died 
in the flower of Hfe in 1457. There is a great 
deal of contradiction about these artists, whose 
history is evidently confounded with another artist 
of the same name, noticed in the next article. 

PESELLO, a Florentine painter, born in 1404, 
and died in 1481. It is said that he studied un- 
der Andrea del Castagno, who was born in 1409. 
He excelled in painting animals, which he de- 
signed from nature, and kept a great variety about 
him to serve as models. His history is mixed up 
with the two preceding artists in the most admi- 
rable confusion, and their names, dates, and works, 
are all applied to him by different authors. 

PESENTI, Galeazzo, called II Sabbionetta, 
a painter and sculptor of Cremona, who flourished, 
according to Zaist, in the first half of the 16th 
century. He was a cotemporary and friend of 
Galeazzo Campi, and they probably studied paint- 
ing under the same master. He seems to have 
acquired more distinction as a sculptor, than as a 
painter. There are some of his works in his na- 
tive city, but they are not particularly specified. 

PESENTI, Martire, called II Sabbionetta, 
a painter and architect of Cremona, who flour- 
ished in the last half of the 16th century. There 
are notices of him up to 1582. None of his works 
are specified, but he must have been an artist of 
reputation in his native city, as Lanzi says that 
his fellow citizens always consulted him when a 



valuable picture began to exhibit marks of decay, 
or an edifice required repairing, by which means 
many fine works were preserved. 

PESNE. Jean, a French engraver, born at Rouen 
in 1623. it is not known under whom he stud- 
ied, but he went to Paris, where he acquired dis- 
tinction by the excellence of his works. His ex- 
ecution is not dexterous nor picturesque, but his 
outline is correct, and he rendered with remark- 
able fidelity the precise character of the different 
painters whose works he engraved, which makes 
his prints interesting and valuable to the collector. 
Dumesnil mentions 166 prints by him, the best of 
which are those he engraved after Niccolo Poussin. 
The following are his most esteemed prints. He 
died about 1700. 

portraits. 

Two, of Niccolo Poussin ; after pictures hy himself. 
Louis le Comte, Sculptor to the" King. Francis Langlofsj 
after Vandyck. 

SUBJECTS after POUSSIN. 

Esther before Ahasuerus. The Adoration of the Shep- 
herds. The dead Christ, with the Virgin and St. John. 
The Entombing. The Death of Ananias. The Holy Fam- 
ily, with a dedication to le Brun. The Vision of St. Paul. 
The Triumph of Galatea. The Testament of Eudamidas ; 
one of his best prints. The Seven Sacraments, in seven 
plates, of two sheets each. The Labors of Hercules, in 
nineteen plates ; from the paintings in the Louvre. 

SUBJECTS AFTER ITALIAN MASTERS. 

The Holy Family ; after RaffaeUe. A set of fifteen 
Landscapes ; after Guercino, and other masters ; fine. 

PESNE, Thomas, was a younger brother of the 
preceding, and painted history and portraits, in 
which latter capacity he acquired at Paris consider- 
able reputation. 

PESNE, Antoine, a French historical and por- 
trait painter, born at Paris in 1683. He was a 
son of one of the preceding, but authors differ. 
Dumesnil says he was a son of Jean P., and others 
with more probability, of Thomas. After learn- 
ing the principles of the art under his father, he 
studied under Charles de la Fosse, and then went 
to Italy for improvement. On his return to Paris 
he acquired distinction, both in history and por- 
trait. He was invited to Berlin by Frederick the 
Great, who appointed him his chief painter, and 
conferred on him a liberal pension. He painted 
the portrait of the King and other members of the 
Royal family, and of many distinguished person- 
ages at the court, where he died in 1757. The 
same history is erroneously applied to another An- 
toine Pesne, born at Paris in 1710, and died in 1770, 
who is said to have been a son of Charles Pesne, 
an engraver. 

PEETERS, or PETERS, Bonaventura, an em- 
inent Flemish painter, born at Antwerp in 1614. 
It is not known by whom he was instructed, but 
he distinguished himself as one of the most emin- 
ent marine painters of his time. His best pictures 
are his storms and tempests, which he has repre- 
sented with wonderful truth and effect. The low- 
ering sky, the glare of the lightning, the awful 
and terrific agitation of the water, the alarm and 
movements of the mariners, the vessels foundering 
or dashing to pieces on the craggy shore, are de- 
scribed with a fidelity and feeling that fill the im- 
agination with horror, and show that he must have 
frequently witnessed these disastrous scenes, to 
have enabled him to delineate them with such affect- 



PEET. 



683 



PETE. 



mg precision. He also painted calms and pros- 
pects of towns and castles on the sea shore, with 
nearly equal success. These represent scenes on 
the coast of Holland, with fishing boats at anchor, 
and fishermen drawing their nets ; or views on the 
Scheldt, with vessels sailing under a gentle breeze, 
in which he exhibits a freshness of atmosphere and 
a transparency in the water, that is admirable. 
His vessels and figures are correctly drawn, his 
pencil is light, his touch is neat and full of spirit, 
his coloring exceedingly transparent, his water, 
whether calm or agitakd, has great truth and del- 
icacy, and his management of the chiaro-scuro is 
admirable. His pictures are held in the highest 
esteem in Flanders, and are to be found only in 
the choicest collections. His works have been 
greatly imitated, and passed upon the unlearned 
m such matters, greatly tending to injure his rep- 
utation in foreign countries. This is particularly 
the case in England, and in the United States ; 
many such, with his signature, well calculated to 
deceive, have been sold in this country for his gen- 
uine works. He died, according to Descaraps, in 
1652; most other authors, following him, give the 
same date ; but Balkema says he died in 1671, and 
a picture in the Museum at the Hague, considered 
genuine, dated 1667, would seem to confirm the 
latter. He also executed a few spirited etchings 
from his own designs, which are exceedingly scarce. 

PEETERS, or PETERS, John, was the brother 
and scholar of the preceding, born at Antwerp in 
1625. He painted the sarae subjects as his brother, 
and imitated his manner so closel)^ that his works 
liave frequently been sold for those of that ad- 
mirable master. Though his pictures are well 
composed, his figures correctly designed, his color- 
ing clear and transparent, his penciling neat and 
delicate, he is ver}^ unequal to him in grandeur 
-of eifect, and in judicious management of the 
■chiaro-scuro. He sometimes painted sea-fights, in 
which he showed great ingenuity in the compo- 
sition, and his figures are correctly drawn and 
spiritedl}'- touched. He died in 1677, 

PEETERS, or PETERS, Francis Lucas, a 
Flemish painter, born at Mechlin in 1606. He was 
the son of an obscure painter, from whom he learned 
the elements of the art. He afterwards stud- 
ied with Gerard Segers, but did not follow the 
stj'le of that eminent master. He subsequenlty 
abandoned historical painting, and devoted him- 
self to landscapes, which he executed in a pleasing 
style, and decorated with small figures correctly 
drawn and touched with great neatness and spirit. 
He acquired distinction, and was taken into the 
service of the Archduke Leopold, in whose employ- 
ment he passed the greater part of his life. He 
died at Brussels in 1654. 

PEETERS,orPETERS, Gerard, a Dutch paint- 
er, born at Amsterdam in 1580. He first studied 
with James Lenards, an eminent painter on glass, 
who, perceiving in his pupil an uncommon genius 
for the art, advised him to place himself under a 
more able master in a different branch of the art. 
He accordingly became the disciple of Cornelius 
Cornelisz, with whom he remained five years. He 
made such progress and showed so much genius, 
that that eminent master advised him to go to 
Italy. After a residence of some years at Rome, 
he returned to Holland, where he distinguished 
hinffiself, but in a very different bramjh from what his 



master had anticipated. Karel van Mander extols 
him as a correct designer of the figure, and com- 
mends some of his historical works ; but he is 
chiefly celebrated for his pictures of conversations 
and gallant assemblies, which are composed in an 
elegant and agreeable style, and finished with great 
neatness and delicacy. He also painted portraits 
with considerable success. He died in 1626. 
PETER, THE Long. See Peter Aertsen. 

PETER, Wenceslaus, a German painter and 
sculptor, born at Carlsbad, in Bohemia, in 1742. 
Early in life he was apprenticed to an armorer; 
but having engraved upon steel some beautiful 
design-s, he attracted the notice of the Prince of 
Kaunitz, who furnished him the means of visit- 
ing Rome. Arriving in that metropolis of art, 
Peter devoted himself to the study of the antique, 
and executed, not long after, a bas-relief of twenty 
figures in terra cotta, which was purchased by 
Lord Bristol, and sent to England. Notwithstand- 
ing this success, Peter resolved to gratify his strong 
inclination for painting; and he devoted his atten- 
tion principally to representing animals, although 
by no means neglecting the study of the nude, 
which is evinced by his pictures of Daniel, Her- 
cules, and Juno. In the branch of animal paint- 
ing, he attained such excellence as to surpass most 
artists. His master-piece was a representation 
of the Terrestrial Paradise, with various animals 
distributed in pairs, comprising all the varieties 
which he had ever had the opportunity to design. 
He was offered large sums for this work, but would 
never dispose of it. Among the patrons of Peter, 
was Prince Antonio Borghese. He was honored 
with a professorship of Painting in the Academy 
of St. Luke ; and died at Rome, in 1829. 

PETERS, Matthias, and Nicholas, two Dutch 
engravers who flourished at Amsterdam about 
1660. They were brothers, and executed conjoint- 
ly the plates for the Atlas Major, published by 
Blaeu, in that city, in 1660. 

PETERS, William, an English clergyman, who 
flourished in the last part of the 18th century, and 
distinguished himself as a painter. He was a man 
of wit, and possessed a lively imagination and great 
conversational powers, which made him a great fa- 
vorite. Having a passion for painting, he prac- 
tised it at first as an amusement, and by associa- 
ting much with the eminent artists of the time, he 
greatly improved his manner, and distinguished 
himself by the production of many beautiful works, 
which were greatly admired. He painted for the 
Shakspeare Gallery, two scenes from the Merry 
Wives of Windsor, two do. from Henry VIII., and 
one from Much Ado about Nothing; also several 
for Macklin's Gallery, as the Resurrection of a 
Pious Family; the Guardian Angel and the Spirit 
of a Child ; the Cherubs, &c.. all of which were 
verv popular. He executed many fancy subjects 
from his own imagination, which are pleasingly 
sentimental. He was much patronized by the no- 
bility, and he sometimes painted subjects not strict- 
ly in accordance with just notions of propriety, 
and very diff'erent from those of the Cherubs and 
the Resurrection of the Pious Family. His pic- 
tures are well composed and his coloring rich and 
harmonious, with an admirable impasto. in which 
he imitated Reynolds. Many of his works were 
engraved by Bartolozzi, Thew, Simon, Smith, Mar- 
cuard, and others. He is generally called the Rev. 



PETE. 



684 



PBTI. 



W. Peters. The Duke of Rutland was bis prinei- 
pal patron, and presented him with a valuable 
living ; the Bishop of Lincoln gave him a pre- 
bendal stall in his cathedral. He died in 1814. 

PETERZANO. orPRETERAZZANO, Simone, 
a Venetian painter, who, according to Lomazzo, 
was a pupil of Titian, and flourished at Milan in 
1591, where he executed some works for the 
churches, both in oil and fresco. Lanzi says, "On 
his Pieta, in S. Fedele, he inscribed himself Titiani 
Discipulus ; and his close imitation seems to con- 
firm the truth. He produced several works in 
fresco, particularly several histories of St. Paul, in 
S. Barnaba. He there seems to have aimed at uni- 
ting the expression, the foreshortening, and the per- 
spective of the Milanese, to the rich coloring of the 
Venetian artists ; noble works, if they were thor- 
oughly correct, and if the author had been as ex- 
cellent in fresco as in oil painting," There is a 
fine picture by this master, of the Assumption of 
the Virgin, in the Chiesa di Brera. 

PETHER. Abraham, an English painteFyborn at 
Chichester in 175G. He was the son of William 
Pether, an engraver; and studied painting with 
George Smith. He painted landscapes and moon- 
light scenes, with considerable success, though with- 
out sufficient attention to nature. He did not con- 
fine himself to painting, ,but was a sort of univer- 
sal genius, and withal a skillful musician. He died 
in 1812. 

PETHER, Sebastian, was the son of the preced- 
ing, born at Chichester in 1790. He was instruct- 
ed by his father, and painted similar subjects, in a 
style not beyond mediocrity. He died in 1844, 

PETHER, William, an English engraver, bom 
at Carlisle in 1731, He was a scholar of Thomas 
Frye, and was an excellent engraver in mezzotinto. 
He executed some fine plates after Rembrandt, 
Teniers, Rubens, and other masters, as well as a 
few from his own designs. The following are the 
principal : 

PORTRAITS. 

The three brothers, Smith, Painters of Cbichester ; W. 
Pether, pinx. et fee. 1766. Benjamin West ; a/Ver Z^aw- 
ranson Samuel Chandler, D. D. ; after Ckamberlin. 
Francis du Quesnoy, Sculptor ; after C. le Brun. Carlo 
Tessarini, Musician ; after Palthe. Kembrandf^s Wife, as 
the Jew Bride ; after Rembrandt. Rubens' second Wife ; 
after Rubens. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Rabbi; after Rembrandt. An Officer in Armor; 
do. An old Man with a beard ; do. The Lord of the 
Vineyard ; do. A Villajje Festival ; after Teniers. A 
Warrior; half-leng-th ; after Gim-gione. The Descent 
from the Cross ; after the picture in King's College, Cara- 
brid^e ; by Daniello da Volterra. The Philosopher ; af- 
ter Jos. Wright. The Statuary ; do. The Academy ; do. 
The Continence of the Chevalier Bayard; after Penny. 
The Hermit ; do. The Alchynaist ; do. 

PETIT, Giles Ei>me, a Frei>ch engraver, born 
at Paris in 1696. He studied under J. Chereau, 
and executed many plates in the neat, finished style 
of his instructor. Nagler gives a list of fifty-two 
prints bv him, among which are the following. He 
died in 1700. 

PORTRAITa. 

Francis I. Kin^ of France ; after Titian ; for the Cro- 
zat collection. Louis Philip, Regent of France ; after 
Liotard. Louis XV., King of Franco; after C. Vanloo. 
Charles Edward Stuart, the Pretender; after Dupra. — 
Philibert Papillon, Canon of Dijon. Rene, Charles do 



Maupeon, President of the ParliamcRt. Peter Bayte, Alt' 
thor of the Historical and Critical Dictionary. Maria 
Theresa, Queen of Hungary. Armand Julius, Prince of 
Rohan ; after Rigaud. Henry Charles de Poraponne, 
Abbe of St. Medard. John Frederick Philipeaus, Count 
of Maurepas, Joachim Francis Potier, Duke of Gesvres, 

SUBJECTS. 

The Disciples at Emmaus ; after J. Andri. The Visit' 
ation ; do. The Virgin of the Rosary ; do. St, Catho' 
line ; do. 

PETITy Louis, a French designer and engraver^ 
born at Paris in 1760, was a scholar of N. Ponce. 
He was much employed in designing and engrav- 
ing vignettes and other subjects for the booksellers. 
He also engraved several plates after various mas- 
ters, which possess considerable merit. The fol- 
lowing are the principal. He died in 1812. 

The Portrait of Peter BayTe, author of the Dictionary. 
La belle Jardiniere, jointly with Mansard ; after Rafa- 
die. The infant Jesus asleep, finished by Botinet • do. 
Aurora ; do. A Holy Family j do. St. Romaaklus; after 
A. Sncchl ; finished by Dambrune. The dancing Nymphs j 
after Vanderwerf. And several for Ligni's History of 
the Life of Christ ; among which are the Transfiguration, 
after Raffaelle; and the Last Supper, after Leonardo da 
Vinci. 

PETIT-RADEL, Louis Francois, a French ar- 
chitect, bom at Paris in 1740. He studied under 
de Wailly, and carried off" a number of medals at 
the exhibitions of the Academy. He visited Italy 
for improvement, and on returning to Paris, estab- 
lished a successful school, devoting hrs energies 
principally to the theoretical department of the 
art. He was a correct designer, and an adept in 
perspective; executed many excellent architectural 
designs; held an ofBce in the Academy of Archi- 
tecture ; and was appointed Inspector General of 
Civil Edifices, In 17&9, he published his Projet 
pour la restauration du Pantheon Francais. He 
died in 1818, Thei^e are a number of plates repre- 
senting ruins and other architectural subjects, en- 
graved after his designs. 

PETITOT, John, the Elbek, an eminent Swiss 
painter in enamel, was born at Geneva in 1607. 
He was the son of a sculptor and architect, wha 
placed him with a gold worker and enam^ller, to 
learn that business. Having frequent occasion to 
make use of enamel, he succeeded in obtaining such 
beautiful tones of color, that he was advised to ap- 
ply himself to portrait painting in enamel, in which 
he succeeded admirably, and afterwards carried it to 
a perfection before unknown. In company with his 
friend and associate. Peter Bordier, who afterwards 
became his brother-in-law. he went to Italy in search 
of improvement, where, during a residence of sev- 
eral years, he carefully studied the treasures of art, 
and consulted the best chemists, to discover some 
desirable colors that would stand the fire without 
change. Petitot and Bordier wrought together, 
the former painting the beads and hands, and the 
latter the hair, drapery, and backgrounds. They 
next M^ent to England, where they had the good 
fortune to become acquainted with Sir Theodore 
May erne, physician to Charles I., an excellent 
chemist, who had bent his attention to the sub- 
ject of enamels, and had discovered the principal 
colors to be used in painting, and the mannerof vit- 
rifying them, so that they surpassed the boasted 
enamelling of Venice and Limoges. Mayerne not 
only communicated his secrets to Petitot, but in- 
troduced him to the King, who took him into his 
service, and gave him apartments at Whitehall, 



PETI. 



685 



PETI. 



He painted the portrait of that monarch, and of 
the royal family, several times. He copied several 
pictures after Vandyck, who assisted him with his 
advice ; and these are considered his finest works. 
The beautiful portrait of the Countess of South- 
ampton, now in the collection of the Duke of Dev- 
onshire, is considered one of the linest specimens 
of the art that exists. It is a whole length, nine 
inches and three quarters high, by five inches and 
three quarters wide, and was painted from the 
original in oil by Vandyck. The execution is bold, 
and the coloring is the most rich and beautiful 
that can be imagined. It is dated 1642. King 
Charles, who took great pleasure in his success, 
often honored him with his presence while at work 
The tragical death of his royal patron was a dread- 
ful stroke to Petitot, who would not quit the ex- 
iled family, but followed them into France, where 
he was one of their most faithful adherents. — 
Prince Charles, afterwards Charles II., took great 
notice of him, and recommended him to Louis 
XIV., who took him into his service, appointed 
him his painter in enamel, and gave him apart- 
ments in the Louvre. He painted that monarch 
several times, Maria Anne of Austria, his mother, 
and Maria Theresa, his Queen. Petitot being a zeal- 
ous Protestant, and dreading the consequences of 
the revocation of the edict of Nantes, in 1685, which 
tolerated the Huguenots, he solicited the King's per- 
mission to retire to Geneva. Louis, unwilling to 
part with such a favorite artist, fearing his escape, 
ordered him to be arrested and imprisoned in the 
fortress of PEveque, and sent the Bishop of Meaux 
to convert him to the Catholic faith ; but neither 
the the eloquence of the Bishop nor the terrors of 
the dungeon could prevail on him to abjure his 
faith. His confinement threw him into a fever, on 
learning which, Louis ordered his release, and Pet- 
itot lost no time in escaping with his wife to Gene- 
va, where he settled. There he continued to prac- 
tice his profession, though wealthy, and at an ad- 
vanced age. The King and Queen of Poland, de- 
sirous of having their portraits copied by him, sent 
the originals to Paris, believing him to be there ; 
but the messenger, finding he had gone to Geneva, 
proceeded thither, and Petitot executed them in the 
most beautiful manner, though he was then above 
eighty j'ears of age. The concourse of his friends 
and the curious was now so great, that he was 
obliged to retire to Vevay, a small town in the can- 
ton of Berne, that he might pass the rest of his 
life in quiet. He wrought to the last day of his 
life, and died suddenly, while he was engaged on a 
portrait of his wife, in 1691, aged 84 years. 

Petitot may almost be considered the inventor 
of painting in enamel ; at least he was the first ar- 
tist who brought it to complete perfection. He was 
much assisted by his friend Bordier, but it is evi- 
dent that he owed his success entirely to his own 
ingenuity, for, after they separated, little more is 
heard of Bordier. He made use of gold and silver 
plates, and seldom enamelled on copper. His cus- 
tom was to sketch out his work from the portrait, 
and then finish after life. When he painted the 
kings of England and France, he selected their 
best portraits, and afterwards they gave him a 
sitting or two to finish his work. He labored with 
the greatest assiduit}'-, con amove, and never laid 
down his pencil for any recreation, except with re- 
luctance, saying that he always found more beauties 
in his art to charm hira. When his works first came 



into vogue, his price was twenty louis-d'ors a head, 
which he afterwards raised to forty, and then (o 
fifty. His works are exceedingl}'- scarce and val- 
uable. In the Apollo Gallery of the Museum at 
Paris, are about sixty of his finest works, consist- 
ing of portraits of Louis XIV., and several members 
of his family; ladies of his court, celebrated for 
their beaut}'-, attachments, or literary acquire- 
ments ; and some of the statesmen and military 
commanders of France. The following are the 
most interesting : 

Several of Louis XIV, at different periods. Three of 
Anne of Austri.a. Two of Madame de Maintenon. Three 
of Maria Theresa of Austria. La Duche.sse de la Valliere. 
Ninon de I'Enclos. Madame de Sevigne. Madame De- 
shoulieres. The Duchess of Portsmoutli. Madame do Lu- 
dre in the character of a Magdalene. Christina of Swe- 
den. The Duchess de Mazarin. The Cardinal de Riche- 
lieu. Madame de Montespan. Mademoiselle Montpen- 
sier. Marechal de Villars. Jean Chardin, the Traveler. 

PETITOT, John, the Younger, was the son 
and scholar of the preceding. Nothing is known 
of the time of his birth or death. He settled at 
London, where he practised his profession with 
considerable success till his death, when his fam- 
ily removed to Dublin. His works are said to 
possess great merit, though very inferior to those 
of his father. 

PETRAZZI, AsTOLFO, a painter of Siena, born 
about 1590. He studied successively under Fran- 
cesco Vanni, the younger Salimbeni, and Pietro 
Sorri. He acquired distinction, and executed many 
works for the churches and public edifices of his 
native city, as well as for the private collections. 
He also opened an Academy there, which was much 
frequented by the artists of Siena, and honored 
by the attendance of Borgognone, who stopped some 
months with Petrazzi before he proceeded to Rome. 
Lanzi says he seems to have adhered more to the 
manner of Vanni than that of any other master. 
He frequently aims at pleasing, and not unfrequent- 
ly chose his models from the schools of upper Italy. 
His JNlarriage feast at Cana brings Veronese strong- 
ly to our recollection. His Communion of St. Je- 
rome, at the Agostiniani, is painted much after the 
manner of the Caracci. He excelled in painting 
children, and his pictures are generally adorned 
with choirs of angels. His cabinet pictures are 
ingeniously composed, and have a lively and pleas- 
ing effect. His pictures of the Four Seasons, at 
Volte, a seat of the noble family of Chigi, are ad- 
mired for the playfulness and elegance of the 
groups of Cupids introduced. He died in 1G65. 

PETREOLO, Andrea, a painter of Venzonc, 
who, according to Renaldis, was employed in the 
cathedral of his native city about 1586, where he 
" decorated the panels of the organ with very beau- 
tiful histories of S. Geronimo and S. Eustachio, 
together with the parable of the wise and foolish 
Virgins, surrounded with fine architecture." 

PETRI. Pietro de', a painter born in Premia, 
a district of Novara, in 1071. He studied under 
Carlo Maratti, at Rome, and painted some works 
for the churches in that metropolis. Lanzi says 
he formed a style of his own, by engrafting on that 
of Maratti, a portion of the manner of Cortona. 
He did not however, obtain the reputation which 
his merits deserved, on account of his infirm health 
and extreme modesty. His best works are a pic- 
ture of the Crucifixion, in the church of S. S. Vincen- 
to e Anastasio, and some frescos in the tribune of S. 



PETR. 



686 



PETK. 



Clemente. He was called at Rome de' Pietri. 
Orlandi calls him a Roman, others a Spaniard ; 
but Lanzi says he was a native of Premia. He 
died at Rome in 1716, in the prime of life. There 
are a few etchings heretofore attributed to him, 
but Bartsch gives them to another artist of the 
same name. 

PETRI, or PITRT, Pietro Antonio de, an Ital- 
ian engraver, to whom Bartsch attributes some 
etchings, heretofore given to the preceding artist. 
Zani also makes the distinction, and says he was 
born at Rome. All this, however, rests upon sup- 
position, and is not worth disquisition here. Those 
interested are referred to Bartsch, P. G. torn, xxi, 
p. 289. 

PETRINT, Oav. Giuseppe, a painter of the Mi- 
lanese school, born at Oarono about 1700. Lanzi 
says he studied under Prete of Genoa, but he 
adopted the manner of Francesco Solimena, then 
much in vogue, not only in Naples, but in other 
parts of Italy. He acquired distinction, and exe- 
cuted many works for the churches at Milan, and 
elsewhere. He seems to have been more anxious 
to captivate the eye than the judgment, by the bril- 
liancy and contrast of his coloring, in which the 
greenish tints predominate. He died in 1780, 

PEUTEMAN, Peter, a Dutch painter, born at 
Rotterdam in 1650. He excelled in painting ob- 
jects of still-life, such as vases, books, musical in- 
struments, &c., which he executed with surprising 
precision, with beautiful coloring, and a judicious 
management of the chiaro-scuro. He also painted 
allegorical subjects, emblematic of the shortness 
and misery of human life. His death happened 
in an extraordinary manner, in 1692. Receiving 
a commission to paint a picture emblematic of mor- 
tality, representing human bones and skulls, with 
rich gems and musical instruments to express the 
vanity of the world, he went to an anatomical 
lecture room to make some sketches, when an 
earthquake happening to occur, he was frightened 
into a fever, of which he died. Balkema says his 
Christian name was Nicholas, and that he also 
painted history. 

PEYRE, Maria Joseph, a French architect, 
born at Paris in 1730. At the age of twenty-one 
he gained the grand prize of the Royal Academy. 
and visited Rome for improvement, where he made 
many designs of the ancient architectural monu- 
ments, published in 1765, under the title (Euvres 
d? Architecture. He also published a dissertation 
on ancient art, compared with that of the moderns, 
which was highly esteemed. Peyre was appoint- 
ed architect to the king, and in concert with Wail- 
ly, erected the Nouveau Theatre Fran9ais, after- 
wards known as the Odeon, and one of the finest 
edifices in Paris. In 1767, he was received into 
the Academy of Architecture. , He died in 1785. 

PEYRE, Antoine FRAN901S, the Younger, a 
French architect, the brother and scholar of M. 
J. Peyre. He made rapid progress in the art, and 
finally gained the grand prize, which entitled him 
to a residence at Rome, with the royal pension. 
Arriving in that capital in 1763, he commenced a 
diligent study of the antique, and afterwards exe- 
cuted a remarkable design, representing the interi- 
or of St. Peter's as it would appear if the front fa- 
9ade were removed. It is now preserved in the 
Musee Royal. After spending some time in Rome, 
Peyre returned to Paris, where he was appointed 



superintendent of the royal buildings at Fontain- 
bleau, and subsequently of those at St. Germain, 
where he constructed two small churches, remark- 
able for excellent distribution, and correct propor- 
tions. In 1777 he was chosen a member of the 
Royal Academyjof Architecture. In 177^. he wa» 
invited by the Elector of Treves to complete the 
palace of Coblentz ;; which he accomplished, great- 
ly to the increase of his reputation. On returning 
to Paris, he received various important commis- 
sions from government, but was prevented from 
fulfilling them by the breaking out of the Revolu- 
tion, when he retired to Fontainbleau, where he 
still retained his post of snperinteBdent of the 
buildings. Manifesting much solicitude to pre- 
serve various works of art from the popular fury^ 
particularly portraits and statues of the French 
kings, he was suspected of royalist tendencies, and 
was imprisoned for a short time. Under the rule 
of iN^apoIeon, he Was also distinguished in the art, 
being chosen a member of the Institute, and of 
several Councils of Architecture. During his lat- 
ter days, he instructed several eminent architects 
of the present time. He died in 1823. Peyre 
composed several works relating to art, among 
which were his (Euvres d/ Architecture, folio, 81 
plates. Paris, 1819—1820. 

PEYRON, Jean Francois Pierre, a distin- 
guished French painter, and also an engraver, born 
at Aix, in Provence, in 1744. After acquiring a 
knowledge of the elements of design ia his native 
place, he visited Paris in 1767, and entered the 
school of Lagrenee. He gained great improve- 
ment from the works of Poussin, and in 1773 drew 
the grand prize in the Roj'-al Academy, for his pic- 
ture of the Death of Seneca, which entitled him 
to a four years' residence in Rome, with the king's 
pension. The reform in the French school had 
already been commenced by Vien ; and Peyron, on 
arriving at Rome, determined to follow those cor- 
rect principles derived from the Greeks, and the 
great masters of modern times. He painted afe 
Rome a picture of Cimon taking from prison the 
dead body of his Father, and sent it to Paris, where 
it was greatly admired, and was placed in the Mu- 
see Royal. After a seven years' residence at 
Rome he returned to France, in 1781. He soon 
gained a high reputation, and was received into 
the Academy in 1783. In 1785, he was appointed 
Director of the Gobelins, and painted many pic 
tures for that establishment. In 1787, he exhib- 
ited his pictures of Curius refusing the Gifts of 
the Samnites, and the Death of Socrates. A pic- 
ture of the latter subject, by David, was also ex- 
hibited m the same year ; and this period is said 
to have been the commencement of the new era m 
the French school, so eminently illustrated by the 
talents of David. The compositions of Peyron 
are said to be well arranged j his chiaro-scuro is 
managed with address ;. his draperies are broad 
and simple ; his touch is firm, yet free and spirit- 
ed ; his coloring vigorous and harmonious, al- 
though his latter works have a purplish hue. Be- 
sides the pictures already mentioned, Peyron exe- 
cuted many others, among which are Paulus 
^milius ; Antigone ; the Daughters of Athens ; 
and Pythagoras with his Disciples, As an engra- 
ver, he executed nine plates, of which four are 
from his own designs — the Death of Seneca ; Ci- 
mon taking the dead body of his Father from 
Prison j Socrates and Alcibiades ; and the Death 



PFEF. 



687 



PHID. 



of Socrates. Four after Poussin— a Sheep-Fold ; 
Faustulas presenting Romulus and Remus to his 
wife Laurentia ; the Rape of the Sabines ; and the 
Despair of Hecuba, One after Raffaelle— a Holy 
Family. Peyron died in 1815. 

PFEFFEL, John Andrew, a German engraver, 
born at Vienna in 1674. His works are chiefly 
confined to architecture, and ornaments for jewel- 
lers. In conjunction with 0. Engelbrecht, he en- 
graved a set of plates of ornaments for the jewel- 
lers. He also engraved a part of the plates for J. 
H. Fischer's Histury of Architecture^ published at 
Vienna in 1721. His plates are neatly executed 
with the graver. He died in 1750. He had a son 
called by the same name, whom he instructed in 
the art, and who was similarly employed in engra- 
ving for the publishers. He was born at Vienna 
in 1715, and died in 1768. 

PFEIFPER, Carl Hermann, a German engra- 
ver, born at Frankfort in 1769. He studied in the 
Imperial Academy at Vienna, under Professor Ch. 
Brand. He wrought with the point, and executed 
a great many portraits of the nobility, and other 
distinguished persons. He also engraved a num- 
ber of plates after Raffaelle, Correggio, Rubens, 
and other masters. 

PFENNINGER, Henry, a Swiss painter and 
engraver, born at Zurich in 1749. He studied 
painting under John Balthasar Bullinger, with 
whom he continued five years. He afterwards 
went to Dresden, where he improved himself by 
studying the works of the best masters, in the 
Electoral Gallery, particularly of Rembrandt and 
Vandyck. On his return to Switzerland, he paint- 
ed portraits with reputation, and etched a great 
number of plates of portraits and views in Swit- 
zerland, which are executed with spirit and taste. 
He designed and engraved a part of the plates for 
Lavater's Physiognomy, and also some of the por- 
traits for Fiiessli's Supplement to the Lives of the 
Swiss Painters. He was a very industrious artist, 
and, besides his numerous engravings, painted ma- 
ny portraits. He died in 1815. The following are 
his other principal prints : A set of seventy-five 
portraits of Illustrious Personages of Switzerland, 
accompanied with an abridged history of their 
lives by Leonard Meister. 1781. Thirty-four por- 
traits of the most celebrated German Poets, with 
their characters, by L. Meister. 1785. A set of 
six Views in Switzerland. 

PFENNINGER, Matthew, a Swiss designer 
and engraver, born at Zurich in 1739 ; died about 
1810, He was of the same family as Henry P. 
He studied at Augsburg, under Emanuel Eichel, 
and afterwards visited Paris for improvement. He 
engraved a number of plates for Charles de Mechel, 
and several of the compositions of Loutherbourg ; 
after which he returned to his own country. 
Among his principal plates are the portraits of 
Geis, Kleinjogg, and Shottenseps ; a view of the 
tomb of Virgil, near Naples ; and the statue of 
Marcus Aurelius at Rome. 

PFRUNDT, George, a German sculptor, ar- 
chitect, and engraver, born in Franconia in 1603. 
Little is known of him as a sculptor or architect, 
but he executed quite a number of plates of archi- 
tectural and geographical subjects, from his own 
designs. He died in 1663. 

PHEAX, or PHEACES, a distinguished ancient 



architect, who flourished about B. C. 500, and con- 
structed a number of edifices in Sicily, particularly 
at Agrigentum. He built the subterranean con- 
duits ; and also embellished the city by several 
fine edifices. It is probable that he was the ar- 
chitect of the celebrated Temple of Jupiter, near 
Agrigentum, described by Diodorus Siculus, of 
which the remains are still visible. It is said to 
have been 340 feet long, 60 feet wide, and 120 feet 
high : constructed in admirable style, with square 
pillars withiiji, and circular without, thirty-two 
feet in circumference, and the flu tings so deep as to 
admit of a man standing within them. 

PHIDIAS, the most celebrated sculptor of anti- 
quity, was the son of Charmidas, born at Athens, 
probably between the years B. 0. 490 and 480. It 
is said that in early life he studied painting ; but it 
does not appear that he ever practised that art to 
any extent, although he painted at Athens a pic- 
ture of Pericles, represented as the Olympian Ju- 
piter. According to the concurrent testimony of 
most ancient writers, he studied sculpture under 
Ageladas, one of the most eminent sculptors of the 
age. The times in which Phidias lived, were pe- 
culiarly favorable to the development of his gen- 
ius ; and his talents must have been shown at a 
very early age, as it appears he was extensively 
employed upon great public works, even during 
the administration of Cimon. Subsequently, when 
Pericles attained the height of his power, Phidias 
seems to have been consulted in regard to the con- 
duct of all works in sculpture as well as architec- 
ture. Plutarch says, '' it was Phidias who had the 
direction of these works, although great architects 
and skillful sculptors were employed in erecting 
them." Among the most remarkable objects upon 
which his talents were exercised, the Parthenon, 
or Temple of Minerva, claims preeminence. It 
was built by Callicrates and Ictinus, under the su- 
perintendence of Phidias. For a description of this 
magnificent edifice, see Ictinus. Within the tem- 
ple, Phidias executed his celebrated statue, in gold 
and ivory, of Minerva, represented standing erect, 
holding in one hand a spear, and in the other a 
statue of Victory. The helmet was highly deco- 
rated, and surmounted by a sphinx ; the naked 
parts were of ivory ; the eyes of precious stones ; 
and the drapery throughout was of gold. It is 
said there were forty talents weight of this metal 
used in the statue. The people, being desirous of 
having all the glory of the work, prohibited Phid- 
ias from inscribing his name upon it; but he con- 
trived to introduce his own portrait as an old bald- 
headed man throwing a stone, in the representa- 
tion of the combat between the Athenians and 
Amazons, which decorated the shield. A likeness 
of Pericles was also introduced in the same com- 
position. The exterior of the Parthenon was en- 
riched with admirable sculptures, many of which 
were from the hand of Phidias, and all of them 
executed under his direction, A portion of these, 
termed the Elgin marbles from their having been 
taken to England by the Earl of Elgin, are now in 
the British Museum. They have been highly com- 
mended by the most excellent judges ; and the em- 
inent sculptor Canova, after visiting London, de- 
clared that " he should have been well repaid for 
his journey to England, had he seen nothing but 
the Elgin marbles." 

The time of Phidias is justly esteemed the grand 



PHID. 



688 



PHIL. 



and golden age of Sculpture. The artists of the 
previous centuries are represented as having a dry, 
hard, and stiff' manner. Phidias made a more care- 
ful selection of the finest models in nature, and 
brought to perfection the grand and sublime in 
sculpture. Quintilian calls him the '' Sculptor of 
the Gods/' from the character of grandeur and 
sublimity which he threw into his works. His 
skill in optics he probably acquired from his study 
of painting, and it is admirably attested by a curi- 
ous circumstance. It was intended to place a stat- 
ue of Minerva on a column of very great height ; 
and both Phidias and his cotemporary Alcamenes 
were employed to produce images for the purpose, 
which were to be chosen by the citizens. When 
the statues were completed, the universal prefer- 
ence was given to the work of Alcamenes, which 
appeared elegantly finished, while that of Phidias 
appeared rude and sketchy, with coarse and ill- 
proportioned features. At the request of Phidias, 
the statues were successively exhibited on the ele- 
vation for which the\- were intended ; all the mi- 
nute beauties of his rival's work completely disap- 
peared, together with the seeming defects of his 
own ; and the latter, though previously despised, 
seemed perfect in its proportions, and was surveyed 
with wonder and delight. Although he exercised 
his talents in all the materials generally used in 
art. yet his works in gold and ivory, called chrys- 
elephantine sculpture, appear to have been the 
most highly esteemed. The enemies of Pericles, 
with the view of implicating that statesman, ac- 
cused Phidias of having misapplied part of the 
gold entrusted to him for the statue of Minerva, 
and desired that he should be brought to trial.— 
The sculptor, however, by the prudent advice of 
Pericles, had executed the work in such a manner 
that the gold might easily be removed, and it was 
ordered by Pericles to be carefully weighed before 
the people. As might have been expected, this 
test was not required, and the malicious accusation 
was overthrown. They then declared the sculptor 
guilty of sacrilege in placing his own portrait up- 
on the shield of Minerva; and some writers state 
that he was thrown into prison ; others, that he 
was banished. Some assert that there was no sen- 
tence passed ; but that Phidias, fearing the conse- 
quences of the charge, fled from Athens to Elis. 
where he was employed to execute a costly statue 
of the Olympian Jupiter, for the temple in Altis. 
This statue was the most renowned of all the works 
of Phidias. It was of colossal dimensions, being 
sixty feet in height ; and seated on a throne ; the 
head was crowned with olive ; the right hand held 
a small statue of Victory, in gold and ivory ; the 
left hand grasped a golden sceptre of exquisite 
workmanship, surmounted by an eagle ; the san- 
dals and mantle were also of the same material, 
the latter sculptured with every description of 
flowers and animals ; the pedestal was also of gold, 
ornamented with a number of deities in bas relief. 
In the front of the throne was a representation of 
the Sphynx carrying off the Theban youths ; be- 
neath these, the Fate of Niobe and her Children ; 
and, on the pedestal joining the feet, the Contest 
of Hercules with the Amazons, embracing twenty- 
nine figures, among which was one intended to 
represent Theseus. On the hinder feet of the 
throne were four Victories, as treading in the 
dance. On the back of the throne, above the head 
of the godj were figures of the Hours and Graces ; I 



on the seat, Theseus warring with the. Ama- 
zons, and Lions of gold. Its base, which was of 
gold, represented various groups of Divinities, 
among which were Jupiter and Juno, with the 
Graces leading on Mercury and Vesta ; Cupid re- 
ceiving Venus from the Sea ; Apollo with I)iana ; 
Minerva with Hercules ; and, below these, Nep- 
tune, and the Moon in her Chariot, On the base 
of the statue, was the inscription Phidias Jhe son 
of Charmidas, made me. Quintilian observes 
that this unparalleled work even added new feel- 
ings to the religion of Greece. It was without a 
rival in ancient times, all writers speaking of it as 
a production that none would even dare to imitate. 
There is an interesting tradition connected with 
this celebrated work. Phidias, after the comple- 
tion of his design, is said to have prayed Jupiter 
to favor him with some intimation of his approba- 
tion, whereupon a flash of lightning darted into 
the temple, and struck the pavement before him. 
This was hailed as a proof of divine favor, and a 
brazen urn or vase was placed upon the spot, which 
Pausanias mentions as existing in his time. It is 
pretended that Phidias was again accused of robbery, 
by the people of Elis, and that he died in prison ; 
but there are strong reasons, not only for thinking 
that these accusations against Phidias were false, 
but that the accounts of his disgrace and death 
are incorrect. From an expression in Aristophanes 
it is evident that an unjust feeling had been exci- 
ted against Phidias ; though it is not clear whether 
he fled or was exiled ; and it seems highly proba- 
ble that he died at Elis. The honor which was 
paid to his memory, would go far to disprove the 
assertion that he suffered the death of a criminal. 
The care of his master-piece was entrusted to his 
family, under the title of Phaidimntai. His stu- 
dio, near the temple, was also preserved with great 
reverence, and an altar was erected therein, conse- 
crated to the gods. Pausanias says that the Phaid- 
runtai still existed in his time — six hundred years 
after the execution of the statue. Among the oth- 
er works of Phidias were eight or nine statues of 
Minerva, of which one was the Minerva Areia of 
the Platseans, of wood, gilt \ the extremities were 
of Pentelic marble. Besides these, he executed a 
number of admirable statues in marble, but chieflj' 
in bronze, of Venus, Apollo, Mercury, an Amazon, 
etc., mentioned by Pausanias, Pliny, and Lucian. 

PHILESIUS, RiGMAN, an old German wood 
engraver, and carver in wood, who, according to 
Papillon, flourished at Strasburg about 1508. He 
executed a set of twenty-five cuts of the Life and 
Passion of our Saviour, published at Strasburg by 
John Knoblauch, in 1508. These cuts are said to 
be \erj scarce. He is also called Rigman and 
Phillery, which see. 

PHILIPPE. Peter, a Dutch engraver, who 
flourished at the Hague about 1660. He engraved 
a few plates of portraits and festivals, among 
which are the following : 

PORTHAITS. 

Louis Henry, Prince of Nassau ; P. Philippe, fee. Hen- 
ry Charles de la Tremouille, Prince of Tarentc ; after Van- 

derhank. 

I 

SUBJECTS. / 

The Assembly of the States-General of Holland ; after 
TornvUet. A grand Festival ; do A set of Merry-/ 
makings; after vander Venne. 1660. / 

PHILISCUS, a famous sculptor of Rhodes, who, 



/ 



PHIL. 



PHIL. 



according to Pliny, executed statues of the Nine 
Muses in marble. These statues were carried to 
Rome by Fulvius Nobilior. Some of these, or 
copies of them, are now in the Vatican. 

PHILLERY, an old engraver on wood, said to have 
been a German, but probably a Fleming, by whom 
there is a middle-sized print, representing two Sol- 
diers standing before a Woman, who is seated, 
holding a Dog in her lap. It bears the following 
inscription in old Flemish characters, ^f)epvint 
t'^iitiBcrjjeiT ts ma? ^J^illers Ue fisursni&er,(print- 
ed at Antwerp, by me Phillery, the figure-cutter). 
Heineken supposes this print to be very ancient, 
but Nagler quotes the same, and ascribes it to An- 
ton Phillery, who flourished at Antwerp in 1530. 
There is considerable dispute about this Phillery 
and Philesius, whose works are not worth any dis- 
quisition; either on account of merit or antiquity, 
and there can be but little doubt that they are one 
and the same artist, Rig-man being the surname, 
and Phillery the Christian name, which, latinized, 
is Philesius. Artists, too, are frequently whimsi- 
cal, and often ignorant, in their signatures ; and 
some use several signatures. See Key to Mono- 
grams and Ciphers, p. xix. 

PHILLIPS, Charles, an English mezzotinto 
engraver, who flourished about 1765. He engraved 
some prints after Reynolds and Loutherbourg, and 
a few from the old masters, among which are the 
following : 

A Boy holding a Pigeon ; after Mola. A "Woman 
plucking a Fowl ; after Rembrandt. The Philosopher ; do. 
The^ Holy Family; after Parmiggiano. Venus and 
Cupid ; after Salviati. Isaac blessing Jacob : after Spag- 
noletto. 

PHILLIPS, Thomas, an eminent English por- 
trait painter, born at Dudley, in Warwickshire, in 
1770. He first learned the business of a glass 
stainer at Birmingham. In 1790 he went to Lon- 
don, with a letter of introduction to Benjamin West, 
who employed him in painting the g:lass for the 
windows of St. George's chapel, Windsor. He 
soon turned his attention to oil painting ; but 
whether he received any instruction from West is 
not mentioned. For several years he exhibited 
some of his pictures at the Royal Academy, among 
which were the Death of Talbot, Earl of Shrews- 
bur}^, at the Battle of Cassillon ; Ruth and Naomi ; 
Elijah restoring the Widow's Son ; Cupid disarmed 
by Euphrosyne. &c. He afterwards devoted him- 
self chiefly to portrait painting, in which branch he 
acquired distinction, notwithstanding he had such 
powerful competition as Beechey, Hoppner. Owen, 
Jackson, and Lawrence. He was not a fashion- 
able painter, but he executed the portraits of many 
persons, distinguished for their intellectual, litera- 
ry, or other attainments, a circumstance which, in 
future time, will add great interest to his works. 
It will be sufficient to mention the names of Lord 
Byron. Sir Walter Scott, Thomas Moore, Thomas 
Campbell, Southey, Coleridge, Crabbe. Sir Humph- 
rey Davy, Lord Thurlow, Lord Brougham, Count 
Platoff. Earl Grey, Sir Joseph Banks, Sir E. Par- 
ry. Sir J. Brunell, Sir David Wilkie, Sir F. Bur- 
dett, Lord Lyndhurst, Sir Nicholas Tindal, and 
many more such men. His portraits are distin- 
guished for dignity, truthfulness and excellent 
coloring. Nicaise de Keyser. a distinguished for- 
eign artist, called him the English Vandyck, for 
the excellence of his works,— a very great compli- 



ment, whether deserved or not. In 1808, he was 
elected a member of the Royal Academy, and in 
1824, succeeded Fuseli in the professorship of paint- 
ing, which office he held till 1832. On his appoint- 
ment to the professorship, he made a tour on the 
continent, visiting France, Italy, and Germany. 
He published his '* Lectures on the History and 
Principles of Painting," in one 8vo. vol. in 1833. 
He died in 1845. 

PHILON, or PHILO, an eminent Grecian ar- 
chitect, who flourished about B. C. 330. Accord- 
ing to Vitruvius, he erected various temples, and 
enlarged the vestibule of the temple of Ceres and 
Proserpine, built by Ictinus. He also designed and 
partially erected the white marble theatre at Ath- 
ens, which was finished by Ariobarzanes, and re- 
built by Adrian. According to Plutarch, Philon 
was employed by Demetrius Phalereus to enlarge 
the port and arsenal of the Pireeus, which he com- 
pleted in excellent style. In giving to the Assem- 
bly an account of his operations, he expressed him- 
self with such precision, purit}-, and eloquence, that 
the Athenian people — excellent judges of those 
matters — pronouced him equally a fluent orator 
and an admirable architect. 

PHILOXENES, an eminent Greek painter, a 
native of Eretria. flourished about B. C. 316. He 
studied under Nico'machus of Thebes, whom he 
imitated, and probably surpassed in facility of ex- 
ecution. He was the most rapid painter of anti- 
quitj'-, and is said by Pliny to have discovered some 
more expeditious methods of operation in painting. 
Philoxenes gained great distinction by a picture 
painted for Cassander, King of Macedon. represent- 
ing the Defeat of Darius by Alexander. Accord- 
ing to Plin3^ this work was not surpassed by an}' 
of the productions of ancient art. That author 
also describes another picture by Philoxenes, re- 
presenting a lascivious subject, in which were 
three satyrs feasting. In 1831, there was dis- 
covered at Pompeii a large mosaic, apparently re- 
presenting the Battle of Issus. which is supposed 
to be a repetition of the work of Philoxenes. It is 
still preserved in the house '' Del Fauno," where it 
was first found. 

PIACENZA, Gio. Battista, an Italian ar- 
chitect, born in 1735, at Pollone, near Vercelli. 
He studied under Count Alfieri di Sostegno, and 
was afterwards sent to Rome, at government ex- 
pense. In 1777 he was appointed Architect to the 
King ; in 1788. a magistrate of Turin ; and in 1796, 
First Civil Architect to the Crown. He was em- 
ployed in various works in the State, and in 1816, 
was chosen a member of the Academy at Turin. 
He died in 1818. His adopted son, Giuseppe Gio- 
vello, also an architect, completed a work com- 
menced by Gio. Battista P. in 1768, published at Tu- 
rin in six volumes, containing biographical sketches 
of artists from the time of Cimabue. It is mainly 
a reproduction of Baldinucci's work, but embraces 
many important additions and excellent annota- 
tions, which are justly appreciated by Cicognara. 

PIxA.GGIA, Teramo or Erasmo, also called Ter- 
amo di Zoagli, a painter born at Zoagli, in the 
Genoese state, and who painted at Genoa in 1547. 
He was a scholar of Lodovico Brea, and painted in 
conjunction with Antonio Semini, several pictures 
for the churches at Genoa, the most esteemed of 
which is an altar-piece of the Martyrdom of St. 
Andrea, in the church of that saint. Lanzi highly 



PIAN. 



690 



PIAZ. 



commends this work, and says "none can witness 
this very beautiful altar-piece without seeing traces 
of Brea's style, already enlarged and changed into 
one more modern." He also painted several works 
by himself at Genoa and at Chiavari. 

PIANE, Giovanni Maria delle. called II Mo- 
lt n a retto, a Genoese painter, born at Genoa in 
1660. According to Ratti, he studied under Gio. 
Battista Gaulli, whose style he adopted, and dis- 
tinguished himself by some excellent works, which 
he executed for the churches at Genoa, but more 
by the excellence of his portraits. Lanzi highly 
extols his Decollation of St. John the Baptist, at 
Sestri di Ponente. He also says that he was par- 
ticularly excellent in portraits, and that Genoa is 
full of his works in this branch. He was also in- 
vited to Parma and Piacenza, where he furnished 
the court with portraits, and executed some works 
for the churches. He was afterwards invited to 
Naples by King Charles of Bourbon, who appoint- 
ed him his painter, with a liberal pension, and he 
continued in his service till his death in 1745. 

PIANORO. See Bartolomeo Morelli. 

PIASTRINL Giovanni Domenico, a painter 
born at Pistoja about 1700, He studied under Cav. 
Benedetto Luti at Florence, and afterwards went 
to Rome, where he distinguished himself by some 
works in the church of S. Maria in Via Lata, in 
which Lanzi says he rivaled the best followers of 
Carlo Maratti. He also painted some works for 
the churches in his native city, particularly in la 
Madonna della Umilta, where he filled two large 
spaces with pictures illustrating the history of that 
church. 

PIATTI, Francesco, an Italian painter, born, 
according to Ftiessli, at Teglio. in the Valteline, in 
1650. He executed many works for the churches 
in the neighborhood, and painted much for the 
collections. He particularly commends a picture 
of Cleopatra, in the possession of a noble family at 
Delebio. 

PIATTOLI, Gaetano, a Florentine painter, 
born in 1703. He studied under Francesco Ri- 
viera at Leghorn. Lanzi says he is particularly 
extolled for the excellence of his portraits. He 
found abundant employment at Florence, in that 
branch of the art, and was not only patronized 
by the inhabitants, but was employed to take the 
portraits of the foreign nobility who visited that 
city. His portrait is in the ducal gallery. He 
also painted Conversazioni and Turkish ballets, 
which were very much prized in the collections for 
their excellence. He died in 1770. 

PIAZZA, Callisto, a painter born at Lodi. 
who flourished from 1524 to 1556. as appears from 
the dates on his pictures. According to Orlandi, 
he was one of the most successful imitators of 
Titian. Lanzi says that his picture of the As- 
sumption of the Virgin, in the Collegiate church 
of Codogno, is worthy of any of the disciples of 
Titian. It is a grand composition, containing fig- 
ures of the apostles and two portraits of the Mar- 
chesi Trivulzi. In the church of the Incoronata, 
at Lodi, he painted three chapels in fresco, each 
ornamented with four beautiful histories. One 
contains the Mysteries of the Passion, another the 
Acts of St. John the Baptist, and the third, the 
Life of the Virgin. "It is currently believed,-' 
says Lanzij " that Titian, in passing through Lodi, 



painted several of the heads — a story probably 
originating from the exceeding beauty that may 
be observed in them." He sometimes imitated 
the style of Giorgione, as may be seen in his altar- 
piece in the church of S. Francesco at Brescia, rep- 
resenting the Virgin among several saints, which 
is esteemed one of the most beautiful productions 
in that city. He executed many works for the 
churches in other cities, particularly at Crema 
and Alessandria ; in the cathedral of the latter 
city are several of his best works. Lanzi rebukes 
Ridolfi, who commends him for nothing except his 
coloring, whereas, " he boasts a \ery noble design, 
is tolerably select in his forms, and rich and har- 
monious in his coloring. His Nuptials at Cana, in 
the Refectory of the Padri Cisterciensi, at Milan, 
is truly a surprising production, no less for its 
boldness of hand, than for the number of its fig- 
ures, which seem to five and breathe, though the 
whole of them are not equally well studied, and a 
few are really careless and incorrect." Lomazzo 
also, speaking of his Choir of the Muses, in which 
he introduced the portraits of the president Sacco 
and his wife, for whom it was painted, says, " I 
may, without fear of temerity, observe that it is 
impossible to produce anything more perfectly- 
graceful and pleasing, and more beautiful in point 
of coloring, among works in fresco." 

PIAZZA,Paolg. commonly called Padre Cosi- 
iMO, was born at Castelfranco, in the Venetian ter- 
ritor}'-, in 1557. He studied under the younger 
Palma. and Baglioni commends him as one of his 
best pupils. He did not follow the style of his mas- 
ter, but adopted one of his own, which, though not 
distinguished by great vigor or energ)^ was grace- 
ful and pleasing, and gained him so much reputa- 
tion, that he was successive!}'- employed by Pope 
Paul v., the Emperor Rodolph II., and the Doge 
Priuli. He executed many works both in oil and 
fresco for the churches and public edifices at Rome, 
Vienna, Venice, and other places. He was employed 
several yeai'S by the Emperor Rodolph. Among 
his best works are the Descent from the Cross, in the 
Campidoglio, and the history of Antony and Cleo- 
patra, in the Palazzo Borghese at Rome, After he 
had acquired distinction, he joined the Capuchin 
friars, and took the name of Padre Cosimo, by which 
appellation he is usually known. He died at Ven- 
ice in 1621. 

PIAZZA, Cav. Andrea, born at Castelfranco 
about 1600, was the nephew and scholar of the 
preceding, whom he accompanied to Rome, and 
whose style he adopted, though somewhat modi- 
fied by an attentive study of the works of the great 
masters. He acquired distinction, and was pat- 
ronized by the Duke of Lorraine, in whose ser- 
vice he continued many j^ears, and received from 
him the honor of knighthood. He afterwards re- 
turned to Venice, where he executed some works 
for the churches, the best of which is the Marriage 
at Cana, in the church of S. Maria, a grand composi- 
tion of many figures, which Lanzi says is one of 
the best woiks in the place. He died there in 
1670. 

PIAZZETTA, Giovanni Battista, a Venetian 
painter, born in 1682. According to Zanetti, he 
was instructed in the rudiments of the art by his 
father, a reputable sculptor in wood, and after- 
wards became the scholar of Antonio Molinari. 
His first style was distinguished for a clear and 



PICA. 



691 



PICA. 



brilliant tone of coloring, but on visiting Bologna, 
he employed himself with Spagnoletto, and by dil- 
igently studjnng the works of Guercino, he imita- 
ted his strong contrasts of lights and shadows, and 
boldness of relief, with considerable success. Lan- 
zi says it is supposed that he had long observed 
the effects of light applied to statues of wood and 
images in wax, and by this means he was enabled 
to draw with considerable judgment and exact 
precision, the several parts that are comprehended 
in the shadowing ; owing to which art, his designs 
were eagerly sought after, and his works repeat- 
edly engraved by Pitteri, by Pelli. and by Monaco, 
besides other prints that were executed in Ger- 
many and elsewhere. His method of coloring, 
however, diminished in a great measure the chief 
merit of his pictures. His shades have increased 
and changed, his lights sunk, and his tints become 
yellow, so that there remains an inharmonious and 
unformed mass. There are a few of his pictures 
still in good preservation, as the Decollation of St. 
John the Baptist, in the church of that saint at 
Padua, placed in competition with those of the first 
artists of the state, and at that period esteemed 
the best of all. "Yet if we examine him closely, 
he will not fail to displease us by that monotonous 
and mannered coloring, of lakes and yellows, and 
by that rapidfty of hand, by some called spirit, 
though to the judicious it often appears neglect, 
as if the artist was desirous of abandoning his la- 
bor before it was completed." He executed many 
chalk drawings which were held in great estima- 
tion. He also etched a few plates from his own 
designs. He died at Venice in 1754. 

PIC ART, Jean, a French engraver, who flour- 
ished at Paris about 1640. He is supposed to 
have studied under Crispin de Passe, whose style 
he imitated, though not with much success. He 
was principally employed in engraving vignettes, 
frontispieces, and other book ornaments. He also 
engraved a few portraits. 

PICART, Etienne, called the Roman, an emi- 
nent French engraver, born at Paris in 1631. It 
is not known under whom he studied ; but. after 
learning the art at Paris, he went to Rome, where 
he resided a long time, on which account some say 
he was called Picart the Roman ; others, that he 
assumed this appellation to distinguish his works 
from those of an inferior engraver of the same 
name, probably the preceding artist. While at 
Rome, he executed some plates after the Italian 
masters. On his return to Paris he was employed, 
with other celebrated artists, to engrave the pic- 
tures in the King's Collection. His plates are 
generally executed with the graver, in the style 
of the elder Poilly, though he sometimes used 
both the point and the graver, and in a few of his 
prints the point predominates. His plates are 
neatly executed, with a fine expression in the 
heads, though his drawing is not xqtj correct, and 
there is frequently a want of harmony in the ef- 
fect of his engravings. His prints are very nu- 
merous ; the following are esteemed the best. 

He died li, Amsterdam in 1721. 

PORTRAITS. 

John Francis Paul Gandy, Cardinal de Retz. 1652. Bust 
of Cardinal Fachenettus ; after Morand. Melchisedeck 
de Thevenot, famous traveler; after Chaveau. Francis 
Talleraant, Abbe de Vlachretien ; after Nanteuil. An- 
drew Hameau, Doctor of the Sorbonne. Nicholas Pavil- 
ion, Bishop of Aleth. Nicholas Choart de Busanval, 



Bishop of Beauvais. Claude de Brlon, President ef tb® 
Parliament. Peter Loisel. Doctor of the Sorbonne. Fran- 
ces Athenais de Rochechouart, Marchioness de Montespan. 

SUBJECTS AFTER VARIOUS MASTERS, 

The Ecce Homo, with three Angels ; after Albano. The 
Birth of the Virgin ; after Guido. The Marriage of St. 
Catherine ; after Correggio. Virtue triumphant over 
Vice ; do. The Sensualist ; do. St. Cecilia ; after Do- 
menichino. A Concert of Music; do. The infant Jesus 
sleeping, -with the Virgin holding up her finger to St. John ; 
called the Silence ; after An. Caracci. The Holy Fami- 
ly ; after Palma. The Separation of St. Peter and St. 
Paul ; after Lanfranco. The Plague among the Philis- 
tines ; after N. Poussin. Christ curing the Blind ; do. 
The Adoration of the Shepherds ; do. The Martyrdom 
of St. Gervais and St. Protais; after le Sueur. St. Paul 
directing the burning of the Books of the Ephesians ; do. 
The Martytdom of St. Andrew; after le Brun. The 
Stoning of St. Stephen ; do. The Adoration of the Magi ; 
after Courtois. The Virgin and Infant ; after Nosl Coy- 
pel. St. Anthony of .Padua adoring the infant Jesus ; af- 
ter Vandyck. 

PICART, Bernard, was the son of the preced- 
ing, born at Paris in 1663. He was instructed in 
design and engraving by his father, and at the age 
of sixteen, gained the prize at the Academy 
of Paris. He distinguished himself not less 
as a designer than an engraver, and he executed a 
multitude of plates, which evince the fertility of 
his genius, and the excellence of his taste. He 
used both the point and the graver ; his drawing 
is correct, and his prints have a very pleasing ap- 
pearance. His works chiefly consist of book illus- 
trations. In 1710 he left Paris, and settled at 
Amsterdam, where he found abundant employment. 
He engraved a set of seven tj^-eight plates, in imi- 
tation of the different styles of the old engravers, 
which were published after his death, in 1738, un- 
der the title of Les Impostures Innocentes. He 
died at Amsterdam in 1733. His prints are said 
to amount to about 1300. The following are the 
most esteemed : 

PORTRAITS. 

Charles I. ; after Vandyck. 1724. Charles II. ; after 
Kneller. 1724. James II.; after Largilliere. U2i. 
"William III. ; after vander Werf George I. ; after 
Kneller. Edward Hyde, Earl of Clarendon ; after Zoust. 
1724. William, Lord Russel ; after Kneller. 1724. Fred- 
erick, Duke of Schomberg; do. 1724. Gilbert Burnet, 
Bishop of Salisbury ; after Hoadly. 1724. Eugene Fran- 
cis, Prince of Savoy ; after van Schuppen. 1722. Don 
Louis, Prince of Asturias. John de Wit, Pensionary of 
Holland. 1727. Francis Peter, Cardinal de Foix. 1713. 
Philip, Duke of Orleans, supported by Minerva and Apol- 
lo ; after A. Coypel. 1706. Stephen Picart, the Roman, 
Engraver to the King. Roger de Piles ; ipse pinx, B. 
Picart, fee. aquaforti. 1704. 

SUBJECTS FROM HIS OWN DESIGNS. 

The Murder of the Innocents. The first impressions 
are before the crown was placed upon the head of Herod ; 
fine. A set of twelve Prints, called the Epithalamiums ; 
fine. Truth, the Research of Philosophy ; a Thesis in hon- 
or of Descartes. The Triumph of Painting. The Death 
of the Infants of Niobe. The Feast of the Gods and the 
Caesars. A set of Prints of the Annals of the Republic of 
Holland. The Frontispieces to Ceremonies Religieuses, 11 
vols. 1723—1743. Do. to the Bible of vander Marck. 
Do. to the Roman Antiquities. Do. to Ovid. 1732. Do. 
to Temple des Muses. 1733. Do. to the Historical Dic- 
tionary. 

SUKJECTS AFTER VARIOUS MASTERS. 

Time discovering Truth ; after the picture by Poussin, 
in the Louvre. An Allegory on Human Life ; do. Two 
Arcadian Shepherds ; do. Two Prints of the Muses, Cal- 
liope and Terpsichore ; after le Sueur. Abraham sending 
away Hagar; after le Brun. The Discovery of the 



PICA. 



692 



PICO. 



Pregnancy of Calisto ; after An. Caracci. Neptune calm- 
mg the Sea ; after An. Coypel. 

PIOAULT, Pierre, a French engraver, born at 
Blois in 1680. He is supposed to have studied 
under Gerard Audran. as he imitated the stj^le of 
that master, and copied, on a smaller scale, the 
celebrated Battles of Alexander, engraved by Au- 
dran after le Brun. He also engraved a few por- 
traits, and the Visitation of the Virgin to St. 
Elizabeth, after Carlo Maratti. He died in the 
flower of his life, in 1711. He usually signed his 
plates, P. Picault Blesensis, sculp. 

PIOCHI. Giorgio, a painter born atCastel Du- 
rante, who flourished in the latter half of the 16th 
century. He is supposed to have studied under 
Baroccio, whose style he adopted ; but Lanzi thinks 
he was only an imitator of that master. He exe- 
cuted many works, both in oil and fresco, for the 
churches in his native city, at Cremona, and at 
Rimini. Some of these are painted on a vast 
scale, embracing whole oratories and churches, 
more distinguished for facility of execution than 
for correctness of design. Lanzi found it stated in 
a MS. at Castel Durante, that he was one of the 
artists employed at Rome in the pontificate of 
Sixtus v., in decorating the Library of the Vati- 
can, the Scala Santa, and the Palazzo di S. Gio- 



PICCHIANI, Francesco, called Picchetti, 
an Italian architect, a native of Ferrara, flourished 
in the latter part of the 17th centurj^. He was 
the son of Bartolomeo P. — also an architect, and 
probably his instructor — who had erected the 
church del Monte della Miseracordia at Naples. 
Francesco settled in that city, and gained a high 
reputation for his talents, as well as for his cour- 
teous and pleasing address. The Viceroy Don Pe- 
dro Arragona, had employed an architect named 
Bonaventura Presti to construct a basin for the 
royal galleys and other vessels ; but while the ex- 
cavations were in progress, the water flowed in so 
rapidly that Presti was unable to stop it. Accord- 
ingly Picchiani was employed, in concert with one 
Carfero ; they removed the water by means of 
wheels, similar to those used in the process of ir- 
rigation, providing a number of fountains for the 
convenience of the royal vessels. Picchiani also 
executed the beautiful and majestic avenue leading 
from the basin to the piazza of the palace, and 
adorned it with elegant fountains. Among his 
other works, were the church and monastery of 
S. Giovanni della Monache, without the Porta Al- 
ba ; S. Agostino ; La Divino Amore ; the church 
and monastery de' Miracoli ; and the Monte de' 
Poveri, in the Strada di Toledo. He died in 1690. 

PICCHIANTI, Giovanni Domenico, an Italian 
designer and engraver, born at Florence about 
1670. He was taught the rudiments of drawing 
by Gio. Battista Foggini. a sculptor of little note. 
He afterwards learned engraving, and executed 
some plates both with the point and the graver. 
In conjunction with Lorenzini, Mogalli, and oth- 
er artists, he was employed in engraving a set of 
plates from pictures in the Florentine Gallery. 
Among others are the following by him : 

PORTRAITS. 

Sebastiano del Piombo ; a.fter Titian. 
tevoglio ; after Vandyck. Pope 



Cardinal Ben- 
Leo X., with the Car- 
dinafs Rossi and Giulio di Medici ; afttr Rafaelle. 



SUBJECTS AFTER VARIOUS MASTERS. 

The Madonna della Seggiola; after Rafaelle.. The 
Virgin and infant Jesus, with St. John ; after An. Carac- 
ci. The Tribute Money ; after Titian. The Virgin and 
Infant; do. Abraham sending away Hagar ; after P. da 
Cortona. 

PICCINI, GiACOMO, an Italian engraver, born 
at Venice in 1617. It is not known by whom he 
was instructed. He engraved a set of thirty 
portraits of the principal painters of the Venetian 
school, for the account of their Lives by Ridolfl, 
published in 1648. He also engraved a few plates 
after the Italian masters, among which are Dio- 
genes with his Lantern, and the Holy Family, af- 
ter P. Liheri ; Judith with the Head of Holo- 
fernes at her feet, and the Holy Family, after Ti- 
tian. His plates are executed in a stiflf, disagreea- 
ble style. He was living in 1669. 

PICCINI, GuGLiELMo, a Venetian engraver, 
the brother of the preceding. He engraved a few 
portraits and other subjects, in an indifferent style. 
He had a daughter named Isabella Piccini, whom 
he instructed in the art. She engraved a set of 
portraits of the Illustrious Personages of Italy, 
for the Conchilia Celeste of G. B. Fabri. She af- 
terwards became a nun. 

PICCININO, NicoLAO, a Milanese painter, who 
flourished about 1500. According to Morigia he 
was a good artist, and was considerably employed 
in decorating the palaces of the nobility in the 
Milanese territory, as well as painting for the col- 
lections. 

PICCIONI, Matted, a painter and engraver, 
born at Ancona, according to Nagler, in 1615. 
Little is known of him as a painter, save that he 
flourished at Rome, and was elected a member of 
the Academy of St. Luke in 1655. Lanzi says he 
was a fellow-student with Gio. Antonio Galli. 
Bartsch gives a list of twenty-three prints by him, 
among which are the following : 

St. Luke painting the Virgin ; after Rafaelle. The 
Adoration of the Shepherds ; after P. Veronese. The 
Holy Family ; do. The Virgin and infant Jesus, with St. 
John; after A. Camassei. The Exposing of Moses in the 
Waters of the Nile ; do. 

PICCOLA, Niccola, or Niccola Lapiccola. a 
Sicilian painter, born at Crotone, in Calabria Ul- 
tra, in 1730. He studied under Francesco Man- 
cini, at Rome ; acquired considerable reputation ; 
executed several works for the churches in that 
city; and decorated the cupola of a chapel in the 
Vatican, so much esteemed that it was afterwards 
copied in mosaic. He also painted much for the 
churches in the State, particularly at Veletri. 
None of his works are particularly specified. He 
died in 1790. 

PICENARDL Carlo, called the Elder, a 
painter who, according to Zaist, flourished at Cre- 
mona about 1600. He was of a patrician family, and 
one of the favorite pupils of Lodovico Caracci. He 
executed some works for the churches in his native 
city, and painted some burlesque histories which 
gained him considerable applause. He died young. 

PICENARDL Carlo, called the Younger, 
was the son of the preceding. It is not known by 
whom he was instructed ; iDut, after studying at 
Rome, he went to Venice, and formed a style of 
his own, Roman in design, and Venetian in color- 
ing. On his return to Cremona, he executed some 
works for the churches and public edifices, but 



PICK. 



693 



PIEL. 



painted more for the collections. Lanzi sajs he 
Vras very successful in burlesque histories, in imi- 
tation of the elder Picenardi. Zaist s&js he died 
aged 70, but he does not give the date. As one of 
his pictures is dated 1660. it must have happened 
about 1680. 

PICKAERT, Peter, a Dutch engraver, vrho 
flourished about 1688. His name is affixed to a 
set of coarse etchings, representing the Flight of 
James II. from England. As the word fecit is 
added to his name, they are probably from his own 
designs. 

PICOLETj Cornelius, a Dutch painter, who 
flourished at Rotterdam about 1680. He painted 
portraits and conversations with reputation, and 
was the first instructor of Adrian vander Werf. 

PICOT, Victor Maria, a French engraver, born 
at Abbeville in 1744. He went to London about 
1770, where he engraved several plates for Boy- 
dell. Nagler gives a list of thirty-six prints by 
him, among which are the following. He died 
about 1805. 

The Four Evangelists ; after Rubens. Diana and her 
Nymphs ; do. The Nurse and Child ; after Schidone. 
A young Man holding a Flute ; after B. Luti. Apollo 
holding a Branch of Laurel ; after S. Cantarini. A 
Landscape and Figures ; after Zuccarelli. Two Sea- 
pieces ; after D. Serres. Two Landscapes, Morning and 
Evening ; after Barralett. Several other Subjects ; do. 

PICOU, Robert, a French engraver, who flour- 
ished about 1630. His name is sometimes errone- 
ously written Piquot. According to the Abbe Ma~ 
rolles. he was a native of Tours. He went to Italy, 
and resided some time at Rome. He had the title 
of Peintre du Boi, though no paintings by him are 
mentioned. His prints are so scarce that Marolles 
could only collect three different specimens. Du- 
mesnil describes seven as follows, which are etch- 
ed with a firm point, with little dots intermixed, 
and finished with the graver. They are all evi- 
dently from his own designs except the last, which 
is the best. 

1. Love asleep ; R. Picou,fe. 2. Two Cupids caress- 
ing ; R Picou.fe. Rottkb. 3. Two Infants ; do. 4. Three 
Infants; R. Picou.fe. 5. The little Wrestlers ; R. Pi- 
con, fecit. 6. Two couples of Infants ; R. P., tf^c. 7. 
Jesus Christ delivered to his Enemies. On the margin to 
the left inscribed Jacobus de poto Bassan pinxit, R. Pi- 
cou, sculpsii ; and on the right, Ciartres for mis Cum 
Priuilegio. In a second impression Ciartres formis is 
erased, and Mariette Excudit substituted. 

PICQUET. Jean, a French engraver of little 
note, by whom there is a print representing Juno, 
Pallas, and Venus, half-length figures. It is in- 
scribed Joan Picquet.ft. 

(TfT) PICQUOT, Thomas, a French engra- 
^ J^ver, who flourished about 1637. He exe- 
cuted some plates of ornaments for gold- 
smiths, designs for embroidery, damasking, and the 
like ; also, a portrait of Marin le Bourgeois, paint- 
er and valet de chambre to Henry IV. and Louis 
XIII. His prints are marked with the above mo- 
nogram. 

PICQUOT, Henry, a French painter and en- 
graver of little note, who flourished about 1640. 
He is supposed to be a brother of the preceding. 
He studied painting under Simon Vouet. None 
of his works as a painter are mentioned, but Du- 
mesnil describes three prints by him. etched in a 
style resembling, that of Michel Dorigny. 



PIEL, Louis Alexandre, a French architect, 
born at Lisieux, in 1808. At the age of twenty- 
four he entered the school of Debret at Paris j and, 
in 1835. visited Germany to study the Gothic edi- 
fices. Having made the tour of that country, he 
published the result of his observations in TJEu" 
ropeen, a Parisian periodical, under the title of 
Voyage en Allemagne. This gained him conside- 
rable reputation, and he was commissioned, in 
1837, to restore the church of S. Nicolas at Nantes, 
in the Gothic style. Among his other works, was 
a church in the environs of Pontarlier, and the 
choir of the Cathedral at Sens. Piel assumed the 
Dominican habit in 1841, and died in the same 
year. 

PIELLA, Francesco Antonio, a painter of Bo- 
logna, born in 1861, and died in 1719. It is said 
that he excelled in painting landscapes and sea- 
ports. There are no further particulars of him or 
his works. 

PIEMONT, Nicholas, a Dutch painter, born at 
Amsterdam in 1659. He first studied under Mar- 
tin Saagmolen, an obscure painter ; and after- 
wards with Nicholas Molenaer. He next went to 
Italy, and resided several years at Rome, where he 
diligently studied after nature, and filled his port- 
folio with many choice designs of the picturesque 
scenery, views, and ruins, in the vicinity of that 
city, Tivoli, and other places. On his return to 
Amsterdam, he obtained a high reputation and 
abundant patronage for his views in Italy, which 
he executed in a manner strongly resembling that 
of John Both ; and, though his works are much 
inferior to those of that celebrated master, they are 
deservedly admired, and admitted into choice col- 
lections. He died in 1709. 

PIEMONTESE, Cesare, a Piedmontese paint- 
er, who flourished at Rome, in the pontificate of 
Gregory XIII. According to Taia, he was an ex- 
cellent painter of landscapes, in which he attached 
himself to the manner of Paul Bril. 

PIENE, A. DE, a French engraver of little note, 
who flourished about 1672. He engraved a few 
plates of portraits and other subjects, for the book- 
sellers. 

PIERCE, Edward, an English painter, who 
flourished at London in the reigns of Charles I. 
and Charles II. He is said to have been eminent 
in history and landscape, and to have excelled in 
architecture and perspective. Few of his works 
now remain, the greater part of them having been 
destroyed in the great fire in London in 1666-— 
probably not a very great loss. Lord Orford at- 
tributes to him eight plates of friezes, published 
in 1640. 

FIERI, Stefano, a Florentine painter, born, 
according to Zani, in 1513, and a pupil of Battista 
Naldini. He seems to have passed much of his 
life at Rome, where he was patronized by the 
Cardinal Alessandro Medici, by whom he was em- 
ployed in the church of S. Prassede, where he 
painted the Annunciation, and some pictures of the 
Apostles. He executed other works for some of 
the churches at Rome and Florence, in which lat- 
ter city he assisted Vasari in the cupola of S. Ma- 
ria del Fiore. Lanzi says one of his best works 
is the Sacrifice of Isaac, in the Palazzo Pitti. 
Another fine picture is the Assumption of the 
Virgin, in the church of S. Maria in Via, at Rome. 



PIER. 



694 



PIER. 



His works are well designed, but Baglioni cen- 
sures them as being very dry and hard. He died 
at Rome, in the pontificate of Clement VIII., at 
the great age of eighty-seven years ; Zani says in 
1600. 

FIERI, Antonio de', called Lo Zotto or Zoppo 
DA ViCKNZA, a painter of the Venetian school and 
a native of Vicenza, who flourished in the first 
half of the 18th century ; one of his pictures is 
dated 1738. It is not known under whom he 
studied, but he executed some works for the 
churches and public edifices at Vicenza and Rovi- 
go. which, according to Lanzi, are more distin- 
guished for brilliancy of coloring and facility of 
hand, than for correctness of design. 
PIERINO, DEL Vaga. See Vaga, 
PIERINO, SiG. GuiDo DEL. See Gallinarl 

PIERMARINI, Giuseppe, an eminent Italian 
architect, born at Poligno in 1734. His father was 
a merchant, and intended his son for the same busi- 
ness, which he followed for a number of years ; 
but. as he manifested a strong inclination for me- 
chanics and scientific pursuits, at the recommenda- 
tion of the celebrated mathematician, Boscovich, 
his father was induced to send him to Rome, to 
pursue his studies under proper instruction. Ac- 
cordingly, about the age of twenty, Piermarini 
went to Rome, and devoted himself to the study 
of mathematics and architecture, which last he 
studied under Poggi, and subsequently under Van- 
vitelli, who conceived for him a particular regard. 
He gave the young architect every means of ad- 
vancement, particularly in the practical depart- 
ment of the art. which was. of course, the most 
difiicult for him to acquire, while yet a student. — 
On Vanvitelli's going to Naples to erect the palace 
of Caserta. he took Piermarini with him as his 
principal assistant in that extensive work. Subse- 
quently, when Vanvitelli was invited to Milan by 
the Austrian government, for the purpose of alter- 
ing and embellishing the' palace now called the 
Impcriale, Piermarini accompanied him, which 
proved the foundation of his fortunes. Meet- 
ing with obstacles, and having other engagements 
that demanded his attention, Vanvitelli contented 
himself with making some general designs, and 
explaining his ideas, recommending his pupil as 
fully competent to supply his place. The work 
was accordingly transferred to Piermarini, in 1769 ; 
and he thus found himself established at Milan, 
with the title of Architect to the Archduke, and 
Inspector-General of Buildings. His abilities fully 
sustained the high recommendation of Vanvitelli, 
and for thirty years he was constantly employed 
at Milan. He introduced a more correct taste 
than had hitherto been observed in the edifices of 
that cit^, and erected a large number of fine 
buildings, besides altering and improving so many 
others as greatly to enhance the architectural 
character of the city. His theatre Delia Seal a is 
sufficient to prove his great merit. Among his 
other works are the Palazzi Greppi, Moriggia, 
Lasnedi, Sannazari, Litta. Cusani ; a fa9ade of the 
archbishop's palace ; the extensive and magnificent 
fa9ade of the Palazzo Belgioioso ; the Monte di 
Piela ; the Monte Napoleone ; the Luoghi Pii ; the 
Teatro della Canobbiana ; and the Porta Orientale. 
He also conducted many general improvements, 
as several new streets, the Piazza del Tagliamento, 
and almost the whole of the new quarter called the 



Contrada di S. Redegonda ; and the public gardens 
and their buildings. At Monza, he erected the 
elegant Imperial Villa; the Villa d' Adda at Ca- 
sano ; and the Villa Cusani at Desio. In the lat- 
ter part of his life, Piermarini withdrew from ac- 
tive labors, and retired to his native place Foligno, 
where he lived in quietness until his death, in 
1808. The Academy of the Brera at Milan erect- 
ed a monument to his memory. 

PIERRE, Jean Baptiste Maria, a French 
painter, born at Paris in 1715. It is not known by 
whom he was instructed ; but he went to Rome 
when young, and resided there some years. On his 
return to Paris, he distinguished himself as a 
painter of history, and executed several works for 
the churches and public edifices, which gained him 
great reputation. He was appointed painter to the 
King, and was elected a member of the Academy at 
Paris. One of his greatest works was the ceiling 
of the chapel of the Virgin, in the church of S. Sul- 
pice, which has been engraved by Nicholas Dupuis. 
He also etched a few spirited plates from his own 
designs and others. He died in 1789. 

PIERSON, Christopher, a Dutch historical 
and portrait painter, born at the Hague in 1631. 
He studied under Bartholomew Meyburg, with 
whom he traveled into Germany. Happening to 
visit the Swedish camp, he was engaged by General 
Wrangel to paint his portrait, and those of the 
principal officers of the army. These performances 
were so much admired for their striking resem- 
blance, clearness of coloring, relief, and neatness 
of pencil, that the general endeavored to persuade 
him to go to the court of Sweden. He, however, 
returned to his own country, and settled at Gou- 
da, where he found abundant employment, and ac- 
quired both reputation and riches. Observing 
that the pictures of Leemans, which represented 
dead game, and sporting apparatus, as guns, pouch- 
es, powder-horns, nets, bird-calls. &c., were great- 
ly admired, and brought high prices, he applied 
himself entirely to that branch, with such success 
that he not only surpassed Leemans, but has 
scarcely been equalled by any other master. 
These subjects he usually painted on a white 
ground, and gave them such a just degree of light 
and shadow as produced perfect illusion, and made 
every object seem to stand out in relief from the 
canvass. He died at Gouda, in 1714. 

PTET, a Dutch engraver, who flourished about 
1608. He engraved the plates for a work entitled, 
Le Maniement (VArmcs de Nassau, <^c., by Adam 
V. Brien, published in 1608. They are indifferent- 
ly executed. 

PIETERS, John, a Flemish painter, born at 
Antwerp in 1667. After studying the art under 
Peter Eyckens, he went to England in 1685, and 
was employed by Sir Godfrey Kneller to paint the 
back-grounds and draperies of his portraits, in 
whose service he continued many years. He is 
said to have painted history with reputation, and 
to have excelled in copying Rubens ; but the above 
facts render these statements very doubtful. He 
died in London in 1727. 

PIETERS. Under this head are mentioned, 
for some unknown reason, the three sons of Peter 
Aertsen, commonly called Peter the Long; viz., 
Peter, Arnold, and Dirk, or Theodore. They were 
instructed by their father, and were good portrait 



PIET. 



695 



irioii^. 



painters. Peter was born at Haerlera in 1541, and 
died at Amsterdam in 1603. Arnold is said to 
have excelled in this branch ; he died at Amster- 
dam in 1014. Theodore went to France, and died 
at Fontainbleau in 1602. See Peter Aertsen. 

PIETERS. See Peeters. 

PIETRT, PiETRo de'. See Petri. 

PIGALLE, Jean Baptists, a celebrated French 
sculptor, the son of a carpenter, was born at Paris 
in 1714. He first studied under Robert le Lor- 
rain. and subsequently in the school of Lemoyne. 
He visited Rome, and studied for three years in that 
city ; after which he returned to Paris. His stat- 
ue of Mercury first brought him into public no- 
tice, being a most admirable work, in the antique 
style, full of ideal beauty. A statue of the Virgin, 
which he executed for the Invalides, gained him 
the patronage of the Minister Argenson. who com- 
missioned him to execute a statue of Louis XV. 
Pigalle was also much employed by Madame de 
Pompadour, for whom he executed a statue of her- 
self, one of Silence, and a fine group of Friendship 
and Love. King Louis ordered of him a large stat- 
ue of the Mercury, with a Venus to accompany 
it, and presented the group to King Frederick the 
Great of Prussia. The latter statue gained the 
artist admission to the Academy ; and the group is 
now at Sans Souci. Pigalle was considered one of 
the best sculptors of the last century. His man- 
ner in his earlier works is full of ideal beauty ; but 
he subsequently forsook the antique style, and 
adhered to truth of resemblance. His principal 
work at Paris, is the tomb of Comte d'Harcourt, 
in the church of Notre Dame. Among his smaller 
productions, a figure of a Child holding a Cage 
from which a bird has escaped, was greatly ad- 
mired for its animation, innocence, and simplicity. 
He completed and erected the bronze equestrian 
statue of Louis XV,. commenced by Bouchardon. 
His master-piece, however, is the grand allegorical 
monument in memory of Mareschal Saxe, in the 
church of S. Thomas at Strasburg, commenced by 
order of Louis XV., in 1765, and finished in 1776. 
It is a group of five figures against a pyramid, 
which proclaims the glory of the warrior, who is 
represented in his own costume, and crowned with 
laurel, entering a tomb ; on one side is Hercules 
mourning ; on the other, Death as a skeleton ; an 
impersonation of France is endeavoring to restrain 
the Marshal and avert Death ; a weeping Genius 
is also in attendance, with an inverted torch, and 
many military trophies are introduced as acces- 
sories. The figure of the Marshal is very elabor- 
ately modelled, and the whole work has been sev- 
eral times engraved. In 1744, Pigalle was chosen 
an academician ; was assistant-professor in 1745 ; 
professor in 1752 ; received the Cordon of St. Mi- 
chael in 1769; was assistant-rector of the Acad- 
emy in 1770 ; rector in 1777 ; and chancellor in 
1785, in which year he died. 

PIGNE. Nicolas, a French engraver, born at 
Chalons in 1690. He was a pupil of Bernard Pi- 
cart, and is said to have visited England, where he 
published ninety heads from the Cartoons, in 1722. 
Among his other plates are. a portrait of Richard 
Fiddes. D. D.. prefixed to h\^ Divinity, dated 1718 5 
the Woman of Canaan kneeling at the feet of Christ. 
after Ann. Caracci; and the Virgin, with the In- 
fant asleep in a cradle, St. John and four Angels 



engraved for the Crozat Collection, after F. Tre- 
visani. 

PIGNONE, Simone, a painter born at Florence, 
according to Oretti, in 1614. He first studied with 
Fabrizio Boschi ; next with Passignano, and after- 
wards with Francesco Furini, whose manner he 
adopted, though he improved his coloring by vis- 
iting Venice and studjnng the works of the great 
Venetian masters, particularly those of Titian and 
Tintoretto. On his return to Florence, he ac- 
quired distinction, and executed several works for 
the churches, which were greatly admired for the 
delicacy and beauty of the coloring, especially in 
the naked parts. The most esteemed of these are, 
St. Michael discomfiting the rebel Angels, in the 
Nunziata, St. Louis, King of France, distribu- 
ting his wealth to the Poor, in S. Felicita, and 
an altar-piece at Monte Oliveto. His most ad- 
mired works are sacred subjects of small size, to 
be found in the collections of the nobility. There 
are also some of his pictures in the Florentine Gal- 
lery. He was fond of painting mythological sub- 
jects, as their peculiar character gave him a fine 
chance of displaying his skill in the flesh tints, 
which are very tender and seductive. He some- 
times treated them with unwarrantable licen- 
tiousness, and is said to have deeply lamented at 
his death, that he had prostituted his pencil to un- 
worthy objects. Lanzi says he was the best of all 
Furini's numerous scholars. Carlo Maratti es- 
teemed Gabbiani and Pignone only, among all the 
Florentine painters of the time. He died in 1698. 

PIKLER, John Anthony, a reputable engrav- 
er on precious stones, was born at Brixen. in the 
Tyrol, in 1700. He acquired a knowledge of his 
art at Naples, and attained a high reputation in that 
city, being patronized bj^ the King and Queen, as 
well as distinguished personages of the court. 
In 1743 he settled at Rome, and executed a num- 
ber of works, among which were a head of Homer 
in cornelian, and other copies from the antique, 
closely resembling ancient gems. He died in 1779. 

PIKLER, Cav. Giovanni, an engraver on pre- 
cious stones, was the son of the preceding, born at 
Naples in 1734. He studied design under Domen- 
ico Corvi. and copied the antiques at Rome with 
great assiduity. At the age of fourteen he execu- 
ted a gem. representing Hercules vanquishing the 
Nemean Lion, which was much admired by the 
connoisseurs, and gained him great reputation and 
encouragement. In 1769, while the Emperor Jo- 
seph II. was at Rome, Pikler took an opportunity 
to design his portrait, and afterwards executed it 
in cameo. The monarch was so highly pleased 
with the work, that he appointed Pikler a cavalier, 
and invited him to Vienna. For some unknown 
reason, the artist declined this honor. He was 
greatly patronized, and could scarcely fulfil his 
commissions. Among them are many copies of 
ancient gems, statues, and bas-reliefs. He repeated 
twelve times his work representing Leander swim- 
ming towards a tower where Hero is holding a 
lamp; and also his Achilles dragging the body of 
Hector round the walls of Troy. Many of his 
gems probably pass for genuine antiques ; and he 
is said to have sold for 100 sequins to the Caval- 
iere d'Azara, a head of Sappho, as an ancient work, 
which was in reality his own execution. Pikler 
commenced two works relating to art, but was 



PILA. 



696 



PILL. 



prevented by death from completing them. He 
died in 179L 

PILAJA, Paolo, an Italian engraver, who flour- 
ished at Rome from 1727 to 1747. He executed a 
set of plates for a book entitled Storia di Volsena, 
by the Abate Adami, with a portrait of the au- 
thor, published at Rome in 1737. He also en- 
graved a few other subjects, among which are the 
following : 

The Portrait of Pope Benedict XIII. ; after Bru^hi. 
The Martyrdom of St Fedele ; after S. Co'nca. A Mira- 
cle wrought by S. Thoribio ; do. St Liberale, with two 
Children ; do. The Statue of the Prophet Elias ; after 
the sculpture hxj Ag. Cornachini, in St. Peter's at Rome. 

PILES, Roger de. a French painter and writer 
on art, born at Clameci in 1635. He had a thor- 
ough knowledge of art, though he seems to have 
practised painting more for recreation than as a 
profession. He was tutor to the son of President 
Amelot, and afterwards accompanied him as sec- 
retary in several embassies. He had a good taste 
in coloring, was a master in chiaro-scuro, and poss- 
essed a remarkable talent for imitation. Rubens 
was his pictorial idol. He painted some por- 
traits, among which were those of Boileau and 
Madame Dacier. He is better known as the au- 
thor of several works on the lives of the most em- 
inent painters, reflections on their works, &c. He 
died in 1709. 

"^i— , PILGRIM, John Ulric, an old en- 

/'^(^i^// graver on wood, who is supposed to be 
/'!^^%^ the inventor of engraving in chiaro- 
'^ "~" ^ scuro. Little is known of him, except 
a few prints which are marked with two pilgrims' 
staves crossed between the initials, Jo. V., as 
above ; but whether these staves were used by him 
in allusion to his name is not satisfactorily ascer- 
tained. The French call him Le Maitre aux hour- 
dons Croises, He must not be confounded with 
TJlderico Hans, or Hans Ulric of the Italians, who 
published the first illustrated book in Italy at 
Rome, in 1467. (See page xiii.) Bartsch (P. G. 
tom. vii.) describes the following ten prints by him. 

1. Christ on the Cross, with the Magdalene kneeling at 
the foot, and the Virgin and St. John standing, one on 
each side. 

2. The Virgin seated in a Garden, with the Infant on 
her knees. 

3. The Virgin, half-length, with the Infant in her Arms. 

4. St. Jerome in the Desert, with a book in one hand, 
and a stone in the other. 

5. St. Sebastian tied to a Tree. 

6. A Death's head seen in front, in a niche, with the in- 
scription, Mundanae foelidtatis gloria. 

7. Thisbe and the dead body of Pyraraus, with an in- 
scription, Quid Venus in venis possit, &c. 

8. Orpheus charming the Brutes ; inscription, Orpheus 
tales. 

9. Alcon. a famous Archer of Crete, delivering his Son 
from a monstrous Serpent. 

10. A Warrior on horseback, armed cap-a-pie, accompa- 
nied by a Halberdier on foot. 

PILKINGTON, Sir Wm., an English amateur 
painter, born in 1776. He practised the art with 
great assiduity, constantly devoting a certain por- 
tion of his time to its prosecution. He chiefly ex- 
celled in landscapes, forming his style in a great 
measure on that of Richard Wilson, and his works 
exhibit breadth and truthfulness of effect, com- 
bined with depth and transparency of coloring. 
He died in 1850. 

PILLEMENT, Jean, a French painter, who 



went to London about 1760, where he resided 
many years, and acquired considerable reputation 
for his drawings of landscapes and other subjects 
in water or body colors, many of which were en- 
graved by the eminent engravers of the time, as 
Woollett, Mason, Elliot, Canot, Ravenet, and others. 
He also painted landscapes in oil, but these were 
very inferior to his water-color drawings. It is 
said that he died at Lyons about 1808, at the age 
of 80 years. 

PILLEMENT, Victor, a reputable French en- 
graver, the son of Jean P., was born at Vienna in 
1767. He was principally distinguished for his 
plates of landscapes, and in 1801 he gained the first 
prize of the French Academy. There are many of 
his engravings in Robillard's Galerie du Musee; 
Melling's Rives du Bosphore ; Denon's Voyage 
en Egijpte ; also a larger work entitled CEdipe a 
Colone, after Valenciennes ; and many plates after 
Bourgeois. Pillement died at Paris in 1814. 

PILON, Germain, a celebrated French sculptor 
of the 16th century, to whom, with Jean Goujon, 
the French writers ascribe the honor of the res- 
toration of sculpture in France, was born at Loue, 
a small village near Mans. The date of his birth 
is not known ; it was probably about 1520. There 
are very few facts ascertained concerning this ar- 
tist. His father was a sculptor of little note, and 
instructed Pilon in the elements of the art. He 
executed a number of works in the vicinity of his 
native place, which evince his natural abilities ; 
among them are the statues which adorn the con- 
vent of Soulesmes, near Sable, in Maine, known as 
the Saints of Soulesmes ; also a statue of St. Ber- 
nard, in the church of Epau, near Mans. About 
the year 1550, he visited Paris, where Goujon was 
then in reputation. He became the emulator of 
that artist, and executed many works for the 
churches of Paris, also various monuments in the 
province of Normandy. Soon after attaining some 
reputation, he was commissioned to execute the 
mausoleum of Guillaume Langei du Bellay, in the 
cathedral at Mans. The sculptures which adorn 
this work, are much in the style of the antique. 
Pilon was the favorite sculptor of Henry II., and 
there are still many works at Paris, executed by 
him in that reign. Catherine de Medicis wishing 
to erect a monument to that monarch, Philibert 
de Lorme made the designs, and the execution was 
entrusted to Pilon, who seemed to surpass himself. 
The statues of Henry the II. and his queen were 
draped in robes of state; four bas-reliefs repre- 
senting Faith, Hope. Charity, and Good Works, 
suflBciently attest his talent. Charity is repre- 
sented entirely nude, having given all her cloth- 
ing to the poor ; with two infants suckling at her 
breasts. All the sculptures in this work are de- 
serving of praise, but the reclining statues of 
Francis II., and Catherine de Medicis, are con- 
sidered the best. The latter is represented as 
divested of drapery ; both works are said to com- 
bine the vigor of Michael Angelo with the grace of 
Primaticcio : doubtless too high praise. The mas- 
ter-piece of Pilon, is his group of the Three Graces, 
on a triangular pedestal, supporting on their heads 
an Urn, which contains the hearts of Henry and 
Catherine. This admirable work was sculptured 
from a single block of marble, and is hardly sur- 
passed for the ease and lightness of its draperies, 
in which Pilon especially excelled ; it was former- 



PILO. 



PINA. 



}y in the convent church of the Celestines, but is 
now at the Louvre, in the Musee des Sculptures 
de la Renaissance. There are also other works 
extant by Pilon, in clay, stone, alabaster, bronze, 
and marble. The date of his death is uncertain. 
For a long time it was supposed he died about 1606, 
on account of an epitaph to his memory, by Pres- 
ident Maynard, published in that year; but the 
indefatigable le Noir, after all his researches, has 
discovered no work by Pilon, after the year 1590. 
PILOTTO, Giro L AMD, a Venetian painter, who 
flourished about 1600. According to Zanotti, he 
studied under the younger Palma, whose style he 
closely imitated. He acquired considerable repu- 
tation, and executed some works for the churches 
at Venice and elsewhere. His most celebrated 
performance, is a large picture in the saloon of the 
Ducal Palace at Venice, representing the Mar- 
riage of the Adriatic, which is highly extolled by 
Or] audi, though others prefer his San Biagio, at 
the great altar of the Fraglia, at Rovigo, a picture 
displaying great sweetness of manner. He lived 
to an advanced age, and died, according to Zani, in 
1649. 

PTLSEN, Francis, a Flemish painter and en- 
graver, said to have been born at Ghent about 
1676, though probably at a later period, as there 
is a print by him dated 1770. He studied paint- 
ing and engraving under Robert van Audenarde. 
Little is known of him as a painter, but there are 
a few prints by him, among which are the follow- 
ing : the Virgin and infant Jesus, the Conversion 
of St. Bavon, and the Judgment of Midas ; after 
Rubens. St. Francis ; do. ; signed F. Pilsen, 
sculp. G. 1770. The Martyrdom of St. Blaize; 
after G. de Crayer. 

PINACCI, GiosEFFO, a painter of Siena, born 
in 1642. He first studied under Livio Mehus at 
Florence, and afterwards with Borgognone. Ac- 
cording to Orlandi, he did not follow the manner 
of either of his masters. He devoted himself 
mostly to portraits, in which branch he acquired 
distinction, and made a considerable fortune. He 
was employed at the court of Carpio, Viceroy of 
Naples, and afterwards by the Grand Duke of 
Florence, where there are several of his works. 
He had an excellent knowledge of the pencilling 
of the old masters, which enabled him to imitate 
them very successfully. He was living in 1718. 

PINAGIER, Thomas, a French painter, born 
at Paris in 1616, and died there in 1653. Little is 
knoT.n of him ; he is said to have been a good 
painter of landscapes. 

PINAIGRIER, Robert, a French painter on 
glass, supposed to have been a native of Tours, 
born about 1490. He executed many works for 
various churches of France, among which were 
those in S. Hilaire at Chartres ; and at Paris, in 
the churches of S. Victor, S. Jacques de la Bou- 
cherie, the Hospice des Enfants Rouges, S. Ger- 
vais, and S. Mederic. Most of his works have 
been destroyed ; but in the Chapelle de la Vierge, 
at Paris, is preserved a History of the Virgin 
by him, characterized by beautiful heads, splen- 
did coloring, and vigorous execution. Some of his 
works in the church of S. Mederic are also pre- 
served. Pinaigrier left three sons — Nicolas, Jean, 
and Louis ; of whom the first was most distin- 
guished. At Chartres, in the church of S. Aignan, 
there are by him two glass paintings, representing 



Christ bearing the Cross, and the Last Judgment. 
There was a grandson of Robert P., named Nico- 
las, who adorned several Parisian churches with 
his works in the same art, from 1618 to 1635. 

PINAS, John, a Dutch painter, born at Haer- 
lera in 1597, according to Descamps ; though Na- 
gler says in 1570. After learning the rudiments 
of the art at home, he went in company with Pe- 
ter Lastman to Italy, where he studied some years. 
On returning to his native country, he became 
eminent as a painter of history, portraits, and 
landscapes. The most esteemed of his historical 
works is a picture in the great church at Haerlem, 
representing Joseph sold by his Brethren. His 
style of coloring was vigorous, but rather inclining 
too much to the deep brown or blackish tints, in 
which manner he had many admirers, and some 
imagine that even Rembrandt imitated him in that 
respect. He died in 1660. 

PINAS, Jacob, was a younger brother of the 
preceding, born at Haerlem in 1599. He had not 
the advantage of studying in Italy, but after the 
return of John Pinas, he received considerable ad- 
vantage from his instruction, and painted land- 
scapes with reputation. He died at Amsterdam 
in 1659. 

PINCH ARD, P., an engraver, probably a French- 
man, who resided at Genoa about 1687, where he 
engraved some book plates. 

PINE, John, an English designer and engraver, 
to whom we are indebted for several splendid and 
interesting works, the principal of which are the 
Ceremonies used at the Revival of the Order of 
the Bath by George I. ; the prints from the tapes 
try in the House of Lords, representing the de 
struction of the Spanish Armada ; a superb edi 
tion of Horace, the text engraved, and illustrated 
with ancient bas-reliefs and gems j the Pastorals 
and Georgics of Virgil, ornamented in a similar 
manner, with a printed type. The last were pub- 
lished by his son, after his death, which happen- 
ed in 1756. He was a man of letters ; and de 
signed and engraved many of the plates for thi 
above works. He also engraved a few portraits 
among which is one of himself, and another of 
Garrick. 

PINE, Robert Edge, was the son of the pr< 
ceding, born in 1742. It is not known by whoi 
he was instructed, though Pilkington says by \m 
father, who died, according to his statement, wheu 
Pine was fourteen years old. Nagler says he was 
born in 1730, and died in 1795. In 1760 and 1762, 
he drew the prizes from the Society for the En- 
couragement of the Arts, &c., for the best historical 
designs. He painted portraits with some reputa- 
tion, and in 1782 exhibited a series of pictures 
of scenes from Shakspeare, some of which were 
engraved by McArdell, V. Green, C. Watson, and 
others. He afterwards went to America, where 
he died in 1790. 

PINEDA. See Perez. 

PINELLI, Antonia Bertucci, a Bolognest 
paintress, a favorite scholar of Lodovico Carac- 
ci, who admired her, sa)^s Lanzi, for her sin- 
gular modesty and attachment to art. She execu- 
ted several works for the churches, among which 
were the Guardian Angel, in S. Tommaso ; and 
two altar-pieces of St. James and St. Philip, in 
the churches dedicated to those Saints. But her 



PINE. 



698 



PINO. 



most celebrated performance is a picture of St. 
John the Evangelist, in the Nunziata, in which 
she introduced her own portrait with a bonnet, 
and that of her husband. It was painted from 
the design of her instructor. She also painted 
cabinet pictures of sacred subjects, which were ad- 
mired. Her maiden name was Pinelli, and she 
married Gio. Battista Bertucci. She died, accord- 
ing to Malvasia and Zani, in 1644, though others 
say in 1640. 

PINELLI, Bartolomeo, a modern Italian 
painter, designer, and engraver, wlfo resided chiefly 
at Rome, and distinguished himself for his numerous 
designs and etchings of Roman history, Italian man- 
ners and costumes, and views of the environs of 
Rome, with groups of Banditti, which in all amount 
to upwards of two hundred prints, besides numerous 
other subjects. The works by which he is best 
known to foreigners, are Istoria degli Imperitori 
inventata ed incisa in cento rami (100 plates) ; 
Raccolta di Costumi pittoreschi ; Nuova Rac- 
colta di cinquanta Costumi pittoreschi (50 plates); 
Istoria Greca (lUO etchings) ; Istoria Romana 
(152 etchings). He also designed and etched 
many other plates of illustrations to Virgil, Dante, 
and Tasso. He engraved the frescos painted by 
Pinturicchio in the dome of S. Maria Maggiore ; 
the Life and Miracles of St. Francis di Paula, af- 
ter Marco da Faenza and others ; the Friezes by 
Giulio Romano^ in the Farnesina ; also, Pictu- 
resque Views of Tivoli. &c. His plates are etched 
in a bold and free style, and there is great spirit 
and vivacity in his figures. His drawings in 
chalk and water-colors are much esteemed for 
beauty of design and spirited execution. His life 
was one of extraordinary industry. He died at 
Rome in 1835. 

PINI, Eugenic, a painter of Udine. born about 
1600. It is not known under whom he studied, 
but he executed many works for the churches in 
his native city, and in the Venetian state, which 
Lanzi says show an artist '' extremely diligent and 
skilled in every ofiBce of a painter, if we except, 
perhaps, his want of a more perfect harmony of 
tints." The Abate Boni pronounces his Repose 
in Egypt in the Cathedral of Palma, and his San 
Antonio in that of Gemona, noble productions, and 
among his best works. He was living in 1655. 

PINI, Paolo, a painter born at Lucca, who, ac- 
cording to Orlandi, flourished shortly after the Ca- 
racci, and excelled in painting perspective and ar- 
chitectural pieces, with small figures, for the col- 
lections. Lanzi says he has seen only one of his 
pieces, representing a history of Rahab, in the 
church of S. Maria di Oampagna at Piacenza; in 
which the architecture is very fine, the figures 
light, and touched with a spirited pencil. 

PINO, Marco da, also called Marco da Siena, 
an eminent painter and architect, born at Siena 
about 1520. He seems to have studied under a 
number of masters. According to Baglioni, he re- 
ceived his first instruction from Domenico Becca- 
furai, and afterwards studied under Daniello da 
Volterra. Baldinucci places him among the disci- 
ples of Baldassare Peruzzi. It is, however, agreed 
that he completed his studies at Rome, where Lo- 
mazzo states he received instruction from Michael 
Angelo Buonarotti. Lanzi says he studied with 
Pierino del Vaga, and assisted him in his cartoons, 
and that he was a favorite with Michael Angelo. 



but not his scholar, as some have asserted ; though 
doubtless he benefitted from his friendly instruc- 
tions. At all events, he made the works of An- 
gelo his model. Lanzi says : " Of his merits as a 
painter, I believe I do not err when I say that, 
among the followers of Michael Angelo, there is 
none whose design is less extravagant, and whose 
color is more vigorous." He painted some pictures 
for the churches at Rome, which gained him con- 
siderable reputation, the most esteemed of which 
is a Dead Christ, in S. Maria di Aracseli. But 
the principal theatre of his fame was Naples, 
where he settled in 1560, and distinguished him- 
self by many works which he executed for the 
principal churches and public edifices in that city, 
and in other parts of the kingdom. The most 
celebrated of these is the Descent from the Cross, 
in S. Giovanni deiFiorentini, which he repeated on 
several occasions, with many variations. In the 
same church is an admired picture of the An- 
nunciation. Other celebrated works are the Cir- 
cumcision, in the Gesu Vecchio, into which he is 
said to have introduced the portraits of himself 
and wife ; and the Adoration of the Magi, in S. 
Severino. He enriched many of his pictures with 
noble architecture. He was greatly respected at 
Naples, and many favors were conferred upon him. 
He instructed many pupils, the most celebrated of 
whom was Gio. Angelo Criscuolo. 

Marco da Pino practised architecture at Naples. 
He remodernized the church of La Trinita di Pa- 
lazzo, and erected the church and college del Gesu 
Vecchio, which is now used as the university of 
Naples. It is a well arranged and magnificent edi- 
fice, and gained for him the reputation of an able 
and talented architect. He was also distinguished 
for his literary labors for the promotion of art, 
and published" a large work upon architecture, as 
well as a collection of the lives of Neapolitan art- 
ists. He died at Naples in 1587. 

PINO, Paolo, a Venetian painter, whose histo- 
ry is generally confounded with that of Paolo Pini, 
which see. Lanzi says this similarity of names 
has frequently led authors into errors. He paint- 
ed a picture of the Virgin with four Saints, for the 
church of S. Erancesco at Padua, in a style be- 
tween that of the moderns and the Bellini, to 
which he affixed his name, Paulus Pinus, Van. 
1565. In the castle of Noale, in the territory of 
Trivigi, he adorned the public hall, both interior and 
exterior ; and that part of it where thejudges are ac- 
customed to hear causes and decide differences, with 
historical subjects adapted to the place. " Who- 
ever is acquainted with the ' Dialogue on Painting,' 
published by this professor as early as 1548, where 
in the dedication he professes himself a Venetian, 
and whoever has seen his works, will be in no dan- 
ger of confounding him with Paolo Pini of Lucca, 
who studied under the Caracci." 

PINO, da Messina. See Messina. 

PINSON, Nicolas. This painter was born at 
Valence, in the department of Drome, about 1640. 
He studied at Rome, where he remained some time, 
and imitated the style of P. da Cortona. Little is 
known of his history or works. There was a pic- 
ture by him of Tobit and the Angel, in the collec- 
tion of Boyer d'Aguilles, engraved by Coelmans. 
Pinson also etched two prints, now extremely rare, 
representing a Dead Christ, marked N. P. In. f.. 



'IB 



PINS. 



PINT. 



and the Assumption of the Virgin ; marked N. 
Pinson. Imient. et Sculp. 

PINSSTO, Sebastian, a French engraver, born 
at Paris in 1721. Little is known of him, except 
that he engraved a few portraits and other subjects. 

PINTELLI, Baccio, surnamed Urbinas, a rep- 
utable Italian architect, flourished at Rome from 

1471 to 1484, during the pontificate of Sixtus IV. 
He was appointed principal architect to that pon- 
tiff, and in 1473 erected the Sistine chapel, which 
possesses little architectural interest, being princi- 
pally distinguished for the grand works of art 
with which it is decorated. The style of Pintelli 
resembles that of Brunelleschi, and his designs 
have some characteristics of the previously point- 
ed style of architecture. His works are well con- 
structed, as appears from the cupola of S. Agostino 
and Ponte Sisto, still in perfect preservation. From 

1472 to 1477, he erected the church and convent 
of S. Maria del Popolo ; a beautiful chapel in that 
edifice for Domenico della Rovere, nephew of Six- 
tus IV. ; a palace for the same at the Borgo Vec- 
chio; and the Old Library of the Vatican. He also 
built the Hospital of S. Spirito in Sassia ; the 
Ponte Sisto over the Tiber ; the churches S. Pie- 
tro in Vinculis ; S. Agostino ; S. Maria della Pace ; 
S. Apostoli (since rebuilt) ; and probably designed 
S. Jacopo and S. Pietro in Montorio. In 1480, 
Pintelli strengthened the celebrated church and 
convent of S. Francesco di Assisi, by erecting en- 
ormous buttresses against the northern walls. 

According to the discoveries of Dr. Gaye, Pin- 
telli left Rome after the death of Sixtus IV., in 
1484, and went to Urbino, for the purpose of fin- 
ishing the Ducal palace of Urbino, upon which 
Lucianus Lauranna had been employed from 1468 
to 1483, for Federigo II., Duke of Urbino. It is 
supposed that he became a citizen of that place, as 
he assumed the surname of Urbinas. In 1491, he 
erected the church of S. Maria della Grazie at Ur- 
bino, for the Duke Giovanni della Rovere. The 
time of his death is not recorded. 

PINTURICCHIO, Bernardino, a painter born 
at Perugia in 1454. He studied under Pietro Peru- 
gino, and assisted him in many of his principal 
works, both at Rome and Perugia. He was one 
of the most distinguished artists of his time, as is 
evident from the fact that he was selected by the 
Cardinal Francesco Piccolomini, who soon after- 
wards became Pope Pius III., to decorate the Sa- 
cristy of the Cathedral of Siena, and the chapel of 
his family, "with works of such magnitude," says 
Lanzi, in his life of Raffaelle, " as perhaps had never 
been before entrusted to a single master." Yet 
never was a painter so unfortunate in his reputa- 
tion, and ever}-- author, from Vasari to Lanzi, sacri- 
fices his just fame to Raffaelle, " the god of their 
idolatry." Vasari calls him " a pretty good paint- 
er." Lanzi is disposed to do him justice, and gives 
hira more credit than any other author; therefore 
we will give his own account. Speaking of the 
second epoch of the Sienese school, he says that the 
Cardinal Francesco Piccolomini, a native of Siena, 
was the most distinguished patron and promoter 
of the Sienese school at that period. "For the 
purpose of decorating the sacristy of the cathe- 
dral, and the chapel of his family with various 
pictures from the Life of Pius II., he invited Pin- 
turicchio to Siena. This artist carried along with 
him other scholars of Perugino, and even Raf- 



faelle himself, who is reported to have designed 
either wholly, or in a great measure, those histor- 
ical pictures." Let it be recollected that this was 
about 1500 ; Pinturicchio was forty-six years old. 
" Having painted with so much applause at Rome,'^ 
says our author in another place, '• before Raf- 
faelle was born," who was a youth of seventeen, 
unknown at that time in the history of art. In 
his life of Pinturicchio he says, •' Bernardino Pin- 
turicchio, the pupil and assistant of Perugino in 
Perugia and in Rome, was a painter little valued 
by Vasari, who -has not allowed him his full share 
of merit. He has not the style of design of his 
master, and retains more than is consistent with 
his age, the ornaments of gold in his draperies ; 
but he is magnificent in his edifices, spirited in his 
countenances, and extremely natural in everything 
he introduces into his composition. As he was on 
familiar footing with Raffaelle, with whom he paint- 
ed at Siena, he has imitated his grace in several 
figures, as in his picture of S. Lorenzo, in the 
church of the Francescani di Spello, in which there 
is a small St. John the Baptist, thought by some 
to be by Raffaelle himself. He was very success- 
ful in arabesques and in perspective, in which he 
was the first to represent cities in the ornaments 
of his fresco painting, as in an apartment in the 
Vatican, where, in his landscapes, he introduced 
views of the principal cities of Italy. In many of 
his paintings, he retained the ancient custom of 
making a part of his decorations of stucco, as the 
arches, a custom observed in the Milanese school 
till the time of Gaudenzio. Rome possesses some 
of his works, particularly in the Vatican and in 
Aracoeli. There are three good pictures by him 
in the chapel of the Holy Sacrament, in the cathe- 
dral of Spello, consisting of three subjects from the 
Life of Christ — The Annunciation, th^; Nativity, 
and Christ disputing with the Doctors, the best 
of the three. In one of these he introduced his 
own portrait. But his best works are in the mag- 
nificent sacristy of the cathedral of Siena. They 
consist of ten historical subjects, containing the 
most memorable passages in the life of Pius II., 
and on the outside is the eleventh, representing 
the Coronation of Pius III., by whom this work 
was ordered." And yet, in his life of Raffaelle, 
Lanzi gives the glory of these works to that inimi- 
table master, as though he had not accomplished 
enough of himself to immortalize his name.* " Raf- 
faelle now became the admiration of his master and 
his fellow scholars ; and about this time Pinturic- 
chio. after having painted with so much applause 
at Rome before Raffaelle was born, aspired to be- 
come, as it were, his scholar, in the great works 
at Siena.t He did not possess a genius sufficient- 



* Raffaelle, at the age of seventeen, had just executed a 
picture representing the Holy Family, in which the Vir- 
gin is lifting a Veil from the infant Jesus, who is sleeping 
in his cradle ; which, says Lanzi, must have been the first 
attempt of the design which he finished at a more mature 
age. 

tMark the inconsistency in these assertions. " Tlie 
Cardinal Piccolomini was the most distinguished pa- 
tron and promoter of the fine arts at Siena,'' but only 
as an instrument of blazoning to the world his own illus- 
trious house. He did not employ the artists of his own 
city, but sought a foreigner whom he had known at Rome, 
distinguished before Raffaelle was born, and whom ho 
judged most competent to conduct those great works. Raf- 
faelle did not acquire any distinction till eight or nine 
years afterwards, when he was invited to Rome by Julius 



PINT. 



700 



PINU. 



ly elevated for the sublime composition which the 
place required; nor had Perugino suflBcient fer- 
tility or power of conception equal to so novel 
an undertaking. It was intended to represent the 
life and actions of Silvius Piccolomini, afterwards 
Pope Pius II. ; the embassies to various princes 
entrusted to him by the Council of Constance, 
and by Felix, the anti-pope, to Frederick III, who 
conferred on him the laurel crown ; and also, the 
various embassies which he undertook for Fred- 
erick himself to Pope Eugenius IV., and after- 
wards to Callistus IV., who created him a car- 
dinal. His subsequent exaltation to the papacy, 
and the most remarkable events of his reign were 
also to be represented; the canonization of St. 
Catherine ; his attendance on the Council of Man- 
tua, where he was received in a princely manner 
by the Duke ; and finally, his death, and the re- 
moval of his body from Ancona to Rome. Never, 
perhaps, was an undertaking of such magnitude 
entrusted to a single master.* The art itself 
had not yet attempted any great flight. The 
principal figures generally stood isolated, as Pietro 
exhibited them at Perugia, without aiming at com- 
position. In consequence of this, the proportions 
were seldom true, nor did the artists depart much 
from sacred subjects, the frequent repetition of 
which had already opened the way to plagiarism. 
Historical subjects of this nature were new to 
RaiFaelle, and to him, unaccustomed to reside in a 
metropolis, it must have been most difficult in 
painting so many as eleven pictures to imitate the 
splendor of the different courts, and the manners 
of all Europe, varying the composition agreeably to 
the occasion ; nevertheless, being conducted by his 
f]-iend to Siena, he made the sketches and cartoons 
o? all these subjects, says Vasari, in his life of Pin- 
turicchio ; and that he made the whole is the com- 
mon report at Siena.f In the Life of Raffaelle, Va- 
sari states that he made some of the designs and 
cartoons for these works, and that the reason 
for his not continuing them was his haste to pro- 
ceed to Florence, to see the cartoons of da Vinci and 
Buonarotti. But I am more inclined to the first 
statement than the subsequent one. In April, 
1503. Raffaelle was employed in the Library, as is 
proved by the will of Cardinal Francesco Piccolo- 
mini. While the Library was yet unfinished, Pic- 
colomini was elected Pope, and his coronation fol- 
lowing on the 8th of October, Pinturicchio com- 
memorated the eventj on the outside of the Li- 

II., not for any reputation he had then acquired, but at 
the instigation of Bramante, the famous architect of St. 
Peter's, who was Rafifaelle's uncle. There is good reason 
to believe, too, that Kaffaelle's education at this time was 
very defective, and entirely unqualified him for any great 
historical composition. He had not been even in Florence, 
nor thought of any other style than that of Perugino. 
Lanzi himself, speaking of his literary attainments, and of 
a letter he wrote in 1508, requesting the Duke of Urbinoto 
use his influence with the G-onfaloniere Soderini, to give 
him a commission in the Palazzo Pubblico at Florence, 
says, " if we were to judge from his letter just cited, now 
in the Museo Borgia, we might consider him grossly illit- 
erate." 

* Many grand historical works had been painted before 
the time of Raffaelle. 

t Vasari had no just authority for making this assertion, 
further than supposition ; common report, too, at Siena, is 
a very natural one — the pride of possessing works by so 
great a master. 

% This work was executed at the express command of 
Cardinal Piccolomini, then elevated to the papacy under 
the title of Pius HI. 



brary, in the part opposite to the duomo. Bottari 
remarks that in this fagade we may detect not 
only the design, but in many of the heads the 
coloring of Raffaelle. It appears probable, there- 
fore, that he remained to complete the works, the 
last subject of which, might perhaps be finished 
in the following year, in 1504, when he depart- 
ed for Florence.* We may here observe, that 
this work, which has maintained its color so well, 
that it appears almost of recent execution, confers 
great honor on an artist of twenty years of age, as 
we do not find a composition of such magnitude in 
the passage from ancient to modern art, conceived 
by any single painter.f So that, if Raffaelle stood 
not entirely alone in this work, the best part of it 
must be assigned to him, since Pinturicchio him- 
self was improving at this time, and the works 
which he afterwards executed at Spello and Siena, 
incline more to the modern, than any he had be- 
fore done; which will justify the conclusion that 
Raffaelle had already, at that early age, far out- 
stripped his master ; his contours being more full, 
his composition more rich and free, accompanied 
by a more ornamental and grander style, and an 
ability unlimited, capable of embracing every sub- 
ject presented to him." 

It is evident that the kindness of Pinturicchio 
to Raffaelle, and the discernment which he evinced 
in selecting him as one of his assistants, has acted 
most injuriously to his reputation. If Raffaelle did 
not altogether paint the picture, he is said to have 
made the designs, and if authors are compelled to al- 
low Pinturicchio a large share in the execution, they 
select the most graceful figures and attribute them 
to Raffaelle. As if this absurdity and gross in- 
justice were not sufficient, they must blacken his 
fair fame, by making him a miser, and confirming 
his avarice by a ridiculous story of the cause of 
his death. He was employed, say they, to paint 
an altar-piece for the Franciscans at Siena, and the 
monks had taken everything: out from an apart- 
ment for his better accommodation, except an old 
chest, which appeared so fragile that they judged 
it proper not to displace it. But Pinturicchio in- 
sisting on its removal, it was broken in pieces in 
the attempt, when, mirabile dictu, there fell out 
500 ducats, which had been secreted in the chest 
many years. The poor artist was so mortified at 
missing the opportunity of finding the treasure, 
and appropriating it to himself, that he fell sick, 
and died soon afterwards of grief. 

PINUS, Cornelius, a Roman painter, who 



* This is contrary to the express declaration of Vasari, 
who says RaflTaelle hastened to Florence before the works 
were completed, to see " the cartoons of Michael Angelo 
and Leonardo da Vinci, which had been prepared in com- 
petition by those two great artists, in consequence of the 
prize offered by the city of Florence." These cartoons 
were then being publicly exhibited in that city, and at- 
tracted the greatest interest. If the advocates of Eaffaelle 
admit that Pinturicchio painted the last and the most beau- 
tiful of the series, they must give the glory of the whole 
to him. 

t Michael Angelo was a great inventor ; Raffaelle a 
great composer, and what Fuseli terms a bold adopter. He 
seized upon the ideas and forms of others, and introduced 
them into his designs with such matchless skill as made 
them all his own ; whereas the same course, pursued^ by 
any other master, would sink his name into plagiarism. 
Instance his celebrated cartoons, in which he copied the 
ancient Sacrifice of Masaccio into the cartoon of Paul and 
Barnabas at Lystra ; also his grotesques, adopted from the 
antique. 



PINZ. 



701 



PIOL. 



flourished in the time of Vespasian, and was em- 
ployed by him in concert with Accius Priscus, to 
execute some works in the Temple of Virtue and 
Honor. 

PINZ, or PTNTZ, John George, a German en- 
graver, born at Augsburg in 1697, and died there 
in 1767. He was chiefly employed by the book- 
sellers, for whom he executed a variety of prints, 
in the style of those which ornament the numer- 
ous publications of Vander Aa. Among others, he 
engraved an emblematical plate, after P. Decker. 
in honor of the King of France, entitled Gallus 
und Germanus. 

PIO, GiovANNrNO DEL. See Bonatti. 

PIOL A. Giovanni Gregorio, a Genoese paint- 
er, born in 1583. According to Soprani, he ex- 
celled in miniatures, or small cabinet pictures. He 
went to France, and died at Marseilles in 1625. 

PIOLA. PiETRO Frangesco, a painter of Genoa, 
born in 15G5. He was of the same family as the 
preceding, and had the reputation of being one of 
the best imitators of Cambiaso. He died young 
in 1600. 

PIOLA, Pellegro, or Pellegrino, a painter 
born at Genoa in 1617. It is not known by whom 
he was instructed, but he studied diligently the 
works of the best masters, and selected from them 
what was most beautiful. Lanzi says, "he then 
tried a wider flight, and pursued it with great 
diligence, and a taste which charms us ; and what- 
ever style he adopted, he seems to have grown 
grey in it. A Madonna by him, in the great col- 
lection of the Marchese Brignole, was considered 
by Franceschini an original of Audrey, del Sarto ; 
his S. Eligio was by Mengs ascribed to Lodovico 
Caracci." He possessed wonderful talents, a keen 
perception of the beautiful, and aspired to the 
highest ranks of the art ; he would have reached 
a transcendant rank, had he lived to mature his 
faculties. He was assassinated by an unknown 
hand, supposed a jealous rival, in 1640, aged twen- 
ty-three years. 

PIOLA, DoMENico, was the younger brother 
of Pellegro P., born at Genoa in 1628. He is said 
to have received his first instruction from his 
brother, which must have been at a very tender 
age ; and he afterwards studied under Gio. Dom- 
enico Capellini. He associated himself with Val- 
erio Castelli, and in conjunction with that master, 
executed some works for the churches and public 
edifices of Genoa. He next imitated Castiglione, 
and finall}^ adopted a style of his own, in which 
he imitated that of Pietro da Cortona, in the lus- 
tre of his coloring, the splendor of his composi- 
tion, and his uncommon facility of hand. Lan- 
zi says, " he had a singular talent for the repre- 
sentation of children, and he refined it by the im- 
itation of Fiammingo. He enlivened every com- 
position b}"- their introduction, and in some places 
he interwove them in elegant friezes. From this 
soft and eas}^ manner, examples of which are to be 
found in every part of the Genoese territories, he 
occasionally departed, as in the picture of the Mi- 
racle of St. Peter, at the Beautiful Gate of the 
Temple, painted at Oarignano, in which the archi- 
tecture, the flesh tints, and the gestures are highly 
studied, and there is a force of effect, which seems 
to emulate a picture by Guercino, placed opposite 
to it in the same church. He also departs from his 



ordinary style in the Repose of the Holy Family, 
at the Gesft." He painted a multitude of pictures 
for the churches and palaces of Genoa, and in the 
state. He executed a few etchings from his own 
designs. Bartsch describes five, two Nativities; 
the Virgin on a throne, with the Infant Jesus on 
her knees, and St. John kneeling ; the Judgment 
of Paris ; and an Old Man with a beard. Nagler 
mentions another, St. Anthony of Padua, dated 
1640, when he was only twelve years old ; these are 
marked with his name. Other prints marked, 
D. P. or D. P. F., formerly attributed to him, 
Bartsch assigns to Domenico Peruzzini. He died 
in 1703. 

PIOLA, Antonio, was the son of Domenico P., 
born at Genoa in 1654, and died in 1715. Accord- 
ing to Ratti, he studied with his father, whose 
style he followed with commendation for some 
time, but afterwards changed his profession. 

PIOLA, Paolo Girolamo, was the second son 
of Domenico P., born at Genoa in 1666, and died in 
1724. He studied with his father, and, according 
to Ratti, fully sustained his reputation ; he execu- 
ted many works for the churches and palaces at 
Genoa, and other places in the vicinity. Lanzi 
also ranks him among the best artists of the Ge- 
noese school. He died in 1724. 

PIOLA, Gio. Battista, was the third son of 
Domenico P. He assisted his father and his 
brother in their works, but did not acquire any 
distinction. Lanzi says he could copy or follow 
the designs of others well enough, but he had not 
sufficient invention to do much beyond. 

PIOLA, Domenico, was the son of Gio. Bat- 
tista P., born at Genoa in 1718. He possessed ex- 
cellent abilities. Lanzi says, ''while he was be- 
ginning to emulate the glory of his family, he was 
cut ofi" by death in the flower of his life, and with 
him was extinguished a family which for the course 
of nearly two centuries had conferred great honor 
on the art." He died in 1744. 

PIOMBO, Fra Sebastiano del. This emi- 
nent painter was born at Venice in 1485. His 
real name was Sebastiano Luciano ; Vasari calls 
him Sebastiano Veneziano, by which name he was 
designated till Clement VIII. bestowed upon him 
the office of Keeper of the Seal of his Chancery, 
to fill which it was necessary for him to take the 
religious habit, and he assumed the title of Fra 
Sebastiano del Piombo (of the Leaden Seal), by 
which appellation he is universally known in the 
history of art. He first studied with Giovanni 
Bellini, then far advanced in years ; and afterwards 
with Giorgione, and became the most distinguish- 
ed disciple of his school, the most successful 
imitator of the harmony of his coloring, the 
breadth of his chiaro-scuro, and the fulness of his 
forms. He first distinguished himself as a portrait 
painter, to which his powers were peculiarly adap- 
ted. His portraits were admired for the striking 
resemblance, the sweetness of the coloring, and the 
roundness and boldness of relief, which made his 
figures appear to stand out from the canvass. 
Thus, in taking the portrait of Pietro Aretino, he 
distinguished five different tints of black in his 
dress, imitating with exactness those of velvet, 
satin, and other kinds of stuff. His portrait of 
Giulia Gonzaga, the mistress of Cardinal Hippoli- 
to de Medici, was called a divine performance. 



PIOM. 



702 



PIOR. 



But his powers of invention were contracted, and 
unfitted him to undertake by himself large histor- 
ical compositions. His first great work was an 
altar-piece for the church of S. Gio. Crisostomo at 
Venice, executed so entirely in the manner of 
Giorgione that it was often mistaken for the work 
of that master, and it is supposed that Giorgione 
furnished the design, Lanzi, speaking of this 
performance, says : " It may be presumed, indeed, 
that he was assisted in the design, for it is well 
known that Sebastiano possessed no surpassing 
richness of invention ; was slow in the composition 
of most of his figures ; irresolute ; eager to under- 
take, difficult to commence, and more difficult in the 
completion. Hence we rarely meet with any of 
his histories or his altar-pieces, at all comparable 
to the Nativity of the Virgin, in the church of S. 
Agostiuo in Perugia ; or the Flagellation of Christ 
at the Osservanti of Viterbo, which is esteemed 
the best picture in the city. Pictures for pri- 
vate rooms, and portraits, he painted in great num- 
ber, and with comparative ease ; and we nowhere 
meet with more beautiful heads, more rosy flesh 
tints, and more novel accessories than in these." 

He had already acquired the reputation at Ve- 
nice of one of the finest colorists of his time, 
when Agostino Chigi invited him to Rome, and 
employed him in conjunction with Baldassare Pe- 
ruzzi, in decorating his palace, where Raffaelle him- 
self had painted his famous Galatea, and furnished 
the designs for the History of Cupid and Psyche. 
The rival labors of all these artists are still 
preserved in the same edifice, now the palace of 
the Farnesina. In this competition, Sebastiano dis- 
covered his inferiority in design, but endeavored to 
remedy his defects by the study of the antique, and 
the instruction of Michael Angelo. Vasari re- 
lates that '• this great artist had felt some uneasi- 
ness at the growing fame of Rafi'aelle, and he glad- 
ly availed himself of the powers of Sebastiano as 
a colorist, in the hope that, assisted by his de- 
signs, he might be enabled to enter the lists suc- 
cessfully with his illustrious antagonist, if not to 
drive him from the field. With this view he fur- 
nished him with the designs for the Pieta in the 
church of the Conventuali at Viterbo, and the 
Transfiguration and Flagellation in S. Pietro in 
Montorio at Rome, which, as he was very tedious 
in his process, occupied him six years." The gran- 
deur of the design, and the extraordinary beauty 
of the coloring, excited universal surprise and 
applause. Lanzi, though he notices Vasari's state- 
ments, is unwilling to believe that Buonarotti 
could have been so wicked. It was at this junc- 
ture that Cardinal Giulio de Medici commissioned 
Rafiaelle to paint his immortal picture of the 
Transfiguration ; and being desirous of present- 
ing an altar-piece to the Cathedral of Narbonne, 
of which he was archbishop, he engaged Sebas- 
tiano to paint a picture of the same dimensions, 
selecting for the subject the Raising of Lazarus. 
On this occasion he was again assisted by Buona- 
rotti, by whom it was composed and designed. 
Raffaelle died before the entire completion of the 
Transfiguration, and after his death both pictures 
were publicly exhibited in competition ; and, not- 
withstanding the wonderful composition of Raffii- 
elle's chef-d'oeuvre, which was pronounced inimita- 
ble for design, expression, and grace, yet Sebastia- 
no's performance excited universal admiration. 
After the death of Rafiaelle, he was accounted the 



most distinguished painter in Rome. He was 
particularly esteemed by Clement VII., whose 
portrait he drew with amazing resemblance. The 
Pope rewarded his talents and services with a lu- 
crative benefice, and appointed him to the office of 
Keeper of the Seals of his Chancery. He was the 
inventor of the art of painting upon walls with 
oil colors, which he performed by first covering 
the wall with a composition of lime, pitch, and 
mastich. The Resurrection of Lazarus, before 
mentioned, was purchased by the Regent of 
France from the Cathedral of Narbonne, for 24,000 
francs, and removed into the Orleans Gallery. 
When that collection was sold in London in 1798, 
it was purchased by M. Angerstein, for 3,500 
guineas. He subsequently refused £15,000 for it. 
It is said that the French government was desi- 
rous of obtaining this picture, to hang beside the 
Transfiguration of Raffaelle, then in the Louvre. 
It now adorns the English National Gallery ; also 
his own portrait, holding the seals of his office in 
his hand. Those of the Cardinal Ippolito de 
Medici and Giulia Gonzaga are in the same institu- 
tion, though the authenticity of the two last is 
doubted by some writers. He died at Rome in 
1547. 

PIORT, v., an obscure Dutch engraver, men- 
tioned by Strutt, who engraved a plate represent- 
ing an old Woman and Boy with a pot of lighted 
Coals, after Rubens. 

PIPER, Francis, an English amateur artist, 
born in Kent in 1698. He was a man of fortune, 
and amused himself in sketching ugly faces and 
caricatures. He was a wayward and comical gen- 
ius, and traveled on foot through France, Italy, 
Germany, and Holland. He drew landscapes, 
which he etched on tobacco boxes for his friends. 
He died in 1740. 

PIPPI. See Giulio Romano. 

PIRANESI, Cav. Giovanni Battista, a pre- 
eminent architectural designer and engraver, was 
born at Venice, according to Zani, in 1713 ; al- 
though Milizia and Gandellini place his birth in 
1707. At the age of eighteen he was sent by his 
father to study architecture at Rome ; and devoted 
himself with great enthusiasm to acquire a knowl- 
edge of his profession. He studied engraving un- 
der Giuseppe Vasi, a Sicilian. On receiving a sum- 
mons to return to Venice, he refused, replying that 
Rome with her monuments was the birth-place of 
his talent, the adopted land of his affections. Up- 
on this, his father withdrew his allowance ; but 
Piranesi was not dismayed, and prosecuted his fa- 
vorite art with the greatest ardor. In 1741, he 
published his first work on triumphal arches, 
bridges, and other antique architectural remains. 
This admirable work immediately established his 
reputation, the engravings being executed in such 
a masterh'- style, so decidedly superior to any for- 
mer representations of similar subjects, as to form 
an era in chalcography, and architectural delinea- 
tion ; which latter had till then, particularly in 
Italy, been uniformly exceedingly coarse and 
tasteless. 

Piranesi was of a fiery and impetuous genius. 
He wrought with marvellous facility, usually 
making his drawing at once upon the plate itself, 
and completing it almost entirely by etching in 
aquafortis, with very little assistance from the 
graver. His plates, therefore, are distinguished for 



PIRA. 



703 



PIRA. 



an astonishing freedom and spirit, and great vigor 
of execution ; although the warmth of his imagina- 
tion at times impelled him to produce an occasional 
exaggeration of effect. It is difficult to determine 
whether the fecundity and spirit of his invention 
and composition, or the ardor and brilliancy of his 
execution, should be most admired. His skill in 
associating different objects, and arranging them 
for pictorial effect, and the vigor which he gave to 
the most important by his skillful arrangement of 
light and shade, gained him the designation of the 
Rembrandt of Architecture. Possessing such a 
facility of execution, unexampled in the art of en- 
graving, Piranesi has left an astonishing number 
of plates. They amount to over two thousand, 
most of them of very large dimensions, and fall of 
detail. Some of them are published on double ele- 
phant paper, the plates opening ten feet in length. 
Their contents afford an inexhaustible collection of 
the remains of antiquity, both in architecture and 
sculpture. His Magnijicenza. containing many 
specimens and fragments of ancient architecture 
till then little known, with the astonishing merit 
of its execution, would alone have established his 
fame. He had three sons and three daughters, as 
well as several pupils, who were all reared to as- 
sist him, in his labors ; but the unmistakeable 
touch of his master genius runs through all his 
works, and has not been caught by any of his 
scholars, which is conclusive evidence that they 
only performed the strictly mechanical parts oif 
the work. 

Piranesi was elected an honorary member of the 
Society of Antiquaries at London ; and also a 
member of the Academy of the Arcadi, under 
the name of Salcindio Tiseio, according to the 
custom of that association to give new names 
to their members. He was also knighted by Clem- 
ent XTII. In addition to his numerous and ex- 
tensive labors, he found time, at the particular re- 
quest of that pontiff, to repair and decorate the 
church of Santa Maria del Popolo. and the Priory 
at Malta, where a statue was erected to his memo- 
ry, executed by Angolini. He died at Rome. No- 
vember 9th, 1778. His portrait, engraved in 1750, 
by Polanzani, in the style of a mutilated statue, is 
prefixed to some of his works. Francesco Pira- 
nesi, the son of Cav. Gio. Battista P., settled at 
Paris after the death of the latter, and transported 
thither his father's plates. He published a com- 
plete edition in that city, in thirty volumes, with- 
out the letter-press. The following is a list of the 
works of this great artist : 

Antichita Romane, 4 vols. 1756. Raccoltadi Tempi An- 
tichi, viz. di Vesta ; della Sibilla ; dell' Onore e della Vir- 
tu, 1776. Panteon di Marco Agrippa, detto la Rotonda. 
Monumenti degli Scipioni, 1785. Roraanorura Magnifi- 
centia et Architectura, 1761. Opere Varie di Architettura 
Grotescha. Trofei di Ottaviano Augusto. Carcere. Ve- 
dute di ArcM Trionfali. Rovine del Castello del Acqua 
Giulia, 1761. Lapides Capitolini, sive Fasti Consulares, 
&c. Antichita di Cora, 1762. Campus Martius, 1762. 
Antichita d'Albano e di C.astel Gandolfo, 1764-5. Vasi, 
Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne ed Orna- 
menti Antichi, 2 vols. 1778. Colonna di Trajano, 1770, 
Colonna Antonina. Colonna dell' Apoteosi di Antonino 
Pio. Rovine di Pesto. Vedute di Roma. 2 vols. Teatro 
d'Ercolauo, 1783. Diverse Maniere d'Adornare i Camini, 
1769. Statue Antichi, 1781-84. Variae Tabulae celeberri- 
morum Pictorum : Raccolta di Disegni del Guercino. 
Schola Italica Picturaa, cura et impensis Gavini Hamilton, 
1773. Stampe Diverse. Peintures de la Villa Lante ; 
Sala Borgia ; Jules II. ; Farnesina ; Villa Altoviti. Anti- 



quites de la Grande Grece, gravees par Fr. Piranesi d'apres 
les Dessins du feu J. B. Piranesi. (Paris, 1804.) 1807. 

PIRANESI, Cav. Francesco, an Italian en- 
graver, the son of Cav. Gio. Battista P., was born 
at Rome in 1748. He studied design and archi- 
tecture under his father, whom he assisted in his 
numerous works, and imitated his style with 
success. After the death of his father, Fran- 
cesco transported all his plates to Paris, where he 
published a complete edition, in thirty volumes. 
He also engraved several plates of architectural 
views, and also of antique statues, somewhat in 
the style of Gio. Marco Pitteri. He died at Paris 
in 1810. Among others are the following by him : 

Jupiter seated ; from the statue in the Clementine Gal- 
lery ; after a drawing by PirolL The Venus of Medi- 
cis ; do. Cupid and Psyche ; from the Antique Sculpture 
in the Gallery of the Capitol. Papirius and his Mother ; 
from the group in the Villa Ludovisi. 

PIRANESI Laura, the daughter of Cav. Gio- 
vanni Battista P., was born at Rome in 1750. 
She studied under her father, and etched a number 
of plates in his style. After his death, she assist- 
ed her brother Francesco in conducting the busi- 
ness, and is supposed to have retired with him to 
Paris, She engraved several architectural views 
in Rome, v/ith great taste and delicacy, among 
which are, the Capitol ; the Ponte Salario ; th -■ 
Temple of Peace ; and the Arch of Septimius 
Severus. 

PIRINGER, Benedict, a German designer 
and engraver, iDorn at Vienna in 1780. He en- 
graved numerous plates of landscapes, romantic 
scenery, views of cities. &c., after various masters 
and from his own designs. Some of them were 
published collectively. Nagler gives a list of one 
hundred and eighty prints by him. He worked 
in aquatint, and with the graver. He died at Pa- 
ris in 1826, where he had resided many years. 

PIRINI, Louis de, an obscure French engra- 
ver, by whom there is a coarsely executed print of 
the Card- Players, after Cornelius van Tienen. 
+: PIRNRAUM, Alexis, an engraver on 

i^-'wood, who. according to Papillon, flourished 
JJ\- at Basle about 1545, and whom he supposes 
was a pupil of Hans Holbein. He does not speci- 
fy any of his works. Nagler is of opinion that 
he is the same as Adam Petri.a bookseller of Basle. 
Zani calls him Pirnbaum, and describes him as an 
excellent engraver on wood. 

PIROLI, ToMMAso, an Italian designer and en- 
graver, born at Rome in 1750. He studied under 
Cav. Gio. Battista Piranesi, and executed numerous 
prints, etched in outline and in the. chalk manner. 
The following are his most interesting works : the 
Prophets and Sibyls of Michael Angelo in the Ca- 
pella Sistina ; a copy of Metz's prints of the Last 
Judgment, in the same chapel ; the Story of Cu- 
pid and Psyche, from the frescos of RafFaelle in 
the Farnesina ; the frescos of Masaccio in the 
Brancacci chapel, at Florence; and the outlines 
for the original editions of Flaxman's designs, 
illustrative of Homer, Hesiod, ^schylus and 
Dante, published at Rome, He also executed sev- 
eral sets of engravings from the remains of ancient 
art, part of which were published at Rome and 
Paris by Francesco and Pietro Piranesi. sons of 
the celebrated Gio. Battista P. He died in 1824. 

PIROLI, Prospero, an Italian historical painter 



PISA. 



704 



PISB. 



and engraver, born in 1761, at Berzonno, in the 
territory of No vara. He studied at Rome, under 
an elder brother, a print-seller in that city, and 
devoted himself to studying the antique, as well 
as the works of Raffaelle and Michael Angelo. 
In 1794 he settled at Milan, and was occupied for 
some time in restoring pictures, until recommend- 
ed to the Russian prince Rozumowski, who invited 
him to Moscow. Piroli visited that city, and was 
employed three years by the Prince. The Empe- 
ror invited him to St. Petersburg, and appointed 
him picture-restorer to the Imperial Gallery, 
which office he filled eleven years, and acquired a 
handsome fortune. In 1817 he returned to Italy, 
and settled at Milan, where he died in 1831. The 
Biographie Universelle states that Piroli painted 
about twenty-four pictures, and engraved them in 
an old fashioned method, similar to that of Andrea 
Mantegna, He presented this collection of prints 
to the Emperor Nicholas, who acknowledged the 
compliment by presenting him a splendid ring. 

PISA, NiccoLA DA. See Nigcola. 

PISA, Giovanni da. See Giovanni. 

PISANELLI. See Vincenzio Spisano. 

PISANELLI, Lorenzo, a Bolognese painter, 
who studied under Cesare Baglioni, whose man- 
ner he adopted, and acquired considerable reputa- 
tion as an ornamental and perspective painter. 
He also painted landscapes in the style of his 
master. He flourished about 1600. 

PISANELLO, ViTTOEE, an old painter and 
medalist, a native of St. Vito in the Veronese ter- 
ritory. There is a great deal of contradiction 
about this artist, as to the time he flourished, and 
his merits. Vasari says he was a pupil of Castag- 
no, and dates his death about 1480 ; whereas dal 
Pozzo asserts that he possessed one of his pictures 
dated 1406, before Castagno was born. There are 
several little altar-pieces, containing the History 
of St. Bernardino, finished in the style of the old 
miniaturists (painters of histories with small fig- 
ures), in the sacristy of S. Francesco at Verona, dated 
1473, which are attributed to him, but Lanzi says he 
does not scruple to pronounce them by another 
hand. Zani quoted several of his works, dated 
from 1406 to 1447. His admirers have not hesita- 
ted to place him on a rank with Masaccio. Most 
of his great works, so highly commended by Va- 
sari, have perished. He was an eminent artist in 
his time, and greatly contributed to the advance- 
ment of art. He struck many medals of different 
princes, possessing rare merit, which are to be 
found in the Museums and rare collections. 

PISANO, Andrea. See Andrea. 

PISANO, Giunta, an old painter of Pisa, of 
whom there are notices froiu 1210 to 1236. He 
was the first native painter of Pisa, who distin- 
guished himself. Signor Tempesta wrote a fine 
eulogium on him about 1800. His works have 
mostly perished, but there are a few remains 
at Pisa and Assisi. particularly at the latter city, 
where he was invited to paint by Frat' Elia di Cor- 
tona, Superior of the Minori, aibout 1230. In the 
church of the Angioli is a Crucifixion inscribed 
with his name, Ivnta Pisanus, Ivntini me fecit. 
Lanzi says " this piece shows a knowledge of the 
naked figure, an expression of pain in the heads, 
and a disposition of the drapery, greatly superior 
to the efibrts of the Greeks, his cotemporaries. 



The handling of his colors is strong, although the 
flesh inclines to that of bronze ; the local tints are 
judiciously varied ; even the chiaro-scuro shows 
some art, and the whole is not inferior, except in 
proportions, to Crucifixions usually ascribed to 
Cimabue." He painted at Assisi another Cruci- 
fixion, which has perished ; also a portrait of Frat' 
Elia, still preserved, signed Juncta Pisanus me 
pinxit, An. i>. 1236. He also executed some fres- 
cos in the great church of the Franciscans, in 
which, according to Vasari, he was assisted by 
certain Greeks. These have mostly perished, ex- 
cept some busts and historical pieces, remain- 
ing in the gallery and the contiguous chapels, 
among which is the Crucifixion of St. Peter. 
These remaining works are so much injured by 
time, and have been so often retouched, as is sup- 
posed, that no just opinion can be formed of their 
original merit. Morrona asserts that a Giunta di 
Giuntino is mentioned in the records of Pisa, who 
flourished at the same time j but Lanzi gives good 
reasons to show that he was the same as Giunta 
Pisano. 

PISBOLICA, Jacopo, a Venetian painter, who 
flourished in the latter part of the 16th century. 
Vasari, in his life of Sansovino, records his name 
with praise. There is a fine picture by him of 
the Ascension, in the church of S. Maria Maggiore 
at Venice. 

PISTOJA, Gerino da, a painter born at Pisto- 
ja, who studied under Pietro Perugino, whom 
he assisted in his works. He afterwards assisted 
Pinturicchio at Rome and Siena. He executed 
some works by himself for the churches at Pisto- 
ja, San Sepolcro, and even at Rome. Vasari gives 
him credit for his diligence ; but he was meagre in 
his composition, and cold in his coloring. He 
flourished in the first part of the 16th century. 
There are notices of him down to 1529. 

PISTOJA, Giovanni da, a painter who studied 
under Pietro Cavallini at Rome, and was his best 
scholar. Vasari only briefly mentions him. He 
flourished about 1350. 

PISTOJA, Leonardo da, a painter born at 
Pistoja. who studied under Gio. Francesco Penni, 
a distinguished disciple of Raflaelle. His real 
name was Grazia, as appears from his signature on 
a picture of the Annunciation, in the chapel of the 
Canons of Lucca, Leonardus Gratia Pisioriensis. 
In the Notizie di Napoli he is called Guelfo dal 
Celano, and by others, Malatesta. Lanzi is of opin- 
ion that there were two painters of this name : 
of one of them there are notices in 1516 ; the oth- 
er is the one to whom this article is devoted. He 
is called by the Italians II Pistoia. He accompa- 
nied his master to Naples when he was invited to 
to that court, and assisted him till his death. He 
was afterwards much employed at Naples and 
Rome, in painting history and portraits. Lanzi 
says he was a " respectable painter ;" and, in an- 
other place, he says the Annunciation before men- 
tioned, his only work in Lucca, " is a picture wor- 
thy of a descendant of Raffaelle." Zani says he 
flourished from 1516 to 1540. 

PISTOJA, Leonardo da. In the Cathedral of 
Vol terra is a fine altar-piece, representing the Vir- 
gin seated on a throne, with the titular saint and 
other saints standing around the throne. It is in- 
scribed Opus Leonardi Pistoriens, an. 1516. 
The Cavaliere Tolomei first raised the question 



PIST. 



705 



PITA. 



whether there were not two artists of this name, 
who flourished nearly at the same time. Lanzi is 
decidedly of this opinion, and thinks they were of 
different families. He says, '' the painter of the 
piece at Volterra was not Grazia who went to Na- 
ples, since his master Penni, if we are to believe 
Vasari, was in that year (1516) still the scholar 
and assistant of Kaffaelle ; nor does it seem proba- 
ble that he educated a pupil of so much merit. 
This Leonardo, who painted at Volterra, must 
therefore have been some other, of more profi- 
ciency." 

PISTOJA, or PISTOJESE, Era Paolo da, 
was the favorite scholar and assistant of Era 
Bartolomeo. Lanzi says he was his colleague, 
and that he was honored in his own coun- 
try with a medal, which he saw at Pistoja, 
with those of many eminent men in that city. 
Paolo also inherited the rich collection of designs 
prepared by Era Bartolomeo, and, according to 
Vasari, executed many pictures from them at 
Pistoja, in accordance with the injunction of his 
master. These designs were afterwards carried to 
Elorence, and deposited in the Dominican convent 
of St. Catherine, where they were preserved in 
the time of Vasari. There is an altar-piece by 
him in the church of S. Paolo at Pistoja, and oth- 
ers in that of S. Domenico. He flourished in the 
first part of the 16th century. See Baccio della 
Porta, called Fra Bartolomeo. 

PITAU, Nicholas, the Elder, an eminent 
Flemish engraver, born at Antwerp in 1633. It is 
not known by whom he was instructed, but it is 
supposed that he studied under Francis de Poilly 
at Paris, whose style he followed, though his 
plates are executed with more vigor and spirit. 
He engraved a considerable number of portraits 
and historical subjects, after various masters, 
which are deservedly esteemed for the correctness 
of his drawing, the firmness, dexterity, and vigor 
of his burin, and the beauty and expression in his 
heads. His print of the Holy Family, after Raffa- 
elle, is considered a masterpiece of the art. The 
time of his death is uncertain. Nagler says he 
died in 1696 ; Watelet and Zani in 1676, which is 
probably nearer the truth, as the latest date found 
on his engravings is 1677. It would be an extra- 
ordinary circumstance that an artist possessing 
such commanding talent should cease to labor in 
the prime of his life, and twenty years before his 
death. The following is a list of his most esteem- 
ed prints : 

PORTRAITS. 

Louis Henry, Duke de Bourbon, supported by Wisdom 
and Religion. Oliver Cromwell ; after vander Werf 
N. Pitau the younger. Pope Alexander VII. ; after 
Mignard. Louis XIV., King of France ; after le 
Fevre. 1670. Louis, Dauphin, his son; rfo. ' James 
Pabier du Bulay, Master of Requests ; after Champagne. 
H. L. H. de Montmort, of the French Academy ; do. The- 
odore Bignon, Master of Requests ; do. Peter Seguier, 
Chancellor of France. 1668. Alexander Paul Pitau, Ad- 
vocate in Parliament. Gaspar de Fieubet, Chancellor, 
1662. Nicholas Colbert ; after le Pevre. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family, with St. Elizabeth and St. John ; af- 
ter Raffaelle ; very fine. The Entombing of Christ ; after 
L. Caracci. The Virgin holding the infant Jesus in her 
arms and reading ; after Guercino. The Dead Christ, 
with Angels weeping over him ; do. The Virgin interced- 
ing for St. Bruno and his order ; after Champagne. Christ 
and the "Woman of Samaria ; do. Mary Magdalene peni- 



tent ; do. St. Sulpitius in Council ; do. The Holy Fam- 
ily, with the infant Jesus embracing St. John ; do. The 
Holy Family, with an Angel presenting a Basket of Flow- 
ers ; after Villequin, 

PITAU, Nicholas, the Younger, was the son 
and scholar of the preceding. Neither the time of 
his birth or death is known. He engraved a few 
plates of portraits, in a manner greatly inferior to 
that of his father. He probably did not practise 
the art long. A list of his prints may be found 
in Nagler's Lexicon. 

PITOCCHI, Matted da'. This painter, ac- 
cording to Melchiori, was a native of Florence, 
where he is unknown, from his having resided 
abroad. He excelled in painting small pictures of 
beggars, bandits, markets, and burlesque subjects. 
He also painted on a larger scale for the churches, 
in several cities, particularly at Rovigo and Padua. 
Lanzi says " he displayed most talent in represen- 
tations of mendicants, and burlesque and fanciful 
subjects, which are to be found in the galleries of 
many noble houses in Venice, in Verona, in Vicen- 
za, and elsewhere. He painted likewise for the 
churches, particularly at Padua, where he most 
probably died." Melchiori says he died at Padua, 
about 1700, at an advanced age; others say he 
flourished about 1650. 

PITTERI, Giovanni Marco, an Italian design- 
er and engraver, born at Venice in 1703. He 
studied under Gio. Antonio Faldoni, but did not 
follow the style of his instructor. His plates are 
executed in a very singular manner, by single 
strokes, but very diflferent from the method of 
Claude Mellan. His strokes run from the top to 
the bottom, and his shadows are produced by 
strengthening them as the occasion requires. The 
effect produced by this whimsical operation is 
rather pleasing, and not inharmonious. He en- 
graved several plates for the Dresden and Floren- 
tine Galleries, and others after various masters. 
He died about 1786. Nagler gives a list of fifty- 
two prints by him. The following are the most 
esteemed : 

PORTRAITS. 

The Bust of Giovanni Marco Pitteri ; a,fter Piazzetta. 
Giovanni Battista Piazzetta, Painter, of Venice ; do. Carlo 
Goldoni, comic Poet ; do. Giuseppe Nogari, Painter; c?o. 
Giovanni Mocenigo, noble Venetian ; do. Count Schulen- 
bourg, Field Marshal of Venice ; after Rusca. Cardinal 
Quirini. Marquis Scipione Maflfei. Clara Isabella For- 
nari. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family : after Pietro Longhi. The Seven 
Sacraments ; do. The Crucifixion ; after Piazzetta. The 
Twelve Apostles ; do. Religion overthrowing Heresy ; do. 
St. Peter delivered from Prison ; after Spagnoletto. The 
Martyrdom of St. Bartholomew ; do. St. Catherine of 
Siena ; after Titpolo. Mary Magdalene, penitent ; do. 
A set of "six Plates of Huntings, in the environs of Venice ; 
after Pietro Longhi. Twelfth-Night; after Teniers. 
Two Rustic Subjects ; do. 

PITTONI, Battista, an Italian painter and 
engraver, born, as is supposed, at Vicenza, about 
1508, though there is considerable discrepancy 
among authors. Nagler says he was born in 
1520. He was living in 1585, and his prints bear 
date from 1561 to 1585. His engravings consist 
of landscapes, with ancient ruins, fabulous subjects 
and arabesques, and were published at Venice un- 
der the title of Imagini favolosi. <^c. intagliati in 
Rami da M. {Messer) Battista Pittoni, in Vene- 



PITT. 



706 



PIZZ. 



tia presso Fran. Ziletti, 1585. There is no ac- 
count of his paintings. 

PITTONI, Francesco, a painter of Vicenza, 
who flourished in the first part of the 18th centu- 
ry. He painted small historical pictures and por- 
traits, but did not acquire much distinction. 

PITTONI. GiovANNr Battista, a painter born 
at Vicenza about 1690. He received his first in- 
struction from his uncle, Francesco P., but after- 
wards went to Venice, where he diligently studied 
the works of the great Venetian masters, and 
formed a style of his own, which Lanzi s:iys dis- 
plays some novelty in the warmth of his color- 
ing, with a certain pictorial amenity and attrac- 
tion prevailing throughout the whole, which is 
very pleasing ; and, though his forms cannot be 
termed select, he is generally correct, ingenious, 
polished, and intelligent. His figures are gene- 
rally smaller than life, and he was less successful 
when he drew on a larger scale. He particularly 
shone in easel pictures of historical subjects, which 
are abundant in the various galleries at Venice 
and in the State. He also painted many altar- 
pieces, which Lanzi says appear to increase in 
beauty as they diminish in size. " This we 
perceive at the Santo at Padua, where he paint- 
ed, in competition with the best of his cotem- 
poraries, the Martyrdom of S. Bartolomeo, which 
he colored on a small canvass." Two of his 
finest works are the Martyrdom of St. Thom- 
as, in the church of S. Eustachio at Venice ; and 
the Multiplication of the Loaves, in S. Cosmo 
della Guidecca. He also executed a few spirited 
etchings from his own designs, which are some- 
times marked with his initials G. B. P., and some- 
times Johannes Baptista Pittonus Vicentinum fe- 
cit. He died at Venice in 1767. 

PITTOK, Bello, II. See Vincenzio Pelle- 
grini. 
PITTOR, Santo, II. See Gio. Bernardino 

RODERIGO. 

PITTOR, ViLLANo, II. See Tommaso Misci- 

ROLI. 

PITTORI, Lorenzo, a painter born at Macerata, 
whom Colucci classes among the scholars or imi- 
tators of Pietro Perugino. There is a picture of 
Christ by him, in the church of the Virgin at 
Macerata, in which the architecture is admirable, 
but the figures are in the manner termed by the 
Italians antico-modemo. It is dated 1533. 

PITTORI, Bartolomeo andPoMPEO, were sons 
of the preceding, and flourished at Fano, where 
they painted in conjunctioh a picture of the Resur- 
rection of Lazarus, in the church of S. Michele, 
dated 1534. Lanzi says it is wonderful to observe 
in this work how little they regarded the reform 
which the art had recently undergone. This, how- 
ever, was an early performance, and Pompeo after- 
wards improved his manner, acquired considerable 
reputation, and executed some works which are 
commended by Civalli. He also instructed some 
pupils, the chief of whom was Taddeo Zuccaro. 

PITTORI Paolo, del Masaccio, a painter born 
at Ascoli, of whom there are notices from 1556 to 
1590. He is commended by Colucci, who says he 
painted many works for the churches and public 
edifices of his native city and its vicinity. 

PIZZARO, Antonio, a Spanish painter, who 



flourished at Toledo in the commencement of the 
17th century. According to Bermudez, he was a 
scholar of El Greco, and became a correct designer 
and a good colorist. He painted several pictures 
for the convent of the Trinitarios, representing the 
history of the Order, and other works for the 
churches of San Justo and San Pastor at Toledo ; 
also a picture of the Nativity of the Virgin, in the 
church of Santa Maria at Cassarubios. He de- 
signed three subjects, which were engraved by 
Alardo Pompo, for the life of St. Idelfonso, by Sa- 
lazar de Mendoza. published in 1618. 

PIZZOLI, GiovACCHiNO, a Bolognese painter, 
born in 1651, and died in 1733. According to Za- 
notti, he was the pupil of Michael Angelo Colon- 
na, and assisted him in many of his works. He 
was an excellent painter of perspective, and also 
excelled in landscapes. 

PIZZOLO, NiccoLo, a painter and a native of 
Padua, who died about 1500. According to Va- 
sari, he was a fellow pupil with Andrea Mantegna, 
under Squarcione, and an imitator of his style. 
There is an altar-piece of the Assumption of the 
Virgin by him. in the chapel of the Eremitani at 
Padua, signed Opus Niccoletti; also other figures 
on the wall, and a fresco in one of the fa9ades. 
Lanzi says these works approach near the compo- 
sition and manner of Mantegna. 

PLAAS, David VANDER, an eminent Dutch por- 
trait painter, born at Amsterdam in 1647. After 
learning the principles of the art in his native city, 
he went to Italy, where he resided several years, 
and made the portraits of Titian his especial mod- 
els. He aimed to produce the effect of that great 
master, though by a very different method of pen- 
cilling ; as he laid on his colors with a strong 
body, and so judiciously placed his lights and 
shadows as to produce a lively and natural effect, 
without breaking the masses or scumbling together 
his colors. This method not only gave more power 
to his figures, but also preserved his colors in lasting 
beauty. Hence, though his pictures will not bear a 
close inspection, they have the appearance of life 
when viewed at a proper distance. On his return 
to Holland, he acquired great reputation, and paint- 
ed many of the most distinguished personages of 
his time. His portrait of Admiral van Tromp, is 
considered a masterpiece in this branch of the art, 
and represents, to the life, the spirit, and reso- 
lute boldness of the old veteran. His portraits 
are said to partake of the vigor of Rembrandt, 
and the truth of Titian ; the drawing of his heads 
and hands is remarkably correct. He died at Am- 
sterdam in 1704. 

PLACE, Francis, an English amateur painter 
and engraver, born at Dimsdale, in the county of 
Durham, about 1645. His father was a wealthy 
gentleman, and educated him for the bar ; but he 
abandoned that profession, and amused himself 
in painting a few pictures of landscapes, flowers, 
birds and fish, and in designing, etching, and mez- 
zotinting some plates. He possessed talents, and 
had stern necessity compelled him to greater rppli- 
cation, he might have distinguished himself. It is 
said that he was offered a pension of £500 in the 
reign of Charles II., to draw for the Royal Navy, 
which he refused, as he could not endure confine- 
ment. He died in 1728. 

PLACES, Louis des. See Desplaces. 



^ 



PLAN. 



707 



PLAT. 



PLANO, Francisco, a Spanish painter and ar- 
chitect, was born at Daroca, and flourished at 
Saragossa in the latter part of the 17th century. 
He acquired great reputation, both as a painter 
and an architect. He painted history and portraits, 
and particularly excelled in ornamental and per- 
spective painting ; in the latter branch. Palomino 
says he was equal to Colonna and Mitelli, an asser- 
tion which doubtless ought to be received with 
many grains of allowance. There is a grand pic- 
ture by him in the parochial church at Santiago, 
representing the battle of Clavijo. None of his 
edifices are mentioned. 

PLASS, or PLAS, Peter vander, a Dutch 
painter, who, according to Descamps, was born 
about 1570. He resided many years at Brussels, 
and painted history with great reputation. There 
are several of his works in the public edifices of 
that city, Balkema says he died there in 1626. 

PLASSARD, Vincent, an obscure French en- 
graver, by whom there is a print of the Holy Fam- 
ily reposing in a landscape, signed V. Plassard in. 
et fe. 1650. 

PLATEAU, Antoine, a French painter, born 
at Tournay in 1759, and died in 1815. He was an 
excellent decorative painter, and excelled in paint- 
ing fruit and flower pieces. 

PLATTENBERG, or FLATTEN, Matthew 
VAN, a Flemish painter, born at Antwerp in 1600. 
After studying in his native city, he went to Italy 
for improvement. He resided some time at Flor- 
ence, where, in conjunction with John Asselyn, 
called Crabbetjie. he painted some sea pieces and 
landscapes, which were greatly admired. About 
1630 he visited Paris, where his works were held 
in no less repute, and where he settled for life. 
There is a good deal of confusion about this 
artist, as he changed his name from Platten- 
berg to Platte Montagne. and marked his prints 
M. Montague. He etched some spirited plates of 
marines and landscapes from his own designs. 
Dumesnil describes twenty-nine prints by him ; the 
greater number are marked Montagne fecit, Morin 
ex. cum privil Re. Some are marked M. Mon- 
tagne fecit, or, in. et f Some writers say his 
Christian name was Michel, but print No. 27, de- 
scribed by Dumesnil, is marked Matthieu^ which 
settles the question. He married the sister of 
Jean Morin. He is confounded by the Italian au- 
thors with another artist, named Montagna, who 
excelled in marines. Malvasia calls him Mons. 
Rinaldo della Montagne; and Lanzi, copying 
Felibien, Niccolo de Plate Montagne. See // 
Montagna. 

PLATTENBERG, Nicholas van, was the son 
of the preceding artist, born at Paris in 1631. He 
is said to have studied painting under Philip de 
Champagne, and engraving under his uncle, Jean 
Morin, though it is highly probable that he re- 
ceived his first instructions from his father. He 
acquired distinction, both as a painter and an en- 
graver, and was elected a member of the Academy 
at Paris in 1681. His principal works as a painter 
I are in the churches of Notre Dame, St. Sacrament, 
and St. Nicholas des Champs, at Paris. He was 
also a good portrait painter. As an engraver, he 
surpassed his instructor, and his prints are highly 
; commended for correctness of drawing, and bold- 
j ness and freedom of execution. Dumesnil gives 



a descriptive list of twenty-eight prints by him. 
He died at Paris in 1706. 

PLATZER, or PLAZER, John George. Ac- 
cording to Fiiessli, this painter was a native of 
Switzerland, born at Epan, in the Tyrol, in 1702. 
He first studied with his step father, named Kes- 
ler, and afterwards with an uncle on the father's 
side, a painter residing at Passau. In 1721 he 
went to Vienna, where he formed an intimate 
friendship with an artist named Janneck, and as 
they painted similar subjects, a spirit of rivalry 
sprang up between them, which proved beneficial 
to both, without ia the least weakening their 
friendship. Platzer painted cabinet pictures of 
histories, and public festivals, with a multitude of 
excellent figures. His best pictures are exqui- 
sitely finished, his penciling very beautiful, his 
coloring gorgeous; and his pictures are very 
attractive to the uneducated eye. Hence he ob- 
tained abundant patronage, and his pictures are 
said to be found in many grand collections in 
Germany, and also in England. But his works 
are criticised as totally deficient in chiaro-scuro, 
and fantastically colored, without any just harmony 
of tints. His compositions abound with figures 
in theatrical action, and in the representation of 
his story, he frequently violates chronology, and 
the proprieties of costume. There are many of his 
works at Vienna, Breslau, and Glogau. He after- 
wards returned to his native place, where he was 
living in 1755. 

Zani notices a Giovanni Giorgio Platzer, doubt- 
less the same artist, a native of Trent, born in 
1702. and died in 1760. He painted conversations ; 
there are two of his pictures in the Imperial Gal- 
lery at Vienna, in which the figures are habited in 
Spanish costume. 

PLATZER, John Victor. Nagler says this 
artist was a painter and sculptor, born in Vintsch- 
gau. probably at Mais, in 1704. He first studied 
with Kessler at Inspruck, and afterwards with 
Christopher Platzer, court painter at Passau. 
He afterwards established himself at Vienna, where 
he painted cabinet pictures of histories, conversa- 
tions, and assemblies, mostly with many figures, 
which were received with great applause, both 
at home and abroad. He bestowed immense la- 
bor on his pictures, and his intense application 
weakened his sight and diminished the firmness 
of his hand, so that he was obliged to use a 
machine to steady it while painting. The pic- 
tures he painted .under these circumstances are 
greatly inferior to his earlier productions. None 
of his works as a sculptor are mentioned. He re- 
turned to his native place in 1755, where he died 
in 1767. By comparing the names of this and the 
preceding painter, the dates, subjects, style, &c., it 
will appear evident that they were brothers, if 
not one and the same artist. 

PLATZER, Joseph, a German painter, born at 
Prague in 1752. He was the son of Ignatius P., 
the celebrated sculptor. After the completion of 
his studies at the University, he devoted six years 
to the study of drawing, particularly in architec- 
ture, under the instruction of F. Wolf. In oil 
painting he was his own master. His attainments 
were noticed by Prince Kaunitz, who honored him 
with his patronage. Thus favored, he went to 
Vienna, and devoted six years more to assidu- 
ous study, when he thought himself qualified 



PLEG. 



708 



PLOO. 



WrWYi 



to undertake greater works than those on which 
he had been employed. In hopes to attract public 
attention, he executed a grand triumphal arch 
thirty-six feet high, and erected it on a holiday at 
St. John's hospital. It was universally admired, 
and produced the desired result. In 1781, he was 
employed to decorate the new theatre at Prague, 
and was soon afterwards selected by the Em- 
peror Joseph II. to embellish the Royal Theatre 
at Vienna. On the accession of Leopold II., he 
was appointed one of the court painters, and not- 
withstanding much opposition proved himself wor- 
thy of the situation. In 1790, he was appointed 
principal cabinet painter, which office he held till 
his death in 1810. He did not confine himself to 
decorative painting, but painted cabinet pictures 
of historical subjects with great ability. He also 
excelled in moonlight scenes. 

IPLEGINCK, Martin, 
a German engraver on 
Vood and copper, who 
flourished about 1590. He executed quite a num- 
ber of prints of small size, which do not possess 
sufficient interest for insertion here ; for a de- 
scription of his works the reader is referred 
to Bartsch, P. G., tom. ix. He engraved a set of 
copper plates representing various figures engaged 
in different kinds of combat, in a style resembling 
that of Virgilius Solis; also a set of small wood 
cuts representing ecclesiastical orders and dignities, 
cavalry and foot soldiers, after J. de Gheyn. Also 
some cuts of animals and ornaments for goldsmiths. 
His prints are usually marked with one of the 
above monograms. Zani says he operated in 1G06, 
but the latest date found on his prints is 1594. 

PLEYDENWURFF, William, an old German 
wood engraver, who flourished at Nuremberg in 
the latter part of the 15th century. In conjunc- 
tion with Michael Wolgemut, he executed the cuts 
for the Nuremberg Chronicle, a heavy folio, com- 
piled by Herman Schedel, and published in Latin 
at Nuremberg in 1493. It is illustrated with 
about 2000 cuts, representing views of ancient 
cities, figures of various kinds, and other subjects, 
which, though drawn in the stifi; formal, and in- 
correct manner of the time, are nevertheless spir- 
itedly and boldly cut, with much expression in 
many of the heads. 

PLIN, E., a French engraver, who flourished 
about 1780, and executed some plates of conver- 
sations and domestic subjects, ejched and finished 
with the graver, in a neat, clear style. 

PLINIUS, Secdndus, Caius, usually called the 
Younger Pliny, was the nephew and adopted 
son of Pliny the Naturalist, and flourished about 
A. D. 100. He deserves mention in a work rela- 
ting to architecture, for a number of excellent edifi- 
ces which he caused to be erected, although not an 
architect by profession. While consul in Bithyn- 
ia, he built the baths in the city of Nicomedia ; 
rebuilt many public and private edifices in various 
parts of Asia Minor ; erected a magnificent thea- 
tre at Nicaea ; and cut a canal of communication 
from lake Nicaea to the sea. He was appointed 
by the Emperor Trajan to the general superintend- 
ence of the Roman aqueducts, and erected a num- 
ber of beautiful edifices in Italy. 

PLONICH, Vedastus du, a Dutch engraver, 
who flourished about 1660, and executed a few 



plates of views m Holland, in a neat, though formal 
style. 

PLOOS, Cornelius van Amstel. See Am- 
stel. 

PLOTT, John, an English miniature painter, 
born at Winchester in 1732. He was bred to the 
law, but disliking that profession, he went to Lon- 
don in 1756, and became the pupil of Richard 
Wilson, the admirable landscape painter ; but his 
genius leading him to portraiture rather than land- 
scape, he left that master and placed himself un- 
der the tuition of Nathaniel Hone. He after- 
wards turned his attention to miniature, both in 
enamel and water colors, in which branch he was 
very successful, and met with considerable em- 
ployment. He had a taste for painting history, 
and his drawings in that line possess great merit. 
He sometimes painted portraits in oil. Towards 
the close of his life he retired in easy circumstances 
to Winchester, where he was chosen a member of 
the corporation of that city. He died there in 
1803. 

PLUMIER, an artist, probably a Frenchman, 
by whom there are some spirited etchings, from 
his own designs, signed Plumier fecit, which show 
him to have possessed talent, though his draw- 
ing in the naked parts of his figures, is not very 
correct. 

PO, PiETRO del, a Sicilian painter, born at Pal- 
ermo in 1610. After learning the rudiments of 
the art at Palermo, he went to Naples, and stud- 
ied under Domenichino, during the residence of that 
celebrated painter in that city. On his return to 
Palermo, he executed some works for the churches, 
and afterwards proceeded to Rome, where he also 
wrought some for the churches, but distinguished 
himself more for the pictures which he painted for 
the collections, and especially for his spirited en- 
gravings. He had a thorough knowledge of art. 
His chief work at Rome is a picture of S. Leone, 
in the church of the Madonna di Constantinopoli, 
which Lanzi says does not do him so much honor 
as some of his easel pictures, especiallj^ his small 
cabinet pictures, executed in the manner of minia- 
tures with exquisite taste ; some of them are to be 
found in the collections at Rome and Piacenza, and 
some were sent to Spain. He afterwards settled 
at Naples with his son, Giacomo, where he died 
in 1692. He executed some spirited etchings, fin- 
ished with the graver, from his own designs, and 
after other masters, which are highly esteemed. 
Bartsch gives a list of thirty-two prints by him, 
which he believes to be a complete catalogue, 
though there are three or four others attributed 
to him. which do not bear his name. The follow- 
ing are the best : 

St. John in the Wilderness ; after An. Caracci. The 
Woman of Canaan before Christ ; do. The Dead Christ 
on the Lap of the Virgin ; do. The Virgin seated on a 
Throne with the Infant, and a Choir of Angels ; after Do- 
menichino. The four Cardinal Virtues, with their attri- 
butes ; do. St. Jerome kneeling ; with an Angel ; do. 
The Annunciation ; after N. Poussin. The Flight into 
Egypt ; do. 

PO, Giacomo del, was the son of the prece- 
ding, born at Rome in 1654. He received his 
first instructions from his father, but afterwards 
studied under Niccolo Poussin. There are only two 
of his pictures in the churches at Rome, one in S. 
Marta, and the other in S. Angiolo. He went to 



PO. 



709 



POEL. 



Naples, where he settled, and found abundant em- 
ployment in ornamenting the halls and galleries 
of the nobility with frescos of allegorical and fab- 
ulous subjects. His intimacy with letters aided 
the natural poetic taste with which his pictures are 
conceived, and his varied and enchanting colors, 
fascinated the eye of every beholder. He was 
singular and original in his lights and in their 
various gradations and reflections. His inventive 
genius, extraordinary facility of hand, and abun- 
dant employment, led him into negligence and in- 
correctness in design, especially in his figures and 
draperies ; so that he fell into a kind of mannerism, 
as is usually the case with confident and rapid 
operators. He also executed a few works for the 
churches ; but his genius chiefly shines in the 
galler}?- of the March ese Genzano, and in the Pal- 
ace of the Duke of Matalona; and still more in 
seven apartments of the palace of the prince of 
Avellino. He died in 1726. 

PO, Teresa del. This paintress was a daugh- 
ter of Pietro del Po, who instructed her in the art. 
She painted cabinet pictures in the style of her 
father, and was skilled in miniatures. She also 
etched some plates in a manner so closely resem- 
bling that of her father that they can scarcely be 
distinguished, except by the signature. Bartsch 
describes sixteen prints by her, and enumerates 
six more, mentioned by Fiiessli. The time of her 
birth is not known. She acquired so much dis- 
tinction, that she was elected a member of the 
Academy of St. Luke at Kome. She died at Na- 
ples in 1716. 

POOCETTI. See Bernardino Barbatelli. 

POCO E BUONO, II. See Girolamo Nanni. 

PODESTA, Andrea, a Genoese painter and en- 
graver, born about 1620. He went early in life 
to Rome, where he studied under Giovanni An- 
drea Ferrari. He is scarcely known as a painter, 
but he executed some spirited and masterly etch- 
ings from his own designs and after other mas- 
ters, for the Giustiniani Gallery, which prove him 
to have been an artist of ability. He is called by 
most writers, Giovanni Andrea P. ; and Zani says 
his true name was Giacomo Andrea, but he marked 
his prints AND. P.. or And. P. in. et fee. 

POEHAM, Martin, an old Ger- 
man engraver, to whom Profes- 
■ sor Christ attributes some plates 
marked with one of the above monograms. They 
chiefly consist of indifferently executed copies of 
other prints by Aldegrever, Hans Sebald Beham, 
and others. 

POEL, Egbert vander, a Dutch painter, of 
whom little is known, except by his works. His fa- 
vorite subjects were conflagrations, representations 
of fire-works, with numerous figures, interiors by 
candle-light, &c., which he treated with great abil- 
ity. His pictures are well designed, his pencil is 
free and firm, his coloring vigorous, and his chiaro- 
scuro excellent. He is said to have been nearly 
related to Brower, and was perhaps his pupil, 
whose manner, as well as that of Teniers, he some- 
times imitated with considerable success. In the 
Museum at Amsterdam is a fine picture by him. 
representing the explosion of a powder magazine 
at Delft in 1654, which he repeated several times. 
In the same collection is an interior of a cottage 
with females engaged in domestic employment. 



P J> 



There are many of his cabinet pictures in the va- 
rious collections in Holland, where they are highly 
esteemed. Ilis name is generally found on his pic- 
tures, though he sometimes marked them only 
with his initials, E. V. P. His works date from 
about 1660 to 1690, at which time Balkema says 
he died. 

POELEMBURG, Cornelius, an eminent Dutch 
painter, born at Utrecht in 1586. He first studied 
under Abraham Bloemaert, and afterwards went 
to Italy for improvement. He at first adopted the 
style of Adam ^Isheimer, but afterwards quit- 
ted it, on beholding the works of RaA'aelle, as we 
are sagely told by Houbraken, " to study and im- 
itate the grace of that incomparable master, par- 
ticularly in the naked"! He formed for himself 
a style entirely new, partaking of both the Flem- 
ish and Italian schools ; Flemish in landscape, and 
Italian in accessories. He adopted a pleasing style 
of painting small cabinet pictures of landscapes, 
into which he introduced some small figures, usual- 
ly naked, illustrative of fable, poetry, or mytholo- 
gy, enriched with ancient ruins and edifices. His 
skies are clear, light, and transparent, and he gen- 
erally made choice of agreeable scenery. He fre- 
quently ornamented his backgrounds with vesti- 
ges of magnificent Roman edifices, carefully copied 
from nature ; his figures were more remarkable 
for the neatness of his pencil and the clearness 
of his carnations, than for correctness of design. 
His composition is pleasing, and there is a polish 
and seductive brilliancy in his finishing, that cap- 
tivates the generality of observers. He soon gained 
an immense reputation at Rome ; his works were 
held in the highest estimation, and it is said that 
some of the cardinals and other great person- 
ages frequented his studio. This flattering encour- 
agement could not subdue his desire to return to 
his own country, and he set out, via Florence, 
where he was received by the Grand Duke with dis- 
tinguished honors, who commissioned him to paint 
several pictures, and endeavored in vain to retain 
him in his service, by the most marked liberality and 
munificence. Soon after his arrival at Florence, 
Rubens himself honored him with a visit, pur- 
chased several of his pictures and bespoke others, 
by which generous conduct, he greatly benefitted 
the artist, instructing others how to estimate 
and encourage his talents. On his return to his 
native city, he was received with joy, and his coun- 
trymen, impatient for his presence, and anxious 
to possess his works, loaded him with more com- 
missions than he could execute at the time. In 
1637, Poelemburg visited England at the invita- 
tion of Charles I., where it is supposed he resided 
several years. He painted several pictures for the 
King, and others for the nobility. In King Charles' 
catalogues are mentioned the portraits of his Maj- 
esty, and of the children of the King of Bohemia ; 
and in that of James the II., are sixteen pictures 
by him. The success he met with could not in- 
duce him to remain in England, and he returned 
to Utrecht ; where he died, in 1660. The works of 
Poelemburg have been largely imitated, and one of 
the most successful imitators of his manner was 
John vander Lys, whose works are often attributed 
to Poelemburg. He also sometimes inserted the 
figures in the works of eminent co temporary 
artists, as Steenwyck, Kierings, and John Both ; 
and they probably returned him a like compliment, 



POER. 



710 



FOIL. 



by painting his landscapes. Descamps and Wa- 
telet assert that Poelemburg etched some spirited 
prints from his own designs, but these were prob- 
ably executed by /. G. Bronkhorst, after his de- 



POERSON, Charles, a French historical and 
portrait painter, born at Metz. He went to Paris, 
where he settled, and practised his profession with 
considerable reputation till his death, in 1667. 

POERSON, Charles FRAN901S, was the son of 
the preceding, born at Paris in 1653. He learned 
the rudiments of the art from his father, and after 
his death became the pupil of Noel Coypel. He 
painted history and portraits, but was more success- 
ful in the latter branch ; though he had an excellent 
general knowledge of art. His promising talents 
recommended him to the patronage of M. Mansard, 
through whose influence he was appointed portrait 
painter to Louis XIV., whose portrait he painted 
so much to the satisfaction of that monarch, that 
he honored him with the order of St. Lazarus. 
He was also employed to decorate the hospital des 
Invalides with some historical works, but these 
gave so little satisfaction, that Mansard caused 
them to be obliterated, and replaced by the frescos 
of Bon Boullongne, which obtained much applause. 
This sad failure threw Poerson into deep despon- 
dency, but his friend Mansard contrived to raise 
his spirits by inducing the King to appoint him 
professor of the French Academy at Rome, which 
office he filled with great honor. On the death of 
Carlo Maratti, he was made President of the Ac- 
ademy of St. Luke. He died at Rome in 1725. 

POGGINO, Zanobi di, a Florentine painter, 
who studied under Gio. Antonio Sogliani. Ac- 
cording to Baldinucci, he executed many works for 
the churches and edifices of Florence, in the style 
of his master. Lanzi says his works are now 
hardly known in that city. 

POILLY, Francois, the Elder, a very em- 
inent French engraver, born at Abbeville in 1622. 
He was the son of a goldsmith and engraver, who 
instructed him in the rudiments of art. He after- 
wards went to Paris and studied with Pierre Daret 
three years. He then visited Rome, where he re- 
sided three years, greatly improved his design, and 
executed several plates after the Italian masters, 
in which he adopted the fine style of Cornelius 
Bloemaert, as his model. On his return to Paris, 
he distinguished himself as one of the most cele- 
brated engravers of his country, and was appoint- 
ed engraver to the King in 1664. His plates are 
executed entirely with the graver, which he hand- 
led with uncommon firmness and dexterity. The 
correctness of his drawing corresponds with the 
beauty of his burin, and his heads have a fine 
expression. Though he had the assistance of 
some able pupils, it is surprising that he could 
have produced so many plates, many of them of 
large size, in a manner that requires both time 
and patience, and so uniform, that it is difficult to 
establish a ground of preference, except by the 
subject. There are about 400 prints which bear 
his name ; the following are the most esteemed. 
He died in 1693. 



portraits. 



Pope Alexander VII., with accessories. Louis XIV. 
when young ; after Nocret. Cardinal Mazarine ; after 
Mignard. Henry D'Arnaud, Bishop of Angers. Jerome 
Bignon, Counsellor of State ; after Ckampagne. Abra- 



ham Fabert, Marshal of France ; after Ferdinand. Wil- 
liam de Lamoignon, with Allegorical Figures ; after Mig- 
nard. Bust of William de Lamoignon ; after le Brun. 

SUBJECTS FROM HIS OWN DESI0NS. 

The Virgin and Child. The Holy Family, with St. John 
embracing the infant Christ. St. Ignatius of Loyola. The 
Death of St. Francis Xavier. The Crucifixion. The Tri- 
umph of Augustus. 

SUBJECTS after VARIOUS MASTERS. 

The Vision of Ezekiel ; after Rqffaelle. The Holy 
Family, in which the infant Christ is standing upon the 
cradle ; do. The Virgin lifting up a Veil, to show to St. 
John the infant Christ sleeping; do. The Flight into 
Egypt ; after Guido. The Nativity, or Adoration of the 
Shepherds, in an octagonal border ; do. The first impres- 
sions of this plate are before the two angels which appear 
above were inserted. Christ praying in the Garden ; do. 
The dead Christ on the lap of the Virgin, at the foot of the 
Cross ; after L. Caracci. The Repose in Egypt, in which 
the Virgin is represented sleeping, with two Angels kneel- 
ing; after An. Caracci. The Holy Family; after N. 
Poussin. The Marriage of St. Catherine ; after P. Mig- 
nard. The Holy Family ; do. The Baptism of Christ ; 
do. St. Charles Borromeus administering the Communion 
to the Persons infected with the Plague ; do. The Visita- 
tion ; after C. le Brun. St. John in the Isle of Patmos; 
do. The Crucifixion ; do. The Parable of the Wedding 
Garment ; after Champagne. The Crucifixion ; a large 
print, in three sheets; do. The Trinity; do. Joseph's 
Bloody Garment presented to Jacob ; after Antoine Coy- 
pel. Nymphs Bathing ; after Giulio Romano. 

POILLY, Nicolas. This engraver was the 
brother of the preceding, born at Abbeville in 
1626. It is said that he studied under his broth- 
er, but it is evident that he first studied under 
some other master, and that on the return of 
Fran9ois from Rome, he improved himself by his 
instruction. He executed quite a number of prints 
in the style of his brother, and, though much 
inferior to them, they are executed in a clear, 
neat manner, and possess considerable merit. He 
died at Paris m 1696. The following are his 
principal plates : 

PORTRAITS. 

Louis XIV,, in a frame of laurels, with Children bear- 
ing emblems ; after N. Mignard. Bust of Louis XIV., 
as large as life. 1683. Maria Theresa, Queen of France ; 
do. 1680. Louis, Dauphin, the son of Louis XIV. ; do. 
Louis Bourbon, called the Great Conde ; do. Francis de 
Coetlogon, Bishop of Rennes. Rene Potier, Duke de Ges- 
vre ; after le Fevre. Nicholas Edward Olier, Counsellor 
of State. 

SUBJECTS AFTER VARIOUS MASTERS. 

St. Augustine holding a Crucifix. The Holy Family, 
with two Angels holding a Basket of Flowers ; after S. 
Bourdon, The Marriage of St. Catherine ; do. The Pre- 
sentation in the Temple ; after C. le Brun. The Holy 
Family, with the infant Jesus sleeping on the Knee of the 
Virgin ; do. The Repose in Egypt ; after Chapron. The 
Crucifixion ; after N. Poussin. 

POILLY, Jean Baptiste, was the son and 
pupil of Nicolas P., born at Paris in 1669. After 
studying with his father, he went to Rome, where 
he resided several years. On his return to Paris, 
he executed a considerable number of plates, which 
gained him distinction. He was elected a member 
of the Royal Academy at Paris in 1714. His style 
of engraving was very different from that of his 
father or uncle. He forwarded his plates with the 
point, and finished them with the graver. His 
prints are distinguished for correct drawing, fine 
expression of the heads, and a pleasing and pic- 
turesque effect. The following are his most es- 
teemed works. He died in 1728. 



FOIL. 



711 



POLA. 



PORTRAITS. 

Clement. XTII. Pontifex Max. Louis XIV. ; after Mig- 
nard. Charles James Edward Stuart, son of the Preten- 
der; after Dupra. Francis de Troy, Painter; from a 
picture by himself ; his reception plate at the Academy. 
Cornelius van Cleve, Sculptor ; after Vivien : do. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Nativity ; after Gaudenzlo Ferrari ; for the Cro- 
jiat collection. The Virgin adoring the infant Jesus, who 
is sleeping; after Benvenuto Garofalo ; do. The Mar- 
tyrdom of St. Cecilia ; after Domenichino. The Adora- 
tion of the Shepherds ; after C. Mavatti. The Kod of 
Aaron devouring the Rods of the Magicians ; after N. 
Poussin. The Israelites worshipping the Golden Calf; 
do. The Holy Family; do. The Judgment of Solomon ; 
after A. Coypel, Susanna and the Elders ; do. Jupiter 
and Danae ; after Giulio Romano ; for the Crozat collec- 
tion. Eleven Plates from the paintings by P. Mignard, 
in the saloon of St. Cloud. The Four Seasons ; do. ; from 
the paintings in the Gallery of St. Cloud. 

POILLY, FRAN901S, THE Younger, was the 
younger son of Nicolas P.. born at Paris in 1671. 
He received instruction from his father, and ac- 
companied his brother to Paris, where he engraved 
a plate of St. Cecilia distributing her wealth to the 
poor, after Domenichino, a companion print to the 
martjfrdom of that saint by the same master, en- 
graved by Jean Baptiste Poilly. Nothing further 
is mentioned of him. He died in 1723. 

POILLY, Nicolas Jean Baptiste, accord- 
ing to Basan, was the son of Jean Baptiste P., 
and was instructed by his father in the art, which 
he soon abandoned for some other employment. 
According to Nagler, he was born in 1712, and ex- 
ecuted a few portraits, one of which is dated 1758, 
contradicting Basan's statement. 

POINDRE. Jacob de, a Flemish painter, born 
at Malines in 1527. He studied under Sch wagers 
Marc Wil terns. He painted history and portraits, 
in which latter branch he excelled. He went to 
Copenhagen, where it is said he was employed to 
paint the portraits of some of the Kings^ probabl}'- 
as hi.'^torical recollections ; but it seems more 
probable that he painted the portraits of the King 
and other members of the Royal family. He died 
there in 1570. 

POINTS ART, J., a French engraver, who flour- 
ished about 1G30. He was principally employed 
by the booksellers, for whom he executed a vari- 
ety of views of cities, castles, &c.. executed with 
the graver, in a neat, but incorrect and tasteless 
style. Among other prints by him, is one of the 
Entry of Charles VII. into Rheims. 

POIMTE, F. DE LA. a French engraver, who 
flourished at Paris about 1678. He engraved a plan 
of Paris in nine parts ; and, in conjunction with 
Israel Silvestre, engraved some of the views of 
the Palace of Versailles. 

POL. Christian van. a Dutch painter, born at 
Berkenrode, near Haerlem, in 1752. He obtained 
great reputation for his arabesques, which he ren- 
dered very agreeable by the introduction of birds, 
flowers, and fruit. In 1782 he went to Paris, and 
was employed in decorating the palaces of Belle- 
vue, Chantilly, and St. Cloud. He also painted 
flower-pieces, in oil, in a style of excellence. He 
sometimes painted groups of flowers on snuflf- 
boxes, so delicately executed that they might be 
mistaken for the works of the greatest masters in 
that line. He died in 1813. 

POLANCOSj two Spanish painters, brotherSj 



who flourished at Seville about 1646. Little is 
known of them except by their works. They stud- 
ied under Francisco Zurbaran, whose style they so 
closely imitated that their works are often attribu- 
ted to that master. This is particularly the case 
in the church of San Esteban at Seville, where 
Zurbaran painted the pictures of St. Peter, St. 
Stephen, and St. Hermenegildo, and the brothers 
Polancos an altar-piece of the patron Saint, a pic- 
ture of the Nativity, and another of St. Fernando. 
They also painted several large pictures for the 
churches and convents of Seville, among which are 
the Angels appearing to Abraham, Jacob wrestling 
with the Angel, Joseph's Dream, and Tobit and 
the Angel, in the convent of St. Paul ; and St. 
Teresa conducted by Angels, in the church of 
the Guardian Angel, belonging to the Barefooted 
Carmelites and Franciscan Friars. 

POLANZANI, Felice, an Italian engraver, who 
flourished from 1745 to 1766. He engraved some 
prints after Vandyck and other masters, a list of 
which may be found in Nagler's Lexicon. 

POLANZANI, Francesco, an Italian engraver, 
born at Andale. near Venice, about 1700. He re- 
sided chiefly at Rome, where he engraved a set of 
twenty-two plates of the Life of the Virgin, from 
designs which are attributed by some to Niccolo 
Poussin. and by others to Jacques Stella, whose 
style they more nearly resemble. He also' en- 
graved several plates after Cignani, Marco Bene- 
fiali, and other masters. There was another en- 
graver of this name, who was a native of Verona, 
and flourished about 1750. 

POLAZZO, Francesco, a Venetian painter, 
born in 1683. and died in 175-3. Lanzi says he 
was a good painter in the manner of Gio. Battista 
Piazzetta, softened down with that of Antonio Ric- 
ci, called II Barbalunga. He could also imitate 
the touch of various masters, and for this reason 
was much employed in restoring ancient pictures. 

POLESTANI, Andrea, an Italian artist, proba- 
bly a painter, by whom there is a slight and spirit- 
ed etching of a Bacchanalian subject, from his own 
design, signed Andrea Polestanus^ fecit. 1640. 

POLETNICH, J. F., an engraver who flourished 
at Paris, from about 1760 to 1780. He engraved 
several plates after the works of Vandyck, Bou- 
cher, Lagrenee, and other masters. 

POLI, two brothers, natives of Pisa, who flour- 
ished about the middle of the 17th century. Lanzi 
briefly notices them among the land.scape painters 
of the fourth epoch of the Florentine school, and 
says, " they executed many pleasing landscapes, 
which are to be found in the collections at Flo- 
rence and Pisa." 

POLIDORE. See John Glauber. 

POLIDORINO, II. See Francisco Ruviale. 

POLIDORO, da Caravaggio. See Caravag- 

GIO. 

POLIDORO, Veneziano, a Venetian painter, 
born in 1515, and died in 1565. His real name is 
not certainly known, though in the Necrologio of 
S. Pantaleone, he is expressly called Polidoro Pit- 
tore. According to Zanetti, he was a disciple of 
Titian, and an imitator of his style. He painted 
Holy Families, Madonnas, and other sacred sub- 
jects, for the collections, and wrought some for the 
churches and convents. Lanzi says he was for 



POLL. 



12 



POLL. 



the most part a feeble imitator of Titian, who sup- 
plied the shops with an abundance of his Madon- 
nas and other sacred subjects ; one who made a 
trade of his profession. " To judge from an altar- 
piece at the Servi, and some other pictures by him 
at Venice, we may pronounce hira a tolerabl}' good 
composer, though he never distinguished himself 
much in the rank of his cotemporaries ; yet, when 
the school declined, his labors acquired more es- 
teem, and were exhibited in the studios of some 
artists, much in the same manner as sculptors col- 
lect specimens of ancient marbles, however inferior, 
as advantageous in the pursuit of their art" ; — by 
which he means that his pictures were used by 
artists as models in coloring. 

POLLA, Bartolomeo da. a painter of the Ve- 
netian school, who flourished about 1500. Little 
is known of him. He decorated the panels in the 
Choir of the Certosa, at Pavia, with figures of the 
Apostles and other Saints, which Lanzi says are 
designed in the style of Leonardo da Vinci. 

POLLAJUOLO, Antonio, an eminent Italian 
sculptor, painter, and engraver, born at Florence in 
1426. He was brought up to the business of a 
goldsmith and designer, under Bartolucci. He af- 
terwards studied modeling and casting, under Lo- 
renzo Ghiberti, whom he assisted in executing the 
celebrated gates in the church of S. Giovanni at 
Florence, which were the admiration of Michael 
Angelo. He executed in bronze the tombs of Six- 
tus IV., and Innocent VIII. His younger brother 
having distinguished himself as a painter, he be- 
came his disciple, and executed several pictures for 
the churches and public edifices, which rank him 
as one of the ablest artists of his time. The most 
celebrated of these is the Martyrdom of St. Sebas- 
tian, in the chapel of the Marchese Pucci, in the 
church of the Servi at Florence. Lanzi says. 
" this is the finest picture of the 15th century I 
have seen ; the coloring is not in the best style, 
but the composition rises above the age in which 
he lived, and the drawing of the naked figure 
shows what attention he had bestowed on anato- 
my. He was the first Italian painter who dissect- 
ed bodies in order to learn the true situations of the 
tendons and muscles.'' He was also one of the ear- 
liest Italian artists who practised engraving. Co- 
temporary with Maso Finiguerra, he is supposed to 
have learned the art from him. He engraved a 
few plates, executed in a style similar to that of 
Finiguerra. which are now extremely scarce. He 
died in 1498. The following prints are known to 
be by him, and bear his signature : 

Hercules strangling Anteus. 

A large plate, representing ten Naked Figures fighting 
•with swords and other weapons. It is inscribed Opus An- 
tonii Pollajoli Florentini, -without a date. The back- 
ground is a forest very rudely represented. The design 
shows that he had paid some attention to the figure, and 
the heads are not without expression. 

The Holy Family, in which the Virgin is seated, with 
the infant Jesus on her knee ; St. Joseph appears on the 
right hand, leaning on his staff; on the left is St. Elisa- 
beth, with St. John presenting a flower to the Child. 

The following are also generally attributed to 
him : 

Hercules combating the Giants. There is no signature 
to this print, but Bartsch and Ottley both de.scribe it, and 
think there is every reason to believe it to be by him. 

The Battle of the Centaurs with the Lapithae, described 
by Ottley. Bartsch gives this print to Gasparo Reverdino, 
but there seems to be little doubt among connoisseurs that 



it is by Pollajuolo. This print, formerly in the Palazzo 
Riccardi, is now in the British Museum. 

The niello of the Martyrdom of St. Lawrence, described 
by Duchesne. 

POLLAJUOLO, PiETRO DEL, was the younger 
brother of the preceding, born at Florence in 1433, 
according to Vasari, though others say in 1428. 
He studied under Andrea Castagno, and distin- 
guished himself chiefly for his admirable portraits. 
He painted many of the great personages of his 
time, as large as life, which gained him immense 
applause. Among his best historical works, were 
the Labors of Hercules, in the Medicean palace. 
He died at Rome in 1498, the same year as his 
brother, aged 65 years. 

POLLAJUOLO, SiMONE del, called II Crona- 
CA, a distinguished Italian architect, was born at 
Florence in 1454. The surname II Cronaca (the 
Chronicle), was given him on account of his abil- 
ity in relating stories. He visited Rome at an 
early age, where he resided with his relative, An- 
tonio del Pollajuolo, and studied the remains of an- 
tiquity with great assiduity. On returning to 
Florence, he gained great reputation, and. accord- 
ing to Milizia, was employed to finish the Palazzo 
Strozzi, commenced by Benedetto da Maiano. He 
erected the beautiful fagade in the Tuscan order, 
and at the top placed a Corinthian entablature, 
from his own design, which Milizia characterizes 
as the most magnificent that was ever seen. He 
adorned the court of this palace with a Composite 
order below, and a Corinthian above, with exceed- 
ingly beautiful columns, windows, and doors, all 
from his own designs. On the hill of S. Miniato. 
near Florence, Pollajuolo designed the church of 
S. Francesco, of such exquisite proportions that 
Michael Angelo was accustomed to call it his bella 
VillancUa, or beautiful country seat. His sacristy 
of S. Spirito, at Florence, is of an octangular fig- 
ure, elegant and well proportioned. Among his 
other works were the convent Dei Servi, and the 
great Council Hall of Florence. He was a follow- 
er of Savonarola. He died in 1509, and was en- 
tombed in S. Ambrogio. 

POLLIO, ViTRuvius, a Roman architect, and a 
celebrated writer on the art. who flourished in the 
age of Augustus. According to Milizia, he was a 
native of Fornia, now called Mola di Gaeta. Other 
authorities say that he was a native of Verona. 
During the civil war, Augustus employed him in 
constructing mihtary engines 5 and, after peace 
was restored, appointed him Inspector of Build- 
ings. It is said that he designed the Theatre of 
Marcellus, although its arrangement was incon- 
sistent with his precepts. The Temple of Justice 
at Fano, was unquestionably erected by him ; the 
centre nave was one hundred and twenty feet long, 
and sixty feet wide, supported by eighteen Corin- 
thian columns fifty feet high; the lateral naves 
' were twenty feet wide. The reputation of Vitru- 
vius chiefly rests on his celebrated treatise upon 
architecture, in a historical form, containing the 
I names of many eminent architects with their 
j works. At the request of Augustus, he com- 
menced his celebrated work on Architecture, 
I availing himself of the Grecian rules, as well as 
his own matured experience. It is divided into ten 
books ; seven of which treat of architecture in its 
I proper sense ; the last three of hydraulic archi- 
I tecture, gnomonics, and mechanics. The style of 
' Vitruvius is unostentatious and concise. It is also 



POLO. 



13 



POLY. 



sometimes obscure, which is easily explained by 
reflecting that, being the first Roman writer upon 
this subject, and compelled to use man)' new terras 
and forms of expression, he was, in a limited 
sense, the inventor of a new language, which was 
necessarily imperfect, and subsequently underwent 
many alterations. It is the only ancient production 
of the kind that has been preserved to modern times, 
and, though defective in some respects, is well wor- 
thy of its numerous translations and commenta- 
ries, which for several centuries have been the 
study of architects. Yitruvius was learned in 
both the civil and military branches of the art, 
and reduced the latter to very simple principles. 
It is evident that he had an elevated idea of the 
art, believing that it should be practised for honor 
rather than profit, Milizia says that he allowed 
certain liberties with the orders — such as making 
the shaft of the Ionic equal to the Corinthian — 
which cannot be justified by the principles of cor- 
rect taste, 

POLO, Bernardo, a Spanish painter of fruit 
and flower pieces, who flourished at Saragossa in 
the latter part of the 17th century. Zani says he 
operated in 1680, and died about 1700, He paint- 
ed his subjects from nature, in a style of excellence. 
His works are found in the collections at Saragos- 
sa and Madrid, where they are highly esteemed. 

POLO, Diego, the Elder, a Spanish painter, 
born, according to Palomino, at Burgos, in 1560, 
He studied under Patricio Caxes. at Madrid, and 
acquired considerable reputation as an historical 
and portrait painter. There are some of his works 
in the Escurial and the Royal Palace at Madrid, 
which prove him to have been a correct designer, 
and an excellent colorist. His best works are the 
portraits of the Kings of the Goths ; St, Jerome 
chastised by the Angel, for taking too much pleas- 
ure in reading Cicero ; and a Penitent Magdalen. 
He died at Madrid in 1600. 

POLO, Diego, the Younger, was the nephew 
of the preceding, born at Burgos in 1620. He 
studied under Antonio Lanchares. but profited 
more by a diligent studj^ of the works of Titian in 
the Royal collection, by which means he became 
an admirable colorist. He executed several works 
for the churches and convents at Madrid, the most 
esteemed of which are the Baptism of Christ, in 
the Church of the Carmelites, and the Annuncia- 
tion, in S. Maria, He also excelled in portraits. He 
was an artist of great talents, but died young in 
1§55. 

POLONY, ZiARAKA, an obscure engraver, who 
flourished at Paris about 1615. He executed a few 
etchings of various subjects, 

POLVERIXO. RoMUALDO, a Neapolitan painter, 
born in 1701, He studied under Francesco Soli- 
mena. and began to acquire distinction for his his- 
torical pictures, when he died, in the flower of his 
age, in 1731, 

POLYCLES, a Greek sculptor mentioned by 
Pliny and Pausanias. who flourished in the 102d 
Olympiad, or about B. C. 370, He was cotempo- 
rary with Cephisodotus. Leochares. Praxiteles, and 
Lysippus, Little is recorded of him ; although the 
notices by the above mentioned authors are so in- 
definite, that it is not always certain whether they 
refer to this artist, or to the one in the subsequent 
article. 



I POLYCLES, a distinguished Greek sculptor. 
I flourished about B. C. 170. He was the son of 
I Timarchides, an Athenian statuary; but studied, 
j according to Pausanias, under Stadieus, He ap- 
I pears to have often wrought in concert with his 
brother Dionysius, and Pliny says that their pro- 
ductions were carried to Rome, among which was 
a statue of Juno, in the temple of that goddess 
within the portico of Octavia, and near it a statue 
of Jupiter, also the work of Polycles and Dio- 
nysius. From the passage in Pliny. Polycles her- 
maphroditem nohUem fecit, this sculptor is sup- 
posed to have been the author of the original 
statue of the Hermaphrodite, from which the well 
known existing representations are copied, espe- 
cially that usually termed the Borghese Herma- 
phrodite, from its having belonged to that collec- 
tion, although now in the Louvre, Pausanias 
mentions a statue by Polycles, of Amyntas, a con- 
queror in the games, which was preserved at 
Olympia, Among his other works, were several 
statues of the Mu.ses. He left several sons, who 
followed the profession of sculpture. 

POLYCLETUS, a preeminent Grecian sculptor 
and an able architect, a native of Sicyon, flourished 
about B, C. 440. He studied under Ageladas of 
Argos, and was cotemporary with Myron, Alca- 
menes, and Phidias. The judgment of antiquity 
has given to Polycletus the reputation of one of 
the most remarkable sculptors of the golden age 
of Grecian art. It is evident that he was a wor- 
thy competitor and rival of Phidias ; for, on one 
occasion, when five of the most eminent artists of 
the time, Phidias being among them, executed five 
statues in competition, that of Polycletus was pre- 
ferred. He did not possess the grandeur of im- 
agination of Phidias, but excelled rather in the 
beautiful, Phidias has been termed the ^schy- 
lus, and Polycletus the Sophocles of Sculpture, He 
finished his statues with the greatest care. Poly- 
cletus is said to have carried alto-relievo to perfec- 
tion ; and also the toreutic art commenced by 
Phidias, probably that of uniting metals with any 
other material, A correct estimate of his merit 
may be formed from the high eulogiums of the best 
ancient writers, and from the fact that among his 
scholars were Pericletus, Canachus the second, 
Asopodorus, Alexis, Aristides, Phryno, Dine, 
Athenodorus, and Demeas, Pliny says he suc- 
ceeded best in statues of a soft and gentle charac- 
ter. Myron and Polycletus were always consid- 
ered rivals ; and one used the bronze of Delos in 
his works, while the other used that of ^gina. 

Among the chief works of this eminent artist, 
was the colossal statue of Juno, in the temple of 
that goddess at Argos, which was considered in 
man}'^ respects equal to the finest productions of 
Phidias, It was chryselephantine, or composed 
of gold and ivory ; all the naked parts being of 
ivory, while the gold was used for drapery and ac- 
cessories. It was not as large as the Olympian 
Jupiter or the Minerva of Phidias. The goddess 
was represented seated on a throne ; in one hand 
she held a sceptre, and in the other a pomegranate. 
The accompanying subjects and ornaments were 
of the richest description and of the most elaborate 
workmanship. The other works of Polycletus 
were almost as famous as his Juno. Among them 
were two statues of young men ; one, called Dia- 
dumenos, fastening a band around his head j the 



POLY. 

other called Doryphorus, of a more manly char- 
acter, carrying a lance. Pliny says the former 
work was valued at the enormous sura of 100 
talents. A group of two naked boys, called As- 
tragalizontes, pla3nng at a game of dice, was in the 
possession of the Emperor Titus at Rome, and was 
greatly admired. His statues of Canephorse (fe- 
male figures carrying baskets on their heads), 
were so greatly admired, that Cicero says the 
strangers at Messene crowded to see them, and 
that '' the house in which they were preserved, was 
less its master's than the ornament or attraction of 
the whole c'lty.^' Among the most important of the 
works of Polycletus. however, was the statue of a 
Life-Guard of the King of Persia, termed The Can- 
on, or Rule of Art, of such perfect proportions that 
other artists referred to it as a standard for ex- 
ecuting their own works. Among the other works 
of Polycletus, were the statues of an Amazon, 
Mercury, and several Athletes ; also a group of 
Hercules lifting Antaeus, and the image of a Vo- 
luptuary, languidly reclining on a couch, which was 
held in the highest estimation. 

As an architect, Polycletus acquired consider- 
able distinction. One of the monuments of his 
skill was a marble building erected at Epidaurus, 
called the Tholus. Pausanias mentions a theatre 
erected within the precincts of the Temple of ^s- 
culapius, also at Epidaurus, and says it was su- 
perior for symmetry and beauty, to any theatre 
extant. 

POLyCLETUS, a Greek sculptor, probably a 
native of Argos ; was the brother and scholar of 
Naucydes, and flourished about E. 0. 380. It is 
supposed that he was the author of several bronze 
tripods dedicated at Amyclae, and two celebrated 
statues described by Pausanias ; namely, the Ju- 
piter PhiliuS; erected at Megalopolis, and the Ju- 
piter Milichius, a marble statue at Argos. 

POLYGNOTUS. a preeminent Grecian painter. 
He was a native of Thasos, an island of the ^gean 
sea, the son of the painter Aglaophon. Plutarch's 
account of his friendship for Cimon, and his love 
for Cimon's sister Elpinice, would indicate that his 
career commenced about B. 0. 460. As Thasos 
was conquered by the Athenians under Cimon in 
B. C. 463. it is probable that Polj^gnotus left his 
native island at that time, and went with Cimon 
to Athens. At first he acquired a knowledge 
of sculpture, but subsequently studied painting 
under his father, and devoted his energies per- 
manently to that art. He seems to have contrib- 
uted more largeh^ to the advancement of the art 
than any preceding painter. Before his time, the 
human countenance was represented without ani- 
mation, and a kind of leaden dullness pervaded 
the features. Polygnotus kindled expression in 
the face, and threw intellect and feeling into the 
whole frame. He also first painted the mouth 
open, so as to display the teeth ; and in this way, 
caused the lips to contribute their full share to the 
general expression. He first clothed his figures 
in light, airy, transparent draperies, which he ele- 
gantly threw about the light forms of his women. 
From the expressions of ancient writers, his color- 
ing seems to have been superior to his design ; but 
he was the author both of delicacy and expression 
in the paintings of Greece. Aristotle calls him 
Ethicos, one who conveyed an idea of character 
and moral qualities by his works j in the " Poe- 



714 



POMA. 



tics," he contrasts this distinctive quality of Polyg- 
notus with the want of such excellence in Zeuxis ; 
and he also says that Polygnotus made his figures 
superior, Pauson inferior, and Dionysius equal, to 
Nature. 

Pausanias gives an elaborate description of the 
pictures by Polygnotus in the Lesche at Delphi. 
They represented the Capture of Troy, the Return 
of the Greeks, and the Visit of Ulysses to the Shades. 
The variety of age and sex, and the passionate ex- 
pressions portrayed, indicate a discrimination of 
character and a power of expression, full)' equal to 
the eulogisms of the ancient writers. Although 
these memorable events comprehended so manj'^ in- 
teresting circumstances, and such terrible situations, 
that it appeared beyond the power of human gen- 
ius to depict and unite them, yet the master mind 
of the artist, filled with the sublime conceptions 
of Homer, overcame all obstacles, and produced 
such efiects as filled the mind with astonishment. 
His celebrated picture of Cassandra was sufficient 
to rank his name as the first painter of Greece. 
He represented her at the moment when brutally 
outraged by Ajax, in the temple of Minerva. The 
face of the unfortunate captive was partially veiled, 
but the glowing blush of outraged modesty was 
visible in her countenance. This admirable work 
is cited by Lucian in his description of the por- 
trait of a perfect woman. "Polygnotus shall open 
and spread her eyebrows, and give her that w.arm, 
glowing, decent blush, which so inimitably beau- 
tifies his Cassandra. He likewise shall give her 
an easy, tasteful, and flowing dress, with all its 
tender and delicate wavings, partly clinging to her 
body, and partly fluttering in the wind." In the 
portico called the Poecile, at Athens, Polygnotus 
painted the Battle of Marathon. In the foreground 
of the picture, the Greeks and Persians were re- 
presented as combating with equal valor; but 
in extending the view to the middle of the com- 
position, the Barbarians were seen flying to the 
Phoenician ships, which were visible in the dis- 
tance. The Athenians were so delighted with his 
work, that they offered to reward him with what- 
ever sum he might please to ask. Upon his de- 
clining this generous offer, the Amphictyonic coun- 
cil ordered that he should be maintained at the 
public expense wherever he went. Among the 
other works of Polygnotus, were a picture of Ulys- 
ses after the slaughter of the Suitors, in the tem- 
ple of Minerva Area, at Platsea ; and the paint- 
ings on the Walls of Thespi^e, subsequently re- 
stored by Pausias. 

POMARANCE, dalle. See Cav. Cristofo- 

KO RONCALLL 

POMARANCE, dalle, or IL POMERANCIO. 

See NiccoLO and Antonio Circignano. 

POMAREDE, Sylvius, an Italian engraver, to 
whom Professor Christ attributes some prints 
marked S. P. F., theF for fecit, and says he flour- 
ished in 1720. Strutt says he lived in 1620, instead 
of 1720, Zani calls him (or another artist) Silvio 
Pomarede, and says he flourished from 1740 to 
1768. Nagler calls him Silvestre Pomarede, and 
gives the same details as Zani, with a list of his 
prints, the chief of which are, the Triumphs of 
Time, Fame, Death, and the Christian Religion, 
aftei^ Thtian. 

POMPADOUR, THE Marchioness of. This 



POMP. 715 

celebrated lady amused herself with engraving. 
She etched some small plates after Boucher, Eisen, 
and others. She also engraved a set of sixty- 
three plates, from gems by Gay. 

POMPEI, CoNTE Alessandro, an Italian ama- 
teur painter, and an eminent architect, born at 
Verona in 1705. He was of noble descent, and 
was sent while very young to the college of noble- 
men at Parma, where he manifested a strong in- 
clination for design. Having completed his edu- 
cation, he devoted his attention to cultivating the 
sciences, and also studied painting, under Antonio 
Balestra. but practised it only as a recreation. In 
1731, being desirous of rebuilding his palace in 
the Villa Illasi, and not finding in Verona an ar- 
chitect equal to the undertaking, he turned his 
thoughts to architecture. According to Milizia, he 
studied the best authorities, and acquired the re- 
quisite knowledge, not from masters, but from his 
own reasoning ; and soon attained great excellence, 
both in theory and practice. In 1735 he published 
his work entitled / Cinque Ordini deW Architet- 
tura, Civile di Michele Sanmicheli, containing de- 
scriptions of the five orders as employed by San- 
micheli, with a parallel between them and the or- 
ders practised b)'- Vitruvius, Leon Battista Alberti, 
Serlio, Palladio. Scamojzzi, and Vignola. This pro- 
duction is highly praised by Milizia for its correct 
taste. Among the principal edifices of Pompei, 
are his palace at Illasi, universally admired ; the 
Palazzo Pindimonti. in the village of Vo ; the 
Palazzo Giuliari, at Sessino ; and the Merchants' 
Exchange, at Verona. In the latter city his abil- 
ities were frequently in request ; and he was also 
chosen President of the Academy of Painting. 

PONCE, Nicholas, an eminent French engra- 
ver, born at Paris in 1746. He first studied paint- 
ing under M. Pierre, but abandoned it for engrav- 
ing, which he learned of Fessard and Delaunay. 
He distinguished himself in this branch, and was 
employed on several of the 'grand publications 
which do honor to the French nation, such as Le 
Musee Laurent ; Le Cabinet de Choiseul ; La 
Galerie du Palais Royal ; Las Campagnes 
dUlalie ; the folio edition of Racine by Didot ; 
the edition of Ariosto by Dussieux, of which all 
the prints after Cochin's designs are engraved by 
Ponce ; Les Illustres Prancais, avec les Notices 
historiques, 56 plates ; Les Bains de Titus et du 
Livie, 75 plates ; and La Guerre d^Amerique, en- 
graved conjointly with Godefroy. He edited an 
edition of the Bible, with 300 plates after Maril- 
lier ; and the beautiful edition of the Charter, 
dedicated to Louis XVIII. In addition to these nu- 
merous works, he executed some detached pieces 
after various masters, among which are Christ 
curing the blind Man, after le Sueur ; the Battle 
of Marengo, after C. Fernet; the Virgin and 
Child, after Vouet ; the Marriage of the Virgin, 
after I anloo, &c. He also distinguished himself 
as an author ; wrote and translated several works 
on the Fine Arts ; was elected a member of various 
academies and literary societies, a corresponding 
member of the Royal Institute of France, and a 
member of the Legion of Honor. His life was 
one of extraordinary industry and great useful- 
ness. He died in 1831. 

PONCE, RoauE, a Spanish painter, who flour- 
ished at Madrid about 1690. He studied under 



PONC. 



Juan de la Costa, and painted landscapes in a style 
of excellence. 

PONCHEL, Charles Eugene du, a French 
engraver, born at Abbeville, in 1748. He studied 
with Jacques Nicholas Tardieu, at Paris, and en- 
graved several plates of portraits and historical 
subjects, among which are the Madonna della Seg- 
giola, after Rafaelle ; and a Holy Family, after 
Andrea del Sarto. He went to England about 
1779, where he resided some time, and engraved a 
few plates. 

PONCHINO, Giovanni Battista, called II 
BozzATo, a painter born at Castelfranco in 1500. 
There is considerable discrepancy about him, but 
the following is Lanzi's account : " He was a friend 
of Paolo Veronese, and an excellent pupil of Ti- 
tian, whom, in somethings, he imitated. He has 
been erroneously denominated by historians. He 
is called by Vasari, Zanetti, and Guarienti, Baz- 
zacco and Brazzacco da Castelfranco, and Gua- 
rienti makes him the scholar of Badile. My in- 
formation respecting him, as well as other artists 
of Castelfranco, has been obtained from a MS. 
communicated to me by the learned Dottore Trev- 
isani. He took the name of Gio. Battista Pon- 
chino, and the surname of Bozzato, a city of his 
native country, where several of his paintings in 
fresco still exist, together with his celebrated piece 
of the Limbo, in the church of S. Liberale — the 
finest work, if we except those of Giorgione, 
which that city has to boast, and it is greatly ad- 
mired by strangers. He painted also at Venice 
and Vicenza, during the lifetime of his wife, a 
daughter of Dario Varotari ; but at her death, he 
assumed the ecclesiastical habit, and afterwards 
paid little attention to the art." He died in 1570. 

POND, Arthur, an English painter and engra- 
ver, of whom little is known. He was evidently a 
learned man, as Pilkington says he was a member 
of the Royal and Antiquarian Societies. He is 
said to have contributed greatly to the encourage- 
ment of art in England, but in what manner we 
are not told. He painted portraits, both in oil and 
crayons, and, in conjunction with George Knapton, 
published a collection of heads of illustrious 
persons, engraved by Houbraken and Vertuej 
the memoirs were written by Dr. Birch. He en- 
graved and published, in conjunction with Knap- 
ton, a set of ninety-five plates from the drawings of 
the great Italian masters, in a tasteful and spirited 
style, in imitation of the originals. He also an- 
graved a set of twenty-five caricatures, after 
Cav. Ghezzi, and etched a few portraits in a style 
resembling that of Rembrandt. He died in 1758. 

PONSE, JoRis, a Dutch painter, born at Dort 
in 1723. He studied under A.' Schouman, in 
whose style he painted cabinet pictures of birds, 
fruit, and flowers, more remarkable for elaborate 
finishing, than for elegance of composition. He 
died at Dort in 1783. 

PONT, Nicholas du, a Flemish painter, born 
at Brussels in 1660, and died there in 1712, He 
painted landscapes and architectural pieces, in 
which the figures are attributed to Bout, the coad- 
jutor of Boudewyns. There is a perspective of a 
grand palace by him, with figures by Bout, in the 
Museum at Ghent. 

PONTE. Francesco da, called also the elder 
Bassano, was the head of a family and school of 



PONT. 



716 



PONT. 



artists called the Bassans, highly distinguished 
during and beyond the 16th century. He was born 
at Vicenza, about 1475, and is supposed to have 
studied at Venice, under Giovanni Bellini, whose 
style he at first imitated. He afterwards settled at 
Bassano, on the Brenta, from which town he and 
his descendants obtained their surname. He was 
well versed in polite literature and philosophy. 
He gradually abandoned the dry and gothic style 
in which he had been instructed, and adopted one 
of greater freedom, softness, and harmony of col- 
oring, approaching the moderns. The styles of his 
altar-pieces, when compared with each other, man- 
ifest his progress, from the earliest to the latest 
specimens of his pencil. He is diligent, but dry, in 
his S. Bartolomeo at Bassano ; more soft in an- 
other in the church of S. Giovanni ; but best in 
his Descent of the Holy Ghost, in a church at the 
village of Oliero, near Bassano, a grand composi- 
tion, with rich and harmonious coloring, and a fine 
expression in the heads. He died at Bassano in 
1530, according to Verci, who wrote the Anecdotes 
of the lives and works of the artists of Bassano. 

PONTE, GiACOMO DA, commonly called II Bas- 
sano, was the son of the preceding, born at Bas- 
sano in 1510. He received his first instruction 
from his father, and some of his youthful efforts 
are in the church of S. Bernardino in his native 
place, which bear the impress of his early educa- 
tion. He went to Venice for improvement, and 
was recommended to Bonifazio Veneziano — a mas- 
ter equally jealous of the secrets of his art as Ti- 
tian and Tintoretto — from whom he obtained 
no advantage in seeing him color his pictures, 
except by secretly watching him through the key- 
hole at the door of his studio. He derived much 
advantage, however, in designing from the cartoons 
of Parmiggiano, and in copying the pictures of 
Bonifazio and Titian. It has been supposed by some 
that he studied a short time under Titian ; andLanzi 
says, " if conformity of manner — not always a sure 
guide — were sufficient evidence, we might admit the 
truth of the supposition, his second style being alto- 
gether that of Titian ; and some of his youthful pro- 
ductions, as the Nativity and Flight into Egypt, 
seemed to promise a second Titian, so richly were 
they imbued with his sweetness of taste." At 
this period, too, he drew some of his figures larger 
than life, and aspired to a greatness of style of 
which he showed himself not incapable. 

No correct idea of the style and real merits of 
Bassano can be formed from the generality of his 
biographers, as for the most part they copy Vasa- 
ri, who could find more faults to condemn than 
beauties to commend in the works of this artist, 
and who certainly has not judged him with the 
candor his merits deserve. He was the head 
of a great school, which had more imitators than 
almost any other in the history of art. We have 
nowhere read so able, just, and learned a criticism 
upon his works as that of Lanzi ; for which rea- 
son, and in consideration of his school, we give his 
own words, somewhat abridged, but strictly pre- 
serving the sense. 

" Upon the death of his father, he was compelled 
to return to Bassano, a city at this day rich and 
populous, and in those times considerably esteemed, 
its situation being delightful, abounding with 
flocks and herds, and well adapted for fairs and 
the sale of merchandise. From these elements ] 



arose, by degrees, his formation of a third style, 
full of simplicity and grace, which gave the first 
indications in Italy of a taste altogether foreign — 
that of the Flemish school. In the use of his 
pencil. Jacopo may be said to have pursued two 
difierent methods. The first of these is much soft- 
ened by a fine union of tints, and at last determined 
with fine strokes ; the second, resulting in a great 
measure from the other, was formed by simple 
strokes of the pencil, with clear and pleasing 
tints, and a certain command, or rather audacity 
of art, that, nearly viewed, appears a confused mix- 
ture, but from a proper distance, an enchanting ef- 
fect, of coloring. In both methods, he displays the 
originality of his own style, chiefly consisting of a 
soft and luscious composition, partaking at once of 
the triangular and circular forms, and arriving at 
a certain contrast of postures ; so that if one of 
the figures is in full face, the other turns its shoul- 
ders, and if there are several figures in the compo- 
sition, they are so arranged that the heads shall 
meet in the same line ; in want of these, some of 
the objects are elevated in the same direction. In 
regard to his lights, he appears partial to such as 
are confined to one part, and he displays a mas- 
terly power in rendering it subservient to the 
whole ; for with these rare lights, with the frequent 
use of midi^le tints, and the absence of deep ob- 
scure, he succeeded admirably in harmonizing the 
most opposite colors. In the gradation of his 
lights, he often contrives that the shadow of the 
interior figure shall serve as a ground for the one 
more forward, and that the figures should partake 
of few lights, but extremely bold and vivid at the 
angles ; as, for instance, on the top of the shoulder, 
on the knee, and on the elbow, for which purpose 
he makes use of a flow or sweep of the folds, nat- 
ural to all appearance, but in fact highly artificial, 
to favor his peculiar system. In proportion to the 
varieties of his draperies, he varies the folds with 
a delicacy of judgment that falls to the lot of few 
artists. His colors everywhere shine like gems ; 
in particular his greens, which display an emerald 
tinge peculiar to himself. 

" At the outset. Jacopo aspired to a grander style, 
which is apparent from some of his pictures re- 
maining in the fagade of the Casa Michieli at Ve- 
nice. Among these, a Sampson slaying the Philis- 
tines meets with much praise ; and indeed they all 
partake of the boldness of Michael Angelo. But, 
whether the result of disposition or judgment, he 
afterwards confined himself to smaller proportions, 
and to subjects of less power ; even the figures in 
his altar-pieces are less than life size, and little 
animated. We do not meet with any of that no- 
ble architecture in his paintings, that adds so much 
to the dignity of those of the Venetian school. He 
appears rather anxious to find subjects into which 
he can introduce landscapes, cottages, candle-lights, 
animals, copper vessels, and all such objects as 
passed under his eye, which he copied with 
surprising accuracy. His ideas were limited, and 
he often repeated them — a fault to be attributed to 
his situation, it being an indisputable fact that the 
conceptions of both artists and writers become en- 
larged and increased by a residence in large capi- 
tals, and diminished in small places. All this may 
be gathered from his pictures produced for private 
ornament, the most familiar occupation of his life, 
inasmuch as he executed very few large altar- 
pieces. He conducted these works at his leisure 



PONT. 



717 



PONT. 



in his studio, and, with the assistance of his schol- 
ars, having prepared a great number of various di- 
mensions, he sent them to Venice, sometimes to 
the most frequented fairs ; and produced so many 
as to render it a disgrace to a collection not to pos- 
sess pictures by his hand rather than an honor to 
have them. In these may be viewed, almost inva- 
riably, th*e same subjects, consisting of acts from the 
Old and New Testaments ; the Feasts of Martha, of 
the Pharisee, of the Rich Man, with a splendid dis- 
play of brazen vessels ; the Ark of Noah, the Re- 
turn of Jacob, the Annunciation of the Angel to 
the Shepherds, with a great variety of animals. To 
these we may add, the Queen of Sheba, the Adora- 
tion of the Magi, with regal pomp of dress, and 
the richest array ; then the Deposition of our 
Lord from the Cross, by torchlight. His pictures 
upon profane subjects exhibit the sale of beasts, 
and brazen vessels ; sometimes rural occupations 
and husbandry corresponding to the seasons of 
the year ; sometimes without human figures, mere- 
ly a kitchen with furniture, a fowl-yard, or similar 
subjects. Nor is it the histories or compositions 
themselves that recur in every collection to the 
eye, but even countenances taken from individuals 
of his own family ; for instance, arraying his own 
daughter as a queen of Sheba, a Magdalen, or 
a Villager presenting fowls to the infant Jesus, 
I have likewise seen an entire piece, entitled the 
Family of Bassano. sometimes in small size, and 
sometimes in large. Of the former, I remarked a 
specimen in possession of Sig. Ambrogio Durazzo 
at Genoa, where the daughters of the painter are 
seen, intent upon their feminine occupations, while 
a little boy is playing, and a domestic lighting a 
candle. One of the second kind, representing an 
Academy of Music, may be seen in the Medicean 
Museum. 

" By this method, Bassano seemed to confess the 
poverty of his invention, though he derived from 
it a very remarkable advantage. By dint of con- 
tinually repeating the same things, he brought 
them to the very utmost point of perfection of 
which they were susceptible, as we may gather 
from his picture of the Nativity in the church of 
S. Giuseppe at Bassano. which is not only the mas- 
terpiece of Jacopo, but in force of colors and 
the chiaro-scuro, surpasses everything that mod- 
ern painting has to boast. The same is seen 
in his Burial of Christ, at the Seminario of Padua, 
which seems to breathe a spirit of pity and holy 
terror. Finally, in his Sacrifice of Noah in San- 
ta Maria Maggiore at Venice, he represented 
all the birds and animals he had ever drawn 
elsewhere, producing a work so greatly admired 
by Titian that he wished to purchase a copy for 
the ornament of his own studio. 

'• Hence it happens that the works of Bassano. 
conducted at a certain age and with singular care, 
are estimated very highly and purchased at large 
sums, though not exempt from errors of perspect- 
ive, awkwardness of postures, and faults in compo- 
sition, particularly in point of symmetry. In- 
deed, it was the general belief that he possessed 
little skill in designing the extremities, thus avoid- 
ing as much as possible the introduction of hands 
and feet into his pictures. These accusations, and 
others before alluded to, might be greatly extenua-- 
ted by producing such examples of his works as 
fully prove that he could, when he pleased, draw 
much better than he was accustomed to do. He 



knew how to vary his compositions, as evinced in 
his Nativity at the Ambrosiana at Milan, and he 
might as easily have varied his other pieces. He 
was also capable of conceiving with equal novelty 
and propriety, as we gather from his S. Rocco at 
Vicenza ; and he might, if he would, thus have 
shone on other occasions. Moreover, that he 
knew how to draw the extremities, appears from 
his picture of St. Pietro in the church of the Umil- 
ta at Venice ; and he could give dignity to his 
countenances, as in his Queen of Sheba at Brescia. 
But whether he found such a task irksome, or froni 
whatever other cause, he rarely displayed his full 
powers. He was generally content with reaching 
his peculiar method of coloring, of illuminating, 
and of shading, with a sovereign skill. So univer- 
sally was he admired that he received numerous 
commissions from various courts, and an invitation 
to that of Vienna. What is more honorable, not- 
withstanding his defects, he extorted the highest 
praise, if not from Vasari, yet from many of the 
most renowned artists of his time, from Titian, 
from Annibale Caracci, who was so deceived by a 
book he painted upon a table that he stretched out 
his hand to take it up ; and from Tintoretto, who 
commended his coloring, and in some measure 
wished to imitate him. Above all, he was honored 
by Paul Veronese, who intrusted him with his son 
Carletto for a pupil, to receive his general instruc- 
tions, ' and more particularly in regard to that 
just disposition of lights reflected from one object 
to another, and in those happy counterpositions, 
owing to which the depicted objects seem clothed 
with a profusion of light.' Such is the flattering 
notice given by Count Algarotti to the style of 
Jacopo da Ponte." 

It will be perceived, from the above account, that 
this artist had three manners ; his first, or early 
one, partaking of that of his father ; his second, 
resembling Titian ; his third, original and peculiar 
to himself. It is to this artist that authors refer 
when they speak of Bassano, and to his last man- 
ner when they speak of the imitators of the style 
of Bassano, or of the Bassans. Jacopo Bassano 
designed and wrought with wonderful facility, and 
executed a multitude of works, which are to be 
found in the collections of every civilized country. 
His pictures have also been copied and imitated ad 
injinitum. His best works were held in great es- 
timation, even in his own day, and he was invited 
to the court of the Emperor Rodolphus II., with 
the offer of a liberal pension -, but he declined, pre- 
ferring his own delightful retreat on the banks of 
the Brenta, to any prospect of emolument or hon- 
or. He also distinguished himself in portraits, 
and painted those of the Doge Sebastiano Venerio, 
Ariosto, and Tasso. Bassano educated four of his 
sons to his profession, and liberally instructed 
many pupils. He died in 1592. 

PONTE, Francesco da, called the Younger, 
was the eldest son of Giacomo da P., born at Bas- 
sano in 1548. and was brought up in the school of 
his father. Lanzi says that of the " four sons of 
Jacopo, Francesco and Leandro were the best en- 
dowed to follow in his footsteps, and he was accus- 
tomed to pride himself upon the inventive talents 
of the former, and the singular ability of the lat- 
ter in portraits. Of his two other sons, Gio. Bat- 
tista and Girolamo, he used to observe that they 
were the most accurate copyists of his works." 
Francesco afterwards established himself at Ve- 



PONT. 



718 



PONT. 



nice, where he greatly distinguished himself by the 
admirable works he executed for the churches and 
public edifices. He was employed to paint a series 
of pictures, for the ducal palace called the Palazzo 
Grande, illustrating the history of the Republic. 
Lanzi says, '' his father assisted him with his ad- 
vice in these works, himself attending on the spot, 
and instructing him, when he found occasion, how 
to add force to his tints, to improve his perspect- 
ive, and to bring the whole work to the most per- 
fect degree of art. His pencil may be very clearly 
traced in that of his son, as well as his style, 
which, in the opinion of some critics, is somewhat 
too much loaded, especially in his shades." It is 
no slight proof of his distinguished talents, that 
these ingenious productions sustain their claim to 
admiration, although in the immediate vicinity of 
some of the most esteemed works of Tintoretto 
and Paul Veronese. He painted several altar- 
pieces and other works for the churches at Venice 
and in the State, which sustained his reputation, 
though less vigorous than those of his father. 
There is also a fine picture of Paradise, in the 
church of II Gesu at Rome, and another of St. 
Apollonio in S. Afra at Brescia. He would have 
achieved still greater things, had he not been afflict- 
ed with fits of melancholy so severe as to deprive 
him of reason. Finally, while under this influ- 
ence, he threw himself from a window, and was 
immediately killed, in 1591. in the prime of life. 

PONTE, Giovanni Battista da, was the sec- 
ond son of Giacomo da P., born at Bassano in 
1553, and died in 1613. He was instructed by his 
father, and imitated his subjects and manner, with 
a precision that deceived the most experienced. 
He copied the works of Jacopo, and Lanzi says 
there is no original work attributed to him, except 
an altar-piece with his name, in the church of S. 
Gallio at Bassano, painted in the style of his bro- 
ther Leandro. Doubtless he painted many works 
from his own compositions, but they are now all 
attributed to Jacopo — the inevitable fate of every 
successful imitator. 

PONTE, Oav. Leandro da, was the third son 
of Giacomo da P., born at Bassano in 1558. He 
also studied and followed the same maxims of art ; 
but, by his skill and practice in portrait painting, 
he acquired more originahty of expression. Lanzi 
says that '• in the management of his pencil, he 
approaches nearer to the first than the second style 
of Jacopo. He is, moreover, more variable in it, 
and inclines somewhat to the mannerism of the 
age." One of his best performances is a picture 
of St. Caterina crowned by our Lord, in the church 
of S. Francesco at Bassano, with figures much 
larger than customary with the Bassanese school. 
Other fine pictures are the Resurrection of Lazarus 
at La Carita, afterwards placed in the Louvre ; and 
the Nativity of the Virgin in S. Sofia, in his na- 
tive city. He also produced several works for the 
churches at Venice, and in the State, distinguished 
by large proportions. He finished some of his 
brother's works in the Ducal palace, left incom- 
plete at his death. Lanzi says, "if familiar with 
his father's productions, we may frequently detect 
domestic plagiarisms in Leandro. who often repeats 
the Family of da Ponte, copied in innumerable 
pieces, by Jacopo, by his sons, and by their imita- 
tors. Even in his pictures for private ornament, 
conducted according to his own style and fancy, he 



was fond of adopting paternal subjects and exam- 
ples, being very skillful in drawing animals of 
every kind from nature." He, however, acquired 
most reputation for his admirable portraits, and 
executed an immense number, of princes and dis- 
tinguished persons. He was invited to Vienna by 
Rodolph II., and painted the Imperial family, so 
much to the satisfaction of that monarch that he 
offered to make him his court painter ; but Lean- 
dro declined, being more ambitious of enjoying 
fame at Venice than Vienna. He painted a noble 
portrait of the Doge Grimani, who conferred on 
him the honor of knighthood. Leandro was fond 
of display, supported his dignity with an im- 
posing demeanor, and lodged, dressed, and main- 
tained his table in princely splendor. He appeared 
in public, decorated with a gold collar and the 
insignia of St. Mark, accompanied by a train 
of disciples, one of whom bore his gold cane, and 
another the repertory in which he noted down all 
that was to be done during the day. Being suspi- 
cious of poison, he had his tasters, who took some- 
thing of everything he ate or drank. Like his 
brother, he was at times afflicted with fits of mel- 
ancholy. He died in 1623. 

PONTE, Girolamo da, was the youngest son 
of Giacomo da P., born at Bassano in 1560. Like 
his brother, Gio. Battista, he copied and imitated 
his father's works so perfectly as to make them 
pass at the time for originals by his father, to 
whom they are now mostly attributed. He, how- 
ever, painted some works for the churches at Bas- 
sano. and other places in the vicinity, in which he 
excelled his father in the graceful aii-s of his heads. 
These compositions are very simple, and the color- 
ing sweet and harmonious. Such is his picture of 
St. Barbara, in the church of S. Giovanni at Bassa- 
no. He also painted an altar-piece at Venice, after 
the composition of Leandro. He died in 1622. 
There were others of this name, the descendants of 
the preceding artists, but they are unknown in 
the history of art. The works of the Bassani, 
and those of their imitators, which possess suffi- 
cient resemblance of style and manner of execu- 
tion, are all attributed to Jacopo. 

PONTE, Giovanni da, an old painter, born at 
Florence in 1306. He was a scholar of Buffal- 
macco, and acquired distinction in his time. Most 
of his works have perished. There are some re- 
mains of his pictures in the church of S. Frances- 
co at Arezzo. He died in 1365. 

PONTE, Giovanni da, an eminent Italian archi- 
tect, born at Venice in 1512. He attained great 
distinction in his native city, in an age illustrated 
by several preeminent professors of the art. Ac- 
cording to Milizia, when the great Council Hall 
was burned, and the Ducal palace much injured, 
Giovanni da Ponte rebuilt the whole, notwith- 
standing the contrary opinion of Palladio, who de- 
sired a new palace, thinking any repairs would be 
useless ; but the restoration was so admirably con- 
ducted, that the edifice still remains beautiful and 
strong. The greatest triumph of da Ponte was 
the bridge over the Rial to, for which his design 
was preferred to those of Scamozzi and Palladio. 
Milizia says the mechanical arrangement was 
highly ingenious, although the work was thought 
to be weak, and operations were consequentlj?- sus- 
pended for some time ; but, upon examination it 
was pronounced perfectly sound, and was safely 



i * 



PONT. 



719 



PONT. 



completed in the third year from its commence- 
ment, without having settled in the least. It is 
built of Istrian stone. Da Ponte also built the 
well known prison united to the Ducal palace by 
the famous " Bridge of Sighs" ; highly praised 
for its solidity and magnificence. Among his oth- 
er works at Venice were the warehouse of the Ar- 
senal ; the gate of the church degl' Incurabili ; 
and the church of Santa Oroce. He died in 1597. 
PONTIUS. Paul, a very eminent Flemish en- 
graver, born at Antwerp about 1596. He studied 
engraving under Lucas Vostermans. but he greatly 
improved his design, and the effect in his prints, 
through the advice and friendship of Rubens, and 
engraved many admirable plates from his works, 
in the execution of which he seems to have pos- 
sessed the mind of that great master. Fevr en- 
gravers have equalled him in correct and faithful 
imitation of their models, and in preserving in his 
figures the character and expression of the origi- 
nals. In his fine portraits after Vandyck, he 
seems to have adapted his style to the character 
of the persons represented. His plates are execu- 
ted with the graver, in a clear, bold style; and, 
though he did not possess the facility of Bolswert, 
or the delicacy of Vostermans, his plates will be 
ranked among the ablest productions of the Flem- 
ish engravers. The following is an ample list of 
his principal works ; a full catalogue may be found 
in Nagler's Lexicon. 

PORTRAITS AFTER VANDYCK. 

Paul du Pont, or Pontius. Engraver. Peter Paul Ru- 
bens. James de Breuck, Architect. John Wildens, Painter, 
of Antwerp. John van Ravesteyn, Painter, of the Hague. 
Palainedes Palamdessen, Dutch Painter. Theodore Van- 
loo, Painter, of Louvain. Theodore Rombouts, Painter, 
of Antwerp. Cornelius vander Gheest, celebrated Con- 
noisseur. Gerai-d Honthorst, Painter, of the Hague. Hen- 
ry van Balen, Painter, of Antwerp. Adrian Stalbent, 
Painter, of Antwerp. Daniel Mytens, Painter, of Hol- 
land. Gerard Seghers, Painter, of Antwerp. Simon de 
Vos, Painter, of Antwerp. Gaspar de Grayer, Painter, of 
Ghent. Henry Steenwyck, Painter, of Antwerp. Gaspar 
Gevartius, Jurisconsult, of Antwerp. Nicholas Rockox, 
Magistrate, of Antwerp. John vanden Wouwer, Counsel- 
lor of State. Csesar Alexander Scaglia, Abbot of Sto- 
phard. Gustavus Adolphus, King of Sweden. Mary of 
Medicis, Queen of France. Francis Thomas, of Savoy, 
Prince of Carignan. John, Count of Nassau. Don Alva- 
rez, Marquis of Santa Cruz. Don Carlos de Colonna, 
Spanish General. Don Diego Philip de Gusman, Marquis 
de Leganez. Mary, Princess of Aremberg. Henry, Count 
de Berghe, in armor. Sir Balthasar Gerbier, Ambassador 
from Spain. Frederick Henry, Prince of Orange. 

PORTRAITS AFTER RUBENS. 

Philip IV., King of Spain. 1632. Elizabeth of Bour- 
bon, his Queen. Isabella Clara Eugenia, Infanta of Spain. 
Ferdinand, Infant of Spain, on horseback. Gaspar Gus- 
man, Duke of Olivarez ; very fine. Christoval, Marquis 
of Castel Rodrigo; fine and scarce. Manuel de Moura 
Cortereal, Marquis of Castel Rodrigo; do. The Mother 
of Manuel, Marquis of Castel Rodrigo ; do. 

SUBJECTS AFTER RUBENS. 

Susanna and the Elders. 1624. The Adoration of the 
Shepherds. The Murder of the Innocents ; in two sheets. 
1643 ; very fine, The Presentation in the Temple. Christ 
bearing his Cross ; fine. The Crucifixion, with Angels, one 
of which is overcoming Sin and Death. The dead Christ, 
supported by the Virgin, with Mary Magdalene. St. Fran- 
cis, and other figures ; very fine. The Descent of the Holy 
Ghost. The Assumption of the Virgin. The Virgin suck- 
ling the Infant. St. Roch interceding with Christ for the 
Persons afflicted with the Plague ; very fine. Thomyris 
causing the Head of Cyrus to be put into a Vessel of Blood ; 
fine. 



SUBJECTS AFTER VARIOUS MASTERS. 

The Flight into Egypt; after Jordaens. Twelfth-Night: 
do. ; fine. The Adoration of the Magi ; after Gerard 
Seghers. The Virgin with the infant Christ and St Anne j 
do. St. Francis Xavier kneeling before the Virgin and 
Child ; do. St. Sebastian, with an Angel drawing an Ar- 
row from his breast ; do. A dead Christ, supported by 
the Virgin ; after Vandyck. St. Rosalia receiving a 
Crown from the infant Jesus ; do. The Holy Family ; af- 
ter J. van Hoeck. The Entombing of Christ ; after Ti- 
tian. 

PONTONS, Pablo (Paul), a Spanish painter, 
born at Valencia in 1606, He studied under Pe- 
dro Orrente, a scholar of Bassano, and followed the 
style of his instructor, both in design and coloring. 
He executed several works for the churches and 
convents of Valencia, of which the most consider- 
able are a series of subjects from the life of San 
Pedro de Nola, in the church and cloister of the 
convent de la Merced. He painted some altar- 
pieces for the monastery de la Cartuja del Puche ; 
and in the church of S. Maria de Morella, there are 
by him a Nativity and an Adoration of the Magi. 
He was also a good painter of portraits. He died 
in 1670. 

PONTORMO, Jacopo. See Carrucci. 

PONZ, Don Antonio, a Spanish painter, and a 
distinguished promoter of art, born at Bexix, in the 
province of Valencia, in 1725. He was intended 
for a literary career, but manifesting a strong in- 
clination for art, was placed in the school of Anto- 
nio Richart at Valencia. In 1746 he visited Mad- 
rid for improvement, and afterwards went to Rome. 
On returning to Spain he was commissioned to 
paint for the Royal Library, the portraits of the 
most eminent Spanish authors. He was chosen by 
the King to select from the pictures in the convents 
of Andalusia, those most desirable for the Acad- 
emy of San Ferdinando. In 1776 he was chosen 
secretary of that institution, and discharged the 
duties of his office during a period of fourteen 
years. It was to Ponz that Raphael Mengs ad- 
dressed his descriptions of the pictures in the pal- 
ace at Madrid, inserted in the sixth volume of his 
works. Ponz procured the publication of Gueva- 
ra's work, entitled Comentarios de la Pintura. 
He wrote a large work of Travels in Spain, illus- 
trated with numerous plates from his own designs ; 
of which eighteen volumes were published. He 
instructed a large number of scholars, with great 
care ; and was elected a member of nearl}^ all the 
Academies of Fine Arts in Europe. The time of 
his death is not recorded ; but his obsequies were 
celebrated with great pomp, by the Academy of 
San Ferdinando. 

PONZ, MoYSEs Jacob, a Spanish painter, born 
at Vails, near Tarragona, towards the close of the 
17th century. He studied under Juncosa, and ac- 
quired considerable reputation for his works, de- 
signed in a good taste, and agreeably colored. In 
1722 he was commissioned to paint a great part of 
the pictures in the Carthusian monastery. In 1732 
he painted several frescos, and a fine picture of 
Christ reposing in the arms of the Virgin, in the 
Hermitage of Our Lady, near Reus. 

PONZIO, Paolo, an Italian sculptor, a native 
of Florence^ who flourished about 1550. He vis- 
ited France, and was employed under Primaticcio, 
upon the works executed in the reign of Francis 
I. He was first employed in the sculptures at 
Meudon ; and afterwards at Fontainbleau, where 



PONZ. 



720 



POOL. 



he executed most of the sculptures which decorate 
that magnificent edifice. His mausoleum of Louis 
XII. and Anne of Bretagne. is praised by M. Alex- 
andre Lenoir, for its elevated design and studied 
execution ; although a correct taste will scarcely 
approve of representing the bodies of a monarch 
and his consort as they appeared after death. 
This mausoleum is now in the church of St. Denis. 
Among the other works of Ponzio, were a bronze 
statue of Alberto Pio, prince of Carpi, who died at 
Paris in 1530 ; and a statue of Charlemagne, which 
was greatly esteemed by Bernini. 

PONZIO, Flaminio, a distinguished Lombard 
architect, who flourished about 1600. He visited 
Rome, where he was extensively patronized, and 
gained eminence in the art. He was commissioned 
by the Borghese family to erect the celebrated 
Pauline chapel in S. Maria Maggiore. similar to 
the Sistine chapel, but more profusely ornamented 
with intaglios and sculpture. Milizia highly 
praises his fa9ade of the Palazzo Sciarra Colon- 
na, as a shining example of the simple, correct, and 
majestic style of architecture. In this beautiful 
work, the windows are justly disposed ; the orna- 
ments are simple ; there are no superfluous cor- 
nices, no breaks or projections, but a single en- 
tablature crowns the whole. Among the other 
works of Ponzio, are the sacristy in S. Maria Mag- 
giore ; and the grand double staircase in the Qui- 
rinal palace. He died, aged forty-five, during the 
pontificate of Paul V., who filled the papal chair 
from 1605 to 1621. 

PONZONE, Oav. Matted, a painter of the 
Venetian school, and a native of Dalmatia. He 
studied under Santo Peranda, and assisted him in 
his great works at Mirandola. He at first adopted 
the manner of his instructor, but afterwards form- 
ed an original style, which Lanzi says surpassed 
Peranda in sweetness of coloring, though inferior 
to him in elegance of design. He was fond of 
copying from life without attempting much to add 
to its dignity. He acquired considerable distinc- 
tion, and executed many works for the churches 
and public edifices of Venice, and also for the col- 
lections. It is generally, but erroneously, said that 
he was born at Venice. He was called II Cav. 
Dalmatino ; perhaps on account of his native coun- 
try. He flourished about the middle of the 17th 
century, and perhaps later. He is said to have 
died about 1700, if so, he lived to a great age, as his 
instructor died in 1638. 

PONZONI, Giovanni de', a Milanese painter, 
who flourished about 1450. He was a reputable 
painter in his time, and executed, among other 
works, a picture of S. Cristoforo, in the church 
called Samaritana. 

POOL, JuRiAEN, a Dutch painter, born at Am- 
sterdam in 1666. He was distinguished as a por- 
trait painter, and passed the early part of his life 
at the court of the Elector Palatine, by whom his 
works were much esteemed. On the death of his 
patron, he returned to Holland, where he is said 
to have abandoned painting and engaged in mer- 
cantile pursuits. He married Rachel Ruysch, the 
celebrated paintress of flowers and fruit. He died 
in 1745. 

POOL, Matthew, a Dutch engraver, born at 
Amsterdam in 1G70. He went to Paris, where he 
learned the art of engraving, and on his return to 



Amsterdam executed a variety of plates after the 
Italian, Flemish, and French masters, in a. style 
resembling that of Bernard Picart. He was liv- 
ing in 1727. Among others are the following by 
him : 

The Portrait of Barent Graat, Painter. The Infancy 
of Jupiter ; after B. Graat. Cupid taken in a Net by 
Time ; after Guercino. A Bacchanalian subject ; after 
N. Poussin. A set of twelve subjects ; from designs by 
Rembrandt. A set of one hundred and three plates, en- 
titled The Cabinet of the Art of Sculpture, by Francis 
van Bossuit ; from drawings by B. Graat. Three bur- 
lesque representations of the Ceremonies adopted by the 
Flemish painters at Rome ; do. 

POOL, Rachel. See Ruysch. 

POOST, Francis. See Post. 

POPELS, John, a Flemish engraver, born at 
Tournay about 1630. He engraved some of the 
plates from pictures in the gallery of the Arch- 
duke at Brussels, for the collection of prints called 
the Cabinet of Teniers, among which are the fol- 
lowing : 

Hagar and Ishmael ; after Titian. St. George and St. 
Stephen; after Gio. Bellini. St. John Baptist and St. 
Ptoch ; after Palma Vecchio. The Virgin and infant 
Christ, with St. John and St. Catherine ; after Palma 
Giovine. A dead Christ, supported by Joseph of Arima- 
thea ; after Schiavone. 

POPOLT, Cav. Giacinto de', a painter of the 
Neapolitan school, according to Dominici, and a 
native of Orta. He studied at Naples under Cav. 
Massimo Stanzioni, and was one of his most cele- 
brated scholars. He formed a style for himself, 
founded on that of his master, which was more 
admired for fertility of invention and elegance of 
composition, than for the grace of the figures. He 
acquired great reputation, and executed many 
works for the churches and public edifices at Na- 
ples. He died in 1682. 

POPPI, DA. See Francesco Morandini. 

POR, Daniello de, called also Daniello da 
Parma, a painter of whom little is known. Ac- 
cording to Vasari, he was an assistant of Correggio, 
and acquired from him and Parmiggiano, a certain 
softness of manner. The only work he mentions 
by him is a fresco in the church of S. Vito, where 
he invited Taddeo Zuccaro to join him as an as- 
sistant. He died at Rome, according to Bottari, 
in 1566. 

PORBUS. See Pourbus. 

PORCELLO, Giovanni, a Sicilian painter, born 
at Messina, according to Hackert, in 1682. He 
studied under Cav. Francesco Solimena at Naples, 
and adopted his manner. On returning to his 
native city, he found the art at an extremely low 
ebb, and attempted to revive it by opening an 
academy in his own house, to diffuse the taste 
and principles of his master, which he fully poss- 
essed. He executed some works for the churches, 
and died in 1734. 

PORCIA, II. See Apollodoro. 

PORDENONE. See Licinio. 

PORETTANO, Pier Maria, a Bolognese paint- 
er, who, according to Malvasia. was a scholar of the 
Caracci, and executed some works in their style for 
the churches at Bologna and the adjacent cities. 
Lanzi also briefly commends him as an excellent 
disciple of that school. He died in the first part 
of the 17th century. 



PORF. 



721 



PORR. 



PORFIRIO, Bernardino di, an eminent worker 
in mosaic, born at Leccio, in the Florentine state. 
He executed a picture for Francis I., from the de- 
sign of Vasari, "composed of Oriental alabaster, 
and large slabs of jasper, heliotrope, cornelian, 
lapis-lazuli, agate, and other precious stones and 
gems, valued at 20.000 crowns." He was living 
in 1568. 

PORTDEO, Gregorio, a Venetian painter, 
whom Lanzi supposes to have studied under Ti- 
tian. There is a beautiful Madonna, executed in 
the manner of Titian, in the noble collection in the 
Casa Pisani, signed Gregorius Porideus, " most 
probably the production of one of Titian's imitators, 
whose name is now fallen into oblivion." 

PORINUS. See Antistates. 

PORPORA. Paolo, a Neapolitan painter, who, 
according to Dominici, was a scholar of Aniello 
Falcone, and at first painted battle-pieces, in the 
style of his master ; but the impulse of his genius 
led him to paint pictures of fish, shells, and other 
marine productions, in which he succeeded to ad- 
miration. He was also skilled in painting flowers 
and fruit. He was elected a member of the Acad- 
emy of St. Luke in 1656, and died in 1680. 

PORPORATI, Carlo Antonio, an eminent Ital- 
ian engraver, born at Turin in 1741. He was in- 
tended for the profession of an architect, but man- 
ifesting a strong inclination for engraving, by copy- 
ing with the pen all the prints he could find, he 
was encouraged by Count Bogino. minister of the 
Sardinian King, who commissioned him to design 
the Capture of Asti. He succeeded so well that 
the King assigned him a pension, and sent him to 
Paris for improvement. He studied under J. G. 
Wille, Chevillet and Beauvarlet; and acquired 
considerable celebrity for his portrait of Charles 
Emanuel IH., and other plates. He adopted an 
original style, and was the first of the Italian en- 
gravers who availed himself of the elegance and pu- 
rity of line attained by the use of the graver alone. 
The flesh parts of his plates are exceedingly del- 
icate ; the heads are expressive and graceful ; and 
the general effect harmonious. His many excel- 
lencies gained him a high reputation ; but the dra- 
peries, animals, and landscapes in his plates are 
treated in a monotonous style, destitute of variety. 
In 1773. Porporati was chosen a member of the 
French Academy, and presented his plate of Su- 
sanna and the Elders, as his reception piece. Re- 
turning to Turin, he was appointed engraver to 
the King, and gained a high reputation. He was 
invited to Naples to establish a school of engraving ; 
and during his residence in that city, he employed 
four years in engraving Raffaelle's picture of the 
Madonna with the Rabbit. In 1797 he returned 
to Turin to complete his plate of the Bath of Leda, 
after Corresrgio. This was his last production, 
on account of enfeebled eyesight ; and from this 
time until his death, in 1816, he instructed a num- 
ber of pupils in the art. The following are his 
principal plates : 

Abraham sending away Hagar ; ajter Philip Van- 
dyck. Tancred and Clorinda ; after C. Vanloo. Erminia 
asking shelter of a Shepherd ; do. Cupid in Meditation ; 
after Angelica Kaufman. The Death of Abel ; after 
A. vander Werf The Madonna with the Rabbit ; after 
Raffaelle. Venus caressing Cupid ; after Ponipeo Battoni. 
Jupiter and Leda ; after Correggio ; very fine. Leda and 
the Swan, and Leda bathing; do. La Zingarella : do. The 



young Girl with a Dog ; after Greuze. The Lady pro- 
paring for Bed, and Paris and Helen, 

PORRO, GiROLAMo, an Italian engraver on 
wood and copper, born at Padua about 1520. He 
wrought in various Italian cities, and engraved 
many plates in a tasteful and delicate style, for va- 
rious works, among which were those in the edi- 
tion of Orlando Furioso, published at Venice in 
1548; one hundred prints in Camillo Camilli's 
Impressi degli uomini illustri; and his last 
work, a set of wooden cuts for / Funerali degli 
antichi di diversi popoli e nazioni^ by Tommaso 
Porcacchi, published in 1574. 

PORRO, Maso, an eminent painter on glass, and 
a native of Cortona, who flourished about 1560. 
He was employed in decorating the windows of the 
churches in Tuscany and elsewhere. 

PORTA, Baccio della, called also II Frate, 
and Fra Bartolomeo di San Marco. This cele- 
brated painter was born in the territory of Savig- 
nano. near Florence, in 1469. While very young 
he became the disciple of CosimoRosselli,and ac- 
quired the name of Baccio della Porta, from his 
residence near the gate of St. Peter. After pass- 
ing some years under the instruction of that mas- 
ter, he applied himself with great assiduity to study- 
ing the works of Leonardo da Yinci. whose admi- 
rable chiaro-scuro and grandeur of relief were the 
particular objects of his admiration. In company 
with his friend Mariotto Albertinelli. he modeled 
and copied from the ancient bassi-relievi, by which 
means he acquired a breadth of light and shadow 
that forms one of the most striking characteristics 
of his style. His first works were of small size, 
gracefully composed and designed, and highly fin- 
ished; such are his two cabinet pictures in the 
Florentine gallery, representing the Nativity and 
the Circumcision. But he afterwards adopted a 
grander style, and in his fresco of the Last Judg- 
ment, in the chapel of S. Maria Nuova. he evinced 
powers of a superior order. About this time, he 
became acquainted, and formed an intimate friend- 
ship, with the famous monk Jerome Savonarola, 
whose preaching had such an effect upon his mind 
that he is said to have destroyed all the studies 
he had previously made from the naked figure. 
He was emplo3^ed in the convent of S. Marco, when 
the ofBcers broke into the monastery by order of 
Pope Alexander VI., to seize the person of Savo- 
narola, who was condemned to the stake. The ex- 
ecution of his friend preyed upon the mind of 
della Porta, and he entered the convent of S. Mar- 
co in 1500, at the age of 31, assuming the name of 
Frd Bartolomeo, and was called // Frate. Like 
Botticelli and Credi, he abandoned the pencil for 
nearly four years ; but after resuming it he seems 
to have made constant improvement during the 
remainder of his life ; so that his earlier produc- 
tions, though very beautiful, are inferior to the 
last. His improvement was accelerated by the 
friendship he contracted with Raffaelle, who visited 
Florence for improvement about 1504. II Frate 
instructed him in coloring and the folding of dra- 
peries, and in return Raffaelle taught him the rules 
of perspective. Some years afterwards he went to 
Rome, to view the works of the two great rivals 
of the age, Michael Angelo. and Raffaelle, and 
greatly elevated his style. ''In that place" says 
Baldinucci, " he appeared with diminished lustre, 
in presence of those two great luminaries of the art, 



PORT. 



722 



PORT. 



and speedily returned to Florence — a circumstance 
which also happened to Andrea del Sarto, II Ros- 
so, and other truly eminent masters, whose 
modesty was equal to the confidence of innumer- 
able artists of mediocrity, who frequently enjoyed 
at Rome much ill placed patronage. II Frate left 
there only two figures of St. Peter and St. Paul, 
in the Quirinal palace ; the St. Peter, he left un- 
finished, and it received its last touches from the 
hand of Raffaelle." The following admirable cri- 
tique is extracted from Lanzi. " His manner at all 
times was more conformable to that of his friend 
(Raifaelle), than to that of his fellow citizen (M. 
Angelo), uniting dignity with grace in his heads, 
and in the general design. His picture in the Pitti 
Palace, painted before he went to Rome, is a proof 
of this. His most finished productions are in Tus- 
cany, which boasts various altar-pieces, all of them 
very valuable. Their composition is in the usual 
style of the age, which may be observed in the 
productions of every school, not excepting Rafiaelle, 
and which continued in the Florentine until the 
time of Pontormo ; viz., a Madonna, seated with 
the Infant -Jesus, and accompanied by saints. But 
in these hackneyed subjects, II Frate distinguished 
himself by grand architecture, magnificent flights 
of steps, and the skillful grouping of his saints and 
cherubs; some of which are seated in concert, and 
some poised on their wings, to minister to their 
King and Queen, while others support the drapery, 
and others again have charge of the pavilion, a 
rich and happily conceived ornament, which he 
readily connected with such thrones, even in his 
cabinet pictures. He departed from this mode of 
composition in a picture he left in the church of S. 
Romano of Lucca, called la Madonna della Miseri- 
cordia, who sits in a very graceful attitude, amid 
a crowd of devotees, shielding them with her man- 
tle from the wrath of heaven. His rivals occa- 
sioned the production of two more altar-pieces, 
differing from his usual style; according to the 
example of other eminent men, he answered them 
by his classic performances, a retort the most gall- 
ing to the invidious. They had stigmatized him 
as unequal to large proportions; and he filled a 
large piece with a single figure of St. Mark, which 
is admired as a prodigy of art in the Ducal Gal- 
lery, and is described by a learned foreigner (the 
Abbe Winckelmann), as a Grecian statue trans- 
formed into a picture. He was accused of being 
ignorant of the anatomy of the human figure ; and 
to refute this calumny, he introduced a naked St. 
Sebastian into another picture, in the church of 
that saint, which was so perfect in drawing and 
coloring that it received the unbounded applause 
of artists, but being too much admired by the fe- 
male devotees, it was removed by the fathers into 
a private room, and afterwards sold and sent into 
France. In short, II Frate knew how to excel in 
every department of painting. His design is most 
chaste ; his youthful pieces are more full and fleshy 
than was usual with Raff'aelle, and according to Af- 
garotti, they are little elevated above the standard 
of ordinary men. His tints at an early period 
abounded with shadows produced by lamp-black 
or ivory-black, which impairs the value of some of 
his pictures ; but he gradually acquired a better 
manner, so as to be able to instruct Raffaelle. In 
firmness and clearness, he yields not to the best 
of the school of Lombardy. He was the inventor 
of a new method of casting draperies, having taught 



the use of the wooden figure, with moveable joints, 
which serves admirably for the study of the folds 
of drapery. His works are to be seen in several pri- 
vate collections at Florence, but they are rare be- 
yond the precincts of that city ; they are eager- 
ly sought after by foreigners, but very rarely 
sold. The Fathers of St. Mark have a consider- 
able number of his paintings in their private chapel, 
and among them a St. Vincenzio, said by Bottari, 
to resemble a work by Titian or Giorgione. His 
best and rarest performances are in the possession 
of the Prince, in whose collection is his last work, 
considered a model of art, a large picture in chiaro- 
scuro, representing the patron Saints of the City, 
surrounding the Virgin. 

" The method of II Frate was first to draw the 
figure naked, then to drape it, and form a chiaro- 
scuro, sometimes in oils, that marked the distri- 
bution of the light and shadow, which constituted 
his great study, and the soul of his pictures ; the 
large chiaro-scuro before mentioned demonstrates 
such preparatives, and it has as high a value in 
painting as the antique plaster models have in 
sculpture, in which Winckelmann discovers the 
stamp of genius and compass of design, better than 
in sculptured marbles." 

Several of the most celebrated works of Yrk 
Bartolomeo were transferred by Napoleon from 
Florence to the Louvre, but they were afterwards 
restored. He gave the most of his designs to del 
Piombo, who deposited them with a Nun, as rela- 
ted by Vasari, in the convent of St. Catherine, at 
Florence. They came into the possession of Sir 
Benj. West, and afterwards into that of Sir Thom- 
as Lawrence, at whose death, they were purchased 
by the Messrs. Smith, print dealers at London, and 
scattered over the world. See Introduction, p. vi., 
and del Piombo. Fra Bartolomeo died at Flor- 
ence in 1517. 

PORTA, Giuseppe, called also Salviati. This 
painter was born at Castel Nuovo, in the Grafag- 
nana, in 1535. He was sent to Rome while 3'^oung, 
and placed under Francesco Salviati, an eminent 
Florentine painter, from whom he acquired such an 
excellent taste of design, that he was called after the 
name of his master. He had already made consid- 
erable progress, when Salviati being invited to 
Venice, took with him his favorite pupil. Here 
he formed a style of his own, founded on that of 
his master, combining the energetic design of the 
Florentine school with the fine coloring of the Ven- 
etian, in which he acquired great reputation, and 
was ranked among the ablest artists of his time. 
His works were so much admired at Venice, that 
he was induced to settle in that city, where he 
met with the most flattering encouragement. He 
was approved by Titian, and was selected with 
Paul Veronese and other eminent artists to dec- 
orate the Palace and Library of St. Mark, where 
he painted the Prophets, the Sibyls, and the Car- 
dinal Virtues. In the Piazza, he represented Al- 
exander III. bestowing his benediction on Fred- 
erick Barbarossa, where he indulged his taste for 
splendid architectural ornament in the Venetian 
manner ; and in the chapel he painted a Dead Christ 
with the Marys. He was invited to Rome by 
Pius IV., where he painted in the Sala Reale, the 
Emperor Frederick I. doing homage to Alexander 
III. Having finished these and other considerable 
works for the pontiff, who honored him with a 
munificent reward, he returned to Venice, and con- 



PORT. 



723 



PORT. 



tinued to reside there till his death. He execu- 
ted several altar-pieces and other works for the 
churches and public edifices, of which the most 
esteemed are, the Assumption, in the church of the 
Padri Servi. and the Annunciation, in the chapel of 
the Incurabili. At Murano, in the church degli 
Angeli, is one of his finest works — a Descent from 
the Cross, with the Virgin, Mary Magdalene, and 
St. John, a favorite subject with him, which he 
repeated several times. His style was distin- 
guished for fine and fertile invention, excellent 
taste of design, and tender and harmonious color- 
ing. Lanzi says his best pictures display great 
powers of invention, are wholly original, full of 
expression, with an air of majesty unusual in the 
productions of the Venetian school. There is, 
however, in some of his works a sameness of style, 
and a deficiency of strength in coloring and shad- 
owing; he was also occasionally strained and 
extravagant in the delineation of the muscles, 
emulating the daring contour of Michael Ange- 
lo. Towards the close of his hfe he was more 
languid and monotonous. There were a few spir- 
ited engravings on wood attributed to him, which 
are variously signed Giuseppe Salviati, Jose')h 
Porta Grafagninus, or Joseph Grafagninus. — 
These however, are believed to have been executed 
by an anonymous hand from his designs. He died 
at Venice in 1585. There is considerable varia- 
tion among authors as to the exact time of his 
birth and death, but the dates given, are from the 
best authorities. 

PORTA, Andrea, a Milanese painter, born in 
1656. According to Orlandi, he studied with Ce- 
sare Fiori, and afterwards gained improvement by 
contemplating the works of Legnanino. He formed 
for himself a style of coloring so vigorous and 
agreeable, as to excite general admiration. He 
executed some works for the churches, but more 
for individuals, in which, according to Lanzi, ''he 
aimed at catching the manner of Legnanino." He 
died in 1744. 

PORTA, Ferdinando, was the son of the pre- 
ceding, born at Milan, according to Oretti. in 1689, 
and died in 1767. He first studied under his fa- 
ther, and distinguished himself for a number of 
works for the churches, in imitation of the man- 
ner of Correggio. He also painted history with 
applause, for the collections. Lanzi says he " was 
too inconstant, and often unequal to himself" 

PORTA, Fra Guglielmo della, called Mila- 
nese, an Italian painter, and a distinguished sculp- 
tor, was the nephew of Giacomo della Porta ; and 
flourished about the middle of the 16th century. 
He was born at Porlizza, in the diocese of Como, 
and studied the elements of design under his uncle; 
but afterwards went to Genoa, and entered the 
school of Pierino del Vaga. According to Lanzi, 
he assisted in painting four apartments in the 
Palazzo Doria, from the cartoons of that master. 
The latter became warmly attached to him, and 
offered him his daughter in marriage; but della 
Porta declined, having decided to enter the priest- 
hood. His instructor in sculpture is not men- 
tioned. He afterwards visited Rome, where he 
became intimately attached to Sebastiano del 
Piombo, and acquired the esteem of Michael An- 
gelo. He attained a high reputation for his ad- 
mirable works. When the famous Farnese Her- 
cules was discovered, della Porta was commissioned 



to restore the legs, and performed the difficult 
task in so masterly a manner, that, when the orig- 
inal limbs were discovered, Michael Angelo prefer- 
red to let the statue remain as it was. At the 
death of Sebastiano del Piombo in 1547, he was 
appointed to the office left vacant by the latter, of 
Keeper of the Seal to the pontifical Court. He 
was commissioned to sculpture the monument to 
Pope Paul III., and displayed great talent in its 
execution. 

PORTA, Cav. Gig. Battista della, an Ital- 
ian sculptor, a relative and scholar of the preceding, 
born at Porlizza in 1542. He resided- chiefly at 
Rome, and attained a high reputation among the 
sculptors of his day. He was patronized by the 
noble Farnese family, through whose influence he 
was honored with the Order of the Golden Spur. 
Among his principal works are several sculptures 
in the church of Notre Dame di Loretto ; a group 
of Christ giving the Keys to St. Peter, in S. Pu- 
dore; and a colossal statue of St. Domenico. in S. 
Maria Maggiore. The Dizionario Istorico of Bas- 
sano, erroneously places his death in 1547 ; — he 
died at Rome in 1597. 

PORTA, ToMMASO DELLA. an Italian sculptor, 
was the brother of the preceding, and a scholar of 
Guglielmo della P. He was principally distin- 
guished for the admirable bronze statues of St. 
Peter and St. Paul, placed on the Antonine and 
Trajan columns. Among his other works, was a 
group sculptured from a single block of marble, 
representing the Descent from the Cross, placed 
in the church of S. Ambrogio al Corso. 

PORTA, Giacomo della, an eminent Italian 
architect, born at Milan about the commencement 
of the 16th century. During his early j^outh he 
studied design under the sculptor Gobbio, and was 
occupied in making bas-reliefs in stucco. He af- 
terwards studied architecture under Vignola, and 
soon gained considerable reputation. He was com- 
missioned to continue the buildings of the Capitol, 
and to erect the Gregorian chapel, according to the 
designs of Michael Angelo ; also the Church of the 
Greeks, of good form, in the Strada del Babbuino ; 
the fa9ades of the Madonna de' Monti, and S. Ma- 
ria in Via. Della Porta was invited to Genoa, to 
erect the chapel of S. Giovanni Battista. in the 
cathedral of that city. In concert with Domenico 
Fontana, he was commissioned by Sixtus V. to 
erect the grand cupola of St. Peter's, after the 
model of Michael Angelo. Six hundred men were 
employed for twenty-two months upon this stu- 
pendous work. Milizia says "it combines orig- 
inality, beauty, and grandeur ; — the world has 
never seen its equal." Among the other works of 
Giacomo della Porta, are the church del Gesu, at 
Rome, after the designs of Vignola ; the Palazzo 
Serlupi ; the elegant Palazzo Gottofredi ; the Pa- 
lazzo Niccolini, noble in its simplicity; the majes- 
tic Palazzo Marescotti; and the design for the 
Villa Aldobrandini, at Frascati. The latter is 
justly considered one of the most celebrated pal- 
aces in the vicinity of Rome. Della Porta designed 
a number of fountains in Rome, at Piazza Navona, 
at the foot of the Capitol, at the Rotonda, &g. 
He died at the age of sixty-five, near the close of 
the 16th century. 

PORTA. Orazio, a painter of the Florentine 
school, and a native of Monte Sansovino, was 
living in 1568. He was a reputable artist, and 



PORT. 



724 



PORT. 



executed several works for the churches of his 
native city, and other places in the vicinity. 

PORTELLI, Carlo, a painter of the Florentine 
school, a native of Loro, in the Valdarno, and a 
scholar of Ridolfo Ghirlandaio. He flourished 
about the middle of the 16th century. He was 
much employed at riorence, and Vasari commends 
him as an able artist. Lanzi says that he some- 
times painted with little harmony, but that his 
picture of S. Romulus, at the Santa, proves him 
an artist of ability. 

PORTENGEN, Peter, a Dutch painter, who 
flourished at Utrecht about 1638, and studied un- 
der Paul Moreelze. He painted landscapes in im- 
itation of John Both ; but, though his pictures 
possess considerable merit, they are every way 
greatly inferior to the works of that master, es- 
pecially in the handling of his trees. 

PORTER, Sir Robert Ker, was the son of a 
British officer, born at Durham in 1780. His 
father dying while he was a child, his mother re- 
moved to Edinburg, where he exhibited such an 
extraordinary passion for sketching battle-pieces, 
that his parent was induced to take him to Mr. 
West at London, then President of the Royal Acad- 
emy, who procured his admission as a student of that 
institution. He made rapid progress, and in 1793, 
painted an altar-piece for the Shoreditch church; 
in 1794 a picture of Christ stilHng the Tempest, 
which he presented to the Roman Catholic chapel at 
Portsea ; in 1798, St. John preaching, for St. John's 
college at Cambridge ; and in 1800, he astonished the 
public by the exhibition of his Storming of Serin- 
gapatam, a very large picture, twelve feet by ten, 
executed in six weeks, " representing with Hom- 
eric fire and animation," says Stanley, " the details 
of an exploit of British valor never surpassed." 
He also painted several other renowned actions, 
among which are the Battle of Agincourt, the Bat- 
tle of Alexandria, and the Death of Sir Ralph 
Abercroinbie. In 1804, he went to St. Peters- 
burg, and was appointed painter to the Emperor, 
in whose service he continued several years. In 
1808, he accompanied Sir John Moore to the Pen- 
insula, and attended him throughout the campaign, 
till that hero's death at Corunna, but whether as 
a commissary, or as a designer of the principal bat- 
tles, is not mentioned. Soon afterwards. Porter 
made a second visit to Russia, where he married 
the princess Mary, daughter of Prince ShorbatofF. 
On his return to England in 1813, he published 
an Account of the Russian Campaign, and was 
knighted by the Prince Regent. He afterwards 
published an account of his travels in Georgia, 
Armenia, Persia, ancient Babylon, and other places, 
illustrated with numerous engravings of portraits, 
costumes, and antiquities. He was afterwards ap- 
pointed consul for Venezuela, and during his resi- 
dence at Caraccas. he painted a portrait of Bolivar, 
and three other pictures, representing the Last 
Supper, Christ blessing little children, and an Ecce 
Homo. In 1841, he paid a last visit to St. Peters- 
burg, and died there of apoplexy, in 1842. The 
above account, from which little idea can be formed 
of the merits of Porter as an artist, is extracted 
from Stanley. It is fair to infer that he received 
some benefit from family influence, for had he 
preeminently distinguished himself as a painter, 
he would not have roamed over the world, and 



^■"1 



certainly not have accepted the situation of consul 
at Caraccas. 

PORTIO, Anikllo, an Italian engraver, who 
flourished about 1700, and according to Zani exe- 
cuted a few portraits and other book plates. 

PORTO, Gio. Battista de, an Italian engrav- 
er, who, according to Zani, flourished about 1503, 
and executed a few etchings marked /. J5., with 
a bird. 

PORZEL, Elias, a German car- 
• ver and engraver on wood, who, 

according to Nagler, was born at 
Isny in Suabia, about 1622, and died at Nurem- 
berg in 1722. He engraved some Bible plates, 
marked with one of the above monograms. 

POSI, Cav. Paolo, a distinguished Italian sculp- 
tor and architect, born at Siena in 1708. He visit- 
ed Rome at an early age, where he settled perma- 
nently, and attained a high rank among the pro- 
fessors of the day. He was extensively employed 
for many years, and was appointed pontifical ar- 
chitect. Milizia says he had naturally great tal- 
ents, but was not a good architect ; he gives him 
no credit for professional excellence, and criticises 
his edifices with such severity, as might lead some to 
suppose there had been personal jealousy between 
the parties. The peculiarities of Milizia, (see the 
sketch of his life), compel the candid connoisseur to 
receive his criticisms with caution ; and it is clear 
that the merits of Posi were of no common order, 
since his reputation stood very high for many years ; 
he was appointed architect of St. Peter's, and hon- 
ored with the Order of the Golden Spur. His 
works in sculpture were chiefly mausoleums, of 
which he designed a great number. Among them 
was that of the Cardinal Caraccioli, at Aversa ; the 
Cardinal Imperiali, in S. Agostino, at Rome ; the 
Cardinal Caraff*a, in S. Andrea de la Prate ; and 
the Princess Chigi, in La Madonna del Popolo. 
Among his principal edifices, were the modernis- 
ing of the Colonna Palace ; the church of S. Cater- 
ina at Siena ; the church and house of the Jesuits 
at Sinigaglia ; and the two Case del' Projetti, at 
Narni and Viterbo. He died in 1776. 

POSSENTI, Benedetto, a Bolognese painter, 
who, according to Malvasia, was brought up in 
the school of the Caracci, and excelled in painting 
landscapes, sea-ports, embarkations, fairs, festi- 
vals, &c., for the collections, which were held in 
considerable estimation. He also painted battle- 
pieces. His pictures are well designed, and the 
figures spiritedly executed. 

POST, or POOST, Franz, a Dutch landscape 
painter, born at Haerlem in 1620 ; died in 1680. 
He was the son of John Post, a painter on glass, 
who taught him the elements of design. Before 
the age of twenty, he manifested such good abil- 
ities, that Prince Maurice of Nassau employed 
him to accompany him as draughtsman on a 
voyage to the West Indies and South America. 
During a residence of two years, he made numer- 
ous drawings of the most interesting views in that 
country, from which, on returning to Holland, he 
painted several large pictures for the palace of 
Ryksdorp, near Wassenaer. According to Hou- 
braken, his pencil is light, yet firm ; his coloring 
clear and agreeable; and his trees and plants 
touched in a neat and spirited style. Humboldt 
says that several of his paintings, representing 



POT. 



725 



POTT. 



Views on the banks of the Amazon, are to be seen 
in the picture pralleries at Schleissheim, Hanover, 
Prague, an^ Berlin. His pictures sometimes 
occur in commerce. There are several spirited 
etchings by Post, among which are the follow- 
ing : A set of Views in Brazil ; from designs by 
himself. A View of the Gulf of All Saints; Fr. 
Poost, fee. 1645. A View of Cape St. Augustine ; 
do. A View of the Isle of Thamaraca ; do. 

POT, Hendrick Gerritz, a Dutch painter, 
born at Haerlem about IGOO. It is not certainly 
known under whom he studied, but it is supposed 
he received some instructions from Francis Hals. 
He was a reputable painter of history, but more 
celebrated for his portraits. Houbraken celebrates 
a picture by him, representing Judith with the 
Head of Holofernes ;• and he commends a large pic- 
ture of one of the princes of Orange in a Trium- 
phal Car, in the Princcnhof at Haerlem. In the 
Hall of the Society of Archers, at Haerlem, is a 
fine picture by him, representing the principal of- 
ficers of that Society. He died in 1656. 

POTENZANO, Francesco, an Italian painter 
and engraver, born at Palermo about 1550. His 
name is not mentioned in most works relating 
to art, but the Biographie Universelle notices 
him as an artist of decided merit. He visited 
Rome, Naples, and several cities of Spain, leaving 
everywhere proofs of his talent. His prints are 
after his own designs, in an elevated style, poss- 
essing considerable merit of execution. Among 
them are the Archangel Michael triumphing over 
Lucifer ; the Adoration of the Magi, dedicated to 
King Philip II. of Spain; St. Christopher crossing 
a River, dedicated to Cardinal Za. From the in- 
scription on the latter plate, it would appear that 
Potenzano was a member of the Florentine Acad- 
emy. He also gained considerable reputation by 
his verses, particularly his Destruttione di Geru- 
salemme; Naples, 1600, 8vo. He died at Paler- 
mo in 1599. 

POTHOVEN, Henry, a Dutch painter, born at 
Amsterdam in 1725. He studied under Philip 
Vandyck, and adopted his manner. In his small 
family pictures, he introduced very successfully, 
the accessories of satin, velvet, lace, carpets, &c. 
He also painted portraits, understood the nude, 
and designed his figures correctly. His pencil is 
neat and clean, and his coloring agreeable. Bal- 
kema says he applied himself much to engraving 
in mezzotinto, and Brulliot mentions a print by 
him of an old Man reading a Book, by candle-light. 
He died in 1795. 

POTMA, James, a Dutch painter, born at 
Workum, in Friesland, about 1610. He was a 
scholar of Wybrant de Gheest, and painted history 
with reputation, but chiefly distinguished himself 
in portraits. He passed the greater part of his 
life at the different courts of Germany, where he 
was much employed. He died at Vienna in 1684. j 

POTRELLE, Jean Louis, a French engraver, 
born at Paris in 1788. He had the advantages 
of instruction under David, Tardieu, and Des- 
noyers, and manifested considerable talents. In 
1806 he drew the second prize in engraving, from 
the Royal Academy. There are a number of por- 
traits, b}'- him of distinguished individuals, also 
several subjects after the Italian masters, among 
which are the followino;: 



Portrait of Giulio Romano; after the picture in the 
Museum. Portrait of Michael Angelo ; after the picture 
hy himself. Louis XVIII. ; afttr Gerard. Cupids ; do. 
Portraits of Raphael and N. Poussin. Portrait of David ; 
after the picture by Navet. Prince Schwartzenberg ; af- 
ter Gerard. Cupid and Psyche ; after David. Portrait 
of Dr. Dubois. The Course of Love, in 6 plates ; after 
Gerard. 

POTTER, Peter, a Dutch painter, born at 
Enkhuysen about 1595. Little is known of him, 
except that he painted landscapes, decorated with 
figures, representing scriptural and other subjects. 
Some of them were engraved by Peter Nolpe, as 
the Four Seasons, the Four Elements, the Prophet 
Elias and the Woman of Sarepta, and St. Paul the 
Hermit nourished in the Desert by an Eagle. He 
is better known by the fame of his son, than by 
his own productions. 

POTTER, Paul. This admirable painter of 
animals was the son of the preceding, born at 
Enkhuysen in 1625. He had no other instructor 
than his father, and early showed the most ex- 
traordinary talents, which he cultivated with such 
assiduity, that, at the age of fifteen, his works were 
held in high estimation, and he was regarded the 
most promising artist of the time. He carefully 
designed every object from nature, and it was his 
constant practice in his walks in the fields, — the 
only recreation he allowed himself, — to sketch ev- 
ery object that attracted his attention. He estab- 
lished himself at the Hague, where his works 
were in such demand, that he could scarcely 
execute all the commissions he received. The 
Prince of Orange was one of his greatest admirers, 
and purchased some of his finest pictures. His 
intense application was fatal to his naturally del- 
icate constitution, and he died in 1654, in the 
29th year of his age. He executed a great num- 
ber of works for so short a life, considering their 
extraordinary merit ; the subjects were land- 
scapes, with difi'erent animals, but principally 
cows, oxen, sheep, and goats, which he painted in 
the highest perfection. His landscape is subor- 
dinate to his animals, and seldom extends beyond 
a pasture, with a stump of a tree, a farm house or 
a hovel. His pictures usually represent a brilliant 
effect of sunshine, with a lustrous glitter in his 
coloring that is peculiar to himself. His touch is 
free and firm, and his pencil usually full and flow- 
ing, although his pictures are highly finished. 
The best tests of the genuineness of his works are the 
wonderful correctness of his animals, which, in their 
attitudes and motions, seem to live and breathe ; 
the natural verdure of his fields, and the careless 
manner of his leafing. His pictures are usually 
of small cabinet size, though he was not incapa- 
ble of painting on a large scale, as is evinced in his 
picture of a herdsman and cattle, in the collection 
of the Prince of Orange, with figures as large as 
life, designed and painted with surprising energy 
and fidelity. This picture was transferred to the 
Louvre, but afterwards restored to its place. His 
cabinet pictures are, however, preferred to those of 
a larger size. His works now command enormous 
prices. One of the truest tests of the merits of 
a master is the progressive commercial value of his 
works after his decease, and it is interesting to ob- 
serve this in those of Potter. In Smith's Cata- 
logue raisonne of the works of the Dutch and 
Flemish Painters, vol. v., and the Supplement, may 
be found descriptive accounts of about 120 pictures 



POTU. 



726 



POUR. 



by this master, with many curious particulars 
respecting them. A picture of Four Oxen in a 
Meadow, now in the Hermitage at St. Petersburg, 
sold in 1750, for about £25 ; in 1812, it rose to 
£820, and in 1815, was purchased by the Emperor 
of Russia for about £2800. One of two Cows 
and a Bull in a Meadow, measuring 17 inches by 
15, sold in 1771, for about £186; in 1823, it 
brought in London 1210 guineas. The Dairy 
Farm, 24 inches by 20, was sold in 1817, for £689 ; 
it rose progressively at different sales to £1228, in 
1825. A pastoral scene, 23 inches by 21, was sold 
in 1765 for about £135 ; in 1783 it rose to £678, 
and in 1829, to 1205 guineas. The large picture 
referred to in the collection of the Prince of Orange, 
was sold at public auction at Haerlem in 1749 for 
only about £56 ! His drawings also are held in 
the highest esteem, and command proportionally 
enormous prices. At M. Goll's sale, a few years 
ago at Amsterdam, the Messrs. Woodburn of Lon- 
don, gave £200 for one in India ink, heightened with 
white chalk, measuring about 13 inches by 8 ; and 
the Chevalier Claussins gave £163 for another, 
drawn with a pen worked in India ink, about 10 
inches by 7. 

Paul Potter also produced some etchings, drawn 
with great correctness and spirit, and executed in a 
masterly style. Bartsch describes eighteen prints 
by him ; and also a set of eight prints of cows, 
oxen, and other animals, generally considered spu- 
rious, which he attributes to John Visscher. A 
few have been added to the list by the Messrs. 
Smith and others. They are signed, Paulus Pot- 
ter^ /., or in. et fe. A great number of the de- 
signs of Paul Potter were etched in a spirited man- 
ner by Mark de Bye, which see. 

POTUIL, Henry, a Dutch painter, of whom 
little is known. He is said to have imitated 
Gerard Douw, with sufficient art to deceive good 
judges. 

POULLE AIT, a French engraver, who flourished 
at Paris about 1749, and engraved a few plates of 
ruins and other architectural subjects. 

POURBUS, Peter, called the Old. a Dutch 
painter and architect, born at Gouda in 1510, It 
is not known under whom he studied. He settled 
at Bruges, and acquired distinction in history and 
portraits. He executed many altar-pieces and 
other works for the churches and public edifices 
at Bruges and other places in the Low Countries. 
There are some of his best works in the principal 
church in his native place, among which is one of St. 
Hubert. Another fine picture by him is a Crucifix- 
ion, in the church of Notre Dame, at Bruges. There 
are three of his works in the collection of the King 
of Holland. Michiels in his Histoire de la Peinture 
Flamande et Hollandaise, gives a catalogue of fifty 
pictures by this artist. He was also a geographer 
and geometrician, and executed for the magistrates 
of Bruges an immense chart, an oil painting on can- 
vass, still preserved in the Stadt-House, repre- 
senting the minutest details of the whole territo- 
ry under their jurisdiction. He was also an ex- 
cellent portrait painter, and his portrait of the 
Duke of Alen9on, is considered an admirable per- 
formance, not only for striking resemblance, but 
for its handling and coloring. He was originally 
a mason, and after acquiring distinction as a paint- 
er and an architect, he marked all his works with 
a trowel. None of his works in architecture are 



mentioned. He married the daughter of L. Blon- 
deel. and was President of the Corporation of Paint- 
ers at Bruges. He died there in 1583. 



p.pjp.PiP 



'JJ5 

POURBUS, Francis, called the Elder, was 
the son of the preceding, born at Bruges in 1540. 
He received his first instruction from his father, 
but afterwards studied with Francis Floris ; even- 
tually surpassed both of his instructors, and was 
accounted one of the ablest artists of his time. 
He not only painted history, but also landscape and 
animals, and particularly excelled in portraits. 
He chiefly resided at Antwerp^ where he was elect- 
ed a member of the Academy m 1564. There are 
several of his works in the churches of that city, 
the most admired of which is a picture of the Cir- 
cumcision in the Cathedral. One of his most es- 
teemed works is the Adoration of the Magi, in the 
church of the convent at Oudenarde. Another 
fine picture is St. Aloisius preaching, in the Acad- 
emy at Antwerp, into which he introduced several 
portraits. He painted animals extremely well, and 
was so exact in his landscapes, that every spe- 
cies of fruit and forest trees might be readily dis- 
tinguished. One of his best works was a Martyr- 
dom of St. George, painted for a confraternity of 
Dunkirk, and decorated with a landscape of great 
beaut}^ But his greatest excellence lay in por- 
traits, which he executed with great truthful- 
ness, life, and spirit, with admirable coloring. He 
died in 1580. 

t POURBUS, Francis, called the Younger, 
was the son of the elder Francis P., born at 
Antwerp in 1570. After studying with his 
• father, he set out for Italy, via Paris, where 
he met with such encouragement in portrait 
painting, that he took up his residence in that city 
for life. He acquired great distinction, and painted 
the portraits of the royal family, and many of the 
most distinguished personages of the court. His 
talents were not confined to portraits, and he exe- 
cuted several works for the churches, which ob- 
tained for him a high reputation as a historical 
painter. Among these are the Annunciation, and 
a picture of St. Francis, in the church of the Jaco- 
bins ; and the Last Supper, formerly in the church 
of St. Leu, now in the Louvre — a grand composi- 
tion, admirably designed and colored. In the Ho- 
tel de Ville are two of his pictures, representing 
the Minority and Majority of Louis XIII. , which 
he treated with great ingenuity, and the portraits 
which he introduced have the appearance of truth 
and nature. There are now six of his works in 
the Louvre, viz. : the Last Supper, previously re- 
ferred to ; St. Francis in ecstacy ; a small portrait 
of Henry IV, in armor ; another do. in black vel- 
vet ; a portrait of Mary de' Medicis ; and a por- 
trait of Guillaume du Vair. There are also seve- 
ral of his works at Hampton Court, and in other 
collections in England. His portrait, painted by 
himself, is in the Florentine Gallery. He surpass- 
ed his father in elegance and grace, and in the no- 
ble simplicity of his drapery. His design was re- 
markably correct, and his coloring rich and har- 
monious. He died at Paris, in 1622. 

POUSSIN, Nicholas. This distinguished paint- 



POUS. 



727 



POUS. 



er was born at Andely, in Normandy, in 1594. He 
was descended from a noble family, originally of 
Soissons, whose fortunes had been ruined by the 
disastrous civil wars in the time of Charles IX. 
and Henry III. His father, Jean Poussin, after 
serving in the army of Henry IV., settled on a 
small paternal inheritance at Andely, where he cul- 
tivated a taste for literature and the sciences, and 
instructed his son in the same. Young Poussin 
had already distinguished himself for the solidity 
of his judgment, and his progress in letters, when 
a natural fondness for drawing, developed by an 
acquaintance he had formed with Quintin Va- 
rin, an artist of some eminence, induced him to so- 
licit the permission of his father to adopt painting 
as a profession. 

After learning the first principles of the art un- 
der Yarin, he went to Paris in 1612. in search of 
improvement. The arts were at a very low ebb at 
that time in the French capital, and the only as- 
sistance which he appears to have received was from 
Ferdinand Elle, a Flemish portrait painter, but 
little qualified to forward him in the sublime 
ideas he had already conceived of the art. He re- 
mained with him only a few months, and then 
sought instruction from a painter named Lalle- 
mant, but perceiving that he could derive no 
benefit from him, he left him almost immediately, 
and devoted himself to the study of the best works 
to which he could gain access. Having obtained 
some prints after RafFaelle and Giulio Romano, he 
studied them with delight and admiration ; he 
also improved his design by drawing after casts of 
antique statues. By these helps he acquired a 
fine taste and readiness of composition, which 
procured him emplo3"ment from the Capuchins of 
Blois. and at the Chateau de Chiverny. where he 
painted several Bacchanahan subjects, which elicit- 
ed considerable applause. His talents and the en- 
dowments of his mind procured for him the es- 
teem of several men of letters and distinction, and 
among them Cav. Marino, the celebrated Italian 
poet, who happened then to be at Paris. jNIarino 
became his friend, and strongly urged him to ac- 
company him to Rome, an invitation Poussin 
would gladly have accepted, had he not then been 
engaged in some commissions of importance, 
among which were six large pictures in distemper 
for the College of Jesuits, and the Death of the 
Yirgin for the church of Notre Dame. Having 
completed these works, he set out in 1624 for 
Rome, where he was warml}"^ received by his friend 
Marino, who introduced him to Cardinal Barbe- 
rini. He however derived little advantage from 
this fiivorable notice at the time, as the Cardinal 
soon after left Rome on his legation to France and 
Spain, and the Cav. Marino died about the same 
time. Pous.sin now found himself a stranger, 
friendless and unknown in the Eternal City, in 
very embarrassed circumstances ; but he consoled 
himself with the thought that his wants were 
few, that he was in the very place where he had 
long sighed to be, surrounded by the glorious 
works of ancient and modern art. and that he 
should have abundant leisure to study. Therefore, 
though he could scarcely supply his necessities by 
the disposal of his works, and was often compelled 
to sell them for the most paltry prices, his cour- 
age did not fail him. but rather stimulated him to 
the greatest assiduity to perfect himself in the art. 
He lodged in the same house with Francis du 



Quesnoy, called II Fiammingo, the state of whose 
finances at that time were not more flourishing 
than his own, and he lived in habits of intimacy 
and strict friendship with that eminent sculptor, 
with whom he explored, studied, and modeled, 
the mo!3t celebrated antique statues and bas- 
reliefs, particularly the Meleager in the Vatican, 
from which he derived his rules of proportion. At 
first he copied several of the works of Titian, and 
improved his style of coloring, but he afterwards 
contemplated the works of Raffaelle, with an en- 
thusiasm bordering on adoration. The admirable 
expression and purity of design which character- 
ize the best works of Domenichino. rendered them 
particularly interesting to him, and he used to 
regard his Communion of St, Jerome as the second 
picture at Rome, the Transfiguration of Raffaelle 
being the first. 

A brighter day now dawned upon Poussin. 
What had happened to him. which would have 
been regarded by m.ost young artists as the great- 
est misfortune and sunk them in despondency and 
ruin, proved of the greatest advantage to him. 
The Cardinal Barberini having returned to Rome, 
gave him some commissions, which he executed in 
such an admirable manner as at once established 
his reputation among those of the greatest artists of 
the age. The first work he executed for his patron 
was his celebrated picture of the Death of Ger- 
manicus, which Lanzi pronounces one of his finest 
productions. He next painted the Taking of Je- 
rusalem by Titus, These works gave the Cardi- 
nal so much satisfaction that he procured for him 
the commission to paint a large picture of the Mar- 
tyrdom of St, Erasmus, for St, Peter's, now in the 
pontifical palace at Monte Cavallo. These works 
procured him the friendship and patronage of the 
Cav, del Pozzo. for whom he painted his first set 
of pictures, representing the Seven Sacraments, 
now in the collection of the Duke of Rutland. 
He afterwards painted another set of the same, 
with some variations, for M. de Chantelou, for- 
merly in the Orleans collection, now in that of the 
Marquis of Stafford. In 1639. Poussin was invi- 
ted back to France by Louis XIII., who honored 
him with an autograph letter on the occasion ; 
which invitation he accepted with great reluctance, 
at the earnest solicitation of his friends. On his 
arrival at Paris, he was received with marked dis- 
tinction, appointed principal painter to the king, 
with a pension, and accommodated with apart- 
ments in the Tuileries. He was commissioned to 
paint an altar-piece for the chapel of St. Germain en 
Laie. where he produced his admirable work of the 
Last Supper, and was engaged to decorate the Gal- 
lery of the Louvre with "the Labois of Hercules. 
He had already prepared the design.s, and some of 
the cartoons for these works, when he was assailed 
by the machinations of Simon Vouet and his ad- 
herents ; and even the landscape painter Fouqui- 
eres, jealous of his fame, presumed to criticise his 
works and detract from their merit. Poussin, nat- 
urally of a peaceful turn of mind, fond of retirement 
and "^the society of a few select literary friends, 
was disgusted with the ostentation of the court 
and the cabals by which he was surrounded ; he se- 
cretly sighed for the quiet felicity he had left at 
Rome, and resolved to return thither without de- 
lay. For this purpose, he solicited and obtained 
leave of the King to visit Italy to settle his af- 
fairs, and fetch his wife ; but when he had once 



POUS. 



728 



POUS. 



crossed the Alps, no inducement could prevail on 
him to revisit his native country, or even to leave 
Rome. During a period of twenty-three years 
after his return to Rome fro^^ Paris, he lived a 
quiet, unostentatious life, and executed a great 
number of pictures, which decorate the principal 
cabinets of Europe, and will ever be regarded as 
among their most valuable ornaments. He con- 
fined himself mostly to works of the large easel 
size, which were eagerly sought after, and usually 
disposed of as soon as they were executed. He 
never made any words about the price of his pic- 
tures, but asked a modest and moderate price, 
which he always marked upon the back of his 
canvass, and which was invariably paid. Many of his 
works were sent to Paris, where they were valued 
next to the productions of Raffaelle. He was 
plain and unassuming in his manners, very frugal 
in his living, yet so liberal and generous that at 
his death he left an estate of only 60.000 livres 
— about 5>1 2,000. Felibien relates an anecdote 
which pleasingly illustrates his simple and unos- 
tentatious mode of life. The Cardinal Mancini 
was accustomed to visit his studio frequently, and 
on one occasion, having staid later than usual, 
Poussin lighted him to the door, at which the pre- 
late observed, " I pity you, Monsieur Poussin, that 
you have not one servant." " And I," replied the 
painter, "pity your Excellency much more, that you 
are obliged to keep so many." 

The favorite subjects of Poussin were taken 
from fabulous or poetical history, and chiefly from 
Ovid, These he introduced into his landscapes, 
enriched with elegant architecture, designed after 
the magnificent edifices that abound in Rome and its 
environs ; but he frequently painted subjects from 
the Bible and profane history. His figures are 
usually a palm and a half in length, as in his Sev- 
en Sacraments ; and sometimes two or three 
palms, as in his picture of the Plague in the Oo- 
lonna Gallery — but he did not succeed so well in 
large as in small figures. His invention was lively 
and happy, and he designed with great spirit and 
correctness. He was a perfect master of perspect- 
ive and architecture, which he knew how to em- 
ploy to the greatest advantage, enabling him 
to give a captivating air to his landscapes, the 
scenes and situations of which are always subor- 
dinate to, and in harmony with, his subject. His 
pictures are always highly pleasing, from their 
choice of scenery, and possesspeculiar interest and 
beauty from the novelty of the objects introduced 
and the variety of trees, buildings, and other orna- 
ments, as arches, columns, antique vases, urns. &c., 
as well as for the spirit and delicacy of his pencil. 
When Poussin first arrived at Rome, he endeavor- 
ed to imitate the coloring of Titian, but when he 
afterwards became an enthusiastic admirer of Raf- 
faelle and the antique, his tone altered, and his car- 
nations had no longer the warmth that distin- 
guishes his earlier productions. 

Perhaps the works of no painter have been the 
subject of so much and such divided criticism as 
those of Poussin. We cannot enter into any 
lengthened discussion on the subject, further than 
the main one — his coloring. Some critics contend 
that he was very unequal in coloring, that it 
was generally too cold and feeble ; while others 
maintain a contrary opinion, and say that his col- 
oring is that best adapted to his subject. In order 
to arrive at a just conclusion, it is necessary to look 



into the character of Poussin as well as his works. 
He was well versed in the classic authors of an- 
tiquity, and associated much with men of letters ; 
his constant study of the antique statues and 
bas-reliefs inspired him with an attachment to 
them which partook of the fervor of devotion, and 
made him as intimately acquainted with the man- 
ners, rites, and ceremonies of the ancients, as he 
was with those of his own time. Lanzi says '' he 
was very apprehensive lest his anxiety on that head 
(coloring) might divert his attention from the more 
philosophical part of his picture, to which he was 
singularly attentive; and to this point he directed 
his most serious and assiduous care. Raffaelle 
was his model in giving animation to his figures, 
in expressing the passions with truth, in selecting 
the precise moment of action, in intimating more 
than was expressed, and in furnishing materials 
for fresh reflection to whoever returns a second 
and a third time to contemplate his well conceived 
and profound compositions. He carried the habit 
of philosophy in painting further than Raffaelle, 
and often executed pictures whose claim to our re- 
gard is the poetical manner in which the moral is 
inculcated. Thus, in a picture at Versailles, called 
' Memoria della Morte,' he represented a group of 
youths and a maiden, visiting the tomb of an Ar- 
cadian Shepherd, on which is inscribed the simple 
epitaph — ' I also was an Arcadian.' " And again he 
says, " I think it may be safely asserted, without 
exaggeration, that the Caracci improved the art of 
landscape painting, and that Poussin brought it to 
perfection," 

Poussin, in his directions to artists who came to 
study at Rome, says that " the remains of anti- 
quity afforded him instruction that he could not 
expect from masters" ; and, in one of his letters 
to M. de Chantelou, he observes that " he had ap- 
plied to painting the theory which the Greeks had 
introduced into their music ; the Dorian for the 
grave and the serious, the Phrygian for the vehe- 
ment and the passionate, the Lydian for the soft 
and the tender, and the Ionian for the riotous fes- 
tivity of his bacchanalians." He was accustomed 
to say "that a particular attention to coloring was 
an obstacle to the student in his progress to the 
great end and design of the art ; and that he who 
attaches himself to this principal end will acquire 
by practice a reasonably good method, of coloring." 
He well knew that splendor of coloring and bril- 
liancy of tints would ill accord with the solidity 
and simplicity of effect so essential to heroic sub- 
jects, and that the sublime and majestic would be 
degraded by a union with the florid and the gay. 
The elevation of his mind is conspicuous in all his 
works. He was attentive to vary his style and 
the tone of his color, distinguishing them by a 
finer and more delicate touch, a tint more cheerful 
or austere, a site more cultivated or wild, according 
to the character of his subject and the impression 
he designed to make; so that we are not less 
impressed with the beauty and grandeur of his 
scenery, than with the varied, appropriate, and dig- 
nified characteristics which distinguish his works. 
Notwithstanding this article has exceeded a pro- 
per length for a Dictionary, we cannot refrain from 
adding the following admirable critique from the 
5th discourse of Sir Joshua Reynolds : " The fa- 
vorite subjects of Poussin were ancient fables ; and 
no painter was ever better qualified to paint such 
subjects, not only from his being eminently skilled 



rou.s. 



729 



POUS. 



in Hie know'edge of the ceremonies, customs, and 
liabits of t!ie ancients, but from his being so well 
accjaainted with the different characters which 
those who invented them gave to their allegorical 
figures. Though Rubens has shown great fancy 
in his Satyrs, Silenuses, and Fauns, yet they are 
not that distinct, separate class of beings which is 
carefully exhibited by the ancients, and by Pous- 
sin. Certainly, when such subjects of antiquity 
are represented, nothing should remind us of mod- 
ern times. The mind is thrown back into anti- 
quity, and nothing ought to be introduced that 
may tend to awaken it from the illusion. 

"Poussin seemed to think that the style and 
the language in which such stories are told is not 
the worse for preserving some relish of the old 
way of painting, which seemed to give a general 
uniformity to the whole, so that the mind was 
thrown back into antiquity, not only by the sub- 
ject, but also by the execution. 

" If Poussin. in imitation of the ancients, repre- 
sents Apollo driving his Chariot out of the sea, 
by way of representing the sun rising, if he per- 
sonifies lakes and rivers, it is noways offensive in 
him, but seems perfectly of apiece with the gene- 
ral air of the picture. On the contrary, if the 
figures which people his pictures had a modern air 
and countenance, if they appeared like our coun- 
trymen, if the draperies were like cloth or silk of 
our manufacture, if the landscape had the appear- 
ance of a modern one, how ridiculous would Apollo 
appear instead of the sun, and an old Man or a 
Nymph with an urn to represent a river or a 
lake ?" He also says, in another place, that " it 
may be doubted whether any alteration of what 
is considered defective in his works, would not de- 
stroy the effect of the whole." 

Poussin married the sister of Gaspar Dughet, 
but never had any children. He died at Rome of 
a palsy in 1665. In Smith's Catalogue raisonne 
may be found a descriptive account of upwards of 
three hundred and fifty of the works of this great 
artist, in many instances tracing the history from 
the time they were painted, the names of the pres- 
ent possessors, and the principal artists by whom 
they have been engraved, together with many in- 
teresting particulars of the life of the painter. 
There are eight of his pictures in the English Na- 
tional Gallery, fourteen in the Dulwich Gallery, 
and many in the possession of the nobihty of Eng- 
land. The prices paid for those in the National 
Gallery vary from 150 to 1000 guineas. 

POUSSIN, Gaspar, or Gaspar Dughet. This 
great landscape painter was born at Rome in 1613, 
according to Pascoli, Lanzi, and the best authori- 
ties : though others place his nativity in France in j 
1000. He was the son of a Frenchman settled at 
Rome, who had given his daughter in marriage to 
Niccolo Poussin. The latter adopted him as his 
son. instructed him in painting, taught him to se- 
lect the beauties of nature and of art, so that he 
became an eminent, and in the opinion of many an 
unsurpassed, landscape painter. He was no servile 
imitator of his master, and considered merely as a 
landscape painter, certainly not his inferior. He i 
selected the most enchanting scenery of the Tus- 
culan. Tiburtine, and Roman territories, where, as 
Martial observes, nature has combined the many 
beauties she has scattered singly in other places. 
He also composed ideal landscapes ; and following 
the example of Tasso in his description of the 



Garden of Armida, he concentrated in them all the 
beauties he had observed in nature. These en- 
chanting scenes he decorated with appropriate edi- 
fices and figures ; Italian scenes, with edifices in 
the beautiful proportions of antiquity, also arches, 
or broken columns, and other ruins ; Egyptian 
scenes, with pyramids, obelisks, and the idols of 
the countrj^ : all displaying erudition and elegance. 
His figures sometimes represent shepherds with 
their flocks, but oftener subjects from ancient his- 
tory and classic fable; poets crowned with laurel, 
hawking parties, and occasionally scriptural sub- 
jects, generally designed in a novel style, and fin- 
ished almost as fine as miniature. His distances 
recede from the eye with true beauty of perspect- 
ive, his grounds are charmingly broken, and his 
figures, trees, and other objects are so judiciously 
arranged and proportioned to the distance, as to 
produce a most pleasing illusion. His trees are so 
faithfully depicted as to represent the exact species, 
showing a natural and proper degree of agitation, 
and every leaf in motion. He was very fond of 
the spreading palm and the graceful poplar. He 
not only succeeded in representing the rosy tints 
of the morning, the splendor of noon, the soft- 
ness of evening twilight, and a sky tempestu- 
ous or serene, but the passing breeze whispering 
through the leaves, tempests rending the trees of 
the forest, lowering skies, clouds surcharged with 
rain and rent with forked lightnings that rive the 
towering pine and crumble the mouldering turret. 
His touch is firm and vigorous, yet delicate ; the 
fertility of his invention is only equalled by the 
astonishing facility of his execution ; and it is said 
that, like Salvator Rosa, he could paint a well- 
finished landscape, and insert all the figures, in a 
single day. He frequently suggests more than he 
expresses; for instance, we may occasionally ob- 
serve an artful winding of the road, which in part 
discovers itself to the eye, but in other parts leaves 
it to be followed by the mental vision. He is only 
accused of not having sufficiently diversified his 
tints, of representing his verdure too green, and 
of occasionally using too dark colors in his fore- 
grounds ; but, notwithstanding such small imper- 
fections, his pictures are always very beautiful. 

Gaspar Poussin had three manners, which are 
distinguishable without any great nicety. The 
first was rather dry and hard, with the cold color- 
ing of Niccolo; but after seeing the works of 
Claude Lorraine, he adopted a more mellow and 
agreeable tone. In his third, he is not as lively, 
nor are his last pictures as well studied and fin- 
ished. His second, or middle style, is therefore 
the best by many degrees ; and his pictures of this 
period are distinguished for such a simple and 
learned design, and a coloring so natural, truthful, 
fresh, and lovely, that no one can behold them with- 
out admiration. Being an indifferent designer of 
the human form, he frequently prevailed upon Nic- 
colo to paint his figures, who always introduced 
them with the utmost propriety ; and pictures of 
this class are more highly valued than any other 
of the landscapes of Poussin. No commendation 
can be bestowed upon his works superior to their 
merit, and the great prices they command in all 
enlightened countries, evince their high estimation 
wherever painting is cultivated or understood. His 
works are numerous ; they are found in the great 
collections in Italy, and throughout Europe. — 
There are six of his pictures in the Enghsh National 



POITS. 



730 



POZZ. 



Galler}^, four in the Duhvich Gallery, three at 
Windsor Castle, and many more in the collections of 
the nobility, and gentlemen of wealth and taste, in 
England. His works have been constantly rising 
in value, and the prices paid for those in the English 
collections vary from 200 to 1000 guineas, according 
to the time when they were purchased, and the 
beauty of the picture. One of his best works 
would now bring at least 1000 guineas in London. 
Gaspar Poussin executed a few masterly etchings 
from his own designs, viz. : a set of four circular 
Landscapes, and a set of four Landscapes, length- 
ways. These are all that are described by Bartsch, 
and probably the list is complete. He died at 
Rome in 1675. 

POUSSIN. John Dughet, the younger brother 
of the preceding, was born at Rome about 1615, 
He was instructed in painting by Niccolo, but 
manifesting little talent, he followed the advice 
of his instructor, and devoted his attention to 
engraving, but never acquired much distinction. 
His best prints are those engraved after the Avorks 
of Niccolo Poussin ; the following are the most 
deserving of notice : 

The Seven Saci-aments ; from the pictures painted hy 
Nicholas Poussin, for the Cavaliere del Pozzo, different 
from those formerly in the Orleans collection. Mount Par- 
nassus ; do. The Birth of Bacchus ; do. The Judgment 
of Solomon ; do. 

POUSSIN, Le Maire. There were two French 
painters, named Le Maire, v/ho were the pupils of 
Niccolo Poussin, and assumed his name. Pierre 
le Maire, according to Dumesnil, was born at 
Dammartin, near Paris, about 1597, and died at 
Gaillon in 1659. He was an intimate friend of 
Niccolo, was called Le Maire Poussin, and being 
a corpulent man, was also known by the name of 
Le gros le Maire. Dumesnil describes (Le Pein- 
tre Graveur Fran9ais, tom. vi.) fifteen etchings by 
him. executed in the manner of Remi Vuibert. 
Nothing is said of his pictures. 

Fran9ois le Maire Poussin was born at Mai son- 
Rouge, near Fontainbleau, in 1620, He went to 
Rome, and studied under Niccolo, w^ho is said to 
have called him Le petit le Maire, to distinguish 
him from his corpulent friend. On his return to 
Paris, he followed the manner of his master, and 
acquired so much distinction that he was admitted 
into the Academy in 1656. Stanley says he is 
known in England by the name of Poussin le 
Maire, as a painter of landscapes with figures, evi- 
dently from the designs or drawings of Niccolo. 
They generally represent porticos or vestibules of 
temples, with few figures, well executed, somewhat 
brighter in coloring, but lacking the antique dig- 
nity of the originals. He died in 1688. 

POWELL, C. M., an English marine painter, 
who flourished from about 1800 to 1820. Stanley 
says he was a sailor, and self-taught in the art of 
painting. '• In the management of his vessels he 
shows his practical knowledge, and his composi- 
tions are well understood by seamen. His more 
carefully painted pictures are still esteemed, and 
obtain good prices." 

POWLE, George, an English engraver of httle 
note, who flourished about 1776. He engraved a 
few portraits and other subjects for the booksel- 
lers. 

POZZI, Francesco, an Italian engraver, born 
at Rome in 1750. In conjunction with Coppa and 



Perini, he engraved some of the plates from the 
statues in the Clementine Gallery. Among other 
prints by him is a portrait of Pius VL, and the 
Aurora, after Guercino. 

POZZI, Giovanni Battista, a Milanese paint- 
er, who flourished in the latter part of the 17th 
and first part of the 18th centuries. Not meeting 
with much encouragement at Milan, he went to 
Piedmont, where he painted a great: number of 
frescos for the clmrches at Turin and other places. 
He w^rought with great facility, and his woiks are 
more distinguished for brilliancy of coloring, than 
for elegance or correctness of design, yet some of 
them produce a fine efiect, as in his picture of St. 
Cristoforo at Vercelli. 

POZZI. Giovanni Battista, a Milanese paint- 
er, who, according to Baglioni, evinced remarkable 
talents, and was employed by Sixtus Y. in the 
palace of St, John of Lateran, and in the Library 
of the Vatican, In the Sistine chapel he painted 
the Visitation of the Virgin, and the Angel appear- 
ing to St, Joseph in his Dream ; in II Gesu. a Choir 
of Angels. He died in the pontificate of Sixtus V., 
aged 28. deeply lamented as the most promising 
young artist of his time. Lanzi says none ap- 
proached so near to Raffaelling da Reggio as Poz- 
zi, and as to ideal beauty, he may be considered 
the Guido of his day. Had he survived to the 
time of the Caracci, it is impossible to say what 
degree of perfection he might have attained." 

POZZI, Stefano, a painter born at Rome, who 
first studied under Carlo Maratti, and afterwards 
with Agostino Masucci. Lanzi says he was more 
noble in his design than Masucci. and more natu- 
ral and vigorous in his coloring. He acquired con- 
siderable distinction, and executed several works 
for the churches and public edifices at Rome. In 
the pontifical palace of Monte Cavallo is a fine pic-, 
ture by him. representing St. Gregorio, and in the 
church II Nome S,S. di Maria an altar-piece of the 
Death of St. Joseph. He died in 1768, He had 
a brother named Giuseppe, who possessed excel- 
lent talents, but died young at Rome in 1765, be- 
fore his powers were matured. 

POZZI, Rocco, an Italian engraver, who flour- 
ished about 1750. He engraved some of the plates 
for the Museo Fiorentino, and others for the Anti- 
quities of Herculaneum, published at Naples. 

POZZO, Andrea, an eminent painter and ar- 
chitect, born at Trent in 1642. After learning the 
elements of painting under two indifferent artists 
in his native city, he went to Milan, where, by as- 
siduously studying the works of the best masters, 
aided by the strength of his own genius, he made 
such progress as to be considered a young artist 
of great promise. But, falling into vicious compa- 
ny, he became extremely dissolute, until, disgusted 
by his course of life, and afiected at the discourse 
of an eminent preacher, he resolved to retire from 
the world, and at the age of 23 joined the Society 
of the Jesuits, who, knowing his talents for paint- 
ing, placed him under the instruction of Lodovico 
Scaramuccia. by whose precepts he acquired a grand 
and magnificent style of composition. He after- 
wards visited Rome' and Venice, and greatly im- 
proved his design and coloring. At Rome, par- 
ticularly, he diligently studied the works of Raf- 
faelle, and other great masters; also the most su- 
perb edifices of that metropolis; so that he acquired 



POZZ. 



731 



POZZ. 



a profound knowledge of architecture and perspec- 
tive. He painted both in oil and fresco, and exe- 
cuted many works at Kome, Genoa. Turin, and 
other places, chiefly for the churches of his order, 
which gained him the reputation of one of the 
ablest artists of the time. His pictures are com- 
posed in a grand style, the figures elegantly de- 
signed, the coloring rich and harmonious, and the 
whole enriched with noble edifices, or grand per- 
spectives. Few artists have excelled him in archi- 
tecture and perspective, the principles of which he 
perfectly understood, and published an elaborate 
treatise on them. The Emperor Leopold I. invi- 
ted him to Vienna, where he executed many ad- 
mired works, and painted noble portraits of that 
monarch and the Archduke Joseph. 

Pozzo not only excelled in history, but in por- 
traits and landscape. He acquired such a wonder- 
ful facility of operating, especially in fresco, that 
Giro Ferri used to say that, while the horses of 
other painters moved at a slow pace, those of 
Pozzo were always on the gallop. Yet he did not 
despatch his work too hastily, nor until he was sat- 
isfied with his performance. Among his best 
works in oil are St. Francesco Borgia, in the church 
of II Gesij at Rome ; the Wise Men's Offering, at 
Vienna ; and four pictures from the Life of Christ, 
in the church of the Congregazione de' Mercanti. 
at Genoa. Lanzi says these last named pictures 
are executed in his best manner, and that " he imi- 
tated Rubens in those beautiful and playful lights 
which seem to irradiate the composition." He 
was more eminent and greatly distinguished in 
fresco. The ceiling of the church of S. Ignatius 
at Rome is regarded as one of the ablest produc- 
tions of his time, not only for its ingenuity and 
copiousness oi composition, and brilliancy of color- 
ing, but for its animated freedom of execution. 
His portrait, painted by himself, is in the Floren- 
tine Galler}^. 

As an architect, Pozzo gained some distinction, 
and executed, among other works, the altar of S. 
Ignazio in the church del Gesu at Rome ; and the 
altar of St. Luigi Gonzaga in S. Ignazio. The for- 
mer is said to be the richest altar in Rome, or in 
all Europe, He died at Venice in 1709. 

POZZO, Dario, a painter of Verona, who died 
in 1652. aged about 60, according to Lanzi, though 
others say in 1632. He painted a few excellent 
works for the churches at Verona and Urbino. 
He was learned in his profession, and instructed 
several pupils, among whom was Claudio Ridolfi, 
called also Claudio Veronese. 

POZZO, Isabella dal, a paintress of whom 
little is known. There is a beautiful picture by 
her. representing the Virgin and Infant with seve- 
ral Saints, in the church of S. Francesco at Turin 
bearing her name, and the date 1666. According 
to Lanzi, there were few better artists at Turin, at 
the time she flourished. 

POZZO. Matteo dal, a painter of Padua, and 
a pupil of Squarcione, who flourished about 1480. 
Little is known of him, and his works have most- 
ly perished. 

POZZO, CoNTE Girolamo dal, an eminent 
Italian architect, born at Verona in 1718. Accord- 
ing to Milizia, he combined noble descent with a 
good education, an excellent disposition, and supe- 
rior talents. He studied philosophy and the fine 
arts under the brothers Don Pietro and Don Gir- 



olamo Ballerini, after which he applied himself to 
architecture ; and by designing the antique with 
great care, assisted by the writings of Vitruvius, 
Palladio, and Scamozzi. he became an excellent ar- 
chitect. Milizia says that he endeavored to im- 
prove the extravagant fashion of the 18th century, 
and to establish a beautiful style after the antique. 
His style is a mixture of Sanmicheli and Palla- 
dio ; his principal members are never broken ; his 
ornaments are always well adapted ; and his edi- 
fices are distinguished for grandeur and harmony 
of effect. Among his principal works is the ele- 
gant villa of the Counts Trissino, in the Vicentinc, 
situated on a hill, and surrounded with beautiful 
gardens. The Count dal Pozzo wrote several 
works on Architecture, among which is a treatise 
entitled Degli Ornamenti delV Architettura Civ- 
ile secondo gli Antichi ; also another, Sopra i 
Teatri degli Antichi e sul Idea c/' un Teatro 
adatto aW Uso Moderno. He was celebrated for 
his literary attainments throughout all Europe, 
and was chosen associate of the academies at Par- 
ma and Bologna. He died in his prime, but Mi- 
lizia does not mention the exact date. 

POZZO, Juan del, a Spanish architect, who 
flourished about 1450. He was a Canon of 
the Cathedral at Cuenca. and the founder of the 
Dominican convent of St. Paul, near that city. He 
was principally distinguished for the celebrated 
bridge near the convent, over the river Huexar. 
It is admirably constructed, and with such solidi- 
ty as to appear like a Roman work. It is 350 feet 
long, with five arches ; the middle piers 150 feet 
high. Juan del Pozzo had a relative, named 
Pedro del P., who erected the convent of the Je- 
suits at Cuenca. now that of the Interpreters. 

POZZOBONELLI, Giuli and, a Milanese paint- 
er, who flourished in the latter part of the 16th 
century. Lanzi says he was a good artist, and ex- 
ecuted several works which approach the best of 
the Cerani. He was living in 1605. 

POZZOSERRATO, Lodovico, called also Lo- 
Dovico Pozzo, and da Trevigl This artist was 
a native of Flanders, and was called Lodovico da 
Trevigi, from his long residence in that city. It is 
said that his family name was Toeput. He was 
cotemporary with Paul Brill, who then resided at 
Venice, and' his landscapes were often put in com- 
petition with those of that master, and were some- 
times preferred to them. Lanzi says, "he was 
equal to Brill in the representation of distant ob- 
jects, and is more pleasing and select in the varia- 
tions of his clouds and distinctions of fight." No- 
thing can be finer than his representations of the 
rising and the setting sun, and the degradation of 
tint in his skies and distances. He painted land- 
storms and tempests with uncommon grandeur 
and effect. He was also qplebrated for his altar- 
pieces. He resided a long time at Trevigi, wheie 
he flourished, according to Federici, about the 
beginning of the 17th century, and left many 
of his finest works. He died at Trevigi, aged 
60 years ; the exact time is not known, al- 
though he was living in 1604, as appears from 
the date upon one of his pictures at Trevigi ; 
and according to the Gtiida di Rovigo he paint- 
ed in that city as early as 1587. As his name is 
unknown in his own country, it is probable that 
he passed most of his life in Italy. 

POZZUOLI. GiovannI; a native of Carpi, an 



PRAD. 



732 



PRAX. 



eminent worker in scagliola, who studied under 
Annibale Griffoni. Lanzi says that, in conjunc- 
tion with Giovanni Massa, he executed some won- 
derful specimens of this art in his native place, 
and in the adjacent cities of Guastalla, Novellara, 
and elsewhere. He died about 1734. See del 
Conte and Gio. Massa. 

PRADIER, Charles Simon, a Swiss engraver, 
born at Geneva about 1790. He went to Paris, 
and ' studied under the celebrated Desnoyers. 
Among his principal plates are several landscapes, 
and a number of beautiful plates after the Italian, 
French, and Flemish masters, among which are 
La Vierge aux Ruines. after Raffaelle ; Cupid and 
Psyche, Virgil reading the ^neid to Augustus. 
Zephyr caressing Flora, and several portraits, af- 
ter Gerard; Raffaelle and Fornarina. and Antio- 
chus, after Ingres. He was living in 1841. 

PRADO, Blas de. a Spanish painter, born at 
Toledo, according to Palomino, in 1497. He stud- 
ied under Alonso Berruguette, and executed some 
excellent works for the churches at Toledo, among 
which are several in the chapel of St. Bias, much 
injured by time and the dampness of the situation. 
There are also some fine pictures by him at Mad- 
rid, particularly a Descent from the Cross, in the 
church of San Pedro, which shows the hand of an 
able master. He also excelled in portraits, and 
was invited to the court of the Emperor of Mo- 
rocco, to paint the portrait of the daughter of that 
monarch, who munificently rewarded him. He 
died at Madrid in 1557. Others say that he 
studied under Francisco Oomontes, and that he was 
living in 1593, about which time he was sent to 
Morocco by Philip of Spam, for the purpose above 
mentioned ; and that there is an altar-piece by him 
in the church of the Minimes at Toledo, dated 
1591. Probably there were two artists of this name. 

PRAET, Stephen de, a Dutch engraver, who 
executed a few portraits in a neat, but stiff and 
formal manner. 

PRATA, Ranunzio, a Milanese painter, who 
flourished at Pavia about 1635. Lanzi says he 
executed some works for the churches in that city, 
which are highly commended. 

PRATO, Francesco de, a painter who flour- 
ished at Brescia about the middle of the 16th cen- 
tury. There is an altar-piece, highly commended 
by Oretti, in the church of S. Francesco at Bres- 
cia, representing the Marriage of the Virgin, sign- 
ed Francisci de Prato Caravajensis opus 1547. 
Lanzi thinks there w^ere two artists of this name. 

PRATO, Francesco del, a Florentine painter, 
who died in 1562. He was an eminent goldsmith, 
and an excellent artist in the inlaying of metals. 
He became inclined for painting when somewhat 
advanced in life, and studied under Francesco Sal- 
viati. He was soon able to execute cabinet pic- 
tures in the style of that master with great suc- 
cess, Vasari pronounces his Plague of the Ser- 
pents and Christ's Descent into Limbo '' most 
beautiful productions." Lanzi thinks that some 
of the cabinet pictures ascribed to Salviati were 
very probably executed by this artist. 

PRATT, Matthew, a native of Philadelphia, 
who went to London in 1764, and resided some 
time with Mr. West. In 1766 he exhibited a pic- 
ture called the American School, consisting of the 
portraits of West, himself, and other American ar- 



tists. He soon afterwards returned to his native 
city. 

PRAXITELES, one of the most eminent Grecian 
sculptors, was cotemporary with Euphranor, and 
flourished, according to Pliny, in the 104th Olym- 
piad, or B. C, 360. The place of his birth is not 
mentioned. He lived in the period immediately 
subsequent to the age of Phidias, but his genius 
took a different course from that character of eleva- 
tion and sublimity which distinguishes the works 
of the J^schylus of Sculpture. Praxiteles was the 
founder of a new school. His style was eminently 
distinguished for softness, delicacy, and high finish ; 
and he was fond of representing whatsoever in na- 
ture appears gentle, tender, and lovely. Conse- 
quently his favorite subjects were the soft and 
delicate forms of females and children, rather than 
the masculine forms of athletes, warriors and he- 
roes. Perhaps in no work were his peculiar abil- 
ities so well displayed as in the Venus of Cnidus, 
which, with the exception of the Olympian Ju- 
piter of Phidias, has received higher and more un- 
qualified enlogisms from ancient writers, than any 
other work of Grecian art. These two great ar- 
tists may therefore be considered, as standing at 
the head of their respective schools ; Praxiteles, 
the delicate and beautiful — Phidias, the grand and 
sublime. Praxiteles acquired great skill in ex- 
ecution, and is said to have had some peculiarities 
in finishing his marble. He is said to have de- 
clared that he considered those to be his best 
works which had undergone the process of cir- 
cumlitio by Nicias. As the latter artist was a 
painter, it seems probable that this work cannot 
mean, simply rubbing or polishing the statues, but 
that some very thin transparent varnish was laid 
over the surface of the marble after it had passed 
through the sculptor's hands. 

Praxiteles was eminent for his works both in 
bronze and marble, but he seems to have had the 
highest reputation for his skill in the latter. 
Among those in bronze, Pliny and Pausanias 
mention a statue of Bacchus, and one of a Satyr, 
so excellent, that it was called Periboetos, or, the 
Celebrated, He also made a statue of Venus; a 
statue of a Matron weeping ; and one of a Cour- 
tesan laughing, believed to be a portrait of the 
celebrated Thespian courtesan Phryne. His Apol- 
lo Sauroctonos (or the Lizard Killer), was the 
finest of his works in bronze, and was greatly dis- 
tinguished for purity of style, and graceful beau- 
ty of form. There is in the Vatican a well- 
authenticated marble copy of this celebrated work, 
which is justly considered one of the greatest 
treasures of that storehouse of art. Among the 
works in marble by Praxiteles, the famous Venus 
of Cnidus takes the preeminence. He executed 
two statues of that goddess, the one draped, and 
the other naked ; the people of Cos chose the for- 
mer; the Cnidians immediately purchased the 
latter. This work is mentioned by Lucian as the 
master-piece of Praxiteles ; and it is also the sub- 
ject of numerous epigrams in the Greek Anthol- 
ogy. Its fame was so great that travelers visited 
Cnidus on purpose to see it ; and Nicomedes, King 
of Bithynia, offered to assume the payment of a 
heavy debt for the Cnidians, on condition of their 
giving up this celebrated work. To their honor 
I be it said, they declined the offer. The original 
work was destroyed at Constantinople, in the fifth 
century, in the dreadful fire which consumed so 



PEEC. 



733 



PREI. 



many of the admirable rnonuraents of art, collect- 
ed in that city. Some idea of the action and gen- 
eral composition of this statue, may be gained from 
the figure of Venus on the ancient coins of Cniclus. 
Pliny mentions two figures of Cupids, as among 
his finest works ; and he places one of them quite 
on an equality Vvnth the Yenus of Cnidus. It was 
made of Parian marble. A Cupid in the Vatican 
is thought to be a copy of this work. Pausanias 
i-elates an anecdote in regard to this statue, which 
may properlj^ be introduced here, as evincing that 
the opinion of Praxiteles in regard to it, coincided 
with that of the ancient writers, forming a strong- 
er testimony to the merits of the work. '' Phryne, 
whose influence over the sculptor seems to have 
been considerable, was anxious to possess a work of 
Praxiteles, and when desired to choose for herself, 
not knowing which of his exquisite works to select, 
devised the following expedient. She commanded 
a servant to hasten to him. and tell him that his 
workshop was in flames, and that, with few ex- 
ceptions, his works had already perished. Prax- 
iteles, not doubting the truth of the announcement, 
rushed out in the greatest anxiety and alarm, ex- 
claiming 'all is lost, if my Satyr and Cupid are 
not saved !' The object of Phryne was answered ; 
she confessed her stratagem, and chose the Cupid." 
Among the other works of Praxiteles, were two 
statues of Phryne ; one of marble, placed in the 
Temple of Venus at Thespias ; the other of bronze, 
gilt, dedicated by her at Delphi, where it had the 
honor of a distinguished place. Praxiteles appears 
also to have executed some works of more extend- 
ed character and composition, among which were 
some sculptures that decorated the pediments of 
the Temple of Hercules at Thebes, representing 
part of the labors of that demi-god. Praxiteles 
had two sons, Cephisodotus and Timarchus, both 
of whom were artists. 

There was a painter of inferior note named 
Praxiteles, mentioned by Pliny ; also a chaser and 
modeller, living at a later period. 

PRECIADO, or PREZIADO, Don Francisco, 
a Spanish painter, born at Seville in 1713. After 
studying with Domingo Martinez, he went to 
Rome and entered the school of Sebastiano Conca, 
whose style he adopted. According to Lanzi, he 
resided at Rome the greater part of his life, and 
died there in 1789. He painted some good works, 
particularly a Holy Family, entirely in the style 
of Conca, for the church of the Forty Saints. He 
was appointed painter of the Chamber to Ferdinand 
VI., and was for many years director of the Span- 
ish Academy at Rome. 

PREGLTASCO, Giacomo, an Italian architect, 
born in Piedmont in 1757. He gained great dis- 
tinction in theatrical architecture, particularly by 
restoring the theatre of Canobiana, at Milan ; also 
by erecting the theatre at Monza, the grand thea- 
tre at Naples, and several others. Pregliasco was 
eminent for his designs of gardens, in the English 
style, evincing an original and excellent taste. He 
died in 1825. 

PREISLER, John Daniel, a German painter 
and engraver, who flourished at Nuremberg in the 
latter part of the 17th. and first part of the 18th 
centuries. He attained little distinction, but had 
several sons whom he instructed in his profession. 

PREISLER, John Justin, the eldest son of 
the preceding, born at Nuremberg in 1698 ; died 



in 1771. He was instructed in design by his fath- 
er, and afterwards went to Italy, where he resided 
eight years. On his return to Nuremberg he ac- 
quired considerable reputation as a painter, and 
his picture of the Entombment of Christ, in one of 
the churches, is commended. He is better known 
however, as an engraver, and executed several 
plates after the French and Flemish masters, 
among which are the following : 

The Four Elements ; after Bouchardon. The Four 
Quarters of the World ; do. A set of fifty-plates from the 
designs of Bouchardon ; after the principal antique stat- 
ues at Rome. Part of the plates from the ceilings painted 
by Rubens, in the church of the Jesuits at Antwerp, with 
the frontispiece, containing the Portraits of Rubens and 
Vandyck. 

PREISLER, George Marttn. was the second 
son of John Daniel P., born at Nuremberg in 
1700. He accompanied his brother to Italy, and 
resided there several years. On returning to Ger- 
many, according to Huber, he painted some por- 
traits, but afterwards devoted himself to engraving, 
in which he acquired considerable eminence. He 
was employed to engrave some of the plates after 
the statues in the Dresden Galler3^ and also by 
Stosch, for his work on Antique Gems. He en- 
graved a set of twenty-one plates from the designs 
made by John Justin Preisler, after the antique 
and modern statues at Rome and Florence. He 
also executed many detached plates of portraits 
and other subjects, a list of which ma^^ be found 
in Nagler's Kunstler-Lexicon. He died in 1754. 

PREISLER, John Martin, was the third son 
of John Daniel P., born at Nuremberg in 1715. 
He first studied with his brother George Martin 
P.. and made considerable progress until 1739, 
when he visited Paris, and became a pupil of George 
Frederick Schmidt. In 1744 he was invited to the 
court of Denmark, appointed engraver to the King, 
elected a member of the Academy of Copenhagen, 
and resided in that city fifty years. He died there 
in 1794. He executed many plates of portraits 
and other subjects, a list of which is given by Na- 
gler. The following are among the best : 

PORTRAITS. 

Frederick V., King of Denmark and Norway ; Tilo, 
■phix. Christian VI., King of Denmark ; Wahl, pins. 
Jacobus Benzelius, Episcopus Upsal. 1751. Otto, Count 
de Thot ; afier Kraft. John Wiedewelt, Sculptor to the 
King; P.' Alst, pinx. 1772. Klopstock ; Juel, pinx. 
Preisler, sc. 1782. Equestrian Statue of Frederick V. ; 
after a bronze by J. Saly. The Cardinal de Bouillion ; 
after Rigaud. 

SUBJECTS AFTER VARIOUS MASTERS. 

David and Abigail ; after Guido. Semiramis putting 
the Crown of Ninus on her head ; do. Christ bearing his 
Cross; after P. Veronese. These two prints were for the 
collection of the Dresden Gallery. Ganymede taken up 
by the Eagle of Jupiter ; after Pierre. A Bacchanalian 
subject; (io. Laban seeking for his Gods ; after Cazes. 
The Triumph of David ; after Trevisani. Jonas preach- 
ing to the Ninevites ; after Sal. Rosa. The Madonna 
della Seggia ; after Rafaelle. 

PREISLERjYalentine Daniel, was the young- 
est son of John Daniel P., born at Nuremberg in 
1717. He executed some indifferent portraits and 
other subjects in mezzotinto, of which Nagler gives 
a list of twenty-six pieces. He engraved some 
portraits of the Burgomasters of Zurich, after the 
designs of J. C. Fiiessli, which, from some caprice, 
he signed with the name of S. Walch. He also 
engraved some portraits and other subjects after 



PREL 



734 



PRES. 



pictures in the collection of the King of Denmark. 
He died about 1765. 

PREISLER, John George, was the son of John 
Martin P.. born at Copenhagen in 1757. After 
receiving instruction from his father, he went to 
Paris, and studied with John George Wille. He 
engraved some plates in the neat, finished style of 
that master, and when elected a member of the 
Academy at Paris in 1787, he engraved for his re- 
ception piece, Icarus, after Vien. He died in 
1808. 

PRENNER, Anthony Joseph von, a German 
engraver, born at Vienna about 1698. His in- 
structor is not mentioned, but after the death of 
Mannl, he undertook to engrave all the pictures 
in the Imperial Collection, in conjunction with 
Andrew Altamont, Francis Stampart, John Adam 
Schmutzer, and others. These plates, 160 in num- 
ber, were published at Vienna in four vols., each 
containing forty prints, under the title of TAea- 
tr-um artis Pictorice, f c, 1728, 1729, 1731, and 
1733. He also engraved a few portraits ; a com- 
plete list of his works may be found in Nagler. 
He died in 1761. 

PRENNER, George Caspar von. was the son 
of the preceding, born at Vienna about 1722. Af- 
ter learning the rudiments of art under his father, 
he went young to Ital}'", and studied and practised 
painting at Rome for many years. There is an al- 
tar-piece by him in the church of S. Dorotea. He 
executed a few spirited etchings, some of them 
neatly finished with the graver, after his own de- 
signs and those of other masters. He died about 
1766. 

PRENNER, John Joseph von, is said to have 
been the your\gest son of Joseph Anthony P. Af- 
ter studying engraving with his father, he went 
to Italy, where he resided many years, and en- 
graved a part of the plates of the Museo Fioren- 
tino. He also engraved a set of forty-five plates 
after the paintings in the Castle of Caprarolla. by 
Taddeo Zuccaro, representing the most memorable 
actions of the Farnese family, entitled, Illustrifat- 
ti Farnesiani, published at Rome in 1744 and 
1746. Nagler does not mention this engraver, but 
gives the works above mentioned to George Cas- 
par P. 

PRESTEL, John Gottl[Eb, a German painter 
and engraver, born at Grunebach, in Suabia, in 1739. 
After learning the rudiments of art in his own 
country, he went to Venice, where he studied 
painting under Giuseppe Nogari, and engraving 
under Joseph Wagner. On returning to Ger- 
many, he devoted himself almost entirely to en- 
graving, and executed a great number of plates in 
various styles, most of them spiritedl}^ etched, and 
finished in aquatinta. He resided chiefly at Nu- 
remberg, and died at Frankfort in 1808. Nagler 
calls him Johann Theophilus, or Gottlieb and 
Amadeus, and gives a list of 140 prints by him. 
principally after the Flemish and Dutch masters. 

PRESTEL, Maria Catherine, was the wife 
of the preceding artist, and assisted him in many 
of his best works. Some disagreement causing a 
separation, she went to London, and practised en- 
graving there, until her death in 1794. Nagler 
gives a list of seventy-three prints by her, after the 
Italian. Dutch, and German masters, executed in 



the style of her husband, in a delicate and pictur- 
esque manner. 

PRESTEL, Catherine, was the daughter and 
scholar of John G. P. She executed some plates 
in his style. 

PRESTON, Thomas, an English engraver, who 
flourished about 1730. He executed a few book 
plates, possessing little merit. 

PRETE, Genoese. See Galantino. 

PRETI, Cav. Mattia, called II Calabrese, an 
eminent Italian painter, born at Taverna, in Cala- 
bria, in 1613. After studying some time at Parma 
and Modena, he went to Rome and studied a short 
time under Gio. Lanfranco. The reputation of 
Guercino induced him to visit Cento, for the benefit 
of his instructions. Lanzi observes, that Cala- 
brese was accustomed to boast that he had studied 
under Guercino, that he had visited almost every 
country, and seen and studied the best productions 
of every school, both in and beyond Italj^. " Hence 
in his painting he may be compared to a man whose 
travels have been extensive, and who never hears 
a subject started, to which he does not add some- 
thing new ; and indeed the drapery, ornaments, and 
costumes, of Preti, are highly varied and original. 
He confined himself to design, and did not attempt 
coloring till he was twenty-six years old. In de- 
sign he was more vigorous and robust, than deli- 
cate, and sometimes inclines to heaviness. In his 
coloring he was not attractive, but had a strong 
impasto, a decided chiaro-scnrjo, and an ashy tone, 
well adapted to his mournful and tragical subjects ; 
for, following the bent of his genius, he devoted 
himself to the representations of martyrdoms, 
slaughters, pestilence, and the pangs of a guilty 
conscience. It was his custom, says Pascoli, to 
paint at the first conception, with fidelity to na- 
ture, and he did not take milch pains afterwards 
in correction, or in the just expression of the pas- 
sions." 

Preti executed a multitude of works for the 
churches and public edifices, as well as the private 
collections of all the principal cities of Italy — at 
Rome, Florence, Naples, and especially at Bologna. 
His fame reached Malta, whither he was invited by 
the Grand Master, Cotoner, who commissioned 
him to decorate the cathedral with some frescos, 
representing subjects from the life of St. John the 
Baptist, which he executed in such admirable 
style, that Cotoner conferred on him the honor of 
knighthood. He afterwards passed some time at 
Naples, and executed some considerable works in 
fresco for the church of the Carthusians. Accord- 
ing to Dominici, in conjunction Avith other eminent 
professors. Preti endeavored to resist the innova- 
tions of Luca Giordano, but the unprecedented 
popularity of that artist triumphed over all his 
cotemporaries. Disgusted at the perversion of 
taste, Preti returned to Malta, where he passed 
the remainder of his days. His figures are gen- 
erally half-size, like those of Guercino and Cara- 
vaggio. His oil pictures in Italy are almost in- 
numerable, as he had great readiness of invention, 
a remarkable facility of hand, and lived to an ad- 
vanced age. Wherever he went, he was accustomed 
to leave some memoi-ials of his talents ; sometimes 
in the churches, but more frequently in the private 
collections. There are many of his works in the 
palaces and collections of the nobility at Bologna, 
as well as some in the churches. One of his most 



PRET. 



735 



PREV. 



jBnished altar-pieces is St. Bernardino preaching, in 
the cathedral at Siena. He painted three pictures 
in the church of S. Andrea dell a Valle, at Rome, 
representing subjects from the life of that saint; 
but unfortunately for his fame in that city, they 
were placed immediately under the Four Evange- 
lists in the angles, so admirably painted by Dom- 
enichino. It is not considered derogatory to his 
character to allow that he was unequal to such 
competition. He died at Malta in 1699. 

PRETI, Gregorio, was a younger brother and 
pupil of the preceding, whose manner he followed. 
He painted both in oil and fresco, but did not ac- 
quire much distinction. There is a fresco by him 
in the church of S. Carlo de' Catenari, at Rome. 

PRETI, Francesco Maria, an eminent Italian 
architect, born at Castel Franco, in Trevigiano, in 
1701. He was of noble descent, and received an 
excellent education in the college of Brescia. Af- 
ter completing his studies, he returned to Castel 
Franco, and decided to study architecture. He 
received much important information from the 
Count Giacomo Riccati, and applied himself with 
such assiduity, that in a short time he designed 
the church of S. Liberale, the cathedral of Castel 
Franco, which received general approbation. En- 
couraged by this success, Preti began to study 
the ancient and modern writers, and visited Padua 
to pursue a course of instruction. He proposed 
to collect all the rules of the best authors, adding 
his own reflections, to fix the harmonic medium 
of height, to supply what was wanting to a com- 
plete theor}'- on that subject, and to write a 
treatise upon it. He also intended to explain 
by a series of designs, all that had been re- 
duced to practice ; also the method of preserving 
unity, solidity, harmony, elegance and majesty, in 
architectural works. He made a great number 
of designs for this treatise, which must have oc- 
cupied him several )'^ears ; but in consequence of 
his many commissions, and his delicate state of 
health, it was not published until after his death, 
in 1780, at Venice, under the title of Elementi di 
Architettura. His drawings were not printed 
with this edition ; which is much to be regretted, 
as they contained solutions of several architec- 
tural difficulties, arranged with the greatest con- 
venience and beauty. 

Preti made many designs for palaces, rural 
dwellings, and additions to churches, which Mi- 
lizia says are distinguished for simplicity, cor- 
rectness, and majesty. Among the principal, are 
the fa9ade of S. Giustina, at Padua ; the parochial 
church of Valla, in the Ionic order ; that of Sal- 
vatronda, in the Doric order, of the form of a 
Greek cross ; those of Caselle and of Tombolo, 
in the Corinthian order; and a theatre at Castel 
Franco. 

According to Milizia, Preti practised the art 
merely from the love of it, never receiving any re- 
compense for his services. He was liberal and 
sincere in conversation, the friend of every pro- 
fessor of art, and distinguished for his integrity 
and honor. He died in 1774. 

PREVITALE, Andrea, an eminent painter of 
Bergamo, whose works date, according to Tassi, 
from 1506 to 1528. He was one of the most dis- 
tinguished disciples of Giovanni Bellini, whose dry 
manner he followed at first, but afterwards im- 
proved his design and coloring, and nearly ap- 



proached the moderns, as is evident from his St. 
John preaching, in the church of S. Spirito, and his 
St. Benedetto, in the cathedral at Bergamo. One of. 
his finest works is the Annunciation, at Ceneda, 
so beautifully colored and full of expression, that, 
according to Ridolfi, it was the admiration of Ti- 
tian, who alwaj^s, in passing through the place, 
contemplated it with rapture, charmed by its ex- 
pressive spirit of devotion. Lanzi saj^s his Ma- 
donnas are held in the highest estimation ; in the 
features he appears less a disciple of Bellini, than 
of Raffaelle, or da Vinci. Two of them, surround- 
ed with figures of otlier saints, are in private col- 
lections at Milan. There are several of his works 
in the Carrara Gallery. Some of his pictures are 
signed Andreas Ber. Pin., i. e., Andreas Bergo- 
mensis, Pinxit. He died of the great plague in 1528. 

PREVOST, Benoit Louis, a French engraver, 
born at Paris, according to Nagler, in 1740. He 
studied under Jean Ouvrier, and engraved a variety 
of vignettes and other book plates, in a clear, neat 
style, among which are a set of twelve pieces for 
the Abrege chrojiolosrique du President Henaidt, 
Nagler describes twenty-six prints by him. He 
died in 1804. 

PREVOST, or PROVOST, Nicolas, a French 
engraver, who, according to Florent le Comte, stud- 
ied under Claude Vignon, flourished about 1700, 
and etched six small plates. The Abbe de Ma- 
rolles calls him Provost, in his catalogue of French 
artists. Dumesnil is of opinion that he is the ar- 
tist of that name who painted the Decollation of 
St. John in the church of Ndtre Dame, at Paris. 
He also mentions an etching of a Holy Family, 
signed N. Preuost, Jn. 

PREVOST, Pierre, a French painter, born at 
Montigni, near Chateaudun, in 1764. He visited 
Paris, studied under Valenciennes, and painted 
a number of easel pictures of landscapes, with ru- 
ins, in the style of his instructor, evincing consid- 
erable talent. In 1797, Robert Fulton, the cele- 
brated Ameiican inventor of the steamboat, visited 
Paris, and projected the first panorama ever ex- 
hibited in that city. Prevost determined to enter 
upon this novel branch of the art, and soon devo- 
ted himself to it with great assiduity. According 
to French authority, he designed all his views on 
the spot, and carried the art to the highest per- 
fection. He first produced his panorama of the 
city of Paris, and afterwards those of Rome, Na- 
ples, Amsterdam, Bologna, Tilsit, Wagram, Ant- 
werp, and London. In 1817 he visited the East, 
and painted his fine panoramas, of Athens and Je- 
rusalem. While engaged upon a design of the 
city of Constantinople, he was prostrated by dis- 
ease, and died, in 1823. 

PREZ, F. des, a French engraver on wood, who 
flourished at Paris about 1573. His prints possess 
little interest. 

PRICE, an obscure English engraver, who ex- 
ecuted a few portraits in a very indifferent man- 
ner. 

PRICKE, Robert, an engraver mentioned by 
Vertue, as one of the pupils of W. Hollar, while 
that artist was in England, whose style he en- 
deavored to imitate. He engraved the plates for 
a book on architecture by Pierre le Meurs. 

PRIEST, Thomas, an English landscape paint- 
i er, who lived at Chelsea about 1740, and chiefly 



PEIM. 



736 



PRIM. 



painted views on the Thames. He also etched and 
published a set of eight views of Chelsea, Mort- 
lake, and other places, executed in a rather coarse, 
but spirited style. 

PRIMATICCIO, Francesco, an eminent paint- 
er, born at Bologna in 1490. He was of a noble 
family, and being a younger son, was intended by 
his father for commercial pursuits ; but manifest- 
ing a strong inclination for art, he was permitted 
to study with Innocenzio da Imola, and afterwards 
with II Bagnacavallo, under whom he showed 
great talents, and made extraordinary progress. 
The fame of Giulio Romano drew him to Mantua, 
and he entered the school of that master, where 
he continued six years, and assisted him in his 
great works in the Palazzo del Te. He was the 
ablest of all Giulio's scholars, and when Francis 
I. applied to the Duke of Mantua for an artist to 
decorate the palace at Fontainbleau, he recommend- 
ed Primaticcio. On arriving in France, he found II 
Rosso engacred in the King's service, and invested 
with the office of Superintendent of the buildings. 
A violent animosity sprang up between these emi- 
nent artists, to terminate which the King sent Pri- 
maticcio to Ttal}'', to make a collection of antique 
statues and other works of art. During his ab- 
sence II Rosso, called by the French Maitre Roux. 
died, and on returning he succeeded to his employ- 
ment. He then commenced the great works in 
the Royal Palace at Fontainbleau, for which he 
had first been invited to France. In the ceiling of 
the great gallery he represented, in fifteen compart- 
ments, the Gods of Homer ; and on the sides, in 
fifty-eight smaller compartments, the Adventures 
of Ulysses, taken from the Odyssey. These stu- 
pendous works were chiefly executed from his de- 
signs by Niccolo Abati, called also dell' Abati, as 
mentioned in the life of that painter, assisted by 
other artists, among whom was Ruggiero Ruggieri, 
the pupil of Primaticcio, whom he had brought 
with him from Mantua. These works gave so 
much satisfaction to the king that he munificently 
rewarded him, and bestowed on him the revenue 
of the Abbey of St. Martin, at Troj^es in Cham- 
pagne, worth 8.000 crowns a year, which he en- 
joyed through life. After the death of Francis, he 
continued in the service of his successors, Henry 
II.. Francis II., and Charles IX. 

Few of the works of Primaticcio now remain. 
He passed most of his life in France, and all his 
great pictures before mentioned, in the palace at 
Fontainbleau. were unnecessarily destroyed in 
1738. when that edifice was repaired, through the 
ignorance and barbarism of the superintendent of 
the works, greatly to the regret of every lover of 
art. All that remains of his pictures at Fontain- 
bleau are the frescos in the Saloon of the Guards, 
now called the apartment d'Estampes, representing 
the History of Alexander the Great. 

There is much discrepancy about the real mer- 
its of this great artist. Some writers, who do not 
hesitate to give to Raffaelle the full merit of all 
the works executed from his designs by his nu- 
merous assistants, give a great share of the glory 
of the works at Fontainbleau to Primaticcio's as- 
sistant and coadjutor. Niccolo dell' Abati, although 
the latter had no hand in designing them. Their 
other objections are thus briefly summed up by 
Prof. Phillips, in one of his lectures : " Primatic- 
cio and Niccolo delP Abati wrought in the same 



brilliant and free style of design and composition ; 
masterly, but false ; able in art, but at variance 
with nature ; manifesting far more science than 
feeling; freedom and ease of design being re- 
garded by them as most worthy of attention." 
It is conceded, however, by the best authorities, 
that, though occasionally artificial, and somewhat 
incorrect from his expeditious manner, Primaticcio 
was distinguished for a fertile and inventive gen- 
ius, judicious composition, a learned design, vigor- 
ous coloring, and a fine expression in his heads. 
It is also admitted that France was greatly in- 
debted to him for the introduction of a better taste 
both in painting and sculpture. Vasari says, " the 
first stuccos and the first works in fresco of any 
consideration in France, took their rise from Pri- 
maticcio ; he supplied the court with a rich collec- 
tion of ancient statues, and moulds of many excel- 
lent sculpture, from which he afterwards took casts 
in bronze." Yet. while he mentions that the King 
of France gave II Rosso a pension of 1,000 crowns, 
he omits the fact that he was so impressed with 
the value of the services of Primaticcio that he 
rewarded him with a rich benefice of 8,000 
crowns, for which omission Malvasia severely tax- 
es him with malice, and Lanzi says he leaves the 
motives of Vasari to the judgment of his readers. 
The fact that Primaticcio was sent to Italy by the 
King to make a collection of antiques, shows the 
confidence that monarch reposed in his abilities. 
He ably acquitted himself, and brought back one 
hundred and twenty-five statues, busts, and muti- 
lated figures ; he also took moulds of the most 
celebrated antiques which he could not purchase, 
as the Laocoon, the Tiber, the Nile, Ariadne, Com- 
modus, and others, which he subsequently cast in 
bronze. The works he conducted in France have 
been fully described by Felibien, who adds that 
" the geniuses of France are greatly indebted for 
many exquisite productions to Primaticcio and M. 
Niccolo (delP Abati). who are entitled to the fame 
of first introducing Roman taste into France, with 
all the beau ideal of ancient painting and sculpture." 
His works are exceedingly rare in Italy. In the 
Ducal palace (Palazzo Te) at Mantua, are the ex- 
quisite stucco friezes so highly commended by Va- 
sari, and a few pictures, the authenticity of which 
is questioned by Lanzi, who mentions only one 
genuine work by him in Italy. His pictures, in- 
deed, ai-e of the utmost rarity in Italy, even in Bo- 
logna itself. In the grand Zambeccari Gallery 
there is a Concert by him, with three female fig- 
ures, altogether enchanting ; the forms, the mo- 
tions, the coloring, the taste of the contours, and 
the easy and chaste foldings of the drapery, all 
combined with a certain originality pervading the 
whole composition, are well calculated to attract 
and rivet the eye at the first moment. 

Primaticcio was also acquainted with architec- 
ture, and made a design for the palace at Meudon; 
but he never practised the art to any extent. He 
died at Paris in 1570. See Niccolo Abati. 

PRTMI. Gio. Battista, a Roman painter, who, 
according to Soprani, was a scholar of Agostino 
Tassi. He painted landscapes in the style of that 
master with much success, and executed many 
works for the collections. He settled at Genoa, 
where he died, in 1657. 

PRIMO. See Gentile. 

PRINA, Pietro FRANCESCO; a painter of No- 



PRIN. 



737 



PRIW. 



vara, highly commended by Orlandi, as an excel- 
lent ornamental fresco painter. He excelled in 
perspective and architecture, and was engaged in 
several extensive works at Milan and other places. 
He was living in 1718. 

PRINCE, Jean Baptiste le, a French painter 
and engraver, born at Metz in 1733. He went to 
Paris and studied painting, first with J. M. Yien, 
and afterwards with Fran9ois Boucher. After ac- 
quiring considerable reputation at Paris for his con- 
versation pieces, he accompanied the Abbe Chappe 
to Siberia, when that astronomer went to make 
observations on the transit of Venus. During an 
absence of several years he visited various parts of 
the Russian Empire, designing the various cos- 
tumes, and taking sketches of the most remarka- 
ble views of scenery in the country through which 
he passed. On visiting St. Petersburg, he paint- 
ed a large picture of that city, of which he after- 
wards published an engraving. On returning to 
Paris with his extensive collection of drawings, he 
was very favorably received, painted many admira- 
ble pictures, and engraved above 160 plates from 
his own designs, a list of which may be found in 
Nagler's Lexicon. He was elected a member of 
the Royal Academy of Paris, and painted the cere- 
mony of a Russian Baptism for his reception piece. 
He excelled in conversation pieces, interiors of 
guard-rooms, pastorals, rural festivals, &c., all 
which subjects he engraved. His prints are spir- 
itedly etched, and usually finished in aquatinta. 
His works were so much admired that several of 
his countrymen occupied themselves in engraving 
from his designs. He died in 1781. 

PRINS, J. H,, a Dutch painter, born at the 
Hague, in 1758. His parents, being in good cir- 
cumstances, intended him for the medical profes- 
sion ; but having a passion for painting, and being 
strongly opposed by his friends, he ran away from 
home, and traveled through Brabant and France, 
studying and making numerous sketches and 
drawings of the places through which he passed. 
He subsequently returned to the Hague, but after- 
wards visited Amsterdam, Utrecht, and Leyden, 
and practised his profession for a time in each of 
those cities. He acquired considerable reputation, 
and his pictures are compared by the Dutch wri- 
ters to those of Berkheyden and Yanderheyden. 
There is not much resemblance, however, except 
in the subjects ; and, though his works have merit, 
they onl}" suffer by a comparison with the produc- 
tions of those admired painters. His pictures are 
generally of small size, and are faithful represent- 
ations of the cities of Holland. They are executed 
in a lively and spirited manner, with a pleasing 
effect. His figures are correctly designed and in- 
troduced with judgment ; the contrast of light 
and shade is striking, and the reflection of the ob- 
jects in the water is admirable. His pictures are 
so very minutely finished, that it appears as 
if each separate piece might be counted, even 
the bricks in his edifices — showing less of the art- 
ist than the artisan. Nagler gives a list of 12 
etchings by him, and says he was drowned in a 
canal in 1805. 

PRINS, B. M., a Dutch artist who flourished 
at Amsterdam about 1824, and painted landscapes 
and marines with considerable reputation. 

PRISCUSj AcciDS, a Roman painter, who flour- 



ished under Vespasian, and was employed by him 
in concert with Cornelius Pinus, to execute some 
works in the temple of Virtue and Honor. He is 
said to have approached the style of the ancients 
more closely than Pinus. 

PRIWITZER, John, a painter born in Hunga- 
ry, who went to England in the reign of James I.. 
and was entertained at his court, where he painted 
the portraits of many of the nobility, among 
which is that of Sir William Russell, at Woburn 
Abbey, dated 1627. 

PROBST, John Balthazar, a German engra- 
ver, born in 1673, acd died in 1748. He worked 
with the graver, in a neat but formal style, and 
executed a part of the plates after the antique 
statues in the Dresden Gallery, and several plates 
of beasts and birds in the menagerie of Prince 
Eugene, published in 1734. He also engraved 
some detached pieces, after the Italian and German 
masters. 

PROCACCINI, Ercgle, the Elder, a painter 
born at Bologna in 1520. There is much discrep- 
ancy among Italian authors as to the details of 
this artist's life ; but it is certain that, after acquir- 
ing distinction by executing many excellent works # 
for the churches of his native city, he settled at Mi- 
lan, and opened an academy, which became one of 
the most celebrated of his time. Besides his own 
sons, he educated some of the most distinguished 
artists of the Milanese school, among whom were 
Sammachini, Sabbatini, and Bertoja. Lomazzo ex- 
tols him as a successful follower of the graceful de- 
sign and admirable coloring of Correggio. Lanzi, af- 
ter pointing out the errors respecting him, says, " In 
my opinion, he appears somewhat minute in design 
and feeble in coloring, resembling the tones of the 
Florentines, a thing so common among his cotempo- 
raries as to make it no reproach to him. For the 
rest, he is more accurate, diligent, and pleasing than 
most artists of his age, and perhaps his over- 
diligence acted as an obstacle to him at Bologna, 
where the rapid Fontana bore the chief sway ; but 
this quality, besides exempting him from the man- 
nerism then beginning to prevail, rendered him an 
excellent preceptor, one of whose principal duties 
is found to consist in checking the inspiration of 
young artists, so as to ground them properly in 
the principles of art. and accustom them to preci- 
sion and delicacy of taste." The principal works 
of Ercole P. are in the churches at Bologna, the 
most esteemed of which are the Annunciation, in 
S. Benedetto; the Conversion of St. Paul, and 
Christ praying in the Garden, in S. Giacomo Mag- 
giore; St. Michel discomfiting the Rebel Angels, 
in S, Bernardo; and the Deposition from the 
Cross, in S. Stefano. There are also some of his 
works at Milan, and at Parma. He was living in 
1591. 

PROCACCINI, Cami^lo, was the eldest son 
of the preceding, born at Bologna in 1546. As 
there is considerable discrepancy among authors 
as to the merits of this artist, we prefer to 
copy at length from Lanzi, who always ably in- 
vestigates his subject, especially when there is any 
dispute. "He received his first instructions from 
his father, and often displays a resemblance in his 
heads, and in the distribution of his tints, though 
when he painted with care, he both warmed and 
broke them, as well as employed the middle col- 



PROC. 



738 



PROC. 



ors, in a superior manner. He studied other 
schools, and if we are to believe some of his biog- 
raphers, he practised at Rome from the models of 
RaiFaelle and Michael Angelo, besides being pas- 
sionately devoted to the heads of Parmiggiano, an 
imitation of which is perceptible in all his works. 
He possessed a wonderful facility, both in concep- 
tion and execution ; added to nature, beauty and 
spirit, always attractive to the eye, though not 
always satisfactory to the judgment. Nor is this 
surprising, as he threw off the reign of paternal 
instruction, and executed works enough to have 
employed ten artists, in the various churches at 
Bologna, Ravenna, Reggio, Piacenza, Pavia, and 
Genoa. He was called by many the Vasari, and 
others the Zuccaro of Lombardy ; although, to 
say the truth, he surpassed both these artists in 
sweetness of style and coloring. He was particu- 
larl}'- employed at Milan, a city boasting some of 
his finest productions, by which he obtained repu- 
tation there ; as well as many of his worst, by 
which he satisfied those who valued his name. Of 
his earliest works there, the most free from man- 
nerism are those adjoining the exterior of the or- 
^ gan at the Cathedral, along with various Myste- 
ries of Our Lady and two histories of David play- 
ing upon his harp. But he produced nothing at 
Milan equal to his Last Judgment, in the church 
of S. Procolo at Reggio, esteemed one of the finest 
specimens of fresco-painting in all Lombardy; and 
to his St. Roch adtniiiistering to the sick and dy- 
ing of the Plague — a picture which Malvasia says 
intimidated Ann i bale Oaracci. when he was com- 
missioned to paint a companion for it, to repre- 
sent that Saint distributing alms to the poor. The 
pictures produced by Camillo in the Cathedral of 
Piacenza, where the Duke of Parma had placed 
him in competition with Lodovico Caracci, whose 
genius was then matured, are well and carefully 
executed. He there represented the Coronation 
of the Virgin, surrounded with a very full choir 
of Angels, in whose forms he displays the most 
finished beauty. It was the part of Lodovico to 
represent other Angels around and opposite to the 
Coronation, and the Padri del Limbo. Though 
Camillo occupied the mo-^t distinguished part of 
the tribune, he was esteemed by spectators then. 
as he is now, the least worthy of the two." 
Though Procaccini, in this contest, was unequal to 
his powerful antagonist in the dignity of his design, 
the novelty of ideas, and expression of the heads, 
yet it is no mean proof of his abilities, that his 
pictures possess a powerful attraction, even in 
the neighborhood of so dangerous a competitor, and 
that they have elicited the applause of several trav- 
elers and historians. Other admired works by him 
at Milan are the Martyrdom of St, Agnes, in the sa- 
cristy of the Cathedral, and the ceiling of the Pa- 
dri Zoccolanti. where he represented the Corona- 
tion of the Virgin, surrounded by a beautiful 
Choir of Angels. His other most esteemed works 
are the Adoration of the Shepherds in the church 
of S. Francesco, and the Annunciation, in S. Cle- 
mente, at Bologna ; the Last Supper, in the fa9ade 
of the Cathedral, a grand composition, with fig- 
ures considerably larger than life; and the Cir- 
cumcision, in S, Domenico at Genoa, It is gene- 
rally admitted that Camillo P. possessed a fertile 
invention, and great facility of execution ; that his 
coloring, especially in frescos, was clear and vigor- 
ous ; that the airs of his heads were generally ex- 



pressive and graceful ; and that his draperies were 
cast with judgment and a noble taste; but his 
promptness and dispatch sometimes led him into 
incorrectness and extravagance, and he may be 
occasionally convicted of mannerisro. He died 
at Milan in 1626. He executed a few spirited 
etchings from his own designs, among which are 
the following : 

The Holy Family reposing, in which St. Joseph is repre- 
sented lying on the ground, resting on the saddle of the ass. 
Another Holy Family, in which St. Joseph is presenting 
an orange to the Infant. 1493. The Virgin suckling the 
Infant. The Transfiguration. St. Francis receiving the 
Stigmata. 1593. 

PROCACCINI, GiULio Cesare, was the second 
son of Ercole P., born at Bologna in 1548. After 
receiving some instruction from his father, he de- 
voted him.self to sculpture for some time with suc- 
cess, but he afterwards returned to painting, and 
is said to have studied in the school of the Caracci. 
Lanzi says it is evident that he directed his atten- 
tion to the works of Correggio. and made thera 
his models, and that, in the opinion of many, no 
one approached nearer to the grand style of that 
great artist. '' In his small pictures, with few^ 
figures, in which Imitation is more easy, he has 
often been mistaken for his original, though his 
elegance cannot boast the same clear and natural 
tones, nor his colors the same rich and vigorous 
handling. One of his Madonnas, in the church of 
S. Luigi de' Francesi at Rome, was in fact engraved 
not long since, by an eminent artist. for a work of 
Correggio ; and there are other equally fine imita- 
tions in the Palazzo Sanvitali at Parma, in that of 
the Careghi at Genoa, and in other places." Ce- 
sare passed some time at Rome, where he dili- 
gently studied the works of Raffaelle, and it is 
said he occasionally imitated the rich, glowing 
coloring of Titian, though Correggio was evidently 
his great model. He settled at Milan, where he 
soon rose to distinction, and gained, by his merits, 
the friendship of the principal nobility. He exe- 
cuted an extraordinary number of well finished 
works for the churches and public edifices of Mi- 
lan, Genoa, and other places, and more for private 
collections. He is esteemed the best of the Pro- 
caccini, Less prompt and capricious than his bro- 
ther Camillo, his compositions are studied and ju- 
dicious, his design dignified and correct, his masses 
broad and masterly, and his coloring rich and har- 
monious. In imitating the graces of Correggio, 
he sometimes attempted a tenderness of expression 
approaching to affectation ; such are his pictures 
of the Virgin and infant Jesns surrounded with 
Saints, and a Choir of angels gazing smilingly on 
him. in the church of S. Afra. at Brescia ; and his 
Annunciation, in S. Antonio, at Milan, in which 
the Virgin and Angel are seen smiling at each ; 
other. In his attitudes, also, he was occasionally | 
extravagant, as in his picture of the Martyrdom of 
St. Nazario. in the church of that Saint — a picture I 
full of harmony and grace, though the figure of : 

the executioner is depicted in a constrained atti- 
tude, with a ferocious expression. His most es- 
teemed works in the churches at Milan are the Is- 
raelites passing through the Red Sea, in S, Vittore ; 
the Transfiguration, in S. Celso ; the Adoration 
of the Magi, and St. Francis receiving the Stigma- |||| 
ta, at the Padri Zoccolanti. Some of his histories !■ 
are of ver}- large size, as the Passage of the Red "^ 
Sea, before mentioned. He died at Milan in 1626. 



PROG. 



739 



PROC. 



There is an etching attributed to this artist, repre- 
sentino: the Virgin with the infant Jesus. 

PROCACCINI, Carlo Antonio, was the third 
son of Ercole P., born at Bologna about 1555. 
He was instructed by his father, but afterwards 
devoted himself to landscape, flowers, and fruit, 
and acquired great distinction. He particularly 
excelled in landscape, and his works are highly 
commended by Malvasia and others, though Lanzi, 
who always considers such subjects as belonging 
to the lower branches of the art, hardly does him 
justice. He says, "he produced a variety of pie- 
ces for the Milanese Gallery, which happening 
to please the court, then one of the branches of 
Spain, he had frequent commissions from that 
countrj^, insomuch that he rose, though the weak- 
est in the family, into the highest repute." His 
works abound in Milan, and are found in many 
collections in other Italian cities. He also painted 
some pictures for the churches, one of the best of 
which is in S. Agata, dated 1605. He died about 
1628. 

PROCACCTNT, Ercole, called the Younger, 
was the son of Carlo Antonio P., born at Milan in 
159G. He first studied with his father, and after- 
wards with his uncle Giulio Cesare P., whose style 
he closely followed. Without possessing any re- 
markable powers, he enjoyed immense patronage, 
and executed many works for the churches of Milan 
and other places, but more for the collections. He 
also excelled in flower-pieces, and for an exquisite 
performance of this kind he was honored by the 
court with a gold chain. He opened an Academy 
at Milan, instructed several pupils ; and at the 
death of his uncle Giulio he was appointed Super- 
intendent of the Academy. Lanzi considers that 
he contributed to the decline of the Milanese 
school, by neglecting design too much, and by pro- 
moting a servile imitation, or a rapid and mechani- 
cal execution. He says of the artists of the Mi- 
lanese school, who immediately followed the Pro- 
caccini, " in general it may be remarked of the 
artists of this epoch, that, though the pupils of 
different schools, they display a mutual resem- 
blance, as much as if they had been instructed by 
the same master. They possess no character that 
strikes the eye. no beauty of proportions, no vi- 
vacit)' of countenances, no grace in the coloring. 
The whole composition appears languid ; even their 
imitation of the head of the school does not please, 
as it is either deficient or overdone, or falls into in- 
significance" ; and again : 

" It is known that Ercole P., by public re- 
port. b^J- his insinuating manners, and by the fam- 
ily reputation, arrived at a degree of consideration 
beyond his merit, and he lived to the great age of 
eighty. Hence he induced many to follow his 
maxims, and the more, as he kept an open acade- 
my in his own house for the study of the naked 
figure, and succeeded his uncles in their instruc- 
tions ; equal to them perhaps in rapidity, but not 
so well grounded in art. He painted much, and 
he maintains his place in the best collections 
in Milan, though he may not be in so much request 
as many others." 

Lanzi admits however, that Ercole, in his more 
studied works, as the Assumption of the Virgin, 
in the church of S. Maria Maggiore at Bergamo, 
"exhibits dignity, spirit, and a happy imitation of 
the manner of Correggio." He died in 1676. 



PROCACCINI, Andrea, a painter born at 
Rome in 1671. He studied under Carlo Maratti, 
and became one of his ablest scholars. He was 
one of the twelve artists selected by the command 
of Clement XL to paint the twelve Prophets in 
St. John of Lateran, on a trial of skill. On this 
occasion, Procaccini painted Daniel in such a mas- 
terly manner as gained him great reputation. He 
executed several other works for the churches at 
Rome ; was invited to the court of Spain, and ap- 
pointed painter to the King. During a residence 
of fourteen years at Madrid, he executed several 
works for the churches and royal palaces, which 
are highly commended. In his design and color- 
ing he clo.sely followed the manner of his instruc- 
tor, though he painted in a grander style than was 
usual with Maratti. He painted both in oil and 
fresco, but his easel works are few. He executed 
a few spirited and graceful etchings from his own 
designs, and others after Raffaelle and Carlo Ma- 
ratti. He died at St. Idelfonso in Spain, in 1734, 
and was buried with great pomp in the convent 
of San Francisco de Segovia. 

PROEONDAVALLE, Valeric, a painter born 
in Louvain in 1533. According to Lomazzo, he 
settled at Milan about 1560. where he was much 
employed by the Court. He was distinguished 
for fertile invention and pleasing coloring, espe- 
cially in fresco ; but he was chiefly eminent for 
his paintings on glass, elegantly designed and bril- 
liantly colored. Lanzi commends him as an able 
artist, who found abundant employment during 
his long residence at Milan, where he died in 1600. 

PROKOPHIEV, Ivan Prokophievitch, an 
eminent Russian sculptor, born at Petersburg in 
1758. At the age of twelve, he commenced study- 
ing under Gilet, one of the professors in the Acad- 
emy of Fine Arts in his native city; and during 
the eight subsequent years he obtained medals 
and other prizes for a number of bas-reliefs. Hav- 
ing completed his academical course, he was sent at 
government expense, in 1779, to perfect himself un- 
der Julien at Paris. In 1780, he executed a bust in 
marbleof Prince Gargarin. and a relief in terra-cotta, 
representing Moses. Having passed a few months 
at Stettin and Berlin, on his way home, he re- 
turned to Petersburg in 1784, and settled perma- 
nently in that city. He wrought with great in- 
dustry, and executed a yery large number of 
works, chiefly bas-reliefs, medallions, and other 
works on a small scale, mostly for private individ- 
uals, many of them being in terra-cotta. His pro- 
ductions evince considerable powers of invention 
and composition. Those executed in his earlier 
days have, with much beauty, somewhat of the 
French mannerism of that day, probably acquired 
from Julien ; but he subsequently overcame this 
deficiency, and adopted a more noble and classical 
style. In the Petersburg Academy are his bust 
of Prince Gargarin, and his bas-reliefs of Moses 
and Morpheus. In the Imperial Library there are 
sixteen small caryatides and twenty-eight bas- 
reliefs by him. His last work was a bust of the 
Polish poet Trembecki. Soon after its completion, 
he was attacked by a complaint that rendered him 
incapable of using his right hand in modeling or 
designing. He died at Petersburg in 1828, aged 
71. 

PRONCK, Cornelius, a Dutch painter and en- 



PEON. 



?40 



P.ROU. 



graver, born at Amsterdam in 1G91. He was in- 
structed in drawing under F. van Houten, and 
in painting by Arnold Boonen. He was excellent 
in portraits, and found considerable employment. 
He drew views of cities, and landscapes, in water- 
colors and India ink, which are highly esteemed 
by collectors. He also etched a few plates of views 
of cities and landscapes, from his own designs. 
He died in 1759. 

PRONTI, Padre Cesare, a painter born at 
Rimini in 1626, according to most authors, though 
Pascoli says he was a native of Cattolica, of the 
family of Bacciochi. That author relates many 
interesting anecdotes of him, particularly one re- 
lating to his early passion for painting. When a 
boy, he accompanied his parents to a fair at Sini- 
gaglia, where was a fine collection of pictures on 
exhibition. He gazed upon them for several hours, 
unmindful of his food or his parents, who were 
searching for him through the city, and when at 
length they found him, could hardly tear him from 
the spot. The impression made was indelible ; 
he had resolved to become a painter, and his pa- 
rents strongly opposing the fixed, determined reso- 
lution of his soul, he ran away to Bologna, and 
assumed the appellation of Pronti. the maiden 
name of his mother. He entered the school 
of Guercino. and adopted his st5^1e. At an early 
period of his life, he became a monk of the order 
of St. Augustine, and was afterwards employed in 
painting altar-pieces and sacred histories in fresco, 
for the churches of his order. He executed these 
in an excellent manner, generally enriching his 
back-grounds with admirable architecture. His 
principal works are at Rimini and Ravenna, and 
from his long residence in the latter city, he is fre- 
quently called Padre Cesare da Ravenna. Among 
his best works are a picture of St. Tommaso da 
Villanova, at Pesaro ; and the Histories from the 
Life of St. .Jerome, in the church of ^his order at 
Rimini, which Lanzi says are execute'd with abun- 
dant grace and spirit. He died at Ravenna in 
1708. 

PROTOGENES, was one of the most celebra- 
ted Greek painters. According to Pliny and Pau- 
sanias, he was a native of Caunus, a city of Caria. 
subject to the Rhodians. He was cotemporary 
with Apelles, flourished during the reign of Alex- 
ander the Great, about B. C. 330, and resided at 
Rhodes during the principal part of his life. Pliny 
says that Protogenes was originally in very poor 
circumstances, and that it was not known from 
whom he received instruction. He passed the ear- 
lier part of his life in obscurity, being principally 
employed in decorating ships. His fellow-citizens 
were totally insensible of his merit, until the gen- 
erosity of Apelles roused the Rhodians from their 
indifference to the talent of their countryman. 
When that great painter visited Rhodes, he was 
struck with admiration at the works of Protog- 
enes, and burned with indignation at the injustice 
of the Rhodians. He inquired what price he put 
upon his pictures, and when the Rhodian painter 
mentioned an inconsiderable sum, Apelles paid 
him fifty talents for a single picture, and publicly 
announced that he would make it pass and sell for 
his own. This liberality opened the eyes of the 
Rhodians, who immediately purchased back the 
picture at a still higher price, and thenceforward 
held Protogenes in the highest estimation. He 



finished his pictures with the greatest care, and 
consequently did not execute many works. Quin- 
tilian says that ''cura" was the distmguishing 
characteristic of his paintings. The ancient wri- 
ters always mention him in terms of the warmest 
approbation ; and it is perhaps the highest proof 
of his merit, that Apelles declared Protogenes in- 
ferior to himself only in not knowing when "to 
take his hand from the tablet," — i.e. in bestowing 
too much labor upon his paintings. 

The most famous of all the paintings of Protog- 
enes, was the picture of lalysus and his Dog. 
Pliny says that he laid on four courses of color, 
lest it should be obliterated by age ; and that he 
was occupied upon it seven years. The dog in this 
picture, represented as panting and foaming at the 
mouth, was greatly admired. It is related that 
Protogenes was for a long tiro.e unable to represent 
the foam in the manner he wished, till at length 
he threw his sponge in a fury at the spot, and pro- 
duced the very efiect he desired. The fame of this 
painting was so great, that, according to Pliny, 
Demetrius Poliorcetes, when besieging Rhodes, 
did not assault that part of the city where Pro- 
togenes lived, lest he should destroy the picture. 
His studio was situated without the walls, where, 
to the astonishment of the besiegers, he continued 
to paint with perfect tranquillity. This coming to 
the ears of Demetrius, he ordered the artist to be 
brought to his tent, and demanded how he could 
persist in the quiet exercise of his profession when 
surrounded by enemies ? Protogenes replied that 
he did not consider himself in any danger, con- 
vinced that a great prince like, Demetrius did not 
make war against the Arts, but against the Rhodi- 
ans. During these hostilities he painted his fa- 
mous picture of a Satyr playing on a Flageolet. 
At the recommendation of Apelles, the Athenians 
invited Protogenes to Athens, when he was about 
fifty years of age. He painted a picture of the 
Mother of Aristotle ; one of Alexander ; a picture 
of the god Pan ; and the Thesmothse, in the Sen- 
ate House of the Five Hundred at Athens, men- 
tioned by Pausanias. His famous picture of laly- 
sus and his Dog was still preserved in the time of 
Pliny in the Temple of Peace at Rome. Accord- 
ing to Suidas, Protogenes wrote two books on the 
art. 

PROU, Jacques, a French painter and engra- 
ver, born at Paris about 1639. He studied under 
Sebastian Bourdon, and followed his style in land- 
scape painting. As an engraver, he executed a 
number of plates, among which are the following: 
A set of twelve Landscapes and Views, after his 
own designs; a set of six large Landscapes, o/if^ 
Seb. Bourdon; the Baptism of Christ, do. ; the 
Flight into Egypt, after Agos: Caracci. 

PROVENZALE, Marcello, a painter born at 
Cento in 1575. He studied under Paolo Rossetti, 
and acquired some distinction in history, but is 
chiefly celebrated for his beautiful portraits in mo- 
saic. Baglioni describes some of his works, exe- 
cuted by command of Paul V., among which was 
the portrait of that pontiff, wrought with inimita- 
ble art and judgment. The face alone consists of 
more than two millions of pieces, many of them 
no larger than a grain of sand ; it is esteemed one 
of the great curiosities of art at Rome. Another 
fine picture is Orpheus playing upon the Lyre, in 
the palace of the Cardinal Borghese. In conjunc- 






PROV. 



741 



PUCO. 



tion with Rossetti. he executed several mosaics in 
the church of St. Peter, after the cartoons of the 
Cav. Roncalli. He died at Rome in 1639. 

PROVENZALl, Stefano. According to Cres- 
pi, this artist was a native of Cento, and studied 
under Guercino. He devoted his talents mostly 
to battle-pieces, which are highly extolled by the 
author above cited, for their spirited design and 
vigorous coloring. He died in 1715. 

PRUD'HON, Pierre Paul, an eminent French 
painter, was born at Clugny, according to Gabet, 
in 1760, although Nagler places his birth in 1768. 
He studied at Dijon, under Desvosges, and, having 
gained the prize at the exhibition, received a pen- 
sion to enable him to visit Italy. At Rome he 
formed a friendship with the sculptor Canova, and 
remained in that city until 1789, when he returned 
to France. After painting miniatures and pastel 
portraits for some time, he produced his picture 
of Justice and Vengeance pursuing Crime, which 
was greatly admired, and placed Prud'hon in a 
high rank among modern artists. He was soon 
after chosen a member of the Institute and of the 
Legion of Honor, and teacher of design to the 
Empress Maria Louisa. His works are distin- 
guished for richness of composition, elegance of 
design, beauty of coloring, and delicacy of pencil- 
ing. The softness and harmony of his tints gain- 
ed him the title of the French Correggio. He 
painted many subjects from poetry and history -, 
also portraits and cabinet pictures, which are 
placed in the best French collections. Among the 
principal are, Psyche carried off by the Zephyrs ; 
the portrait of the King of Rome; Venus and 
Adonis ; Andromache ; the Assumption of the 
Virgin; the Desolate Family; the Crucifixion; 
the Vault of the Musee, representing Diana ; and 
a Zephyr hovering over the VTater, sold in 1839 
for 20,600f. Prud'hon died at Paris in 1823. 

PRUNATO, Santo, a painter of Verona, born 
in 1656. According to Pozzo, he first studied un- 
der Voltolino, and afterwards with Falcieri, at Ve- 
rona. He next went to Venice, and became the 
pupil of Gio. Carlo Loth. To acquire a more cor- 
rect and dignified manner, he afterwards proceed- 
ed to Bologna, and studied the works of the Ca- 
racci. He acquired considerable reputation, and 
executed some works for the churches at Verona, 
and other places in the vicinity, among which is a 
picture of St. Francesco di Sales, in the Cathedral 
at Verona. Lanzi says that, ir^ design, and in the 
expression of his heads, he displays too much of 
the naturalist, but his coloring is soft and harmo- 
nious. He was living in 1716. 

PRUNATO; MiCHELE Angelo, was the son of 
the preceding, born at Verona in 1690. He stud- 
[ ied with his father, and imitated his manner with 
no great success. He executed some works for the 
churches, one of which is in the Cathedral, and 
compares unfavorably beside the one by his father, 
before mentioned. 

j PRUNE AU, Noel, a French engraver, born at 
, Paris in 1751. He studied under Augustin de 
I St. Aubin, in whose style he engraved some plates, 
i chiefly portraits, from his own designs, and after 
[ other masters, aipong which are the following : 
I portraits. 

Rosalia le Vasseur ; after his oion design. Hermann 
Boerhave; do. Albert de Haller; do, Gerard, Baron 



van Swieten, Architect ; after A. de St. Aubin. John 
Joseph Sue ; after A. Pujos. Francis de la Peyronie, 
principal Surgeon to Louis XV. 

PUCCI, Giovanni Antonio, a painter who stud- 
ied under Antonio Domenico Gabbiani. Lanzi says 
that honorable mention is made of him as a painter 
and a poet, in the eulogy of Gabbiani, in the Lettere 
Pitioriche. He was living at Rome in 1716, then 
young. 

PUCCINI, Biagio, a painter of Rome, who flour- 
ished in that city in the first part, and perhaps to 
the middle, of the 18tb century. He painted some 
works for the churches, and Lanzi says he was 
esteemed an artist of good execution. 

PUCHLER, John Michael, a German engrav- 
er of whom little is known. There are a few por- 
traits by him, executed in a pecuhar manner, the 
faces being stippled, and the hair and drapery 
formed of lines like writing. They are marked 
with the letters J. M. P. cursive, in a mono- 
gram. 

PUCHLER, Michael, a German engraver, who 
executed a few portraits, among which are those 
of the Emperor Leopold and Eleonora Magdalena 
Theresa, his Empress. 

PUGA, Antonio, a Spanish painter of familiar 
subjects, who flourished about the middle of the 
17th century, studied under Don Diego Velasquez, 
and is said to have exactly imitated the early man- 
ner of that master. There were six pictures by 
him in the collection of Don Silvestre Collar de 
Castro, so much in the style of his master, that 
they might easily be taken for his works. 

PUGET, Pierre Paul, a French painter, sculp- 
tor, and architect, termed the Michael Angelo of 
France, was born at Marseilles in 1622. His father, 
a painter and architect, gave him instructions in 
those arts, and at the age of fourteen he was placed 
under a ship-builder, named Roman, who em- 
ployed him in carving ornaments for decorating 
vessels. Disgusted with the drudgery of his sit- 
uation, Puget quitted Marseilles at the age of seven- 
teen, and went to Italy. At Florence, according to 
Milizia, he met with attention and kindness from 
the Sculptor to the Grand Duke, and pursued his 
studies with great success. Attracted by the fame 
of Pietro da Cortona, he repaired to Rome, and 
entered the school of that master, where he made 
such rapid progress as to be selected to assist his 
instructor in painting the Pitti Palace at Florence. 
Instead of remaining in that city, however, he sud- 
denly resolved to return to France, although aged 
only twenty-one years. On arriving at Marseilles 
he was very well received, and was shortly after- 
wards commissioned to design a vessel of ^ extraor- 
dinary magnificence, named La Beine, in honor 
of Queen Anne of Austria, which was completed 
in 1646. That princess commissioned a monk of 
the Order des Feuillants to visit Rome and make 
designs of the most celebrated monuments of an- 
tiquity, and he selected Puget as his assistant. 
The latter accordingly proceeded a second time to 
Rome, and spent five or six years in that city ; 
but it is not known what afterwards became of 
this valuable collection of drawings. On return- 
ing to Marseilles in 1653, Puget received commis- 
sions for several pictures, and he painted a number 
for the churches of Marseilles, Aix. Toulon, and 
other cities; besides some cabinet pictures. In 



PUGE. 



742 



PUGH. 



the cathedral at Aix is a picture by him of the 
Annunciation, elegantly and gracefully designed, 
though cold and languid in the coloring ; also the 
same subject in the Jacobin church at Toulon, 
differently composed, somewhat in the style of P. 
da Cortona. The excessive application of Puget 
to the art; proved so injurious to his health, that 
by the advice of his physicians he renounced paint- 
ing, and thenceforward devoted his energies to 
sculpture and architecture. 

The excellence of Puget in sculpture and archi- 
tecture was very highly rated in his own day ; al- 
though Cicognara says his sculptures betray in- 
accuracy as to proportions, want of refinement in 
taste ; and evince more of the painter than the 
sculptor in their treatment, seldom producing a 
pleasing effect, but from a single point of view. 
His talents, however, were well esteemed by Ber- 
nini ; his works are full of spirit and fire ; they 
show the hand of a master, and gained him great 
applause from his countrymen and from cotempo- 
rary artists. His talents met with encouragement 
at Toulon and Marseilles ; for which latter city he 
projected many embellishments, which established 
his reputation ; and he gave further proof of his 
talents by various machines and inventions, which 
he introduced into the marine at Toulon. Milizia 
says that his two Termini, which support the Hotel 
de Ville at Toulon, although his first work in sculp- 
ture, received the applause of Bernini; and the 
Terra with Janus, and Hercules, which he sculp- 
tured at Paris, were still more admired. He was 
sent by Fouquet to Genoa, for the purpose of 
selecting marble for some of the works to be ex- 
ecuted at Marseilles ; but that minister being 
shortly afterwards disgraced, Puget preferred re- 
maining at Genoa, where he produced several of 
his finest works, among which were the two stat- 
ues of St. Sebastiano and St. Ambrogio ; the grand 
bas-relief of the Assumption, in the chapel of the 
Albergo de' Poveri ; the Madonna, in the private or- 
atory of the Sauli. He also designed several fine 
architectural works, among which were the church 
of the Nunziata, erected at the expense of the Signor 
Lomellini ; and the chapel of St. Lodovico, in that 
church. His talents were highly appreciated and 
rewarded by the Genoese. At length, after a resi- 
dence of about eight years at Genoa, he was re- 
called to France by Colbert, who obtained for him 
the post of sculptor and director of the Works 
in ornamenting Vessels, with a pension of 1200 
crowns, in consequence, it is said, of the earnest 
recommendation of Bernini. His two works in 
sculpture at Marseilles, the Milo of Crotona and 
the group of Perseus and Andromeda, gained him 
great reputation ; the former is considered his mas- 
ter-piece, and a work that will bear comparison 
with the antique. Among his other works, were 
a bas-relief of Diogenes, a statue of Apollo, and a 
bas-relief of the Plague of Milan. He does not 
seem to have executed many works in architecture ; 
besides those at Genoa already mentioned, he erect- 
ed at Marseilles the church de la Charite, and that 
of the Capuchins. In 1688, Puget was presented 
to the King at Fontainbleau, and was graciously 
received. He was not. however, calculated for the 
meridian of a court ; and, after residing a short 
time at Paris, he returned to Marseilles, where he 
erected an elegant house, in the style of a small 
palace, and occupied it till his death, in 1694. at 
the age of 72. 



PUGH, Herbert, an Irish painter, who settled 
in London about 1758, He painted landscapes in 
a mannered and affected style, and also executed 
a few indifferent pictures in imitation of Hogarth. 
He died about 1775. 

PUGLIA, Giuseppe, called IlBastaro, a paint- 
er who, according to Baglioni, flourished in the pon- 
tificate of Urban VIII., and was employed in the 
Library of the Vatican. Lanzi reckons him among 
the second rate artists. He executed some works 
for the churches and public edifices at Rome, the 
chief of which are the Presentation, in the Cloister 
of the Padri della Minerva, and an altar-piece of 
the Assumption in the Basilica of S. Maria Mag- 
giore. Baglioni says he died young ; Zani says 
he wrought in 1600, and died in 1640; others say 
that he was born at Rome in 1620, and died in 
1682. 

PUGLIESOHI, Antonio, a Florentine paint- 
er, who flourished in the latter part of the 17th 
century. According to Baldinucci, he first studied 
with Giro Ferri, and afterwards with Pietro Dan- 
dini. He was a reputable artist, and executed 
some works for the churches, but was mostly em- 
ployed by individuals. 

PULIGO, DoMENico, a Florentine painter, bom 
in 1475. He studied under Domenico Corradi, 
called Ghirlandaio, and was esteemed his ablest 
scholar. According to Vasari, he formed a strict 
intimacy with Andrea del Sarto, whose style he 
imitated in his Madonnas and Holy Families. He 
had an excellent taste of design and composition, 
but unfortunately for his fame, he was addicted to 
pleasure, and painted less for reputation than for 
immediate gain. He was also a good portrait 
painter. Lanzi says, " he was less skilled in de- 
sign than in coloring. His tints are sweet, clear, 
and harmonious ; but he aimed at covering the 
outline to relieve himself of the necessity of per- 
fect accuracy ; by this mask, he is sometimes re- 
cognized in Madonnas and cabinet pictures, which 
were perhaps designed by Andrea, and at first 
sight might pass for the works of that master." 
He died in 1527. 

PULZONE. ScipiONE, called Gaetano, from the 
place of his nativity, was born at Gaeta in 1550. 
He studied under Jacopino del Conte, and acquired 
considerable reputation in history, but chiefly dis- 
tinguished himself for his excellent portraits. He 
painted many of the most distinguished persons 
of his time, among whom were Gregory XHI., 
the Archduke Ferdinand, the Cardinal de Medici, 
and others. Lanzi says, " he formed his manner 
on those of Raffaelle and Andrea del Sarto, and 
though somewhat labored, he left behind him a 
great reputation, partly in portraits, of which he 
executed a great number for popes and princes, 
with so much success, that by some, he is called 
the Vandyck of the Roman school." His atti- 
tudes are elegant and graceful, and his heads full 
of life and expression. He finished his portraits 
very highly, representing in the pupil of the eye, 
the reflection of the windows and other objects, 
as minute and exact as in real life. He also paint- 
ed some pictures in the finest style, as the Cruci- 
fixion, in the church of S. Maria in Vallicella, the 
Assumption, with the Apostles, in S. Silvestro in 
Monte Cavallo, and a Dead Christ, in the Lap of 
the Virgin, in del Gesu. In the Borghese Gallery, 
is a fine picture of the Holy Family, and in that 



PUNT. 



743 



PYNE. 



of Florence, one of Christ praying in the Garden ; 
and in other places are some of his cabinet pic- 
tures, which are deservedly esteemed. Lanzi says 
he died young, in his 38th year, in the pontificate 
of Sixtus V. Zani says he was born in 1562, and 
died in 1600. 

PUNT, John, a Dutch painter and engraver, 
born in 1711 ; died about 1779. As a painter, 
he was principally employed in theatrical decora- 
tions and chiaro-scuro. He engraved some plates ; 
Nagler gives a list of thirty -six of the principal, af- 
ter the designs of Jacob de Witt, from the ceilings 
painted by Rubens in the church of the Jesuits at 
Antwerp, which are the more interesting, as the 
originals were destroyed by lightning. 

PUNTORMO. See Jacopo Carrucci. 

PUPILER, Anthony, a Flemish painter, who 
was employed in Spain by Philip IT., about 1556. 
He is said to have been an artist of great ability, 
but no opinion can be formed of his merits, as all 
his works were destroyed in the conflagration of 
the Prado. 

PUPINI, BiAGio, a Bolognese painter, of whom 
there are notices from 1530 to 1540. He was a 
disciple of Francesco Francia, whose style he fol- 
lowed, though with a more modern air. He ex- 
ecuted some works for the churches of Bologna, 
the most esteemed of which are the Coronation of 
the Virgin in S. Giuliano ; the Virgin and Infant, 
with St. Orsola, in S. Giacomo Maggiore ; St. John 
preaching in the Wilderness, in S. Maria della 
Baroncelia. and the Nativitj^ at the Institute. He 
often wrought in conj unction with other artists, 
at Bologna and in other places. He is sometimes 
called Biagio dalle Lame, or Lamme. 

PURCELL, Richard, an English engraver in 
raezzotinto, born in 173G, and died about 1800. 
He scraped some portraits after Vandyck, Reyn- 
olds, and others, among which are the following : 
John Manners, Marquis of Granb)?- ; Lady Fen- 
houlet, afterwards Countess of Essex ; Elizabeth, 
Countess of Berkley; after Reynolds. The Child- 
ren of Charles I.; after Vandyck. John Wilkes, 
Esq. ; after Pine. 

PUSCHNER. John George, a German en- 
graver, who flourished at Nuremberg from about 
1670 to 1720. He engraved a set of portraits for 
a folio volume entitled Icones virorum omnium 
ordinum eruditione, &c., published at Nuremberg. 

PYE. John, an English engraver, born about 
1745. He engraved quite a number of landscapes, 
etched and neatly finished with the graver, after 
Claude Lorraine. Swanevelt, and Cuyp, and some 
marines after Vernet. He was much employed 
by Alderman Boydell. His prints date from 1773 
to 1775. 

PYNAKER, Adam, an eminent Dutch land- 
scape painter, born at the village of Pynaker, be- 
tween Delft and Schiedam, in 1621. His first 
instructor is not mentioned ; but he visited Italy 
while very young, and resided several years at 
Rome, studying the works of the best landscape 
painters, and designing the finest views in the vi- 
cinity of that capital. On returning to Holland, 
he soon gained distinction, and his works were 
held in great admiration. He was much employed 
in ornamenting the apartments of the nobility; he 
also painted easel pictures, which are very highly 
esteemed, and are placed in choice collections. His 



landscapes exhibit very pleasing scenery, frequent- 
ly representing the sunny morning light breaking 
out from behind the woods or mountains, and dif- 
fusing a brilliant glow over the whole face of na- 
ture. His skies are clear, light, and floating ; the 
foliage of his trees and plants is touched with unu- 
sual freedom and spirit; his pencil is firm and 
flowing, evincing remarkable facility of hand, with 
great breadth, richness, and brilliancy. His pic- 
tures are decorated with ancient architecture, 
figures and cattle, correctly drawn, and grouped 
in an elegant and tasteful style. Pynaker's easel 
pictures are not very numerous ; Smith's catalogue 
contains a list of about seventy. Many of the 
finest are in England. He died in 1673. 

PYNE, William Henry, an English designer 
and author, born at Holborn in 1769. As an artist, 
he confined himself to drawing, in which he mani- 
fested great facility, lively fancy, and delicate taste. 
In 1803, he published the first part of his inter- 
esting work entitled "The Microcosm; or a pic- 
turesque Delineation of the Arts, Agriculture, 
Manufactures, &c., of Great Britain," completed in 
1806, illustrated with about 600 groups of small 
figures for the embellishment of landscapes. He 
afterwards published in three imperial quarto 
volumes, a " History of the Royal Residences," 
of Windsor, St. James. Carlton House, Kensing- 
ton Palace, Hampton Court, Buckingham House, 
and Frogmore, illustrated with about 100 richly 
colored plates. He was much employed by 
the celebrated publishers, Ackermann & Co., in 
the Strand, in the supervision of their numerous 
publications. He died in 1843. 

PYREICUS, a Grecian painter, who flourish- 
ed about B, C. 200. His favorite subjects were 
scenes from low life; particularly interiors of the 
shops of tailors and shoemakers ; also sheep folds, 
with groups of animals; asses going to market, 
laden with produce. His skill in representing 
scenes of the latter description, gained him the 
name of Rhyparographus. His pictures were of 
small size, exquisitely finished, and brought very 
high prices. Pliny thought that subjects from 
low life were beneath the dignity of painting, 
but the admiration universally conceded to them 
is sufficient evidence of their being proper subjects 
for the pencil. It is no small satisfaction to the 
lovers of art, that the ancients encouraged and 
appreciated every branch of painting. 

PYRGOTELES, an eminent Grecian engraver 
on gems, who flourished in the time of Alexander 
the'Great, about B. C. 330. He was cotemporary 
with the most distinguished painters and sculptors 
of Greece ; as an engraver on gems, he was consid- 
ered equal to Apelles in painting, and Scopas and 
Lysippus in sculpture. Alexander the Great con- 
ferred upon him the same honor as upon Lysippus 
and Apelles, who had the exclusive privilege of 
representing him in their respective arts. Among 
his principal productions, were the head of Alex- 
ander, the head of Phocion, and Hercules destroying 
the Hydra. There is no well authenticated work 
by this artist, which has reached modern times. 

PYRRHUS. See Lacrates. 

PYTHAGORUS, an ancient sculptor, a native 
of Rhegium. Some of his works exhibited a deep- 
er sentiment and truer feeling, than any that had 
yet appeared in works of statuary. His chief 
works were the statues of Euthymus and Asty- 



PYTH. 



744 



QUAG. 



lus, conquerors in the Olympic games. His statue 
of Philoctetes was remarkable for justness of pro- 
portions and delicacy of finish. 

PYTHEUS, an eminent Grecian architect, who 
flourished about B. C. 324. He is principally dis- 
tinguished for the celebrated mausoleum erected 
by Queen Artemisia in memory of King Mauso- 
lus of Halicarnassus, of which he had the entire 
direction, in conjunction with Satyrus; and both 
artists made the designs for the work. — (For a full 
description of this " wonder of the world." see the 
article Bryaxis.) Pytheus was also greatly dis- 
tinguished for the famous pyramid, which sur- 
mounted the mausoleum, executed by himself. It 
was crowned with a car drawn by four horses 
abreast, representing the Chariot of the Sun. Ac- 
cording to Vitruvius, Pytheus also erected at 
Priene, now Polazzo, a famous temple to Minerva 
Polias ; which, though now in ruins, is an impor- 
tant evidence of Ionian elegance and grandeur. 
When entire, it overlooked the city, which was 
situaled on the side of a mountain, on terraces cut 
out of the slope, descending in gradation to the 
edge of the plain. The communication from one 
terrace to another, was by steps cut in the solid 
rock, many of which are still remain ins:. The 
temple was surrounded by a wall, through which 
was a gateway. The plan of the edifice was a 
parallelogram, 122 feet six inches by 64 feet three 
inches, measured on the upper step. There were 
eleven columns in the flanks, and six in the fronts 
of the temple. The walls of the cell were four 
feet thick, ranging with the columns, and enclo- 
sing an area of sixty-five feet by thirty feet nine 
inches. 



Q 



QUAGLTA, GiuLio, a painter, born at Como. 
According to Lanzi. he went to Friuli while young, 
towards the close of the 17th century, where he 
conducted works, principally in fresco, to an amount 
that almost defies enumeration. His histories of 
the Passion of our Saviour, in the Monte di Pieta, 
at Udine, are held in high estimation, although 
he conducted works on a much larger scale in the 
halls of many of the noble families, characterised 
by a fecundity of ideas, a decision of pencil, and 
a power for vast compositions, sufficient to distin- 
guish him in his age, not only in the limits of 
Como, but also at Milan. Lanzi conjectures from 
his style, that he was a disciple of the Recchi. 

QUAGLIATA, Giovanni, a painter of Messina, 
born in 1603. According to Hackert. he went to 
Rome, and studied under Pietro da Cortona. On 
returning to Messina, he acquired considerable dis- 
tinction, and is said to have painted in competi- 
tion with Rodriguez and Barbalunga. He died 
in 1673. 

QUAGLIATA, Andrea, was the brother of 
the preceding, born at Messina in 1600, and died 
in 1660. It is not known under whom he studied, 
and he never visited Rome, but was considered a 
good artist at Messina. 

QUAGLIO, Gio. Maria, an Italian architect 
and engineer, a native of Luino, probably the son, 
and certainly a relative, of Giulio Quaglia. He 
flourished in the first half of the 18th century. 
After acquiring a knowledge of the art in Italy, 



he visited Vienna, and was employed in the ser- 
vice of the Emperor. His son Lorenzo, was born 
at Luino in 1730, accompanied his father to Vien- 
na, and was instructed by him in architecture. 
Lorenzo erected a number of edifices in Germany, 
esteemed for their superior taste, among which 
are the Theatre of Manheim. and the Theatre of 
Frankfort. He died in 1804, leaving a son, named 
Giovanni Maria, born in 1772, who was a distin- 
guished architectural and scene painter. 

QUAGLIO, DoMENico, a son of the elder Gio. 
Maria Q., the brother of Lorenzo Q., was a his- 
torical painter, and flourished in Germany about 
1760. He had two sons — Giulio, an admirable 
scene painter, who flourished at Munich, and died 
in 1800 — Giuseppe, born in 1747 ; died at Munich 
in 1828 ; was even more eminent than his brother, 
both in scene painting and general decoration. 
The latter had four sons ; Domenico, Angelo, Lo- 
renzo, and Simone. The two latter were born 
respectively in 1793 and 1795, but do not appear 
to have attained any distinction in art, if indeed 
they professed it at all. Angelo, born in 1788, 
was a scene painter of extraordinary genius. Some 
of his productions are described as producing an 
astonishing efiect, particularly one representing 
the Illumination of St. Peter's at Rome, from 
studies made by him on the spot. He died in 
1815. Domenico, the elder son, is the subject of 
the following article. 

QUAGLIO, Domenico, an eminent architectural 
painter, the eldest son of Giuseppe Quaglio, was 
born at Munich in 1786. He early manifested a 
strong inclination for art, and was carefully in- 
structed by his father. He made rapid advances, 
particularly in perspective and architectural paint- 
ing, and also devoted considerable attention to 
drawing from the living model, to landscapes, and 
sketching from nature, as well as to etching and 
engraving. His versatility of talent had nearly 
prevented his attaining great excellence in any 
particular branch of art ; but, following the ad- 
vice of his brother Angelo, he devoted his energies 
to architectural painting. He was appointed to 
the office of scene painter of the theatre at Mu- 
nich. Having imbibed a strong taste for the ar- 
chitecture of the Middle Ages from Angelo's draw- 
ings of the cathedral of Cologne (made for Sulpice 
Boisseree's magnificent pictorial work), he re- 
solved to delineate chiefly the finest specimens of 
the edifices of that period. With this intent, he 
visited Freising and other places, and made many 
designs which he subsequently used in his compo- 
sitions. His picture of the cathedral at Regens- 
burg, gained him a high reputation, and was pur- 
chased by King Maximilian of Bavaria, who, as 
well as many other able judges, advised Quaglio 
to prosecute this department of the art. Accord- 
ingly, in 1819, he resigned his appointment as 
scene painter of the Munich theatre, and thence- 
forward devoted himself entirely to architectural 
painting. His reputation extended by degrees 
throughout Europe, and he received many com- 
missions. His works, which are very numerous, 
are marked by striking picturesque effect. They 
are highly valued as representations of the finest 
specimens of German Gothic edifices, and have 
been partially instrumental in promoting that 
taste for the Arts and Architecture of the Middle 
Ages, which of late years has prevailed in Ger- 



QUAI. 



745 



QUAS. 



many. In 1829, Quaglio accompanied Mr. Gaily 
Knight, as architectural draughtsman, on his tour 
to Italy. While employed at Hohenswangau, in 
restoring and improving the Castle, he was at- 
tacked with apoplexy, and died April 9, 1837. 
There are a number of etchings and lithographic 
views by him ; among the latter are a series of 
thirty subjects, entitled Den Kwurdige Gehaude 
des beutschen Mittelalters. 

QUAINI. Francesco, a Bolognese painter, born 
in 1611. He studied under Agostino Mitelli, and 
was one of his ablest scholars. He was much 
employed in decorating the churches, public edi- 
fices and palaces of Bologna with frescos of archi- 
tectural and perspective views. Some of his most 
esteemed works are in the Sala Farnese. in the 
Palazzo Pubblico. He died at Bologna in 1680. 

QUAINI, LuiGi, was the son of the preceding, 
born at Bologna in 1643. After learning perspec- 
tive with his father, he became the disciple of 
Guercino, and afterwards of his cousin Carlo Cig- 
nani. with Marc' Antonio Franceschini as a fellow 
pupil. Both these artists assisted Cignani in 
many of his works ; and in distributing their la- 
bors he gave to Franceschini the fleshes, and to 
Quaini the more lively and spirited countenances 
and decorative parts, in which he succeeded so ad- 
mirably that his painting could hardly be distin- 
guished from that of his master. Franceschini 
and Quaini afterwards united their talents, the for- 
mer painting the figures, and the latter the land- 
scape, architecture, and other accessories, and thus 
in concert, they executed many admirable works 
for the churches and palaces of Bologna, Modena, 
Piacenza, Genoa, and Rome, in which latter city 
they made the cartoons for the cupola of St. Peter's, 
afterwards executed in mosaic. Quaini also paint- 
ed many historical pictures of his own invention, 
mostly for individuals. His pictures in public at 
Bologna, are the Visitation of the Virgin, in the 
church of S. Giuseppe ; a Pieta. in la Carita, and 
an altar-piece of St. Nicholas visited by an Angel, 
in the church of that saint. He died in 1717. 

QUARENGHI, Cav. Giacomo, an Italian ar- 
chitect, born at Bergamo in 1744. After receiving 
a liberal education, he studied painting under 
Mengs and Stefano Pozzi; but he subsequently 
gave his attention to architecture. According to 
the biographical memoirs published by his son 
Giulio, (entitled Fahhriche e Disegni, &c., Milano, 
1821), he soon gained distinction in the art, and re- 
ceived many commissions at Rome. Unfortunate- 
ly, none of these works are specified, nor is the 
chronology of his professional life recorded. Qua- 
renghi was invited to Russia by the Empress Cath- 
erine II., who employed him to erect a variety of 
edifices, among which are the design for the trium- 
phal arch erected in honor of the Emperor Alex- 
ander ; the Theatre of the Hermitage ; the Manege 
of the Imperial Guards, in the Isaac's Place at 
St. Peteisburg ; the Convent of Demoiselles Nobles; 
and the Palace of Prince Gargarin. Quarenghi at- 
tained a very high reputation in Russia ; but his 
pubhshed designs afford little evidence of superior 
taste, or even of fertile invention. In comparison 
with many of his countrymen, he may be said to 
have been pure in his style of composition ; but 
his merits are little more than negative ; — if there 
is nothing glaringly offensive in his productions, 
there are no particular excellencies. They have 



^"£"^1 



insulated columns and ample prostyles, Ionic or 
Corinthian porticos, frequently attached to build- 
ings in other respects naked and bare. His de- 
tails evince a great deal of mannerism, being nearly 
the same on all occasions, as well as poor and 
meagre. He died in 1817. 

QUAST, Peter, a 
tch painter and 
engraver, born at 
the Hague in 1602; 
died in 1670. He painted humorous subjects, as beg- 
gars, drolls, assemblies of boors, merry-makings, 
&c.. represented with great humor and spirit, not 
unniixed with vulgarii;y. He also executed some 
spirited etchings, after his own designs and those 
of other masters, in a manner resembling that of 
Callot, and usually marked them with one of the 
above monograms. Among others are the following : 
The Five Senses ; P. Quasi, fee. 1638. The Four Sea- 
sons, in grotesque figures. A set of twenty-six plates of 
Beggars, Boors, &c. A set of twelve Grotesque Figures. 
A set of ten plates of Beggars, &c. ; ^S. Savery, exc. A 
set of twelve fancy subjects, in imitation of Callot. 

A QUATREPOMME, Isabella. This 
/"^r^r ^^^^ ^^ mentioned by Papillon. as an 
'v^^'^Vf, engraver on wood, a native of Rouen, 

^ who flourished about 1521. He men- 
tions one print by her, and Zani two more, marked 
with an apple and the figure 4, in allusion to 
her name. 

QUEBOORN, or QUEBOREN, Crispin van- 
DER, a Dutch engraver, born at the Hague in 1604. 
Be was chiefly employed in engraving small por- 
traits for the booksellers, which possess consider- 
able merit. He also engraved part of the plates 
for Thibault's Academie de VEpee, published at 
Antwerp in 1628. Among others, are the follow- 
ing portraits by him : 

Queen Elizabeth. 1625. Charles I. 1626. William I., 
Prince of Orange ; after Visscher. Mary, daughter of 
Charles I., consort of the Prince of Orange. Frederick V. 
Elector Palatine. Elizabeth, daughter of James I. , his 
consort. Juliana, Princess of Hesse. Frederick Henry, 
Prince of Nassau. 1630. 

QUELLINUS, Erasmus, a Flemi.sh painter, 
born at Antwerp in 1609. According to San- 
drart, he received a liberal education, and devoted 
himself for sometime to the study of the Belles 
Lettres, in which he so far distinguished himself as 
to be appointed professor of Philosophy in the col- 
lege of his native city. On becoming acquainted 
with Rubens, whose house was the resort of 
learned men, as well as distinguished artists, he 
was inspired with such a love of painting that he 
resigned his appointment, and entered the school 
of his friend. With a mind richly endowed by 
nature, and well stored with literature, he made 
rapid progress, and in a few years became one of 
the ablest artists of his country, at a period when 
Antwerp boasted the most celebrated painters of 
the Flemish school. He did not servilely imitate 
Rubens, like many of the scholars of that master, 
but formed a style of his own, abundantly evincing 
vivacity of genius, polished by study. His com- 
position is good, his touch free and spirited, and 
his coloring rich and harmonious. His design, 
though considerably tinctured with the Flemish 
manner, is tolerably correct, and his ideas are gen- 
erally just, learned, and elevated, though his draw- 
ing is sometimes inaccurate. He had an excellent 
knowledge of architecture and perspective, with 



QUEL. 



746 



QUEL. 



which he embellished the backgrouuds of his pic- 
tures. He was equally successful in history and 
landscapes, and painted many of the most distin- 
guished personages of his time. He painted both 
in large and small size ; his large works are 
executed with great vigor and freedom, but his 
cabinet pictures ai'e more delicately pencilled and 
colored with greater transparency. His most cel- 
ebrated works are Christ at the house of the 
Pharisee, with Mary Magdalen washing his feet, 
and the Guardian Angel, in the church of S. An- 
drew, at Antwerp; an altar-piece of the Holy 
Family reposing in Egypt, in the church of S. Sa- 
viour at Ghent; and the Nativity, in the church 
of S. Peter at Mechlin. The latter has often 
been mistaken for the work of Vandyck. Eras- 
mus Quellinus died at Antwerp in 1678. He ex- 
ecuted a few spirited etchings, chiefly after Ru- 
bens, among which are the following : Samson 
killing the Lion ; the Virgin and Infant Jesus, af- 
ter Rubens. A landscape, with a dance of child- 
ren and young satyrs ; E. Quellinus fee. ; rare. 

QUELLINUS, John Erasmus. This eminent 
painter was the son of the preceding, born at Ant- 
werp in 1629. After receiving instruction from 
his father, he went to Italy, at the age of 21. Ar- 
riving first at Venice, he was captivated by the 
works of Paul Veronese, and made them his mod- 
el. He afterwards visited Rome, Naples, and Flor- 
ence, and found considerable employment in those 
places. He returned to Antwerp at the desire of 
his father, with a high reputation, and immediate- 
ly received abundant encouragement, in painting 
altar-pieces and other pictures for the churches at 
Antwerp. He also painted much for the private 
collections in other parts of the Low Countries. 
The ornamental style of Veronese is visible in all 
his works. His design is correct, his figures are 
elegant and graceful, with a lively expression, and 
disposed with propriety and judgment. His col- 
oring is clear and brilliant, partaking of the Ven- 
etian and Flemish schools ; his chiaro-scuro ad- 
mirable ; his draperies well cast in large and flow- 
ing folds, and his backgrounds enriched with noble 
architecture, obelisks and monuments. His most 
capital work is Christ healing the Sick, in the 
church of the Abbey of St. Michael at Antwerp. 
It is an immense composition, extending the whole 
height of the edifice, with a multitude of figures 
as large as life, yet so admirably arranged as to be 
free from the least appearance of confusion ; the 
background is embellished with noble architecture. 
This picture is so much in the style of Veronese, 
that it might easily be taken for his work. In the 
Refectory of the same Abbey, he painted four pic- 
tures representing Christ feeding the Five Thou- 
sand ; the Feast of the Pharisee ; the Supper at 
Bethany ; and the Last Supper. In the cathedral 
at Antwerp is a fine picture of the Adoration of 
the Magi, and in the church of Notre Dame at 
Mechlin, the Last Supper, one of his finest works. 
The younger Quellinus is justly ranked among the 
ablest artists of his country, who succeeded the 
golden era of Flemish art under Rubens and Van- 
dyck. He died at Antwerp in 1715. 

QUELLINUS, Artus, a Flemish sculptor, the 
brother of Hubert, and the cousin of John Eras- 
mus Q., was a native of Antwerp, and flourished 
about the middle of the 17th century. He visited 
Italy, and studied under Francis Duquesnoy ; af- 



ter which he returned to Flanders, and succeeded 
in attaining a high reputation. His principal sculp- 
tures are in the Stadt-House at Amsterdam, for 
which edifice he executed a large number of ex- 
cellent works. 

QUELLINUS, Hubert. This engraver was 
the brother of the preceding, born at Antwerp in 
1608. It is not mentioned under whom he stud- 
ied. He etched a set of plates in a singular style, 
resembling that of Peter Soutman, and neatly fin- 
ished with the graver, from the marble statues of 
the sculptor Artus Quellinus, in the Stadt-House at 
Amsterdam. They are marked with the initials 
of both artists. A. Q. H. Q., and were published in 
a folio volume at Amsterdam in 1655. He also 
engraved some portraits, among which are Philip 
IV., seated on his throne, with the Prince Royal 
and several allegorical figures, and one of Artus 
Quellinus, from his own designs. 

QUERFURT, Augustus, a German painter, 
born at Wolfenbuttel in 1696. After receiving in- 
structions from his father, a reputable landscape 
painter, he went to Augsburg and studied under 
Rugendas. He painted encampments, skirmishes 
of cavalry, battle-pieces, and huntings, in which 
he appears rather an imitator than an original 
painter. Sometimes he adopted the manner of 
Borgognone and vander Meulen ; at others he 
aimed at that of Wouwerman, but with less suc- 
cess. His pictures are well composed and colored, 
and executed with spirit. He died at Vienna in 
1761. 

QUESNEL, or QUENET, Francis. This paint- 
er is supposed to have been born at Edinburg 
about the year 1 540. He passed his life in France, 
and was employed by Henry IIL, and Henry IV. 
Among others, he painted the portraits of those 
monarchs, and of Mary de Medicis. Several of 
his portraits have been engraved by Edelinck, T. 
de Leu, and van Schuppen. He died at Paris 
in 1619. 

QUESNOY, Francis du. See DuauESNOY. 

QUEVERDO, FRAN901S Marie Isidore, a 
French engraver, born in Brittany in 1740, al- 
though some writers place his birth-place in Spain. 
He engraved a part of the plates for the Voyage 
pittoresque d^Italie, by the Abbe de St. Non. He 
also engraved some plates of portraits and other 
subjects, after his own designs and those of other 
masters. He was living in 1811. 

QUEUX. Michel Joseph le, a French archi- 
tect, born at Lille in 1756. His career was short, 
as he was assassinated in 1786, at the age of thir- 
ty ; but he erected several fine edifices in excellent 
taste, in his native city, and designed the Palais 
de Justice at Douay. 

QUEWELLERIE, Guillaume de la, a French 
designer and Engraver, who flourished about 1680. 
He engraved a set of small ornamental plates for 
jewelers, neatly executed. The frontispiece is in- 
scribed with his name, Guilhehnies de la Quewel- 
lerie, fecit, A71. Dni. 168:). The other plates are 
marked with the initials G. D. L. Q. 

QUILLART, Pierre Antoine, a French paint- 
er and engraver, born at Paris in 1711. He stud- 
ied under Anthony Watteau, on leaving whom it 
is said he was invited to the court of Portugal, 
appointed painter to the Queen, and elected a mem- 



QUIN. 747 

ber of the Academy at Lisbon, where he died in the 
flower of his age. His principal work as a paint- 
er, was a beautiful ceiling in the Queen's bed- 
chamber. He designed and engraved a set of 
plates representing the funeral pomp of Duke Don 
Nuno Olivares Pereira, published at Lisbon in 
1730. 

QUINKHARD, John Maurice, a Dutch painter, 
born at Rees, near Cleves, in 1687. He studied 
successively under Arnold Boonen. Lubinietski, 
and N. Verkolie. He painted familiar, allegorical, 
and mythological subjects, well designed and col- 
ored. He also excelled in portraits, and was much 
employed in that branch. He died in 1772. 

QUINTILTEN, a French engraver mentioned 
by Florent le Comte. He executed some plates 
after Callot, but did not affix his name to them. 

QUIRICO, Giovanni da Tortona, a Pied- 
montese painter, who flourished in the first part 
of the 16th century. There is an altar-piece by 
him, painted on a gold ground, in the Hospital of 
Vigevano, dated 1505. 

QUIROS, Lorenzo, a Spanish painter, born at 
Santos, in Estremadura, in 1717. He studied un- 
der Bernard German Llorente, at Seville, with 
whom he made great progress, both in oil and fres- 
co. He afterwards went to Madrid for improve- 
ment, where his talents recommended him to the 
notice of Carlo Oorrado and RafFaelle Mengs, then 
in the service of the King of Spain, who offered 
him employment ; but being of a turbulent dispo- 
sition and a slave to his own fancies, he preferred 
imaginary liberty to fame and fortune. He after- 
wards retired to Seville, where he remained twenty 
years without making anyone acquainted with his 
place of residence, and employed himself in copy- 
ing and imitating the works of Murillo, which he 
sold, by means of an agent, for originals by that 
master. He is said to have been very successful, 
and doubtless many pictures in foreign collections, 
more recently smuggled out of Spain as the genu- 
ine works of Murillo, were by this master. He 
left some works at Madrid, in the Academy of San 
Fernando, at Cazalla, Granada, and other places in 
Spain. He died in 1789. 

QUITER, Hermann HENDRicK,a Dutch mezzo- 
tinto engraver, born about 1620, and died about 
1700. He went to England, where he executed in 
an indifferent manner a few portraits after Sir Pe- 
ter Lely and others, among which is that of Queen 
Catherine, consort of Charles IL, after Lely. 

QUITER, Hermann Hendrick, was the son of 
the preceding. He went to Rome, and studied in 
the school of Carlo Maratti. He afterwards re- 
turned to his own country, and was appointed 
painter to the Landgrave of Hesse. He died at 
Brunswick in 1731. 

QUITER, Magnus, was a younger brother of 
the preceding. He visited Rome, and studied 
some time with Maratti, after which he went to 
England, where it is supposed he assisted Sir God- 
frey Kneller. He afterwards returned to Holland, 
where he chiefly painted portraits, and occasionally 
historical subjects. He was appointed Keeper of 
the Gallery at Salzdalum, and died in 1744. 

QUITER, E., a Dutch engraver in mezzotinto, 
who flourished in the latter part of the 17th cen- 
tury. He executed some portraits after John de 
Baan and others. 



RABA. 



R. 



RABASSE, or RABAS, Jean, a French engra- 
ver and printseller, who flourished at Paris about 
1650. Dumesnil attributes three prints to him : 
Judith, signed Jean Rahas, avec Preuilege du 
Hoy ; a Holy Family, marked with the initials J. 
R= ; and a Repose in Egypt, with the same letters 
in a monogram. Brulliot attributes the mark on 
the last print to Jacob de Bray and Giuseppe 
Ribera. 

RABBI A, Raffaelle, a portrait painter, born 
at Marino. Little is known of him except from 
the commendation of Cav. Marini, the poet, whose 
portrait he painted. He was living in 1610. 

RABEL, Jean, a French painter and engraver, 
who flourished at Paris about 1588. As a paint- 
er, he is little known. Prof. Christ says he pub- 
lished several of his designs, engraved on wood, 
but does not specify the subjects, nor mention 
whether ihej were engraved by himself or some 
other artist. There is a copper- pi ate by him, rep- 
resenting the Martyrdom of St. Lawrence, copied 
from the print of the same subject by Marc' An- 
tonio, after Baccio BandinelU. It is less than 
the original, and is inscribed lo.Rahel Bellonacus 
lute Parisii. According to Basan, he was born 
in 1550, and died in 1608. 

RABEL, Daniel, was the son of the preceding, 
who is supposed to have been his instructor. He 
painted landscapes in a pleasing style, some of 
which were engraved by cotemporary artists. He 
etched quite a number of plates from his own de- 
signs, in a style resembling that of Israel Silves- 
tre, consisting of landscapes and views, with fig- 
ures correctly drawn. Nagler places his death in 
1628, but does not notice any of his prints. Zani 
says he operated in 1636. 

RABEN, RAVEN, or RAEVEN, Servatius, a 
Dutch engraver, of whom little is known with cer- 
tainty, except that he engraved the Twelve Caesars, 
after Stradanus, one of which is marked with a 
monogram formed of the letters S. V. R., and the 
rest with his name in full, variously spelled, as 
above. There is also a plate of the Madonna della 
Seggiola, after Raffaelle, signed Servatius Raeven. 
Zani and others consider him the same as Serwou- 
ter, the accounts of whom are very contradictory, 
but the monogram of the latter is quite different, 
being composed of the letters P. and S. interlaced, 
followed by a W. See Serwouter. 

RABIELLO, Pablo, a Spanish painter who flour- 
ished at Saragossa in the beginning of the 18th 
century. The accounts of him are contradictory. 
According to Bermudez, though not very correct 
in his drawing, he understood the great maxims 
of the painter, and excelled in battle-pieces, follow- 
ing the styles of Fray Juan Rizi and Juan de Val- 
des. There are several pictures in the Trinitarios 
Calzados de Terruel, attributed to him, and others 
in the chapels of San Marco and San Jago. In the 
Cafhedral at Saragossa is one of his pictures, rep- 
resenting the Battle of Clavijo. 

RABIRIUS, an eminent Roman architect, 
who flourished about A. D. 80, in the time of Do- 
mitian. He was much employed in the extensive 
architectural operations of that monarch, and 
erected a number of temples and triumphal arches, 
besides many works on the Capitol, and the famous 



RABO. 



748 



RACO. 



palace of Domitian, on the Palatine Mount. Among 
the other works of this monarch, which Milizia 
attributes to Rabirius, was the public highway- 
call ed Via Domitiana, forty miles long, from Poz- 
zuolo to Sinvessa, crossing the river Vulturno by 
a bridge of white marble, richly ornamented. The 
Roman roads were generally surveyed in nearly a 
straight line, with but little allowance for obstruc- 
tions — marshes were filled up, rivers were bridged, 
hills were levelled, mountains were tunnelled — 
several strata of stones were laid as the founda- 
tion, forming a mass of extraordinary depth and 
width, on which were placed large stones cut into 
regular forms, and fixed with great nicety upon 
the surface ; the whole work constructed with 
such solidity that it seemed to bid defiance to the 
attacks of time. Gibbon remarks, '' the firmness 
of the Roman roads has not entirely yielded to 
the attacks of fifteen centuries." 

RABON, or REBON, Pierre, a French painter, 
born in 1616. He settled at Paris, and acquired 
considerable reputation in portraits. He died there 
in 1684. 

RABON, or REBON, Nicolas, was the son 
of the preceding, born at Paris in 1644. He stud- 
ied under his father, and painted history with con- 
siderable distinction. He died at Hermant in 
1686. 

RACCHETTI, Bernardo, a Milanese painter, 
born in 1639. He studied under his uncle, Gio- 
vanni Ghisolfi, whose manner he imitated so 
closely that his pictures are frequently taken for 
those of his instructor. They usually repre- 
sent sea-ports embellished with shipping, and 
magnificent buildings, designed with accuracy, and 
touched with taste and spirit. His perspective is 
remarkably true, and none of his cotemporaries 
exceeded him in the artful management of the 
chiaro-scuro. He died at Milan in 1702. 

RACINE, Jean Baptiste, a French engraver, 
born at Paris, according to Nagler, in 1747, and 
died in 1805, though Zani says he was living in 
1807. He studied under Fran9ois Aliamet, and 
engraved, in a neat style, some plates of landscapes 
after Breemberg, Pillement, and other masters ; 
also a few subjects from pictures in the Orleans 
Gallery ; and some vignettes and other book plates 
after the designs of Cochin. 

RACLE, Leonard, a French architect and en- 
gineer, born at Dijon in 1736. He early mani- 
fested a strong inclination for art, and was instruct- 
ed in the principles of architecture by Moutin de 
Saint Andre, engineer of the province of Bour- 
gogne. He prosecuted his studies with great en- 
ergy, and attained such excellence as to attract the 
attention of Voltaire, who employed him upon his 
"works at Ferney. The recommendation of that 
celebrated author gained for Racle the patronage 
of the Duke de Choiseul, who commissioned 
him to design plans for the city and port of Ver- 
soix ; but various circumstances prevented their 
execution. In 1786, Racle obtained a prize of the 
Academy of Toulouse : and he was soon after in- 
vited to Russia by the Empress Catharine, but de- 
clined the offer. Among his principal works were 
the canal of Pont de Vaux ; and Voltaire's monu- 
ment at Ferney. He was a member of the central 
administration for the Department de I'Ain, and 
prosecuted several projects for the improvement 
of that province. He died in 1791. 



RACONIGI, Valentin Lomellino DA,aPied- 
montese painter, of whom little is known, except 
that he flourished at Turin about 1561, and was 
employed by the Duke as painter to the court. 

RADEMACKER, Gerard, a Dutch painter, born 
at Amsterdam in 1672. He was the son of an 
architect, who instructed him in the rudiments of 
drawing and perspective, with the intention of 
rearing him to his own profession ; but perceiving 
in his son an inclination for painting, he placed 
him with A. van Goor, a reputable artist in por- 
traits. He had made considerable progress in his 
studies, when his instructor died ; whereupon Ge- 
rard undertook to teach drawing and design, and 
was employed to instruct the niece of the Bishop 
of Sebasto. That prelate was so much pleased 
with his talents and amiable deportment, that he 
took him in his suite to Rome, where he spent 
three years in assiduously studying everything 
that could contribute to his advancement. On re- 
turning to Holland, his merit procured him friends 
and abundant employment, and his works were 
eagerly purchased by persons of the first rank. 
His genius led him to represent views of the prin- 
cipal edifices, monuments, and ruins in Rome and 
its vicinity, which he designed with great accuracy 
and precision. He did not, however, confine him- 
self to architectural views, but painted historical 
and allescorical subjects with considerable success. 
In the Stadt-House at Amsterdam is an allegorical 
picture by him, representing the Regency of that 
city. Another fine picture is a View of the Inte- 
rior of St. Peter's church at Rome, accounted a 
master-piece for the accuracy of design, as well as 
the style of handling. He was fond of introduc- 
ing bas-reliefs and embossed work into his pic- 
tures, which he designed with great truth and ele- 
gance. Radem acker is esteemed one of the good 
masters of the Dutch school ; his works show a 
superior grandeur of ideas and a well cultivated 
genius. He designed and wrought with facility, 
and executed many works for the shortness of his 
life. He died at Amsterdam in 1711, aged 39. 

RADEMACKER, Abraham. This artist was 
born at Amsterdam in 1675, and is generally sup- 
posed to have been a younger brother of the pre- 
ceding. We are expressly told that he reached 
an eminent rank in the art of landscape painting, 
without the assistance of an instructor ; wherefore 
some writers doubt whether he was of the same 
family as Gerard R. At first he spent whole 
days and nights in drawing and copying with 
India ink, and next in water-colors, till he arrived 
to a perfection in that branch that excited the sur- 
prise and elicited the approbation of the best art- 
ists of his time. He afterwards practised oil 
painting with equal success. He diligently stud- 
ied nature, and the rules of perspective and archi- 
tecture. He painted landscapes and views of 
towns in Holland, but oftener landscape composi- 
tions, enriched in a picturesque manner with edifi- 
ces and vestiges of ancient ruins. His invention be- 
ing remarkably fertile, he was never at a loss to 
furnish an endless variety of scenes and subjects ; 
he filled his pieces with suitable figures and ani- 
mals, well designed and grouped. His coloring is 
bright and clear, with a pleasing tone and degra- 
dation in his distances, though there is a little 
dryness observable in his larger works, probably 
caused by his habit of painting in small. He en- 
graved from his own designs, in a masterly style, 



RADI. 



749 



RAEB. 



a set of three hundred plates of the most interest- 
ing views of ancient edifices, monuments, &c., in 
Holland and the Netherlands, published at Amster- 
dam in six quarto volumes, in 1731. His oil paint- 
ings are numerous, and held in high estimation. He 
left an immense collection of drawings in water- 
colors and India ink. found in the collections of 
connoisseurs, by whom they are much prized for 
their neatness and delicacy of finishing, as well as 
their elegance of design. He finished a life of the 
most indefatigable industry in 1735. 

RADI, Bernardino, an Italian designer and 
engraver, a native of Cortona, who flourished at 
Rome in the first part of the 17th century. He 
etched, in a slight and spirited style, a set of archi- 
tectural ornaments, monuments, ruins, &c., pub- 
lished at Rome in 1618, under the title of Varie 
invenzioni per depositi di Bernardino Radi Cor- 
tonese. 

RADIGUES, ANTOiNE,a French engraver, born 
at Rheims in 1719. It is not known under whom 
he studied ; but. according to Basan, he went to 
England, and afterwards traveled through Holland 
and Germany to Russia, where he resided several 
years. At St. Petersburg he engraved the por- 
tiaits of the Prince and Princess Gallitzin, and 
other persons of distinction. He also engraved a 
plate for the Dresden Gallery, representing An- 
gelica and JNIedora, after ALessandro Tiarini. 

RAEBURN, Sir Henry, an eminent Scotch 
portrait painter, born at Stockbridge, now a part 
of Edinburg, in 1756. At the age of six years 
he was left an orphan, and was placed in Heriot's 
Wark, the Christ's Church School of Scotland. 
At the age of fifteen he was apprenticed to an emi- 
nent goldsmith, but his propensity for drawing 
and sketching, manifested at school, seemed more 
to occupy his mind than the business of his mas- 
ter, who, on perceiving his inclination and examin- 
ing some of his juvenile attempts at miniature, 
encouraged him to persevere, and took him to see 
Martin's pictures, the view of which astonished 
and delighted the young artist, and made a power- 
ful impression upon his mind. He now devoted 
himself to miniature painting, and found sufiicient 
employment to enable him to purchase the re- 
mainder of his apprenticeship. He also began to 
paint in oil, and obtained the loan of several pic- 
tures from Martin. The latter, however, soon 
grew jealous of his excellence, and is said to have 
unjustly accused him of .selling one of his copies, 
when the latter indignantly refused any further as- 
sistance from so despicable an antagonist. Having 
begun to paint oil pictures, he gradually aban- 
doned miniature, and became a professionalportrait 
painter. At the age of twentj^-two he married ad- 
vantageously, and being ambitious to improve him- 
self, he soon afterwards set out for London. Hav- 
ing introduced himself and his works to Sir 
Joshua Reynolds, the latter received him kindly, 
and addsed him to study in Italy, at the same 
time proffering him all necessary funds and letters 
of introduction to distinguished artists and hterati 
at Rome. Such disinterested and noble acts are 
worthy of immortality ; yet how rarely they oc- 
cur, and how much a calculating world has lost, 
and doubtless ever will lose, by rarely discrimina- 
ting and encouraging the sons of genius, to whom 
it is indebted for the greatest conveniences, com- 
forts, luxuries, and everything that ennobles the 



human mind ! Young Raeburn gratefully accept- 
ed the last part of Sir Joshua's offer, and immedi- 
ately set out with his wife, well furnished with 
every advantage. He spent two years in Italy, 
assiduously studying the great works of art. In 
1787 he returned to Scotland, with his powers well 
matured, and settled at Edinburg, where he soon 
entirely eclipsed Martin, his former jealous friend, 
and completely drove him from the field into re- 
tirement. He became the only portrait painter 
of eminence in that city for a long time, and not- 
withstanding other able artists established them- 
selves there, he continued to adorn both that and 
other branches of the art until his death. He was 
not in the habit of repairing to London, never hav- 
ing visited that metropolis but three times in his 
life, nor resided in it more than three months, con- 
sequently he saw little of the works of his cotem- 
poraries ; and, having stored his mind with ideas 
drawn from the purest school of modern art, he 
was indebted for his subsequent improvement 
solely to his own genius, reflections, and the study 
of nature. Hence the striking originality in his 
works. He made it his peculiar study to bring 
out the mind of his subjects. His penetration en- 
abled him quickly to discover their favorite pursuits, 
and to engage them in topics of lively conversa- 
tion, and while they spoke, he caught the features 
enlivened by the strongest expression of which 
they were susceptible. Thus, instead of an ex- 
pression of mental vacuity, his portraits not only 
seem to live and breathe, but to think, looking as 
though they were about to speak on some favorite 
topic. This is the greatest merit of his works, 
though he was accomplished in every other neces- 
sary particular. His drawing was correct, his 
coloring rich and clear, and his lights well dis- 
posed ; his pencilling bold and free ; and his ac- 
cessories, whether drapery, furniture, or landscape, 
were treated with elegance and spirit. He excelled 
in animals, particularly the horse, and his eques- 
trian portraits are considered among his best per- 
formances ; his portraits of Sir David Baird, the 
Duke of Hamilton, the Earl of Hopetown, and his 
own son on horselDack, are among the most ad- 
mired. He painted the portraits of all the most 
celebrated individuals of Scotland who flourished 
during the last forty years of his life, many of 
them full-lengths. The merit of Sir Henry was 
amply acknowledged, both by hterary societies, 
and by those formed for the promotion of art. 
He was elected a member of the Royal Society of 
Edinburg, of the Academy of Florence, of the 
Academy of New York, and various other institu- 
tions. In 1814, the Royal Academy of London, 
though unsolicited, elected him an Associate, and in 
1815 an Academician. In 1822, when George IV. 
visited Scotland, he sat to Raeburn, conferred on 
him the honor of knighthood, and appointed him 
his painter for Scotland. His modesty was equal 
to his talents, and in his intercourse with young 
artists he was uniformly kind, communicative, and 
liberal. He was not only an artist, but a patron 
of art ; and his gallery and study were always 
open to young artists. He died in 1822. 

RAEFE, or RAEFUS, P., a French engraver 
on wood, inentioned by Papillon. who flourished 
at Paris about 1575. He engraved, in a spirited 
style, the greater part of two hundred cuts illus- 
trating the Cosmographical work by Andre The- 
vet ; the print of the Antiquities of Athens, page 



RAFF. 



750 



RAFF. 



796, is signed with his name, the others are mark- 
ed with his initials, P. R. The rest of the cuts in 
the work were executed by 0. Goujon. probably a 
brother of Jean Goujon, the celebrated sculptor. 
They. are marked with the initials 0. G. 

RAFFAELLE, Raffaellq, or Raphael San- 
zio Di Urbino. The name of this illustrious 
Italian painter is variously spelled ; by the Ital- 
ians, Raifaello ; by the French, Raphael or RafFa- 
ello; by the Germans, Rafael ; by the old Eng- 
lish writers Raphael, and the moderns Raffa- 
elle. The few works mentioned as bearing his 
signature, are inscribed in Latin, Baphael Sanc- 
tius Urhinas pinxit ; Raphael Urhinas Pinge- 
bat, 1517; Raphaelis Sanctij Urbinatis opus, 
1517. Two others with the last two signatures are 
dated 1518, and a medal struck in honor of Lucre- 
zia Borgia, attributed to him, bears the name 
Raphael, in Roman capitals, in the exergue on 
the reverse. The Italians say that in his familiar 
correspondence, he always wrote his name Raffa- 
ello, and that this is the correct orthography. 

By the general approbation of mankind. Raffa- 
elle has been styled the prince of painters, and he 
is universally acknowledged to have possessed a 
greater combination of the higher excellencies of 
art, than has ever fallen to the lot of any other in- 
dividual. He has had severe critics, but more able 
defenders. It has been remarked by Sir Joshua 
Reynolds and other authors, as well as by many 
travelers, as a remarkable fact, that the most capi- 
tal frescos of Raffaelle in the Vatican do not at 
first strike the beholder with surprise, nor satisfy 
his expectations ; but. as he begins to study them, 
he constantly discovers new beauties, and his ad- 
miration continues to increase with contemplation. 
This circumstance is accounted for by writers in 
various ways. De Piles attributes it to a want of 
strength of coloring proper for each object, and a 
deficiency in the chiaro-scuro. Montesquieu ob- 
serves, that '' the works of Raffaelle strike little 
at first sight, because nature is bo well imitated 
that a spectator is no more surprised than he 
would be to see the object itself, which would ex- 
cite no degree of surprise at all." Reynolds, after 
having expressed his first disappointment, and sub- 
sequent admiration, says, '-'lam now clearly of 
opinion that a relish for the higher excellencies of 
the art is an acquired taste, which no man ever pos- 
sesses without long cultivation, and great labor 
and attention." These quotations explain the con- 
trariety of opinions often expressed by writers as 
to the merits of Raffaelle, especially by those su- 
perficial in art. Among other causes, doubtless, 
are the changes which time has wrought in depri- 
ving his frescos of their original beauty of coloring ; 
and the fact that people who have read a great 
deal of any remarkable work of art or nature, fre- 
quently have their expectations so exalted that they 
are at first disappointed. Many persons, when 
they visit the cataract of Niagara, expect to see 
the water tumbling from the sides, with the noise 
of thunder and the shock of an earthquake, and 
find themselves disappointed ; but when they be- 
gin to contemplate the wonder — its eternal, majes- 
tic, resistless current, that has cut its way for 
miles through the solid rocks, and formed for it- 
self an impregnable barrier, as if afraid of delug- 
ing the world — they begin to realize, to be im- 
pressed with the sublimity of the scene. 

There is nothing in the early life of Rafiaelle, 



excepting fictitious accounts, more remarkable than 
in that of many others, nor anything that can af- 
ford much instruction. He did not acquire any 
marked distinction till his arrival at Rome in 
1508. This very circumstance has led to endless 
disputes, and caused Michael Angelo and others to 
declare that he possessed no great originality of 
genius, but was rather a bold adopter ; while oth- 
ers have zealously labored to prove that he was a 
prodigy from his birth, descended from an ancient 
noble house, and that he rather instructed his 
masters than received from them instruction. 
His life, therefore, will be briefly traced to the im- 
portant epoch before mentioned. 

He was the son of Giovanni Sanzio or di Santi, 
a painter of little celebrity, and was born on Good 
Fi-iday, March 8, 1483. His father removed not 
long afterwards to Perugia, where, having instruct- 
ed Raffaelle in the elements of design, and discov- 
ering his extraordinary talents, he sought for him 
a more able master, and placed him in the school 
of Pietro Perugino. Under this master he made 
great progress, soon surpassed all his fellow stu- 
dents, and even Perugino himself, if some histori- 
ans may be credited, who cite in proof his first 
work of St. Niccolo da Tolentino crowned by the 
Virgin, at the Eremitani ; a Crucifixion, with the 
Virgin, Mary Magdalene, and St. John, in S. Do- 
menico, at Citta di Castello ; the Coronation of 
the Virgin, in the convent of the Franciscans at 
Perugia ; and the Marriage of the Virgin. The 
last work was painted about his 18th year, entire- 
ly in the style of Perugino, but with a finer ex- 
pression in the heads, particularly of the Virgin. 
About this time, Bernardino Pinturicchio was com- 
missioned by Cardinal Francesco Piccolomini to 
execute his great works in the Cathedral of Siena, 
to illustrate the life and actions of ^neas Silvius 
Piccolomini, afterwards Pope Pius TI. ; the embas- 
sies entrusted to him by the Council of Constance 
to various princes ; and by Felix the anti-pope to 
Frederick III., who conferred on him the laurel 
crown ; and also the various embassies he under- 
took from Frederick himself to Pope Eugenius IV., 
and afterwards to Callistus IV., who made him a 
Cardinal. No works of equal importance had 
hitherto been entrusted to any single master, and 
according to Vasari, Pinturicchio feeling himself 
incompetent to these vast undertakings, engaged 
the assistance of Raffaelle, who made the designs 
and cartoons for all the works. The glory of 
these performances, by general consent of au- 
thors, is thus given to Raffaelle, although they ad- 
mit that he was a perfect novice in such mat- 
ters, a stranger to the splendor of a metropolis, 
and wholly unacquainted with the manners and 
customs of the courts of Europe. This subject has 
been fully discussed under the head of Pinturic- 
chio, which see. These great works were finish- 
ed in 1504, about which time Raffaelle is supposed 
to have made his first visit to Florence, though 
this is uncertain, and very probably it was some- 
what earlier. Vasari expressly says that he went 
to Florence before the completion of the Library ; 
but Lanzi is of a different opinion. At all events, 
when Raffaelle learned that the cartoons of Michael 
Angelo and Leonardo da Vinci, which had been 
prepared in competition by those great artists in 
consequence of the prize offered b)-- the city of 
Florence for the best designs for decorating the 
Palazzo Pubblico, were on exhibition in that city, 



RAFF. 



751 



RAFF. 



he hastened thither to behold them. These car- 
toons, and many other invaluable treasures of art 
in Florence, made a deep impression on his youth- 
ful sensibilities, and he doubtless derived great ad- 
vantage from the acquaintance of Ghirlandaio, San- 
gallo. and other distinguished young artists. Al- 
though Raflfaelle's biographers do not expressly 
say that he assiduously studied at Florence the 
works of the earlier masters, Cimabue, Giotto, 
Masaccio, Verocchio, Ghiberti, as Michael Angelo 
and Leonardo da Vinci had done, yet this is abun- 
dantly evident from the pictures he executed there, 
among which is a Madonna and Child, now in the 
Tribune at Florence, as well as from the works he 
afterwards executed at Rome, where it is known 
he adopted largely from Masaccio. The death of 
his parents obliged him to hasten home, and while 
arranging his father's affairs he painted several 
pictures, among which were two Madonnas, St. 
George, and probably its pendant, the St. Michael, 
and Christ praying in the Garden, now in Paris ; 
and in 1504 the Marriage of the Virgin, called Lo 
Sposalizio, in the church of S. Francesco at Citta 
di Castello, now in the Pinacoteca at Milan. Lan- 
zi and others speak of this picture in strains of 
rapture. He says the two espoused have a degree 
of beaut}'- which Raffaelle scarcely surpassed in 
his mature age, in any other countenances. About 
this time, 1505, he executed several works at Peru- 
gia which sustained his reputation — a Madonna, 
for the church of the Servi, the Mater Dolorosa, 
over which he painted a second picture of God the 
Father, now in the Colonna palace at Rome, and a 
Crucifixion, preserved in the chapel of the Padri 
Caraaldolensi. By these performances may be 
measured the progress he had made in his first 
visit to Florence. They partake of the style of 
Perugino, with little of the dignity, power, and 
grandeur of his later performances, but are dis- 
tinguished for the sensibility and feeling belonging 
to the earlier school. That he had not made much 
progress in anatomy, is evident from his picture of 
the Crucifixion, in which the figure of Christ on 
the Cross does not discover any particular excel- 
lence in design, though affording him an excellent 
and appropriate opportunity to display his know- 
ledge of that branch of the art. His desire for 
improvement drew him a second time to Florence, 
where he zealously pursued his studies of the old 
masters before mentioned, and derived great ad- 
vantage from the acquaintance of Fra Bartolomeo, 
who returned to painting about this time. He 
communicated to Raffaelle a more correct knowl- 
edge of coloring; and in return, the latter taught 
him the rules of perspective. (See Baccio della 
Porta, called Fra B.) He seems to have spent in 
study the whole time of his residence in that city ; 
at least it is known that he executed nothing there 
except a few portraits, and the cartoon for the 
Entombing of Christ; the picture itself he paint- 
ed at Perugia, from whence it was afterwards 
transferred to the Borghese palace at Rome It is 
a miracle of composition, design, and expression, 
surpassed in these respects by few of his subse- 
quent performances. After completing this work, 
Raffaelle returned the third time to Florence, 
where his studies seem to have been his chief em- 
ployment, as it is nearly certain that he executed 
at this time only two pictures — the Madonna called 
La Bella Giardiniera, now at Paris, and another 
Madonna with the Fathers of the Church, now at 



Brussels. His repeated residence at Florence ex- 
ercised over him the greatest influence. He found 
that the Florentine artists, as Cimabue, Giotto, 
Fiesole and others, could not only conipete with 
his teacher Perugino in all the departments of art, 
but that some of them, as Masaccio, Fra Filippo 
Lippi, Mariotto Albertinelli, Ghirlandaio, and Fra 
Bartolomeo, surpassed him in excellence of com- 
position, correctness of design, and liveliness of 
coloring. In the works of Ghirlandaio, and above 
all of Masaccio, he found what he most desn-ed, a 
grander style in the forms, drapery, and outline. 
Doubtless, too, he derived some advantage by con- 
templating the works of da Vinci and Michael An- 
gelo, though the latter had not then executed his 
greatest peiformarices, nor was his manner congen- 
ial to Raffaelle. Having previously acquired the 
excellencies of the greatest masters of the Ro- 
magna, he now possessed himself of those of the 
Florentine school, which he ever held in high esti- 
mation, evinced by his copying in the Loggia, 
without the least alteration, two figures by Masac- 
cio, which may still be seen in the picture by the 
latter of Adam and Eve driven from Paradise, in 
the monastery of the Carmelites at Florence, as 
well as others in the Cartoons. (See Masaccio.) 
Raffaelle now considered himself competent to un- 
dertake greater works than he had hitherto at- 
tempted, and was ambitious of painting an apart- 
ment in the Palazzo Pubblico at Florence, which 
is evident from his letter to one of his uncles, de- 
siring him to request the Duke of Urbino to write 
to the Gonfaloniere Soderini for this purpose. This 
letter, now in the Museo Borgia, is dated in April, 
1508, and contains all the provincialisms then 
common to the inhabitants of Urbino. Lanzi 
says his biographers do not speak of his literary 
attainments, and that if we are to judge from this 
letter, we might consider him grossly illiterate; 
but he exculpates him on the ground that he was 
writing in the familiar dialect of his country, as is 
still done, even in the public acts of Venice, and 
that he might and did, when he chose, use a more 
correct language. His uncle Bramante, however, the 
famous architect of St. Peter's, procured him no- 
bler employment at Rome, by recommending him 
to Julius II. to decorate the Vatican. We now be- 
hold him placed in that famous palace, with such ad- 
vantages of time and circumstances as enabled him 
to rise tothepositionof the first painter of the world. 
It will assist the reader in forming an estimate of 
the powers of Raffaelle, to reflect on his attain- 
ments, and the new field opened to his view. Pos- 
sessing extraordinary genius and talents, he had 
already attained all that was excellent in his pre- 
decessors. His talents were immediately recog- 
nized at Rome, and if deficient in any necessary 
branch of knowledge, the whole literary and 
artistic world was at his command. He was in- 
spired by the most unbounded ambition ; the ef- 
forts of Michael Angelo to supplant him only 
stimulated him to greater exertions; and, on his 
death-bed, he thanked God he was born in the 
days of Buonarotti. He was instructed in the 
principles of architecture for six years by Bramante, 
that on his death iie might succeed him in superin- 
tending the erection of St. Peter's. He lived among 
the ancient sculptures, and derived from them not 
only the contours, drapery, and attitudes, but the 
spirit and principles of the art. Not content with 
what he saw at Rome, he employed able artists 



KAFF. 



752 



RAFF. 



to copy the remains of antiquity at Pozzuolo, 
throughout all Italy, and even in Greece. It is 
also probable that he derived much assistance 
from living artists, whom he consulted in re- 
gard to his compositions. The universal es- 
teem which he enjoyed, his attractive person, and 
his engaging manners, which all authors unite in 
describing as incomparable, conciliated the favor 
of the most eminent men of letters, as Bembo, 
Castiglione, Giovio, Navagero. Ariosto, Fulvio, 
Calcagnini, &c., who set a high value on his friend- 
ship, and were doubtless ready to supply him with 
many valuable hints and ideas. 

Raffaelle, on his arrival at Rome, says Vasari, 
was commissioned to paint a chamber in the Vati- 
can, called La Segnatura, which, from the sub- 
jects of the pictures, was also called the Chamber 
of the Sciences. On the ceiling he represented 
Theology, Philosophy, Poetry, and Jurisprudence, 
and on each neighboring fa9ade a grand historical 
piece illustrative of the same subject : on the base- 
ment, also, historical pieces belonging to the same 
sciences ; and these smaller performances, and the 
caryatides and telamoni distributed around are 
monocromati or chiaro-scuri, an idea entirely ori- 
ginal in Raffaelle, and afterwards continued, it is 
said, by Polidoro da Oaravaggio. Raifaelle com- 
menced with Theology, and imitated Petrarch, 
who in one of his visions assembled together men 
of the same condition, though living in different 
ages. He introduced the Evangelists, whose writ- 
ings form the foundation of theology ; St. Ambrose, 
St. Augustine, St. Gregory, and St. Jerome, the 
doctors of the church who continued the tradition ; 
and the fathers, St. Thomas Aquinas, St. Bonaven- 
tura, and other theologians ; above all, the Trinity 
in the midst of the beatified, and beneath, on an 
altar, the Eucharist. This subject, which has 
since been denominated, with little reason, the 
Dispute on the Sacraments, retains traces of the 
ancient style, as gilded glories round the heads of 
the saints, with other similar ornaments, and the 
composition is more formal and restrained than 
in his later productions. The Pope was so satis- 
fied with the performance that he ordered all the 
works of Bramantino, Pier della Francesca, and 
others to be effaced, in order that the whole cham- 
ber might be decorated by Raffaelle. At the ear- 
nest solicitation of the latter, however, out of re- 
spect to his instructor, one picture by Perugino 
was preserved, as well as some ornamental parts 
by Sodoma. In the subsequent works of Raffa- 
elle, and after the year 1509, no traces appear of 
his first style. He had abandoned every vestige 
of the antique gilding and manner, adopted a no- 
bler style, and henceforth applied all his powers to 
bring it to perfection. On the opposite side of the 
chamber he represented Philosophy, now styled 
the School of Athens. In the upper part of the 
composition he introduced Plato and Aristotle, ex- 
pounding their systems to a number of surround- 
ing disciples ; in another group, Socrates is seen 
reasoning with Alcibiades ; and below, Pythago- 
ras in the midst of his scholars, one of whom 
holds a tablet, engraved with the harmonic conso- 
nances. In another part of the picture, Archimedes 
is seen instructing his pupils in geometry ; Zoro- 
aster is represented with a Globe in his hand ; and 
on one side Diogenes is stretched on the ground 
with a book in his hand. In this magnificent 
workj representing the School of Philosophy, con- 



sisting of fifty- two figures. Raffaelle has given to 
the world a school of painting ever regarded as 
one of the most sublime productions of art, for its 
boldness of invention, its grandeur of composition, 
and perfection of design. 

The third picture represents Jurisprudence, and 
is divided into two parts. -On the left side of the 
window stands Justinian, presenting the book of 
civil law to Trebonianus, who receives it with an 
expression of submission and approval which no 
other artist can ever hope to equal. On the right 
side is seen Gregory IX., bearing the features of 
Julius II., delivering a book of the Decretals to an 
advocate of the Consistory. In the upper part of 
the picture are personified Prudence, Temperance, 
and Fortitude. 

The fourth picture represents Poetry, where he 
introduced Apollo and the Muses on Mount Par- 
nassus, surrounded by the most illustrious Greek, 
Latin, and Tuscan poets ; Homer, seated between 
Virgil and Dante, is perhaps the most striking fig- 
ure, appearing gifted with a divine spirit, uniting 
the characters of the prophet and the poet. The 
historical pieces in chiaro-scuro contributed, by 
their elegance, to charm the sight and preserve the 
unity of design ; for instance, beneath the Theolo- 
gy, St. Augustine is represented on the borders of 
the sea, instructed by Angels not to examine the 
mystery of the Trinity, incomprehensible to the hu- 
man mind ; and under the Philosophy, Archimedes 
is seen surprised and slain by a soldier, while ab- 
sorbed in his studies. The first chamber was fin- 
ished in 1511, as appears from an inscription near 
the Parnassus. 

It is proper to observe here, for the proper elu- 
cidation of this memoir, that Raffaelle had three 
manners ; the first, that of his instructor Perugi- 
no ; the second, the same, modified by his resi- 
dence and studies in Florence, which continued till 
the completion of the Theology, though constantly 
improving; and the third, his own grand, original 
manner, commencing with the School of Athens. 
It is also proper to notice the calumnies of the Flo- 
rentine writers, who attempted to disparage Raffa- 
elle in order to aggrandize their own countryman, 
Michael Angelo. The life of Buonarotti was writ- 
ten by two of his disciples, Vasari and Condivi, 
after the death of Raffaelle, and during the life of 
Angelo, which gave the latter decidedly the ad- 
vantage ; for, had Raffaelle been living when they 
attacked the originality of his style, he would 
have found no difficulty in confuting them. Va- 
sari does not speak of the improvement in his 
manner until all the works above mentioned were 
completed. On the contrary, in his life of Raffa- 
elle, he says, " although he had seen so many mon- 
uments of antiquity in that city, and studied so 
unremittingly, still his figures up to this time did 
not possess that breadth and majesty which he 
afterwards exhibited ; for it happened that the 
breach between Michael Angelo and the Pope, oc- 
curred about this time, and compelled him to flee 
to Florence ; from which circumstance, Bramante, 
obtaining the keys of the Sistine chapel, exhibited 
it to his friend Raffaello, in order that he might 
make himself acquainted with the style of Buona- 
rotti" ; and he then proceeds to mention the Isaiah, 
the Sibyls, and the Heliodorus, painted after this 
period. In his life of Michael Angelo, he again 
mentions the quarrel which obliged the latter to 
depart from Rome, and proceeds to say that when, 



RAFF. 



753 



RAFF. 



on his return, he had finished one-half of the work, 
the Pope suddenly commanded it to be exposed, 
" whereupon Raff'aello di Urbino, who possessed 
great facility of imitation, changed his style, and 
immediately designed the Prophets and Sibyls della 
Pace." Thus originated the dispute, subsequently 
prosecuted with the greatest warmth, not only in It- 
aly, but in other countries. Bellori attacked Vasari 
in a violent manner, and ably defended RafFaelle, 
in a work entitled Se Raffaelle ingrandi e migli- 
ero la maniera per aver vedute le opere di Michel 
Angiolo (whether Raffaelle enlarged and improved 
his manner on seeing the works of Michael Angelo); 
Crespi also replied to him in three letters in the 
Letters Pittoriche ; and many other disputants 
have since arisen and started fresh arguments. It 
is impossible, in a brief biographical sketch, to 
pursue this subject, further than to observe that 
Raffaelle 's defenders have shown that when Mi- 
chael Angelo fled to Florence in 1506, Raffaelle 
was not even in Rome ; that Angelo did not com- 
mence his works in the Sistine chapel before 1508, 
when he was invited to Rome by Julius II. for 
that purpose, and probably somewhat later, as it 
required some time to prepare his cartoons ; 
that he did not finish the first half of it be- 
fore 1511, when it was exhibited; and that in the 
meantime Raffaelle had completed his first cham- 
ber in the Vatican ; that Raffaelle had studied the 
Torso of the Belvidere, as Angelo had done ; that 
he formed his manner on the antique and on rea- 
son itself; and that the grand does not consist in 
enlargements of the muscles, or extravagance of 
attitudes, as practised by Buonarotti, but, as Mengs 
justly observes, " in adopting the noblest, and neg- 
lecting the inferior and meaner parts, and in exer- 
cising the higher powers of invention."* Lanzi 
says the objector to Vasari " would have proceed- 
ed to point out the grandeur of style in the School 
of Athens, in the majestic edifices, in the contour 

* We have already mentioned the source whence RaflFa- 
elle derived his inspiration — the antique. The style of 
Angelo was not congenial to him. He had seen at least 
some of his cartoons and pictures at Florence, though not his 
greatest works, afterwards executed at Rome. Ncr did 
RafiFaelle study nature so attentively as some eminent mas- 
ters have done, but he arrived at what nature should be ; 
it was a maxim with him, which he taught his pupils, 
" We must not represent things as they are, but as they 
should be." Mengs says that '• Raffaelle diligently studied 
the bassi-rilievi of the arches of Titus and Constantino 
which were on the arch of Trajan, and adopted from them 
his manner of marking the articulations of the joints, and a 
more simple and easier mode of expressing the contours of the 
fleshy parts." Raffaelle, like Shakspeare, did not hesitate 
to appropriate anything he found in ancient or modern art, 
that fitted his purpose ; but, like the great poet, he threw 
around them the charm of his own incomparable genius. Mi- 
chael Angelo scorned to borrow anything. It is a well known 
fact that the beautiful arabesques with which Raffaelle de- 
corated the loggie of the Vatican were copied from an- 
tiques, which he discovered while making excavations by 
order of Leo X., though greatly improved by his own ex- 
quisite fancy. In compliance with the wishes of that pon- 
tiff, he made drawings of the ancient buildings of Rome, 
accompanied with descriptions, and employed the com- 
pass to ascertain the exact admeasurement. This val- 
uable work was destroyed, and many of the edifices meas- 
ured were destroyed in the sacking of Rome in 1527. The 
Abate Morelli (Notizia, p. 210), has made public a high 
eulogium on this work, written by Marc' Antonio Michiel, 
acotemporary with Raffaelle, who asserts that " Raffaelle 
had drawn the ancient buildings of Rome in such a man- 
ner, and shown the proportions, form, and ornaments so 
correctly, that whoever had inspected them might be said 
to have seen ancient Rome." 



of the figures, in the folds of the drapery, in the 
expression of the countenances, and in the atti- 
tudes ; and he would easily have traced the source 
of that sublimity in the relics of antiquity. If he 
appeared still greater in his Isaiah, he might have 
refuted Vasari from his own account, which as- 
signs this work to a period anterior to 1511, and 
therefore cotemporary with the School of Athens y 
adding that he elevated his style by propriety of 
character and the study of Grecian art. The 
Greeks observed an essential difference between 
common men and heroes, and again between their 
heroes and their gods ; and Raffaello, after having 
represented philosophers immersed in human 
doubts, might well elevate his style when he came 
to figure a prophet meditating the revelations of 
God." As to the rest, it is admitted that the 
works of Michael Angelo inspired him with a 
more daring spirit of design,* that in the exhibi- 
tion of strong character, he did not hesitate even 
to imitate him, but Crespi observes that in this 
instance he rendered that very style more beautiful 
and more majestic ; and Lanzi says, " whoever 
wishes to see what is wanting in the Sibyls of 
Michael Angelo, let him inspect those of Raffaelle ; 
and let him view the Isaiah of Raffaelle who would 
know what is wanting in the Prophets of Michael 
Angelo." 

Towards the close of 1512, Buonarotti finished 
the other half of his great work in the Sistine 
chapel, so that the Pope was able to perform Mass 
at the Feast of Christmas. Raffaelle was engaged 
in the same year in decorating the second apart- 
ment of the Vatican. The first subject was He- 
liodorus driven from the Temple by the prayers 
of Onias the high priest, one of the most celebra- 
ted pictures of the place, m which all the passions 
are wonderfully expressed. On the other side of 
the apartment are the Miracle of the Mass at Bol- 
sena, the Deliverance of St. Peter from Prison, 
and Leo the Great stopping the progress of A ttil a. 
" In these works," says Mengs, *' Raffaello gave to 
painting all the augmentation it could receive after 
Michael Angelo." Julius II. died in 1513, and was 
succeeded by Leo X.. who, zealous for promoting the 
fine arts, and sensible of the extraordinary talents 
of Raffaelle, continued him in his employment. 
The two works last mentioned, as well as the re- 
maining decorations of these chambers, were illus- 
trative of the history of that pontiff, whose iin- 



* Lanzi says, "his rival Michael Angelo, too, and his 
party, contributed not a little to the success of Raffaello. 
As the contest between Zeuxis and Parrhasius was benefi- 
cial to both, so the rivalship of Buonarotti and Sanzio aid- 
ed the fame of Michael Angelo, and produced the paint- 
ings in the Sistine chapel ; and at the same time contribu- 
ted to the celebrity of Raffaelle, by producing the pictures 
in the Vatican, and not a few others. Michael Angelo, 
disdaining any secondary honors, came to the combat, as it 
were, attended by his shield-bearer, for he made drawings 
in his grand style, and then gave them to Era Sebastiano 
del Piombo, the scholar of Giorgione, to execute ; and, by 
this means, he hoped that Raffaelle would never be able to 
rival his productions, either in design or color. Raffaelle 
stood alone, but aimed at producing works with a degree 
of perfection beyond the united efforts of Michael Angelo 
and F. Sebastiano, combining in himself a fertile imagi- 
nation, ideal beauty founded on a correct imitation of the 
Greek style, grace, ease, amenity, and a universality of 
genius in every department of art. The noble determina- 
tion of triumphing in such a powerful contest animated 
him night and day, and allowed him no respite. It also 
animated him to surpass both his rivals and himself in eve- 
ry new work." 



RAFF. 



754 



RAFF. 



prisonment at Ravenna, and subsequent liberation, 
are t3'^pified hy St. Peter's deliverance from Prison 
by the Angel. It was in this picture that Raffa- 
elle exhibited an astonishing proof of his knowl- 
edge of the effects of light ; the figures of the sol- 
diers who stand without the prison, are illumina- 
ted by the beams of the moon ; a torch produces 
a second light ; and a clear, celestial splendor, ri- 
valling the sunlight, emanates from the body of 
the Angel. Here he also showed how art may 
convert impediments into advantages ; for the 
place where he was painting being broken by a 
window, he imagined on each side of it a stair- 
case which affords an easy ascent to the prison, 
and on the steps he placed the guard, overpowered 
with sleep, so that the painter does not seem to 
have accommodated himself to the place, but the 
place to have become subservient to the painter. 

In the third apartment he painted four pieces, 
representing the Victory gained by St. Leo IV. 
over the Saracens in the portof Ostia; the Confla- 
gration of the Borgo Vecchio ; the Coronation of 
Charlemagne ; and Leo III. vindicating himself 
before that monarch. These works, says Lanzi, 
justly entitle Raffaelle to the epic crown. It would 
require a volume to describe intelligently all the 
works of Raflfaelle. The Incendio di Borgo, 
which is miraculously extinguished by St. Leo 
IV., is accounted a wonderful performance, alter- 
nately chiUing the heart with terror, and warming 
it with compassion. The horrors of the confla- 
gration are portrayed with all the truth and effect 
that art is capable of producing. The terror of 
the scene is increased by the darkness of the mid- 
night hour ; the flames, driven by a fierce wind, 
are spreading with fearful rapidity; the affright 
and sufferings of the inhabitants are carried to the 
highest pitch. Some rush forward with water, but 
are driven back by the scorching flames ; others 
seek safety in flight, half naked, and with dishev- 
elled hair ; women turn an imploring look to the 
pontiff; mothers, less alarmed for themselves than 
their offspring, are solely intent in shielding them 
from danger. Amidst the confusion is seen an ad- 
mirable group of a young man, like ^neas, carry- 
ing his aged father on his shoulders, sinking be- 
neath the weight, but collecting his almost ex- 
hausted energies, to reach a place of safet3^ These 
three chambers, called the Stanze of Raffaelle, 
which name they still retain, occupied him nine 
years, and were finished in 1517. He introduced 
into them correct likenesses of many of the most 
distinguished personages of the age. Thus in St. Leo 
is represented Leo X., and in Charlemagne, Francis 
I. of France. In portraits, Raffaelle was transcen- 
dant, and his performances deceived persons the 
most intimately acquainted with the subjects; 
Cardinal Datary approached a picture of Leo X. 
with a bull and pen and ink for the pontiff's sig- 
nature. 

Having thus decorated the three principal apart- 
ments in the Vatican, Raffaelle turned his attention 
to the embellishment of the lo^gie (the galleries 
of the Vatican palace connecting the rooms) the 
architecture of which was begun by Bramante and 
finished by Raffaelle. These works were chiefl}'- 
executed from his cartoons by his disciples, Giulio 
Romano, Gio. Francesco Penni, Pierino del Vaga, 
Pellegrino da xModena, Polidoro da Caravaggio, 
Giovanni da Udine, &c. The space of the present 
article will not even admit of mentioning all these 



productions, of which Vasari says "it is impossi- 
ble to execute or conceive a more exquisite work." 
The most important are the thirteen small ceilings, 
each containing four subjects from sacred history, 
the first of which, representing the Creation, was 
painted by Raffaelle himself, as a model to be fol- 
lowed by his scholars, and the whole were re- 
touched and harmonized by Raffaelle, according to 
his usual custom. This series of subjects has 
been frequently engraved, and is generally denomi- 
nated Raffaelle's Bible. He designed the famous 
cartoons for the tapestries of the papal chapel, rep- 
resenting the principal subjects of the Evangelists 
and the Acts of the Apostles. The tapestries 
were wrought in Flanders, and afterwards annu- 
ally exhibited in the Vatican, on the festival of 
Corpus Domini, but have lately been dispersed. 
The cartoons, regarded as one of the most exalted 
monuments of art, were purchased in Flanders by 
Charles I., at the recommendation of Rubens, and 
are now in Hampton Court. 

The immense works in the Vatican did not pre- 
vent Raffaelle from engaging in numerous other 
undertakings, to satisfy the desire of individuals 
to possess his works. He decorated the palace of 
Agostino Chigi, now the Farnesina, with admira- 
ble frescos, representing the Triumph of Galatea, 
and a series of pictures of the Loves of Cupid and 
Psyche, their Marriage, and the Assembly of the 
Gods; the first was painted by himself, and the 
others b}^ his scholars from his cartoons. These 
pictures were treated with such admirable taste 
and learning, that they may be compared to the 
best works of antiquity. 

Of his pictures in oil, the following are the most 
remarkable : St. Cecilia, formerly in the church of 
S. Giovanni in Monte atBolognaj now in the Lou- 
vre ; La Madonna Pesce ; the Holy Familj^, called 
La Perla ; Christ bearing his Cross, called La 
Spasimo de Sicilia — an inimitable performance. The 
three last are in the Escurial. Christ in glory, sur- 
rounded by Saints, called I cinque Santi, in which 
he introduced his own portrait. The Portrait of 
Julius II., in the Palazzo Pitti at Florence, now at 
Munich. The Portrait of Leo X., at Paris. The 
Madonna della Seggiola, in the Florentine Gallery. 
The Madonna di San Sisto, at Dresden ; and many 
other Holy Families and devotional subjects for 
churches and individuals, as well as portraits. 

We come now to the last great work and mas- 
ter-piece of Raflffielle, the Transfiguration. It has 
already been stated in the Life of Fra Sebastiano 
del Piombo, that Michael Angelo, finding he could 
not successfully compete with Raffaelle, called in 
the assistance of that admirable colorist, and fur- 
nished him with designs for his most considerable 
works, hoping therebv to raise a rival to Raffaelle, 
who should drive him from the field, or at least, 
share with him the public favor; and that when 
the Cardinal de' Medici commissioned Raffaelle to 
paint the Transfiguration, he also commissioned 
del Piombo to paint an altar-piece of the Resurrec- 
tion of Lazarus, of the same size, for the cathedral 
of Narbonne ; that Buonarotti, to enable del Piom- 
bo to enter the lists with greater prospects of suc- 
cess, furnished him with the design ; that this ri- 
valship ended in a public exhibition of their woiks, 
and that the palm of victory was awarded to Raf- 
faelle, over his united competitors. See del Piombo. 
This sublime composition represents the mys- 
tery of Christ's Transfiguration on Mount Tabor. 



RAFF. 



755 



RAFF. 



At the foot of the Mount is assembled a multi- 
tude, amonj^ whom are the Disciples of our Lord, 
endeavorinoj in vain to relieve a youth from the 
dominion of an evil spirit. The various emotions 
of human doubt, anxiety, and pity, exhibited in 
the different figures, present one of the most pa- 
thetic incidents ever conceived ; yet this part of 
the composition does not fix the attention so much 
as the principal figure on the summit of the moun- 
tain. There Christ appears elevated in the air, 
surrounded with a celestial radiance, between Mo- 
ses and Elias. while the three favored Apostles are 
kneeling in devout astonishment on the ground. 
The head and attitude of the Saviour are distin- 
guished by a divine majesty and sublimity, that 
is indescribable. This immortal production is gen- 
erally considered the master-piece of Raflfaelle. 
' This is a picture,' saj's Mengs, ' that combines 
more excellencies than any of the former works 
of Raffaelle. The expression is more elevated, and 
more refined, the chiaro-scuro more correct, the 
perspective better understood, the pencilling finer, 
and there is greater variety in the drapery, more 
grace in the heads, and more grandeur in the 
style.' With this incomparable work ceased the 
labors and the life of Raffaelle; he did not live to 
entirely complete it, and the few remaining parts 
were finished by his scholar Giulio Romano. 
While engaged upon it, he was seized with a fe- 
ver, of which he died on his birth-day. Good Fri- 
day, April 7th, 1520. aged 37 years. His body 
lay in state in the chamber where he had been 
accustomed to paint, and near the bier was placed 
the noble picture of the Transfiguration. The 
throngs who came to pay their respects to the 
illustrious artist were deeply affected; there was 
not an artist in Rome but was moved to tears by 
the sight, and his death was deplored throughout 
Italy as a national calamity. The gentleness of 
his nature, more than his extraordinary talents, 
had endeared him to every heart. Respectful to 
the memory of Perugino, and grateful for the in- 
structions he had received from him, he exerted all 
his influence with the Pope, that the works of his 
master in one of the ceilings of the Vatican might 
be spared, when the other paintings were destroved 
to make room for his own embellishments. Just 
and generous to his cotemporaries, though not ig- 
norant of their intrigues, he thanked God, that he 
had been born in the days of Buonarotti. Gra- 
cious towards his pupils, he loved and instruct- 
ed them as his own sons ; courteous even to 
strangers, he cheerfully extended his advice to 
all who asked it, and in order to make designs 
for others, or to direct them in their studies, he 
had been known to neglect his own works, rather 
than refuse them his assistance. The funeral cere- 
mony was performed with great pomp, and his re- 
mains were interred in the church of the Rotonda, 
otherwise called the Pantheon. The" Cardinal 
Bembo, at the desire of the Pope, wrote the epi- 
taph, which is now inscribed on his tomb. All co- 
temporary writers unite in describing Raffaelle as 
amiable, modest kind, and obliging; equal l}-- re- 
spected and beloved by the high and the lowly. His 
beauty of person and noble countenance, inspired 
confidence and prepossessed the beholder in his fa- 
vor at first sight. He never married, though by 
no means averse to female society. The Cardinal 
da Bibiena offered him his niece, which high al- 
liance he is said to have declined because the hon- 



ors of the purple were held out to him by the Pope, 
who favored him greatly, and made him groom of 
his chamber. Early in life he became attached to a 
young woman, the daughter of a baker at Rome, 
called by way of distinction, La Bella Fornarina, 
to whom he was solely and constantly attached, 
and he left her in his will sufficient for an inde- 
pendent maintenance. The rest of his property 
he bequeathed to a relative in Urbino, and to his 
favorite scholars, Giulio Romano and Gio. Fran- 
cesco Penni. 

It said that Raffaelle executed some statues 
with his own hand, though only one is mentioned 
with certainty, the staiue of a child, in the poss- 
ession of Giulio Romano. In the Chigi chapel, in 
the church of S. Maria del Popolo, is a marble 
statue of the prophet Jonah, executed from a mod- 
el by Raffaelle under his direction, by Lorenzetto. 
Raffaelle studied architecture under Bramante, and 
accompanied Leo X. to Florence. Among his prm- 
cipal works in that city, is the fa9ade of S. Lo- 
renzo, of two orders, and the Palazzo Ugoccioni, 
now Pandolfini, of two stories, the windows dec- 
orated with columns, supporting entablatures, with 
alternate triangular and circular pediments. At 
Rome he erected the stables of Agostino Chigi, in 
the Strada Lungara. near the Farnese palace. The 
first story has small double Doric pilasters, with 
an architrave of three faces, a plain frieze, and a 
cornice entire ; the second floor has the same num- 
ber of Corinthian pilasters. Near the church of 
S. Andrea della Valle, he built the Palazzo Caf- 
farelli, now Stoppani, with a beautiful rustic base- 
ment, and over it an order of double Doric columns, 
between which are the windows, each with its bal- 
ustrade of stone. After the death of Bramante, 
Raffaelle was appointed architect of St. Peter's, 
and made a design for that edifice, in the form of 
a Latin cross, with three naves. Milizia criticises 
it as deficient in grandeur. Among his other ar- 
chitectural works were the designs fbr the Vatican 
gardens ; his admirable drawings of the ancient 
Roman edifices have already been mentioned, with 
Vasari's high commendation. Marc' Antonio Rai- 
mondi engraved many of Raffaelle's designs, who 
assisted him with his counsel, and is said to have 
etched the outlines of sevei-al of his plates. He 
was also a poet, and there is an affecting sonnet 
written by him. only a day or two before his death, 
in which he compares himself to a sinking vessel 
abandoned by her crew. 

When we consider the number of Raffaelle's paint- 
ings, the multitude of his designs, to which he de- 
voted so much study, as is shown in his numer- 
ous .sketches of Madonnas and Holy Families, &c., 
and especially his great works in the Vatican, in 
which, in many cases, he drew all the figures naked, 
in order the better to adapt the drapery and its 
folds to their respective attitudes; and further, 
his supervision of the building of St. Peter's church, 
his admeasurements of the ancient edifices of Rome 
with exact drawings and descriptions, the prepa- 
ration of designs for various churches and palaces, 
with several collateral tasks, it seems incredible 
even a long life were sufficient for their execution ; 
and when we further reflect that he accomplished 
all this at an age, when most men only begin to 
distinguish themselves, we are struck with aston- 
ishment at the wonderful fecundity of his genius. 
Raffaelle possessed in a high degree all those qual- 
ities necessary to constitute a preeminent painter, 



RAFF. 



756 



RAFF. 



and is universally acknowledged to deserve the 
place of supremacy. Volumes on volumes of de- 
scriptions and criticisms have been written on 
his works, but the author has nowhere read a 
more learned, judicious, and impartial critique than 
that of Lanzi, and for this reason, notwithstanding 
the great length of this article, he cannot forbear 
inserting it at length: 

" Raffaello is by common consent placed at the 
head of his art ; not because he excelled all others 
in every department of painting, but because no 
other artist has ever possessed the various parts 
of the art united in so high a degree. Lazzarini 
even asserts that he was guilty of errors, and that 
he is only the first, because he did not commit so 
many as others. He ought, however, to have al- 
lowed, that his defects would have been excel- 
lencies in any other artist, being nothing more in 
him than the neglect of that high degree of per- 
fection which he was capable of attaining. The 
art, indeed, comprehends so many and such diffi- 
cult parts, that no individual artist has been alike 
distinguished in all ; even Apelles was said to 
yield to Amphion in disposition and harmony, to 
Asclepiodorus in proportion, and to Protogenes in 
application. 

The style of design of Raffaello, as seen in those 
drawings, divested of colors, which form the 
chief ornaments of cabinets, presents us, if we may 
use the term, with the pure transcript of his im- 
agination, and we stand in amaze at the contours, 
grace, precision, diligence, and genius which they 
exhibit. One of the most admired of his draw- 
ings I once saw in the gallery of the duke of Mo- 
dena, a most finished and superior specimen, uni- 
ting in style all the invention of the best painters 
of Greece, and the execution of the first artists of 
Italy. It has been made a question whether Raf- 
faello did not yield to Michael Angelo in drawing ; 
and Mengs himself confesses, that he did, as far as 
regards the anatomy of the muscles, and in strong 
expression, in which he considers Raffaello to 
have imitated Michael Angelo. But we need not say 
with Yasari, that, in order to prove that he under- 
stood the naked figure as well as Michael Angelo, 
he appropriated to himself the designs of that 
great master. On the contrary, in the figures of 
the two youths in the Incendio di Borgo, criticised 
by Vasari, one of whom is in the act of leaping 
from a wall to escape the flames, and the other is 
fleeing with his father on his shoulders, he not only 
proved that he had a perfect knowledge of the ac- 
tion of the muscles and the anatomy requisite for 
a painter, but prescribed the occasion when this 
style might be used without impropriety, as in fig- 
ures of a robust form engaged in violent action. 
He moreover commonly marked the principal parts 
in the naked figure, and indicated the others after 
the example of the better ancient masters, and 
where he wrought from his own ideas, his execu- 
tion was most correct. 

In chasteness of design. Raffaello was by some 
placed on a level with the Greeks, though this 
praise we must consider as extravagant. Agostino 
Caracci commends him as a model of symmetry ; 
and in that respect, more than in any other, he 
approached the ancients ; except, observes Mengs, 
in the hands, which being rarely found perfect in 
the ancient statues, he had not an equal opportu- 
nity of studying, and did not therefore design them 
EO elegantly as the other parts. He selected the 



beautiful from nature, and as Marietta observes, 
whose collection was rich in his designs, he copied 
it with all its imperfections, which he afterwards 
gradually corrected as he proceeded with his work. 
Above all things, he aimed at perfecting the heads, 
and from a letter addressed to Castiglione on the 
Galatea of the Palazzo Chigi, or of the Farnesina, 
he discovers how intent he was to select the best 
models of nature, and to perfect them in his own 
mind.* His own Fornarina assisted him in this 
object. Her portrait, by Raffaello's own hand, 
was formerly in the Barberini palace, and it is re- 
peated in many of his Madonnas, in the picture of 
St. Cecilia, at Bologna, and in many female heads. 
Critics have often expressed a .wish that these 
heads had possessed a more dignified character, 
and in this respect he was, perhaps, excelled by 
Guido Reni, and however engaging his children 
may be, those of Titian are still more beautiful. 
His true empire was in the heads of his men, which 
are portraits selected with judgment, and depicted 
with a dignity proportioned to his subject. Vasari 
calls the air of these heads superhuman, and calls 
on us to admire the expression of age in the pat- 
riarchs, simplicity of life in the apostles, con- 
stancy of faith in the martyrs ; and in Christ in 
the Transfiguration, he says, there is a portion of 
the divine essence itself transferred to his counten- 
ance, and made visible to mortal eyes. 

This effect is the result of that quality that is 
called expression, and which, in the drawing of 
Raffaello, has attracted more admiration of late 
years than formerly. It is remarkable, that not 
only Zuccaro, who was indeed a superficial writer, 
but that Vasari, and Lomazzo himself, so much 
more profound than either of them, should not 
have conferred on him that praise which he after- 
wards received from Algarotti, Lazzarini, and 
Mengs. Leonardo was the first, as we shall see 
in the Milanese School, to lead the way to delica- 
cy of expression ; but that master, who painted so 
little, and with such labor, is not to be compared 
with Raffaello, who possessed the whole quality in 
its fullest extent. There is not a movement of the 
soul, there is not a character of passion known to 
the ancients, and capable of being expressed by art, 
that he has not caught, expressed, and varied, in a 
thousand different ways, and always within the 
bounds of propriety. We have no tradition of his 
having frequented the public streets, like Da Vinci, 
to seek for subjects for his pencil ; and his numer- 
ous pictures prove that he could not have devoted 
so much time to this study, while his drawings 
clearly evince, that he had not equal occasion for 
such assistance. Nature, as I have before remark- 
ed, had endowed him with an imagination which 
transported his mind to the scenes of the event, 
either fabulous or remote, in which he was engaged, 
and awoke in him the very same emotions which 
the subjects of such a story must themselves have 
experienced; and this vivid conception assisted 
him until he had designed his subject with that 
distinctness which he had either observed in other 
countenances, or found in his own mind. This 
faculty, seldom found in poets, and still more rare- 
ly in painters, no one possessed in a more eminent 
degree than Raffaello. His figures are passions 

* Lo dico con questa condizione che V. S. si trovasse me- 
co a far la scelta del meglio : ma essendo carestia e di bu- 
oni giudici e di belle donne. mi servo di una certa idea che 
mi viene in mente. — Lett. Pittor. torn. i. p. 84. 



RAFF. 



757 



RAFF. 



personified ; and love, fear, hope, and desire, an- 
ger, placability, humility, or pride, assume their 
places by turns, as the subject changes ; and while 
the spectator regards the countenances, the air, 
and the gestures of his figures, he forgets that they 
are the work of art, and is surprised to find his 
own feelings excited, and himself an actor in the 
scene before him. There is another delicacy of ex- 
pression, and this is the gradation of the passions, 
by which every one perceives whether they are 
in their commencement or in their height, or in 
their decline. He had observed their shades of 
difference in the intercourse of life, and on every 
occasion he knew how to transfer the result of his 
observations to his canvass. Even his silence is 
eloquent, and in every actor the smallest percep- 
tible motion of the eyes, of the nostrils, of the 
mouth, and of the fingers, corresponds to the chief 
movements of every passion ; the most animated and 
vivid actions discover the violence of the passion 
that excites them ; and what is more, they vary in 
innumerable degrees, without ever departing from 
nature, and conform themselves to a diversity of 
character without ever risking propriety. His he- 
roes possess the mein of valor ; his vulgar, an 
air of debasement ; and that, which neither the 
pen nor the tongue could describe, the genius and 
art of Raffaello would delineate with a few strokes 
of his pencil. Numbers have sought in vain to 
imitate him ; his figures are governed by a senti- 
ment of the mind, while those of others, if we 
except Poussin and a very few more, seem the im- 
itation of tragic actors from the scenes. This is 
Raffaello's chief excellence; and he may justly be 
denominated the painter of mind. If in this fac- 
ulty be included all that is difiicult, philosophical, 
and sublime, who shall compete with him in the 
sovereignty of art ? 

Another quality which Raffaello possessed in an 
eminent degree was grace, a quality which may be 
said to confer an additional charm on beauty itself 
Apelles, who was supremely endowed with it 
among the ancients, was so vain of the possession 
that he preferred it to every other attribute of 
art. Raffaello rivalled him among the moderns, 
and thence obtained the name of the new Apelles. 
Something might, perhaps, be advantageously added 
to the forms of his children, and other delicate figures 
which he represented, but nothing can add to their 
gracefulness, for if it were attempted to be carried 
further, it would degenerate into affectation, as we 
find in Parmiggiano. His Madonnas enchant us, 
as Mengs observes, not because they possess the 
perfect lineaments of the Medicean Venus, or of 
the celebrated daughter of Niobe; but because 
the painter in their portraits, and in their expres- 
sive smiles, has personified modesty, maternal 
love, purity of mind, and, in a word, grace itself. 
Nor did he impress this quality on the counten- 
ance alone, but distributed it throughout the figure 
in its attitude, gesture, and action, and in the 
folds of the drapery, with a dexterity which may 
be admired, but never rivalled. His freedom of 
execution was a component part of this grace, 
which, indeed, vanishes as soon as labor and study 
appear ; for it is with the painter as with the ora- 
tor, in whom a natural and spontaneous eloquence 
delights us, while we turn away with indifference 
from an artificial and studied harangue. 

In regard to the province of color, Raffaello 
must yield the palm to Titian and Correggio, al- 



though he himself excelled Michael Angelo and many 
others. His frescos may rank with the first works 
of other schools in that line: not so his pictures 
in oil. In the latter he availed himself of the 
sketches of Giulio, which were composed with a 
degree of hardness and timidity ; and though fin- 
ished by Raffaello, they have frequently lost the 
lustre of his last touch. This defect was not im- 
mediately apparent, and if Raffaello's life had been 
prolonged, he would have been aware of the in- 
juries his pictures received from the lapse of time, 
and would not have finished them in so light a 
manner. He is on this account, more admired in 
his first subject in the Vatican, painted under Julius 
IT., than in those executed under Leo X. ; for being 
there pressed by a multiplicity of business, and an 
idea of the importance of a grander style, he be- 
came less rich and firm in his coloring. That, 
however, he excelled in these respects, is evinced 
by his portraits, when, not having an opportunity 
of displaying his invention, composition, and beau- 
tiful style of design, he appears ambitious to distin- 
guish himself by his coloring. In this respect his 
two portraits of Julius II. are truly admirable, 
the iNIedicean and the Corsinian : that of Leo X. 
between the two cardinals ; and above all, in the 
opinion of an eminent judge, Renfesthein, that of 
Bindo Altoviti, in the possession of his noble des- 
cendants, at Florence, by many regarded as a por- 
trait of Raffaello himself. The heads in his Trans- 
figuration are esteemed the most perfect he ever 
painted, and Mengs extols the coloring of them as 
eminently beautiful. If there be any exception, it 
is in the complexion of the principal female, of a 
greyish tint, as is often the case in his delicate 
figures ; in which he is therefore considered to ex- 
cel less than in the heads of his men. Mengs has 
made many exceptions to the chiaro-scuro of Raf- 
faello, as compared with that of Correggio, on which 
connoisseurs will form their own decision. We 
are told that he disposed of it with the aid of 
models of wax; and the relief of his pictures, and 
the beautiful effect in his Heliodorus, and in the 
Transfiguration, are ascribed to this mode of prac- 
tice. To his perspective, too, he was most atten- 
tive. De Piles found in some of his sketches the 
scale of proportion. It is affirmed by Algarotti, 
that he did not attempt to foreshorten his figures 
in ceilings. But to this opinion we may oppose 
the example we find in the third arch of the gal- 
lery of the Vatican, where there is a perspective 
of small columns, says Taia, imitated in that man- 
ner. It is true, that in his larger works he avoid- 
ed it ; and in order to preserve the appearance of 
nature, he represented his pictures as painted on a 
tapestry, attached by means of a running knot to 
the entablature of the room. 

But all the great qualities which we have enu- 
merated would not have procured for Raffaello 
such extraordinary celebrity, if he had not poss- 
essed a wonderful felicity in the invention and 
disposition of his subjects, indeed his highest merit. 
It may with truth be said that, in aid of this ob- 
ject, he availed himself of every example, ancient 
and modern ; and that these two requisites have 
not since been so united in any other artist. He 
accomplishes in his pictures that which every orator 
ought to aim at in his speeches— he instructs, 
moves, and delights us. This is an easy task to 
a narrator, since he can regularly unfold to us the 
whole progress of an event. The painter, on the 



RAFF. 



758 



RAFF. 



contrary, has but the space of a moment to make 
himself understood, and his talent consists in de- 
scribing not only what is passing, and what is 
likely to ensue, but that which has already occur- 
red. It is here that the genius of Raflfaello tri- 
umphs. He embraces the whole subject. From 
a thousand circumstances he selects those alone 
which can interest us ; he arranges the actors in 
the most expressive manner ; he invents the most 
novel modes of conveying much meaning by a few 
touches ; and numberless minute circumstances, 
all uniting in one purpose, render the story not 
only intelligible, but palpable. Various writers 
have adduced in example the St. Paul at Lystra, 
which is to be seen in one of the tapestries of the 
Vatican. The artist has there represented the 
sacrifice prepared for him and St. Barnabas his 
companion, as to two gods, for having restored a 
lame man to the use of his limbs. The altar, the 
attendants, the victims, the musicians, and the axe, 
sutficiently indicate the intentions of the Lystrians. 
St. Paul, who is in the act of tearing his robe, shews 
that he rejects and abhors the sacrilegious honors, 
and is endeavoring to dissuade the populace from 
persisting in them. But all this were vain, if it 
had not indicated the miracle which had just hap- 
pened, and given rise to the event. Raffaello added 
to the group the lame man restored to the use of 
his limbs, now easily recognised again by all the 
spectators. He stands before the apostles rejoi- 
cing in his restoration ; and raises his hands in 
transport towards his benefactors, while at his 
feet lie the crutches which had recently supported 
him, now cast away as useless. This had been 
sufficient for any other artist ; but Raifaello, who 
wished to carry reality to the utmost point, has 
added a throng of people, who, in their eager cu- 
riosity, remove the garment of the man, to behold 
his limbs restored to their former state. Raffaello 
abounds with examples like these, and he may be 
compared to some of the classical writers, who 
afford the more matter for reflection the more they 
are studied. It is sufficient to have noticed in the 
inventive powers of Raffaello, those circumstances 
which have been less frequently remarked ; the 
movement of the passions, which is entirely the 
work of expression, the delight which proceeds 
from poetical conceptions, or from graceful epis- 
odes, may be said to speak for themselves. 

Other things might contribute to the beauty 
of his works, as unity, sublimity, costume, and 
erudition; for which it is sufficient to refer to 
those delightful poetical pieces, with which he 
adorned the gallery of Leo X., and which were 
engraved by Lanfranco and Badalocchio. and are 
called the Bible of Raffaello. In the Return of 
Jacob, who does not immediately discover, in the 
number and variety of domestic animals, the mul- 
titude of servants, and the women carrying with 
them their children, a patriarchal family migra- 
ting from a long possessed abode into a new ter- 
ritory ? In the Creation of the World, where the 
Deity stretches out his arms, and with one hand 
calls forth the Sun, and with the other the Moon, 
do we not see a grandeur, which, with the sim- 
plest expression, awakes in us the sublimest ideas? 
And in the Adoration of the Golden Calf, how 
could he better have represented the idolatrous 
ceremony, and its departure from true religion, 
than by depicting the people as carried away by an 
insane joy, and mad with fanaticism ? In point 



of erudition it is sufficient to notice the Triumph of 
David, which Taia describes and compares with the 
ancient bassi-rilievi, and is inclined to believe that 
there is not anything in marble that excels the 
art and skill of this picture. I am aware that on 
another occasion he has not been exempt from 
blame, as when he repeated the figure of St. Peter 
out of prison, which hurts the unity of the sub- 
ject ; and in assigning to Apollo and to the Muses 
instruments not proper to antiquity. Yet it is 
the glory of Raffaello to have introduced into his 
pictures numberless circumstances unknown to his 
predecessors, and to have left little to be added by 
his successors. 

In composition also, he is at the head of his art. 
In every picture the principal figure is obvious to 
the spectator ; we have no occasion to inquire for 
it ; the groups, divided by situation, are united in 
the principal action ; the contrast is not dictated 
by affectation, but by truth and propriety ; a figure 
absorbed in thought, often serves as a relief to 
another that acts and speaks ; the masses of light 
and shade are not arbitrarily poised, but are in the 
most select imitation of nature; all is art, but all 
is consummate skill and concealment of art. The 
School of Athens, as it is called, in the Vatican, is 
in this respect among the most wonderful compo- 
sitions in the world. They who succeeded Raf- 
faello, and followed other principles, have afforded 
more pleasure to the eye. but have not give such 
satisfaction to the mind. The compositions of 
Paul Veronese contain a greater number of figures, 
and more decoration ; Lanfranco and the machin- 
ists introduce a powerful effect, and a vigorous con- 
trast of light and shade : but who would exchange 
for such a manner the chaste and dignified style 
of Raffaello? Poussin alone, in the opinion of 
Mengs, obtained a superior mode of composition in 
the groundwork, or economy of his subject ; that 
is to say, in the judicious selection of the scene of 
the event. 

We have thus concisely stated the perfection to 
which Raffaello carried his art, in the short space 
allotted him. There is not a work in nature or 
art where he has not practically illustrated his own 
axiom, as handed down to us by Federigo Zuccaro, 
that things must be represented, not as they are, 
but as they ought to be; the country, the ele- 
ments, animals, buildings, every age of man, every 
condition of life, every affection, all were embraced 
and rendered more beautiful by the divine genius of 
Raffaello. And if his life had been prolonged to a 
more advanced period, without approaching the 
term allowed to Titian or Michael Angelo, who shall 
say to what height of perfection he might not have 
carried his favorite art ? Who can divine his suc- 
cess in architecture and sculpture, if he had ap- 
plied himself to the study of them, having so won- 
derfully succeeded in his few attempts in those 
branches of art ? 

Of his pictures a considerable number are to be 
found in private collections, particularly on sacred 
subjects, such as the Madonna and Child, and other 
compositions of the Holy Family. They are in 
three styles which we have before described : the 
Grand Duke has some specimens of each. The 
most admired is that which is named the Madon- 
na della Seggiola.* Of this class of pictures it is 



* There are no less than eight portraits of Julius II. at- 
tributed to RaflFaelle. 1. The original, by Raffaelle's own 



RAFF. 



759 



RAFF. 



often doubted whether they ought to be considered 
as originals or copies, as some of them have been 
three, five, or ten times repeated. The same may- 
be said of other cabinet pictures by him. particu- 
larly the St. John in the Desert, which is in the 
Grand Ducal gallery at Florence, and is found re- 
peated in many collections both in Italy and in 
other countries. This was likely to happen in a 
school where the most common mode was the fol- 
lowing: — The subject was designed by RafFaello, 
the picture prepared by Giulio, and finished by 
the master so exquisitely, that one might almost 
count the hairs of the head. When pictures were 
thus finished, they were copied by the scholars of 
RafFaello, who were very numerous, and of the 
second and third order ; and these were also some- 
times retouched by Giulio and by Raffaello him- 
self. But whoever is experienced in the freedom 
and delicacy of the chief of this school, need not 
fear confounding his productions with those of the 
scholars, or Giulio himself; who, besides having a 
more timid pencil, made use of a darker tint than 
his master was accustomed to do. I have met 
with an experienced person, who declared that he 
could recognize the character of Giulio in the dark 
parts of the flesh tints, and in the middle dark tints, 
not of a leaden color as Raffaello used, nor so well 
harmonized ; in the greater quantity of light, and 
in the eyes designed more roundl}^, which Raflfael- 
lo painted somewhat long, after the manner of 
Pietro Perugino." 

RAFFAELLT, Francesco, an Italian engraver, 
who flourished about 1705. He engraved some 
plates of historical subjects, after the Italian mas- 
ters. 

RAFFAELLINO. del Colle. This artist was 
a native of Citta San Sepolcro, born about 1490. 
He first studied under Raffadle. and was employed 
by him in the Farnesina. He afterwards wrought 
for Giulio Romano in the Hall of Constantine. 
Hence he is considered rather a scholar of Giulio ; 
and, after the death of Rafifaelle. he assisted him 
in his works at Rome, and in the ducal palace call- 
ed the Te, at Mantua. Taia ascribes the History 
of Moses in Horeb, in the Loggia, to -' the bold pen- 
cil of Raffaellino del Colle." It is very singular 
that Vasari did not write a separate life of this 
artist ; he only incidentally mentions his name, in 
several places, with scanty praise, Lanzi says his 
merit is Httle known to the public, as he painted 
mostl}?-. in his native place, and in the neighboring 
cities, where he executed many fine works, and in- 
structed several pupils. At Citta S. Sepolcro, in 
the church of S. Rocco. is a spirited picture of the 
Resurrection of our Saviour, '• who, full of majes- 
ty, regards the soldiers with displeasure, which 
filis them with terror." The same subject is re- 
peated in the Cathedral, and in the church of the 
Osservanti is an Assumption of the Virgin. At 

hand, is in the Palazzo Pitti at Florence, the best of all ; 
2. a scarcely inferior one in the Tribune of the Florentine 
Gallery ; 3. one in the English National Gallery, from the 
Falconieri palace at Rome ; 4. a very fine one, formerly in 
the Orleans Gallery ; 5. an inferior one in the Corsini pal- 
ace at Rome ; 6. a very fine one in the Borghese Gallery 
at Rome ; 7. one at Berlin, from the Giustiniani Gallery ; 
8. one in the possession of Count Torlonia at Rome. Most 
of these are doubtless copies by Rafi'aelle's scholars, some 
of them finished by himself. The original cartoon is pre- 
served in the Corsini palace at Florence. 



Citta di Castello is another Assumption of the Vir- 
gin,beautifully designed and colored, and exquisitely 
finished, in the church of the Conventuali ; an En- 
tombment, at the Servi ; an altar-piece full of 
grace and beauty in the church of S. Angel o, 
representing St. Michael and St. Sebastian, who 
humbly presents an arrow to the infant Jesus 
with the Virgin, as a type of his martyrdom ; 
and a picture of the Virgin, with St. Sebastian, 
St. Roch, and a canonized bishop. Lanzi says 
the last piece, both in the figures and the land- 
scape, much resembles the manner of RafFaelle. 
In the sacristy of the Cathedral at Urbino, he 
painted the Twelve Apostles, in small oblong pic- 
tures ; they are noble figures, draped in a grand 
style, and finely colored. At Gubbio, in the chap- 
el of the Olivet monks, is a Nativity and two pie- 
ces from the History of St. Benedict, painted in 
fresco, which he enriched with admirable architec- 
ture, and introduced into them several real por- 
traits, and a figure of Virtue, which Lanzi says 
'•seems a sister of the Sibyls of Raflfaelle." He 
also painted in the castle of Perugia, and in the 
Iniperiale at Pesaro, a villa of the Duke of Urbi- 
no, who held his works in high esteem, and pre- 
ferred them to those of the two Dossi. He was 
remarkably modest, and diffident of his own abili- 
ties. The time of his death is not known, but one 
of his works at Citta San Sepolcro is dated 1546, 
in his 56th year. 

RAFFAELLINO. del. See del Garbo, Bot- 
TALA, and MOTTA. 

RAFFAELLINO, da Reggio. See Reggio. 

RAGGI, Pietro Paolo, a painter born at Ge- 
noa, according to Ratti. in 1646. Tassi says he 
was a native of Vienna, born about 1650, and that 
his parents removed to Genoa when he was a child. 
It is not known under whom he studied, but Lan- 
zi says he was certainly a follower of the Caracci, 
in his large picture of St. Bonaventura contemplat- 
ing a crucifix, in the Nunziata del Guastato at 
Genoa. According to Ratti, who highly extols his 
works, he was of a restless disposition, irascible, 
and dissatisfied with every place he inhabited. 
This truant disposition induced him to lead a wan- 
dering life, carried him to Turin, thence to Savo- 
na, and back again to Genoa. He afterwards went 
to Lavagna, thence through Lombardy, and lastly 
to Bergamo. Some of his best works are in the 
churches at Bergamo, among which are the Annun- 
ciation in S. Lorenzo, and Mary Magdalene taken 
up into heaven by Angels, in S. Marta. highly 
commended for correctness of design and good col- 
oring. He also excelled in land.ccapes, decorated 
with figures of pastoral and bacchanalian subjects, 
in which he sometimes imitated the style of Ben- 
edetto Castiglione, and at others Giulio Carpioui. 
He died at Bergamo in 1724. 

RAGOT, FRAN901S. a French engraver, born at 
Bagnolet in 1641. He engraved some plates after 
Charles le Brun, but chiefly distinguished himself 
by copying the best prints engraved by Bolswert, 
Pontius, and Vostermans, after the works of Ru- 
bens and Vandyck. He executed a considerable 
number of these copies, with such accuracy that 
they have often been mistaken by collectors for 
the originals. Nagler gives a list of thirty- four 
of his copies. 

RAHART, Florent Delamere, a French 



RAIB. 



760 



RAIM. 



painter, born at Bayeux in 1630, and died at Ver- 
sailles in 1718, He is commended for the excel- 
lence of his portraits. 

RAIBOLINI, Francesco. See Francia. 

RAIMBACH, Abraham, an eminent English 
engraver, born at London in 1776. His father was 
a Swiss who had settled in London, and after giv- 
ing his son a good primary education, he appren- 
ticed him to J. Hall, an engraver. After the expi- 
ration of his apprenticeship, he entered the Royal 
Academy as a student, and occupied his time with 
his studies, engraving a few plates for the book- 
sellers, and painting a few miniatures, but soon 
abandoned the latter occupation and devoted him- 
self to engraving. His plates for Smirke and Fors- 
ter's illustrated edition of the Arabian Nights es- 
tablished his reputation as an able artist. In 1812 
and subsequent years he was employed by Sir Da- 
vid Wilkie to engrave many plates after his works, 
which proved very profitable both to the painter 
and the engraver. Among them are the Village 
Politicians, the Rent Day, the Cut Finger, the Er- 
rand Boy, Distraining for Rent, the Parish Beadle, 
and the Spanish Mother and Child. Raimbach is 
said never to have employed an assistant, but per- 
formed the whole work himself. His prints are 
executed in a bold style, and though deficient in 
freedom and delicacy of execution, especially in 
the extremities, they faithfully represent the spirit 
and expression of the original paintings, and were 
very popular. He died in 1843. 

RAIMONDL Marc' Antonio. This eminent 
engraver was born at Bologna in 1487 or 1488, and 
is generally known in art by the name of Marc' 
Antonio. He was instructed in design, and in the 
art of working in niello^ by Francesco Francia. and 
next proceeded to engrave some of the productions 
of his master, the first of which was Pyramus and 
Thisbe, dated 1502. At first he imitated Andrea 
Mantegna, and next Albert Durer. According to 
Vasari, while on a visit to Venice in search of im- 
provement, Rairaondi met with a set of Durer's 
thirty-six wooden cuts representing the Life and 
Passion of our Saviour, and, being greatly pleased 
with them,he copied them on copper (afiixing the ci- 
pher of Durer) with such precision that the prints 
were readily sold in Italy as originals. This de- 
ception reaching the ears of Durer, he went to Ven- 
ice, and complained before the Senate of the pla- 
giarism and injustice, but could obtain no further 
redress than an order forbidding Marc' Antonio to 
use his monogram on any future copies he might 
make of his works. Marc' Antonio copied both 
sets of Durer's prints, representing the Life of 
Christ and the Life of the Virgin ; to the latter 
he affixed the mark of Durer, but not to the for- 
mer, therefore Vasari made a slight mistake. He 
next proceeded to Rome, where his valuable tal- 
ents immediately recommended him to the notice 
of Raffaelle, who employed him to engrave after 
his designs, and is said to have etched the outhnes 
on some of the plates himself, to ensure greater 
correctness of drawing. It is well known that 
under the instruction of Raffaelle he acquired 
great improvement, and brought the art to a de- 
gree of perfection that has hardly been surpassed. 
This is shown in the prints he engraved after Raf- 
faelle. The first was the Death of Lucretia, 
which, though neatly executed, was somewhat 
stiff and formal ; the next, the Judgment of Paris, 



is executed in a more bold and spirited manner, and 
these were followed by others exhibiting marked 
improvement, until Rafiaelle himself was satisfied 
with his performances, who is said to have sent 
some of his prints to Albert Durer, together with 
several of his own drawings, as a most acceptable 
present to that eminent artist, who had honored 
him by sending him his portrait. (See Durer.) 
Lanzi says that " Raflfaelle not only assisted Marc' 
Antonio with his advice, but that he might devote 
his whole time to engraving, he permitted his own 
grinder of colors, Baviera, to manage the press." 
He was also assisted by his two pupils Agostino 
Veneziano and Marco da Ravenna, who succeeded 
him in the series of engravings from Rafiaelle ; 
which led Vasari to observe, in his life of Marc' 
Antonio, that "between himself, Agostino, and 
Marco, nearly all Rafiaelle's designs and paintings 
had been engraved." 

After the death of Raffaelle in 1520, he was em- 
ployed by Giulio Romano, to engrave after his de- 
signs. It is said that he was prevailed upon to en- 
grave a set of indecent subjects, with verses by 
Aretino. These prints so highly excited the in- 
dignation of Clement VII., that he ordered Marc' 
Antonio to be thrown into prison, and it was with 
great difficulty that Baccio Bandinelli and some of 
the cardinals procured his release. On recovering 
his liberty, Marc' Antonio, desirous of expressing 
his obligations to Bandinelli, engraved his celebra- 
ted print of the Martyrdom of St. Lawrence, after 
a picture by that painter, on which he exerted all 
his powers. The Pope, delighted at this master- 
piece, quickly forgot the offence, and took him un- 
der his protection. He continued at Rome in full 
possession of public esteem, and favored with the 
patronage of the great, till the dreadful sacking of 
that city by the Spaniards in 1527, when he was 
despoiled of all his property, and obliged to flee to 
Bologna, where he continued to practise his art 
until 1539, when he engraved his last print, the 
Battle of the Lapithse. after Giulio Romano. He 
is supposed to have died about this time. Malva- 
sia says he was assassinated by a Roman noble- 
man, for having engraved a second plate of the 
Murder of the Innocents, after Raffaelle, contrary 
to his engagements — a highly improbable story. 

Marc' Antonio is justly regarded as one of the 
most extraordinary engravers that have ever ap- 
peared. The purity of his outlines, the beautiful 
character and expression of the heads, and the cor- 
rect drawing of his extremities, establish his mer- 
it as a perfect master in design. His prints are 
very numerous, and are held in the highest esteem ; 
but there is a great difference in the impressions, 
owing to the plates having passed through a suc- 
cession of hands, by which means they became 
greatly worn, and were frequently retouched. 
They first passed into the possession of Tommaso 
Barlacchi. and then successively to Antonio La- 
freri, Nicholas van Aelst, and lastly Rossi or de Ru- 
beis, at which time they were almost worn out. 
The best impressions are those without the name 
of any publisher. Lanzi says ''he sometimes 
omitted every kind of mark, and every letter; 
sometimes he adopted the little tablet of Manteg- 
na, either with or without letters. In some en- 
gravings of the Passion (rather the History of the 
Virgin) he counterfeited both the style and mark 
of Albert Durer ; and not unfrequently he gave 
the initial letters of his own and Raflfaelle's name, 



RAIM. 



761 



RAIM 



and that of Michael Angelo, when he engraved af- 
ter that master." For a complete account of the 
works of this artist, the reader is referred to 
Bartsch's Peintre Graveur, torn, xiv,. the whole 
of which volume is devoted to an account of this 
artist, and of his two principal scholars. Agostino 
Veneziano and Marco da Ravenna, with a cata- 
logue raisonne of their works ; every known print 
being described, with all the variations. The Ba- 
ron Heineken has also given a very complete cat- 
alogue of Marc' Antonio's prints, in his Idea Gen- 
erate (Vune collection d^estampes. The following 
is an ample list of his most esteemed prints. — 
Some are without any marks, but on most of them 
are found one of the following monograms on the 
little tablet, and occasionally the tablet without 
any letters : 

PORTBAITS. 

Aretin, the poet ; inscribed Petrus Aretinus acceri- 
mus, d^c. A Man wrapped in a cloak, seated near a ta- 
ble, and on the left a pallette with colors. Malvasia calls 
this the portrait of Raffaelle. Charles V. when young ; a 
medalliou. Pope Clement VII. ; do. 

SUBJECTS OF THE OT.D AND NEW TESTAMENTS. 

Adam and Eve ; after Rafaelle. This print has been 
copied by Mr, Strutt, and is placed as the title to the second 
volume of his Dictionary of Engravers. Adam and Eve 
driven from Paradise ; after the painting by M. Angela, 
in the Sistine chapel. Noah sacrificing after leaving the 
Ark ; after Raffaelle. God appearing to Noah ; do. God 
appearing to Isaac ; do. Joseph and Potiphar's wife ; do. 
David cutting off the Head of Goliah ; do. David taking 
up the Head of Goliah ; do. ; very scarce. The Nativity, 
or Adoration of the Shepherds ; after Francia. The 
Murder of the Innocents ; after Raffaelle. He engraved 
this subject a second time, and has added in the second 
plate, towards the right of the print, a small pointed tree, 
resembling a yew tree, called in Italian la felcetta, in 
'ExQndh. la foug ere or le chicot. The latter is considered 
the better print, and it is scarce. The Holy Family ; the 
Virgin is seated, holding the infant Jesus on her lap, with 
St. John before him, and St. Joseph appearing behind ; do. 
This print is usually called The Virgin with the long 
thigh. The Virgin seated, with St. Elizabeth and St. John, 
to whom the Infant is giving the Benediction. A large 
palm tree is seen in the back-ground, on which account the 
print is known by the appellation of The Virgin of the 
Palm ; do. The Virgin seated near a cradle, presenting 
the infant Jesus to St. Anne. Behind it is an old woman 
with her arras extended, as if in admiration ; do. ; called 
The Virgin of the Cradle. The Virgin seated on a chair, 
embracing the infant Jesus ; do. The Virgin holding the 
Infant, and reading ; do. The Holy Family ; after the 
painting by M. Angelo, in the Sistine chapel. The Virgin 
and infant Jesus, to whom Tobit, accompanied by an An- 
gel, is presenting a fish. On the other side is St. Joseph 
reading in a book ; after Rafaelle. The Virgin in the 
Clouds, holding the infant Jesus ; do. Agostino Caracci, 
having got possession of this plate, retouched it, and added 
two beautiful heads of cherubim. A set of seventeen plates 
of the Life of the Virgin ; copied from the wooden cuts by 
Albert Durer, with the monogram of that artist, and on 
the last plate the cipher of Marc' Antonio. Thirty-six 
plates of the Life and Passion of our Saviour ; copied in 
imitation of the wooden cuts by Albert Durer, but without 
the mark of that master, Christ seated between two col- 
umns, upon the steps, with the Virgin and Mary Magda- 
lene ; after Raffaelle; called The Virgin with the Steps. 
Mary Magdalene at the feet of Christ, in the house of Si- 
mon the Pharisee ; do. The Last Supper ; do. ; called La 
piece des pieds. The taking down from the Cross ; do. 
The dead Christ laid on the Sepulchre, with the Vir- 



gin with her arms extended, and in the deepest af- 
fliction ; do. The same composition, in which the Virgin 
appears younger, and has one of her arms naked, called 
The Virgin with the naked arm. The dead Christ, with 
his head on the knees of the Virgin, with the holy women 
and two of the disciples, with Nicodemus ; do. Jesus Christ 
with a glory, between the Virgin and St. John, and below, 
St. Paul and St. Catherine ; do. This print is called The 
Five Saints. The Death of Ananias ; do. Elymas, the 
Sorcerer, struck blind ; do. St. Paul preaching at Athens ; 
do. (The three last are the subjects of three of the car- 
toons.) St. Cecilia, with Mary Magdalene, St. Paul, and 
two ottier saints ; do. The best impressions of this plate 
have a strong shadow on the neck of St. Cecilia, resem- 
bling a necklace, on which account it is called The St. Ce- 
cilia with the Necklace. In the inferior impressions the 
shadow is more feeble. The Martyrdom of St. Felicita ; 
do. St. Catherine holding the Palm of Martyrdom ; after 
Francia. St. Catherine and St. Lucia; do. St. Martha 
holding the Palm of Martyrdom ; do. The Martyrdom 
of St. Lawrence ; called by the Italians La graticola di S. 
Lorenzo ; after Baccio Bandinelli. A set of thirteen 
plates of Christ and the Apostles ; after Raffaelle. 

HISTORICAL AND OTHER SUBJECTS. 

The four heroes, Curtius, Horatius, Scipio Africanus, and 
Titus Vespasian ; supposed to have been among his first at- 
tempts on copper. The books of the Sibyls put into the 
tomb of Numa Pompilius ; after Raffaelle. The Rape of 
Helen ; do. ^neas saving his father Anchises from the 
burning of Troy, preceded by Ascanius ; do. Venus ap- 
pearing to ^neas in the form of a Huntress ; do. The 
Death of Dido ; do. The Death of Lucretia ; do. The 
Battle of the Sabre ; do. The same subject was engraved 
by Agostino Veneziano. called de Musis. 

SUBJECTS OF THE FABLE. 

Three of the Angels of the Farnesina ; after Rafaelle ; 
representing Jupiter caressing Cupid, Cupid and the Gra- 
ces, and Mercury descending to earth from Olympus. The 
Judgment of Paris ; do. Mars, Venus, and Cupid ; after 
Mantegna. Vulcan, Venus, and Cupid ; after Raffaelle. 
Apollo resting on the shepherd Hyacinth, accompanied by 
Cupid; inscribed 1506. Ae. 19. The Triumph of Galatea ; 
do. The best impressions are without any name, the worst 
have the names of Van Aelst and Rossi. Mount Parnas- 
sus ; do. Hercules strangling Anteus ; after a design by 
some attributed to Rafaelle, by others to M. Angelo. The 
Battle of the Lapithae ; after Giulio Romano. 1539. Pyr- 
amus and Thisbe ; after F. Francia, supposed to be 
his first engraving on copper. The two Sibyls ; after Raf- 
faelle. Neptune rising from the Sea, to calm the tempest 
in which .Slneas and his companions were shipwrecked. It 
is surrounded by a border in which are nine compartments, 
containing subjects taken trom the .^neid. The Pest, call- 
ed // Morbetto ; after Raffaelle. 

RAIMONDO, a Neapolitan painter, who flour- 
ished at Turin about 1477. Lanzi says there is a 
picture by him, in several compartments, in the 
church of S. Francesco di Chieri, esteemed for the 
lively expression of the countenances and the ex- 
cellence of the coloring, but with much gilding in 
the draperies, according to the custom of the age. 

RAIMONDO, Maestro, an old Italian archi- 
tect, who was a native of Monforte, and flourished 
about the middle of the 12th century. He was 
principally distinguished for rebuilding the Cathe- 
dral of Lugo, a strongly built edifice of white mar- 
ble, well worked, and supported on strong arches, 
with three naves, and four towers at the angles. 
Raimondo died before the work was finished, and 
was succeeded by his son. According to Milizia, 
the Cathedral was completed in 1177. 

RAINALDI, DoMENioo, a painter who flourish- 
ed at Rome about 1665. According to Titi, he 
was the nephew of the celebrated architect, Cav. 
Carlo Rainaldi, was patronized by the Pope, and 
executed some works for the churches. His name 
is also mentioned in the Guida diRoma. 



RAIN. 



762 



RAIN. 



RAINALDI, ToLOMEO, an Italian architect, was 
the eldest son of Adriano R., a painter and architect, 
and is supposed by Milizia to have studied under Mi- 
chael Angelo. He practised both the civil and 
military branches of the art, and vras appointed 
architect to the royal house and fortifications of 
Milan. He had two sons, Domizio and Giovanni 
Leo, called Tolomei, who practised the same art, 
succeeded to the offices of their father, and erected 
a number of edifices and fortresses at Milan, in the 
States, and in the Valteline. 

RAINALDI, Gig. Battista. a Roman archi- 
tect, was a younger brother of the preceding. He 
erected a number of edifices at Rome, and was 
also employed in the fortifications at Ferrara, and 
the Ponte Felice, at Borghetto. He had a son 
named Domenico, a painter and architect. 

RAINALDI, GiROLAMO, an Italian architect, th,e 
younger brother of the preceding artists,was born at 
Rome in 1570. He studied under Domenico Fon- 
tana, and gained the esteem of that master by his 
talents and application. When Fontana was com- 
missioned by Sixtus V. to design a church at Mon- 
talto, being occupied with many engagements, he 
entrusted it to Rainaldi ; and the young architect 
produced a design of such excellence that it was 
accepted by the Pope, who ordered him to erect 
the building. This was the commencement of 
Rainaldi's fortune, and he was much employed un- 
der successive pontificates. He finished the Capi- 
tol ; built the gate of Fano, under Paul V., the 
house for the professor of the Jesuits at Rome, 
and the Jesuitical college of S. Lucia at Bologna. 
He was also employed by the Duke of Parma, 
and erected a palace in that city, as well as one in 
Piacenza and Modena. He constructed the bridge 
of Terni, over the Nera, of a single arch, and well 
proportioned. Among the most important works 
of Rainaldi, is the grand Palazzo Pamfili, in the 
Piazza Navona at Rome ; and the beautiful church 
of the Padri Scalzi at Caprarola. He was employ- 
ed to visit the Ohiane marshes, on account of the 
difference concerning them between the Grand 
Duke and the Pope, He died in 1655, and was 
buried in S. Martina. 

RAINALDL Carlo, an Italian architect, born 
at Rome in 1611. He was the son and scholar of 
Girolamo R., and gained great distinction in the 
pontificates of Innocent X. and Alexander VII. 
The former pope, after testing the abilities of 
Rainaldi by a number of designs and buildings, 
commissioned him to erect the church of S. Ag- 
nese on the Piazza Navona, which is highly prais- 
ed by Milizia for the beauty of its design, in the 
form of a light, elegant, and well proportioned 
Greek cross. He designed and executed his works 
with rapidity ; his ornaments wqyq bold, though 
not always correct, especially in his facades of 
churches. The enemies of Bernini having sugges- 
ted that his campanile over the fa9ade of St. Pe- 
ter's was in danger of falling, Rainaldi was named 
head of the Assembly appointed to investigate the 
affair, and used every effort, though unsuccess- 
fully, to defeat the object of their attacks against 
that celebrated architect. He made four designs 
and models for the piazza before St. Peter's ; one 
of a square figure, one circular, the third a long 
ellipsis, and the fourth hexagonal. On account of 
the death of Innocent X., they were never execu- 
ted. Among his other works were the fa9ade of 



Gesu Maria, on the Corso, and of S. Andrea della 
Valle, the most stately work in Rome, after St. 
Peter's ; two beautiful temples for Cardinal Gas- 
taldi ; the Sepulchre of Clement IX., in S. Maria 
Maggiore ; and the Palace of the French Acade- 
my. Rainaldi sent a number of designs to Charles 
Emanuel, Duke of Savoy, who honored him with 
several rich gifts, and the Cross of S. Maurizio and 
Lazzaro. He sent a design for the Louvre to King 
Louis XIV., who returned the compliment hj 
sending the architect his own miniature, enriched 
with gems. He died in 1691. 

RAINIERI, Francesco, called Lo Schiveno- 
GLiA, a painter born at Mantua about 1680. He 
studied under Giovanni Canti, and adopted his 
style and subjects. Lanzi says he was equally dis- 
tinguished for his landscapes and battle-pieces, and 
surpassed his master in design, though inferior to 
him in coloring. He died in 1758. 

RAM, John de, a Dutch engraver, born about 
1680. He studied under Romeyn de Hooghe, 
whom he surpassed in freedom and correctness of 
design. He was employed chiefly by the book- 
sellers, and his prints are numerous in the Dutch 
publications of his day. He also engraved some 
portraits in mezzotinto, among which is one of 
Christian V. of Denmark. 

RAMA. Camillo, a painter born at Brescia, 
who flourished about 1622. According to Orlandi, 
he studied under the younger Palma, and followed 
his style. He executed several works for the 
churches, convents, and public edifices of his na- 
tive city, highly commended by the author above 
cited, though Lanzi does not deem them worthy 
of more than a passing notice. 

RAMAZZANI, Ercole, a painter born at Roc- 
cacontrada, in the Roman territory. According to 
Lanzi, he studied under Pietro Perugino and af- 
terwards under Raffaelle. He executed some works 
for the churches in his native place and in its vicin- 
ity, which, in the Antichitd Picene, are commend- 
ed for their beautiful style of coloring, charming 
invention, and a manner approaching to Baroccio. 
He was living in 1588. 

RAMBALDI, Carlo, a painter born at Bologna 
in 1680. He studied under Domenico Viani, and 
adopted his style. •He painted history with con- 
siderable reputation, and executed several works 
for the churches at Bologna, among which the 
principal are the Death of St. Joseph, in S. Gtq- 
gorio, the Visitation of the Virgin, in S. Giuseppe, 
and St. Francis Xavier, in S. Lucia. He also paint- 
ed many pictures for the collections. Lanzi says 
that his pictures, especially his half-length figures, 
are found in the select galleries at Bologna ; and 
there are a few of his historical pictures in the 
royal collection at Turin. He died in 1717. 

RAMBERG, John Henry, a German painter 
and engraver, born at Hanover in 1763. He went 
early in life to England, and studied with Sir 
Joshua Reynolds, under whom he showed great tal- 
ents and made rapid progress. He acquired distinc- 
tion, was patronized b}'- the Royal Family, painted 
for the Prince of Wales at Carlton House, and was 
elected a royal academician. He afterwards made 
the tour of France, Italy. Germany, and Holland, 
and finally settled in his native city, where he 
practised his profession with distinction, and was 
chosen professor of painting in the Academy. He 



RAME. 



763 



RAME. 



painted both history and portraits, and was em- 
ployed by Boydell in painting for his Shakspeare 
gallery. He also engraved some prints from his 
own designs in aquatint, and in the chalk manner. 
He died at Hanover in 1840. 

RAMELLT. Padre Felice, a painter born at 
Asti, in Piedmont; in 1666. He first studied un- 
der the Padre Abate Danese Rho, but finished his 
studies at Rome, where he took priestly orders, 
and was made one of the canons of the church of 
S. John of Lateran. He excelled in painting his- 
torical subjects and portraits in oil, as well as 
miniatures. He was invited by the King of Sar- 
dinia to Turin, where he executed for that mon- 
arch the portraits, in small, of the most celebrated 
artists, from the originals by themselves in the 
Florentine gallery. He finished his pieces with 
incredible neatness, and gave to each portrait in 
a small compass, the dignity and truth of nature. 
These works are preserved in the cabinet of the 
King of Sardinia, and among the heads, he took 
care to perpetuate his own, represented in the 
habit of his order. Most of his works are in the 
collections at Rome, where he chiefly resided, and 
died in 1740. 

RAMENGHI, Bartolomeo, sometimes called 
II or DA Bagnacavallo. and by Vasari II Bo- 
logna, was an eminent Italian painter, born, ac- 
cording to Baruffaldi, at Bagnacavallo, a small vil- 
lage near Bologna, in 1484. He first studied under 
Francesco Francia, and next imitated the manner 
of Girolamo da Cotignola, till he went to Rome, 
where he entered the school of Raffaelle and was 
employed, among other artists, in decorating the 
loggie of the Vatican. He afterwards returned 
to Bologna, where he executed many works for the 
churches, emulating the manner of Rafiaelle, for 
which reason, Vasari and other authors give him 
less notice than his talents and merits deserve. 
Lanzi says, "in his composition he most affected 
Raffaelle, as may be gathered from his celebrated 
dispute of St. Augustine at the Scopetini, where 
the maxims of the school of Athens and of other 
copious and noble conceptions of Sanzio are ap- 
parent." (Why should not Bagnacavallo retort 
that Raffaelle copied into his cartoon of Paul and 
Barnabas at Lystra, the whole of the ancient Sac- 
rifice of Masaccio ? ) " Indeed in those subjects 
treated by Sanzio, Bagnacavallo contented himself 
with being a mere copjnst, declaring that it was 
madness to attempt to do better, and appearing to 
follow the opinion of Vida, and other poets of his 
age, who inserted in their pages fragments of Vir- 
gil, because they despaired of excelling them." 
Lanzi says however, that he was well grounded in 
the principles of art, and that he conducted some 
paintings on the strength of his own invention, 
which absolve him from the accusation of a copyist, 
as at S. Michele in Bosco, at S. Martino, and at S. Ma- 
ria Maggiore. He also says that he was the first 
to introduce a better style at Bologna, and that, 
though he had not the depth of design of Giulio 
Romano and Pierino del Vaga, he nearly approach- 
ed the latter, and was perhaps equal to him in the 
excellence of his coloring, while in the graceful 
airs of his heads, at least in the boyish and infan- 
tile, he surpassed him. It is also well known 
that his works were the admiration of Guido, Al- 
bano, and the Caracci, who at first made them 
their study and models. He died at Bologna in 



1542. The times of his birth and death are vari- 
ously stated, but the above dates are from authen- 
tic documents. 

Ri^MENGHI, Giovanni Battista, was the son 
of the preceding artist. Accord ng to Malvasia, he 
was instructed by his father, and was employed as 
an assistant to Vasari in the palace of the Chan- 
cery at Rome ; after which he accompanied Prima- 
ticcio to France, and assisted in his works at Fon- 
tainbleau. He afterwards returned to Bologna, 
where he executed some excellent works for the 
churches, and was chosen president of the acad- 
emy in 1575. The notices of him are very scanty. 
He died in 1601. His son Scipione, was an excel- 
lent perspective and ornamental painter, and as- 
sisted his uncle Bartolomeo, the subject of the fol- 
lowing article. 

RAMENGHI, Bartolomeo, was the cousin of 
Gio. Battista R., and flourished in the latter part 
of the 16th century. His instructor is not men- 
tioned. He excelled in perspective and ornamen- 
tal painting, and found much employment at Bo- 
logna. Lanzi says he associated himself with Gio. 
Battista Cremonini, and in. conjunction with that 
artist, decorated an astonishing number of public 
and private edifices at Bologna, in the neighboring 
cities, and at the diflierent courts of Lombardy. 
Ramenghi painted the architectural parts, and Cre- 
monini the histories, figures, statues, and animals. 
(See Cremonini.) He had a son named Gio. Bat- 
tista, also an eminent painter in the same branch, 
who flourished at Bologna in the first part of the 
17 th century. 

RAMIREZ, Geronimo, a Spanish painter, who 
flourished at Seville in the first part of the 17th 
century. He studied under Juan de las Roelas, 
and adopted his style. There is a fine picture by 
him, in the hospital de la Sangre, signed with his 
name, representing the Pope surrounded by Car- 
dinals and other personages, 

RAMIREZ. Felipe, a Spanish painter, who 
flourished at Seville about 1650, and was prob- 
ably a relative of the preceding. His instructor 
is not mentioned, but according to Cean Bermudez, 
he was a correct and skillful designer of the human 
figure, as is evident from his picture of the Mar- 
tyrdom of St. Stephen. He excelled in painting 
hunting-pieces, dead game, and objects of still-life, 
which are highly esteemed in Spain. 

RAMIREZ, Jose, a Spanish painter, born at 
Valencia, according to Bermudez, in 1624. He 
studied under Geronimo de Espinosa. and followed 
his style. Palomino commends some of his best 
works in the convent of San Felipe Neri, particu- 
larly a picture of the Virgin. Bermudez says he 
was a learned ecclesiastic, and wrote the life of 
San Felipe Neri. He died, according to Bermudez, 
in 1692, and to Palomino, in 1686. 

RAMIREZ, Juan, an eminent Spanish portrait 
painter, who flourished at Seville about 1550. He 
painted historical subjects, in the chapel of St. 
Christopher, and other places of note, but his 
works have all perished except his portraits. 

RAMSAY, Allan, a Scotch portrait painter, 
the son of Allan Ramsay the poet, was born at 
Edinburg in 1709. After studying "in London 
with Mr. Ilyssidge, a painter of little note, he went 
to Italy, where he resided three years, chiefly at 
Rome, and studied successively under Solimena 



KANB. 



764 



RAND. 



and Imperial]*. Soon after his return to his own 
country, he settled at London, where he met with 
flattering encouragement. By the interest of Lord 
Bute, he was introduced to the Prince of Wales, 
afterwards George III., and painted his portrait. 
On the death of Shakelton in 1767, he was ap- 
pointed principal portrait painter to the King. 
He painted several full-length portraits of George 
III., and Queen Charlotte, as well as others of the 
nobility, and persons of distinction, some of which 
were engraved. He visited Rome four different 
times, the last in company with his son, Major- 
General Ramsa3^ He died soon after his return, 
in 1784. Ramsay's portraits are distinguished for 
a calm, placid dignity, and a faithful representa- 
tion of his subjects, devoid of the affectation that 
prevailed among his cotemporaries in London. Al- 
though he did not reach the highest rank in his 
profession, his works are esteemed, and he con- 
tributed to regenerate the art in his country. He 
was well versed in literature, and Bos well mentions 
him as a frequenter of the literary parties of Dr. 
Johnson, who said of him, '' you will not find a 
man in whose conversation there is more instruc- 
tion, more information, and more elegance, than in 
that of Ramsay." 

RANBERT, Louis le, a French painter and 
sculptor, born at Paris in 1614. His father was 
keeper of sculptures to King Louis XIIL, who con- 
sented to act as sponsor to the young artist. He 
studied painting in the school of Vouet, and after- 
wards under le Brun. He then entered the atelier 
of the sculptor Sarrazin, and soon gained distinc- 
tion for the grace and beauty of his figures, and his 
facility of execution. As a painter, he executed 
several small portraits of Cardinal Mazarin, Mare- 
chal de la Meilleraie, and others. His principal 
work in sculpture was the tomb of Marquis Dam- 
pierre. For the park at Versailles, he executed 
several statues of Nymphs, &c., and for the cathe- 
dral at Blois, two bas-reliefs in white marble, re- 
presenting Memory and Meditation. His works 
possess considerable merit of execution ; but they 
want the simplicity of the antique. Le Ranbert 
died at Paris in 1670. 

RANC, Jean, an eminent French portrait paint- 
er, born at Montpellier in 1674. He went to Paris 
and studied under Hyacinth Rigaud. After ac- 
quiring distinction, he was invited in 1724 to the 
court of Madrid, where he was appointed principal 
painter to the King, and painted the portraits of the 
King and other members of the royal family, be- 
sides those of the principal court personages. He 
also painted the portraits of the royal family of 
Portugal. He died at Madrid in 1735. 

RAND A, Antonio, a Bolognese painter, who 
first studied under Guido, and afterwards with 
Lucio Massari. Malvasia observes that there is 
little good to be said of him, referring to his deed 
of homicide, originating in a quarrel, in which he 
slew his antagonist, and was obliged to flee from 
Bologna. In other respects, he ranks him among 
the best scholars, first of Guido, and next of Mas- 
sari, to whose style he was most attached. On 
account of his reputation, the Duke of Modena 
granted him an asylum in his state, and made him 
his court painter in 1614. He executed many 
works for the Duke, which are highly commended 
by Orlandi, and was afterwards much employed 
in painting for the churches at Ferrara, besides 



many other places in the Polesine. He afterwards 
betook himself to a cloister, which, in the eyes of 
Orlandi covered a multitude of sins, and doubtless 
would have softened the asperity of Malvasia, had 
he been cognizant of the fact. Lanzi praises a 
St. Cecilia, that he saw in a private collection, as an 
exquisite production. There are some of his woiks 
in the churches at Bologna, and particularly at 
Ferrara, where are two of his best works. — St. Fili p- 
po Neri, in S. Stefano, and a grand altar-piece of 
the Virgin and Infant, with St. Francis, in S. Libe- 
ra. He died in 1650. 

RANDON, John, an engraver, probably a 
Frenchman, who flourished at Rome, from about 
1710 to 1755. He engraved some plates of an- 
tique and modern statues for the collection pub- 
lished by Rossi ; also several other subjects after 
Passebon. 

RANSONETTE, Nicolas, a French engraver, 
born at Paris in 1753. His instructor is not men- 
tioned, but he engraved some plates in a neat style, 
after his own designs and those of other masters, 
among which are the following. He died in 1810. 

The new Palais-Royal at Paris. A View of the new 
Palace of Justice. The Rival Seducer •,from his ovm de- 
sign. The Lover Revenged; do. Cupid and Psyche; 
after Rajfaelle. Italian Amusements ; after Watteau. 
Diana of Poitiers ; after L. Penni. Agnes Sorel ; do. 
The Dream of Voltaire ; after St. Aubin. Nostradamus 
showing Mary de Medicis tlae throne of the Bourbons. Sev- 
eral plates of fabulous subjects ; after Gabriel de St. Au- 
bin. 

RAOUX, Jean, a French historical and por- 
trait painter, born at Montpellier in 1677. He 
studied in the school of Bon Boullongne at Paris, 
where he made great progress, and obtained the 
grand prize of the Academy, which entitled him 
to visit Italy with the royal pension. He continued 
at Rome and Venice ten years, and practised his 
profession with credit in several Italian cities. On 
his return to Paris he acquired considerable dis- 
tinction, and was admitted into the Academy in 
1717, for his picture of Pygmalion and Galatea. 
Among his principal works are four pictures re- 
presenting the different ages of Man, painted for 
the Prior of Vendome, Telemachus in the Island 
of Calj^pso, and a Sleeping Venus j the two latter 
have been engraved. He appears to have devoted 
his attention in Fwmce mostly to portraits and 
fancy pictures. It is said that he visited England, 
where he was sometime employed by Sir Andrew 
Fontaine. He died at Paris in 1734. 

RAPHAEL. See Raffaelle. 

RAPHON, or RAPHOHN, Johann, a German 
painter of whom little is known, and about whom 
considerable curiosity has recently been excited by 
the discovery of several pictures bearing his name. 
He is said to have been a scholar of Albert Durer, 
and to have died in 1528. There is an altar-piece 
by him in the Cathedral of Halberstadt, consist- 
ing of the Crucifixion, with laterals on the inside 
of folding-doors, representing the Annunciation, 
the Adoration of the Shepherds, the Adoration of 
the Magi, and the Presentation. The exteriors 
are decorated with figures of Saints. The compo- 
sition is somewhat overcharged, and the heads are 
distinguished by energy and individuality of expres- 
sion rather than by a manifestation of those inward 
feelings appropriate to the subjects. It is dated 
1508. Another similar picture of a Crucifixion, 
with laterals, is in the Library of the University 



RATH. 



765 



RAUC. 



at Gottingen. A third altar-piece is dated 1499, 
and M. Hausniann. of Hanover, possesses two wings 
of a fourth. It is probable that more will be dis- 
covered. 

RATHBONE, John, an English landscape 
painter, born in Cheshire about 1750. By an as- 
siduous study of nature, he acquired distinction as 
a painter of landscapes, and his pictures were fre- 
quently embellished with figures by Ibbeston, 
Anderson, and other cotemporary artists. He died 
in 1807. 

RATTI, Gio. Agostino, a painter born at Sa- 
vona in 1699. He went young to Rome, and stud- 
ied in the school of Benedetto Luti, whose style 
he followed. He painted history, both in fresco 
and in oil, but was more eminent for his decora- 
tions of theatres with beautiful scenes, and cabi- 
nets with lively caricatures. He executed some 
works for the churches, among which are an ad- 
mired picture of the Decollation of St. John the 
Baptist, in the church of S. Giovanni at Savona, 
and some frescos in the choir of the church of the 
Conventuali at Casale di Monferrato. Lanzi says, 
'• subjects of humor were his forte. In these he 
had an exhaustless fancy, fertile, and ever creative. 
Nothing can be more amusing than his masks, 
representing quarrels, dances, and such scenes as 
form the subjects of comedy. Luti extolled him 
as one of the first artists in this branch, and even 
equalled him to the Cav. Ghezzi." Lanzi also says 
that he engraj^ed some plates after his own designs. 
He died at Genoa in 1775. 

RATTI, Cav Carlo Giuseppe, a painter, and 
more eminent author, was the son of the preced- 
ing, born at Genoa about 1735. His principal lit- 
erary works were, the Lives of the Painters, Sculp- 
tors, and Architects of Genoa ; the Life of the 
Cav. Rafiaello Mengs ; and Historical Notices of 
Correggio ; which last, in particular, brought down 
upon him the thunders of several writers, who ac- 
cused him of plagiarism, and of having endeavored, 
by a change of style and the addition of trifling 
matter, to appropriate to himself what really be- 
longed to Mengs. We cannot enter into the sub- 
ject, further than to say that Ratti ably defended 
himself in an anonymous letter to a friend, which, 
however, did not satisfy the critics, and they car- 
ried the controversy to his works as a painter, so 
that it is impossible to form any correct estimate 
of his abilities. He first studied with his father, 
and afterwards with Mengs, rather as a friend, 
with whom he lived in his own house for four 
years, and who always entertained a warm friend- 
ship for him. Mengs proposed him as Director of 
the Academy at Milan, and some historical and 
national pictures being required in the royal pal- 
ace at Genoa, Ratti was recommended to this hon- 
orable commission by both Mengs and Battoni, and 
he executed them to the entire satisfaction of the 
public, though his enemies could discover nothing 
in them but imitation and plagiarism. Ratti also 
wrote on art at the instigation of Mengs. He ex- 
ecuted many works for the churches at Genoa, 
Rome, and other places, and painted much for in- 
dividuals. He was knighted by Pius VI., made a 
member of the Academies of St. Luke, of Florence, 
and other places, extolled by poets and men of let- 
ters, and was offered the direction of the Academy 
at Gpnoa for life, which honorable ofiBce he de- 
clined. His friends admit that he did not hesitate 



to adopt from ancient or modern masters, when it 
suited his purpose. Lanzi says that he was an ad- 
mirable copyist, and that Mengs himself paid him 
a considerable sum for a copy of the St. Jerome 
of Correggio, probably one of his earlier perform- 
ances, which he had made at Parma. He died in 
1795. 

RAUCII, Christian, an eminent German sculp- 
tor, born at Waldeck in 1777. He acquired a 
knowledge of the art at Berlin, and afterwards 
visited Rome for improvement, in 1805. In 1811, 
the King of Prussia invited him to Berlin, to exe- 
cute a mausoleum at Charlottenburg. in memory 
of the lale queen. This splendid work was com- 
pleted in three years, and is considered one of the 
finest productions of modern art. In 1815, Ranch 
was commissioned by the king to execute the stat- 
ues of Scharnhorst and Biilow, which are now 
standing in Berlin, nearly opposite the King's pal- 
ace. His works are principally distinguished for 
correctness of design. Besides those already men- 
tioned, he has executed many others, among which 
are the bronze colossal statue of Blucher, at Ber- 
lin ; and another of the same general at Breslau. 
In 1832, Ranch was Professor of Sculpture in the 
Academy of Fine Arts at Berlin. It is not ascer- 
tained if he is now living. 

RAVENET, Simon FraN90is, the Elder, a 
French engraver, born at Paris in 1706, though 
Zani and Basan say in 1721. He studied under 
Phihp le Bas, and after acquiring considerable rep- 
utation, he went to England, and settled in Lon- 
don about 1750, where he executed many plates 
after the Italian and French masters, which are 
highly esteemed. He gave both color and bril- 
liancy to his engravings, and finished them with 
great neatness and precision. He died in 1774. 
The following are among his best prints : 

PORTRAITS. 

George I. George II. ; after Mercier. Lord Camden ; 
after Reynolds. Alexander Pope, Poet. James Thom- 
son. Poet. David Hume, Historian. Mr. Garrick and 
Miss Bellamy, in Romeo and Juliet ; after B. Wilson. 

VARIOUS SUBJECTS. 

The Emblem of Human Life ; after Titian ; Crozat 
collection. Venus and Adonis ; after P. Veronese; do. 
The Adoration of the Shepherds'; after D. Feti ; do. 
Painting and Design ; after Guido. The A^irgin, with the 
infant Jesus sleeping ; do. Charity ; after Carlo Cigna- 
ni. The Arcadian Shepherds; after N. Povssin. So- 
phonisba receiving the Nuptial Present ; after L. Giorda- 
no. The Death of Seneca ; do. Tobias' Nuptial Night ; 
after le Sueur. Tobit anointing his Father's Eyes ; after 
Ag. Caracci. The Lord of the Vineyard ; after Rem- 
brandt. The Prodigal Son ; after Sal. Rosa. Phryne 
tempting Xenocrates ; do. The Return of the Prodigal 
Son ; after Guercino. Lucretia deploring her Fate ; af- 
ter Cazali. Gunhilda, Empress of Germany, acquitted 
of a charge of adultery ; do. 

RAVENET. SfMON FRAN901S, the Younger, was 
the son of the preceding, born in London in 1755. 
After learning engraving with his father, he went 
to Paris, and studied painting for a short time un- 
der Francois Boucher. On leaving that master, 
he went to Italy and settled at Parma, where he 
undertook the arduous enterprise of engraving and 
publishing plates from all the works of Correggio 
in that city, which occupied him several years. 
His prints are executed with neatness and spirit. 
He was living in 1813. The following are by 
him: 



RAVE. 



766 



RAVE. 



IR.'^' 



A set of twelve plates of the Cupola of the Cathedral. 
A set of plates of the Dome of S. Giovanni. The Madon- 
na della Scodella. The Madonna della Scala. La Santis- 
sima Nunziata. The Madonna Incoronata. Christ bear- 
ing his Cross. The Descent from the Cross. The celebra- 
ted St. Jerome. The Martyrdom of St. Placido.— All of 
them after Correggio, Jupiter and Antiope ; after Ru- 
bens. Theseus lifting the Stone ; after N. Poussin. 

RAVENNA, Marco da, 
an eminent Italian engraver, 
born at Ravenna about 1496. 
His family name was Dente, and Vasari calls him 
Marco da Ravignano. The fame of Marc' Antonio 
Raimondi drew many young men to Rome to study 
under him. Among them the most distinguished 
were Marco da Ravenna and Agostino de Musis, 
called Veneziano. both of whom assisted him in 
his works, and after his death engraved many ad- 
mirable works by themselves. Ravenna imitated 
with precision the bolder style of engraving prac- 
tised by his master, but was not equally success- 
ful when he attempted to follow him in his neatest 
and most finished works. He handled the gra- 
ver with more freedom than his fellow-student 
Veneziano, though inferior to him in clearness 
and accuracy. He rarely signed his plates with 
his name, mrcus ravenas, sometimes simply 
with an R., sometimes with a monogram composed 
of M. R., but more frequently with one composed 
of an R. and an S. interlaced as above. This last 
mark has led authors into a great deal of contra- 
diction and confusion, which we cannot enter 
into, further than to say that some suppose there 
were two Ravennas, and that those plates mark- 
ed R. or with the monogram M. R., were by Mar- 
co da Ravenna, and those with the monogram of 
R. and an S., were by an artist variously called 
Silvestro, Simo7ie, or Severo da Ravenna. Others 
again interpret the monogram Raffaelle Sanzio, 
placed on the plate to denote that it was taken 
from a design by that master ; but this opinion is 
confuted by the fact that he used the same mark 
on a print of the Murder of the Innocents, after 
Baccio Bandinelli. The prints in dispute are evi- 
dently by the same hand, and the best connois- 
seurs interpret the mark Ravenna sculpsit. — 
Those fond of such discus.sions are referred to Za- 
ni's Enciclopedia Metodica, parte prima, vol. xvi., 
and parte seconda, vol. v., where they will find the 
subject discussed con amore ; and to Bartsch's 
Peintre Graveur. tom. xiv., who, with his usual 
critical acumen, has examined all the evidence of 
Zani, and placed the subject in as clear a light as 
practicable. The time of his death is not known. 
The following are his principal prints : 

SACRED SUBJECTS. 

A set of twelve plates of subjects from the Bible ; after 
the paintings in the Vatican, from the designs of Rafa- 
elle. The Murder of the Innocents ; after Baccio Ban- 
dinelli. The Transfiguration ; after Raffaelle. The Last 
Supper ; do. ; the same is engraved by M. Antonio. The 
Holy Family ; do. ; engraved also by M Antonio, called 
The Virgin with, the long thigh. The Virgin Mary hold- 
ing the infant Jesus, seated on a pedestal with St. Joseph ; 
after Polidoro da Caravaggio. A set of thirteen plates 
of Christ and the Apostles ; after Rafaelle ; the same 
were engraved by M. Antonio' St. Michael discomfiting 
the Evil Spirit ; do. 

SUBJECTS AFTER VARIOUS MASTERS, 

The Remembrance of Death ; an emblematical subject,in 
which a figure of Death is represented holding a book, sur- 
rounded by several emaciated figures ; after Baccio Ban- 
dinelli; the same subject, with variations, was engraved 



hj. Agostino Veneziano, A Bacchanal subject, represent- 
ed by children ; after Giulio Romano. The Rape of 
Helen ; after Rafaelle. Venus quitting Juno and Ceres ; 
do. Two plates, the Interview between Scipio and Hanni- 
bal, and the Victory of Scipio ; after Giulio Romano. 
The Triumph of Galatea ; after Raffaelle ; engraved also 
by M. Antonio. The Assembly of the Gods ; do. Venus 
on the water, seated on a shell ; do. Venus seated under 
a tree, taking a thorn from her foot, called The Venus 
with the Rabbit. Polyphemus pursuing Galatea ; do. 
Galatea seated on a shell, flying from Polyphemus ; do. 
Jupiter and Antiope ; without the name of the painter. 
The Laocoon, after the antique statue ; to thi."? plate he has 
afl&xed his name nearly at length, mrcus kavenas. 

RAVESTEYN, Hubert van, a Dutch painter 
of low subjects, born at Dort in 1647. He pos- 
sessed uncommon abilities, and it is regretted that 
he had not devoted his pencil to more worthy ob- 
jects. His pictures generally represent the inte- 
riors of slaughter houses, butcher's shops, and the 
inside of the miserable habitations of boors and 
villagers, with sheep penned up, slaughtering times, 
boys blowing up bladders, entrails of hogs, baskets 
of sausages, interiors of kitchens, with maids 
scouring utensils, &c. These disgusting subjects 
he treated with great address. His design is cor- 
rect, his pencil neat and clear, his coloring trans- 
parent, his chiaro-scuro admirable, and every ob- 
ject is designed and touched with infinite nature 
and effect. His pictures, in point of color, light, 
and shadow, are compared to the admirable pro- 
ductions of Albert Cuyp. Immerzecl, differing 
from all others, says he was born in 1640. The 
time of his death is not known. 

RAVESTEYN, John van, an eminent Dutch 
portrait painter, born at the Hague about 1580. 
It is not known by whom he was instructed, but 
his works evince extraordinary merit, and he is 
said not to have been surpassed in his particular 
branch by any of his cotemporaries, with the ex- 
ception of Rubens and Vandyck. He had an ex- 
cellent knowledge of the palette, his lights and 
shadows are judiciously distributed, his coloring 
is clear and harmonious, and his touch broad and 
firm. Besides the portraits of many distinguished 
persons, which may be found in the private collec- 
tions of Holland, he painted several large pic- 
tures, among which is a grand picture fifteen feet 
long, with twenty-six portraits of life-size, in the 
Banqueting Hall at the Hague, representing the 
magistrates of that city seated at a table. The 
figures are correctly drawn, admirably grouped, 
and the accessories are painted with great spirit 
and effect ; the heads are full of dignity and ex- 
pression, and the whole exhibits an appearance of 
truth and nature seldom surpassed; it is dated 
1618. Another fine picture by him is in the Hall 
of the Society of Archers at the Hague, represent- 
ing the officers and principal members of the So- 
ciety. In the Town House is another, of the Bur- 
gomasters, in their robes of office, dated 1636. 
The time of his birth and death is variously sta- 
ted. Houbraken says he was born in 1580, and 
died in 1649 ; Immerzeel, in 1572, and died in 
1657. He was at the head of the forty-eight art^ 
ists who, in 1655, presented a petition to be sepa- 
rated as a society from the company of house paint- 
ers, at the Hague. 

RAVESTEYN. Arnold van, was the son of 
John van R., born at the Hague in 1615. He was 
instructed in the art by his father, and though he 
did not equal him, he was accounted one of the 



RAVE. 



767 



RAYM. 



greatest portrait painters of his time. He was 
chosen president of the Societj^ of Artists at the 
Hague in 1661. and filled that office with honor 
till his death, in 1676. 

RAVESTEYN, Nicholas van, a Flemish paint- 
er, born at Bommel in 1661. He was the son of 
Henry van Ravesteyn, a painter little known, who 
intended him for one of the learned professions, 
and gave him a classical education, but died be- 
fore he had completed his course of study. Raves- 
teyn then turned his attention to painting, and hay- 
ing already learned the rudiments of design from his 
father, he went to the Hague,and first studied under 
Wm. Doudyns ; but his genius leading him to por- 
trait painting, he became the disciple of J. de Baan, 
who was then in high repute. He afterwards set- 
tled in his native place, where he found abundant 
employment. In 1694, he was sent for to the 
court of Kuilenberg to paint the princess of Wal- 
deck, after her death. As no artist had been able 
to paint a satisfactory likeness of her while living, 
Ravesteyn had httle hopes of accomplishing it af- 
ter her death ; yet he succeeded to the satisfaction 
of the court, and returned home liberally reward- 
ed, with his reputation greatly increased. Al- 
though his chief excellence lay in portraits, he 
painted history with reputation. For the most 
part, he painted his portraits historically^ designed 
his figures in good taste, and obtained a striking 
likeness. He had a free and easy manner of hand- 
ling, and his coloring was clear and harmonious. He 
enjoyed abundant patronage, and is said to have 
exercised his pencil to the last year of his long 
life, without showing any traces of the weakness 
or infirmities of old age. He died in 1750, aged 
89 years. 

Ravi, Jean, a French architect and sculptor, 
who was employed at Paris, according to Felibien, 
upon the church of Notre Dame, for twenty-six 
years, and completed it in 1351. It is a magnifi- 
cent Gothic edifice, the largest in France, being 
four hundred and thirteen feet long, one hundred 
and fifty-six wide, and one hundred and ninety- 
eight high. The nave is eighty-nine feet wide, of 
a beautiful elevation, well lighted, and regularly 
planned. The transept is of the same width, and 
equally beautiful with the nave, flanked by double 
aisles, leading to thirty-five chapels, magnificently 
decorated. The choir and sanctuary correspond 
in style to the rest. Above the double aisles are 
spacious and high galleries or porches, vaulted 
with stone. The fa9ade is flanked by two square 
towers. _two hundred and four feet high. The whole 
edifice is of stone, and is adorned with an infinite 
variety of beautiful specimens in painting and 
sculpture. 

RAWLINS, J., an English engraver of httle 
note, who flourished about 1760. He engraved a 
few portraits and frontispieces for the booksellers. 

RAVIGLIONE, di Casale, a Piedmontese 
painter who, according to Orlandi, was a native of 
Casalmonferrato. and flourished in the first half 
of the 17th century. He executed some works for 
the churches in his native city and elsewhere. 
Lanzi considers him, after Niccolo Musso, the 
ablest artist Monferrato has produced, although 
his name, his age, and his school are unknown. 

RAVIGNANO, Marco. See Marco da Ra- 
venna. 



RAYMOND, Jean, a French engraver, born at 
Paris about 1695. Little is known of him. IJe 
engraved some of the plates for the Crozat collec- 
tion, among which are the Holy Family, after 
Eaffaelle; the Entombment, or./i!er Taddeo Zuc- 
caro ; and the Miracle of the Manna, after Rn- 
manelli. His prints are executed with the graver, 
in a bold, clear style, and his drawing is tolei ably 
correct. 

RAYMOND, Jean Arnaud, a French architect, 
born at Toulouse in 1742. He early manifested 
a strong inclination for art, and was sent to Paris 
at the expense of the liberal M. de Puymaurin, 
He studied successively under Blondel, Hilaire. and 
Leroi. In 1767 he gained the grand prize, and im- 
mediately went with the royal pen.sion to Rome, 
where he was principally occupied in studying and 
copying the antique and the works of Falladio. 
He studied the writings of that master with great 
assiduit3^ carefully examined and designed hi.^ edi- 
fices at Venice, Padua, and Vicenza. and wrote 
many learned notices upon them. On returning to 
France in 1775, he intended to edit the works of 
Palladio, but was anticipated by Cameron, who 
published an edition from the designs of Lord Bur- 
lington. Raymond was emploj'cdfor three years, 
soon after his return to France, at Monlpellier, 
where he directed several public works. He also 
made many admirable designs, at the request of 
Joubert, for embelli.shing Nismes, and other cities 
of Languedoc, which were approved, but were nev- 
er executed. In 1784, Raymond was chosen a 
Royal Academician, and afterwards a member of 
the French Institute, and the governmental Couseil 
des Batiments. He died in 1811. 

RAZALI, Sebastiano, a Bolognese painter 
who, according to Malvasia, was a pupil of the 
Caracci. and followed their manner. Little is 
known of him or his works. Lanzi commends his 
picture of St, Benedict among the Thorns, in the 
church of S. Michele in Bosco at Bologna. He 
flourished in the first part of the 17th century. 

RAZZI, Cav. Giovanni Awtonio. called II So- 
doma. There is a good deal of dispute as to the 
place and time of birth, and the merits of this 
artist, which we cannot enter into further than 
to say that, according to the best authorities, he 
was born at Vercelli, in the Piedmontese. in 1479. 
not at Vergelle, a Sienese village, though he after- 
wards settled at Siena, and became naturalized. 
He studied under Giacomo dalle Fonte, but he 
formed his style on that of Leonardo da Vinci. 
Among his earliest performances were a series of 
pictures at Monte Oliveto, representing the his- 
tory of St. Benedetto, painted about 1502. He 
afterwards went to Rome, where his talent recom- 
mended him to the notice of Julius II., who em- 
ployed him in the Vatican, where he executed 
several works which were subsequently defaced to 
make way for the frescos of Ratfaelle, though the 
latter spared the grotesques. He was also em- 
ployed by Agostino Ohigi to decorate his palace, 
j now the Farnesina, with frescos from the life of Al- 
i exander the Great, of which the Nuptials of Roxana, 
and the Suppliant Family of Darius, are the most 
esteemed. Lanzi says of these works, " they do 
not exhibit the facility, grace, and the dignified 
heads that characterize the style of Vinci ; but 
they show much of his chiaroscuro, which wa.«? 
then much followed by the Lombards, and his 



RAZZ. 



768 



RECO. 



perspective is conspicuous ; they also abounded in 
gay images, little cupids with their arrows, and a 
pomp that is captivating." 

The best works of Razzi are at Siena^ the fruit 
of his studies at Rome, executed in the full ma- 
turity of his powers. The most celebrated of 
these are the Adoration of the Magi, in the church 
of S. Agostino. executed wholly in the style of 
da Vinci ; the Flagellation of Christ, at the Fran- 
ciscans, preferred by many connoisseurs to the 
figures of Michael Angelo ; and the Swoon of St. 
Catherine of Siena, in the chapel of that saint, in 
the church of S. Domenico, in which he emulated 
the manner of Rafiaelle; and St. Sebastian, now 
in the Ducal gallery, supposed to have been copied 
from an antique Torso. 

Razzi, when advanced in life, by some misfor- 
tune which happened to him at Siena, was reduced 
to poverty ; he then sought employment at Pisa, at 
Volterra, and at Lucca. The works he painted 
at these places, were frequently executed in a hur- 
ried manner, without preparatory study, and have 
greatly tended to injure his reputation. Vasari, 
the great enemy of his fame, generally styles him 
Mattaccio (bifjfoon), ascribing to chance or for- 
tune whatever he performed well, as if his usual 
style had been that of a bad painter, and judging 
him from his last works, when misfortune, neces- 
sity, and advanced age oppressed him ; yet he 
was so forgetful as incidentally to commend his 
works in high terms on several occasions. Thus 
in his life of Mecherino, he says that "Razzi poss- 
essed the grand principles of design," and in an- 
other passage he praises the brilliant coloring he 
brought with him out of Lombardy, and before no- 
ticing the works of his old age, often pronounced 
the others beaictifuL and sometimes, most beau- 
tiful, and wonderful performances. It is sufficient 
to observe that public opinion at Siena, ranks 
him as one of the ablest artists of that city, 
and that his best works have received the unqual- 
ified approbation of both excellent writers and 
critics, Annibale Caracci, in passing through Si- 
ena, observed, " Razzi appears a very eminent mas- 
ter, of the greatest taste, and few such pictures 
are to be seen ;" and Peruzzi affirmed of his St. 
Catherine, that "he had never seen a swoon so 
naturally represented." Lanzi says that, "the 
airs and various expressions of his heads are not 
borrowed from any artist, and on this account, he 
seems to have extorted the applause even of Va- 
sari, and that he selected his models from among 
the Sienese, whose heads possess great innate gai- 
ety, openness, and spirit." He died in 1554. 

READ, Catherine, an English paintress, who 
gained considerable reputation for her portraits, 
both in oil and crayons. Among her best per- 
formances are mentioned the portrait of Queen 
Charlotte, and Mrs. Macaulay, the historian. Sev- 
eral of her paintings have been engraved in mez- 
zotinto. She died at an advanced age about 1786. 
READ, Richard, an English mezzotinto en- 
graver of little note, who flourished about 1780. 
and executed a few portraits and other subjects. 

REALFONSO, Tommaso, a Neapolitan painter, 
who, according to Dominici, was the most celebra- 
ted scholar of Andrea Belvidere. He excelled in 
painting still life, as dead game, fish, utensils, and 
similar subjects ; also fruit, flowers, all kinds of 
confectionery and eatables, all which he painted 



with great truth and spirit. He flourished in the 
latter part of the 17th century. 

RECCHI, Giovanni Paolo, and Gio. Battista. 
two brothers, painters of Como, who flourished 
about the middle of the 16th century, and perhaps 
later. They studied under Morazzone, whose man- 
ner they adopted. They acquired considerable 
reputation, and were employed conjointly in dec- 
orating with frescos the churches of their native 
city, at Varese. and other places in the vicinity. 
Gio. Battista was the most distinguished, became 
eminent beyond the state, and was much employed 
at the court of Turin ; there are some of his works 
in the church of S. Carlo in the latter city, placed 
near those of his master, which do not suffer by 
the proximity. Lanzi says, "his style is solid 
and strong, his coloring forcible, and in his skill 
of foreshortening on ceilings, he yields to few ar- 
tists of his time. Pasta, in his Guide to Bergamo, 
has deservedly praised him on this score when 
speaking of his Santa Grata, seen rising into hea- 
ven, a work, he observes, that is admirable and 
delightful." There was another Gio. Battista R.. 
nephew of the preceding, who assisted him in some 
of the chambers of the Veneria at Turin. The 
elder Gio. Battista R., instructed several pupils in 
the art, some of whom acquired distinction. 

RECCO, Cav. Giuseppe, a Neapolitan painter, 
born, according to Dominici, in 1634. He studied 
under Aniello Falcone, and became one of the most 
celebrated painters in Italy, of hunting, fowling, 
and fishing pieces, dead game, and similar subjects. 
His pictures are found in the best collections in 
Naples and other Italian cities, where they are ad- 
mired for their excellence of composition, spirit 
of execution, and rich coloring of the Lombard 
school. Recco was invited to the court of Madrid, 
where he resided many years, whilst Luca Gior- 
dano was there. He died at Naples in 1695. 

RECHBERGER, Franz, an eminent German 
landscape painter, designer, and etcher, born at 
Vienna in 1771. He studied under F. Brandt, 
with Martin von Molitor for a fellow student ; the 
two young artists contracted an intimate friend- 
ship, and afterwards practised in conjunction. 
Rechberger is better known by his numerous de- 
signs and etchings, than by his paintings, though 
the latter are said to be executed in a pleasing 
and masterly manner. His etchings are so 
beautifully designed and spiritedly executed, that 
they rank with the choicest of modern times. 
They generally represent wild, romantic scenery, 
somewhat in the style of Jacob Ruysdael, or Al- 
bert van Everdingen. He also etched a number of 
plates of landscapes from drawings or paintings 
by Dietricy. Nagler mentions seventy-six plates 
by him, generally marked F. R., which has occa- 
sioned them sometimes to be attributed to Fred- 
erick Rehberg. a cotemporary artist, who used the 
same initials ; but the works of the latter are his- 
torical, and belong rather to the Roman school. 
Rechberger was appointed keeper of the prints 
and drawings of the Archduke Charles at Vienna, 
and also had the care of the fine collection of prints 
formerlv belonging to Count Fries. He was liv- 
ing in 1842. 

RECLAM, Frederick, a German painter and 
engraver, was born at Magdeburg in 1734. After 
leai'ning the rudiments o£ art in his native city, he 



REDE. 



769 



REDO. 



went to Paris, and studied under J. B. Pierre. 
In 1755 he went to Italy, and resided several years 
at Rome, after which he returned to his own coun- 
try, settled at Berlin, and painted landscapes and 
portraits with considerable success. He also ex- 
ecuted a number of etchings from his own designs 
and those of other masters ; of which Nagler enu- 
merates twenty-nine. He died in 1774. 

REDER, Christian. There is some discrep- 
ancy among writers about the period of the birth 
and death of this painter, but the best authorities 
say he was born in Saxony in 1656, and died in 
1729. According to Pascoli, he went to Rome in 
1686, the year of the capture of Buda, and ac- 
quired considerable reputation for his representa- 
tions of battles between the Christians and the 
Ottomans. Although his pictures were well com- 
posed and spiritedly touched, he executed so many 
of them, with little variation, that they soon de- 
preciated in value. The best, in the opinion of 
Pascoli, was a grand picture in the gallery de' Mi- 
nimi ; and he left many in the palaces of the no- 
bility. Lanzi says he was skilful in landscape 
and humorous subjects, in which he was assisted 
by Peter van Bloemen. He afterwards visited Ven- 
ice, Hamburg, Amsterdam, and London, leaving 
specimens of his ability in each of those cities. 
Fiiessli calls his name Renter. He is also called 
by the Italians M. Leandro Sassone. 

REDI, ToMMASO, a Florentine painter, born in 
1665. After studying under Domenico Gabbiani 
in his native city, he went to Rome and entered 
the Florentine Academy, established by the Grand 
Duke Cosimo III., then under the direction of Car- 
lo Maratti and Giro Ferri. He prosecuted his 
studies at Rome with ardor, and success, and af- 
terwards visited the most celebrated schools for 
the purpose of studying and copying the works of 
the great masters On returning to Florence, he 
was commissioned by the Grand Duke to paint 
several works for the Pitti palace, and soon ob- 
tained abundant employment for the churches, 
convents, and public edifices of Florence, as well as 
for the palaces of the nobility. He painted subjects 
from ancient mythology and sacred and profane 
history. He was also an excellent portrait paint- 
er. Redi designed with elegance and correctness, 
and his coloring partakes much of the sweetness 
of Carlo Maratti. He was well grounded in his 
profession, with a ready invention and great fa- 
cility of hand. Peter the Great having seen some 
of his works, and being desirous of establishing 
an academy of the Fine Arts at Moscow, made 
very liberal offers to Redi to undertake the direc- 
tion of it, but his engagements at Florence pre- 
vented his accepting the proposal. He died at 
Florence in 1726. 

REDMOND, Thomas, an English miniature 
painter, who died in 1785. He was the son of a 
clergyman, and a native of Brecknock, in Wales. 
He was almost entirely a self-made artist. He re- 
sided chiefly at Bath, and practised with consider- 
able success. 

REDOUT. Peter Joseph, an eminent Belgian 
flower painter, called by the French, the Raf- 
faelle des Pleurs. was born in the province of 
Brabant, at St. Hubert, near Liege. After acqui- 
ring a knowledge of the elements of design, he 
visited various cities in the Low Countries for im- 
provement. Meeting with the surpassing flower- 



pieces of John van Huysura, he greatly desired to 
devote himself to that branch of the art, and final- 
ly went to Paris, where he entered the studio of 
his elder brother Anthony, a painter of decora- 
tions. He shortly after commenced designing flow- 
ers, and entirely relinquished the other branches of 
the art. His merit soon became evident, and he 
was much encouraged by I'Heritier, who employed 
him to make a number of designs for the Sertum 
Anglicum. and by van Spaendonck, who commis- 
sioned him to paint the pictures of twenty rare 
plants, which he had engaged to furnish yearly 
for the collection of drawings on vellum, com- 
menced in 1650, by Gaston, duke of Orleans, and 
continued to the present time by the Musee d'His- 
toire Natureile. In 1792, Redout was appointed 
designer to the Royal Academy of Sciences, and 
afterwards a professor of the Institute, at its form- 
ation. In 1805 he was appointed flower painter 
to the Empress Josephine. In 1822 he succeeded 
to the office of van Spaendonck in the Royal Gar- 
dens. He was much employed in making designs 
for many pictorial works, such as the Flora At- 
lantica. of Desfontaines ; and the Jardin de Mal- 
maison, of Ventenat. He gained his principal 
reputation, however, by his Liliacees^ and his 
Roses. The first were published with a descrip- 
tive text by Delaunay, from 1802 to 1816, in eighty 
numbers, embracing 480 plates of various speci- 
mens of the lily. The Roses were published from 
1817 to 1824, in thirty numbers, embracing 180 
plates. From 1827 to 1833, he published thirty- 
six numbers of selections of the most beautiful 
flowers and fruits ; in 1835 and the following years 
twelve numbers of similar selections of flowers. In 
1836, he published in fifteen numbers his Clioixde 
soixante Roses dediees a la reine des Beiges. 

The many honors conferred upon Redout suffi- 
ciently evince his excellence. He was the in- 
structor of many pupils, among whom were Maria 
Antoinette, Josephine, Hortense, Maria Louisa, the 
Duchess de Berri, the Queen of the French, Ma- 
dame Adelaide, Madame Panckoucke, Mile. Arson, 
Madame Chantereine. and others. Redout died in 
1840. A number of his designs were published 
after his death, under the title of Bouquet Roijal. 
The Belgian government erected a monumental 
fountain at St. Hubert, in 1846, iu memory of this 
distinguished artist, surmounted by his bust. 

REDOUT. Henry Joseph, a Belgian painter, 
the younger brother of the preceding, was born in 
1766. He practised flower painting with his bro- 
ther for several years, but afterwards devoted his 
talents to animal painting. He accompanied the 
expedition to Egypt, and was subsequently ap- 
pointed painter to 'the Museum of Natural History. 
His designs are distinguished for their fidelity, 
and have been the means of enriching the science 
of Zoology. 

REGGIO, LucA DA. See Ferrari. 

REGILLO, DA PoRDENONE. See Licinio. 
V TW o REGNARD, Valerian, a French en- 
\f\ graver, of whom little is known. He 
' -^ — ^ studied under Philip Thomassin at Rome, 
where he passed most of his life. He engraved 
some plates after various Italian masters, and some 
of the antique statues in the Giustiniani gallery. 
He was living in 1650. 

REGNAULDIN, Thomas, a French sculptor, 



EEGN. 



770 



KEIN. 



born at Moulins in 1627. He studied under Fran- 
cois Anguier, and gained considerable distinction 
in the reign of Louis X[V,, who sent him to Rome, 
with a pension of one thousand crowns. His prin- 
cipal sculptures are those of Autumn, Faustina, 
and the three Nymphs in the Baths of Apollo, 
after the designs of Lebrun. In 1657 he was 
chosen a member of the academy, and presented 
his statue of St. John the Baptist, as his reception 
piece. In 1704 he made a marble statue of St. 
Catherine, for the church of that saint at Paris. 
According to French authority, his reputation 
seems to have surpassed his merit. He died in 
1708. 

REGNAULT, Jean Baptiste, an eminent 
French painter, born at Paris in 1754. When very 
young he manifested a strong inclination for art. 
He was taken by his parents to America, and after- 
wards entered the marine service without their 
knowledge, where he remained many years as a 
cabin boy; but during his wanderings, he con- 
stantly practised the art of design. At length, his 
mother, having lost her husband and her other 
children, returned to France, and used every en- 
deavor to discover her long lost son. She was 
finall}' successful, and the young sailor artist was 
restored to his mother's arms. He soon devoted 
his attention to design, and attracted the notice 
of the painter Baudin. who took him to Rome. 
After studying in that city for some time with 
the greatest assiduity, he returned to Paris, and 
gained the grand prize in painting, for his splendid 
picture of Diogenes and Alexander. He then re- 
visited Rome, with the royal pension, and passed 
his time in assiduous studies, until his second re- 
turn to Paris, His picture of the Baptism of Christ, 
painted about this period, is highly praised for its 
fine coloring and masterly execution. In 1783. he 
was chosen an Academician, for his picture of the 
Education of Achilles. This work is treated in an 
elevated style, and has been engraved by Berwick. 
Regnault executed a large number of historical, 
poetical, and allegorical subjects, among which the 
most excellent, besides those already mentioned, 
are the Deluge, Jupiter carr3Mng away lo, and the 
Descent from the Cross. The latter work is in 
the style of the Caracci, and is said to be not in- 
ferior to the same subject by Poussin. Regnault 
was a chevalier of the Order of St. Michael and of 
the Legion of Honor; he was also appointed Pro- 
fessor of Painting. He died at Paris in 1831. He 
left numerous studies, designs, and finished sketches 
illustrative of the works of Ovid and other poets. 

REGME, M., a French engraver, who flourished 
about 1760. Little is known of him. He en- 
graved a few prints, among which are a set of 
plates of animals, neatly executed. 

^^ A Z^^EICH, Wendel, a German engraver 
Y y\ and bookseller, who flourished at Stras- 
^burg in 1540. He executed some wood- 
en Cuts,bearing the above monogram. Prof Christ 
says he lived at Lyons about 1515, where he en- 
graved and published several cuts marked as 
above. 

REINAGLE, Philip, an English painter, born 
about 1750. He studied under Allan Ramsay, and 
painted portraits for a while, but afterwards turned 
his attention to animals, and panoramic views, with 
some success. His pictures of huntings, with span- 



iels, shaggy ponies, and dead game, were the best 
of the day in England. He also copied the works 
of Paul Potter, Karel du Jardin, Berghem, and 
Adrian vander Velde, with considerable success. 
He assisted Barker in his panoramas of Rome, 
Naples, Florence, Gibraltar, Paris and Algcsiras 
Bay. He is best known by the "Sportsman's 
Cabinet," engraved by John Scott, representing 
all the dogs used in field sports, drawn from life. 
He was elected a member of the Royal Academy 
in 1812. and died at London in 1834. 

REINAGLE, Richard Ramsay, was the son 
and scholar of the preceding. His life has not 
yet been written, but he acquired distinction as a 
painter of animals, and English sporting scenes. 

REINx\GLE, George Philip, was the son of 
Richard Ramsay R.. born about 1800. He stud- 
ied with his father, and early manifested great tal- 
ents for marine painting. After copying pictures 
by the best Dutch marine painters, he accompanied 
the expedition to Navarino, for the express purpose 
of giving a representation of the expected action, 
which he did with great applause. He died in 
1833, in the flower of life. 

REINER, Wbnceslaus Laurent, a German 
painter, born at Prague in 1686. After learning 
the rudiments of design from his father, a sculptor 
of little note, he entered the school of Peter Bran- 
del. Aided by his instructions, with a diligent 
study of nature and the works of the best mas- 
ters, he became an accomplished and distin- 
guished artist. He was a universal painter, 
and wrought both in oil and fresco. He paint- 
ed history, landscapes, animals, and battle pieces 
with great credit, and executed several works for 
the churches and convents at Vienna, Breslau, and 
in other places. His best works are his landscapes 
with cattle, and battle-pieces, executed in a style 
resembling that of Peter van Bloemen, His pic- 
tures are well designed and colored, his figures and 
animals correctly drawn, and touched with great 
freedom and spirit. His works are chiefly con- 
fined to his own country, and are to be found in 
the best collections. There were several of his 
choicest works in the gallery of Augustus, King 
of Poland, and others in the collection of the late 
Count Bruhl. He died in 1743. 

REINOSO, Don Antonio Garcia, a Spanish 
painter and architect, born at Cabra, in Andalusia, 
about 1623. He studied under Sebastiano Marti- 
nez, and executed a number of works in the 
churches — distinguished le.ss for taste than facilitj'- 
of execution, — among which was a large paint- 
ing in the vault of a chapel in the church of the 
Capuchins at Andujar, representing the Holy Trin- 
ity, with a number of the patriarchs, and below, 
St. Michael and St. George. At Linares, he paint- 
ed a picture of Susanna at the Bath, in which the 
water was represented so truthfully as almost to 
produce illusion. As an architect, Reinoso erected 
various edifices, particularly at Andujar and Mar- 
tos. He died at Cordova in 1677. 

REINSPERGER, John Christopher, a Ger- 
man painter and engraver, born at Nuremberg in 
1711, and died in 1780. He studied under Lio- 
tard, and painted portraits, some of which he en- 
graved nearly as large as life, in a coarse, heavy, 
tasteless style. He practised some years at Vien- 
na. Among his prints are the portraits of the 



REIT. 



771 



REMB. 



Emperor Joseph II., the Archduke Leopold, and 
the Empress Dowager, Elizabeth Christiana. 

REITER, REYTER, or REUTER, Bartholo- 
mew, a German painter and engraver, who flourished 
at Munich in the first part of the 17th century. He 
was a scholar of Hans Ostendorfer the Younger. 
It is said, traditionally, that he was one of the 
best painters of Munich in his time, and instructed 
many pupils. None of his pictures are mentioned, 
and not a single name of his pupilsis recorded. Na- 
gler gives the following list of his prints, various- 
ly signed, Reiter^ Reitter, Reyter, Reytter, Ren- 
ter, and with his initials B. R., or B. R. and F. 
ioT fecit. 

1. Christ holding the Globe in his right hand. 2. Christ 
seated, crowned with Thorns ; Bartlme Reittet — Pictor 
inv. Monachy 1615. 3. Christ carrying his Cross, group 
of half-length figures ; Georg Beham inv. Monackii, 
Bart. Reitterfec. 1610. 4. Christ exposed to the People \ 
inscribed Ecce Homo, Bart. Reitter pictor Jis^ur. Mona- 
chy 1612/ec. 5. The Holy Family, with St. Francis or St. 
Jerome, half-figures, a copy a.fter Palma, with both mo- 
nograms. 6. St, Jerome sitting in a Cavern, half-figure, 
the lion on the left ; signed Bart. Reytter pictor inv. et 
excud. There is an impression signed Bartholome Renter. 
7. A Nymph sitting on the lap of a Satyr, Cupid at their 
feet; Bart. Relter,fec. Monachy 1610, 7. Venus hold- 
ing a Mirror, and seated with Cupid under a Tree, half- 
figures ; Georg Beham inv. B. Reyter fee. 1610. Q.Nep- 
tune on a Sea-Horse, holding his Trident ; Georg Beham 
inv. Monachy, with Reiler^s mark, and the date 1610. 10. 
A Child sealed on a Skull and blowing Bubbles ; B. R, P. 
Monachl Zimmerman Excud. 11 — 18. Eight prints, a 
series of naked Children in different positions ; marked B. 
R. 

REITZ, E.. a Swedish engraver, who flourished 
at Stockholm about 1700, and engraved some plates 
of coins and architecture, for a work entitled Sue- 
cia Antiqua et Hodiema. 

REM, Matthew, a German engraver, who flour- 
ished about 1635. According to Prof. Christ, he 
engraved the plates for a work entitled U Archi- 
tecture de Furtenhach. He usually marked his 
plates with the initials of his name, M. R. 
Y% T REMBRANDT, van Rhyn, Paul, was one 
r^ — B ^^ themosteminent painters and engravers 
J_ V A of the Dutch school. He was the son of a 
miller, and was born in 1606, at a small village on the 
banks of the Rhine,bet ween Leyderdorp and Leyden, 
whence he was called Rembrandt van Rhyn, 
though his family name was Gerretz. It is said 
that his father, being in easy circumstances, in- 
tended him for one of the learned professions, but 
was induced by Rembrandt's passion for the art 
to allow him to follow his inclination. He entered 
the school of Jacob van Zwaanenberg at Amster- 
dam, where he continued three years, and made 
such surprising progress as astonished his instruc- 
tor. Having learned from Zwaanenberg all he was 
capable of imparting, he next studied about six 
months with Peter Lastmann, and afterwards for 
a short time with Jacob Pinas, from whom it is 
said he acquired that taste for strong contrasts of 
light and shadow,' for which his works are so re- 
markable. He was, however, more indebted for 
his be.st improvement to the vivacity of his own 
genius, and an attentive study of nature, than to 
any inforuiation he derived from his instructors. 
On returning home, he fitted up an attic room with 
a skyligl^t. in his father's mill, for his studio, where 
he probably pursued his labors for several years, 
as he did not remove to Amsterdam till 1630. 
Here he studied the grotesque figure of the Dutch 



boor, or the rotund contour of the bar-maid of an 
alehouse, with as much precision as the great art- 
ists of Italy have imitated the Apollo Belvidere, 
or the Medicean Venus. He was exceedingly ig- 
norant, and it is said that he could scarcely read. 
He was of a wayward and eccentric disposition, 
and sought for recreation among the lowest orders 
of the people, in the amusements of the alehouse, 
contracting habits which continued through life; 
even when in prosperous circumstances, he mani- 
fested no disposition to associate with more refined 
and intellectual society. It will readily be per- 
ceived that his habits, disposi;ion, and studies 
could not conduct him to the noble conceptions of 
Raffaelle, but rather to an exact imitation of the 
lowest order of nature, with which he delighted to 
be surrounded. The life of Rembrandt is much 
involved in fable, and in order to form a just esti- 
mate of his powers, it is necessary to take these 
things into consideration. It is said by some wri- 
ters, that, had he studied the antique, he would 
have reached the very perfection of the art, but 
Nieuwenhuys, in his review of the Lives and 
Works of the most eminent painters of the Dutch 
and Flemish schools, in Smith's Catalogue rai- ' 
Sonne, vol. xii. and supplement, says that he was 
by no means deficient on that point. " For it is 
known that he purchased, at a high price, casts 
from the antique marbles, paintings, drawings, 
and engravings by the most excellent Italian mas- 
ters, to assist him in his studies, and which are 
mentioned in the inventory of his goods when 
seized for debt." He then goes on to give a list of 
the works so seized= Be this as it may, he cer- 
tainly never derived any advantage from them. 
He had collected a great variety of old armor, sa- 
bres, flags, and fantastical vestments, ironically 
terming them his antiques, and frequently intro- 
ducing them into his pictures. 

Rembrandt had already brought both the arts 
of painting and engraving to ver}'- great perfection 
(in his own way), when a slight incident led him 
to fame and fortune. He was induced by a friend 
to take one of his choicest pictures to a picture- 
dealer at the Hague, who, being charmed with the 
performance, instantly gave him a hundred florins 
for it. and treated him with great respect. This 
occurrence served to convince the public of his 
merit, and contributed to make the artist sensible 
of his own abilities. In 1630 he went to Amster- 
dam, where he married a handsome peasant girl, 
(frequently copied in his works), and settled there 
for life. His paintings were soon in extraordinary 
demand, and his fame spread far and wide ; pupils 
flocked to his studio, and he received for the in- 
struction of each a hundred florins a year. He 
was so excessively avaricious that he soon aban- 
doned his former careful and finished style, for a 
rapid execution; also frequently retouched the 
pictures of his best pupils, and sold them as his 
own. His deceits in dating several of his etchings 
at Venice, to make them more saleable, led some 
of his biographers to believe that he visited Italy, 
and resided at Venice in 1635 and 1636; but it 
has been satisfactorily proved that he never left 
Holland, though he constantly threatened to do 
so, in order to increase the sale of his works. As 
early as 1628, he applied himself zealously to 
etching, and soon acquired great perfection in the 
art. His etchings were esteemed as highly as his 
paintings, and he had recourse to several artifices 



REMB. 



772 



REMB. 



to raise their price and increase their sales. For 
example, he sold impressions from the unfinished 
plates, then finished them, and after having used 
them, made some slight alterations, and thus sold 
the same works three or four times ; producing 
what connoisseurs term variations in prints. By 
these practices, and his parsimonious manner of 
living, Rembrandt amassed a large fortune. 

Though Rembrandt acquired a distinguished 
reputation for his historical works, he is more de- 
serving of admiration as a painter of portraits. 
He was a perfect master of all that relates to col- 
oring, distribution of light and shade, and manage- 
ment of the pencil ; but he has no claims to the 
other great requisites of the true artist — correct 
taste, composition, grouping, dignified expression, 
design, perspective, and drapery. He drew, in- 
deed, from the naked models, for which he used his 
scholars ; but what sort of models they were, his 
works plainly show. In his composition and 
grouping, he followed common nature alone, and 
his momentary humor, which was often whimsi- 
cal; in design he followed his model. He gene- 
rally concealed the naked parts as much as possi- 
ble, rarely allowing the hands or feet to be seen, 
because he was unable to draw them correctly, al- 
ways making them too large or too small. In 
those works where he could not avoid naked fig- 
ures, as in the Descent from the Cross, the En- 
tombment, and several representations of Bathshe- 
ba in the Bath, his figures are entirely destitute of 
proportion, audit is only the magic tones and touch 
of his pencil that prevents these pictures from excit- 
ing disgust in every beholder of taste. Furthermore, 
he was the most outrageous violator of the pro- 
prieties of costume in the whole history of art, 
often introducing the Dutch dress of his time into 
subjects from ancient history. His drapery is fan- 
tastical, almost entirely destitute of taste, and 
sometimes ridiculous. His heads possess expres- 
sion and character, but they have no dignity ; his 
Christ is a man of the lowest class of the people, 
and his Marj^s are common women. On the other 
hand, the seductive simplicity of his arrangements, 
the glowing beauty of his coloring, the magic 
charm of his chiaro-scuro, almost conceal his gross 
imperfections ; and it was these excellencies alone 
that gained him his great reputation, and even at 
the present day uphold the estimation of his 
works, which command such enormous prices. 
He was undoubtedly the greatest master of chiaro- 
scuro that the world has ever produced, and one 
of the greatest colorists ; in the harmony of his tones 
no other painter, with perhaps the exception of 
Titian, has equalled him. Although his portraits 
are without dignity or embellishment, they exhibit 
so much nature and animation, such truth and 
force of coloring, that it is allowed he has never 
been surpassed in this particular branch. Many 
of his heads are finished so minutely as to show, 
on a close inspection, every imperfection in the 
original, as moles, wrinkles, and even the hairs of 
the beard ; yet, at a proper distance, the whole has 
such an astonishing relief and efiect that every 
portrait seems ready to start from the canvass. 
Thus a picture of his house-maid, placed at a win- 
dow of his dwellingjis said to have deceived the pass- 
ers-by for several days, who wondered that she 
was alwa3\s looking out of the window. 

Rembrandt had two methods of handling. In 



the early part of his life, until some time after he 
settled at Amsterdam, he finished his pictures al- 
most as highly as Gerard Douw. but with a more 
spirited pencil and a richer tone of color ; such are 
his Esther before Ahasuerus, the Woman taken in 
Adultery, St. Peter in the Boat, St. John preach- 
in the Wilderness, and others. He afterwards 
adopted a greater breadth of light and shadow, 
and a more commanding facility of execution ; in 
his lights, he sometimes laid on his colors so un- 
sparingly that they project far from the canvass, 
and thereby much increase the effect at a distance ; 
it is said that he laid on his color with his stick, 
palette knife, or finger, according as they were ca- 
pable of producing the desired effect. The inven- 
tion of Rembrandt was yerj fertile, his imagina- 
tion lively and active, and he designed and 
wrought with great facility. He always preferred 
a light from above, and had a small aperture made 
in the roof of his studio, by which alone his mod- 
el was lighted. To this uniform method is as- 
cribed the sameness in his coloring, which is al- 
ways similar and somewhat monotonous. His 
paintings are numerous, and are dispersed in vari- 
ous public and private collections of Europe ; and 
when they are offered for sale they command enor- 
mous prices. There are eight of his pictures in 
the English National Gallery ; one of these, the 
Woman taken in Adultery, formerly in the Or- 
leans collection, sold for £5000. In Smith's Cat- 
alogue raisonne is a description of six hundred and 
forty pictures by him, the public and private gal- 
leries and collections in which they were located 
at the time of the publication of the work, togeth- 
er with a copious list of his drawings and etchings, 
and much other interesting information. He left 
many studies, sketches, and drawings, executed in 
a charming style, which are now scarce and valu- 
able. 

Rembrandt holds a distinguished rank among 
the engravers of his country ; he established a 
more important epoch in this art than any other 
master. He was indebted entirely to his own gen- 
ius for the invention of a process which has 
thrown an indescribable charm over his plates. 
They are partly etched, frequently much assisted 
by the dr}^ point, and occasionally, though rarely, 
finished with the graver ; evincing the most extra- 
ordinary facility of hand, and displaying the most 
consummate knowledge of the effects of light and 
shadow. His free and playful point sports in pic- 
turesque disorder, producing the most surprising 
and enchanting effects, as if by accident ; yet an 
examination will show that his motions are al- 
ways regulated by a profound knowledge of the 
principles of light and shadow. His most admira- 
ble productions in both arts are his portraits, 
which are executed with unexampled expression 
and skill. For a full description of his numerous 
prints, the reader is referred to Bartsch's Pein- 
tre Graveur. The following is a list of his most 
esteemed and interesting prints. He died at Am 
sterdam in 1665. as is satisfactorily shown by 
Nieuwenhuys, though others say in 1674 and 1688. 

PORTRAITS OF REMBRANDT, BY HIMSELF, 

Rembrandt with his mouth open. 1630. The Busts of 
Rembrandt and his Wife. 1636. A Bust of Rembrandt; 
highly finished. 1638. His Portrait, with a Crayon in his 
hand. His Portrait, in a Persian habit. 1654. There are 
no less than twenty-seven portraits of Rembrandt by him- 
self. 



REMB. 



773 



REMS. 



SUBJECTS OF THE OLD TESTAMENT. 

Adam and Eve in Paradise. 1638. Abraham sending 
away Hagar. 1637. Abraham and Isaac. 1645. Joseph 
relating his Dream. 1638. Jacob lamenting the Death of 
Joseph. Joseph and Potiphar's Wife. 1634. The Tri- 
umph of Mordecai. Tobit and the Angel. 1641. 

SUBJECTS OP THE NEW TESTAMENT. 

The Annunciation to the Shepherds. 1634. The Adora- 
tion of the Shepherds ; there are three different impres- 
sions of this plate. The Circumcision ; fine. The Presen- 
tation in the Temple. 1630. The Flight into Egypt. 1658. 
Another Flight into Egypt, in the manner of mezzotinto. 
The Flight into Ea^ypt, in the style of ^Isheimer, The 
Holy Family. 1654. The little Tomb. The Tribute Mo- 
ney. Christ driving the Money-changers out of the Tem- 
ple. Christ and the Samaritan Woman. The same sub- 
ject, with the city of Samaria in the distance. 1634. The 
Resurrection of Lazarus. 1642. The great Resurrection 
of Lazarus ; in the first impressions of this print, which 
are scarce, the figure running away affrighted is with his 
head uncovererl ; in the second he wears a cap. Christ 
healing the Sick ; known by the name of the Hundred 
Guilders print. The Great Ecce Homo 1636. The De- 
scent from the Cross. 1633. Christ presented to the Peo- 
ple. 1655. The Crucifixion. 1658. The Entombing of 
Christ. Christ with the Disciples at Emmaus. 1643. The 
Good Samaritan ; in the first impressions of this plate the 
tail of the horse is white. St. Peter and St. John at the 
Gate of the Temple. The Baptism of the Eunuch. 164L 
The Death of the Virgin. 1639. 

DEVOUT SUBJECTS. 

The Stoning of Stephen. 1635. St. Jerome sitting near the 
trunk of a Tree. 1654. The same, kneeling. 1634. The 
same, writing in a book. 1648. The same ; an unfinished 
plate. St. Francis praying. 1657 ; very scarce. 

VARIOU3 SUBJECTS. 

The Hour of Death. Youth surprised by Death. 1639. 
The Marriage of Jason and Creusa. 1648. The Star of the 
Kings. A Lion Hunt. Another Lion Hunt. The Blind 
Bagpiper. The Spanish Gipsy. The Rat-killer. 1632. 
The Goldsmith The Pancake Woman. 1635. The Jewish 
Synagogue. 1648. The Corn-cutter. The Schoolmaster. 
1641. The Mountebank. 1635. The Traveling Peasants. 
The Jew with the high cap. 1639. The Astrologer. The 
Philosopher. The Persian. 1632. The Skater 

BEGGARS. 

• Several small plates of Beggars, men and women ; some 
of which are scarce. A group of Beggars at the door of a 
house. 1648, 

ACADEMICAL SUBJECTS, 

A Student drawing from the model, called the Statue of 
Pygmalion, The Bathers. 1631. The Woman before the 
Stove ; there are four impressions of this plate. A Wo- 
man with her feet in the water. 

LANDSCAPES. 

The Bridge of the Burgomaster Six. 1643. A View of 
Amsterdam. The Sportsman. The three Trees. 1642. A 
Landscape, called the Milk Pails. The Coach Landscape. 
View of a Village near the high road, arched. 1650. Vil- 
lage with a square Tower, arched. 1650. A large Land- 
scape, with a Cottage and Barn. 1641. The companion, a 
Village is seen in the distance. 1641. An arched Land- 
scape, with Cattle. Do., with an Obelisk. Rembrandt's 
Father's Mill. 1641. The Goldweigher's Field. 1651. A 
Landscape, with a Cow drinking. 

PORTRAITS OF MEN. 

An old Man with a large beard. A Man with a Cruci- 
fix and a Chain. 1641. J. Antonides vander Linden, the 
Professor of Physic. Janus Silvius, Minister of Amster- 
dam. A young Man meditating. 1637. Manasseh Ben 
Israel. 1636. Doctor Faustus. Renier Hansloo, Minister 
of Jthe Anabaptists. 1641. Clement de Jonge, Printseller. 
1651. Abraham France. The old Haaring. The young 
Haaring. 1655. John Lutma, Goldsmith. 1656. John As- 
selyn. Painter. Ephraim Bonus, a Jewish Physician. 
Wtenbogardus; oval. 1635. John Cornelius Sylvius. The 
Banker, or Goldweigher. 1639. The little Coppenol, the 
Writing-master. The great Coppenol ; there are impres- 



sions of this plate with the back-ground white, or unfin- 
ished, which are very scarce. The Advocate Tolling. The 
Burgomaster Six, 1647. 

FANCY HEADS OF MEN. 

Three Oriental Heads, inscribed Rembrandt Venetiis. 
1635. An old Man with a large beard. An old Man bald- 
headed. 1630. A young Man, half-length ; in profile. 
Bust of an old Man, with a square beard and a velvet cap. 
1637. The Turkish Slave. The Philosopher, with the 
hour-glass. 

PORTRAITS OF MEN. 

The great Jewish Bride. The little Jewish Bride. 1638. 
Two Portraits of old Women. A young, Woman reading. 
1634. An old Woman with a book. 1634. An old Wo- 
man in an Oriental dress. 1631. Rembrandt's Mother. 
1631. Rembrandt's Wife. An old Woman sleeping. An 
old Woman with Spectacles. 

REMSDYKE, a Dutch painter and engraver, 
of whom little is known. He visited England, 
and was much employed by Dr. William Hunter, 
in drawing and engraving subjects of natural his- 
tory and anatomy. In conjunction with his son, 
he published a volume of plates in 1778, etched 
from various works in the British Museum. 

REMSHARD, Charles, a German engraver, 
born at Augsburg, according to Zani, in 1678, and 
died in 1755. He executed a few plates, and cop- 
ied some prints of other masters, generally marked 
with his initials, 0. R. 

RENANTO, J., an engraver of little note, men- 
tioned by Strutt as the artist of a wooden cut of 
the Wise Men's Oflfering, indifferently executed. 

RENARD, J., a French engraver, who flourished 
at Paris about 1710. He executed a part of. the 
plates for the collection of views of the palace and 
gardens at Versailles. 

RENARD, Simon de St. Andre, a French 
painter and engraver, born at Paris in 1614. He 
studied under Louis Bobrun, and painted portraits 
with considerable success. He is said also to have 
engraved quite a number of plates, the principal 
of which are a set of forty- six after the works 
of Charles le Brun in the gallery of Apollo in the 
Louvre. He died at Paris in 1677. Dumesnil 
doubts whether he engraved the plates after le 
Brun, as they were not published till 1695,eighteen 
years after his death ; he supposes that they were 
executed by an engraver of the same name, proba- 
bly his son. 

RENARD, Jean Augdstin, a French architect, 
born at Paris in 1744. He first studied painting 
under Halle, but subsequently devoted himself to 
architecture, and acquired a knowledge of that art 
under the professor le Roi. In 1773 he gained the 
grand prize, and visited Rome with the royal pen- 
sion. While busily occupied in designing the an- 
tique monuments of that city, he frequently en- 
countered the Abbe de St. Non, who engaged him 
as a coadjutor in his famous Voyage pittoresque 
d? Itatie, for which Renard made a number of ex- 
cellent designs. On returning to Paris in 1784, 
he was appointed Inspector of the Royal Build- 
ings, and the following year Inspector of the Quar- 
ries. In 1792 he was chosen a Royal Academi- 
cian. Under the rule of Napoleon he held several 
appointments from government. Among his prin- 
cipal works were the grand stables erected by or- 
der of Louis XVI. at Sevres and St. Germain en 
Laie. His chief talent was in decoration, evinced 
in the Hotel d'Orsay, the Hotel de Benevent, at 



RENE. 



774 



RENT. 



^-(k 



Paris, and the chateau de Valen9ay. Renard died 
in 1807. 

RENESSE, C. A., a Dutch designer and engrav- 
er, of whom nothing is known, except by a few 
etchings which bear so strong a resemblance to 
those of Rembrandt, that they might easily be 
mistaken for the works of that master, were it not 
for the signature. Bartsch has admitted one into 
his Catalogue (tom. ii. p. 104., No. 18.) Na- 
gler describes six etchings by him; Brulliot says 
there are eleven known; and that only one bears 
his monogram, composed of the initials C. A. 
R.. which he supposes to be the artist's portrait, 
as it represents a man seated at a table hold- 
ing a burin in his hand; they are dated from 
1649 to 1661 ; most of the prints are marked with 
his monogram, accompanied by enesse. The Dutch 
writers mention a J. Renesse, and an A. C. Re- 
nesse, who painted landscapes and sea-pieces. The 
following are the prints described by Nagler : 

A half-length figure of a Man seated at table, with the 
monogram. A Clergyman seated at a table, with books, 
&c., signed Renesse. A half-length figure of a young 
Man. Full-face Portrait of a young Man, with long hair 
escaping from under his cap; signed C. A. Renesse. 1651. 
Christ bearing his Cross. A Village Fair, with Mounte- 
banks and a crowd of People. 

RENT, GuiDo. This great 
painter was born at Bologna 
in 1575. He was the son of 
Samuel Reni, an eminent musician, who intended 
his son for the same profession, but manifesting 
an early and decided passion for art, he placed 
him in the school of Denis Calvart, where he made 
such rapid progress that his instructor, after slight- 
ly retouching his pictures, sold them for his own. 
Upon attaining his twentieth year, the great rep- 
utation of the Caracci induced him to enter their 
academy, and he was for some time the favorite dis- 
ciple of Lodovico. He had already given proof 
of uncommon ability in several works for the 
Palazzo Bonfigliuoli, when some of the works of 
Michael Angelo Caravaggio were brought to Bo- 
logna. The novelty of the style, and the violent 
contrast of his light and shadow, astonished and 
pleased the generality of people, both at Rome and 
Bologna, and Guido was induced to adopt for a 
time, his singular principles. The applause be- 
stowed upon the false style of Caravaggio, was 
extremely mortifying to the Caracci. Lodovico, 
familiar with the graces of Correggio, was dis- 
gusted with the praises bestowed on productions 
divested of dignity and grandeur, whose chief at- 
tractions were confined to a striking, but un- 
natural contrast of light and shade. In a confer- 
ence held by the Caracci on this subject, at which 
Guido was present, Annibale proposed, as a means 
of bringing the new style into disrepute, to adopt 
one of an opposite character. "To the crude- 
ness and violence of his tones," said he, '' I would 
oppose tenderness and suavity. Instead of dark- 
ness and obscurity, I would represent my figures 
in the open day. Far from avoiding the diffi- 
culties of the art under the disguise of powerful 
shadows, I would court them by displaying every 
part in the clearest light. For the vulgar nature 
which Caravaggio is content to imitate, I would 
substitute the most select forms." The principles 
inculcated by Annibale, made a profound impres- 
sion on the mind of Guido, and induced him to 
adopt a course which eventually conducted him to 



immortal distinction. He soon proceeded to put 
these principles into practice, but he had no sooner 
exhibited some specimens, than he encountered the 
violent animosity of his fellow students ; they up- 
braided him with his insolence in aspiring to sin- 
gularity, and adopting a new system, and even Lodo- 
vico, who had heretofore treated him with marked 
kindness, spoke of his new productions with harsh- 
ness and severity, and at length dismissed him 
from his academy. From a pupil, he thus made 
Guido a rival, and in order to humble him, bestowed 
his. favor on Guercino, an artist of quite another 
taste. By some critics Guido is esteemed the 
great genius of the Bolognese school, and the Ca- 
racci found sufficient reason for their jealousy, in 
his uncommon talents, his elevated and ambitious 
mind that aspired to something great and original 
from the outset of his career. When Guido paint- 
ed his picture of St. Benedetto in the Desert, for 
the cloister of S. Michele in Bosco, where were 
several of the finest works of Lodovico, the public, 
astonished at the dignity and beauty of his pic- 
ture, declared that the master had found a rival in 
his scholar. To the praise of that eminent artist, 
it is said that, notwithstanding his previous severe 
conduct, he expressed his approval of Guido's 
performance. 

Guido had not yet visited Romfe, though his 
works were well known and highly esteemed in 
that capital. He was invited thither by Giusep- 
pino Cesari, with the intention of producing a rival- 
ship between him and Caravaggio. Besides his 
desire of seeing and studying the works of Raf- 
faelle and other great masters, he wished to visit 
Annibale Caracci, then engaged in decorating the 
Farnesian gallery, whose unkindness he had for- 
gotten, and whose great talents he always high- 
ly respected. Albano, his friend and fellow pupil, 
accompanied him. His first production at Rome 
was the Martyrdom of St. Cecilia, for the church of 
that saint. Such was the infatuation that prevailed 
at Rome in favor of the works of (Caravaggio, that 
when the Cardinal Borghese gave him the commis- 
sion to paint his celebrated picture of the Crucifix- 
ion of St. Peter, he expressly stipulated that it should 
be painted in the manner of that master. With- 
out departing from his engagement, Guido ex- 
hibited in the composition and design a correctness, 
dignity and grandeur, far superior to Caravaggio. 
He now rose rapidly in public estimation, and re- 
ceived such flattering encouragement as produced 
many enemies, the most furious of whom was Car- 
avaggio, but the most dangerous was Annibah 
Caracci, who blamed Albano for bringing him to 
Rome, depreciated his talents, and put Domeni- 
chino in competition with him. Even Albano be- 
came his bitter enemy, when he found that Guido 
was esteemed his superior. But he triumphed 
over all his adversaries, and was chosen by Paul 
V. to decorate the private chapel of the palace of 
Monte Cavallo with histories of the Virgin, which 
materially added to his reputation. But being 
disgusted with the Cardinal Spinola, the Pope's 
treasurer, on account of the price he was to receive 
for his works, he returned to Bologna, where he 
executed his famous picture of the Murder of the 
Innocents for the church of S. Domenico, and the 
Repentance of St. Peter, for the Casa Sampieri, 
one of his most esteemed works. These distin- 
guished performances increased his reputation. The 
Pope invited him back to Rome, received him in 



RENI. 



775 



RENI. 



the most gracious manner, loaded him with fa- 
vors, and commissioned him to decorate the chapel 
of S. Maria Maggiore. His most celebrated works 
in the palaces at Rome are, his fresco of the 
Aurora, in the Palazzo Rospigliosi, which has been 
admirably engraved by Raphael Morghen ; his 
Fortune, in the Campidoglio ; the Rape of Helen, 
in the Spada palace, and his Magdalen, in the Bar- 
berini collection. He was next invited to Naples 
to decorate the chapel of S. Gennaro. He had 
scarcely commenced operations when he was as- 
sailed by that desperate band, of which Bellisario 
and Spa'gnoletto were the head. Being warned 
that he must instantly quit Naples or prepare for 
death, he lost no time in returning to Bologna, 
where he resided during the remainder of his life, 
receiving so many commissions from all parts of 
Italy, that he was under the necessity of refusing 
many of them. 

The following learned and admirable critique is 
extracted from Lanzi, somewhat condensed, but 
the sense strictly preserved. "'The words of 
Annibale Caracci made a deep impression on the 
mind of Guido, nor was it long before he applied 
himself to the style thus indicated. Sweetness 
was his object; he sought it equally in design, in 
the touch of his pencil, and in his coloring ; from 
that time he began to use white lead, a color 
avoided by Lodovico, and at the same time pre- 
dicted the durability of his tints, such as they 
have proved. His fellow pupils were indignant at 
his presuming to depart from the method of the Ca- 
racci. and returning to the feeble, undecided manner 
of the past century. He did not pretend to be in- 
different to their remarks or advice ; he still pre- 
served that strength of style so much aimed at 
by his school, while he softened it with more than 
its usual delicacy ; and by degrees proceeding in 
the satne direction, he attained in a few years, to 
that degree of delicacy he had proposed. For this 
reason. I have observed at Bologna, more than 
elsewhere, his first manner distinguished from 
his second, and it is made a question which of the 
two is preferable ; nor do all agree with Malvasia, 
who pronounced the former the most pleasing, and 
the latter the most studied. 

In these variations, however, he never lost 
sight of that exquisite ease which so much at- 
tracts us in his works. He was more particularly 
attentive to the correct form of beauty, especially 
in his youthful heads. Here, in the opinion of 
Mengs. he surpasses all others, and, according to 
Passeri's expression, 'he drew faces of Paradise.' 
Rome more richly abounds in them than Bologna 
itself The Fortune in the Capitol, the Aurora in 
the Rospigliosi, the Helen in the Spada. the Her- 
odias in the Corsini, the Magdalen in the Barbe- 
rini, with other subjects in the possession of sev- 
eral princes, are regarded as the wonders of Guido's 
art. This power of beauty was, in the words of 
Albano. his most bitter and constant rival, 'the 
gift of nature,' though the whole was the result of 
his own intense study of natural beauty, of Raf- 
faelle, and the ancient medals, cameos, and statues. 
He declared that the Medicean Venus, and the 
Niobe, were his most favorite models ; and it is 
seldom we do not recognize in his paintings either 
Niobe herself, or one of her children, though di- 
versified in a variety of manners, with such ex- 
quisite grace, as in no way to appear borrowed. 
In the same way did Guido derive advantage from 



Raffaelle, Correggio, Parmiggiano, and from his 
beloved Paul Veronese, from all whom he selected 
innumerable beauties, but with such happy free- 
dom of hand, as to excite the envy of the Caracci. 
And in truth, this artist aimed less at copying 
beautiful countenances, than at forming for him- 
self a certain general and abstract idea of beauty, 
as we know was done by the Greeks, and this he 
modulated and animated in his own style. When 
interrogated by one of his pupils, in what part of 
heaven, in what mould, he found these wondrous 
features, which he onl}'' drew, he pointed to the 
casts of the antiques, just alluded to. adding, 'you 
too may gather from such examples, beauties sim- 
ilar to those in my pictures, if your skill be equal 
to the task.' He took, moreover, for the model 
of one of his Magdalens, the vulgar head of a color 
grinder, but under his hand, every defect disap- 
peared, each part became graceful, and the whole 
a miracle of art. Thus too, in his naked figures, 
he reduced them, whatever they were, to perfect 
form, more especially in the hands and feet, in 
which he is singular ; and the same in his dra- 
peries, which he often drew from the prints of Al- 
bert Durer, enriching them, freed from their dry- 
ness, with those flowing folds, or that grandeur of 
disposition best adapted to the subject. To por- 
traits themselves, while he preserved the forms and 
age of the originals, he gave a certain air of 
novelty and grace, such as we see in that of Sixtus 
v., in the Galli palace at Osimo, or that wonderful 
one of Cardinal Spada, in the possession of some 
of his descendants at Rome. There is no one action, 
position, or expression, at all injurious to his fig- 
ures ; the passion, grief, terror, sorrow, are all 
combined with the expression of beauty ; he turns 
them every way as he lists ; he changes them into 
every attitude, always equally pleasing, and every 
one equally entitled to the eulogy given him of 
displaying in every action and every step, the beau- 
ty which secretly animates it. 

What most surprises us is the variety which he 
infuses into this beauty, resulting no less from the 
richness of his imagination, than from his studies. 
Still continuing to design in the academy up to 
the close of his career, he practised his invention 
how best to vary his idea of the beautiful, so as to 
free it from all monotony and satiety. He was 
fond of depicting his countenances with upraised 
looks, and used to say that he had an hundred 
different modes of thus -representing them. He 
displayed equal varieties in his draperies, though 
invariably preferring to draw the folds ample, easy, 
and natural, and with a clear meaning as to the 
origin, progres.s, and disposition, nor did he throw 
less diversity into the ornaments of his youthful 
heads, disposing the tresses, whether loose, bound, 
or left in artful confusion, always differently, and 
sometimes casting over them a veil, fillet, or turban, 
so as to produce some fresh display of grace; nor 
were his heads of old men inferior in this respect, 
displaying the inequality of the skin, the flow of the 
beard, with the hair turned up as we see on every 
side, and animating the features with a few bold, 
decided touches, and few lights, so as to give 
great effect at a distance, altogether with a surpri- 
sing degree of nature, specimens of which are to 
be seen in the Pitti Palace, the Barberini and Alba- 
no galleries ; and yet these are among the least 
rare of this artist's productions. He bestowed sim- 
ilar attention to varying his flesh colors." 



RENI. 



776 



RENO. 



These commendations will only apply to the 
best works of Guido. His exalted faculties were 
degraded by a fatal passion for gaming, which, 
though his gains were great, kept him in continual 
indigence. Towards the close of his life, to grati- 
fy his passion, and to supply his necessities, he sent 
into the world numerous works, executed with 
such negligence and haste, as to be totally unwor- 
thy of his reputation, and he even slightly re- 
touched the pictures of his pupils and sold them 
as his own. This gave his enemies an opportunity 
to depreciate his merits, which they did not fail to 
employ, accusing him of being deficient in inven- 
tion, incorrect in design and perspective, dispro- 
portionate in his figures, and mannered in his style, 
the latter accusation being strenuously insisted 
upon by the implacable Albano. Occasionally 
such were his necessities, that he sent his pictures 
to sale before their completion. Yet, says Lanzi, 
these pictures are not excluded from royal cabinets ; 
that of Turin possesses one of Marsyas, a finely 
finished figure, before which is seen standing little 
more than the sketch of an Apollo. Therefore 
to form a fair estimate of his powers, we are to 
judge by his best works, such as the Crucifixion 
of St. Peter at Rome, the Miracle of the Manna 
at Ravenna, the Conception at Forli, the Murder 
of the Innocents, and St. Peter and St. Paul, at 
Bologna, the Purification at Modena, and the As- 
sumption at Genoa, placed directly opposite the 
St. Ignatius of Rubens, by which contrast it does 
not suffer in the least, together with many other 
grand works at Rome, Bologna, and other places. 

Some writers attribute to Guido two manners, 
and others three, at different periods ; the first 
comprises those pictures which resemble the man- 
ner of the Caracci, and particularly that of Cara- 
vaggio, marked by deep shades, narrow and power- 
ful lights and strong coloring ; in short, an effort 
after great effect, distinguished his works at this 
period. The second manner is completely oppo- 
site to the first, and has already been fully de- 
scribed ; the third commences soon after his re- 
turn from Naples to Bologna, when he began to 
work more for profit than for fame. It is distin- 
guished by a general carelessness in design and 
execution, with a greenish gray coloring, altogether 
mannered. 

Guido is generally regarded as the most dis- 
tinguished disciple of the school of the Caracci, 
with the exception of Domenichino, and some even 
give him the preference. The Italians say of him 
that "grace and beauty dwelt upon his pencil to ani- 
mate his figures." The distinguishing character- 
istics of his style are elegance and grace, a singular 
facility of execution, a free but delicate pencil, an ex- 
quisite touch, and great suavity and harmony of 
coloring. He particularly excelled in tender, pa- 
thetic, and devout subjects, in which he could man- 
ifest the sweetness and delicacy of his thoughts. 
In one of his letters to a friend, he expressed a 
wish " that he had had the wings of an angel, to 
have ascended into paradise, and there to have be- 
held the forms of the beatified spirits, that he might 
have copied them into his pictures." He poss- 
essed an extraordinary faculty of being able to ex- 
press grief, sadness or terror, without detriment 
to the beauty of his heads^ His Madonnas and 
Magdalens are distinguished by a noble simplicity 
peculiar to himself. The heads of his figures are 
accounted not inferior to those of Raffaelle for cor- 



rectness of design or engaging propriety of expres- 
sion. De Piles says that " the great merit of Guido 
consisted in that moving and persuasive beauty 
which did not proceed so much from regularity of 
features, as from a lovely air he gave to the mouth, 
with a peculiar modesty, which he had the art to 
place in the eye." Guido instructed many pupils; 
he taught at Rome, and at Bologna, he opened a 
school, which, according to Crespi, was frequented 
by more than two hundred pupils. Even his ri- 
vals took advantage of it, as Domenichino. Albano, 
and Lanfranco, along with their best disciples, 
and Lanzi says it is an indisputable fact, that they 
derived from him that degree of delicacy in which 
they sometimes surpass the Caracci. 

The works of Guido are numerous, and are to be 
found in all the principal collections in Italy, and 
throughout Europe ; there are several in the Eng- 
lish National gallery, but some of them are of 
doubtful authenticity, or if genuine, are among his 
poorest works. He was fond of amusing himself 
with the point, and we have a considerable num- 
ber of his charming etchings, executed with great 
freedom and boldness, in the style of a perfect 
master. They exhibit the same beautiful expres- 
sion in the heads and correctness in the extremi- 
ties, which are so much admired in his pictures. 
Simone Cantarini, called II Pesarese, imitated the 
etchings of Guido with such precision, as to mis- 
lead the inexperienced. Bartsch describes sixty- 
eight prints by him, marked with his monogram, 
or simply with his initials, G. R. He also modeled 
in clay, and is said to have executed several statues. 
Among those pupils who adhered most closely to 
his style, were Francesco Gessi, Giacomo Semenza. 
Guido Cagnacci, Simone Cantarini, Pietro Ricchi, 
Andrea Sirani, and Gio. Battista Bolognini. He 
died at Bologna in 1642. 

RENOTJ, Ant CINE, a French painter, born at 
Paris in 1731. He studied successively under 
Pierre and Vien, and gained the second prize in 
painting. About 1760, he was invited to the court 
of Stanislaus, king of Poland, where he was ap- 
pointed painter to the court, and also exercised his 
talents in the histrionic and poetic arts. At the 
death of his patron, he returned to Paris about 
1766, where he gained considerable distinction for 
his picture of Christ disputing with the Doctors, 
exhibited in that year. In 1781, he was admitted 
into the Academy, upon the execution of his picture 
of Aurora, in the Apollo gallery of the Louvre. 
Among his other productions at Paris, were sever- 
al well-arranged compositions, representing Agrip- 
pina with the ashes of Germanicus ; the Annun- 
ciation, in the church of S. Germain en Laie ; and 
a vault in the Hotel des Monnaies, or Mint. Re- 
nou wrote a tragedy entitled Tereus and Philomela, 
and translated Tasso's Gerusalemme Liberata, into 
French. Be died in 1806. 

RENOU, Louisa, a French lady, was born at 
Paris in 1754. She engraved several plates after 
the modern artists of her own country, among 
which is one of Alexander and his Physician, after 
Colin de Vermont. 

RENTER, Bart. Mr. Strutt attributes to this 
artist a correct and spirited etching of Christ shown 
to the Jews by Pontius Pilate, inscribed Bartt. 
Renter pictor jigur. Mo7iachu, 1612. There is 
a print of the same date, and nearly the same in- 
scription, described among the works of Bartho- 



RENZ 



777 



REUV. 



lomew Reiter, and it is highly probable that they 
are both one artist. 

RENZI, Cesare, a reputable Italian painter, 
was a native of S. Ginesio, in the Picenum, and 
flourished about the middle of the 17th century. 
Lanzi says he studied under Guido, and became a 
respectable pupil of that master. Among other 
works, he executed a picture of St. Tommaso. at 
the church of that saint in his native town. 

RESANI, Arcangelo, a painter born at Rome 
in 1670. He studied under Gio. Battista Bon- 
cuore. and chiefly excelled in painting animals and 
huntings, decorated with large and small figures, 
in which, according to Lanzi, he had equal taste. 
His works were highly esteemed at Siena. Bolog- 
na, and Venice. His portrait is in the Medicean 
gallery at Florence, accompanied with a represen- 
tation of still-life, in which he excelled. Resani 
died about 1740. 

RESCHl, Pandolfo. This painter was born 
at Dantzic, in Germany, in 1643. He went to 
Italy while young, entered the school of Jacopo 
Borgognone, and attained great distinction by his 
battle-pieces in the style of that master. He also 
painted landscapes in the style of Salvator Rosa, 
and excelled in architectural subjects. Lanzi men- 
tions a picture by him of surprising merit, with a 
view of the Pitti palace, decorated with figures in 
a spirited style ; and there are several of his works 
in the Florentine collections. 

RESTOTJT, Jean, a French painter, born at 
Rouen in 1692. He studied at Paris under his 
uncle Jouvenet, whose style he followed with con- 
siderable success, and approached nearer to the mer- 
it of that master than any of the other artists of 
the time. He wrought with great facility, but with 
little true excellence ; and his works are condemn- 
ed even by French authority, as marking a most 
deplorable decadence of art in the French school. 
In 1720. he was chosen a member of the Academy, 
for his picture of Arethusa flying into the arms of 
Diana to escape from Alpheus. He passed through 
all the degrees of distinction in the Academy of 
Painting, until he was honored with the oflice of 
Chancellor. Among his principal works at Paris 
are. the Death of Ananias, and the Pool of Bethesda, 
in the church of S. Martin des Champs ; and the 
ceiling of the Library of St. Genevieve. Restout 
died at Paris in 1768. 

RETZSCH. Friedrich August Moritz, a Ger- 
man painter of the present century, was born at 
Dresden in 1779. Naturally of a roving and 
imaginative disposition, he spent his earlier years 
in the amusement of hunting and the contempla- 
tion of nature. About the age of twenty, how- 
ever, he entered the Dresden academy, and ac- 
quired a knowledge of the art. He gained consid- 
erable distinction by his pictures illustrating the 
works of Goethe, Schiller, and Shakspeare, whose 
wild and luxuriant fancies were well adapted to 
his peculiar inclination. It is uncertain whether 
he is still living. His principal works have been 
engraved ; among them are the following : 

Sketches illustrative of Goethe's Faust. Illustrations 
of Schiller's Fight with the Dragon ; Fridolin. or Walk to 
the Forge, Song of the Bell, Pegasus in the Yoke. Ditto 
to Burger's Ballads, Outlines illustrative of Shakspeare's 
Macbeth, Hamlet, Romeo and Juliet. Lear, Tempest, 
Othello, Merry Wives. Various Fancies and Truths. 
Faust and Margaret. The Goblet, the Chess-players, &c. 



REVELEY. William, an English architect, 
who flourished in the latter part of the 18th cen- 
tury, and studied under Sir William Chambers. 
He accompanied Mr. Stuart to Greece, and com- 
pleted the great work commenced by that emin- 
ent artist upon the Athenian Antiquities, which he 
published in folio. Among the principal struc- 
tures of Revel ey, are the church of All Saints at 
Southampton. He died in 1799. 

REUYEN, Peter, a Dutch painter, born at 
Leyden in 1650. He studied at Antwerp, under 
Jacob Jordaens, but afterwards returned to Hol- 
land, and was much employed in decorating the 
halls of public and private edifices with historical 
and allegorical subjects. His pictures were distin- 
guished for fertility of invention, freedom of pen- 
cilling, facility of execution, and a brilliancy of 
coloring equal to the best productions of the 
Flemish school. Among the principal, were the 
triumphal arches of the reception of William III., 
at the Hague ; several pictures in the finest apart- 
ments of the palace at Loo ; and an admirable 
composition in a ceiling of the mansion of M. de la 
Court Vandervoort. Reuven died in 1718. 

REYELLO, Gig. Battista. called II Mustac- 
CHi, a reputable Genoese painter, was born in 1672. 
He studied under Antonio Hafi'ner, and formed a 
close friendship with Francesco Costa. According 
to Ratti, they wrought in concert for nearly twen- 
ty years, and executed the landscape, architecture, 
ornaments, and other accessories in the backgrounds 
of the works of various historical painters. Lanzi 
says they are both equally commended for their 
knowledge of perspective, their grace, brilliancy, 
and harmony of tints ; but Revello surpassed his 
companion in the embellishment of flowers. Their 
master-piece is said to be at Pegli, in the Palazzo 
Grillo, the decorations of a saloon and several 
chambers. Besides their works in concert, they 
also conducted many separately, " being considered 
the Colonna and Mitelli of their country." .Revel- 
lo died in 1732. 

REYERDINO, Cesare, an Italian engraver, 
concerning whom there is considerable doubt. Za- 
ni says he wrought from 1531 to 1554 ; Bartsch 
mentions a print by him dated 1531, and Bryan 
another dated 1602. Bartsch describes thirty- 
nine of his prints, and Nagler eleven more, execu- 
ted in a very neat style, closely resembling that 
of ^neas Vico, with figures poorly drawn.^ Le 
Comte says he engraved several obscene subjects, 
which have probably been destroyed. The fol- 
lowing are among his principal plates : 

Moses striking the Rock. The Wise Men's Offering. A 
small Frieze, representing a Bacchanalian subject ; mark 
ed with his name. 1564. Venus coming to Vulcan for the 
Arms of ^neas ; marked also with his name, and dated 
1602. 

REYETT, Nicholas, a distinguished English 
architect and designer, was born in the county 
of Sufiblk, in 1721. In company with Stuart, he 
visited Rome in 1750, and studied design under 
Cav. Benefiali. The two artists subsequently con- 
tinued their travels to Athens, Smyrna, Salonica, 
and the isles of the Archipelago, On returning to 
England, they commenced their valuable work upon 



REVO. 



778 



REYN. 



the Athenian Antiquities, of which the last volume 
appeared in 1794. The whole contains 281 plates. 
In 1766, Revett started on a second expedition to 
Asia Minor, at the expense of the Dilettanti So- 
ciety, in company with Dr. Chandler of Oxford, 
and Mr. Pars the designer and painter. After an 
absence of three years, the party returned to Eng- 
land with ample materials; and the publication 
of the Ionian Antiquities in two volumes, gave the 
public tangible evidence of their industry and skill. 
Besides his admirable drawings for the above men- 
tioned works, Revett designed many edifices in 
England, among which is a church in the Grecian 
style at Ayot St. Lawrence, in the county of Hertz. 
He died at London, in 1804, aged 83. 

REVOIL. Pierre Henri, a distinguished French 
painter of the present century, was born at Lyons 
in 1776. He early manifested a strong inclina- 
tion for art, and was placed in the school of Da- 
vid, who was greatly pleased with his natural tal- 
ents. The first work by Revoil that attracted 
public attention, was his grand allegorical compo- 
sition, of the city of Lyons raised from its ruins 
by Gen. Bonaparte. 'He was afterwards commis- 
sioned to paint several sacred subjects in the church 
of S. Nizier at Lyons, and in 1809 was chosen pro- 
fessor of the School of Design in that city. In 
1814, he exhibited two excellent pictures at the 
Louvre ; in 1817 his simple and graceful picture 
of the Convalescence of Chev. Bayard, afterwards 
placed in the Luxembourg. His picture of Henry 
IV. playing with his children, drew a prize of 
3000 francs, and was purchased by the Duke de 
Berri. In 1822, Revoil was chosen painter to the 
Dauphin and the Duchess de Berri ; but the au- 
thorities of Lyons demanded the fulfilment of his 
duties as professor at the School of Design in that 
city, and he therefore returned thither. At the 
Revolution of 1830, he retired from Lyons for 
about three years, and executed his admired pic- 
tures of Charles V. at the Abbey of St. Juste, and 
Palamede de Forbin giving Provence to Louis XI. 
These were sent to Paris, and met with such ad- 
miration, that Revoil returned thither, and settled 
with an aged uncle, who had aided him in his 
youth. His success was proportioned to his ex- 
pectations, and the court purchased some of his 
pictures for the palace at Versailles. Besides those 
already mentioned, he executed among others, a 
picture of Joan of Arc imprisoned at Rouen, pur- 
chased by the Count d'Artois ; and Philip Augus- 
tus taking the Oriflamme at St. Denis, before his 
departure for the Holy Land. He died in 1842. 
His subjects were principally taken from the his- 
tory of the Middle Ages, particularly of the days 
of chivalry. Revoil was a member of the Legion 
of Honor, and Correspondent of the Academy of 
Fine Arts. 

REY, Antonio del, an excellent Spanish ar- 
chitect, who flourished about 1600, and studied 
under Giovanni de Herrera. He was employed 
to erect the college of Corpus Christi at Valencia, 
which is well proportioned, with a fine cupola. It 
has a court, ornamented with eighty-six columns, 
and a magnificent staircase. 

REYN, John DE, a distinguished Flemish paint- 
er, was born at Dunkirk in 1610. He visited 
Antwerp while young, and entered the school of 
Vandyck, where he made such rapid progress that 
the latter invited him to accompany him to Eng- 



land. He continued to assist Vandyck in his nu- 
merous works, until the death of that illustrious 
painter, in 1641, when he returned to Flanders, 
settled at Dunkirk, and received many commis- 
sions for portraits and historical works. His pic- 
tures are entirely in the style of Vandyck, exhibiting 
the same correctness of design, purity and delicacy 
of coloring, freedom and spirit of pencilling ; dis- 
tinguished for ingenious composition, masterly and 
effective lights and shadows. Doubtless many of 
the works and much of the reputation of Reyn are 
assigned to his great exemplar. Besides numer- 
ous admirable portraits in private collections, little 
inferior to those of Vandyck, there are by him in 
the church of S. Eloi at Dunkirk, the Death of 
the Four Royal Martyrs ; in the church of the 
English convent, the Baptism of Totila ; and the 
principal altar-piece in the parochial church of S. 
Martin, at Bergues St. Vinox, near Dunkirk, re- 
presenting Herodias bringing the Head of St. John 
to Herod. Reyn died in 1678. 

REYNA, Francisco de, a Spanish painter, 
was born at Seville about 1635. He studied in 
the school of Francisco de Herrera the elder, where 
he made rapid progress, and exhibited a high de- 
gree of talent in a picture of the Blessed Spirits, 
for the church of All Saints ; but he died in the 
flower of his age, in 1659, greatly regretted by the 
friends of art. 

REYNOLDS, Sir Joshita, an eminent English 
painter, was born at Plympton, in Devonshire, in 
1723. He was the son of the Rev. Samuel Rey- 
nolds, the teacher of the grammar school in that 
town, and was intended for ths medical profession ; 
but, as he manifested a strong inclination for art, 
and executed several excellent likenesses, his father 
was induced to send him to London for superior 
instruction than he could obtain in the country. 
Accordingly, at the age of seventeen, Reynolds 
commenced studying under Hudson, and made 
such rapid improvement in the course of two 
years, that his instructor gradually became jealous 
of his excellence, and finally rendered his situa- 
tion so unpleasant that he returned to Devonshire 
in 1743. During a residence of three years in his 
native county, he practised portrait painting with 
reputation, and then settled at Plymouth Dock, 
where he was greatly encouraged, particularly by 
Lord Mount Edgecumbe, who also recommended 
him to the favorable notice of Captain, afterwards 
Lord Keppel. The latter, appointed to the Medi- 
terranean station, invited Reynolds to accompany 
him thither ; and the young artist gladly embraced 
this opportunity, which promised a sojourn in Ita- 
ly. On arriving at Rome, he devoted himself with 
great assiduity to the study of the best works of 
art, particularly those of RafFaelle and Michael 
Angelo ; and he seems, from his own account, to 
have principally occupied his time in contemplat- 
ing their peculiar excellencies, rather than in copy- 
ing their productions. On leaving Rome, he visit- 
ed various other Italian cities, passing two months 
at Florence, where he painted several portraits ; 
and after a short stay in Venice, he returned to 
England in 1752. having been absent three years. 
He settled at London, where his talents before long 
attracted considerable attention, and his admired 
full-length portrait of his friend and patron, Ad- 
miral Keppel, elevated his reputation above that of 
any cotemporary English artist. He consequent- 



REYN. 



779 



REYN. 



ly soon gained a large share of the public patron- 
age and esteem, and was for many years considered 
the head of the English school of painting. De- 
ficient in fertility of invention and correctness of 
drawing, he produced few large historical works ; 
but in portraits he deserves very high commendation 
for his admirable coloring, which, though inferior 
to the excellence of the Venetian and Flemish 
masters, with whom he is sometimes compared, is 
highly distinguished for vigor, purity, truth, and 
harmony. His chiaro-scuro is justly praised ; the 
expression of his portraits is dignified and charac- 
teristic ; and their interesting air of history, m the 
landscape, accessories, and general execution, adds 
greatly to their value. His portraits of children 
are greatly esteemed for their attractive air of in- 
nocence. The attainments of Reynolds were the 
result of indefatigable industry; if his pencil was 
deficient in spirit, on account of successive efibrts 
to improve the drawing, he yet added to the vigor 
and harmony of his coloring by every successive 
repetition. 

At the formation of the Royal Academy in 1768, 
Reynolds being justly esteemed at the head of his 
profession, was appointed to the office of Presi- 
dent, and shortly afterwards received from the 
king the honor of knighthood. On the annual 
occasions, during the twenty-one years of his pres- 
idency, of distributing prizes to the successful 
competitors, he was accustomed to deliver a lecture 
relating to art; and. according to his biographer, 
the entire collection of his discourses contains 
" such a body of just criticism on an extremely 
difiBcult subject, clothed in such perspicuous, ele- 
gant, and nervous language, that it is no exagge- 
rated panegyric to assert that it will last as long 
as the English tongue, and contribute, not less 
than the productions of his pencil, to render his 
name immortal." Reynolds also contributed to 
the advancement and firm establishment of the 
Academy, by practical as well as theoretical la- 
bors ; and he sent two hundred and forty-four pic- 
tures to the various exhibitions. In 1780, he com- 
pleted his design for the great window in the New 
College Chapel at Oxford, containing in the seven 
divisions of the lower part, emblematical figures, 
with appropriate attributes, of Temperance, For- 
titude. Justice, Prudence, Faith, Hope, and Chari- 
ty ; in the upper part he represented the Nativity, 
with the light emanating from the body of the In- 
fant. In 1781, Reynolds visited Holland and the 
Netherlands, to examine the productions of the 
best Dutch and Flemish masters, by which he is 
said to have improved his coloring. In 1782, 
Mason's translation of Du Fresnoy's Art of 
Painting was published, with notes by Rey- 
nolds. In 1784, at the death of Ramsay, he was 
appointed principal painter to the king ; and in 
that year he exhibited his picture of the Fortune- 
teller, and his celebrated portrait of Mrs. Siddons, 
as the ]\Iuse of Tragedy, now in the Grosvenor 
Gallery. About 1786, the Empress Catharine of 
Russia commissioned him to execute a subject of 
his own selection, and he chose the Infant Her- 
cules, a picture highly praised for its excellent col- 
oring and chiaro-scuro, for which the Empress sent 
him fifteen hundred guineas, and a gold box, with 
her picture set in diamonds. Several pictures for 
Boydeli's magnificent Shakspeare Gallery were 
painted by Reynolds — the Death of Cardinal Beau- 
fort, Macbeth with the Witches, in the Cauldron 



scene, and Puck, or Robin Goodfellow, from 
Midsummer Night's Dream. About 1789, he was 
obliged to relinquish practising the art, on account 
of weakened eyesight. In 1791. his health began 
to fail ; his disease was ascertained to be an affec- 
tion of the liver, and he died in the following year. 
His remains were deposited in the crypt of St. 
Paul's, near the tomb of Sir Christopher Wren. 
There are several pictures by Reynolds in the Na- 
tional Gallery, among which are the portrait of 
Gen. Elliot, and the Age of Innocence, formerly 
purchased by Mr. Vernon for 1520 guineas. In 
the collection of Sir Robert Peel there were, among 
others, the portraits of Dr. Johnson, Edmund 
Burke, and Admiral Keppel. Besides these, there 
are by him, in various collections, the portraits of 
Lady Charlotte Spencer, Charles J. Fox, the Earl 
and Countess of Bute, Dr. Beattie, Horace Wal- 
pole. Lady Montague, Sir Joseph Banks, Queen 
Charlotte. George III., and many other distin- 
guished nobles and literati of the last century. 
He formed a splendid collection of works of art, 
which, after his death, brought at public sale about 
£17.000. The whole of his property amounted 
to about £80,000, the bulk of which he left to his 
niece, who married Lord Inchiquin, afterwards 
Marquis of Thomond. He never married, but his 
sister, Frances Reynolds, conducted his domestic 
affairs. She was an ingenious lady, painted mini- 
atures in good style, and was esteemed by Dr. 
Johnson for her literary taste and acquirements. 
She died in 1807. 

Sir Joshua Reynolds is called by his country- 
men " the great founder of the British school of 
painting." If we are to believe some of his biog- 
raphers, he was one of the greatest painters that 
ever lived. Burke saj's, in his eulogium, " in taste, 
in grace, in facility, in happy invention, and in the 
richness and harmony of coloring, he was equal 
I to the greatest masters of the renowned ages ; 
I in portraits he went beyond them. * * * * 
I In full affluence of foreign and domestic fame, 
I admired by the expert in art and the learned in 
'. science ; courted by the great, caressed by sove- 
' reign powers, and celebrated by distinguished po- 
j ets, his native humility, modesty, and candor nev- 
er forsook him. even on surprise or provocation ; 
nor was the least degree of arrogance or assump- 
tion visible to the most scrutinizing eye, in any 
part of his conduct or discourse. His talents, 
of every kind, powerful from nature, and not 
meanly cultivated by letters, his social" vir- 
tues in all the relations and habitudes of life, 
rendered him the centre of a very great and 
unparalleled variety of agreeable societies, which 
will be dissipated by his death. He had too 
much merit not to excite some jealousy, too 
much innocence to provoke any enmity." Dr. 
Johnson declared that he ''should grieve to 
see Reynolds transfer to heroes and goddesses, to 
empty splendor and to airy fiction, that art which 
is now employed in diflusing friendship, in renew- 
ing tenderness, in quickening the afi^ections of the 
absent, and continuing the presence of the dead." 
Such opinions, though emanating from men so dis- 
tinguished in letters, can have little influence with 
connoisseurs. The following extract from the bi- 
ography of Reynolds, in Rees' Cyclopedia, sup- 
posed to have been written by the late Prof Thom- 
as Phillips, R. A., is written with more knowledge 
and much candor, though few foreign critics will 



EEYN. 



780 



REYN. 



feel disposed to endorse the sentiments of the wri- 
ter : 

" It remains to speak of his style as an artist, 
which is precisely that denominated in his lectures 
the ornamental style, but which, beautiful and se- 
ducing as it undoubtedly is, cannot be recommend- 
ed in so unreserved a degree as his industry both 
in study and practice : that which he characteris- 
tically terms his own uncertainty, both in design 
and execution, operates too frequently and too 
powerfully against its entire adoption. In the 
higher attainments of the art. coloring and chiaro- 
scuro were undoubtedly elements which he favored, 
and in which he moved uncontrolled. Drawing, 
as he himself candidly confessed, was the part of 
the art in which he was most defective ; and from 
a desire perhaps to hide this defect, with an over- 
solicitude to produce a superabundant richness of 
effect, he was sometimes tempted to fritter his 
lights, and break up his composition, particularly 
if it happened to be large, into too many parts ; 
yet, in general, his taste in lines and forms was at 
the same time grand and graceful, and the taste 
and skill with which he drew and set together the 
features of the human face, has never been sur- 
passed by any artist. We would be understood to 
speak of his finest productions; of the ordinary 
class among them, we must allow that the mark- 
ing favors of manner, and the substance is not al- 
ways characteristic of flesh. In execution, though 
he wanted the firmness and breadth which apper- 
tain to the highest style of art, yet the spirit and 
sweetness of his touch were admirable, and would 
have been more remarkable had he been more a 
master of drawing ; but not being able readily to 
determine his forms, he was obliged to go over and 
over the same part, till some of the vivacity of his 
handling was frequently lost ; his labor, however, 
was never wholly so, for he added to the force and 
harmony of his pictures by these repetitions ; and 
frequently attained graces by them which would 
otherwise perhaps have remained unknown. The 
numberless instances in which he is known to have 
borrowed thoughts, both in actions of figures and 
effect of color, seem to impeach his power of inven- 
tion. But surely it could not proceed from want 
of a suflBcient portion of that high and necessary 
quality, that he who produced so many novel com- 
binations, adopted that short-hand path to compo- 
sition. We see it exemplified in a superior degree 
in most of his principal productions ; and particu- 
larly in his whole-length and half-length portraits, 
the arrangements of which are no less beautiful 
and interesting than new, and entirely his own. 
These are composed in a taste far surpassing all 
that had ever been done by his predecessors, unit- 
ing the grandeur, simplicity, and fulness of Titian, 
and the grace and nature of Vandyck. with the 
artful and attractive effects of Rembrandt. One 
quality he had, which no other painter that ever 
breathed shares with him in an equal degree, — fas- 
cination. The effect of his best pictures acts like 
a charm, and arrests the tasteful beholder with 
irresistible power. On the works of others we 
look with approbation, and sometimes with feel- 
ings of admiration and delight, or even with a 
sensation of awe ; but in those of Reynolds there 
is generally an indescribable unity and amenity 
which act upon us with the most fascinating pow- 
er, and rivet the attention with superior gratifica- 
tion. No real connoisseur can deny the existence 



of this quality in his pictures, but wherein it spe- 
cifically dwells, it is not easy to discover or define. 
They are not labored to perfect imitation, indeed 
they stop Yery far short of that ; yet they present 
a full image, with a degree of life and animation 
that has rarely been displayed upon canvass. It 
is a dangerous doctrine to advance, and may be 
abused ; but, perhaps, this power may be *in a 
great measure owing to his having painted less 
upon system than from feeling ; and the latter 
governing the exercise of his pencil, not to the 
neglect of, but in a superior degree to the influence 
of, the former, necessarily imbued his works with 
a glow of nature, which, it will be allowed, attracts 
beyond the power of art. Whencesoever this fas- 
cination of which we speak proceeds, it must be 
acknowledged that no painter ever possessed it 
like Reynolds." 

" This is just and masterly criticism," says Stan- 
ley, "as far as relates to the portraits by Sir 
Joshua Reynolds, and may be extended to his sin- 
gle figures in subjects of fancy, particularly of 
children ; it applies also to the coloring and chiaro- 
scuro of many of those compositions by him that 
are classed as historical. But it would be contra- 
ry to truth to claim for his attempts at poetical 
and historical compositions an equality even with 
the great masters of the Italian and Flemish 
schools. The greater part of his productions in 
these departments are failures. His picture of the 
Nativity is commonplace, partly borrowed ; and 
the introduction of his own portrait and that of 
Jarvis in their European costume, a puerile ab- 
surdity. The allegorical figures of the Christian 
Virtues are prose versions of classical symbols ; 
his Ugolino, without dignity, exhibits only the out- 
ward effects of punishment on culprits of the com- 
mon herd ; his Head of a Banished Lord belongs 
to the inmate of a lunatic asylum ; his Holy Fami- 
ly* in riposo (in the National Gallery) is an egre- 
gious plagiarism, vulgarized by the adoption of 
forms deficient in beauty, grace, and intellect. His 
Macbeth with the Witches, and his Death of Car- 
dinal Beaufort, are wholly deficient in that gran- 
deur and sublimity that such subjects should have 
displayed. Even in that noblest of his pro- 
ductions, the portrait of Mrs. Siddons as the 
Muse of Tragedy, the genius of mischief inter- 
fered. The attitude and the expression are ad- 
mirable : but the introduction of the two attendants 



* Charles Lamb is exceedingly severe upon this picture. 
" Here, for a Madonna, Sir Joshua has substituted a 
sleepy, insensible, unmotherly girl — one so little worthy to 
have been the mother of the Savior, that she seems to have 
neither heart nor feeling to entitle her to become a mother 
at all." The coloring in this picture, though originally 
rich and glowing, is much injured in parts, and the harmo- 
ny is entirely destroyed. 

Mrs. Jameson says of the Infant Samuel in the Nation- 
al Gallery, " Call it a little boy saying his prayers, it is 
charming ; but there is nothing here of the incipient pro- 
phet, nothing to bring before the imagination all that was 
grand, and supernatural, and tragic, in the incident it rep- 
resents — the consecrated child waked from his innocent 
sleep in the dead of night by a divine voice, to be filled 
with a spirit beyond his own conceiving." Again, of the 
Graces sacrificing to Hymen, *' The composition of this pic- 
ture is rather fantastical than poetical. It is difficult to 
know what to say of the young ladies who personate the 
Graces, in silk gowns and high head-dresses, and are sacri- 
ficing to Hymen in a Wood. The picture, however, is 
beautiful, and full of that ladylike grace and sentiment 
which Sir Joshua gave to his female portraits." 



REYN. 



781 



REYN. 



with the dagger and bowl destroy the illusion ; and, 
instead of the exalted personification of the high- 
est order of poesy, we behold the figure of Medea 
meditating murder. It is vain to close the eyes of 
our understanding to these defects in our most ad- 
mired painter ; if we will not see them, others will ; 
and it is better, therefore, to acknowledge it at 
once, than to be taunted by foreigners for blind or 
ignorant partiality. The fame of Reynolds, as a 
painter, is established on his numerous superlative 
portraits, and his enchanting representations of 
the innocence, simplicity, and natural habits of 
unsophisticated children : in these he stands alone. 
Let us not, by claiming too much, weaken that ti- 
tle to superiority which is justly his due, nor en- 
ter into a contest in which we might show zeal and 
pugnacity, but must fail of victory." 

Sir Joshua Reynolds was confessedly deficient 
in the first principles of art — academic knowledge 
and skill — which totally unfitted him, had his tal- 
ents been ever so great, for the highest order of 
historical painting. He frequently said with re- 
gret, that '• he could not draw." This was a part 
of artistic education that he had not had the means 
of acquiring, or had neglected till too late. He 
could therefore only paint from his model. How 
different the case with the great artists, with whom 
he has been ranked and compared ! Many of the 
great Italian masters were accustomed to study 
and to draw from the living model, not only in 
their youth, but all their days, like the skilful 
surgeon constantly practising dissection, " to keep 
his hand in." Before touching the brush to their 
canvass, they always prepared a cartoon of the 
same size as they intended the picture ; they first 
drew each figure separate and naked, then group- 
ed and draped them. (See Raflfaelle.) This in art, 
is what plan and foundation are to the superstruc- 
ture of an edifice. Again, his method of coloring 
is not to be commended. His palette, as given by 
Beechey in his Memoirs, is a curiosity of art. It 
might do well enough with his peculiar manner of 
handling, but would never answer in the hands of 
another. He was ignorant of chemistry, so much so 
that he sometimes employed mineral colors that 
reacted in a short time, also vegetable colors, and 
mixed with these various vehicles, as megilips, and 
different kinds of varnishes or glazes, so that he 
had the mortification of seeing some of his finest 
works change and lose all their harmony, or become 
checked with unsightly seams. He even anato- 
mized several valuable pictures by Titian and oth- 
er great colorists. to discover their peculiar meth- 
ods of coloring — a practice which might be likened 
to the boy who cut open the bellows to find the 
wind. He lived to regret these experiments, and 
would never permit any of his students to prac- 
tise them. These things are mentioned only to 
put others on their guard, for his system has been 
largely imitated, even in the United States. The 
true method for excellence and permanence in col- 
oring, is to employ well prepared canvass, then to 
lay on a good heavy body color, and afterwards to 
employ only the best mineral colors which will 
not chemically react, giving the colors time to 
harden after laying on each successive coat, and 
above all to use no varnishes in the process, nor 
after the completion of the work, till it has suffi- 
cient age. 

REYNOLDS, Samuel William, a distinguished 



English designer and engraver, was born in 1774. 
He studied under William Hodges, and attained con- 
siderable eminence for his plates in mezzotinto, as 
well as for his numerous sketches in oil, which are 
much esteemed. He engraved many portraits, his- 
torical, and fancy subjects, after pictures by modern 
artists, particularly those of Sir Joshua Reynolds, 
of whose works he engraved nearly three hundred. 
In 1826 he visited France, and executed several 
plates after Horace Vernet, Gericault. Delaroche, 
and others. He died in 1835. Among his prin- 
cipal plates are the portrait of Reginald Heber, 
bishop of Calcutta, after Owen ; Lady Ellis Agar, 
after Jackson; the Chapeau de Faille, after Ru^ 
bens ; the Visit of the Poor Relations, after Sfe- 
phanoff; the Lion and the Snake, the Vulture and 
the Lamb, and the Falconer. a,fLer Northcote ; the 
Fisherman's Dog, and the Setters, after Morland. 

REYNOSO, Don Antonio Garcia, a Spanish 
painter and architect, born at Cabra, in Andalusia, 
in 1623. He studied at Jaen, in the school of Se- 
bastian Martinez, and gained considerable distinc- 
tion by his pictures for the churches and private 
collections. Palomino mentions several of his 
works, particularly an altar-piece in the church of 
the Capuchins at Andujar, representing the Trin- 
ity with several saints. Reynoso also painted 
landscapes, and there are several of his pictures 
in the churches and private collections of Cordova. 
None of his architectural works are mentioned. 
He died at Cordova in 1677. 

REYSSCHOOT, F. van, a Dutch engraver of 
whom little is known. He executed among other 
plates, several after Tenters, in a very neat and 
spirited manner. 

RHELINGER, Welser, a German wood en- 
graver, mentioned by Papillon as the artist of one 
hundred and twenty prints, illustrating a German 
book entitled Patricium Stirpium Aiigustana- 
rum Vindelicum, et earundem sodalitatis insig- 
nia. The principal figures are all represented on 
horseback, in full armor, with their respective fam- 
ily arms inscribed on their shields. 

RHODES, John, an English landscape painter, 
born in 1810. His father was a reputable painter 
of Yorkshire, and gave lessons to his son, who 
early manifested a strong inclination for the art. 
His subjects were usually taken from scenes of 
rural life, and they possess much of the charm of 
nature. He chiefly resided at Leeds, but when 
about 30 years old, he went to London, where he 
met with some encouragement. His health, how- 
ever, soon failed, and he was compelled to return 
to Leeds, where he died in 1843, at the age of 33. 

RHCECUS. an old Greek sculptor,' a native of 
Samos, who flourished about B. C. 776, in the time 
of Dipenos and Scyllis. He obtained great celebrity 
in that early age. for his sculptures in brass. His 
son Telectes. and his grandson Theodorus, were also 
celebrated for their skill in the art. According to 
Pausanias, their works in wood, metal, and ivory, 
were extant in the age in which he lived. See 
Theodorus. 

RHOLUS. See Theodorus. 

RIBALTA, Francisco, a distinguished Spanish 
historical painter, was born at Castellon de la Pla- 
na, in the kingdom of Valencia, in 1551. After 
acquiring the elements of design from an artist of 
Valencia, he visited Italy for improvement, and is 



RIB A. 



782 



RICA. 



said to have studied under Annibale Caracci. He 
studied the works of Raffaelle, Sebastiano del Pi- 
orabo and the Caracci, with great assiduity ; and 
at the end of three years he returned to Spain so 
much improved, that his former instructor, who 
had previously refused him his daughter in mar- 
riage, now consented to the match. Ribalta soon 
acquired a high reputation, and executed many 
works for the churches and collections of Valencia, 
as well as for other parts of Spain. He made 
copies from the pictures of Sebastiano del Piombo, 
in the royal collection at Madrid, three of which 
are in the convent of the Carmelites in that city. 
Commissioned by the archbishop Don Juan de 
Ribera, Ribalta executed a picture of the Last 
Supper, for the grand altar of Corpus Christi, 
which was so greatly admired that Vincenzio Car- 
ducci visited Valencia on purpose to see it. His 
works are distinguished for admirable composition, 
excellent taste and elevation of design. There 
were two of his pictures in the Louvre, the Last 
Supper, and a picture of St. Peter; they were re- 
stored in 1815, and the former is now in the church 
of the Patriarch at Valencia, with many other 
of his works. In the chapel of the Magdalen col- 
lege at Oxford, there is " a grand specimen" by 
Ribalta. He died at Valencia in 1628. 

RIBALTA, Juan, was the son of the preceding 
artist, born at Valencia in 1597. He early mani- 
fested extraordinary abilities, and painted a pic- 
ture of the Crucifixion, at the age of eighteen, 
which save promise of great eminence. He also 
painted for Don Diego de Vich. about thirty por^ 
traits of eminent Valencians, and would probably 
have been a shining ornament to th& Spanish school, 
had he not died young, in 1628. Many of his works 
are attributed to his father. 

RTBAULT, J. F., a reputable French engraver, 
was born at Paris in 1767. He studied under In- 
gouf, and attained sufficient excellence to be em- 
ployed on the Musee Napoleon, for which he en- 
graved two plates, representing Paris and QEnone, 
after- Vanderwerf, and a Young Lady playing on 
the Guitar, after Metzu. He also engraved sever- 
al plates for the collections of Laurent and Robil- 
lard ; portraits of Bernardin de St. Pierre, the poet 
Lebrun, and the Empress Maria Louisa ; Marcus 
Sextus. after Guerin. and the Crowning of Thorns, 
after Titian. Ribault died in 1820. 

RIBERA, Jose, called II Spagnoletto. an 
eminent Spanish painter, born, according to au- 
thentic records cited by Bermudez. at Xativa, in 
the kingdom of Valencia, in 1588. He early man- 
ifested a strong inclination for art. and entered the 
school of Francisco Ribalta. After several years' 
stud}^ under that master, he visited Italy for im- 
provement about the age of sixteen, supporting 
himself by the exercise of his talents. Arriving 
at Naples in 1606. while Caravaggio was residing 
in that capital, Ribera was greatly pleased with 
the vigorous style of that distinguished artist. 
Favored with his advice and instructions, he made 
rapid progress, and was soon denominated II Spag- 
noletto, as a mark of distinction. On leaving Car- 
avaggio, Lanzi says he " visited Rome, Modena, and 
Parma, and saw the works of Raffaelle, and An- 
nibale Caracci in the former place, and the works 
of Correggio in the two latter cities, adopting in 
consequence a more graceful style, in which he 
persevered for a short time, but with little suc- 



cess, as there were others in Naples, who pur- 
sued with superior skill the same path. He re- 
turned therefore to the style of Caravaggio, which, 
for its truth, and strong contrast of light and 
shade, was much more calculated to please the 
general eye. In a short time he was appointed 
painter to the court, and subsequently became the 
arbiter of its taste." His careful studies enabled 
him to surpass Caravaggio in invention, selection, 
and design. His subjects were generally austere, 
representing anchorets, prophets, apostles ; and fre- 
quently of the most revolting character, such as 
sanguinary executions, horrid punishments, and 
lingering torments ; which he represented with 
startling fidelity, and admirable correctness of 
design, particularly in delineating the muscles. 
His works are very numerous in Italy, and many 
of them were sent by the Viceroy to Spain, among 
which is his Ixion on the Wheel, in the Buon Re- 
tiro at Madrid. Giordano highly praises his De- 
position from the Cross, in the Certosini at Naples, 
as alone sufficient to form a great painter, and wor- 
thy to compete with the highest lumi naries of the art. 
Ribera seems to have sometimes departed from his 
severe manner, and Lanzi praises his Martyrdom 
of St, Januarius, in the Royal chapel, as beautiful 
beyond his usual style, and almost in the manner 
of Titian. He also painted portraits, which were 
highly esteemed. Among his other best produc- 
tions, are St. Jerome and St. Bruno, at the Trini- 
tik; and Democritus and Heraclitus, in the collec- 
tion of Sig, Girolamo Durazzo. Ribera's drawings 
with chalk or the pen, are much esteemed by the 
collectors. He executed about twenty etchings, 
in a bold, free style, producing a fine effect, cor- 
rectl}'- drawn, and the extremities marked in a very 
masterly manner. When not inscribed with his 
name, they are generally marked with one of the 
following monograms. Ribera died at Naples in 
1656. 



IP 



1 w» 



RICAMATORE. See Da Udine. 

RICCA, or RICCO, Bernardino, an Italian 
painter, who flourished at Cremona about 1512. 
He executed, among other works, a Pieta, or Dead 
Christ, in the church of S. Pietro del Po at Cre- 
mona, which Lanzi says deserves commendation for 
the time. 

RICCHI, Pietro, called II Lucchese, a paint- 
er of Lucca, born, according to Baldinucci, in 1606, 
After studying under Passignano, he went to Bo- 
logna, and is said by Orlandi and Baldinucci to 
have entered the school of Guido, after which he 
resided many years at Venice. Lanzi says he fre- 
quently imitated the forms of the latter master, 
adhering to the manner of Passignano in design 
and coloring, combined with the principles of Tin- 
toretto and other eminent Venetian masters. He 
was distinguished for fertility of invention and 
great facility of execution, but Lanzi seems in- 
clined to charge him with introducing the oily and 
obscure mode of coloring, practised at Venice by 
the Tenebrosi, and says '• it is at least certain that, 
besides having made use of bad priming, he was 



RICO. 



783 



mcc. 



in the habit of covering his canvass with oil when- 
ever he applied his pencil, which has occasioned 
the loss of so many of his works, that once pro- 
duced an excellent effect, but which are now either 
defaced or perished. This is the case with those 
that remained at Venice, Vicenza. Brescia, Padua, 
and Udine ; some of which, indeed, are not great- 
ly to be regretted, being the production of mere 
mechanical skill, and that not always executed 
cori-ectly. A few. however, are conducted with 
more care, as in his St. Raimondo, at the Domin- 
icans of Bergamo, and his Epiphany in the pat- 
riarchal church at Venice, both highly deserving 
of commendation, no less for the union of their 
colors, than for the taste displayed in their whole 
composition.'' Ricchi practised the art in several 
cities of France, in the Milanese, and the Venetian 
states. There are many of his works at Udine, 
where he died, in 1675. 

RICCHTEDO, Marco. This painter was a na- 
tive of Brescia, but the time when he lived is 
not recorded. There is a fine picture by him, re- 
presenting the Incredulity of St. Thomas, in the 
church of that saint at Brescia. 

RICCHINO, Francesco, aBrescian painter, who 
flourished about 1568. Lanzi mentions him among 
the better disciples of Alessandro Bonvicino, called 
II Moretto. His pictures evince an attempt to 
''extract improvement from the pictures, or at 
least from the engravings, of Titian." Among his 
best productions at Brescia, are several pictures 
in S. Pietro Oliveto. 

RICCI, Antonio. See Barbalunga. 

RIOCl, Camillo, an eminent painter of Ferrara, 
born in 1580. He studied under Ippolito Scarsel- 
lino, and attained such excellence, according to 
Baruffuldi, that his master declared if Camillo had 
preceded him in the art. he would have chosen him 
as an instructor. Lanzi remarks, " the most skil- 
ful had difficulty to distinguish him from Scarsel- 
lino. His style is almost as tender and attractive 
as his master's, the union of his colors is even 
more equal, and has more repose; and he is prin- 
cipally distinguished by less freedom of hand, and 
by his less natural, and more minute folding." He 
manifested great fertility of invention in eighty -four 
pictures in the church of S. Niccolo, representing 
scenes in the life of that saint. There are many 
of his smaller pictures in the Palazzo Trotti, and 
Barotti mentions many admired works in the 
churches, among which are the pictures of St. Vin- 
cenzio and St. Margherita, in the cathedral ; and 
the Annunciation, in S. Spirito. Ricci died at Fer- 
rara in 1618. 

RICCI, Gio. Battista, called da Novara, a 
painter born at Novara in 1545. He visited Rome 
at an early age, and studied under Raffaellino da 
Reggio, on leaving whom he was employed by 
Sixtus V. in the palace of St. John of Lateran, and 
in the Library of the Vatican. He was also ap- 
pointed superintendent of decorations at the Qui- 
rinal palace, and according to Baglioni, was much 
employed in the pontificate of Clement VIII. Lan- 
zi says that his works display great facility of 
pencil, beauty of forms, and attractive brilliancy 
and elegance ; his stj^e was that of Raffaelle re- 
duced to mannerism, and he promoted the pre- 
vailing effeminate taste. His works are very nu- 
merous in Rome; among them are the Visitation, 
the Ascension, and the Assumption of the Virgin, 



in S. Maria Maggiore ; and the Consecration of 
St. John of Lateran, placed in that Basilica. Or- 
landi mentions Ricci as an engraver, but does not 
specify any of his works. He died in 1620. 

RICCI, Sebastiano, a painter born at Belluno, 
in the Venetian State, in 1659. After acquiring 
an excellent knowledge of art from Federigo Cer- 
velli at Venice, he accompanied that master to Mi- 
lan, and studied also under Alessandro Magnasco. 
named Lissandrino. He afterwards visited Bo- 
logna, and was patronised by the Duke of Parma, 
wfio employed him at Piacenza, and enabled him 
to visit Rome for improvement. On the death of 
his patron he quitted Rome, and visited Florence, 
Modena, Parma, and other cities, leaving proofs 
of his ability. Invited to the court of Vienna, he 
was employed to decorate the imperial palace of 
Schoenbrunn ; and on returning to Venice, he 
went to England in the reign of Queen Anne, at 
the suggestion of his nephew, Marco Ricci, who 
was then residing in London. He was much em- 
ployed by the nobility, and painted, among other 
works, the hall and several ceilings of Burlington 
House, and the altar-piece of the chapel of Chelsea 
College. After a residence of ten years in Eng- 
land, he returned to Italy, because, as it is said, 
Sir James Thornhill was preferred to paint the 
cupola of St. Paul's. 

Lanzi says, "he did not early acquire a good 
knowledge of design, but he afterwards succeeded 
in this object, which he cultivated with extreme 
assiduity in the academies, even in mature age. 
The forms of his figures are composed with beau- 
ty, dignity, and grace, like those of Paul Veronese ; 
the attitudes are more than usually natural, 
prompt, and varied ; and the composition appears 
to have been managed with truth and good sense. 
Although rapid in the handling, he did not, like 
many artists, abuse this quality ; his figures are 
accurately designed, and appear starting from the 
canvass, most frequently colored with a very beau- 
tiful azure, in which they shine conspicuous over 
all. His works in fresco have generally preserved 
their tints, but his other works appear to have suf- 
fered ; his coloring was originally pleasing and 
spirited, and he perfected it in Flanders." 

Ricci, like Luca Giordano, attained great skill in 
imitating the eminent Italian masters ; one of his 
Madonnas at Dresden was for some time attribu- 
ted to Correggio ; and his imitations of Paul Ve- 
ronese would deceive the best judges. His mind 
was greatly enriched by his travels, and he fre- 
quently adopted fine imitations of various masters 
into his works ; but Lanzi absolves him from the 
charge of plagiarism. Among his principal works 
are the Apostles adoring the Sacrament, in the 
church of S. Giustina at Padua, containing many 
points of resemblance to Correggio's dome at Par- 
ma ; and his St. Gregorio, in S. Alessandro at Ber- 
gamo, reminding the careful observer of Guercino's 
picture of the same subject at Bologna. Ricci 
died at Venice in 1734. 

RICCI, Marco, was the nephew and scholar of 
the preceding, born at Belluno in 1680. Be com- 
pleted his studies at Rome, where he remained sev- 
eral years, designing the finest scenery and most 
remarkable ruins in the vicinity of that city. He 
was principally employed in painting landscapes, 
decorated with admirable architecture, which 
gained him great reputation. In 1710, he visited 



mco. 



784 



RIOC 



England, and was much employed by the nobility ; 
after which he traveled on the continent with his 
uncle Sebastiano R., and executed a number of 
works at Paris. He died at Venice in 1730, in 
which year were published in that city a set of 
twenty-one plates of landscapes with ruins, etched 
by him from his own designs. 

RTCOI, Natale and Ubaldo. These painters, 
natives of Fermo, are supposed by Lanzi to have 
studied under Lorenzino di Fermo before visiting 
Eorae, where they entered the school of Carlo Ma- 
ratti. They afterwards settled in their native 
place, and practised the art in the latter part of the 
18th century. Ubaldo appears to have surpassed 
his companion ; he is highly praised for his picture 
of St. Felice, at the Capuchins in Fermo, although 
Lanzi says he did not often transcend the bounds 
of mediocrity. 

RICCIARDELLI, Gabriele, a reputable Nea- 
politan painter, who flourished at Naples, accord- 
ing to Dominici, in 1743. He studied under John 
Francis van Bloemen, called Orizzonte, and attain- 
ed considerable distinction for his landscapes and 
marine views at the court of King Charles of Bour- 
bon, where he was much employed. 

RICCIARELLI, Daniele, called di Volterra, 
an eminent Italian painter, born at Volterra in 
1509. After studjnng successively under Gio. 
Antonio Razzi, and Baldassare Peruzzi, he visited 
Rome, and became the assistant of Pierino del 
Vaga in the Vatican, and in the Massimi chapel, in 
the church of La Trinita de Monti. The style of 
Michael Angelo was congenial to his taste, and he 
studied with great assiduity the works of that 
master, who greatly esteemed his talents, appoint- 
ed him his substitute in the works at the Vatican, 
and brought him forward into public notice. — 
Daniele soon rose to distinction, and was commis- 
sioned by Agostino Chigi to execute several fres- 
cos in the Farnese palace, in which he was much 
assisted by the designs and advice of Buonarotti. 
In the Orsini chapel in the church of La Trinita 
de Monti, he painted in seven years a series of fres- 
cos representing the History of the Cross, in which 
he was also assisted by Buonarotti. The principal 
painting was the wonderful Deposition from the 
Cross, which Lanzi classes with the Transfigura- 
tion of RafFaelle, and the St. Jerome of Domeni- 
chino. What higher praise could he give ? " We 
seem to behold the mournful spectacle, and the 
Redeemer sinkmg with the natural relaxation of a 
dead body in descending ; the pious men engaged 
in various offices, and thrown in different and con- 
trasted attitudes, appear assiduously occupied with 
the sacred remains, which they seem to venerate ; 
the mother of Jesus having fainted between the 
sorrowing women, the beloved disciple extends his 
arms and bends over her. There is a truth in the 
naked figures that seems perfect nature ; a color- 
ing in the faces and the whole piece that exactly 
suits the subject, and is more determined than del- 
icate ; a relief, a harmony, and, in a word, a skill 
that might do honor to the hand of Michael An- 
gelo himself, had the picture been inscribed with 
his name." Unfortunately for the art, this sublime 
production was unintentionally destroyed by the 
French, while attempting to remove it from the 
wall ; but some idea of it may be gathered from 
the fine print of Dorigny. Volterra also designed 
the Assumption of the Virgin and the Presenta- 



tion in the Temple, painted by his scholars Mi- 
cliele Alberti and Gio. Paolo Rossetti, in another 
chapel of the same church. His last great work 
in painting was his famous picture of the Murder 
of the Innocents, from his own design, for the 
church of S. Peter at Volterra, which was subse- 
quently purchased by the Archduke Leopold, and 
placed in the Tribune of the Royal Florentine Gal- 
lery — ''an honor," says Lanzi, •' that speaks more 
for it than my eulogy." At the death of Pierino 
del Vaga, in 1547, he was appointed by Paul III., 
at the recommendation of Buonarotti, to superin- 
tend the works in the Vatican. Naturally slow 
and irresolute, he did not complete anything in the 
course of two years, and was compelled to remove 
his scaffolding in 1549, at the death of the pope, to 
accommodate the college of cardinals. The un- 
finished work did not meet with public approval, 
and Volterra was removed from his employ- 
ment by Julius III. He subsequently devoted 
his attention to sculpture. Under the pontificate 
of Paul IV., however, he was induced to add dra- 
peries to some of the nude figures in Michael An- 
gelo's Last Judgment, which that pontiff consider- 
ed as too freely treated for the sanctity of the Sis- 
tine chapel. He died in 1566. 

RICCIO, DoMENico, called Brusasorci, an 
eminent Italian painter, was born at Verona in 
1494. According to Ridolfi, he studied under Gio. 
Francesco Carotto ; but Lanzi ranks him among 
the pupils of Niccolo Giolfino. After completing 
his preparatory course, he visited Venice, and stud- 
ied with great assiduity the works of Giorgione 
and Titian. According to Lanzi, he exhibited the 
style of the latter with great accuracy in a few 
of his pictures, particularly in the St. Rocco at the 
Padri Agostiniani at Verona, and several pictures 
of Nymphs and Venuses for private collections. 
Unlike many other followers of that great color- 
ist, he did not confine himself to his style ; and his 
works at Mantua partake of the depth of Gior- 
gione, and the graceful design of Parmiggiano. In 
the Ducal Palace remains his Fable of Phaeton, 
which, though injured by the lapse of time, is 
greatly admired for its copious and ingenious com- 
position, masterly foreshortening, and harmonious 
coloring. His greatest merit, however, was in 
fresco painting, and he executed many admirable 
works for the villas and palaces, displaying great 
poetical erudition, and a high order of pictorial 
talent. Among his historical works, the master- 
piece is the Procession of Clement VIIT. and 
Charles V. through Bologna, in the Casa Ridolfi. 
Lanzi remarks, '• a nobler specimen cannot well be 
imagined ; and although other specimens, both of 
this and similar subjects, are met with generally 
at Rome and Florence, none produce equal effect ; 
combining in one piece a large concourse, fine dis- 
tribution of figures, noble attitudes in the men and 
horses ; variety of costume, pomp, splendor, and 
dignity ; all bearing an expression of pleasure 
adapted to such a day." Riccio died in 1567. 

RICCIO, Felice, called Brusasorci the 
Younger, was the son and scholar of the preced- 
ing, born at Verona, according to Ridolfi, in 1540. 
Losing his father when seventeen years of age, he 
completed his studies under Jacopo Ligozzi at Flo- 
rence. On returning to Verona, he introduced a 
style extremely elegant and refined, as displayed 
in his Madonnas, with boys and beautiful cherubs, 



RICO. 



785 



RICH. 



adorning various collections; and with features 
similar to those of Veronese, if not a little more 
spare. He also excelled in subjects requiring vig- 
orous treatment ; evinced by his picture of the 
Forge of Vulcan with the Cyclops, in the collec- 
tion of Count Gazzola, which is designed in good 
Florentine taste, and powerfully colored. The 
churches of Verona possess many of Riccio's 
works, among which his St. Elena, in the church 
of that name, is greatly admired. His genius was 
inferior to that of his father, and he produced no 
fresco works ; bat some of his large pictures in 
oil are highly meritorious, particularly the Fall of 
Manna, in S. Giorgio at Verona. He also painted 
excellent portraits ; and Lanzi mentions a number 
of his small pictures of sacred and other subjects, 
executed on stone or marble, which he colored 
with great skill, availing himself of the shades in 
the marble itself. Felice Riccio died in 1605. His 
sister Cecilia studied painting under her father, 
and attained considerable excellence in portraits. 

RICCIO, Gio. Battista, called also Brusasor- 
ci, was the brother of the preceding. He studied 
under Paul Veronese, and painted anumber of pic- 
tures for Verona, which were highly esteemed. 
He subsequently visited Vienna, and manifested 
sufficient abilities to be appointed painter to the 
Emperor. Nothing further is recorded of him, 
except that he remained in the Emperor's service 
during the rest of his life, 

RICCIO, Mariano, a painter of Messina, born, 
according to Hackert, in 1510. He iBrst studied 
under Alfonso Franco, but preferring the style of 
Polidoro da Caravaggio, he entered the school es- 
tablished by that master in Messina. He imitated 
his style so successfully that Hackert says his 
works pass for those of his instructor ; but Lanzi 
remarks, " I think this can only apply to inexpe- 
rienced purchasers, since if there be a painter, 
whose style it is almost impossible to imitate to 
deception, it is Polidoro da Caravaggio. In proof, 
the comparison may be made in Messina itself, 
where the Pieta of Polidoro, and the Madonna 
della Carita of Mariano, are placed near each oth- 
er." Antonello, the son of Mariano, studied also 
under Caravaggio, and followed his style with con- 
siderable success. He flourished at Messina about 
1576. 

RICCIO, II. See Bartolomeo Neroni. 

RICCIOLINI, NiccoLO and Michael Angelo. 
These two artists were born at Rome respectively 
in 1637 and 1654. They both executed a number 
of works for the churches of Rome. Lanzi says 
that the first had the reputation of a better de- 
signer than the second, and competed with Cav. 
Franceschini in the cartoons painted for several 
mosaics in the Vatican church. The second exe- 
cuted, among other works, several paintings in S. 
Lorenzo in Piscibus, and a ceiling in S. Maria in 
Carapitelli. He died at Rome in 1715. Their 
portraits, painted by themselves, are in the Floren- 
tine Gallery. 

RICHARDSON, Jonathan, an English por- 
trait painter, was born about 1665. He was arti- 
cled to a scrivener at an early age, but his master 
dying when six years of his apprenticeship had 
expired, he determined to gratify his natural incli- 
nations, and commenced studying painting under 
John Riley. After remaining four years with 



that artist, Richardson established himself as a 
portrait painter, married the niece of his instruct- 
or, and succeeded in gaining a good share of pub- 
lic patronage. During the lives of his coterapo- 
raries, Kneller and Dahl, he was considerably em- 
ployed ; and, after their death, he was esteemed at 
the head of his profession in England. According 
to Walpole, his heads were distinguished for vigor 
and boldness of coloring, freedom and firmness of 
execution ; but his pictures were destitute of 
imagination, his attitudes, draperies, and back- 
grounds were totally devoid of taste. He wrote 
three works relating to art, containing much ex- 
cellent advice to artists, which he never reduced to 
practice. These were " The Theory of Painting" ; 
" The Connoisseur" ; and •' An Account of some 
of the Statues, Bas-Reliefs, Drawings, and Pic- 
tures in Italy, &c., with remarks by Mr. Richard- 
son, senior and junior. His son visited Italy, and 
wrote many notes, letters, and observations, from 
which, after his return, they prepared the last 
mentioned work for the press. Richardson retired 
from the practice of his profession long before his 
death, which occurred in 1745. There are a few 
etchings by him, among which are a portrait of 
himself, two portraits of Alex. Pope, one of Mil- 
ton, and one of Dr. Mead. 

RICHARDUS, Martin, a Flemish painter, born 
at Antwerp in 1591, and died there in 1636. He 
is said to have painted landscapes in a good style. 

RICHART, F. J. UE la Mare, a French engra- 
ver of little note, bom at Bayeux about 1630, and 
died at Versailles in 1718. He executed, among 
other plates, one of St. Jerome, after L. de la 
Hire ; two plates of the Ecce Homo and the Vir- 
gin, the former inscribed F. dela Mare. fee. 1650; 
and sixteen fancy heads, mentioned by Dumesnil, 
in the style of Lievens, without marks. 

RICHER, P., an engraver mentioned by Nagler, 
who flourished from 1630 to 1660, and executed, 
among other works, eleven plates of philosophical 
tables by Louis Lesclaches. 

RICHIER, Ligier, a French sculptor, a native 
of Dagonville in Lorraine, who flourished during 
the 16th century. He visited Paris, and acquired 
a knowledge of sculpture; after which he return- 
ed to his native place, and practised the art with 
considerable reputation. His most distinguished 
work is a marble figure of the Holy Sepulchre, 
with thirteen statues surrounding it ; which is 
now in the parish church of the town of St. Mi- 
hiel. 

RICHIERI, Antonio, a Ferrarese painter of 
mediocre abilities, who flourished about the middle 
of the 17th century. According to Passeri, he 
studied under Giovanni Lanfranco, and afterwards 
accompanied that master to Naples and Rome, 
where he painted at the Teatini from his designs. 
Passeri says he afterwards devoted himself to en- 
graving, and executed several plates from the de- 
signs of his instructor. Strutt miscalls him A. 
Richer. 

RICHMANS. See Ryckmans. 

RICHOMME, Joseph Theodore, an eminent 
French engraver of the present century, was born 
at Paris in 1785. He acquired an excellent know- 
ledge of design under Regnault the painter, and 
subsequently studied engraving under J. J. Coiny. 



RICH. 



786 



RIDI. 



In 1806, he gained the grand prize at the Institute 
for the best engraving, and was subsequently cho- 
sen a member of that body, and of the Legion of 
Honor. Stanley classes his plates with those of 
the best modern Italian engravers. It is not as- 
certained whether he is still living. Among oth- 
ers, there are by him the following : 

The Triumph of Galatea ; after Rafaelle. The Five 
Saints ; do. The Holy Family ; do. Adam and Eve ; do. 
Neptune and Amphitrite ; after Giulio Romano. Venus 
at the Bath ; after the Antique. Andromache ; after 
Guerin. Thetis crowning Vasco de Grama ; after Ge- 
rard. 

RICHTER. Chiustian, was a Swedish painter, 
and visited England in 1702, where he painted por- 
traits, both in oil and in miniature, adopting the 
forcible coloring of Michael Dahl. Towards the 
latter part of his career he applied himself to 
enamelling, but died before making much progress 
in that branch, in 1732. 

RICKE, Bernard de. This painter was born 
at Courtray about 1520. His instructor is not 
mentioned ; but he painted history in his native 
place with a high degree of reputation, and after- 
wards settled at Antwerp, where he was chosen a 
member of the Academy in 1561, In the church 
of S. Martin at Courtray, there are two pictures 
by Ricke, representing the Decollation of St. Mat- 
thew, and Christ bearing his Cross ; the latter is 
highly esteemed. 

RTCKMAN, Thomas, a distinguished English 
architect, born at Maidenhead, in 1776. He was 
intended for the medical profession, which he pur- 
sued for some time, but subsequently entered into 
commercial pursuits, and afterwards engaged as 
clerk in an insurance office at Liverpool. Having 
abundance of leisure in the latter occupation, he de- 
voted his attention to the study of architecture, and 
examined the ancient edifices with great diligence, 
pursuing his inquiries without the aid of an in- 
structor. He made many excellent designs, and 
carefully noted the slighter peculiarities, which 
had escaped less discerning ej^-es. He also attempt- 
ed original plans, and when Parliament granted 
£1.000.000 to erect new churches, Rickman sent 
in a design, which was accepted. He then deter- 
mined to devote himself entirely to architecture, 
and removed to Birmingham. Possessing no 
practical knowledge of the art, he engaged Mr. 
Henry Hutchinson as assistant in all his matters 
of business, and after the death of the latter in 
1830, he entered into partnership with Mr, Hus- 
sey. As a writer on the art, he was highly es- 
teemed, and gained great celebrity by his "Attempt 
to discriminate the styles of Architecture in Eng- 
land." This production was originally written 
for " Smith's Panorama of Science and Art," but 
was subsequently much extended and improved as 
a separate publication, and has become a standard 
work, quite indispensable to the student. Its pub- 
lication opened his way to an extensive practice, 
and procured him patronage in the most influen- 
tial quarters. Rickman probably erected a larger 
number of churches than any other English ar- 
chitect. Among his other edifices are the new 
court and buildings of St, John's College, the res- 
torations at Rose Castle, and the palace of the 
Bishop of Carlisle. He died in 1843. 

RICO. Andreas, an ancient painter, a native 
of the island of Candia, who probably flourished 



about the middle of the 14th century. There is a 
Madonna in the Florentine Gallery, inscribed in Lat- 
in characters, Andreas Rico de Candia finxit. 
Notwithstanding the rudeness of the composition, 
drapery, &c., this ancient work is still distinguish- 
ed by such fresh, vivid, and brilliant coloring, that 
Lanzi says, '' there is no modern work that would 
not lose by a comparison ; the coloring is so ex- 
tremely strong and firm, that, when tried with 
the iron, it does not liquefy, but rather scales oflT, 
and breaks in minute portions." He further re- 
marks, " the Greeks were undoubtedly in posses- 
sion of the best methods transmitted to them by 
a tradition, which, though in some measure cor- 
rupted, was confessedly derived from their ances- 
tors," This opinion of a highly eminent and can- 
did connoisseur may perhaps excite modern art- 
ists to investigate more closely the ancient meth- 
ods of coloring, which were undoubtedly far more 
durable than those at present in use. 

RIDINGER, or RIEDINGER, John Elias, a 
German painter and engraver of animals, was born 
at Ulm in 1695 ; died at Augsburg in 1769. He 
studied under Christian Resch, and subsequently 
settled at Augsburg, His animals are designed 
with admirable correctness, and his pictures po.s- 
sess considerable merit of execution. As an en- 
graver, he was much employed by the booksellers, 
and executed many plates of animals, which have 
seldom been surpassed ; the compositions are in- 
genious and animated, and each animal is drawn 'in 
its peculiar character and attitude, with surprising 
exactness. His two sons, Martin Elias and John 
James, were also engravers ; the former was dis- 
tinguished for his talents in delineating insects. 
Among the principal plates of John Elias R., are 
the following : 

A set of twelve plates of the Creation. A set of Heads 
of Wolves and Foxes. Four plates of Boar huntings. A 
set of sixteen plates representing the mode of hunting dif- 
ferent animals in Germany, with inscriptions in German 
and French. Eighteen plates of Horsemanship. Thirteen 
plates of various Wild Be.ists. A Lion-hunting; after 
Rubens ; for the Dresden Gallery. 

RIDOLFI. Claudto, a painter born at Verona 
in 1560. According to Cav, (.*arlo Ridolfi. he was 
of noble birth, and first studied for amusement un- 
der Dario Pozzo. in his native place; but being af- 
terwards compelled by neces-sit}' to practise the 
art, he became the scholar of Paolo Veronese, and 
the rival of the Bassans. Not finding much em- 
ployment at Venice, he removed to Rome, and af- 
terwards to Urbino, where he formed an intimacy 
with Federigo Baroccio, then in high reputation 
Aided by the advice and instruction of that mas- 
ter, he acquired an amenity of st3'le. and a beauty 
in the airs of his heads, by which his subsequent 
works are distinguished. Ridolfi married at Ur- 
bino, and afterwards settled at Corinaldo. in the 
Marquisate of Ancona, where he painted many 
pictures for the churches of that place and its vi- 
cinity, which, according to Lanzi, '' yield little in 
tone to the best colorists of his native school, and 
are often conducted with a design, a sobriety, and 
a delicacy, sufficient to excite their envy," His 
portraits, also, are distinguished for their dignit}--, 
character, and accurate resemblance. There are 
many of his works at Urbino, among which are 
his highly esteemed pictures of the Birth of St. 
John the Baptist, in S. Lucia ; and the Presenta- 
tion in the Temple, in S. Spirito Santo. At Ri- 



RIDO. 



787 



RIET. 



mini, Lanzi mentions by him a fine Deposition 
from the Cross ; there are also some of his works 
at Venice. Verona, and Padua ; in the celebrated 
church of S. Giustina, in the last city, is his ad- 
mirable picture representing the honors rendered 
to the Benedictine order, distinguished for appro- 
priate invention, rich ornaments, elegant and well 
finished execution. He died in 1644. 

RIDOLFI. Cav. Carlo, a distinguished Italian 
painter and writer on the art, born at Vicenza, 
according to Orlandi, in 1602. He studied under 
Antonio Vassilacchi, called Aliense, and subse- 
quently gained great improvement from the works 
of the best masters at Verona and Vicenza. He 
afterwards distinguished himself at Venice, and 
painted, among other works, the Visitation of the 
Virgin, in the church of the Ognissanti, " exhibit- 
ing," says Lanzi, '' some novelty in the adaptation 
of the colors, a fine relief, and exactness in Gverj 
part." There are also other specimens by him in 
the churches of Venice and the State, but most of 
his works were executed for private collections, 
consisting of portraits, half-length figures, and his- 
torical pieces. Asa writer on art, Ridolfi deserves 
high commendation, and Lanzi ranks him among 
the best Italian biographers^ His Lives of the 
Venetian Painters were published at Venice in 
1648, entitled Le Maraviglie deW arte, ovvero le 
Vite degV illustri pittori Veneti, e dello Stato. 
Orlandi says he died about 1660 ; Boschini men- 
tions him as among the living authors, in 1660 ; 
Zanetti records his epitaph, placing his death in 
1658, at the age of 64. 

RIDOLFO. MicHELE Di, called Ghirlandaio, 
was a distinguished Florentine painter, and flour- 
ished about 1550. According to Vasari, he studied 
successively under Lorenzo Credi and Gio. Anto- 
nio Sogliani ; after which he entered the school 
of Ridolfo di Domenico Ghirlandaio, assumed the 
name of that master, and was treated by him 
rather as a son than a companion. They painted 
many pictures in concert, which always pass under 
their names, among which is the St. Anne of Citta 
di Castello, commended by Lanzi for its exquisite 
design, and peculiar fullness of coloring. Michele 
paid particular attention to coloring, and manifest- 
ed his excellence in various fresco paintings over 
several gates of Florence ; he was also employed 
by Vasari as the companion of his labors. His 
friend and coadjutor died in 1560, after which Mi- 
chele is mentioned as operating in 1568. 

RIDOLFO. PiETRO DI, a Florentine painter, 
who flourished about 1612, and is supposed to 
have studied under the last of the Ghirlandai. 
Lanzi says there is a large altar-piece at Florence 
by him. representing the Ascension. Strutt noti- 
ces an emrraver of this name, who flourished from 
1710 to 1723, and executed, among other plates, a 
frontispiece to a collection of views in ancient and 
modern Rome, published at Venice in 1716, in a 
style resembling that of Cornelius Bloemaert, 
though very inferior. 

RIEDEL, John Anthony, a German designer 
and engraver, born at Prague in 1732, and died, 
according to Nagler, in 1816. He was appointed 
Keeper of the Dresden Gallery, and engraved, in 
the style of Rembrandt, several plates from the 
pictures in that celebrated collection. Nagler enu- 
merates fifty-two, among which are the following ; 
the latest is dated 1772. 



The Virgin and infant Christ ; after Baroccio. The 
Seven Sacraments ; aftei- Gio. Maria Crespi. A por- 
trait of Rembrandt ; after a picture by himself. A War- 
rior, with a cap and feather ; do. A Portrait of a Lady 
holding a Letter ; after Vandyck. 

RIETER, Henry, a Swiss landscape painter, 
born at Winterthur in 1751. He early manifest- 
ed an inclination for art, and studied under a paint- 
er of his native place, but afterwards visited Dres- 
den, and completed his professional education un- 
der Graf. He gained considerable improvement 
from the works in the Dresden Gallery, particu- 
larly the landscapes of Claude. Berghem, and Ruys- 
dael. In 1775 he visited Holland ; and two years 
after, he commenced practising at Berne. About 
this time, Aberli was prosecuting his work on the 
landscapes of Switzerland, and he engaged Rieter 
to accompany him in his excursions. The latter 
made many excellent designs of Swiss scenery, 
and in 1786, after the death of Aberli, he continued 
the publication of the work. He was appointed 
Professor of Design in the public school at Berne, 
and held that office for thirty-seven years. His 
landscapes possess considerable merit, particularly 
those of a wild and romantic character, such as 
his Cascade of Reichenbach, which has been en- 
graved. He died in 1818, leaving several sons, one 
of whom continued the publication of the above 
mentioned work. 

RIETSCHOOF, John KLAAsz,a Dutch marine 
painter, was born at Hoorn in 1652. He studied 
under Ludolf Backhuysen, and attained great dis- 
tinction for his admirable sea-pieces and storms, 
so much in the style of his instructor that they 
are sometimes mistaken for the works of Back- 
huysen. His calms possess considerable merit, 
with some resemblance to the works of Wm. Van- 
dervelde ; but his hurricanes and tempests are 
represented with the most impressive fidelity. 
Many of his pictures have been purchased for the 
private collections of England, and they are highly 
prized both there and in Holland. Rietschoof died 
in 1719. His son and scholar, Henry R., was born 
at Hoorn in 1678, and painted similar subjects, 
which, though unequal to the works of his father, 
possess sufficient merit to find a place in the Dutch 
collections. He also copied the works of Back- 
huysen with great exactness, and his works are 
probably mostly attributed to that master or to 
the elder Rietschoof. 

RIGAUD, Hyacinthe, an eminent French por- 
trait painter, surnamed the French Vandyck, was 
born at Perpignan in 1659. He acquired the ele- 
ments of design from his father, Matthias Rigaud ; 
but the latter dying While he was very young, he 
was placed under a portrait painter at Montpellier, 
where he continued till his eighteenth year, and 
then settled at Lyons. Notwithstanding the am- 
ple encouragement he received in that city, he was 
determined to attain greater excellence. In 1681 
he visited Paris, to study historical painting in the 
Academy, and in the following year he obtained 
the grand prize, which entitled him to the royal 
pension. Instead of proceeding to Italy, however, 
he decided to accept the advice of Charles le Brun, 
and confine himself to portrait painting. Adopt- 
ing the admirable style of Vandyck, he attained 
great excellence, and was very extensively patron- 
■ ized by Louis XIV., whose portrait he frequently 
! painted ; also by the French nobility, and many 
i illustrious foreigners. His heads are full of char- 



RIGA 



788 



RILE. 



acfcer and expression, his touch is bold and free, 
and his coloring more chaste than usual among 
French artists. Unfortunately for the beauty of 
his portraits, they are mostly represented with 
enormous perukes and preposterous habiliments ; 
but this was rather the fault of the times than the 
artist. In 1700, Rigaud was chosen a member of 
the Royal Academy, and presented, as the reception 
piece, his admirable portrait of Desjardins. — 
Among his few historical works are a picture of 
St. Andrew, in the hall of the Academy ; and a 
Nativity, engraved by D revet. Many of his por- 
traits have also been engraved by the best French 
artists, among which are those of Bossuet, bishop 
of Meaux, by Drevet ; and his own portrait, by 
Gerard Edelinck. Rigaud was honored with the 
Order of St. Michael ; was appointed a professor, 
and afterwards director of the French Academy. 
He died in 1743. 

RIGAUD, Jean, a French painter and engraver 
of landscapes and views, was born at Paris about 
1700. He engraved many plates from his own de- 
signs, in a spirited and masterly style, with figures 
neatly and correctly drawn. Several of his etch- 
ings represent views in the vicinity of London, 
wherefore he is supposed to have visited England. 
Nagler says he died in 1754, and gives a long list 
of his plates, among which are the following. His 
son, Jean Baptiste R., engraved a view of the 
Bourbon palace, after a design by his father. 

A pair of Views of Marseilles, at the time of the plague 
in 1720. A set of six Views of the Chateau and Gardens 
of Marly. The Garden of the Tuileries. A View of the 
Chateau of the Luxembourg. A View of Hampton Court. 
St. James' Park. Greenwich Park. Greenwich Hospital. 
A set of six Landscapes with figures. A set of six Views 
in France, with rural amusements. 

RIGAUD, John Francis. This historical 
painter was probably of French origin. He visit- 
ed England in the latter part of the last century, 
and practised the art there for a number of years. 
He painted a number of pictures for BoydelPs 
Shakspeare Gallery ; also several subjects of a sa- 
cred character, and subjects from the history of 
England. He was chosen a member of the Roy- 
al Academy, and presented his picture of Samson 
breaking his Bonds, in a style partaking more of 
the French than the English school. The reputa- 
tion of Rigaud has been considerably diffused 
through many engravings of his pictures, and by 
his translation of Leonardo da Vinci's Treatise on 
Painting, illustrated with copper plates. His 
death is supposed to have happened in 1810. 

RIGHETTI, Mario, a painter born at Bologna 
about 1590, who studied under Lucio Massari. 
There are several of his works in the Bolognese 
churches, among which are the Nativity in S. Lu- 
cia, and Christ appearing to Mary Magdalene in 
S. Giacomo Maggiore. 

RILEY, John, an English portrait painter, born 
at London in 1646. He studied under Isaac Ful- 
ler and Gerard Zoust. Walpole considers him 
as one of the best English artists, but being 
very diffident of his own abilities, he was lit- 
tle noticed until after the death of Lely. He 
painted the portraits of Charles II., James II. and 
his Queen ; also those of William and Mary, who 
appointed him their court painter. Several of his 
works, according to Bryan, would have done cred- 
it to either Lely or Kneller, particularly his por- 



trait of Lord Keeper North at Wroxton. 
in 1691. 



He died 



RILEY, Charles Reuben, an English painter, 
was born at London about 1752. He studied un- 
der J. H. Mortimer, and drew the gold medal at 
the Academy in 1778, for his picture of the Sacri- 
fice of Iphigenia. At the recommendation of his 
instructor, he was employed by the Duke of Rich- 
mond in the decorations at Goodwood ; and subse- 
quently embellished the mansion of Mr. Conelly, 
in Ireland. During the remainder of his life, he 
was principally occupied in making designs for the 
booksellers, evincing considerable fancy, taste and 
abihty. Riley died in 1798. 

RIMINALDI, Orazio, an eminent painter, born 
at Pisa in 1598. After studying under Aurelio 
Lomi in his native place, he visited Rome, and en- 
tered the school of Orazio Lomi, called Gentiles- 
chi. During a residence of several years at Rome, 
he studied with great assiduity the antique and the 
productions of the great masters, and on return- 
ing to Pisa, became distinguished as one of the 
most promising artists of his time. He did not 
imitate either of the Lomi, but followed at first 
the style of Caravaggio, and afterwards adopted 
that of Domenichino, " to rival whom," says Lan- 
zi, " he seems to have been intended by nature. 
From the time that the art of painting revived in 
Pisa, that city had not perhaps so eminent a paint- 
er, nor have many better been born on the banks of 
the Arno, a soil so propitious to the arts. Grand 
in contour and in drapery, after the manner of the 
Caracci, pleasing and agreeable in his carnations, 
full, free, and delicate in the management of his 
pencil, he would have been faultless, had not the 
wretched style of engraving raised prejudices 
against him." Among his principal works in the 
churches of Pisa, are two in the Cathedral, repre- 
senting the Brazen Serpent, and Sampson destroy- 
ing the Philistines, forming a perfect studv to gain 
a knowledge of that epoch of painting. His Mar- 
tyrdom of St. Cecilia is now in the Florentine 
Gallery. Lanzi says his last work, the Assump- 
tion, painted in oil, is one of the best conceived and 
most perfect works that Tuscany has ever beheld. 
Unfortunately for the art. Riminaldi was carried 
off by the plague, according to Morrona, in 1631 ; 
his Assumption was feebly completed by his bro- 
ther Girolamo, and sold at 5000 crowns. Had 
this artist lived longer, it involves no great hazard 
to assert that he would have been a second Zam- 
pieri. 

RIMINALDI, Girolamo, was the brother of 
the preceding, and flourished at Pisa about 1630. 
He gained considerable distinction in his time, and 
was invited to Naples, where he executed some 
works in the chapel of S. Gennaro. According to 
Morrona. he afterwards visited Paris at the request 
of Marie de Medicis, and was employed by the 
French court. There are a few of his works in 
the collections of Pisa and other places. 

RIMINALDI, DoMENico, an Italian sculptor in 
wood, was born at Pisa in 1595. He gained con- 
siderable distinction for his admired works in the 
Cathedral of Pisa, among which was a bas-relief 
of the grand altar, representing the Coronation of 
the Virgin, afterwards placed in a chapel of the 
Campo Santo. He died at Pisa in 1637. 

RIMINI, Bartolomeo da. See Coda. 



RIMI. 



789 



RISU. 



RIMINI, Lattanzio da. See Della Marca. 

RINALDO, Santo, called il Tromba (the Trum- 
pet), was a reputable Florentine painter, and flour- 
ished from about 1640 to 1660. He studied under 
Francesco Furini, and painted landscapes and bat- 
tle pieces. 

RINCON, Antonio del. a Spanish painter, born 
at Guadalaxara, in 1446. He is termed the found- 
er of the Spanish school. He studied at Rome, 
and on returning to Spain was appointed painter 
to the court of Ferdinand and Isabella. Many of 
his works perished in the destructive conflagration 
of the Prado, in 1608 ; the principal that remain 
are two portraits of his royal patrons Ferdinand 
and Isabella, in the church of San Juan de los 
Reyes at Toledo ; and an altar-piece in the church 
of Robledo de Chabela, a small town in the arch- 
bishopric of Toledo. Rincon was appointed groom 
of the king's chamber, and a knight of the order 
of Santiago. He died in 1500. 

RING, Peter de, a Dutch painter of still-life, 
who flourished about 1650. His name is not men- 
tioned by the writers of his country, but there is 
an admired picture by him in the Museum at Am- 
sterdam, representing a table covered with blue 
velvet, upon which are various kinds of fruit, and 
shell-fish. His works are generally marked with 
a ring, probably in allusion to his name ; several 
were taken to England a number of years ago, 
and are supposed to have been attributed to John 
David de Heem. 

•'>' RINGGLI, GoTHARD, a reputable 

I F) Swiss painter, born at Zurich, according 

V_Jf\ (fcto Fiiessli, in 1575. Little is known of 
the circumstances of his life, and his in- 
structor is not mentioned. He was employed by 
the magistrates of Berne to paint several large 
pictures relating to the national history, such as 
the Foundation of the city of Berne, and the Arms 
of the Republic, sustained by allegorical figures of 
Religion and Liberty. Fiiessli praises them for 
ingenuity of composition, correctness of design, 
vigorous and beautiful execution. Among the 
other excellent works of Ringgli are his pictures 
of Christ at the Tomb, Susanna in the Bath, and 
Faith preserved from the Storms of Persecution. 
Nagler and Brulliot mention about twelve etchings 
by this artist, from his own designs, in a bold, 
free style, marked with a monogram composed of 
the letters G. R., or G. Ringly u Zurich,fecit, 1628. 
He died in 1635. 

RIOJA, DoMENico DE LA, a reputable Spanish 
sculptor, who flourished at Madrid about 1645, 
under ihe reign of Philip IV. Among other works 
he executed a statue of St. Peter, for a church of 
that city ; and several bronze statues for the Oc- 
tagon Saloon of the royal palace. He died about 
1656. 

RIPOSO, Felice. SeeFicHERELLi. 

RISTORO, F., was an old Florentine painter 
and architect, who flourished in the 13th century, 
and erected, in concert with F. Sisto, the grand 
bridges of the Carraja and the Holy Trinity, in 
1264. Baldinucci says their pictures resemble 
those of Arnolfo, and proceeds to class them 
among the scholars of that master ; but Lanzi 
thinks it more probable that Arnolfo, and even 
Cimabue. imitated them. 



RISUENO, Jose, a reputable Spanish painter 
and sculptor, was born at Granada about 1640. 
He studied both arts under Alonso Cano, and at- 
tained considerable reputation. He painted a num- 
ber of pictures in the churches of his native city, 
distinguished for their good taste of design, soft 
and harmonious coloring. His largest painting is 
in the cupola of the Carthusians, where he wrought 
in concert with his eulogist, Antonio Palomino. 
There are also many of his sculptures in the 
churches of Granada, in the style of Alonso Cano. 
Risueno died at Granada in 1721. 

RITCHIE, John, a Scottish sculptor, was boru 
at Musselburg in 1810. He was the brother of 
the distinguished sculptor Alexander Ritchie, who 
studied at Rome, under Thorwaldsen, and is now 
an Associate of the Royal Scottish Academy. He 
acquired a good knowledge of the art in his native 
country, and produced a number of works, which 
evince considerable skill and inventive genius. 
His statue of Sir Walter Scott, at Glasgow, is a 
work of uncommon merit ; and his group from 
" The Deluge," exhibited at Edinburg in 1832, re- 
ceived much approbation. Upon the arrival of his 
brother Alexander from Rome, John Ritchie en- 
tered his studio as an assistant, and wrought with 
him for many years. At length Mr. Davidson of 
London, having seen Ritchie's model of " The Del- 
uge," commissioned him to execute it in marble, 
whereupon he started for Italy, in order to prose- 
cute his work with every advantage. Unfortu- 
nately, he died soon after his arrival, in the au- 
tumn of 1850. 

RITRATTI, Santino da'. See Vandi. 

RITUS, Michael, an obscure engraver, who 
lived about the middle of the 17th century, and ex- 
ecuted, among other works, a plate of the Virgin 
and Infant, c^ter Annibale Caracci. 1647. 

RIVALZ, Jean Pierre, a French painter, born 
at Bastide d'Anjou in 1625. He had a strong in- 
clination for art, and learned design from a monk, 
named Ambroise Fredeau, who had been a scholar 
of Simon Vouet. He afterwards visited Rome for 
improvement ; and according to the Biographie 
Universelle, he attained such excellence, particu- 
larly in perspective and architecture, that Poussin 
employed him to assist him in some of his works. 
On returning to France, he settled at Toulouse, and 
was appointed painter to the city. He executed 
many works which compared favorably with co- 
temporaneous productions of the French school ; 
but they were nearly all destroyed in 1793. Ri- 
valz instructed a number of scholars, among whom 
was la Fage. He died in 1706. 

RIVALZ, Antoine, a distinguished French 
painter, the son of J, P. Rivalz, was born at Tou- 
louse in 1667. After acquiring from his father 
the elements of design, he visited Paris for im- 
provement, and afterwards went to Rome, where 
he studied the works of the great masters with as- 
siduity, and succeeded in drawing the prize at the 
Academy of St. Luke, for his picture of the Fall 
of the Rebel Angels. On returning to Toulouse, 
he established himself in that city, and practised 
the art with reputation for many years. Inferior 
to his father in beauty of coloring, he surpassed 
him in fertility of invention and correctness of de- 
sign ; he also possessed an extraordinary talent 
for copying the productions of the great Italian 



RIVA. 



790 



RIVE. 



masters. Rivalz was very active, both in words 
and deeds, in founding and establishing the Acad- 
emy of Painting, in his native city, where most 
of his works are to be found. He died in 1735. 
There are by him a great number of drawings, 
executed in a very free style, resembling that of 
Raymond de la Fage ; also a few spirited etchings, 
among which are the following : The Martyrdom 
of St. Symphorianus. An Allegorical subject of 
Vice driven away by Truth, as the enemy of the 
Arts and Sciences ; in memory of N. Poussin. 
Four plates of Allegorical subjects for a treatise 
on Painting, by Dupuy du Grez. 

RIVALZ; Jean Pierre, a French painter and 
engraver, was the son of Antoine P. After ac- 
quiring a knowledge of design in his own country, 
he visited Italy for improvement, and remained 
there eleven years. The Pope made him a knight 
of the Order of the Golden Spur. On returning 
to France he settled at Toulouse, and gained con- 
siderable reputation. Among his principal works 
in that city, are those at the Chartreuse, and at 
the hotel of the Grand Prior of Malta. He estab- 
lished a school of painting and engraving, and pub- 
lished a collection of prints in folio, engraved by 
his scholars, of a number of antiques, in his own 
possession. In 1770, he published a work entitled 
Analyse des ouvrages de peinture, sculpture, etc., 
qui sont dans Vhotel de ville de Toulouse, 8 vo. 
Rivalz died in 1785. 

RIVALZ, Bartholomew, a French engraver, 
was the nephew and pupil of Antoine R., born at 
Toulouse in 1724. He executed a number of spir- 
ited etchings, among which are the following : The 
Fall of the Rebel Angels ; after Ant. Rivalz. Ju- 
dith and Ilolofernes, do.; Joseph and Potiphar's 
Wife. do. ; The Death of Mary Magdalene, after 
Benedetto Luti. 

RIVAROLA, Alfonso, called II Chenda, a 
distinguished Italian painter, was born at Ferrara 
in 1607. He studied under Carlo Bononi. and be- 
came his most distinguished disciple. At the death 
of that master he was proposed by Guido Reni, 
to complete the Marriage of the Virgin, sketched 
by Bononi, for the church of S. Maria in Vado at 
Ferrara. Rivarola also painted a number of excel- 
lent works for the churches, which are highly es- 
teemed ; among them is his Baptism of St. Agos- 
tino, in the church dedicated to that saint, " ex- 
hibited," says Lanzi, " in a temple of noble archi- 
tecture, in a style of foreshortening that displays 
a master" ; also the Resurrection, at the Teatini ; 
and the Brazen Serpent, in S. Niccolo. There are 
a few of his works in the private collections of Fer- 
rara, but he vseems to have aimed rather at popular 
admiration, and was frequently employed as ar- 
chitect and painter for arranging tournaments and 
other public festivals. Rivarola died at the pre- 
mature age of thirty- three, in 1640. 

RIVE, Peter Louis, a reputable Swiss portrait 
painter, born at Geneva in 1753. He studied under 
Chevalier Fassin, and afterwards visited Italy for im- 
provement. He traveled through Switzerland and 
Savoy, making many designs of the most roman- 
tic scenery, which were of great use in his subse- 
quent productions. His works were much es- 
teemed, and are scattered over Germany, Russia, 
and England, Among the principal is a grand 
landscape^ of a warm and vigorous coloring, pre- 
sented by Rive to the Society for the Encourage- 



ment of the Fine Arts at Geneva ; and a splendid 
View of Mont Blanc, in the Cabinet of Prince 
GaHtzin, at St. Petersburg. 

RFVELLO. See xMoretto. 

RIVERDITI, Marc' Antonio, a painter born 
at Alessandria della Paglia, who studied at Bo- 
logna, according to Lanzi, and flourished in that 
city, in the latter half of the 18th century. — 
He painted portraits with considerable success, 
and Lanzi commends his subjects of history for 
their clear, chaste style, and freedom from man- 
nerism. He frequently imitated the style of Gui- 
do, particularly in his Conception, in the Padri 
Camaldolesi. He died, according to Lanzi and Za- 
ni, in 1774. 

RIVIERA, Francesco, a French painter, who 
visited Italy, and flourished at Leghorn during the 
first half of the 18th century. According to Lanzi, 
he was much esteemed for his talents in painting 
conversations and Turkish ballets for the private 
collections. Having been extensively employed in 
painting portraits for the foreign nobility of Flor- 
ence, his name must be well known in England and 
France, although not mentioned in the English dic- 
tionaries. There is a portrait of Riviera, executed 
by himself, in the Florentine gallery. He died at 
Leghorn about 1750. 

RIVOLA, Giuseppe, a Milanese painter, born 
in 1740, was a scholar of Filippo Abbiati. He 
painted much for the private collections, and, ac- 
cording to Lanzi, was esteemed by his fellow citi- 
zens among the best pupils of his instructor. 

RIZT, Francisco. This artist, the son of An- 
tonio Rizi, a Bolognese painter, who had accom- 
panied Federigo Zuccaro to Spain, was born at 
Madrid in 1608. He studied under Vincenzio Car- 
ducci, and early manifested great natural talents ; 
but being allowed to indulge his abundant imagi- 
nation, he neglected academic study, and soon fell 
into a dangerous facility of execution. His bril- 
liant, though superficial talents, gained the ap- 
proval of the public ; Rizi was appointed paint- 
er to the cathedral of Toledo, and in 1656, court 
painter to Philip IV. ; he was also continued in that 
office by Charles II., who added to it the honor 
of deputy Keeper of the royal Keys. There are 
many of his works in the palaces, churches, and ca- 
thedrals of Spain, which sufficiently evince that he 
contributed materially to the downfall of art in 
that country. His last design, probably his best, 
was a sketch for the esteemed altar-piece in the 
sacristy of the Escurial, completed after the death 
of Rizi, by his disciple Coello. He died in 1685. 

RIZI, Fray Juan, the brother of the preceding, 
was born at Madrid in 1595. He surpassed his 
brother in correctness of design, and the conduct 
of the chiaro-scuro. In the latter part of his life, 
he went to Rome, and was appointed an arch- 
bishop by Clement X., in 1675, but died before 
entering upon his office. There are a number of 
his principal works in the Benedictine monastery 
of S. Martin at Madrid. During the peninsular 
wars, a painting representing St. Benedict celebra- 
ting mass, M^as removed to Paris, and placed in the 
Louvre; but it was restored in 1815. 

RIZZO, Marco Luciano, an eminent Venetian 
artist in mosaic. This art was commenced in 
Italy by the Greeks as early as the eleventh cen- 
tury, and was subsequently continued by the Ital- 



ROBA. 



791 



ROBE. 



ians. Its gradual improvement may be traced by 
the invaluable specimens preserved in the church 
of S. Mark at Venice, first the antique, and after- 
wards the antique modern style. Finally, ac- 
cording to Lanzi, the art was completely reformed 
about 1517, by Marco Luciano Rizzo, and Vincen- 
zio Bianchini. under whom, and the two Zuccati, 
it attained such perfection, that Vasari says ''it 
would not be possible to effect more with colors." 
See Bianchini. 
r6, Giovanni. See John Rottenhamer. 
ROB ART, a Dutch painter who flourished du- 
ring the last century, and is said to have been a 
scholar of John van Huysum. He painted fruit, 
flowers, dead game, and landscapes. His works are 
probably attributed to some more eminent painter. 
ROBATTO, Gig. Stefano, a painter born at 
Savona, in the Genoese state, in 1649. He studied 
at Rome under Carlo Maratti, and subsequently 
matured his genius by visiting other schools of 
Italy. After a visit in Germany, he returned to 
his native place, and executed a number of excel- 
lent works, which excited the unqualified praise 
of the Genoese professors, especially for their beau- 
tiful coloring. Unfortunately for the cause of art, 
he degraded his noble talents by a fatal passion for 
gaming, and produced many inferior works at a 
trifling price, so that, according to Lanzi, it may 
be said that Savona had not a better nor a worse 
painter than Robatto. One of his best frescos is 
in the cloister of the Capuchins, representing St. 
Francis receiving the Stigmata. He died in 1733. 
j ROBBIA, LucA DELLA, a Florentine sculptor, 
I who flourished about 1450. It is very probable 
that he was a scholar of Lorenzo Ghiberti, as he 
seems to have executed a part of the bas reliefs 
for the famous gates of the Florentine Baptistery. 
Together with his brother Agostino, and his ne- 
phew Andrea, he gained considerable reputation 
by his enamelled sculptures in terra cotta. At 
San Miniato, near Florence, there is a bas-relief 
j by Luca, representing the Virgin and Infant ; and 
in the Hospital of the Innocents at Florence, are 
several figures of children by Andrea, in derai- 
1 relief, commended by Vasari. 
] ROBERT, Nicolas, a French painter, was born 
at Orleans in 1610. He gained considerable dis- 
tinction for his miniature pictures of animals, in- 
I sects, and plants, and was employed by Gaston, 
', duke of Orleans, to paint the most curious beasts 
i and birds in the royal menagerie. These minia- 
I tures are still preserved in the royal library at 
Paris ; there are also by him several etchings of 
' similar subjects, and a set of six plates of vases, 
', after the designs of Charmeton. Robert died in 
I 1684. 

I ROBERT, A., a French engraver, who flourish- 
1 ed about the middle of the 18th century. He 
': studied under J. C. le Blond, and is chiefly known 
\\ by a number of good prints, colored according to 
y the system of his instructor, by printing with four 
I plates. 

fj ROBERT, Hubert, a reputable French painter, 
was bo7n at Paris in 1733. After acquiring the 
elements of design in his native city, he visited 
Rome for improvement, and studied in the French 
Academy, then under the direction of Carlo Natoire. 
h During t, residence of several years at Rome, he 
I made many accurate designs of architectural mon- 



uments in that city ; he afterwards returned io 
Paris, and was principally employed in painting 
architectural and perspective views. Many of 
them represent scenes in the vicinity of Rome, 
which were highly esteemed, combining the styles 
of Gio. Paolo Pannini and Joseph Vernet. Robert 
was chosen a member of the Royal Academy, and 
was twice invited to St. Petersburg by the Em- 
press Catherine II., in 1782 and 1791. There are 
by him several spirited etchings, among which is a 
set of ten architectural landscapes, entitled Les 
Soirees de Rome. He died in 1808. 

ROBERT, Nicolas, 9 French painter, who vis- 
ited the court of Savoy at Chambery, and was 
employed, according to Lanzi, by the Duke (Phili- 
bert L), from 1473 to 1477. His works have 
either perished, or remain unknown ; and Lanzi 
thinks it probable that he was a miniature painter, 
or illuminator of manuscripts. 

ROBERT, Paul Ponce Antoine, a French 
painter, born at Sery en Porcien, in Champagne, 
in 1686. He studied under Pierre Jacques Cazes, 
and afterwards in Italy. On returning to Paris, 
he painted an altar-piece for the church of the 
Capuchins, representing the Martyrdom of St. 
Fidele, which is his principal work as a painter, 
and gained him a pension from Cardinal de Rohan. 
Robert etched several plates from the chiaro-scuros 
by Nicolas le Sueur, for the Crozat collection, 
which are described in the Manual of Huber and 
Rost. He died at Paris in 1733. 

ROBERT, Louis Leopold, a painter of the 
French school, was born in the Canton of Neuf- 
chatel, in Switzerland, in 1794. He early mani- 
fested a strong inclination for art, and was taken 
by the engraver Charles Girardet to Paris, where 
he entered the school of David, and made excel- 
lent progress in painting. He also studied en- 
graving under Girardet, and in 1814 gained the 
second prize for a fine copper plate. He made 
strenuous exertions to gain the grand prize in 
painting ; but the congress of Vienna having 
transferred to Prussia in 1815, his native province 
Neufchatel, he was declared a foreigner, and ex- 
cluded from competition in the Academy. The 
banishment of his friend and instructor David, at 
the Restoration, induced Robert to leave France, 
and he accordingly returned to his native prov- 
ince, where he painted portraits for about a year 
and a half, and was then offered a pension to en- 
able him to go to Rome, by M. de Mezerac. Du- 
ring his residence in Italy, he prosecuted his studies 
with the greatest energy and assiduity. The Ro- 
man government having captured a large number 
of bandits, with their wives and children, Robert 
frequently visited the prison, and made many 
faithful studies to illustrate their wild and ro- 
mantic mode of life. In 1828, he returned and 
settled in his native place. Several of his pic- 
tures were sent to the Louvre, and were greatly 
admired; such as his Corinne singing on Cape 
Misenum, exhibited in 1822, under the title of 
L' Improvisateur Napolitain, and highly praised 
for its simplicity, grandeur, and varied expression in 
the figures. His Fete of the Madonna dell' Arco. 
and his Return of the Harvesters, are also much 
commended ; the latter has been engraved. Robert 
was of melancholy temperament, and finally put 
an end to his life, in 1835. 

ROBERTELLI, Aurelio, a painter who flour- 



ROBE. 



792 



ROBI. 



Ished at Savona, in the Genoese state, in the latter 
part of the 15th century. Lanzi mentions a pic- 
ture of the Virgin by him, painted on a column of 
the old cathedral and subsequently transferred to 
the new one, where it excites the particular ven- 
eration of the people. 

ROBERTS, James, an English engraver, was 
born in Devonshire in 1725, and executed several 
plates of landscapes and views from the pictures 
of Richard Wilson, George Barret, Smith of Chi- 
chester, and others. 

ROBERTSON, George, an English painter, was 
born at London about 1742. After acquiring the 
elements of design in Mr. Shipley's drawing school, 
he visited Italy for improvement, and produced 
several landscapes of considerable merit. He sub- 
sequently made a voyage to Jamaica, and designed 
several views in that island, some of which were 
exhibited in the Academy in 1775. Meeting with 
little encouragement in landscape painting, he 
adopted the profession of a drawing-master, in 
which he was more successful. There are a few 
etchings by Robertson, from his own designs. He 
died in 1788. 

ROBETTA, an old Italian engraver, concerning 
whom little is known. According to Huber, he 
was born at Florence about 1460 ; the researches 
€f Vasari and Zani tend to show that he flourish- 
ed also in the first part of the 16th century, co- 
temporary with Gio. Francesco Rustici, with whom 
and ten other Florentine artists he was accustomed 
to mingle in convivial entertainments, about 1512. 
Robetta followed the occupation of a goldsmith, 
and engraved a few plates in the rude manner 
practised in Italy before the time of Marc' Anto- 
nio. His prints are very scarce ; Zani speaks of 
having seen thirty, signed Roheta^ or Rohetta^ but 
more commonly Robta, or R. B. T. A. Bartsch 
gives a list of twenty-six, as follows : 

List of Prints by, and attributed to, Robetta. 

SUBJECTS FROM THE OLD TESTAMENT. 

1, The Creation of Eve ; not signed. 2. Adam and 
Eve driven from Paradise ; not signed. 3. Adam and 
Eve, and their two Children ; signed RBTA. There are 
two impressions of this plate. In the ftrst the sky is 
white ; the second is retouched, and there are several 
clouds in the sky, particularly to the right. 4. Adam and 
Eve, and their two Children ; no mark. The first state 
before a round hole at the bottom of the plate. 5. Adam 
and Eve and their two Children ; no mark. 

SUBJECTS FROM THE NEW TESTAMENT. 

6. The Adoration of the Kings ; signed ROBETTA. 7. 
The Nativity ; not signed, but undoubtedly his work. 8. 
Jesus Christ baptized in the river Jordan ; signed RBTA. 
9. Jesus Christ taking leave of his Mother; do. 10. The 
Resurrection of Christ ; do. 11. The Virgin presenting 
her breast to the Infant ; sio-nec? ROBTA. 12. The Virgin 
seated in a landscape, &c. ; signed RBTA. 13. The Vir- 
gin with Angels, &c. ; not signed, but considered one of 
the most beautiful pieces of the master. 14. St. Sebastian 
and St. Roch ; not signed. 15. Faith and Charity, with 
their attributes ; signed RBTA. 

MYTHOLOGICAL SUBJECTS. 

16. Ceres, with two goat-footed Infants ; signed RBTA. 
17. A young Man tied to a Tree, &c. ; do. 18. Venus sur- 
rounded by Cupids ; some ti-aces of the name may be seen 
in a dark shadow. 19. Apollo and Marsyas ; signed RBTA. 
20. The young Hercules between Virtue and Vice ; not 
signed. 21. Hercules killing the Hydra ; signed RBTA. 
There are two impressions ; in the ^r^^, the sky'is left white ; 
in the second, there are some clouds, and a falcon chas- 
ing a heron. 22. Hercules and Anteus; not signed. 23. 
The Lyrist ; signed RBTA. 24. An old Woman and two 



amorous Couples, &e. ; not signed. 25. A Man tied 
to a Tree by Cupid, &c. ; on a tablet RORETA (sic.). 26. 
Mutius ScBBVOla. ; signedB-BTA. 

ROBINSON, R., an obscure English engraver, 
who left several plates in mezzotinto, among which 
are those of Sir James Worsley, knight ; Thom- 
as White, bishop of Peterborough ; Charles XL ; i 
James II. ; and Charles I., after Vandyck. ' 

ROBINSON. This English painter was bom 
at Bath, about 1715. He studied under John 
Vanderbank at London, and gained considerable 
distinction in portraits. He succeeded Jervas in 
his house in Cleveland Court, and obtained exten- 
sive employment. His draperies were painted in 
imitation of the style of Vandyck, but his color- 
ing was feeble, and his abilities were of an inferior 
order. He died in 1745. 

ROBSON, George Fennel, a distinguished 
English landscape painter in water-colors, was 
born at Durham in 1790. He early manifested a 
strong inclination for art, and was accustomed to 
observe, with intense interest, the operations of 
the artists who frequently visited his native town, 
to design the beautiful scenery in its vicinity. 
Encouraged by Mr. Wm. Daniell and Mr. Cot- 
man, he produced several drawings of considera- 
ble merit, without the aid of regular instruction ; 
and at the age of sixteen he visited London for 
improvement. For about a year, he maintained 
himself by the sale of his drawings, and then pub- 
lished a View of Durham, which brought him into 
public notice. He afterwards traveled through 
Scotland, Wales, and Ireland, designing many 
views of the most interesting scenery, distinguish- 
ed for vigorous coloring and execution, and embel- 
lished with animals by the painter Hills. He was 
a member of the Water-Color Society, and sent a 
large number of drawings to the exhibitions of 
that association. His works were very popular 
during his life, and are still much esteemed. Rob- 
son died in 1833. 

ROBUSTL See Tintoretto. 

ROCCA, GiACOMo, a Roman painter, was prob- 
ably born about 1520, and studied under Daniele 
Ricciarelli, called di Volterra. His pictures are 
mostly after the designs of other masters ; and, 
according to Lanzi, they possess little merit of 
execution. Volterra, at his death, bequeathed 
to this artist a large number of designs by his in- 
structor, Michael Angelo ; and several pictures 
painted in concert with Rocca by Giuseppe Cesari, 
after some of these designs, established the repu- 
tation of the latter painter. Rocca died in the 
pontificate of Clement VIII.. between 1592 and 
1605. 

ROCCA, MicHELE, called il Parmiggianino, a 
Roman painter, who flourished about the com- 
mencement of the 18th century. Lanzi says he 
gained considerable reputation, but does not men- 
tion any of his works. There is some danger, 
from the identity of their surnames, of confound- 
ing him with Mazzuoli and Scaglia. * 

ROCCADIRAME, Angiolillo, a Neapolitan 
painter, who flourished about the middle of the 
15th century. According to Dominici, he was one 
of the best scholars of Antonio Solario, called Zin- 
garo, and painted a picture in the church of S. 
Brigida, representing that Saint contemplating in 
a vision the Birth of Christ, which might pass 



ROCC. 



793 



BODE. 



with experienced connoisseurs for the work of his 
instructor. 

ROCOHETTI, Marc' Antonio, a distinguished 
painter of Faenza, who flourished in the latter 
half of the 16th centur}'-. Lanzi supposes him to 
have been the same as Figurino da Faenza, enu- 
merated by Vasari among the best disciples of 
Giulio Romano, but mentioned by no other wri- 
ter. In the youth of Rocchetti, he executed for 
the church of S. Sebastiano at Faenza, many small 
pictures of subjects from the history of that 
saint, which were dispersed when the edifice was 
destroyed, and are now preserved with high es- 
teem in private collections. He afterwards adopt- 
ed a grander style, and imitated the manner of 
Baroccio with such simplicity of composition, and 
sweetness of coloring, that his works are quite 
conspicuous in the churches, particularly in S. 
Rocco, where he painted a picture of the titular 
saint, dated 1604. Lanzi also mentions another 
by him, in the Communal collection, which is high- 
ly praised, representing the Virgin with St. Fran- 
cis, a bishop, and two portraits below. It is in- 
scribed M. Antonius Rochettus Faventinus pin- 
gebat. 1594. 

ROCHERS. Etienne des, a French engraver, 
who flourished at Paris in the first half of the 
18th century. He was probably the pupil of P. 
Drevet, whose style he followed. His works do 
not possess much merit ; but, according to the Bi- 
ographie Universelle, he executed a set of 800 
portraits of illustrious personages, was chosen a 
member of the Royal Academy, engraved a por- 
trait of Charles VI., and was honored by that 
^prince with a gold medal. He died in 1741. 

ROCHFORD, P. DE, a French engraver, who 
iourished about 1720. He practised the art for a 
pmber of years in his own country, and after- 
rards removed to Portugal, where he spent the 
jmainder of his life. There are by him several 
|ates after J. B. Santerre, and other painters ; 
algo part of the plates in the large folio collection 
oWiews of the Palace and Gardeiis of Versailles, 
polished by P. Menant. 

toCHIENNE, Pierre, a French engraver on 
w6d, who flourished about the middle of the 16th 
cei^ury. According to Papillon, he executed, in 
con^rt with J. Ferlato, a set of indiflerent wood- 
en (^ts for the New Testament in Latin, published 
in 161. Several prints in the Legende Doree, 
pub^hed in 1557, were also by him. 

R<PQUE, J., a French engraver, who visited 
Engird, and executed, among other plates, two 
large^lates of Wanstead House, in Essex. 

RO>E, Christian Bernard, a German paint- 
er andbgraver, was born at Berlin in 1725. Af- 
ter acqiring the elements of design in his native 
city, hVisited Paris, and studied under Charles 
Vanloo\nd Jean Restout. He subsequently pass- 
ed sora^jme in Italy, and then returned to Ber- 
lin. Hapainted history and portraits with flatter- 
ing succijs ; was employed for the churches of 
Berlin ar^ other cities in Prussia ; and executed 
a numberjf works for the royal palace of Sans 
Souci. A an engraver, he produced a large num- 
ber of etclngs. several of which are after his pic- 
tures in th public edifices. Rode died in 1797. 
Nagler giv\ a long list of his plates, among which 
are the folding : 



His Portrait ; engraved by himself, after Reclam. 
Christ, with the Disciples at Emmaus. The' Descent of the 
Holy Ghost. The Ascension ; from his picture in the 
church at Kostock. St. Paul preaching. Christ in the 
Garden of Olives ; from the picture in the church of S. 
Mary at Berlin. Joseph discovering himself to his Breth- 
ren 

RODE, John Henry, a German engraver, the 
younger brother of the preceding, was born at 
Berlin in 1727. He first learned the business of 
a goldsmith, but afterwards devoted himself to 
engraving. After producing several admired plates 
at Berlin, he went to Paris, and studied under J. 
G. Wille, in whose finished style he executed seve- 
ral plates. On returning to Berlin, he publivShed 
several prints from the designs of his brother, and 
soon acquired a distinguished reputation, but was 
cut ofi" in the commencement of a flattering ca- 
reer, in 1759. The following are among his prin- 
cipal works : 

The Portrait of John George Wille ; after Schmidt. 
A Head of Epicurus ; after T. M. Preisle'r. Jacob wrest- 
ling with the Angel ; after C B. Rode. An Ecce Homo ; 
do. A Sacrifice of the Vestals ; do. 

RODERIGO, or RODRIGUEZ, Luigi, a Sicil- 
ian painter, probably of Spanish origin, who flour- 
ished, according to Hackert, in the first half of 
the 17th century. After acquiring a good know- 
ledge of the art in Rome, he settled at Naples, and 
at first continued his studies under Bellisario Co- 
renzio, whose style he subsequently relinquished 
for that of Giuseppe Cesari, called Cav. d'Arpino. 
There are many of his works in the public edifi- 
ces of Naples, which have a degree of mannerism, 
but are distinguished for a certain grace and judg- 
ment superior to Arpino. Notwithstanding the 
amiable qualities of Roderigo, his former instruct- 
or — the treacherous and revengeful Bellisario — be- 
came jealous of his fame, and poisoned him in the 
flower of his life. 

RODERIGO, Alonso, an eminent Sicilian paint- 
er, the brother of the preceding, was born at Mes- 
sina in 1578. He attained a high reputation in his 
native place, and executed a large number of works 
for the churches and public edifices, which suffi- 
ciently evince, according to Hackert, his facility and 
excellence. Among his most admired works were 
the Probatica, in S. Cosmo de' Medici ; and his 
capital picture of the two founders of Messina, in 
the senatorial palace, for which he received a thou- 
sand scudi. On the return of Antonio Ricci, call- 
ed Barbalunga, to Messina, his fame and commis- 
sions began to decline ', but being elevated above 
the influence of petty jealousies, he was nobly ac- 
customed to term his rival the Caracci of Sicily. 
Roderigo died in 1648. 

RODERIGO, Gig. Bernardino, called II Pit- 
tor Santo, was the nephew and scholar of Luigi 
R., and flourished about 1650. He followed the 
style of Giuseppe Cesari with excellent success, 
and was commissioned by the Carthusian monks 
to complete a picture left imperfect at the death of 
that master. 

RODERMONT. a Dutch engraver, who is also 
called Rottermondt and RotermaJis. He flour- 
ished about 1640. and executed a number of plates, 
some of which are in the style of Rembrandt. 
Among others by him, are the portraits of Joan- 
nes Secundus, a Latin poet of the Hague, signed 
Rodermont.fec. ; and Sir William Waller, with a 
Battle in the back-ground, after C. Jansen. 



KODR. 794 

RODOLPH, CoRRADO. This artist was a na- 
tive of Gerraan5^ the son of a sculptor, and flour- 
ished in the 17th century. After acquiring a 
knowledge of design from his father, he visited 
Paris, and afterwards Italy, where he studied in 
the school of Bernini. He then went to Spain, 
and gained great reputation at Valencia ; he was also 
employed at Barcelona by the archduke, afterwards 
Charles III. One of his principal works was the 
fa9ade of the Cathedral at Valencia, which is un- 
mercifully criticised by Milizia. 

RODRIGUEZ. Frate Adrian, a painter born 
at Antwerp in 1618. His name was originally 
DieriX; but upon visiting Madrid he entered the 
Jesuitical order, and changed it to Rodriguez. 
There are several pictures by him, probably in the 
churches of his order at Madrid, in the Flemish 
taste, among which are the Marriage at Cana, the 
Disciples at Emmaus. and the Feast of Simon. 
Rodriguez died in 1669. 

RODRIGUEZ, Ventura, the most eminent 
Spanish architect of the 18th century, born at Ci- 
enpozuelos in 1717. He studied first under Este- 
ban Marchand, who was then engaged in carrying 
on the works at Aranjuez. After the death of his 
instructor in 1733, he was engaged by Ivara to as- 
sist in making drawings for the design of the new 
palace at Madrid ; and after the death of Ivara, he 
was employed by his successor Sacchetti, as prin- 
cipal superintendent of the works, in the erection 
of that edifice, in 1741. He soon rose to distinc- 
tion, and in 1747 was chosen an honorary member 
of the Academy of St. Luke at Rome. In 1752, 
at the establishment of the Academy of San Fer- 
dinando at Madrid, Rodriguez was chosen chief 
professor of architecture ; and he discharged the du- 
ties of his office with admirable zeal and fidelity. 
Commissions poured in upon him from every 
quarter, and there was scarcely a work of import- 
ance throughout the country, in which he was not 
employed or consulted. His numerous engage- 
ments prevented his visiting Italy; but he collect- 
ed all pictorial works relating to its ancient or 
modern edifices, and carefully studied the various 
monuments in the Peninsula, of Roman, Moorish, 
and Gothic architecture. He is highly praised by 
Ponz in the Viage de Espana ; his talents were 
of surpassing excellence, and he doubtless merited 
the title accorded him by his cotemporaries, of 
" The Restorer of Architecture in Spain." Rodri- 
guez was employed upon a variety of works, as 
hospitals, colleges, churches, and cathedrals, in the 
cities of Saragossa, Malaga, Granada, Toledo, Val- 
ladolid, and other places. Among the principal 
are, the Sanctuary at Cabadonga ; the church of 
the hospital at Oviedo ; that of S. Felipe Neri at 
Malaga; and the Palace of the Duke de Liria at 
Madrid. Rodriguez died at Madrid in 1785, and 
was buried in the church of S. Marcos, erected by 
himself. 

ROELAS, Juan de las, an eminent Spanish 
painter, descended from a noble family of Flemish 
origin, was born at Seville in 1560. He first com- 
menced the study of medicine, but after taking his 
degree he concluded to gratifji- a strong inclination 
for art. and accordingly went to Italy for improve- 
ment. He visited Venice, and is said by Palomino 
to have studied under Titian, but the latter died in 
1576, when Roelas was only sixteen years of age. 
It is more probable that he studied under a scholar 



ROEP. 



^1 



of that great master. On returning to Seville, he 
was much employed in ornamenting the churches, 
and produced many admirable works, which are 
compared with those of Palma and Tintoretto, be- 
ing distinguished for ingenious and abundant com- 
position, correctness of design, perfect delineation 
of the human figure, and the rich and harmonious 
coloring he had acquired in the Venetian school. 
Among his principal works is a picture of St. Jago 
riding over the Moors, a spirited and majestic com- 
position, in the chapel of that Saint at Seville ; 
the Conception, in the Academy ; and the Death 
of St. Isidore, in the church of that saint, alto- 
gether in the style of Titian. This eminent artist 
entered the priesthood in the latter part of his life, 
and went as a canon to Olivares in 1624, where he 
died in the following year. He was termed El 
Clerigo Boclas, probably from his spiritual office ; 
and El Licenciado Jua% probably from his doc- 
tor's degree. Palomino calls him Pablo, but Fran- 
cesco Pacheco, his cotemporary, denominates him 
Juan. 

ROEPEL, Conrad, an eminent Dutch painter 
of flowers and fruit, was born at the Hague in 
1679. He studied portrait painting for some time 
under Constantine Netscher, but his delicate con- 
stitution obliged him to quit the city, and reside 
at a country mansion belonging to his father. 
Amusing himself in cultivating flowers, he made 
attempts at painting the beautiful objects of his 
care, and succeeded to admiration. He sent to the . 
Hague one of his earliest productions, which was | 
immediately purchased by a celebrated florist, who " 
thereafter sent him the finest flowers of his garden. 
From these choice models, Roepel produced flower- 
pieces so agreeably disposed, and finished with 
such fidelity to nature, and clearness of coloring, 
that they were very highly esteemed, though not 
equal to the productions of Rachel Ruysch and 
John van Huysum. Invited to Dusseldorf ir 
1716 by the Elector Palatine, he was received wit! 
every mark of distinction, and painted sever? 
fruit and flower pieces for that prince, which weu 
greatly admired, and gained him, besides a liberl 
reward, the decoration of a gold medal and chaii. 
At the death of the Elector, he returned to tie 
Hague with increased reputation, and was emply- 
ed for some time in the service of Prince Willim 
of Hesse, and the families of Fagel and Lorner. 
In 1718, Roepel was chosen a member of the &ci- 
ety of Painters at the Hague. He was siJse- 
quently made Director, and discharged the dties 
of that office until his death, in 1748. 

ROER, Jacob vander, a Dutch painter was 
born at Dort in 1648. He studied underJohn 
de Baan, and afterwards went to England i the 
reign of Charles II. He practised the ft for 
some time there, and then returned to Dortwhere 
he died in 1699. 

ROESEL, Augustus John, a Germanpainter 
and engraver, was born near Arnstadt, in 105. Af- 
ter acquiring a knowledge of art from arelative, 
he settled at Nuremberg and practised miniature 
painting and engraving for many years. He also 
passed two years at Copenhagen, and ws patron- 
ized by the Danish court. He subseoently de- 
voted his attention to natural historyand made 
designs of insects, frogs, and other retiles, from 
which he engraved many plates, anc published 
several pictorial works. He died in 159. 



ROES. 



(95 



ROGM. 



ROESTRAETEN, Peter, a Dutch painter, was 
born at Haerlem in 1627. He studied under Fran- 
cis Hals, and afterwards married his daughter. 
He painted portraits in the manner of his instructor, 
and also pictures of gold and silver vases, bas- 
reliefs, musical instruments, with other objects of 
use or ornament, correctly designed, well colored, 
and touched with delicacy and freedom. After 
gaining considerable distinction in Holland, the 
success of Sir Peter Lely induced him to visit 
England, during the reign of Charles II. Although 
Lely received him with great kindness, and pre- 
sented him to the king, it does not appear that he 
was much employed at court. Probably doubtful 
of success in portraits, he applied his talents to the 
other branch of the art, in which he excelled, and 
was extensively employed by the nobility and gen- 
try of the time. He died at London in 1698. 

ROETTIERS, FRAN90ii?, a French engraver of 
little note, of Flemish origin, was born at Paris in 
1702. Several members of his family had held 
for many years the office of medalist at the French 
mint. There are a number of etchings by him, 
among which are two plates after Nicolas de Lar- 
giUiere, representing the Crucifixion, and Christ 
bearing his Cross, executed with great spirit and 
effect. Roettiers died in 1770. 

ROGER, OF Bruges, an old Flemish painter, a 
native of Bruges, was probably born about 1390. 
He studied under John van Eyck about the time 
when he discovered oil pain ting, and executed histor- 
ical works on a larger scale than those of van Ej'ck, 
well designed for that early period. According to 
van Mander, several of his works were preserved 
at Bruges in 1604. Among the names of several 
Flemish painters who practised the art in Italy 
in the 15th century, Vasari mentions that of Rug- 
gieri da Bruggia, probably identical with Roger of 
Bruges. In the Palazzo Nani at Venice, there is 
a picture by him, representing St. Girolarao be- 
tween two virgins, signed Sumus Rugerii man- 
us. There is also at Venice a portrait of this ar- 
tist, painted by himself, in 1462; and in the Ven- 
dramini collection is a picture b}'^ him, represent- 
ing the Virgin and Infant, in a temple of Flemish 
architecture. The same artist is also highly com- 
mended by Bartolomeo Facio. in his work ''De 
Viris Illustribus ;" and, according to Lanzi. he ap- 
pears to have acquired great reputation in Itah', 
from the cotemporaneous testimony of Ciriaco An- 
conitano. who saw in 1449 his picture of the De- 
posi tion from the Cross, in the possession of the Duke 
of Ferrara. There has been much useless disquisi- 
tion in regard to this artist, to prove his identity 
with Roger vander Weyde of Brussels, which see. 

•T-r-T^ ROGERS, William, an old English en- 

YfVr| graver, born at London about 1545. He 

'^ ' *- engraved a number of frontispieces and 

portraits, in a neat, stiff style, among which are 

the following : 

PORTRAITS. 

Queen Elizabeth ; a small upright plate. Henry IV. of 
France ; a whole-length. The Earl of Essex, Earl Mar- 
shal* of England. The Earl of Cumberland. Thomas 
Howard, Duke of Norfolk. Sir John irarrington ; the ti- 
tle to his Orlando Purioso. Thoi^as Moffat ; a frontis- 
piece to his Theatre of Insects. John Gerarde, Surgeon ; 
frontispiece to his Herbal. 

ROGMAN, or ROGHMAN, Roland, a Dutch 



painter and engraver, born at Amsterdam in 1597. 
His instructor is not mentioned, but he became 
an eminent painter of landscapes. He traveled 
through several parts of Germany, designing the 
most agreeable scenery, architectural views, vil- 
lages, figures and cattle, which he usually sketchea 
on the spot. His pictures generally represent 
views in Holland and Germany, whif;h are ad- 
mired for their close resemblance to nature in the 
forms, though the coloring is dark and disagree- 
able. Rogman lived on terms of intimacy with 
Rembrandt, whose excellence in pencilling and 
chiaro-scuro he endeavored to follow — at a dis- 
tance. He left a number of spirited pen drawings, 
and about thirty-three bold and masterly etchings of 
views of chateaux in ruins. There are six plates 
of '' Views of the Wood at the Hague," in threo 
sets of proofs ; and it is supposed from the inscrip- 
tions, that the first was published by Rogman; 
the second, after retouching, by Peter Nolpe ; and 
the third by N. Visscher and P. Schenck. Rog- 
man probably died in 1659. His daughter, Ger- 
trude R., engraved about twenty plates after him, 
among which is one entitled Le Chateau de Zuylen, 
in the style of Hermann Saftleven. 

ROKES. Henry Martin, called Zorg, or, the 
Careful, a Dutch painter, was the son of Martin 
Rokes, the captain of the passage-boat from Rot- 
terdam to Dort, who acquired the above appellation 
from his extraordinary attention to the comfort 
and interest of his passengers. The surname de- 
scended to his son. who was born at Rotterdam in 
1621. After acquiring a knowledge of the art at 
Rotterdam from William Buytenweg, he visited 
Antwerp, and studied under the younger Teniers. 
He attained great reputation for his pictures of 
subjects similar to those of that master, represent- 
ing interiors of Dutch apartments, with figures 
regaling and amusing themselves ; also for his con- 
versations, domestic subjects, fairs, and fish-mar- 
kets. His pictures generally combine the stjdes 
of Teniers and Brower ; the composition is inge- 
nious, the design correct, the coloring warm and 
mellow, with good management of the chiaro- 
scuro. They are very highly esteemed, and the 
best are worth)' of a place in choice collections. 
Rokes died in 1682. 

ROLAND, Philippe Laurent, a distinguished 
French sculptor, born near Lille, in 1746. He 
early showed considerable talent, and visited Pa- 
ris, where he was received into the studio of Pajou. 
Entrusted with a part of the works in the Palais 
Royal, he acquitted himself succes.sfully, and after- 
wards visited Rome for improvement, where he 
remained five years. On returning to Pans, he 
manifested great progress, and gained considerable 
reputation by his statue of Cato LTticensis, execu- 
ted in 1779. In 1781, he was chosen a member of 
the academy, for his fine statue of Samson ; and 
he was soon after commissioned, by M. d'Angi- 
villiers, to execute his statue of the great Conde. 
The works of Roland are distinguished for purity 
of design and facility of execution. Among the 
principal were, a bas-relief of the Nine Muses, for 
the queen's apartments at Fontainbleau ; a bust 
of Pajou; and Homer playing on his Lyre, in the 
Louvre. The latter was exhibited in 1802, and is 
highly praised. Roland was appointed Professor 
of Sculpture in the Royal Academy, and a member 
of the Legion of Honor. He died in 1818. 



BOLD. 



796 



ROMA. 



ROLDAN, Pedro, an eminent Spanish sculptor, 
born at Seville in 1624. He visited Italy, and re- 
sided for a long time at Rome, vrhere he gained 
several prizes in the Academy of St. Luke. On 
returning to Spain, he was much employed at Se- 
ville and Madrid. There are about thirty of his 
statues in the former city, and a number of groups, 
which are highly praised by Palomino. Among 
the principal are, the Burial of Christ, in the 
Charity church ; and the Crucifixion, in that of St. 
Bernard. The latter work was considered equal 
to the same subject in the Basilica of S. Paolo, 
at Rome, destroyed in the conflagration of that 
edifice. Roldan died at Seville in 1700. 

ROLDAN, Louisa, the daughter of the preceding, 
was born at Seville in 1654. She studied sculp- 
ture under her father, and assisted him in many 
of his works. She gained so much reputation that 
Philip TV. invited her to Madrid, commissioned 
her to execute a number of works, and assigned 
her a pension of six hundred ducats. There are a 
number of her works in the Escurial ; also a fine 
group at Seville, representing the Body of Christ, 
with the Virgin and saints. She died at Madrid 
in 1704. 

ROLI, or ROLLI, Antonio, a painter born at 
Bologna in 1643. He studied under Michael An- 
gelo Oolonna, and seems to have gained great rep- 
utation in his day, from the commendation of 
Cav, Titi, who extols his landscapes in the Certosa 
at Pisa, as "perfect miracles of the art." Roll 
died in 1696. 

ROLI, GrusEPPE, a painter born at Bologna in 
1654. He studied under Domenico Maria Canuti, 
and subsequently went to Germany, where he re- 
mained several years. On returning to Bologna, 
he executed several fresco works for the churches. 
He died, according to Zani, in 1727. There are 
several plates by him, after the eminent Bolognese 
painters, among which are two, representing Char- 
ity, of if er T^odomco Caracci; and a Sybil, af^er 
Lorenzo Pasinelli. 

ROLLO. Nothing is known of this artist, ex- 
cept by a picture of Christ crowned with Thorns, 
in the style of Guido, said to be so beautiful that 
it may be mistaken for the work of that master. 
It is inscribed Rollo Gallois, F. ; from which it 
is supposed he was of French origin. 

ROLLOS, Peter, a German engraver of little 
note, who resided at Frankfort and Berlin, and 
engraved a number of plates for books published 
in both those cities, among which is the frontis- 
piece for a book of Emblems, by G. de Montenay, 
published at Frankfort in 1619. 

ROMA, Spiridone, an Italian painter of little 
note, who flourished in the latter half of the 18th 
century. He visited England, and was chiefly oc- 
cupied in the restoration of pictures, although he 
also painted a ceiling in the East India House. 
He died in 1786. 

ROMAIN, de la Rue. The name of this 

painter has been Gallicized by French writers, al- 
though he was probably of Dutch origin. He is 
said to have imitated with great success the styles 
of John Asselyn, Swanevelt, and Both. His pic- 
tures pass for the works of those masters, and his 
name is almost lost in oblivion — a warning to all 
mere imitators. 



;l 



ROMAN, Bartolome, a Spanish painter, was 
born at Madrid, according to Bermudez. in 1596. 
He studied successively under Vincenzio Carducci, 
and Don Diego Velasquez. He painted historical 
subjects with great reputation, among which Pal* 
oraino mentions several in the Sacristy of the Pa- 
dres Cayetanos at Madrid, and compares them, 
in regard to coloring and effect, to the works of 
Rubens. His draperies are also very highly praised. 
In the church of the Franciscans at Alcala de Hen- 
ares, there are several considerable works by Ro- 
man. He died at Madrid in 1659. 

ROMANELLI, Gio. Francesco, a distinguish- 
ed Italian painter, was born at Viterbo in 1617. 
Manifesting an early inclination for art, he was 
sent by his father to Rome, where he was patron- 
ized by the Cardinal Barberini, who placed him in 
the school of Pietro da Cortona. After several 
years of assiduous study under that master, he be- 
came one of his most distinguished scholars, and 
followed his style with such success, that, when 
Pietro started on a journey to Lombardy, he left 
him to supply his place in decorating the Barbe- 
rini palace. On leaving his instructor, Romanell" 
altered his style, by the assistance of Bernini, adopt 
ing by degrees a more elegant and seductive man 
ner in his figures, but manifesting less grandeur 
and science than that of Pietro. He painted a 
picture of the Deposition from the Cross, for the 
church of S. Ambrogio, which excited such uni- 
versal applause, that Pietro was stimulated to . 
paint opposite to it, his wonderful picture of the I 
Martyrdom of St. Stephen, upon seeing which, { 
Bernini exclaimed that he then perceived the dif- i 
ference between the master and the scholar. For * 
the church of S. Peter, he painted the Presenta- 
tion in the Temple, which has since been executed 
in mosaic; and the original is preserved in the 
Certosa. When Innocent X. succeeded to the pa- 
pacy. Cardinal Barberini was obliged to quit Rome, 
and flee to Paris, where he recommended his for- 
mer protege to Cardinal Mazarin. On arriving at 
Paris, Romanelli was presented to Louis XIV., and 
was commissioned to execute several works, among 
which were a series of subjects from the ^neid. 
in the apartments of the Old Louvre, called the 
Queen's Bath. The King rewarded him in mu- 
nificent style, and honored him with the order of 
St. Michael. According to Lanzi, Romanelli made 
two visits to France, and was preparing to start 
the third time, when he died at Viterbo, in 1662. 
He left numerous works in Rome and other cities, 
both in churches and private collections. The large 
copy of Guide's Triumph of Bacchus in Hampton 
Court, is said to be by Romanelli. 

ROMANELLI, Urban o, the son and scholar 
of the preceding, was a native of Viterbo. After 
the death of his father, he completed his course 
under Ciro Ferri, and was subsequently employed 
for the churches of Veletri and Viterbo, Accord- 
ing to Lanzi, his pictures from the life of St. Lo- 
renzo, in the church of that saint at Viterbo. show 
that he might have attained great eminence, had 
he not been cut off" prematurely, in 1682. 

ROMANET, Antoine Louis, a French enjjrav- 
er, was born at Paris in 1748. and died in 1807. 
He studied under J. G. Wille, and was subsequent- 
ly employed upon several great pictorial works, 
such as the Galerie du Palais Royal, the Galerie 



ROMA. 



797 



ROMA. 



(V Orleans, the Cabinet Le Brun, &c. He resided 
some time at Basle, and executed several plates un- 
der the direction of Christian von Mechel. There 
are also by him many detached pieces after va- 
rious masters ; the following are among his prin- 
cipal plates : 

PORTRAITS. 

Charles Theodore, Elector of Bavaria ; after P. Batto- 
ni. Louis Francis de Bourbon, Prince of Conti ; after 
Le Tellier. John Grimoux, Painter ; after a picture hy 
himself. 

VARIOUS SUBJECTS. 

The Death of Adonis ; after Kupetzky. The Village 
Printseller ; after Seekatz. The Ballad Singer ; do. 

ROMANI, DA Reggio, a painter of Modena, 
who flourished in the latter part of the 17th cen- 
tury. According to Tiraboschi, he studied at Ven- 
ice, attaching himself to the works of Paolo Ve- 
ronese, and particularly to those of Tintoretto, 
whose rules he usually practised, with excellent 
success. Lanzi mentions a picture by him at Mo- 
dena, in the style of Paolo, representing the Mys- 
teries of the Rosario. 

ROMANINO, or ROMANO, Girolamo, an em- 
inent painter of the Venetian school, born at Bres- 
cia about 1504. After acquiring the elements of 
the art from Stefano Rizzi, he studied the works 
of Titian with great assiduity, and followed the 
styles of that master and Bassano, in many of his 
works. Cotemporary with Alessandro Bonvicino, 
called II Moretto, he became his rival ; Ridolfi 
ranks him at least equal, but Vasari inferior, to 
that master; and Lanzi endeavors to reconcile 
their judgments by observing that Romanino sur- 
passed him in extent of genius and boldness of 
execution, but was inferior to him in delicacy of 
taste and careful execution, several of his works 
being painted with a hasty pencil. In general, 
however, he displays the qualities of a great mas- 
ter, in subjects from sacred and profane history, 
and also in burlesque compositions. His princi- 
pal works are at Brescia and Verona; in the 
church of Sts. Faustino and Giovita at Brescia, is 
his Descent from the Cross, commended by Palma 
for its strong resemblance to the Venetian style ; 
in S. Maria in Calcara, is his St. Apollonio admin- 
istering the Sacrament, a surprising and delight- 
ful work, distinguished for great fecundity of in- 
vention, varied expression in the heads, and se- 
lect choice of forms, combining many singular 
pictorial beauties within the limits of propriety and 
truth. In S. Giorgio at Verona, are his four his- 
tories from the life of that Saint, composed with 
surprising spirit and vigor. Vasari says he died 
before 1566 ; Ridolfi merely states that he died at 
an advanced age. Romanino sometimes signed his 
pictures Hier. Roman, Hieronimi Rumani, and 
Hieronimus Rumanus. 

ROMANO, GiULio. The family name of this 
great painter was Pippi, but he is universally 
known in the history of art under the appellation of 
Giulio Romano. He was born at Rome in 1492, 
and manifesting an early genius for art, he was 
placed under the instruction of Raffaelle, soon af- 
ter the arrival of that master at Rome, and be- 
came his most distinguished disciple. Raffaelle 
placed him at the head of his scholars, entrusted 
him with the execution of several of his greatest 
works, made him one of his heirs, and at his death 
confided to him and to Gio. Francesco Penni, the 



completion of his unfinished works. During the 
lifetime of Rafiaelle he did not gain distinction by 
any original works, but afterwards he was enabled 
to develop his faculties, and soon displayed an ele- 
vated mind, poetic genius, unusual grandeur of con- 
ception, and remarkable correctness of design. 
He was particularly successful in battle-pieces and 
other warlike subjects, representing them with 
great spirit and correctness. In these subjects he 
imitated the grand design of Michael Angelo, com- 
manding, with a master's hand, the whole me- 
chanism of the human body, and rendering it sub- 
servient to his purposes. His chief fault is, that 
his demonstrations of motions are sometimes too 
violent. Vasari preferred his drawings to his 
paintings, as he thought the fire of his original 
conceptions partially evaporated in the finishing. 
Some critics have objected to the squareness of his 
physiognomies, and complained that his middle 
tints are too dark ; but Niccolo Poussin was of a 
contrary opinion, and admired the asperity of the 
coloring in his Battle of Constantine, as suitable 
to the character of the subject. In sacred and 
other subjects he did not succeed as well. His 
figures lack the dignity and inimitable graces of 
his preceptor, his contours are harsh and severe, 
and his coloring cold, crude, and inharmonious. 
These defects are. however, in a great measure 
counterbalanced by the extraordinary fecundity 
of his imagination, and his learned acquaintance 
with ancient history and mythology. 

After the death of Raffaelle, he was employed 
by Leo X. and Clement VII., in conjunction with 
Penni, to finish the Hall of Constantine in the 
Vatican, in which he painted the Apparition of the 
Cross, or the Harangue of Constantine, and the 
Battle wherein Maxentius is drowned and Con- 
stantine remains the Victor. The other two sub- 
jects, the Baptism of Constantine by St. Silvestro, 
and the Dotation of the city of Rome to that pontiff, 
were executed by Penni. They afterwards paint- 
ed, or rather finished, the pictures of the Villa at 
Monte Mario, ordered by the Cardinal Giulio de' 
Medici, but suspended after the death of Raffaelle, 
till the second or third year after his elevation to 
the papacy, under the title of Clement VII., about 
1525. He also painted a fine picture of Christ ap- 
pearing to Mary Magdalene, for the church of La 
Trinita di Monte, and the Marriage of St. Cathe- 
rine, for S. Andrea della Valle. It was about this 
time that he painted his celebrated picture of the 
Martyrdom of St. Stephen, for the church of S. 
Stefano at Genoa, which, for grandeur of composi- 
tion, and pathetic expression, is regarded as a mas- 
terpiece of art. 

Giulio had already distinguished himself as an 
architect, when he was invited to Mantua by the 
Duketo rebuild the Palazzo del Te. It was there that 
he won his greatest reputation, both as a painter 
and architect, and established a school in imitation 
of his master, which Rome herself might have en- 
vied. He erected many noble edifices, villas, pal- 
aces, temples, and decorated a considerable por- 
tion of them with his own hands, so that the Duke 
was heard to exclaim, in a transport of gratitude, 
that Giulio was in truth more the master of Man- 
tua than himself. His time was now so much oc- 
cupied in his architectural pursuits that he was 
obliged, like Raffaelle, after preparing the cartoons, 
to leave the execution of his works to his scholar.s 
and assistants, afterwards carefully retouching 



ROMA. 



798 



ROMA. 



I 



them himself. The Palazzo del Te, which occu- 
pied him several years, is regarded as a lasting 
monument of his genius, both as an architect and 
a painter. His great abilities in painting are con- 
spicuous in the two grand saloons, in one of which 
he represented the Fall of the Giants, and in the 
other the History of Cupid and Psyche. In the for- 
mer it appears as if Romano, emulating Michael 
Angelo himself in grandeur of design, had soared 
to the utmost stretch of pictorial daring. He af- 
terwards decorated the Ducal palace at Mantua 
with fresco histories of the Trojan war, in which 
he displayed the most capacious powers of inven- 
tion and poetic fancy, aided by a profound knowl- 
edge of his subject. Sometimes, like Homer, he 
surprises by the heroic sublimity of his feats of 
arms ; at others, like Anacreon, he captivates by 
the most seductive representations of festivity and 
love. Lanzi says these works have been so fre- 
quently retouched, that little remains of the origi- 
nal coloring. 

As an architect, Giulio Romano gained great 
distinction. At Rome he designed the beautiful 
Villa Madama, on Monte Mario, about half a mile 
from the city ; also the church of the Madonna 
deir Orto, in the form of a Latin cross, with three 
naves, a well-proportioned and beautiful chapel at 
the back, and the two arms of the cross semi- 
circular. He also erected the beautiful palace of 
Cicciaporci,on the Strada di Bianchi ; and the Pa- 
lazzo Cenci, over the piazza of S. Eustachio. By 
these works, he gained so much distinction that 
the Duke of Mantua invited him to that city, and 
employed him to erect the Palazzo del Te. which 
is regarded as the chief monument of his fame, be- 
ing one of the most magnificent edifices in Italy. 
The room where he painted the Battle of the Gi- 
ants, is of a circular form, and vaulted ; the walls, 
windows, and angles are of rustic work, apparent- 
ly split and broken, as if shivered and falling with 
the Giants, struck by the thunderbolts of Jove. 
Although this room is only thirty feet in diame- 
ter, it appears much larger, in consequence of its 
correct proportions. (See Carlo Maderno.) When 
the Emperor Charles V. arrived at Mantua, Giulio 
Romano erected several triumphal arches, of the 
most elegant designs. His design for the fa9ade 
of S. Petronio, was preferred before those of a 
large number of competitors, although submitted 
to several celebrated architects. According to Mi- 
lizia, this work " is of one order, a medium be- 
tween the Gothic and the Greek, with a grand and 
picturesque effect, showing that Romano excelled 
in architecture more than in painting." The un- 
qualified commendation which that author — usu- 
ally so caustic in his criticisms — bestows up(m the 
works of Romano, is a high evidence of their sur- 
passing merit. His reputation at length rose 
so high, that the Duke forbid the citizens of Man- 
tua to erect any edifice without consulting Roma- 
no. Among other works at Mantua, he restored 
the church of S. Benedetto ; modernized and en- 
larged the Ducal palace; and erected another for 
the Duke at Marmiruolo, five miles from the city. 
He performed so many celebrated works there, in 
painting and architecture, that the Cardinal Gon- 
zaga was accustomed to say that Mantua was cre- 
ated by Giulio Romano, and was his rightful prop- 
erty. Finally, he was honored by the pope with 
the appointment of architect to St. Peter's, and was 
earnestly entreated to repair to Rome, in order to 



commence operations upon that Basilica, which he 
doubtless would have done, had he not been pre- 
vented by death, in 1546. 

ROMANO, DoMENico, a painter of the Floren- 
tine school, of whom little is known. According 
to Vasari, he was a pupil of Salviati, whose man- 
ner he followed. He was living in 15C8. 

ROMANO, ViRGiLio, a painter who flourished 
at Siena about 1540. He studied under Baldassare 
Peruzzi, and executed some works for the church- 
es and public edifices of Siena, which are com- 
mended by Vasari. There are also some gro- 
tesques at Siena, attributed to him. 

ROMBORGH, a Dutch painter of whom little 
is known, who flourished in the commencement of 
the 18th century. He is said to have studied at 
Rome. He painted landscapes resembling those of 
Frederick Moucheron. 

ROMBOUTS, Theodore, an eminent Flemish 
painter, born at Antwerp in 1597. He studied 
under Abraham Janssens, with whom he made 
great progress. On leaving his master in 1617, 
he went to Rome, soon attracted public notice by 
his assiduity and talents, and received several com- 
missions, which he executed in a manner that aug- 
mented his reputation. From Rome, he went to 
Florence at the invitation of the Grand Duke, for 
whom he executed several excellent works, so 
much to the satisfaction of that prince, that he lib- 
erally rewarded him, and gave him several valua- 
ble presents as a mark of his esteem. After an 
absence of eight years he returned to Antwerp, 
whither his reputation had preceded him, and he 
was commissioned to paint several works for the 
churches, which excited universal admiration. Ru- 
bens was then residing at Antwerp, in the full en- 
joyment of his exalted reputation ; and Rombouts, 
perceiving that his own performances were obscured 
by the perfections of that eminent master, had the 
vanity to think that he could successfully compete 
with him. This self-sufficiency, however, proved 
of great advantage to him, for the ambition of van- 
quishing so powerful an opponent stimulated him 
to extraordinary exertions, and his best produc- 
tions were conceived and executed under the in- 
fluence of this determination. He possessed a 
ready invention, a fine style of design, animated 
expression, warm and brilliant coloring, and un- 
common facility of hand. His figures are usually 
as large as life. His most celebrated works are 
at Ghent— the Taking down from the Cross, in the 
Cathedral ; St. Francis receiving the Stigmata, and 
the Angel appearing to Joseph in his Dream, in 
the church of the Recolets; and Themis with the 
attributes of Justice, in the Town House. The 
last named work is said ^o have elicited the com- 
mendation of Rubens himself He occasionally 
painted cabinet pictures, gallant assemblies, con- 
certs, merry-makings, mountebanks, &c., designed 
and executed with great ingenuity and spirit. He 
found a ready sale for these works, and they are 
still held in high estimation. He died at Antwerp 
in 1637, in the prime of life. 

ROMEGIALLO, Giovanni Pietro, a painter 
born at Morbegno in the Valteline, in 1739. A fter 
learning the rudiments of art under G. F. Cotta, 
an obscure painter in his native city, he went to 
Rome, and studied with Agostino Masucci. He 
afterwards greatly improved himself by studying 



EOME. 



799 



ROMN. 



and copying the works of Guercino, Guido, and P. 
da Cortona. After returning to his native place, 
he painted many works, well designed and col- 
ored, with a fine expression in the heads, for the 
private collections, the churches, and public edifi- 
ces of Como, and other neighboring cities. The 
time of his death is not recorded. 

ROMEO, Don Jose, a Spanish painter, born at 
Cervera in Arragon, in 1701. He went to Rome 
at an early age, and studied with Agostino Ma- 
succi. On his return to Spain, he resided some 
time at Barcelona, where he executed several works 
for the church of the Mercenarios Calzados. He 
afterwards went to Madrid, where he was taken 
into the service of Philip V. He died at Madrid 
in 1772. 

ROMEYN, William van, a Dutch painter, of 
whom little is known. He painted landscapes, 
with figures and cattle, much in the manner of 
Karel du Jardin, which occasionally occur in the 
collections of Holland. His pictures are generally 
of small size, well designed, delicately pencilled, 
and chastely colored. 

ROMNEY, George, one of the most eminent 
painters of the English school, was born at Fur- 
ness, near Dalton, in Lancashire, in 1734. His fa- 
ther was a builder ; and George, in his twelfth 
year, was taken from the village school to super- 
intend the workmen. He showed a passion for 
drawing from his earliest years, and at length pre- 
vailed upon his father to allow him to study paint- 
ing, under one Steele, a portrait painter of little 
note, who barely taught him the use of the mate- 
rials of the art. At the expiration of two years 
he left his instructor, married, and resided some 
time at York, where he met with considerable suc- 
cess ; but aspiring to higher things, in 1762 he es- 
tablished himself in London. During the first 
year of his residence there, he painted portraits at 
the modest price of five guineas a head, and ac- 
quired considerable practice through the influence 
of Mr. Braithwaite, the comptroller of the foreign 
post-office. In 1763, he gained the second prize 
of fifty guineas from the Society for the Encourage- 
ment of Arts, &c., for his picture of the Death of Gen- 
eral Wolfe. In 1764 he visited Paris, and on his re- 
turn he settled at Gray's Inn. In 1765, he obtain- 
ed the first prize from the Society for the Encour- 
agement of Arts, &c., for his picture of the Death 
of King Edmund. In 1768 he removed to more 
eligible and convenient quarters, in Great New- 
port street, where his practice rapidly increased. 
Romney had hitherto confined himself to portrait 
painting, but being ambitious of gaining distinc- 
tion in a higher department of art, and conscious 
of the necessity of cultivating his taste abroad, he 
set out for Italy in 1773, accompanied by Ozias 
Humphrey, the celebrated miniature painter. He 
resided there two years, chiefly at Rome, studying 
with enthusiastic assiduity the antique and the 
best works of the great Italian masters. In 1775 
he returned to London, and took a house in Caven- 
dish Square, where he resided during the remain- 
der of his professional career. While abroad, the 
admiration and delight he experienced in contem- 
plating the works of the old masters, made him 
resolve to devote his attention in future to histori- 
cal painting ; but soon after his return, the public 
taste, the persuasions of his friends, and the en- 
ticements of emolument^ induced him to change 



his purpose. He soon became one of the most 
popular and most employed portrait painters in 
London, and even the rival of Sir Joshua Rey- 
nolds. When Boydell projected the Shakspeare 
Gallery, Romney entered into the scheme with en- 
thusiasm, and executed four pictures for the work, 
representing the Infant Shakspeare attended by 
Nature and the Passions, the Storm Scene in the 
Tempest, the Infant Shakspeare nursed by Trage- 
dy and Comedy, and Cassandra in Troilus and 
Cressida. He also produced many fancy pictures, 
which were among the most esteemed productions 
of the British school in his day. He painted up- 
wards of thirty pictures of Magdalens. Bacchantes, 
Nymphs, and subjects from history or fable, for 
which the beautiful Emma Lyon, afterwards Lady 
Hamilton, served for his model, "for whose charms 
upon canvass, princes and peers contended." In 
1797, Romney felt a paralytic stroke, which pre- 
vented him from continuing his professional la- 
bors. Finding his health declining, he revisited- 
his native place in the following year, where he 
died in 1802. 

It is a little singular that Romney was never 
elected a Royal Academician. This has been at- 
tributed to the spirit of rivalry between him and 
Reynolds, though the latter affected to ridicule the 
idea of Romney 's pretensions. At all events, af- 
ter the death of the president, the Academy feel- 
ing that they had done injustice to his talents, 
offered reparation, which Romney promptly de- 
clined. It has been said that he was fortunate in 
his biographers, but he ought rather to be regarded 
diS unfortunate ; for his friends extol him as one 
of the greatest modern painters, without any 
just discrimination of his real merits and defects; 
while on the other hand, his enemies make him 
'Hhe best abused man in the world." Setting 
aside the sycophantic eulogies of Cumberland and 
Hayley, and the caustic critiques of Fuseli and Cun- 
ningham, it will be safe to give Romney the bene- 
fit of the opinion of an able and conscientious art- 
ist in another branch — Flaxman the sculptor: 
'• When Romney first began to paint he had seen 
no gallery of pictures, nor the fine productions of 
ancient sculpture, but then women and children 
were his statues, and all objects under the cope of 
heaven formed his school of painting. The rain- 
bow, the purple distance, or the silver lake, taught 
him coloring ; the various actions and passions of 
the human figure, with the forms of clouds, woods, 
and mountains, or valleys, afforded him studies of 
composition. Indeed, his genius bore a strong re- 
semblance to the scenes he was born in ; like them, 
it partook of the grand and beautiful ; and like 
them, also, the bright sunshine and enchanting 
prospects of his fancy were occasionally overspread 
with mist and gloom. On his arrival in Italy, he 
was witness to new scenes of art and sources of 
study, of which he could only have supposed pre- 
viously that something of the kind might exist ; 
for he there contemplated the purity and perfec- 
tion of ancient sculpture, the sublimity of Michael 
Angelo's Sistine Chapel, and the simplicity of Cim- 
abue and Giotto's schools. He perceived those 
qualities distinctly, and judiciously used them in 
viewing and imitating nature ; and thus his quick 
perception and unwearied application enabled him, 
by a two years' residence abroad, to acquire as 
great a proficiency in art as is usually attained by 
foreign studies of a much longer duration. After 



ROMS. 



800 



RONC. 



his return, the novelty and sentiment of his origi- 
nal subjects were universally admired. Most of 
these were of the delicate class ; and each had its 
peculiar character. Titiana, with her Indian vota- 
ress, was arch and sprightly ; Milton dictating to 
his daughters, solemn and interesting. Several 
pictures of wood-nymphs and bacchants charmed 
by their rural beauty, innocence, and simplicity. 
The most pathetic — Ophelia, with the flowers she 
had gathered in her hand, sitting on the branch of 
a tree, which was breaking under her, while the 
melancholy distraction visible in her countenance, 
accounts for her insensibility to the danger. Few 
painters have left in their works so many examples 
of the tender and delicate affections ; and several 
of his pictures breathe a kindred spirit with the 
Sigismonda of Correggio. His Cartoons, some of 
which have unfortunately perished, were examples 
of the sublime and terrible — at that time perfectly 
new in English art. As Romney was gifted with 
peculiar powers for historical and ideal painting, 
so his heart and soul were engaged in the pursuit 
of it, whenever hecouldextricatehimself from the 
importunate business of portrait painting. It was 
his delight by day, and his study by night ; and 
for this his food and rest were often neglected. 
His compositions, like those of the ancient pictures 
and basso-relievos, told their story by a single 
group of figures in the front ; while the back- 
ground is made the simplest possible, rejecting all 
unnecessary episode and trivial ornament, either 
of secondary groups, or architectural subdivision. 
In his compositions the beholder was forcibly 
struck by the sentiment at the first glance ; of 
which he traced the gradations and varieties 
through several characters, all conceived in an ele- 
vated spirit of dignity and beauty, with a lively 
expression of nature in all the parts. His heads 
were various — the male were decided and grand ; 
the female lovely : his figures resembled the an- 
tique — the limbs were elegantly and finely formed ; 
his drapery was well understood ; either forming 
the figure into a mass with one or two deep folds 
only, or, by its adhesion and transparency, discov- 
ering the form of the figure, the lines of which 
were finely varied with the union or expansion of 
spiral or cascade folds, composing with or contrast- 
ing the outline and chiaro-scuro. Few artists, 
since the fifteenth century, have been able to do so 
much in so many different branches ; for, besides 
his beautiful compositions and pictures, which have 
added to the knowledge and celebrity of the Eng- 
lish school, he modeled like a sculptor, carved or- 
naments in wood with great delicacy, and could 
make an architectural design in a fine taste, as well 
as construct every part of the building." 

£ROMSTEDT, Christian, an obscure Ger- 
man engraver, who flourished at Leipsic from 
1630 to about 1670. He engraved some por- 
traits, indifferently executed, and marked with the 
above monogram. There was another artist of 
this name, probably a son of the above, who died in 
1725. He engraved a few portraits, and several 
of the subjects in the Farnese palace, after Anni- 
bale Caracci. 

RONCALLI, Cav. Cristoporo, called II Cav. 
DALLE PoMERANCE, was bom at Pomerance, in the 
diocese of Volterra, in Tuscany, in 1552, He went 
to Rome and studied with NiccoU> Circignani, 
called dalle Pomerance, by whose instructions and 



a diligent study of the antique, and the works of 
the best masters, he became an eminent painter 
of history, and one of the most popular and most 
employed artists of his time. As soon as his 
works were known at Rome, they immediately at- 
tracted public attention, and he was employed in 
decorating numerous churches and the palaces of 
the principal nobility. His performances gained 
him the highest applause, for their elegance of 
composition and correctness of design. He was 
employed by Paul V. in the execution of several im- 
portant works, among which were the Death of 
Ananias and Sapphira, in the Certosa, — a picture 
so much admired, that it was afterwards copied in 
mosaic in St. Peter's, and other mosaics also were 
executed in the same edifice from his cartoons. 
In the Basilica of St. John of Lateran, he painted 
a grand composition of the Baptism of Constantine. 
He was also charged with the continuation of the 
gallery of Raffaelle, under the direction of the 
Padre Danti. — (See Danti). These works gave so 
much satisfaction to the Pope that he conferred 
on Roncalli the honor of knighthood. He execu- 
ted sevei-al other important works for the churches 
of Rome, the principal of which are the Visitation 
of the Virgin in S. Giovanni Decollato, and St. 
Michael discomfiting the Rebel Angels in S. An- 
drea della Vail e; but the most celebrated is the 
cupola of La Santa Casa di Loreto. He also paint- 
ed in the treasury of the same edifice, several pic- 
tures representing the history of the Virgin. He 
obtained this vast commission, in competition with 
Caravaggio and Guido, through the powerful pat- 
ronage of the Cardinal Crescenzi ; which so much 
enraged Caravaggio, that he hired an assassin to 
murder him, but the intended victim escaped with 
a severe wound in his face. The distinction Ron- 
calli gained by executing these works, soon brought 
his talents into great request, and he executed 
many works for the churches in the Picenum, 
besides others for the churches of Naples, Ancona, 
Genoa, and other Italian cities. He was also in- 
vited to several of the different courts of Europe, 
and visited Germany, Flanders, France, and Eng- 
land, leaving several specimens of his abilities in 
all those countries. 

It is the opinion of Lanzi that Roncalli en- 
joyed a greater reputation than his merits de- 
served. He had many pupils, and Lanzi says, | 
''he learned to avail himself of the labors of J 
others, and to content himself with mediocrity." 
This however, is contrary to the testimony of 
Baglioni, and several other excellent historians, 
and it is evident from Lanzi's memoir that he 
did not consider him an artist of mediocrity, 
but intended to censure him for not having at- 
tained to higher perfection, and for being more 
intent upon acquiring gain, that a lasting reputa- 
tion. His style of design is a mixture of the Flor- 
entine and the Roman. In frescos, his coloring 
was fresh and brilliant, but in oil pictures his tints 
were more subdued, harmonized by a tone of gen- 
eral tranquillity. He had a lively invention, and 
designed and wrought with great facility, frequently 
enriching his back-grounds with landscapes treat- 
ed with great beauty and effect. His faults were 
errors in perspective, occasional carelessness in de- 
sign and frequent repetition, especially in his fore- 
shortened heads, full and rubicund countenances, 
and his backgrounds. He died at Rome in 1626. 

RONCELLI, D. Giuseppe, a painter born at 



ROiNO. 



801 



ROND. 



Bergamo in 1677. According to Tassi, he ac- 
quired so high a reputation for his nocturnal 
scenes of landscapes and conflagrations, that Ce- 
lesti added figui-es to his works, and Mazzoleni 
wrote his life. His works are also commended by 
Lanzi, and the)'- are highly esteemed at Bergamo. 
He died in 1729. 

RONCHO, MicHELE Di. an old Milanese painter, 
who wrought in the cathedral of that city from 
1375 to 1377. Lanzi says that remnants of his 
works still survive, and show that he approached 
nearer to the composition of Giotto, than the artists 
of Pavia. 

RONDANI, Francesco Marta, a painter born 
at P^rma about 1505. According to Affb, he was 
educated in the school of Correggio, and assisted 
him in two of his principal works, particularly in 
the dome of the church of S. Giovanni. In the 
church of S. Maria Madalena at Parma, is a noble 
picture b}^ him of the Virgin and Christ, which 
has often been attributed to his instructor, and 
Lanzi says it might be really believed a work by 
Allegri, were it not for historic evidence. There 
is an altar-piece at the church of the Eremitani, 
representing saints Agostino and Girolamo, so 
much in the manner of Correggio, as to be es- 
teemed one of the best works at Parma. There are 
also some frescos by him in a chapel of the cathe- 
dral, and in other churches and convents at Parma. 
Rondani was unable to reach the grandeur of the 
head of the school in historical works, and is also 
said to have been too careful and minute in the 
accessories, especially in his fresco works. His 
pictures are exceedingly rare in the collections. 
Lanzi had seen only two, a Madonna and Child, 
and a portrait ; the latter designed in the style of 
Giorgione. He died at Parma about 1548. 

RONDELET, Jean, a reputable French ar- 
chitect and writer on the art, was born at Lyons 
in 1734. He studied at Paris, under Soufflot, and ] 
was employed by the latter to assist in the exe- | 
cution of the church of S. Genevieve. Soufflot 
having died in 1780, before its completion, Ron- 
delet was commissioned to finish the edifice, to 
which the National Assembly gave the name of 
the French Pantheon. In 1783 he visited Italy 
for improvement, and made many designs and ar- 
chitectural researches. He was subsequently em- 
ployed by government in various important com- 
missions ; was a member of the Academy of archi- 
tecture, and professor of Stereometry. He pub- 
lished a large number of valuable writings on the 
art, among which are his Traite theoretique et 
pratique de VArt de Batir ; and a number of ar- 
ticles in the Encyclopedie Methodique. His va- 
rious labors at length rendered him totally blind. 
He died in 1829. 

RONDINELLI. Niccolo, a painter born at Ra- 
venna, about 1460. He studied under Giovanni 
Bellini, and assisted him in his works. His pic- 
tures were painted in the first manner of his in- 
structor, but with greatly inferior abilities ; the 
principal are in the churches and convents of his 
native city. He died, according to Vasari, at the 
age of 60. 

RONDINOSI, Zaccaria. a painter of Pisa, of 
whom there are notices from 1665 to 1680. Ac- 
cording to Morrona, he executed some works for 
the churches of his native city. 



RONDOLINO. See Terenzi. 

RONSERAY, Margaretta Louisa Amelia 
Du, a French lady, born at Paris in 1730. She 
executed a few etchings after the French mas- 
ters, among which are Venus rising from the sea, 
after Bouchardon ; The Fountain of Crenelle, 
from the cartoon by Pierre, for the church of S. 
Roch at Paris ; a View of the Tower of Palme- 
rana, after Cochin; a Sultan and a Sultana, after 
B. Picart. 

RONTBOUT, J., a Dutch landscape painter, of 
whom little is known, though his pictures are 
quite common in Holland, and possess considerable 
merit. The landscape somewhat resembles the 
manner of Jacob Ruysdael, and the figures re- 
semble those of Hobbema. He usually signed his 
pictures with his name, but sometimes with a 
monogram, resembhng that of Ruysdael. 

RONTBOUT, N., a painter of landscapes, high- 
ly commended by Pilkington. That author says 
he was of Flemish origin, and studied in Italy ; but 
he is not mentioned by any of the Dutch or Flem- 
ish writers. Pilkington specifies only one picture 
by him, in the possession of Thos. Cobbe. Prob- 
ably he is the same as the preceding artist. 

RONZELLI, Fabio, a painter of Bergamo, who 
flourished, according to Tassi, about 1629, and ex- 
ecuted some excellent works for the churches. 
Lanzi says, ''if he was not sufiiciently select and 
ideal, he was at least solid and robust." He com- 
mends his Martyrdom of St. Alessandro in the 
church of Santa Grata. 

RONZELLI, PiETRO, a painter of Bergamo, prob- 
ably the father of the preceding, concerning whom 
there are notices from 1588 to 1616. He is chiefly 
commended by Tassi for the excellence of his por- 
traits. 

ROODTSEUS, Albert, a Dutch portrait painter 
of little note, was born in 1590, and died at Hoorn 
in 1648. 

ROODTSEUS, John Albert, was the son of 
the preceding, born at Hoorn in 1615. After learn- 
ing the rudiments of art. he studied with Peter 
Lastman, and became one of the most eminent por- 
trait painters of his time. Some of his best pictures 
are said to equal the admirable productions of 
Bartholomew vander Heist. There are three large 
pictures by him in the Hall of the Society of Ar- 
chers, in his native city, representing the portraits 
of the principal officers of that institution, execu- 
ted with surprising truth and effect. He died in 
1674. 

ROODTSEUS, Jacob, was the younger brother 
of the preceding, born at Hoorn in 1619. He 
studied with John David de Heem, and painted 
flowers and still-life in his style. His works ap- 
proach the merit of the admirable productions of 
his instructor. He died in 1669. 

ROOKER, Edward, an English designer and 
engraver, born at London about 1712. He pos- 
sessed excellent talents for engraving architectural 
views, evinced by his large plate of the Section of 
St. Paul's Cathedral, from a drawing by Wale. 
Among other plates by him are four views in Ita- 
ly, after Wilson / six Views in London, and 
twelve do. in England, after Paul Sandby. 

ROOKER, Michael Angelo, was the son of 
the preceding, born at London about 1743. He 



ROOR. 



802 



ROOS. 



studied engraving under his father, and landscape 
painting under P. Sandbj. He painted the scene- 
ry for the Hay market Theatre for several j^ears, 
and engraved a series of Views of the city of Ox- 
ford, for the Oxford Almanacs, which possess con- 
siderable merit. He died in 1801. 

ROORE, Jacob de, a Flemish painter, born at 
Antwerp in 1686. His father was a goldsmith, 
and intended him for that occupation, but he died 
while Jacob was very young. His mother allowed 
him to follow the bent of his genius, and placed 
him under the instruction of Louis vander Bosch. 
He next studied two years with Nicholas van 
Schoor, and lastly with Gaspard Jacob van Op- 
stal. He made such great progress under the last 
named master, that he copied for him a picture of 
St. Christopher by Rubens, to fulfil a commission 
from the court of France, with a precision and 
beauty that excited the surprise and satisfaction 
of his instructor, who scarcely had occasion to re- 
touch it. At the age of twenty, he was admitted 
a member of the Academy of Antwerp. In the 
early part of his career, he painted history in the 
style of van Opstal, but possessing a happy talent 
for imitation, he adopted the subjects and manner 
of the younger Teniers, with such extraordinary 
success that he could scarcely execute all the com- 
missions he received from the collections in Flan- 
ders, Brabant, and Holland. He was also much 
employed in embellishing the saloons of wealthy 
people, and the ceilings of the public edifices, dis- 
tinguished for readiness of invention, and extraor- 
dinary facility of hand, although lacking that ele- 
gant taste of design which he might have acquired 
at Rome. Among his principal performances of 
this class were, the History of Achilles, Brennus 
besieging the Capitol, Antony presenting the 
crown to Julius Caesar, and the History of Pan- 
dora, one of his most admired performances. His 
coloring is agreeable, and his easel pictures are ex- 
ecuted with a free and spirited pencil, and deli- 
cately finished. He died at Antwerp in 1747. 

ROOS. John Henry, an eminent Dutch paint- 
er of landscapes, figures and animals, and por- 
traits, was born at Otterberg in 1631. He was 
the son of a poor weaver, who apprenticed him at 
the early age of nine years for the term of seven 
years, to a painter of little note, named Julian 
du Jardyn. He made little progress under this 
master, who employed him in drudgery, which 
was a pa>rt of the art q^^ite uncongenial to his 
feelings- At the expiration of his indentures, he 
commen'Ced studying under Adrian de Bie, an 
able designer of landscapes and animals, and soon 
manifested such extraordinary talent in painting 
landscapes, embellished with cattle, horses, sheep, 
goats, camels, and other animals, that he Jiot only 
surpassed his instructor, but became. one of the 
most celebrated animal painters of his time. He 
designed everything after nature with the utmost 
accuracy, and freauently placed his animals in at- 
titudes the most singular and difficult to be repre- 
sented. His land£eape is pleasingly diversified 
with pleasant fields, woodlands, and shepherds' 
cots, Gr ruins more picturesque, rocks, mountains, 
and waterfalls, always adapted to the subject rep- 
resented. His coloring is fresh and vigorous, his 
pencil firm and decided, and his conduct of the 
chiaro-seuro is excellent. For the most part he 
chose those saered and historical subjects which 



admit of the greatest number and variety of ani- 
mals, such as Jacob tending and Jacob driving his 
flocks and herds, Esau meeting his brother, Moses 
tending the flocks of Jethro, the Angel appearing 
to the Shepherds, &c. He was invited to the court 
of the Elector of Mentz, for whom he painted 
some of his choicest works. He also excelled in 
portraits, and painted those of that prince, and of 
the principal personages of his court, for which he 
was munificently rewarded. At the recommenda- 
tion of his patron, he was employed in painting 
portraits at several of the courts of Germany, and 
had he been solely intent on the aggrandizement 
of his fortune, he would have confined himself to 
that lucrative pursuit, for his portraits deserved 
great admiration for their intrinsic excellency and 
were rendered particularly attractive by the intro- 
duction of landscapes in the back-grounds, diversi- 
fied with distant prospects of groves, hills, and 
groups of cattle, charmingly disposed, or incidents 
taken from sacred or profane history, giving force 
to the principal subject, and adding interest to the 
picture. But his predilection for his favorite sub- 
jects was not subdued by this seductive allure- 
ment, and having settled at Frankfort, he pur- 
sued his profession during the remainder of his 
life with the most flattering success. The Elector 
of Mentz honored him with a gold chain and med- 
al, and several other princes testified their appro- 
bation by similar presents. In 1685, a dreadful 
fire broke out in the dead of night at Antwerp, and 
soon extended to the dwelling of Roos. While 
endeavoring to save a part of his valuables, he was 
suflbcated, in the fifty-fourth year of his age. 
There are a considerable number of spirited and 
charming etchings by him, from his own designs. 
Bartsch gives a catalogue of thirty-nine ; to which 
Weigel, in his Supplement to Bartsch, has added 
five more. The principal are a set of eight plates 
of Animals, dated 1665; a set of twelve plates of 
Domestic Animals ; and several large plates of 
Landscapes, with ruins and animals, &c. 

ROOS, Theodore, was the brother of the pre- 
ceding, born at Wezel in 1638. He first studied 
under Adrian de Bie, and afterwards with his 
brother, whom he assisted in his works till 1659, 
when he was invited to the court of Manheim, and 
taken into the service of the Elector. His first 
performance was a large picture, representing the 
principal magistrates of Manheim, still preserved 
in the Council Chamber. He afterwards visited 
several other courts of Germany, particularly 
those of Baden and Hanau, and found much en- 
couragement in painting the portraits of distin- 
guished personages. The Elector Palatine employ- 
ed him to paint the portraits of the Duke and 
Duchess of Orleans, for which he was liberally re- 
munerated, and honored with a gold medal and 
chain. The Duke of Wurtemberg employed him 
on several historical works, and appointed him 
his principal painter. The pictures of this artist 
are chiefly confined to Germany, where they are 
highly esteemed, particularly his portraits, which 
are said to possess the merit of perfect resem- 

: blance. His manner was broad and free, and his 
coloring clear and vigorous, but he was deficient 

, in design, and his drawing is frequently incorrect. 

I He executed a few spirited etchings from his own 
designs. Bartsch describes a set of six upright 

i landscapes, with figures and ruins, dated 1667 ; 

' and Weigel adds a Holy Famiry, in the Dresden 



ROOS. 



803 



ROOS. 



Gallery, dated 1671. These prints are extremely 
scarce. He died in 1698. 

ROOS, Philip, called Rosa ba Tivoli. the son 
of John Henry R., was born at Frankfort in 
1655. He early showed a passion for painting. 
Under the able instruction of his father he made 
great progress, and showed such extraordinary 
talents that the Landgrave of Hesse, in whose ser- 
vice the elder Roos was then engaged, took Philip 
under his protection, and sent him to Italy with 
a pension sufficient for his support. On his arri- 
val at Rome, according to Lanzi, he commenced 
studying with Giacinto Brandi. whose daughter he 
afterwards married. He applied himself to his 
studies with such assiduity that he was regarded 
as the most laborious 3''0ung artist of his time, and 
acquired a wonderful facility in design and execu- 
tion, for which reason he was named Mercuriiis 
by the Bentvogel Society. A remarkable proof of 
this is recorded by 0. le Blond, then a student at 
Rome. '• It happened one day. that several young 
artists and myself were occupied in designing from 
the bassi-relievi of the Arch of Titus, when Roos 
passing by, was particularly struck with some 
picturesque object which had caught his attention, 
and he requested one of the students to accommo- 
date him with a crayon and paper. What was our 
surprise when, in half an hour, he produced an 
admirable drawing, finished with accuracy and 
finessed To facilitate his studies, he established 
himself at Tivoli (whence his name of Rosa da 
Tivoli). where he kept a kind of menagerie, and on 
account of the number and variety of the animals, 
his house was called Noah's Ark. He designed 
ever3'thing from nature, not only his animals, but 
the sites of his landscapes, ruins, buildings, rocks, 
rivers, &c. 

His pictures usually represent pastoral subjects, 
with herdsmen and cattle, or shepherds with sheep 
and goats, which he frequentl}'' painted nearly as 
large as life. His groups are composed with great 
judgmen' and taste, and his landscape, back-grounds, 
skies, and distances, are treated in a masterly style. 
His cattle and animals, in particular, are designed 
with wonderful truth and spirit ; his coloring is 
full of force, his lights and shadows are distributed 
with judgment, and his touch is remarka)>ly firm, 
free and spirited. It is erroneou.sly said by most 
of his biographers, that though lie wrought with 
wonderful rapidity, yet his pictures show no ap- 
pearance of negligence or inattention. There is 
indeed a wonderf id difference in his works, as will 
readil}'- be perceived by inspecting them, and by 
comparing the criticisms of the Dutch and Italian 
writers. The whole history of art does not show 
an example of such rapid execution, without its 
being accompanied with more or less defects, both 
in design and execution. In fact, the later pro- 
ductions of Rosa da Tivoli do not compare with 
his earlier works. He unfortunately fell into dis- 
sipated and extravagant habits, which frequently 
cau.sed him great inconvenience ; and, in order to 
supply his wants, he multiplied his pictures to 
such an extent as to depreciate their value. It 
is related that he would sit down, dispatch a 
large picture in a few hours, and send it directly to 
be sold, at any price ; but his servant, possessing 
more discretion, usually paid him the highest price 
offered by the dealers, and kept the pictures himself, 
till he could dispo.se of them to more advantage. 
It is also related that Count Martinetz, the Impe- 



rial Ambassador, laid a wager with a Swedish 
General, that Roos would paint a picture of three- 
quarters size, while they were playing a game at 
cards ; and in less than half an hour the picture 
was finished, though it consisted of a landscape, a 
figure, and several sheep and goats. Lanzi says, '• we 
ought not to rest our decision of his merits on 
those hasty performances, which abound in Rome, 
but should examine his choicest pictures, conduct- 
ed at his leisure, which are to be found in the gal- 
leries of princes." His best works are in the roy- 
al collections of Vienna, Dresden, and other cities 
of Germany, as well as in the best collections of 
Rome and Florence. There are also many of his 
works in England. Roos died at Rome in 1705. 
Huber says that he executed a few spirited etch- 
ings from his own designs, which are extremely 
scarce. 

ROOS, John Melchior, was the younger bro- 
ther of the preceding, born at Frankfort in 1659. 
After studying with his father, he went to Italy, 
and resided there several years. He afterwards 
returned to Germany, and settled at Nuremberg, 
where he painted history and portraits with con- 
siderable encouragement ; but his taste leading 
him to landscapes and cattle, in the style of his 
brother, he soon devoted himself entirely to that 
branch. His principal patron was the Landgrave 
of Hesse Cassel, who employed him for many 
years, and gave the commissions for some of his 
choicest works. Roos painted subjects similar to 
those of Philip, but his coloring and handling 
were very different ; he lacked his agreeable color- 
ing and free, flowing pencil, and he laid on his col- 
ors with a body that seemed more like modeling 
than painting. Yet his pictures, at a distance, have 
a natural appearance, and produce a fine effect. 
There is an etching of a Bull by him, signed /. M. 
Roos fee. 1685 ; the only one known, and extreme- 
ly scarce. He died in 1731. 

ROOS, Joseph, a German painter, born at Vi- 
enna in 1728. He painted landscapes and cattle 
with considerable reputation, and was much em- 
ployed by the Elector of Saxony. He was chosen 
a member of the Academy of Dresden, and after- 
wards was appointed Keeper of the Imperial Gal- 
lery at Vienna. His principal works are in the 
castle of Schoenbrunn. He executed a ievr neat 
and spirited etchings from his own designs, among 
which are a sfet of six plates of various animals, 
and another of ten plates of sheep and goats. 

ROPER, an English painter of sporting pieces, 
race horses, dogs, and dead game, who died about 
1762. 

ROSA, Aniella, or Annella di, a Neapolitan 
paintress, born at Naples, according to Dominici, 
in 1613. She first studied under her uncle, Fran- 
cesco di Rosa, and afterwards with the Cav. Mas- 
simo Stanzioni ; at the same time, Agostino Bel- 
trano was her fellow-student, w^hom she married. 
They wrought together, and prepared many pic- 
tures, whiqh their master afterwards finished, and 
sold as his own. Some pictures, however, pass 
under her own name, and are highly extolled, as 
the Birth and Death of the Virgin at the Pieta; 
not however without a suspicion that Stanzioni 
had a share in their execution. She left numerous 
original drawings, which prove that she had a good 
knowledge of design, and several cotemporaneous 
artists and writers extol her as an excellent artist. 



ROSA. 804 

She has been compared to Elizabeth Si rani for her 
talents, beauty, and tragical death; the fair Bolo- 
gnese was inhumanly poisoned by some envious 
artist, and Aniella was murdered by a jealous hus- 
band in 1649. 

ROSA, Cristoforo, a painter born at Brescia 
about 1520, and died of the plague at Venice in 
1576. He excelled in painting perspective and ar- 
chitectural views, and lived upon terms of intima- 
cy with Titian, who occasionally employed him to 
paint the architecture in some of his pictures. 
There are several of his works in the public edi- 
fices of Yenice, particularly some perspective pie- 
ces, in the antechamber of the Library of St. 
Mark, so admirabl}^ executed that they deceive the 
eye by their relief, and surprise by their air of 
grandeur. He had a brother named Stefano, also 
an excellent painter in the same branch, who as- 
sisted him in his works. They established a 
school in their native city, which continued to 
flourish many years after their decease. They 
also executed many admirable works in oil and 
fresco, for the churches and public edifices of Bres- 
cia. 

ROSA, PiETRO, was the son of Cristoforo R. 
He studied under Titian, and was instructed by 
him with great care, on account of his friendship 
for Pietro's father. This extraordinary care was 
rewarded with excellent results, and few artists 
have approached so near the admirable principles 
of coloring practised by that great master. He 
executed several works for the churches of Bres- 
cia, which gained him great reputation. Unfortu- 
nately for the art, he fell a victim to the plague in 
the flower of his life, in 1576, the year of his fa- 
ther's death. 

ROSA, Francesco, a Genoese painter, who 
flourished about 1670. According to Zanetti, he 
was a pupil of Pietro da Oortona. He painted 
several frescos and oil paintings for the churches, 
which Lanzi says show him to have been a follow- 
er of a different style ; they resemble the works 
of Tommaso Luini and other dark mannerists of 
the age. He also painted in other cities. Lanzi 
says one of his best works is the Miracle of St. An- 
thony, in the church of the Frari at Venice, a 
grand composition of many figures, designed more 
in the style of the Caracci than of Oortona ; dis- 
playing much knowledge of the naked figure, 
beautiful architecture, a fine efiect of chiaro-scuro, 
with great vivacity in the heads. 

ROSA, Francesco di, called also Pacicco or 
Pacecco, a Neapolitan painter, who, according to 
Dominici, was one of the ablest scholars of the 
Cav. Massimo Stanzioni. Lanzi says he is one of 
the few painters commemorated by Paolo de' Mat- 
teis, who never admits any inferior artists. '• He 
declares the style of Rosa almost inimitable, not 
only from his correct design, but from the rare 
beauty of his extremities, and still more from the 
dignity and grace of his countenances. He had in 
his three nieces the most perfect models of beauty, 
and he possessed a sublimity of sentiment which 
elevated his mind to a high sense of excellence. 
His coloring, though conducted with exquisite 
sweetness, had a strong body, and his pictures pre- 
serve a fresh and clear tone." His style, like most 
of the scholars of Stanzioni, was founded on that 
of Guido, whose works he frequently copied, un- 
der the direction of his instructor, in the early 



ROSA. 



^ 



part of his course. He lived to an advanced age, 
and executed a great many easel pictures, which 
are now preserved with high estimation in the 
collections of the Neapolitan nobility. He also 
painted some beautiful altar-pieces for the church- 
es. He died at Naples in 1654. 

ROSA, Giovanni, a Flemish painter, born at 
Antwerp in 1591. According to Soprani, he went 
early to Rome, and acquired great reputation for 
his exquisite paintings of landscapes and animals. 
Lanzi says he studied at Rome, and was a happy 
imitator of nature in her most agreeable forms, 
especially animals. " Many artists of this period 
attached themselves to the painting of animals. 
Castiglione distinguished himself in this line ; but 
he resided for the most part of his time in another 
country. Giovanni Rosa of Flanders is the most 
known at Rome, and in the State, for the great 
number of his paintings of animals, in which he 
possessed extraordinary talent. It is said of him 
that he painted hares so naturally as to deceive the 
dogs, thus reviving the wonderful story of Zeuxis, 
so much boasted of by Pliny. Two of his largest 
and finest pictures are in the Bolognetti collection. 
"We must not confound this artist with Rosa da 
Tivoli, also an excellent animal painter, but not so 
celebrated in Italy." He afterwards established 
himself at Genoa, where he left many works, 
taught some pupils, and died in 1638. This artist 
is not mentioned hj any of the Dutch or Flemish 
writers, doubtless because he passed his whole ar- 
tistic life in Italy. 

ROSA, Giuseppe. This artist is briefly men- 
tioned by Lanzi in a note to his life of Rosa da 
Tivoli, of whom he was a descendant. He was 
appointed Director of the Imperial Gallery at Vi- 
enna, and published a catalogue of the Italian and 
Flemish pictures in 1784. 

ROSA, Salvatore. This cel- 
ebrated painter was born at Re- 
or f^^ nella, a small village near Naples, 
'in 1615. His father, an architect 
and land surveyor, intended him for the church, 
and gave him a liberal education ; but young Rosa 
left the Seminary of his own accord at the age of 
sixteen, and devoting himself to musical studies, 
became a skilful musician and a good composer. 
His eldest sister having married Francesco Fra- 
canzani, a painter of considerable talent, Salvator 
imbibed an inclination for painting from frequent- 
ing his studio, and commenced studying under his 
brother-in-law. There is so much fiction mingled 
with the early history of this great artist, that it 
is impossible to arrive at the truth. It is certain, 
however, that he passed his early days in poverty, 
that he was compelled to support himself by his 
pencil, that he exposed his juvenile performances 
for sale in the public markets, and often sold them 
to the dealers for the smallest prices. To the hon- 
or of Cav. Lanfranco, it is related that while rid- 
ing in his carriage one day along the streets of 
Naples, he observed one of Salvator's pictures ex- 
posed for sale in a shop window, and surprised at 
the uncommon genius which it displayed, he pur- 
chased the picture, and inquired the name of the 
young artist. The picture-dealer, who had proba- 
bly found Salvator's necessities quite profitable to 
himself, refused to communicate the desired infor- 
mation, whereupon Lanfranco directed his scholars 
to watch for his pictures, and seek him out. When 




ROSA. 



805 



ROSA. 



he had found him, he generously relieved his 
wants, and encouraged him in the pursuit of his 
studies. After receiving some instructions from 
Aniello Falcone, an eminent painter of battle- 
pieces, he was admitted, through the influence of 
Lanfranco, into the academy of Giuseppe Ribera, 
called II Spagnoletto, and remained there until the 
age of twenty, when he accompanied that master 
to Rome. The Cardinal Brancacci, having be- 
come acquainted with his merits at Naples, took 
him under his protection, and conducted him to his 
bishopric of Viterbo, where Salvator painted sev- 
eral historical works, and an altar-piece for the 
Cathedral, representing the Incredulity of St. 
Thomas. On his return to Rome, the prince Gio. 
Carlo de' Medici employed him to execute several 
important works, and afterwards invited him to 
Florence. During a residence of nine years in that 
city, he greatly distinguished himself as a painter, 
and also as a satirical and dramatic poet ; his Sa- 
tires, composed in Florence, have passed through 
several editions. His wit, lively disposition, and 
unusual conversational powers, drew around him 
many choice spirits, and his house was the great 
centre of attraction for the connoisseurs and lite- 
rati of Florence. He fitted up a private theatre, 
and was accustomed to perform the principal parts 
in his comedies, in which he displayed extraordi- 
nary talents. He painted many of his choicest 
pictures for the Grand Duke, who nobly reward- 
ed him ; also for the noble family of the MafFei, 
for their palace at Volterra. After his return to 
Rome, he demanded exorbitant prices for his works, 
and though his greatest talent lay in landscape paint- 
ing, he affected to despise that branch, being ambi- 
tious of shining as an historical painter. He paint- 
ed some altar-pieces and other subjects for the 
churches, the chief of which are four pictures in 
S. Maria di Monte Santo, representing Daniel in 
the Lion's Den, Tobit and the Angel, the Resur- 
rection of Christ, and the Raising of Lazarus ; the 
Martyrdom of St. Cosimo and St. Damiano,in the 
church of S. Giovanni. 

The brightest era of landscape painting is taid 
with truth to have been in the time of pope Urban 
VIII., when flourished Claude Lorraine, Gas- 
par Poussin, and Salvator Rosa. Of these, Sal- 
vator was the most distinguished, though cer- 
tainly not the best ; each was the head of a per- 
fectly original school, which had many followers, 
and each observed nature on the side in which he 
felt impelled to imitate her. The first admired 
and represented nature in her sweetest appearance ; 
the second, in her most gorgeous array ; and the 
third in her most convulsed and terrific aspects. 
Salvator Rosa painted history, landscape, battle- 
pieces, and sea-ports ; and of these he was most 
eminent in landscape. The scholar of Spagnolet- 
to, he attached himself to the strong natural style 
and dark coloring of that master, which well ac- 
cords with his subjects. In his landscapes, in- 
stead of selecting the cultured amenity which cap- 
tivates in the views of Claude or Poussin, he made 
choice of the lonely haunts of wolves and robbers ; 
instead of the delightful vistas of Tivoli and the 
Campagna, he adopted the savage scenery of the 
Alps, rocky precipices, caves, with wild thickets 
and desert plains ; his trees are shattered, or torn 
up by the roots, and in the atmosphere itself he 
seldom introduced a cheerful hue, except occasion- 
ally a solitary sunbeam. These gloomy regions 



are peopled with congenial inhabitants, ferocious 
banditti, assassins, and outlaws. In his marines, 
he followed the same taste; they represent the 
desolate and shelvy shores of Calabria, whose 
dreary aspect is sometimes heightened by terrific 
tempests, with all the horrors of shipwreck. His 
battles and attacks of cavalry also partake of the 
same principle of wild beauty ; the fury of the 
combatants, and the fiery animation of the horses 
are depicted with a truth and elFect that strikes 
the mind with horror. Notwithstanding the sin- 
gularity and fierceness of his style, he captivates 
by the unbounded wqldness of his fancy, and the 
picturesque solemnity of his scenes. " He gives 
us," says Sir Joshua Reynolds, " a peculiar cast of 
nature, which, though void of grace, elegance, and 
simplicity, though it has nothing of that elevation 
and dignity which belongs to the grand style, yet 
has that sort of dignity which belongs to savage 
and uncultivated nature ; but what is most to be 
admired in him is, the perfect correspondence which 
he observed between the subjects he chose, and his 
manner of treating them. Everything is of a 
piece ; his rocks, trees, skies, even to his handling, 
have the same rude and wild character which ani- 
mates his figures." 

Although Salvator Rosa possessed a lively and 
inventive genius, his powers were better adapted 
to the scale of easel pictures than to more exten- 
sive compositions, with figures of large dimensions. 
" Owing to his frequent practice," says Lanzi, " he 
had more merit in his smaller than his larger fig- 
ures. He was accustomed to insert them in his 
landscapes ; and he composed his historical pictures 
in the san»e style as the Regulus, so highly praised, 
in the Colonna palace (this picture is now in the 
possession of the Earl of Darnley) ; also fancy 
subjects, as the Witchcrafts, specimens of which 
are to be seen in the Campidoglio, and in many 
private collections. In these he is never select, not 
always correct, but displays great spirit, freedom 
of execution, skill, and harmony of color. In oth- 
er respects he has proved, on several occasions, that 
his genius was not confined to small compositions, 
evinced by some well conceived altar-pieces, exe- 
cuted with powerful effect, particularly when the 
subject demands an expression of terror, as in a 
Martyrdom of Saints in the church of S. Gio. de' 
Fiorentini at Rome, and in the Purgatory in S. 
Gio. delle Case Rotte at Milan. We have also 
some profixne subjects by him, finely execute_d_ on 
a large scale ; such is the Conspiracy of Catiline, 
in the possession of the noble family of Martelli 
in Florence, commended by Bottari as one of his 
best works'." Salvator Rosa wrought with won- 
derful facility, and could paint a well finished land- 
scape and insert all the figures in one day ; it is 
impossible to inspect one of his bold, rapid sketch- 
es, without being struck with the fertility of his 
invention, and the skill of his hand that rivalled 
in execution the activity of his mind. He was 
also an excellent portrait painter. A portrait of 
himself is in the church degli Angeli, where his re- 
mains were interred, and he introduced his own por- 
trait into several of his pictures, one of which is 
in the Chigi gallery, representing a wild scene with 
a poet in a sitting attitude (with the features of 
Salvator) ; before him stands a satyr, allusive to 
his satiric style of poetry. During his life-time, 
his works were much sought after by princes and 
nobles, and they are now to be found in the choic- 



ROSA. 



806 



EOSA. 



est collections of Italy and of Europe. There is a 
landscape in the English National Galler}^ which 
cost 1800 guineas ; a picture in the collection of 
Sir Mark Sykes brought the enormous sum of 
2100 guineas. Salvator Rosa also produced about 
ninety etchings from his own designs, executed in 
a spirited and masterly style. Tho}^ are distin- 
guished by intelligent management of the chiaro- 
scuro, and uncommon vivacity and expression 
in the heads. They are usually marked with a 
monogram of his initials, as above. He also some- 
times signed his paintings with the same mark. 
The following are his principal prints. He died at 
Rome in 1673, 

A set of sixty-two Prints of banditti, soldiers, and other 
figures ; single and in groups. The Fall of the Giants. 
The Death of Attilius Regulus. The finding of (Edipus. 
Democritus meditating. The Execution of Polycrates. 
Glaucus and Sylla. Jason charming the Dragon. Alex- 
ander with Apelles. Alexander and Diogenes. Diogenes 
throwing away his Bowl. Plato discoursing with his Disci- 
ples. Apollo and a Nymph. An allegorical subject ; call- 
ed The Genius of Salvator. A set of six Plates, in the 
form of friezes, representing Tritons, Sea Nymphs, &c. 

ROSA, SiGiSMONDO, a Roman painter, who 
flourished in the first part of the 18th century. 
He studied under Giuseppe Chiari, and adopted 
his style. He was a reputable artist, and execu- 
ted a few works for the churches, but mostly paint- 
ed easel pictures. 

ROSA, SiSTO. See Badalocchio. 

ROSA, DA TivoLi. See Philip Roos. 

ROSALBA, Caeriera, a celebrated Italian 
paintress, born at Chiozza, near Venice, in 1675. 
She was instructed in art by Giovanni Diamantini, 
and practised oil painting for some time, but after- 
wards abandoned it for miniature and crayons, in 
which last branch she became very eminent. In 
1709, Frederick IV., King of Denmark, passing 
through Venice, sat to her for his portrait, which 
she executed so much to his satisfaction that he 
ordered several copies, and subsequently employed 
her to paint the portraits of twelve Venetian la- 
dies, for which he rewarded her with princely lib- 
erality. She visited Paris in company with Pelle- 
grini, her brother-in-law, where she painted the 
r03'al family, the princes of the blood, and the 
principal pei'sonages of the court. She was elected 
a member of the French Academy, and presented, as 
her reception-piece, a picture of one of the Muses. 
She was subsequently employed at several of the 
courts of Europe, and everywhere left many proofs 
of her extraordinary ability. On returning to 
Venice, she continued to practise her profession 
with undiminished success until the age of seventy, 
when, from incessant application, her eyesight com- 
pletely failed. Few artists have equalled Rosalba 
in crayon painting. Her portraits, especially 
those of females, are gracefully designed, full of 
life and spirit, exceedingly natural, with an agree- 
able resemblance to the persons represented. Her 
coloring is soft, tender, and delicate, her tints are 
clear and admirably blended. She died at Venice 
in 1757. 

ROSALIBA, Antonello, a Sicilian painter, 
who flourished at Messina in the first part of the 
16th century. He executed some works for the 
churches, which, according to Hackert, are grace- 
fully designed and well colored. 

ROSASPINA. Fkancesco, an eminent Italian 



engraver, born at Bologna in 1760. His instructor 
is not mentioned, but he was equally skilful in 
operating with the burin, in the chalk manner, and 
in aquatinta. His drawing is very correct, and 
his plates are beautifully executed, with a fine ef- 
fect of chiaro-scuro ; they are also esteemed for 
the fidelity with which he copied the expression 
and characteristics of his originals. Among his 
most esteemed prints are, the Dance of Cupids, 
after Alhano ; the Dead Christ, after Correggio ; 
St. Frixwas, after Domem'chmo; Cupid bending 
his Bow, after Franceschmi ; several portraits of 
illustrious Italians ; and a series of twenty-five 
prints, after Parmiggiano, engraved in the cray- 
on and tinted manner, in the finest taste. Rosas- 
pina also engraved some of the Battles of Napole- 
on, after the designs of Appiani, in the style of 
bassi-relievi. He is also entitled to great credit 
for his able superintendence of the engraving and 
publishing of the work entitled La Pinacoteca, 
con.sisting of about seventy plates after the best 
paintings in the Academy of the Fine Arts at Bo- 
logna, of which institution he was professor. In 
these prints, the di-awing and character of the ori- 
ginals are preserved with the greatest exactness. 
The time of his death is not recorded. 

ROSATI, RosATO, an Italian sculptor and ar- 
chitect, who flourished in the first part of the 17th 
century. According to Milizia, he erected the 
church of the Jesuits in his native city, and the 
main portion of the church of S. Carlo de' Cate- 
nari at Rome, a Greek cross of one nave, with a 
cupola, to which was added a fa9ade by Giovanni 
Battista Soria. 

ROSE, Nicholas. See Liemaeker. 

ROSE, Susan Penelope, an English paintress 
of miniatures, who, according to Lord Orford, was 
the daughter of Richard Gibson, called the Dwarf. 
She was born in 1652, and died in 170J. Her 
miniatures were of unusually large size, and are 
said to have possessed considerable merit. 

R^SEL, John Augustus, a German painter of 
noble descent, born at Arnstadt in 1705. He at 
first practised as a miniature painter at Nurem- 
berg, but afterwards devoted liimself to the repre- 
sentation of insects, which he depicted with all the 
truth and accurac}^ of nature. He studied and k 
wrote upon Entomology, and in 1746, published f 
his celebrated work on that subject, entitled Insek- 
ien-Belustigungen, in 4 vols., 4to., illustrated 
with numerous plates from his own designs. He 
died at Nuremberg in 1759. 

ROSELLI, NiccoLO, a painter who flourished 
at Ferrara alDOut 1568, Baruffaldi supposes that 
he was a scholar of the Dossi, but Lanzi says this 
is quite uncertain, as he could imitate man}^ dif- 
ferent masters. He executed many works for the 
churches at Ferrara. In his altar-piece of Christ 
with two Angels, at the Battuti Bianchi. he fol- 
lowed the Dossi, but in his twelve altar-pieces at 
the Certosa, he imitated Benvenuto Garofolo, II 
Bagnacavallo, and several other artists. 

ROSELLINI, Bernardo, a distinguished Ital- 
ian architect, who flourished at Rome about 1450. 
He was highly esteemed hy Pope Nicholas V.. and 
was employed to execute many excellent edifices, 
among which were the church of S. Francesco at 
Fabriano ; S. Benedetto, at Gualdo ; and S. Fran- 
cesco at Assisi. He also restored and embellished 



ROSE. 



807 



ROSI. 



the Basilica of S. Giovanni Laterano, of S. Paolo, 
and S. Lorenzo without the walls, at Rome, and 
the Baths at Viterbo. By a commission from the 
same pontiff, Rosellini repaired a great part of the 
walls of Rome, furnished them with towers, 
strengthened the Castle of St. Angelo, and re- 
stored the fortifications at Civita Vecchia, Narni, 
and Spoleto. Nicholas was a munificent patron of 
the Fine Arts, and conceived the idea of an im- 
mense architectural work in the suburbs of Rome, 
which was designed by Rosellini. It included a 
magnificent temple to St. Peter, with superb pal- 
aces for the pope and cardinals, beautiful villas, 
gardens and fountains. The death of the pope, in 
1455, prevented the execution of this splendid pro- 
ject. 

ROSER, M.. a German painter, born at Heidel- 
berg in 1737. After learning the rudiments of art, 
he studied under Loutherbourg. In 1764, he went 
to Paris, and chiefly devoted himself to copying 
the works of the Flemish painters, which he did 
with great success. His happy talent of imita- 
ting the touch and coloring of different masters, 
peculiarly fitted him for repairing ancient pictures, 
in which he met with considerable employment. 
He restored Raffaelle's painting of the Virgin of 
Foligno, and several works by Correggio, Titian, 
and other great masters. He died at Paris in 1804. 

ROSETTI, DoMENico, a painter and engraver, 
born at Venice about 1690. It is not known un- 
der whom he studied. He painted perspective 
and architectural pieces with considerable success, 
but is chiefly known by his works as an en- 
graver. He was invited by the Elector Palatine 
to Dusseldorf where he engraved twelve large 
plates of the History of Alexander, after the works 
of Gerard Lairesse ; these prints are now very 
scarce, as few impressions were taken. He exe- 
cuted some of the plates for a collection of prints 
after the most celebrated pictures at Venice, pub- 
lished by Domenico Louisa in that city, in 1720. 
He is said to have engraved a set of plates for a 
History of the Bible, printed at Venice in 1696 ; 
also a variety of plates after Palma Vecchio, Bas- 
sano, Tintoretto, P. Liberi, and others. Some of 
these bear a still earlier date, and Zani says he 
operated in 1675. He died about 1760. It is 
probable from the above dates, that there were 
two engravers of this name. 

ROSI, Alessandro, a Florentine painter, born, 
according to Orlandi, in 1627. He studied under 
Cesare Dandini, and painted history with consid- 
erable reputation. He executed several works for 
the churches of Florence, and in the slate, but 
painted more for the collections. In the cathe- 
dral at Prato, is a fine picture by him, of St. Fran- 
cesco di Paolo, and in the collection of the Grand 
Duke, are two Bacchanalian subjects, executed 
wi th great beauty and spirit. He died at Florence 
in 1697. 

ROSI, Zanobi, a Florentine painter, who flour- 
ished in the first part of the 17th century. Ac- 
cording to Baldinucci, he studied under Cristofano 
Allori, whose style he closely imitated, and at 
the death of that master, he completed some of 
his unfinished works. Lanzi says he never ob- 
tained any reputation for originality of invention, 
but he was one of those artists to whom we owe 
the duplicates of AUori's most celebrated pictures, 
numerous in Florence, and over all Italy. 



ROSI, Giovanni, a Florentine painter of land- 
scapes, who flourished about the middle of the 
17th century. Baldinucci says he closely imitated 
Gaspare Falgani, tohich see. 

ROSIGNOLI, Jacopo, a painter born at Leg- 
horn, of whom little is known. According to 
Lanzi, his works are frequently to be met with in 
Piedmont, resembling the style of Pierino del Va- 
ga, especially in his grotesques. He attained suf- 
ficient reputation to be appointed painter of the 
court at Turin, where he died in 1604. He was 
buried in the church of S. Tommaso, and a monu- 
ment, with a laudatory epitaph, was erected to his 
memory. 

ROSITI, Giovanni Battista, a painter of 
Forli, who flourished about 1500. Lanzi men- 
tions only one picture by him, well designed and 
colored, in the church of S. Maria dell' Orto, at Vel- 
etri, representing the Virgin with the Infant Je- 
sus in her arms. It is signed Jo. Baptista de Ro- 
sitis de Forlivio pinxit, I. S. 0. 0. de Mense 
Martil 1500. 

ROSLER, Michael, an obscure German en- 
graver, who flourished at Nuremberg in the first 
part of the 17th century. He engraved several 
plates for a folio volume, pubhshed in that city in 
1626, entitled Icones Bibliopolarum et Typogra- 
phorum. 

ROSS, James, an English engraver, who flour- 
ished about 1778. He engraved some views of the 
city of Hereford, neatly executed ; also some plates 
after drawings by G. Powle. 

ROSSELLI, OosiMO, a Florentine painter, born 
about 1416, who acquired great distinction without 
possessing commensurate merit. There is much 
discrepancy about his history, and his instructor is 
not mentioned. After acquiring considerable rep- 
utation in his native city, he was invited to Rome 
by Sixtus IV,, to assist in ornamenting the Sis- 
tine chapel, in conjunction with Domenico Ghir- 
landaio, Pietro Perugino, Sandro Botticelli, and 
other eminent artists. Lanzi says of his works 
at Rome, '• Being unable to rival his competitors 
in design, he loaded his pictures with brilliant col- 
ors and gilded ornaments, which practice, though 
condemned at that time by an improving taste, yet 
pleased the pontiff, who commended and rewarded 
him beyond all other artists. Perhaps his best 
work there is Christ preaching on the xMount, in 
which the landscape is said to be the work of Pier 
di Cosimo, a painter more remarkable for his col- 
oring than his design, as is evident from his pic- 
ture in the church of the Innocents, and his Per- 
seus, in the Florentine gallery. They are both, 
however, celebrated in history, Rosselli, as the 
master of Baccio della Porta, and Cosimo, of An- 
drea del Sarto." Most of the works Rosselli exe- 
cuted in Florence have perished ; there is, however, 
a fresco in the church of S. Ambrogio, representing 
the Miracle of the Sacrament, full of fine portraits, 
which discover variety, character, and truth. Lanzi 
says he was living in 1496 ; Zani, that he died in 
1506; others, that he was born in 1416. and died in 
1484. Pier di Cosimo was born in 1441, and died 
in 1521, which see. 

ROSSELLI, Matteo, a Florentine painter, born 
in 1578. He first studied with Gregorio Pagaui, 
and afterwards with Passignano, whom he accom- / 
panied to Rome, and gained improvement by study- 



ROSS. 



808 



ROSS. 



ing the works of RalEFaelle, Polidoro da Caravag- 
gio, and other masters. On finishing his studies 
he returned to Florence, where he passed the re- 
mainder of his life, and acquired so much reputa- 
tion, that he was invited to the court of the Duke of 
Modena. He remained, however, in the service of 
Cosimo II., Grand Duke of Tuscany, by whom he 
was much employed; he embellished his palace 
of the Villa di Coggio with several fine frescos, re- 
presenting the history of the family of th« Medici. 
He also executed many works for the churches and 
public edifices. The works of Rosselli are not 
distinguished by the vigorous design and anima- 
ted expression which characterize the productions 
of some Florentine artists. His merit lies in cor- 
rectness of design, and a close imitation of nature, 
with a peculiar harmony pervading the whole, 
which render his pictures agreeable and attractive, 
even when compared with works of the most bril- 
liant coloring. He excelled in dignity of charac- 
ter ; some of the heads of his apostles so strongly 
resemble the works of the Caracci, that even con- 
noisseurs have sometimes been deceived. At other 
times he imitated the style of Lodovico Cardi, 
called Cigoli, as seen in his fine picture of the Na- 
tivity, in S. Gaetano, considered his most capital 
performance, and the mart3'^rdom of St. Andrea at 
the Ognissanti, which has been engraved. His 
fresco paintings are greatly admired, and preserve 
their brilliancy, even to the present time. In the 
cloister of the Nunziata, are several semi-circular 
pieces by him, representing Alexander lY. confir- 
ming the Order of the Servi, which were con- 
sidered grand productions by Passignano and Cor- 
tona. He opened a school at Florence, and in- 
structed many pupils. Lanzi says he had few 
equals in the art of teaching ; he possessed a re- 
markable talent for communicating instruction, 
and a judicious method of discovering the talents 
of each pupil and of directing his studies accord- 
ingly, so that his school, like that of the Caracci, 
produced almost as many different styles as he had 
scholars ; he also preserved a fatherly regard for 
his pupils, who greatly loved and respected him. 
He died in 1650. 

ROSSET, Joseph, a French sculptor, born at 
St. Claude, in Franche Comte, in 1706. He ac- 
quired a knowledge of the art without a master, 
by studying and modeling various works of sculp- 
ture. He was patronized by Voltaire, and exe- 
cuted several busts of that celebrated author. His 
subjects are principally of a religious character, 
some executed in ivory ; among them are a num- 
ber of beautiful statues of the Virgin ; and one 
of St. Jerome, highly praised by Falconet, who 
supposed from its excellence, that the artist had 
studied in Italy. Rosset practised the art for 
many years in his native place, and died in 1786: 

ROSSETTI, Cesare, a painter born at Rome, 
who, according to Baglioni, studied under Giusep- 
pe Cesari, whom he assisted in many of his works, 
and whose manner he adopted. He also executed 
many works of his own for the churches, as well 
as for the collections. He flourished about 1630. 

ROSSETTI, Giovanni Paolo, a painter born at 
Volterra, who flourished about 1568. He was a 
nephew of Daniele Ricciarelli, with whom he stud- 
ied at Rome, and, according to Vasari, painted his- 
tory with considerable reputation. After the death 
of his uncle, he returned to Volterra, where he ex- 



ecuted some altar-pieces for the churches, one of 
the most esteemed of which is the Descent froni 
the Cross in S. Dalmasio. Zani says he operated 
in 1600. 

ROSSETTI, Paolo, a painter of Cento, who, ac- 
cording to Baglioni, was an eminent painter in 
mosaic, and executed many beautiful works. He 
died in 1621, at an advanced age. 

ROSSETTI. See Rovere. 

ROSSI, Andrea, an Italian engraver, born at 
Rome in 1726, and died in 1790, He engraved 
several portraits of Popes and royal personages, 
and other subjects after various Italian masters, 
among which are the portraits of the Emperor 
Joseph II. of Austria, and the Archduke Leopold, 
after Pompeo Battoni; a Bust of the Virgin, af- 
ter Carlo Dolci, and St. Margaret of Cortona, af- 
ter Pietro da Cortona. * 

ROSSI, Antonio, a painter born at Bologna in 
1700. He was the favorite disciple of the Cav. 
Marc' Antonio Franceschini, who recommended 
him, in preference to his other pupils, to execute 
man}'" of the commissions which he was obliged to 
decline on account of his constant occupation. He 
executed numerous works for the churches and 
public edifices at Bologna, one of the most es- 
teemed of which is the Martyrdom of St. Andrew, 
in S. Domenico. He was much employed in dec- 
orating with his figures, the architectural and per- 
spective pieces of Orlandi and F. Brizzio. He died, 
according to Crespi and Lanzi, in 1753 ; others 
place his birth in 1697, and death in 1750. 

ROSSI, Aniello, a Neapolitan painter, born 
about 1660, and died in 1719. According to Dom- 
inici, he was one of the favorite scholars of Luca 
Giordano, whose style he adopted. He accom- 
panied his instructor to Spain, assisted him in the 
execution of his numerous works at Madrid, and 
returned with him to Naples, with a pension from 
the king that enabled him to pass the rest of his 
days in leisure and independence. 

ROSSI, Antonio, called de Rubeis, a painter 
of the Venetian school, who, according to Lanzi, 
was a native of Cadore, flourished in the latter 
part of the 15th century, and from variows au- 
thorities found in that city, is supposed to have 
been the instructor of Titian. He describes three 
pictures by him, inferior in design to Jacopo Bel- 
lini, though similar in style, and perhaps equal to 
the works of that master in elegance of coloring. 

ROSSI, or ROSSIS, Angelo, a Florentine paint- 
er, born in 1742. It is not mentioned under whom 
he studied, but according to Lanzi, he acquired 
distinction as an architectural and ornamental 
painter, and was much employed at Florence, Bo- 
logna, and at Venice. 

ROSSI, D. Angelo, a painter born in the Gen- 
oese territory, according to Ratti, in 1694, and 
died in 1755. Lanzi says he was the most dis- 
tinguished scholar of Domenico Parodi, and a good 
follower of the style of Carlo Maratti. He exe- 
cuted but few works for the churches, but excelled 
in painting easel pictures of humorous subjects. 

ROSSI, Carlo Antonio, a Milanese painter, 
born, according to Orlandi, about 1580, and died 
in 1648. He was educated in the school of the 
Procaccini, and executed some works for the 
churches, especially in the cathedral of Pavia, 



ROSS. 809 



ROSS. 



" painted in the best Procaccini taste." He is de- 
scribed in the Abbeccedario, as an eccentric man, 
but well versed in his art. 

ROSSI, Enea, a Bolognese painter, who flour- 
ished about 1600, and, according to Malvasia, 
studied in the school of the Caracci. He was a 
skilful artist, and executed some fine works for 
the churches at Bologna and in the state. 

ROSSI, Francesco. See Salviati. 

ROSSI, Gabriele, a Bolognese painter of archi- 
tecture and perspective, who flourished, according 
to Baruflaldi, about 1650. He attained eminence 
in that branch in his day, but his works have 
mostly perished. He was the instructor of Fran- 
cesco Ferrari. 

ROSSI, Giovanni Battista, called II Gobbi- 
ng (humpback), a painter of Verona, who, accord- 
ing to Pozzo, was an excellent disciple of Alessan- 
dro Turchi, surnamed Orbetto. He executed sev- 
eral works for the churches of Verona, but painted 
more for the collections. He flourished about 1630. 

ROSSI, Giovanni Battista, a painter born at 
Rovigo about 1627, and died about 1680. He 
studied under Dario Varotari, called Padovanino, 
and adopted his style. He executed «, few works 
for the churches at Padua and Venice, which are 
extolled by Boschini, but was mostly employed in 
painting for the collections. 

ROSSI, Giovanni Battista, a Roman engrav- 
er, who flourished about 1640. He published in 
that year a set of perspective views of Rome. 

ROSSI, Giovanni Stefano, a Genoese painter, 
born in 1719. He studied successively under Se- 
mini, Sorri, and Strozzi. He acquired consider- 
able reputation, as a painter of history, and exe- 
cuted some works for the churches and convents. 
He died at Genoa in 1769. 

ROSSI, GiROLAMO, a painter born at Brescia, 
who flourished about 1640. He is supposed from 
his style, to have studied under Camillo Rama, 
whose style he imitated, as appears from his altar- 
piece of the Virgin between various Saints, in the 
church of S. Alessandro, in his native city. Lanzi 
says he was either a pupil or an imitator of Rama, 
and displayed that master's manner better than 
any of his other pupils. 

ROSSI, GiROLAMO, a Bolognese painter and en- 
graver, who, according to Malvasia, was a pupil of 
Flaminio Torre, and flourished about 1660. Lanzi 
says he succeeded better in engraving than in 
painting. Perhaps he is the same as the follow- 
ing artist, though the accounts do not agree. 

ROSSI, GiROLAMO, called de Rubeis the El- 
der, a painter and engraver, born at Rome about 
1630. He studied at Bologna, under Simone Can- 
tarini. Little is said of his works as a painter ; 
he executed some spirited etchings after the Ital- 
ian masters, which are marked Hieronimus de 
Rubeis pictor, delineavit incidit, or fecit. Bartsch 
asserts that his etchings amount only to six, but 
more are described by other writers. 

ROSSI, GiROLAMO, called de Rubeis the 
Younger, was the son of the preceding, born at 
Rome about 168.0. He studied with his father, 
and executed a number of plates after various Ital- 
ian masters, also several for a set of portraits of 
the Cardinals of his time, which was afterwards 



continued by Pazzi, and others. His plates are 
engraved in a feeble style. Nagler gives a list of 
twenty-one prints by him. Zani says he operated 
as late as 1749. 

ROSSI, Lorenzo, a Florentine painter, who? 
according to Orlandi, was a pupil of Pietro Dan- 
dini. He did not follow the style of that master, 
but painted elegant small pictures, following the 
manner of Livio Mehus, which see. He died at 
Florence in 1702. 

ROSSI, Muzio, a Neapolitan painter, born in 
1626. According to Crespi, he studied with the 
Cav. Massimo Stanzioni, and afterwards entered 
the academy of Guido at Bologna. He possessed 
such extraordinary talents, that, at the age of eigh- 
teen, he was employed in competition with the 
first masters at the Certosa, where he painted an 
altar-piece of the Nativity, which was considered 
a prodigy of youthful ability, and is still held in 
high estimation. On his return to Naples, he was 
employed to paint the Tribune of St. Pietro m Ma- 
jella, which he did not live to complete. He died 
in the flower of his life, deeply lamented, in 1651. 

ROSSI, NiccoLO Maria, a Neapolitan painter, 
born in 1645. According to Dominici, he studied 
under Luca Giordano, and became an excellent de- 
signer and colorist in the style of that master. He 
painted the ceiling of the Royal chapel, assisted by 
the designs of Giordano. He executed some works 
for the churches, which are commended in the 
Guida di Napoli, particularly several fine paint- 
ings in distemper, in Santi Sepolcri and Quaran- 
tore. There are several of his easel pictures in 
the collections, which are much esteemed for their 
correctness of design and spirited execution ; he 
excelled in his representations of animals, in which 
branch he was considered next to the Cav. Giu- 
seppe Recco. He died at Naples in 1700. 

ROSSI, Pasquale, called Pasqualino da Vi- 
CENZA, a painter born at Vicenza in 1641. Accord- 
ing to Orlandi. he reached a respectable rank in 
historical painting, without the aid of a master, by 
studying the works of the best Roman and Ven- 
etian painters ; but he early left his native city 
and passed many years at Rome, where he execu- 
ted many excellent works for the churches, and is 
classed by Lanzi with the painters of the Roman 
school. Among his most esteemed pictures, are 
Christ praying in the Garden, in S. Carlo al Corso, 
and the Baptism of Christ, in S. Maria del Popolo 
at Rome ; the Madonna and Child, at the Silves- 
trini in Fabriano, which Lanzi says is truly beau- 
tiful, and a picture of St. Gregory liberating souls 
from Purgatory, in the Cathedral at Matelica, one 
of his best works, executed in the style of Guer- 
cino. He also painted many cabinet pictures, re- 
presenting gaming parties, conversations, concerts, 
and similar subjects, which are esteemed in the 
best collections. Lanzi says, " they are carefully 
finished, and little inferior to the Flemish pictures. 
I have met with numerous specimens of his cab- 
inet pictures in various places, but in no place have 
I admired this artist so much as in the Royal gal- 
lery at Turin, where are several of his works, 
some of them of considerable size, chiefly scriptural 
subjects, executed in an animated and vigorous 
style, and with so much of the Roman school, that 
one would think them to be by some other master." 
Lanzi and several other writers say he was living 



ROSS. 810 

in 1718 ; Zani, that he died in 1725 ; others place 
his death in 1700, but there are pictures by him 
bearing a later date. 

ROSSI, John Charles Felix, an eminent Eng- 
lish sculptor, was the son of an Italian of Sie- 
na, a resident of Nottingham, and was born in 
that town in 1762, He first studied sculpture 
under Luccatella, and afterwards visited London 
for improvement. He entered the Royal Academy 
as a student, and in 1781 gained the silver medal; 
in 1784 he drew the gold medal, w^hich entitled him 
to a residence of three 5^ears at Rome, with a suit- 
able pension. He went to Italy the succeeding 
year, where he studied with great assiduity, and 
in 1788 returned to England. He soon attained 
distinction, and received several commissions which 
decided his excellence. In 1800 he was chosen an 
Associate of the Royal Academy, and in 1802, a 
member. He executed many works of a classical 
description, as well as several celebi-ated monu- 
ments, ximong the first, are a marble statue of 
Mercury, executed at Rome ; a recumbent statue 
of Eve; Musidora; Zephyrus and Aurora; and 
Venus and Cupid. Sir Robert Peel owned his stat- 
ue of the poet Thomson ; and in the Exchange at 
Liverpool, is his statue of Brittania. These, how- 
ever, are not the works by which Rossi is best 
known. His style is not remarkable for refine- 
ment of taste or delicacy of execution, but is dis- 
tinguished for vigor- and grandeur of effect. Bis 
peculiar talents are best displayed in his noble 
monuments in St. Paul's cathedral, upon which his 
reputation chiefly rests. They are the monuments 
of Lord Cornwallis, in the nave ; Captain Faulkner, 
and Lord Heathfield, in the south transept; Lord 
Rodney, Capt. Riou and Capt. Mosse, in the north 
transept. The principal of these are those of 
Lords Cornwallis, Heathfield, and Rodney, and of 
Capt. Faulkner ; all of which, excepting the second, 
are groups of three or more figures of the heroic 
size, in a grand style. The statue of Cornwallis 
stands on a pedestal forming the apex of a pyra- 
mid ; below are three allegorical figures, Brittania, 
and impersonifications of the rivers Begareth and 
Ganges, denoting the British empire in the East. 
Lord Heathfield's is a single statue, represented in 
his regimentals ; on the pedestal is an alto-relievo 
of Victory, descending from a castellated rock to 
crown a warrior on the sea-shore with laurel. In 
the monument to Capt. Faulkner, Neptune is re- 
pi-esented seated upon a rock, in the act of catch- 
ing the naked figure of a dying sailor, while Vic- 
tory is about to crown him with laurel. Lord 
Rodney's monument is a pyramidal group, the 
statue of the Admiral forming the apex; below is 
Fame communicating with History. 

Rossi was appointed sculptor to the Prince Re- 
gent, and was employed at Buckingham Palace. 
He was subsequently appointed sculptor to King 
William IV. He died in 1839. 

ROSSI, Angelo de, an Italian sculptor, born at 
Genoa in 1671. He studied imder Filippo Parodi, 
and afterwards visited Rome for improvement. He 
gained considerable reputation in that city, and 
was chosen a member of the Academy of St. Luke. 
Among his principal works, are a part of the sculp- 
tures of the Mausoleum of Alexander VII., in St. 
Peter's. His admirable bas-relief, which decorates 
this monument, was so highly esteemed by Louis 
XIV.. that he ordered a model of it to be placed in 



ROSS. 



the French Academy at Rome, as a study for the 
scholars. Among the other works of Rossi, are a 
number of sculptures in the chapel of S. Ignazio in 
the church del Gesu at Rome. He died in 1715. 

ROSSI, Matted de, an eminent Italian archi- 
tect, born at Rome in 1637. He was the son of 
Marc' Antonio Rossi, a reputable architect, from 
whom he received some instructions, and after- 
wards entered the school of Bernini, who esteemed 
him more highly than any of his other disciples. 
Selected to accompany that master to France, 
he assisted him in all of his principal works, 
and shared in his honors and rewards. He was 
also employed by Clement IX., at Lamporecchio, 
and upon the church of the Scolopi, at Monterrano. 
His style was characterized by correctness of de- 
sign, lively imagination, and excellent taste. At 
the death of Bernini, Rossi succeeded, according 
t9 Milizia, to the greater part of his employments, 
particularly to the appointment of architect of 
St. Peter's. He executed many works at Rome, 
such as the sepulchre of Clement X., in the Vati- 
can temple ; the fa9ade of the church of Santa Gal- 
la ; the custom house of Ripa Grande ; and the 
Palazzo Monte Citorio. For the Prince Pam- 
fili he built the cathedral of Valmontone. Rossi 
was greatly esteemed by Pope Innocent XIL, and 
was presented by him with the cross of the order 
di Cristo. He died in 1695. 

ROSSI, Giuseppe de, a distinguished Italian 
architect and writer upon the art, was born at 
Rome in 1760. He was probably a descendant of 
Matteo de Rossi, as the BiograpMe Universelle 
says that his father and grand-father were both 
architects. While very young he was taken to 
Florence, where he acquired a knowledge of the 
art, and attained considerable distinction in the 
employment of Leopold I., the Grand Duke of 
Tuscany. In 1790 he visited Rome for improve- 
ment. The city of Siena, in 1798, having been se- 
riously injured by an earthquake, Rossi was com- 
missioned to superintend the principal restorations. 
At Florence, he restored the Palazzo Vecchio, the 
aqueducts, the Theatre, two towers of St. Maria 
Novella, a college, and a number of fountains. At 
Fiesole, he restored the ancient church of S. Fie- 
sole. Rossi was appointed Professor of Architec- 
ture in the Florentine Academy, and was made a 
cavalier of the order of St. Giuseppe. His writings 
on the art are very numerous. He died in 1831. 

ROSSI, Gig. Antonio de, an Italian architect, 
the son of Lazzaro de' Rossi, was born at Rome in 
1616. According to Milizia, he received the first 
rudiments of architecture from an obscure master ; 
and, although defective in the elements of design, 
he attained considerable excellence by studying and 
copying the finest Roman edifices. His style of 
architecture was grand ; he was ingenious in the 
distribution of his lights, in the solidity of his 
ornaments, and in adapting his building to its 
situation, to which, though it were really narrow, 
he succeeded in giving the appearance of much 
greater extension. He was much employed at 
Rome, and erected many works, such as the Pal- 
azzo d'Este, now called the Rinuccini, the fa9ade 
of which is esteemed a masterpiece of art. He also 
erected the majestic Palazzo Altieri, on the Piazza 
Gesu, which is justlj^ deemed one of the finest edi- 
fices in Rome. Among his other works, are the Pa- 
lazzi Astalli and Muti, near the Capitol ; the Hos- 



1 



ROSS. 



811 



ROTA. 



pital delle Donne, at St, Giovanni Laterano ; the 
church of S. Pantaleo ; and the elegant chapel of the 
Monte della Pieta. Rossi died at Rome in 1695. 

ROSSMAESSLER, John Augustus, a German 
designer and engraver, born at Leipsic in 1752. 
He studied under Frederick Oeser, and engraved 
a great variety of vignettes and other book-plates, 
which are admired for the spirit and neatness of 
their execution. He also engraved a set of Views 
in the environs of Leipsic. He died in the flower 
of his life, much regretted, in 1783. 

ROSSO, II, called by the French Maitre Roux, 
was an eminent painter, born at Florence in 1496. 
It is not known from whom he received his first 
instructions, but by the efforts of his own genius, 
he arrived at distinction. He was intimate with 
Andrea del Sarto, and admired his manner. Lanzi 
says he was the most eminent disciple of his school, 
though he never studied with him as a pupil. He 
afterwards gained improvement by studying the 
works of Michael Angelo and Parmiggiano. En- 
dowed with a ready invention, he scorned to be a 
servile imitator, even of Buonarotti, and at an ear- 
ly age he ventured to compete with the ablest of his 
cotemporaries in the cloister of La Nunziata, where 
he painted a picture of the Assumption of the Vir- 
gin, less distinguished for elegance and grace than 
for its great dimensions, and novel and intrepid 
style. After painting several other works for the 
churches of Florence, particularly the Marriage 
of the Virgin in S. Lorenzo, he went to Rome, 
where his talents were already known, and was 
commissioned to paint an altar-piece for the church 
of S. Maria della Pace, and the Decollation of St. 
John, for that of S. Salviati. These works in- 
creased his reputation ; but the sacking of Rome 
by the Spaniards in 1527, compelled every eminent 
artist to quit that city, and II Rosso sought refuge 
at Volterra, where he painted a picture of the 
Deposition from the Cross, one of his finest pro- 
ductions, for the Oratorio di St. Carlo. He next 
went to Venice, where he painted for Pietro Are- 
tino, his celebrated picture of Mars and Venus, 
which was engraved by his disciple Domenico del 
Barbiere. Not meeting in Italy with the success 
he anticipated, he resolved to go to the court of 
Francis I. of France, who at that time was the 
great patron of art. He met a favorable reception 
from that monarch, who immediately engaged him 
in his service, and as he was skilled in architec- 
ture, he appointed him superintendent of the great 
works at the palace of Fontainbleau. He built the 
great gallery in that palace, and decorated it with 
twenty-four pictures, emblematic of the principal 
actions in the life of Francis I., some of which 
were subsequently destroyed to make way for the 
works of Primaticcio. 

The style of II Rosso, though singular, is charac- 
terized by grandeur, much originality, and dignity 
of character, animated expression in his heads, a 
tasteful arrangement of his draperies and orna- 
ments, lively coloring, free and firm pencilling, with 
a broad and effective distribution of his hght and 
shadow. The works of II Rosso are very scarce, 
as he did not execute many in Italy, and those 
in France are confined to the palace of Fontain- 
bleau. Thirteen of the latter still remain, and 
are fully described by the Abbe Guget, in his 
Memoir on the Royal Academy of France. Of 
these, the most remarkable is Ignorance banished 
by Francis I. ; a picture that has been several times 



engraved. He was assisted in these works by sev- 
eral artists, among whom were Domenico del Bar- 
biere, Bartolomeo Miniati, and Luca Penni. The 
death of II Rosso happened from a singular cir- 
cumstance, when he was in full possession of royal 
favor and public estimation. He had contracted 
a friendship with Francesco Pellegrini, a Floren- 
tine painter, who paid him frequent visits. His 
house happening to be robbed of a considerable 
sum, he suspected his friend, and rashly accused 
him of the robbery ; Pellegrini was put to the 
rack to extort confession, but he endured the tor- 
ture with heroic fortitude, constantl)'- protesting 
his innocence, and was acquitted. Pellegrini then 
published an account of his case, and appealed for 
justice ; whereupon II Rosso, struck with shame 
and remorse, poisoned himself in 1541. See Pri- 
maticcio. 

M^j. /^\ ROTA, Martino, 

^^9°^ M (^tw) an eminent engraver, 
^xj^ ITl. "^^^born at Sebenico, in 
Dalmatia. His instructor is not mentioned, and 
there is much contradiction about the time of his 
birth ; the dates on his prints range from 1558 to 
1586. He passed most of his artistic life at Rome 
and Venice. His design of the figure is remark- 
ably correct, and his extremities are drawn with 
great precision. His plates are executed entirely 
with the graver ; and though not very highly fin- 
ished, they are wrought in a neat, clear style. 
Bartsch describes 114 prints by him, and con- 
siders it a complete list. His most celebrated 
print is the Last Judgment, after Michael Angelo, 
which is held in the highest estimation, not only 
for its neatness of execution, but for its faithful re- 
presentation of the drawing, expression, and other 
characteristics of the original ; it is inscribed Mar- 
tinus Rota^ 1569. This admirable plate has 
been very closely copied by Leonard Gaul tier, 
though the copy may be easily distinguished by the 
inferiority of its execution, and by the small oval 
portrait of Angelo at the top, the face of which is 
turned towards the left, but in the original towards 
the right. There is also another inferior copy by J. 
Wierix, Some of Rota's plates are from his own 
designs, but the majority are after the principal 
Italian painters. He sometimes marked his plates 
with his name in full, with and without the date, 
and sometimes with the monogram composed of 
the letter M, with a wheel, which is the Latin 
signification of Rota. The following are among 
his most esteemed plates : 



Maximilian II., Rom. Imper. 1575. The Emperor Ro- 
dolphusll. 1592; with the cipher. Ferdinand I. in the 
costume of his time. 1575. Henry IV., King of France. 
Albert de Lasco. Baron de Kaizsmarck. 

SUBJECTS FROM HIS OWN DESIGNS. 

The Resurrection ; dated 1577. The same subject, dif- 
ferently treated. The Murder of the Innocents. The Last 
Judgment; dedicated to Rodolphus II. 1573. Another 
print of the Last .Judgment. This plate was left imperfect 
at his death, and was finished by another hand. The 
Scourging of Christ. 1568. The Battle of the Lepanto ; 
of the greatest rarity. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Martyrdom of St. Peter; after Titian. Mary 
Magdalene penitent; do. Prometheus chained to the 
Rock; do. Christ appearing to St. Peter ; after Raja- 
elle. 

ROTAMER. See John Rottenhamer. 



ROTA. 



812 



KOUB. 



ROTARf, CoNTE PiETRO, a painter of a noble 
family, born at Verona in 1707. He first studied 
design merely as an accomplishment, but he be- 
came so passionately attached to art, that he en- 
tered the school of Antonio Balestra, who, perceiv- 
ing his talents, took unusual care in his instruc- 
tion, and foretold his future excellence. Rotari 
remained with Balestra till the age of eighteen, 
and then went to Venice, where he spent two 
years in studying and copying the works of Titian 
and Paul Veronese. In 1727 he went to Rome, 
entered the school of Francesco Trevisani, and de- 
voted four years to the study of the antique, and 
the works of the best masters. From Rome he tra- 
velled to Naples, to profit by the advice of Fran- 
cesco Solimena, with whom he resided three years. 
By this course of study he acquired an elegant 
taste of design and composition, an uncommon 
correctness of drawing, and a very beautiful style 
of coloring, unsurpassed by any artist of his time. 
At first he confined himself to works for the 
churches, which gained him great applause, and 
princes soon became solicitous to possess his pic- 
tures. He visited some of the principal courts of 
Europe, and was every where received with the 
respect due to his talents. At Dresden he painted 
the portraits of the Electoral and Imperial family. 
At Vienna, his works gave so much satisfaction 
to the Emperor, that he ordered Rotari's portrait 
to be painted, and placed in the Florentine gallery. 
At St. Petersburg, he painted the Empress Cath- 
erine, and other members of the Imperial family ; 
was appointed her principal painter, and received 
many marks of favor. He continued in the Im- 
perial service the remainder of his life, and painted 
for the Empress several subjects from sacred and 
profane history. He died at St. Petersburg in 
1762. His most admirable works in Italy are the 
Annunciation at Guastalla, and the Birth of the 
Virgin at Padua. He executed several etchings 
from his own designs, and after Antonio Balestra, 
among which are the following : 

The Portrait of Filippo Baldinueci. 1726. St Francis 
kneeling before a Crucifix ; from his own design. The 
Edncation of the Virgin ; do. 

SUBJECf S AFTER ANTONIO SOLARIO. 

Abraham and the Angels. David with the Head of Go- 
liah. St. Jerome ; half-length. Venus and ^neas. 

ROTTENHAMER, John, a German painter, 
born at Munich in 1564. He received his first in- 
struction from an obscure artist in his native city, 
named Donnaver, and afterwards went while 
young to Rome. He there distinguished himself 
by his small paintings on copper, delicately pen- 
cilled and agreeably colored ; and at length he re- 
ceived a commission to paint a large picture, rep- 
resenting several Saints, with a glory of Angels. 
The ability he displayed on this occasion excited 
universal surprise, ?nd inspired him with a strong 
desire to distinguish himself as a grand historical 
painter. To improve himself in coloring, he pro- 
ceeded to Venice, where he made the works of Tin- 
toretto his model, and imitated his style with great 
success. He painted in that city the Annunciation, 
in the church of S. Bartolomeo, and a picture of 
St. Christina in the Hospital of the Incurabili ; 
and probably some works for individuals. The 
Duke of Mantua next employed him in several 
considerable works, the most admired of which 
was one representing a Dance of Nymphs. After 



a residence of many years in Italy, he returned to 
his own country with a high reputation, and es- 
tablished himself at Augsburg, where he received 
abundant employment from private individuals. 
His most remarkable work at Augsburg is an allar- 
piece in the church of the Holy Cross, represent- 
ing an Assemblage of Saints, considered one of his 
most capital performances. He was patronized by 
the Emperor Rodolph II., for whom he painted an 
admirable picture, representing the Feast of the 
Gods, a grand composition of many figures, grace- 
fully designed, with the rich coloring of the Vene- 
tian school. 

Rottenhamer painted both in oil and fresco, pre- 
ferring the latter for his great works. Though 
he had studied many years in Italy, he never en- 
tirely divested himself of the German taste ; his 
design is formal and mannered, and frequently in- 
correct. He was fond of decorating his pictures 
with rich and splendid accessories, and of intro- 
ducing the naked figure, which he piqued himself 
on designing with taste and coloring with delicacy. 
He had a lively invention, and usually made choice 
of agreeable subjects ; his attitudes are graceful, 
and the airs of his heads expressive, though not 
suflBciently varied. His best works are his small 
cabinet pictures, often on copper, in which the 
back-grounds were frequently painted by John 
Breughel, and sometimes by Paul Brill ; these 
are the most esteemed, and in his life-time com- 
manded very high prices. Rottenhamer, notwith- 
standing his professional merits and abundant em- 
ployment, died at Augsburg in 1606, so extremely 
poor from his reckless extravagance, that his fu 
neral expenses were defrayed by some of his bro- 
ther artists. His name is frequently written Ro- 
thenhamer, and the Italian writers call him R6, 
Rotamer, and Rothenamer. 

ROUBILLIAO, Louis FRANgois, an eminent 
French sculptor, was born at Lyons about the 
commencement of the 18th century. He proba- 
bly^ acquired a knowledge of the art in his native 
country ; after which he visited England, and was 
first employed to execute several busts for Trinity 
College, Dublin, at the recommendation of Sir Ed- 
ward Walpole, who afterwards procured him the 
commission for the monument of John, Duke of 
Argyle. In the latter work he was so success- 
ful that his claims to the honors of the profes- 
sion were at once admitted, and he received a 
great many commissions, so as to surpass in his 
practice the most distinguished artists of his time. 
Among his principal works are the monuments of 
Mr. Nightingale and his lady ; the statue of Elo- 
quence in the Argyle monument ; the draped fig- 
ure in Bishop Hough's monument ; and the statue 
of Sir Isaac Newton. These productions evince 
great fertility of invention, truth of expression, 
and finished execution ; but they are deficient in 
the repose, unity, and simplicity, essential to last- 
ing remembrance. In the statue of Newton, the 
drapery is divided into many folds, and the attitude 
of the figure is by no means that of a philosopher. 
Among the other works of Roubilliac, is the mon- 
ument of Sir Peter Warren, which, with the two 
others above mentioned, is in Westminster Abbey j 
also that of the Duke and Duchess of Montague, 
in Northamptonshift ; the statue of Handel, the 
Composer, in Westminster Abbey ; that of George 
II., in Golden Square, London j those of the Duke 



ROUL. 



813 



ROUS. 



of Somerset, George I., and Sir Isaac Newton, at 
Cambridge. He also executed numerous busts. 
Roubilliac died in 1762. 

ROULLET, Jean Louis, an eminent French en- 
graver, born at Aries, in Provence, in 1645. He 
went to Paris, and first studied with Jean Lenfant, 
after which he entered the school of Francis Poil- 
ly the elder, and became the ablest of his scholars. 
On leaving that master, he went to Italy, where he 
resided ten years, and acquired a remarkable puri- 
ty and correctness of drawing. His prints are 
neatly executed with the graver, faithfully repre- 
senting the expression, and other characteristics of 
the originals. His print of the Marys with the 
Dead Christ, after the celebrated picture by Anni- 
bale Caracci, formerly in the Orleans Gallery, now 
in the possession of the Earl of Carlisle, is con- 
sidered one of the most admirable productions of 
the art for correctness of drawing, firmness 
and beauty of the graver, and faithful preservation 
of the fine expression in the original. The follow- 
ing are his most esteemed prints. He died at Pa- 
ris in 1698. 

PORTRAITS. 

Louis XIV. ; a half-length. Francis de Poilly, Engra- 
ver to the King, ad viv7im. 1680. John Baptist Lully, 
Musician to the King ; after Mignard. Ascanius Phila- 
marinus, Cardinal Archbishop of Naples. 

SUBJECTS AFTER VARIOUS MASTERS. 

The three Marys, -with the dead Christ ; after Ann. Ca- 
racci. The Virgin and infant Jesus ; do. Two of the an- 
gles of the dome of the church of the Jesuits .at Naples, 
representing St. Mp.tthew and St. Luke ; after Larifranco. 
The two other angles, representing St. Mark and St. John, 
are engraved by F. Louvemont. The Visitation of the 
Virgin to St. Elisabeth; a_fter Mignard. The Virgin, 
with the infant Jesus in her arms, who is holding a Bunch 
of Grapes; do., and inscribed to Madame de Maintenon. 

ROULLTERE, La, a French engraver on wood, 
who flourished, according to Papillon. about 1700, 
and executed some cuts which possess considera- 
ble merit. He does not specify any of his works. 

ROUSSEAU, JAcauEs, a French painter, born 
at Paris in 1630. After studying the elements of 
design, he went to Rome, and applied himself to 
the study of perspective and landscape, designing 
the most remarkable views in the vicinity of that 
metropolis. Here he formed an intimacy with 
Hermann Swanevelt, whose sister he married, and 
assisted by the advice and instruction of that able 
scholar of Claude Lorraine, he became an eminent 
and excellent painter of landscapes and perspective 
pieces. On his return to Paris, he was employed 
by Louis XIV. in decorating the chateaux of Mar- 
ly and St. Germain en Laie, and was elected a 
member of the Royal Academy. At the revoca- 
tion of the edict of Nantes, he had attained the 
height of his reputation ; but, being a staunch 
Protestant, he was obliged to leave France, and 
sought refuge in Holland. So intolerant was the 
spirit of bigotry, that his name, was expunged 
from the Academy roll, by order of the Court. He 
visited England, at the invitation of the Duke of 
Montague, who employed him, in conjunction with 
Charles de la Fosse and Jean Baptiste Monnoyer, 
to decorate his mansion of Montague House, now 
the British Museum. He was employed in paint- 
ing some landscape and perspective pieces for the 
palace of Hampton Court. 

The landscapes of Rousseau generally represent 
select and classic scenery, embellished with mag- 



nificent architecture and ruins, in which he appears 
to have imitated the admirable productions of Nic- 
colo Poussin, though his coloring is more warm 
and glowing. His figures are well designed, his 
perspective excellent, and his pictures have the 
appearance of classic elegance, nature, and truth 
combined. His works are rare, and when ofiered 
for sale they command high prices. He was a man 
of piety, integrity, and benevolence, and at his 
death he bequeathed the greater part of his prop- 
erty for the relief of his countrymen in England, 
who, like himself, had been exiled on account of 
their religion. He died at London in 1693, Du- 
mesnil mentions eight masterly etchings by Rous- 
seau, from his own designs, and eleven fine pictures 
in the cabinet of Jabach ; the former are finished 
with the graver, in a bold style. 

ROUSSEAU, Jean FKAN901S, a French engra- 
ver, who flourished at Paris about 1760. He en- 
graved a great number of vignettes and other book 
plates, after the French masters ; also a few other 
subjects, among which are the Virgin and Infant, 
after Vanderwerf; and St. Jerome, after Mola. 

ROUSELLET, Giles, a French engraver, born 
at Paris in 1614. It is not known under whom 
he studied, but his style resembles that of Cornel- 
ius Bloemaert. His drawing is correct, and his 
prints possess considerable merit, though in some 
of them the lights are too much covered, which 
gives a heaviness to the general appearance. Na- 
gler gives a list of seventy-four prints by him ; 
the following are the most esteemed. He died in 
1686. 

PORTRAITS. 

Charles de Valois, Duke d'Angouleme. Peter Seguier, 
Chancellor of France ; after le Brun. Richard de Belle 
val. Chancellor of the University ; do. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Erontispiece to the Polyglot Bible ; nfter S. Bour- 
don. The Holy Family ; Avith St. Elisabetli and St. John 
presenting the infant Jesus with a Bird ; after Raffaelle. 
The Holy Family ; do. ; called La Belle Jardiniere. 
The Holy Family, with St. Elisabeth, St. John, and two 
Angels ; do. G. Edelinck has engraved the same subject. 
St. Michael discomfiting the Evil Spirit ; do. The An- 
nunciation ; after Guido. Four plates representing three 
of the Labors of Hercules and his Death ; do. David play- 
ing on the Harp ; after Domenickino. The Entombing 
of Christ ; after Titian. Four plates of the Four Evan- 
gelists ; after Valentin. The Servant of Abraham meet- 
ing Rebecca; after N. Poussin. Moses saved from the 
Nile by Pharaoh's Daughter ; do. The Holy Family ; af- 
ter S. Bourdon. St. John the Evangelist ; do. The 
Crucifixion ; after le Brun, The dead Christ in the lap of 
the Virgin ; do. The dead Christ supported by an Angel ; 
do. The Holy Family ; do. Mary Magdalene penitent ; 
do. St. Bernard kneeling before the Virgin ; do. St. The- 
resa in contemplation ; do. 

ROUSSELET, Marie Anne. This lady, proba- 
bly a relative of the preceding, engraved a number 
of plates for Bufibn's Natural History ; also some 
sea-pieces and other subjects, after Backhuysen, ^ 
William Vandervelde, Joseph Vernet, and Charles 
Vanloo. She married Peter Tardieu, the engra- 
ver. Her prints are dated from about 1760 to 
1770. 

ROUSSIERE, FRAN901S DE LA, an obscure 
French engraver, who flourished about 1650. Lit- 
tle is known of him, except by a few indifferent 
portraits. 

ROUX, Maitre. See II Rosso. 



KOVE. 814 



ROWL. 



ROVERE. RicARDO. a Flemish painter, who 
settled at Milan about 1565. He painted land- 
scapes, but did not acquire much reputation, and 
is chiefly known as the father of several artists, 
sometimes called Rossetti, but more frequently 
termed Fiaraminghini. 

ROVERE, Giovanni Mauro, called il Fiam- 
MiNGHiNO, the son of the preceding, was born at 
Milan in 1570. According to Orlandi, he was ed- 
ucated in the school of the Procaccini, whose style 
he followed with distinction. Lanzi says he ex- 
changed the manner of Camillo for that of Giulio 
Cesare P., and might be accounted a worthy disci- 
ple of the school of the Procaccini, had he not 
been induced hj his impetuous temper to produce 
works of a careless execution. "He had all that 
fire which, when directed by judgment, is the soul 
of painting, but when abused, destroys the beauty 
of the art. It was very seldom that he was able 
to command it, though in a Supper of our Lord at 
S. Angelo, in which he used great care, he obtained 
corresponding success." He gained considerable 
reputation, however, and was much employed in 
decorating the churches and private houses with 
frescos. He also painted easel pictures of histo- 
ries, perspectives, landscapes, and battle-pieces, 
which po>sess considerable merit. There are by 
him several spirited etchings, from his own de- 
signs, marked with the initials of his name, and 
F. for fecit, thus J. M. R. F. 

ROVERE, Giovanni Battista and Marco, 
called also FiAMMiNGHiNr, were the brothers of the 
preceding, whom they assisted in his numerous 
frescos. Lanzi says, " besides some works they 
left in fiesco, they painted histories in oil. perspec- 
tives, battle-pieces, and landscapes, which are to 
be met with in almost every corner of Milan." 

ROVERE, Giovanni Battista della, a Pied- 
montese painter, who flourished at Turin about 
1626, and whose name occurs in the registers for 
several years after that date. Some of his works 
are also mentioned in the Turin Guide. There 
was another artist, cotemporary, of the same name, 
whose style was entirely different. Lanzi men- 
tions only one picture by him, in the convent of 
St. Francis at Turin. The subject represented is 
the origin of death by the transgression of Adam 
and Eve. a picture of very original invention, in 
which, though sacred and profane ideas are con- 
founded together, much ability is displayed. It is 
signed Jo. Bapt. a Ruere, Taur.f. 1627. 

ROVERE, GiROLAMO, a Piedmontese painter, 
who flourished at Turin in the first part of the 
17th century. According to Baglioni, he was a 
good artist in history, and received the appoint- 
ment of court painter. 

RO^'IGO, DA Urbino. a celebrated painter on 
porcelain, who flourished ^ Urbino about 1530. 

RO VIR A Y BROCANDEL, Hippolito, a Span- 
ish painter and engraver, born at Valencia in 1693. j 
It is not known under whom he first studied, but j 
according to Palomino, he attained excellence in j 
engraving by frequenting the studio of Evaristo 
Munoz. At the age of thirty he went to Rome, 
and devoted himself with such enthusiasm to the 
study of the antique, that he passed whole days 
and nights in copying, without any other susten- 
ance than bread and water. He acquired such fa- 
cility of handling that he frequently said he had 



I 



copied all the pictures at Rome which had given 
him pleasure. His great enthusiasm, and his fine 
copies in chiaro-scuro of all the works in the Far- 
nese palace, elicited the admiration of the profes- 
sors, who highly commended them, and Sebastiano 
Conca publicly declared that Annibale Caracci 
could not have done better. After acquiring con- 
siderable reputation at Rome for several original 
works, he returned to Spain, and was invited 
to the court at Madrid ; but soon after his arrival 
in that city, there began to appear the effects of 
his midnight studies, fastings, and other privations, 
on his physical and mental faculties, and all his 
bright prospects became speedil}^ blasted. He 
gradually lost his reason, and died in the Hospi- 
tal di Misericordia at Valencia, in 1765. 

ROWLANDSON, Thomas, an English designer 
and etcher of caricatures, was born at London in 
1756, and died there in 1827. He was educated in 
the Royal Academy, and afterwards studied at Paris. 
He had great talents, a lively imagination, and 
wonderful facilit}'- of execution ; but he squander- 
ed a fortune, reduced himself to want, and w^'ought 
only when his necessities compelled him. His 
principal works are the illustrations, designed and 
executed by himself, for those popular volumes, 
" The Travels of Dr. Syntax," '• The Dance of 
Death," " The Dance of Life," &c., published by 
Ackermann & Co. 

ROY, Claude le, a French engraver, who flour- 
ished at Paris about 1709, and executed several 
portraits, among which are those of Fleury, Boi- 
leau, Bossuet, and Cardinal Dubois, after H. Ri- 
gaud. 

ROY, Henry le, an obscure French engraver, 
by whom there is a set of six plates of butterflies, 
beetles, and other insects, inscribed Henry le Roy, 
fecit, JE. 72. 1651. 

ROY, John Baptist de, commonly called Ve 
Roy of Brussels, an eminent painter of landscapes 
and cattle, born at Brussels in 1759. Manifesting 
an early inclination for art, his father took him to 
Holland, that he might have the opportunity of 
studying the works of the best Dutch masters, 
which he is said to have done with assiduity, mak- 
ing the works of Paul Potter, Cuyp, and Berghem 
his models. He attentively studied nature, and 
formed a style of his own, more analagous to that 
of Ommeganck than to any other of the cattle- 
painters of the Dutch school. His subjects were 
generally horned cattle, standing in groups, gra- 
zing in meadows, or ruminating during meridian 
heat, accurately designed and skilfully grouped. 
His coloring is more warm and glowing than 
is usual with the Dutch school ; he acquired a 
high reputation, and instructed several pupils. He 
died in 1839, and left numerous sketches and stud- 
ies, which are highly esteemed. His pictures are 
to be found in most of the best modern collections 
in Belgium. 

ROYER, Jean le and Aurin Olivier, brothers- 
in-law, were French wood engravers, mentioned by 
Dumesnil, and flourished about the middle of the 
16th century ; they were also employed in the ser- 
vice of King Henry IL, the former as a medalist, 
the latter as a printer. They executed in concert 
about sixty beautiful geometrical illustrations for 
Jean Cousin's •' Book of Perspective." This work 
was printed and published in 1560, by Jean Je 



ROZE. 



815 



RUBE. 



Royer, who executed many vignettes and other 
illustrations for the various works which he pub- 
lished. 

ROZEE, Mademoiselle, a Dutch paintress, 
born at Leyden in 1632. She gained great dis- 
tinction by many exquisite imitations of oil paint- 
ings, executed with different colored threads of 
silk floss, or other material, so artfully disposed as 
to deceive the eye at a short distance. She united, 
softened, and blended thedififerent colors with such 
consummate art as to rival nature, and to acquire 
the cognomen of " Sorceress." Her portraits were 
particularly admired ; one of them in the Floren- 
tine Gallery, is considered a curiosity of art. She 
executed representations of landscape and animals 
with equal success, one of which sold for 500 flo- 
rins. She died in 1682. 

RUBBTANT, Felice, a painter born at Modena 
in 1677. According to Tiraboschi, he studied un- 
der Domenico Bettini, and adopted his style. He 
accompanied Bettini in his travels, and, like him, 
painted fruit, flowers, birds, fish, &c., in which he 
excelled. Lanzi says he was a great favorite at 
the court of Modena, and in the cities of its vi- 
cinity. He was patronized by the Duke, and the 
Marchesi Riva of Mantua gave him commissions 
for thirty-six pictures, all of which he varied in an 
astonishing manner, and executed with a force and 
truth that rivalled nature. 

RUBENS, Peter Paul. This preeminent paint- 
er, accomplished scholar, and skilful diplomatist, 
was the son of John Rubens and Mary Pipelings, 
both descended from distinguished families in the 
city of Antwerp. His father was one of the prin- 
cipal magistrates of that city, at the time when the 
civil war obliged him to quit the Low Countries, 
about 1570, and seek refuge at Cologne. Rubens 
was born in that city in 1577, on the feast-day of St. 
Peter and St. Paul, for which reason he received, 
at the baptismal font, the names of those Apostles. 
When the city of Antwerp again caine under the 
dominion of Spain, John Rubens returned to his 
native city, and renewed the administration of his 
office. Young Rubens, in his earliest years, dis- 
covered uncommon ability and vivacity of genius, 
literary taste, and a mild and docile disposition. 
His father gave him a ve:y liberal education, and 
after the completion of his studies, placed him as 
a page with the Countess of Lalain, in order that 
his son might acquire graceful and accomplish- 
ed manners, so important to success in a profes- 
sional career. His father dying soon afterwards, 
Rubens obtained the permission of his mother to 
pursue the bent of the inclination he had discov- 
ered for painting, and she placed him under the in- 
struction of Tobias Verhaecht, an eminent artist 
in landscape ; but his genius inclining to histori- 
cal painting, he soon left that master, and entered 
the school of Adam van Oort, whose works were 
then in high repute. The vulgarity and depravity 
of this master disgusted Rubens, and he soon left 
his school for that of Otho Venius, or van Veen, 
then one of the most eminent painters of the 
Flemish school, distinguished alike for pictorial 
talents, amiable and polished manners, and exten- 
sive literary attainments. These qualities, so con- 
genial to the feelings of Rubens, rendered his en- 
gagement with Venius exceedingly pleasant; he 
conceived for his instructor profound respect and 
veneration, and ever maintained towards him the 



strongest attachment. It was from this master 
that he acquired that taste for allegory for which 
he was remarkable through life, though it cer- 
tainly did not constitute his greatest merit. When 
he had reached his twenty-third year, Venius frank- 
ly assured him that his instructions could be of 
no further service to him, and that nothing more 
remained for his improvement but a journey to 
Italy, which he recommended as the surest means 
of ripening his extraordinary talents to the great- 
est perfection. Rubens had already contemplated 
such a project, and in following the advice of his 
master, he consulted also his own inclinations. 
There is a little discrepancy among authors about 
this part of Rubens' life, but Sandrart, who was 
intimately acquainted with him and traveled 
through Holland in his company, says that " the 
Archduke Albert, Governor of the Netherlands, 
who had conceived a high opinion of his talents, 
employed him to paint several fine pictures for his 
palace, and forwarded his designs by recommend- 
ing him in the most honorable manner to the Duke 
of Mantua, that at his court he might have con- 
stant access to his admirable collection of paint- 
ings and antique statues, and thus have an oppor- 
tunity of improving himself by studying as well as 
copying the former, and designing after the latter." 
At all events, he set out for Italy in 1600, and af- 
ter spending a short time at Venice in examining 
the works of the Venetian masters, he proceeded 
to Mantua, and was received with the most marked 
distinction by the Duke, who took him into his 
service, and appointed him one of the gentlemen 
of his chamber, an honor which was the more ac- 
ceptable to Rubens, as it gave him greater facili- 
ties for studying the great works of Giulio Ro- 
mano in the Palazzo del Te, which were the ob- 
jects of his particular admiration. Giulio's mas- 
terly illustrations of the sublime poetry of Homer 
excited his emulation to the highest degree, and it 
is related that while he was engaged in painting 
the history of Turnus and ^Eneas, in order to warm 
his imagination with poetic rapture, he repeated 
with energy the lines of Virgil, commencing 

Ille otiam patriis agmen ciet, &c. 

The Duke, overhearing his recitations, entered the 
apartment, and was surprised to find the young 
artist's mind richly stored with classic literature. 
After having spent two years in the service of the 
Duke of Mantua, he requested and received per- 
mission to revisit Venice, for the purpose of study- 
ing, the works of Titian and Paul Veronese, from 
which he acquired that splendid manner of color- 
ing so much admired in his works. On his return 
to Mantua, he painted three magnificent pictures 
for the church of the Jesuits, which evince the 
progress he made at Venice, and are considered 
among his finest works. The Duke commissioned 
Rubens to visit Rome, to execute copies of several 
celebrated works, which he performed in such ad- 
mirable style, that his patron esteemed them little 
inferior to the originals. At the same time Ru- 
bens gladly availed himself of the opportunity of 
studying all the best works of art in that metrop- 
olis. He was also employed by the Archduke Al- 
bert to paint three pictures for the church of S. 
Croce in Gerusalemme, representing the Finding 
of the Cross by St. Helena, Christ bearing his 
Cross, and the Crucifixion. The two last are con- 
sidered among his most admirable productions. 



RUBE. 



816 



RUBE. 



In 1605, the Duke of Mantua, having occasion 
to send an envoy to the court of Spain, employed 
Rubens, as a person eminently fitted for the deli- 
cate mission. He successfully accomplished the 
negociations confided to him, painted the portrait 
of Philip III., and received from that monarch the 
most flattering marks of distinction. Soon after 
his return from this embassy, he again proceeded 
to Rome, and painted three admirable pictures for 
the tribune in the church of S. Maria in Vallicella, 
in which he appears to have adopted the style of 
Veronese. He next visited Genoa, where his dis- 
tinguished reputation excited public curiosity, and 
he was employed to execute several works, which 
increased his celebrity; particularl3^twq^ictures in 
the church of the Jesuits, representing the Circum- 
cision, and St. Ignatius working a Miracle, which 
were highly applauded. Rubens, having now been 
absent eight years, was suddenly recalled to Ant- 
werp in 1608, by the severe illness of his mother, 
who died before his arrival. The loss of his dear- 
ly beloved parent was a severe affliction to him. 
He then concluded to return to Italy, but the Arch- 
duke iVlbert and the Infanta Isabella induced him 
to abandon his intention. He settled at Antwerp, 
where he married, built a magnificent house with 
a saloon in the form of a rotunda, which he em- 
bellished with antiq'je statues, busts, vases, and 
pictures by the most celebrated painters. Amidst 
these select productions of art, he passed about 
twelve years in the tranquil exercise of his great 
abilities, producing an astonishing number of ad- 
mirable pictures for the churches and public edifi- 
ces of the Low Countries. He also instructed nu- 
merous pupils. In order to continue his mental 
improvement, to enjoy the sweets of friendly inter- 
course, and to economize his precious time, he reg- 
ulated his affairs with a precision which nothing 
was permitted to derange. He received company 
at stated times, and it is said he never painted 
without having some one read to him from a work 
of history or poetry. He possessed an extraordina- 
ry memory, and understood the ancient and several 
modern languages, writing and speaking them with 
fluency. His familiar acquaintance with ancient 
and modern literature, had enriched his mind with 
inexhaustible resources. His great popularity nat- 
urally excited envy and created enemies ; although 
generous and affable to all, and a liberal encourager 
of art, he found himself assailed by those who 
were most indebted to him for assistance. With 
the most audacious effrontery, they insinuated that 
he owed the best part of his reputation in the 
great variety of his works, for which he was cele- 
brated, to the talents of two of his disciples, Sny- 
ders and TVildens, whom he employed occasionally 
in forwarding the animals and landscapes in his 
pictures. The principal of these vilifiers were 
Abraham Janssens, Cornelius Schut, and Theodore 
Rombouts ; the first had the hardihood to chal- 
lenge him to paint a picture in competition with 
him. Rubens treated these attacks with a dignity 
and philanthrophy that shows his exalted mind, 
and the goodness of his heart ; he relieved the 
necessities of his accusers, and exposed his immor- 
tal production of the Descent from the Cross. 

In 1620. Mary of Medicis commissioned Rubens 
to decorate the Gallery of the Luxembourg with a 
series of emblematical paintings, in twenty-four 
compartments, illustrative of the principal events 
of her life. The series was painted at Antwerp, 



except two pictures, which he finished at Paris in 
1623, when he arranged the whole in the galjery. 
These great works, executed in less than three 
years, are alone sufficient to attest the abundant 
fertility of his genius, and the wonderful facility 
of his hand. It was at this time that he became 
acquainted with the Duke of Buckingham, as that 
nobleman was passing through France on his way 
to Madrid, who afterwards gave him £10.000 for 
his collection of antiques and paintings. On his 
return to Antwerp, his time was occupied in exe- 
cuting numerous commissions, till 1628, when the 
Infanta Isabella dispatched him on a delicate polit- 
ical mission to the court of Spain, relative to the 
critical state of the government of the Low Coun- 
tries, and for instructions preparatory to a negoci- 
ation for peace between Spain and England. On 
his arrival at the Spanish capital, he was received 
in the most gracious manner by Philip IV.. acquit- 
ted himself in his diplomatic mission to- the entire 
satisfaction of the Infanta and of the King, and 
completely captivated the monarch and his minis- 
ter, the Duke de Olivares, by his magnificent pro- 
ductions. The Duke had just founded the convent 
of the Carraehtes at Loeches, near Madrid, for which 
the king, as a mark of favor to his minister, com- 
missioned Rubens to paint four pictures of large 
dimensions, which are not surpassed by any of his 
other works for admirable composition, grandeur 
of design, and richness of coloring. The first is 
an allegorical subject of the Triumph of the New 
Law, which he personified in the most beautiful and 
graceful manner. The figure of Religion is seat- 
ed on a superb triumphal car, drawn by four An- 
gels, with others bearing the Cross, with charac- 
teristic symbols; four figures expressive of the va- 
rious characters of Infidelity or Ignorance, over 
which Religion is supposed to triumph, follow the 
car like slaves or captives, bound with chains. 
The group is crowned with beautiful cherubim, 
hovering in the air, with chaplets in their hands, 
disposed with singular art, the whole producing the 
most charming effect. The companion picture rep- 
resents the Interview between Abraham and Mel- 
chisedech. In the drapery of the priests and the 
armor of the soldiei's, Rubens seems to have ex- 
hausted every resource that his rich fund of color- 
ing could supply. The other two compositions, of 
equal size and not inferior in excellence, are dis- 
tinguished for indescribable majesty and expres- 
sion ; they represent the Four Doctors of the 
Church, and the' Four Evangelists, with their dis- 
tinctive emblems. He also painted eight grand 
pictures for the royal palace at Madrid, which are 
regarded as matchless specimens of his coloring. 
They represent the Rape of the Sabines ; the Bat- 
tle between the Romans and the Sabines ; Diana 
and her Nymphs bathing ; Perseus and Andro- 
meda ; the Rape of Helen ; the Contest between 
Juno, Minerva, and Venus ; the Judgment of Pa- 
ris ; and the Triumph of Bacchus. He likewise 
painted an equestrian portrait of the king, and a 
picture of the Martyrdom of St. Andrew. For 
these great works he was munificently rewarded, 
received the honor of knighthood, and was pre- 
sented with the golden key, as Gentleman of the 
Royal bed-chamber. 

In 1627 he returned to Flanders, and was imme- 
diately dispatched to England on a secret mission 
by the Infanta, to a.scertain the disposition of the 
government on the subject of peace. The king, 



RUBE. 



817 



RUBE. 



Charles I., an ardent loyer of the fine arts, received 
the illustrious painter with every mark of distinc- 
tion, and immediately employed him in painting 
the ceiling of the Banqueting House at Whitehall, 
where he represented the Apotheosis of his father, 
James I., for which he received £3000, Here Ru- 
bens showed himself no less skilful as a diploma- 
tist than as a painter. In one of the frequent vis- 
its with which the king honored him during the 
execution of the work, he alluded with infinite del- 
icacy and address to the subject of a peace with 
Spain, and finding the monarch not averse to such 
a measure, he immediately produced his credentials. 
Charles at once appointed some members of his 
council to negociate with him, and a pacification 
was soon effected. The king was so highly pleased 
with the productions of his pencil, and particularly 
with his conduct in this diplomatic emergency, that 
he gave him a munificent reward, and conferred 
upon him the honor of knighthood, Feb, 21, 1630. 
On this occasion, the king presented Rubens with 
his own sword, enriched with diamonds, his hat- 
band of jewels, valued at 10,000 crowns, and a gold 
chain, which Rubens wore ever afterwards. He 
also painted the portrait of Charles I. in the char- 
acter of St. George, and that of his queen, Henri- 
etta Maria, as Cleodelinde, with a view of Rich- 
mond and the Thames in the distance. Having 
thus happily accomplished the object of his mis- 
sion, he returned to Antwerp, and was received with 
all the honors and distinction due to his services 
and exalted merit. He still continued to exercise 
his pencil with undiminished industry and reputa- 
tion till 1635, when he experienced some aggrava- 
ted attacks of the gout, to which he had been sub- 
ject, succeeded by an infirmity and trembling of 
the hand, which obliged him to decline executing 
all works of large dimensions. Though he had 
now reached his fifty-eighth year, and was loaded 
with deserved honors and wealth, he nevertheless 
continued to instruct his pupils, to correspond with 
his cherished friends, and to paint easel pictures 
when his torturing malady would permit, till his 
death, in 1640, aged 63 years. He was buried with 
extraordinary pomp and solemnity in the church of 
St. James, under the altar of his private chapel,which 
he had decorated with one of his finest pictures. 
A superb monument was erected to his memory. 

There is an astonishing contrariety of opinion 
among writers, as to the real merits of this illus- 
trious painter. While his countrymen generally 
account him the greatest of modern painters, the 
Italians refuse him the merit of an able designer. 
In order to arrive at a just conclusion, it is neces- 
sary to take many things into consideration, such 
as his genius, manner, habits ; the genuineness of 
his works, and the changes that have taken place in 
them from the effects of time, together with fre- 
quent cleaning, restoring, and retouching of parts ; 
his numerous scholars and their assistance in his 
works. Genius is always bold and daring, and 
while it commands attention and admiration, is sure 
to provoke criticism. The styles of the three great- 
est modern painters, Michael Angelo, Raffaelle, and 
Rubens, were entirely different, and it is very cer- 
tain that, had they adopted any other, they never 
would have reached the excellence and renown 
which they achieved. 

Rubens was undoubtedly one of the most orig- 
inal painters that ever lived, and his subjects were 
unlimited. He painted history, portraits, land- 



scapes, animals, fruit and flowers, with such excel- 
lence, that it is difficult to decide in which he most 
excelled. He possessed inexhaustible fertilitjT- of 
invention, never copying himself or any other mas- 
ter, in so many and various productions, though ac- 
cused of it in his famous Descent from the Cross, 
in which he is said to have exactly copied a print 
marked Peter Passen invenit ; Hieronymus Wie- 
rix sculpsit ; but this wants authentication. If 
he adopted the design of this picture, he certainly 
did it to show a skill in coloring that no one but a 
great painter would dare to attempt. His exten- 
sive knowledge of classical and polite hterature, 
enabled him to excel in emblematical and allegori- 
cal compositions, of which he was very fond. His 
genius was adapted to the grandest compositions, 
and his powers appear to have expanded in pro- 
portion to the scale on which they were called 
to act. He did not, like Raffaelle, possess that 
mild inspiration of sentiment which manifests it- 
self in dignified and noble, or graceful and beautiful 
forms, but he was animated with a poetic fire that 
displays itself in surprising and astonishing effects. 
The powers of his imagination were so abundant, 
that his most extensive compositions seem to have 
been produced without effort, and creation appears 
an operation of his will. This is evident from his 
admirable productions in the Luxembourg, and 
many other works too well known to need descrip- 
tion. He is generally allowed to have carried the 
art of coloring to its highest excellence ; he thor- 
oughly understood the principles of chiaro-scuro, 
and managed it with such art as to give the ut- 
most roundness, relief, and harmony to each par- 
ticular figure, and the greatest effect to the whole 
composition ; his groups are disposed with such 
skill as to conduct the eye of the spectator at once 
to the principal object. His draperies are simple, 
broad, and grand ; his carnations have the appear- 
ance of nature, and the warmth of life. His great- 
est excellence appears in his grand compositions, 
for, as these were to be seen at a distance, he laid 
on a proper body of color with uncommon free- 
dom, and fixed all his tints in their proper places, 
never impairing their lustre, by breaking them, 
but touching them only in such a manner as to 
give them lasting force, beauty and harmony. He 
is less chaste in his coloring than Titian, but is 
more brilliant, and excites our admiration by the 
splendor of his tints. Rubens, beyond compari- 
son, was the most rapid of the great masters, and 
so many pictures bear his name, that it is im- 
possible not to partially accord credit to what was 
asserted in his own day, that the greater portion 
of many of them were executed by his pupils. Ru- 
bens has been accused as defective in design, and 
it is generally allowed that he was frequently in- 
correct in his drawing, and that his figures, parti- 
cularly those of females and children, are devoid 
of elegance, grace and beauty. There are apologies, 
however, to palliate, if not to excuse, these de- 
fects. He did not attempt the ideal, nor imitate 
the antique, but adopted the models of his own 
country from choice, not ignorance, for he could 
not have been deficient in knowledge of the an- 
tique and Roman schools. His beau-ideal of Yenus 
and Cupid seems to have been a dumpy fat woman, 
with an equally fat child, as seen in his Judg- 
ment of Paris. It cannot be denied that he pre- 
ferred brilliancy of effect to beauty of form, a7id 
frequently sacrificed correctness of design to the 



RUBE. 



818 



RUBE. 



.magic of coloring, probably from his impetuosi- 
ty of conception and rapidity of execution. His 
drawing is generally grand and facile, his outline 
free and flowing, and he had a competent know- 
ledge of anatomy. Some of his naked figures are 
as excellent for their design and drawing as for 
their inimitable coloring, as seen in his admirable 
picture of the Fallen Angels in the Dusseldorf 
gallery, of which Sir Joshua Reynolds says, " If 
we consider the fruitfulness of invention which is 
discovered in this work, or the skill which is 
shown in composing such an infinite number of 
figures, or the art of the distribution of light and 
shadow, the freedom of hand, the facility with 
which it is performed, and what is most extraor- 
dinary, the correctness and admirable taste of 
drawing of figures foreshortened in attitudes the 
most difficult to execute, we must pronounce this 
picture to be one of the greatest efforts of genius, 
that the art has produced." The same author 
thus sums up his admirable criticism on the 
works of Rubens, in his Journal of a Journey to 
Flanders and Holland : " The works of Rubens 
have that peculiar property always attendant on 
genius, to attract attention, and enforce admiration 
in spite of all their faults. It is owing to this 
fascinating power that the performances of those 
painters with which he is surrounded, though they 
have perhaps fewer defects, yet appear spiritless, 
tame and insipid, such as the altar-pieces of Grayer, 
Schut, Seghers, Huysum, Tyssens, Van Balen, and 
the rest. They are done by men whose hands, 
and indeed all their faculties, appear to have been 
cramped and confined ; and it is evident that every 
thing they did was the effect of great labor and 
pains. The productions of Rubens, on the con- 
trary, seem to flow with a freedom and prodigali- 
ty, as if they cost him nothing ; and to the gen- 
eral animation of the composition there is always 
a correspondent spirit in the execution of the work. 
The striking brilliancy of his colors, and their 
lively opposition to each other, the flowing liberty 
and freedom of his outline, the animated pencil, 
with which every object is touched, all contribute 
to awaken and keep alive the attention of the 
spectator ; awaken in him, in some measure, cor- 
respondent sensations, and make him feel a de- 
gree of that enthusiasm with which the painter 
was carried away. To this we may add the com- 
plete uniformity of all the parts of the work, so 
that the whole seems to be conducted, and grow 
out of one mind : every thing is of a piece, and fits 
its place. Even his taste of drawing and of form 
appears to correspond better with his coloring and 
composition, than if he had adopted any other man- 
ner, though that manner, simply considered, might 
be better : it is here as in personal attractions ; 
there is frequently found a certain agreement and 
correspondence in the whole together, which is of- 
ten more captivating than mere regular beauty. 

" Rubens appears to have had that confidence in 
himself, which it is necessary for every artist to 
assume, when he has finished his studies, and may 
Tenture in some measure to throw aside the fetters 
of authority ; to consider the rules as subject to 
his control, and not himself subject to the rules ; 
to risk and to dare extraordinary attempts without 
a guide, abandoning himself to his own sensations, 
and depending upon them. To this confidence must 
be imputed that originality of manner by which 
he may be truly said to have extended the limits i 



of the art. After Rubens had made up his man- 
ner, he never looked out of himself for assistance : 
there is consequently very little in his works, that 
appears to be taken from other masters. If he has 
borrowed any thing, he has had the address to 
change and adapt it so well to the rest of his 
work, that the theft is not discoverable." Reyn- 
olds also says he possessed in an eminent de- 
gree the true art of imitation. He saw the objects 
of nature with a painter's eye, and caught at once 
the predominant features by which every object 
is known and distinguished, and as soon as seen, 
executed them with astonishing facility. " This 
power," says he, " which Rubens possessed in the 
highest degree, enabled him to represent whatever 
he undertook, better than any other painter. His 
animals, particularlj- lions and horses, are so ad- 
mirable, that it maybe said they were never prop- 
erly represented but by him. His portraits rank 
with the painters who have made that branch of 
the art the sole business of their lives ; and of 
these he left a great variet}- of specimens. The 
same may be said of his landscapes ; and though 
Claude Lorraine finished more minutely, as be- 
came a professor in any particular branch, 3'et there 
is such an airiness and facility in the landscapes 
of Rubens, that a painter would as soon wish to 
be the author of them as those of Claude or any 
other artist whatever. 

" The pictures of Rubens have this effect on the 
spectator, that he feels himself in no wise disposed 
to pick out and dwell on his defects. The criti- 
cisms which are made on him are indeed often un- 
reasonable. His style ought no more to be blamed 
for not having the sublimity of Michael Angelo, 
than Ovid should be censured because he is not 
like Yirgil. However, it must be acknowledged 
that he wanted many excellencies which would 
have perfectly united with his style. Among 
these we may reckon beauty in his female forms: 
sometimes indeed they make approaches to it; 
they are healthy and comely women, but seldom if 
ever possess any degree of excellence. The same 
may be said of his young men and children; his 
old men have that sort of dignity which a bushy 
beard will confer, but he never possessed a poetical 
conception of character. In his representation of 
the highest characters in the christian or the fab- 
ulous world, instead of something above humani- 
ty, which might fill the idea which is conceived 
of such beings, the spectator finds little more than 
mere mortals, such as he meets with every day. 

'■ The incorrectness of Rubens in regard to his 
outline, oftener proceeds from haste and careless- 
ness, than from inability : there are in his great 
works, to which he seems to have paid more par- 
ticular attention, naked figures as eminent for their 
drawing as for their coloring. He appears to have 
entertained a great abhorrence of the meagre, dry 
manner of his predecessors, the old German and 
Flemish painters, to avoid which, he kept his out- 
line large and flowing ; this carried to extreme, 
produced that heaviness which is so frequently 
found in his figures. Another defect of this great 
painter is his inattention to the foldings of his dra- 
pery, especially that of women ; it is scarcely ever 
cast with any choice or skill." Algarotti says, 
" Rubens was more moderate in his movements 
than Tintoretto, more soft in his chiaro-scuro than 
Caravaggio ; but not so rich in his composition, nor 
so light in his touches as Veronese. His carna- 



RUBE. 



819 



RUBE. 



tions are always less true than those of Titian, 
and less delicate than those of Vandyck ; yet he 
contrived to give his colors the utmost transpa- 
rency, and no less harmony, notwithstanding their 
extraordinarj'- depth." 

The number of works executed by Rubens is 
truly astonishing; Smith in his Catalogue raison- 
ne, vols. II and ix., describes about 1800 considered 
genuine by him, in the different public and pri- 
vate collections of Europe. There can be no doubt 
that a great number of these were executed by 
his numerous scholars and assistants, under his 
direction, from his designs, and then finished by 
himself It is well known that he employed his 
pupils in forwarding many of his pictures, and 
that Wildens, van Uden, and Mompers, in partic- 
ular, assisted him in his landscapes, and Snyders, 
in his animals. His principal scholars were An- 
thony Vandyck, Justus van Egmont, Theodore van 
Thulden, Abraham Diepenbeck. Jacob Jordaens, 
Peter van Mol, Cornelius Schut. John van Hoeck, 
Simon de Vos, Peter Soutman, Deodato Delmont, 
Erasmus Quellinus, Francis VYouters, Francis Sny- 
ders, John Wildens, Lucas van Uden, and Jodocus 
Mompers. Several other distinguished Flemish 
painters of the period, who were not his pupils, 
imitated his style ; the most eminent of whom 
were Gerard Seghers, Gaspar de Crayer, and Mar- 
tin Pepin. Besides the genuine paintings of Ru- 
bens, there are a multitude of doubtful authenticity, 
attributed to him, most of which were executed by 
his pupils and imitators. Many such, fine pictures, 
are in the United States. There are upwards of 
1200 engravings after works attributed to Rubens ; 
some of which, however, are of doubtful authen- 
ticity. Those executed by the Bolswerts, Paul 
Pontius, and other cotemporary engravers who 
worked under Rubens' supervision, are undoubted- 
ly genuine. There are a great number of his works 
in England in the public galleries and the collec- 
tions of the nobility; there are nine in the Na- 
tional gallery, fourteen in the Dulwich gallery, 
and others at Windsor, Hampton Court, and 
Whitehall. The enormous value set upon his 
works at the present time, may be seen by refer- 
ring to the catalogue of the National gallery ; thus, 
the Brazen Serpent cost £1260; a Landscape, 
called Rubens' Chateau. £1500; Peace and War, 
£3000 ; the Rape of the Sabines, £3000 ; and the 
Judgment of Paris, 4000 guineas. Many of the 
works of Rubens, like those of other great mas- 
ters, have suffered greatly from the effects of time, 
but more from improper cleaning and unskilful 
restoration, especially in retouching injured parts, 
by which the original harmony of coloring has been 
destroyed. Thus his pictures in the Banqueting- 
house at Whitehall, have been three times cleaned, 
repaired and painted over, so that little of the 
original splendor of coloring remains. 

Rubens occasionally amused himself with the 
point, and executed a few etchings in a bold and 
masterly style, which show his profound knowledge 
of chiaro-scuro. It is well known that the 
masterly effects of light and shade, and character- 
istic expression, in the prints of Bolswert, were 
owing to the instructions and assistance he received 
from Rubens.— (See S. A. Bolswert.) The fol- 
lowing etchings are by him : 

St. Francis receiving the Stigmata. Mary Magdalen 
Penitent, St. Catherine ; a design for a ceiling. An old 
Woman holding a lighted Candle, with a Boy lighting an- 



other by it. "When Rubens had etched the plate, a few im- 
pressions only were taken off, which are now become ex- 
tremely scarce. There is a copy of this print by Cornel- 
ius Visscker. The Portrait of an English Minister ; 
signed P. P. Rubens, fecit. 

RUBENSTEIN, or RIEBENSTEIN, a reputa- 
ble German painter of still-life, dead game, and por- 
traits. He went to England, and resided several 
years at London, where he died about 1763. 

RUBIALES, Pedro de, a Spanish painter, born 
in the province of Estremadunu He went to Italy 
and studied under Francesco Salviati, whom he as- 
sisted in many of his works. He afterwards be- 
came the assistant of Giorgio Vasari. He resided 
chiefly at Rome and Florence, and executed some 
works by himself for the churches, the best of 
which is the Conversion of St. Paul in S. Spirito 
in Sassia at Rome. There are notices of him from 
1545 to 1560. He is little known in his own coun- 
try, and probably passed most of his life in Italy. 

RUBINI, a Piedmontese painter who, according 
to Federici, flourished at Trevigi about 1650. He 
executed some works for the church of S. Vito 
in that city, which are commended by that author. 

RUBIRA, Don Andres de, a Spanish painter, 
born at Escacena del Campo. He studied under 
Domingo Martinez at Seville,' whom he assisted in 
several works for the cathedral of that city. When 
F<rancisco Vieira, painter to the King of Portugal, 
was passing through Seville on his way from Rome 
to Lisbon, he invited Rubira to accompany him 
home, where he profited greatly by the instruc- 
tions of that excellent master. On his return to 
Seville, he was employed in executing several im- 
portant works for the churches and convents. He 
also painted conversation pieces, drolls, and inte- 
riors, in a style of excellence. There is a picture 
of a bhnd man by him, singing and playing on the 
guitar, painted with such truth and power, that, at 
first view, it might be attributed to Velasquez. 
He died at Seville in 1760. 

RUBIRA, Jose de, the son of the preceding, 
was born at Seville in 1747. He is said to have 
had no other instruction than what he received 
from his father, though he was only thirteen at 
his death. By diligently studying the works of 
Murillo, he became a good imitator of his man- 
ner, and an excellent copyist. Among others, he 
copied a magnificent picture of the Holy Family 
by Murillo, for Don Francisco de Bruno, so admi- 
rably executed, that many connoisseurs have taken 
it for the original. He died in 1787. 

RUCHOLLE, Pif.rre, a French engraver, who 
flourished about 1690. He engraved a few indif- 
ferent portraits, among which are Charles Emanuel, 
Duke of Savoy, after Vandyck, and Louis XIV., 
after Rigaud, 

RUED A, Gabriel de, a Spanish painter whose 
history is little known. He is said to have exe- 
cuted some excellent works for the churches at 
Granada and Toledo. He was appointed painter 
to the Holy church at Toledo in 1633, and died in 
1641. 

RUFO, Jose Martin, a Spanish historical and 
portrait painter, was born at Madrid and educated 
in the academy of S. Ferdinando, from which insti- 
tution he drew several prizes by the superiority 
of his productions. He executed many works for 
the public edifices, particularly a series of histories 
of the life of S. Juan de la Cruz in the cloister of 



RUGE. 



820 



RUGG. 



the Carmelitas Descalzos. His portrait of Ferdi- 
nand VI., formerly in the monastery del Paular, 
is in the Royal collection at Madrid. He flour- 
ished in the second half of the 18th century. 

RUGENDAS, George Philip, a German paint- 
er and engraver, born at Augsburg in 1666. He 
studied under Isaac Fischer, a painter of history, 
with whom he continued five years ; but his ge- 
nius leading him rather to painting battles and 
skirmishes of cavalry, he formed his style by study- 
ing the works of Borgognone, and the prints of An- 
tonio Tempesta. He had already acquired consid- 
erable reputation in his native city, when he went 
to Italy in 1692. He stopped some time at Venice, 
where he received some instruction and advice from 
Gio. Battista Molinari. From Venice he proceeded 
to Rome, where his talents soon became known, 
and he met with such flattering encouragement 
that he thought of establishing himself in that city, 
when he was suddenly recalled to Augsburg in 
1695, by the death of his father. He then settled 
in his native city, where he passed the rest of his 
life, and executed a great many works, which are 
highly esteemed, and are found in the choicest col- 
lections of Europe. 

Rugendas is reckoned among the good battle 
painters. He possessed an abundant imagination, 
he composed his subjects with taste, his design is 
correct, his perspective excellent, his coloring good, 
his pencilling free and spirited, and his execution 
exceedingly rapid. He had three manners. In 
the first he was less attentive to design than to 
the charm of coloring ; in the second, his draw- 
ins; is more correct, and his touch more free and 
animated, but his coloring is less attractive; in his 
last and best manner, he successfully combined har- 
monious coloring with accuracy of design and un- 
common freedom of pencilling. During the bom- 
bardment of Augsburg by the French and Bava- 
rians in 1703, when the citizens were overwhelmed 
with alarm, confusion and despair, Rugendas sallied 
forth with his pencils and sketch-book, to contem- 
plate with a painter's eye, the attacks of the besie- 
gers, exposed himself to the most imminent danger, 
and amidst the carnage and destruction, designed 
the military operations of the French and Bavarian 
armies in a very spirited and accurate manner, which 
he afterwards engraved and published. He could 
work with equal facility with both hands, on ac- 
count of a disease of his right hand, which for some 
years compelled him to exercise his left. It is 
said that the most illustrious personages of Ger- 
many employed his pencil ; if so, they illy reward- 
ed him, for it is well known that he practised en- 
graving to support his family ; he devoted a con- 
siderable portion of his time to engraving ; some 
say the whole of it, from 1719 to 1735, when he 
returned to painting. He executed a great num- 
ber of etchings and mezzotinto plates after his 
own designs. He died at Augsburg in 1742. He 
was the ancestor of several painters and engravers 
of this name, some of whom are living at the pres- 
ent time. The following are among his most es- 
teemed prints : 



A set of six Plates ; entitled, Capricci di Giorgio Fil- 
ippo Rugendas. 1698. Eight Plates ; entitled Diversi 
Pensierifatto per Giorgio Filippo Rugendas, Pittore. 
1699. A set of eight plates, representing horsemen. Six 
Plates of Cavalry marching. The military operations of 



the French and Bavarian armies at the siege of Augs- 
burg; in six plates. 1704. 

MEZZOTINTO. 

Four plates of Skirmishes between the Prussian and 
Hungarian Hussars. Four plates of Huntings of the Li- 
on, Tiger, &c. 

RUGENDAS, Christian, was the son of the 
preceding, born at Augsburg in 1708, and died 
there in 1781. He engraved in mezzotinto about 
sixty plates after the designs of his father, repre- 
senting marches, halts, battles, &c. He also exe- 
cuted about thirty etchings from his own designs, 
which are highly esteemed. 

RUGGIERI, DA Brdggia. See Roger of Bru- 
ges. 

RTJGGIERI, Antonio, a Florentine painterj 
who flourished in the first part of the 17th cen- 
tury. According to Baldinucci, he studied under 
Ottavio Vannini, was a good painter of cabinet 
pictures of historical subjects, and wrought much 
for the collections. There is a picture of St. An- 
drew by him in the church of S. Gaetano at Flor- 
ence. 

RUGGIERI, Antonio Maria, a Milanese paint- 
er, who flourished in the first part of the 18th 
century. He formed an intimate friendship with 
Francesco Bianchi, in conjunction with whom he 
executed many works in fresco for the churches 
and public edifices of Milan and other cities. Lanzi 
considers them mediocre artists, more intent on 
gain than applause. Ruggieri also painted in oil. 

RUGGIERI, Giovanni Battista, called also 
Gio. Battista del Gessi, a Bolognese painter, 
who first studied under Domenichino, and after- 
wards became the disciple of Francesco Gessi, 
the pupil of Guido, whose style he adopted. 
He accompanied that master to Naples, and as- 
sisted him in some of his principal works in 
that city and at Bologna. He afterwards visited 
Rome, where he was patronized by the Mar- 
chese Giustiniani, and executed some works for the 
churches and the palaces of the nobility. His prin- 
cipal works at Bologna, are the Assumption of the 
Virgin, the Adoration of the Magi, and the Descent 
of the Holy Ghost, in the church of S. Barbaziano, 
which have sometimes been mistaken for the works 
of Guido. His most esteemed works at Rome are, 
a picture of the Nativity in S. Maria della Minerva, 
one of his finest works, and a fresco, representing 
Mary Magdalen and St. Catherine, with several 
other saints, in S. Caterina a Monte Magnanapoli. 
There is much discrepancy as to the time of his 
birth and death. According to Baglioni, he died 
aged thirty-two, in the pontificate of Urban VIII. 
Lanzi asserts the same, and says he was an artist 
of rare merit, particularly esteemed by Cortona, in 
whose arms he breathed his last. Zani says he was 
born in 1606, and died in 1640. Others say he was 
born in 1595, and died at Rome in 1659. Domi- 
nici says he was enticed on board a galley at Naples, 
kidnapped, and never heard of afterwards. See 
Lorenzo Menini. 

RUGGIERI, Ercole, called also Ergglino del 
Gessi, or Ercolino da Bologna, was the brother 
of the preceding, and a scholar of Francesco Gessi, 
whose style he followed, according to Malvasia, 
with so much success, that, at first sight, his works ' 
are often mistaken for those of his master. Such j 
are his pictures of the Death of St. Joseph, in the ; 



KUGG. 



821 



RUIS. 



^or@orJ»j; 



J 



church of S. Cristina di Pietralata, and the Virgin 
and Infant, with several saints, at the Servi, at 
Bologna, The time of his birth or death is not 
known, but he is supposed to have died young. 

RUGGIERI, GiROLAMO, a painter born at Vi- 
cenza in 1662. According to Pozzo, he studied 
with Cornelius Dusman, a Flerfiish painter, who 
had settled at Vicenza. Lanzi says Ruggieri es- 
tablished himself at Verona, where he pamted his- 
tory, landscapes, and battle-pieces, in the Flemish 
style. He died there about 1717. 

RUGGIERI. 
'-^GuiDO, called 

also RUGGIERO 

Ruggieri, a Bolognese painter and engraver, who 
flourished about 1550. He studied under Fran- 
cesco Raibolini, called II Francia, and accompa- 
nied Primaticcio to France, where he assisted 
him in his great works at Fontainbleau. He is, 
however, better known as an engraver, and execu- 
ted some plates after the designs of Primaticcio, 
in a style somewhat resembling that of Marco da 
Ravenna, from whom it is not improbable that he 
learned the art. His plates after Primaticcio are 
usually marked with a monogram composed of a 
G and an R, joined together, with F for fecit. 
There are other etchings attributed to him, bear- 
ing various marks, and partaking of the manner 
of Giulio Bonasone, Giorgio Ghisi, and Caraglio ; 
but there is great uncertainty respecting them. 
Bartsch classes twenty- two under the monogram 
F. G. (No. 86, torn ix.,) and mentions others with 
different marks, all of which Nagler attributes to 
Guido Ruggieri. 

RUHL, John Christian, a German sculptor, 
born in Hesse Cassel in 1764. He studied sculp- 
ture under Nahl, and in 1787 drew the grand prize 
of the Academy at Cassel, which entitled him to 
travel at the expense of the state. He spent one 
year at Paris, studying in the atelier of Pajou, and 
then visited Rome, where he was rejoined by his 
instructor Nahl. He copied many sculptures in 
that city, and executed a marble statue of Achilles 
dying, which is highly praised by Goethe. On 
returning to Cassel, in 1790, he was chosen an 
Academician, and was commissioned to execute a 
number of works. Among them were the monu- 
ment to the Hessians who fell at the Siege of 
Frankfort, in 1792 ; and the Tomb of Baron de 
Hayn. At the establishment of the ephemeral 
kingdom of Westphalia, Ruhl was appointed sculp- 
tor to the court, and made many busts of King 
Jerome. After a career of half a century, he died, 
in 1842. 

RUIDIMAN, or REUTTIMAN, or REUTLI- 
MANN, John Conrad, a German goldsmith and 
engraver, who flourished at Augsburg in the first 
part of the 17th century, and designed and en- 
graved some plates of ornaments for goldsmiths. 

G.^ RUINA, Ga SPARC, an Italian wood 
'^K^ engraver, who flourished towards the 
end of the 16th century. There are a 
variety of historical, mythological, and allegorical 
prints attributed to him, executed in a peculiar 
manner ; the shadows are produced by numerous 
fine hatchings, which make them in many places 
appear too black, and out of harmony. His prints 
are sometimes marked with the above monogram, 
and at others variously signed Gasparo^f. ; Gas- 
par or Gasparo Ruina, /, or fecit. Zani and 



Brulliot say he was the engraver who marked his 
prints with three darts crossed, sometimes accom- 
panied by the letter G. 

RUISOH, or RUYSCH, Rachel, a celebrated 
Dutch paintress of fruit and flowers, born at Am- 
sterdam in 1664. She was the daughter of Fred- 
erick Ruisch, the celebrated professor of anatomy. 
She early showed an extraordinary taste for de- 
picting flowers, which induced her father to pro- 
cure for her the instruction of William van Aelst, 
an eminent flower painter. She not only sur- 
passed her instructor, but some have not hesitated 
to equal, and even prefer her works to those of 
John van Huysum. She grouped her flowers in 
the most tasteful and picturesque manner, and de- 
picted them with a force and brilliancy that ri- 
valled nature; Descamps says that, "in her pic- 
tures of flowers and fruit, she surpassed nature 
herself." The extraordinary talents of this lady 
recommended her to the patronage of the Elec- 
tor Palatine — a great admirer of her pictures — 
for whom she executed a considerable portion of 
her finest works, and received a munificent reward. 
She was admitted a member of the academy at the 
Hague in 1701. Though she is said to have ex- 
ercised her talents to an advanced age, her works 
are exceedingly rare, so great was the labor she 
bestowed upon them. She spent seven years in 
painting two pictures, a fruit and a flower piece, 
which she presented to one of her daughters, as 
her marriage portion. She married Jurian Pool, 
an eminent portrait painter, by whom she had ten 
children ; she is frequently called by his name, 
though she always signed her pictures with her 
maiden name. Smith, in his Catalogue raisonne, 
vols. vi. and ix., gives a description of only about 
thirty pieces by her — a proof of their great rarity. 
They now command very high prices when ofi'ered 
for sale. She died at Amsterdam in 1750, aged 
86 years. 

RUIZ DE LA IGLESIA, Francisco Ignacio, a 
Spanish painter, born at Madrid about 1640. He 
first studied with Francisco Camillo, and after- 
wards perfected himself in coloring, in the school 
of Juan Carreno. He acquired distinction, was 
appointed painter to Philip V. in 1689, and paint- 
ed his portrait several times. He was employed 
in conjunction with Antonio Palomino in decora- 
ting several of the churches and public edifices at 
Madrid, with paintings both in oil and fresco. He 
died in 1704. 

RUIZ GIXON, Juan Carlos, a Spanish paint- 
er, who flourished at Seville about 1677. He is 
supposed to have studied under the younger Her- 
rera, whose style he adopted. There is a grand 
picture bv him of the Immaculate Conception, in 
the Cathedral of Seville, of which the grand taste, 
fine coloring, and bold execution, would make it 
pass for a work by Ilerrera, were it not signed 
with the name of Ruiz, as was his custom in all 
his productions. 

RUIZ GONZALES, Don Pedro, a Spanish 
painter, born at Madrid in 1633. He did not com- 
mence the study of painting until the age of thir- 
ty, when he placed himself under the instruction 
of Juan Antonio Escalante. On the death of that 
master, he became the disciple of Juan Carreno, 
under whose able instruction he made rapid pro- 
gress, acquired considerable distinction, and was 
much employed by the nobility and the churches. 



RUIZ. 



822 



KUNC. 



There are many fine works by him in the church- 
es and convents at Madrid. He particularly ex- 
celled in cabinet pictures, which he colored with 
all the richness of the Venetian masters. His 
works are found in the best collections in Spain, 
and are highly esteemed. Though he commenced 
painting so late in life, he acquired great facilitj'" 
of hand, executed man}'- works, and acquired a for- 
tune. He died at Madrid in 1709. 

RUIZ, Ferdinando, a Spanish architect of the 
16th century. He gained considerable distinction 
at Seville, and erected there a church and several 
other edifices, but was most distinguished for his 
restoration of the tower Giralda. This famous 
structure is said to have been commenced in the 
11th century by Geber, to whom is attributed the 
invention of Algebra, and the design of two simi- 
lar towers at Rabata and Morocco. It was origi- 
nally two hundred and fifty feet high, but was in- 
creased by Ruiz to the height of three hundred 
and fiftyVaet. In the centre is another tower, 
higher than the exterior one, and twent_y-three feet 
thick; the interval between the towers is twenty- 
three feet, and serves for the ascent, by which two 
horsemen can mount abreast. The edifice is 
adorned with one hundred and forty columns, and 
the entablature is crowned by four large globes of 
gilt bronze, so resplendent that in the sunshine 
they were visible for twenty-four miles. In the 
earthquake of 1395 the globes fell, and the tower 
remained in its mutilated state until 1508, when 
Ruiz was employed to restore it. He performed 
his commission in the most admirable manner, and 
the Giralda still remains secure, notwithstanding 
the frequent earthquakes. 

RUMALDE, an ancient French architect, who 
flourished, about 840, in the time of Louis the 
Pious. According to Felibien, he erected the 
old Cathedral at Rheims, which is celebrated as 
the most magnificent of the age. Rumalde is said 
to have used for materials the ancient city walls, 
previously demolished by Charles Martel. 

RUMOHR, Carl Friedrich Luuwig Felix, 
a distinguished Grerman writer upon art, born at 
Reinhardsgrimma, his father's estate near Dres- 
den, in 1785. He was educated at the high school 
of Holzmiinden, in Brunswick, and was afterwards 
sent to the University of Gottingen ; but already, 
at the age of fifteen, he neglected every other study 
for that of art, and finally quitted the University 
to place himself under J. D. Fiorillo, well known 
as the author of a general history of modern paint- 
ing. After acquiring a good knowledge of the art, 
he visited many collections, particularly the Dres- 
den Gallery, where he was particularly struck 
with the works of RafFaelle and Paul Veronese. 
In 1804, at the age of twenty, he first went to Ita- 
ly, and visited various cities, enjoying at Rome the 
friend.ship of Wilhelm and Alexander von Hum- 
boldt, Thorwaldsen, and other distinguished individ- 
uals. In 1805 he returned to Germany, in the com- 
pany of Ludwig Tieck, and was honored with the 
confidence of the crown prince, afterwards King of 
Bavaria. His literary activity commenced about 
1811. In 1815 he revisited Italy, and commenced his 
labors at Florence, for his celebrated work, the Ital- 
ienische Forschimg-en, or Italian Researches, a criti- 
cal work on the history of art, compiled exclu- 
sively from the archives and other original MSS. 
at Florence. It is in three volumes ; the first two 



were published at Berlin in 1827, and relate to 
modern art in Italy generally, from its origin to 
its decline in the 16th century; many errors of 
Vasari are corrected ; much obscurity of the 12th, 
13th, 14th, and 15th centuries is cleared up by au- 
thentic documents. The third volume was pub- 
lished in 1831, divided under two heads, which 
treat chiefly of Rafiaelle and the architecture of 
the Middle Ages. It is a work of great interest, 
abounding in excellent critical and theoretical re- 
flections, and has gained for its author a wide ce- 
lebrity, Rumohr visited Italy again in 1828, and 
also in 1837, His taste and judgment in the Fine 
Arts were frequently consulted by German prin- 
ces. He wrote a large number of works relating 
to painting and engraving, which are much es- 
teemed. He died at Dresden in 1843. 

RUNCIMAN, Alexander, a Scotch painter, 
born at Edinburgh in 1736. The accounts of his 
early life are conflicting. Some say that he was 
the son of an architect, who instructed him in the 
rudiments of design, and then apprenticed him to 
two landscape painters, named Norries. Fuseli says 
he served his apprenticeship to a coach maker ; but 
at all events, he first painted landscapes. In 1766 
he went to Italy with his younger brother John, 
who was also a painter, and died at Rome. Alex- 
ander resided there several years, and pursued his 
studies under the patronage of Sir James Clerk. 
On his return, he exhibited some pictures in 1772. 
The following year he settled at Edinburgh, where 
he conducted the Academy of Arts recently estab- 
lished in that city. He executed a few historical 
works, among which are Ulj^sses surprising Nau- 
sicaa at play with her Maids, the Ascension, Lear 
and his Daughters, and Agrippina carrj'ing the 
Ashes of Germanicus. He also painted some 
subjects from Ossian for Sir James Clerk ; and 
executed a few etchings. He died in 1780. 

RUOPPOLI, Giovanni Battista, a Neapolitan 
painter of fruit, flowers, fish, shells, and other ma- 
rine objects. According to Dominici, he studied 
under Paolo Porpora, whom he excelled in fruits, 
particularly grapes, and was little inferior to him 
in other subjects. He died about 1685. 

RUOPPOLI. Giuseppe, a Neapolitan painter, 
born in 1600, and died in 1659. He studied with 
Giovanni Baptistello, and painted fruit and flower 
pieces in a style of excellence. 

RUPERT, Prince Pala- 
tine of the Rhine, was for a 
ilong time considered the in- 
ventor of the art of engra- 
ving in mezzotinto ; but Baron Heineken has shown 
with tolerable clearness that he learned the art of 
Lieut. Colonel de Siegen. an oflicer in the service of 
the Landgrave of Hesse, who first engraved in this 
manner, and executed a portrait of Amelia Eliza- 
beth, Princess of Hesse, as early as 1643. Prince 
Rupert learned the secret of this gentleman, and 
introduced the art into England when he went 
over the second time with Charles 11. Laborde 
also asserts the same thing in his Histoire de la 
Gravure en manure Noire, Paris, 1839, See ar- 
ticle Siegen. 

Prince Rupert amused himself with etching and 
mezzotinting. Nagler describes sixteen prints by 
him. which are very rare. They are usually 
marked with one of his monograms. There arc 
several of his prints in the British Museum ; one. 




Id" 



RUPP. 



823 



KUSO. 



an etching, is dated 1636, and another, a mezzo- 
tint called the Executioner, is dated 1658. 

KUPPRECHT, Frederick Charles, a Ger- 
man painter, engraver, and architect, born at Ober- 
zenn, near Anspach, in 1779, and died in 1831. 
After receiving some insti'uction at Nuremberg, 
he went to Dresden, and improved himself by 
studying the works of the great masters in the 
Dresden Gallery, particularly those of Claude, 
Titian, and Paul Potter. He also studied perspec- 
tive and architecture. In 1802, he made a jour- 
ney through the south of Germany to study land- 
scape, which was his delight, after nature ; but to 
support himself, he was compelled to have recourse 
to portrait painting. In his travels, he became ac- 
quainted with General Drouet, whose portrait he 
painted, and those of several of his officers, and 
accompanied that commander through Germany 
in the capacity of interpreter. 

His best pictures are his landscapes, which are 
painted both in oil and water-colors. They are 
drawn with great minuteness, and finished like 
miniatures ; yet they are not mannered, and have 
the appearance of originality and freedom. His 
works as a painter are little known out of his 
country. As an engraver, he executed about 
twenty-five spirited etchings, mostly from his own 
designs, which are highly esteemed, and about fifty 
wooden cuts, a few of them in chiaro-scuro, with 
two blocks. The}^ are sometimes marked with his 
name in full, and sometimes with his initials, as 
F. C. R./, C. R./, or R.f. As an architect, he 
was employed to restore the old Cathedral of 
Bamberg to its primitive state, and he prepared 
the plans, drawings, and models for that purpose, 
but did not live to see the work completed. The 
Cathedral possesses about one hundred and thirty 
of his drawings, many of them interesting to the 
antiquary, as representing many curious objects of 
ancient date, destroyed or discovered during the 
progress of the restorations. An account of his 
life and works, with a portrait, was published at 
Bamberg in 1843, written by J. Heller. 

RUSCHEWEYH, Ferdinand, an eminent mod- 
ern German designer, engraver, and lithog} apher, 
born at Mecklenburg about 1785. He has distin- 
guished himself by his masterly engravings after 
the works of the most distinguished painters of 
the modern German school, as Overbeck, Cornelius, 
Steinle, Schadow, Bendemann, Wagner, and oth- 
ers, whose fame has been widely diffused by his 
burin. He first studied at Berlin, and afterwards 
passed some time at Vienna. In 1808 he went to 
Rome, where he pursued his studies with enthu- 
siasm and assiduity, associating with his talented 
countrymen, whose tastes were congenial to his 
own. He resided at Rome till about 1832, and 
distinguished himself by many admirable produc- 
tions after Rafiaelle, Michael Angelo, Giulio Roma- 
no, Fiesole, and the antique bassi-relievi, in which 
he imitated the manner of Marc' Antonio. He 
also engraved some beautiful plates of illustrations 
for Goethe's Faust, after designs by Cornelius ; of 
Schillei-'s Eleusinian Festivals, after Wagner; some 
sacred and ecclesiastical subjects, after Overbeck ; 
and some plates after the sculptures of Thorwald- 
sen. In 1832 he returned to his own country, 
since which time he has executed some admirable 
plates after the great modern German masters, 
among which are Christ in the Temple, and Ruth 



and Boaz, after Overbeck ; and the Jews in Exile, 
after Bendemann. See Frederick Overbeck. 

RUSCHI, or RUSCA, Francesco, a Roman 
painter, who floui-ished about the middle of the 
17th centur}^ According to Zanetti, he was a dis- 
ciple of Michael Angelo da Caravaggio, whose man- 
ner he adopted, both in his forms and his style of 
coloring. He is little known at Rome, but he ac- 
quired considerable reputation at Venice, Vicenza, 
and Trevigi. Lanzi says his pictures are to be met 
with in quite good preservation, and are admit- 
ted into the collections. 

RUSS, Charles, a German painter and engra- 
ver, born at Vienna in 1779. He acquired some 
knowledge of the art from two painters named 
Drechsler and Brand, and afterwards visited Mu- 
nich in 1804, where he designed about one hundred 
pictures in the Gallery. On returning to Vienna, 
he devoted his energies to historical painting, and 
produced his picture of Tiresias foretelling to Alc- 
mena the destiny of Hercules, which gained him 
several commissions from the Archduke John. 
In 1809, he drew the second prize in the Imperial 
Academy, for his picture of Hecuba on the Coast 
of Thrace. In 1810 he was appointed cabinet 
painter to the Archduke, and in 1818 Keeper of 
the Belvidere Gallery. He executed many draw- 
ings of subjects from Austrian history. His works 
are lacking in originality ; but they evince great 
application, and profound acquaintance with the 
principles of art. Russ died in 1843. 

RUSSELL, John, an English portrait painter, 
chiefly in crayons, born at Guildford in 1744. He 
studied with Francis Cotes, whose style he imita- 
ted. He published a work on crayon painting, 
which was considered valuable in his time, and 
went through two editions. He was also fond of 
Astronomy, and constructed a model showing the 
appearance of the moon, for which he obtained a 
patent, and published a description, with plates 
engraved by himself. In 1788, he was elected a 
member of the Royal Academy, and died in 1806. 

RUSSI, Giovanni de, a miniature painter of 
Mantua, who flourished about 1455. He illustra- 
ted for the Duke of Modena the Bible of Este, in 
large folio, which Lanzi says is one of the rarest 
specimens of the art in the distinguished collec- 
tion of that prince. 

RUSSO, Giovanni Pietro, a painter of Capua, 
who died in 1667. According to Dominici, after 
studying in various schools, visiting Rome, Naples, 
Venice, and Florence, he settled in his native city, 
where he executed many excellent altar-pieces, 
and other subjects, for the churches and public 
edifices. He is also commended by Lanzi. 

RUSTICI, called II Rustic o, a painter of Siena, 
who flourished about the middle of the 16th cen- 
tury. He studied under the Cav. Gio. Antonio 
Razzi. Lanzi says " he was an excellent painter 
of grotesque subjects, with which he filled Siena." 
He had a son named Cristoforo, who also excelled 
in the same line, and obtained great reputation. 
There was another painter, named Vincenzio R., 
who excelled in the same branch, and is supposed 
to have been a son of II Rustico. 

RUSTICI, Francesco, called II Rustichino, 
was the son of Cristoforo R., born at Siena about 
1595. He first studied with his father, and after- 



RUST. 



824 



RUYS. 



wards with Francesco Vanni. He afterwards 
went to Rome, where he studied the works of An- 
nibale Caracci, Gruido, and Michael Angelo da Car- 
avaggio, and formed an original and graceful style 
of his own. He possessed great talents, and execu- 
ted a few choice pictures, but died in the flower of his 
life in 1625. In the collection of the Grand Duke 
of Tuscany is a fine picture by him, of an expir- 
ing Magdalen, and in the Palazzo Borghese at 
Rome, an admired picture of St. Sebastian. He 
also painted some torch-light pieces in the manner 
of Gherardo dalle Notti. 

RUSTIOI, Gig. Francesco, a Florentine sculp- 
tor of the 16th century, who studied under Ve- 
rocchio, at the same time with Leonardo da Vinci. 
Among his principal works are mentioned the 
statues of Leda. of Neptune, and of Europa ; a 
figure of a woman, and a mounted horseman, both 
of colossal size. Rustici quitted Florence in 1528, 
on account of the civil commotions, and went to 
the court of Francis I., who employed him on the 
works at Fontainbleau. He remained in France 
during the rest of his life ; the time of his death 
is not recorded. 

RUTA, Clemente, a painter born at Parma in 
1688. According to Oretti, he is supposed to have 
studied first with Ilario Spolverini, a painter of 
battles, &c. He afterwards studied in the school 
of Carlo Cignani. at Bologna, After his return 
to his native state, he entered the service of the 
Infant Charles of Bourbon, and accompanied that 
prince to Naples, where he executed many excel- 
lent works. He subsequently returned to Parma, 
where Lanzi says he continued to practise his pro- 
fession with credit till he lost the use of his eyes, 
at an advanced age. He painted easel pictures of 
histories, battles, skirmishes of cavalry, banditti, 
&c., and his pictures hold a high rank in the col- 
lections of Parma. He died there in 1767. 

RUVIALE, Francisco, called II Polidorino, 
a Spanish painter who. according to Dominici, 
went to Naples, and studied under Polidoro da 
Caravaggio. This must have been about 1527, as 
Caravaggio fled to Naples at the sacking of Rome, 
which happened in that year. He made great pro- 
gress, imitated his master very happily, and assist- 
ed him in his works in the Palazzo Orsini, with 
subjects illustrative of the history of that noble 
family. After Caravaggio left Naples, he contin- 
ued to reside there, and executed some works for 
the churches and public edifices, the principal of 
which are a picture of a dead Christ, with the 
Virgin Mary and St, John, in the chapel of the 
Royal Tribunal ; the Descent from the Cross, in 
that of the Vicaria Criminale ; and others at 
Monte Oliveto. The greater part of his works 
have perished, as happened to those of Caravaggio 
at Rome, from the use of improper grounds or 
colors. 

RUVIALE, Spagnuolo, a Spanish painter, who 
studied under II Salviati, at Rome, and afterwards 
assisted Vasari in his works in the Chancery, on 
which occasion Vasari says he formed himself into 
a good painter. This was in 1544. Nothing more 
is known of him; Palomino does not mention 
him, therefore it is probable he did not return to 
Spain. 

RUYSDAEL,orRUIS- 
DAEL, Jacob, an emi- 
nent Dutch landscape 




I painter, born at Haerlem, according to Houbraken 
and others, in 1636, though probably at an 
earlier date, as there are pictures by him dated in 
1645. Balkema says he was born in 1640, a glar- 
ing error. There is also much uncertainty res- 
pecting his history. It is not known under 
whom he studied, but it is highly probable 
that he received instruction from his fellow towns- 
man, Nicholas Berghem, who was born in 1624 ; 
and it is certain that he was intimate with that 
artist. Houbraken says that, though he had given 
extraordinary proof of his ability as a painter at 
the early age of fourteen, he did not follow the 
art as a profession till some years later, but 
devoted himself to the study and practise of sur- 
gery ; that he afterwards lived in habits of inti- 
macy with Nicholas Berghem, who advised him 
to devote his attention entirely to painting. Some 
say that he early showed the most extraordinary 
talents for painting, and that, at twelve years of 
age, he produced pictures that were the astonish- 
ment of artists ; that Berghem and Ru3'sdael went 
to Italy, and improved their taste by studying ?it 
Rome, and designing from the beautiful scenery 
in its environs ; but others maintain that neither 
one nor the other was ever in that country. The 
only thing that seems to favor this supposition is 
that there are some of Ruysdael's works in the 
collection of the Grand Duke of Tuscany, and the 
Palazzo Riccardi at Florence. Amid all this con- 
fusion, when we consider his subjects, style, place 
of nativity, time of birth, &c., there can be little 
doubt that he received instruction from Berghem, 
and afterwards, by an assiduous study of nature, 
formed a style of his own. However, there is 
little dispute about his works. 

Ruysdael is justly considered one of the most 
eminent landscape painters of the Dutch school. 
His pictures generally represent the most in- 
teresting views in the vicinity of Haerlem, where 
he resided most of his life ; or occasionally 
the rocky borders of the Rhine, with cas- 
cades and waterfalls, which he treated in a 
style so admirably picturesque, that in these 
last subjects he may be said to be unrivalled. 
He rarel}^ painted a picture without a river, brook, 
or pool of water, and his general subjects are views 
of the banks of rivers, with windmills or water- 
mills ; hilly grounds, with brooks and cascades, a 
country interspersed with cottages and huts ; sol- 
emn scenes of woods and groves, with roads 
through them. &c. It is evident in his pictures 
that he designed everything from nature, and 
he is uncommonly happy in his selections. His 
grounds are agreeably broken, his trees are of the 
most pleasing forms and delicately handled, his 
skies are clear, with light floating clouds, and there 
is an agreeable freshness in his verdure. He per- 
fectly understood the principles of chiaro-scuro 
and perspective; his distances have always a fine 
effect, and his masses of light and shadow are dis- 
tributed with such judgment as equally to delight 
the eye and charm the imagination. His coloring 
is chaste and clear, and his pencilling free and spir- 
ited, yet delicate. His talents were not confined 
to landscapes ; he painted sea-pieces with equal 
success, and his pictures of fresh breezes and gales 
of wind are admirable. His scenes of torrents 
and waterfalls are depicted with wonderful force, 
truth, and grandeur. The pictures of this admired 
painter are numerous, and are held in the highest 
esteem. Smith, in his Catalogue raisonne of the 



RUYS. 



825 



RYCK. 



Dutch and Flemish masters, vols. vi. and ix., gives 
a descriptive account of 448 pictures by him, but 
doubtless there are many more which have not 
come under his notice. His vrorks have also been 
largely imitated. He did not design the human 
jBgure with elegance, and frequently employed Os- 
tade, Vandervelde, and Wouwerman to insert the 
figures, and such pictures are the most valuable. 
He also executed a few spirited etchings from his 
own designs, which, though slightly etched, pro- 
duce a very natural and masterly effect. He died 
at Haerlem in 1681. 

RUYSDAEL, SolOxMon. was the elder brother 
of the preceding, born at Haerlem in 1616, and 
died in 1670, according to Houbraken, though 
there appears to be no certainty about it, as there 
are pictures by him dated 1673, and most Dutch 
writers say he was about twenty years older than 
his brother. He painted landscapes and river 
views, in which he imitated the manner of John 
van Goyen, and some suppose him to have been a 
pupil of that master. His pictures are poor af- 
fairs, and are not admitted into choice collections; 
but he imitated variegated marbles with exact 
precision. 

RUYTER, N. DE, a Flemish engraver of little 
note, who flourished about 1688. He engraved a 
few plates, in which he appears to have imitated 
the style of Paul Pontius, but with no great suc- 
cess. 

RUYVEN, Peter van. See Reuven. 

RY, Peter Bankers van, a Dutch painter, 
born at Amsterdam in 1605. He was a good por- 
trait painter, and went to Stockholm, where he 
met with much employment, and was appointed 
court painter to the King Ladislaus IV. He died 
in 1659. 

RYCK, Peter Cornelius de, a Dutch painter, 
born at Delft in 1566. He first studied with 
James Willems, next, with Hubert Jacobs, and 
afterwards went to Italy, where he studied the 
works of Giacomo Bassano. On his return to 
Delft, he painted historical and pastoral subjects 
in the manner of Bassano, which were esteemed in 
his day. He died at Delft in 1628. 

RYCKAERT, Martin, a Flemish painter, born 
at Antwerp in 1591. Discovering an early taste 
for painting, he was placed under the tuition of 
Tobias Veihaecht, an eminent landscape painter. 
On leaving his master he went to Italy, where he 
resided several years, and filled his portfolio with 
choice designs of the most interesting scenery and 
objects he met with in his travels, particularly at 
Rome, and in its vicinity. On his return to Ant- 
werp, he distinguished himself as one of the ablest 
landscape painters of his time. His pictures, es- 
pecially in the scenery, resemble the Italian, more 
than the Flemish school, and he embellished them 
with architecture, ruins, rocks, mountains, water- 
falls, &c., pleasingly diversified. His works are 
occasionally decorated with figures by John Breu- 
ghel. He lived on terms of intimacy with Van- 
dyck, who painted his portrait among the eminent 
artists of his country. He died at Antwerp in 
1636. 

RYCKAERT, David, was the son of the pre- 
ceding, born at Antwerp in 1615, according to the 
best authorities. He was instructed in landscape 
painting by his father, but the great estimation in 



which the works of Teniers, Brouwer, and Ostade, 
were held, induced him to paint similar subjects, 
in which he was eminently successful. His pic- 
tures usually represent conversations, musical par- 
ties, assemblies of peasants regaling themselves, 
chemists' laboratories, &c., though he sometimes 
adopted subjects of a more elevated character. He 
gave a lively and expressive character to his heads, 
his coloring is clear and transparent, and his pen- 
cil is light and spirited. He was very fond of re- 
presenting subjects by candle-light and flambeaux, 
in which he had a peculiar manner of managing 
the lights, so as to give them an extraordinary ef- 
fect. He acquired great reputation, and his works 
were so much admired, that he could scarcely sup- 
ply the demand. The Archduke Leopold, a great 
encourager of art, favored him with his particular 
protection. In 1651 he was appointed Director of 
the Academy of Antwerp. Towards the latter part 
of his life, he frequently painted grotesque and 
fantastical subjects, such as spectres, incantations, 
assemblies of witches and devils, and the Tempta- 
tions of St. Anthony, somewhat in the manner of 
Peter Breughel. Notwithstanding the disagree- 
ableness of these subjects, he treated them with 
so much spirit, beauty of penciling and coloring, 
liveliness of imagination, variety and humor of ex- 
pression, that they had many admirers, and were 
eagerly purchased, even by princes. His first 
works were not so well colored as his later 
ones, the former being rather too gray, but the 
latter having a remarkable truth and warmth. 
The heads of his figures are painted with great art 
and precision, but he was negligent of his hands 
and extremities; doubtless to save labor. His pic- 
tures are found in the best collections of Flanders 
and Brabant, but they are rare out of those coun- 
tries. He died at Antwerp in 1677. 

RYCKMAN, Nicholas, a Flemish engraver, born 
at Antwerp about 1620. He engraved some plates 
after Rubens and other masters, in a style resem- 
bling that of Paul Pontius, and probably was a 
pupil of that master. They are executed with the 
graver in a neat but formal manner, and his draw- 
ing is generally incorrect. The following are 
among his best prints : 

The Adoration of the Magi ; after Rubens. The best 
impressions are before the address of either Gas. Huberti, 
or Corn, van Merlen. The Entombing of Christ ; do, 
The Holy Family ; do. Christ and the Twelve Apostles ; 
do. ; thirteen plates. The best impressions are before the 
address of E. Coninck. Achilles discovered by Ulysses at 
the court of Lycomedes ; do. 

RYDER, Thomas, an English engraver, born in 
1746, and died in 1810. He studied under Barto- 
lozzi, and executed quite a number of plates after 
the works of Wright, West, Fuseli, Northcote, 
Stothard, Smirke, Ramberg, :^aud, Hamilton, 
and other eminent painters of ms day. He was 
one of the artists employed by Boydell, to engrave 
the Shakspeare Gallery, for which he executed eight 
of the large plates. His plates are usually execu- 
ted in the dotted manner, but sometimes with a 
combination of the line and stipple, and possess 
great merit. 

RYLAND, William Wynne, an eminent Eng- 
lish engraver, born at London in 1732. He first 
studied with Ravenet, who was at that time estab- 
lished in England. On leaving that master, he 
went to Paris, and studied design under Francois 



EYNE. 



826 



KYSB. 



Boucher, and engraving with J. P. le Bas. On his 
return to his native citj he acquired distinction in 
his profession, and was appointed engraver to the 
King, with a pension of £200 per annum. He was 
the first who practised chalk engraving (lines com- 
posed of dots in imitation of drawings), in Eng- 
land. He executed a large number of prints of 
various subjects, after the old Italian and modern 
English masters, which are highly esteemed. He 
engraved a great many plates after the works of 
Angelica Kauffmann, which has been regretted, as 
there is little variety in them, and his time could 
have been better employed. He engraved fifty- 
seven plates for the work entitled " A Collection of 
Prints in imitation of Drawings," published by 
Charles Rogers, in 2 vols, folio. These, with few 
exceptions, are after the old Italian masters. He 
also executed some spirited etchings, sometimes 
finished with the graver, which Watelet says, one 
would suppose to be the work of a painter. He 
left many unfinished plates at his death. This 
eminent artist, having become involved in pecunia- 
ry difiiculties, committed forgery, and though there 
were many mitigating circumstances, he was con- 
demned and executed in 1783, as Dr. Dodd had 
been about six years before for a like ofience. The 
following are his principal plates : 

PORTRAITS. 

George Iir., King of Great Britain, &c. ; after Ram- 
say ; whole-length. Charlotte, Queen of Great Britain, 
&c. ; after Coates. John Stuart, Earl of Bute ; after 
Ramsay. 

SUBJECTS AFTER VARIOUS MASTERS. 

Antiochus and Stratonice ; after P. da Cortona. Ju- 
piter and Leda ; after F. Boucher. The Graces bathing ; 
do. Charity; after Vandyck. Four plates representing 
the^ Muses, Urania, Thalia, Erato, and Clio; after Cipri- 
ani. King John signing the Magna Charta ; after Mor- 
timer. 

SUBJECTS AFTER ANGELICA KAUFFMAN. 

Patience ; oval. Perseverance ; do. Maria, from 
Sterne's Sentimental Journey. Telemachus recognized at 
the court of Sparta. Achilles lamenting the Death of Pa- 
troclus. Penelope awakened by Euryclea. Eleonora suck- 
ing the Venom from the Wound of Edward. Lady Eliza- 
beth Grey imploring Edward IV. for her husband's lands. 
The Judgment of Paris. Venus on her Car. The Flight 
of Paris and Helen. Venus presenting Helen to Paris. 
Juno borrowing the Cestus of Venus. A Sacrifice to Pan. 
Cupid bound, with Nymphs breaking his Bow. Cupid 
asleep, with Nymphs awaking him. Cymon and Iphige- 
nia. The Interview between Edgar and Elfrida, after her 
marriage with Athelwold. This plate was left imperfect, 
and was finished by Mr. Sharp after his unfortunate death, 
for the benefit of his widow. Fourteen plates engraved for 
the edition of AValton's Angler, published by Sir John 
Hawkins in 1760. 

RYN, or RHYN, Rembrandt van. See Rem- 
brandt. 

RYNE, John jjan, a Dutch engraver, born in 
1712. Little is known of him ; he went to Lon- 
don about 1750, where he resided several years, 
and executed some plates of views in England and 
the East Indies. He died in 1760. 

RYSBRACK, G., a Dutch painter of flowers, 
dead game, and still life, who flourished about 
1650. Nothing is known of him, further than by 
his pictures, which are well executed and signed 
with his name and the date. 

RYSBRAECK, or RYSBREOHTS, Peter, a 
Flemish painter born at Antwerp in 1657. iHe 
studied under Frangois Mile^ whom he accompan- 



ied to Paris. Following the example of his in- 
structor, he studied the works of Niccolo Poussin, 
and made them his models, which is discernible 
in all his works. His pictures were so much ad- 
mired at Paris, that he was solicited to settle in 
that city; but though he met with the most flat- 
tering encouragement, he preferred to return to his 
native city, where, he exercised his talents with 
great reputation, and was made Director of the 
Academy there in 17L3. The landscapes of Rys- 
braeck, are distinguished by a grandeur of style, 
which, though founded on that of Poussin, poss- 
esses sutBcient originality to acquit him of the im- 
putation of plagiarism. His coloring is clear and 
harmonious, his touch broad and free, his figures 
well designed, and he possessed great facility of 
hand. There is, however, a want of variety and 
classic elegance, which, together with a certain 
monotony in his pictures, places them in a very 
inferior rank to those of Poussin. There are six 
etchings by this artist from his own designs ; they 
are marked P. Rysbraek pinx. fecit et excudit. 
He died in 1716. This artist must not be con- 
founded with another painter of the same name, 
who flourished at Brussels, and painted land- 
scapes, in a style entirely difierent, possessing lit- 
tle merit. 

RYSBRACK, Michael, an eminent Flemish 
sculptor, the son of Peter Rysbraeck the painter, 
was born at Antwerp, according to Rogers, in 
1693. He studied design under his father, and 
subsequently acquired a knowledge of sculpture 
under Michael vander Vorst, with .whom he re- 
mained about six years. In 1720, he visited Eng- 
land, and first distinguished himself by his small 
models in clay. At that time, no sculptor had ever 
been extensively emploj^ed in England, but the ad- 
mirable productions of Rj^sbrack soon roused the 
dormant taste for fine sculptures. The first pro- 
duction that brought him into general notice was 
his bust of the Earl of Nottingham. He was for 
some time engaged by Gibbs, who contracted with 
the original parties for monuments, greatl)^ to his 
own advantage, and undoubtedly for the artist. 
The latter, however, shook ofi" all connection with 
Gibbs. and obtained an extensive practice. He 
studied exclusively nature and the antique ; his 
figures are well disposed, and characterized by 
simplicity and grandeur. He wrought with the 
greatest energy and constancy, and executed a 
large number of works. For a period of nearly 
forty years, he was very extensively employed, 
and there was scarcely an important work of sculp- 
ture undertaken in England, that was not entrust- 
ed to his direction. 

The first great public work of Rysbraek, was 
the bronze equestrian statue of William III., erect- 
ed in Queen's Square at Bristol, in 1733. Schee- 
makers also competed for this statue, and produced 
so excellent a model that he was presented with 
£50 ; although it was rejected for the design of 
Rysbraek, who received, according to Walpole, 
£1800 for the work, though another authority 
says £3000. The monument to Sir Isaac Newton 
in Westminster Abbey, was executed by Rysbraek 
from a design of Kent. In 1735, he finished a co- 
lossal statue of George IL, for the parade of Green- 
wich Hospital. His most celebrated work, however, 
is the monument to John, Duke of Marlborough, 
and his Duchess, at Blenheim. Thej'- are repre- 
sented with their two sons, who died young, sup- 



KYSE. 



827 



SAAL. 



ported by History and Fame ; in the lower part is 
a bas-relief representing the surrender of Marshal 
Tallard. In Westminster Abbey there are also sev- 
eral other monuments by Rysbrack, among which 
are those of Admiral Vernon, and Richard Kane, 
governor of Minorca, in the north transept ; James, 
Earl Stanhope, in the north aisle ; Sir Godfrey 
Kneller, in the nave ; John Gay, Ben Jonson, and 
John Milton, in the south transept, or Poet's 
Corner. Rysbrack also executed a large number 
of statues of nobles and distinguished personages, 
among which are those of the Duke of Somerset, 
at Cambridge ; Sir Hans Sloane, in the Botani- 
cal Garden at Chelsea; Dr. Radcliffe at Oxford; 
Charles I., for George Selwyn. Among his prin- 
cipal busts, are those of Alex. Pope, the Duke and 
Duchess of Argyle, Cromwell, Milton, etc. Du- 
ring the latter years of his life, the practice of 
Rysbrack sensibly declined, in consequence of the 
rising fame of Scheemakers and Roubilliac. At 
the age of seventy, when he relinquished his pro- 
fession, he was by no means wealthy, notwith- 
standing his extensive practice ; and he disposed 
of his remaining works at a general sale, also his 
collection of prints, pictured, drawings, marbles, 
models, casts, &c., including a large number of his 
own drawings, which, according to AValpole, were 
designed in the true taste of the Italian masters. 
His chief amusement during the last three years 
of his life, was in making such drawings in bistre. 
Rysbrack died in 1770. 

RYSEN, Wernard, or Werner van, a Dutch 
painter, born at Bommel about 1600. He studied 
under Cornelius Poelemberg, and afterwards went 
to Ital}'-, where he resided some time. On his 
return to Holland, he painted landscapes with his- 
torical figures, in the style of his instructor, with 
considerable success. According to Descamps, he 
abandoned painting, and became a dealer in dia- 
monds and jewels, in which capacity he went to 
Spain. 

RYTHER, Augustine, an English engraver and 
printseller, who flourished at London in 1590. He 
engraved some plates of the Spanish invasion, a 
curious map of Yorkshire, with views of York 
and Hull in the corners, and a large plan or birds- 
eye view of London and Westminster, engraved on 
wood, about six feet long by four in height; do. 
of Cambridge, four feet by three ; do. of Oxford on 
metal, dated 1578. The plates representing the 
Spanish fleets, and some plans of fortifications and 
batteries on the river Thames for the protection of 
London, heretofore attributed to Robert Adams 
the architect, are clearly shown by Stanley to have 
been executed b}'- Ryther. 

RYX, or RYCKX, Nicolas, a Flemish painter, 
born at Bruges in 1637. It is not known under 
whom he studied, but after having learned the art, 
he embarked for the Mediterranean, and traveled 
through several eastern countries, sketching the 
manners, customs, and habiliments of Oriental peo- 
ple, especially their caravans, camels and modes of 
traveling. He spent some time in Palestine, and 
made designs of the most memorable places, espe- 
cially Jerusalem, and scenes in its vicinity. On his 
return to Bruges, he painted pictures of those sub- 
jects, much in the manner of Vander Kabel, which 
were much esteemed. He wrought with great fa- 
cihty, executed many works, and was received into 



the Academy at Bruges in 1667, where he died in 
1695. 



s. 



SAAL, T., a Dutch engraver, who flourished 
about 1672. He engraved a variety of vignettes 
and other book-plates, which are indifierently ex- 
ecuted with the graver. 

SABBATINI, Andrea, called also Andrea 
DA Salerno, an tniinent painter, born at Salerno, 
about 1480. According to Dominici, he was the 
son of an opulent merchant, who intended him for 
the same profession, but discovering in him a pas- 
sion for painting; he took hira to Naples and placed 
him under the instruction of Raimo Epifanio, a 
painter of little celebrity, with whom he continued 
some time. He was so much captivated with the 
Assumption of the Virgin by Pietro Perugino in 
the cathedral, which excited universal applause, 
that he solicited and received permission of his 
father to go to Perugia and study with that mas- 
ter. On his way, he met some artists, who recom- 
mended him to go to Rome, and place himself un- 
der RafFaelle, who had then begun to distinguish 
himself by his great works in the Vatican. He 
accordingly proceeded to Rome, entered the school 
of that illustrious painter, where he made such 
rapid progress, and showed so much ability, that 
he was entrusted by Raffiielle to execute from his 
designs some of the frescos in the Vatican, in S. 
Maria della Pace, and in La Torre di Borgia. Here 
too, he formed an intimate acquaintance with Po- 
lidoro da Caravaggio. While he was prosecuting 
his studies with eminent success, he was sum- 
moned to Salerno to attend the death-bed of his 
father, and he left Rome much sooner than he had 
intended ; yet he had so thoroughl}^ imbibed the 
principles of Raflfaelle, that he became a successful 
emulator of his style. He afterwards established 
himself at Naples, where he distinguished himself 
by many works both in oil and fresco, painted for the 
churches and public edifices ; also at Salerno, at 
Gaeta, and in other cities in the kingdom. He like- 
wise painted much for the collections. Lanzi says, 
"he was an accomplished copyist of his master's 
works, and a successful emulator of his stj-le. Com- 
pared with his fellow scholars, although he did not 
rival Giulio Romano, he yet surpassed Raffaellino 
del Colle and others of that class. He had correct- 
ness in his design, selection in his heads and atti- 
tudes, a depth of shade, and the muscles rather 
strongly developed ; a breadth in the folding of his 
drapery, and a coloring that still preserves its fresh- 
ness after the lapse of so many 5^ears." Most of his 
frescos have unfortunately perished, but there are 
many oil paintings by him which fully sustain his 
reputation : of these, the following are among the 
most esteemed, at Naples ; the Assumption of the 
Virgin in the Cathedral ; the Adoration of the 
Magi in S. Spirito; and the Madonna and Child, 
with St. Elizabeth and other saints, in S. Dom- 
enico Maggiore. His easel pictures of Madonnas, 
Magdalens, Holy Families, &c.. of enchanting beau- 
ty, are frequently to be met with in the collections 
at Naples. He died about 1545, aged 65 years. 
There is a slight disagreement among writers as 
to the exact time of his birth and death, but the 
above dates are given by Dominici, Lanzi, and Zani. 



SABB. 



828 



SABB. 



Others place his birth about 1485, and death in 
1550. 

SABBATINI, Lorenzo, called also Lorenzo 
DA Bologna, an eminent painter, born at Bolog- 
na, accordinp: to Malvasia, Lanzi, and others, about 
1540 ; but Ticozzi says he was born in 1530, and 
Zani that he operated as early as 1553. It is not 
known under whom he studied. There is also 
some discrepancy as to his style and merits. The 
following sketch by Lanzi is to the point: "Lo- 
renzo Sabbatini, called also Lorenzo da Bologna, 
was one of the most graceful and delicate painters 
of his age. I have heard hira enumerated among 
the pupils of RafFaello by keepers of galleries, 
deceived doubtless by his Holy Families, designed 
and composed in the best Roman taste, although 
invariably more feebly colored. I have also seen 
some of his Holy Virgins and Angels, painted for 
private ornament, which resemble Parmiggiano. 
Nor were his altar-pieces inferior, the most celebra- 
ted of which is that of St. Michael, engraved by 
Agostino Caracci, from an altar of S. Giacomo 
Maggiore, and which he held as an example of 
gracefulness and beauty to his whole school. He 
was moreover a fine fresco painter, correct in de- 
sign, copious in invention, a universal master in the 
subjects of the piece ; and what is still more re- 
markable, he was very rapid in point of execution. 
Endowed with such qualities, he was engaged by 
many noble houses in his native place. On pro- 
ceeding to Rome in the pontificate of Gregory 
XIII., according to Baglione, he met with so much 
success, that even his fleshes and naked figures were 
highly commended, though this was by no means 
a branch of his pursuits at Bologna. In the Ca- 
pella Paolina, he represented the histories of St. 
Paul ; in the Sala Regia, the picture of Faith, tri- 
umphing over Infidelity ; in the gallery and lodges 
of the Vatican, a variety of other pieces, always 
in competition with the best masters, and always 
with equal applause. Hence, in the immense list 
of artists, at that period congregated at Rome, he 
was selected by the Pope to preside over the works 
going on in the Vatican, in the enjoyment of 
which honorable post, he died at an early age in 
1577." His most esteemed works in thechurches at 
Bologna, are the Crucifixion in S. Maria delle 
Grazie ; the Assumption of the Virgin in la Morte ; 
St. Gioachino and St. Anna in S. Martino Mag- 
giore ; the Four Evangelists, the Four Doctors of 
the Church, and St. Michael vanquishing the 
Rebel Angels in S. Giacomo. Lanzi says he 
painted a Piet^ for the sacristy of the church of 
S. Pietro, from a design by Michael Angelo, a 
work attributed by some to that master. It is 
abundantly evident that he possessed great imita- 
tive, as well as original powers, and made the 
works of Michael Angelo, Raffaelle, and Parmig- 
giano his models. 

SABBxlTINI, Francesco, an eminent Sicilian 
architect, born at Palermo in 1722. After acqui- 
ring a liberal education, he studied architecture in 
his native cit)^ and then visited Rome for improve- 
ment. He subsequently visited Naples, where he 
married the daughter of Luigi Vanvitelli, and was 
employed by him as superintendent of the mag- 
nificent Palazzo Caserta. He was also honored 
by the King with a lieutenancy in the artillery, 
and commissioned to erect the Arsenal Ar- 
mory, and the Cavalry Barracks near the Ponte 



della Maddalena. When the King succeeded to 
the Spanish throne as Charles III., at the death 
of his brother Ferdinand, Sabbatini settled at Mad- 
rid, in 1759, under the Royal protection, and was 
very extensively encouraged. He was highly es- 
teemed for his correct taste, and great professional 
judgment and skill. He made some additions and 
alterations at the royal palaces at Madrid, Aran- 
juez, and at the Prado. Among his chief works 
in the capitol, are the Custom-House, the magni- 
ficent gates of the Alcala and of S. Vincente, and 
the roj^al porcelain manufactory at the Buon Re- 
tiro. He also designed the mausoleum of Ferdi- 
nand VI., in the church de las Salesas ; the chapel 
in honor of Palafox, in the cathedral of Osma ; the 
grand altar in the cathedral at Segovia ; besides 
making many designs for edifices erected in Span- 
ish America, among which were a number of 
churches, and the Arsenal at Caraccas. Sabbatini 
rose to considerable military ranks in the Spanish 
army, being appointed lieutenant-general in 1790, 
and inspector-general in 1792. He died at Madrid 
in 1798. 

SABBIONETA, II. See Pesenti. 

SABINESE, II. See Generoli. 

SABLON, Pierre, a French designer and en- 
graver, born at Chartres, in the department 
d'Eure et Loire, in 1584. There are only three 
known prints by him, viz., Lamech and Cain, after 
Lucas van Leyden ; the Good Samaritan, and a 
medallion portrait of Rabelais. 

SACCHETTI, Gio. Battista, an Italian ar- 
chitect, was born at Turin in the early part of the 
18th century, and a disciple of Ivara. The latter 
was employed by King Philip V. of Spain to re- 
build the royal palace at Madrid which had been 
destroyed by fire in 1734, but was prevented by 
death from completing it, and therefore recom- 
mended Sacchetti as his successor. Accordingly, 
the King invited him to Madrid in 1736. The 
original design of Ivara was upon a most extraor- 
dinary scale, the plan being 1700 feet square; but 
as the King insisted that the new palace should be 
precisely as large as the old one, Sacchetti made a 
new design of 470 feet square, which pleased the 
monarch. The height of the entablature is 100 
feet, although in some parts, owing to the inequal- 
ities of the ground, it is 150 feet. There are four 
projections at the four angles, and another in the 
centre of the northern fa9ade. which contains the 
chapel. The gi'ound story is a rustic basement, 
on which rises a species of order resembling the 
Ionic, containing three stories ; this order consists 
of half columns, and pilasters on pedestals. In 
the whole edifice there are no less than nine dif- 
ferent floors, which render it too much cut up or 
crowded, and give it an appearance of littleness, 
greatly impairing its grandeur. The whole is of 
granite, except the window ornaments, which are 
of white Colmenar stone. This great work occu- 
pied the attention of Sacchetti so entirely, as to 
leave him little leisure for any other works of im- 
portance, except completing the fa9ade of the pal- 
ace of St. Ildefonso from the design of Ivara. He 
was appointed director of the public architectural 
school at Madrid ; and in 1752, at the establish- 
ment of the Academy of S. Ferdinando, he was 
appointed honorary director of that institution, 
being unable, on account of his various avocations 
to discharge the duties of an acting director. In 



SACO. 829 

1760, on account of ill health, he was obliged to 
relinquish the practice of his profession. He died 
in 1764. 

SACCHI, Andrea, an eminent painter, born at 
Rome, according to Passeri in 1600, and died in 
1661.; Pascoli copied the inscription on his tomb 
in full, by which it appears he died 21st June, 
1661, aged 62; Lanzi says "his epitaph in the 
Stato della Ch. Lateran, gives his age 63 j^ears, 4 
months. Others place his birth in 1594 and 1599, 
but all agree that he died in 1661. He was the 
son of Benedetto Sacchi, a painter of little note, 
who instructed him in the rudiments of design. 
He afterwards studied under Francesco Albano, 
and was his most distinguished disciple. On leav- 
ing the school of Albano, he improved himself by 
studying the works of Raflfaelle, Polidoro da Cara- 
vaggio, and the antique marbles. Lanzi says he 
was profoundly skilled in the theory of art, and 
after its chief, the best colorist of the* Roman 
school. He was slow in his execution, as it was a 
maxim with him that " the merit of a painter does 
not consist in giving to the world a large number of 
works of mediocrity, but a few perfect ones" ; hence 
his pictures are rare. " His compositions," says 
Lanzi, '' do not abound with figures, but every fig- 
ure appears appropriate to its place, and the atti- 
tudes seem not so much chosen by the artist as 
regulated by the subject itself Though he did 
not shun the graceful, he seems to have been born 
for the grand style — grave miens, majestic atti- 
tudes, draperies with broad and simple folds, a so- 
ber coloring, and a general tone which gave all his 
objects a pleasing harmony and a grateful repose 
to the eye. He seems to have disdained minute- 
ness, and after the example of the ancient sculp- 
tors, to have left some parts unfinished ; so at 
least his admirers assert." Mengs, however, is of 
a different opinion, and ranks Sacchi nearly on a 
level with Pietro da Cortona ; but this is contrary 
to the opinion of several excellent authors, and 
certainly, when judged by the strict rules of art, 
there can be no just comparison between them. 
The characteristics of Cortona are copiousness, 
magnificence, and brilliant coloring, to charm the 
eye, and he was often negligent of design ; of Sac- 
chi, simplicity, majesty, sober coloring, and cor- 
rectness of design, which mainly constitute great- 
ness in art. There was a strong competition be- 
tween these eminent artists, both men of genius, 
equally ambitious of immortalizing themselves by 
their works. Sacchi formed for himself a manner 
which had no resemblance to that of any other 
master, and always adhered to it. He distin- 
guished himself so much by his fresco paintings, 
that he was accounted to have no superior at that 
time. He was favored with the protection of the- 
Cardinal Barberini, whose palace he decorated 
with several allegorical works in fresco, which 
were gr|atly admired. Several of the churches and 
public edifices of Rome are embellished with his oil 
paintings, some of which are ranked among the most 
admired productions of the Roman school. Such 
are his celebrated picture of the Death of St. Anna, 
in S. Carlo ; the Angel appearing to St. Joseph in 
a Dream, the principal altar-piece in S. Giuseppe ; 
St. Andrew, in the Quirinal ; St. Augustine, in St. 
Peter's ; and his famous St. Romualdo, in the 
church of that Saint, which is considered his mas- 
terpiece, and is ranked as one of the four great 



SACC. 

paintings at Rome. This picture was removed 
from its place by the French, to decorate the 
Louvre, but was restored by the allies in 1815. 
It represents the venerable St. Romualdo seated in a 
solitary valley in the Appenmes, surrounded by 
the monks of his order, expounding to them 
his reasons for retiring from the world. The 
subject was a very diflScult one to treat (the dress 
of the order being white), as the great quantity of 
white drapery tended to produce a sameness of 
color. The means which he adopted on this occa- 
sion to obviate the difficulty have always been ad- 
mired. He placed a large tree near the foreground, 
the shade of which serves to break the uniformity, 
and produce a pleasing variety in the colors, which 
otherwise would have been monotonous. Every- 
thing in the picture seems to breathe tranquillity 
and repose, the expression in the heads is admira- 
ble, and, taken altogether, this picture is the won- 
der and admiration of artists. There are also 
some beautiful altar-pieces by him at Perugia, Fo- 
ligno, Camerino, and other places, which Lanzi 
says are the pride of those cities. He was a per- 
fect master of perspective, and executed some fine 
compositions, with a multitude of figures and ad- 
mirable architecture (perhaps to show that his 
usual manner was one of choice), which procured 
him as much applause as his other performances. 
One of these represented the military sports of the 
Roman youth on horseback, which was publicly 
exhibited by order of the pope. He had a great 
many scholars, and always enjoyed the reputation 
of a learned, able, and amiable instructor. He had 
a son named Giuseppe whom he instructed in the 
art, but he became a conventual monk. There is 
one of his pictures in the Sacristy of the Apostles 
at Rome. 

SACCHI, Antonio, a painter of Como, who, 
according to Orlandi, studied at Rome, and pos- 
sessed good abilities. On his return to Lombardy, 
he undertook to paint the cupola of a church in 
his native city, but fixing on too high a point of 
perspective, he made his figures appear so gigantic 
that the ridicule and mortification he experienced 
threw him into a fever, of which he died in 1694. 

SACCHI, Carlo, a painter born at Pavia in 
1617. According to Orlandi, he studied with II 
Rosso of Pavia, but Lanzi thinks rather with Carlo 
Antonio Rossi, a Milanese painter, who wrought 
in the Cathedral at Pavia about that time. He af- 
terwards went to Rome, where he studied some 
time, and thence proceeded to Venice, where the 
works of Paul Veronese were the particular ob- 
jects of his admiration and imitation, in which he 
was successful. There is a fine picture by him at 
the church of the Osservanti at Pavia, represent- 
ing the Miracle of the Dead resuscitated by St. 
Jacopo, in which Lanzi says he succeeded admira- 
bly in imitating the manner of Veronese, showing 
himself an excellent colorist, splendid in ornament, 
and spirited in his attitudes, though somewhat ex- 
travagant. He painted mostly easel pictures for 
individuals, and Lanzi mentions an exquisite pic- 
ture of Adam and Eve, he saw in the possession 
of the Cav. Brambilla at Pavia. which he says is 
entitled to a place in that fine collection. He exe- 
cuted a few etchings, among which are the Adora- 
tion of the Shepherds, after Tintoretto ; and the 
Adoration of the Magi, after Veronese. He died 
at Pavia in 1706, at the great age of 89 years. 



SACO. 



830 



SADE. 



SACCHT, Gaspare, a painter born at Tmola, 
who flourished in the first part of the 16th centu- 
ry. There is an altar-piece by him in the sacristy 
of Castel S. Pietro, in his native city, dated 1517, 
and another in S. Francesco in Tavola, at Bologna, 
datedl521. According to Orlandi, he executed many 
works for the churches and convents at Ravenna, 
and other places in the Romagna. 

SACOHT, M., a Piedmontese painter, and a na- 
tive of Casale, commended by Delia Valle as one 
of the ablest scholars of Guglielmo Caccia, called 
II Moncalvo, whose style he followed. There are 
two of his works in the churches of his native 
city, which, according to Lanzi, show a more ener- 
getic pencil, and perhaps a more learned design 
than his master possessed. He flourished about 
1625. 

SACCHT, Pietro Fkancesco, called II Pa- 
VESE, and by Lomazzo Pierfrancesco Pavese, 
a painter born at Pavia, of whom there are noti- 
ces at Milan about 1460, and at Genoa from 1512 
to 1526. Lanzi says the style of Sacchi resembles 
that of Carlo del Mantegna. He was a good per- 
spective painter, delightful in landscape, and a dili- 
gent and correct designer in history. There is an 
altar-pieceby him of theFour Doctors of the Church 
in the Oratory of St. Ugo at Genoa. Lanzi thinks 
there is some error in the dates given, or that 
there were two artists of this name. 

SACCHI, a family of Mosaic painters, who 
were emplo3^ed in the monastery of the Carthu- 
sians at Pavia for many years previous to 1783. 
Lanzi says "they filled the great church of that 
convent with beautiful mosaic works." 

SACCHTATI, Pietro, an engraver on wood, 
born at Ravenna about 1598. According to Basan, 
he executed some wood-cuts, part of them printed 
in chiaro-scuro, after various masters, but he does 
not specify them, nor is he mentioned by any oth- 
er writer, 

SACCO, SciPiONE, a painter born at Cesena, 
who, according to Francesco Scannelli, was a pupil 
of Raffaelle, though this rests on tradition. There 
is a picture of St. Gregory, painted in a grand 
style by him, in the Cathedral of Cesena, inscribed 
CcBsenas 1545, and another of the Death of St. 
Peter the Martyr, in the church of S. Doraenico. 
Lanzi says he was doubtless of the school of Raf- 
faelle. but not remembered out of Romagna. 

SACHTLEVEN, or Z ACHTLEVEN. See Saft- 

LEVEN. 

SADELER, John, an eminent Flemish en- 
graver, born at Brussels in 1550. His father 
was an ornamental engraver on steel and iron, 
to be inlaid with gold and silver, and brought up 
his son to the same business. At an early period 
he applied himself to the study of design, and he 
drew the human figure correctly, but with the 
stiffness and formality of his time and country. 
At the age of twenty he began to engrave on cop- 
per, and executed some plates after the designs of 
Crispin vander Broeck, which met with so much 
success, that he devoted himself entirely to engrav- 
ing. He traveled through Germany and Italy, and 
finally settled at Venice, where he divested him- 
self in a great measure of the dry, hard manner 
discernible in his earliest works. His plates are 
executed entirely with the graver, in a neat, clear, 



and masterly style; his drawing is generally cor- 
rect, and he gave a fine expression to his heads. 
His works are numerous and highly esteemed. 
His death is variously placed in 1600 and 1610, 
but the latest date found on his prints is one exe- 
cuted at Venice in 1600. His prints are some- 
times marked with his name, and sometimes with 
the above monogram. The following are his most 
esteemed prints. For a full list the reader is re- 
ferred to Nagler's Lexicon. 

portraits. 

Clement VIII., Ponf. Maar. Mary of Medicis. Cliarles, 
Hereditary Prince of Sweden. Otho, Henry, Count of 
Schwarzenberg. Sigismund Feyerabend, famous Printer. 
1587. George Hoefnagel, Painter of Antwerp ; (piece pre- 
cieuse. Joubert.) Martin Luther ; in an arabesque bor- 
der. 

SETS OF PRINTS. 

Eight plates of the Creation of the World ; after Cris- 
pin vanden Broeck. Six of the History of Adam and 
Eve ; after Mickael Co.vis. Sixteen subjects from the 
Book of Genesis ; after M. de Vos. A numerous set of 
plates of the Life of Christ; do. Seven plates of the Pas- 
sion of our Saviour ; after Christopher Schitarz. A 
very numerous set, called the Hermits ; engraved in con- 
junction with his brothers; do. The Twelve Months of the 
Year; after P. Stephens, or Stephani. The Four Sea- 
sons ; after Hans Bol. The Four Times of the Day ; af- 
ter Theodore Bernard. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Rich Man and Lazarus; after Bassano. Christ 
entertained by Martha and Mary ; do. These two prints, 
Avith a third, representing Christ with the two Disciples at 
Emmaus, engraved by Raphael Sadeler, after the same 
painter, are usually called Sadeler^s Kitchens. The An- 
gel appearing to the Shepherds ; do. The Nativity ; af- 
ter PoUdoro da Caravaggio. The Virgin, with the In- 
fant sleeping, and an Angel ; after Ann. Caracci. St. 
Jerome praying ; after Giles Mostaert. Mary Magda- 
lene in meditation ; do. St. Roch, with two Pilgrims : do, 
.Jesus calling to him the little Children ; after Jodocus de 
Winghe. The Prodigal Son ; do. The Annunciation ; 
after Peter de Witt, called Pietro Candida. Christ at 
table with the Disciples at Emmaus; do. The three Ma- 
rys at the Sepulchre ; do. The Last Supper ; do. The 
Martyrdom of St. Ursula and her Companions ; do. The 
Nativity; after J. van Achen. The Holy Family, with 
Mary Magdalene ; do. The Crucifixion ; do. The Last 
Judgment; do. Mary Magdalene penitent ; after Fede- 
rigo Sustris. Christ appearing to Magdalene ; cZo. Man- 
kind surprised by the sudden advent of the Deluge ; after 
Theodore Bernard. Mankind surprised by the coming 
of the Last Day ; do. The Trinity ; after Antonio Ma- 
ria Viani. Several Landscapes ; after Paul Brill and 
others. 

SADELER. Raphael, was the younger brother 
of the preceding, born at Brussels in 1555, and 
brought up to the same business under his father. 
The success John S. met with as an engraver, in- 
duced Raphael to turn his thoughts to the same 
pursuit, and he became his disciple, traveled with 
him, and settled with him at Venice, where he died 
in 1616. His prints are nearly as numerous as 
those of his brother, equally esteemed, and like 
them, the}^ are executed entirely with ihe graver, 
which he handled with boldness ana precision. 
His drawing is generally correct, his extremities 
carefully marked, and the expression of his heads 
excellent. The following are his principal plates : 

PORTRAITS. 

Paul v., Pont. Max. St. Charles Borromeus, Cardinal. 
Ernest, Archbishop of Cologne. Leopold of Austria. Bish- 
op of Salzburg and Passau. Ferdinand, Archduke of Aus- 
tria. Charles Emanuel, Duke of Savoy, on horseback. 
John Dietmar, Abbot of Furstenberg. Hypolitus Guari- 
nonius, M. D. 



SADE. 



831 



SADE. 



SUBJECTS AFTER VAHIOUS MASTERS. 

A set of four plates of the Life of the Virgin ; from his 
oipn designs. Twenty-eight plates of the Life and Pas- 
sion of Christ ; do. Mary Magdalene at the Sepulchre, 
with St. Peter and St. John ; after J. de Winghe. Lot 
and his Daughters ; do. The Holy Family, with St. Elis- 
abeth and St. John ; after John van Achen. The En- 
tombing of Christ ; do. The dead Christ in the Sepulchre, 
with Angels; do. Mary Magdalene penitent; do — 
The Judgment of Paris ; do The Virgin and infant 
Christ; after Peter de Witt, caWed P. Candida. 1593. 
The Immaculate Conception ; do. The Presentation in 
the Temple; do. 1591. The Resurrection of Lazarus; 
after Rot ten ham er. The Marriage of St. Catherine ; af- 
ter Henry Gultzius. The dead Christ, attended by the 
Marys, St. John, and Angels ; after J. Sfradan. An em- 
blematical subject on the uncertainty of life, represented 
by Death seizing a Lady at a Feast ; do. The Crucifix- 
ion ; after Palma. The Virgin suckling the infant Christ; 
after Ann. Caracci. The Holy Family, with St. John 
presenting a Cross ; after Raffaelle, without the name of 
the painter or his own ; inscribed Qui non accipit, (^c. 
The Annunciation ; u,fter Pederigo Zuccaro. The Ado- 
ration of the Magi ; after Bassano- 1598. Christ at ta- 
ble with the Disciples at Emmaus ; do. ; called one of Sad- 
eler's Kitchens. The Four Seasons ; after J. Stradan. 
A set of six Landscapes ; after P. Stevens or Stephani. 
Two Landscapes, with figures ; after Matt. Brill. Four 
Landscapes, with the History of the Prodigal Son ; after 
Paul Brill. A numerous set of prints, entitled Bavaria 
Sancta, engraved conjointly with his son Raphael, and 
published by him at Antwerp in 1624 and 1628. Several 
emblematical and allegorical subjects ; after Martin de 
Vos. The great Battle of Prague, in eight sheets ; very 
scarce. 

SADELER, Egidius or Giles. This eminent 
engraver was the nephew and disciple of the two 
preceding artists, though Zani thinks that he was 
their brother, born at Antwerp in 1570. He ex- 
celled his instructors in design, taste, and com- 
mand of the graver. He passed some time in Ita- 
ly, and engraved several plates after the Italian 
masters. He u-as afterwards invited to Prague 
by the Emperor Rodolphus II., who retained him 
in his service, and assigned him a pension, which 
he enjoyed till his death, in 1629. He handled the 
graver with commanding facilit}'-, sometimes finish- 
ing his plates very highly when the subject re- 
quired it ; at other times his burin is bold and 
free. His plates are very numerous, many of 
them from his own designs, and are highly es- 
teemed, particularly his portraits, which are exe- 
cuted in an admirable style, full of expression. 
The following are his best prints : 

PORTRAITS 

The Emperor Rodolphus II. on horseback, with a Bat- 
tle in the back-ground ; after Ad de Vries. The Empe- 
ror Matthias. 1616 The Empress Anno, his consort. 1616. 
The Emperor Ferdinand II. on horseback ; in two sheets. 
1629. Burckbard de Berlihing, Privy Counsellor to Ro- 
dolphus II. Christopher Guarinonius Fontanus, Physi- 
cian to the same, .lohn George Goedelman. Jurisconsult. 
Joachim Iluber^ Aulic Counsellor. Jacob Chimarrhaeus, 
Grand Almoner. Cardinal de Dietrichstein. Bishop of 01- 
mutz. 1604. .John Matthew Warenfels, Aulic Counsellor. 
1614. Aaron. Baron de Trautmansdorf. Siegfried de Ko- 
lonitsch. Ferdinand de Kolonitsch. Torquato Tasso, Po- 
etarum Princeps. 1617. Octavius Strada, Antiquary. 
Peter Breughel. Painter, of Brussels. 1606. Martin de 
Vos, Painter, of Antwerp. Sigismond Bathori, Prince of 
Transilvania. 

SUBJECTS FROM HIS OWN DESIGNS. 

A set of tAvelve plates representing Angels with the In- 
struments of the Passion. A set of fifty-two Views near 
Rome, entitled Vestigi delle Antichitd di Roma. The 
Burning of Troy, an etching ; uEg. Sadeler, fecit, aqua 
forti. Charity, represented by a female figure with three 
children. Narcissus admiring himself in a Fountain. Pan 



and Syrinx. St. Sebastian dying, with an Angel drawing 
out the Arrows from his side. St. Dominick receiving the 
Institution of his Order from St. Peter and St. Paul. The 
Scourging of Christ. The Crucifixion. The great Saloon 
at Prague ; in two sheets. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Virgin and Infant ; after Raffaelle. The Angel 
appearing to the Shepherds ; after Bassano. The Murder 
of the Innocents ; after Tintoretto. The Last Supper; 
do. St. Peter called to the Apostleship ; offer F. Baroc- 
cio.^ The Entombing of Christ ; a'o. The Scourging of 
Christ; after Giuseppe Cesare d'Arpino. The Martyr- 
dom of St. Sebastian; after the younger Palmn. The 
Rich Man and Lazrrus ;' do. Angelica and Medora ; af- 
ter Carlo Cagliari. Hercules and Omphale ; after B. 
Spranger. The Marys at the Tomb of Christ ; do. The 
Annunciation; after Peter de Witt, called Candida. 
The Virgin and infant Jesus ; copied/row Albert Durevo 
Christ bearing his Cross ; do. Judith with the Head of 
Holofernes ; after John van Achen. The Nativity ; do. 
The Virgin and infant Christ, with St. John ; do. Several 
sets of Landscapes ; after Breughel, Paul Brill Roelant 
Savery, P. Stevens, i^c. 

SADELER, Marcus, is supposed to have been 
a son of John Sadeler, and born at Munich, but 
there is great uncertainty respecting his paternity 
and whether he was an engraver at all. This much 
is certain, that he resided a long time at Venice, 
where he carried on the business of a print-seller, 
and it is probable that he inherited the plates of 
John, Raphael, and Giles S., as many of them 
were subsequently published by him : none of the 
first impressions bear his name. Heller ascribes 
to him a set of fifteen plates copied from Albert 
Durer's series of Christ's passion ; but there is no 
certainty about this, as the prints are without any 
signature or date, and no other author mentions 
any prints by him. The prints referred to are ea- 
sily distinguished from the originals by their being 
reversed. 

SADELER, Raphael, the Younger, was the 
son and pupil of the elder Raphael S. Little is 
known of him, and neither the time of his birth 
or death are recorded. He accompanied his father 
to Munich, and assisted him in many of his works, 
particularly in the illustrations for Rader's " Bava- 
ria Sancta et Pia." He also engraved some plates 
by himself, which are tastefully executed. His 
works are so blended with those of his father that 
it is diflScult to distinguish them, but the following 
are particularized : 

The Annunciation ; after C Schicarz. The Virgin and 
St. Anne caressing the infant .lesus ; do. The Holy Fam- 
ily, with his name and date 1613. Venus endeavoring to 
dissuade Adonis from the Chase ; after Titian. Forest 
Scenery ; after Breughel. 

SADELER, Tobias, is supposed to have been a 
son of Giles S. He flourished at Vienna about 
1675. The following prints are by him. There 
were several other engravers and publishers of the 
name of Sadeler, of whom little is known ; pro- 
bably they were the descendants of those already 
mentioned. 

Johann Christian Schulz, ambassador of Wurtemherg, 
dated 1675. Three pictures of the Virgin in the church 
of St. Francis at Bechin in Bohemia. The picture of the 
Virgin in the Dominican church at Budweis in Bohemia. 
The dancing Peasant and the young Bride ; after S. Be- 
ham' s draioing ; signed Tobias Sadeler so. 1670. This 
is described as a finely engraved and brilliant piece. The 
Vignettes to the first part of Priorata's History of Frede- 
rick III. 



SAEN. 



832 



SAFT. 






K 



SAENREDAM, John, a Dutch 
^ner and engraver, born, accord- 
the best authorities, at Leyden 
in 1565, and died in 1607. According to Huber, 
he studied first under Henry Goltzius, and after- 
wards with James de Gheyn. He engraved a 
great number of plates, many of them from his 
own designs, executed entirely with the graver, in 
a clear, neat style, and, though his drawing is not 
very correct, he handled the burin in a very mas- 
terly manner. The plates from his own composi- 
tions prove him to have been an able and tasteful 
designer. Bartsch gives a catalogue of one hun- 
dred and twenty-three prints by him, of which the 
following are the most esteemed : 

PORTRAITS. 

Carl van Mander ; after- Goltzius. P. H. Hornanus, 
Poet and Physician ; after Van Mander. .John Cesaree, 
Philosopher. John de la Chambre, Writing Master. 

SUBJECTS FROM HIS OWN DESIGNS. 

Susanna and the Elders. Hercules between Minerva 
and Venus. Lycurgus giving Laws to the Lacedemonians. 
The Wise and Foolish Virgins, in five plates. 1606. An 
allegorical subject, relative to the government of the Low 
Countries by the Infanta Isabella. The portrait of that 
Princess is seen under a tree on the right of the print. 1602. 
The Prosperity of the United Provinces under the House 
of Orange ; an emblematical subject. 1600, A represen- 
tation of a large Whale which was thrown on the Coast of 
Holland. 1602. 

SUBJECTS AFTER VARIOUS MASTERS. 

Adam and Eve in Paradise ; after H. Goltzius. Lot 
and his Daughters; do. Judith with the Head of Holo- 
femes : do. Susanna and the Elders ; do. Ceres, Venus, 
and Bacchus united ; do. The Seven Planets, the Four 
Seasons, the Five Senses, the Four Ages, the Three Mar- 
riages at different times of life ; do. The Bath of Diana ; 
do. A set of six plates of the History of Adam and Eve ; 
after Ab. Bloemaert. Four plates of the History of Eli- 
jah and Blisha; do. Elijah and the Widow of Sarepta ; 
do. 1604. The Angel appearing to the Shepherds ; do. 
1599. The Prodigal Son ; do. 1618. Vertumnus and 
Pomona; do. 160-5. Mars and Venus ; after P. Isaacx. 
Judith with the Head of Holofernes ; after Lucas van 
Leyden. David carrying in Triumph the Head of Goli- 
ah ; do. The Nativity ; after C van Mander. Paul 
and Barnabas; do. Adam and Eve in Paradise; after 
Corn, van Haerlem. St. John preaching in the Wilder- 
ness ; do. Angelica and Medora ; do. Vertumnus and 
Pomona ; do. The Grot of Plato ; inscribed Lux venit 
in mundum, &c. ; do. The Death of Epaminondas ; af- 
ter Polidoro da Caravaggio. Camillus breaking the 
Treaty of Peace between the Romans and the Gauls ; do. 
The History of Niobe and her Children ; in eight sheets, 
forming a frieze ; do. 1594. The Entombing of Christ ; 
after M. Angelo Caravaggio. The Repast of our Sav- 
iour with Levi ; after P. Veronese. 

SAENREDAM, Peter, a Dutch painter, was 
the son of the preceding, born at Assendelft about 
1597. He studied under Francis Peter de Greb- 
ber, but he did not follow the style of that master. 
He painted architectural pieces, particularly the in- 
teriors of churches, in a very neat and correct man- 
ner, which were highly esteemed in his own time, and 
are now extremely rare. He painted a View of 
the Town House of Haerlem, enlivened by a mul- 
titude of figures, representing the solemn entry 
of Prince Maurice ; and in the Museum at Am- 
sterdam, is another fine picture by him, represent- 
ing the interior of the great church at Haerlem. 
There are few particulars recorded of him. He 
died in 1666. His name is sometimes erroneously 
written Zaenredam or Zaanredam. He signed 
his pictures P. Saenredam. 

SAFTLEVEN, Cornelius, a Dutch painter, 



born at Rotterdam in 1606, His name is various- 
ly written Saftleven, Sachtleven, Zachtleven, and 
Zaftleven ; the first is correct. It is not known 
under whom he studied, but he settled at Ant- 
werp, where hef acquired considerable reputation. 
Be painted drolls and drunken frolics, in which 
he imitated the style of Adrian Brower ; interiors 
of farm-houses and kitchens, village sports and 
festivals, in which he emulated David Teniers. 
Some of his best pictures represent corps de gardes, 
soldiers playing at cards or amusing themselves, 
embellished with armor, helmets, and other war- 
like implements in the foregrounds. These are 
well designed and drawn, and executed with great 
spirit. Though his coloring is less clear and har- 
monious, and his pencil less delicate and spirited 
than in the productions of the two eminent artists 
whose styles he followed, his pictures are esteemed, 
and thought worthy of a place in the best collec- 
tions. He executed a few spirited etchings from 
his own designs, among which are a set of five 
grotesque subjects, representing the Five Senses ; 
twelve small plates of Dogs, Cats, Fowls, &c. ; and 
a Landscape, with Goats and a Goatherd, etched 
in a bold and masterly style. He died in 1673, 
though writers differ as to the exact time of his 
birth and death. He marked his prints with one 
of the following monograms : 



ibSt 



or 






or 



€£. 



(in SAFTLEVEN, Hermann, 

JaOC.vr^*^,,^^« the younger brother of 
^ ^^ the precedmg, born at Kotter- 

dam in 1609. He studied under John van Goyen, 
but he did not follow the style of that master. 
He diligently studied nature, and applied himself 
to designing the most picturesque views on the 
borders of the Rhine and the Meuse ; the wind- 
ings of the rivers, the antique edifices, the woods, 
the waterfalls, broken grounds, and everything 
affording picturesque and agreeable materials for 
embellishing his landscapes, which he painted in a 
very neat and highly finished style. He deco- 
rated his pictures with numerous figures and 
boats, which are correctly drawn and touched 
with great neatness and spirit. His coloring is 
clear and transparent, his skies light and floating, 
and his distances recede with a pleasing and natu- 
ral degradation. His works are highly esteemed, 
and are found in the choicest collections. His 
drawings also enrich the portfolios of connoisseurs. 
He executed a considerable number of spirited and 
masterly etchings from his own designs, of which 
Bartsch describes thirty-six, and several more are 
mentioned by other authors. He resided the 
greater part of his life at Utrecht, where he died 
in 1685. 

SAGRESTANI, Giovanni Camillo, a Floren- 
tine painter and poet, born in 1660. Lanzi says 
he studied under Antonio Giusti, and that he was 
esteemed at Florence, even in the life time of 
Gabbiani and Gherardini. To profit by the in- 
struction of the best masters, he visited different 
schools, and for some time attended that of Carlo 
Cignani, whose manner he adopted. There are 
some of his works in the churches and public edi- 
fices of his native city, having much of the ideal in 
the heads, and a more florid coloring than was 
usual with his cotemporaries of the Florentine 



SAHL. 



833 



SAIT. 



school. Such is one of his Holy Families in the 
Madonna de' Ricci. He died in 1731. 

SAHLER, Otho Christian, an obscure Ger- 
man goldsmith and engraver, who flourished in 
the 18th century. He executed some prints in 
imitation of drawings. There was a C. Sahler, who 
engraved some portraits. 

SAILLIAR, Louis, a French engraver, who 
flourished about the middle of the 18th century. 
He engraved a few plates, mostly portraits, after 
various masters. He went to England, where he 
was employed by the Messrs. Boydell. 

SAILMAKER, Isaac, an English painter of 
marine subjects, born in 1633, and died in 1721. 
All that is known of him is that he was employed 
by Cromwell to paint a view of the fleet before 
Mardyke. It is also said that he painted a picture 
of the combined fleet, under the command of Sir 
George Rooke engaging the French, commanded 
by the Count de Toulouse, which was engraved 
in 1714. 

SAINT ANDRJE. See Renard. 
SAINT AUBIN. See Aubin. 
SAINT NON. See Non. 
SAINT MAURICE, P. de, a French amateur 
engraver, who is said to have etched a few prints, 
among which is one of an old man playing on the 
flute, surrounded by five children. He was an 
oflBcer in the French Guard. 

SAINT OURS, a distinguished Swiss painter, 
born at Geneva, according to the Biographie Uni- 
verselle, in 1762. After acquiring the elements 
of the art from his father, who was an excellent 
designer, he visited Paris at the age of sixteen, 
and entered the school of Vien. His progress 
was rapid ; in the following year he drew a medal 
at the exhibition of the French Academy ; and 
in one year afterwards he gained the grand prize 
for his picture of the Rape of the Sabines. Vis- 
iting Rome with the royal pension, he diligently 
studied the great works of art, and produced sev- 
eral esteemed pictures, among which was a con- 
test of wrestlers, at the Olympic Games. He set- 
tled at Geneva in 1792, and executed many esti- 
mable historical subjects, as well as portraits. 
He also painted the representation of an earth- 
quake, distinguished for fine conception and great 
vigor of penciling. Saint Ours died at Geneva in 
1809. 

SAITER, or SEITER, Cav. Daniello, a Ger- 
man painter, born at Vienna in 1649. He went 
early to Italy, where he seems to have spent the 
rest of his life. He first stopped at Venice, where 
he resided twelve years, and studied under Carlo 
Loth. From Venice he proceeded to Rome, where 
he executed several works for the churches, which 
Pascoli says are incorrect in design, though finely 
colored. He was next invited to Turin, where he 
was employed by the court for several years, and 
distinguished himself so much that he received 
the honor of knighthood. He painted both in oil 
and fresco. Lanzi says his cupola in the great 
Hospital is one of the finest frescos in that capital. 
He executed many works for the churches at Turin 
and in various places in the state, and decorated 
the palaces and villas of the nobility, Lanzi says 
he formed a style of his own, by studying in all 
the schools of Italy, and that in his works at Turin 
we do not find that incorrectness of design attrib- 



uted to him by Pascoli. " His works in oil are 
found in the palaces and in the villas, and he has 
no occasion to fear the proximity of Giovanni Miel 
himself. He yields to the latter indeed, in grace 
and beauty, but is superior to him and others in 
the force and magic of his coloring. His oil pic- 
tures are by far the most highly finished of his 
works, as is seen in a Pieta in the royal collection, 
which we should say was designed in the Academy 
of the Caracci." His best works at Rome are St. 
John preaching in the Wilderness in the church 
of S. Maria in Vallicella, and a fine picture of the 
Death of Lucretia in the Spada Palace. He also 
painted at Venice, bu+ his best works are at Turin. 
He died in 1705. Some writers call his name Seu- 
ter, place his birth in 1642, and say that he painted 
portraits and engraved ; but it is evident that they 
refer to another artist. 

SAITER, SEITER, or SEUTER, John Got- 
FRiED, a German designer and engraver, born at 
Augsburg in 1718. He was instructed in design 
by J. E. Ridinger, and in engraving by G. M. Preiss- 
ler. He afterwards went to Italy, and was em- 
ployed at Florence in engraving a part of the plates 
from the pictures in the collection of the Marchese 
Gerini ; in the Florentine gallery, and that of Sans 
Souci. He also copied some mythological prints 
from Agostino Caracci. published at Venice, which 
he signed G. G. Saiter ; this has led to some con- 
fusion (see table of christian names.) He simply 
rendered his name into Italian. He afterwards re- 
turned to his own country, and died in the hospital 
at Augsburg in 1800. Nagler gives a list of fifty- 
three prints by him. His name is variously writ- 
ten by authors, as above. 

SALA, Vitale, an Italian painter, was born at 
Cernusco, near Cano, in 1803. At the age of four- 
teen he visited Milan, and studied under the Pro- 
fessor Mazzola, who lost his right hand at the age 
of fifty, and afterwards painted with his left. In 
1822 and 1823, Sal a drew the grand golden medal 
at the exhibition of the Academy. Among his 
principal works are mentioned the Arrest of 
Bernado Visconti ; the Departure of Regulus ; the 
Battle of Landriano ; and several pictures for the 
churches. Sal a died at Milan in 1835, aged 32 
years. 




SALAERT, or SAL- 
LAERTS, Anthony, a 
Dutch painter and en- 
graver, born at Brussels 
in 1571. It is not known under whom he stud- 
ied, but he acquired considerable reputation as an 
historical painter, and executed several works for 
the churches in his native city, as well as many 
others for individuals. One of these, represent- 
ing a procession of the Company of Archers, poss- 
essed sufficient merit to induce the French to carry 
it to Paris to embellish the Louvre. He also en- 
graved on wood, and executed some cuts in a bold, 
free style, marked with one of the above mono- 
grams. There is some dispute about these prints, 
but they are considered genuine by the best con- 
noisseurs. He died in 1632. 

SALAI, or SALAINO. See Solari. 
SALAMANCA. Antonio, a celebrated Italian 
print publisher, who flourished about the middle 
of the 16th century. There is some dispute whether 
he engraved or not. There is a plate of a Pieta af- 
ter Michael Augelo, signed Antonius Salamanca 



SALE. 



834 



SALE. 



Quod Potuit Imitatus Exculpsit. Two more 
have been ascribed to him ; a portrait of Baccio 
Bandinelli, and the Creation of Animals, after Raf- 
faelle. All other prints with his name have excu- 
dit, or excudebat, or A. S., i.e., Antonius Scude- 
hat. He restored many plates by the old masters. 
The lovers of the fine arts are greatly indebted to 
Salamanca, Lafreri, and the three Rossi of Rome, 
for the preservation of many fine works by the 
old Italian engravers, and for the many engrav- 
ings each had executed after works that might 
otherwise have been lost to posterity. 

SALERNO, Andrea da. See Sabbattni. 

SALIMBENI, Arcangiolo, a painter born at 
Siena, whose history is mixed up in the most ad- 
mirable confusion. Baldinucci expressly says he 
was born in 1500. and studied under Federigo Zuc- 
caro, Lanzi thinks he might rather have received 
instructions of Gio. del Tozzo, or Marco Bigio, two 
Sienese painters, as his principles are entirely dif- 
ferent from those of Zuccaro. " He loved preci- 
sion, more than fulness, in design, and we may 
even observe in him an attachment to the manner 
of Pietro Perugino, as has been observed by Delia 
Valle, with regard to a Crucifixion with six saints 
in the parish church of Lusignano." It is known, 
however, that he studied at Rome, and during his 
residence in that city, he might have contracted a 
friendship with Zuccaro. He executed many works 
for the churches and convents of his native city, as 
well as for individuals. In these, Lanzi says he 
appears wholly modern, as in his picture of St. Pe- 
ter the Martyr, in the convent of the Dominicans, 
which is dated 1579. " This date, says Lanzi, must 
be false, as the widow of Archangiolo married again, 
and bore Francesco Vanni in 1565, consequently the 
latter could not have been a scholar of Archangiolo, 
though such an idea is prevalent, and he could 
give lessons only for a short time to his son Ven- 
tura,'' (born in 1557 ! so carelessly do the best 
authors sometimes write), •' or to Sorri and Caso- 
lani, if the period of their birth is true." Zani 
places his birth in 1536, and his death in 1583. 
Others place his death in 1563. The truth doubt- 
less is, that Salimbeni married the widow of Van- 
ni, as is expressly stated by several writers in the 
life of the Cav. Francesco Vanni, which reconciles 
the contradictory statements. See Vanni. 

SALIMBENI, Cavaliere Ventura, called also 
II Cav. Bevilacqua, was the son of the preceding, 
born at Siena in 1557. There is some discrepan- 
cy respecting the early history of this eminent 
artist, about which there is no certainty, and 
which is of no importance. All are agreed that 
he received his first instructions from his father, 
and afterwards improved himself by visiting the 
different cities of Lombardy, and sketching the 
works of the best masters, especially those of Cor- 
reggio and Parmiggiano at Parma and Modena. j 
He afterwards went to Rome, where he executed i 
many works for the churches, and was employed | 
by Slxtus V. in the Library of the Vatican, and in j 
the palace of St. John of Lateran. Baglioni en- i 
umerates several of his works at Rome, the prin- 
cipal of which are the Baptism of Christ, and Abra- 
ham entertaining the Angels in del Gesii ; the Cir- 
cumcision in S. Simeone de Lancellotti ; and the 
Annunciation in S. Maria Maggiore. He also 
painted some ceilings in conjunction with his half- 
brother Francesco Vanni. He next visited Flor- 



ence, where, in competition with Bernardino Bar- 
batelli, called II Poccetti, he painted several pic- 
tures of the history of the Virgin in the cloister of 
the Servi. He also executed manj^ works for the 
churches and public edifices at Siena, Perugia, 
Foligno, Lucca, Pavia, Genoa, and other cities. 
His Marriage of the Virgin, in the cathedral of 
Foligno ; and his St, Gregory in the church of S. 
Pietro at Perugia, are highly commended. 

Cav. Ventura possessed a ready and fertile inven- 
tion, an elegant and graceful taste in design, and a 
delicate, sweet, and harmonious coloring. Lanzi 
says, " in conjunction with Vanni, he executed some 
ceilings, and, perhaps, derived advantage from ob- 
serving his practice. In man 3^ of his works he re- 
sembles him in his imitation of Baroccio, and 
hardly yields to him in grace of contour, in expres- 
sion, and in delicacy and clearness of coloring." 
There is, however, a great difierence in his works, 
as he fell into dissipated habits. He lived on 
terms of intimacy with Agostino Tassi. and that 
artist sometimes painted the landscape and back- 
grounds of his pictures, especially those he execu- 
ted at Genoa. He is sometimes called II Bevi- 
lacqua, a surname conferred upon him by the Car- 
dinal Bevilacqua, when he knighted him in Peru- 
gia. He also executed a few masterly etchings 
from his own designs ; Bartsch gives a list of only 
seven, which he thinks is complete, as follows : the 
Marriage of the Virgin, the Salutation, the Bap- 
tism of Christ, the Destination of the Holy Virgin, 
the Virgin and Infant, St. Agnes and Sts. Anne 
and Joachim. He died at Siena in 1613. 

SALINCORNO, Mirabello da, called also Ca- 
VALORi, a Florentine painter, who flourished about 
the middle of the 16th century. He studied under 
Ridolfo Ghirlandajo, and painted chiefly cabinet 
pictures. Lanzi mentions .one of the Annuncia- 
tion, dated 1565; He also assisted in the decora- 
tions for the obsequies of Michael Angelo. Zani 
says he operated as late as 1578. 

SALINI, Cav. Tommaso, a painter born at Rome 
about 1560. He was the son of a Florentine sculp- 
tor, who placed him under the instruction of Bac- 
cio Pintelli, a painter of little note. Without the 
advantage of superior instruction, by studying the 
works of the best masters, he became an excellent 
painter of history, and particularly excelled in flow- 
ers and fruits. He executed several works for the 
churches at Rome, which are commended by Bag- 
lioni, the principal of which are an altar-piece of 
the Martyrdom of St. Agnes in the church of that 
saint; St. Tommaso da Villanova giving alms to 
the Poor, and a picture of St. Nicholas, in that of 
S. Agostino. Lanzi says, " he was the first who 
composed vases of flowers, accompanied with beau- 
tiful groups of corresponding foliage and other 
elegant designs." He was principally employed 
in painting easel pictures for the collections, which 
were eagerly sought after, and purchased at high 
prices. He died at Rome in 1625. The above 
dates are given by Lanzi ; Zani says he was born 
in 1581. and died in 1631. Others place his birth 
in 1575, and death in 1625. 

SALIS, Carlo, a painter born at Verona in 
1680. He first studied under Giuseppe dal Sole 
at Bologna, and afterwards with Antonio Bales- 
tra at Venice, whose style he adopted with suc- 
cess. He executed several works for the churches 
in the Venetian states. One of his most esteemed 



SALL. 



835 



SALM. 



productions, is an altar-piece representing St. Vin- 
cenzio administering to the sick, in the church of 
that saint, at Bergamo, which Lanzi says " is finely 
mellou-ed, and uncommonly spirited, approaching 
very near to Balestra's style, especially in the hand- 
ling of his colors." He died in 1763. 

SALLIETH, Math IAS de, a German designer 
and engraver, born at Prague in 1749. He first 
studied with J. E. Mansfeld at Vienna, and after- 
wards at Paris with J. Ph. le Bas. He resided 
several years at Paris, and engraved some of the 
plates for Choiseul-Gouffier's Voyage pittoresque 
en France ; and for La Gallerie de le Brun. He af- 
terwards went to Holland, and there engraved 
some marines and battle-pieces from his own de- 
signs and after the Dutch masters. The time of 
his death is not known. 

SALM, A. VAN. a Dutch painter of marines and 
views in Holland, in black and white, in imitation 
of pen-drawings. His pictures are neatly execu- 
ted, but have little more effect than a print. The 
elder Vander Velde designed many marines in a 
similar manner. They are esteemed by some as 
curiosities of art. Salm flourished about 1650. 

SALMEGGIA, Enea, called II Talpino, (the 
Mole, slow.) an eminent painter, born at Bergamo 
about 1556. After studying in the schools of the 
Campi at Cremona, and of the Procaccini at Mi- 
lan, he proceeded to Rome, where, according to 
Orlandi, he devoted himself fourteen years to the 
models of Raffaelle, and emulated his manner dur- 
ing the rest of his life. Orlandi and other wri- 
ters extol his picture of S. Vittore at the Olive- 
tani at Milan, and some of his other works, as 
worthy of the school of Raffaelle, to whom they 
have even been ascribed. He executed many works 
for the churches at Bergamo and Milan ; in the 
former city, the most remarkable are the St. Vit- 
tore before mentioned ; the Adoration of the Magi, 
in S. Maria Maggiore ; the Martyrdom of St. Aga- 
tha, at the Teatini ; the Descent from the Cross, 
in S. Leonardo ; the great altar-piece in Santa Gra- 
ta, representing the Virgin and infant Jesus in the 
Clouds, crowned with glory, with a choir of An- 
gels, and several Saints below ; another grand 
altar-piece of the same subject, in Santa Marta. 
In botll the last named works he observed the 
same general composition ; in that of Santa Marta, 
Lanzi sa3's. " he introduced a splendid variety of 
foreshortenings, of attitudes, and of lineaments; 
he even inserted the city of Bergamo, with some 
fine architecture, in the style of Paolo Veronese. 
The figures are arranged with extreme care, among 
which appears a bishop, in his sacred parapher- 
nalia, that reminds us of Titian himself." At Mi- 
lan, in the church of La Passione, are two of his 
finest works, representing Christ's Sermon on the 
Mount, and the ]i?\aKillation. His pictures for 
private ornament, a'e rare, extremely valuable, and 
only to be found in the collections of Bergamo and 
Milan ; there are several in the Royal Gallery in 
the latter city. '• Whoever attentively examines 
the best works of Salmeggia." says Lanzi, '• will 
not feel inclined to refuse him one of the most 
distinguished places in the ranks of the follow- 
ers of Raffaelle. The clearness of his contours, 
though sometimes bordering on the minute, the ex- 
pression of his youthful countenances, the smooth- 
ness of his pencil, and the flow of his drapery, to- 
gether with a certain graceful air in the expres- 



sions and the motions, sufficiently mark him for 
an admirer of that sovereign master, how much 
soever inferior to him in point of dignity, in imita- 
tion of the antique, and in felicity of composition. 
His method of coloring was also different ; he af- 
fects a greater variety of colors in his draperies ; 
the tints in a large portion of his works are at 
present faded, and the shades, as in the works of 
other painters of the same period, are much chang- 
ed ; yet it is probable that this great artist, as it 
has been observed of Poussin and of Raffaelle 
himself, did not always bestow the same degree of 
care upon his coloiing. satisfied with displaying, 
from time to time, his surpassing excellence in this 
department." He died at Bergamo, according to 
Tassi. in 1626 : Lanzi says he died old, in 1626 j 
and Zani places his death in 1610. 

SALMEGGIA, Francesco and Ohiara, were 
the son and daughter of the preceding. Lanzi 
says of them, '• although educated by their father, 
they succeeded rather in imitating his studies and 
his figures, than in thoroughly penetrating into 
the principles of his art. The fruits of a good 
education are sufliciently apparent in them, and 
when placed in competition with some of their co- 
temporaries they appear, if not ver)^ animated, at 
least very sedulous artists, and greatly exempt 
from the faults of the mannerists. Bergamo is in 
possession of man)'- of their public works, in some 
of the best of which the father is supposed to have 
afforded them his assistance." They are also com- 
mended b}^ the Conte Tassi, in his Vite de Pittori 
Bergamaschi. The times of their birth and death 
are not known. Several of their works are dated 
from 1624 to 1628. 

SALMERON, Cristobal Garcia, a Spanish 
painter, born at Cuenca in 1603. He studied un- 
der Pedro Orrente, and acquired considerable repu- 
tation as a painter of history and aniinals. He 
executed some works for the churches, one of the 
most esteemed of which is a picture oi'the Nativi- 
ty, in the church of San Franci^^coat Cuenca. He 
also painted a celebrated piotn-i f a Bull Fight, 
by the order of Philip IV.. giv m in honor of the 
birth-day of Charles' II. of Spain. He died in 
1666. 

SALMERON, Francisco, was the younger bro- 
ther of the preceding, born at Cuenca in 1608, and 
died in 1632. The account given of him by Cean 
Bermudez, is ridiculous. He studied under Pedro 
Orrente, and afterwards, " by analyzing the works 
of Titian, Veronese, Tintoretto, and the Bassans, 
he formed for himself a style of coloring so bril- 
liant, that no other palette was ever equal to it ; it 
was in effect dazzling." 

(^ SALMINCIO, Andrea, a Bolognese en- 
/Tv graver, who studied under Gio. Luigi Va- 
^ ■*'lesio, and flourished about 1640. He en- 
graved some plates, both on wood and copper, 
marked with the above monogram. They are in- 
difierently executed. 

SALOMON, Jean, called by the Italians, Gio- 
vanni Gallo, Johannes Gallus, l' Infante 
Gallo, and by other appellations indicative of his 
country. According to Zani, this artist was the 
son of Solomon Bernard, called little Bernard, 
whose real name he says was Bernard Salomon. 
He says that the elder Salomon operated from 
1547 to 1580, and the younger from 1550 to 1590. 



SALT. 



836 



SALV. 



He denies that Bernard ever engraved on wood, 
but he calls Jean '' the prince of the little masters 
on wood, or the Callot of engraving on wood." 
He pursues the subject con amore, but does not 
advance anything conclusive, as no prints are men- 
tioned bearing his signature or mark. The Ital- 
ian writers mention Bernardo Gallo, a French- 
man, as an engraver on wood, and it is evident that 
the prints attributed to him were executed by Sol- 
omon Bernard. See Solomon Bernard, and Ber- 
nardo Gallo. 

SALTARELLO, Luca, a painter born at Ge- 
noa in 1610. He studied under Domenico Fiasella, 
and gave early proofs of extraordinary talents. 
Soon after leaving his master, he went to Rome in 
search of improvement, where he fell a victim to 
his unremitting assiduity, in the flower of his life, 
about 1635. Lanzi says " he left a picture of St. 
Benedetto restoring a dead person to life, in the 
church of S. Stefano at Genoa, a picture of sober 
coloring, beautifully harmonized, and full of ex- 
pression and knowledge, which sufficiently proves 
that he had capacity to have formed an epoch in 
his school, had he lived." 
■p SALTZBURGER, P., a German 

^ g^ engraver on wood, who flourished 

v^ or'»^L/ about 1580. He executed some cuts, 
^*^ mostly after the designs of Jost 
Amman. They are usually marked with one of 
the above monograms, but sometimes with his in- 
itials* P. S., separate. 

SALVESTRINI, Bartolomeo, a Florentine 
painter who, according to Baldinucci, studied un- 
der Giovanni Bilivert, and was one of the most 
successful imitators of his style ; but he was cut 
off in the prime of life by the great plague, in 1630, 
so disastrous to Italy and to art. 

SALVETTI, Francesco, a Florentine painter, 
who flourished in the first part of the 18th centu- 
ry. According to Lanzi, he studied under Antonio 
Doraenico Gabbiani, and was a successful imitator 
of his style. Little more is known of hihi. 

SALVI, TARauiNio, a painter born at the castle 
of Sassoferrato, near Urbino, whose history is very 
obscure. There is a large picture in the church of 
the Eremitani at Sassoferrato. representing some 
monks at their devotions, dated 1573. 

SALVI, Giovanni Battista, called II Sasso- 
ferrato, from the place of his nativity. Though 
this eminent painter acquired distinction in his 
time, and his works are held in high estimation, es- 
pecially in Italy, there is a surprising contradic- 
tion among writers, even of his own country, as to 
the time of his birth and death, history and mer- 
its ; therefore, we shall give Lanzi's account, who, 
considering the life of this painter a desideratum, 
went to Sassoferrato after he had published the 
first edition of his History of Painting, where, as- 
sisted by the researches of Monsignore Massaju- 
oli Bishop of Nocera, he obtained much valuable 
and long desired information. He was the son of 
Tarquinio Salvi, was born at Sassoferrato, on the 
11th of July, 1605, and died at Rome on the 8th 
of August, 1685, In his life of Carlo Dolci, he 
says, " Dolci holds the same rank in the Floren- 
tine as Sassoferrato does in the Roman school. 
Both, though destitute of great powers of inven- 
tion, obtained high reputation for Madonnas and 
similar small subjects, which have now become 



extremely valuable; for the wealthy, desirous of 
possessing pictures at once so estimable and reli- 
gious, to hang up in their oratories, have brought 
these masters into great request. Carlo is not so 
celebrated for beauty (for he was a mere natural- 
ist), as for the exquisite pains with which he fin- 
ished everything, and the genuine expression of 
certain affecting emotions, such as the patient suf- 
ferings of Christ or of the Virgin Mary, the peni- 
tential compunctions of a Saint, or the holy confi- 
dence of a martyr, devoting himself as a victim to 
the living God. The coloring and general tone of 
his pictures accord with the idea of the passion ; 
nothing is turgid or bold ; all is modesty, repose, 
and placid harmony." 

Again, in his life of Sassoferrato, he says : " Sas- 
soferrato excelled Dolci in the beauty of his Ma- 
donnas, but yields to him in the fineness of his 
pencil. Their styles were dissimilar, Salvi having 
formed himself on different models. He first stud- 
ied under his father Tarquinio in his native place, 
then in Rome, and afterwards at Naples ; it is 
not known precisely under what masters, ex- 
cept in his MS. Memoirs we read of one Domeni- 
co, at Naples. The period in which Salvi studied 
corresponds in a remarkable manner with the time 
in which Domenichino was employed at Naples, 
and his manner of painting shows that he adopted 
the style of that master, though not exclusively. 
I have seen in the possession of his heirs at Sasso- 
ferrato, many copies from the first masters, which 
he executed for his own pleasure. I observed sev- 
eral from Albano, Guido, Baroccio, and Raffaelle, 
reduced to a small size, and painted, as one may 
say, all in one breath. There are also some land- 
scapes of his composition, and a vast number of 
portraits ; several of St. John the Baptist, but 
more than all, of the Madonna. Though not pos- 
sessing the ideal of the Greeks, he has yet a style 
of countenance peculiarly appropriate to the Vir- 
gin, in which an air of humility predominates, and 
the simplicity of the dress and the attire of the 
head corresponds with the expression of the fea- 
tures, without at the same time lessening the dig- 
nity of the character. He painted with a flowing 
pencil, and had a fine relief and chiaro-scuro ; but 
in his local tints he is somewhat hard. He delight- 
ed most in designing heads with a part of the 
bust, which frequently occur in collections ; his 
portraits are very often of the size of life, and of 
that size, or larger, is a Madonna by him, with the 
infant Christ, in the Casali palace at Rome. The 
picture of the Rosario, which he painted at S. Sa- 
bina, is one of the smallest pictures in Rome. It 
is nevertheless well composed, and conducted with 
unusual spirit, and is regarded as a gem. In other 
places, the largest picture by him is to be seen in 
an altarpiece in the Cathedral of Montefiascone." 
The above admirable accouu^ is entirely different 
from that given by any other Kiti'ior, and perfectly 
accords with his genuine works. ' There was an- 
other Sassoferrato, a disciple of Gio. Francesco 
Penni, born in 1504, and died in 1590. It is evi- 
dent that many of the works attributed to 11 Sas- 
soferrato, " executed in a dry manner," were the 
productions of his father, or the other Sassoferrato. 
It also reconciles the contradictory accounts of 
those writers who state that he flourished at a 
much earlier period. 

SALVI, NiccoLOj an eminent Roman architect. 



SALV. 



837 



SALV. 



was born in 1699. After acquiring a liberal edu- 
cation, he entered the school of Antonio Canneva- 
ri, where he studied the maxims of Vitruvius, and 
the best models, both ancient and modern. Af- 
ter making considerable progress, he was entrust- 
ed with the erection of a temporary edifice for a 
festal occasion, representing the Temple of Glory, 
one hundred and ninety feet high, with four fa- 
cades of architecture in relief. Cannevari being 
invited to Portugal by King John V., all of his em- 
ployments were entrusted to his pupil Salvi, who 
was appointed pontifical architect. He executed a 
large number of works at Rome, in a slender, ele- 
gant, and simple style, not exempt from defects ; 
among which were the Baptistery of St. Paolo, 
without the walls ; the grand altar of St. Eustachio ; 
and the church of S. Maria in Grado, for the Do- 
minicans of Viterbo. His greatest work, how- 
ever, was the fountain of Trevi, erected during the 
pontificate of Clement XII. The Ocean is repre- 
sented by a gigantic figure standing on a shell, 
drawn by two marine horses, guided by Tritons ; 
these are in the midst of an immense mass of 
rocks, from which the water flows in various ways. 
In the centre is a beautiful niche, with Ionic col- 
umns, from which the principal figure appears to 
issue ; on each side are two Corinthian columns, 
which contain two stories ; and between the inter- 
columniations are the statues and bas-reliefs. Over 
the entablature are four statues, plumb with the 
four columns ; above, there is an attic with the 
arms of the Corsini faujily, and a balustrade at 
the sides; receding a little on each side are four 
Corinthian columns, containing two orders of win- 
dows ; and over the entablature is an attic, lower 
than that of the centre, with small windows, be- 
tween which are festoons. According to Milizia, 
this fountain is rich, superb, and magnificent, just- 
ly considered the best work produced at Rome 
during the 18th century. It occupied Salvi thir- 
teen years, partially in consequence of the intrigues 
of his enemies, who caused continual interrup- 
tions ;'in order to complete it, he declined design- 
ing the fa9ade of the Cathedral at Milan, the su- 
perintendence of the royal edifice of the Caserta, 
and the Reclusorio ; he also refused the invitation 
of the Turin court, to continue the works left un- 
finished by Ivara. Being constantly obliged to 
enter the aqueducts of the Acqua Virgine, his 
naturally delicate constitution was enfeebled by 
the exposure ; he became paralytic, and died in 
1751. Among his pupils was Signor Giansimone, 
afterwards architect of Rome. 

SALVIATI, Francesco Rossi, called also II 
Salviati, and sometimes Cecchino de' Salviati, 
an eminent Florentine painter, born in 1510. He 
was a fellow-student with Giorgio Vasari. first un- 
der Andrea del Sar to. and next under Baccio Ban- 
dinolli. The two young friends afterwards pur- 
sued their studies at Rome with the same intima- 
cy, and adopted similar principles. The genius of 
Salviati, however, directed him to a more correct 
design, and to a grander and more animated style 
than that of his companion, and Vasari himself 
celebrates him as one of the ablest artists of his 
time. He soon acquired distinction, and was taken 
under the protection of the Cardinal Salviati, and 
permitted to bear the name of his patron. He 
painted the Annunciation, and Christ appearing to 
St. Peter, in the church of La Pace, and soon after- 



wards embellished the vault of the chapel of his 
patron with a series of frescos representing the 
History of St. John the Baptist, which added 
greatly to his reputation. He was employed by 
the Prince Farnese to execute the cartoons for the 
tapestry of his palace, in which he represented the 
History of Alexander. In conjunction with Va- 
sari, he was employed by Pius "iV. to decorate the 
apartments of the Cancellaria with several frescos ; 
and it was the intention of the pope to have con- 
fided all the works in the Sala Regia to Salviati, 
but at the intercession of Michael Angelo, in order 
to expedite the work, he gave one-half to Salviati, 
and the other to Ricciarelli. From Rome Salviati 
proceeded to Venice, where he executed several 
works for the public' edifices, and others for indi- 
viduals ; the most remarkable of which is the His- 
tory of Psyche, in the Palazzo Grimaldi, and which 
Vasari, with a partiality for his friend and coun- 
tryman, styles La piu belP opera de pittura che 
sia in iutta Venezia. He afterwards traveled 
through Lombardy, and made some stay at Mantua, 
where he was delighted with the works of Giulio 
Romano in the Palazzo del Te, He next visited 
Florence, and was employed by the Grand Duke 
to decorate a saloon in the Palazzo Vecchio, where 
he represented the Victory and Triumph of Furius 
Camillus. These works are designed and painted 
with great genius and spirit, and the accuracy with 
which he delineated the costumes, habiliments, and 
arms of the ancient Romans, is worthy of a learn- 
ed antiquary. At the invitation of the Cardinal 
de Lorraine, he accompanied that prelate to France, 
where Francis I, had engaged some of the ablest 
artists of Italy in the decoration of the Palace at 
Fontainbleau, He was received with distinction 
by the French monarch, and treated with great 
kindness by Primaticcio, the superintendent of 
the works. He painted a fine picture of the De- 
scent from the Cross, in the church of the Celes- 
tincs, and was afterwards employed in the palace 
at Fontainbleau ; but he soon quarrelled with his 
associates, and returned to Rome, where he fell in- 
to new contentions with Danielle da Volterra, Pie- 
tro Ligorio, and most of the artists of the time. 
He was a man naturally of a proud, haughty, 
overbearing, and turbulent disposition, which led 
him into continual strifes with his cotemporaries, 
and is said to have shortened his life. The con- 
tinued agitation of his mind brought on a fever, of 
which he died at Rome, in 1563. 

Salviati painted with equal success in fresco, in 
distemper, and in oil. His restless disposition did 
not permit him to remain long in one place after 
he first left Rome, and his works are widely scat- 
tered throughout Italy, in the public edifices, as 
well as in the palaces of the nobility. He also 
painted portraits with great success, and his pic- 
ture of Aretino, the satirist, which was sent to 
Francis L, gained him immense applause. He pos- 
sessed a rich and fertile invention, his compositions 
are original and abundant, and he embellished his 
works with magnificent architecture. He was one 
of the few who have been able to combine celerity 
of pencil with correctness of design, for which he 
was distinguished, though sometimes bordering 
on the gigantic. Although he is more esteemed as 
a designer than a colorist, his carnations are deli- 
cate and tender, his figures graceful, and the fold- 
ing of his draperies broad and simple, without 
concealing the beauty of his forms. He particu- 



SALV. 



838 



SAME. 



iarlj excelled in the naked. With the possession 
of such powers, which might, perhaps, have placed 
him at the head of all his co temporaries, his ran- 
corous and envious disposition prompted him to 
vilify the works of others, and to extol his own, 
and by the injustice and impolicy of his conduct, 
he frequently had the mortification to find rivals 
preferred to him whose talents were unworthy of 
his competition. 

SALVIATI, Giuseppe del. See Giuseppe 
Porta. 

SALVIONI. RosALBA Maria, a Roman paint- 
ress, born in 1658 and died in 1708. She studied 
under Sebastiano Conca, but devoted herself en- 
tirely to portraits, which she executed in a style 
of excellence and truthfulness that gained her con- 
siderable distinction. 

SALVOLINI. See Episcopio. 

SALVUCCI, Matted, a painter who, according 
to Pascoli, -was born at Perugia about 1570, and 
died about 1628. After acquiring considerable 
reputation in his native city, he went to Rome, 
where he was kindly received by the Pope ; yet 
from his inconstant disposition he did not remain 
long there. No authentic works are mentioned by 
his biographer. 

SALWAY, N.,an English mezzotinto engraver, 
who flourished about 1760, and executed some por- 
traits, which possess considerable merit. 

SALY, Jacques Francois, a French sculptor, 
born at Valenciennes in 1717. He was invited to 
the Court of Denmark, where he executed an 
equestrian statue of King Frederick V., of which 
there is a print by J. M. Preissler. He also execu- 
ted several other statues in marble and bronze. 
He etched, in a spirited style, a set of thirty 
plates of vases, and four of monuments, from his 
own designs. He died in 1776. 

SAM, Engel or Angelo, a Dutch painter, born 
at Rotterdam in 1699, and died in 1769. He was 
a good portrait painter, and is said to have excelled 
in familiar subjects, in which he imitated the man- 
ners of Vanderwerf and Metzu, two very opposite 
masters, with great success. 

MSAMBIN, HuGUES, a French architect, a 
native of Dijon, who flourished in the lat- 
ter half of the 16th century. According 
to the Biographie Universelle, he was a scholar 
of Michafel Angelo. In concert with his son-in- 
law, Gaudrillet, he executed several good works at 
Dijon, among which were the beautiful portal of 
the church of S. Michael, and the domes sur- 
mounting its three arcades, erected after his de- 
signs. In 1572, Sambin published a folio work at 
Lyons, embellished with thirty-six plates, entitled 
CEuvre de la diversite des termes dont on use en 
architecture. 

SAMACCHINI, Orazio, an eminent painter, 
born at Bologna in 1532. According to Malvasia, 
he was a disciple of Pellegrino Tibaldi, but im- 
proved himself by studying the works of Correg- 
gio, whose style he emulated with success. He 
was employed to paint in fresco the great chapel 
in the Cathedral at Parma, contiguous to the fa- 
mous cupola by that distinguished master. He 
was invited to Rome by Pius IV., and employed in 
conjunction with Marco da Siena, and other art- 
ists of distinction, to decorate the Sala Regia. 



Having completed this engagement he returned to 
his native city, where he executed many admira- 
ble works for the churches and palaces, both in 
oil and fresco. The most remarkable are the Cor- 
onation of the Virgin in the church of Sts. Na- 
borre e Felice, so much applauded by the Caracci ; 
the famous Presentation in S. Giacorno Maggiore ; 
the Crucifixion, in La Trinita ; an altar-piece of 
the Last Supper, in the Certosa ; and the Fall of 
Icarus, in the Palazzo Lambertini. The following 
admirable critique is condensed from Lanzi : 

" He more nearly approached Correggio than 
any Bolognese artist of that age. On proceeding 
to Rome, he succeeded in catching a taste of the 
Roman school, for which he was praised by Vasa- 
ri, and afterwards by Borghini and Lomazzo, In ■ 
this new style, however, he contrived to please oth- I 
ers more than himself, and on his return to Bo- * 
logna he was accustomed to lament that he had 
ever removed from upper Italy, where he might 
have carried his early manner to greater perfec- 
tion. Still he had no reason to be dissatisfied 
with what he had gathered and moulded by his 
own genius, so as to exhibit something novel and 
singular in qyqtj character. In his altar-piece of 
the Purification, in S. Jacopo, all is exquisite deli- 
cacy ; the leading figures enchant us by a majestic 
yet tender expression of piety, while those of the 
infant figures, seen conversing near the altar, and 
that of a young girl holding a little basket with 
two doves, gazing on them in so peculiar a manner, 
delight us with their mingled simplicity and grace. 
Skilful judges, even, can take no exceptions, unless 
it be too great diligence, with which, during seve- 
ral years, he had studied and polished this single 
picture. This work, as' one of the most celebrated 
of its school, was engraved by Agostino Caracci ; 
and even Guido seems to have availed himself of 
it, in his Presentation in the Cathedral at Modena. 
Yet Samacchini was an equally powerful artist 
when his subject required it. His chapel in the 
Cathedral at Parma is highly commended, though 
his most vigorous efibrt is shown in the ceiling of 
the church of S. Abbondio, at Cremona. The 
grand and the terrible seem to strive for the mas- 
tery in the figures of the prophets, in all their ac- 
tions and positions ; the most difficult from con- 
finement of space, yet the best arranged and im- 
agined. There is, moreover, a truth in the short- 
enings, and a skilful use of the sotto in su (fore- 
shortening of the figures), which appears in this 
instance as though he had purposely selected the 
most difficult portion of the art in order to tri- | 

umph over it. His forte is believed to have con- 
sisted in grand undertakings in fresco, on which he ' 
impressed, as it were, the seal of a vast spirit, at 
once resolute and earnest, without altering it by 
corrections and retouches, with which he labored 
his oil paintings." He died in 1577, in the prime of 
life. Vasari erroneously calls 'nis name Fumacci- 
ni, and Lomazzo Somachino. 

SAMENGO, Ambrogio. a Genoese painter, 
who, according to Soprani, studied under Gio. An- 
drea Ferrari, and was an excellent landscape paint- 
er. Lanzi commends his landscapes, which are 
rare, as he died at an early age. 

SAMELTNG, Benjamin, a Flemish painter, 
born at Ghent in 1520, and died in 1571. He 
studied under Francis Floris, and painted history 
and portraits in the style of his instructor. j 



SAMM. 



839 



SANC. 



SAMMARTINO,SANMARTINO,orSANMAR- 
CHl, Marco, an Italian painter, who flourished 
in the latter part of the 17th century. He paint- 
ed landscapes and history, but particularlj^ excelled 
in landscapes, ornamented with beautiful little fig- 
ures in exquisite taste. Lanzi says his works are 
frequently to be met with throughout Romagna, 
particularly at Rimini, where he resided some time. 
He also attempted more extensive works, as seen 
in his Baptism of Constantine, in the Cathedral of 
Rimini, and St. John preaching in the Desert, in 
the College of S. Vincenzio at Venice. He was 
less successful in these. There is some question as 
to his real name, and place of nativity. According 
to the Guida di Rimino, he was a Neapolitan, 
named Saramartino, and his picture in the Cathe- 
dral is dated 1680. Zanetti and Guarienti call 
him by the same name, and say that he was a 
Venetian ; and the last declares that he passed 
most of his life at Venice. Guarienti, in his next 
article, gives the name of Marco Sanmarchi, a Ve- 
netian who flourished at the same time, and extols 
him as an excellent landscape and figure painter 
on a small scale. Malvasia gives the same ac- 
count. Lanzi has no doubt but they are one and 
the same artist. 

SAN-ANTONIO, Fray Bartolome de, a Span- 
ish painter, born at Cienpozuelos in 1708. At the 
age of fifteen he became a monk of the order of 
the Trinitarios descalzos, at Madrid, and after 
studying philosophy and theology, he went to 
Rome to study painting, the elements of which he 
had already acquired at Madrid, having a taste and 
talent for painting. After a residence of six years 
in Italy, he returned to his convent in 1740, where 
he spent the rest of his life in embellishing it with 
many works of a sacred character, both in oil and 
fresco, which are said to possess great merit. — 
Those old monks were shrewd fellows ; knowing 
the advantages which superb works of art con- 
ferred on their convents, and how much money 
they brought into their coffers by attracting visit- 
ers, they were always liberal patrons of artists, 
especially when they found a superstitious one, 
who would exchange his services for their pray- 
ers ; or a talented novice, whom they could edu- 
cate. San Antonio died in 1782. 

SAN BERNARDO, II Vecchio di. See Min- 

ZOCCHI. 

SANCHEZ, Alonzo, a Spanish painter who, 
according to Bermudez, was employed in conjunc- 
tion with three other artists, in painting the beau- 
tiful frescos in the University of Alcala de He- 
nares, founded by Cardinal Cisneros, In 1508 he 
was employed, in conjunction with Diego Lopez 
and Luis de Medina, in decorating the Cathedral 
of Toledo. 

SANCHEZ, Clemente, a Spanish painter, who 
flourished at Valladolid about 1620. He executed 
some works for the churches and convents, which 
prove him to have been an able designer and a 
good colorist. He painted several pictures for the 
convent of the Dominicans, among which are the 
Visitation of the Virgin, the Marriage of the Vir- 
gin, the Virgin of the Rosary, a Magdalen, and a 
small oratory, representing the Virgin and Infant, 
with the infant St. John and other Saints. 

SANCHEZ-COELLO. See Coello. 



SANCHEZ-COTAN, Fray Juan, an eminent 
Spanish painter, born at Alcazar de San Juan in 
1561. He studied at Toledo, under Bias de Pra- 
do, whose style he is said to have imitated. He 
excelled in painting subjects of still-life, called by 
the Spanish hodegones, consisting of fruit, flow- 
ers, fish, game, and vegetables of all sorts, pro- 
fusely collected in the larder, like those of Snyders, 
De Vos, Van Utrecht, and other Dutch and Flem- 
ish masters. He also painted Madonnas with 
chaplets of flowers and other similar subjects. — 
The account of him is so bombastic and confused 
that no correct opinion can be formed of his mer- 
its. His principal works are in the Carthusian 
monasteries at Paular and Granada ; at the Agus- 
tinos Calzados in the latter city, and at the Merced 
Calzada at Seville. He painted many subjects re- 
lating to the passion of Christ, the sorrows of the 
Virgin, sufferings and persecutions of saints, &c. 
According to Palomino, he painted a picture of 
the Crucifixion so naturally that (like Zeuxis' 
grapes) the birds came to light on the cross ; and 
when he painted St. Ildefonso receiving the Mirac- 
ulous Chasuble from the Virgin, she descended 
from heaven and honared the painter with a sit- 
ting (related on the authority of the monks of the 
convent). Vincenzio Carducho made a journey 
from Madrid to Granada, expressly to see him and 
his works, and he at once singled him out among 
the monks as the painter he sought for, from the 
serenit}^ of his countenance being in accordance 
with the style of his pictures. " This amiable 
man and excellent artist died at Granada in 1627 j 
he was reckoned one of the most venerable monks, 
and also one of the best painters of Spain." 

SANCHEZ, Felipe, a Spanish architect, who 
flourished in the latter part of the 17th century. 
His principal work is mentioned by Milizia — the 
celebrated Pantheon or sepulchral chapel of the 
illustrious family dell' Infantado, in the church of 
S. Francisco at Guadalaxara. The chapel is ellip- 
tical, containing twenty-six urns, placed between 
eight pilasters, also a smaller chapel with four jas- 
per columns ; it is composed of the richest mate- 
rials, and is said to have cost 2,000,000 crowns. 
Sanchez died in 1696. 

SAN DANIELLO, Pellegrino di. See Udine. 

SANDBY, Paul, an eminent English painter in 
water-colors, and engraver in aquatinta, was born 
at Nottingham in 1732. He went to London at 
the age of fourteen, and obtained admission into 
the drawing-room of the Tower, where he studied 
two years, and made such progress that the Duke 
of Cambridge, wishing to have a survey made of 
the north and west parts of the Highlands of Scot- 
land, engaged him as draughtsman to accompany 
the expedition. During this tour, he made many 
drawings of the most beautiful and romantic 
scenery with which those regions abound. From 
these designs he made etchings, which were pub- 
lished on his return to London, by Messrs. Ryland 
and Bryce. In 1752 he went to Windsor, where 
he spent some time, and executed seventy draw- 
ings of the scenery, so accurately and tastefully 
designed that Sir Joseph Banks purchased them 
all at a liberal price. His reputation was now es- 
tablished, and he executed a great number of 
scenes in England and Wales, and views of the 
seats of the nobility and gentry, some of which he 



SAND. 



840 



SAND. 



engraved himself in aqnatinta, and others were 
engraved by Middiman, Milton, Byrne, and other 
artists. On the foundation of the Royal Academy, 
he vras elected one of the first forty members. 
About the same time he was appointed chief 
drawing master of the Military Academy at Wool- 
wich, which situation he held till his death. He 
contributed much to the English school of land- 
scape painting, and especially in bringing into vogue 
water-colored designs, which branch is now highly 
esteemed in that country. His drawings are still 
admired, and are only to be found in the choice col- 
lections of his country. He also made improve- 
ments in the method of engraving in aquatinta. 
He died in 1809. 

SANDRART, Joachim de, an eminent German 
painter and writer on art, was born at Frankfort 
in 1606. He was instructed in the elements of 
design by Matthew Merian and Theodore de Brye. 
At the age of fourteen he went to Prague, where 
for some time he devoted himself to engraving un- 
der Giles Sadeler, who, finding his genius better 
adapted to painting than engraving, recommended 
him to change the graver for the pencil. He ac- 
cordingly proceeded to Utrecht, and became the 
disciple of Gerard Honthorst, under whose able 
instruction he made great progress, and being al- 
ready well grounded in the first principles of the 
art, he was soon able to assist him in his works. 
Descamps asserts that when Honthorst was invi- 
ted to England by Charles I., Sandrart accompa- 
nied him to that court, where he remained till 
1627; and executed several works for the king ; but 
this is discredited by Bryan, on the ground that 
none of his pictures are mentioned in King Charles' 
collection ; what renders it still more improbable, 
is the fact that Sandrart takes no notice of it in 
his life of Honthorst, though he mentions that art- 
ists's journey to England, and gives an account of 
the works he executed there. It is certain that 
he went early in life to Italy, where he resided 
many years. He first stopped at Venice, where he 
copied the finest pictures of Titian and Paul Ve- 
ronese. From Venice he proceeded to Rome, 
where he acquired a high reputation, as is evident 
from the fact that when the king of. Spain sent 
an order to Rome for twelve pictures of equal size, 
to be executed by twelve of the most eminent mas- 
ters in Italy, Sandrart was selected as one of thern, 
on which occasion he produced his admired picture 
of the Death of Seneca. The distinguished twelve 
were Guido, Domenichino, Guercino, Cortona, 
Lanfranco, Valentino, Poussin, Sacchi, Gentileschi, 
D'Arpino, Massimi, and Sandrart. To be num- 
bered with such artists was a high honor. Previ- 
ous to this, however, he obtained the patronage of 
the Cardinal Barberini, through whose influence 
he had the honor of painting the portrait of Urban 
VIII. He was also employed by the Prince Gius- 
tiniani, and was entrusted with the superintend- 
ence of the engravings of the statues in his gallery. 
After a long residence at Rome, Sandrart went to 
Naples, thence to Sicily and Malta, returning by 
way of Lombardy to Frankfort, where he married. 
From that city he went to Augsburg, and lastly 
to Nuremberg, where he permanently settled and 
established an academy of painting. He executed 
several works for the Emperor Ferdinand, and for 
Maximilian, Duke of Bavaria. Here, towards 
the close of his life, he published several works on 



the fine arts, for which he had, during his life, 
been collecting materials, as follows: Academia 
Tedesca della Architettura, Scultvra. e Pi Ultra. 
4 vols in 2, folio, Nuremberg, 1675 — 79 ; Iconolo- 
gia Deorum, 1680 ; Admiranda SculpturcE Vete- 
ris Vestigia, 1680 ; Romcc antiqucc et novce The- 
atrum, 1684; and Academia Artis Pictoricc. 1683, 
collected from Vasari, Ridolfi, and Van Mander; 
this last is a Latin translation and abridgment of 
the Academia Tedesca. A uniform edition of all 
his works was published at Nuremberg, in 8 vols, 
folio, in German, 1769 — 75. He executed many 
works, well designed and colored, which are to be 
found in Italy. Germany, and the Low Countries. 
During his residence abroad, he made a multitude 
of sketches of views after nature, buildings, anti- 
quities, statues, &c., which, together with his pic- 
tures and curiosities, brought at public sale after 
his death 22,721 florins. He died at Nuremberg 
in 1688, aged 72. 

SANDRART, Jacob von, a German engraver, 
was the nephew of Joachim de S., born at Frank- 
fort in 1630. He first studied with Cornelius Dan- 
kerts, and afterwards with William Hondius. He 
engraved a large number of plates of various sub- 
jects, executed with the graver in a neat, clear style. 
His portraits are his best prints, among which are 
those of the Emperors Rodolphus II., Ferdinand 
II., Ferdinand III., Frederick, Prince of Norway, 
Princess Sophia of Saxony; Ferdinand Maria, 
Duke of Bavaria; Joachim Sandrart, painter; and 
Joannes Paulus Auer, painter. A list of his works 
may be found in Nagler's Lexicon. He died at 
Nuremberg in 1708. 

<ry>y.^ SANDRART, John Jacob von, was 
-^ ■T~>/,\>,the son of the preceding, born at Ratis- 
L^'L/vi^ bon in 1655. He was instructed in 
engraving by his father, and derived much advan- 
tage in designing, from the lessons of his great 
uncle Joachim de S. He was an able designer 
as well as an expert engraver, and possessed a 
ready and fertile invention. He engraved a con- 
siderable number of plates, some of them from 
his own designs, executed with the graver in a 
neat, tasteful stjde. He engraved several of the 
plates for a work entitled Suecia Antiqua et Ho- 
dierna. He also executed a number of spirited 
etchings which embellish the publications of Joa- 
chim de S. He died at Nuremberg in 1698. The 
following are among his most esteemed plates, a 
full list of which may be found in Nagler : 

PORTRAITS. 

Elizabetli Henrietta, Princess of Brandenbourg ; after 
A. le Clerc. Silvius Jacob de Dunkelmann ; do. 

VARIOUS SUBJF.CT3. 

The Holy Family ; after Joachim de Sandrart. Two 
subjects of the Origin of Painting ; do. Two subjects of 
the Customs and Amusements of the ancient Germans ; 
do. ^neas saving his father Anchises from the burning 
of Troy ; from his own design. 

SANDRART, Lawrence. The name of this 
artist is affixed to a frontispiece to a set of prints 
from Ovid's Metamorphoses, by Engelbrecht, pub- 
lished in 1700. He was probably of the same 
family as the preceding. There was a painter in 
enamel of this name, who was living in 1710, sup- 
posed to be the same artist. 

SANDRART. Susan Maria von, was the daugh- 
ter of Jacob von S., born at Nuremberg in 1658. 



SAND. 



841 



SANG. 



She was instructed in the art by her father, and 
executed several plates to illustrate the works of 
Joachim de Sandrart. She also engraved a few 
other subjects, among: which are the following: 
The Assembly of the Gods on the Marriage of Cu- 
pid and Psyche, after Eajfaelle ; the Nozze Aldo- 
brandi, after a design hy Bartoli ; a Bacchanalian 
subject inscribed Immoderatum dulce Amorum. 
She died in 1718. 

SANDRO, Jacopo de', a Florentine painter 
mentioned by Vasari, as an assistant of Buona- 
rotti, in the Sistine chapel. Lanzi says he is the 
same as Sandro Botticelli, which see. 

SANDRINO, ToMMAso, a painter born at Bres- 
cia in 1575. He distinguished himself as a perspec- 
tive architectural painter in fresco, and was a good 
painter of history. His great works are the ceil- 
ings of the cathedral, and the churches of S. Dom- 
enico and S. Faustino at Brescia, There are sev- 
eral of his works of a sacred character in the pub- 
lic edifices at Brescia, Milan, and Ferrara, skilfully 
composed, and well designed and colored. He 
died in 1630. 

SANDYS, Edwin, an obscure English engraver, 
mentioned by Strutt, by whom there is a portrait 
of Sir William Petty. 

SANFELICE, Ferdinando, a noble Neapolitan 
painter and architect, descended from the Normans, 
was born at Montagna in 1675. He studied under 
Solimena, and painted a number of good historical 
works ; he also attained great excellence in repre- 
senting fruit, landscapes, and perspective views. 
He patronized Solimena, who painted a saloon in 
his palace, which afterwards became a gallery for 
young artists, and was called The Sanfelice, after 
its original possessor. About the time when Phil- 
ip V. succeeded to the Spanish throne, Sanfelice 
applied himself to architecture, and made many 
excellent designs for the festal decorations on the 
arrival of the monarch at Naples. He afterwards 
attained a high reputation, and was extensively 
employed. Among his principal works were the 
Palazzo Serra; the enlargement of the Palazzo 
Monteleone ; two palaces in the Borgo delle Ver- 
gine, and near the Seggio di Montagna ; and the 
fa9ade of St. Lorenzo, He died in 1759. 

SAN FRIANO, Maso di. See Manzuoli. 

SANGALLO, or SAN GALLO, da, a family 
of eminent Italian architects, whose original name 
was Giamberti. Giuliano Giamberti, born at Flor- 
ence in 1443, was the son of Francesco G,, an ar- 
chitect of some repute in the service of Cosmo de' 
Medici. In concert with his brother Antonio, he 
first practised carving in wood, and attained some 
celebrity. Giuliano was next employed in the ca- 
pacity of a military engineer, by Lorenzo de' Me- 
dici, who highly esteemed his abilities. He after- 
wards devoted himself to architecture, and was 
employed to erect the cloister of the court of S. 
Maria Madalena de' Pazzi at Florence, where he in- 
troduced an Ionic order, with capitals remarkable 
for an ornamental necking, at that time an innova- 
tion, but copied, according to Milizia, from an ancient 
capital found near Florence. While in the service 
of Lorenzo, he visited Naples to present the King 
a model for some architectural works near the 
Castel Nuovo ; and the monarch was so highly 
pleased, that he ojffered him a rich present of 
horses, clothes, and other valuables, among them, 
a silver cup, containing a hundred ducats. The 



architect declined the gifts, saying that he was in 
the service of Lorenzo de' Medici, who did not 
value riches. The king, surprised at his honora- 
ble independence, insisted on his selecting what- 
ever pleased him, and he therefore chose three an- 
tiques — a head of Adrian, a naked female figure, 
and a sleeping cupid — which, on his return to Flor- 
ence, he presented to Lorenzo. He was afterwards 
commissioned by that nobleman to erect a large 
convent near the gate of San Gallo ; whence he 
obtained the name of da San Gallo, at first jest- 
ingly bestowed by his patron, but subsequently 
adopted by himseK and all his family. In 1490, 
Sangallo commenced the Palazzo Gondi for a 
wealthy merchant of that name, which is highly 
praised for the beauty of its fagade and the ele- 
gance of its general proportions. He also erected 
the Palazzo Imperiale, and was invited to Milan, 
to build a palace for the Duke, but was prevented 
by the civil commotions, Sangallo was much 
patronized by Cardinal della Rovere, for whom he 
erected a palace at Savona, and several other edi- 
fices. During the pontificate of Alexander VI., 
he restored the soffite of St. Maria Maggiore ; and 
adorned the national church dell' Anima with a 
square fa9ade of three orders of pilasters. When 
his patron, the Cardinal della Rovere, became Pope 
Julius IL, Sangallo expected to be appointed ar- 
chitect of St. Peter's ; and when Bramante was 
chosen, he retired in disgust to Florence, He was 
afterwards recalled by the Pope, and returned 
to Rome ; but not being successful in any im- 
portant work, he returned to Florence. At the 
accession of Leo X., Sangallo returned to Rome, 
and was offered the appointment of architect of 
St. Peter's ; but he declined it, on account of his 
age and infirmities. He died two years afterwards 
at Florence, in 1517, aged 74. His abilities were 
very great, and were very highly esteemed in an 
age so fruitful in eminent architects. Vasari men- 
tions Francesco Sangallo, a son of Giuliano S., as 
a skillful sculptor. One of his principal works 
was the mausoleum erected at Monte Cassino, by 
order of Clement VII., in honor of Pietro de' Medici. 

SANGALLO, Antonio, the brother of Giu- 
liano S,, probably born at Florence about 1450. 
In concert with the latter, he practised wood car- 
ving for some time, but was at length induced by 
him to study architecture. He completed the pal- 
ace commenced by Giuliano at Savona, and after- 
wards visited Rome, during the Pontificate of Al- 
exander VL, who commissioned him to convert the 
mausoleum of the Emperor Hadrian into a fortress, 
called the Castle of St, Angelo. Sangallo dis- 
played such excellent abilities in this work, that 
his reputation was immediately established, and 
Duke Valentino, the Pope's son, employed him 
to erect the fortress of Civita Castellana, and af- 
terwards that of Montefiascone. Among his other 
works, was a beautiful temple to the Madonna at 
Montepulciano, and several churches at Monte 
Sansovino. Sangallo was intimately acquainted 
with the antique*^ and improved the Doric order. 
In the latter part of his life, he relinquished the 
practice of his profession, on account of bodily 
infirmities, and devoted himself to agriculture. 
He died at an advanced age, in 1534. 

SANGALLO, Antonio, an eminent Italian ar- 
chitect, the son of Bartolomeo Picconi, was boru 
at Mugello, in the Florentine state, about 148.2. 
He was the nephew, on the maternal side, of the 



SANG. 



842 



SANG. 



two preceding architects, and adopted their sur- 
name. He first learned the carpenter's trade, but 
dazzled by the fame of his uncles, he went to Rome, 
and entered their school, where he remained un- 
til they left Rome. He afterwards studied under 
Braraante, to whom, then advanced in years, he 
soon became of great assistance. According to 
Milizia, his first work was the church of the Ma- 
donna di Loretto, near Trajan's column. His tal- 
ents attracted the attention of several distinguished 
personages, among whom was Cardinal Alexander 
Parnese. (afterwards Pope Paul IH.,) who em- 
ployed him to rebuild his palace in the Campo de' 
Fiori, the first beginning of that splendid pile, 
which alone would have established his fame. He 
afterwards greatly extended it when his patron be- 
came Pope, and carried it up to the majestic corni- 
cione, which was subsequently added by Michael 
Angelo. This noble structure is one of the most 
magnificent edifices of Rome, and has received the 
applause of all succeeding ages. The Reform Club 
House, Pall-Mall, London, though differing in sev- 
eral details, is a good imitation of the Farnese 
Palace. Sangallo also erected a palace for the 
Marquis Baldassini, and the Palazzo Pasquino di 
Santo Buono. In the great island of Lake Bolsena 
he constructed two small temples, one octangular 
without, and circular within, the other square 
without and octangular within, with four niches, 
at the side faces, with a beautiful altar. In con- 
cert with Sanmicheli, he was sent by Clement VII. 
to fortify Parma and Piacenza. When the Em- 
peror Charles V. passed through Rome, Sangallo 
directed all the festivals given in honor of that 
monarch. Before the palace of St. Mark at Venice, 
he erected a triumphal arch of four Corinthian 
columns, between which were two victories. In 
the pediment were two figures in relievo, repre- 
senting emperors of the house of Austria. It was 
a most superb work, for invention, proportions, 
and embellishments in painting and sculpture. 
For the Duke de Castro he built the fortress of 
Nepi, raised the streets of that city, and designed 
a number of private mansions for the citizens. 
At Rome he executed a number of bastions, and 
the gate of St. Spirito, a solid and magnificent 
work, resembling a structure of antiquity. Among 
his other works at Rome, were the restoration of 
the Vatican, the erection of the elegant Pauline 
chapel, so greatly admired for its exact proportions, 
and a noble palace for himself in the Strada Giu- 
lia, now belonging to the Marquis Sacchetti. He 
was a masterly architect, not only for his taste 
and elegance, but particularly for the solidity of 
his works. 

At the death of Baldassare Peruzzi, in 1536, 
Sangallo was appointed sole architect of St. Pe- 
ter's. With the view of preventing those changes 
introduced by the preceding architects, the Pope 
ordered him to prepare a model so large and ex- 
pensive, that there was no danger of its ever be- 
ing destroyed or forgotten. After several years, 
it was completed, at the expense of 4184 crowns; 
it is fifty-five Roman palms in length (about 
twenty-eight and a half English feet), and is now 
preserved in the Vatican. Although Sangallo did 
not complete the edifice, he enlarged the piers of 
its foundations, and filled them wiHi a very large 
amount of solid material, which greatly contri- 
butes to the firmness of this immense edifice. In 
the first volume of Wood's Letters of an Archi- 
tect, there is an elevation of Sangallo's model. 



which appears very different from the building as 
subsequently completed. The cupola would have 
had two orders, one around the tambour, another 
carried up above the spring of the dome, which 
also would have been of much lower proportions 
than the present one; while two loft}?^ and taper- 
ing campanili would have been y^iYj conspicuous, 
contrasting, yet harmonizing with the cupola. Al- 
though the design was broken into a multiplicity 
of parts, yet they were agreeably propoitioned, 
tastefully combined, and consistent in character; 
which is more than can be properly afiirmed of 
the present fa9ade, by Carlo Maderno (q. v.), in 
which there is a want of agreement between the 
order itself and the other parts, and also a defi- 
ciency in variety of outline. In the latter part of 
his life, Sangallo was sent by the Pope to settle 
the disagreement between the inhabitants of Terni 
and Rieti, concerning their right to the Lake of 
Marmora. He terminated the strife with extreme 
difficulty, by dividing the lake between them. 
While remaining at Terni, he was takea ill, and 
died in 1546. His remains were removed to Rome, 
and were deposited with great pomp in St. Peter's, 
near the Sistine chapel. 

According to Milizia, Sangallo had a brother, 
Antonio Battista Gobbo S., who attained consid- 
erable excellence in the art, and usually assisted 
him in his numerous commissions. He published 
an edition of Vitruvius, with many marginal notes 
and well drawn figures. 

SANGALLO, Bastiano da, called Aristotile, 
from his skill in perspective, an Italian painter and 
architect, was a cousin of the more eminent An- 
tonio S., and born at Florence in 1481. He first 
studied painting under Pietro Perugino ; but af- 
ter seeing Michael Angelo's cartoon of Pisa, he 
left the studio of his master, and, like many other 
artists, commenced studying and copying that 
celebrated production. Besides copying the prin- 
cipal parts separately, in detail, he made a copy of 
the entire composition, on a reduced scale, which 
after a few years became extremely valuable, the 
original having been destroyed by Baccio Ban- 
dinelli. According to Lanzi, he exercised himself 
for several years in figure painting; he copied 
several subjects from Michael Angelo and Raf- 
faelle, and executed many Madonnas and other 
pictures of his own composition. At the instance 
of his friend Vasari, Sangallo afterwards painted 
a copy in oil, in chiaro-scuro, of Buonarotti's car- 
toon, and sent it to Francis I., who, with his 
usual liberality, rewarded the artist in munifi- 
cent style. The latter work is now in the Earl 
of Leicester's collection at Holkham, and is en- 
graved in Forster's " British Gallery." In the 
meanwhile, Bastiano began to appl};^ himself to 
architecture, and joined his brother Giovanni Fran- 
cesco at Rome, where the latter, then engaged upon 
the works at St. Peter's, employed him to oversee 
his business concerns. During his stay at Rome, 
Bastiano frequently visited Raffaelle, to whom he 
had been introduced by Giannozzo Pandolfini, 
bishop of Troia ; and when the latter built him 
self a house at Florence, fiom the designs of Raf- 
faelle, Giovanni Francesco was employed to con- 
duct the work, which devolved upon Bastiano at 
his brother's death in 1530. This edifice, the 
Palazzo Pandolfini, is considered a master piece 
of art ; but its excellence cannot proper!}^ be at- 
tributed to Bastiano. who was alw'ays employed 
upon works of a temporary character. 



SANG. 



843 



SANM. 



Upon settling at Florence, after his return from 
Rome. Sangallo applied himself to architectural 
and perspective painting. He was chiefly em- 
ployed in designing and executing the decorations 
for numerous festivals, in which he displayed great 
skill. He afterwards visited Rome, and was em- 
ployed by his cousin Antonio to superintend some 
of his works at Castro. For the Cardinal Farnese 
he executed a fine perspective, and then returned 
to Florence in 1547, where he died in 1551. 

SAN GIMIGNANO, Vincenzio di, a Tuscan 
painter, who studied at Rome, and was a very suc- 
cessful imitator of Raffaelle. Vasari highly com- 
mends him for some fa9ades he painted in fresco at 
Rome, which have now perished. According to 
the author above referred to, he returned to his 
own country on the sacking of Rome in 1527, so 
broken-hearted and dispirited that we have no ac- 
count of his subsequent works. 

SAN GIORGIO, EusEBio di, a painter who, ac- 
cording to Pascoli, was born at Perugia about 
1478. and died about 1550. He was a pupil and 
imitator of Pietro Perugino, and executed some 
works for the churches at Perugia and other pla- 
ces, designed in the style of his master, but more 
feebl}'' colored. 

SAN GIOVANNI, Giovanni ua. See Man- 

NOZZI. 

SAN GIOVANNI, Ercole da. See Maria. 

SAN GIOVANNI, Oltviero da, a painter who 
flourished at Ferrara about 1450. He painted 
both in oil and fresco, and, according to Baruffaldi, 
executed many works for the churches. His Ma- 
donnas and similar subjects were numerous, and 
much admired. 

SANLUCANO, Novella da, a Neapolitan ar- 
chitect, who studied at Rome, and flourished in 
the latter part of the 15th century. He restored 
the church of S. Domenico at Naples, removing 
many of the Gothic parts. His principal work, 
however, was the palace of Roberto Sanseverino, 
prince of Salerno, who gave no other direction to 
the architect than to produce the most sump- 
tuous edifice that had ever been seen. After ten 
j^ears, in 1480, the palace was completed ; it was 
built of travertine stone, worked so as to resem- 
ble the points of a diamond. The princess Isabel- 
la Feltri della Rovere afterwards presented this 
superb edifice to the Jesuitical order. 

SANMARCHI. See Sammartino. 

SANMICHELT, Michele, a celebrated Italian 
architect, equally famous in both the civil and 
military branches of the art, was born at Verona 
in 1484. He acquired some knowledge of archi- 
tecture from his father Giovanni and his uncle 
Bartolomeo, but gained the most improvement 
by studying the amphitheatre and other remains 
of antiquity in his native city. At the age of 
sixteen he visited Rome, where he prosecuted his 
studies with great assiduity for many years, liv- 
ing on terms of intimacy with Bramante, Michael 
Angelo, the Sangalli, Sansovino, and others. His 
first works in that part of Italy, were the cathe- 
dral of Monte Fiascone, octangular, beautifully 
proportioned, with a graceful cupola (subsequent- 
ly injured by fire, and restored in a very inferior 
style) ; the famous temple of St. Domenico at Or- 
\ieto } and a number of beautiful small palaces in 



both cities. Having acquired considerable repu- 
tation, Sanmicheli was sent, by Clement VII.. in 
company with Antonio Sangallo, to visit the for- 
tifications of the Ecclesiastical States. Having 
executed this commission, he revisited his native 
Venetian territory about 1525, and was employed 
by the republic to construct the new fortifications 
at Verona, whefe he mtroduced a number of im- 
provements, which have been universall}^ adopted 
throughout Europe, and have totally changed the 
system of military architecture. Before the time of 
Sanmicheli, the bastions were always either round 
or square. He introduced the triangular and pen- 
tangular bastions, with plain fosses, flanks, and 
square bases, which doubled the support. The 
particular feature of his improvement consists 
in defending every part of the wall b}'- flanks, ren- 
dering the operations of besieging much more haz- 
ardous and difilcult. Blondel, Vauban, and others, 
have modified the inventions of Sanmicheli, and 
have thereby gained a part of the glory which just- 
ly belonged to the original inventor. At Verona, 
he constructed five or six bastions in this manner, 
which have remained for more than 200 years. 
His military works are constructed with such so- 
lidity, that not a stone has moved. Not content 
with his first inventions, he went on making other 
improvements, instructed by his own works, until 
his fame increased to such a degree that the Duke of 
Milan repeatedly requested his services of the Ven- 
etian Senate, who at length granted him for three 
months only. While in the Milanese state, he vis- 
ited Casale de Monferrato, to inspect that city and 
its strong castle, erected b}^ his cousin Matteo San- 
micheli, an excellent sculptor and architect, who 
executed the noble marble sepulchre at the church 
of S. Francesco in that city. The Duke was so 
highly pleased with his designs and advice, that 
he loaded him with gifts and honors. Sanmicheli 
next visited all the fortifications of the Venetian 
state, restoring and improving them everywhere. 
At Zara, in Dalmatia, he left his designs to the 
execution of his nephew Gio. Girolamo S., who, 
after fortifying the city, erected the admirable for- 
tress of St. Niccolo at the port of Sebenico. Mi- 
chele also fortified Corfu, Cyprus, Candia, and 
other islands belonging to the Venetians. Per- 
haps his most famous military edifice, is the Cas- 
tello di St. Andrea, built of Istrian stone, with a 
stately rusticated fa9ade. on the shore of Venice. 
It appeared impossible that, on so marshy a situa- 
tion, exposed to the ebb and flow of the tide, an 
immense fortress could be erected with any hope 
of security. Accordingly, when the structure was 
completed, it was reported, and generally believed, 
that the firing of heavy artillery would destroy 
the work; whereupon Sanmicheh requested that 
the fort should be supplied with two tier of the 
largest cannon, and that they all might be fired 
at the same moment ; which was accordingly done, 
but without moving a single stone in the building. 
The Emperor Charles V., and Francis I. of France, 
invited him and his nephew to enter their service, 
but they declined the alluring ofiers. 

As a civil architect, according to Milizia, the 
genius of Sanmicheli was sublime. Solidity and 
convenience, unity, simplicity, and harmony, are 
conspicuous in all his works. Like Palladio, Mi- 
chael Angelo, and other great architects, he was 
faulty in details, particularly in the use of the or- 
ders. Milizia says, "his Tuscan architrave and 



SANS. 



844 



SANT. 



capital are composed of so many members, that 
they resemble the Doric. The flutes of his Doric 
columns are too small for the solidity of that or- 
der. To the Corinthian he invariably gave mo- 
dillions and dentils. He also attached his columns 
in the walls^ and placed them on pedestals, higher 
than those of Vignola, that is, more than a third 
of the height of the order. FinalTyj^to the Doric 
he put immense pedestals, with a profusion of or- 
naments." His interior arrangements are often 
inconvenient, and sometimes very irregular. Not- 
withstanding these faults, his exterior architecture 
exhibits less of mannerism, and more of invention 
and fine taste, than that of Palladio, particularly 
in his lofty and majestic rusticated basements. 
Among his principal edifices at Verona, are the 
Palazzo Oanossa; the Palazzo Bevilacqua, of 
which the fa9ade is beautifully ornamented ; the 
Palazzo Verzi, and the Palazzo Pompeii, designed 
in excellent taste. His Oapella Guareschi, or Pel- 
legrini, in St. Bernardino is greatly admired, and 
deserves a particular description. It is a small 
round Corinthian temple, with three altars, and 
four niches for statues. The altars, pedestals, 
pediments, cornices, and the arches themselves, 
are all circular. The light is admitted by four 
apertures, each decorated with two columns. Of 
the eight columns, four have flutes in the regular 
manner, and the others are entirely plain ; all are 
plain to within about one- third of their length from 
the bottom, that they might be less liable to injury. 
The chapel is adorned with beautiful statues. Among 
his other works at Verona, is the beautiful church 
of the Madonna di Campagna. At Venice, he erect- 
ed the Palazzo Griraani, and the Palazzo Oornaro 
at S. Paolo. 

During the latter part of his life, Sanmicheli 
enjoyed in tranquillity the honorable fruits of his 
labors, esteemed by ail for his excellent character, 
and admired for his surpassing talents. He was 
suddenly surprised by intelligence of the death of 
his beloved nephew and pupil Gio. Girolamo San- 
micheli, at the age of forty-four, in the island of 
Cyprus. Overwhelmed by the shock of this af- 
fliction, his powers rapidly failed, and he died a 
few days after, in 1559, aged 75. His remains 
were deposited in the church of S. Francesco at 
Verona. 

SANSONE, II. See Marchesi. 

SANSOVINO, Andrea. See Contuccio. 

SANSOVINO, Jacopo. See Tatti. 

SANTA-CROOE, Francesco Rizzo da. Ac- 
cording to Tassi, this painter was a native of San- 
ta Croce, in the Bergamese territory, and flour- 
ished from 1507 to 1529 ; Zani says from 1507 to 
1545 ; Lanzi says the last date of which he can 
find any account is on a picture in the parochial 
church of Chirignano, dated 1541. In one Of his 
pictures in the parish church of Endine, he signs 
himself Franciscus Rizus Bergomensis habitator 
Venetiis, 1529 ; and another in the parochial 
church of Serina, Francesco da Rizo Santa 
Croce depense, 1518. Without entering further 
into the disputes about this artist, suffice it to say 
that he studied at Venice, under Vittore Oarpaccio, 
and, following the example of his instructor, he 
adopted a more modern style than was practised 
by his predecessors, the Bellini. He painted some 
altar-pieceSj which are gracefully composed, deli- 



cately colored, and enriched with noble architec- 
ture. Zanetti divides him into two artists, but 
Lanzi saj^s he is evidently in error. 

SANTA-CROCE, Girolamo Rizzo da, was 
doubtless of the same family as the preceding ; 
Federici says he was the father of Francesco ; Ri- 
dolfi, that they were of the same family ; and 
Tassi, that the dates on his pictures commence la- 
ter and are traced up later than those of Frances- 
co, viz., from 1520 to 1549 ; Zani gives the date of 
one 1549, and says he operated in 1552. Zanetti 
says he approached nearer to the styles of Gior- 
gione and Titian than any other artist of his time. 
Others accuse him of retaining something of the 
ancient Venetian style, but Lanzi vindicates him 
from this charge, especially in his cabinet pictures 
of bacchanalian and other subjects. " They dis- 
play a grace of composition, study of foreshorten- 
ing and of the naked parts, and a harmony of col- 
oring, forming a mixture of different schools, in 
which the Roman predominates, and least of all 
the Venetian. In his celebrated picture of the 
Martyrdom of St. Lorenzo, he availed himself of 
the engravings of Marc' Antonio, after Bandinelli 
and others, but without appearing a mere copyist, 
for he varied his figures, and especially his land- 
scape, in which he was very skillful." There are 
several of his works in the churches at Venice, 
and in the State, the chief of which are the Mar- 
tyrdom of St. Lorenzo, in the church of S. Fran- 
cesco della Vigna, and the Last Supper in S. Mar- 
tino at Venice ; the latter is inscribed Hieronimo 
de Sancta Croce, MDXXXXVIII. 

SANTA-CROCE, Pietro Paolo, a painter who 
flourished at Padua about 1591. According to the 
Guida di Padova, he was of the same family as 
the preceding. There are some of his works in 
the churches of Padua, which Lanzi says show 
that he was attached to the school of Cavagna, or 
at least to the less mannered class of Venetian 
artists. He also painted pictures of Madonnas, 
Holy Families, &c., for the collections. There 
were several other artists of this name, of little 
note. 

SANTAFEDE, Francesco, a Neapolitan paint- 
er who, according to Dominici, was the disciple of 
Andrea Sabbatini, whose style he followed with 
great success. He executed many works for the 
churches, which are well designed ; his attitudes 
are elegant and select, his coloring fresh and vigor- 
ous, and his masses of light and shadow conducted 
with intelligence. Lanzi says that, in point of col- 
oring, he has few equals in the Neapolitan school, 
and his works possess a singular uniformity of 
style. One of his best works is the Coronation 
of the Virgin, in the church of S. Maria la Nuova. 
He flourished in the last half of the 16th century. 

SANTAFEDE, Fabrizio, was the son of the 
preceding, born at Naples in 1560. After receiv- 
ing instruction from his father, he became the 
scholar of Francesco Curia, and next went to Rome, 
where he devoted two years to the study of the 
works of the best masters. On his return to Na- 
ples he acquired a high reputation, and was era- 
ployed in executing many works for the churches 
and public edifices, which are highly commended 
by Dominici in his Lives of the Neapolitan Artists. 
The principal of these are the Nativity, and the 
Angel appearing to the Shepherds, in La Nunziata ; 
the Adoration of the Magi, in S. Maria de Con- 



I 



SANT. 



845 



SANT. 



stantinopoli ; and the Deposition from the Cross, 
in the possession of the Prince di Somma. Though 
he acquired a higher reputation than his father, 
the experienced discover in the works of the latter 
more vigor of expression, and a better effect of 
light and shadow. He died in 1636. 

SANTAGOSTINO, Giacomo Antonio, a Mi- 
lanese painter, born, according to Orlandi, about 
1588, and died in 1648. He studied under Giulio 
Cesare Procaccini, whose style he adopted. He 
acquired considerable reputation, and executed 
several works for the churches at Milan, particu- 
larly in S. Lorenzo Maggiore, S. Maria del Lanta- 
zio, and in S. Vittore ; but he wrought more for 
individuals. He had two sons, Agostino and Gia- 
cinto, both of whom he instructed in the art. Lan- 
zi says they were good artists, and distinguished 
above most of their cotemporaries. They some- 
times wrought together, as in the church of S. Fe- 
dele, where they painted two grand histories ; at oth- 
er times separately, and each executed several works 
for the churches. Agostino was the most distin- 
guished ; he wrote a work upon the paintings of Mi- 
lan, entitled Ulmmortalitd e Gloria del Pennello. 
Lanzi says " his pictures exhibit him in the light 
of a good painter of his time ; in particular a Ho- 
ly Family in St. Alessandro, and a few others 
among the more highly finished, in which he dis- 
plays expression, beauty, and harmony, although 
he is somewhat too minute." 

SANTAKELLI, Gaetano, a painter of noble 
birth, and a native of Pescia. Having a passion 
and a talent for painting, he studied with Ottavia- 
no Dandini at Florence, under whom he made 
great progress. He next went to Rome for im- 
provement, and executed some works which gave 
earnest of distinction, had he not died there in the 
flower of his life. 

SANTARELLI, Giovanni Antonio, a distin- 
guished Italian engraver on gems, was born at 
Manopello, in the territory of Abruzzo, in 1759. 
He was placed at an early age under a painter of 
Chieti; but having little inclination for that art, 
he determined to learn to engrave on gems, and 
accordingly set out for Rome. On arriving in that 
city, he made several attempts, which excited the 
admiration of Pikler, and Santarelli was admitted 
to the studio of that artist, who is said to have 
frequently attached his own signature to the works 
of his pupil. After remaining several years un- 
der Pikler, he established a studio at Rome, and 
soon attained distinction. Among his principal 
productions are the heads of Dante, Petrarch, Boc- 
caccio, Michael Angelo, and Machiavelli, which are 
now in the Louvre ; also a number of medals. In 
1797 he visited Florence, and was appointed a Pro- 
fessor in the Academy of Fine Arts. He was hon- 
ored with the knighthood of the Order of the Re- 
union by Napoleon, and with membership in the 
Legion of Honor by Louis XVIII. ; was associa- 
ted to the academies of Berlin, Vienna, and St. 
Luke at Rome. Santarelli resided many years at 
Florence, instructing his pupils in the art, until 
1826, when he died. 

SANTELLI, Felice, a painter of Rome, of 
whom little is known. He painted in competition 
with the Oav. Giovanni Baglioni, in the church of 
the P. P. Spagnuoli del Riscatto Scalzi at Rome. 
There are also some of his works in churches in 
the State, particularly in S. Rosa at Viterbo, which 



Lanzi says show a painter full of truth. He flour- 
ished in the first part of the 17th century. 

SANTERRE, Jean BAPTisTE,a French paint- 
er, born at Magny, in Pontoise, in 1651. He was a 
pupil of Bon Boullongne, and, though deficient 
in readiness and fertility of invention, he studied 
after nature with great assiduity, and attained con- 
siderable excellence. He painted women and 
young girls with success, in portraits and domes- 
tic subjects, carefully and correctly designed, and 
colored with greater harmony than the works of 
his cotemporaries. He also painted several histo- 
rical works, among which are St. Theresa, in the 
chapel at Versailles ; a penitent Magdalene, in the 
King's collection ; and Susanna and the Elders, his 
reception-piece at the Academy, formerly in the 
hall of that institution, and now in the Louvre. 
Santerre died at Paris in 1717. 

SANTI, or SANTO, de Titi. See Titi. 

SANTI, Antonio, a painter born at Rimini, 
who studied with Carlo Cignani at Bologna. Lan- 
zi says there are some of his works at Rimini, 
where he is extolled as one of the best pupils of 
his master. He died young at Venice in 1700. 

SANTI, Bartolomeo, a painter of Lucca, who 
flourished in the first part of the 18th century. 
He was an imitator of Pietro da Cortona, and ex- 
celled in ornamental and perspective painting. He 
was much employed in theatrical and other deco- 
rations. 

SANTI, Domenico, called II Mengazzino, an 
eminent perspective and architectural painter, born 
at Bologna, according to Orlandi, in 1621, and 
died in 1694. He studied under Agostino Metelli, 
whom he very nearly equalled. He executed 
many perspective and architectural pieces for the 
churches and palaces, in which the figures were 
sometimes inserted by Giuseppe Metelli, Gio. An- 
tonio Burrini, but oftener by Domenico Maria Ca- 
nuti. He also painted many pictures of a smaller 
size for the collections at Bologna, which are high- 
ly esteemed, and frequently mistaken for the works 
of his master. Bartsch attributes to him four 
prints, viz. : the portraits of Simone Cantarini, 
and of Lodovico, Agostino. and Annibale Caracci ; 
the first only has his name in full, the second and 
third are marked Canutus, and the fourth with 
the word Libertas. 

SANTIAGO-POLMARES, Don Francisco 
Xavier de, a Spanish painter and designer, born 
at Toledo in 1728, and died at Madrid in 1796. 
He painted, in oil, four views of Toledo, a number 
of landscapes, and several portraits of distin- 
guished persons. He also designed many frontis- 
pieces, which embellish the books published in 
Spain in the last half of the 18th century. 

SANTINI, called the Elder and the Young- 
er, two painters, father and son, who flourished at 
Arezzo in the 17th century. Lanzi says there are 
some of their works in the churches at Arezzo, 
executed in a style much resembling that of the 
Florentine painters of the same epoch. 

SANTIS, Orazio di, an Italian engraver, sup- 
posed to have been a native of Aquila, and flour- 
ished, according to the dates on his prints, from 
about 1568 to 1584. Bartsch describes 17 prints 
by him, mostly after Pompeo delV Aquila, and 
supposes there are others which have not come to 



SANT. 



846 



SANT. 



his knowledge. Nagler saj^s that, in conjunction 
with Cherubino Alberti, he engraved a set of sev- 
ent^^-four plates after the antique statues in Rome, 
published in 1584. There is great inequality in 
the prints of this artist, both in the management 
of the burin, and the care with which they are ex- 
ecuted ; yet they have such a striking resemblance, 
in general efiect, to those of Alberti. that they 
may easily be mistaken for his works, and it is 
very probable he was a pupil of that master. 

SANTISSIMO-SACRAMENTO, Fray Juan 
DEL, a Spanish painter, born at Puente de Don 
Gonzalo in Cordova, in 1611. His real name was 
Juan de Guzman. After studying at Cordova, he 
went to Rome, where he does not seem to have 
profited much from the study of the antique, or 
the works of Rafifaelle. He returned to Spain in 
1634, and went to reside at Seville, where, taking 
part in a revolt, he was obliged to seek refuge in 
the convent of the Carmelites Calzados (shod 
Carmelites'), and assume the habit of the order 
with the above name. His restless and turbulent 
disposition soon caused his superior to send him 
to the convent of the Carmelites Descalzos (bare- 
footed Carmelites), at Aguilar, where a severe dis- 
cipline converted him into a humble and pious 
monk. He was employed in decorating that con- 
vent and others of his order. In 1666 he went to 
Cordova, and spent eleven years in executing works 
for the convent of his order, and for the palace of the 
bishop, and other places in his diocese. He re- 
turned to Aguilar in 1677, where he died in 1680. 
His works gave great satisfaction to his brethren, 
but they possess little merit beyond brilliant col- 
oring, in which he is said to have emulated Ru- 
bens and Vandyck. He had a poor invention, and 
made up his compositions by plagiarisms ifrom 
prints, and his drawing is very defective. 

SANTO-DOMINGO, Fray VrNCENTE de, a 
Spanish painter who died about 1550. Little is 
known of him. He was a monk of the order of 
the Geronomytes, decorated the walls of his clois- 
ter with chiaro-scuros, and executed some paint- 
ings for the convent of S. Catalina de Talavera de 
la Reyna at Logrono. He was the first instructor 
of the illustrious Navarette, called El Mudo. The 
four superb paintings in the church de la Estrella, 
formerly attributed to Santo Domingo, are now 
ascertained to have been painted by El Mudo while 
he resided at Logrono, for the benefit of his health, j 
by the permission of Philip II., in 1569. { 

SANTOS, Juan, a Spanish painter, who flour- j 
ished at Cadiz about 1662. No idea can be formed | 
of his style or merits from the account given by 
his biographer, Bermndez, which is, in substance, 
that he was a fresco painter, and much employed 
in painting standards for vessels sent to Spanish 
America and elsewhere. " He also painted pretty 
little pictures to please certain ladies of Andalu- 
sia, who in point of taste are not inferior to those 
of any country, and consequently such pictures 
taxed both the ingenuity and delicacy of the paint- 
er to give satisfaction to his amiable employers." 
He probably decorated their fans. 

SANTO, GiROLAMO DA. See Padova. 

SANTVOORT, Anthony. There were two 
ob,scure Dutch painters of this name; the first 
flourished about 1550, and the second about 1661. 
Strutt mentions a print representing an Alman&c- 
seller, with a town and church in the back-ground. 



neatl}^ etched in a style resembling that of Hollar, 
signed A. Santvoort. 

SANTVOORT, Dirk van, a Dutch painter, sup- 
posed to have been a son of the latter Anthony S. ; 
but this is very doubtful, as there are prints after 
his works by Theodore Matham and Jonas Suy- 
derhoef, which show that he must have flourished 
long before the death of his supposed father. He 
painted history and portraits, somewhat in the 
manner of Rembrandt. The accounts of him are 
very meagre. There were two other obscure 
painters named Santvoort, who flourished at a la- 
ter period. 

SANUTO, or SANUTUS, Giulio, an Italian 
engraver, who flourished at Venice from about 
1530 to 1540, and probably later. Zani says he 
was living in 1580. He engraved quite a number 
of prints, which are executed in a coarse, heavy 
style, with single strokes without any hatching, 
resembling a wooden cut. The following are all 
that are mentioned by Bartsch, Nagler, and others : 

A print of the Birth of a monstrous Child, inscribed Jul. 
Sanvtus Venet,fec. Venus and Adonis ; after Titian. 
Apollo and Marsyas ; after Correggio ; in three sheets. 
The Marriage of the Virgin ; after JRafaelle ; with the 
engraver's mark. The Massacre of the Innocents, signed 
Baccius Brandin Inven., and Marc' Antonio's cipher. 
The monstrous Child, signed Jul. Sarinutus Venet Pac. 
The birth of this monstrous child took place at Venice in 
1540; the mother was a German. Two winged Genii in 
the air, supporting a Globe, on which Cupid stands dis- 
charging an Arrow to the left of the print ; no name of en- 
graver. Dance of Bacchanals in a Wood ; signed Julius 
Sannutus. F. Apollo and Marsj'as, after Correggio, 
with the Parnassus. q/i;er Raffaellefm three sheets. The 
story of Apollo and' Marsyas, from which the engraving 
was taken, ornamented the case of a harpsichord. The 
Martyrdom of St. Lawrence. St. John the Baptist. The 
Tree of Life. Venus restraining Adonis. A Vase with 
two handles, ornamented with festoons and figures. The 
Punishment of Tantalus. The dead body of Christ sup- 
ported by the Virgin and Angels ; after Michael Angela ; 
it is in the collection of H. R. Willet, Esq. 

SANZ, AuGusTiN, an eminent Spanish archi- 
tect, born at Saragossa in 1724. He studied the 
theory of his profession in the School of Design 
established in his native city at the e.xpense of the 
sculptor Ramirez, and acquired a knowledge of the 
practical part under Ray m undo Cortes, surveyor- 
general of the public buildings. He gained his 
greatest advantage, however, from the advice and 
instruction of Ventura Rodriguez, when the latter 
was engaged at Saragossa in erecting the chapel 
del Pilar. His reputation gradually increased, 
and he was employed by government and by pri- 
vate individuals. In 1775 he was chosen a mem- 
ber of the Academy of S. Ferdinando, and in 1792, 
at the formation of the Academy of St. Luis, he 
was appointed Director of that institution. He 
discharged the duties of his important oflice with 
fidelity, doing much towards eradicating the pre- 
judices and corrupt taste of the preceding period, 
and towards introducing a better style. He was 
appointed by government to inspect all designs for 
public buildings proposed to be erected in Arragon. 
Among his principal works are the churches at 
Urrea and Binaces ; and the church of Santa Cruz 
at Saragossa, in the form of a Greek cross, of the 
Corinthian order. Sanz died in 1801, leaving a 
son named Matias S., who was also an architect. 
He erected, among other works, the facade of the 
church at Epila, left incomplete by his father. 

SANZIO, Raffaelle. See Raffaelle. 



SARA. 



847 



SARA. 



SARABIA, Diego Sanchez, a Spanish archi- 
tectural designer and painter of familiar subjects, 
who resided at Granada, and in 1762 was elected 
a member of the Academy of San Ferdinando in 
that city. By the desire of that body, he made 
plans of that magnificent monument of Moorish 
art, the Alliambra, and of the elegant Greco-Roman 
Circus of Charles V. at Granada. He also copied 
all the ornaments, bassi-relievi. and ancient oil 
paintings that adorn those edifices. These works 
were presented to Charles III., who was so pleased 
with their execution, that he commanded the orig- 
inals to be preserved in the Academy, and copies 
to be made for himself. Sarabia executed some 
cabinet pictures of various subjects, in all of which 
his predilection for architecture is exhibited. He 
died at Granada in 1779. 

SARABIA. Jose de, a Spanish painter, born 
at Seville in 1618. according to Palomino, but Ber- 
mudez says in 1608. He first studied with Au- 
gustin del Castillo, and, on the death of that mas- 
ter, with Francisco Zurbaran. He acquired a high 
reputation in his day, and executed many works 
for the churches and convents of Seville and Cor- 
dova. Though he was not deficient in merit, he 
was a shameless plagiarist. He frequently took 
his subjects from the prints of the Sadelers and 
others, and imposed them on the ignorant as his 
own inventions. He thus copied the Nativity and 
another picture from prints after Rubens, for the 
monaster}'- of S. Francisco at Seville, and the Ele- 
vation of the Cross, by the same master, for the 
convent de Arrizaffa. His best original work is 
the Flight into Egypt, in the convent de la Victo- 
ria at Seville. It is so beautifully designed, col- 
ored, and handled, as to cause regret that he had 
not avoided such glaring acts of piracy, and con- 
fined himself entirely to his own compositions. 
He died at Cordova in 1669. 

S AR ACINO, or S ARACENI, Carlo, called also 
from his birth-place. Carlo Veneziano. a painter 
born at Venice, according to Orlandi, in 1585. He 
first studied at Venice, and then went to Rome, 
and placed himself under the instruction of Camil- 
lo Mariani, but he afterwards adopted the manner 
of Caravaggio. He acquired considerable reputa- 
tion, and was employed to execute many works, 
both in oil and fresco, for the churches of Rome, 
and the palaces of the nobility. Lanzi says he 
displayed a Venetian taste in his figures, dressing 
them richly in the Levant fashion, and was fond 
of introducing into his compositions corpulent 
persons, eunuchs, and shaven heads. In conjunc- 
tion with the Cav. Lan franco, he painted several 
frescos for the pontifical palace of Monte Cavallo, 
which are considered his best performances. His 
other principal works at Rome are the Death of 
the Virgin, in the church of S. Maria in Trasta- 
vere ; and the Virgin and Infant, with St. Anne, 
an altar-piece in a chapel of the church of S. Si- 
mone. He was next invited back to Venice, to 
paint a grand picture in the Council Chamber, but 
he did not live to finish it. He died in 1625. Bag- 
lioni says he died in 1585, aged about 40 — evident- 
ly an error or a misprint into which others have 
fallen, as Lanfranco was born in 1581. Zani says 
he was born in 1585, and died in 1625, which dates 
are doubtless correct. He is said to have executed 
a few spirited etchings from his own designs, but 
there is no certainty with regard to the prints at- 
tributed to him. 



SARAZIN, Jacques, a French sculptor, born 
at Noyon in 1590. He studied under the elder 
Guillain at Paris ; and afterwards visited Italy for 
improvement. Finding a protector in the Cardi- 
nal Aldobrandini, nephew of Clement VIII., he 
was commissioned to execute for the villa of that 
prelate, at Frascati, two colossal statues of Atlas 
and Polypheme. He studied the works of Michael 
Angelo, and was assisted by the counsel of Domen- 
ichino. when executing some sculptures at the por- 
tal of S. Andrea della Valle, while the latter was 
engaged in painting the vault of that church. Af- 
ter a residence of eighteen years at Rome, Sarazin 
returned to France, and while stopping at Lyons, 
executed the statues of St. John and St. Bruno, 
for the Carthusian monastery. On arriving at 
Paris, in 1628, he soon gained reputation, and was 
employed by the Cardinal de Richelieu, the Mare- 
chal d' Effiat, and others. At the instance of Des- 
noyers, he executed eight grouped Caryatides for 
the Louvre, which were distinguished for lightness 
and elegance of the figures, and gained for the art- 
ist a pension from the king, with apartments in the 
Louvre. Queen Anne of Austria commissioned 
him to execute a group in gold and silver, of an 
Angel presenting the Infant to the Virgin ; and in 
1643 he modelled the statues of two Angels in sil- 
ver, supporting the heart of Louis XIIL, in the 
church of S. Louis de la Rue St. Antoine, distin- 
guished for elegant proportions and beautiful dra- 
peries. Sarazin acted an important part in the es- 
tablishment of the Royal Academy of Painting, 
and was appointed Rector, at the establishment 
of that office in 1655. Besides the works already 
mentioned, he executed the following, highly 
praised by French writers. The mausoleum of 
Cardinal de Berulle, adorned with bas-reliefs rep- 
resenting the Sacrifice of Noah ; two groups of 
Children playing with goats, formerly at Marly ; 
the mausoleum of Henry de Bourbon, Prince of 
Conde, decorated with figures of Religion, Justice, 
Piety, and Strength, and several bas-reliefs of the 
Triumphs of Fame, Time, Death, and Eternity. 
Sarazin made some attempts at painting, and pro- 
duced several pictures of very inferior merit. He 
died at Paris in 1660. 

SARDI, Giuseppe, an Italian architect, was 
a native of Morco, near Como, and flourished in 
the latter part of the 17th century. He was ap- 
pointed architect to the Venetian republic, and 
executed a number of works in that city, among 
which were the fa9ades of the church of the Car- 
melites, of S. Maria de Zobenigo, and of the Beg- 
gar's Hospital. Sardi died in 1699. 

SARRABAT, D., a French painter, was born at 
Paris in 1667. He flourished chiefly at Lyons, 
where he left many historical paintings in oil and 
fresco. He died at Lyons in 1747. 

SARRABAT, Isaac, a French mezzotint engra- 
ver, born at Andely, according to Laborde, in 1670, 
though others say in 1680. One of his best prints, 
the portrait of M. Choiseul Praslin, is dated 1695. 
He was one of the earliest artists of his country 
who practised that method of engraving. Du- 
mesnil gives descriptions of twenty-eight prints 
by him, mostly portraits. Bryan says his prints 
are indifferently executed, but Laborde ranks him 
among the most eminent engravers in mezzotinto. 

SARRAGON, John, a Dutch engraver, who 
flourished about 1645. Only two prints are 



SART. 



848 



SART. 



known by him, the portraits of Adrian Hoffer, and 
G. U. Bergizomius. They are neatly executed in 
the style of James William Delft. 

SARTI, Antonio, a painter who, according to 
Baldassini, flourished about 1600, and executed 
some good works for the churches in Romagna. 
Lanzi also commends him particularly for his pic- 
ture of the Circumcision in the collegiate church 
of Massaccio. 

SARTI, Ercole, called II Muto di Ficarolo, 
an eminent painter born at Ficarolo, in the duchy 
of Ferrara, in 1593. He was deaf and dumb from 
his nativity, and, notwithstanding this misfortune, 
he early exhibited a passion for the fine arts, and 
the only amusement that seemed to interest him 
was the attempt to imitate prints and other objects 
that fell in his way. At the age of fifteen, with- 
out any aid or assistance, and without the know- 
ledge of any person, he painted a picture repre- 
senting the Adoration of the Magi, and on the oc- 
casion of a festival and grand procession, he placed 
it in front of his father's house. The excellence 
of the production, under the circumstances, exci- 
ted universal admiration and astonishment, and 
the young aspirant was immediately placed in the 
school of Carlo Bononi, an eminent historical 
painter at Ferrara. under whose instruction he 
made rapid progress. He afterwards studied with 
Ippolito Scarsellino, whose works he particularly 
admired, He acquired a high reputation for the 
merit of his works under the singularity of his 
circumstances, and his praise was celebrated by 
the poets of his country. He executed several 
works for the churches of Ferrara and Ficarolo, 
particularly for the church of the Benedictines in 
the latter city. His best works are said to com- 
bine the correct design of Bononi with the rich 
coloring of Scarsellino. He also excelled in por- 
traits, and was much employed by the nobility and 
wealthy citizens of Ferrara. The time of his 
death is not exactly known ; some place it in 
1637 ; Zani says he was living in 1650. 

SARTO. Andrea Vannucht del, a celebrated 
painter, born at Florence in 1488. His real name 
was Andrea Vannuchi. but he was called rfeZ/S'ar^o 
from the occupation of his father, who was a tailor. 
Showing an early taste for drawing and designing, 
he was placed with a goldsmith, to learn ornamen- 
tal plate engraving. In this situation he was 
found by Gio. Barile, a wood engraver and a paint- 
er of little note, who persuaded his father to en- 
trust his son to his instruction. He studied with 
this master three years, and then became the dis- 
ciple of Pietro di Cosimo. He, however, derived 
more advantage from studying the works of Ma- 
saccio, II Ghirlandaio, Leonardo da Vinci, and Mi- 
chael Angelo, particularly the two latter, than 
from his instructors. While with Cosimo. it was 
his custom to devote every holy-day to designing 
after the cartoons of da Vinci and Buonarotti. On 
leaving Cosimo, which the morose temper of that 
painter compelled him to do sooner than he would 
have done, he formed an intimacy with Francesco 
Bigio, who had been a disciple of Mariotto Alber- 
tinelli, and in conjimction with him, he executed 
several works for the churches and convents of 
Florence, both in oil and fresco, and each success- 
ive work showed decided improvement, and added 
to his reputation. Lanzi says, " this artist demon- 
strates the ascendancy of native genius over pre- 



cept. When a boy, he was put under the tuition 
of Gio. ]]ari]e, a good carver on wood, employed 
on the ceilings and doors of the Vatican, after the 
designs of Raffaelle, but a painter of no celebrity. 
While still a youth, he was consigned to Pier di 
Cosimo, a practical colorist, but by no means 
skillful in drawing or composition ; hence the taste 
of Andrea in those arts was formed on the car- 
toons of Vinci and Buonarotti, and as many cir- 
cumstances indicate, on the frescos of Masaccio and 
Ghirlandaio, in which the subjects were more suit- 
ed to his mild disposition; it is also certain that 
he went to Rome, and improved himself by con- 
templating the works of Raflaelle. His progress 
from one perfection in art to another was thus not 
sudden, as has happened to some artists, but was 
gradually acquired during many years at Florence." 
This is illustrated in his frescos in the Compagnia 
dello Scalzo, and in the convent of the Servi, where 
his pictures executed at different periods are to be 
seen. At the Scalzo, he painted a series of twelve 
pictures from the Life of St. John the Baptist, in 
chiaro-scuro, the cartoons of which are still pre- 
served in the Palazzo Rinuccini. The first of the 
series, the Baptism of Christ, discovers some pal- 
pable imitations, and even some whole figures, 
copied from Albert Durer ; the Visitation of the 
Virgin, painted some years after, shows a conspicu- 
ous improvement ; and the Nativity of St. John, 
the last of the series, is painted in his best and 
broadest manner. The same thing is to be observ- 
ed in his works in the convent of the Servi, where j 
he painted a series of ten pictures from the Life of I 
St. Filippo Benizi, which Lanzi says are very beau- 
tiful productions, though among the earlier eflbrts 
of his genius. In the same edifice are his pictures , 
of the Epiphany and the Birth of the Virgin, I 
which are among his most finished works. Also i 
the Madonna del Sacco, so called from the sack 
of grain on which St. Joseph leans, than which 
few pictures are more celebrated ; it has frequent- 
ly been engraved, but justice was never done to its 
merits till Raphael Morghen executed his famous 
print from it, as a companion to the Transfigura- 
tion of Raffaelle. '' Both prints," says Lanzi, " are 
in the best collections, and to those who have not 
been at Rome or Florence, Andrea appears rather 
a rival than an inferior to the prince of painters. 
On examining this picture closely, it affords an 
endless scope for observation ; it is finished as if 
intended for a cabinet ; every hair is distinguished, 
every middle tint lowered with consummate art, 
each outline marked with admirable variety and 
grace ; and amidst all this diligence, a facility is 
conspicuous that makes the whole appear natural 
and unconstrained." There is a good deal of con- 
tradiction among writers as to the history of this 
artist's life. Some assert that immediately after 
he dissolved his connexion with Bigio, he was com- 
missioned to execute the works at the Scalzo, be- 
fore mentioned, and next the ten pictures from the 
life of St. Filippo Benizi for the Servi. But it is 
evident from the above account, taken from Lanzi, 
that they were executed at different times, and 
some of them when he was at the very height of 
his career. It has been erroneously asserted by 
some that he never went to Rome. Vasari ex- 
pressly asserts that he did visit that citj^, though 
he does not mention the time, and that " on seeing 
the works of the scholars of RaflfVielle, his natural 
timidity induced him to despair of ever being able 



SART. 



849 



SART. 



to equal them, so that he suddenly returned to 
Florence." Lanzi says, " he went to Rome, I 
know not in what year, but that he was there ap- 
pears not, as in the case of Oorreg^io, to admit of 
dispute." Others say that, notwithstanding his 
constant employment at Florence, he could not re- 
sist the temptation to see the works of RaflFaelle 
at Rome, whither he went, and examined every- 
thing with attention and a critical eye. not only 
the frescos of Raftaelle. but those of Buonarotti, 
and the antique sculptures. It is probable that he 
did not remain long in that metropolis, as it is not 
known that he executed any work there. It is 
said that soon after his return from Rome he exe- 
cuted his Descent of the Holy Ghost and the Birth 
of the Virgin, for the church of the Servi, and his 
Last Supper, for the monastery of St. Salvi. one 
of his greatest works. Lanzi reports of this pic- 
ture, that, "at the siege of Florence in 1529, the 
soldiers, after having destroyed the suburbs of the 
city where the convent was situated, and demol- 
ished the chui'ch and a part of the monastery, on 
approaching the refectory they were astonished at 
beholding this Last Supper, and had not the resolu- 
tion to destroy it; thus imitating Demetrius, who 
at the siege of Rhodes respected nothing but a pic- 
ture of Protogenes." 

He executed many works both in oil and fresco 
for the churches, convents, and palaces of Florence, 
and he received commissions from other cities. In 
the Ducal palace at Poggio a Caiano there is a 
fresco representing Caesar seated in a grand hall, 
ornamented with statues, to whom a great variety 
of exotic birds and wild animals are presented as 
the tribute of his victories. Lanzi says, '• this pic- 
ture alone is sufBcient to mark Andrea as a paint- 
er eminent in perspective, in a knowledge of the 
antique, and in every excellence in the art." There 
are also other frescos in the same edifice. The 
order for decorating this edifice came from Leo 
X. ; and Andrea having for his competitors Fran- 
cesco Bigio and Pontormo, exerted all his ener- 
gies, and with such success, that they retired from 
the field. Francis I. of France gave him a commis- 
sion for a picture, and he executed and transmit- 
ted to that monarch the admirable Piet^, or Dead 
Christ, with the Virgin, St. John, and Mary Mag- 
dalene, which now adorns the Louvre. This pic- 
ture was universally admired at the court of 
France, and the King invited him to Paris. An- 
drea, at that time, reduced to a state of penury 
by the troubles of his country, and the small re- 
muneration he was enabled to obtain for his works, 
or, perhaps, by the extravagance of a termagant 
wife, gladly accepted the alluring invitation of a 
prince characterized for his munificence and liberal 
encouragement of the arts. On his arrival at Par- 
is, he was received with the most flattering dis- 
tinction. He painted a portrait of the Dauphin, 
and an exquisite picture of Charity, now in the 
French Museum, for which he was munificently 
rewarded. He also executed some works for the 
nobility, and the Queen mother gave him a com- 
mission for a picture of St. Jerome. In the midst 
of all this prosperity, he received letters from his 
wife, which determined him to return to Florence. 
It is said that under pretext of his domestic af- 
fairs requiring his presence in Italy, he solicited 
and obtained the King's permission to depart with 
a promise of a speedy return with his family to 
Paris, and that the* monarch, anxious to profit by 



his judgment and. taste, confided to him a large 
sum to purchase for him rare works of art ; that 
he forgot his engagements, violated every tie of 
honor, and squandered the King's money, till at 
length reduced to indigence and distress, and stung 
with the recollection of his folly, perfidy and in- 
gratitude, he fell into a state of despondency, which 
was increased by his jealousy of his wife; that he 
was ultimately abandoned by her and all his false 
friends with whom he had wasted his substance, and 
that his miseries were finally terminated by the great 
plague which devastated Florence in 1530. The 
misfortunes of Andrea, could they be truly related, 
would doubtless vindicate his character in a great 
measure, and excite compassion for his lot. He 
was naturally of a mild and timid disposition. He 
married a woman of exquisite beauty, of whom he 
was passionately fond, and w*ho ruled him with an 
iron rod. She was a very shrew ; her extrava- 
gance kept him in continual poverty, and her con- 
duct excited his jealousy. Vasari, who had been 
his pupil, and could not but know the truth, express- 
ly says, in the first edition of his work, that, "An- 
drea was despised by his friends, and abandoned 
by his employers from the time of his marriage 
with this woman, (Lucrezia del Fede) ; the slave 
of her will, he left his father and mother to starve ; 
through her arrogance and violence, none of his 
scholars could continue with him long." In his 
second edition, though he omitted this censure, he 
repeated, that she was a perpetual source of mis- 
fortune to her husband. He repeated that An- 
drea was invited to the French court by Francis I., 
" where, caressed and rewarded, he might have ex- 
cited the envy of every artist, but influenced by 
the womanish complaints of Lucrezia, he returned 
to Florence, and remained in his own country, in 
violation of his faith solemnly pledged to that mon- 
arch. He afterwards repented, and was anx- 
ious to regain his former situation, but his efibrts 
were inefiectual, and he dragged out a miserable ex- 
istence amidst jealousy and domestic wretchedness, 
until abandoned by his wife, and every other indi- 
vidual, he was infected with the plague, and died 
in 1530, in the forty-second year of his age, and had 
a very mean funeral," Lanzi sa3'S, in concluding 
the life of this artist, '•' so much genius merited 
success ; and a book written on the misfortunes of 
painters, as has already been done on those of au- 
thors, would awaken compassion for the fate of 
Andrea. The poverty of Correggio is exaggera- 
ted, or perhaps, untrue ; the misery of Domeni- 
chino had a termination ; the Caracci were illy re- 
warded, but they lived in easy circumstances ; An- 
drea, from his marriage with Lucrezia del Fede, 
until his death was almost always pressed with 
griefs." 

There is also considerable discrepancy as to the 
real merit of this painter. It has been asserted by 
some, that had he possessed the advantages of better 
early instruction, a longer residence at Rome, and 
more fortunate domestic relations, he would have 
equalled the greatest masters of the art ; others 
declare that he was barren of invention, and that 
he wanted that elevation of conception, which con- 
stitutes the epic in painting as well as in poetry. 
Vasari says " he was the most faultless painter of 
the Florentine school. He perfectly understood 
the principles of chiaro-scuro, representing the in- 
distinctness of objects in shadow, and painting 
with a sweetness truly natural. He taught how 



m 



SART. 850 

to give a perfect union to fi^cos, and in a great 
measure, obviated the necessity of retouching them 
when dry, a circumstance which gives all his works 
the appearance of having been finished in one day." 
Lanzi says " he undoubtedly wanted that grandeur 
of conception which constitutes the highest rank in 
painting. Deficient in this talent, Andrea is said to 
have been modest, elegant, and embued with sensibi- 
lity ; and it appears that he impressed this character 
on nature, wherever he employed his pencil. The 
portico of the Nunziata, transferred by him into 
a gallery of inestimable value, is the fittest place to 
judge of his chaste outlines that procured him the 
surname of Andrea the faultless. Conceptions of 
graceful countenances, whose smiles remind us of 
the simplicity and grace of Correggio ; appropriate 
architecture ; draperies adapted to every condition, 
and cast with ease ; popular expressions of curio- 
sity, of astonishment, of confidence, of compassion, 
and of joy, never transgressing the bounds of de- 
corum, understood at first sight, and greatly affect- 
ing the mind without agitating it, are charms that 
are more readily felt than expressed." 

The fresco works of Andrea del Sarto abound in 
the churches, public edifices and palaces of Florence, 
and his easei pictures are numerous, and scattered 
throughout the principal galleries of Europe. He 
possessed an extraordinary talent for imitating and 
copying the works of other masters. Of this Va- 
sari relates a remarkable instance, of which he him- 
self was an eye witness, while studying with An- 
drea, and which affords a striking lesson to those 
connoisseurs who pretend to infallibility. Raf- 
faelle had painted for the Cardinal Giulio de' Medici, 
afterwards Clement VII., the portrait of Leo X., 
seated between that prelate and Cardinal Ros- 
si. Frederick II., Duke of Mantua, in passing 
through Florence to Rome, having seen this pic- 
ture, and being captivated with it, requested Cle- 
ment VII. to give it to him, whereupon the Pope 
gave directions to Ottavio de' Medici to send it to 
Mantua. Unwilling to deprive Florence of so in- 
teresting a work, Ottavio employed Andrea to make 
a copy of it, which he sent to the Duke of Man- 
tua, while Giulio Romano was in his service, who 
had painted the background and draperies in the 
original picture. No person suspected the decep- 
tion ; even Giulio himself was deceived, and could 
only be convinced of the fact, by Vasari's assuring 
him that he had seen it painted, and by his point- 
ing out to him the private mark of Andrea del 
Sarto. There is an etching of a Holy Family, in 
which the Virgin is represented kneeling before 
the Infant Christ, with St. Joseph and St. John, 
inscribed Andrea del Sarto in Roma; though 
neatly executed, it is considered spurious. 

SARTORIUS, Francis, a painter of horses, 
dogs, and sporting pieces, who flourished in Eng- 
land in the latter part of the 18th century. Many 
of his pieces were engraved in mezzotint© and 
aquatinto. 

SARTORIUS, Jacob Christopher, a German 
engraver, who flourished at Nuremberg, according 
to the dates on his prints, from about 1670 to 
1737 ; so that there were probably two engravers 
of this name, father and son. The prints referred 
to consist of portraits and other book illustrations 
indifferently executed. 

SARZANA, II. See Fiasella. 

SARZETTI, Angiolo, a painter of Rimini, who 



SASS. 



flourished in the latter part of the 17th century. 
According to the Guida di Rimini^ he was a pu 
pil of Carlo Cignani, There are some of his works 
both in oil and fresco, in the churches of that 
city. He was living in 1700 

SAS, Christian, a German engraver, who 
flourished, according to the dates on his prints, 
from about 1628 to 1660. He engraved a variety 
of plates after Pomarance and other masters; also 
a set of forty-five plates of the life of St. Filippo 
Neri, after Stella. 

SASSI, Cav. Giovanni Battista, a Milanese 
painter, who, according to Orlandi, studied with 
great assiduity under Solimene at Naples, and ac- 
quired a high reputation. He painted both in oil 
and fresco, and executed many works for the 
churches of Milan, Pavia, Varese, and other places. 
Lanzi says he gained more reputation for his small 
pictures intended for private ornament, than for 
the works he produced for the churches. He was 
living in 1718. 

SASSOFERRATO, II. See Salyi. 

SATYRUS, an ancient Greek architect, who 
flourished about B. C. 324. In conjunction with 
Pytheus, he had the direction of the famous tomb 
erected by Queen Artemisia, in memory of King 
Mausolus of Halicarnassus. These two artists 
made the designs for the work, and left a particu- 
lar description of it ; for which, see Bryaxis. 

^ SAUBERLICH, Lawrence, a German en- 
^i^ graver, who, according to Professor Christ, 
-S—i engraved and published some wooden cuts 
at Wittemberg in 1599, bearing the above mono- 
gram. Very little is known of him ; he is sup- 
posed to have died in 1613. 
SAURUS. See Batkarchus. 
SAUERWEID, Alexander, a German painter 
and engraver, born at Courland in 1782. It is not 
known under whom he studied, but he is said to 
have received some instructions in the academy at 
Dresden. He painted battle-pieces and skirmishes 
of Cossack cavalry in a very spirited manner. He 
settled at St. Petersburg, where he passed most of 
his life ; he was patronized by the Emperor Alex- 
ander, and died there in 1844. He is little known 
out of Russia, except by the numerous prints from 
his designs, executed in aquatint and colors, which 
are numerous and interesting, as faithful represen- 
tations of European military costume, and lively 
records of warlike operations during the wars of 
Napoleon. 

SAUVAGE, J. P., a French painter, born at 
Tournay in 1744. He studied in the academy at 
Antwerp, and adopted the style of painting in bas- 
relief, which art he is said to have carried to such 
a state of perfection, as to produce perfect illusion. 
He resided a long time at Paris, where his works 
were held in high estimation. He imitated mar- 
bles and ancient Terra-cottas with great success. 
He returned to Tournay in 1808, and died thero 
in 1818. 

SAUVE, Jean, a French engraver, who accord- 
ing to Basan, flourished in the latter part of the 
17th century, and executed some plates after Gui- 
do, Pietro da Cortona, and other masters ; also a 
few portraits. 

SAVAGE, J., an English engraver and print- 
seller, who flourished in London about 1680. Ho 



^ 



SAVA. 



851 



SAVE. 



engraved a number of portraits of noted malefac- 
tors, and some of exemplary character, who fell in 
a better cause, for which reason they are interest- 
ing. The following are deserving of notice : 

PORTRAITS. 

Bishop Latimer. John a Lasco. Algernon Sidney. 
Archibald Campbell, Earl of Argyle. Henry Cornish, 
Sheriff of London. Sir Edmundbury Godfrey. John 
Gadbury. Astrologer. James Fitzroy, Duke of Monmouth. 
Sir Thomas Armstrong. Sir Henry Chauncey, Antiquary. 
Sir Henry Pollexfen, Chief Justice of the Common Pleas. 
Arthur, Earl of Torrington. Charles Leigh, M. D. 

SAVART. Petrr, a French engraver, born at 
Paris in 1750. He engraved quite a number of 
plates, executed with the graver in a neat, finished 
style, among which are some portraits of illustri- 
ous personages of France. The following are his 
most esteemed prints : 

PORTRAITS. 

Louis XTV. ; after Rigaud. 1771. Louis de Bourbon, 
Prince of Conde ; after le Juste. 1776, John Baptist Col- 
bert ; after P de Champagne. 1773. De la Motte Fen- 
elon; after Vivien. 1771. J. B. la Bruyere ; after St. 
Jean. 1778. Peter Bayle ; do. 1774. Jean Racine; af- 
ter Santerre 1772. Nicholas Boileau Despreaux ; after 
Rigaud. 1769. Rabelais; after Sarrabat. 1767. Car- 
dinal Richelieu ; after P. d" Champagne. Nicholas de 
Catinat, Mareschal de France. Comte de Buffon ; after 
Drouais. 1776. Bossuet ; after Rigaud. 1773. D'Al- 
embert ; after Lusurier. 1780. Montesquieu. 1779. 

SAVERY. James, a Flemish painter, born at 
Courtray about 1545. He studied under Hans 
Bol at Amsterdam, and painted landscapes and 
cattle in the style of his master. He finished his 
pictures with great labor and neatness, though in 
a hard dry style. He died of the plague at Am- 
sterdam in 1602. 

SAVERY, Roland, was the son of the preceding 
artist, born at Courtray in 1576. He was instruct- 
ed by his father, and it has been supposed from his 
style, that he afterwards became the disciple of 
Paul Bril, but this cannot be reconciled with chro- 
nology, as that artist left Flanders for Italy w^hen 
Savery was an infant, where he passed the rest of 
his life. The resemblance of his style to that of 
Bril is not more apparent than to that of Breughel 
or other eminent Flemish landscape painters of 
the time. He visited France in the reign of King 
Henry TV., and was employed by that monarch in 
decorating the royal palaces with his landscapes. 
He afterwards returned to the Low Countries, 
where he met with great encouragement. He 
was invited to Prague by the Emperor Rodolphus 
II., in whose service he passed the greater part of 
his life. By the direction of that monarch, he 
traveled through the grand and picturesque re- 
gions of the Tyrolese, and during a residence of two 
years in that country, filled his portfolio with nu- 
merous sketches of the most beautiful wild and 
romantic scenery. From these designs he executed 
for his patron many compositions, decorated with 
animals and figures, in a highly finished and effect- 
ive style, with a pleasing and natural tone of col- 
oring. His small easel pictures are the best, and 
in neatness of touch, are accounted little inferior to 
those of Bril or Breughel. On the death of the 
Emperor, he settled at Utrecht, where he died in 
1639. 

SAVERY, John, a Flemish painter and engrav- 
er, born at Courtray in 1597. According to Hu- 
ber, he was a nephew of Roland S., and probably 



was his disciple, as he painted landscapes in his 
style, which, though inferior to them, possess con- 
siderable merit. He executed some spirited etch- 
ings from his own designs, among which are a set of 
six mountainous Landscapes, marked J. Savery ^ 
fee. Nic. de Clerc. exc. ; a Landscape, with a Stag- 
hunt, and a Landscape, with Samson killing the 
Lion. He died at Utrecht in 1655. 

SAVERY, or SAVRY, Solomon, a Dutch en- 
graver, who flourished at Amsterdam about 1650. 
He engraved quite a number of plates of portraits 
and other subjects, mostly after the Dutch and 
Flemish masters, aniong which are a set of seven- 
teen plates from Ovid's iNIetamorphoses. He also 
engraved several portraits of Englishmen, among 
which are Charles I., Oliver Cromwell, Lord Fair- 
fax, and John Speed, the historian, from which cir- 
cumstance it is supposed he went to England. 
A list of his prints may be found in Nagler's 
Lexicon. 

SAVOLDO, GiROLAMO, an artist of Brescia, of 
a noble family, who painted in 1540. It is not 
known under whom he studied, but Lanzi classes 
him among the pupils and imitators of Titian, and 
says, " upon transferring his residence to Venice, 
he is known to have become one of Titian's most 
formidable rivals ; not, indeed, in works on a large 
scale, but in smaller pieces, conducted with an ex- 
quisite degree of care, which may, in a measure, 
be said to have been his chief characteristic; with 
such as these, he beguiled his time, presenting 
them gratuitously to the churches." Paolo Pino 
ranks him among the best painters of his age. 
Zanetti describes his little Presepio, or Christ in 
the Manger, in the church of S. Giobbe. at Ven- 
ice, "as a truly beautiful picture, exquisitely col- 
ored, and the w^hole composition conducted with 
singular care." Ridolfi says that in Venice, this 
painter is known under the name of Girolamo 
Bresciano, and that he cannot possibly be con- 
founded with Romanino, or Muziano, as neither 
of those artists were ever employed in that city. 
Lanzi says his happiest production is an altar- 
piece painted for the church of the Predicatori at 
Pesaro, now in the I. R. Pinacoteca, at Milan. 
" Our Lord is seen placed on high, seated upon a 
cloud, which appears trul}'- illuminated by the sun, 
and in the foreground are seen four saints drawn 
with a force of coloring that appears to bring them 
as near to the eye as the soft color of the perspec- 
tive in the upper part of the picture, throws its 
objects into the distance. It is wholly Titian- 
esque, and is only wanting in a more choice selec- 
tion of the figures in the foreground." There is 
also a beautiful picture of the Transfiguration by 
him in the Florentine gallery. His works are very 
rare, as he only wrought for amusement. Zani 
says he operated in 1548, when he was very old ; 
others say he was living in 1590. 

SAVOLINI, Cristofgro, a painter born at 
Cesena, who was living in 1678. According to 
Malvasiahe studied with Cristoforo Serra, a faith- 
ful scholar and imitator of Guercino. He execu- 
ted some works for the churches of his native 
place, and at Rimini. Lanzi classes him among 
the followers of the style of Guercino. 

SAVONA, II Prete dl See Bartolomeo 

GUIDOBONO. 

SAVONANZI, Emilio, a painter of noble de- 
scent, born at Bologna in 1580. He studied sue- 



SAVO. 



852 



SCAC. 



cessively under Denis Calvart, Cremonini, Lodo- 
vico Caracci, and Guido at Bologna; next with 
Guercino at Cento, and lastly with Algardi the 
sculptor at Rome. Lanzi says, " by such means he 
became a good theorist, and an able lecturer, ap- 
plauded in every particular of art, nor was he 
wanting in good practice, uniting many st)'les in 
one, in which, however, that of Guido most pre- 
vails. Still he was not exactly correct in all his 
pieces, even betraying feebleness of touch, and not 
scrupling to denominate himself an artist of many 
hands." He executed a variety of works for the 
churches at Ancona, at Camerino, and the adjacent 
cities. He afterwards went to Spain, where he met 
with great encouragement. He died at Bologna in 
1660, aged 80, not in 1638, as erroneously stated 
by some writers. 

SAVOKELLI, Sebastiano, a painter of Forli, 
who, according to Guarienti, studied under Carlo 
Cignani. whose style he adopted, and executed 
some works for the churches of Forli, and the ad- 
jacent cities. He was a priest, and flourished in 
the latter part of the I7th century. 

S AVOYE, or SAVO YEN, Charles van, a Flem- 
ish painter, who, according to Balkema, was born 
at Antwerp in 1619, and died in 1669. Zani says 
he was living in 1680. He was very fond of paint- 
ing the nude figure, and he painted a great many 
small cabinet pictures of subjects taken from Ovid. 
His works are beautifully colored and highly fin- 
ished, though his drawing is not very correct. 

SAVOYE, Daniel, a French painter, born at 
Grenoble inl644, anddiedatErlangen inl716. He 
studied under Sebastien Bourdon, and painted por- 
traits with reputation. He etched some small 
plates of soldiers, and costumes of the time of 
Louis XIII., marked D. S.. sc. There is also a Re- 
pose in Egypt by him, in which the Virgin is seated 
near a fountain, attended with three angels ; on the 
left an ass is tied to a tree. 

SAY, William, an eminent English engraver in 
mezzotinto, born at the small village of Laken- 
ham, near Norwich, in 1768. He studied with 
James Ward, and executed a great number of 
plates, many of them of large dimensions. He en- 
graved several plates after the old masters, but 
most of his prints are from the English school ; 
many of them half and full length portraits, after 
Reynolds, and others ; several for Turner's River 
Scenery, two of Brigands, after Eastlake ; the 
Raising of Lazarus, after Hilton, &c. The whole 
number of his plates is about 330. He died in 
1834. 

SBARBI, Antonio, a painter born at Cremona, 
according to Zani, in 1661 ; others say he flourished 
from 1701 to 1750. He first studied under Ber- 
nasconi at Milan, and afterwards with Lorenzo 
Pasinelli at Bologna. He painted history and ani- 
mals, but was most eminent in the latter, which 
he drew from life with great spirit and accuracy. 
He acquired sufficient reputation to induce the 
Duke Ranucci Farnese, to invite him to Piacenza, 
and take him into his service, for whom he ex- 
ecuted some of his best works. 

SCACCIANI, Camillo, a painter of Pesaro, who 
flourished there towards the latter part of the 
18th century. He executed some works for the 
churches, but he wrought mostly for the collec- 
tious. Lanzi says he was a good artist, and paint- 



ed in the style of the Caracci, allied to the modern. 
There is a fine picture by him of St. Andrea Avel- 
lino, in the cathedral of Pesaro. 

SCACCIATI, Andrea, a painter born at Flor- 
ence in 1642. He first studied under Marco Ba- 
lassi, but afterwards with Lorenzo Lippi, who, per- 
ceiving that his genius was best adapted to the 
representation of fruit and flowers, persuaded him 
to devote himself entirely to that branch, which 
advice he followed, and became very eminent. He 
was much patronized by the Grand Duke of Tus- 
cany and the principal nobility, and his pictures 
were sought after in foreign parts. He was living 
in 1704. 

SCACCIATI, Andrea, an Italian designer and 
engraver, born at Florence, according to Zani. in 
1725. and died there in 1771. In 1766 he pub- 
lished a set of forty-one plates in aquatinta, after 
the works of the great masters in the collection 
of the Grand Duke of Tuscany. He also engraved 
some other plates after the Italian masters. 

SCAGLIA, GiROLAMO, called II Parmiggtani- 
NO, a painter born at Lucca, who studied first with 
Pietro Paulini at Lucca, and afterwards with Gio- 
vanni Marracci. He executed some works for the 
churches of his native city and of Pisa, which 
Lanzi says exhibit extreme industry, but little 
taste ; in his architecture, he imitated Pietro da 
Cortona, and in his coloring, he followed Paulini, 
particularly in his shadows, in which he approach- 
ed Ricchi. He flourished in the latter part of the 
17th century. 

SCAICHI, Gotefred, a Florentine engraver, 
who flourished in 1623. There is a set of views 
of the palaces and gardens of the Grand Duke, 
by him. etched in a slight style. 

SCAIARIO, Antonio, a painter of Bassano, who 
studied under Gio. Battista da Ponte, whose style 
he imitated, and whose daughter he married. He 
also inherited his property. For these reasons he 
sometimes signed his pictures Antonio da Ponte, 
and Antonio Bassano. His works are held in con- 
siderable esteem. He died, according to Verci, in 
1640. 

SC ALABRINI, Marc' Antonto, a painter born 
at Verona, who flourished in 1565. He executed 
some works for the churches of his native city 
and elsewhere, in which he imitated the Venetian 
school in design and coloring. Pozzi says he dis- 
tinguished himself, and particularly commends two 
altar-pieces of scriptural subjects by him, in the 
church of S. Zeno. 

SCALABRINO, Lo, a painter said to have been 
born at Siena, but probably was a native of Pis- 
toja. He studied under the Cav. Gio. Antonio Raz- 
zi, called II Sodoma, and is said by Delia Valle to 
have excelled in grotesque subjects. In the church 
of S. Francesco, at Siena, without the Tuscan gate, 
are seven beautifully painted altar-pieces, inscribed 
Scalabrinus Pistoriensis. Lanzi says that Scala- 
brino was a man of genius, a poet, and a good paint- 
er. It is uncertain whether he was a native of Sie- 
na or Pistoja ; if the aUar-pieces referred to are not 
by the scholar of Razzi, then a skillful painter of 
Pistoja has been overlooked. He thinks, however, 
that there was but one artist of that name, and if 
he was a native of Siena, he preferred to be con- 
sidered a Pistoiese. 

SCALBERGE, Peteb, a Flemish painter and 



SCAL. 



853 



SCAM. 



on<^raver, of whom little is known, except by his 
prints. He resided at Paris about 1638, where 
he executed quite a number of plates from his own 
designs and after other masters. Dumesnil de- 
scribes forty- seven prints by him. Zani says he 
operated as late as 1650. 

SCALBERGE, or SCALLE BERGE, Fred- 
eric, a Flemish engraver, and probably painter, 
who flourished, according to the dates on his 
prints, from about 1623 to 1636. Four of his 
etchings are marked at Rome, 1623 ; others are 
dated at Paris, 1636. His prints consist mostly 
of landscapes, etched in a spirited manner; some 
of them in the style of Paul Bril, and others more 
nearly resemble that of Nicolas Mo3^aert. He va- 
riously signed his prints Scalberge, and Scalle 
Berge. He was probably a relative of the prece- 
ding artist, but his prints are executed in a more 
scientific manner. 

SCALFURATIO. Giovanni, an Italian archi- 
tect, who is merely mentioned by Milizia as the 
restorer of the church of S. Rocca at Venice, orig- 
inally erected by Bartolomeo Buono^ in 1495. — 
Scalfuratio died in 1764. 

SOALIGERO, Bartolomeo, a painter born 
at Venice, according to Zani, in 1630, though Za- 
netti and others say he was a Paduan, and Lanzi, 
that he is claimed by the people of Padua as one 
of their fellow citizens. At all events, he studied 
under Alessandro Varotari, called Padovanino, 
and ranks among the most celebrated pupils and 
imitators of that master. He resided mostly at 
Venice, where he executed many works for the 
churches, the most beautiful of which, according 
to Lanzi, are at the Corpus Domini. There are 
four of his works at Padua. The time of his 
death is not known, and it is very probable that he 
was born much earlier than 1630. See Varotari. 

SCALTGERO, Lucia, a Venetian paintress, born 
at Venice in 1637. She was distinguished for her 
knowledge of the learned languages, skill in 
music and taste in. painting. She is said to have 
studied painting under Alessandro Varotari ; if so, 
it was at a tender age, as Varotari died in 1650. 
Boschini is of opinion that she learned the art of 
Chiara Dario, a celebrated paintress, much em- 
ployed by the Grand Duke of Tuscany. Lucia ac- 
quired considerable reputation for her portraits, 
was much employed by the nobility of Venice, and 
her beauty, merits and accomplishments, were 
extolled by the poets of her time. She also paint- 
ed several pictures for the churches. She died in 
1700. 

SCALVATI, xA.NTONTO, a painter born at Bo- 
logna in 1559. He studied under Tommaso Lau- 
retti, accompanied that master to Rome, when he 
was invited there by Gregory XIII., and assisted 
him in his works in the Sala di Constantino. Scal- 
vati was afterwards employed among other ar- 
tists, by Sixtus v., in decorating the Library of 
the Vatican, and in the execution of several other 
important works. He however chiefly excelled in 
portraits, in which branch he was very distinguish- 
ed, and during the pontificates of Clement VTIL, 
Leo XL, and Paul V., he painted the portraits of 
many of the most distinguished personages at 
Rome, among whom was Clement VIII. He died 
in 1622. 



J SCAMINOSSI,RAFFAELLE.apaint- 

rj-Tji XT^®^ \)Ova. at Borgo San Sepolcro, about 
J^li ^ i A 1570, though authors disagree on 
this point. He studied under Raf- 
faellino del CoUe, and painted historj'- with con- 
siderable reputation, though he is more celebrated 
as an engraver. Orlandi commends a picture by 
him in the cathedral at Bologna, and Lanzi says 
his compositions display great simplicity ; he 
drew his ideas chiefly from nature, and he attend- 
ed sufficiently to coloring. Bartsch describes in 
Le Peintre Graveur torn, xvii., 137 prints by 
him. They are executed in a bold, effective style; 
his drawing is tolerably correct, and there is a 
fine expression in the heads ; some of them are 
from his own designs, and others after other mas- 
ters. He sometimes marked his prints with a 
monogram composed of R. A. S. F., as above ; at 
others, with his name in full, variously written, 
Raphael Schaminossi^ SchiaminossU or Sciamon- 
0551, frequently Latinized, as Raphael Schaminos- 
sms, Pictor. ei Sculp. He is also called b}' writers, 
by all the above names, to which Scaminossi is 
added. The time of his death is not known ; he 
was living in 1620, as appears from the dates on 
some of his prints. 

SCAMOZZI, ViNCENZio, an eminent Itahan ar- 
chitect, the cotemporary and countryman of Palla- 
dio, was born at Vicenza in 1552. He was the son 
and scholar of Giovanni Domenico S., an architect 
of small reputation, who practised at Vicenza. Af- 
ter displaying proofs of his taste and ability in 
several designs for Count Verlati and others, Sca- 
mozzi visited Venice, where he is said, though very 
improbably, to have studied under Palladio. He 
gained great improvement, however, by attentively 
stud3nng the works of Palladio Pad Sansovino, 
then being erected at Venice; a. id Milizia says 
" he particularl)^ admired Palladio," although in his 
writings Scamozzi rather detracts from the merit 
of that master. When seventeen years old, he 
was employed to remedy certain defects in the 
church of S. Salvatore at Venice, and at the age 
of twenty-two he composed a treatise on perspect- 
ive, in ten books, enlarging particularly upon the 
subject of scene-painting. Not contented with his 
attainments in the art, he visited Rome in 1579, 
studied mathematics under the Padre Clavio, in- 
spected the monuments of antiquity with the great- 
est assiduity, and made exact and elaborate drawings 
of the most famous edifices, especially the Colise- 
um, and the Baths of Antoninus and Diocletian. 
After spending about eighteen months at Rome, he 
revisited Venice, and studied the remains of anti- 
quity in that city and its environs. 

On returning to Venice, Scamozzi at first de- 
voted his attention to the theoretical department 
of his art, and composed the explanations to a se- 
ries of plates by Pittori. with an Essay in three 
chapters, relating to Roman antiquities This 
work was received with great and deserved ap- 
plause by the best judges of the time. The recent 
death of Sansovino and Palladio (1570 and 1580), 
were not unfavorable to his rising distinction, and 
he began to be considered as their successor in the 
public esteem. Accordingly, after completing his 
admirable monument to the Doge Niccolo da Ponte, 
in the church of S. Maria della Carita, Scamozzi 
was commissioned to complete the public library- 
of S. Marco, commenced by Sansovino. and was 



SCAM. 



854 



SCAR. 



afterwards employed in a similar commission on 
Palladio's Teatro Olimpico at Vicenza, adding a 
fixed scena^ with its three avenues of buildings, 
shown in perspective, but executed in relief. In 
1585, at the reception of the Empress Maria of 
Austria at Vicenza, Scamozzi was appointed to di- 
rect the festivals. For Vespaziano Gonzaga, Duke 
of Sabionetta, he erected a theatre similar to that 
at Vicenza, which was honored b}^ the perfect appro- 
bation of the learned, but has since been destroyed. 
In 1593, he erected the famous fortress of Palma, 
near Friuli. 

A deputation being sent from the Venetian re- 
public to congratulate Sigismund on his accession 
to the throne of Poland, Scamozzi availed himself 
of the offer of the Senator Duodo to visit that 
country, as well as various parts of Germany and 
France. During this journey, he studied every 
specimen of Gothic architecture with the greatest 
assiduity, and conceived the idea of his treatise on 
all the different styles of European architecture. 
While spending a short time at Saltzburg, he was 
presented to the archbishop, who subsequentl}^ em- 
ployed him to design the Cathedral of that city. 
This celebrated edifice was completed from his de- 
sign in 1628, and is described by Temanza as one of 
the noblest temples of modern times, greatly su- 
perior in architectural excellence to the world- 
renowned St. Peter's. Scamozzi was deeply learn- 
ed in his profession ; his edifices were simple, cor- 
rect, and majestic. On returning to Venice from 
his northern tour, he was very extensively em- 
ployed, and erected, among other edifices, the Pa- 
lazzo Cornaro, in the Doric, Ionic, and Corinthian 
orders at Venice ; the church of S. Niccolo di To- 
lentino ; and that of SS. Simone e Giuda. At 
Florence, he was employed upon the Strozzi pal- 
ace ; and at Genoa he superintended/ the Eavas- 
chieri palace, of three stories, rustic, Ionic, and 
Corinthian. One of his most celebrated works, 
however, is the stately range of buildings on the 
south side of St. Mark's Place, called the Procura- 
tie Nuove, commenced by him in 1586. The de- 
sign itself, however, may be said to belong to San- 
sovino, all the lower part as far as the entablature 
of the second order being a continuation of the 
facade of the adjoining public library ; while the 
excessively deep frieze and cornice of Sansovino's 
second order are moderated, and a beautiful Corin- 
thian story is added to the whole, forming a most 
tasteful and elegant structure, sufficient alone to 
perpetuate the fame of the architect. Scamozzi 
was almost overwhelmed by commissions and ap- 
plications for designs, from princes and distin- 
guished individuals, so that he had little time to 
devote to the favorite project of his life, his Archi- 
tettura Universale. This great undertaking was 
to have been completed in ten books, but only six 
appeared. The sixth treats on the different orders 
of architecture, and, according to Milizia, is a mas- 
terpiece, showing his deep knowledge of his pro- 
fession. Scamozzi died in 1616, and his remains 
were deposited in the church of SS. Giovanni e Pa- 
olo, at Venice. 

SCAMOZZI, Ottavio. See Bertotti. 

SCANNABECCHL See Dalmasio and Mu- 
hatori. 

SCANNAVmr, or SCANNAVESI, Maurelio, 
a painter born at Ferrara in 1655. He first stud- 
ied under Francesco Ferrari, but afterwards visit- 



ed Bologna, where he entered the school of the 
Cav. Carlo Cignani, and became one of his most 
distinguished disciples. Lanzi says, '-he emulated 
his master with the most scrupulous exactness. 
He was naturally slow, and never could prevail on 
himself to send a picture from his studio till he 
beheld it complete in every respect ; though im- 
pelled by domestic penury to greater haste, he 
never varied from this method ; nor did he envy 
the more fortunate Avanzi, who abounded with 
commissions while he was destitute. The no- 
ble house of Bevilacqua assisted him much, and 
it redounds to its honor that, in remunerating him 
for some figures in an apartment where Aldrovan- 
dini had conducted the architecture, a \ery large 
sum was added to the price agreed upon." He 
painted both in oil and fresco, but he conducted on- 
ly a few fresco pieces, as that method requires art- 
ists of a more expeditious hand. The greatest 
work of this master is in the refectory of the Do- 
minicans at Ferrara, consisting of a series of four- 
teen pictures from the life of St. Dominic. His 
other principal works in the churches are. the An- 
nunciation, in S. Stefano ; St. Brigida swooning be- 
fore a Crucifix, supported by an Angel, in S. Ma- 
ria della Grazie ; and St. Tommaso di Villanova 
distributing Alms to the Poor, at the Agostiniani 
Scalzi, which last is considered his most capital 
performance. He wrought much for the collec- 
tions, and Lanzi says the noble families of Bevilac- 
qua, Calcagnini. Rondinelli, and Trotti, possess sev- 
eral of his pictures, painted for private ornament, 
among which are portraits that display Maurelio's 
singular talents in that branch ; and histories of 
half-length figures, in the manner of Cignani. 
'• Thej^ possess giacefulness, union of coloring, and 
a strength of tints, which leaves him nothing to 
envy in the artists by whom he is surrounded, ex- 
cept their fortune." He died in 1698. 

SCARAMUCCIA, Gio. Antonio, a painter born 
at Perugia in 1580. According to Pozzo, he stud- 
ied under the Cav. Roncalli, whose manner he 
adopted. Lanzi says his works are frequently to 
be met with at Perugia. " The spirit and freedom 
of his pencil are moie to be commended than his 
tints, which are too dark, and which in the church- 
es easily distinguish him amidst a crowd of other 
artists. It is probable that he used too great a 
quantity of terra cP ombra, like others of his day." 
He died at Perugia in 1650. 

SCARAMUCCIA, Luigi, called II Perugino, 
was the son of the preceding, born at Perugia in 
1616. After receiving instruction from his father, 
he went to Bologna, and entered the school of 
Guido, and. according to Malvasia, he afterwards 
studied with Guercino. He however founded his 
style on that of Guido. Lanzi says, "he displays 
grace and elegance in e\ery part of his work, and 
if he does not soar, he never falls to the ground." 
He rose to eminence in his profession, and execu- 
ted many works for the churches and public edi- 
fices at Perugia. Bologna, and Milan ; he also 
painted much for the collections. Among his 
principal works are the Presentation, in the church 
of the Filippini, at Perugia; St. Barbara, in the 
church of S. Marco, at Milan ; and the Coronation 
of the Emperor Charles V. by Clement VII. j i 
composed and designed in a grand style, in the Du- 
cal palace at Bologna. Lanzi says his works 
abound at Perugia, both in public and private, and 



SCAR. 



855 



SCHA. 



there are more at Milan than at Bologna. He exe- 
cuted a few etchings, in a free and spirited style, 
resembling that of Guido ; only four, with their 
variations, are known, viz. : Christ crowned with 
Thorns, after Titian j St. Benedict praying, after 
L. Caracci ; the Virgin, and Venus and Adonis, 
after Ann. Caracci. He died at Milan in 1680, 
though some say at Pavia. 

SCARP ACOIA, ViTTORE, an old Venetian paint- 
er, born in 1410, and died at Verona in 1469. He 
was eminent in his time, both in history and por- 
traits, and is said to have understood the princi- 
ples of perspective. 

SCARSELLA, Stgismondo, called II Mondino, a 
painter born at Ferrara in 1530. He went to Ve- 
nice, studied in the school of Paul Veronese three 
years, and afterwards continued there thirteen 
years, engaged in studying the best works of the 
Venetian school, with the rules of perspective and 
architecture. He returned to Ferrara, where he 
acquired distinction, and was called by his fellow- 
citizens Jl Mondino. He executed many works 
for the churches and public edifices, as well as for 
the collections of his native city, in which he imi- 
tated the manner of Veronese. Lanzi says, '• he 
wrought in a good Paolesque style, but at a con- 
siderable distance as a disciple." Most of his 
works in public have perished, or been greatly in- 
jured by retouching. The only one retaining any- 
thing like its original beauty is the Visitation to 
St. Elizabeth, in the church of S. Croce. His ea- 
sel pictures are in better preservation, and are 
highly esteemed ; but Lanzi says they are mostly 
attributed to his son,lppolito. He died in 1614. 

SCARSELLA, Tppolito, called Lo Scarselli- 
NO, an eminent painter, was the son of the preced- 
ing, born at Ferrara, according to Baruffaldi, in 1551. 
After receiving instruction from his father, he went 
to Venice, where he became the pupil of Giacomo 
Bassano, and afterwards diligently studied the 
works of the great Venetian masters, particularly 
those of Paul Veronese. After a residence of six 
years at Venice, he returned to Ferrara, where he 
acquired an immense reputation. Lanzi says he 
"executed more pictures for the churches and indi- 
viduals in his native city, than by many other art- 
ists together. His fellow-citizens call him the 
Paolo of their school, but his character is differ- 
ent ; he seems the reformer of the paternal taste ; 
his conceptions are more beautiful, and his tints 
more attractive. On comparison with Veronese, it 
is evident that his style is derived from that 
source, though it is different, being composed of 
the Venetian and the Lombard, of native and for- 
eign schools, the offspring of an intellect well 
founded in the theory of the art, of a gay and 
animated fancy, of a hand, if not always equal, 
yet always prompt, spirited, and rapid. Hence 
we see a great number of his pictures in different 
cities of Lombardy and Romagna, to say nothing 
of those at Ferrara. There, his pictures of the 
Assumption and the Nuptials at Cana, at the Ben- 
edettini; the Piet^ and the Decollation of St. 
John, in the church of the same convent ; and the 
Noli me Tangere, at S. Niccolo, are among the 
most celebrated ; also his Pentecost, his Annunci- 
ation, and his Epiphany, conducted in competition 
with the Presentation of Annibale Caracci, at the 
Oratorio dell a Scala. A number of repetitions or 
copies of these and others, on a smaller scale, are 



to be seen in private houses. His works, too, are 
frequently met with at Rome; some are at the 
Campidoglio, and at the palaces of the Albani, 
Borghesi, Corsini. and in greater number at the 
Lancellotti. I have sometimes examined them in 
company with professors who never ceased to ex- 
tol them. They recognized various imitations of 
Veronese, in the inventions and the copiousness ; 
of Parmiggiano in the lightness and grace of the 
figures; of Titian in the fleshes, particularly in a 
Bacchanal at the Casa Albani ; of Dossi and Car- 
pi in the strength of color, in those fiery yellows, 
in those deep rose colors, and also in that bright 
tinge given to the clouds and the air. What suflS.- 
ciently distinguishes him, too, are a few extremely 
graceful countenances, which he drew from two of 
his daughters ; a light shade which envelopes the 
whole of his objects without obscuring them, and 
that slightness of design which borders almost 
upon the dry, in opposition perhaps to Bastiano 
Filippj, who is sometimes reproached with exhibit- 
ing coarse and heavy features." He also painted 
portraits with great success. Bartsch describes a 
single print by him, representing a female Saint 
with Angels, signed with his name, but without 
date. He died in 1621. The above dates are giv- 
en by Baruffaldi and Lanzi, and are doubtless cor- 
rect, though there is some disagreement on these 
points ; Zani says he was born in 1551. and died 
in 1621; Ticozzi, that he died in 1621, aged 70; 
others place his birth about 1560 and 1570. 

SCHAHOW, John Godfrey, a German sculp- 
tor, was born at Berlin in 1764. After acquiring 
a good knowledge of the art he married, and was 
enabled, through the liberality of his father-in-law, 
to visit Italy in 1785. After studying at Rome 
with assiduity for two years, Schadow was recall- 
ed to Berlin, and appointed sculptor to the court. 
His busts, statues, and monuments are quite nu- 
merous, and evince considerable talents. Among 
them are the colossal statue of Gen. Ziethon ; that 
of Frederick the Great, at Stettin ; the monument 
to Gen. Blucher, at Rostock ; and the superb mon- 
ument to the young Count de la Marche, the natu- 
ral son of Frederick the Great ; also the model of 
the four-horsed chariot over the Brandenburg 
gate at Berlin. Schadow left two sons; Frede- 
rick William, born in 1789, has attained conside- 
rable eminence in painting, and in 1826 was ap- 
pointed Director of the Dusseldorf Academy. 
The elder son, John Rodolph, is the subject of the 
following article. 

SCHADOW, John Rodolph. This sculptor 
was born at Rome in 1786. He was the son of 
Godfrey Schadow, an able German artist, who re- 
turned to Berlin in 1788, and was appointed sculp- 
tor to the king. The young Schadow acquired 
from his father the elements of the art, and execu- 
ted, at the age of eighteen, a copy of the Apollo 
Belvidere. In 1810 he visited Rome with the roy- 
al pension, and studied with such great assiduity 
under Canova and Thorwaldsen that he soon 
gained distinction, and produced his graceful stat- 
ue of Paris debating on his Decision, which was 
executed in bronze at Vienna, for Count Schoen- 
born Wiesentheid, a patron of the young artist. 
His next production was a marble statue of a Girl 
fastening her Sandals, greatly admired by con- 
noisseurs for its simplicity, grace, and exquisite 
proportions ; also two other figures, a young Girl 



SCHA. 



856 



SCHA 



spinning, and a winged Cupid hesitating which of 
the two he shall honor with a crown, Schadow 
received many commissions for single copies of 
these exquisite statues ; some of them were in the 
collections of Prince Esterhaz}^ and the King of 
Prussia, and several are in England. He com- 
menced a work in the latter part of his life, said 
to have combined the grandeur of Thorwaldsen 
with the grace of Canova, representing Achilles 
protecting the body of Penthesilea. The Prince 
Hardenberg of Prussia offered him 64,000f. for the 
complete work upon viewing the model ; but, un- 
fortunately for the art, Schadow died soon after, 
in 1822. universally regretted. Among his other 
works are a statue of St. John the Baptist ; the 
Virgin bearing the inHint Jesus ; Diana ; Bacchus ; 
a Discobolus, or Quoit-Thrower ; a bas-relief at 
the tomb of the Austrian general, Roller, repre- 
senting that commander reclining on a couch, with 
Faith, Hope, and Charity above ; also a similar 
bas-relief at the tomb of the Marquis of Lans- 
downe, with a representation of Night above, and 
a figure of Sleep and Death in her bosom. His 
group of Achilles and Penthesilea was completed 
in Carrara marble, by Wolf, the cousin of Scha- 
dow, and a scholar of his father. 

■KTTP (/ei? ^SCHAERER, H L, a 

I J I' f or j&f Dutch engraver, who, ac- 
J_ X X ^^^:=^' cording to Professor Christ, 
engraved a small landscape marked with a mono- 
gram composed of his initials, H. L. S., as above. 
He also copied some prints by Saftleven and J. 
Saenredam, which are signed H. L. Schaerer, 
sculp. There are other similar prints, signed A. 
L. Schaerer. He flourished about 1627. 
^ ^ SCHAEUFLEIN, Hans or John, the 

1^1 Elder and Younger. There is much con- 

J_ J itradiction and uncertainty about these old 

German artists. Bartsch, after having examined 
the subject with his usual critical acumen, says, 
" that there were two artists of this name, an el- 
der and a younger, seems to rest merely on con- 
jecture." The curious inquirer, after having con- 
sulted that author, Nagler, Brulliot, Heineken, 
Jackson's History of Wood Engraving, and many 
others who have discussed the subject, will doubt- 
less come to the same conclusion. Bartsch, in " Le 
Peintre Graveur," tom. vii., gives a descriptive ac- 
count of one hundred and thirtj^-two prints, by or 
after the designs of Hans Schaeuiiein, and Nagler 
has increased the number to one hundred and sev- 
enty-seven. They are mostly wooden cuts, dated 
from about 1515 to 1540. They are usually mark- 
ed with one of the accompanying monograms, 
composed of an H. and an S., to which a baker's 
peel or shovel, often two crossed, are frequently 
added as a rebus to the name, Schaeujiein in Ger- 
man, signifying little shovel. These prints are de- 
signed in the dry, stiff", formal manner of the time, 
yet they are executed in a bold, spirited style. 
There is, however, a considerable difference in the 
merit of the prints ; hence. Bartsch infers that 
many of them were executed by other engravers 
after his designs. It is certain that he was a co- 
adjutor of Hans Burgkmair, in the work known as 
the "Adventures of Tewrdanck," published in 1517, 
the greater part of the designs for which he is sup- 
posed to have made for the engravers, and some of 
the cuts bear his mark, H. with S. on the cross- 
bar and a. single peel. The same may be said of 



the "Triumphs of Maximilian." His principal 
works are, "The Life and Passion of Christ," in 
thirty-seven cuts, published at Frankfort in 1537 ; 
and " The Miracles. Parables, &c.. of Christ," in 
thirty-six cuts. The generality of writers, espe- 
cially the older German, mention only one Schaeu- 
flein, but Huber and some others say there were 
two, the Elder and the Younger. The elder, they 
say, flourished about 1480, and they suppose, from 
the style of the prints they attribute to him, 
marked simply H. with an S. on the cross-bar, 
that he was a disciple of Martin Schoen. The 
younger was born at Nuremberg about 1487, and 
distinguished himself as a painter as well as an 
engraver on wood ; and they suppose that he was 
a disciple of Albert Durer, whom he imitated both 
in his paintings and engravings. All this, how- 
ever, rests merely on conjecture. If there were 
any good grounds for believing that there were 
two Schaeufleins, from history or style, Bartsch 
would not have failed to have made the distinc- 
tion, and to have separated and classified their 
prints. The prints attributed to the younger S. are^^ 
of little account, and of very doubtful authenti-^lj 
city. The name, too. is variously written Schaeu- 
jiein. Schauffiein, Schauffelin. The younger S. 
is said to have died at Nordlingen in 1539. 




(g=— 



SCHAFFNABURG,orSCHAFFNABURGEN- 
SIS, Matthew or Mattheds, an old German en- 
graver on wood, who executed the cuts for a bible 
I published at Wittemberg, in 1545. He engraved 
I some other pieces, which are marked with his 
name, or his initials M. S. on a tablet. There is 
httle certainty about the prints attributed to this 
artist, as well as the works of several other Ger- 
man artists who flourished about 1550, and used 
the initials M. S. The accounts are exceedingly 
j contradictory, and the information sought for is 
j for the most part " as two grains of wheat hid in 
j two bushels of chaff"." 

SCHAFFNER, Martin, a German painter, who 

flourished at Ulm from 1502 to 1539, as appears 
from the records of that city. He painted histo- 

j ry and portraits, and ranks among the best Ger- 
man masters of that period. There are several of 
his works at Ulm, Nuremberg, Augsburg, Vienna, 
and other places. Some of his best woiks were 
in the Gallerj'- at Schleissheim, among which are 
the Annunciation, the Presentation, the Descent 

i of the Holy Ghost, and the Death of the Virgin. 
His pictures are well designed, with a fine expres- 

i sion in the heads, but his coloring is feeble and de- 
fective. He sometimes signed his pictures with a 
monogram composed of his initials, an M. with an 
S. in the centre, and sometimes with the letters 
MSMZ v., which Brulliot interprets Martin Schaff- 
ner Mahler zu Ulm. This last mark is on a pic- 
ture of the Annunciation, now in the collection of 
the king of Bavaria. Some of his works were 
formerly attributed to Martin Schoen or SchOn- 
gauer, from the similarity of mark. 

SCHAGEN, Giles van, a Dutch painter, born 
at Alkmaer in 1616. He first studied with Solo- 
mon van Ravesteyn, and afterwards with Peter 
Verbeck. He traveled through Germany for im- 
provement, and first went to Dantzic. where he 



SCHA. 



857 



SCHA. 



resided some time, and painted interiors of kitch- 
ens, ale-houses, and conversations, in imitation of 
Ostade. with considerable success. At Elbing, he 
contracted an intimacy with Strobel, through 
whose influence he was introduced to Stanislaus, 
king of Poland, whose poi'trait he painted. Scha- 
gen next went to Paris, where he met with much 
encouragement, and his pictures were greatly ad- 
mired. He was also employed in copying the 
works of the best Italian and Flemish painters, 
for which he possessed a remarkable talent. He 
copied a picture of the Virgin and Child after Ru- 
bens, with a force and brilliancy of coloring, and a 
freedom of penciling little inferior to the original. 
He afterwards returned to his native city, where 
he practised with equal success till his death. One of 
his most remarkable pictures was a representation 
of the engagement between the Dutch and Span- 
ish fleets under admirals van Tromp and Oquendo, 
which he sketched during the fight, at the re- 
quest of the Dutch admiral, it is said, but more 
probably it was his own desire, as he was an ec- 
centric man, fond of novelty and excitement. The 
picture was executed with great spirit and free- 
dom. He died in 1668. 

SCHALCH, John Jacob, a German landscape 
painter, born at Schaffhausen in 1723. Little is 
known of him. He is said to have painted land- 
scapes, cattle, and figures, in the manner of Breu- 
ghel. He visited Holland and England, and died 
in 1770. His works are unknown in England. 

SCHALCKE, a Dutch painter of whom no- 
thing is known except a few pictures of river 
scenery and landscapes, with cattle and figures, 
said to be " painted with the spirit and freedom of 
Teniers, and an efiect of light similar to Rem- 
brandt." There is a fine marine by him in the 
Gallery at Prague. Nagler suggests whether he 
is not the same as Godfrey Schalcken. He flour- 
ished in the second half of the 17th century. 

SCHALCKEN, Godfrey, a Dutch historical 
and portrait painter, born at Dort in 1643. His 
father was rector of the college in that city, and 
intended to give his son a liberal education, but 
finding that he possessed a passion for painting, he 
allowed him to follow the bent of his genius, and 
placed him under the instruction of Solomon van 
Hoogstraten. He afterwards went to Leyden, and 
entered the school of Gerard Douw, with whom he 
continued some years, and acquired that delicacy 
of finishing, and that knowledge of the principles 
of the chiaro-scuro which distinguishes his works. 
At first he confined himself to small cabinet pic- 
tures, chiefly represented by candle-fight, subjects 
which his instructor treated with distinguished 
success. On leaving the school of Douw, he at- 
tempted to aggrandize his style by studying the 
works of Rembrandt, but unequal to attain the 
vigorous touch and magical effect of that extraor- 
dinary artist, he pursued his first principles, and 
his pictures were sought after with avidity. 

On settling in his native city, he soon gained a 
high reputation, and was much employed in paint- 
ing portraits. He was remarkable for painting in 
a variety of ways, in all of which he excelled, but 
most in night subjects. He knew how to distri- 
bute the light of a flambeau or taper with extraor- 
dinary skill, so as to diffuse a brightness over his 
objects by a proper opposition of shadow, which 
only nature could equal ; in this line he was with- 



out a competitor. Houbraken mentions one of 
his pictures of this sort which was exceedingly 
admired ; the subject was St. Peter denying 
Christ, in which the maid is represented as hold- 
ing up a light to the face of the apostle. It was 
a composition of many figures, more correctly de- 
signed, and with a better expression than was usu- 
al with him, and the whole picture, from the pow- 
erful distribution of light and shadow, produced a 
wonderful effect. To give the most natural effect 
to his night-pieces, it was his custom to arrange 
his models, or the objects he desired to paint, in a 
dark room attached to his studio, with the light 
properly adjusted; then, observing the efiect 
through a small aperture, he painted what he saw 
in the darkened chamber. Schalcken met with 
the most flattering success at Dort, especially in 
small portraits ; he had painted the principal fam- 
ilies in that city, when the extraordinary success 
of his countryman. Sir Godfrey Knell er. in Eng- 
land, induced him to visit that country in the reign 
of King William. He had the honor of painting 
I that monarch, but did not meet with much success. 
I and'soon left the country in disgust and settled at 
I the Hague, where he found a prodigious demand 
! for his small pictures, and sold them at a high 
price. A ridiculous and preposterous anecdote is 
related of the cause of his failure in England, on 
the authority of Campo Weyermans, which is not 
entitled to the least credit. " When Schalcken had 
the honor to paint King William III., it was the 
monarch's wish to be painted by candlelight, from 
the reputation the painter had acquired in pictures 
of that sort. Schalcken presented him with a ta- 
per to hold in a particular position, which, during 
the progress of the work, accidentally melted, and 
dropped on the fingers of the king, who, unwilling 
to disconcert the artist, bore it with great com- 
posedness for some time. This ignorant and dis- 
respectful conduct of Schalcken disgusted the cour- 
tiers, and entirely lost him their favor." The true 
causes doubtless were that Kneller and others mo- 
nopolized the business of portraiture — the only 
branch which occupied public attention at that 
time in England, and to satisfy the taste of the 
country, he was obliged to paint his figures as 
large as life, to which he had not been accustomed, 
and in which he was not very successful. 

The chief merits of the pictures of Schalcken 
consist in the neatness and spirit of his touch, the 
delicacy of his finishing, and a perfect intelligence 
of the chiaro-scuro, as it relates to objects under 
the influence of a fixed and local light. In his 
sun-light pictures, his pencilling has been compar- 
ed to that of Mieris and Vanderwerf ; his coloring 
: was warm and gilded, and his tones sweet and 
; harmonious. His works, however, are generally 
defective in design, expression, and drawing.— 
\ There is a great discrepancy among writers as to 
i the real merits of Schalcken; and his works, or 
at least some of them, do not sustain his reputa- 
I tion. But this may be said of many of the old 
masters, for time often produces great changes in 
pictures, and this is the case with some of those 
of Schalcken. His works have also been largely 
imitated, and many considered genuine are doubt- 
less spurious. It is said by some that he was an 
expert mechanical painter, who labored and finish- 
ed his pictures with great care ; but this objection 
I might be urged against his instructor, Douw, and 
' other eminent artists of his country. His day- 



SCHA. 



858 



SCHE. 



light pictures are the rarest, and consequently 
bring the highest prices. His works are to be 
found in the choicest collections, and are highly 
esteemed. Some of them have been engraved by 
Wille and other eminent artists. Smith, in his 
Catalogue raisonne, vol. iv., and Supplement, gives 
descriptions of one hundred and thirtj^-seven pic- 
tures by him. Brulliot asciibes to him a single 
etching, of a laughing peasant, hiding the greater 
part of his face with his right hand. It is a three- 
quarters bust, oval, inscribed Qiiam meminisse 
juvat. Balkema .'^ays he had a nephew named 
Jacob Schalcken. whom he instructed in the art, 
and who imitated his manner successful]3^ He 
also had a sister, named Maria, who practised 
painting, and was doubtless instructed by her 
brother. He died at the Hague in 1706. His 
name is often incorrectly written Scalken. 

SCHAPFF, JoRG. one of the oldest German 
wood engravers. The Baron Heineken sa3"S he 
executed a part of the cuts for a book on Chiro- 
mancy, by Dr. Hartlieb. published in 1448. In his 
Idea of a complete collection of Prints, that au- 
thor has given a copy of one of these cuts, and 
DOthing can be more rudely executed. The book 
consists of twenty-four pages, printed on both 
sides, the discourse being cut on blocks of wood. 
The name of the engraver is inscribed on the bot- 
tom of one of the leaves, Jforg ;Scf)afpff in Bugs- 
fiouTcg, 1448. On the last page is Jorg Scha'pff 
%u Augsboiirg-. 

SCHATEN, Hubert, an engraver, who resided 
at Copenhagen, and engraved some portraits of 
distina:nished Danish personages, which bear date 
from 1675 to 1694. 

SCHAUR, Philip, an engraver mentioned by 
Strutt, b}' whom there is an etching of an old 
Man with a bushy beard, in spectacles, mending a 
pen, with books and an hour-glass before him. 

SCHEDONE. See Schidone. 

SCHEEMAKERS, a Flemish sculptor, who 
attained great celebrity in England. He was born 
at Antwerp in 1691. After studying under his 
father, and a sculptor named Delvaux, he went to 
Denmark, and wrought for some time as a jour- 
nejnnan. About 1728 he visited Rome for im- 
provement, and before long went to England, 
where he obtained considerable emplo^yment. — 
About 1733 he revisited Rome, where he remained 
two years, and returned to England in 1735. At 
this time, Rysbrack and Roubilliac were flourish- 
ing ; but Scheemakers graduall}^ rose in public 
esteem, and received many important commissions. 
His numerous works are distinguished for elabo- 
rateness of design, beauty of execution, and vigor 
of effect. Among the principal are. in Westmin- 
ster Abbey, the greatly admired monument of 
Shakspeare ; also those of Dryden, the Duke of 
Albemarle, the Duke of Buckingham, Admiral 
Watson, &c. He executed several busts and oth- 
er sculptures for the gardens of Stowe ; also the 
statue of Sir John Barnard, in the old Royal Ex- 
change; the statues in the India House of Admi- 
ral Pocock and Lord Clive; the bronze statue of 
Guy, in Gay's Hospital ; and that of Edward YI. 
in St. Thomas' Hospital. In 1756 and 1757 there 
were two sales of his effects, in Covent Garden, 
among which was a beautiful small copy of the 
Laocoon in marble, purchased by the Earl of Lin- 



coln. There have been many excellent casts made 
of this work. Smith, following the authority of 
Nollekens, a pupil of Scheemakers, says that he 
returned to Antwerp in 1770, and soon after died 
in that city. 

SCHEINDEL, or SCHEYNDEL, George van, 
a Dutch designer and engraver, who flourished at 
Rotterdam, according to the dates on his prints, 
from about 1635 to 1660. He engraved quite a 
number of plates from his own designs, and after 
other masters, executed in a neat and agreeable 
style, resembling that of Callot. His landscapes 
with figures, correctly drawn and executed with 
spirit, are deservedly admired. He was a cotem- 
porary of William van Buytenweg, and engraved 
some plates after his designs. Among other prints 
are the following hy him : 

A pair of Landscapes, with Peasants amusing themselves. 
The Tooth-drawer. A Village Festival, with Boors fight- 
ing. The Companion, with a Quack-doctor. A Winter 
piece, with Skaters on the ice. A Landscape, with a Wa- 
terfall. A Landscape, with a Bridge. A set of four views 
of a Castle and the environs, one of them with a Wind- 
mill. A set of twelve Landscapes, with a Dutch inscrip- 
tion. A set of twelve plates of European, Turkish and 
Grecian figures. Twelve plates of Habits of the Country- 
men of the several Cantons of Holland. 

SCHEITZ, Matthew, a German painter, born 
at Hamburg about 1646. According to Huber. he 
was a scholar of Philip Wouwerman, whose style 
and subjects he followed for some time, but after- 
wards abandoned them for those of David Teniers. 
He etched some plates from his own designs, execu- 
ted in a bold, free style, among which are the fol- 
lowing : 

The Four Seasons, represented by the Sports of Children ; 
in four plates ; M. Scheitz fee. 1671. Two Landscapes, 
with figures dancing and amu.sing themselves. An old 
Man playing on the Violin, and a Woman singing before 
the door of a Cottage. The Spectacle Merchant. 

SCHEITZ, Andrew, a German engraver, was 
the son of the preceding. He executed some plates 
after the works of his father and others, which bear 
date from 1657 to 1678. 

SCHELLENBERG, John Rudolph, a Swiss 
designer and engraver, was born at Winterthur in 
1740. He was the son and scholar of an obscure 
painter of portraits and landscapes, named John 
Ulric S., born in 1709, and died in 1770. Ento- 
mology being his favorite study, he made about 
2000 colored designs of insects, and sold them to 
the king of 'Bavaria ; after which he made a simi- 
lar collection of 4500 designs of insects, making 
60 vols, in 8vo. Among his principal plates are 
some in Lavater's work on Physiognomy, after 
the designs of Chodowiecki ; several of the por- 
traits and ornamental prints for the Lives of the 
Swiss painters, by J. C. Fiiessli; and twenty-four 
plates of insects, for a work entitled Les Carac- 
teres des Insectes, suivant le systeme de Linnee. 
Schellenberg died, according to Nagler, in 1806. 

SCHELLENBERGER, or SCHOLLEMBERG- 

ER. John Jacob, a German engraver, who flour- 
ished from about 1660 to 1674. He engraved some 
portraits of distinguished personages, and executed 
a part of those for Priorato's History of the Em- 
peror Leopold. 

SCHELLINKS, William, a Dutch painter, born 
at Amsterdam, according to Descamps, in 1632. 
From the style of his pictures, he is supposed to 



SCHE. 



859 



SCHE. 



Have studied with John Lingelbach. He after- 
wards traveled through France, Switzerland, Italy, 
and England. He painted landscapes and seaports, 
decorated with figures well designed, and touched 
with great neatness and spirit. His animals are 
correctly drawn, and his groups are tastefully com- 
posed. The brilliant and sunny effect in some 
of his pictures reminds us of the charming produc- 
tions of Karel du Jardin. He also had an excel- 
lent knowledge of perspective, as is evinced in some 
of his extensive views, in which the nicest grada- 
tions are observed. He resided chiefly at Amster- 
dam. His works are little known out of his own 
country, though there, they are to be found in the 
choicest collections, and are highly esteemed. He 
wrote his name, as appears from several of his 
drawings, ScheUinks and Schellings ; others write 
it Schellincks. He died in 1678. 

SCHELLINKS, Daniel, was the brother of the 
preceding, born at Amsterdam in 1638, and died 
in 1701. He is said to have been instructed in the 
art by William S., in whose style he painted land- 
scapes and sea-ports with some reputation. The 
Dutch writers mention him very briefly. 

SCHELTEMA, Taco, a Dutch painter, born at 
Harlingen in 1760. It is not known under whom 
he studied, but he improved himself by diligently 
studying after nature, and copying the works of 
the best masters, particularly those of Vandyck, 
whom he made his model. After •visiting Dussel- 
dorf and Dresden, in which places he painted the 
portraits of several persons of distinction, he re- 
turned to his own country, where he practised 
portrait painting with great success in the man- 
ner of Vandyck. He resided alternately at Am- 
sterdam and Rotterdam. He painted numer- 
ous family pictures of life size, some of which 
he enriched with landscapes and various acces- 
sories. At Amsterdam, he painted the portraits 
of all the founders and directors of the Batavian 
Society, which are, or were in one of the chambers 
of the Bourse. 

SCHENAU, John Eleazer, a German painter 
and engraver, who resided at Paris in 1765, where 
he etched a set of twelve plates with a frontispiece, 
which he published under the title of Achetez mes 
petites eaux fortes ci la douzaine, 1765. 

SCHENCK, Peter, a Dutch engraver, and an 
eminent printseller, born at Elberfeld in 1645. 
He went to Amsterdam, where he learned the art, 
and formed an intimacy with Gerard Valck, 
who taught him mezzo tinto. In 1683 they be- 
came partners, and having purchased the stock 
of J. Jansens, then dead, they added their own, 
commenced business, and published a multi- 
tude of prints, engraved by themselves, as well 
as others ; hence it is difficult to distinguish their 
actual performances. Their catalogue contains a 
list of several hundred prints, after Ochterveldt, 
Netscher, Toornvliet, Kneller, Lely, Terburg, 
Schalcken, Lairesse, and others ; also a set of 100 
views in and near Rome, entitled Roma ^terna^ 
many of which were engraved by Schenck himself. 
The King of Poland, Augustus 11., Elector of Sax- 
ony, honored him, by naming him engraver to his 
court. Nagler gives a list of his prints. He is 
more celebrated as a publisher, than for his skill 
as an engraver, though he was a very industrious 
man, and executed a multitude of plates himself, 



most of them in mezzotinto. He died at Amster* 
dam in 1715. 

SCHENDEL, Bernard, a Dutch painter, born 
at Haerlem in 1634. He studied with Hendrick 
Mommers, and painted conversations, merry-ma- 
kings, markets, &c., in the style of his instructor. 
His pictures are correctly designed and well col- 
ored. He died about 1693. 

SCHEVENHUYSEN, Anthony, a Dutch en- 
graver who flourished about 1695. He engraved 
a set of 100 small plates, representing the different 
trades of Holland. 

SCHIANTESCHI, Domenico, a painter born 
at Borgo San Sepolcro, who flourished there in the 
first part of the 18th century. He studied under 
Ferdinaudo Galli, called Bibiena, at Bologna, whose 
style he imitated. On his return to his native 
city he found some employment in painting per- 
spective and architectural pieces for the public 
edifices, but he wrought mostly for individuals. 
Lanzi says " his perspectives are to be found in, 
the houses of many of the nobility of Borgo San 
Sepolcro, where they are much esteemed." 

SCHI AVONE, Andre A, called Medula. a painter 
born at Sebenico, in Dalmatia, in 1522. He evinced 
a passion for painting, which exhibited itself in 
childhood, as he was walking through the streets 
of Venice with his father ; nothing afforded him 
so much pleasure as the contemplation of pic- 
tures. There is some discrepancy about the his- 
tory of his early life. Lanzi says that, " his father, 
as soon as he became aware of his passion, instant- 
ly applied to the artists, and devoted him to the 
profession, but fortune proving unfavorable to him, 
he was compelled by penury to obtain a subsist- 
ence rather as a daily hireling than as an artist." 
Others assert that his father being extremely poor, 
placed him as a servant, or assistant to a house 
painter. This much is certain, that being desti- 
tute of the means of procuring a technical educa- 
tion, he employed the best means within his reach 
to accomplish his object. He derived his knowl- 
edge of design from copying the etchings of Par- 
miggiano, and his taste of coloring from Titian and 
Tintoretto. For some years he continued to sup- 
port himself by executing the ornamental parts for 
wall and house painters, decorating household fur- 
niture, and perhaps painting for the picture dealers. 
Some of these performances attracted the atten- 
tion of Titian, who, perceiving his talents, and 
learning his wretched situation, took him into his 
academy, and subsequently employed him in con- 
junction with other artists, to assist him in his 
great works in the Librarj^ of S. Marco. There 
he had an opportunity of displaying his talents, 
and he executed three entire ceilings from the de- 
signs of Titian, which are still to be seen in that 
repository of art. In competition with Tintoretto, 
he painted his Visitation of the Virgin, in the 
church of the Padri della Santa Croce, and though 
he was unable to compete with his powerful antag- 
onist from his imperfect knowledge of design, yet 
he retired from the contest with applause. His 
talents were highly respected by Tintoi-etto, who 
considered him one of the best colorists of the Ven- 
etian school, and he is said to have kept one of 
his pictures in his studio as a model in coloring, 
and he was accustomed to say that, " it would be 
well for colorists to follow Schiavone's example in 
coloring, though he would do ill not to design 



SCHI. 



860 



SCHI. 



better than his model." Robusti, moreover, imi- 
tated him with such success in an altar-piece of 
the Circumcision, in the church of the Carmini, 
that Vasari mistook it for a work by Schiavone. 
Yet the same historian held him in such slight es- 
teem, as to say that it was only by mistake that 
he occasionally painted a good picture; a sentence, 
says Bottari in his Life of Franco, severely criti- 
cised by Agostino Caracci, who considered him one 
of the greatest geniuses of the Venetian school. 
Notwithstanding the possession of such extraor- 
dinary talents, Schiavone passed his days in pover- 
ty, and his necessities compelled him to accept 
any commission offered to him, and even to work 
for speculators for the most paltry remuneration. 
Lanzi says, "his fame after his death increased, 
and his paintings, for the most part, of a mytho- 
logical character, were removed from the chests 
and benches to adorn the cabinets of connoisseurs. 
Guarienti cites three of these in the collection of 
Dresden ; and Rosa four in the Cesarean gallery at 
Vienna ; I have seen several very graceful speci- 
mens in the Casa Pisani at San Stefano, and in 
almost every gallery in Venice. In Rimini, also, I 
saw two of his pictures painted as companions at 
the Padri Teatini ; they represent the Nativity and 
the Assumption, and the figures, on the Poussin 
scale, are among the most beautiful he ever drew." 

There is a great difference in the works of 
Schiavone. So slender was the emolument he 
received, that he was frequently obliged to adopt 
a slight and expeditious mode of operating ; and 
he was confessedly deficient in drawing, hence his 
surname Medula. or Meldolla (faulty), and hence 
too, the diversity of opinion as to his merits. 
The deficiency of his early education, his poverty, 
and lack of appreciation, plead an ample apology 
for all his faults. His best works, with the single 
exception of correctness of design, possess almost 
every other excellence of the art. His composi- 
tions are copious and agreeable, his attitudes grace- 
ful and elegant, resembling those of Parmiggiano, 
whose works he studied ; his draperies are cast 
with judgment and taste ; the heads of his females 
are beautiful, and those of his old men dignified 
and expressive, and his coloring had much of the 
glow of Titian, with the sweetness of Andrea del 
Sarto. He wrought with facility, and had a neat 
and flowing pencil. He possessed an excellent 
knowledge of the chiaro-scuro, and gave his carna- 
tions such freshness, warmth, and relief, that his 
figures seemed to live and breathe. His works are 
now only to be found in the best collections in his 
own country and throughout Europe. There are 
several in the public galleries in England, and 
others in the collections of the nobility. 

Schiavone executed some spirited etchings from 
his own designs, and after Titian. The names and 
the works of Andrea Schiavone and Andrea Mel- 
dolla have, until recently, been confounded together 
as one artist. Zani first discovered that Meldolla 
was a different artist from Schiavone, and many 
of the prints formerly attributed to the latter, are 
now given to the former. — (See Meldolla.) The 
similarity of names was the cause of this error. 
The only prints attributed to him by Bartsch (P. 
G. tom. xvi.,) are the twelve Caesars, after Titian^ 
signed simply Titiang V., and twenty-one other 
subjects, apparently from his own designs, some 
of which are signed Andrea Schiaon. f. He died 
in 1582. 



SCHIAVONE, Greg GRIG, a painter born at 
Padua about 1430. He was a fellow pupil with 
Andrea Mantegna under Squarcione. Lanzi says 
he is a very pleasing artist, whose pictures are fre- 
quently to be met with in the collections, orna- 
mented with architectural views, with fruit and 
flowers, and above all, with joyous little cherubs. 
His style is between those of Mantegna and the 
Bellini. He read the following inscription on a 
charming picture by him at Fossombrone, Opus 
Sclavonii Dalmatici Squarzoni S., the S. mean- 
ing Scholaris. Zani says he flourished from 1460 
to 1490. Ridolfi eri-oneously calls him Girolamo. 

SCHIAVONE, LucA, a Milanese artist, who, ac- 
cording to Lomazzo, flourished about 1450. He car- 
ried the art of pictorial embroidery, then in great 
repute, to the highest degree of perfection. He exe- 
cuted in embroidery, not only portraits, but land- 
scapes with animals, and histories. He was the 
instructor of Girolamo Delfinone, which see. 

SCHIAVONETTI, Luigi, an Italian designer 
and engraver, born at Bassano in 1765. He was 
the son of a stationer, and showing a taste for art, 
his father placed him under the tuition of Giulio 
Golini, a painter of some eminence at Bassano, by 
whom he was instructed in design ; but prefer- 
ring engraving, he devoted himself to that art, 
and with the assistance of an obscure engraver 
named Lorio, he acquired so much skill as to be 
enabled to execute a line plate of the Holy Family, 
after Carlo Maratti, so successfully as to procure 
him the patronage of Count Remaudini. The 
works of Bartolozzi, in the chalk manner, were 
then in great repute at Bassano, and Schiavonetti 
imitated his style. He went to England, and placed 
himself under Bartolozzi, and afterwards practiced 
in his style with great success. His prints are 
executed with spirit and freedom, his drawing is 
remarkably correct, and he faithfully gave the 
character and expression of his originals. He en- 
graved quite a number of plates, some of them of 
large size, after the old masters, as well as others 
after the painters of the English school. He was 
much employed by Boydell, and he executed several 
plates for the Shakspeare Galler3% He died in 
1810. The following are among his most ad- 
mired prints: 

Four plates, representing the most interesting events 
which preceded the murder of Louis XVI. ; aftei- the de- 
signs of Benazec/i. The celebrated cartoon by M. An- 
gela Buonarotti, representing the Surprise of the Soldiers 
on the Banks of the Arno. The Portrait of Vandyck in 
the character of Paris. The Mater Dolorosa ; after Van- 
dyck. The Landing of the British troops in Egypt ; after 
Loutherbourg. A set of etchings, illustrative of Blair's 
Grave ; after the designs of Blake. The etching of the 
Canterbury Pilgrimage ; after Stothard. Dead Christ ; 
after Vandyck. The Portrait of Berchcm ; after Rem- 
brandt. The Death of General Wolfe, engraved from a 
gem by Marchant, in the original unpublished Museum 
Worsleyanum. There is a copy of this print in the smaller 
edition. The Portrait of W. iSlake ; after T. Philips. 
Several in " The Italian School of Design," published by 
Ottley. Also, among the original designs of celebrated 
Italian masters, published by Chamberlaine ; and several 
of the '• Specimens of Ancient Sculpture," published by 
the Society of Dilettanti. 

SCHIAVONETTI, Niccglo, was a younger 
brother of the preceding, by whom he was in- 
structed in engraving, and whom he assisted in 
many of his works. He also executed a few plates 
of his own in the style of his brother. 



SCHI. 



861 



SCHI. 



SCHIAVONT, Natale, an Italian painter and 
distinguished engraver, born at Chiozza in 1774. 
He studied engraving under Raphael Morghen, 
and engraved a number of plates which gained 
him great reputation. His Assumption of the 
Virgin after Titian, is considered a master-piece of 
the art. His life has not jet been written, nor is 
it known whether he is now living. 

SCHICK, Gottlieb, a German painter, born 
at Stuttgard in 1779, He went to Paris and en- 
tered the s^chool of David, and afterwards proceed- 
ed to Rome, where he diligently studied the works 
of Raffaelle and the antique. On his return to his 
native cit)^, he acquired considerable reputation for 
his historical pictures, heroic landscapes, and por- 
traits. His principal historical pictures are the 
Sacrifice of Noah, David playing before Saul, and 
Apollo with the Shepherds, which last is in the pal- 
ace at Stuttgard. He excelled in portraiture, and 
executed the likenesses of several distinguished 
persons, among them, the Baron von Humboldt. 
His landscapes are embellished with subjects from 
the ancient poets. His works are highly commend- 
ed by his countrymen for correctness of design and 
beauty of coloring. He possessed a fine imagina- 
tion, and his pictures are generally distinguished 
for noble simplicity and purity of sentiment. His 
religious pictures, however, exhibit more of the 
poet than of the devout worshipper. He died at 
Stuttgard in 1818. 

SCHIDONE. Bartolomeo, an eminent paint- 
er, born at Modena in 1560, according to Malvasia 
and others, though there seems to be no certainty 
about it. His early history is very contradictory. 
Malvasia says he studied in the school of the Ca- 
racci, but Lanzi is of a contrary opinion, as his 
works show few traces of the style of the Caracci ; 
he says, "if such be the fact, we must conclude 
either that his first productions are not known, 
or that he merely saluted that school, as it were 
from the threshold." If he was born in 1560, it 
is not probable that he would have received his 
first instruction from the Caracci, as Lodovico 
was born in 1555, Agostino in 1558. and Annibale 
in 1560. Therefore it seems more probable, ob- 
serves Lanzi, that he employed himself in follow- 
ing the successors of Raffaelle in his native place, 
but more particularly Correggio, by whom there 
are many original pieces at Modena, Again, it is 
said that he had gained con.siderable reputation by 
some juvenile performances in the public edifices 
at Modena, when the Duke Ranuccio, a great 
patron of art, took liim under his protection, and 
gave him his villa at Felegara, as a place of resi- 
dence, that he might pursue his studies more com- 
modiously, and with greater tranquillity. But the 
first pictures known to have been conducted by 
him in public, are the celebrated frescos of the 
history of Coriolanus, and the Seven Sisters, em- 
blematic of Harmony, painted in competition with 
Ercole Abati, in the Palazzo Pubblico at Modena, 
about 1604, in which he emulated the grand style 
of Raffaelle and Correggio. These works, and 
others in the same edifice, still exist, and suflBcient- 
ly evince, that he was not then a juvenile artist^ 
but that he had reached the full maturity of his 
powers. It is also agreed that he died in the lat- 
ter part of 1615. Lanzi, Tiraboschi and others, 
say that he died young about the end of 1615 ; 
Zani, that he operated in 1604, and died in 1615. 



If he was born in 1560. it cannot be said that he 
died young, at the age of fiftj^-five. As for the 
rest, and most important part, there is no dis- 
pute. His genius was noble and elevated, and 
he emulated the style of Correggio so closely, that 
some of his works have been mistaken for the 
productions of that great master ; he approached 
very near him in the graceful and expressive airs 
of his heads, and in the elegant attitudes of his 
figures; his management of the chiaro-scuro ex- 
hil3its the breadth and intelligence, and his color- 
ing the purity and im.pasto, of that admirable 
painter ; his touch is light and delicate, and he fin- 
ished his pictures in an exquisite manner. Though 
his outlines are not always critical 1}^ correct, he 
conceals the deficiency by the loveliness of his at- 
titudes, and the enchanting harmony of his tones. 
He was accounted one of the ablest masters of his 
time. He was taken into the service of the Duke 
of Modena, for whom he executed many of his most 
admired works of subjects taken from the scrip- 
tures and ancient history ; he also excelled in 
portraits, and painted those of the Duke, and all 
the members of his family. He painted both in 
oil and fresco ; his coloring in the latter is very 
vivid and lively even at the present day ; in oil, 
it is more subdued, but more harmonious, though 
not always free from the ill eSects produced by the 
bad grounds usual in the age of the Caracci. His 
pictures on a large scale, such as his Pieta, now in 
the academy at Parma, and the Conception in S. 
Francesco at Piacenza, are extremely rare ; also 
his historical pieces, as the Nativity of Christ and 
the Birth of the Virgin, placed for lateral orna- 
ments to an altar-piece by Filippo Bellini. There 
are some of his Holy Families, Madonnas, and 
little sacred pieces' in the galleries at Modena and 
elsewhere, which are held in the highest estima- 
tion, and are exceedingly valuable. Tiraboschi 
mentions the sum of 4000 crowns as having been 
paid for one of them. The court of Naples is ex- 
tremely rich in his works, having purchased all 
those he executed for the Duke of Modena. his 
principal patron. In the cathedral at Modena is 
an admirable picture by him, representing St, Ge- 
miniano restoring a dead Child to life, which has 
often been mistaken for a work by Correggio. 
Two of his pictures, a Holy Family, and a sleep- 
ing Cupid, formerly in the Orleans collection, are 
now in the Dulwich gallery. His works are very 
rare, and only to be found in the collections of 
princes, though many spurious ones are attributed 
to him. Like Guido, he had a fatal passion for 
gaming, and it is said that his death was occasioned 
by the" distress of mind brought on by losing a 
large sum of money, and more than he could pay, 
in a single night. Bartsch attributes an etching 
of a 5oly Family to this artist, which he con- 
jectures to be a youthful production ; it is signed 
Barto. Schidono. His name is variously written 
Schidone, Schedone, Schedoni and Schidoni ; the 
first is correct. 

SCHINKEL, Karl FfvIEDRich, a Prussian paint- 
er and an eminent architect of the present century, 
was born in 1781, at Neu-Ruppin, in Brandenburgh. 
He studied at Berlin, under David Gilly, an archi- 
tect of reputation, but gained the most improve- 
ment from the advice and instruction of Friedrich 
Gilly, the son of David G., who returned from 
his travels about a year after Schinkel commenced 
his studies, and communicated to the young archi- 



SCHI. 



862 



SCHI. 



tect liberal and enlightened views of the art. Gilly 
employed him to erect several buildings, from his 
designs, and at his death in 1800, Schinkel was 
employed, notwithstanding his youth, to complete 
several of his unfinished edifices. Instead of fol- 
lowing the common course, he steadfastly con- 
tinued his theoretical and artistic studies, support- 
ing himself by making designs of various orna- 
mental articles for modellers and artisans. In 
1803 he visited Vienna, Prague, and Dresden ; 
and then went to Italy; extended his travels to 
Naples and Sicil)'- ; and returned to Berlin in 1805. 
In consequence of the civil commotions, all archi- 
tectural works were suspended, and Schinkel 
therefore applied himself to painting landscapes. 
The studies of scenery he had made in Italy, were 
of great use in his compositions, and he produced 
a number of excellent pictures, usually adorned 
with architecture, besides a large panorama of Pa- 
lermo, and a number of scenes for the theatre, af- 
terwards engraved and published, with those for 
the Zauberflote Die Brant von Messina, &c. His 
various artistical labors during this period, were 
of great service in developing his imagination, and 
refining his taste, so that he came to look upon 
architecture more in the light of a fine art, than 
did most of the German professors. At the gen- 
eral restoration of peace, Schinkel was emploj^ed 
by the King of Prussia to design a great national 
cathedral, in commemoration of that event ; but, 
although his design excited general admiration, 
the work, for various reasons, was not erected. 
However, from the year 1815, he was incessantly 
employed. Among his earliest edifices at Berlin, 
were the Hauptwache Theatre, and Museum, all 
of them treated in the pure Grecian style. The 
fa9ade of the Museum is particularly distinguished 
for severe simplicity of outline, with a fulness of 
refined ornament, unknown to any modern exam- 
ples of what is termed the Grecian style. The ex- 
ternal elevation consists merely of a single row of 
eighteen columns in antis (Erechtheum Ionic), 
raised on a lofty stylobate, with a flight of steps 
in the centre, enclosed by pedestal walls (in con- 
tinuation of the stylobate), and forming the as- 
cent to the colonnade. Great power and variety 
of effect is given to the whole design by the inner 
elevation, or background behind the outer row of 
columns, which present in the centre portion a se- 
cond colonnade (four columns in antis), with a 
screen-wall rising about half its height, and beyond 
that the upper half of the open staircase ; where- 
by the whole composition acquires singular move- 
ment and play of both perspective, and light and 
shade. In addition to this, Schinkel intended to 
have decorated the screen-wall with splendid fres- 
cos, and actually designed some masterly cartoons ; 
but they were not completed. There is reason to 
suppose that his idea will be finished, Cornelius 
having been mentioned as the artist ; and not till 
then, will the contemplated effect of this novel de- 
sign be completely realized. The two other above 
mentioned edifices also, have not received their 
complement of sculpture, which is evident from 
Schinkel's ^u^wzir/e, a publication containing a full 
and extensive series of designs for all his prin- 
cipal buildings, with ample explanations. He has 
been termed the Luther of Architecture ; he ef- 
fected much by his personal exertions, and per- 
haps more through his influence and example, 
since, by venturing to think for himself, he has 



led others to do the same. He has been criticised 
as being too limited in his reforms ; but this pro- 
bably resulted rather from the prejudices of the 
age, than from his own inclination. Among Schin- 
kel's principal works, are the Werder Kirche (Goth- 
ic), Bauschule and Observatory, at Berlin; the 
Theatre at Hamburg ; and the church of S. Nic- 
holas, at Potsdam. The latter would have been 
a most imposing structure, had the original design 
been executed, instead of omitting the cupola. 
There are a number of magnificent designs in his 
Efitwurfe, which, for various reasons, were never 
executed. Among these, were several for a mon- 
ument to Frederick the Great, remarkable for free- 
dom of imagination, and architectural luxuriance. 
Another publication, entitled Werke der Hoperen 
Baukunst, contains a series of designs for a palace 
at Athens, to be erected on the Acropolis, which was 
greatly superior to a similar design by Klenze. His 
latest poetical conception was a design for a sum- 
mer palace at Orianda, in the Crimea, on a lofty 
eminence commanding a prospect of the Black Sea, 
and surrounded by terraces and hanging gardens. 
In 1839, Schinkel was promoted to the highest 
rank in his profession, that of Ober-Landes-Bau- 
rector. He died in 1841. 

SCHIVENOGLIA, Lo. See Rainieri. 

SCHIZZONE, a young artist commended by 
Yasari, as one of the most promising followers of 
the school of Raffaelle. At the sacking of Rome 
in 1527, he was obliged to flee from the city; no- 
thing more is recorded of him. 

SCHLEY, Jacob vander, a Dutch engraver, 
born at Amsterdam in 1715, and died there in 
1779, He studied under Bernard Picart, in whose 
style he executed some portraits, and a variety of 
plates for the book-publishers. He also finished 
some plates by Picart, left incomplete at his death. 
Among others, are the following by him : 

PORTRAITS 

John Baptist Boyer, Marquis d' Argens ; after van Pee. 
Anthony Bernard JPrevot, Almoner to the Prince of Conti; 
do. Bernard Picart, Engraver; after M. des Angles. 
1734. Henry de la Tour d'Auvergne, Viscount de Tu- 
renne ; do. The prints after Cor/pel, for the edition of 
Don Quixote, published at Amsterdam in 1746. 

SCHLtCtIT, Abel, a German painter, archi- 
tect, and engraver, born at Manheim in 1754. He 
studied perspective under L. Quaglio, and was ap- 
pointed professor in the Academy at Dusseldorf. 
Nothing is recorded of his works as a painter or an 
architect. As an engraver he executed some plates 
in aquatinta, among which ar.e the following. He 
died in 1826. 

A Storm and Shipwreck ; after Vernet. A Calm ; do. 
A Landscape, with cattle ; after A. Vandevelde. A Land- 
scape, with figures and animals ; after Berghcm. A Land- 
scape ; after Pynaker. Several "architectural Views ; af- 
ter Bibiena, Pannini, and others. 

SCHLOTTERBECK, William Frederick, an 
eminent Swiss designer and engraver, born at Har- 
tingen in 1777. He studied with C. von Mechel 
at Basle. He had a great predilection for the 
aquatinto style of engraving, which was then a 
novelty, and his great success may be said to have 
made that branch of the art very popular in Ger- 
many. He engraved many large plates in that 
manner, after the works of Claude, John Both, P. 
Hackert, and others, as well as many of views 
from his own designs. In 1798 he went to Dessau, 
where he joined the Chalcographic Institution, and 



SCHL. 



863 



SCHM. 



engraved the four landscapes by Claude, then at 
Oasselj but now in the Hermitage at St. Peters- 
burg. In 1801 he went to Vienna, and was em- 
ployed several years in engraving for Mollo's Re- 
pository of Arts. From 1808, till the time of his 
death in 1818, he occupied his time in making 
drawings of the picturesque scenery in the Tyrol, 
pt Salzburg, in various other parts of Germany, 
and in Hungary, from which he engraved many 
plates for Mollo. His prints are beautifully exe- 
cuted, producing a fine effect, and are highly es- 
teemed. Dr. Giulio Ferrario, in his account of 
classical prints, describes two large prints by him 
in aquatinto, after J. Both, published at Vienna in 
1804, which he considers very rare and fine, as he 
had not seen any others elsewhere. He writes his 
name erroneously, Scheletterhek. 

SCHLOTTERBECK, Christian Jacob, a Ger- 
man painter and engraver, born at Brehlingen in 
"Wurtemberg in 1755. Little is known of him as 
a painter, but he executed a number of plates of 
portraits, some after antique sculptures, and a num- 
ber of frontispieces, vignettes, and other book plates. 
Among his principal prints are, the portraits of 
Lavater, F. Kobell, J. J. Moser, Titian's Mistress, 
Herodias with the Head of St. John the Baptist, 
the Laocoon, Castor and Pollux, Minerva, Mercu- 
ry, and Diana. 

SCHLUTER, Andrew, a German sculptor and 
architect, born at Hamburg in 1662. He acquired 
the elements of the art from a sculptor of Dant- 
zic, named Sapovius, and is supposed to have com- 
pleted his studies in Italy. In 1691, he was em- 
ployed at Warsaw, by the king of Poland ; and 
the Elector of Brandenburg invited him to Berlin 
in 1694, with a considerable pension. In the fol- 
lowing year he was appointed a Director of the 
Academy of Fine Arts, and erected for Sophia 
Charlotte, the wife of his patron, the grand and 
beautiful chateau of Liezenburg, near that of Char- 
lottenburg. In 1697 he executed his bronze stat- 
ue of the Elector, and was appointed architect to 
the king. Charged with rebuilding the royal cha- 
teau, he proceeded in his work for some time ; but, 
in consequence of the intrigues of his rivals, he 
lost his appointment of royal architect, although 
f-etaining that of sculptor. His works in the lat- 
ter branch of art are distinguished for correctness 
of design, purity of outline, and truth of expres- 
sion. Among the principal are the bronze statue 
of Frederick I. ; that of Hohenzollern ; and above 
all, his equestrian statue of the Grand Elector, 
distinguished for its noble expression, easy and 
lively attitude, Schluter visited St. Petersburg 
in 1713, and was commissioned by Peter the Great 
to erect several palaces ; but he died there in the 
following year. 

SCHMIDT, George Frederick, an eminent 
Prussian engraver, born at Berlin in 1712. He 
first studied under G. P. Busch, an obscure artist 
in that city. He afterwards went to Paris, where 
he became the pupil of Nicholas Larmessin. Un- 
der the able instruction of that)- eminent artist he 
acquired a skill in handling the graver, with a neat- 
ness and firmness seldom surpassed. In 1742 he 
was received into the Academy at Paris, and en- 
graved for his reception-piece his fine portrait of 
P. Mignard. In 1744 he returned to Berlin, and 
was soon after appointed engraver to the king. In 
1757 he went to St. Petersburg, at the invitation 



of the Empress Elizabeth, and executed several 
portraits and other plates, with great success. In 
1762 he returned to Berlin, where he discovered a 
new talent in etching and engraving several plates 
in the manner of Rembrandt, which were greatly 
admired; he also engraved in the manner of Delia 
Bella and Benedetto Castiglione, with equal suc- 
cess. He died at Berlin in 1775. His prints 
amount to about two hundred, of which the fol- 
lowing are the most esteemed : 

PORTRAITS. 

The Empress Elizabeth of Russia ; after L. Tocque. 
Michael, Count de Worouzow; do. Nicholas Esterhazi, 
Count of the Roman Empire ; do. Frederick Henry- 
Louis, Prince of Prussia; after A. Vanloo. John Paul 
Bignon, Abbe de St. Quentin ; after Rigaud. Constan- 
tine Scarlati, Prince of Moldavia. Charles Gabriel do 
Caylus, Bishop of Auxerre ; after Fontaine. Louis de 
la Tour d'Auvergne, Count "d'Evreux; after Rigaud. 
Charles de St. Albin, Archbishop of Cambray ; do. Peter 
Mignard, Painter to the King; do. Anthony Pesne, Paint- 
er to the King of Prussia ; after a picture by himself. 
Maurice Quentin de la Tour. Painter to the King ; do. 

SUBJECTS AFTKR VARIOUS MASTERS. 

The Virgin and infant Christ, with St. John ; after Van- 
dyck. The Presentation in the Temple ; after Pietro 
Testa. Alexander and his Physician ; after Ann. Carac- 
ci. Timocleus justified by Alexander ; do. A Bust of the 
Virgin : after Sassof errata. Dutch Boors regaling ; af- 
ter A. Ostade, in the style of Visscher. 

PRINTS ETCHED IN THE STYLE OF REMBRANDT. 

His own Portrait, drawing. The Portrait of Rembrandt, 
after a picture by himself. Christ resuscitating the 
daughter of Jairus ; after Rembrandt. Christ presented 
to the People ; do. The Presentation in the Temple ; af- 
ter Dietricy. A variety of Busts and Portraits ; afier 
Rembrandt, and in his manner. Lot and his Daughters ; 
do.; very rare, before the letters. The Young Jewess and 
her Father ; both c?o. The Mother of Rembrandt. The 
young Lord, and an old Man with a Beard ; do. 

SCHMIDT, Isaac, a Dutch painter, born at 
Amsterdam in 1740. He first studied under John 
van Huysum, and afterwards with J. M. Quink- 
hart, with whom he continued six years. He did 
not acquire much reputation as a painter, though 
he executed some good landscapes in concert with 
Juriaan Andriessen. He devoted much of his time 
to teaching, poetrj^ and music. He was one of the 
founders of the Drawing Academy at Amsterdam 
in 1759, and continued to be a director till his 
death, in 1818. 

SCHMITZ. This engraver was a native of 
Germany, and flourishedabout 1780. He studied 
design at Dusseldorf, under Lambert Krahe, whose 
daughter he afterwards married. Having comple- 
ted his engagement with that master, he visited 
Paris, and studied engraving under J. G. Wille ; 
after which he returned to Dusseldorf. and prac- 
tised the art with reputation and success. He was 
honored with a pension from the Elector of Bava- 
ria. Among his principal prints are the follow- 
ing, after pictures in the Dusseldorf Gallery : A 
Group of Children, after Rubens ; Jesus and St. 
John, after Scarsellino ; Jesus appearing to Ma- 
ry Magdalene, after Baroccio. He died about 
1791. 

SCHMUTZ, JoHANN Rudolf, a Swiss painter, 
born at Regensperg, in the canton of Zurich, in 
1670. He studied under Mathias Fiiessli, and 
first applied himself to historical painting, but not 
meeting with much success, he bent his attention 
to portraiture. He went to England when Knel- 



SCHM. 



864 



SCHN. 



ler was at his zenith, and, attaching himself to his 
stj'-le, he met with flattering success, and was ris- 
ing rapidlj into pubhc favor M'^hen he died, in 1715. 

SCHMUTZER, John Adam, a German engra- 
ver, the eldest son of an Austrian general, was born 
at Vienna about 1700. He did not attam much 
distinction in the art. He was commissioned to 
engrave several subjects after pictures in the Im- 
perial Gallery ; and his portraits of the three 
Empresses, Eleonora, Amelia, and Elizabeth, are 
not without merit. He died in 1739. 

SCHMUTZER, Joseph and Andrew, German 
engravers, and younger brothers of the preceding, 
were born at Vienna about 1702, They frequent- 
ly wrought together on the same plate ; and their 
prints are sometimes signed Joseph- Andreas^ and 
sometimes Andreas- Joseph. Andreas imitated 
the manner of van Dalen and Bolswert, and han- 
dled the graver in a clear, bold style. Among 
other prints by these artists are the following : 

PORTRAITS. 

The Emperor Charles VI. ; after Meytens. The Era- 
press Elizabeth Christina ; after Averback. Gustavus 
Adolphus, Baron de Gotten 

SUBJECTS AFTER VARIOCTS MASTERS. 

Two Views of a Temple ; after G. Galll Bibiena. Three 
subjects from the History of Decius ; after the pictures by 
Rubens in the gallery of the Prince of Lichtenstein. 

SCHMUTZER, Jacob Mathias, a German en- 
graver, the son of Andrew S,, was born at Vienna 
in 1733. Losing his father when only eight years 
of age, he passed his youth in trials and struggles; 
acquired a knowledge of architecture through the 
patronage of Matthew Donner, an engraver of 
medals, and practised it in Hungary ; and finally, 
through the kind offices of the Prince of Kaunitz, 
by order of the Empress Maria Theresa, he was 
sent to Paris, and placed in the school of J. G. 
Wille. After studying four years at Paris, 
Schmutzer returned to Vienna, and was appointed 
Director of the Academy established by Maria 
Theresa. He deserves to be ranked among the 
most famous engravers of his time ; and several 
excellent scholars were produced under his instruc- 
tion. His plates are executed very skillfully with 
the graver, in a neat, clear style, resembling that 
of his instructor. Nagler gives a list of forty- 
seven prints by him. among which are the follow- 
ing : 

PORTRAITS. 

Francis I., Emperor of Germany. Maria Theresa, his 
Empress. Joseph Winceslaus, Prince of Lichtenstein. 
Wenceslaus, Prince of Kaunitz ; very rare. Martin de 
Meytens, Painter to the Emperor. C. W. E. Dietricy, 
Painter. 

VARIOUS SUBJECTS. 

Mutius Scsevola before Porsenna ; after Rubens. St. 
Gregory refusing the Emperor Theodosius the entrance into 
the church ; do- Venus rising from the Sea ; do. 

SCHNEBBELIE, Jacob. This artist was the 
son of a Swiss officer, who went to England, and 
settled in the parish of St. Martin-in-the-Fields, 
where Jacob was born in 1760. Having a taste 
for the fine arts, he learned drawing and landscape 
painting, without any other assistance than nature 
and books ; for some time he taught drawing, and 
obtained considerable employment. While sketch- 
ing in Hertfordshire, he attracted the notice of the 
Earl of Leicester, who became his patron, and gave 



him commissions for several landscapes fi-om na- 
ture. In 1781, he began a set of views of St. Au- 
gustin's monastery; in 1788, he designed, engraved, 
and published four views of the town and abbey 
of St. Albans. Soon after this he set on foot a 
work entitled "The Antiquary's Museum," and 
he became an associate of Mr. Moore in the "Mo- 
nastic Remains," &c. He was next engaged by 
the Society of Antiquaries, in designing for their 
" Vetusta Monumenta" ; by Mr. Gough for his 
"Sepulchral Monuments in Great Britain," and by 
Mr. Nichols for his "History of Leicestershire." 
He projected a work under the title of the " Antique 
Dresses since William the Conqueror." but he did 
not live to complete it, and died in 1792. 

SCHNELLHOLTZ, Gabriel, a German 



$ 



designer and engraver, the accounts of whom 
are exceedingly contradictor^'". Some say 
he was born at Merseberg, others at Wit- 
temberg, in 1536 ; others again that he flourished 
at Wittemberg about 1590. According to Nagler, 
he carried on the business of a printer and book- 
seller, as well as engraving, and published several 
books at Wittemberg in 1562 and 1563, one of 
which is entitled Illustrium Ducum Saxonice vivce. 
effigies ah anno nativitatis Christi 824 usque ad an- 
num 1563. This work was reprinted in German 
in 1570. He marked his prints with an S. and an 
arrow placed perpendicularly, which is the rebus 
of his name. Zani says he was a wood engraver, 
and operated in 1590 ; Strutt that he engraved a 
considerable number of excellent prints, marked 
with the above monogram. His name is variously 
written, Sch^iellholtz, Schnellboltz, and Schnell- 
botz ; the first is the correct spelling. 

SCHNITZER, John, an old German wood en- 
graver, born at Arnsheim, who flourished at Ulm 
about 1486. He executed the cuts of the Geo- 
graphical Chart for the edition of Ptolemy, pub- 
lished at Ulm in that year. The map of the 
world is ornamented with ten heads, representing 
the winds, rudely cut. It is inscribed, Insculptiim 
est per Johannem Schnitzer de Arnsheim. 

SCHNORR VON CAROLSFELD, Johann 
Veit, commonly called Hans Veit, a German 
artist, born at Schneeberg in 1764. His father was 
a member of the common council in that city, and 
gave his son a liberal education ; he afterwards stud- 
ied jurisprudence till he was twenty-five years of 
age, when his strong predilection for the fine arts 
induced him to abandon that profession, and he 
entered the school of Frederick Oeser, at Leipsic, 
an eminent painter and engraver. He distinguish- 
ed himself by his multifarious works. He paint- 
ed history and portraits, made designs and drew 
in chalk, India ink, sepia, and m water-colors. He 
modeled in clay and plaster, and in short exercised 
his abilities in every branch of art. He is known 
however, beyond the limits of his own coun- 
try, only by his works as an engraver. He execu- 
ted many spirited and beautiful plates in aquatin- 
to, and in the chalk manner. His subjects con- 
sist of portraits of distinguished persons, poetical 
illustrations and vignettes, from his own designs, 
antique statuary, bas-reliefs, &c., of which an am- 
ple list may be found in Nagler's Lexicon, with 
many interesting particulars. He died at Leipsic 
in 1842. 

SCHOEN, or SCHONGAUER, Martin, an 



SCHO. 



865 



SCHO. 



old German painter and engraver, about whose 
history and works there is a great deal of contra- 
diction and uncertainty. His countrymen claim 
that he was one of the earliest engravers. His 
birth is variously placed about 1420, 1445, and 
1453, and his death in 1486 and 1499 ; the place 
of his nativity, Oulmbach, Colmar, and Augsburg. 
Eaber calls him the father of engraving in Ger- 
many, and says he was born at Culmbach about 
1420, and died at Colmar, where he chiefly resi- 
ded, in 1486. Bartsch and Zani place his birth at 
Colmar, in. or about 1445; Ottley in 1453, and 
they all concur that he died in 1499. Bartsch en- 
graved the portrait of Martin Schongauer, and pre- 
fixed it to the sixth volume of "Le Peintre Gra- 
veur," taken from a painting formerly at Nurem- 
berg, afterwards in the collection of Count Fries, 
and now at Schleissheim or Munich, on which is 
inscribed, Hipsch Martin^ Schongauer Maler, 
1483, with an escutcheon of arms, bearing a cres- 
cent gules on a field argent. On the back of the 
picture is written, in old German characters, 
'■ Master Martin Schongauer, painter, called Hipsch 
(handsome) Martin on account of his art, born at 
Colmar, but of a citizen family of Augsbourg. 
Noble by origin, &c. Died at Colmar, in the year 
1499, the 2nd of February. May God show him 
mercy. And I, Hans Largkmair, was his disciple 
in the year 1488." Albert Durer is said to have 
had such a strong desire to be personally acquaint- 
ed with Schongauer, that he went to Colmar in 
1492 on purpose to see him, but was disappoint- 
ed, Martin being absent from the city. Yet he 
was kindly received by his brothers, Gaspar, Paul, 
and Louis. The Baron Heineken describes a 
drawing in his possession, on the back of which is 
written in German, " This piece was designed by 
Hiibsch Martin in 1470, being then a youth. I, 
Albert Durer, have learned that, and have written 
this to his honor, in the year 1517." Bartsch says 
that '• all the prints of Martin Schongauer exhibit 
an almost equal perfection in the management of 
the burin, which induces the belief that he had 
not commenced engraving on copper, or rather that 
he had not taken impressions, till after he had ac- 
quired a thorough command of the instrument, by 
great practise in ornamenting plate ; for it is said 
that he united the art of the goldsmith with that 
of the painter." Ottley remarks, on this suppo- 
sition of Bartsch, " If the truth of this observa- 
tion be acknowledged, it will follow, as highly 
probable at least, that none of the engravings of 
Schongauer now known appertain to a period more 
remote than about the year 1475 ; at all events, 
there seems every reason to believe that by far the 
greater portion of them were executed in the last 
twenty years of the century in which he lived." 
So much for supposition. This much appears cer- 
tain, that he was one of the earliest, if not the very 
first German artist who engraved on copper-plates. 
Wood engraving had been practised many years 
before there is anything authentic concerning him. i 
(See Introduction, page xii.) He carried the me- 
chanical part of the art to an astonishing degree 
of perfection. Although his drawing is incorrect, 
and his compositions partake of the stiffness and 
formality which characterize the works of the old 
German artists, his productions prove that he pos- 
sessed a fertile imagination, and exhibit both gen- 
ius and judgment. In his print of the Death of the 
Virgin, there is a fine expression in the heads, and 



the accessories are finished with a beauty and del- 
icacy of execution which has scarcely been sur- 
passed. It is stated that Michael Angelo, in his 
youth, was so captivated with the wildness and 
variety of his print of St. Anthony tormented by 
Demons, that he copied it in colors. His prints 
are numerous, and are principally from his own 
designs. He usually marked them with one of 
the following monograms of his initials^ an M. and 
an S. in the old German letter, with a kind of 
cross between them. With regard to his paint- 
ings there is much uncertainty. There ai-e works 
attributed to him in the Galleries at Nuremberg, 
Munich, Schleissheim, and Vienna, but connois- 
seurs are divided as to the authenticity of several. 
There are two, doubtless genuine, in the church of 
the Hospital at Colmar, representing the Nativity, 
and the Adoration of the Magi, both of which 
subjects he engraved. There is another, called the 
Virgin in the Rosebush, placed behind the altar in 
the Cathedral of the same city. It is celebrated 
for its large size, composition, and excellent state 
of preservation. It is painted on a gold ground, 
as almost all the works attributed to him are ; 
the Virgin is represented seated among Roses, with 
the infant Jesus in her lap, while two Angels are 
in the act of crowning her. The figures are of 
life size, the whole picture is carefully executed, 
and the colors are so blended that the touch'of the 
pencil is imperceptible. The Crucifixion, at Vien- 
na, is also one of his approved pictures ; it is full 
of expression, and is thought to partake of the 
school of Cologne. The following are his most 
esteemed prints : 

SACRED SUBJECTS. 

The Life of the Virgin ; twelve plates. Twelve plates 
of the Passion of our Saviour. The Annunciation. The 
Nativity. The Adoration of the Magi. The Flight in- 
to Egypt. The "Wise and the Foolish Virgins ; ten plates. 
The Last Judgment Christ bearing his Cross. The Cru- 
cifixion. The Death of the Virgin ; this was also engraved 
by Israel van Mecheln, Wenceslaus, and others. A small 
set of the Apostles. St. Anthony carried into the Air by 
Demons. St. Sebastian tied to a Tree. 

VARIOUS SUBJECTS. 

Two Alchymists fighting. A set of twelve subjects of 
Ornaments for goldsmiths. A Ciborium. An incense Cup, 
or Censer. Engraved also by J. van Mecheln. A Bishop's 
Crosier, The Battle of the Saracens against the Chris- . 
tians, in which St. James appears on the side of the latter. 
This was probably his last plate, as it was not entirely fin- 
ished. 

J, ry SCHOEN, Bartholomew. Ac- 

1/ X <l cording to Professor Christ, this art- 
^ /* >/ ist was a brother of Martin Schoen, 
but Bartsch and others express a doubt of this, 
and even whether there was ever an artist of this 
name, as it is expressly said that the celebrated 
Martin S. had four brothers, Gaspar, Paul, Louis, 
and George, but there is no mention of Bartholo- 
mew ; therefore they think that the prints bear- 
ing the above monogram were executed by an art- 
ist whose name has been lost. It would seem 
more probable, that he was the brother <,'i' a rc'a- 
tive of Martin, inasmuch as there is a great simi- 



SCHO. 



866 



SCHO. 



larity in their styles and marks, and he moreover 
copied some of his prints, particularly the twelve 
prints of the Passion of Christ. There are about 
thirty prints attributed to him by Bartsch and 
others, all of which bear the above monogram, 
composed of a B. and an S. in the old German 
characters, with a cross between them. They have 
a strong resemblance to those of Martin S., though 
they are not executed with so much neatness and 
expression. Prof. Christ mentions one with the 
date 1479. 

Jn SCHOEN, or SCHON, Erhard, a Ger- 
^ man engraver on wood, who flourished at 
(->^jL^j7 Nuremberg from 1516 to 1550, as appears 
from the dates of several books published 
there during that period, embellished with fron- 
tispieces or other engravings from his designs. 
Bartsch attributes thirty-three prints to him. In 
1538 he published a book on the proportions of 
the human figure, for students, which, though il- 
lustrated with coarse wood cuts, had a great sale, 
and went through three editions in five years. 
Jackson, in his treatise on wood engraving, asserts 
that Erhard Schoen, like many others of the 16th 
century called wood engravers, only made the de- 
signs for the prints bearing his mark, and that 
he never engraved; this assertion, however, is 
founded on mere supposition, though there can be 
little doubt that several of the old German wood 
engravers employed assistants, as is done at the 
present day. Schoen marked his prints with a 
monogram composed of an E. and an S., with a 
knife underneath, as above. 



JMS.P 



SCHOENFELD, or SCHOONFELD, John 
Henry, a German painter, born at Biberach, in 
Swabia, of a noble family, according to the best 
authorities, in 1609. After studying with John 
Sichelbein, an indifferent artist, in his native city, 
he traveled through Germany, and then went to 
Italy for improvement. At Rome he painted two 
altar-pieces, which gained him considerable repu- 
tation, and he was employed in executing some of 
the embellishments in the Palazzo Orsini. On his 
return to his own country, he distinguished him- 
self as an historical painter, and executed many 
works at Vienna, Munich, Salzbourg, and other 
cities. He was also much employed in portraiture, 
and painted landscapes, decorated with figures and 
architecture, which were greatly admired. Among 
his most esteemed historical works, are Christ con- 
ducted to Calvary, and the Descent from the Cross, 
in the church of the Holy Cross at Augsbourg, 
where he resided in the latter part of his life. In 
the Senate-house of the same city, is another fine 
picture by him, representing the Race of Hippo- 
menes and Atalanta. His works show a ready 
and fertile invention, and an extraordinary facility 
of hand ; but his drawing is often incorrect, and 
his figures are generallj^ too long; his coloring is 
vigorous, though occasionally crude and glaring. 
He executed quite a number of etchings from his 
own designs. Nagler gives a list of twenty-three 
prints by him, and there are others of landscapes 
with figures and rich architecture. They are 
etched in a slight style, and the figures, as in 
many of his pictures, are out of proportion to the 
other objects. Zani and Fiiessli place his death at 



Augsbourg in 1680 ; Nagler in 1675, and others, 
his birth in 1619, and his death in 1689. He 
marked his prints with initials as above. 

SCHOENMACKER, or SCHOENMAKERS, 
John Peter, a Dutch painter, born at Dort in 
1755, and died there in 1842. His life has not yet 
been written. He painted views of the cities of 
Holland in the manner of Vander Heyden, with 
great success, and his pictures are to be found 
in the best collections of his country, where they 
are highly esteemed. He was on intimate terms 
with several eminent artists of his country, and 
sometimes employed them to insert his figures 
and animals. In one of the exhibitions at Dort, 
there were four of his most admired pictures, in 
which the figures and vessels were painted by J. 
C. Schotel ; these additions enhance their value. 

SCHOEVAERDTS, M., a painter born about 
1667. The accounts of this artist are very con- 
tradictory — some make him a native of Flanders 
or Holland ; others of Germany. He painted vil- 
lage festivals, merry-makings, &c., in which he ap- 
pears to have imitated Teniers, though there is 
little resemblance in their works except similarity 
of subjects. His pictures are generally crowded 
with figures in full activity, and he frequently in- 
troduced horses and wagons and horned cattle. 
His pictures are well designed, his touch is neat 
and spirited, his coloring pleasing, and his works, 
though very inferior to those of Teniers, are held 
in considerable estimation. There are two village 
scenes by him in the gallery of the Louvre, under 
the name of N. Schowaert. Balkema confounds 
him with Christopher Schwarts, a totally different 
artist. He signed his pictures and his etchings 
M. Schoevaerdts ; hence it is conjectured that his 
christian name was Martin or Michael. Some 
write his name Schovaerts. Two of his pictures 
have been engraved under the titles of Fete de cam- 
pagne Hbllandaise, and Retour de la Fete Hol- 
landaise. He executed a few etchings in a slight, 
but spirited style, from his own designs and after 
other masters. 

SCHOLLENBERG, H. J., a German engraver, 
who flourished about 1630, and engraved some 
portraits, executed in a neat, but hard and formal 
style. Nagler says his name was Hans Jacob 
Schollenberger, and that he flourished at Nuremberg 
from 1670 to 1690 ; but this artist was probably 
his son, as there are prints by Schollenberg dated 
1630, and Zani says he operated from 1622, to 
1674. 

SCHOONEBECK, Adrian, a Dutch engraver, 
born at Amsterdam in 1650. He studied under R. 
de Hooghe, whose manner he followed at first, but 
afterwards practised mostly in mezzotinto. He 
engraved a variety of frontispieces and other book 
plates ; also the costumes of all the religious or- 
ders of Europe, published in two volumes. He 
went to Russia, and died at Moscow in 1714. 

SCHOONJANS, Anthony, a Flemish painter, 
born at Antwerp, according to Descamps, in 1650. 
While young, he was placed under the tuition of 
Erasmus Quellinus. with whom he continued till 
he was nineteen years of age, when he went to 
Italy for the completion of his artistic education. 
During a residence of two years at Rome, he dili- 
gently applied himself to the study of the best 
works of art, and executed several pictures for the 






SCHO. 



867 



SCHO. 



churches, which gained him so much reputation, 
that the Emperor Leopold L, invited him to Vi- 
enna in 1678, appointed him his cabinet painter, 
and honored him with a present of a gold chain 
and medal. He painted the portraits of the Em- 
peror, of the Imperial family, and of the principal 
personages of the court, which were greatly admired. 
He also executed several grand altar-pieces and 
other works for the churches and convents. Hav- 
ing a desire to visit England, he obtained leave of 
the Emperor to absent himself for a time from his 
service, and he went to that country in the reign 
of William III., where he met with considerable 
employment in painting the portraits, and decora- 
ting the mansions of some of the nobility. In re- 
turning to Vienna, he passed some time at Dus- 
seldorf, where he painted several pictures for the 
Elector Palatine, who munificently rewarded him, 
and presented him with a gold chain and medal. On 
his return to Vienna, he continued in the service 
of the Emperor till his death, in 1726. His pic- 
tures are correctly designed and carefully execu- 
ted. He had a thorough knowledge of the prin- 
ciples of chiaro-scuro, which enabled him to give 
his pictures a remarkable roundness and relief. 

SCHOOR, Nicholas van, a Flemish painter, 
born at Antwerp in 1666. It is not known under 
whom he studied. He painted nymphs, genii, and 
children sporting, taken from fabulous history, 
which he represented in a pleasing and lively style ; 
he was employed in introducing these subjects, as 
accessories, into the flower pieces of Nicholas Mo- 
rell, and the landscapes of Rysbraeck. His chief 
business was in making designs for tapestry for 
the manufacturers at Antwerp and Brussels. In 
the Museum at Ghent, there is an equestrian por- 
trait of Charles II. of Spain, by him. painted when 
that prince was about the age of eighteen. He is 
said to have died rich, at Antwerp, in 1726. 

SCHOORE, J. v., a Flemish engraver, who 
flourished about 1650. He executed a few plates, 
among which is one of St. Vincent, after Anthony 
Salaert. 

SCHOOTEN, George van, a Dutch historical 
and portrait painter, born at Leyden in 1587. He 
was a scholar of Conrad vander Maas. He was 
a painter of considerable eminence in his time, 
though his works are little known at present ex- 
cept a i&w portraits. Suyderhoef engraved one of 
his portraits, and J. G. van Vliet, his picture of 
Christ and the Woman of Samaria, one of his 
best prints, which is inscribed J. (Jorg) van 
Schooten, 1635. He is supposed to have been one 
of the instructors of Rembrandt. He died in 
1658. 

SCHOOTER, Francis van, a professor of 
mathematics and philosophy at Leyden, who flour- 
ished about the middle of the 17th century. He 
designed and engraved the portrait of Des Cartes, 
which is inscribed Franciscus a Schooten Pr. Mat. 
ad vivum delineavit et fecit, anno. 1644. It is 
prefixed to an edition of the " Geometria," pub- 
lished at Leyden in that year. 

SCHOREL, or SCHOOREEL, John, a Dutch 
painter, born at Schooreel, a small village near 
Alkmaer, in 1495. There is a great deal of ro- 
mance mixed up with his life, but there is not, 
according to Waagen, a single well authenticated 
picture in existence by him ; therefore we shall 



be brief. After studying, as is said, successively 
with Cornelisz at Amsterdam, John de Mabuse at 
Utrecht, and Albert Durer at Nuremberg, he went to 
Venice, where, meeting with a number of pilgrims, 
and an ecclesiastic of Gouda, with whom he was 
acquainted, bound to Jerusalem, he was persuaded 
to accompany them. He designed some of the most 
interesting scenery in the Holy Land. In 1520, 
he embarked for the Isle of Rhodes, thence he 
sailed to Venice, and traveled to Rome, whei-e he 
resided three years, designing after the antique, 
and the great Italian masters. He also painted 
the portrait of Pope Adrien VI. On his re- 
turn to Holland, he settled at Utrecht, where he 
acquired great reputation for his scriptural sub- 
jects, embellished with the scenery he had sketch- 
ed on the spot. Such were his celebrated pictures 
of Christ entering into Jerusalem, and the Bap- 
tism of Christ, in which he is said to have imita- 
ted the grand style of Raffaelle. Many of his 
works were destroyed during the civil wars in the 
Low Countries. He was the first who attempted 
to reform the taste of his country by the introduc- 
tion of a more elevated style. He died at Utrecht 
in 1562. 

YCT7 SCHORER, John Frederick, 

JjJ^i^ -f/- a German designer and engraver, 
/0^9 born at Augsburg, at what time is 
not known, but he flourished at Nuremberg about 
1619. Nagler describes nine prints by him, repre- 
senting the Four Elements, the Four Seasons, and 
an ornament for goldsmiths, dated from 1615 to 
1619. Brulliot notices several drawings by him, 
marked with the above monogram, bearing dates 
from 1609 to 1639. He is supposed to have resi- 
ded chiefly at Nuremberg and Cobourg, and from 
his initials to have been called Hans Friedrich 
Schorer. 

SCHORN, Charles, an eminent German paint- 
er, born at Dusseldorf in 1803. He studied under 
Cornelius at Munich, and afterwards with Gros and 
Ingres, at Paris. Returning again to Munich, he 
assisted Cornelius in some of his important works, 
and was afterwards occupied in the atelier of 
Wach, in the same city. He gained distinction, 
and practised the art at Munich for many years, 
with great success. His imagination was discur- 
sive, and his invention ready and fertile. His 
works generally are not what may be termed his- 
torical, but rather from subjects like his two pic- 
tures of Monks carousing at a Tavern, and a Group 
of Puritans. He painted a large picture of Paul 
III. contemplating the portrait of Luther, for the 
Consul Waggener at Berlin ; a fine composition, 
and full of dignified character. His picture of 
Salvator Rosa among the Brigands is a most ad- 
mirable work. He was appointed Professor of the 
Academy at Munich, and was chosen by the king 
to form the collection of pictures for the Munich 
Gallery. He died in 1850. 

SCHORQUEUS, John van, a Dutch engraver, 
who went to Madrid, where he appears to have 
flourished from about 1600 to 1630, and executed 
many frontispieces and other plates for the book 
publishers. The Spanish writers call him Juan 
Scorguens, but he inscribed some of his plates J. 
van Schorqueus fecit in Madrid. 

SCHOTEL. John Christian, an eminent Dutch 
marine painter, born at Dort in 1787. He fivst 



SCHO. 



868 



SCHR. 



studied with A. Meulemans, and afterwards with 
Martin Schouman, with whom he continued three 
years, and chiefly devoted his time to drawing in 
water colors and India ink, under the direction of 
that master. On quitting Schouman, he devoted 
himself to the study of nature with great assidu- 
ity, for which purpose he was accustomed to em- 
bark in an open boat, in all kinds of weather, and 
carefully sketch and note everj appearance of the 
sea. His first exhibition of two pictures in oil 
at Amsterdam, was eminently successful ; they 
were received by the artists as well as the public 
with applause, and were immediately purchased at 
high prices. This was a stimulus to still greater 
exertion, and made him emulous of riyahng his 
renowned countryman, Backhuysen. From 1814 
to 1817, he executed two pictures representing the 
precipitous retreat of the French from before Dort, 
and the Bombardment of Algiers by the allied 
fleets in 1816. He soon rose to great distinction, 
and his works were eagerly sought after, not only 
by his own countrymen, but bj foreigners. In 
1827, he painted two magnificent pictures for the 
Prince of Orange, as a present to the Emperor of 
Russia. He received honors from his own sove- 
)eign, and other crowned heads, and was elected a 
member of several academies and societies of art. 

Schotel designed everything from nature ; hence 
it is that his pictures have an air of truth which 
excites universal admiration. In his calms and 
river views, he is said to have equalled the young- 
er Vandevelde in the smoothness and transparency 
of the water, and in the reflections of his objects ; 
and in his storm-pieces, almost to have rivalled 
Backhuysen in the sublime and terrific conflict of 
the elements. His pictures are distinguished for 
excellence of perspective, correct drawing, neat- 
ness and freedom of touch, and admirable chiaro- 
scuro. He died at Dort in 1838. His son, Peter 
John Schotel, still lives at Dort, and practises ma- 
rine painting in the style of his father ; and, 
though his subjects are usually of smaller dimen- 
sions, representing breezes, calms, and river views, 
they very nearly approach the elder Schotel in ex- 
cellence. 

SCHOUMAN, Artus. a Dutch painter and en- 
graver, born at Dort in 1710. He studied under 
Adrian vander Burg, and painted history, por- 
traits, and landscapes. His small cabinet pictures 
of histories and poetical subjects, chiefly taken 
from Ovid, and landscapes with figures and ani- 
mals, are well designed and colored. He settled 
at the Hague, where he acquired considerable rep- 
utation. He also engraved some plates in mezzo- 
tinto. after the works of Gerard Douvv, Paul Pot- 
ter, Frank Hals, Schalcken, and others. He died 
in 1792. 

' SCHOUMAN, Martin, a Dutch painter, who 
flourished at Dort in the last part of the 18th, and 
the first part of the present century. His life has 
not yet been written. He painted landscapes, ma- 
rines, and river views, with considerable reputa- 
tion. 

SCHRODER, Hans, a Dutch engraver, who 
flourished about IGOO. Little is known of him, 
except that he engraved some ornamental plates 
of foliage, &c., for goldsmiths. 

SOHROEDER, Frederick, a German engraver, 
born at Hesse Cassel in 1768, or, as some say, in 
1772. He studied under Sebasticn Ignatius Klau- 



ber at Nuremberg. He went to Paris, where he 
was employed to engrave for several publications 
of the day, as Le Musee Laurent et Robillard, and 
Le Voyage a Constantinople, &c. He confined 
himself chiefly to landscape, and engraved several 
plates after Swanevelt. Vernet, La Hire, Karel du 
Jardin, and Wm. van Bemmel. His plates are 
executed in a neat, pleasing style. He was living 
at Paris in 1831. 

SCHROETER, Frederick Charles Constan- 
TiNE, a German painter, was the son of a veteri- 
nary surgeon in a Saxon regiment, born in 1794. 
He was early apprenticed to a carpenter, but hav- 
ing considerable inclination for design, he quitted 
that employment, and commenced studying paint- 
ing in the Academy at Leipsic. Through the pat- 
ronage of Keyl, the Receiver General of the pro- 
vincial excise, Schroeter was sent for improvement 
to Dresden, where he gained two prizes at the ex- 
hibitions, and was admitted to the studio of Poch- 
mann. After completing his studies, he settled at 
Leipsic, and painted many esteemed cabinet pic- 
tures of familiar subjects. He subsequently set- 
tled at Berlin, and exhibited, in 1828, two pictures, 
the Sermon and the Music Teacher, which were 
greatly admired for their fidelity to nature. In 
1832 he painted a picture representing the Sale of 
the Eff"ects of a deceased Painter, which is consid- 
ered his masterpiece, the composition being abun- 
dant, the groups happily disposed, the expression 
animated, and the gradations of coloring extreme- 
ly delicate. Schroeter practised the art at Berlin 
with success, for many years. He died in 1835. 

SCHUBART, Peter, a German engraver, who 
went to Venice, where he flourished about 1696. 
Professor Christ attributes to him several plates, 
marked P. S. d E., which he interprets Petpr Schu- 
hart de Ebrenherg. 

SCHUBLER, A. G. J., a German engraver, who 
flourished at Nuremberg about 1626. He engra- 
ved some portraits for the booksellers ; also a part 
of the plates for the work entitled Icones Bihlio- 
polarum et 7)/pog-raphorum, published at Alt- 
dorff and at Nuremberg in that year. His prints 
are indifferently executed. 

SCHULZE, .JoHANN Gottfried, a German en- 
graver, born at Dresden in 1749. After learning 
the rudiments of design of Charles Hutin, and en- 
graving of Giuseppe Camerati, he went to Paris, 
and studied with J. G. Wille. On his return to 
his native city, he engraved some portraits and 
other subjects, particularly several plates for the 
Dresden Gallery, which are executed in a neat, 
firm style, and possess considerable merit. He 
died in 1818. Nagler calls his name Chiistian 
Gotfriedy and gives a list of 36 prints by him. 

SCHUMANN, JoHANN Gottfried, a German 
engraver, born at Dresden in 1761. He studied J 
design in the Academy in that city, and engraved I 
a number of landscapes after Ruysdael, Klengel, 
Both, and others, executed in a neat, spirited style. 



He went to London, where he resided some time, 

n with 
Nagler 



and engraved some plates in conjunction with I 



Byrne. He died at Dresden in 1810. 
gives a list of 26 prints by him. 

SCHUPPEN, Peter van, the Elder, a Flemish 
designer and engraver, born at Antwerp in 1628, 
according to the best authorities, though some va- 
riously place it in 1623, 1625, and 1630. After 
learning the rudiments of design in his native city, 



SCHU. 



SCHU. 



he went to Paris, where he studied with Nanteuil, 
and resided the most of his life. He engraved a 
large number of plates of portraits and other sub- 
jects, some of them from his own designs, execu- 
ted with the graver in the style of his instructor. 
His design is correct, and he handled the graver 
with great dexterity and firmness. A list of 119 
prints by him may be found in Nagler's Lexicon. 
His death is variously placed in 1702, 1710, and 
1715. 

SCHUPPEN, Peter van, the Younger, was 
the son of the preceding, born at Paris, according 
to Fiiessli and Zani in 1669, though others say in 
1673. He studied painting under Nicholas de Lar- 
gilliere, and acquired considerable reputation at 
Paris as an historical painter. He was invited to 
the court of Vienna, where he was appointed paint- 
er to the Emperor, whose portrait he painted, and 
those of the Imperial family, and the principal no- 
bility. He was also appointed Director of the 
Academy in that city. He died there in 1751. 
Some writers call his name Jacques van S. 

W SCHUPPEN, H. VAN, an engraver of 
whom nothing is known, except some 
prints of landscapes, after Giovanni 
Maggi^ who flourished at Rome in the early part 
of the 17th century. Some of them are signed 
H. V. Schuppen, and others marked with a mono- 
gram composed of his initials, H. V. S., as above. 
SCHURMANS, Anna Maria. This extraor- 
dinary lady, descended of a noble family, was born 
at Utrecht in 1607. If the half of what is record- 
ed of her be true, she must be regarded as one of 
the most wonderful prodigies the world has pro- 
duced. From her earliest infancy she discovered 
an extraordinary quickness of parts, and her fa- 
ther took every care to have her instructed, not 
only in every female accomplishment, but in the 
languages, literature, science, and arts. She not 
only understood the modern and dead languages, 
but spoke them with fluency, and corresponded in 
them with the most learned persons of her time. 
She spoke the German, Itahan, French, and Eng- 
lish; also the Latin, Greek, and Hebrew langua- 
ges. She made great progress in the Oriental 
languages, having an affinity to the Hebrew, as the 
Syriac, Arabic, Chaldean, and Ethiopic. She was 
also a poetess. She was well versed in ancient and 
modern literature, in geography, astronomy, the 
arts and sciences. She was deeply read in divini- 
ty and theology. She excelled in music, both vo- 
cal and instrumental. She embroidered beauti- 
fully ; cut out of paper with her scissors, all kinds 
of images and objects. She painted history, por- 
traits, flowers, birds, insects, and excelled in all ; 
modelled in clay and wax, and executed several 
marble busts, said to be still preserved in the cabi- 
nets of the curious. She etched and engraved sev- 
eral plates of portraits and other subjects. Her 
hand-writing was very beautiful, of which there is 
abundant proof in the many existing letters, writ- 
ten in several languages,addressed to the most learn- 
ed personages of her time. Her literary works, in 
Latin, Greek. Hebrew, and French, have been pub- 
lished in one volume. Unfortunately none of her 
works in art are specified, except a bust and an 
engraved portrait of herself, inscribed Anna Ma- 
ria Schurmans an. cetat. cio.io.cxl. a. m. s.fec, 
with these lines : 

Cernitis hie picta nostras in imagine vultus : 
Si negat Ars formam, gratia vestra dabit. 



M; 



Her bust, modelled in wax by herself, is said to be 
preserved in Holland, to which she appended the 
following verses : 

Non mihi propositum est humanam eludere sortem, 
Aut vultus solido sculpere in aere meos : 

Haec nostra effigies, quam cera expressimus, ecce 
Materiae fragili, mox peritura, damus. 

This learned lady died, unmarried, at Altona, in 
1678. 

SCHURTZ, Cornelius Nicholas, a 
German engraver, who flourished at Nu- 
remberg from about 1670 to 1689, accord- 
ing to the dates on his prints. He engraved some 
plates of portraits, among which are several of em- 
inent physicians ; also some frontispieces, emblem- 
atical subjects, and other book plates, indiff'erently 
executed. His prints are sometimes marked with 
his name in full, and sometimes with his initials, 
C. N. S., or the same letters formed into a mono- 
gram, as above. 

SCHUT, Cornelius, an eminent Flemish paint- 
er, born at Antwerp. There is a great deal of con- 
fusion and contradiction among writers as to the 
history of this artist, arising partly from the fact, 
unknown to some of them, that there were two 
artists of this name. His birth is variously placed 
in 1590 and 1600, and his death in 1649, 1660, and 
1675 ; but, according to the best authorities, he 
was born in 1600, and died in 1660. It is also 
generally stated that he was a scholar, and one of 
the ablest and most distinguished followers of Ru- 
bens. Possessing a lively and inventive genius, 
disciplined by a liberal education, it was not long 
before he distinguished himself among his fellow- 
students. On leaving the school of Rubens, he was 
employed to execute several works for the churches, 
which gained him great reputation, and he was ac- 
counted worthy of the school in which he was edu- 
cated. It is said by some that this success rendered 
him so self-sufficient and presumptuous that he had 
the temerity to offer himself as a rival to his illus- 
trious instructor, whose works he criticised, ac- 
cusing the author of a want of genius and inven- 
tion, and asserted that the best part of his pictures 
were executed by his disciples. Others say that 
disappointment at the lack of appreciation and 
employment inspired him with an implacable en- 
mity towards his master, who, instead of express- 
ing any resentment, commended his performances 
and procured him employment. It is hardly cred- 
ible, that a pupil could be so rash and so ungrate- 
ful to an instructor who always treated his schol- 
ars with paternal regard. It would therefore seem 
more probable that he received at least his first 
instruction from some other master, and that Ru- 
bens, perceiving his talent, employed him as an as- 
sistant, as he did other painters .of talents who 
were not strictly his pupils, in executing some of 
his numerous commissions. The manner in which 
his conduct towards Rubens is mentioned in the 
life of that master, would certainly lead to this 
conclusion; at all events the magnanimous con- 
duct of Rubens conciliated him, which is another 
argument in favor of this supposition. 

Schut had a poetic and fertile invention, and he 
generally chose to paint subjects from ancient fa- 
ble, though he painted sacred and profane history 
with equal reputation. He had a free, firm pencil 
and his coloring plainly indicates the school of Ru- 
bens, yet his works are depreciated by aprevailin •• 
greyish tint, an incorrectness in design and ou.- 



SCHU. 



870 



SCHW. 



line, and a want of an attentive study of nature. 
He also had a facility of hand (dangerous to the 
reputation of most artists who practice it) which 
qualified him for the functions of a machinist. 
This is particularly evident in his frescos in the 
cupola of the Cathedral at Antwerp, and in other 
large works of that description in the public edi- 
fices of that city. Of his altar-pieces and other 
pictures in the churches, the most deserving of no- 
tice, are the Nativity, and the Assumption of the 
Virgin, in the church of the Jesuits ; a Dead 
Christ with the Virgin and St. John, in the church 
of James, often mistaken for a work by Vandyck ; 
and the Martyrdom of St. George in the Cathedral 
at Antwerp. There are also some of his works in 
the churches at Ghent. He painted many histori- 
cal and fabulous pieces for the collections, ingen- 
iously composed, though occasionally the groups 
are too much scattered or confused. Schut etched 
a large number of plates from his own designs, ex- 
ecuted in a spirited style, resembling that of Ben- 
edetto Castiglione. a list of which is given in Na- 
gler's Lexicon. 

SCHUT, Cornelius, the Younger. According 
to Bermudez, this artist was the son of Peter 
Schut, the brother of Cornelius, and born at Ant- 
werp, at what time is not known. He studied 
with his uncle, and accompanied his father to 
Madrid, who was an engineer in the service of the 
king of Spain. He passed the rest of his life in 
that country, and settled at Seville, where he ac- 
quired a high reputation, and executed many 
works for the churches, which are highly com- 
mended by the author above cited. He also exe- 
cuted many drawings in imitation of Murillo, 
which frequently pass for the works of that mas- 
ter. He was one of the founders of the Academy 
at Seville, and contributed liberally to its support. 
He filled the oflQce of consul to that institution from 
1663 to 1666, and President from 1670 to 1674. 
He died there in 1675. It is said that the elder 
Schut visited his brother at Madrid, and painted a 
large picture in the Imperial College, representing 
St, Francis Xavier baptizing the Indians, but as it 
is said that the artist died in Spain in 1675, it was 
evidently executed by the nephew. There are 
also some battle-pieces attributed to Cornelius 
Schut, but as neither of the preceding artists are 
mentioned as ever having painted any such sub- 
jects, and as the name is spelled Schuyt, they 
were doubtless executed by another artist. 

SCHUTER, an engraver, probably a German. 
He engraved the portrait of Rembrandt for the 
first volume of prints from the paintings in the 
collection of the Marquis Gerini, at Florence, da- 
ted 1760. 

SCHUTZ, Christian George, a German land- 
scape painter and engraver, born at Floresheim, in 
the Electorate of Mentz, about 1730. He painted 
small cabinet pictures of landscapes and views on 
the Rhine, which are neatly touched and very 
highly finished, though the style is somewhat dry 
and hard. He also etched some plates from his 
own designs and after other masters. 

SCHUUR, Theodore vander, a Dutch painter, 
born at the Hague in 1628. After learning the 
rudiments of the art in his native city, he went 
to Paris, and studied with Sebastian Bourdon 
!,hree years, after which he proceeded to Italy, 
lie arrived at Rome in 1651, and applied himself 



incessantly in copying and designing after the 
works of the best masters, particularly those of 
Rafiaelle and Giulio Romano, in which he succeed- 
ed so happily that his performances attracted the 
notice and commendation of the best judges. He 
had acquired considerable reputation by some his- 
torical works he had exhibited, when he was fa- 
vored with the patronage of Christina, Queen of 
Sweden, who, on the abdication of her throne in 
favor of Prince Charles Gustavus, had taken up 
her residence at Rome. He executed for her sev- 
eral historical works, which were highly com- 
mended, and for which he was liberally rewarded. 
In 1665, after a residence of fourteen years at 
Rome, he returned to his native city, where he was 
received by his fellow-citizens with the most flat- 
tering distinction. He painted the ceiling of the 
hall of the Burgomasters in the Town House, rep- 
resenting emblematically Justice, Temperance, and 
Fortitude, This work was highly applauded, and 
gained him extraordinary honor. He executed 
many works for the, churches and public edifices,- 
and for individuals. One of his most esteemed 
works is a large picture in the Town House, rep- 
resenting the Ofiicers of the Armed Citizens, paint- 
ed in 1675. His works are designed rather in the 
Roman than in the Dutch style, his coloring is sweet 
and harmonious, and he had an excellent know- 
ledge of perspective and architecture. He enrich- 
ed his backgrounds with ruins of ancient Grecian 
and Roman edifices, introduced with the skill of a 
painter and the knowledge of an antiquary. He 
died at the Hague in 1705, 

SCHUYT, Cornelius. See Cornelius Schut 
THE Younger. 

SCHW ABE, Lambert. See Suavius. 

SCHWANTHALER, Lewis, an eminent Ger- 
man sculptor, bcrn in 1802. He was the son of 
Franz S., a sculptor of little note, who placed him j 
in the Royal Academy at Munich. The young ar- I 
tist attracted the attention of King Maximilian, « 
who engaged him to decorate a silver table-service 
with bassi-relievi, which represented the Entrance 
of the Younger Deities to Olympus. About this I 
time the sculptor Cornelius arrived in Munich, and 1 
on seeing this table-service, he engaged Schwan- 
thaler to execute different bassi-relievi for the 
Glyptotheca. The career of the young artist was 
now opened ; he immediately went to Rome, where 
he was cordially received by Thorwaldsen. In a 
year after, he returned with the elegant and beau- 
tiful bassi-relievi of " the Birth of Venus," and of 
" Cupid and Psyche," which are now in the Glyp- 
totheca ; and afterwards he executed the other re- 
lievi for the same edifice, the " Battles between the 
Trojans and the Greeks," and between " Achilles 
and Pantheus, and the other river-Gods." The 
first of his statues was that of Shakspeare, in the 
theatre at Munich, and the first great basso-re- J 
lievo, that of the Triumph of Bacchus, for the pal- | 
ace of the Duke Maximilian. In 1832 he visited 
Rome a second time, and in 1835, was appointed 
Professor of the Academy at Munich. His ima- j 
gination was inexhaustible, and his facility of ex- | 
ecution almost incredible. He produced an im- ' 
mense number of works, among which, are twelve 
statues of the most celebrated ancestors of King 
Louis, to adorn the throne of the festal hall in his 
new palace at Munich; the Battle of Arminius, 
for the northern tympanum of the same palace. 



SCHW. 



871 



SCHW. 



one of the finest works of modern art ; and his 
celebrated shield of Hercules, in bronze, contain- 
ing 136 figures, a master-piece of the finest taste, 
and full of beauty and fancy. He executed the 
monumental statues of Mozart, for Saltzburg; of 
Jean Paul, for Bayreuth ; of Goethe, for Frank- 
fort ; of the Grand Duke of Baden, for Carlsruhe ; 
a beautiful fountain, for the city of Vienna ; the 
Nymph of the Danube, for the Prince Schwartzen- 
burg; the statues of Venus, Diana, Vesta, Ceres, 
Apollo, etc, for the Duke of Nassau. In his latter 
days, he was occupied with the decoration of the 
celebrated Bavarian Ruhmeshalle, the two tympana 
of which, as well as the metopes, are ornamented 
with his bassi-relievi. He died in 1848. 

SCHWARTS, Christopher, a German painter, 
born at Ingolstadt in 1550. He learned the ele- 
ments of the art in his native city, and then went 
to Venice and studied in the school of Titian. Af- 
ter a residence of several years in Italy, he re- 
turned to Germany, where he distinguished him- 
self, and was invited to Munich by Albert V., Duke 
of Bavaria, who appointed him his court painter, 
in whose service he continued during the rest of 
his life. He executed many works for his patron ; 
and many, both in oil and fresco, for the churches 
and public edifices at Munich ; some of which have 
been engraved by John Sadeler. His countrymen 
honored him with the title of the Raffaelle of Ger- 
inany, with what propriety it is difficult to disco- 
ver ; as his works have little of the dignity or gran- 
deur of the Roman or Florentine schools. His 
principal merits consist in the abundance of his 
composition and the splendor of his coloring; the 
airs of his heads are neither beautiful nor expres- 
sive, his drawing is incorrect, and there is a na- 
tional stiffness and formality in his design, of 
which he could never divest himself. His manner 
is a mixed one, partaking of the Venetian, Roman, 
and German schools. Two of his best works are 
the Virgin and Child in the grand hall of the Jes- 
uits at Munich, and the Entombment, in the Dus- 
seldorf gallery. He died at Munich in 1594. 

SCHWARTS, a German engraver, who flour- 
ished at Nuremberg about 1626. He engraved 
some portraits and book plates, and a part of the 
plates for a work entitled Icones Bihliopolarum 
et Typographorum, published at Nuremberg in 
that year. His plates are indiff'erently executed. 

SCHWARTZ, JoHANN, an old Dutch painter 
and engraver on wood, was born at Groningen in 
1480. Zani denominates him Giovanni di Gron- 
ingen^ called Giovanni Vredeman. He visited 
Italy for improvement, and resided several years 
at Venice. On returning to Holland, he painted 
landscapes and history, and contrived to introduce 
somewhat of the Italian taste into his native coun- 
try. He is said to have followed the style of 
Schorel in landscape ; but as the latter was born 
in 1495, he more probably imitated Schwartz. He 
was residing at Gouda in 1522 and 1523. There 
are two of his landscapes in the Louvre, one of 
which is decorated with a large number of figures 
and animals. The Biographie Universelle, men- 
tions two of his prints ; Christ standing in a bark, 
preaching to the multitude on the shore ; and a 
Troop of Turkish Cavaliers. Schwartz died in 
1541. 

SCHWARTZENBERG, Melchior, an old Ger- 
man wood engraver, who flourished from 1530 to 



1550. He executed some cuts of frontispieces and 
other subjects for Feyeraband, the bookseller. 

SCHWEGMAN, Hendrik, a Dutch painter and 
engraver, born at Haerlem in 1761, and died there 
in 1816. He studied under P. van Loo, and paint- 
ed flower pieces with considerable success. He 
etched some plates of landscapes after E. van 
Drielst and others, in the style of Anthony Water- 
loo. He also engraved and colored the plates 
for the work entitled Icones Plantarum rari- 
orum, &c. 

SCHWEICKHARDT, Henry William, a Ger- 
man painter, born at Brandenburg in 1746. He 
painted landscapes and cattle, and particularly 
winter pieces, which were held in considerable es- 
timation. He went to England in 1786, where he 
passed the rest of his life. He etched and pub- 
lished a set of plates of animals, which he dedica- 
ted to Mr. West, in 1788. He died at London in 
1797. 

SCHWEICKART, John Adam, a German en- 
graver, born at Nuremberg in 1722. After ac- 
quiring a knowledge of the art under George Mar- 
tin Priesler, he visited Italy for improvement, 
and resided eighteen years at Florence, where he 
engraved among other plates, several of the antique 
gems in the cabinet of Stosch, and was admitted a 
member of the Academy of Fine Arts. He gained 
considerable distinction by his discovery of the 
method of imitating washed designs, by means of 
the graver. 

SCHWEIZER, John, a German engraver, who 
flourished at Heidelberg about 1660. He engraved 
some plates of portraits, and some of animals, af- 
ter J. H. Roos. He also engraved the frontispiece 
and plates for a work entitled Parnassus Heidel- 
bergensis, omnium illustrissimcB hujus academics 
prqfessorum icones exhibens, some of which are 
from his own designs. His prints are indiff'erent- 
ly executed. 

SCHYNDAL, or SCHENDAL, Bernard, a 
Dutch painter, born at Haerlem, according to the 
best authorities, in 1659, and died in 1716, though 
some place his birth in 1634, and his death in 
1693. He studied under Hendrick Mommers. He 
painted scenes from low life, such as assemblies 
of peasants regaling themselves, fairs, merry- 
makings, interiors of kitchens, ale-houses, &c., in 
the style of John Molinaer. He treated these 
subjects with much humor; his pictures are in- 
geniously composed, his coloring is rich and har- 
monious, and his penciling neat and clean ; though 
his works are greatly inferior to the similar pro- 
ductions of Brouwer and Ostade, they are held in 
considerable estimation. 

SCHYNVOET, Jacob, a Duteh engraver, of 
whom little is known. He went to London about 
1700, where he engraved some birds-eye views of 
gentlemen's seats, from his own designs. 

SCHIVENOGLIA, Lo. See Francesco Rai- 

NIERI. 

SCIACCA, Tommaso, a Sicilian painter, born 
at Mazzara in 1734. He studied under Antonio 
Cavalucci at Rome, an<3 assisted him ia some of 
his worts. He also painted some large frescos in 
the cathedral, and in the church of the Olivetani 
at Rovigo. On his return to Sicily, according to 
Hackertjhe executed "some vast works in fresco, 



SCIA. 



872 



SOLA. 



which are to be seen in the churches at Palermo." 
He died in 1795. 

SCIAMBUONI, Lo. See Francesco Furini. 

SOIARPELLONI. See Lorenzo di Oredi. 

SCILLA, or SILL A, Ago sting, a Sicilian paint- 
er, born at Messina, according to Hackert, in 1629. 
He showed an early genius for painting, and stud- 
ied under Antonio Ricci, called II Barbalunga, at 
Messina, under whose able instructions he made 
rapid progress. His talents raised such high ex- 
pectations in Barbalunga, that he procured a pen- 
sion for him from the Senate, to enable him to 
visit Rome and study with Andrea Sacchi. After 
a residence of four years in that metropolis, where 
he diligently studied the antique and the works 
of Raffaelle under the direction of Sacchi, he re- 
turned to Messina, an accomplished artist, and ex- 
ecuted many works for the churches and public 
edifices in that city and elsewhere, both in oil and 
fresco. He also opened a school for the instruc- 
tion of young artists, which was much frequented, 
till the stormy times of the revolution obliged 
him to fly from Messina in 1674. He then went 
back to Rome, where he does not seem to have 
met with much encouragement, at least in histor- 
ical painting, though according to Orlandi, he was 
elected a member of the Academy of St. Luke in 
1679. Lanzi says he excelled in figures and in 
heads, particularly in the heads of old men ; he 
designed in the grand Roman style, and his color- 
ing was rich and harmonious. He excelled in the 
inferior branches of the art, as landscapes, animals, 
fruit and flowers, and after his return to Rome, 
confined himself pretty much to those subjects, 
though he executed a few historical works. He 
went to Turin, where he was employed by the 
court to paint some frescos of the Cardinal Vir- 
tues. His principal works are his frescos in the 
churches of S. Domenico and the Nunziata di Tea- 
tini at Messina. One of his best works in oil, is 
St. Ilarione dying, in the church of S. Ursula, one 
of the most esteemed pictures in that city. He 
died at Rome in 1700. 

SCILLA, GiACiNTO, was a younger brother of 
the preceding, born at Messina. He studied first 
with Barbalunga, and afterwards with Agostino, 
whom he assisted in his numerous works at Mes- 
sina, and accompanied him to Rome in 1674, where 
he painted easel pictures of landscapes and animals, 
in a style of excellence. He died there in 1711. 

SCILLA, Saverio, was the son of Agostino. 
He was instructed by his father, in whose style he 
painted easel pictures of landscapes, animals, fruit, 
and flowers, but he did not reach the excellence of 
his father or his uncle. The time of his birth and 
death are not recorded. 

SOIORINA, Lorenzo dello, a Florentine paint- 
er, who flourished about 1568. He studied under 
Bronzino, and afterwards assisted Vasari in some 
of his works at Florence. Lanzi says that honorable 
mention is made of him among the academicians 
of Florence. 

SCIPIONE, Jacopo, a painter born at Ave- 
rara, in the Bergamese territory, who flourished 
at Bergamo from 1507 to 1529. According to 
Tassi, he executed some works for the churches 
in that city, " in a style between the ancient and 
the modern taste." His design was very simple, 
but his coloring very beautiful. 



SCLAVO, Luc A, a painter born at Cremona, 
who flourished about 1460. Zaist briefly men- 
tions him as one of the " excellent artists," of the 
Oremonese school of that period. 

SCOLARI, Giuseppe, a painter generally sup- 
posed to have been born at Vicenza, though the 
Cav. Pozzo says he was a native of Verona. At all 
events, he studied with Gio. Battista Maganza at 
Vicenza, and executed many works for the churches 
in that city, Verona and Venice. Lanzi says " he 
excelled in works in fresco, and in cbiaro-scuro, 
enlivened by certain yellowish tints, at that period 
in great vogue. He was a good designer, as ap- 
pears from his works both at Vicenza and Verona ; 
and he likewise produced several large pictures in 
oil at Venice, much commended by Zanetti." Ac- 
cording to Papillon, he executed some wood cuts, 
which, though rudely executed, evince the hand 
of a master ; among them are the Entombment, 
a Pieta, St. Jerome holding a crucifix, and the 
Rape of Proserpine. 

SCOP AS, a celebrated Greek sculptor and archi- 
tect, was a native of Paros, an island of the ^gean 
Sea. Pliny, (Hist. Nat. xxxiv. 8.), places him as 
cotemporary with Ageladas, Polycletus, Myron, 
and other eminent artists who flourished about 
B. C. 430 ; but from various circumstances, he ap- 
pears to have flourished during the succeeding cen- 
tury. The Temple of Minerva Alea, rebuilt by 
Scopas, was destroyed, according to Pausanias, 
about B. C, 388 ; and a part of his work upon the 
tomb of Mausolus, was performed after the death 
of Queen Artemisia, which happened B. C. 350. 

The works of Scopas were held in the highest 
esteem by the ancients, and his talents seem to 
have been little inferior, if not fully equal, to those 
of Polycletus or Myron. He was employed with 
three others, by Artemisia, Queen of Caria, in 
erecting a magnificent monument to the memory 
of her husband Mausolus, in the city of Hali- 
carnassus, ranked among the seven wonders of 
the world. Each of the builders chose and un- 
dertook to complete one of the four sides — Bry- 
axis the North, Timotheus the South, Leochares 
the West, and Scopas the East. Before the work 
was finished, Artemisia died ; but the architects 
determined, for the sake of their own fame, to com- 
plete it. Its dimensions on the north and south 
sides were sixty-three feet; the east and west 
sides were a little shorter, and the extreme height 
was one hundred and forty feet. It was surround- 
ed with thirty-six splendid marble columns. A 
fifth sculptor was added to the others, named 
Pythis, who carried up the sides in a pyramidical 
form, and placed at the top a chariot and four hor- 
ses in marble. Scopas was appointed to execute 
one of the columns for the Ephesian Temple of Di- 
ana, and his work is said to have been the most 
beautiful of the whole. His statues were very 
numerous; among the most remarkable, were 
those representing Love, Passion, and Desire, in the 
Temple of Venus at Megara, mentioned by Pau- 
sanias ; also a statue mentioned by Strabo, called 
the Rat-killer, represented in the act of crushing 
a rat with his foot, in the temple of the god sur- 
named Smintheus, at Chrysa in the Troad. Many 
of his compositions were among the noblest orna- 
ments of Rome in the days of Pliny, particularly 
a large group of figures, representing Neptune. 
Thetis, Achilles, Nereids riding on tritons and 



SCOP. 



873 



SCOR. 



dolphins, with a train of marine monsters. It was 
preserved in the chapel of Oneius Domitius. in 
the circus Flaminius at Rome, and, according to 
Pliny, was a splendid work, (praeclarum opus), 
sufficient for the fame of his whole life. His co- 
lossal image of Mars, and his beautiful statue of 
Venus, were also greatly admired at Rome, and 
the latter was preferred to a similar statue by 
Praxiteles, which is supposed to have furnished 
the idea of the Venus de Medicis. Pliny says 
there was a doubt in his time, whether some stat- 
ues representing the dying children of Niobe 
{Nioh(B liber OS morientes)^ in the Temple of Apol- 
lo Sosianus at Rome, were by Scopas or Praxite- 
les. The well known group of this subject in 
the Florentine gallery, is generally believed to be 
the identical work mentioned by Pliny. Whether 
it be an original production of one of these great 
artists, or as some critics have supposed, only a 
copj'-, it will ever be considered worthy of their 
genius, as one of the sweetest manifestations of 
that deep and intense feeling of beauty which the 
Grecian artists delighted to preserve in the midst 
of suffering. The admirable criticism of Schlegel 
(Lectures on the Drama, III), developes the inter- 
nal harmony of the work. " In the group of Niobe, 
there is the most perfect expression of terror and 
pity. The upturned looks of the mother, and the 
mouth half open in supplication, seem to accuse 
the invisible wrath of Heaven. The daughter, 
clinging in the agonies of death to the bosom of 
her mother, in her infantile innocence, can have no 
other fear than for herself; the innate impulse 
of self-preservation was never represented in a 
manner more tender and affecting. Can there, on 
the other hand, be exhibited to the senses, a more 
beautiful image of self-devoting, heroic magnanimi- 
ty than Niobe, as she bends her body forward, 
that, if possible, she may alone receive the destruc- 
tive bolt? Pride and repugnance are melted down 
in the most ardent maternal love. The more than 
earthly dignity of the features are the less dis- 
figured by pain, as from the quick repetition of 
the shocks, she appears, as in the fable, to have 
become insensible and motionless. Before this 
figure, twice transformed into stone, and yet so 
inimitably animated — before this line of demarca- 
tion of all human sufiering, the most callous be- 
holder is dissolved in tears." Among the other 
works of Scopas, were a statue of Apollo, on the 
Palatine Mount ; Vesta seated, with two female at- 
tendants sitting on the ground beside her, in the 
gardens of Servilius ; also a group of the same 
description, and a Virgin bearing on her head a 
basket of relics, in the collection of Asinius Pol- 
lio. 

Scopas seems to have possessed as great merits 
in architecture as in sculpture. According to Pau- 
sanias, the temple erected by him at Tegea, in hon- 
or of Minerva Alea, far exceeded in its dimensions 
and the excellence of its decorations, all the other 
temples of Peloponnesus. The outside was built 
in the Ionic order ; the inside was decorated with 
Doric columns. In the pediment in front was re- 
presented the hunting of the Macedonian boar, 
with Atalanta, Meleager, Theseus, and numerous 
other figures. The other pediment exhibited the 
contest between Telephus and Achilles. 

SCOPPA, Orazio, an Italian designer and en- 
graver, who flourished at Naples about 1642. He 



engraved a set of fifteen plates of designs for chal- 
ices, crosses, and other ecclesiastical ornamentSj 
etched in a spirited stjj^le. 

SCOR, Giovanni Paolo, a German painter, 
briefly mentioned by Lanzi and Taja among the 
foreign artists who resided at Rome about the mid- 
dle of the 17th century, but in such a manner as 
to show that he was an artist of distinction. He 
excelled in landscapes and animals. He painted 
a picture representing Noah's Ark, in the Quirinal 
palace, which " excited the most enthusiastic enco- 
miums." He was elected a member of the Acade- 
my of St. Luke in 1653. Taja calls him Gian. 
Paolo Tedesco Scor, and commends him as one of 
the ablest artists of his time, in the branch of the^ 
art he followed. He had a brother named Egidi- 
us, who was employed for a considerable time in 
the Gallery of Alexander VII. These artists are 
not mentioned by the German or Dutch writers, 
therefore the name is wrongly spelled by the Ital- 
ian writers, as frequently happens, or else they 
passed their whole artistic life in Italy. 

SCORODOMOFF, Gawril (Gabriel), a Rus- 
sian designer and engraver, born at St. Petersburg 
about 1748. He went to England when young, 
and studied under Bartolozzi, whose manner he 
followed. While in that country, he engraved sev- 
eral plates after Reynolds, West, and others, and 
some from his own designs. On his return to St. 
Petersburg, he engraved the portraits of the Em- 
press Catherine, the Grand Duke, and other prin- 
ces of the country, after F, Rocotoff. He died 
there in 1792. He is said to be the first Russian 
who acquired any reputation as an engraver. 

SCORZA, SiNiBALDO, a painter born at Voltag- 
gio, a small town near Geneva, in 1589. He stud- 
ied under Gio. Battista Paggi, and excelled in 
painting landscapes, which he decorated with fig- 
ures and animals, tastefully composed, and touched 
with great neatness and spirit. Lanzi says, " it 
would be difficult to find in Italy a pencil which 
engrafted so successfully the neatness of the Flem- 
ish execution with the taste of the Italians in de- 
sign." He painted easel pictures of historical 
and fabulous subjects, in a style of excellence that 
procures their admission into the choicest collec- 
tions at Genoa. He also excelled in drawing with 
pen and ink. He is said to have copied some of 
the prints of Albert Durer, with such accuracy 
that some of the best judges in Italy were deceiv- 
ed by them, and supposed they were original en- 
gravings by that master— a very questionable as- 
sertion. 

SCORZINI, PiETRO, a painter of Lucca, who 
flourished about 1750, and acquired a great reputa- 
tion for his elegant decorations of many theatres. 

SCOTIN, Gerard, the Elder, a French engra- 
ver, born at Gonesse, near Paris, in 1642. He 
studied under Francis Poilly the elder, whose style 
he imitated with considerable success, though his 
works are very inferior to the admirable produc- 
tions of that master. He died in 1718. The fol- 
lowing are among his best prints : The Marriage 
of St. Catherine, after Alex. Veronese ; the Com- 
munion of the Magdalene, after Domenichino / 
the Circumcision, after P. Mignard ; the Baptism 
of Christ, do. ; the Presentation in the Temple, 
after C. le Brun ; the Country Life, after Dam, 
Feti. 



SCOT. 



874 



SCOT. 



SCOTIN, Gerard, the Younger, was the ne- ! 
phew of the preceding, born at Paris in 1690. : 
He studied with his uncle, and executed quite a ; 
number of plates, chiefly for the booksellers. He j 
went to London, where he resided several years. : 
In 1740, in conjunction with Ravenet and Baron, 
he engraved the six plates of the Marriage h la 
Mode, after Hogarth. Among other prints, are 
the following by him : The Birth of Adonis, after 
Boucher ; Notre Dame des Victoires, do. ; Beli- 
sarius, after the supposed picture by Vandyck at 
Chiswick. Vortigern and Rowena, q/Ver Blacke- 
ney ; Alfred receiving the account of the defeat of 
the Danes, do. 

SCOTIN, Jean Baptiste, a French engraver, 
who flourished at Paris in the first half of the 
18th century. He engraved some prints after H. 
Bigaud, Boucher, Watteau, Lancret, and other 
French painters. Some of them are dated as 
early as 1710. He also engraved the anatomical 
plates for Boudon's Anatomy^ published at Paris 
in 1734. He is supposed to have been the son of 
the elder Scotin. 

SCOTT, John, an English engraver, born at 
Newcastle in 1774. He went to London, and stud- 
ied under Pollard, an engraver of little note. He 
engraved some plates for the publications by Tres- 
ham and Ottley, Britton's Cathedral Antiquities, : 
Westall's Illustrations for the Book of Common \ 
Prayer, and other works. His best prints are 
those he engraved for the " Sportsman's Cabinet," 
and a " Series of Horses and Dogs,'- in which he 
excels, as an engraver of animals, all the English | 
artists that had preceded him. He died in 1828. 

SCOTT, Samuel, an English marine painter, 
called the " English Vandervelde," whom he is said 
by Lord Orford and Pilkington to have equalled in 
marines, and to have excelled in sea-ports and 
buildings. He was born at London in 1710, and 
died there in 1772. Stanley says, " Scott was an 
excellent painter in his style, and his pictures are 
deserving of more attention than has been be- 
stowed on them ; but no comparison can be insti- 
tuted between his works and those of W. Vander- 
velde." 

SCOTTO, Felice, a painter of the Milanese 
school, who flourished at Como in the latter part 
of the 15th century. Lanzi says " he painted a 
good deal for private individuals at Como, and left 
a number of pictures in fresco in the church of S. 
Croce, relating to the life of St. Bernardino. His 
genius is varied and expressive, he displays judg- 
ment in composition, and is one of the best artists 
of the 15th century in those parts. He was prob- 
ably a pupil of some other school, his design be- 
ing more elegant, and his coloring more clear and 
open, than those of the Milanese." 

SCOTTO, Stefano, a Milanese painter, who 
flourished in the last part of the 15th, and first 
part of the 16th centuries. According to Lomaz- 
zo, he painted history, both in oil and fresco, and 
particularly excelled in arabesques. He was one | 
of the instructors of Gaudenzio Ferrari. Lanzi 
thinks he was of the same family as the preceding. I 

SCOTTO, or SCOTTI, Francesco, an Italian 
designer and engraver, born at Venice about 1760. 
He studied with Vincenzio Vangelisti. He en- 
graved some fine prints after Raffaelle, Leonardo 
da Vincij and other masters. He is principally 



known by his admirable fac similes of original 
drawings by the celebrated Italian masters, par- 
ticularly those of Raffaelle. These, with others 
by Rosaspina, form the splendid work published 
by the Abate Celotti, under the title, " Desegni 
Original! di Raffaello per la prima voltapublicata, 
esistenti nella Imp. Academ. di Belle Arti di Vene- 
tia," 1829, folio. The painter Bossi bought the 
drawings and plates after the death of Scotto, and 
intended to have published them, but dying, they 
fell into the hands of Celotti, who published them 
as above mentioned. The time of the death of 
Scotto is not recorded. 

SCOTTO, or SCOTTI, Girolamo, an Italian 
engraver, born at Milan in 1780. He studied un- 
der Giuseppe Longhi, and was one of the ablest 
disciples of that distinguished master. He execu- 
ted quite a number of plates in the style of his in- 
structor, after the great Italian masters, among 
which are the following : 

The Virgin in the Olouds, with the Child in her arms ; 
after Raffaelle. Madonna di Foligno (the Virgin and 
Child only); do. Mater pulchrse dilectionis, after a pic- 
ture by i?a^aeZ/e discovered at Genoa in 1823 Madonna 
with the Child in her lap, the young St. John, and another 
little Boy, from a picture by Raffaelle, in the possession of 
the Duke of Terranuova. Mary Magdalene anointing the 
feet of Christ ; after P. Veronese. The healing of the 
Children by virtue of the Garments of St. Philip ; after 
A. del Sai-to. This print is dedicated to Charles Albert, 
King of Sardinia, 1834. 

SCRETA, Charles, an eminent German painter 
of a noble family, born at Prague in 1604. He 
showed an early passion for painting, and after 
learning the rudiments of the art in his native city, 
he went young to Italy, and studied several years 
at Venice, Bologna, and Florence. In 1634, he 
went to Rome in company with his friend VTilliam 
Bauer, where he diligently studied the antique and 
the works of the great masters. He also frequent- 
ed the schools of eminentcotemporary artists, and 
studied their different manners. By his talents 
and application he acquired a high reputation in 
Italy, and was appointed one of the professors in 
the Academy at Bologna. On his return to hia 
native country, he was received with distinction, 
and the Emperor Ferdinand III. and the nobility 
honored him with many commissions. In 1644, 
he was elected a member of the Academy at 
Prague, and in 1652 the president of the institu- 
tion. The emperor confirmed the title of his fam- . 
ily to nobility, and he spent the remainder of his I 
life in that city, honored and admired. I 

He painted history, allegory, and portraits ; his 
works are numerous, and many of them have been 
engraved. Several of his historical works are 
said to rank among the best productions of his 
time, though they are not so remarkable for origi- 
nality of conception, as a judicious selection from 
the antique and the best modern masters. Like 
the eclectic philosophers of old, he was of opinion 
that excellence did not consist in propounding new 
theories or practices, but in a judicious selection 
and appropriation of old ones. He also had a re- 
markable talent of imitating the styles of the 
great masters of the Italian, Spanish, and Flem- 
ish schools, particularly in single half-length and 
three-quarters figures, some of which are said to 
be a perfect deception. They are not copies, but 
imitations. He imitated the Caracci, Guido, Do- 
menichino, Lanfranco, Murillo, and Rubens, so as 



SCRI. 



875 



SEBA. 



to deceive connoisseurs. He also imitated RafFa- 
elle, Titian, and Paul Veronese, but with less suc- 
cess. His works are numerous, and are to be 
found in the churches, palaces, and private collec- 
tions at Prague, Vienna, Dresden, Salzburg, and 
Schleissheira. Many of his subjects are taken 
from sacred history, and legends of saints. In 
portraiture, he delighted to represent his sitters in 
imaginary characters. Thus it is said that he 
painted his own portrait twice under saintly guise — 
once as St. Giles, in the church of St. Martin ; and 
again as St. Luke painting the Virgin, in the 
church of St. Mary at Prague. One of his por- 
traits in the Gallery at Prague is particularly ad- 
mired ; it represents a lapidary and glass cutter 
in his workshop. He engraved a large philoso- 
phical thesis, on two plates, entitled Philosophia 
Universa in Universitati Pragensi. It is an al- 
legory formed of busts and statues of the mem- 
bers of the house of Lobkowitz. signed Car. Scre- 
tafec. 1666. He died at Prague in 1674. 

SCRIVEN, Edward, an English engraver in the 
chalk and dotted manner, born in 1775. He stud- 
ied under Bartolozzi, whose elegant style he adopt- 
ed. He engraved a great many plates of portraits 
and other subjects, after the eminent painters of 
his time, and was much employed by Boydell and 
other publishers of prints. Among his principal 
works are " Specimens of Ancient Sculpture," 
published by the Dilettanti Society, in Dibdin's 
Aedes Althorpianae, in Tresham's Gallery of Pic- 
tures, and other expensive publications of the day ; 
the Studies of Heads, from West's picture of 
Christ rejected ; a series of portraits, chiefly after 
Sir Peter Lely, of the Ladies commemorated by 
Hamilton in his Memoirs de Grammont. Most of 
the expensive publications of the day were embel- 
lished with his prints. In all his works he faith- 
fully preserved the character and expressions of 
the originals. He died in 1841. 

SCUTE LLARI, Andrea, a reputable painter, 
born at Viadana, in the Cremonese territory, who, 
according to Zaist and others, flourished at Cre- 
mona about 1588, and executed some works for 
the churches. There was another painter of the 
same name, probably his brother, who resided at 
Cremona about the same period. Lanzi says " few 
of their works remain, and those of no great 
merit." 

SCYLLIS. See Dipenos. 

SEBASTIANI, Lazzaro, a Venetian painter, 
who flourished in the early part of the 16th cen- 
tury. He studied under Vittore Carpaccio, and 
followed his style. He painted a number of pic- 
tures for the churches and public edifices of Ven- 
ice, among which was the Entrance of Filippo 
Mazeri into Venice, bringing a piece of the true 
Cross, placed in the hall of the knights of St. 
John of Jerusalem. In the church of S. Salva- 
tore is a picture by him in five compartments, 
in one of which is represented St. Agostino 
surrounded by a great number of religious per- 
persons. According to Lanzi, although flourishing 
so near the golden period of Italian art, Sebastiaui 
did not succeed in freeing himself from the influ- 
ence of the old and uniform taste ; for which rea- 
son his works are frequently confounded with 
those of Veglia, Mansueti, and other followers of 
Carpaccio. His pictures, however, possess much 



merit, being distinguished for several noble traces 
of the style of Gentile and Carpaccio, especially 
in the architecture ; and although his coloring is 
considered cold and languid in the Venetian school, 
it would be termed, in several of the others, suf- 
ficiently soft and animated for that period. 

SEBASTIANO, Era. See Piombo. 

SEBILLE, Gysbert, a Dutch painter, who 
flourished at Weesp abuut the middle of the 17th 
century. There are several of his works in the 
Town House of that city, among which is a pic- 
ture of the Judgment of Solomon, and another 
representing an Assembly of the Magistrates in 
1652, of which he was a member. Nothing more 
is recorded of him. 

SECANO, Geronimo, a Spanish painter and 
sculptor, was born at Saragossa in 1638. After 
acquiring the elements of design from an obscure 
artist, he visited Madrid for improvement, and 
studied with great assiduity the best works of art 
in that city. On returning to Saragossa, he soon 
manifested uncommon abilities, by executing seve- 
ral pictures for the church of S. Pablo. He was 
also employed in S. Miguel, and painted several 
works for the government edifices, in oil and in 
fresco, distinguished for correct design and excel- 
lent coloring. At the age of fifty, he acquired a 
knowledge of sculpture, and practised it with abil- 
ity. He established a school, in which were edu- 
cated some able professors of both arts. Secano 
died at Saragossa in 1710. 

SECCANTE,Sebastiano, a painter of the Vene- 
tian school, who flourished at (Jdine about 1576. Ac- 
cording to Renaldis. he studied with Pomponeo 
Amalteo, a painter of a noble family, which yet 
boasts its descendants at Uderzo. He married the 
daughter of his instructor, and settled in his native 
city, where he executed several altar-pieces and other 
works for the churches, and two grand historical 
pieces in the castle, embellished with several fine 
portraits. One of his most esteemed altar-pieces 
is in the church of S. Giorgio, "representing the 
Redeemer sufiering under the Cross, between seve- 
ral figures of cherubs, holding other instruments 
of the Passion ; a piece that displays all the ex- 
cellent maxims derived from his education." He 
also painted many excellent works for individuals. 
Lanzi says : " This artist may be pronounced the 
last of the great school (the Venetian) whose pro- 
ductions do credit to a good collection." He had 
a brother named Giacomo, who practised the art 
at Udine in 1571, but he did not acquire much rep- 
utation. Giacomo had a son, called also Sebas- 
tiano, whom he instructed in the art, and of whom 
there are notices from 1571 to 1629. They had a 
relative, whom they instructed in the art, called 
Seccante de' Seccanti, who flourished at Udine 
about 1621. None of these last named painters 
acquired any distinction. 

SECCHI, Gio. Battista, called also II Cara- 
VAGGio, a painter of the Milanese school, who 
flourished at Milan about 1619. He executed some 
few works for the churches in that city, in which 
Lanzi says he approaches the best of the Cerani. 
Little is known of him. In the Pitiure (P Italia 
he is called Caravaggino, and he signed himself 
Jo. Bapt. Sice, de Caravag., which shows that he 
was a native of Caravaggio. 
SECCHIARI, GiDLio, a painter born at Modena. 



SECU. 



876 



SEGE. 



He first studied in the school of the Caracci at 
Bologna, and afterwards proceeded to Rome, where 
he diligently studied the works of the great mas- 
ters, and acquired so much reputation that the 
Duke of Mantua invited him to his court. He ex- 
ecuted for that Prince some of his best works, 
which were destroyed, or taken away in the sack- 
ing of Mantua in 1630. There are some of his 
works in the churches of his native city, which 
are commended by Tiraboschi, particularly an altar- 
piece representing the Death of the Virgin, in the 
Cathedral. Lanzi also commends him as an able 
disciple of the school of the Caracci, though his 
works are rare, and little known. He died in 
1631. 

SECU, or SEEUW, Martin de, a German 
painter, born at Romerswalen in 1520. He stud- 
ied under Francis Floris, and painted history with 
reputation. He settled at Middlebourg, where he 
met with considerable encouragement, and where 
his principal works are to be found. He had a 
free, delicate, and rapid pencil, and his composi- 
tions are not deficient in grace, though his draw- 
ing is frequently incorrect. He died in 1574. 

SEDELMEYER, Jeremiah James, a German 
painter and engraver, born at Augsburg in 1704. 
He first studied engraving under Pfeft'el, and at- 
tained considerable excellence in managing the 
point and the graver, combining the styles of Do- 
rigny and Audran. Receiving some ill treatment 
from his instructor, Sedelmeyer fled to Vienna, and 
entered the school of his brother-in-law, Keukel, 
who instructed him in miniature painting. He 
formed an intimate friendship with Gaspar Fii- 
essli, in concert with whom he engraved a number 
of plates, and painted portraits in oil and minia- 
ture. He executed several plates of landscapes, 
after pictures in the Imperial Gallery, by Daniel 
Gran ; also many plates of portraits and historical 
subjects. 

SEGALA, Giovanni, a painter born at Venice 
in 1663. According to Zanetti, he studied with 
Antonio Zanchi, and acquired considerable reputa- 
tion as a historical painter. He was a man of gen- 
ius, and though, like his master, addicted to the 
use of strong shades, he possessed sufficient intel- 
ligence to derive some advantage from a wrong di- 
rection of his powers. Lanzi says, " he made use 
of dark grounds, which he contrasted with very 
spirited lights, and with a skill that enlivens, while 
it enchants us. His style seemed adapted to grand 
works, and he had genius enough to conduct them 
well." Lanzi particularly commends his picture 
of the Conception in the college of La Carit^, in 
which he competes with, if he does not surpass, 
some of the first painters of the age. He died in 
1720. 

SEGERS, or SEGHERS, Gerard, an eminent 
Flemish painter, born at Antwerp in 1589. After 
having studied successively with Henry van Ba- 
len and Abraham Janssens, he went to Rome, 
where, being captivated by the vigorous style of 
M. Angelo da Caravaggio, he became the disciple 
of Bartolomeo Manfredi, who had studied under 
that master, and whose manner he followed. To 
the striking opposition of light and shadow, and 
the broad relief of Caravaggio, he added the rich 
coloring of the Flemish school, and his pictures, 
though exhibiting a violence of contrast not au- 
thorized by a legitimate observance of nature, 



eclipsed in point of effect every work placed near 
them. Sandrart, who was intimately acquainted 
with him, observes that he avoided using the " bright 
blues, yellows, greens, and glaring colors, being 
always careful to observe a general harmony in 
his coloring ; and yet his pictures have so great a 
degree of force that they make most other paint- 
ings look weak and faint." He acquired so much 
reputation at Rome that the Cardinal Zapara, the 
Spanish ambassador, invited him to accompany 
him to Madrid, and presented him to the king, 
who took him into his service, and gave him a 
liberal pension. He executed several historical 
works, musical conversations, and other subjects, 
which were greatly admired, and so much to the 
satisfaction of the monarch, that he liberally re- 
warded him, and made him several magnificent 
presents. After a residence of some years at the 
court of Madrid, the desire of revisiting his native 
country, where the reputation he had acquired 
both in Italy and Spain, rendered his fellow citi^ji|MH 
zens impatient to possess his works, induced him'^B! 
to ask permission of the king to return to Flan^ 
ders, who would gladly have retained him in his 
service. On his arrival at Antwerp, he executed 
several works for the churches, in imitation of the 
style of Caravaggio, which were not so favorably 
received by the public as he expected. The clear 
and brilliant coloring of Rubens and Vandj^ck 
were so deeply rooted in public estimation, that he 
was compelled to adopt a system more tender and 
agreeable than he had heretofore practised. The 
facility with which he effected this change in his 
manner, proves the flexibility of his powers, and 
some of his later works are ranked among the 
most estimable productions of the Flemish school, 
vieing in brilliancy and harmony of coloring with 
Rubens and Vandyck. Sandrart says that when 
he visited Segers, and first saw some of his later 
performances, he could scarcely believe them to be 
by his hand, till Segers declared that he was un- 
der the necessity of changing the style he most 
approved, to comply with the taste of the world, 
and to sacrifice his fame and fortune, as the public 
preferred the coloring of Rubens and Vandyck to 
the best artists of the Venetian and Roman schools. 
However this may be, the public certainly showed 
their good taste in preferring the rich and harmo- 
nious coloring of their own great masters to the 
artificial one of Caravaggio, and Segers also in 
knowing it ; but he had no just cause to complain 
of lack of patronage, for he is said to have met 
with constant employment, and received such libe- 
ral prices that he was enabled to live splendidly, 
and to expend 60,000 florins in the purchase of the 
works of the great masters. He also painted 
conversation and musical parties, soldiers playing 
at cards, &c , which were exceedingly admired, and 
eagerly sought after. He composed his subjects 
well, was more correct in his design than the gene- 
rality of his countrymen, and excellent in expres- 
sion ; his coloring was warm and full of force, and 
the oppositions of his lights and shadows evinced 
a perfect knowledge of the chiaro-scuro, which 
enabled him to give his figures a surprising round- 
ness and relief Among his most celebrated works 
at Antwerp are the famous Elevation of the 
Cross, in the church of the Jesuits j the Adora- 
tion of the Magi, in the Cathedral, admirably en- 
graved by Vostermans ; Peter denying Christ, en- 
graved by Bolswert ; and the Marriage of the Vir- 



SEGE. 



877 



SEGO. 



gin, in the church of the Barefooted Carmelites, 
which is esteemed his masterpiece. It is asserted 
by Descamps and others that Segers visited Eng- 
land, but Bryan says there is no evidence of his 
ever having been in that country. Vandyck paint- 
ed his portrait among the eminent artists of his 
country. He died at Antwerp in 1651. 

SEGERS, or SEGHERS, Daniel, was the bro- 
ther of the preceding, born at Antwerp in 1590. 
Having a passion for depicting flowers when a 
youth, he was placed under the instruction of John 
Breughel, at that time famous for his flower-pieces, 
but afterwards more distinguished for his land- 
scapes. At the age of sixteen he was persuaded 
to join the society of the Jesuits. When the time 
of his probation had expired, his superior, knowing 
his talents and alive to his interest, permitted him 
to visit Rome, where his brother had already dis- 
tinguished himself. Wherever he traveled, he was 
curious to observe the flowers, fruits, plants, and 
insects peculiar to each place, all which he accu- 
rately designed and transferred to his portfolio, so 
that on his return to Flanders, he had an abundant 
supply of beautiful objects for his future composi- 
tions. During his residence at Rome, also, he dili- 
gently studied everything that could contribute to 
his own particular branch of the art. and the im- 
provement he made proves that a sojourn in that 
metropolis of art is beneficial to every painter, 
whatever may be the department to which he de- 
votes himself. Segers painted flower-pieces, ele- 
gantly and tastefully composed, and executed with 
a brilliancy, variety, and beauty that rivalled na- 
ture. His usual manner of disposing his subjects 
was in garlands or festoons, round elegant vases 
of marble, on which were often represented histo- 
rical subjects by the most distinguished masters ; 
even Rubens himself did not disdain to lend him 
his assistance. His pencil was light, his touch 
free and delicate, and his flowers have all the fresh- 
ness and bloom of nature, sparkling with dew- 
drops. He particularly excelled in depicting lilies 
and roses. His tints are transparent and natural, 
and the insects and butterflies which he intro- 
duced among the flowers appeared as perfect as 
life. It was his custom to cultivate the most beau- 
tiful flowers for models, and he also made a large 
collection of insects for the same purpose. His 
pictures were eagerly sought after by princes and 
others, and proved a source of honor and profit to 
his confraternity. The Prince of Orange deputed 
Boschaert, his principal painter, to visit Segers and 
endeavor to procure a picture by him, on which 
occasion he painted two of his choicest works, 
which were presented in the name of the socie- 
ty to the Prince, who munificently repaid the gift. 
His most capital performance was in the church 
of the Jesuits at Antwerp. It represented a gar- 
land of the most beautiful flowers, in the centre of 
which was a picture of the Virgin and Child, 
painted by Rubens. He died in 1660. The works 
of Segers are very rare and valuable ; the demand 
for them caused them to be largely imitated, and 
many are attributed to him which are totally un- 
worthy of his pencil. 

SEGERS, SEGHERS, or ZEGERS, a Dutch 

painter, born, according to Balkema, in 1625, and 
died in 1679, though others place his birth in 1629, 
and his death in 1675. It is not known under 
whom he studied, but he painted landscapes and 



cattle, in which, according to some writers, he imi- 
tated Paul Potter ; but others say that, like Potter, 
he only copied nature, and while he equalled that 
master in cattle, he greatly excelled him in land- 
scape ; the last part of this assertion might be 
readily granted, as Potter paid little attention to 
landscape, which he used only as an accessory ; but 
the first part should be received with many scru- 
ples of allowance. However, he had a fine inven- 
tion, a ready genius, and a clear judgment. His 
composition is rich, and full of pleasing variety of 
mountains, valleys, and villages ; his aerial per- 
spective is so excellent that his distances appear ex- 
ceedingly remote, and the scene of his landscape 
uncommonly extensive ; his play of light and 
shadow, according to the divisions, is scientifically 
true, and, like Jacob Ruysdael and Philip de Ko- 
ningh, he made a flat country appear interesting 
by his artistic management. Every object is 
touched with delicacy and spirit, and the sweetness 
and harmony of his coloring was scarcely inferior 
to any artist of his time. Notwithstanding the 
possession of these excellencies, he lived in com- 
parative obscurity, and it is said was oppressed 
with poverty all his days, his works not being ap- 
preciated during his lifetime, though after his de- 
cease they were more sought after and rose greatly 
in value. He is also said to have invented a method 
of stamping landscapes on cloth with colors, so 
that every object appeared of its natural color and 
in its proper place ; but this wants authentication. 
In the British Museum there are nineteen etchings, 
with six variations, making twenty-five in all, by 
this artist. There are three more in the Biblio- 
theque at Paris, and doubtless more will be dis- 
covered ; Stanley supposes that some of the prints 
now attributed to Rembrandt, on a critical exami- 
nation, may be transferred to him. These prints 
are executed in a free and masterly, but peculiar 
style, and some of them appear to have been ex- 
periments. They are all from his own designs, 
and represent scenery similar to that in his land- 
scapes. 

SEGOVIA, Juan de, a Spanish painter, who 
flourished at Madrid about 1650. Little is known 
of him. He painted marine pieces in a spirited 
style, which are held in high estimation in that 
capital. 

SEGURA, Antonio de, a Spanish painter and 
architect, of whom little is known. In 1580, 
Philip II. commissioned him to copy the celebra- 
ted picture by Titian, known as the Apotheosis of 
Charles V., or the Glory of Titian, as an altar- 
piece for the monastery of San Yuste. He died in 
1605, and Philip III. settled a pension on his 
widow. 

SEIBOLD, Christian, a German painter, bom 
at Mayence in 1697. He is said to have acquired 
his knowledge of art without the aid of an in- 
structor. In 1759, he was appointed cabinet paint- 
er to the Empress Maria Theresa. His works are 
principally half-length portraits, with historical 
accessories ; they deserve credit for their choice of 
attitudes and correctness of design. The portrait 
of Seibold, painted by himself, is in the Louvre. 
He died at Vienna in 1768. 

SEILLER, John Geokge, a German engraver, 
who flourished at Schaff'hausen about the end of 
the 16th and commencement of the 17th centuries. 
His plates are said to be executed in mezzotinto 



SEIS. 



878 



SEME. 



if this is so. the claims of Prince Rupert and Lieu- 
tenant Colonel de Siegen to the invention of en- 
graving in mezzotinto fall to the ground, unless 
there be some mistake as to the time he lived ; for 
the earliest print mentioned by Siegen was the 
portrait of Amelia Elizabeth, Princess of Hesse, 
engraved in 1643. The invention, however, is not 
attributed to Seiller. Laborde specifies several of 
his prints, among which the following have his ap- 
probation : Portrait of the Emperor Joseph I. 
CPest un bon travail. Portrait of the Empress 
Eleonora. Bonne execution. Portrait of Kilian, 
the engraver. Belle planche. Portrait of J. H. 
Heidegger. Assez belle planche. A Monk attempt- 
ing to kiss a Girl. Tres bon travail. His prints 
are inscribed /. G. Seiller. fecit, or /. Georg Seil- 
ler fecit et ex., or Joh. Georg Seiller scaffusianus 
fecit. 

SEIS, Paul Pontius Anthony Robert de, an 
artist, probably a painter, b}'- whom there is a 
masterly etching, representing Lot and his Daugh- 
ters, executed in the style of Rembrandt. It is 
inscribed P. P. A. Robert de Seis. fecit. 
SETTER. See Saiter. 

SELIGMAN. JoHANN Mechael, a distinguished 
German engraver on wood, was born at Nurem- 
berg in 1720. He early manifested an inclination 
for design, and studied in the Academy of Paint- 
ing, under the able tuition of two of the brothers 
Preisler. Rapidly attaining excellence in the art, 
he was invited to Rome in 1744. and afterwards to 
St. Petersburg, He subsequently settled in his 
native city, and was extensively employed, partic- 
ularly upon works of natural history. Among 
his most esteemed productions were thirty-four 
engravings, representing the Nutritive Vessels in 
the Leaves of Trees, with explanations by C. J. 
Trew, published at Nuremberg in 1748 ; the Hor- 
tus Nitidissimus of the same author, embellished 
with one hundred and ninety plates ; and a Col- 
lection of rare Birds, in nine volumes, folio, pub- 
lished at Nuremberg in 1749, and subsequent 
years. Seligman died in 1762. 

SELLITTO. Carlo, a Neapolitan painter, who 
flourished in the first part of the 17th century. 
According to Dominici.he wentto Rome and stud- 
ied with Annibale Caracci, whose principles he 
adopted. Little more is known of him. though 
Guarienti records his name in the Abbecedario, 
and Lanzi says he finds him commended in some 
MS. notices of eminent artists of the Neapolitan 
school. 

SELMA, Fernando, an eminent Spanish en- 
graver, born at Valencia in 1750. He is said to 
have studied under Emanuel Salvador Carmona, 
and engraved a number of plates in a style of ex- 
cellence, resembling that of Carmona, though in his 
latest manner he is said to have imitated Edelinck. 
He engraved several fine plates after the great 
masters in the Escurial. among which the most 
celebrated are La Madonna del Pesce, the Virgin 
and Child, and Christ bearing the Cross, called Lo 
Spasimo di Sicilia, o/ifer Raffaelle; and the por- 
trait of the Emperor Charles V., after Titian. 
He also engraved several portraits of distinguished 
personages, as Cortes. Solis, Magellan, and others. 
He engraved the plates for the " Maritime Atlas 
of Spain," which occupied him several years. He 
was also a man of considerable literary acquire- 
ments. He died at Madrid in 1810. 



SEMENTI, or SEMENZA, Gfovanni GrAco- 
MO, a painter born at Bologna, according to Bagli- 
oni, in 1580. He was a fellow-student with Fran- 
cesco Gessi, first under Denis Calvart, and after- 
wards with Guido Reni. According to Malvasia, 
he was one of the most successful followers of the 
style of Guido, and painted several works for the 
churches at Bologna, which have sometimes been 
mistaken for the productions of that master. Such 
are his pictures of the Martyrdom of St. Cecilia, 
in S. Elena j the Marriage of St. Catherine, in S. 
Francesco; and the Crucifixion, in S. Gregorio. He 
went to Rome in the pontificate of Urban VIII., 
and was favored with the protection of Cardinal 
Prince Maurice of Savoy, for whom he executed 
several admired works. He also painted some pic- 
tures for the churches. There are several fine 
frescos by him in S. Carlo a Catinari, and an oil 
painting, representing the Virgin and Infant, with 
Sts. Gregory and Francis, in the Capella Cavalie- 
ri. The authors above cited, and Lanzi, say he 
died at Rome in the prime of life j others place his 
death in 1638. 

SEMINI, or SEMINO. Antonio, a painter bom 
at Genoa in 1485. He was a pupil of Lodovico 
Brea. but afterwards studied the works of Pietro 
Perugino, according to Soprani, and was a success- 
ful imitator of his style. He executed several 
works for the churches at Genoa. His picture of 
the Nativit)'. in the church of S. Domenico at Sa- 
vona, has been compared to the best productions 
of that master, and even to the early performan- 
ces of Raffaelle. He died at Genoa in 1549. 

SEMINI, Andrea, was the son of the preceding, 
born at Genoa in 1510. He first studied with his 
father, and afterwards with Pierino del Vaga, who 
had sought refuge at Genoa after the sacking of 
Rome in 1527. He showed such talents that Vaga 
advised him to visit Rome, whither he proceeded, 
and during a residence of eight years in that city 
made the works of Raffaelle the especial objects of 
his study. On his return to Genoa, he acquired 
considerable reputation, and executed several works 
for the churches and public edifices, the most es- 
teemed of which are the Nativity, in S.Francesco; 
and the Adoration of the Magi, in La Nunziata. 
In these, as well as his other productions, he was 
a faithful follower of Raffaelle, though not always 
sufficiently correct in his design. According to 
Baldinucci, he painted portraits with great success. 
He died in 1578. 

SEMINI. Ottavio. was the younger son of An- 
tonio S., born at Genoa in 1515. He also studied 
under Pierino del Vaga. and accompanied his bro- 
ther to Rome ; and, like him, he studied the works 
of Raffaelle. He also copied the antique bas-reliefs 
of Trajan's column with great accuracy. He re- . 
turned to Genoa with Andrea, and assisted him in | 
several of his works. He also decorated the fa- 1 
9ade of the Palazzo Doria with statues and archi- 
tecture, designed in the finest taste, and painted 
some frescos in the interior, particularly the Rape 
of the Sabines, so much in the style of Raffaelle 
that, according to Soprani, it was mistaken by Giu- 
lio Cesare Procaccini for a work of that master. 
He was invited to the court of Milan, where he i 
passed the rest of his days and executed some of I 
his principal works. He decorated the chapel of ■ 

St. Girolamo in S. Angelo with several choice 
works, the most admired of which was a noble 



SEMI. 



879 



SENE. 



composition of the obsequies of that Saint. He 
•was more correct in his design, and possessed a 
more lively imagination than his brother. He 
died at Milan in 1604. 

SEMINI, MiCHELE, a Roman painter, who was ; 
a pupil and imitator of the Cav. Carlo Maratti, I 
whom he assisted in some of his works. He is 
commended in the life of that eminent artist, but 
Lanzi says little is known of him or his works. 

SEMITECOLO, Niccolo. an old Venetian paint- j 
er, by whom there is a picture of the Virgin, with • 
some histories of St. Sebastian, in the Chapter I 
Library at Padua, signed Niccolo Semitecolo da i 
Veniexia impense 1367. This picture is in excel- 
lent preservation, and a tine specimen of the time 
and school. Lanzi says, •' the naked parts are tol- 
erably well drawn, and the proportions of the fig- 
ures, though somewhat extravagant, are bold and 
free; and what is more important, the picture dis- 
covers no resemblance to the style of Giotto, being 
inferior in design, though equal to him in coloring." 

SEMOLEI, II. See Franco. 

SEMPELCUS. D. G.. a German engraver, who 
flourished about 15S0. He copied some of the 
prints of Albert Durer with great success; one 
of the best is the Descent of Christ into Hell, from 
the set of plates of the Life of Christ, by that mas- 
ter. It bears the date of the original, 1512, as 
well as the year in which it was engraved. 1580. 

SEMPLTCE, Fra. See da Verona. 

SENAVE, Jacob Albert, a distinguished Bel- 
gian painter, was born at Loo in 1758. The Canon 
of the Abbey of Loo perceiving in him a strong in- 
clination for art. prevailed upon his father to send 
him to the Academy of Painting at Dunkirk. Af- 
ter studying there for three years, he gained the 
first prize, and then visited Paris for improvement. 
On returning to Belgium, he received several com- 
missions from the Bishop of Ypres ; after which 
he revisited Paris ; frequented the Royal Acad- 
emy; received the counsels of Suvee; and finally 
settled in that city. His pictures are distinguish- 
ed for originality of composition, purity of design, 
and faithful imitation of nature. They generally 
represent feasts of the peasantry and other scenes 
from low life ; they are highly esteemed, and have 
been extensively purchased for the collections of 
Belgium, France. Germany. Russia, Switzerland. 
England, and the United States. In 1821, Senave 
visited Belgium, and painted a picture representing 
a Reunion of Artists in the Studio of Rembrandt, 
for the Academy at Ypres, which chose him an hon- 
orary director. In the church at Loo is another 
work by him. representing the Seven "Works of 
Mercy. In 1822, the Royal Society of Literature 
and the Fine Arts honored him with a membership 
in that institution. He had one son, who gave 
fair promise of great excellence in the art, but died 
at the age of twenty-two. Senave died at Paris in 
1823. 

SENEFELDER, Alois, the inventor of lithog- 
raphy, was the son of a performer at the Royal 
theatre of Munich, where he was born in 1771. 
His father placed him in the University of In- 
goldstadt,as a student of jurisprudence, but after 
his death, he attempted a theatrical career in 1791 ; 
not succeeding in this he became an author, though 
his poverty prevented his publishing his works. 



He tried many plans with copper plates and com- 
positions as substitutes for letter press, in order to 
be his own printer. He found, in the course of his 
experiments, that a composition of soap, wax, and 
lampblack, formed a good material for writing on 
plates ; that when dry it became firm and solid, 
and that it resisted the action of aquafortis. — 
Wanting facility in writing backwards on the 
plates, he polished some pieces of Kelheim stone, 
as cheap materials on which he could practice. 
One day. being desired by his mother to take an ac- 
count of some linen about to be sent to be washed, 
and having no paper at hand, he wrote the account 
on a polished stone, with his composition ink, in- 
tending to copy it at his leisure. When he was 
about to eiface the writing, it occurred to him that 
by eating away the stone with acid, he could obtain 
impressions ; having done this to the depth of an 
hundredth part of an inch, he charged the lines 
with ink. and found he could take successive im- 
pressions. This new mode of printing, instantly 
struck him as being very important, and he per- 
severed through all difficulties in applying his 
discovery to practical purposes. In the course of 
a multitude of experiments, he found that it was 
not necessary to have the letters raised above the 
surface of the stone, but that the chemical princi- 
ples by which grease and water were kept from 
uniting, were alone sufficient for his purpose. 
This point obtained, lithography may be said to 
have been fully discovered. All'that was required 
was the improvement of the materials, and the 
mode of working with them, and the construction 
of a proper press for taking impressions. The 
perseverance with which he followed up his exper- 
iments in order to overcome the difficulties which 
successively arose in his progress was very re- 
markable, and the more so. considering the want 
of method in his proceedings. Often did he waste 
days and months in surmounting a difficulty 
which a little knowledge, or apparently a very little 
reasoning, would have enabled him to conquer 
immediately. Invention and application, however, 
i are two different matters; the simplest things 
have sometimes been the most difficult to dis- 
cover ; it took the world nearly six thousand years 
to find out the use of moveable metalic printing 
types. Senefelder's first essay to print for publi- 
cation, was some pieces of music, in 1796. Af- 
terwards he attempted drawings and writings. 
The difficulty he experienced in writing back- 
wards, led him to the process of transfer ; and 
the use of dry soap, which he found to leave perma- 
nent traces that would give impressions, naturally 
led him to the mode of chalk drawings. Having 
made considerable pro2:ress in his invention. Sen- 
efelder, in 1799. obtained a patent privilege for 
Bavaria, when he made known his process. He 
afterwards entered into a partnership with M. 
Andre of Offenbach, who proposed to establish 
presses and take out patents in Vienna, Paris, and 
London, For this purpose. Senefelder went to 
London with the brother of Andre, and intro- 
duced his invention under the name of Polyanto- 
graphy. Several of the principal English artists 
made trials of it ; but unfortunately, the difference 
between the materials of Germany and those of 
England, used for the purposes of drawing, and 
printing and the art of printing from stones being 
imperfectly understood, caused constant failures. 
and thev successively abandoned its practice. In 



SENE. 



880 



SERA. 



August, 1800, Senefelder, who had dissolved his 
connection with Andre, went to Vienna, where, 
after much difficulty, he obtained a patent, and 
extensive preparations were made for applying his 
process to printing cottons ; but bad management 
and some unfortunate circumstances prevented his 
success, and he returned to Munich in 1806, leav- 
ing the establishment in other hands. In October 
1809, he was appointed Inspector of the Royal 
lithographic establishment at Munich, and after 
that time till his death in 1834, he devoted him- 
self to experiments, to instructing numerous pu- 
pils, and to writing a history of his invention. In 
1819, he published his Elements of Lithography 
in German. In 1826, he invented a new process 
for taking impressions on colored sheets, so as to 
imitate oil painting, which art he called Mosaic 
Painting. Notwithstanding the difficulties he had 
to encounter, not the least of which were the op- 
position, and libels on his invention by persons 
who supposed their interests would be affected by 
his success, he completely triumphed, and lived to 
see his art brought to great perfection, and to be 
regarded as one of the most useful inventions of 
modern times, from its facility, cheapness, and 
general application. See Lithography, page xvii. 
of this work. 

SENEX, John Christian, an English engraver, 
who flourished about 1720. and was employed by 
the booksellers. He engraved the plates for the 
London almanacs, from 1717 to 1727. 

SENNAMAR, an eminent Arabian architect, 
mentioned by Milizia, who flourished in the fifth 
century. His chief works were two wonderful 
palaces called Sedir and Khaovarnack, concerning 
which many fabulous stories have been handed 
down in the Arabian chronicles. 

SEPP, John Christian, a Dutch naturalist 
and painter, born at Amsterdam in 1739, and died 
there in ISll. He painted insects, in water colors, 
with the greatest accuracy. He published some 
works on Entomology, in which he was assisted 
by his son. The principal is " The History of the 
Insects of Holland,"'' published in five vols, quarto, 
illustrated with upwards of two hundred and fifty 
finely colored plates. 

SEPPEZZINO, Francesco, a painter born at 
Genoa in 1530, and died there in 1579. He stud- 
ied successively under Luca Cambiasi, and Gio. 
Battista Castelli. None of his works are specified, 
but he is said to have painted history with reputa- 
tion. 

SEPTIMUS, Hercules. See Setti. 

SEPULVEDA, Mateo Nunez, a Spanish paint- 
er, who flourished about the middle of the 17th 
,««ntury. In 1640, Philip IV. appointed him paint- 
er and gilder of the Royal Navy of Spain, •' in con- 
sideration of his talents as an artist," says Ber- 
mudez, •' and for his contribution of 500 ducats 
towards the expenses of the war in which his ma- 
jesty was engaged." His patent, among other 
privileges, gave him the sole right of painting all 
the banners and standards required in the navy. 

SEQUEIRA, DoiMiNGOS Antonio de, a Por- 
tuguese painter, born at Lisbon, according to Count 
Raczinski. about 1760, but Nagler says in 1768. 
After studying in his native city, he was taken un- 
der the protection of the Marquis Marialva, who 
sent him to Rome to complete his artistic educa- 



tion, where he became the disciple of Antonio 
Cavallucci. After a residence of several years in 
Italy, he returned to Lisbon, where he executed 
several works for the churches and public edifices, 
and was considerably employed by the nobility. 
Most of his works are of a sacred character ; but 
he painted some pieces from profane history, and 
others relating to the family of his patron Mari- I 
alva. In 1823, he went to Paris to exhibit his I 
picture of the Last Moments of the Poet Camoens, 
which elicited the applause of Gerard, Vernet, and 
other French artists. He afterwards went to 
Rome, where he is said to have continued to paint 
with all the vigor of his youth. He had a great 
facility of design, and his drawings in crayons and 
India ink were much sought after by amateurs. 
He is said to have succeeded better in oil when he 
painted figures of a small, rather than those of a 
full size. It is impossible to form any correct 
opinion of his style or merits from the accounts 
given. 

SEQUENOT, L., a French engraver, who flour- 
ished about 1671. He engraved some frontispieces 
and other book plates, indifferently executed. 

SERAFIN, Pedro, called El Griego, a Spanish 
painter, who flourished at Barcelona, and in con- 
junction with one Pedro Pablo, painted the doors 
of the organ of the cathedral at Tarragona, for 
which they received three hundred pounds, Cata- 
lonian money. On the inside of the doors they 
painted the Nativity and the Resurrection ; on the 
outside, the Annunciation, and on one side of the 
organ, the figures of Faith, Hope, and Charity, 
and on the other, Sts. Thecla and Catherine. No- 
thing more is recorded of them. 

SERAFINI, Serafino de', an old painter of 
Modena, by whom there is a picture in the cathe- 
dral of that city, representing the Coronation of the 
Virgin, painted in the style of Giotto, inscribed 
Serajinus de Serafinis Pinxit 1385, die Jovis 23 
Martii. 

SERANO, or rather CERANO, II. See Gio. 
Battista Crespi. 

SERENARI, Abate Gaspero, a Sicilian paint- 
er, born at Palermo, where he flourished about 
the middle of the 18th century. He went young 
to Rome, and studied with the Cav. Sebastiano 
Conca. Lanzi says he was considered a young 
man of talents at Rome, and after he left Conca, 
he painted some frescos in the church of S. Teresa, 
in competition with the Abate Peroni of Parma. 
On his return to Palermo, he became a celebrated 
master ; and besides many oil paintings, he exe- 
cuted some vast frescos for the churches, particu- 
larly the cupola of the monastery of La Carit^. 
He also instructed several pupils. 

SERGELL, JoHANN Tobias, an eminent Swed- 
ish sculptor, was born at Stockholm in 1740. He 
was the son of an embroiderer and manufacturer 
of gold lace. Apprenticed to a stone mason while 
quite young, he wrought as such in the palace at 
Stockholm, and attracted the notice of the sculp- 
tor Larcheveque, who received him into his stu- j 
dio. He soon manifested unquestionable talents, 
and after assisting his instructor in modelling the 
two statues of Gustavus Vasa and Gustavus Adol- 
phus, he obtained a traveling pension in 1767, and 
visited Rome for improvement. He spent about 
twelve years in the metropolis of art. and produced 



SERI. 



881 



SEKL 



many admirable works. After this he visited Par- 
is, and was admitted to the Royal Academy upon 
presenting: the statue of a wounded Greek soldier, 
termed " Othryades," of half life size, subsequent- 
ly placed in the Luxembourg. From Paris he 
proceeded to London, but was directly afterwards 
summoned to Stockholm by Gustavus III., who 
appointed him court sculptor. In 1784, he ac- 
companied that monarch on a visit to Rome, and 
was frequently consulted in reference to the pur- 
chase of a number of antiques for the Royal Mu- 
seum at Stockholm. The talents of Sergell were 
very highly esteemed, and he received the most 
flattering offers from Catherine II. of Russia, but 
being indifferent to riches, and ardently attached 
to his sovereign and his native land, he declined 
her invitations. His works are distinguished for 
energy and vigor, with elegance and grace of de- 
sign, and perfect freedom from the mannerism 
and disgusting affectation which distinguish the 
works of his immediate predecessors and cotem- 
poraries. His busts and portrait medallions are 
highly esteemed for their faithful likenesses and 
artistic excellence. Among his principal statues 
are the group of Cupid and Venus ; Diomed car- 
rying off the Palladium ; Othryades ; a Faun ; 
Gustavus III. ; Oxenstierna dictating to the His- 
torical Muse the deeds of Gustavus Adolphus ; 
and Mars and Venus. Most of these are in the 
Royal Museum. One of his finest productions, a 
composition in alto-relievo for the Adolph- Fred- 
erick church at Stockholm, has never been execu- 
ted in marble. 

The untimely end of his friend and patron, Gus- 
tavus Adolphus, affected Sergell with so deep a 
melancholy, that for a long time he was unable to 
practice his profession. At length, a few years 
before his death, he nearly regained his wonted 
mental composure, but so late in life as to render 
it impossible to retrieve the time that had been 
lost to the art. He died at Stockholm in 1814. 
aged 74. BystrOm, an eminent Swedish sculptor 
of the present day, was a pupil of Sergell. 

SERI, Robert be. See Seis. 

SERICCUS, Philip, a Flemish engraver, accord- 
ing to Huber, who was a cotemporary and disciple 
of Cornelius Cort, and resided at Rome, about 
1568, in which year he engraved in a formal style 
a set of twenty-eight half-length portraits of the 
Popes, from the year 204 to 1568. This artist is 
differently denominated Sericeus, Serious, Syticus, 
Sytius, Soius, and Soye ; various plates marked 
with these signatures, are evidently by one hand. 
Other marks have also been attributed to him, 
as the letters P. S. interlaced, and P. S. in a circle, 
with the dates 1535. and 1538 ; but they appear 
quite doubtful, and the Biographie Universelle 
places his birth in the latter year. The following 
are among his principal prints : 

The Angel appearing to Joseph in his Dream ; C. Cort, 
inv. Ph. Soye, fee. St. Francis receiving the Stigmata ; 
F. Zuccaro, pinx. Soye, fee. The Virgin with the infant 
Christ sleeping ; after M, Angelo Buonarotti. Philippus 
Sericeus. 1566. The Crucifixion ; do. Adam and Eve 
in Paradise ; after P. del Vaga, P. Serious fecit. Ju- 
dith with the Head of Holofernes ; after Giulio Clovio. 
Phil, de Soye,f. Adoration of the Shepherds ; after F. 
Zuccaro. Ph. Sericu-f fecit. The Angel appearing to 
Joseph ; do. A Pieta ; after Michael Angelo. St. Je- 
rome in a Landscape ; after H. Muziano. 

SERIN, N., a Dutch historical painter, who 



flourished at Ghent in the last half of the 17th 
century. He studied with Erasmus Quellinus, 
and executed several works for the churches at 
Ghent. There is also a fine picture attributed to 
him in the church of S. Martin at Tournay, repre- 
senting that saint dividing his cloak with a Beggar. 
Balkema has confounded this artist with his son 
John S., who he says was a pupil of Quellinus, 
and he attributes to him all the works executed 
by his father, which is evidently an error, as John 
was born in 1678, the year in which Quellinus 
died. 

SERIN, John, was the son of the preceding, 
born in 1678, and doubtless was instructed by his 
father. He is said to have excelled in portraits, 
and in 1748, at the age of seventy, he painted the 
portrait of Marquis de Fenelon, ambassador at 
the Hague, and that of the Marchioness. He is 
also said to have painted several works for the 
churches, but he is so generally confounded with 
his father, that it is impossible to distinguish with 
certainty, their respective performances. 

SCRIVANO, PiRRO LuiGi, was a knight of 
Malta, mentioned by Milizia, who gained consid- 
erable distinction by his works in civil and mili- 
tary architecture. His principal work in the lat- 
ter branch, was the new castle of Aquila, in the 
Neapolitan state, which he executed at the com- 
mission of Charles V., in 1534. 

SERLIO, Sebastiano, an Italian architect, 
chiefly celebrated for his writings on the art, was 
born at Bologna in 1475. According to Vasari, 
he was a disciple of Baldassare Peruzzi. The study 
of Vitruvius inspired him with an eager desire to 
obtain more knowledge of ancient edifices, and he 
accordingly proceeded to the Venetian states, where 
he employed himself in examining and measuring 
the amphitheatre and bridges at Verona. He sub- 
sequently erected a theatre at Vicenza, and de- 
signed the church of S. Francesco della Vigna at 
Venice. During his residence in the latter city, he 
formed the acquaintance of Sanmicheli, Sansovino, 
and other architects of note, and was also favored 
with the notice of the Doge Andrea Grilli. Had 
Serlio remained at Venice, he would undoubtedly 
have gained plentiful encouragement. He passed 
over to Pola, and examined its architectural re- 
mains. On returning, he studied the antiquities 
of Ancona, Spoleto, and Rome. While in the lat- 
ter city, he composed his work entitled " Regole 
Generali di Architettura di Sebastiano Serlio, so- 
pra le cinque maniere de gli edifici, cioe Thoscano, 
Dorico, lonico, Corinthio, e Composito, con gli Es- 
sempi dell' Antichita che per la maggior parte con- 
cordano con la dottrina di Vitruvio." This work 
evinces great learning and research, and has gener- 
ally been regarded of great authority. Milizia says 
" he was devoted to Vitruvius, and showed himself 
equally well acquainted with theory and practice." 
Serlio sent a copy of his book to Francis I. of 
France, who acknowledged the compliment by a 
present of three hundred gold crowns, and invited 
the author to visit Paris. He accordingly went 
thither in 1541 with his family, and was appointed 
architect at Fontainbleau. He was also commis- 
sioned to undertake the court of the Louvre, but 
generously declined in favor of Lescot, whose de- 
sign he recommended as superior to his own. At 
the death of his patron, and the commencement of 
the civil war, Serlio retired to Lyons, and remained 



SERM. 



882 



SERR. 



there for some time, in straitened circumstances ; 
but he afterwards returned to Fontainbleau, where 
he died in 1552. 

SERMEI, Cav. Cesare, a painter born at Or- 
vieto in 1516. It is not known under whom he 
studied, but, according to Orlandi, he married and 
settled at Assisi. He executed many excellent 
works both in oil and fresco, for the churches and 
public edifices at Assisi and Perugia, and at Spello. 
Lanzi says "he painted in fresco, if not in a grand 
style, still, with a felicity of design, with spirited 
and graceful attitudes, and a vigorous pencil. He 
wrought with great facility, and his oil paintings 
possess great merit. At Spello I saw a picture 
by him of the Beatified Andrea Caccioli, and it 
seemed to me that few other painters of the Ro- 
man school had at that time equalled him. His 
heirs at Assisi possess some pictures by him of the 
fairs, processions, and ceremonies which occur in 
that city on the occasion of the Perdono, and the 
numbers, variety, and grace, of the small figures, 
the architecture and the humor displayed, are 
very captivating." He died at Assisi in 1600, 
aged 84. 

SERMOLEI, or SERMELEI, II. See Battis- 
TA Franco. 

SERMONETA, da. See Siciolante. 
SERODINE, Giovanni, a painter born at As- 
cona in Lombardy. According to Baglioni, he was 
a pupil of Michael Angelo da Caravaggio, whose 
style he followed with considerable success ; he 
enumerates many of his works, executed chiefly 
for individuals. Lanzi says his pictures are more 
remarkable for their facility of execution, than 
their excellence, and that he died young in the 
pontificate of Urban VIII. 

SERRA, Cristoforo, a painter born at Cesena, 
who, according to Malvasia, was a pupil of Guer- 
cino, whose style he adopted, and executed some 
excellent works for the churches in his native city, 
but wrought mostly for individuals. Lanzi also 
commends him, and says he was an imitator of 
Guercino. He was living in 1678. 

SERRA, Miguel: in French, Michel Serre. 
This painter was born at Catalonia, in Spain, 
about 1653. At the age of eight years he left 
his home, on account of ill treatment, and went to 
Marseilles. Destitute of resources, he applied to 
an obscure painter of that city, who relieved his 
wants, and gave him instructions in the art. Two 
years after, the precocious j'-oung artist started for 
Rome, and remained in that city several years, 
studying the works of the best masters. At the 
age of seventeen, he returned to Marseilles, and 
soon after painted his picture of the Martyrdom 
of St. Peter, which gained him great reputation. 
Commissions flowed upon him in abundance, and 
he painted many pictures for the churches and 
private collections. Serra's works are distinguish- 
ed for great fertility of invention, spirited execu- 
tion, and such astonishing facihty of operation, that 
he is reported to have painted an altar-piece en- 
tire, in a few hours ! As might be expected, his 
works show many marks of neglect. He sent a 
picture to Paris, which gained him admission to 
the Academy, and the appointment of painter to 
the King. In 1721-, during the plague at Mar- 
seilles, he nobly devoted the whole of a large for- 
tune to relieving the sick ; and after the plague 



ceased, he resumed his pencil, adopting for subjects 
the mournful scenes he had recently witnessed. 
His easel pictures are very numerous in private 
collections ; among his other works were several 
in the Carmelites at Aix, the convent of St. 
Claire, and the church of the Magdalen at Mar- 
seilles. Serra died in 1728. 

SERRES, Dominic, a marine painter born at 
Auch, in Gascony. He went to England about 
1765, where he acquired considerable reputation 
for his marines and landscapes. When the Royal 
Academy was founded in 1768. he was chosen one 
of the first 40 members, and some years after- 
wards was appointed marine painter to the King. 
In 1792 he was appointed Librarian to the Royal 
Academy. One of his best works is a representa- 
tion of Lord Howe's victory over the combined 
fleets of France and Spain, off* Gibraltar, in 1782. 
He was a large contributor to the annual exhibi- 
tions of the Royal Academy, and during the first 
ten years he exhibited about 40 pictures, all of 
them representations of English naval engage- 
ments. Many of his works were engraved by 
Canot, Mason, Fittler, Vivares, and others, and 
were very popular in their day. He was com- 
pared to Verne t, but Stanley says that his pic- 
tures as works of art, possess very little value, 
but are still looked at with respect for the gallant 
deeds they commemorate. He died in 1793. 

SERVANDONI, Cavaliere Giovanni Gtro- 
LAMO, an eminent scene painter and architect, 
was born at Florence in 1695. He studied paint- 
ing in the school of Gio. Paolo Pannini, where 
he became expert in landscape and architectural 
scenery, and painted a number of pictures in the 
style of his instructor, which are preserved in va- 
rious collections. He afterwards acquired a know- 
ledge of architecture under De Rossi. After paint- 
ing a number of admirable scenes at Lisbon, for 
which he was honored with the order di Cristo, he 
visited Paris in 1724, and was extensively em- 
ployed. He greatly improved the former mode 
of scene painting, and also produced an entirely 
new system of it, aiding and heightening the ef- 
fect by machinery and every possible artifice. His 
scene exhibitions were received by the public with 
the greatest enthusiasm, and they were highly 
praised by men of genius and taste, well capable 
of appreciating the artist's poetical invention and 
profound classical study. Even in the most magni- 
ficent architectural fancies, Servandoni, unlike many 
others, never outraged probability by exhibiting 
mere gorgeous chimeras. Among his most cele- 
brated scenes were the representation of the fable 
of Pandora (at the Tuileries in 1738), and the 
Descent of JEneas into the Infernal Regions. His 
talents were greatly in request at all public fes- 
tivities, especially those held at Stuttgard, and the 
festivals held at Paris, in 1739, in honor of the 
marriage of Philip V. of Spain with the princess 
Elizabeth. There are a number of paintings by 
him, representing architecture, ruins, &c., preserved 
in French and English collections, among which 
is a picture of ancient ruins in the Louvre, painted 
in the style of Gio. Paolo Pannini. As an archi- 
tect, Servandoni was also distinguished, and his 
fame would have been much greater than it now 
is, had he been allowed to realize various mag- 
nificent projects, such as an extensive amphi- 
theatre, of which the arcades and galleries alono 



SERW. 



883 



SESS. 



were to contain 25,000 persons. His most im- 
portant work is the fa9ade of S. Sulpice, com- 
menced about 1732, and greatly superior to the 
taste of the times. Unlike the frittered and un- 
meaning decorations of that age, the fa9ade of S. 
Sulpice is distinguished for a considerable degree 
of simplicity and harmony. The arrangement of 
the loggia formed by the Doric order below, where 
the columns are coupled one behind the other, has 
a good effect, but the second order appears more 
solid and heavier, in consequence of the inter- 
columniations being filled in with arcades and 
piers. Among his other works, praised by Milizia, 
are the gate of the Maison de PEnfant Jesu ; the 
magnificent staircase of the Hotel du Cardinal 
Auvergne ; the round isolated chapel of M. de 
Live ; and the Rotunda, in the form of an ancient 
temple, with twelve Corinthian columns, for the 
Mareschal de Richelieu. He made a number of 
designs for important edifices at Brussels ; also 
several for the court of Portugal ; and some in 
England, for the Prince of Wales, the father of 
George IH. Servandoni died at Paris in 1766. 

SERVI, Constantino de', an Italian painter, 
gem-engraver, architect, and engineer, was born 
at Florence in 1554. According to the supposi- 
tion of Baldinucci, he studied under Santo di Titi; 
and Lanzi says he excelled especially in portraits. 
He visited nearly every European court, and prac- 
ticed the art with plentiful encouragement. In 
his earlier productions, he followed the style of 
Titi, but upon seeing the works of Pourbus. du- 
ring his sojourn in Germany, he adopted the style 
of that master. At the request of the Prince of 
Wales, he visited England, and was appointed to 
superintend the erection of a number of bridges and 
machines, with a salary of 800 crowns. In 1609 
he was invited by the Grand Sophy of Persia to visit 
that country, and he remained there about a year; 
but it is not known on what he was employed. 
On returning to Florence, he was appointed, ac- 
cording to Milizia, superintendent of all the com- 
mercial companies, the works at the chapel of 
St. Lorenzo, and the Florentine gallery, and also 
of the great mosaic manufactory, established by 
the Grand Duke Francesco I. Lanzi says he con- 
tributed to the improvement of this curious art. 
At the invitation of the States General, Servi 
visited Holland, and was commissioned to erect a 
palace at the Hague for Prince Maurice of Nassau, 
who favored him with many marks of esteem. 
This versatile artist finally returned to Tuscany, 
and was appointed by the Grand Duke to the 
vicarship of Lusignano. He died in 1622. 

TQ SERWOUTER, Peter van, a Flemish 
/3> ir ^^^o^^^^^} ^^^ flourished at Antwerp, ac- 
^ " cording to the dates on his prints, from 
1608 to 1628. There are also a number of prints 
attributed to him by several writers, marked with 
a monogram, composed of a P. and an S., with a 
W., as above, which, from its being similar to the 
mark used by a supposed artist, called Perjecou- 
ter, Persecouter, or Persecuteur, has led to his 
being confounded with that artist, who, from the 
dates on his prints, flourished seventy or eighty 
years before the time of Serwouter. The prints 
marked with the above monogram, among which are 
a set of twelve Huntings after Vinckenbooms, were 
evidently executed by a Dutch or Flemish engrav- 
er. Nagler gives a list of Serwouter's prints, most 



of which are marked with his name in full, and 
only one with a monogram composed of his ini- 
tials, P. V. S. He does not mention the P. S. 
monogram, nor the W., as being marks found on 
any of his prints. He is also called Sevouter. Ser- 
vatius, and Raeven, from the same confusion of 
marks. The prints in question are of little con- 
sequence. 

SESSONE, Francesco, an Italian engraver, 
who flourished at Naples in the latter part of the 
18th century. He engraved part of the plates for 
the Antiquities of Herculaneum,published at Naples. 

SESTO, Cesare t»A, called also Cesare Mila- 
nese. There is a singular paucity of information 
respecting this eminent artist. He is generally 
regarded as the most distinguished disciple of 
Leonardo da Vinci. The time of his birth and 
death are not exactly known ; some say that he 
was born at Milan about 1480, and died in 1524. 
Others that he flourished about 1500, and Zani, 
that he operated in 1524. It is known that he 
went to Rome, where he improved himself by the 
study of the antique, and an intimacy with Raf- 
faelle. and that he was there employed by the 
Pope and some of the principal nobility. The fol- 
lowing admirable account from Lanzi, embraces all 
that is known of him or his works. In his ac- 
count of Vinci and his followers he says : " One 
who approached nearest to Vinci's style at a cer- 
tain period, was Cesare da Sesto ; though not re- 
corded by Vasari or Lomazzo in the list of his dis- 
ciples, still, he is admitted by more modern writers. 
In the Ambrosian collection at Milan, is the head 
of an old man, so extremely clear and studied, in 
the Vinci manner, by this artist, as to surprise the 
beholder. In some of his other works, he fol- 
lowed Raffaello, whom he knew in Rome ; and it 
is reported that this prince of painters, one day 
said to him, ' It seems to me strange, that being 
bound in such strict ties of friendship as we two 
are, we do not in the least respect each other with 
our pencils,' as if they had been rivals, on a sort 
of equality. He was intimate too, with Baldassare 
Peruzzi, and was employed with him in the Castle 
of Ostia. In this work, which was one of the 
earliest efforts of Peruzzi, Vasari seems inclined 
to yield the palm of excellence to da Sesto. He 
was esteemed Vinci's best pupil ; and he is more 
than once held up by Lomazzo as a model in de- 
sign, in attitude, and more particularly in the art 
of using his lights. He cites an Herodias by him, 
of which I have seen a copy in the possession of the 
Consiglier Pagave, in which the countenance bore 
an extreme resemblance to the Fornarina of Raf- 
faello. The original, formerly in the gallery of 
the Archiepiscopal palace, was in the first occupa- 
tion of the French adjudged to Madame la Pagerie, 
wife of the then General Bonaparte, and passed in- 
to France. The Cav. D. Girolamo Melzi, has like- 
wise one of his Holy Families, in the manner of 
Raffaello, which he obtained a iev!' years since for 
the enormous sum of GOO sequins, as well as 
that celebrated altar-piece painted for the church 
of S. Rocco. It is divided into compartments; 
in the middle of it is seen the titular saint, and 
the Holy Virgin with the Infant, imitated from a 
figure by Raffaello, which is at Foligno; he like- 
wise borrowed the figures of St. John the Baptist 
and St. John the Evangelist, seated on a cloud, 
from the Dispute of the Sacraments. These dec- 



SETL. 



884 



SETT. 



orate the upper part of the picture, the lower be- 
ing occupied by two half naked figures of Sts. Cris- 
toforo and Sebastiano, both appropriately execu- 
ted, and the latter exhibiting a new and beautiful 
foreshortening. They are on a larger scale than 
the figures of Poussin, and with such a resem- 
blance to those of Correggio, that in the opinion 
of the Abbe Bianconi, they might easily have been 
attributed to that master, were it not for the su- 
perscription of the artist, such is the softness, un- 
ion, and brightness of the fleshes, such their beau- 
ty of coloring, and the harmony pervading the 
whole painting. It used to be closed with two 
doors, on which, with a certain correspondence of 
subjects, were painted the two princes of the Apos- 
tles, with St. Martin and St. George on horseback ; 
all of which display the same maxims, though not 
the same diligence in the art. Hence we may infer 
that this artist did not, like Vinci, aspire at pro- 
ducing master-pieces as an invariable rule, but 
was content, like Luini, with occasional efforts of 
the kind. I ought not to separate the name of this 
noble figurist from that of Bernazzano, the land- 
scape painter, as they were united no less in in- 
terest than in friendship. It is uncertain whether 
he was instructed by Vinci ; he doubtless availed 
himself of his models, and in painting rural land- 
scapes, fruit, flowers, and birds, he succeeded so 
admirably as to produce the same wonderful ef- 
fects as are told of Zeuxis and Apelles in Greece. 
This indeed Italian artists have frequently re- 
newed, though with a less degree of applause. 
Having represented a strawberry bed in a court- 
yard, the pea-fowls were so deceived by the 
resemblance, that they pecked at the wall till the 
painting was destroyed. He painted the land- 
scape part of a picture of the Baptism of Christ, 
and on the ground he drew some birds in the act 
of feeding. On its being placed in the open air, 
the birds were seen to fly towards the picture, as 
if to join their companions. This beautiful paint- 
ing is still one of the chief ornaments in the gallery 
of the distinguished family of the Trotti at Milan. 
As Bernazzano had the sense to perceive his own 
deficiency in figures, he cultivated an intimacy with 
Cesare, who added to his landscapes fables and his- 
tories, sometimes with a degree of license that is 
reprobated by Lomazzo. These paintings are held 
in the highest esteem, where the figure-painter 
made a point of displaying his powers." 

At the church of Sarono, situated between Pa- 
via and Milan, are to be seen the figures of four 
saints, painted in fresco, on four narrow pilasters ; 
the two equestrian saints on the doors of the altar- 
piece above mentioned, are saints Sebastian and 
Rocco, to whom especial invocations jtre made 
against the plague. They are signed Cesare Mag- 
nus f.^ 1533. These pieces are generally assigned 
to Cesare da Sesto, and many infer from the in- 
scription, that he belonged to the family of the 
Magni, but this is doubted by others, as his works 
do not sustain his high reputation, though excel- 
lent in their way. Lanzi finds much conformity 
of ideas in the frescos and the altar-pieces, which, 
together with other probable circumstances, in- 
duces him to believe Cesare da Sesto and Cesare 
Magni, to be the same artist. 
SESTRI, Antonio da. See Travi. 
SETLEZKY, Balthazar Sigismund, a German 
engraver of Polish origin, born at Augsburg in 



1695, and died there in 1770. He engraved some 
plates of portraits and other subjects, after Wat- 
teau, J. M. Roos, H. Roos, and others, executed 
in a stiff and formal style. 

SETTI, Erg OLE, an Italian painter and engrav- 
er, of whom there are notices from afeout 1560 to 
1593. Lanzi says that he was an excellent en- 
graver, and a painter of considerable merit. " There 
are a few of his altar-pieces at Modena, and I have 
seen some little pieces painted for the galleries, 
dignified, rather than beautiful, in point of design. 
He is cautious and studied in the naked parts, 
nearly equal to the style of the Florentines, spir- 
ited in his attitudes, and strong in his coloring. 
We find his name subscribed Ercole cZe' Setti, and 
also in Latin, Hercules Septimus.'''' He is said to 
have etched several historical subjects, and some 
architectural ornaments, which he usually marked 
with the initials H. S. and the date. 

SETTIGNANO, Desiro de, an Italian sculptor, 
born at Florence in 1457. His instructor is not 
mentioned, but after acquiring a knowledge of the 
art, he gained great improvement by studying the 
works of Donatello. The figure of an infant, in 
relief, executed by him for the chapel of S. Sacra- 
mento, in the church of S. Lorenzo, gained him 
great reputation, and he was commissioned to ex- 
ecute a number of works, among which was the 
statue of the Beatified Villana, surrounded with 
graceful figures of angels, in the church of S. Maria 
Novella at Florence. His works are distinguished 
for graceful simplicity, animated expression, and 
beautiful finishing. Among his other productions, 
are the mausoleum of Carlo Marsupini d'Arezzo, 
in the church of S. Croce; the Arms of Florence, 
sculptured on the fagade of the Palazzo Gianfi- 
gliazzi ; and the bust of Marcotta Strozzi. Du- 
ring the short career of Settignano, he continued 
to make good progress, and would probably have 
attained great eminence, had he not died at the 
age of twenty-eight, in 1485. 

SEUPEL, J. A., a German engraver, born at 
Strasburg in 1660, and died there in 1714. He 
engraved a number of portraits, some of them from 
his own designs from life, executed with the gra- 
ver in a neat but formal style. He is said also to 
have engraved seven plates with the burin, so as 
to produce an effect similar to mezzotint. 

SEUTER. See Saiter. , 

SEVE, Gilbert de, a French painter, born at 
Moulins in 1615, and died at Paris in 1698. It is 
not known under whom he studied, but he paint- 
ed history, allegory, and portraits, with considera- 
ble ability. There are several of his works in the 
galleries at Versailles and Fontainbleau. Some of 
his portraits of distinguished personages were en- 
graved by Edelinck, van Schuppen, Masson, and 
other eminent engravers. 

SEVE, Pierre de, was the brother of the pre- 
ceding, born at Moulins in 1623, and died at Paris 
in 1695. He was instructed in the art by Gilbert, 
and painted similar subjects. Edelinck engraved 
a Holy Family by him, and other subjects were 
engraved by Simmoneau, Landry, Gantrel and 
Dolival. 

SEVERUS. See Celer. 

SEVILLA, Romero y Escalantb, Juan de, a 
distinguished Spanish painter, was born at Seville, 



SEVI. 



885 



SEYD, 



according to the Biographie Universelle, in 1627. 
He acquired the elements of design from Andres 
Alonso Argaello of Granada, and subsequently 
entered the school of Pedro de Moya. Through 
the excellent advice and instruction of the latter, 
Sevilla acquired a taste for the works of Vandyck, 
and gained great improvement by studying them, 
as well as by copying the drawings of Rubens. 
He received numerous commissions for the church- 
es and private collections, and executed many ad- 
mired works, distinguished for lively and rapid 
conception, coloring in the style of Rubens, free 
and vigorous penciling, and great facility of exe- 
cution. Among his principal productions was a 
large picture of the Last Supper, in the refectory 
of the Jesuits, several others in the Carmelite and 
Augustine churches, and the convent of St. Ge- 
ronimo at Granada. Notwithstanding the excel- 
lent system of coloring adopted by Sevilla from 
the Flemish school, he instructed no pupils. He 
died at Granada in 1695. 

SEVIN, Pierre, a French painter and engraver, 
who flourished at Lyons about 1689. Little is 
known of him. Some of his works were engraved 
by Cossin, Gantrel, and le Moine; the last en- 
graved his portrait of Madame la Valliere, which 
shows that he was an artist of some distinction. 
He also engraved some plates from his own designs 
for the booksellers. 

SEYDELMANN, Jacob Orescentius, a Ger- 
man artist, celebrated throughout Europe for his 
admu-able drawings in Sepia (India ink, from sepia, 
the cuttle-fish), was born at Dresden in 1750. 
After studying with Bernardo Bellotti and Casa- 
nova in his native city, he went under the patronage 
of the Elector to Rome, where he formed a friend- 
ship with Antonio Raffaelle Mengs, who directed 
his attention to the most renowned works of an- 
cient and modern masters, which he copied in se- 
pia in a style entirely his own, possessing so much 
novelty and beauty of execution that they readily 
sold at high prices. Many were purchased by 
English visitors, and some by Baron von Riesch, 
and other noblemen of his country. He also drew 
the portraits of several persons of distinction in 
the same manner. On his return to his native 
country he was received with distinction, and ap- 
pointed Professor of Drawing in the Academy of 
Dresden. The Academy at Berlin sent him a di- 
ploma, and he was elected a member of several for- 
eign academies. In 1788, he commenced copying 
the principal pictures in the Dresden Gallery for 
the Duke of Gotha, among which were the cele- 
brated Notte, by Correggio, and the Madonna di 
San Sisto by Raffaelle ; also the Venus by Titian, for 
the Winkler Cabinet. Soon afterwards, he again 
went to Rome, where he copied some of the works 
of the great masters, particularly of Raffaelle, of 
the same size as the originals. From Rome he 
proceeded to Naples for the same purpose. In 
1792, he returned to Dresden, and was employed 
by the Countess Radczivil to copy some of the 
finest pictures in the Dresden Gallery to embellish 
the chapel of her country seat. In 1794 he made a 
third trip to Rome, and executed two large drawings 
after Raffaelle. After an absence of eight months 
he returned to superintend the continuation of the 
work called the Dresden Gallery, for which he 
made many of the drawings for the engravers. 
In 1804 he went to Rome for the fourth time, to 



execute a commission for Count Marcolini. On 
his return, he was commissioned by the Emperor 
Alexander to make copies of the Notte and St. 
George of Correggio, the Madonna di San Sisto by 
Raffaelle, and several others, of the same size as 
the originals, for which he was munificently re- 
warded. For the copy after Raffaelle he received 
1000 ducats. He was afterwards invited to St. 
Petersburg to retouch the pictures which had re- 
ceived some injury in their transit ; at the same 
time he received a commission from the Emperor 
to make two other drawings after the Magdalene 
of Correggio and the Venus of Titian, in the Dres- 
den Gallery. Besides the copies enumerated after 
the great Italian masters, he made many others 
after the Dutch and Flemish masters, particularly 
after Chevalier Vander Werf, in which he imitated 
the polished manner of that painter to perfection. 
His high reputation continued till his death in 
j 1829. There is an etching by him of a Figure 
j bathing in a Cavern, after J. F. Bloemen. E. G. 
, Kriiger engraved an allegorical piece representing 
j the Genius of Truth, and twelve plates of antique 
1 heads, after his designs ; also several of his portraits 
i were engraved by other artists. 

SEYDELMANN, Apollonia, of the family of 
de Forgue, was the wife of the preceding, born at 
Venice in 1767. She was instructed by her hus- 
band, and not only assisted him in his works, but 
acquired distinction for her own copies in sepia af- 
ter the most distinguished Italian masters. She 
also excelled in miniature painting. In 1789 she 
accompanied her husband to Italy, and assisted 
him in forwarding his larger pieces — a practice 
which she continued with so much ability that no 
difference is discernible. She made an admirable 
copy of Raffaelle's Fornarina, in the Borghese pal- 
ace at Rome, executed entirely by herself in 1823. 
and many smaller pieces, which she marked with 
her name. She was elected a member of the 
Academy at Dresden. 

SEYMOUR, James, an English painter of ani- 
mals, born at London in 1702, and died in 1752. 
He excelled in painting horses, in which he was 
thought superior to "Wootton. 

SEYNES, Alphonse de, a French architect and 
designer, who flourished at Nismes during the 
present century. He was chiefly distinguished for 
his researches among the antiquities of that city. 
j and published a work relating to them, entitled 
Monuments Romains de Nimes, dessines d''apres 
nature et lithographies^ Paris, 1818. De Seynes 
died at Nismes in 1844. 

SEZENIUS, Valentine, a German engraver, 
who flourished about 1620. He engraved some 
plates of ornaments and grotesque subjects, which 
he usually marked with his initials V. S., and the 
date. 

SGUAZZELLA. Lo, Andrea, a native of Cit- 
ta di Castello, who flourished about 1550. He 
studied with Andrea del Sarto, in company with a 
painter named Nannoccio, whose manner they 
followed. Vasari makes honorable mention of 
them, and says they went to France, where they 
resided a long time. Lanzi attributes to them 
some of the fine copies of the works of del Sarto, 
which often pass for originals at Florence, After 
mentioning the names of Domenico Puligo, Do- 
menico Conti, Jacopo di Sandro, and Sguazzella; 



SHAR. 



SHAW. 



as followers of del Sarto, he says, " the fine copies 
that so often pass for originals by Andrea del Sar- 
to in Florence and other places, are chiefly the 
work of the above-named artists ; it does not seem 
hardly credible that Andrea copied so closely his 
own inventions, and reduced them from the great 
to smaller dimensions. I have seen one of his 
Holy Families, in which St. Elizabeth appears, in 
ten or twelve collections, and in other pictures in 
private houses. I found the St. Lorenzo surround- 
ed by other Saints, at the Pitti palace, in the 
Albani Gallery ; the Visitation, in the Giustiniani 
palace ; the Birth of our Lady in the convent of 
the Servi, in the possession of Sig. Pirri at Rome. 
All these are beautiful pictures, painted on small 
panels, all of the old school, and all believed to be 
the work of Andrea. It seems not improbable 
that the best of these were painted in his own 
studio, and retouched by him, a practice adopted 
by Titian, and even by Raffaelle." 

SHARP, William, one of the most celebrated 
English line engravers, was born at London in 
1749. His father was a gun-maker, and appren- 
ticed him to a bright engraver (ornamental plate 
engraver), named Barak Longmate, who was also 
skilled in heraldry. His first essays, when an ap- 
prentice, were the embellishment of pewter pots ; 
his flatterers qualify this assertion by substituting 
silver tankards, but Sharp always insisted on the 
veracity of this humble employment. After the 
expiration of the term of his apprenticeship, he 
commenced business for himself as a writing en- 
graver, but he soon aspired to higher things. One 
of his first attempts in a superior branch of the 
art, was to make a drawing of the old lion Hector, 
who had been an inmate of the tower of London for 
thirty years, which he engraved on a small quarto 
plate, and exposed the prints in his shop-window 
for sale. He studied with great assiduit}'-, and made 
such rapid progress that he was employed to engrave 
several plates from Stothard's designs for the "Nov- 
elist's Magazine," published by Harrison, a work on 
which Heath, Collyer, Angus, and other eminent 
artists were employed. By this means, his mer- 
its as an engraver were widely diff*used ; he soon 
distinguished himself among his cotemporaries, 
and was employed on works of art of the highest 
order, in the execution of which he proved himself 
a worthy successor of Woollett. As proofs of his 
extraordinary abilities, it is only necessary to ad- ' 
duce his prints of the Doctors of the Church, af- 
ter Guido, in which he blended all the freedom of 
Giacomo Frey with the careful practice of Raphael 
Morghen ; the Portrait of John Hunter, after 
Reynolds^ in which is shown his just discrimina- 
tion and skill in the quality and texture of the 
draperies and objects ; and Lear in the Storm, af- \ 
ier W%s;^ which last is considered his master-piece, | 
and has been held up as a model for line engravers ; | 
proof impressions of this plate have been sold for 
fifteen and twenty guineas each. His style is al- 
ways masterly, not servilely borrowed from any 
of his predecessors or cotemporaries, but formed 
by a judicious selection of the merits of all who 
excelled, improved by an attentive study of nature. 
He gave to his plates all the expression, fire, and 
energy of his originals. The half-tints and shad- 
ows of his best works are peculiarly rich, and his 
lines combine with the utmost freedom, a regular- 
ity and accuracy seldom attained. He was partic- 
ularly distinguished for his power of imitating the 



various textures of the draperies. He conferred 
great honor on the fine arts in his country, yet he 
was not admitted a member of the Royal Acade- 
my. He was proposed by Sir Joshua Reynolds 
as an Associate, but it is related that he rejected 
the offer with disdain, warmly espousing the cause 
of those distinguished engravers of his country 
who considered themselves and their art slighted in 
not being allowed to become Royal Academicians ; 
yet the Imperial Academj'- of Vienna, and the Roy- 
al Academy of Munich, deemed him worthy of be- 
ing ranked among their honorary members, and 
he was elected by both. There are many amusing 
anecdotes told of this artist. Being suspected of 
revolutionary principles, he was examined before 
the privy council. At one of these meetings, be- 
ing annoyed by questions which he considered ir- 
relevant, he deliberately pulled out of his pocket a 
prospectus for publishing the portrait of Kosciusko, 
after West, which he was engraving, and with 
great gravity handed it to Pitt and Dundas, re- 
questing them to have the goodness to put their 
names to it as subscribers, and then to give it to 
the other members of the council to add theirs. 
The singularity of the proposal, under the circum- 
stances, set them all to laughing, and relieved him 
from an unpleasant, and at that time dangerous, 
predicament. With all his genius. Sharp had an 
erratic mind. He was a firm believer in the reve- 
ries of Emanuel Swedenborg, the divine mission 
of the madman Richard Brothers, and the immac- 
ulate conception of Johanna Southcote. Sharp 
engraved the portrait of Brothers, and Smith, in 
his life of Nollekens, relates a ludicrous mistake 
which occurred in the inscription. Sharp had writ- 
ten below, as now appears on the prints, " Fully be- 
lieving this to be the man appointed by God. I en- 
grave his likeness. W.Sharp." The writing engrav- 
er, Smith says, put the comma after the word " ap- 
pointed," and omitted it in the subsequent part of 
the sentence. The mistake was not discovered till 
several impressions had been taken, when it was 
rectified ; but the unrectified impressions are in the 
greatest request. There is a complete collection 
of the prints of this eminent engraver, in every 
state of progress, in the British Museum. He died 
at Chiswick in 1824, and was buried in the same 
churchyard as Hogarth and De Loutherbourg. 
The following is a list of his principal plates: 

The Doctors of the Church ; after Guido. Ecce Homo ; 
do. Portrait of .John Hunter, two plates, one large and 
one small ; after Sir Joshua Reynolds. The Holy Fami- 
ly, two plates, one large and one small ; do. The Witch of 
Endor ; after B. West. Alfred dividing his Loaf with a 
Beggar ; do. Lear in the Storm : do. The Children in 
the Wood; after Benwell. St. Cecilia ; after Domeni- 
chino. The' Siege of, and Sortie from, Gibraltar; after 
Trumbull. Some plates in Cook's Voyages ; after Web- 
ber. Portrait of Thomas Paine ; after Romney. The 
Portrait of Mr. Boulton. Sir Frances Burdett ; after 
Northcote. Sir William Curtis ; q/iter iyaicrence. Charles 
I., three faces; after Vandyck. The Earl of Arran; do. 
Boadicea haranguing the Britons; after Stothard. The 
three Marys and dead Christ ; after Ann. Caracci, from 
the picture at Castle Howard, but left unfinished. 

SHAW, James, an English painter, born at 
Wolverhampton. He went to London, and stud- 
ied with Edward Penny. He painted portraits 
with considerable reputation till his death, in 1784. 
There was another artist of this name, who exhib- 
ited at the Royal Academy at its first establish- 
ment, as a painter of horses. He died in 1772. 

SIIAW, Joshua, an English landscape painter 



SHEE. 



887 



SHER. 



of little note, born at Bellingborough in Lincoln- 
shire, in 1776. He was a self-taught artist, and 
went to London for improvement, but not meeting 
with any encouragement, he painted for the deal- 
ers, and is said to have copied for them some pic- 
tures by Berghera, Both, and Cuyp. He after- 
wards emigrated to America. 

SHEE, Sir Martin Archer, an eminent Eng- 
lish portrait painter, born at Dublin in 1770, He 
was placed early in life in the Academy of West, 
in that city, where he soon distinguished himself. 
He drew several chief medals for drawings of the 
figure, landscapes, and flowers; and was honored 
by the Dublin Society with a silver palette. At 
the early age of sixteen, he lost his father, and be- 
ing obhged to provide for his own support, he es- 
tablished himself as a portrait painter at Dublin, 
where he gained reputation and encouragement. 
Two years after, he removed to London, where he 
made the acquaintance of Reynolds and Burke, 
and was admitted as a student of the Royal Acad- 
emy. In 1798, he was elected an associate, and in 
1800 an academician. He soon attained high dis- 
tinction, and gained great encouragement. In 
1830, at the death of Lawrence, he was elected 
president of the Royal Academy, on which occa- 
sion he received thecustomary honor of knighthood. 
Devoting his energies from the first to the practice 
of portrait painting, under the auspices of Rey- 
nolds, he never, during the long period of his ca- 
reer, deviated from the path which he had marked 
out ; hence he acquired a position beyond any of 
his cotemporaries, except Lawrence ; nor was he 
far behind his predecessor in the presidential chair 
in attracting the nobility and other distinguished 
characters to his studio, the ladies only excepted, 
for whom Lawrence's graceful pencil possessed a 
charm with which no other painter could vie with 
the least chance of success. A list of the great 
names who sat to Sir Martin would fill several 
columns of this work. He never attempted any 
works of an ideal or fanciful nature, unless a few 
portraits of celebrated actors and actresses, in their 
favorite characters, may come under this denomi- 
nation. His first picture was exhibited in 1789 ; 
his last in 1845; and for half a century, he en- 
joyed a large share of public patronage. He died 
in 1850. 

SHEPHERD, Robert, an English engraver, 
who flourished about 1660. He engraved some 
portraits, and copied on a smaller scale the Battles 
of Alexander by Gerard Audran, after le Brun. 
His prints are indifferently executed. 

SHERLOCK, an English engraver of little note, 
who flourished about 1760. He engraved some 
portraits and landscapes. 

SHENTON, Henry Chawner. an English sculp- 
tor, born in 1825. He early manifested an incli- 
nation for art. and was placed under the tuition of 
Mr. Behnes, with whom he made rapid progress. 
In 1843, at the age of eighteen, he was admitted 
as a student of the Royal Academy ; and he ex- 
hibited in the same year a group of " Christ and 
Mary" ; and the next year, in Westminster Hall, a 
group entitled the Burial of the Princes in the 
Tower of London, which possesses considerable 
merit. In 1845 he exhibited two works. " Arch- 
bishop Cranmer," and "The Penitent." He after- 
wards commenced a fine group of the Crucifixion, 



but its completion was interrupted by the death 
of the artist, in 1846. 

SHERWIN, John Keyes, an eminent English 
engraver, born in Essex or Sussex, where his fa- 
ther carried on the business of a cutter of wood 
pins or bolts, for shipping, which business young 
Sherwin followed till he was about seventeen years 
of age, when by accident variously stated, he 
showed a talent for drawing that excited interest 
in his favor, and he was sent to London to study 
with Bartolozzi. Under this eminent master he 
made rapid progress in drawing and engraving, and 
in 1772 gained the gold medal at the Royal Acade- 
my, for a drawing of Coriolanus taking leave of 
his family. From that time to 1780, he exhibited 
at the annual exhibitions of the same institution 
a number of chalk drawings, some of them copies, 
others originals, which attracted considerable at- 
tention, particularly one called the "Joys of Life," 
executed in red and black chalk, with a mix- 
ture of color, in the manner of Bartolozzi. — 
This composition consisted of a beautiful female, 
and a figure of Bacchus surrounded by Cupids 
strewing flowers. In his larger works, his style 
of engraving has a greater resemblance to that 
of Woollett, than of Bartolozzi. One of his 
best works, and supposed to be his last, was a print 
from his own design, called the Finding of Moses, 
in which he introduced the beautiful Duchess of 
Devonshire as the Daughter of Pharaoh, and seve- 
ral ladies of rank as her attendants. Stanley says 
this print would have made his fortune had he 
been prudent, but unfortunately he contracted bad 
habits, plunged himself into debt, and in order to 
escape the importunities of his creditors and arrest, 
he was obliged to secrete himself, and finally died 
in a small ale-house, called " The Hog in the 
Pound," in 1790. The following is a list of his 
best prints : 

PORTRAITS. 

■William Pitt, Earl of Chatham. George Nugent Grren- 
ville Temple, Marquis of Buckingham ; after Gainsbor- 
ough. Dr. Louth, Bishop of London; after Pine. Cap- 
tain James Cook ; after Dance. Sir Joshua Reynolds ; 
after a picture by himself. William Woolett, Engraver 
to the King. Mrs. Siddons, in the character of the G-re- 
cian Daughter. 

VARIOUS SUBJECTS. 

The Holy Family ; after N. Poussin. Christ bearing 
his Cross ; after the picture in the chapel of the Magda- 
lene College, Oxford. Christ appearing to Magdalene ; 
at All Souls' College, Oxford. The Holy Family ; after 
N. Beretoni. The Fortune Teller ; after Reynolds. The 
Death of Lord Robert Manners ; after Stothard. 

SHERWIN, William, an English engraver, 
who flourished from about 1669 to 1711. It is not 
known by whom he was instructed. He is said to 
have been a royal engraver by patent, the only 
English artist known to have received that honor, 
a distinction to which his merits did not entitle 
him. He engraved some portraits in a stiff", formal 
style; also some frontispieces and other book 
plates, among which are most of the plates for a 
work entitled GocVs Revenge against Murder, 
published in 1669. He also scraped a few mezzo- 
tintos. The following are his best prints: 

Charles I. on horseback, with a view of Richmond. Oli- 
ver Cromwell. Charles II. ; three plates, one a whole- 
length ; preflxed to Ashmole's Order of the Garter. Cath- 
erine, his Queen. Christopher, Duke of Albemarle Wil- 
liam III. when Prince of Orange. Henry, Duke of Nor- 
folk. George I. when Elector of Hanover. Richard At- 



SHIP. 



888 



SICI. 



kyns, Typograph, Reg. ; scarce. Slingsby Bethell, Sheriff 
of London ; scarce. Henry Scudder, B. I). Presbyt. Wil- 
liam Ramesay, M. D. William Bridge, A. M. Presbyt. 
William Sermon, M. D. ; inscribed, W, Sherwin, ad vi- 
vum, del. et sculp. 1671. John Gadbury, Astrologer. 
Judge Powell. 1711. 

SHIPLEY, William, an Eno;Hsh artist, born at 
London in 1714. He was a drawing master, and 
kept a school for teaching drawing many years in 
London. He chiefly deserves notice for his public 
spirit. He was the founder of the '' Society for 
the Encouragement of Arts, Manufactures, and Com- 
merce," an institution that has proved highly ben- 
eficial to his country. In 1758, he received a gold 
medal as a token of acknowledgment for his 
exertions. He afterwards settled at Maidstone, 
where he died in 1804, at the great age af nine- 
ty. He was a brother of Dr. Jonathan Ship- 
ley, bishop of St. Asaph. 

SIBELIUS, G., a Dutch engraver, who went to 
London about 1775, where he was chiefly employ- 
ed by Sir Joseph Banks in engraving plates for his 
great botanical work. He also executed a few por- 
traits. 

SIBMACHER, John, a German engraver, who 
flourished at Nuremberg from about 1596 to 1611. 
He engraved, among other plates, a part of the 
antique statues for Boissard's collection. They 
are executed in an indifferent style. 

Vc^. e/ e*a^ or %fi or |\j5 or \^ 



ichem. 



ichem. 



SICHEM, Christopher and Charles van, 
two Dutch engravers, who flourished at Amster- 
dam in the first part of the 17th century. They 
engraved both on wood and copper, and, though 
their works are exceedingly numerous, there is 
such a perfect chaos of confusion among writers 
that it is impossible to distinguish their respective 
works. According to Baron Heineken, there were 
three Sichems, Christopher, Cornelius, and Charles. 
To Cornelius, he attributes about six hundred 
prints from the Old and New Testaments, marked 
with a monogram of C. V. S. and K. V. S., though 
he admits that it is impossible to separate the 
prints of Cornelius and Charles, from the similar- 
ity of monograms and style; but other writers 
suppose there were only two, Christopher and 
Charles. The prints in question are usually 
marked with one of the preceding monograms, 
composed of the initials C. V. S. and K. V. S., some- 
times with ichem below, which has led several 
writers to confuse the Sichems with a supposed 
engraver of the name of Vichem ; the V. in the 
monogram being the largest, they have erroneous- 
ly concluded that it was the principal letter. The 
truth doubtless is, that there were but two Sichems, 
Christopher and Charles, as there are some prints 
signed C, Ch., or Christ, van Sichem, and none 
with the name of Corn, or Cornelius ; K., also, is 
frequently used by the Dutch writers for Karolus 
or Karl, but never for Christopher or Cornelius ; 
and doubtless those prints marked with the mono- 
gram composed of C. V. S. were executed by Chris- 
topher, and those with K. V. S. by Karl or Charles. 
According to Malpe, Christopher was born about 
1580, and his prints are dated from 1601 to 1637, 
and there are prints marked K. V. S. from about 
1600 to 1629. Many of them are from their own 



designs, and the others after various masters. 
Their wooden cuts are the best, and are executed 
with great vigor and spirit. 

SICIOLANTE, GiROLAMO, a painter born at Ser- 
moneta in 1504; hence he is generally called Giro- 
lamo da Sermoneta, though sometimes Girolamo 
Siciolante da or di Sermoneta, and Girolamo di 
Sermoneta. He was one of the ablest disciples of 
Pierino del Vaga, whom he assisted in his works 
at the Castle of St. Angelo. As there is some 
discrepancy as to his style and merits, we prefer 
to give Lanzi's account. After stating that he 
was a pupil of del Vaga, whom he assisted in his 
works, and that he was one of the successors of 
RafFaelle employed to complete the works in the 
Sala Regia, he says, " Girolamo Siciolante da Ser- 
moneta, who adopted Raffaello's style, may be en- 
umerated among the scholars of that great man, 
from his felicitous imitation of their common master. 
In the Sala Regia. in the Vatican, he painted Pepin, 
King of France, bestowing Ravenna on the church, 
after having made Astolfo, King of the Lombards, 
his prisoner. But he approaches Raffaello in some 
of his oil paintings, as in the Martyrdom of St. 
Lucia, in the church of S. Maria Maggiore ; in the 
Transfiguration in the Ara Coeli, and in the Na- 
tivity in the church della Pace, which last he re- 
peated in the most graceful style in the church 
of Osimo. His master-piece is at Ancona, on the 
great altar in the church of S. Bartolomeo, a vast 
composition, original and rich in invention, and 
commensurate with the grandeur of the subject, 
and the multitude of saints introduced into it. 
The throne of the Virgin is seen above, amidst a 
brilliant choir of angels, and on either side, a vir- 
gin saint in the attitude of adoration. To this 
height, there is a beautiful ascent on each side ; 
and the picture is thus divided into a higher and 
a lower part ; in the latter of which is the titular 
saint, a half naked figure vigorously colored, to- 
gether with Saint Paul and two other saints ; the 
whole designed and executed in a truly Raffael- 
lesque style. This altar-piece possesses so much 
harmony, and such a force of color, that it is es- 
teemed by some, the best picture in the city. If 
anything is wanting in it, it is perhaps a more cor- 
rect observance of the perspective." Siciolante al- 
so excelled in portraits. His easel pictures paint- 
ed for the private collections are extremely rare. 
There is much discrepancy as to the time of his 
death, but the best authorities place it in or about 
1580. Baglioni says that he died in the pontificate 
of Gregory XIIL, who ascended the papal chair in 
1572, and it is stated by every author, that he was 
employed by that pontiff. Lanzi says he was liv- 
ing in 1572, as appears from an inscription on a 
monument he erected to his son. It is therefore 
evident that those who place his death in 1550, are 
greatly in error. It seems probable also that there 
is an error as to the time of his birth, as it is 
agreed that he was a pupil of Vaga, who was born 
in 1500, only four years previously. 

SIEGEN, LiEUT.-CoLONEL VON, was born in 
Holland, of a noble family, according to Laborde, 
in 1609. He went to Germany in 1620, where he 
received his educatjon. He returned to Holland 
in 1626, and remained there till 1637, when he 
entered the service of the Landgrave of Hesse, 
and attained the rank of lieutenant-colonel. His 
name was Louis von Siegen, or de Siegen, and it 



SIEN. 



889 



SIEN. 



is now generally admitted that he was the in- 
ventor of the art of engraving in mezzotinto. It 
was for a long time attributed to Prince Rupert, 
till the Baron Heineken proved that he learned 
the art of Siegen, while in the service of the Land- 
grave of Hesse, which he afterwards introduced in- 
to England. Siegen produced his first print, a 
bust portrait of Amelia Elizabeth, Landgrave of 
Hesse, in 1643. Many interesting particulars of 
this amateur artist may be found in Laborde's 
" L'Histoire de la gravure en maniere noire." He 
^ves a descriptive account of seven prints by him, 
as follows : 1. Bust portrait of Amelia EHzabeth ; 

2. Eleonora Gonzago, wife of the Emperor Ferdi- 
nand III., called by others the Queen of Bohemia ; 

3. Portrait of the Prince of Orange, after Hon- 
thorst ; 4. Portrait of the Princess of Orange, do ; 
5. The Emperor Ferdinand III. in an oval ; 6. St. 
Bruno, a full length figure kneeling ; 7. The Holy 
Family, after Ann. Caracci. They are marked 
L. d S., or L. a Siegen inv. et fee. Laborde, in 
his account of John George Seiller, who flourished 
about 1600, says he engraved in mezzotinto, and 
commends several of his prints ; if this is true, 
Siegen's claim to the invention falls to the ground, 
as well as that of Prince Rupert. There is a fine 
collection of the works of Siegen, Prince Rupert, 
and other early engravers in mezzotinto, in the 
British Museum. Siegen died in the service of 
the Duke of Wolfenbuttel, about 1680. See Ru- 
pert and Seiller. 

SIENA, Agnolo, or Angelo and Agostino da. 
See Angelo. 

SIENA, Ansano, or Sang, da, a painter of 
Siena, of whom there are notices from 1422 to 
1462. According to Delia Valle, when Pope Pius 
II. erected the cathedral in Pienza (the new name 
of his native place, Corsignano), in 1462, he invi- 
ted the best artists of Siena there to decorate it, 
among whom were Ansano and his son Matteo. 
Lanzi says their style was laborious and minute, 
the universal character of that age. 

SIENA, Baldassare da. See Prruzzi. 

SIENA, Duccio DA, called also Duccio, or 
GuiDuccio Di BoNiNSEGNA, orBuoNiNSEGNA. See 
Duccio. 

SIENA, Francesco, called by Yasari Fran- 
cesco SiENESE, a painter of Siena, who flourish- 
ed about 1530. He studied under Baldassare Pe- 
ruzzi, and is commended by Vasari for his frescos 
in the grotesque style of Peruzzi. most of which 
have perished, though there are some grotesque 
subjects in Siena attributed to him. 

SIENA, Berna, or Bernardo da, an old Ital- 
ian painter, who flourished at Siena about 1370. 
According to Vasari, " he was the first who paint- 
ed animals correctly ;" and he also attained un- 
common excellence in the human figure, parti- 
cularly in expression. Lanzi mentions a fresco 
painting by him, in the parish church at Arezzo. 
as deserving more praise for the execution of 
the extremities, in which he surpassed his co- 
temporaries, than for the drapery or coloring. 
He attained such reputation that he was invi- 
ted to Florence, and commissioned to execute sev- 
eral paintings in the chapel of S. Niccolo, in the 
church of S. Spirito, which was afterwards de- 
stroyed by fire. The Canons of Siena possess- 
ed a collection of small pictures by this artist, 



which were better colored than his frescos. He 
also painted at Venice and Cortona, and finally 
died at San Giraignano, in 1380, after making con- 
siderable progress in a copious work, illustrative 
of sacred subjects, still remaining in the parish 
church. It was continued by his scholar Giovan- 
ni d'Asciano, with a superior coloring, but less 
pure design. 

SIENA, Francesco Antonio da, a painter who 
flourished at Siena in the first part of the 17th 
century. Little is known of him except by a 
picture of the Last Supper in the convent of the 
Angioli, near Assisi, inscribed Franciscus Antonius 
Seneiisis, 1614. Lanzi 'says the style resembles 
that of Baroccio enough to lead him to suspect 
that he was a pupil of Vanni or Salimbeni. The 
picture is well colored, with a fine and appro- 
priate expression in the different countenances. 

SIENA, Francesco di Giorgio da, a painter of 
Siena, who flourished in the first half of the 16th 
century. According to Delia Valle, he was one 
of the ablest scholars of Baldassare Peruzzi, whose 
style he followed. He painted grotesque subjects, 
in which, like his instructor, he introduced every 
species of ideas, as edifices, trees, fruit, flowers, 
vases, candelabra, lamps, armour, thunderbolts, 
satyrs, masks, animals, and monsters, in which 
he bridled his exuberant fancy with judgment. 
Lanzi says that, though he did not equal Peruzzi, 
he acquired great reputation in this style of paint- 
ing. He was also a skillful architect. 

SIENA, Giorgio da, a painter of Siena, who 
flourished about 1550 ; probably somewhat earher. 
He studied under Domenico Beccafumi. Lanzi 
says he imitated Giovanni da Udine, both in his 
own country and at Rome. He was doubtless the 
father of the preceding artist. 

SIENA, Giovanni, or Gianella da, a painter 
and architect of Siena, probably a brother of Gior- 
gio, with whom he studied under Beccafumi, ac- 
cording to Delia Valle. Little is known of him. 
Lanzi says he turned his attention from painting 
to architecture. He flourished about the middle 
of the 16th century. 

SIENA, Giovanni, di Paolo, a painter employ- 
ed among others by Pope Pius II. to embellish 
the cathedral of Pienza, where he showed him- 
self deserving a good reputation among the ar- 
tists of his time. His notices range from 1422 to 
1462. About four years after his performances in 
the cathedral of Pienza, he painted a Descent from 
the Cross, in the Osservanza at Siena, commended 
by Lanzi for its excellence in the naked figure, sur- 
passing the productions of most artists of the 
time. 

SIENA, Guido Guidone, an old Sienese paint- 
er, whom the writers of Siena and the learned and 
celebrated Cav. Marini of Florence claim to have 
made great improvements in painting, over the 
raw and feeble manner of the Greeks, before the 
time of Cimabue and Giotto. Lanzi says, " Guido 
left the art not very far behind (Cimabue and Gi- 
otto) in his picture of the Virgin, now hung up in 
the Malevolti chapel, in the church of S. Domeni- 
co. On it is inscribed the name and the date : 
Me Guido de Senisdiebus depinxit amenis. 
Ouem Christus lenis nuUis velit agere poenis. 
An. 1221. 

And this example (of name and date) was often 



SIEN. 



890 



SIEN. 



followed by the masters of the Sienese school, to 
the great benefit of the history of painting. The 
countenance of the Virgin is lovely, and partici- 
pates not in the stern aspect that is characteristic 
of the Greeks. We may also discover some trace 
of a new style of drapery. The Madonnas of 
Cimabue which are at Florence, the one in the 
church of the Trinity, and the other in S. Maria 
Novella, are not however inferior. In them we 
may discover the improvement of the art (over the 
Greeks) — a more vivid coloring, flesh tints more 
true, a more natural attitude of the head of the 
Infant, while the accompaniments of the throne 
and of the Glory of Angels proclaim a superior 
style." Lanzi then goes on to confute Marini, by 
showing that while Guido only painted single fig- 
ures, only one specimen of which is known, the 
paintings of Cimabue are numerous and full of 
subject. 

SIENA, Marco da. See Pino. 
- SIENA, Matteo di Giovanni da, an eminent 
Sienese painter, of whom there are notices, accord- 
ing to Delia Valle, from 1462 to 1491. Lanzi says 
he far surpassed all his predecessors (of the Sien- 
ese school) in the extent of his genius. " This is 
the Matteo designated by some the Masaccio of 
this school, although there is a great distance be- 
tween him and the Florentine Masaccio. The new 
style of Matteo begins to be recognized in one of 
his two pictures in the Cathedral. He afterwards 
improved in his works in S. Domenico, in Madon- 
na della Neve, and in some other churches at Sie- 
na. It was he who excited the Neapolitan school 
to attempt a less antiquated style. Having learned 
the art of oil painting, he imparted softness to his 
figures ; and from his intimacy with Francesco di 
Giorgio, a celebrated architect (also a sculptor and 
painter; see Giorgio), he imbibed a good taste in 
buildings, and diversified them very ingeniously 
with alto and basso-relievos. He foreshortened 
level objects well, and he cast his draperies with 
more nature and less frippery than was common 
in that age ; if he imparted little beauty to the 
features, he attained variety of expression, and 
was attentive in marking the muscles and veins in 
his figures. He did not always aim at novelty and 
display ; on the contrary, after painting the Mur- 
der of the Innocents, his best composition, which 
is engraved in the third volume of the Lettere 
Sanesi, he often repeated it at Siena and at Na- 
ples, but always with variations and improvements. 
His most studied picture on this subject is that at 
the Servi in Siena, painted in 1491, which must 
have been near the close of his life. He was ac- 
customed to introduce some episode, unconnected 
with the principal story, in small figures, a style 
in which he excelled. The noble house of the 
Sozzini, and other families of Siena, possess seve- 
ral of his small pictures. As an artist, he is in- 
ferior to Bellini, to Francia, or Vannucci, but he 
surpasses many others." 

SIENA, Matteo da, called by the Sienese wri- 
ters Mattetno, to distinguish him from the preced- 
ing, was born at Siena in 1533, and died at Rome 
in 1588. He painted landscapes and perspective in 
fresco, and was much employed in conjunction 
with other artists in decorating the public and pri- 
vate edifices. He went to Rome in the pontificate 
of Gregory XIII., where he was employed to paint 
many landscapes in the Vatican, in which the fig- 



ures were inserted by other artists. In conjunc- 
tion with Niccolo Circignani, called Pomerancio, 
he painted a series of thirty-two pictures of the 
History of the Martyrs, at S. Stefano Rotondo, 
which have been engraved by Cavalieri. (See Gio. 
Battista Cavalleriis). It is said that he painted at 
the Casino at Siena about 1551, and in the Palaz- 
zo Lucarini with Rustichino. Many of his works 
still exist. Lanzi says they are beautiful, though 
executed in the old, dry style. 

SIENA, Maestro Ming da, called Mindccio, 
to distinguish him from Fra Mino da Turrita. 
There is a picture in the Council Room of the pub- 
lic palace, or City Hall, at Siena, painted in 1289, 
which Lanzi attributes to him. Lanzi, after show- 
ing that he was a different artist from Fra Mino, 
says of the picture above referred to, " He there 
represented the Virgin and Child surrounded by 
angels, and under a canopy supported by apostles 
and the patron saint of the city. The size of the 
figures, the invention, and the distribution of the 
work, are surprising for that age ; of the other 
qualities one cannot speak with certainty, as it 
was repaired in 1321 by Simone da Siena." There 
are other works attributed to him of an earlier 
date. 

SIENA, Michael Angelo da. See Anselmi. 

SIENA, Segna, Boninsegna, or Buoninsegna, 
an old Sienese painter, of whom there are notices 
in 1305, according to Lanzi. There is no authen- 
tic work by him remaining at Siena, though he was 
eminent in his time. He was the instructor of 
Duccio di Buoninsegna, who painted as early as 
1282, and died about 1340. See Duccio. 

SIENA, Ugolino DA. an old painter of Siena, 
who died old in 1339. Vasari insinuates that he 
was a disciple of Cimabue, and sa3'^s, '' he painted 
pictures and chapels all over Italy." Baldinucci 
engrafts him on his tree as a pupil of that master ; 
others assert that he was a pupil of Guido da Sie- 
na. Lanzi is of a contrary opinion, as he adhered 
too closely to the style of the (Greeks. There 
were several other old artists called da Siena, of 
little note, the accounts of whom are very con- 
tradictory. Some of them were pupils of those 
alread}'- noticed, and flourished from about 1350 to 
1400. 

SIENA, Simone da. See Simone Memmi. 

SIERRA, Francisco Perez, a painter born at 
Naples in 1627. His father was a Spanish officer, 
who, following the career of arms in the kingdom 
of Naples, married the daughter of the Governor 
of Calabria, for which reason, and that Francisco 
passed most of his life in Spain, he is ranked 
among the Spanish painters. Having a taste for 
painting, his father permitted him to study with 
Aniello Falcone ; at the same time he received the 
appointment of page to Don Diego de la Torre, 
Secretary to the Council of Santa Clara, which 
was a great hindrance to his progress in art, as he 
could only devote to painting such time as he could 
snatch from his duties. He afterwards accompa- 
nied his patron to Madrid, where he entered the 
school of Juan de Toledo, a painter of battles, and 
by great assiduity became such a proficient as to 
attract the notice of Francisco Rizi and Juan 
Carreno, who obtained employment for him in the 
house of the Marquis de Heliche. His patron, la 
Torre, employed him to copy several pictures by 



SIGA. 



891 



SIGN. 



Spagnoletto, which he had brought with him from 
Naples; also to paint a series of pictures of saints 
to decorate a chapel in the church of the Angels, 
which he had founded at Madrid. He also painted 
for the same church a picture in honor of Santa 
Rosa of Lima. He painted landscapes, battles, 
and pictures of Saints. Later in life he received 
the appointment of General Manager of the Pris- 
ons of Spain, when he abandoned painting as a 
profession, though he painted flower-pieces for 
amusement, some of which found their way into 
the palace of the Buon Retiro, and the houses of the 
nobility. He died at Madrid in 1709. 

SIG ALON, Xavier, a reputable French histori- 
cal painter, born in 1790, at Uzes, in the old prov- 
ince of Languedoc. After acquiring the elements 
of the art at Nismes, he executed several pictures 
for the church of Aigues Mortes, and then visited 
Paris, to enter the school of Guerin. In 1822 he 
exhibited at the Louvre his admired picture of the 
Courtesan, which was purchased by the govern- 
ment for the Gallery at the Luxembourg. Sigalon 
resided about twenty years at Paris, and painted 
many meritorious productions ; but not being pro- 
perly encouraged, he retired to Nismes, and com- 
menced painting portraits, and teaching design. 
At the request of M. Thiers, however, the Minis- 
ter of the Interior, he visited Rome, and com- 
menced copying the Last Judgment by Michael 
Angelo. In 1837, at the completion of the 
work, it was placed in the old church of the Au- 
gustines at Paris, now the Hall of the School of 
Fine Arts. Sigalon gained considerable reputation 
by this work, and was commissioned to copy the 
Prophets of Michael Angelo in the Sistine chapel ; 
but, soon after his return to Rome, he was attacked 
by the cholera, and died on the 10th of August, 
1837. Besides his works already mentioned, he 
executed a picture entitled Lta Locuste, now in the 
Museum at Nismes ; and the Vision of St. Jerome, 
in the Luxembourg. 

SIGHIZZI, Andrea, a Bolognese fresco paint- 
er of some eminence, who, according to Malvasia, 
was living in 1678. He was employed by Agosti- 
no Mitelli to insert the figures in some of his per- 
spective pieces. He was also 'employed at Turin, 
Mantua, and Parma, where he was appointed court 
painter, with a salary. Nothing more is recorded 
of him. 

SIGISMONDI, PiETRO, a painter born at Luc- 
ca, commended by the Cav. Titi as a scholar or 
imitator of Pietro da Cortona. He commends the 
great altar-piece by him in the church of S. Nicco- 
lo in Arcione, at Rome. 

SIGNORELLT, Luca. an eminent painter, born 
at Cortona in 1439, and died in 1521, according to 
the best authorities, though there is a slight dis- 
crepancy ; Vasari says he was born about 1440, 
and died in 1521 ; Lanzi, the same; Zani, that he 
was living in 1525. He studied under Pietro del- 
la Francesca, and was one of the ablest artists of 
his time. He contributed much to the advance- 
ment of the art. as his works served as types to 
some of the illustrious painters, his cotemporaries 
or immediate followers. Lanzi says that he was 
the first of the Tuscan artists who designed the 
human figure with a true knowledge of anatomy. 
His greatest work is his celebrated fresco in the 
chapel of the Virgin in the Cathedral of Orvieto, 
representing the final Dissolution and Judgment 



of the World — an immense composition, exhibit- 
ing a surprising variety and originality of ideas, 
and designed in a bold and daring style, in which 
he evinces a profound knowledge of anatomy and 
of foreshortening. This performance, though not 
entirely divested of the dry, stiflP manner that 
preceded him, was greatly admired by Michael An- 
gelo, and Lanzi says that great artist did not dis- 
dain to imitate his naked figures, in his Last Judg- 
ment in the Sistine chapel. In this work, too, 
Signorelli introduced the portraits of many of his 
friends and benefactors. In the greater part of 
his works he is not so remarkable for beauty of 
form or harmony of coloring, as for fertility of in- 
vention and correctness of design, though Lanzi 
cites an exception to this in his picture of the 
Communion of the Apostles, in the church of the 
Jesuits at Cortona, in which there is beauty and 
grace, and harmony of tints approaching to mod- 
ern excellence. He wrought equally well both in 
oil and fresco, and painted many works for the 
churches of his native place, Urbino, Volterra, 
Florence, and other cities. He was invited to 
Rome, to assist in decorating the Sistine chapel, 
where he painted the Journey of Moses with Zip- 
pora, and the Promulgation of the Old Law — 
paintings full of incident, and greatly superior in 
composition to the confused style of his age. Vasari 
and Taja have assigned him the first place in the great 
assemblage of artists employed at Rome before 
the time of Buonarotti and Rafiaelle, and Lanzi 
says he seems to him to have at least equalled the 
best of them, and to have improved his usual style. 
Zani quotes two of his inscriptions, Lucas Aegidii 
Signorelli Cortotiensis, 1502, and Lucas Coritius. 
There is considerable discrepancy as to his real 
merits, but whoever will refer to the print of the 
Last Supper, after him, in the Etruria Pittrice, 
and those of the Descent from the Cross, and a 
part of the Last Judgment in Rosini's Storia 
delta Pittura (plates 65 and 82), will perceive an 
original mode of composition and design, and an 
energy of expression unknown before his time. 

SIGNORELLI, Francesco, a painter of Lucca, 
of whom there are notices from 1520 to about 
1560, was the nephew of the preceding. He is 
commended by Bottari as an able artist, and Lanzi 
says that, " though unnoticed by Vasari, he shows 
himself a painter worthy of praise, by a circular 
picture of the patron saints of the city, which was 
executed for the Council hall in 1520, after which 
period he exercised his art at least forty years." 

SIGNORINI, GuiDO, a Bolognese painter who, 
according to Orlandi, was the cousin and scholar 
of Guido Reni, and inherited his effects. Little is 
known of him. He died about 1650. 

SIGNORINI, GuiDO, another Bolognese paint- 
er, mentioned by Crespi as a scholar and imitator 
of Carlo Cignani. He chiefly painted for individ- 
uals. Lanzi says he must not be confounded with 
another Guido Signorini, heir to Guido Ren*. 

SIGRILLI. B., an Italian engraver who flour- 
ished about 1760. He engraved a part of the 
plates for the collection of prints after the paint-- 
ings in the Gallery of the Marchese Gerini. 

SI L ANION, a distinguished Greek sculptor, 
who probably flourished about B. C. 346, in the 
time of Alexander and Lysippus. He executed a sta- 
tue of the sculptor Apoilc^orus, holding a hammer 



SILO. 



892 



SILV 



in his hand, and about to strike an object before 
him ; Pliny says it expressed the passion with such 
truth, that it seemed to personate Anger itself. It 
appears that Si! anion was an adept in representing 
vivid passions. Cicero mentions his statue of 
Sappho, in the Prytaneum at Syracuse, as highly 
finished, delicate, and beautiful, and deemed wor- 
thy of Verres' rapacity. He executed a bronze 
bust of Plato, of which that in the Florentine 
Gallery is probably a copy. Among his other 
works were the statues of Corinna, Theseus, and 
Achilles; also a bronze statue of Alexander the 
Great, said to have been ordered by a Persian sa- 
trap named Mithridates, and consecrated by him 
to the Muses, in the shade of Academus. 

SILO, Adam, a Dutch painter, designer, engra- 
ver, and ship-builder, born at Amsterdam in 1670. 
He was probably the man who instructed Peter 
the Great in ship-building; at all events, it is said 
that the Czar sent to him five youn^ Russians to 
learn the art of naval architecture, for whose in- 
struction he paid him one hundred ducats each. 
He painted several marine pieces for the Czar, in 
which the drawing of the vessels was correct, but 
the sky and water not in accordance with nature ; 
probably these were designs for ships. He also 
painted a Storm at Sea, for the Dutch admiral 
Grave, which is said to have been a learned com- 
position, and gained him great reputation. There 
are nine etchings by him, of fishing boats and 
other vessels, signed A. Silo, inv. et fecit. He is 
said to have died in 1760, aged 90. 

SILOE, Diego, a distinguished Spanish archi- 
tect, a native of Toledo, who flourished in the lat- 
ter part of the 15th century. According to Mi- 
lizia, he studied under Alonso Cobarrubias, and 
assisted that master in restoring good taste in ar- 
chitecture. He erected the Royal Hospital at 
Granada, and several other edifices, among which 
are the Cathedral, adorned with Corinthian col- 
umns and a magnificent cupola ; also the great 
chapel of S. Geronimo, with the royal monastery, 
founded in 1496, and considered one of the finest 
in Spain. It is decorated with a Corinthian order, 
and the cloister is graceful and well arranged. 
This edifice was purchased of Charles V. by the 
Duchess of Terra Nuovas, Donna Maria Maurique, 
wife of the famous Gonsalvo de Cordova, other- 
wise known as " the Great Captain." 

SILVANI, Gherardo, an eminent Florentine 
architect, born in 1579. His instructor is not 
mentioned, but he gained great distinction in his 
native city, and was highly esteemed by the Grand 
Duke Ferdinand ; he wrought with indefatigable 
industry, and, according to Milizia, with unques- 
tionable ability. In Via San Gallo, he erected a 
noble palace for Signor Oastelli, now belonging to 
the Marucelli family, and one of the most beauti- 
ful edifices in Tuscany. In Via Guelfonda, he 
built the magnificent Riccardi palace, a truly roy- 
al residence. Silvani also made a noble design for 
enlarging the Palazzo Pitti, with a large square in 
front ; but, on account of the intrigues of his ri- 
vals, it was never executed. The Grand Duke 
commissioned him to strengthen the Cathedral, for 
the fa9ade of which he made a design of two or- 
ders, which was preferred to those of Buontalenti 
and other eminent architects, although t%ie edifice 
still remains without a facade. During a long 
life of ninety-six years, Silvani erected a large 



number of edifices besides those already mention- 
ed, among which were the Albizzi palace at Flo- 
rence ; the church of the Compagnia delle Stim- 
mate ; the Capponi palace ; the Salviati palace at 
Pinti ; the Bardi palace at Verbellezza ; the Sapi- 
enza palace at Pistoja, &c. He died in 1675. His 
son, Pier Francesco S., studied the art under his 
father, and was much employed in the Cathedral 
at Florence ; he also erected a number of edifices, 
among which the church of the Padri dell' Ora- 
torio is deemed by Milizia as deserving much com- 
mendation. 

SILVESTRE, Israel, an eminent French de- 
signer and engraver, born at Nancy in Lorraine, in 
1621 ; died at Paris in 1691. He visited Paris, 
and studied under his uncle Israel Henriet. He 
engraved a great variety of landscapes and views, 
after his own designs, in a neat, tasteful manner, 
with charming effect, founded on the styles of Cal- 
lot and Delia Bella. His plates are decorated with 
small figures, correctly drawn, and touched with 
uncommon spirit ; his style appears to have been 
followed by Sebastian le Clerc. The excellence of 
his performances gained him the patronage of Louis 
XIV., and he was employed to engrave views of 
the royal palaces, the public festivals, and the cit- 
ies conquered by the king ; was appointed draw- 
ing master to the Dauphin, with a pension, and 
apartments in the Louvre, and elected a member 
of the Royal Academy. Silvestre visited Italy 
twice, and made many designs there, which he af- 
terwards engraved. His plates number about one 
thousand, among which are a collection entitled j 
Pay sages Diverses, containing seventj'^-four views I 
of palaces, churches, gardens, fountains, &c., in 
Italy and France ; Vues diverses de Rome et d* 
Italie, containing one hundred and five views of 
Italian scenery ; and the following : 

A set of twenty-one Views of Italy and France, repre- 
senting edifices, ruins, and landscapes, with inscriptions in 
French. A set of thirteen Views in Rome and the envi- 
rons ; inscribed Faites par Israel Silvestre, et mises en 
lumiere par Israel Henriet. Twelve Views of gardens 
and fountains ; entitled Alcune vedute de Giardini e 
Fontane di Roma edi Tivoli, (^c, with descriptions in 
Italian. Four Views in the Kingdom of Naples, in the 
form of friezes. A set of six Views of Sea-ports in the 
Kingdom of Naples ; circular. Twenty-four circular 
plates of Views of Italian and other Sea-ports ; with de- 
scriptions in French. Twelve of the most remarkable 
Views in Paris and the environs, some of which are en- 
graved by la Bella. A View of Paris from- the Bridge of 
the Tuilleries. A large View of Rome ; four sheets. Two 
Views of Campo Vaccino, and the Coliseum at Rome ; the 
latter is scarce. The grand Carousal, or Royal Entertain- 
ment at Paris in 1662 ; in one hundred and eight prints. 
F. Chaveau engraved some of these plates. The Pleas- 
ures of the Enchanted Island ; nine plates, with a vignette. 
A great variety of other Views and Landscapes. 

SILVESTRE, Louis, a distinguished French 
painter, was a son of the preceding. There are 
great discrepancies in the accounts of the sons of 
Israel Silvestre. Bryan says that Louis was his 
eldest son, born at Paris about 1651 ; Zani says he 
was his third son. born in 1675 ; others place his 
birth in 1644. After acquiring the elements of de- 
sign from his father, he studied painting under le 
Brun and Bon Boullongne, and subsequently visited 
Italy for improvement. On returning to Paris, he 
was cho.sen a member, and afterwards a professor 
of the Royal Academy. After gaining considera- 
ble reputation by various works in portrait and 
landscape, for the refectory of S. Martin des 



SILV. 



893 



SILV. 



Champs, the churches of S. Roch and Notre Dame, 
&c., he was invited to the court of Dresden by Au- 
gustus III., king of Poland and elector of Sax- 
ony, who honored him with letters of nobility, and 
made him principal painter to the court. Appoint- 
ed director of the Dresden Academy, he remained 
twenty-four years in that city, and then returned 
to Paris, where Louis XV. assigned him apart- 
ments in the Louvre, with a pension of 1000 
crowns. Silvestre died in 1760 ; though some 
place his death in 1728. 

SILVESTRE, Alexandre. This engraver was 
born at Paris, according to Nagler, in 1650. Zani 
says he was the eldest, and Bryan the younger son 
of" Israel Silvestre. Among other plates, he etched 
several from the designs of his brother, Louis S., 
which possess considerable merit, though greatly 
inferior to the productions of his father. 

SILVESTRE, Nicolas Charles, grandson of 
Israel S., was born at Paris, according to Basan, in 
1700. He obtained sufficient distinction to be ap- 
pointed drawing master to the king and royal fam- 
ily of France ; and engraved, among other plates, 
a hunting-piece, after Audray ; and Ubaldo and 
the Danish knight searching for Rinaldo in the 
Palace of Armida, after Lemoine. He died in 
1767. 

SILVESTRE, Susanna. This lady was the 
daughter of Israel S., and became the wife of Le- 
moine the painter. She engraved a number of 
plates, among which are several copies of other 
plates of heads and portraits, after Vandyck. One 
of them is signed Susanna Silvestre Lemoine^ 
^culp. 

SILVESTRO, an old Florentine painter, and 
% monk of Camaldoli, who died about 1350. Ac- 
cording to Vasari, he was a pupil of Taddeo Gad- 
di. He was one of the miniaturists. He devoted 
his time mostly to ornamenting missals, which 
Lanzi says still exist, and are among the best that 
Italy possesses. 

SILVIO, Giovanni, a Venetian painter, who 
flourished in the first part of the 1 6th century. 
Lanzi conjectures from his style that he was a 
pupil of Titian. He says. " Gio. Silvio, a Vene- 
tian, though omitted in the history of his native 
place, still vindicates his title to notice by numer- 
ous works dispersed throughout the state of Tre- 
vigi ; there is a very elegant altar-piece by him 
in the collegiate church of Piovi di Sacco, a muni- 
cipality of the Padovano, executed in 1532. It re- 
presents St. Martin in his episcopal chair, between 
the two Apostles Peter and Paul ; three angels 
form the accessories, two in the act of raising his 
pastoral staff, and the third playing upon a harp, 
at the foot of the throne, extremely graceful, like 
the rest, the whole displaying a design of taste 
and nature, such as are found in Titian." 

^SILVIUS, or SYLVIUS, Anthony, a real 

/| or supposed designer and wood engraver, 
^-^^Vho, according to Papillon, flourished at 
Antwerp from about 1553 to 1580. He was 
much employed by Christopher Plan tin, an eminent 
printer and bookseller of that city, to execute cuts 
to illustrate his publications ; also by other pub- 
lishers. The prints are marked with the above 
monogram. Nagler says that the prints in ques- 
tion were executed by an unknown artist, and 
that Papillon mistook for the engraver the name 



of Antoniano Silvio, professor of Belles Lettres at 
Rome, afterwards a Cardinal himself, who dedi- 
cated an edition of Faerno's Fables to Cardinal 
Borromeo, published at Antwerp in 1567, illus- 
trated with cuts marked with a monogram com- 
posed of an A. and an S. 

SILVIUS, or SYLVIUS, Balthasar, an en- 
graver who flourished about 1555, He engraved 
some plates from his own designs and others af- 
ter Francis Floris, Karel van Mander, Jerome 
Bosch, and others. They are coarsely executed 
with the graver, and are marked with his initials, 
B. S. 

SIMMONS, or SIMMONDS, John, an English 
painter, born at Nailsea, in Somersetshire, about 
1715. He served his apprenticeship to a house 
and ship painter at Bristol. He afterwards de- 
voted his attention mostly to portraiture, and ac- 
quired considerable reputation at Bristol. His 
portrait of Ferguson the astronomer, and several 
others, have been engraved. He was one of the 
earliest exhibitors at the Royal Academy, and in 
the catalogue his name is sometimes printed Sim- 
monds of Bristol. There is an altar-piece of the 
Annunciation by him, in All-saints church, Bristol, 
and another of the Resurrection, in St. John's 
church, Devizes. He died at Bristol in 1780. 

SIMON, Jean, a French engraver, born in 
Normandy about 1675. He learned the art of 
line engraving in his own country, and afterwards 
went to London, where he engraved several por- 
traits of distinguished personages, in line. The 
success of John Smith in mezzotinto, then coming 
into vogue, induced him to adopt that method of 
engraving. The following are his principal prints : 

Queen Elizabeth ; after Hilliard. Charles I. ; after 
Vandyck. William III. ; after Kneller. Mary, his 
consort ; after vander Vaart. Queen Anne ; after Knel- 
ler. George, Prince of Denmark. George I. ; after 
Kneller. George II., when Prince of Wales ; do. John, 
Lord Cutts ; do. William, Earl of Cadogan ; do. John 
Tillotson, Archbishop of Canterbury ; do. John, Lord 
Sommers; do. Sir Richard Temple ; do. William, Earl 
of Cadogan ; after la Guerre. Horace, Lord Walpolo ; 
after Vanloo. Henry Rouvigny, Earl of Galway; after 
de Graves. William Shakspeare. John Milton. Joseph 
Addison, Richard Steele. 

The following are his principal works in mezzo- 
tinto : 

Half-length of the Princess Mary, daughter of George 
II. Peter delivered from Prison ; after Berchet. The 
Cartoons at Hampton Court. Christ and his Apostles ; af- 
ter Baroccio. Christ restoring sight to the Blind ; after 
la Guerre ; excellent. The Samaritan Woman ; do. JPor- 
trait of the Hon. Mrs. Walpole ; after M. Dahl ; excel- 
lent. Maria Stuart ; the expression infantine. Dorastus 
and Eannia ; after Berchet. A Pastoral ScenC; of which 
the foliage and landscape are remarkable. 

SIMON, Pierre, a French engraver, who flour- 
ished at Paris about 1680. He is supposed to 
have studied under Robert Nanteuil, whose style 
he adopted. His works, though inferior to those 
of Nanteuil, possess considerable merit. Among 
other prints, are the following by him : 

rOKTEAITS. 

Louis XIV. ; after C le Brun; the size of life. Louis 
de Bourbon, Prince of Conde ; from his own design. An- 
na Maria Louisa of Orleans, Duchess of Montpensier ; do. 
Elizabeth Charlotte, Duchess of Orleans ; do. Charles 
d'Ailly, Duke deChaulnes, Peer of France ; after Lahorde. 
Jacobus Cardinalis Rospigliosus ; after C. Maratti. Fed- 
erigo Baroccio, Painter. 



SIMO. 



894 



SIMO. 



SUBJECTS. 

The Martyrdom of St. Cosmus and St. Datnien ; after 
S, Rosa. Moses at the burning Bush ; after N. Poussin. 

SIMON, John Peter, an eminent English de- 
signer and engraver, born at London in 1750. Tt 
is not mentioned under whom he studied, but he 
acquired a high reputation for his engraving in 
the chalk and dotted manner, after the eminent 
English painters of his time. He engraved the 
following from the Shakspeare Gallery, which are 
among his best works. He died in 1810. 

A scene from the Tempest ; after Fuseli. The Merry- 
Wives of Windsor, two plates, one after Smirke, and the 
other after Rev. W. Peters. Scene from Measure for 
Measure ; after T. Kirk. Scene from Much Ado about Noth- 
ing ; after W. Peters. Midsummer Night's Dream ; af- 
ter Fuseli. Scene from the Merchant of Venice ; after 
Smirke. Scene from As You Like It ; after W. Hamil- 
ton.. Scene from the Taming of the Shrew; after F. 
Wheatley. Another from the Induction to the Play ; af- 
ter Smirke. Scene from Henry IV. ; after R. Westall. 
Scene from Romeo and Juliet ; after Miller. The Wood- 
man ; after Gainsborough. The Philosopher Square, dis- 
covered by Tom Jones, and the Companion ; after Down- 
man. The Sleeping Nymph ; after Opie. Frances Isa- 
bella Ker Gordon ; after Sir J. Reynolds. The Three 
Holy Children ; after W. Peters. Bust of Clytie ; after 
J. B. Cipriani. Fair Emraeline, and a subject from' the 
Vicar of Wakefield ; after Stoihard. 

SIMON, Thomas, an eminent English engraver 
of medals and seals, who lived in the time of 
Charles I., Cromwell's protectorate, and Chailes 
II., by all whom he was employed. He was also 
employed for some time in the service of Christina, 
Queen of Sweden. His great Seal of the Com- 
monwealth is mentioned as an exquisite specimen 
of the art. He died soon after the Revolution. He 
had a brother named Abraham Simon, who was a 
medalist, and assisted him in his works. Abra- 
ham was also a celebrated modeler in wax. 

SIMONE, Maestro, an old Italian painter, of the 
time of Giotto, about whose history there is much 
discrepancy. He is variously called Maestro Si- 
mone, Simone da Bologna^ and Simone da Cro- 
cifissi, and is said by some to have been a disciple 
of Filippo Tesauro ; by others of Giotto. Lanzi, 
after stating that Giotto was invited to Naples in 
1325 by Robert, King of Naples, to decorate the 
church of S. Chiara, with subjects from the New 
Testament, and the mysteries of the Apocalypse, 
says, " Giotto selected for his assistant in these 
labors, a Maestro Simone, who, in consequence of 
his enjoying the esteem of that master, acquired a 
great name at Naples. Some consider him a na- 
tive of Cremona, others a Neapolitan, which seems 
nearer the truth. His style partakes both of Te- 
sauro and Giotto, whence some consider him a dis- 
ciple of the first, others of the second master ; and 
he may probably have received instructions from 
both. However that may be, on the departure of 
Giotto, he was employed on many works which 
King Robert and the Queen Sancia were prosecu- 
ting in various churches, particularly in S. Loren- 
zo. He there painted that monarch in the act of 
being crowned by Bishop Lodovico, his brother, 
to whom, upon his death and subsequent canon- 
ization, a chapel was dedicated in the episcopal 
church ; Simone was commissioned to decorate it, 
but death prevented his accomplishing it." Dom- 
inici extols a picture by him of a Deposition from 
the Cross, painted for the great altar of the Incor- 
onata, and thinks it will bear comparison with the 



works of Giotto. In other respects he confesses 
that his conception and invention were not equally 
good, the airs of his heads less graceful, and less 
suavity in the tone of his coloring. 

SIMONE, Francesco di, was the son and 
scholar of the preceding, of whom there are notices 
from 1340, to 1360. He executed some works in the 
church of S. Chiara, all of which have been effaced, 
together with those of Giotto, except a Madonna, 
in chiaro-scuro, which is highly extolled by Dom- 
inici. 

STMONELLT, Giuseppe, a Neapolitan painter, 
born about 1649, and died in 1713. According to 
Dominici, he was originally a servant of Luca Gi- 
ordano, but showing a talent for painting, his 
master instructed him in the art. He became an 
accurate copjnst of his works, and an excellent im- 
itator of his coloring. When he attempted original 
works, he was generall}'' deficient in design, though 
the author above cited highly extols his picture of 
S. Niccolo di Tolentino, "which approaches the 
best and most correct inanner of Giordano both 
in design and handling." 

SIMONET, Jean Baptiste, a French engraver, 
born at Paris in 1742, and died there in 1810. It 
is not mentioned with whom he studied, but he en- 
graved a considerable number of plates after the 
works of Greuze, Moreau, Baudoin, Aubry, and 
other artists of his country. His plates are exe- 
cuted in a neat and pleasing style. 

SIMONETTI, DoMENico, a painter of the Ro- 
man school, born at Ancona, where he flourished 
in the latter part of the 18th century. Lanzi says 
he was a reputable artist, and executed many 
works for the churches of his native city, and par- 
ticularly distinguished himself in the church of 
the Suffragio. He decorated the gallery of the 
Marches! Trionfi, and was much employed by 
individuals. He is also called Magatta, for what 
reason is not stated, for his real name was Simo- 
netti. 

SIMONL See Simonini. 

SIMONINI, Francesco, an eminent battle 
painter, born at Parma in 1689. According to 
Lanzi and others, he studied with Ilario Spolve- 
rini, and painted battles, skirmishes of cavalry, at- 
tacks of banditti, &c., in the style of his master. 
His pictures are designed and executed with great 
fire and spirit. He chiefly resided at Venice, 
where he painted in the Sala Capello, a series of 
battles and warlike achievements, which are highly 
commended and greatly admired. There are many 
of his works in the collections at Venice, which, 
Lanzi says abound with figures, and are orna- 
mented with fine architecture. There are also 
some of his works at Rovigo. Orlandi says he 
studied with Francesco Monti, called delle Bat- 
taglie, and was educated at Florence, upon the 
model of Borgognone. Lanzi says he was living 
in 1753 ; others that he died at Venice about 1760. 
His name is sometimes written Simoni. 

SIMONNEAU, Charles, an eminent French 
engraver, born at Orleans in 1639; died at Paris 
in 1728. He learned design from Noel Coypel ; 
and studied engraving under Guillaume Chateau. 
His first plates were executed entirely with the 
graver, in a stj^le resembling that of Poilly; but 
he afterwards introduced the point, particularly in 






SIMO. 

the demi-tints and distances, reserving the burin 
for the more prominent and vigorous parts. Cho- 
sen a member of the Royal Academy, he presented, 
as the reception-piece, the portrait of Jules Har- 
douin Mansard ; and was afterwards appointed en- 
graver to the King, with a pension. He engraved 
numerous historical subjects, portraits, and vig- 
nettes, in a neat, agreeable, and spirited style. 
Among them are the following : 

PORTRAITS. 

Henrietta Maria, consort of Charles I. Charlotte Eliza- 
beth, Duchess Dowager of Orleans ; after Rigand. Charles 
Francis de Brienne. Bishop of Constance ; after Dumee. 
.Julius Hardouin Mansard, Architect to the King; after de 
Troy. George Villiers, Duke of Buckingham. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family, with St. Elisabeth and St. John ; af- 
ter Raft'aelle. The Virgin and infant Jesus, with St. John ; 
do. The Adoi-ation of the Shepherds ; after Ann. Ca- 
racci. Christ and the Woman of Samaria; do. Hagar 
and Ishmael ; after Andrea Sacchi. The Virgin and in- 
fant Christ, with Angels ; after Frh Bartolomeo. The 
Stoning of Stephen ; after Caracci. Christ, with Martha 
and Mary ; after Dovienichino. Christ's Entry into Je 
rusalem ; after C. le Brun. Christ bearing his Cross ; 
do. The Nativity ; after Noel Coypel. Christ among 
the Doctors; after Ant. Coypel. The Triumph of Gala- 
tea ; do. Venus curing the Wound of ^neas ; after C. 
de la Fosse. The Journey of Mary of Medicis to Pont- 
de-Ce ; after Rubens ; for the Luxembourg Gallery. The 
Conquest of Franche-Comte ; after le Brun. This is es- 
teemed his best print. 

SIMONNEAU, Louis, a distinguished French 
engraver, the younger brother of the preceding, 
was born at Orleans, according to Zani, in 1660, 
and died in 1727. His style seems to have been 
formed in imitation of the Audrans. He nearly 
attained the excellence of his brother; his draw- 
ing is correct, particularly in the extremities, and 
by combining the point with the graver, he gave a 
pleasing variety to his plates. He was chosen a 
member of the Royal Academy. The following are 
among his principal plates : 

PORTRAITS. 

Giacinto SeiToni, Archbishop of Albi. Anthony Ar- 
nauld, famous Theologian ; after Ph. de Champagne. 
Anthony le Maitre, Advocate in Parliament : do. Mar- 
tin de Charmois, Counsellor of State ; after Seb. Bourdon. 

SUBJECTS AFTER VARIOUS MASTERS. 

Susanna and the Elders ; after Ant. Coypel. Lot and 
his Daughters ; do. Christ with Martha and Mary ; do. 
Christ bearing his Cross ; after Ant. Dieu. The Eleva- 
tion of the Cross ; do. The Crucifixion ; do. The As- 
sumption of the Virgin ; after the ceiling by le Brun in 
the chapel of St. Sulpice. Four plates of the Four Times 
of the Day; do. The Four Seasons, in four plates; do. 
The ceiling of the Pavilion of Aurora, in the garden de 
Sceaux ; in four plates ; do. 

SIMONNEAU, Philippe, was the son of Charles 
S. He studied design and engraving under his fa- 
ther, and executed several plates, but subsequent- 
ly relinquished the art, either from the lack of ap- 
plication or ability. Three prints of moderate 
merit are mentioned by him, which are : 

Two friezes, on one sheet, representing the Rape of the 
Sabines, and the Peace between the Romans and the Sa- 
bines ; after the pictures by Giulio Romano in the Orleans 
collection. The three Goddesses preparing for the Judg- 
ment of Paris; after the picture by Pierino del Vaga in 
the same collection. Venus and Adonis ; after Albano. 

SIMPSON, William, an indifferent English 
engraver, who flourished about 1635. He was 
chiefly employed by the booksellers, and among 



895 SIMP. 



other things, engraved the plates for Quarles* 
Emblems. 

SIMPSON, Joseph, the elder, an English 
engraver of little note, who flourished, according 
to Lord Orford, about 1710. His chief employ- 
ment was to engrave coats of arms and other em- 
bellishments. 

SIMPSON, Joseph, the younger, was the 
son of the preceding. He died young in 1736. 
He engraved a plate of a Holy Family, with St. 
John, St. Sebastian, and several angels, after Fi- 
lippo Lauri, dated 1728. 

SIMSON, William, a Scotch painter, born at 
Dundee in 1800 ; studied in the Academy at Edin- 
burgh. About 1829, he commenced painting por- 
traits, and was so successful that in three or four 
years he was enabled to visit Italy. On his re- 
turn in 1838, he exhibited in the Royal Academy 
at London, " A Camaldolese monk showing the Rel- 
ics of his convent," which was engraved by the 
Art Union; also •' Cimabue and Giotto," which 
was purchased by Sir Robert Peel for one hun- 
dred and fifty guineas. From this time till 1844, 
he exhibited a number of works, of which his 
" Columbus asking charity for himself and Child" 
is esteemed the best. Few of the rest possess 
merit. Had he devoted himself to portrait paint- 
ing, he would have attained considerable eminence. 
This artist died in 1847. 

SINGHER. John, a painter born at Hesse Cas- 
sel about 1510. He settled at Antwerp, where he 
painted landscapes with figures, in a free, bold 
style, with considerable reputation. He was elect- 
ed a member of the Academy there in 1543. He 
was much employed in making designs for the 
manufacture of tapestry. He died in 1558. 

SINGLETON, Henry, an English designer and 
painter, born at London in 1766. He first studied 
with his uncle, a miniature painter. He after- 
wards became a student of the Royal Academy, 
and gained the gold medal in 1788, for the best 
historical painting; the subject was taken from 
Dryden's Ode on Alexander's Feast. Among his 
most esteemed works are Christ entering Jerusa- 
lem ; Christ healing the Blind ; Coriolanus and his 
Mother; and Hannibal swearing eternal enmity 
to the Romans; all which were engraved in mez- 
zotinto. His paintings of the Storming of Serin- 
gapatam, the Death of Tippoo Saib, and the Sur- 
render of Tippoo's sons as hostages, were engraved 
by Schiavonetti and Cardon. and were very popu- 
lar. He painted many poetical and fancy subjects, 
and made many designs to embellish the various 
publications of the day. His conceptions are com- 
monplace, his style mannered, and his execution 
exceedingly rapid. "Propose a subject to Sin- 
gleton," said West, "and it will be on canvass in 
five or six hours." Stanley says there is an ex- 
tensive series of small paintings by him of 
scenes from Shakspeare's Plays, which, if they 
were en2;raved, would enhance his reputation. He 
died in 1839. 

SINJEUR, Govert, a Dutch painter who re- 
sided at Rotterdam, and is said to have been a suc- 
cessful imitator of the style of Philip Wouwcr- 
man. No particulars are recorded of him. 

SINTZENICH, Heinrich, an eminent German 
engraver, born at Manheim in 1752. After learn- 
in^- the elements of the art in his native city, he 



SIRA. 



896 



SIRA. 



was sent to England at the expense of the Elector, ' 
to complete his studies under Bartolozzi,with whom 
he continued four years. On his return to his native 
city, he was appointed engraver to the court, and exe- 
cuted many works in the chalk and dotted manner, 
and in mezzotinto. Among these are the portraits of 
several noble and distinguished personages of his 
country ; also subjects after Fra Bartolomeo, A. 
Caracci, P. Veronese, Domenichino, Carlo Dolci, 
Solimena, Rubens, le Brun, and other eminent 
painters of later times. He acquired a high repu- 
tation, and was elected a member of the academies 
of Munich and Berlin. Nagler gives a descriptive 
catalogue of fifty -four of his principal works. He 
died at Munich in 1812. 

SIRANI, Giovanni Andrea, a painter born at 
Bologna in 1610. According to Crespi, Oretti, 
and others, he was one of the favorite disciples of 
Guido Reni, and one of the most successful emu- 
lators of his style. Lanzi says, " another good 
copyist and master of Guide's style appeared in 
Gio. Andrea Sirani. On his master's death, he 
completed the great picture of St. Bruno, left un- 
finished at the Certosini, with several others 
throughout the city in the same state. Whether 
owing to Guido's retouches, or his want of free- 
dom, Sirani's earliest works bear much resem- 
blance to that master's second manner, more par- 
ticularly in his Crucifixion, in the church of S. 
Marino, which seems like a repetition of Guido's 
St. Lorenzo in S. Lucina, or that in the Modenese 
Gallery. In process of time, Sirani is supposed to 
have aimed at the stronger style of Guido in his 
early career ; he conducted in such a taste his pic- 
tures of the Supper of the Pharisee, at the Certo- 
sa ; the Nuptials of the Virgin, in S. Giorgio at 
Bologna; and the Twelve Crucifixions, in the Ca- 
thedral of Piacenza, an extremely beautiful pic- 
ture, ascribed by some to Elizabeth Sirani, his 
daughter and pupil." Lanzi means that Sirani, in 
these last works, followed the style of Guido 
founded on that of Michael Angelo da Caravaggio. 
(See Guido.) At Rome is a very beautiful picture 
of the Last Supper by him, alone sufficient to es- 
tablish his reputation as a great master. He usu- 
ally painted in a large size, and in a grand style, 
like his master. There are a number of spirited 
etchings marked G. A. S. and I. A. S., heretofore 
attributed to him, but Bartsch considers only two 
genuine — Apollo and Marsyas, signed Sirani fecit ^ 
and the Death of Lucretia. Ho died in 1670. 

SIRANI, Elizabetta. This extraordinary lady 
was the daughter of the preceding, born at Bo- 
logna in 1638. She was instructed in the art by 
her father, and showed such talent, and made such 
rapid progress, that she was accounted a prodigy 
at fifteen years of age. She attached herself to an 
imitation of the best style of Guido, which unites 
great relief with the most captivating amenity. It 
is almost incredible that in a short life of not more 
than twenty-six or twenty-seven years, she could 
have executed the long list of works enumerated 
by Malvasia, copied from a register kept by her- 
self, amounting to upwards of one hundred and 
fifty pictures and portraits ; and our astonishment 
is increased when we are told that many of them 
are pictures and altar-pieces of large size, and fin- 
ished with a care that excludes all appearance of 
negligence or haste. Iler first public work ap- 
pears to have been painted in 1655, when she was 
seventeen years of age. Her compositions are ele- 



gant and tasteful, her design correct and firm, and 
there is a freshness and suavity in her coloring, 
especially in her demi-tints, that strongly resem- 
bles the best works of Guido, The airs of her 
heads are noble, beautiful, and graceful. She was 
particularly successful in the expressive character 
which she gave to her Madonnas and Magdalens, 
which were her favorite subjects. Her penciling 
was more delicate, but less free and spirited than 
that of her father. Her most admired works in 
the churches at Bologna, are the Baptism of Christ 
at theCertosa; St. Antonio of Padua kneeling be- 
fore the infant Christ, in S. Leonardo ; the Virgin 
with St. Anne, contemplating the infant Christ 
sleeping, in S. Maria di Galiera. Lanzi says 
that in her smaller works, painted by commis- 
sions, she still improved herself, as may be 
seen by the numerous pictures of Madonnas, 
Magdalens, Saints, and the infant Christ, found 
in the Zampieri, Zambeccari, and Caprara palaces 
at Bologna, and in the Corsini and Bolognetti col- 
lections at Rome. She also painted some small 
histories on copper, exquisitely finished and ex- 
tremely valuable, which are to be found in the pal- 
aces at Bologna and Rome. She received many 
commissions from several of the sovereigns and 
most distinguished personages of Europe. Lanzi 
mentions an exquisite specimen of her art which 
he saw, in the possession of Counsellor Pagave at 
Milan — a portrait of herself, in the act of being 
crowned by a cherub. She died by poison, Au- 
gust 29th, 1665. administered by one of her own 
maids, instigated, as is supposed, by some jealous 
young artist. Her melancholy death was be- 
wailed with demonstrations of public sorrow. 
Her remains were interred in the same vault in 
the church of S. Domenico where reposed the ash- 
es of Guido. She executed some spirited etchings, 
mostly from her own designs, which she usually 
signed with her name, but sometimes marked with 
her initials, E. S. F. Bartsch describes only ten 
prints by her ; some are signecfcand others are not, 
but none have E. S. F. Some of them are dated 
as early as 1655. when she was only seventeen 
years of age. Lanzi says she instructed, besides 
her two sisters, many other ladies, the most tal- 
ented of whom were Veronica Franchi, Vincenzia 
Fabri, Lucrezia Scarfaglia, and Ginevra Cantofoli. 

SIRANI, Anna and Barbara, were the young- 
er sisters of the preceding. They were doubtless 
instructed both by their father and sister, though 
Crespi and Lanzi say they were instructed in the 
art by Elizabeth, whose fame was so great, accord- 
ing to Lanzi, that " she is nearly the sole individ- 
ual of the family whose name occurs in collections 
out of Bologna" ; by which he doubtless means 
that the works of her father and her sister are 
generally attributed to her. This would account 
for the extraordinary number of works attributed 
to her throughout Italy, but more especially at 
Bologna, Rome, and Milan. Lanzi says they imi- 
tated the style of Elizabeth, and that there are 
some pictures by Barbara in the churches and col- 
lections of Bologna. 

SIRCEUS, Philip, an artist mentioned by Flo 
rent le Comte and others, as the engraver of som« ' 
prints after Michael Angelo. He is the same a? 
Sericcus or Soye, which see. 

SIRIES, Violante Beatrice. This ingenious 
lady was born at Florence in 1710. She was first 
instructed in crayon painting and in water-colors 



SIRL. 



897 



SKIL. 



by the celebrated paintress Giovanna Fratellini. At 
the age of sixteen, she accompanied her father to 
Paris, who was an eminent goldsmith, and had 
been invited to that court and appointed gold- 
smith to the King. In that city she learned from 
a Flemish artist, the practice of oil painting, in 
which she made rapid progress, and during her 
residence of five years there, she painted the por- 
traits of several persons of rank. These perform- 
ances were so much admired, that flattering offers 
were made to induce her to remain at Paris, un- 
der the royal patronage. She, however, preferred 
to return with her father, who was recalled by 
the Grand Duke to Florence, where she acquired a 
high reputation, and was much patronized by the 
court and the nobility. Though she chiefly con- 
fined herself to portraits, she occasionally painted 
history, and fruit and flower-pieces. ITer works 
are correctly designed, her pencil light, delicate, 
and free, her carnations warm and life-like, her 
draperies well chosen, varied, and remarkable for 
noble simplicity, her perspective excellent, and she 
enriched her pictures with magnificent architec- 
ture. One of her most capital performances is a 
picture of the Imperial family, consisting of four- 
teen portraits. The Grand Duke ordered her por- 
trait to be placed in the Florentine Gallery, among 
those of illustrious artists, on which occasion she 
took the opportunity of introducing the likeness 
of her fiither into the picture, a proof of her filial 
piety and distinguished merit. Most of her works 
are in oil. She died in 1770. 

SIRLET, Flavius, an eminent gem engraver, 
who died at Rome in 1737. Some of his works 
are accounted little inferior to the finest specimens 
of antiquity. One of his best performances is the 
famous group of Laocoon and his children, cut 
upon an amethyst. 

SISTO, F. See Ristoro. 

SIXDENIERS, M., a distinguished French line 
engraver, born at Paris in 1795 ; died in 1846. 
He studied under Villerey. and soon acquired dis- 
tinction. In 1816 he gained the second prize for 
line engraving ; in 1824, a gold medal at the Salon. 
Besides many line engravings, he also executed, in 
concert with Maile and Reynolds, many of the best 
mezzotints of the time. He was much patronized, 
and gained great reputation. Among his line en- 
gravings the following are most worthy of note : 

Honors rendered to Raffaelle after his death ; after JJer- 
geret. 1822. Properzia di Roi?si ; after Ducis. 1824. 
vignettes for various works ; 1827. 'Endym'ion ; after Gi- 
rodet. Sleep ; after Mile. Pages. The Bath, and the 
Surprise; after Rioult. 1831. Pacha de Janina, Don Ju- 
an, the Visit, the Invasion. 1833. Edward in Scotland ; 
after Delaroche. Combat de Navarino ; after Langlois. 
1834. The Departure, and the Return ; after Mile. Pa- 
gis. Young Girls and Faune ; after Rioult. Group of 
Louis XVI. ; after Bosio. 1835. Charles I. and his 
Children; after' Colin. 1836. The Broken Contract ; af- 
ter Destouches. 1837. Portrait of Arago. 1839. The 
Rural Virtuoso ; after Bouterwek. Boatmen attacked by 
Bears ; after Biard. 1840. Charlotte Corday ; after 
Scheffer. Hospitality ; after Latit. Mile. Rachael ; af- 
ter Charpentier. 1841. Napoleon and the King of Rome ; 
after Steuben 1842. Funeral of Gen. Marceau ; after 
Bouchot. 1843. Arab in Prayer, and Posting in tho Des- 
ert ; after Horace Vernet. 1844. Head of Christ ; after 
Colin. 1845. The Village Bride; after Greuze. Por- 
trait of Brother Philip ; after H. Vernet. 1846. 

SKELTON, Willi AM, an English engraver, 
born at London in 1763. He studied with James 
Basire, and afterwards with William Sharp. He 



acquired considerable reputation as a line engrav- 
er, and was much employed by Boydcll, Macklin. 
and others. He executed several plates for the 
Dilettanti Society, and some of his best engravings 
are from the antiques published in their valuable 
works. Towards the close of his professional la- 
bors, he engraved and published his series of Royal 
Portraits, embracing every member of the Royal 
family, from the time of George TIT. to the accession 
of Queen Victoria. lie was a most worthy and ex- 
emplary man. and by his professional skill and in- 
dustry, acquired a moderate independence, which 
he expended in deeds of charity. For nearly sixty 
years he was a guardian of the Asylum of Female 
Orphans, and such was his devotion to the in- 
terests of the institution, that he was called the 
father of that noble charity. He died in 1848, in 
the 86th year of his age. 

SKILLMAN, William, an English engraver, 
who nourished about 1655, Among other plates, 
he engraved the fa9ado of Albemarle House, and 
a view of the Banqueting House. 

SKTPPE, John, a modern English artist, of 
whose history, singularly enough, little is known. 
There are about thirty wooden cuts by him, print- 
ed in chiaro-scuro, with three and four blocks, af- 
ter Raffaelle, Correggio, Parmiggiano, Giorgione, 
Titian. Tintoretto, Pierino del Vaga, Salvator Rosa, 
Andrea del Sarto, Baccio Bandinelli, and Rubens. 
His prints are dated from about 1771 to 1809. 
Jackson, in his " Treatise on Wood Engraving," 
says, -'from the year 1754, the date of John Bap- 
tist Jackson's tract ' On the Invention of En- 
graving and Pri7itingin Chiaro-Scuro,- to 1819, 
when the first part of Mr. Savage's Hints on Dec- 
orative Printing-, was published, the only chiaro- 
scuro wood engravings which appear to have been 
published in England, were executed by an ama- 
teur of the name of John Skippe." • 

SLABBAERT, or SLABBARD, Karl, a Dutch 
painter, of whom little is known, except by a few 
pictures which are elaborately finished and well 
colored, though labored and incorrectly drawn. 
He painted interiors and familiar subject.s. With 
respect to the time of his birth and death, the 
Dutch writers are silent. Zani mentions him or 
another artist of the same name, as a designer and 
engraver who operated in 1645. 

SLATER, T., an obscure English engraver, who 
flourished about 1630. He engraved some por- 
traits for the booksellers. 

•T^ SLINGELANDT, Peter van, a Dutch 
Vjf painter, born at Leyden in 1640. He stud- 

V ied under Gerard Douw, whose manner he 
imitated, and in the opinion of some judges, he sur- 
passed that master in the delicate and labored pol- 
ish which he gave to his pictures, though they are 
deficient in the characteristic expression, the ma- 
gical effects of the chiaro-scuro, and the correctness 
of design, which distinguish the works of Douw. 
His chief merits seem to consist in Dutch patience 
and perseverance. Houbraken relates that he was 
occupied three years without intermission in paint- 
ing a small picture of the portraits of the Meer- 
man family ; that he was employed a month in 
finishing the lace of a ruff; and that when he paint- 
ed a dog, cat, or mouse, which he was fond of in- 
troducing into his pictures, he was not satisfied 
till he had represented each particular hair. Yet 
his stiff and tasteless compositions were much 



SLOD. 



898 



SMEA. 



sought after, still command high prices, and are 
only to be found in the collections of the great. 
One oTTriss^orks, now in the Louvre, was bought 
of a brewer for £480, and has been valued at 
20,000f. Smith, in his Catalogue raisonne, vol. I. 
and Supplement, gives a descriptive account of 70 
pictures by him. There are several of his works 
in the Koyal galleries and the collections of the 
nobility in England, He died in 1691. 

SLODTZ, Sebastian. This sculptor was born 
at Antwerp in 1655, and gained considerable dis- 
tinction among the artists employed in embellish- 
mg the palace of Louis XI Y. His productions are 
more distinguished for beauty of execution, than 
for elevation of design. Among the principal are 
the statue of St. Ambrose, and the group of St. 
Louis sending missionaries to the Indies, at the 
Invalides ; and a marble statue of Hannibal mea- 
suring with a bushel the rings of the Roman 
knights slain in the battle of Cannae. Slodtz died 
at Paris in 1726. 

SLODTZ. There were several sons of the pre- 
ceding artist, who gained in France considerable dis- 
tinction in sculpture. Sebastian Slodtz, the eldest, 
practiced the art with success, in concert with his 
younger brother Paul Ambrose, who was born in 
1702, and died in 1758. Among the works exe- 
cuted by them were, the grand altar of the church 
of St. Bartholomew ; the altar of the chapel of the 
Virgin, in S. Sulpice; also several decorations for 
the fetes celebrated at Versailles in 1751, on oc- 
casion of the birth of the Duke de Bourgogne. 
Paul Ambrose was appointed professor of sculp- 
ture in the Academy, and designer to the King's 
Cabinet. His abilities, however, were surpassed 
by his younger brother Rene Michel, generally 
known among his cotemporaries as Michael An- 
gelo Slodtz. He was born at Paris in 1705 ; at 
the age of twenty-one he gained a prize from the 
Academy of Sculpture, and visited Rome with the 
royal pension. He remained seventeen years in 
that city, and was commissioned to execute a stat- 
ue of St. Bruno, for St. Peter's ; the tomb of the 
Marchese Capponi, in S. Giovanni dei Fiorentini ; 
and the mausoleum m the cathedral of Vienna in 
Dauphiny, in honor of M. de Montmorin, arch- 
bishop of that city. In 1747, Slodtz returned to 
Paris, where he soon gained reputation, and was 
commissioned to execute a number of works. 
Many of his productions evince the decadence of 
the arts under Louis XV., particularly his monu- 
ment to Languet in S. Sulpice, which, though poss- 
essing httle true merit, gained for Slodtz so great 
reputation, that King Frederic II. of Prussia com- 
missioned him to execute two statues, and invi- 
ted him to his court. In 1755, he received a pen- 
sion from the King of France, and in 1758 suc- 
ceeded his brother Paul Ambrose as designer to the 
King's Cabinet. He died in 1764. 

SLUYS, Jacob vander, a Dutch painter, born 
at Ley den in 1660. He first studied with Ary de 
Voys, and afterwards with Peter van Slingclandt, 
whose polished style he imitated, though with 
less laborious finishing. He copied the works of 
Slingelandt, and painted conversations, domestic 
subjects, and modish assemblies, composed and 
treated in an agreeable style, though his drawing 
is incorrect. His works are principally confined 
to Leyden, where he constantly resided and died 
in 1736. 



SLUYTER, P., a Dutch engraver, who flourish- 
ed about 1700. He was principally employed in 
engraving frontispieces and other book plates, for 
the publications of Peter vander Aa. 

SMEATON, John, an eminent English archi- 
tect and engineer, born at Ansthrope, in Yorkshire, 
in 1724. His father, who was an attorney, gave 
him a classical education, intending him for his 
own profession, but young Smeaton having a pas- 
sion for mechanics, he placed him with a mathe- 
matical instrument maker to learn that business. 
He afterwards studied architecture and engineer- 
ing, acquired distinction, and was much employed 
by government in executing some difficult works, 
one of the most important of which was to re- 
build the Eddystone light-house. He erected this 
famous edifice in a novel, and so substantial a man- 
ner, that it may justly be pronounced a work un- 
paralleled in its kind ; it has withstood the contest 
of the elements, contrary to predictions, ever since, 
and bids fair to continue a monument to his gen- 
ius for ages to come. He published a curious ac- 
count of this structure and its history in one vol. 
folio. In 1753, he was elected a fellow of the 
Royal Society, and in 1759 he obtained its gold 
medal for his valuable paper on "The Natural 
powers of Wind and Water, to turn Mills and 
other Machines, depending on a Circular Motion." 
He constructed the improvements in Rarasgate 
harbor, of which he published an account. He 
died in 1792. 

SMEES, John, a Dutch landscape painter and 
engraver, of whom little is known. He died 
about 1729. There are some spirited etchings by 
him, of landscapes, with figures and animals, en- 
riched with edifices and ruins, in the manner of 
John Both. Bartsch describes five, signed J. 
Smees, in. et fecit. 

SMIBERT. See Siviybert. 

SMILIS, the earliest sculptor of Egina, of whom 
we have any account. His works are distinguish- 
ed for a gravity and severe grandeur, which marked 
the school of Egina. Plinj^ mentions a statue of 
Juno by him, considered the most ancient of that 
goddess. 

SMIRKE, Robert, an eminent English histor- 
ical painter, born at Wigton in 1752. It is not 
mentioned under whom he first studied, but it is said 
that he first painted coats of arms on coach panels. 
In 1771, at the age of 19, he became a student at 
the Royal Academy, but he did not exhibit there 
till many years after, in 1786, as he was extreme- 
ly diffident, and a severe critic on his own perform- 
ances. His merits however, were soon acknow- 
ledged, and he was elected a member of that in- 
stitution in 1792. His favorite subjects are from 
Scripture, English history and poets, Don Quixote, 
and the Arabian Nights. He was employed by 
Alderman Boydell to paint several pictures for the 
Shakspeare Gallery, of life size, which he treated 
in an admirable and very humorous manner. He 
was more successful in his cabinet pictures, which 
are numerous, than in those of a large size. His 
works are correctly designed, his figures arranged 
with judgment and skill, and he gave to his coun- 
tenances an admirable and appropriate expression. 
He particularly excelled in the representation of 
comic subjects, in which he displayed a rich humor 
in his characters that never degenerates into buf- 



SMIT. 



899 



SMIT. 



foonery ; he is always the gentleman when repre- 
senting the ridiculous, the affected, or the grotes- 
que. He makes the observer to think and smile, 
but never to laugh outright. It is said that he 
was in the habit of sketching every marked face 
he met with, which he transferred to his portfo- 
lio ; thus he had an ample collection of real hends^ 
from which he could select one appropriate to 
every character ; hence the striking originality in 
all his works, in which the figures appear to be 
real portraits, though sometimes a httle carica- 
tured to fit the dramatis personcB. His coloring 
is pleasing, and his chiaro-scuro excellent. He 
made many designs for the various publications 
of the day. which abound with humor, pathos, 
and sentiment. Many of his works were engraved 
by eminent artists, and were ver}'- popular, not on- 
ly in England, but on the Continent. He contin- 
ued to practice his art till advanced in life. It is 
said that his last works were the designs for the 
admirable bas-reliefs which embellish the front 
of the Oxford and Cambridge Club House, in Pall- 
Mali, erected by Sir Robert Smirke, jr., the 
eminent architect. Though he was not fully ap- 
preciated till late in life, his works greatly in- 
creased in value, and are now held in high esti- 
mation. He died in 1845. 

SMIT. Andrew, a Dutch marine painter, who 
flourished about 1650. There is a capital picture 
by him in the Berlin Gallery, resembling the man- 
ner of Backhuysen. It represents an approaching 
Storm; the sea is rising with a heavy swell, and 
several vessels are seen making preparations to 
encounter the tempest. Stanley says there are 
some of his works in England, but they are attrib- 
uted to other artists. 

SMIT, Arnold, a Dutch painter, who flourished 
about the middle of the 17th century. He painted 
landscapes and marines ; the latter resemble the 
darkest manner of Backhuysen. There are pic- 
tures signed A. Smit, And. Smit, and Am. Smit, and 
from the similarity of style, subjects, and the time 
they flourished, it may reasonably be conjectured 
that Andrew and Arnold are one and the same 
artist, especially as there are no authentic particu- 
lars recorded of either. 

SMITH. Anker, an excellent English line en- 
graver, was born in London in 1759. After re- 
ceiving a good education, he was articled to an at- 
torney. As he was an excellent penman, and had 
a taste for the fine arts, he amused his leisure 
hours in copying line engravings with his pen, 
which he did with such accuracy that on some of 
them being shown to James Heath, he mistook 
them for prints. This induced his friends to place 
him with an engraver named Taylor, who instruct- 
ed him in the mechanical part of the art. and his 
natural talent soon enabled him to surpass his in- 
structor. He afterwards became an assistant to 
Heath, in whose name he is said to have executed 
several works, among which the Apotheosis of 
Handel is named. Bell was then engaged in pub- 
lishing an edition of the British Poets, and he era- 
ployed Smith to engrave the illustrative plates ; 
other publishers also employed him, and his name 
soon became familiar to the public. His plates are 
much esteemed for correctness of drawing and 
beauty of execution. 

He executed many plates to embellish the vari- 
ous publications of the day, among which may be 



mentioned Smirke's Edition of Don Quixote, Wood's 
small edition of Shakspeare's Plays, Coombe's An- 
cient Marbles and Terracottas in the British Muse- 
um, &c. He was also much employed by Boydell ; he 
engraved several of the plates for the smaller edi- 
tion of the Shakspeare Gallery. His print of the 
Death of Wat Tyler, after Norihcote, obtained for 
him the honor of being elected an associate of the 
Royal Academy. He engraved several fine plates 
after Leonardo da Vinci, Titian, and the Caracci. 
He died in 1819. 

SMITH, Benjamin, an eminent English engra- 
ver in the chalk manner, born in London about 
1750. He studied with Bartolozzi, whose style 
he followed. He engraved a considerable number 
of plates, chiefly after the eminent English paint- 
ers of the day ; most of them are of large size, 
beautifully executed, with the character and expres- 
sion of his originals carefully preserved. He was 
employed by Boydell to engrave several of the 
plates for the Shakspeare Gallery, which are elab- 
orately executed, and rank among his best works. 
He died in 1810. The following are among his 
principal works : 

Christ healing the Sick ; after B. West. St. Peter's 
first Sermon ; do. An Allegory of Providence ; after J. 
F. Rigaud. An Allegory of Innocence ; do. Sigismun- 
da; after Hogarth. Bacchus; after Sir J. Reynolds. 
Shakspeare nursed by Tragedy and Comedy, and the infant 
Shakspeare attended by Nature and the Passions ; after 
Romney. An equestrian Portrait of George III. ; after 
Beechey. The Portrait of Napoleon ; after Appiani. 
William Hogarth and his Dog ; after Hogarth. The Mar- 
quis Cornwallis ; after Copley, The Annual Ceremony 
of administering the Oath of Allegiance to the Lord Mayor 
elect, &c. Scene from Richard II. ; after Matthew Brown. 

SMITH, Charles John, an English engraver, 
born at Chelsea in 1803. He was the son of an 
eminent surgeon, who placed him with Charles Pye 
to learn engraving. He became a skillful artist, and 
was much employed in engraving plates for the 
various expensive publications of the day, among 
which are Stothard's Sepulchral Effigies, Cart- 
wright's Rape of Bramber, Murray's Illustra- 
tions of Johnson, Dibdin's English Tour, and 
other similar works, some of them for private cir- 
culation only. In 1828, he engraved and directed 
the publication of a yolume in imperial quarto, 
comprising a series of fac simile autographs of 
royal, noble, and distinguished personages, from 
the reign of Richard II. to that of Charles II., to 
which biographical notices were furnished by John 
Gough Nichols, F. S. A. At the time of his death, 
he was engaged on the work entitled "Historical 
and Literary Curiosities," of which six numbers 
were published ; the remaining two to complete 
the work were left unfinished. He was a member 
of the Society of Antiquaries. He died in 1839. 

SMITH, Fkancis, an English landscape painter 
of little note, w^hose name occurs as an exhibitor 
at the Royal Academy, in the catalogues of that 
institution, from about 1770 to 1779, when he is 
supposed to have died. 

SMITH, Gabriel, an English engraver, born 
in 1724, and died in 1783. After learning the ru- 
diments of the art, he went to Paris, where he ac- 
quired the method of engraving in imitation of 
chalk drawings. On his return to London, he 
practiced this method with considerable success. 
He was much employed by Boydell, fir whom he 
executed his principal works. 



SMIT. 



900 



SMIT. 



SMITH, Jacob, an obscure English engraver, 
who flourished about 1730, and executed a few 
portraits, among which are those of Sir Isaac 
Newton and Sir Hans Sloane, on one plate. The 
engraving is executed in a singular manner, with 
one spiral line, begun in the centre, and continued 
to the border of the plate. 

SMITH, John, an eminent English mezzo tinto 
engraver, who died about 1720. Little is known 
of him except bj his works. He is said to have first 
studied painting under an obscure artist, named 
Tillot or Tillet. As soon as he became his own 
master, he learned the art of engraving in mezzo- 
tinto of Isaac Becket and J. vander Vaart. He 
surpassed every engraver in his line who had pre- 
ceded him, and was employed by Sir Godfrey 
Kneller to engrave many of his portraits. Hi's 
works are very numerous ; Nagler gives a cata- 
logue of five hundred prints by him. The follow- 
ing are his most esteemed works : 

PORTRAITS AFTER KNELLKR. 

Charles 11. with the Star. James, Duke of York, lean- 
ing on an Anchor. The Duke of Schomberg on Horseback. 
Meinhard, his Son, when Duke of Leinster. William III. 
Mary, his Queen. George, Prince of Denmark; an oval. 
Queen Anne, when Princess of Denmark. John Churchill, 
Duke of Marlborough. John, Duke of Buckingham. 
Charles Sackville, Earl of Dorset. Charles, Earl of Hali- 
fax. Arnold, Earl of Albemarle. William, Earl of Jer- 
sey. Catherine, Duchess of Rutland. Frances Bennet, 
Countess of Salisbury. Mary Somerset, Duchess of Or- 
mond, with a black Boy. Henrietta, Duchess of Bolton. 
Sir Richard Steele. Joseph Addison. Alexander Pope. 
William Congreve ; very fine. 1710. John Locke. Sir 
Godfrey Kneller. John Smith, holding a Portrait of Knel- 
ler ; the engraver's own Portrait, painted by Kneller in 
1696, engraved in 1716. Sir Christopher Wren. 1713. 
Lord Euston, whole length. 1689. 

PORTRAITS AFTER VARIOUS MASTERS. 

Queen Mary II. with a high head-dress ; after vander 
Vaart. James Fitzroy, Duke of Monmouth ; after Wis- 
$ing. Thomas Herbert, Earl of Pembroke ; do. Patrick 
Crawford, Viscount Garnock ; after Medina. William 
Anstruther ; do. Sir Henry Goodricke ; after J. Hill. 
Mr. Sansom ; after Closterman. Mrs. Cross, Actress ; af- 
ter J. Hill. Arcangelo Corelli, Musician ; after Howard. 
William Penkethman, Comedian ; after Schutz. Godfrey 
Schalcken ; after a picture by himself Charles XII. ; af- 
ter D. Craft. 1701-2. William, Duke of Gloucester, and 
Benj. Bathurst ; after T. Murray, Anthony Leigh, in 
the character of the Spanish Friar. A beautiful print in 
folio. Isaac Becket ; J. Smith, fee. Thomas Murray, 
Pictor, an oval. W. Wycherley ; after Sir Peter Lely ; 
remarkaibly fine. Gulielmus Cowper, Chyrurgus ; after J. 
Closterman ; excellent. 

SUBJECTS AFTER VARIOUS MASTERS. 

Ten Plates of the Loves of the Gods; after Titian. Venus 
standing in a Shell ; after Correggio. Cupid and Psyche ; 
after A. Veronese. Tarquin and Lucretia; do. Time 
conquering Love ; after S. Vouet. Venus and Adonis ; 
after N. Poussin. The Virgin and infant Christ; after 
F. Baroccio. The Holy Family ; after C. Maratti'. A 
Woman asleep near a Light ; after G. Schalcken. The 
Story of Acteon, small figures ; after P. Berchet. M. Mag- 
dalene ; after G. Schalcken. An admirable imitation of the 
manner of the original master. There are proofs of a second 
state, in which tears are introduced. The Angel and Tobit ; 
after JSlsheimer. 

SMITH, Nathaniel, an English sculptor, the 
friend and companion of Nollekens, flourished in 
the latter half of the last century. He entered 
the studio of Roubilliac in 1755, and in 1759 and 
1760 gained several prizes from the Society of 
Arts. He afterwards wrought in the studio of 
Nollekens, a»d subsequently established himself as 
a printseller in St. Martin's Lane. 



SMITH, John Thomas. This distinguished 
English artist, and writer on art, was the son of 
the preceding, born in 1766. The friendship ex- 
isting between his father and Joseph Nollekens, 
occasioned young Smith to be frequently noticed 
by that sculptor, and at the age of thirteen he en- 
tered his studio. After remaining there three 
years, he entered the Royal Academy, and distin- 
guished himself by several drawings in imitation 
of Ostade and Rembrandt. He afterwards stud- 
ied engraving under Sherwin ; and at the termina- 
tion of his engagement with that artist, he was 
for several years employed as a drawing master. 
In 1791 he commenced his first work, the " Anti- 
quities of London and its Environs," ninety-six 
plates, accompanied with brief descriptions. His 
next work relating to art was the '' Antiquities of 
Westminster," representing the old Palace, St. 
Stephen's chapel, &c., containing engravings of two 
hundred and forty-six topographical objects, of 
which, at the time of its publication in 1807, only 
one hundred and twenty-four were remaining. 
This work also contains colored engravings of sev- 
eral curious old paintings discovered in 1800, on 
the wainscoting of the House of Commons, and 
soon after destroyed by the workmen in enlarging 
the building, but not before they had been copied 
by the prompt and energetic Smith. In 1809, he 
published a second volume of sixty-two additional 
plates. In 1815 he completed the publication of 
the " Ancient Topography of London," which is 
considered his best work, containing thirty-two 
plates, very boldly etched, in a style somewhat 
resembling that of Piranesi. In 1816, Smith re- 
ceived his appointment of Keeper of Prints in the 
British Museum, and discharged the duties of hi? 
office in an exemplary manner. His last literary 
production was " Nollekens and his Times," which 
appeared in 1828, and soon ran through three edi- 
tions. The author was an executor of Nollekens, 
and was disappointed at not being a legatee ; he 
therefore wrote under the influence of excited 
feelings, and appears to have made a discreditable 
use of the privileges of intimacy he so many years 
enjoyed in the home and studio of his old instruct- 
or. Although containing many details that should 
never have been made public, and characterized by 
a degree of high coloring that greatly impairs its 
credibility, it contains many curious anecdotes of 
artists and distinguished personages, with whom 
Smith had been more or less intimately connected 
in the course of his long and rather eventful life. 
He left in manuscript the materials for a history 
of his own life and times, which has never been 
published. He died in 1833. There is a portrait 
of Smith by Skelton, engraved after a drawing by 
Jackson. 

SMITH, Samuel, a very talented landscape 
engraver, little known in the annals of art, as he 
wrought principally for other artists. The date 
of his birth or death is unknown ; and nothing of 
his history has been ascertained, except that he 
never married. He executed the landscape in 
Sharpe's Holy Family, after JReynolds, and several 
engravings after Loutherbourg. Among his other 
works is a beautiful plate of Wilson's Niobe, in 
the National Gallery, of which the figures were 
inserted by Sharpe. 

SMITH, Thomas, an emment English landscape 
painter, who resided chiefly at Derby, and was 



SMIT. 



901 



SMIT. 



usually styled Smith of Derby, to distinguish him 
from the Smiths of Chichester. He is said to 
have reached a distinguished rank in his profes- 
sion, without any other instructor than nature and 
his own genius, and to have been the first English 
artist who explored and depicted the charming 
scenery of the country. He painted almost all 
the picturesque views of the Peak of Derbyshire ; 
forty of these were engraved by Vivares, and pub- 
lished collectively by Boydell, in 1760; others 
were engraved by Mason and Elliot. He also 
painted sporting pieces. He died at the Hot-Wells, 
Bristol, in 1769. 

SMITH, John Raphael. This eminent art- 
ist was the son of the preceding, born about 1750. 
He was instructed by his father in painting, but 
he afterwards adopted engraving, in which he dis- 
tinguished himself, particularly in mezzotinto. 
He executed about one hundred and fifty plates 
from his own designs, and after other masters. 
His portraits are the best, and are much admired. 
He also practiced drawing in crayons. He died in 
1812. The following are among his most esteem- 
ed prints : 

PORTRAITS AFTER SIR JOSHUA REYNOLDS. 

The Duke of Devonshire. William Markham, Arch- 
■bishop of York. Richard Robinson, Archbishop of Ar- 
magh. Joseph Dean Bourke, Archbishop of Tuam. Lady 
Beaumont. Lady Caroline Montague, daughter of the 
Duke of Buccleugh. Mrs. Montague. The Marchioness 
of Thomond, when Miss Palmer. Lady Gertrude Fitz- 
patrick, daughter of the Earl of Ossory. Lady Catherine 
Pelham Clinton. Master Crewe, as Henry VIII. Master 
Herbert as young Bacchus. Lieut. Colonel Tarleton, Mrs. 
Musters. Lieut. General Sir "William Boothby. The Duke 
of Orleans, called Egalite, father of Louis Philippe. 

PORTRAITS AFTER VARIOUS MASTERS. 

Hyde Parker, Viee-Admiral of the Blue ; aftev North- 
cote. ' Miss Coghlan ; after Gainsborough. Mrs. Siddons 
as the Grecian Daughter ; after Lawrence. Edward 
Wortley Montagu, in an Oriental dress ; after Peters. 

SMITH, "William, George, and John, three 
English painters, born at Chichester, where they 
resided, and hence called the Smiths of Chiches- 
ter. William was born in 1707 ; George, in 1714 ; 
and ^ohn in 1717. William and John died in 
1764, and George in 1766. It is not known that 
they had the advantage of any instructor in art, 
but they established a kind of domestic academy, 
and, by a diligent study of nature, acquired a high 
reputation in the age in which they lived. Wil- 
liam devoted his attention chiefly to portraits, 
though he occasionally painted landscapes, flow- 
ers, and fruit. George excelled in landscape paint- 
ing, and reached an eminent rank in that depart- 
ment ; John also painted landscapes with nearly 
equal success. Their fame was widely spread by 
the admirable engravings by Woollett, Elliot, 
Peake, and others. John and George etched and 
finished with the graver fifty-three prints of land- 
scapes painted by themselves, and of subjects from 
Rembrandt. There is also a collection of " Select 
Views in England and Wales," after their designs, 
by Vivares, and others. 

SMITHSON, John, an English architect, who 
died in 1648. Little is known of him. He was 
early taken into the service of the Earl of New- 
castle. He built part of Welbeck in 1604, the 
riding house there in 1623, and the stables in 
1625. He made great additions to Bolsover Cas- 
tle for William Cavendish, Earl and afterwards 



Duke of Newcastle, who, it is said, sent him io It- 
aly to collect designs. He left a great many draw- 
ings and designs, some of which were purchased 
by Lord Byron from his descendant who lived at 
Bolsover. 

SMITS, LuDOLF, or Ludewyk, called Hart- 
camp, a Dutch painter, born at Dort in 1635, and 
died there in 1675. He acquired considerable rep- 
utation for his fruit and flower pieces, but his 
works, from his bad system of coloring, have most- 
ly perished. 

SMITS, Nicholas, a Dutch painter, born at 
Breda about 1672, and died there in 1731. Little 
is known of him. There are a few of his pictures 
at Breda, which are said to evince considerable 
talent. 

SMITZ, Gaspar, called by the English Mag-c/a- 
Icn Smith, a Dutch or Flemish painter, who went 
to London soon after the Restoration, where he 
acquired considerable reputation and employment. 
He painted several portraits in oil, and fruit and 
flower-pieces, which were admired. He also paint- 
ed some beautiful pictures of Magdalen s, and for 
these penitents his model was a beautiful English 
woman, whom he called his wife. He also taught 
drawing and painting. An Irish lady of rank, whom 
he had instructed, persuaded him to go to Dublin, 
where, at her recommendation, he found abundant 
employment at high prices. He received £40 for 
a picture of a single bunch of grapes. In his 
Magdalens, he always introduced a thistle in the 
foreground. Pilkington says that, though his rep- 
utation as an excellent painter was fully establish- 
ed, and he had as many commissions as he could 
possibly execute at high prices, yet his extrava- 
gance kept him always necessitous, and he died at 
Dublin in miserable circumstances in 1707. Gra- 
ham, in his Lives of the Painters, says he died in 
1689. He engraved a few plates in mezzotinto, 
from his own designs, among which are a Portrait, 
a Magdalen in a Grotto, and Hagar in the Wilder- 
ness. 

SMYBERT, John, a Scotch painter, born at 
Edinburgh about 1680. He served his appren- 
ticeship to a common house painter ; but aspiring 
to higher things, he went to London, where he 
studied diligently, and contrived to support him- 
self by copying for the dealers, and ornamenting 
coaches. His enthusiasm carried him to Italjr, 
where he spent three years in copying the works 
of Titian, Vandyck, and Rubens. He then return- 
ed to London, and commenced portrait painting. 
When his industry and ability had surmounted 
many difficulties, he was induced to engage in 
Bishop Berkeley's famous scheme of founding a 
universal college in Bermuda for the instruction of 
the heathen. He accompanied the Bishop to 
America; but the scheme failing, he settled in 
Boston about 1725, where he married, and con- 
tinued to practise portrait painting till his death in 
1751. There is a large picture by him of Bishop 
Berkeley's family at Yale College. Dunlap says 
he painted the portraits of the most eminent mag- 
istrates of New England and New York, who 
lived from 1725 to 1751. He is said to have hved 
on terms of friendship with Allan Ramsay, the 
author of the " Gentle Shepherd," with whom he 
corresponded after his settlement in America. 
His name is written Simbert, Smibert, and Smy- 
bert ; the last was the way he wrote it. 



SNAY. 



902 



SNYE. 



SNAYERS, Peter, an eminent Flemish paint- 
er, born at Antwerp in 1593. He studied under 
Henry van Balen, and distinguished himself by 
many excellent works in historj'- and portraits, 
battles, huntings, and landscapes. His pictures 
are well designed, his composition ingenious, his 
pencil free and delicate, and his coloring rich and 
harmonious, approaching that of Rubens. He par- 
ticularly excelled in battles and huntings, in which 
his figures and horses are designed and painted 
with great spirit and animation. He was much 
patronized by the Archduke Albert, who appoint- 
ed him his principal painter, 'with a large pension, 
and for whom he executed many of his choicest 
works. The Archduke sent some of them to the 
King of Spain, and Snayers afterwards received 
many commissions from that court. His works 
are found in the choicest collections of the Neth- 
erlands, and some in those of foreign countries, 
where they are highly esteemed. There are some 
of his pictures in the churches and pubhc edifices 
of Antwerp and Brussels. He was esteemed by 
Rubens, and Vandyck painted his portrait among 
the eminent artists of his country. He died in 
1670, though some say in 1662. 

SNAYERS, Henry. SeeSNYERs. 

SNELLINCKS, John, a Flemish painter, born 
at Mechlin in 1544. It is not known under whom 
he studied. He painted histor3^ but he chiefly ex- 
celled in depicting battles and skirmishes of caval- 
ry, which are ranked among the ablest productions 
of his time. His compositions are judiciously 
grouped, his figures and horses correctly designed, 
his attitudes spirited and graceful, and his aerial 
perspective and chiaro-scuro excellent. His pic- 
tures are full of fire and energy, and produce a 
surprising effect ; he expressed the hurry and con- 
fusion of an engagement with singular judgment 
and skill. He contrived to relieve and animate 
his figures in an artful manner, by contrasting 
them with the dark masses of clouds of smoke. 
According to van Mander, several princes and 
persons of the highest rank employed him inces- 
santly ; Vandyck esteemed him one of the ablest 
artists of the Low Countries, and painted his 
portrait, which was afterwards placed over his 
tomb in the church of St. James at Ant- 
werp. He resided chiefly at Antwerp, and w^as 
appointed battle painter to the Archduke Albert 
and the Archduchess Isabella, governors of the 
Netherlands. He died in 1638, at the great age 
of ninety-four years. His name is variously writ- 
ten, Snellincks, Snellinks, Snellinck, and Snel- 
linx. There is a single etching by this artist of 
his own portrait, after Vandyck. 

SNYDERS, Fra-ncis, a very eminent Flemish 
painter, born at Antwerp in 1579. He studied un- 
der Henry van Balen, and confined himself for 
some time to painting subjects of fruit, flowers, 
and still life, in which he excelled, but his genius 
led him to paint animals and huntings, which he 
designed in a grand style, with surprising fire and 
spirit. It has been asserted by D'Argenville and 
others that he went to Italy, and improved him- 
self by studying a long time with Benedetto Cas- 
tiglione; a palpable error, for Snyders was an old 
man when that artist began to distinguish himself, 
who was born in 1616. It is very probable that 
he never left Flanders, and it is certain that he 
frequented the studio of Rubens, who was a great 



admirer of his talents, and often employed him to 
paint the animals, fruit, &c. in his pictures, though 
he himself represented those objects in so admira- 
ble a manner. The favorite subjects of Snyders 
were all kinds of animals, combats of wild beasts, 
and subjects of the chase, which he represented 
with wonderful truth and spirit. His pictures are 
designed in a grand style, his composition is rich, 
varied, and ingenious. He gave to every animal 
an expression adapted to its species and situation ; 
nothing can be finer than his representations of the 
ferocious combats and attacks of wild beasts. 
His pencil is bold and free, peculiarly adapted to 
express the hairs, furs, and skins of the animals he 
introduced into his pictures ; his coloring is clear, 
chaste, and vigorous ; and his landscapes and ac- 
cessories are designed and executed in fine taste. 
He also excelled in interiors of kitchens and lard- 
ers, stored with all kinds of dead game, fish, fruit, 
vegetables, &c. When his designs required figures 
of a larger size than he was accustomed to paint, 
they were frequently inserted by Jordaens, and 
sometimes by Rubens, which gave an additional 
value to his works. He resided most of his life at 
Antwerp, and it is not known that he ever left 
that city, except for a short time, when he went to 
Brussels at the invitation of the Archduke Albert, 
who appointed him his principal painter, and for 
whom he executed some of his finest works. The 
Archduke sent some of these to Philip HI. of 
Spain, who commissioned Snyders to paint several 
large pictures of subjects from the chase, and combats 
of wild beasts, which are now in the old palace 
Buon Retiro. Snyders acquired an immense rep- 
utation, and found abundant employment from 
princes and persons of the highest distinction ; his 
works are now only to be found in public galleries 
and the choicest collections. Vandyck painted his 
portrait, which was in the Orleans collection. 
There is a set of sixteen spirited and masterly 
etchings of various animals, marked Liure (VAni- 
maux Peint et Grave par Senedre, which have 
heretofore been attributed to him, but Bartsch 
(Peintre Graveur, torn, iv.) has shown that they 
were executed by John Fyt. The first impres- 
sions from the plates are signed Johannes' Fyt, 
pinxit et fecit, or Fyt, pinx. et fee. They were 
pubhshed by Fyt in 1642, dedicated to the Marquis 
de Solerio, and are extremely rare. The plates af- 
terwards passed into the hands of some person 
who erased the name of Fyt, and substituted that 
of Snyders. There are also variations of these 
prints ; particularly some in which the lettering is 
written backwards, and the prints reversed, at- 
tributed by some to imitators ; but these are what 
the trade call transfers ; they are produced by 
laying sheets of paper on the fresh impressions, 
and subjecting them to pressure, by which means 
the prints are duplicated, but the transfers are in 
reverse. The author has several transfers in his 
possession, after Rubens and other masters. Sny- 
ders died at Antwerp in 1657. His name is often 
erroneously written Sneyders. 

SNYERS, or SNAYERS, Henry, a Flemish 
engraver, born at Antwerp in 1612. It is not 
known with whom he studied, but he imitated the 
manner of Scheltius Bolswert with considerable 
success, and probably was the pupil of that mas- 
ter. His drawing is pretty correct, and his prints 
exhibit much of the character of their originals. He 
engraved some portraits and other subjects, after 



SOAN. 



903 



SODO. 



Kubens. Vandyck, Jordaens, Titian, and other mas- 
ters. He is generally called Snayers, but he 
signed his prints, Heinrich or H. Snyers. 

SOANE, Sir John, a distinguished English ar- 
chitect, born at Reading in 1753. His family was 
of very obscure origin. At an early age, he was 
taken into the service of Dance, and afterwards 
studied under Holland. The first work which 
brought him into public notice was a design for a 
triumphal bridge, which drew the gold medal of 
the Royal Academy. At the recommendation of 
Sir W. Chambers, in 1777, Soane was sent to Ita- 
ly, with a pension. An octavo volume of his ar- 
chitectural designs was published the year after 
his departure. During a three years' residence in 
Italy, he studied the remains of antiquity and the 
finest modern edifices with great assiduity, and 
made several original designs, among others, for a 
British Senate House and a Royal Palace. He 
also made the acquaintance of Mr. Thomas Pitt, 
afterwards Lord Camelford, who assisted him by 
his influence. On returning to England, he was 
commissioned to execute several country residences 
in Norfolk, Suffolk, and other counties, the plans 
and elevations of which he published in a folio 
volume in 1788. At the death of Sir Robert Tay- 
lor, in the same year, Soane was appointed to the 
lucrative office of architect of the Bank of Eng- 
land. Other advantageous appointments followed ; 
that of Clerk of the Works of St. James' palace, 
1791 ; Architect of the Woods and Forests, 1795 ; 
Professor of Architecture in the Royal Academy, 
in 1806 ; and Surveyor of Chelsea Hospital, 1807. 
In addition to his public employment, he received 
many commissions for private buildings, and was 
constantly occupied for many years. He was in- 
dustrious and indefatigable in the practice of his 
profession. His works are eminently distinguished 
for convenient arrangement, and have many strik- 
ing beauties, though frequently marred by defects. 
He had great ingenuity and a surprising faculty 
of contrivance, often producing many happy com- 
binations, particularly in regard to sky-lights ; 
and he is entitled to no small praise, if not for in- 
venting a new order of architecture, yet for being 
the first to apply and naturalize in England the 
Tivoli Corinthian. In the Bank, he used it with 
great success, and the northwest corner of that 
magnificent edifice surpasses all his other works. 
In 1828, Soane published his folio volume of 
"Public and Private Buildings," containing de- 
signs of many edifices erected by him in the pre- 
ceding years. He made liberal donations to aid 
the progress of art, such as £1000 to the fund for 
"building the Duke of York's monument, and simi- 
lar sums to the Royal British Institution. He 
died at the age of 84, in 1837. 

SOBLEO. See Desubleo. 

SODERINI, Mauro, a painter born at Florence 
about 1690. He studied with Gio. Giuseppe dal 
Sole, and was one of his ablest pupils. He exe- 
cuted some works for the churches at Florence, 
but wrought mostly for individuals. Lanzi says 
he enjoyed the reputation of an able designer, and 
that he aimed at beauty and effect. There is a fine 
picture by him in the church of S. Stefano, repre- 
senting St. Zanobi restoring a dead Child to life ; 
and another of the Death of St. Joseph, in the Ca- 
thedral, attributed to him by some, but by others 
to his fellow-pupil, Gio. Domenico Ferretti. The 



time of his death is not known. He was living m 
1730. 

SODOMA, II. SeeRAzzi. 
SODOMA, GiOMo or Girolamo del', a Sienese 
painter, of whom little is known with certainty. 
According to Yasari, he studied with Gio. Anto- 
nio Razzi, called II Sodoma. He is confounded by 
Orlandi and Bottari with .Jacopo Pacchiarotti, the 
rival of Razzi, which has led to some discrepancy. 
Lanzi says he was without doubt a pupil of Razzi, 
and he supposes he died young. 

SOENS, John, a Dutch landscape painter, born 
at Bois-le-Duc in 1553. He first studied with 
James Boon, and next with Giles Moestaert. He 
made great progress, and was considered one of 
the most promising young artists of his time, lie 
went early to Rome, where he greatly improved 
himself, and his works were much admired. He 
was employed by the Pope and several of the no- 
bility in embellishing their palaces. Fi'oin Rome 
he went to Parma, where he was taken into the 
service of the Dake. for whom he executed many 
works. His landscapes are designed in a grand 
style, and his manner was prompt and full of vigor ; 
he had an excellent knowledge of perspective, and 
his distances recede with a pleasing degradation j 
his figures are correctly drawn and touched with 
great spirit. He died at Parma in 1611. Zani 
says he was born in 1547. 

SOEST, or ZOEST, Gerard, a German paint- 
er, born at Westphalia in 1637. He learned the 
art in his own countr}'-, and went to England 
about 1656, where he painted portraits with repu- 
tation, and found abundant employment. Pilking- 
ton says he was one of the rivals of Sir Peter Lely 
His heads are animated and full of truth, his col 
oring warm, and he gave his figures great relief 
At first he finished his pictures ver}'- highly, and 
painted his draperies, particularly satins, in the 
manner of Terburg. He however enlarged his 
manner, by studying the works of Vandyck, and 
painted with a bolder and freer pencil. He suc- 
ceeded best in his male portraits ; his manners are 
said to have been too coarse and ungraceful to re- 
commend him to the softer sex. He died at Lon- 
don in 1681. 

SOEUR, Hubert le, a French sculptor, ac- 
cording to Walpole, was probably born about 1580. 
He visited Italy, and studied under GiovanHt da 
Bologna. Very little is known of the circum- 
stances of his life, except that he visited England 
in the first part of the 17th century, and was em- 
ployed in 1633 by the family of Howard Arundel^ 
to execute the bronze equestrian statue of Charles 
I. at Charing Cross. At the commencement of the 
civil war it had not been erected, but was sold to 
a brazier named John Rivet, with orders to break 
it in pieces. The latter buried it in the earth, and 
kept it concealed until the Restoration. About 1678 
it was placed in its present situation. The figure of 
the horse is heavy, and generally faulty in the 
model ; but the statue of the monarch is exceed- 
ingly dignified and expressive, and reflects great 
credit upon the artist. Soeur executed many 
other works in brass and bronze in various places 
in England, most of which have been destroyed. 
Walpole mentions a bronze bust at Stourhead, re- 
presenting Charles L, with a helmet and dragon. 

SOGGI, NiccoLO, a painter born at Florence in 
1474. He was a scholar of Pietro Perugino, whose 



SOLA. 



904 



SOLD. 



manner he imitated, though his works are de- 
signed and executed in a more dry and labored 
style. He resided chiefly at Arezzo, where there 
are some of his pictures in the churches, and where 
he died in 1554. 

SOGLEANI, Giovanni Antonio, apainter born 
at Florence in 1481, and died in 1533. He stud- 
ied with Lorenzo di Credi for several years ; but 
he afterwards imitated the manner of Bartolomeo 
di S. Marco, called del la Porta, though not very 
successfully. His genius was better adapted to 
the simple and agreeable style of his instructor, 
than to the grand manner of Porta. Lanzi says he 
lived with Credi for twenty-four years, in imita- 
tion of whom he was content to paint less than his 
cotemporaries, that he might do it better. "Few 
of his scholars can compare with him for the na- 
tural appearance he gave the naked, as well as the 
clothed figure, or for the conception, as Vasari 
terms it, of • handsome, good-natured, sweet, and 
graceful features.' Like da Vinci, he possessed the 
rare talent of representing images of virtue by 
the faces of his saints, and of vice by those of his 
wicked characters. This is exemplified in his Cain 
and Abel, in the cathedral of Pisa, in which he 
introduced a landscape that would do credit to 
any painter. With equal felicity in the figures, 
and the back-ground, he painted the Crucifixion 
of St. Arcadius, in the church of S. Lorenzo at 
Florence. He entered into competition with Pie- 
rino del Vaga, Mecherino, and Andrea del Sarto at 
Pisa, where he was noted for his dilatoriness, but 
admired for that happy simplicity and elegance 
which he always preserved. Some have praised 
a few of his pictures, as inclining to the manner 
of Raffaello.'' 

SOIARO, II. See Bernardo Gatti. 

SOITZ. G. C, a German engraver, who flour- 
ished at Vienna about 1530. He executed some 
plates for the booksellers. 

SOIUS, Philip. See Sericcus. 

SOL ART, Andrea, called also del Gobbo, and by 
Vasari, Andrea Milanese, a painter who flourished 
at Milan about 1530, Vasari, in his life of Correg- 
gio, commends him as a beautiful designer, and an 
excellent colorist ; he mentions several of his works 
in private collections, and his Assumption of the 
Virfin in the church of the Carthusians at Pavia, 
where Torre says he wrought in conjunction with 
Salaino. Zani says he was born in 1458. and 
died in 1508, and thinks he is the same as Andrea 
Salai or Salaino. the scholar of Leonardo da Vinci, 
but he is evidently in error. Several writers have 
confounded the history of Solari with Salaino, who 
is also called Salai, and Solaino, from similarity 
of names. See Salaino. 

SOLARIO, Antonio, called Lo Zingaro (the 
Gipsy), a painter born, according to Dominici, at 
Civita, in Abruzzo, in the kingdom of Naples, 
about 1382, and died about 1455. There is con- 
siderable discrepancy about this old painter. Lan- 
zi says, " before Zingaro introduced a manner ac- 
quired in other schools, the art had made little 
progress in Naples and her territories. This is 
clearly proved by the works of Colantonio del 
Fiore (the scholar of Francesco di Simone), who 
lived till the year 1444." After giving the life of 
that pamter and of Angiolo Franco, his scholar and 
an imitator of Giotto, he proceeds, " the art how- 



ever, was more advanced by Antonio Solario, 
originally a blacksmith, and commonly called Lo 
Zingaro. His history has something romantic in 
it, like that of Quintin Matsys, who, from his first 
profession, was called il Fabhro (the smith), and 
became a painter from his love to a 3'oung girl who 
promised to marry him when he had made himself 
a proficient in the art of painting. Solario, in the 
same manner, being enamored of the daughter of 
Colantonio del Fiore, and receiving from him a 
promise of her hand in ten years, if he became an 
eminent painter, forsook his furnace for the acad- 
emy, and his file for the pencil. He went to Bo- 
logna, where he studied several years with Lippo 
Dalmasio, called Lippo delle Madonne, from his 
numerous and beautiful pictures of the Virgin. 
On leaving Bologna, he visited other parts of Italy, 
to study the works of the best artists in the va- 
rious schools, as Vivarini in Venice, Bicci in Flor- 
ence, Pisanello and Gentile da Fabriano in Rome. 
It has been thought that he assisted the two last, 
and Luca Giordano affirmed that among the pic- 
tures in the Lateran, he recognized some heads 
which were indisputably by Solario. He excelled 
in this particular, and excited the admiration of 
Marco da Siena himself, who declared that his 
countenances seemed alive. He became also a 
good perspective painter for those times, and re- 
spectable in historical compositions, which he en- 
livened with landscape in a better style than was 
practiced by other painters before him ; he dis- 
tinguished too, his figures by a drapery peculiar 
to the age in which he lived, and carefully drawn 
from nature. He was less happy in designing his 
hands and feet, often being heavy in his attitudes 
and crude in his coloring. On his return to Na- 
ples, he gave proofs of his skill, and is said to have 
married the daughter of Colantonio, and to have 
taught and painted there under the patronage of 
King Alfonso till about 1455, when he died." He 
painted numerous pictures, usually portraits of 
Madonnas, Magdalens, and Saints, for the churches 
of Naples, very beautiful in form and expression. 
His most celebrated work was the choir of S. Se- 
verino, painted in fresco, representing, in several 
compartments, the life of S. Benedetto, into which 
he introduced an incredible number and variety of 
figures and objects. In the church of S. Domenico 
Maggiore, he painted a Pieta, or Dead Christ in 
the lap of the Virgin, and in that of S. Pietro Mar- 
tire, an altar-piece of St. Vincenzio with some sub- 
ject from the life of that saint, in which he is 
said to have surpassed himself Thus he com- 
menced in Naples a new epoch, which the Cav. 
Massimo Stanzioni termed the school of Zingaro. 
There are several of his works in the Museo Bor- 
bonico. Some writers assert that Solario was a 
Venetian, and Rosini gives an outline, (plate 37) 
of a picture of the Virgin and Infant Christ, with 
St. John, inscribed Antonius da Solario Vene- 
tus, f. The composition has the truth and sim- 
plicity of Raffaelle, and evidently belongs to a later 
age. Some writers have mixed up together the 
histories of Andrea Salaino, Andrea Solari, and 
Antonio Solario, but with regard to the last there 
can be no doubt as to his belonging to the Nea- 
politan school, the time he flourished, and the au- 
thenticity of his works. 

SOLDANI, Massimiliano, an Italian sculptor 
and medalist, was born at Florence in 1658. Du- 
ring his infancy, his parents removed to a country 



SOLE. 



905 



SOLE. 



seat at Petriolo. As he grew up, he manifested 
great inclination for art, and was finally sent by 
an uncle to Florence, where a model in terra cotta, 
representing the Assumption of the Virgin, gained 
him the patronage of Baldassare Franceschini, who 
placed him under the instruction of Giuseppe Ar- 
righi. After progressing rapidly for some time, he 
was sent by the Grand Duke Cosmo IIL, with a 
pension, to Rome, where he studied design under 
Giro Ferri, and sculpture under Ercole Ferrata. 
Manifesting superior excellence in medal engrav- 
ing, he was commissioned by Queen Christina of 
Sweden to execute one hundred medals, illustra- 
ting the events of her reign ; but in consequence 
of his recall to Florence by the Grand Duke, he 
only completed five. Before his departure, how- 
ever, he executed medals of the Cardinals Azzoli- 
no, Chigi, and Rospigliosi ; also those of Giro 
Ferri and Ercole Ferrata, his instructors. Inno- 
cent XL was so greatly pleased with the beauty 
of these works, that he wished Soldani to engrave 
his head ; but he was obliged to depart for Flor- 
ence, being a pensioner of the Grand Duke. On 
arriving there, he received apartments in the build- 
ings of the old mint, and proceeded to execute his 
magnificent bas-relief of the Decollation of St. 
John. He afterwards visited Paris, where he en- 
graved a large medal of Louis XV., struck on oc- 
casion of the peace, representing on the reverse 
side, Hercules reposing after destroying the Hy- 
dra. In 1686, he returned to Florence, where he 
executed many medals, statues, and bas-reliefs, in 
silver and gold, with great delicacy and beauty. 
After the death of Cosmo IIL, Soldani found in 
his successor Ferdinand, the same favor. Among 
his principal works are, the magnificent bronze can- 
delabras in gilded bronze, in the Nunziata, at Flor- 
ence ; the mausoleums of Marc' Antonio Zondadari, 
and Don Manuel de Villena, grand master of the 
Knights of Malta ; also twelve busts, three bronze 
statues, and several bas-reliefs, executed by the 
commission of the Prince of Lechtenstein, for his 
rich Museum at Vienna. Soldani established a 
successful school, which produced a number of 
able artists, among whom was Gio. Battista Fog- 
gini. He died in 1740. 

SOLDI, Andrea, a painter born at Florence 
about 1702. He went to Aleppo, where he paint- 
ed the portraits of some English merchants, at 
whose recommendation he went to London, about 
1735. He met with considerable employment 
there in portraiture, became a member of the 
Chartered Society of Artists, and exhibited with 
them till about 1766, when he is supposed to have 
died. 

SOLE, Antonio dal, called II Manchino, a 
painter born at Bologna in 1606. He studied with 
Francesco Albano, but afterwards devoted himself 
to landscapes, in which he became very eminent, 
and as he always wrought with his left hand, he 
was called U Manchino da' Paesi (the left hand- 
ed landscape painter.) His pictures represent the 
most charming scenery, and delightful situations, 
his perspective is admirable, and his distances re- 
cede with a pleasing degradation ; his coloring is 
clear and lively, and his touch delicate and free. 
He decorated his landscapes with groups of grace- 
ful and beautiful figures, designed and composed 
in the style of Albano. He died in 1684. Crespi 
and others place his birth in 1597, and his death 



in 1677 ; but Zani and Lanzi say that he was born 
in 1606, and died in 1684. Oretti copied the same 
dates from the Register of la Maddaleua. 

SOLE, Giovanni Giuseppe dal, was the son 
of the preceding, born at Bologna in 1654. He re- 
ceived his first instructions from his father, and 
next studied with Domenico Maria Canuti, whom 
he left to become the disciple of Lorenzo Pasinelli, 
by whose instruction and advice he gradually rose 
to great distinction. His life is full of instruction 
and encouragement to young artists. He did not 
early exhibit any extraordinary powers, and was 
diffident of his own performances. He labored 
incessantly to improve himself, and following the 
example of Pasinelli, he went to Venice to im- 
prove his coloring by studying the works of Paul 
Veronese. Even after he had executed several 
admirable works, and acquired distinction — when 
he was employed to paint the Martyrdom of St. 
Vittoria for the cathedral of Mirandola, in competi- 
tion with his fellow pupil, Gio. Antonio Burrini, 
he was thrown into despair on beholding the pic- 
ture of his rival so greatly superior to his own. 
Pasinelli, the common master, reassured him by 
predicting that he would become a better artist 
than Burrini, whose facihty of genius would at 
length betray him into mannerism, which predic- 
tion was exactly fulfilled, for though he practiced 
with tolerable care for fifteen years, he at length 
formed his second style, that of a mere machinist. 
Lanzi, after giving the life of Burrini, and de- 
scribing the means by which he lost his reputa- 
tion, thus contrasts the picture of dal Sole with 
his. ''' Gio. Giuseppe dal Sole, on the contrary, burn- 
ed each day to become more perfect, and gradually 
raised himself to one of the first posts among the 
artists of his age. He had constant commissions 
from noblemen, both native and foreign, and re- 
ceived invitations also from the courts of England 
and Poland. For some time he followed the style 
of Pasinelli, but in order to improve it from the 
same sources, he made frequent visits to Venice, 
though he never attained to that degree of beauty 
in his most elegant subjects that formed the 
boast of his master. In many particulars how- 
ever, he displays exquisite grace, as in the hair 
and plumes of his angels, and especially in his 
accessories, such as veils, bracelets, crowns, and 
armor. He seems also to have been more in- 
clined to treat powerful themes than Pasinelli; 
more observant of costume, more methodical in 
his composition, and more learned in point of ar- 
chitecture and landscape. In these, indeed, he is 
almost unique, and the most beautiful specimens 
are to be seen in the Casa Zappi in Imola, re- 
presenting Evening, Night, and Morning, all very 
pleasingly distributed with sober tints, such as 
the subject required. His other works in most 
instances, exhibit the most lively play of vivid 
fluctuations of light, more especially in his holy 
pieces, and celestial visions, as we see in St. Peter 
of Alcantara, in S. Angiolo at Milan. Moreover 
he was more exact and polished than Pasinelli, 
not that he was by any means deficient in celerity 
in conducting his works, but esteemed it unworthy 
of an upright character, to bestow upon them less 
perfection than he was capable of doing. Being 
employed at Verona by the noble family of Giusti, 
where he left several mythological pieces and 
scripture histories, truly beautiful, he executed 



SOLE. 



906 



SOLF. 



one of Bacchus and Ariadne, which artists pro- 
nounced excellent, in one week ; yet he erased the 
whole and remodeled it according to his own taste, 
declaring that it was enough to have shown his 
rapidity of hand to satisfy others, but that it be- 
came his duty by additional accuracy to satisfy 
himself Hence, his fresco in the church of S. 
Biagio at Bologna, cost him an infinite deal of 
labor in its execution; and in conducting his altar- 
pieces, which are few and valuable, as well as in 
his pictures for individuals, which are numerous, 
he called for high remuneration, persevering in his 
determination to paint only with care." Gio.Giusep- 
pe dal Sole, like many artists, had two manners, the 
first founded on that of Pasinelli, and the other, 
which he practiced later in life, on that of Guido, 
and which procured for him the surname of ttie 
Modern Guido. Very many of the pictures which 
he executed for the collections were painted in this 
style. Lanzi says a large portion of his pictures 
nearly approach the taste of Guido. He instruct- 
ed many pupils. He executed many spirited etch- 
ings from his own designs, and after Pasinelli. 
He died at Bologna in 1719. 

rSOLEMAOKER, J. F., a painter of whom 
nothing is known except by his pictures. 
He is said to have flourished in the time of 
Wynants, Ruysdael, and Berghem. He imitated 
the manner of Berghem sufficiently to make his 
pictures pass for the works of that master with 
the unlearned in such matters. He imitated his 
grouping, forms, and cattle, in some instances, 
with considerable success, but his handling is less 
delicate and free, his coloring less transparent, 
his shadows are dark, and the general appearance 
of his pictures heavy. His pictures, though they 
cannot be compared with the admirable produc- 
tions of Berghem, possess considerable merit. 
His greatest skill lay in painting cows, sheep, and 
goats. There is a piquancy in his manner, a 
pleasing rural choice in his subjects, and a freedom 
in the distribution of his objects, which would 
make his pictures valuable, were it not for their 
opacity of coloring. He is also said to have some- 
times imitated Wouwerman, and occasionally to 
have imitated the animals and figures in the land- 
scapes of Wynants, His pictures are generally 
of small size, and always painted on panel. His 
name is sometimes written Soolemaker, and Zoole- 
maker. 

SOLERT, Giorgio, a painter born at Alessan- 
dria, where he died in 1587. It is not known un- 
der whom he studied, but he married the daughter 
of Bernardino Lanini, for which reason some sup- 
pose he was his pupil, though he did not follow 
his style. He excelled in portraits, in which branch 
Malvasia ranks him equal to Bartolomeo Passe- 
rotti, Giuseppe Arcimboldi, and Gio. da Monte. 
Lanzi highly commends two of his historical 
works. One is an altar-piece in the church of the 
Conventuali at Alessandria, representing the Vir- 
gin, to whose protection Sts. Augustin and Fran- 
cis are recommending the city ; there is a fine 
landscape in the background in the style of Paul 
Bril. The other is in the church of the Dominicans 
at Casale, and represents St. Lorenzo kneeling be- 
fore the Virgin with the holy Infant ; near are 
three cherubs playing with a huge gridiron, the 
symbol of his martyrdom. Lanzi says in this 
picture we trace most distinctly a follower of Raf- 



faelle in the chasteness of design, the beauty and 
force of the countenances, and the finished expres- 
sion. He had a son named Raffaelle Angiolo, but 
he did not rise above mediocrity. 

SOLFAROLO, II, a German painter, who, ac- 
cording to Lanzi, flourished at Milan about the 
middle of the 17th century, where he acquired 
considerable reputation for his landscapes. His 
name was Gruenbrech, or Gruembroech, and he 
was called Solfarolo for his night- scenes, fires, and 
conflagrations. He is not mentioned by the Dutch 
or German writers. 

SOLTMENA, Angelo, a Neapolitan painter, 
who flourished at Nocera de' Pagani, a place about 
eighteen miles from Naples, about the middle of , 
the 17th century. He studied under the Cav. |j 
Massimo Stanzioni at Naples, and acquired some 
distinction in his time, but his fame was entirely 
eclipsed by his son Francesco. 

SOLIMENA, Cav. Francesco, called L'Abate jj 
Ciccio. This eminent painter was the son of the 
preceding, and was born at Nocera de' Pagani, in 
1657. His father being in easy circumstances, in- 
tended his son for the profession of law, and had 
him instructed in classical learning, in which he 
showed apt parts ; he had a passion for poetry 
and design, and is said to have passed whole nights 
in the pursuit of his favorite studies. The Car- 
dinal Orsini, afterwards Pope Benedict XIII., in 
passing through Nocera, honored Solimena with a 
visit, and expressed his approbation of the progress 
Francesco had made in his studies. Solimena 
complained of his son's unwise application of his 
time, which prevented him from making such pro- 
gress as he might, and requested the Cardinal to 
remonstrate with the youth. The prelate desired 
to see the designs, and was so struck with the un- 
common talent they evinced, that he advised the 
father not to thwart his son's inclination, but to 
allow him to follow a profession for which nature 
had evidentl}'^ designed him. Angelo followed this 
advice, and began to instruct Francesco with great 
care, so that he was soon able to design from the 
naked figure. After studying two years with his 
father, he went to Naples in 1674, at the age of 
seventeen, and entered the school of Francesco di 
Maria, but soon left it, as he thought that master 
too exclusively devoted to design. He then en- 
tered the academy of Giacomo del Po, where he 
assiduously designed from the naked figure, and at 
the same time began to color. Thus, says Lanzi, 
he had the advantage of being the scholar of two 
of the best masters of the Neapolitan school, and 
he alwaj'^s studied and copied their works. He 
next proceeded to Rome, where the works of Pie- 
tro da Cortona were for some time the models of 
his imitation. Lanzi says, "at first he imitated 
Pietro da Cortona, but afterwards formed a man- 
ner of his own, still retaining that master as his 
model, and copying entii-e figures from him, which 
he adapted to his new style. This new and stri- 
king style of Solimena approaches nearer to that 
of Preti than any other. The design is not so 
correct, the coloring not so true, but the faces 
have more beauty ; in these he sometimes imitated 
Guido, sometimes Maratti, and they are often se- 
lected from nature. Hence he is called by some 
il Csi]?ihrese ringentilito (ennobled). To the style 
of Preti he added that of Lanfranco, whom he 
named his master, and from whom he adopted that 



SOLI. 



m 



SOLI. 



curving form of composition which, perhaps, he 
cari-ied beyond propriety. From these two mas- 
ters, he took his chiaro-scuro, which he painted 
strong in his middle age, but softened as he ad- 
yanced in years, and then attached himself more 
to facility and elegance of style. He carefully de- 
signed every part of his picture, and corrected it 
from nature before he colored it ; so that in pre- 
paring his works, he may be included among the 
most correct, at least in his better days, for he 
latterly declined into general facility and opened 
the way to mannerism. He possessed an elegant 
and fruitful talent of invention, for which he was 
celebrated by the poets of his day. He was also 
characterized by a sort of universality in every 
style he attempted, extending himself to every 
branch of the art ; history, portrait, landscape, an- 
imals, fruit, architecture, utensils, &c. ; and what- 
ever he attempted, he seemed formed for that alone. 
he did everything so well. As he lived to the age 
of ninety, and was endowed with great celerity of 
pencil, his works, like those of Giordano, were 
spread over all Europe. Of that artist, he was at 
the same time the competitor and the friend, less 
powerful in genius, but more correct in principles. 
"When Giordano died, Solimena became the first 
painter in Italy. Notwithstanding what his rivals 
said of his colors not being true to nature, he be- 
gan to ask extraordinary prices for his pictures, 
and still abounded in commissions." 

Solimena executed an incredible number of 
works, in oil and fresco, of large and small size, 
for the churches and public edifices of Naples, for 
the kings, princes, and nobility of Europe. The 
King of Naples held him in such esteem, that he 
not only commissioned him to paint several pic- 
tures, sat to him for his portrait, and conferred on 
him the honor of knighthood, but he desired him 
to paint a picture representing himself in famil- 
iar conversation with Solimena. He took delight 
in the instruction of youth, and had many scholars, 
to whom he pointed out, in the most familiar man- 
ner, the principles and practice of the art, and the 
observations he had made ; he took especial pains 
to make his disciples acquainted with the perfec- 
tions of the most celebrated masters, inculcated 
the advantage of seeking out the most beautiful 
features, forms, and proportions from nature, and 
uniting them with the correctness, elegance, and 
grace of the antique. Solimena, notwithstanding 
his great abilities and merits, is reckoned by Lanzi 
and other judicious critics, among those artists who 
caused the declension, and accelerated the down- 
fall of Italian art. Pietro da Cortona, Carlo Ma- 
ratti, Luca Giordano, Solimena, Sebastiano Conca, 
and Pompeo Battoni, regularly followed each other 
in depravity of style, and by the influence of their 
immense reputation, gradually reduced the art 
from the correctness, elegance, and dignity of Raf- 
faelle, to a species of mannerism. With Solimena, 
this was not intentional; as he advanced in years, 
his facility led him imperceptibly to become less 
studied and correct, and at length, the gradual 
failure of his sight increased the difficulty, so that 
his later performances are not to be compared with 
his earlier works. Such was his reputation in 
his time, that anything from his hand was ad- 
mired and esteemed. The history of art hard- 
ly furnishes an example of rapid execution which 
did not eventually prove injurious to the reputa- 
tion of the artist ; hence great facility of hand is 



termed by the best critics dangerous. Michael 
Angelo and Raffaelle, though they possessed the 
greatest facility of hand, never practiced it, but 
cm*bed it within proper bounds. 

Among the most celebrated works of Solime- 
na are the Sacristy of the PP. Teatini in S. Paolo 
Maggiore ; the arches of the chapel in the church 
of the Holy Apostles, particularly commended ; 
the chapel of S. Filippo in the church of the Ora- 
torio, conducted with extreme care ; the Sanfelice, 
so called from his noble scholar Ferdinand ; the 
great altar in the church of the monks of S. Gau- 
dioso ; four immense pictures in the choir of the 
church of Monte Cassino. and many others in the 
churches at Naples, and various places in the king- 
dom. His private pictures are to be found in all the 
best collections of Naples. At Rome, the princes 
Albani and Colonna, have some large compositions 
by him, and the Bonaccorsi family, a great num- 
ber in the gallery of Macerata. One of his best 
works is a picture of the Last Supper, in the Re- 
fectory of the Conventuali at Assisi. He died at 
Naples in 1747. His name is generally, but er- 
roneously written Solimene. Dominici read it 
Solimena on his tomb. 

SOLES, Juan de, a Spanish painter who flour- 
ished at Madrid in the first part of the 17th cen- 
tury. He studied with Alonso Herrera of Sego- 
via. Little is known of him, or his works. Ber- 
mudez says he did not practice much as a pro- 
fessor. 

SOLIS, Francisco de, was the son of the pre- 
ceding, born at Madrid in 1629. According to 
Bermudez, his father intended him for the church, 
but his passion for painting induced him to instruct 
him in the art. At the age of eighteen he painted 
a picture for the Capuchins of Villarubia de los 
Ojos, which being exhibited on a public solemnity 
at the convent de la Paciencia at Madrid, attracted 
the notice of connoisseurs, and Philip IV. was so 
much pleased with the performance, that he di- 
rected the artist to sign it with his name and age. 
This incident brought him immediately into no- 
tice, and he soon gained abundant employment. 
When the Queen Louisa of Orleans, made her so- 
lemn entry into Madrid, he contributed to the 
splendor of the decorations by a series of paint- 
ings representing the labors of Hercules, from the 
designs of Claudio Coello ; but the work which es- 
tablished his reputation was a picture represent- 
ing the Immaculate Conception of the Virgin. 
Henceforward, says his biographer, his coficeptions 
were all the vogue. He contributed much to the 
advancement of Painting in Spain. He opened an 
academy in his house, to which he admitted young 
artists, free of expense, to draw from the living 
model. He wrote an account of the Spanish paint- 
ers, sculptors, and architects, and engraved several 
portraits for its embellishment, but he did not live 
to publish the work, and the manuscript was after- 
wards lost. He left books, prints, and drawings 
worth 6000 ducats. He died in 1684. 

r^ Q «v, SOLIS, Virgil, a 
or \^or I $• German engraver, 
Y \-/ born at Nuremberg 

in 1514, and was living in 1581. Little is known 
of him with any certainty, except by his prints, 
executed both on wood and copper, amounting to 
upwards of 800, which are usually marked with 
one of the above monograms. His prints are 



SOLO. 908 

chiefly from his own designs, and of small size ; 
hence he is classed with the little masters. His 
copper plates engraved in the early part of his 
life, resemble the works of Hans Sebald Beham, 
but when he afterwards engraved after the Italian 
masters, he adopted a style more open and spirited. 
His wooden cuts are similar to those of Jost Am- 
man, both in respect to composition and execution. 
His works prove him to have possessed a fertile 
invention, and though the design is stiff and for- 
mal, some of them possess great merit. As with 
many of the old German artists, it is a disputed ques- 
tion, whether he engraved on wood himself at all, 
or employed others to execute the cuts from his 
designs. It is a profitless discussion, and adds or 
detracts little from the value of their productions. 
Doubtless Solis not only wrought himself, but 
employed others to assist him in the execution of 
his numerous works, as is done at the present day. 
There is a great difference in his prints, especially 
in his wooden cuts, and some of them bear the 
mark of the engraver or assistant, in addition to 
his own, which signifies that the print was de- 
signed and traced by himself, which made the 
work practically his own. The following are his 
principal prints : 

A variety of small engravings on copper, representing 
hunting subjects ; dated 1541. A set of Vases and Orna- 
ments for goldsmiths ; do. The Marriage of Cupid and 
Psyche, the Assembly of the Gods. Mount Parnassus, and 
several other subjects ; after Rafaelle, The Bath of the 
Anabaptists ; copied from Aldegrever, 

WOODEN CUTS. 

Several sets of small historical subjects from the Bible. 
The Metamorphoses of Ovid, in one hundred and seventy 
cuts; published at Frankfort in 1563. A set of cuts for 
the 'Euxhlems of Nicholas Reuser. 1581. Another set of 
cuts for the Emblems of Andreas Alciatus. 1581. 

SOLOMAYOR, Luis de. See Sotomayor. 

SOLON, an ancient engraver on gems, who flour- 
ished at Rome in the time of Augustus, and was a 
cotemporary of Dioscorides. His name is aflBxed 
to an ancient portrait, which for a long time was 
supposed to represent the Athenian Lawgiver, but 
has since been attributed to this artist, and proba- 
bly represents Maecenas, whom he often portrayed. 
Among his other productions were, a portrait of 
Diomed sitting; a head of Medusa; Cupid stand- 
ing ; and a head of Hercules. 

SOLVYNS, Francis Balthasar. This painter 
and engraver was born at Antwerp in 1760. Af- 
ter acquiring a knowledge of the art, he practiced 
marine painting for some time, and executed, among 
other works, a View from the port of Ostend, en- 
graved on a large plate by Daudet, and now in the 
palace at Vienna. His taste for travel induced 
him to embark in the squadron of Sir Home Pop- 
ham, for the Red Sea and the Indian Ocean. He 
made many exact designs of the shores of the Red 
Sea; and on arriving at Calcutta, he commenced 
making designs to illustrate the manners and cus- 
toms of the East Indians. A part of these he en- 
graved and published at Calcutta in 1799, and, ac- 
cording to his own account, they were favorably 
received. Solvyns afterwards returned to Europe, 
and published at Paris his entire work in four folio 
volumes, in 1809, and the three succeeding years, 
containing 288 colored plates, engraved by himself, 
with descriptions in English and French. It bears 
the marks of great care and expense ; but it met 
with little encouragement, and involved the author 



SOME. 



in pecuniary embarrassment. The subscription 
price was ^500. Solvyns died at Antwerp in 1824.! 

SOLY, Arthur, an obscure English engraver, 
who flourished about 1683. He was employed by 
Robert White, and engraved a few portraits for 
the book publishers. 

SOMER, or SOMEREN, Mathias van, a Dutch 
engraver, who flourished about 1660. He engraved 
some portraits, and a set of landscapes, marked 
with the initials, M. V. S. 

SOMER, John van, a Dutch engra- 
ver, supposed to have been a relative of 
the preceding, who flourished about 
1675. He engraved some portraits and other sub- 
jects, after the Dutch masters, indifferently execu- 
ted. He usually marked his prints with one of 
the accompanying monograms. 




or 



^■"t"t 



SOMER, Paul van, a Dutch engraver, proba- 
bly of the same family with John van S. He 
went to Paris, where he resided some time. He 
finally settled in London, where he died in 1694. 
He executed quite a number of plates, from his 
own designs and after other masters, some of which 
are etched, and others engraved in line or mezzo- 
tinto. 

SOMERS, or SOMEREN, Bernard and Paul, 
two Flemish painters, born at Antwerp — the first 
in 1579, and the last in 1581. Little is known of 
them. Bernard went to Italy, and on his return 
joined his brother at Antwerp, where it is said 
they painted history with reputation. Bernard 
died in 1632, and Paul in 1641. 

SOMMERAU, LuDWiG, a German painter and 
engraver, born at Wolfenbiittel in 1750. He stud- 
ied engraving under Christian de Mechel, at Basle. 
He went to Rome, where he engraved several por- 
traits, and some pieces after Raffaelle, Guido, Do- 
menichino, and Guercino, the most important of 
which are twenty plates from the designs for tap- 
estry in the Vatican, by Raffaelle. These were 
published at Rome in 1780. The same, with six 
additional plates, were published in London in 
1837, by Cattermole, with explanations. 

SOMPEL, or SO^tPELEN, Peter van, a Flem- 
ish engraver, born at Antwerp, about 1600. — 
He studied with Peter Soutman, whose style he 
followed with success. His plates are neatly exe- 
cuted with the graver, and produce a pleasing ef- 
fect. His portraits are the best. Among others 
are the following by him : 

portraits. 
Paracelsus, the famous Physician ; after Soutman. Hen- 
ry, Count of Nassau ; do. Philip of Nassau, Prince of 
Orange ; do. The Emperor Charles V. ; after Rubens. 
Cardinal Ferdinand, brother to Philip IV. ; Governor of 
the Netherlands ; after Vandyck. Isabella Clara Euge- 
nia, Infanta of Spain ; do. Gaston, Duke of Orleans, bro- 
ther to Louis XII. ; do. Margaret, his consort ; do. Phil- 
ip the Bold, Duke of Burgundy ; after J. van Eyck. Fred- 
erick Henry of Nassau; after G. Honthorst. 

SUBJECTS. 

Christ with the Disciples at Emmaus ; after Rubens. 
The Crucifixion ; do . Juno and Ixion ; do. 

SON, or ZOON, Joris van, a Flemish painter, 
born at Antwerp in 1622. It is not known under 
whom he studied, but he excelled in painting fruit 



SON. 



909 



SORE. 



and flower pieces. His pictures are well designed, 
his pencil light and flowing, and his coloring clear 
and natural. He died in 1676. 

SON, or ZOON, John van. was the son of the 
preceding, born at Antwerp about 1650. He stud- 
ied with his father, whom he greatly surpassed. 
• He painted similar subjects, and designed every- 
thing from nature with a fidelity and precision 
that approaches to illusion. He went early in life 
to England, where he married the niece of Robert 
jStreater, and succeeded to most of his business. 
He painted fruit, flowers, dead game, vases, cur- 
tains fringed with gold, Turkey carpets, and other 
objects of still life, which he composed in a pictu- 
resque manner, and executed with a free and .spir- 
ited pencil. Lord Orford calls his name Francis 
van Son, but Descamps and others say his name 
was John. He died at London in 1700, though 
some say he was born in 1661, and died in 1723. 

SON, Nicolas de, a French engraver of whoin 
little is known, except by a few prints, in which he 
imitated Callot with considerable success, and 
doubtless he was a pupil of that master. He was 
a native of Rheims. and flourished about 1628. He 
is sometimes called Anthony, but he signed his 
prints N. deSon^ fecit. 

SONNIN, Ernest George, a German architect, 
born at Perleberg in 1709. While acquiring a lib- 
eral education at Altona, he formed an intimate 
friendship with an artist named Moller, who in- 
structed him in design, and received from him in 
return instruction in mathematics. Several years 
afterwards, he was induced by a wealthy citizen of 
Hamburg, named Rahusen, to study architecture ; 
and he made such rapid progress that he was soon 
commissioned to erect an edifice at Altona. The 
Senate of Hamburg, probably at the instance of 
his patron, appointed him second architect of the 
church of St. Michael, erected in place of the one 
consumed by lightning in 1750. In this work, 
notwithstanding Precy had the ostensible direc- 
tion, the talents of Sonnin controlled the opera- 
tions. He was subsequently employed on various 
edifices, and sustained a deserved reputation until 
his death, in 1794. 

SONS, Giovanni. See Soens. 

SOPHONISBA. See Angosciola. 

SOPRANI, Raffaelle, a painter born at Ge- 
noa in 1612. He studied successively under Giu- 
lio Benso and Sinibaldo Scorza, after which he ap- 
plied himself to landscape under Godefroi Yals. 
He painted landscapes, perspectives, and architec- 
tural subjects with applause, though he was rather 
an amateur than a professor of the art. He wrote 
the Lives of the Painters, Sculptors, and Archi- 
tects of Genoa, published at Genoa after his death, 
in 1674, 4to. He died in 1672. 

SORDO, DI SESTRI, II. See Antonio Travi. 

SORDO D' URBINO, II. See Antonio Vivi- 

ANI. 

SORDO, Giovanni del, called also Mone da 
Pisa, a painter who flourished at Pisa about 1650. 
It is not known under whom he studied, but he is 
commended by Morrona for some works in the 
churches at Pisa, particularly in the Cathedral. 
Lanzi says that his coloring seems superior to his 
invention. 

SORE, Nicolas de, an excellent French engra- 



ver, who flourished at Rheims in the first part of 
the 17th century. Among his principal plates 
were the fa9ade of the church of S. Nicaise, and the 
grand entrance to the Cathedral at Rheims, which 
were greatly admired. De Sore died in the prime 
of life, about 1625. 

SORELLO, Miguel, a Spanish engraver, born 
at Barcelona about 1700. He went to Rome, and 
studied with Giacomo (James) Frey. He execu- 
ted a part of the plates for the Antiquities of Her- 
culaneum, published in 1757 and 1761. He also 
engraved several plates after the Italian masters, 
the principal of which are a set of eight plates 
from the tapestry in the Vatican, designed by Raf- 
faelle, as follows : 

The Nativity. The Purification of the Virgin. Christ 
giving the Keys to St. Peter. Christ descending into Hell. 
The Resurrection. Christ with the Disciples at Emmaus. 
Christ appearing to Magdalene. The Conversion of St. 
Paul. 

SORGH, ZORG, or ZORGH. See Rokes. 

SORIA, Gio. Battista. an Italian architect, 
born at Rome in 1581. His instructor is not men- 
tioned, but he obtained considerable employment 
through the patronage of Cardinal Scipione Bor- 
ghese. Milizia gives him little credit for excel- 
lence. Among his principal works are the fa9ade 
of the church della Yittoria ; that of S. Carlo de' 
Catenari ; the porticos and fagade of S. Gregorio ; 
and the church of S. Caterina da Siena, on the 
Monte Magnanapoli. Soria died in 1651. 

SORIANI, Carlo, a painter who flourished at 
Pavia about the middle of the 17th century. Lit- 
tle is known of him. He is commended by Bar- 
toli for several works he executed for the churches 
at Pavia, particularly for his picture of the Rosa- 
rio, accompanied by fifteen Mysteries, in the Ca- 
thedral. Lanzi says he deserves to be better 
known. 

SORIANI, NicGOLO, a painter who flourished at 
Cremona in the latter part of the 15th century. 
According to Barufiiildi, he was an artist of con- 
siderable note in his day at Cremona. He was 
the maternal uncle of Benvenuto Tisio, who, af- 
ter having received his first instruction from 
Panetti at Ferrara, went to Cremona, and stud- 
ied with Soriani till the death of the latter in 1499. 

SORNIQUE, Dominique, a French engraver, 
born at Paris in 1707. He studied with Charles 
Simonneau, whose style he followed with con- 
siderable success. He engraved a variety of 
vignettes and other book plates, in a neat, clear, 
and pleasing style ; also some larger plates 
of portraits and other subjects, among which 
are Cardinal Richelieu, and John Louis, Duke 
of Epernon, after Nanteuil ; Admiral Louis 
Bourbon, after Mignard ; Marshal Saxe, after 
Rigaud; Diana and her Nymphs, «/i:er Correg- 
gioj the Rape of the Sabines, af^er ivwco; Giorda- 
no; and Peasants regaling, after Tenters . A list 
of his works may be found in Nagler's Lexicon. 
He died in 1756. 

SORRI, Pietro, a painter born at Siena in 1556. 
After receiving instruction from Arcangelo Sal- 
imbeni in his native city, he went to Florence, 
and became the disciple of the Cav. Passignano, 
whose system he adopted, which was characterized 
by a mixture of the Florentine and Venetian 
schools. He married the daughter of that master, 



SOST. 



910 



SOTO. 



and accompanied him to Venice, where ho improv- 
ed himself by studying the works of Paul Vero- 
nese, whose splendid and magnificent style is dis- 
cernible in his best works. On his return to Flo- 
rence, he received the highest marks of approba- 
tion and applause, for the elegance and taste of his 
composition and design, and the beauty and bril- 
liancy of his coloring. Lanzi says, " he emulated 
the style of Passignano with such success that 
their works bear a perfect resemblance, and are 
held in equal estimation ; though he wrought with 
less facility, his design was more graceful, and his 
coloring more durable." He executed many works 
for the churches of Florence, and all the cities of 
Tuscany, particularly at Pisa, where he painted for 
the Cathedral a vast picture on canvass, represent- 
ing the ceremony of the consecration of that edi- 
fice, and another of Christ disputing with the Doc- 
tors — two of his best works, in which he imitated 
the grand style of Veronese, in his architecture 
and other accessories. He was employed in the 
convent of S. Sebastiano at Siena, in competition 
with the best Sienese artists. He was also em- 
ployed in the convent of the Carthusians at Pavia, 
and appointed preceptor in the Academy of Genoa! 
He died in 1622. 

SOSTR ATUS of Cnidus, the son of Dexiphanes, 
was a celebrated ancient architect, and flourished 
in the time of Ptolemy Philadelphus. He con- 
structed in his own country the noted hanging 
gardens, concerning which there have been formed 
so many conjectures. His greatest work, how- 
ever, according to Strabo, was the celebrated 
light-house on the Isle of Pharos, considered 
among the seven wonders of the world. It was 
450 feet high, divided into several stories, each de- 
creasing in size ; the ground story was hexagonal, 
the sides alternately concave and convex, each an 
eighth of a mile in length ; the second and third 
stories were of the same form ; the fourth was a 
square, flanked by four round towers ; the fifth 
was circular. The whole edifice was of wrought 
stone ; a magnificent staircase led to the top, where 
fires were lighted every night, visible from the dis- 
tance of a hundred miles, to guide the coasting 
vessels. Sostratus is said to have engraved an in- 
scription on stone, and covered it over with a spe- 
cies of cement, upon which he sculptured the 
name of Ptolemy, calculating that the cement 
would decay, and bring to light his original in- 
scription. Strabo says it read, Sostratus, the 
friend of kings, made me. Lucian reports differ- 
entl3^ and more probably, thus. Sostratus of Cni- 
dus, the son of Dexiphanes, to the Gods the Sav- 
iors, for the sajety of Mariners. It is also said 
that Ptolemy left the inscription to the inclination 
of the architect ; and that by the Gods the Saviors 
were meant the reigning king and queen, with 
their successors, who were ambitious of the title 
of Soteros or Savior. 

SOTO, Juan de, a Spanish painter, born at Mad- 
rid in 1592. He studied with Bartolomeo Carduc- 
ci, whom he assisted in several of his works, and 
whose style he followed. He possessed great tal- 
ents, and according to Bermudez, was " selected 
from among the great professors of his time to 
decorate in fresco the Queen's dressing room, in 
the palace of the Prado ;" but this work was doubt- 
less executed from the designs of Carducci, who 
was then in the service of the king. (See Carducci.) 
He painted several pictures in oil, which gained 



him great reputation, and he was rising rapidly in 
public estimation, as one of the most promising 
artists of his time, when he died in the flower of 
his life, in 1620. 

SOTO, Don Lorenzo de, a Spanish painter, 
born at Madrid in 1634. He studied under Benito 
Manuel de Agiiero. whose manner he followed. 
According to Palomino, he painted landscapes, dec- 
orated with figures of hermits and saints, with 
high reputation, till the government attempted to 
impose a tax on artists, when he abandoned paint- 
ing, and retired to Yecla, in Murcia, where he ob- 
tained the post of collector of the royal rents. 
During this retirement, he made many sketches 
of the beautiful scenery of the country, and after 
an absence of about 50 years, he returned to Mad- 
rid and resumed his pencil, but his works were 
looked upon (as well they might be) with indiffer- 
ence, and the poor old man was under the necessi- 
ty of selling them in the public places to gain a 
subsistence. He died in 1688, aged 54, so that the 
account is not only bombastic, but contradictory. 

SOTOMAYOR, Luts de, a Spanish painter, 
born at Valencia in 1635. He first studied with 
Esteban March in his native city, and afterwards 
went to Madrid, where he entered the school of 
Juan Carreno. On his return to Valencia, he ac- 
quired considerable reputation, and executed seve- 
ral works for the churches and convents in that 
city, which are highly commended by Bermudez. 
He died in 1673. 

SOUBEYRAN, Peter, a Swiss painter and ar- 
chitect, was born at Geneva in 1708. He visited 
Paris quite young, and resided there about twenty 
years, during which time he engraved most of the 
plates for Mariette's Traite des pierres antiques 
gravies du Cabinet du Boi, after the designs of 
Bouchardon. Among his other plates were a va- 
riety of vignettes and other book ornaments, after 
Cochin and others ; also the portrait of Peter the 
Great, after Caravac ; the Arms of the city of 
Paris, supported by Genii, after Bouchardon: 
and the Fair Maid of the Village, after Boucher. 
On returning to Geneva, Soubeyran devoted him- 
self to the study of architecture, and gained con- 
siderable distinction. He was employed for many 
years upon the most important edifices of Geneva j 
and he filled with distinction the office of director 
of the school of design, established in that city. 
He died in 1775. 

SOUFFLOT, JAcauES Germain, an eminent 
French architect, born at Irancy, near Auxerre, in 
1713. After receiving a liberal education, he stud- 
ied mathematics and drawing at Paris, and after- 
wards visited Rome for improvement. Through 
the influence of M. de St, Aignant, he was admit- 
ted as a pensionary in the French Academy, and 
soon attained distinction. Several new edifices 
having been projected in the city of Lyons, the 
commissioners requested the directors of the French 
Academy at Rome to send them an able architect, 
and they decided upon Souffiot. He erected seve- 
ral fine edifices in that city, among which are the 
Hotel Dieu, the Exchange (now the Protestant 
church), and the grand Hospital, an immense edi- 
fice, the fa9ade being over 1000 feet in length. 
Having acquired considerable distinction by these 
works, Soufflot was invited to Paris, and was cho- 
sen a member of the Academy of Architecture. 
At the invitation of M. de Marigny (the brother 



SOUR. 



911 



SOUT. 



of Madame de Pompadour) superintendent of the 
Crown Buildings, he visited Italy in 1750, and ex- 
amined the Antiquities of Paestum. In 1754 he 
was again employed at Lyons to erect the Grand 
Theatre. 

The ancient church of S. Genevieve having fall- 
en into decay, it was determined that it should be 
rebuilt. Among a number of designs for the new 
edifice, that of Soufflot obtained the preference ; 
and in 1757 the works were commenced, but they 
proceeded so slowly that the ceremony of laying 
the first stone by Louis XV. did not take place 
until 1764. This magnificent work is- distinguish- 
ed for good proportions, elegance and beauty of 
outline, simplicity, and grandeur. A single order, 
with Corinthian columns sixty feet high, forms a 
grand portico, crowned with a pediment filled with 
sculpture. The entablature is continued along the 
whole building, of which it constitutes almost the 
sole decoration, the interior being lighted by the 
dome, and several semi-circular windows above the 
internal colonnades, which are not visible exter- 
nally. The lower part of the dome is encircled by 
a Corinthian peristyle of thirty-two columns, 
thirty-six feet high, on an unbroken podium or 
stylobate. The interior is in the form of a Greek 
cross, the breadth being uniform, 104 feet, the 
principal nave 295 feet, and the transept. 262 feet. 
Including the portico, the total length of the edifice 
is 352 feet. Instead of pier arches, the aisles are 
formed by insulated Corinthian columns, forty feet 
high, producing an air of great richness and light- 
ness. Soufiiot did not live to see his great work 
completed. It was afterwards generally known as 
the Pantheon. He was honored with the Order of 
St. Michael, and. according to Milizia, his labors 
have greatly aided the progress of the art in France. 
Besides the edifices already mentioned, Soufflot 
erected others, among which were the treasury 
and sacristy of Notre Dame ; the Ecole de Droit, 
in the Place du Pantheon ; the Orangery at the 
Chateau de Menars; and several private hotels. 
He died in 1780. In the next year, his friend M. 
Durnont, Professor of Architecture, published a 
number of his drawings, under the title of Eleva- 
tions fit coupes de quelques Edifices de France et 
rf' Italie. dessinees par feu M. Soufflot^ Architecte 
du Rot et gravees par ses ordres. 

SOURCHES. Louis FRAN901S du Bouchet, 
MARauis. grand marshal of France, was an ama- 
teur engraver, and is supposed to have learned the 
artofStefano Delia Bella, who resided at Paris 
from 1640 to about 1649. He copied some prints 
by that master, in which he imitated his style so 
successfully that proofs before the letter have 
sometitnes been mistaken for the originals. In the 
print department of the Bibliotheque, at Paris, are 
nineteen pieces by him, all of them copied from 
Delia Bella. They are entitled Diuerses figures et 
Maneiges de Cheuaux Gravees par le Marquis 
de Sourches. His prints are very rare. Dumes- 
nil also attributes to him twelve pieces from his 
own designs, as follows : 

1. Le Berger. 2. L' Homme de Qualite. 3. La Dame 
de Qualite. 4. Le Duel. 5. Le Porte-drapeau. 6. La 
Marchande de vieus Habits. 7. Le Depart pour la Chasse. 
8. Le Promeneur. 9. Le Pgcheur. 10. Le Puits. IL 
Les Ramoneurs. 12. Le Batelier. 

SOUTMAN, Peter, a Dutch painter and en- 
graver, born at Haerlem, according to Nagler, 
about 1580j and to others, 1590. He studied paint- 



ing under Rubens, and painted history and por- 
traits with considerable success, particularly at 
the courts of Berlin and Warsaw. He is, however, 
better known as an engraver. He executed a con- 
siderable number of prints from his own designs, 
and after Rubens and other masters, in which he 
aimed at producing a striking effect by keeping 
all the masses of light broad and clear ; but by 
carrying this idea too far, some of his prints, 
though neatly executed, have a slight, unfinished 
appearance. He engraved several portraits of the 
Counts of Flanders, and other distinguished per- 
sonages. A full list of his works may be found in 
Nagler's Lexicon. He operated as late as 1650. 
The following are his best prints : 

SUBJECTS AFTER RUBENS. 

The Fall of the Angels. The first impressions are be- 
fore the address of the younger Bouitat. The Defeat of 
the Army of Sennacherib. Christ giving the Keys to St. 
Peter ; from a design by Rubens, after Raffnelle. The 
Last Supper ; from a drawing by Rubens, after Leonardo 
da Vinci. The Miraculous Draught of Fishes. The dead 
Christ at the Tomb, with the Holy Women ; the first im- 
pressions are before the shadows were strengtTiened by Wit- 
doeck. The Crucifixion. The Consecration of a Bishop. 
The Rape of Proserpine. The Triumph of Venus. Sile- 
nus supported by a Satyr and a Negress. A Boar-hunt. 
1642. The Hunting of the Lion and Lioness. Do. of the 
Wolf. Do. of the Crocodile and Hippopotamus. 

SOZZI, Olivio, a Sicilian painter, and a native 
of Catania, who flourished in the 17th century. 
According to Hackert, he studied at Naples, and 
executed many excellent works for the churches at 
Palermo, particularly in S. Giacomo. where all the 
altars have pictures by him, besides three large 
ones in the tribune, of subjects from the infancy 
of Christ. There was another Sozzi, named 
Francesco, who is highly commended for his pic- 
ture of Five Saints, bishops of Agrigentum, in the 
Cathedral of that city. 

T SPADA, LioNELLO, a painter born at 

''M— - Bologna in 1576. When a boy, he was 

-1 — ^ employed in the school of the Caracci as a 
color-grinder. Possessing a lively imagination, it 
was not long before the display of genius by which 
he was surrounded inspired him with the ambition 
to become a painter. He accordingly occupied his 
leisure hours in imitating the objects before him, 
following the instructions given to the pupils, which, 
being observed by the Caracci, they commended 
him, and admitted him into the academy. His 
progress under their instruction was rapid, and he 
became one of the most eminent disciples of that 
distinguished school. Lanzi relates an interesting 
anecdote of his ready wit and quick parts. When 
Giovanni da Capugnano came from his native hills 
and settled at Bologna, misled by a pleasing self- 
delusion, and the flattery he had received, he imag- 
ined himself the greatest painter in the world. 
He requested the Caracci to send him a pupil from 
their school, that he might polish him in his stu- 
dio. They accordingly sent Lionello Spada, an ad- 
mirable wit, who went and copied some of his de- 
signs, affecting the utmost obsequiousness towards 
his new master. At length, thinking it time to 
put an end to the jest, he left behind him an ex- 
quisite picture of Lucretia, and over the door some 
fine satirical verses, in apparent praise, but real rid- 
icule of Capugnano, who only accused Lionello of 
ingratitude for having acquired from him, in so 
short a time, such excellence in the art ; but the 
Caracci at last acquainted him with the joke, which 



SPAD. 



912 



SPAG. 



acted as a complete antidote to his folly. One of 
his first public works was a picture of Sts. Fran- 
cesco and Domenico, kneeling before the Virgin, in 
the Chiesa de Poveri at Bologna, which excited 
general admiration. Malvasia relates that Guido, 
on seeing this performance, sarcastically observed 
that the powers of Lionello seemed to be confined 
to decoration^ which so exasperated him that he 
determined to rival the graceful and delicate style 
of that master, by adopting a system more mas- 
culine and vigorous. Vindictively bent on this 
purpose, he had recourse to the novel and energetic 
style of Michael Angelo da Caravaggio, which at 
that time was exceedingly popular. He according- 
ly went to Rome, and studied some time under 
that master. This emulation, though it fell short 
of its object, carried Spada further than he other- 
wise would have reached. In adopting the daring 
contrasts of light and shadow which distinguish 
the works of Caravaggio, he avoided his incorrect- 
ness, and introduced something of the dignity and 
elevation which characterize the school of the Ca- 
racci, though his forms are neither beautiful nor se- 
lect. On his return to Bologna, he acquired great 
celebrity, and executed many works for the church- 
es and public edifices of Bologna and Reggio, par- 
ticularly in the latter city, where he resided a long 
time, and instructed many pupils. The latter 
part of his life was passed at Parma, in the service 
of the Duke Ranuccio. till the death of his patron, 
whom he did not long survive. Among his best 
works at Bologna are, the Miraculous Draught of 
Fishes, in the refectory of S. Procolo ; and his cele- 
brated altar-piece in the church of S. Domenico, 
representing that Saint burning heretical books, 
which last is considered his masterpiece. He 
sometimes marked his pictures with the letter L., 
crossed with a sword, which is the rebus of his 
name, Spada in Italian signifying sword. He 
died at Parma in 1622, in the prime of life. 

SPADA, Veronica, an Italian paintress, who 
excelled in painting fruit, flowers, and birds. She 
flourished at Bologna about the middle of the 17th 
century. 

SPADARINO, Gig. Antonio, a painter born at 
Rome in 1600, and died in 1648. Little is known 
of him. Orlandi says he was of the family of the 
Galli, and that he painted in the church of S. Pie- 
tro in Valeria with a talent that entitles him to 
more consideration than he has received from biog- 
raphers. 

SPADARO, Micco. See Gargiuoli. 

SPAENDONCK, Geraro van, an eminent 
Dutch painter of fruit and flowers, was born at 
Tilburg in 1746. After studying under the elder 
Herreyns, a flower painter of Antwerp, he visited 
Paris at the age of twenty-four, and devoted him- 
self to miniature painting. Through the kindness 
of Watelet he obtained, in 1774, the appointment 
of miniature painter to the king, and his excellence 
in flower-painting, which he constantly practiced, 
soon gained him great reputation. His exquisite 
productions were distinguished for tasteful ar- 
rangement, correct design, and coloring natural, 
light, transparent, harmonious, and delicate. — 
They were in great request, and were purchased 
for the choicest collections. In 1781, Spaendonck 
was chosen a member of the Academy of Paint- 
ing ; and during the civil commotions of France, 
he discharged the office of Professor of Icono- 



graphy at the Jardin des Plantes. At the forma- 
tion of the Institute, he was appointed Professor, 
and discharged his duties with highly commenda- 
ble ability, assiduity, and kindness. He published 
a work entitled Fleurs dessinees d^apres Nature. 
There are four of his pictures in the Louvre, which 
are greatly admired. Spaendonck died at Paris in 
1822. 

SPAGGIARI, Giovanni, a painter of Reggio, 
of whom little is known. According to Tiraboschi, 
he was a skillful painter of perspective and archi- 
tecture, and was much employed in decorating the- 
atres. He died in the service of the king of Po- 
land, in 1730. 

SPAGGIARI, Pellegrino, was the son of the 
preceding, born at Reggio. After receiving instruc- 
tion from his father, he studied with Francesco 
Galli, called Bibiena. and became one of the most 
skillful of the decorative painters of Lombardy. 
He went to France, where he died in 1746. 

SPAGNOLETTO. See Ribera. 

SPAGNUOLO, Giovanni, called LoSpagno. This 
artist was a Spaniard. He studied with Pietro 
Perugino at Perugia, whose style he followed. In 
the opinion of Vasari, the coloring of Perugino 
survived in him more than in any of his fellow- 
scholars. He established himself at Spoleto, at 
which place and Assisi he left his best works. He 
excelled also in portraits. Lanzi says, " In a chap- 
el of the Angioli below Assisi, there remains the 
picture described by Vasari, in which are the por- 
traits of the brotherhood of St. Francis ; and per- 
haps no other painter of this school painted por- 
traits with more truth, if we except Raffaello him- 
self, with whom no other painter is to be com 
pared." He was living in 1524, and probably la- 
ter. He is doubtless the same artist mentioned by 
Bermudez under the name of Juan de Espana, 
which see. 

SPAGNUOLO, II. See Giuseppe Crespi. 

SPALTHOF, N., a Dutch painter, born at Plaer- 
lem, in 1636. After studying in his own country, 
he went to Italy, where he resided several years. 
He excelled in painting Italian fairs, markets, car- 
nivals, and merry-makings. His pictures are in- 
geniously composed in the Italian taste, correctly 
designed, and neatly and spiritedly touched. He 
copied everything after nature, and*^ had an excel- 
lent knowledge of chiaro-scuro, which enabled him 
to give his figures and objects a fine relief. He 
died in 1691. 

SPECCHI, Alessandro, an Italian engraver, 
who flourished from about 1665 to 1706, and is 
supposed to have died in 1710. He engraved a 
large number of views of the palaces and public 
edifices in and about Rome, which are executed 
with the graver in a bold and spirited style. These 
were published at different periods, and a set was 
published by Dom. de Rossi, in 1699. 

SPECKLIN, Vitus Rodolphus, a German en- 
graver on wood, who flourished at Strasburg about 
1540. He engraved a set of cuts for Fuchsius' 
Herbal, published in that year, with a whole-length 
portrait of the author, the engraver's own portrait, 
and those of Henry Fullmaurer and Albert Maher, 
the artists who designed the prints. The cuts are 
executed in a neat and spirited style. His name is 
variously written Specklin, Speckle, and Specile. 

SPECKTER, Erwin, an eminent German paint- 



SPEC. 



913 



SPEE. 



er, was born at Hamburg in 1806. During the 
siege of that city, in the winter of 1813-14, his 
parents took refuge at Altona, in the house of the 
banker Dehn. A painter named Herterich was 
also residing in the house of Dehn, from whom the 
young Erwin acquired some ideas of artjand his taste 
was also developed by spending most of his time in 
contemplating a good collection of pictures in that 
city. In 1818, his father and Herterich established 
a lithographic press, and young Speckter made 
some attempts at designs and portraits. In 1822, 
Kumohr returned to Hamburg from his second 
visit to Italy, and was much surprised at the tal- 
ents of Speckter, encouraged him to persevere, and 
gave him much valuable instruction. In 1825, he 
visited Munich, and entered the school of Cornel- 
ius, who greatly admired his talents, and commis- 
sioned him to decorate one of the vaults of the 
Pinacotheca, with subjects from the life of Era 
Giovanni da Fiesole. Unfortunatelj', this building 
was not ready for the work until many years after. 
In 1827, Speckter returned to Hamburg, chiefly on 
account of his desire to be near Overbeck's cele- 
brated picture of Christ's Entry into Jerusalem, 
in the Marian Kirche at Lubec, while painting his 
picture of Christ and the Samaritan Woman. The 
study of this work seems to have had a prejudicial 
effect, by inducing him to strive after abstract ideal 
representation. His inward dissatisfaction at his 
own attempts may be inferred from his immediate, 
though gradual, change of manner ; for his next 
work, the Women at the Tomb, is in a more natu- 
ral style, both in design and coloring. About this 
time, he also painted several beautiful miniatures 
of sacred subjects. In 1830, he appeared in an 
entirely new character, in his arabesque mytho- 
logical representations of Syndicus Sieveking, near 
Hamburg. In the same year, he set out for Italy. 
His originally transcendental ideas of art had been 
gradually yielding to the dictates of experience, 
and the immortal productions of the Roman and 
Venetian schools finally drew him, by the essen- 
tial attractions of art, from an abstract conven- 
tional system to the imitation of nature. At 
Rome he executed a number of studies, in the gen- 
eral spirit of Italian art ; also two pictures of Al- 
bano Women, and a large painting of Samson and 
Delilah. After spending three years in Italy, he 
was commissioned to paint in fresco the villa of 
Dr. Abendroth, at Hamburg. Returning to his 
native country in the summer of 1834, he executed 
three of the principal cartoons, and commenced 
the frescos in the ensuing spring. The subjects 
were, Minerva receiving the winged Pegasus from 
the Muses, near the Hippocrene fountain ; the Gra- 
ces, in a grove of laurels, decorating the bow and 
quiver of Cupid, and offering him a cup of ambro- 
sial drink ; and the Fates reclining on cushions, 
lulled by the lyre of Cupid. The first of these 
admirable designs, distinguished for the exquisite 
beauty of its forms, was completed in fresco ; the 
second was partially finished ; the third was not 
commenced. Speckter had for some time been af- 
flicted with the asthma, and his weak state finally 
obliged him to relinquish his operations, about the 
first of November, and he died on the 23d of that 
month, in 1835, deeply lamented by all the friends 
of art. The letters he wrote while in Italy, were 
published in two vols. 12mo., at Leipsic, in 1846, 
under the title of Brief e eines Deutschen Kunst- 
lers aus Italien, or Letters of a German Artist 



from Italy. They are accompanied with an ac 
count by his friend Rumohr, of the character of 
Speckter's genius, and are full of interesting infor- 
mation and reflections upon art. 

SPEERS, M., a German painter and engraver, 
born at Regensburg (now Ratisbon), in 1700. Lit- 
tle is known of him with certainty. He is said to 
have visited Italy, and studied with Solimena ; at 
all events he imitated the manner of that master 
in painting, and he engraved some of his allegories 
and martyrdoms. He painted several altar-pieces 
and historical pictures, and engraved several plates 
from his own designs, as well as other masters. 
His prints are marked M. Speers inv. et 'fecit. 
Hence, he is called Martin or Michael S. Some 
of his prints are dated 1742. The time of his 
death is not certainly known, though Zani says he 
died in 1762. 

SPELT, Adrian vander, a Dutch painter, born 
at Leyden or Gouda (for writers differ) in 1630. 
He studied with W. Crabeth, and excelled in paint- 
ing flower-pieces. He went to Germany, where 
he resided a long time, and was much patronized 
by the Elector of Brandenburg. He afterwards 
returned to Leyden, where he died in 1674. His 
works were held in great estimation in his time. 

SPENCER, Jarvis, an English miniature paint- 
er, who died in 1763. He was a self-made artist, 
originally the servant of a gentleman, through whose 
influence and his own talents and application, he 
acquired considerable reputation and practice. 

SPERA, Clemente, a painter who flourished 
at Milan in the first half of the 18th century. It 
is not known under whom he studied, but he ex- 
celled in painting landscapes, architectural ruins, 
and perspective views. These Avere sometimes dec- 
orated with figures by Alessandro Magnasco, 
which see. 

SPERANZA, Giovanni, a painter of Vicenza, 
who flourished about 1500. He studied with An- 
drea Mantegna, and followed his style with suc- 
cess. Lanzi says there are a few of his pictures at 
Vicenza, which are highly esteemed, though not 
remarkable for strength of coloring. 

SPERANZA, Giovanni Battista, a painter 
born at Rome in 1610. He studied under Fran- 
cesco Albano, and afterwards greatly improved 
himself by studying the works of Raffaelle, and 
other great masters. He excelled in fresco, and in 
that manner painted a series of pictures of the 
Life of the Virgin, in the church of S. Caterina at 
Siena ; and the ceiling of the church of the Orfa- 
nelli, where he represented the Passion of our Sav- 
ior, in five compartments. He was an artist of 
great talents, but died in 1640, in the flower of his 
life. 

SPERLING, Jerome, a German engraver, born 
at Augsburg about 1693. He studied with John 
Justin Preisler. at Nuremberg. He engraved 
part of a set of plates of the churches of Vienna, 
published by J. A. Peffel in 1724 ; and part of 
the plates from the marble statues in the gallery 
of the king of Poland, published at Dresden in 
1733. He also engraved some plates of portraits, 
chiefly after the German painters, and a set of 
thirteen allegorical subjects, representing the 
Twelve Months of the Year, with a frontispiece. 
He signed his plates H. {Hieronymus) Sperling, 
He died in 1777. 



SPEY. 



914 



SPIE. 



SPERLING, John Christian, a German paint- 
er, born at Halle in Saxony, in 1691. He was the 
son of John Henry Sperling, a painter of portraits 
and fancy subjects, who was born at Hamburg, 
but settled at Halle. He first studied with his fa- 
ther, and afterwards with Adrian vander Werf at 
Rotterdam, whose manner he adopted. He ex- 
celled in portraits, and painted the likenesses of 
many persons of rank and distinction. He also 
painted cabinet pictures of poetical and historical 
subjects, with considerable reputation. There are 
some of his pictures in the galleries at Dresden 
and Salzdahlum. His works are little known out 
of his own country. He died at Ansbach in 1746. 

SPEY. Martin, a Flemish painter, born at Ant- 
werp, in 1777. He painted portraits, and excelled 
in painting fruit, flowers, dead game, and other ob- 
jects of still life. He went to Paris in 1809, where 
he resided till 1815. and gained considerable repu- 
tation. On the entrance of the allied array, he 
disappeared, and has not been heard of since. 

SPEZZINI, Francesco, a painter who, accord- 
ing to Soprani, flourished at Genoa about 1578 ; 
others say that he died young, of the plague, in or 
about 1590. He first studied in his native city, 
under LucaCambiasi, and next with Gio. Battista 
Castelli. He afterwards went to Rome, and im- 
proved himself by studying the works of RafFaelle, 
Michael Angel o, and other great masters. On his 
return to Genoa, he executed several works for 
the churches and public edifices, which gained him 
considerable applause. His best work is an altar- 
piece in the church of S. Colombano. 

SPICER, Henry, an English painter, born 
about 1744. He painted portraits in miniature 
and enamel, and acquired considerable reputation 
and patronage. He died in 1804. 

SPICER, an English mezzotint engraver, who 
flourished at London about 1760. He engraved 
some portraits after Reynolds and other English 
painters. 

SPIEGL, Joseph, a German engraver, born at 
Vienna in 1772. He studied in the academy in 
that city, and executed a few plates in mezzotinto, 
among which are a Female bathing, after Rubens ; 
a Holy Family, after Sassoferrato ; the Mater 
Dolorosa, after Giddo ; Venus and Cupid, after 
N. Poussin ; and Bacchus and Ariadne, after G. 
Hamilton. 

SPIERRE, Francois, an eminent French en- 
graver, born at Nancy in 1643. He went to Paris, 
and studied with Francis de Poilly, whose style he 
at first followed with great success. He after- 
wards went to Italy, where he resided several 
years, and changed his style, adopting a novel 
method of handling the graver, which produced a 
pleasing effect, much admired. He did not long 
survive his return to Paris, where he died in 1681. 
The following are his most esteemed prints : 



Pope Innocent XI. ; engraved with single strokes, in the 
style of Mellan ; Franeiscus Spier, del. et sculp. The 
Grand Duke of Tuscany ; dated 1659. Lorenzo, Count de 
Marsciano ; after his own design. 

SUBJECTS after VARIOUS MASTERS. 

The Virgin suckling the infant Christ ; after Correggio. 
This fine print is very scarce. The first impressions are be- 
fore the drapery was inserted to cover the nudity of the 
child. St. Michael combating the Evil Spirit ; after P. 



da Cortona. The Conception of the Virgin ; do. The 
Virgin and infant Jesus, with St. Catherine ; do. The Cir- 
cumcision ; after Ciro Ferri. St. John preaching in the 
Wilderness ; after Bernini. The Miracle of the Loaves 
and Fishes ; do. Christ on the Cross, suspended over a sea 
of blood, which flows from his wounds ; do. ; executed with 
single strokes. The first impressions are before the heads 
of the cherubs were added at the top. 

SPIERINGS, N., a Dutch painter, born at Ant- 
werp in 1633. It is not known under whom he 
studied ; nor is his baptismal name known, though 
Balkema calls him Nicholas. He went young to 
Italy, where he painted landscapes so much in the 
style of Salvator Rosa, that his works have some- 
times been mistaken for those of that master. His 
style is agreeable, though bold and eccentric ; his 
scenery is well chosen ; the forms of his rocks and 
trees grand and picturesque ; his coloring good, 
and his touch firm and spirited. He was not so 
successful in designing the figure, and his pictures 
are usually decorated with historical subjects by 
other artists. In returning to his own country, 
he passed through France, and resided some time at 
Paris, where his pictures were greatly admired, and 
he was employed by Louis XIV. to execute seve- 
ral works to adorn the royal palaces. On his re- 
turn to Antwerp, he found abundant employment, 
till his death in 1691. Houbraken calls his name 
Henry, but he signed his pictures N. Spierings. 

SPIERS, Albert van, a Dutch painter, born 
at Amsterdam in 1666. He studied with William 
van Inghen, in his native city, and then went to 
Rome, where he resided some years, diligently 
studying the works of Raffaelle, and other great 
masters. He next proceeded to Venice to im- 
prove his coloring by studying in the Venetian 
school. In 1697, after a residence of ten years in 
Italy, he returned to Amsterdam, where he ac- 
quired great distinction, and was regarded one of the 
ablest artists of his time. He painted both in oil 
and fresco, and was much employed in decorating 
the ceilings and mansions of the nobility and gen- 
try with poetical and historical subjects, which 
were greatly admired. His compositions are in- 
genious and abundant, his design correct, and his 
coloring rich and harmonious ; his design partakes 
more of the Roman, and his coloring of the Ven- 
etian, than of the Dutch school. He had acquired 
a brilliant reputation, when he fell a victim to an 
assiduous application to his profession, in 1718. 

SPILBERG, John, a German painter, born at 
Dusseldorf in 1619. He was the son of a glass 
painter, who was employed in the service of the 
Duke of Wolfgang. He early showed great tal- 
ents, and his father instructed him in the rudi- 
ments of the art, with the intention to send him 
to Antwerp to study in the school of Rubens, for 
which purpose the Duke furnished him with a let- 
ter, commending him to the particular care of that 
great master. As he was on the eve of his de- 
parture, news came of the death of the head of the 
Flemish school, and he was sent to Amsterdam to 
study with Govaert Flinck. He prosecuted his 
studies under that able master with untiring assi- 
duity for seven years, and on leaving his school, he 
soon distinguished himself as a painter of history 
and portraits. After acquiring a high reputation 
at Amsterdam, he was invited to Dusseldorf by the 
Elector Palatine, who appointed him his court 
painter, with a liberal pension. He painted the 
portraits of the Elector and his family, and of the 



SPIL. 



915 



SPIN. 



distinguished personages of the court, and the 
Elector presented him with a gold medal and 
chain in token of his approbation. He execu- 
ted several altar-pieces and other works for the 
churches, and a series of twelve pictures represent- 
ing the Labors of Hercules, for the Castle of Dus- 
seldorf, in which he discovered great fertility and 
originality of invention, and a commanding facility 
of execution. In these works the figures were of 
life size. At the same place he painted an allegor- 
ical picture representing the Alliance of Music and 
Poetry, designed and executed with judgment and 
taste. He was commissioned by the Elector to 
paint a series of pictures from the Life of Christ, 
but he did not live to complete them. His pictures 
are correctly designed, his coloring is rich and har- 
monious, and he wrought with a bold and free 
pencil. He died in 1690. 

SPILBE RG, Adr I A n a. Thi s lady was the daugh- 
ter of the preceding, born at Amsterdam in 1646. 
She was instructed by her father, and excelled in 
painting portraits in crayons, though she some- 
times painted in oil. These works were much es- 
teemed for the correctness of her likenesses, the 
neatness and delicacy of her handling, and her 
lively and natural tone of coloring. She was most 
patronized at the court of Dusseldorf, where she 
was respected and beloved. She married Eglon 
H. vander Neer, an eminent artist of Amsterdam, 
then in the employment of the Elector Palatine. 

SPILIMBERGO, Irene di, a paintress of the 
Venetian school born at Spilimbergo. She flour- 
ished, according to Ridolfi, about 1550; Vasari 
says she died a short time before 1576. She was 
of a noble house, and is believed to have received 
instruction from Titian, who painted her portrait, 
and was familiar with her family. She practiced 
only for amusement, yet she is said to have ap- 
plied herself to study with the enthusiasm of a 
professor. Her works are very rare. Lanzi men- 
tions three pictures of sacred subjects by her, pre- 
served by the noble family of Maniago, and a Bac- 
chanal, at Monte Albodo, in the possession of the 
Claudi family ; he says, " they display but little 
skill in design, though they are colored with a 
degree of masterly power not unworthy of the 
first artists of that happy period." 

SPILMAN, Henry, a Dutch painter and engrav- 
er, born at Amsterdam, according to Nagler, in 
1721, and to others, at the Hague, about 1738. 
Some of his prints, however, were published in 
1745, and one after van Goyen, is said to be dated 
1732. He painted portraits and landscapes with 
some reputation. He also engraved a few por- 
traits and landscapes from his own designs and af- 
ter other masters. Huber says he engraved three 
landscapes in the style of drawings in bistre, after 
Everdingen, van Borsum, and Berghem. 

SPILSBURY, Inigo, an English designer and 
engraver, born about 1730. After acquiring a 
knowledge of the art, he established himself as a 
print-seller at London, and drew successively the 
first prize from the Society for the Encouragement 
of Arts, &c., in the years 1761 and 1762. He en- 
graved several plates in mezzotinto, and in the dot- 
ted style; particularly a collection of gems in the 
latter manner. His plates are very numerous ; 
among them are the following : 

PORTHAITS AND HEADS. 

A set of fourteen Heads and Busts ; in the manner of 



Rembrandt. 1767 and 1768. George III. when Prince 
of Wales. 1759. Queen Charlotte. 1764. Christian VII. 
King of Denmark ; after Fesch'e. 1769. Inigo Jones; 
after Vandyck. Lady Mary Leslie decorating a Lamb 
with Flowers ; after Reynolds. A young Lady holding a 
Bouquet of Flowers ; do. Frederick Howard, Earl of Car- 
lisle ; do. 

SUBJECTS AFTER VARIOUS MASTERS. 

A Boy eating Grapes; after Rubens. Two Monks 
reading ; do. Abraham sending away Hagar ; after 
Rembrandt. The Flight into Egypt; after Murillo. 
The Crucifixion ; do. 

SPINEDA, AscANio, a painter born, according 
to Federici, at Trevigi, in 1588. He was of a no- 
ble family, and is included among the disciples of 
Jacopo Palma, called II Giovine, whose style he 
followed so closely, that Lanzi says it is sometimes 
difiBcult to distinguish their respective perform- 
ances. " His works abound at Trevigi ; no artist 
of his district surpassed him in the number of his 
pieces in public, if we except indeed Bartolomeo 
Orioli. He was one of the most exact (of the ar- 
tists of Trevigi), in point of design ; he also colored 
with much sweetness and grace of tints," He is 
little known out of his own city, though Lanzi 
says his works are found in many churches at 
Trevigi and its vicinity, which display talents that 
entitle him to more consideration. He was living, 
according to Ridolfi, in 1648. 

SPINELLO, Aretino, an old painter, born at 
Arezzo in 1308. He studied under Jacopo del 
Casentino, a disciple of Taddeo Gaddi. He was 
one of the most distinguished fresco painters of 
his time, and his fame spread throughout Italy. 
He excelled in portraits, and had the honor of 
painting those of Popes Innocent IV., and Gregory 
IX. In the Sacristy of S. Miniato at Florence, are 
still remaining several pictures by him of the life 
of S. Benedetto, which are among his best preserved 
works. He was employed in conjunction with 
the first artists of his time, in decorating the Cara- 
po Santo at Pisa, with historical paintings, and his 
pictures there, of the Martyrdom of St. Petito and 
St. Epiro. are ranked by Vasari as his best per- 
formances. Lanzi says he was inferior there to 
his competitors, both in design and coloring, and 
that his green and dark tints are too predominant. 
Others however, say that he was equal to Giotto 
in design, and surpassed him in the force and beau- 
ty of his coloring. Though his design was stiff 
and formal, as was usual at the time, he gave great 
force and expression to his figures. His picture 
of the Fall of the Rebel Angels still remains at 
Arezzo, in which he represented Lucifer so terri- 
ble, that it afterwards haunted him in his dreams, 
deranging both his body and mind, and hastening 
his death, which happened, according to Bottari, 
Lanzi, and others, in 1400, at the age of 92. As if 
this story were not improbable enough, some say 
that he executed this painting in conjunction with 
his son Parri in 1407, and that he represented the 
devil so hideous, that his satanic majesty appeared 
to him, and fiercely demanded satisfaction for the 
foul injustice done him, frightening the terror-struck 
artist into convulsions, of which he died ! 

SPINELLO, or SPINELLI, Parri (for Gas- 
PARRi), was the son of the preceding, born at 
Arezzo in 1356. He first studied with his father, 
and afterwards with Lorenzo Ghiberti. Lanzi 
says he excelled in the art of coloring, but he was 
barbarous in the drawing of his figures, which he 
made extravagantly long and bending, in order, as 



SPIN. 



916 



SPOL. 



used to say. to give them greater spirit. There are 
some of his works still preserved in the church of 
S. Domenico at Florence. Lanzi says he was the 
first to introduce the art of painting on glass for 
the windows of churches at Arezzo. There are 
notices of him as late as 1425. 

SPINELLO, FoRzoRE, another son of Aretino 
S., was a very eminent worker in niello, a species of 
engraved work on silver, filled up with a compound 
of silver and lead, called by the ancients nigel- 
lum. contracted by the Italians into niello. This 
substance being incorporated with the silver, and 
the whole being polished, produced the efiect of 
shadow, which, contrasted with the clearness of 
the silver, gave the entire work the appearance of 
a chiaro-scuro in silver. Various things were or- 
namented in this way, as caskets, sword and dag- 
ger hilts, images, and particularly paxes, or im- 
ages of Christ on the cross, which the people used 
to kiss after service, called the kiss of peace. Some 
of these works were executed with wonderful 
neatness and precision, representing flowers, por- 
traits, and even historical subjects, and gained for 
the artist, called Niellatore, a high reputation. 
The art is very ancient, and was much practiced 
by the old Italian goldsmiths. See Matteo Dei 
and Maso Finrguerra. 

SPINTHARUS, an eminent ancient architect 
of Corinth, who flourished about B. C. 550. The 
only work by his hand, was the temple of Apollo 
at Delphi. This magnificent edifice, originally 
erected by Trophonius and Agamedes, was de- 
stroyed by fire, and afterwards rebuilt by Spin- 
tharus. 

SPIRINX, L., a Dutch engraver of little note, 
probably a relative of the preceding, who executed 
in an indifferent style, some frontispieces, por- 
traits, and other book plates, which bear date from' 
about 1641 to 1674. 

SPIRITO, Monsieur, a French painter, briefly 
mentioned by Lanzi, as a portrait painter, who 
was employed by the court at Turin in the latter 
part of the 17th century. He is also commended 
for the excellence of his portraits in the Pitture 
d' Italia. 

SPISANO, ViNCENZo, called also Pisanelli 
and Lo Spisanelli, a painter born at Orta, in the 
Milanese territory, in 1595. According to Malva- 
sia, he was brought up in the school of Denis Cal- 
vart, whose style he adopted, and followed without 
variations. Lanzi says, " he laid down for himself 
the maxim, never to alter with any other styles, 
that of Calvart. He however is inferior to that 
master in solidity and truth of design, and displays 
quite as much caprice and mannerism as any of 
the practitioners of his time ; nor does he always 
preserve the colors of his school, but deadens 
them with a leaden hue, which is still not unpleas- 
ing. His altar-pieces executed for the churches at 
Bologna and in the neighboring cities, are less cele- 
brated than his small pictures for private ornament, 
which abound at Bologna, and which he enlivened 
with very attractive landscapes." His best works 
at Bologna are the Death of St. Joseph in S. Ma- 
ria Maggiore ; the Visitation of the Virgin to St. 
Elizabeth, in S. Giacomo Maggiore ; the Baptism of 
Christ in S. Francesco ; and the Conversion of St. 
Paul in S. Domenico. He died in 1662. 

SPOF FORTH, Robert^ an English engraver 



and printseller, who flourished about 1707. He 
engraved a few portraits, among which are those 
of Queen Anne and George I. 

SPOLETTI, PiETRO Lorenzo, a painter born, 
according to the Cav. Ratti, at Finale, in the Gen- 
oese territory, in 1680. He was a scholar of the 
Cav. Claudio Beaumont, whose style he followed 
with considerable success. He died in 1726. 

SPOLVERINI, Ilario, a painter born at Par- 
ma in 1657. Orlandi says that he was a scholar 
of Francesco Monti, and educated at Florence upon 
the model of Borgognone. He painted history, 
but chiefly acquired his reputation from his battle- 
pieces, in which Lanzi says he was not less em- 
inent than Monti. He delighted in depicting 
battles, skirmishes of cavalry, attacks of bandits 
and assassins, which he designed with spirit and 
touched with a vehemence of pencil well adapted 
to the subjects. It is said that while the soldiers 
of Monti threatened, those of Spolverini seemed to 
kill. He was much employed by the Duke Fran- 
cesco, for whom he executed many works, though 
he painted some large pictures both in oil and 
fresco for the cathedral, the Certosa, and other 
churches in Parma, and throughout the state. He 
died in 1734. 

SPOOR, W. J. L., a painter born at Budel, in 
North Brabant. He studied under Henry Anton- 
issen at Antwerp, whose style he followed for 
some time. He afterwards chiefly employed him- 
self in copying and imitating the works of Paul 
Potter and other great landscape and animal paint- 
ers of the Dutch school, which he did with con- 
siderable success. He also painted some original 
subjects in which he faithfully represented nature. 
There were some of his pictures, both copies and 
originals, in the collection of Prince William at 
the Hague. He flourished in the latter part of the 
last, and first part of the present century. 

SPRANGHER, BARTHOLOMEvir, an eminent 
Flemish painter, born at Antwerp in 1546. He 
was the son of Joachim Sprangher, an eminent 
merchant of that city, who intended to bring him up 
to commercial pursuits, but finding in Bartholomew 
a decided inclination for painting, he placed him 
under the instruction of John Madyn at Haerlem, 
with whom he continued about eighteen months, 
till the death of that master, when he became the 
pupil of Francis Mostaert. He is also said to have 
received instructions from van Dalen and other 
masters of his country. He afterwards went to 
Paris, and next to Parma, where he studied three 
years with Bernardino Gatti, called II Sojaro, who 
had been a disciple of Correggio. From Parma 
he went to Rome, where he was favored with the 
patronage of the Cardinal Farnese, who employed 
him in decorating his villa of Caprarola, with sev- 
eral landscapes painted in fresco. The Cardinal 
also recommended him to Pius V., who appointed 
him his painter, and accommodated him with 
apartments in the Palazzo Belvidere — a high com- 
pliment. His first work for the Pope was a pic- 
ture of the Last Judgment, executed on a copper 
plate six feet high, and containing above five hun- 
dred figures, which occupied him three years, 
and was so highly esteemed, that after the death 
of that pontiff", it was placed over his tomb. He 
was commissioned by the Pope to paint twelve 
pictures of the passion of Christ, which he did not 



SPRI. 



917 



SQUA. 



accomplish before the death of his holiness. In 
1575 he was invited to the court of Vienna by the 
Emperor Maximilian II., who appointed him his 
principal painter. That monarch dying the fol- 
lowing year, he was continued in his oflSce by his 
successor, Rodolphus II., who employed him to 
paint several considerable works, both at Vienna 
and Prague. Sprangher was greatly respected by 
the Emperor Rodolphus, not only for his abilities 
as a painter, but for his extensive literary acquire- 
ments, and great conversational powers. In 1588, 
that monarch ennobled him and his descendants, 
and honored him by placing round his neck with 
his own hands, a gold medal and chain. 

With all his talents and advantages, Sprangher 
did not arrive at any great excellence in art, be- 
cause he pursued a false system. His great suc- 
cess was owing more to several lucky circum- 
stances, and his own pleasing address, than to his 
merits as a painter. He totally neglected the study 
of nature, and does not seem to have profited 
much by a residence of several years in Italy ; it 
is very doubtful whether he ever made a single de- 
sign from the antique or the great Italian masters, 
but contented himself with a superficial obser- 
vance of those great models, and depended upon 
his memory for a retention of their beauties. His 
design has little of the dignity and elegance of the 
Roman school, his contours are constrained and 
unnatural, his outline hard, stiff, and ungraceful, 
his attitudes are affected, the extremities of his 
figures contorted, and his general style man- 
nered. He had however, a lively and inventive 
imagination, and an alluring facihty of execution, 
an extraordinary lightness of hand, and great 
sweetness of pencil, which always procured him 
many admirers. His later productions have fewer 
extravagances, and a more natural tone of color. 
Nagler attributes six etchings to him. from his 
own designs. They are executed in a slight, but 
agreeable style. He died at Prague in 1623. 

SPRIETT, John vander, a Dutch mezzotinto 
engraver of little note. He studied under Ver- 
kolie at Amsterdam, and executed a few indiffer- 
ent portraits. He went to London, where he died 
about 1700. 
I^^TXSPRINGINKLEE, Hans. The only in- 
'"i^m^ formation respecting this artist, is de- 
- -^ ^ rived from Doppelmayr, who states that 
he lived in the house of Albert Durer, from whom 
he learned the art of design and engraving, and 
that he died about 1540. He was formerly ranked 
among the wood engravers, and certain cuts marked 
with the above monogram, were attributed to him. 
Bartsch describes sixty-one of these cuts, to be 
found in a work entitled " Hortulus animse cum 
horis beatse Virginis," &c., published at Nurem- 
berg in 1518, and afterwards in 1519 and 1520. 
Bartsch, Zani, and others, are of opinion that he 
only made the designs, and that the cuts were ex- 
ecuted by another hand, as they are too indifferent- 
ly executed for a pupil of Albert Durer. It has 
been conjectured that he was a painter, but no pic- 
tures by him are known, and all that can be af- 
firmed is, that he was a cotemporary with Durer, 
and disgraced the subjects which bear his mono- 
gram. 

SPRONGr, Gerard, a Dutch painter, born at 
Haerlem, according to Balkema, in 1600, and died 
there in 1651 ; though others say he was living in 



1661. He excelled in portraits ; there is a half- 
length portrait of a lady by him in the gallery of 
the Louvre. 

SPRUYT, Peter, a Flemish painter and en- 
graver, born at Antwerp about 1740, and died, ac- 
cording to Nagkr, about 1790. There is a singu- 
lar paucity of information respecting him, for he 
must have been an artist of some distinction, as he 
was director of the Academy at Ghent, where he 
appears to have settled. Nagler describes thirteen 
etchings by him, after Rubens, Teniers, and van 
Goyen. Several of these are signed E. P. Sprziyt, 
so that even his christian name is not certainly 
known. 

SQUARCIONE, Francesco, an eminent paint- 
er, born at Padua in 1394. He was more celebra- 
ted as the founder of the most distinguished acad- 
emy of his time, and for his excellent system of 
instruction, than for his works as a painter. Af- 
ter acquiring a high reputation and abundant em- 
ployment at Florence and other cities, his desire 
to cultivate the art of painting in the most effec- 
tual manner, induced him to forego these advan- 
tages, and travel throughout Italy and Greece to 
design the most interesting vestiges of antiquity. 
On returning to his native place, he began to form 
a Museum, which proved the richest of any known 
at that period, not merely in designs, but in stat- 
ues, torsos, bassi-relievi, and funeral urns. Here 
he opened a school which at one time was fre- 
quented by upwards of one hundred and thirty 
students from all parts of Italy, and such was his 
success in communicating instruction, and the pa- 
ternal regard he had for his pupils, that he ac- 
quired the venerable name of the Father of the 
young painters. Thus devoting himself to the 
instruction of students, he continued to live in 
comparative afiluence, and divided many of the 
commission^ he received among his different pu- 
pils. Such was the respect entertained for him, 
that he was frequently visited by popes, sove- 
reigns, princes, and cardinals. Of his productions 
as a painter, little remains. Lanzi notices a pic- 
ture by him, formerly in the church of the Car- 
melites at Padua, afterwards in the possession of 
the Conte Cav. de' Lazara. It is executed in dif- 
ferent compartments, the chief place being occu- 
pied by the figure of St. Girolamo, surrounded by 
several other saints. The work has been retouch- 
ed in parts, yet sufficient of the original remains 
to establish the character of the painter. " Rich 
in coloring, in expression, and, above all, in per- 
spective, it may be pronounced one of the best 
specimens of the art produced in those parts." 
This picture was executed for the noble family of 
the Lazara, of which the original contract is still 
preserved, dated 1449. It is signed Francesco 
Squar Clone, 1452, thus correcting Vasari, who 
called his name Jacopo^ an error repeated by ma- 
ny writers. Lanzi says, "in the church of the 
Misericordia at Padua, is preserved a book of an- 
thems, illustrated with very beautiful miniatures, 
commonly ascribed to Andrea Mantegna, the or- 
nament of the Lombard school ; but so great is 
the variety of the different styles, that the most 
competent judges conclude it to be one of the 
works committed to Squarcione, and by him dis- 
tributed among his disciples. Of these we are 
not yet prepared to treat, but the chief part of 
them are known to have flourished subsequent 



STAB. 



918 



STAT. 



to the introduction of oil painting. Though little 
can be said of the productions of Squarcione as a 
painter, great respect is due to his labors as a 
master. Indeed he may be considered the tree, 
as it were, whose branches we trace through An- 
drea Mantegna in the great school of Lombardy ; 
through Marco Zoppo in the Bolognese ; while it 
extended some degree of influence over that of 
Venice itself, for Jacopo Bellini, having come to 
exercise his talents in Padua, it appears that he 
took Squarcione for his model." Rosini has given 
an outline of the above named picture of St. Giro- 
lamo, and another of a Madonna and Infant, in the 
same collection, in his "Storia della Pittura Ita- 
liana," which gives a good idea of his excellence in 
design. Zani strongly inclines to the belief that 
he also engraved. He died in 1474. See Andrea 
Mantegna. 

STABEN, Henry, a Flemish painter, born at 
Antwerp in 1578. After learning the rudiments 
of the art in his native city, he went quite young 
to Italy, and entered the school of Tintoretto at 
Venice. He had not, however, the advantage of 
the instruction of that able master for any length 
of time, as he died before Staben was seventeen 
years old. nor is it known that he studied with 
any other painter. It is supposed also that he 
did not remain long in Italy, as he eaWy estab- 
lished himself at Paris, where he acquired con- 
siderable reputation for his small pictures of in- 
teriors, decorated with figures, executed with great 
neatness and precision. His pictures are well com- 
posed, correctly designed, agreeably colored, and 
highly finished, more in the style of the Flemish, 
than the Italian school. One of his best perform- 
ances was a picture representing the interior of the 
gallery of a Virtuoso, decorated with pictures and 
statues, in which he displayed an intelligent ac- 
quaintance with perspective. Above are several 
pictures of different subjects, arranged in regular 
order, every object being exquisitely finished, and 
placed in such exact perspective, that they pro- 
duce a very agreeable deception. This work was 
formerly in the collection of Count de Morny, but 
is now in England. Stanley says it is a picture 
that would be an ornament to the richest collec- 
tion of the Dutch and Flemish masters. He died 
in 1658. 

^STAEVAERTS, or STEVERS, Anthony 
Sjf Palamedes, a Dutch painter, born at Delft 
C/j in 1604. He painted portraits; but was 
^-^ more frequently employed in painting con- 
versation pieces, card and musical parties, &c. He 
executed many works, little distinguished for cor- 
rectness of design, or judgment in composition. 
He died in 1680. 

STAEVAERTS, or STEVERS, Palamedes, a 
painter of the Dutch school, the younger brother 
of the preceding, and the son of a Dutch engraver 
on precious stones, who was employed by James 
I. at London, where Palamedes was born, in 1607. 
He was taken to Delft while very young. After 
acquiring a knowledge of the elements of art, he 
gained considerable improvement by studying the 
works of Esaias Vandervelde, adopting his clear 
and transparent coloring, and excelled in painting 
similar subjects, representing battles and skir- 
mishes, attacks of robbers, the plundering of vil- 
lages, &c. His works are distinguished for in- 
genious composition and remarkable transparency 



of coloring, the figures and horses are spiritedly 
designed, and touched with a free and firm pencil. 
Staevaerts rose to a distinguished rank among the 
artists of his native country, and his woiks were 
highly esteemed ; but he died in the prime of life, 
in 1638. 

STAINES, Robert, an English engraver, born 
at London in 1805. He studied under J. C. Ed- 
wards, and also with the Messrs. Finden. He 
wrought chiefly for the booksellers, and executed a 
number of good plates for the Annuals of the day, 
after Richter, Westall, etc. Two of his best plates, 
however, are " Sancho and the Duchess," and 
" Malvolio," which he executed in 1849 for the 
London Art Journal, from pictures in the Vernon 
Gallery. He died in 1849. 

A 7* STALBENT, Adrian van, a Flemish paint- 
l\j er and engraver, born at Antwerp in 1580. 
-^ V It is not known under whom he studied, but 
he painted landscapes decorated with small figures, 
in which he imitated Velvet Breughel. His scenes 
are well chosen, frequently solemn, his figures are ,, 
well designed and touched with a free, delicate, and 
spirited pencil, his trees are well formed, and his 
coloring clear and natural, though his verdure is 
sometimes a little too green. According to Lord 
Orford, who calls his name Stalba.nd, this artist 
visited England in the reign of Charles I., for 
whom he painted several pictures, among which 
was a View of Greenwich, and returned to Ant- 
werp liberally rewarded. He also painted inte- 
riors, decorated with historical subjects in small. 
Some of his earlier performances resemble the 
manner of old Franck, for which reason some sup- 
pose that he was a pupil of that master, Vandyck 
painted his portrait among the eminent artists of 
his country, of which there is an engraving by 
Pontius. He also etched a few subjects. He 
signed his pictures A. V. STALBEMT, in Roman 
capitals, the letters A and V being joined together, 
and he signed his etchings Adrianus van Stal- 
bant. Most writers call him Stalbent. He died 
at Antwerp in 1660. 

STALBENT, John. This artist was a cotem- 
porary, and perhaps a relative of the preceding. 
He is said to have painted landscapes in the man- 
ner of Peter Breughel the elder, which has caused 
some confusion in the accounts of both. Little is 
known of him or his works. 

STAMPART, Francis, a Flemish portrait paint- 
er, born at Antwerp in 1675. He studied under 
the younger Tyssens. whose style he followed, i 
though he improved by studying from nature and t 
the works of Vandyck. He had acquired con- * 
siderable reputation as a portrait painter in his 
native city, when he was invited to Vienna by the 
Emperor Leopold, who appointed him his princi- 
pal painter, which office he held under his succes- 
sor Charles VI. He there found abundant em- 
ployment. As he was much emplo^^ed in paint- 
ing persons of distinction, who had neither the 
leisure nor patience, to undergo the tedium of the 
usual process of sitting, he was accustomed to 
sketch the features with white, black, and red 
crayons, which was soon executed, and then he 
worked on the portrait with color at his leisure 
and finished it at a single sitting. Another cus- 
tom of his was to lay upon the canvass patches 
of flesh color, in proper places, which contributed 
to lessen his labor, and to assist him in getting 



STAN. 



919 



STAR. 



the right tints. If we can form any correct opin- 
ion of his merits from this singular method of op- 
erating, we may safely conclude that his works 
have- little of that air of life and nature which dis- 
tinguish the portraits of his instructor. He died 
?.t Vienna in 1750. 

STANZIONI, Cav. Massimo, an eminent paint- 
er, born at Naples in 1585. He first studied with 
Gio. Battista Caraccioli, a follower of Ann. Carac- 
ci, whose style is discernible in alibis works; but 
he derived his best instruction in fresco painting 
from Belisario Corenzio, one of the ablest fresco 
painters of his time. When Lanfranco visited 
Naples, he profited by his instruction, and in one 
of his MS., he calls him his master. He also took 
lessons of Fabrizio Santafede in portrait painting, 
whose principles he adopted in that branch, and 
attained, says Lanzi, " an excellent Titianesque 
style." He next went to Rome, where he applied 
himself particularly to the study of the works of 
Annibale Caracci, and having formed an intimacy 
with Guido Reni, he became ambitious of imitating 
the design of the first, with the coloring of the se- 
cond, in which he was so successful, according to 
Galanti. that he attained the appellation of Guido 
Rent di Napoli. On his return to Naples his tal- 
ents enabled him to compete with the ablest of 
his cotemporaries, and to excite their jealousy. 
He painted in the Oertosa a Dead Christ sur- 
rounded by the Marys, in competition with Gi- 
useppe Ribera, which excited the envy and animos- 
it}'- of the latter to such an extent that, having 
persuaded the monks to allow him to clean it, 
as the picture had become somewhat obscure, 
he purposely applied a corrosive liquid which de- 
stroyed the beaut}^ of the work. The Fathers ap- 
plied to Stanzioni to restore it, which he positive- 
ly refused to do, declaring that such an act of per- 
fidy and malice ought to be perpetuated to public 
indignation. In the same edifice, which is a Mu- 
seum of Art, in which the most distinguished mas- 
ters successively vied to surpass each other, Mas- 
simo left several admirable works, particularly a 
stupendous altar-piece, representing St. Bruno pre- 
senting to his brethren the rules of his Order. He 
executed many works for the churches and public 
edifices of Naples, both in oil and fresco. The 
vaults of the Gesu Nuovo, and of S. Paolo, entitle 
him to a place among the most distinguished fres- 
co painters. He painted many easel pictures for 
the collections, which are highly esteemed. The 
school of Massimo produced many celebrated 
scholars, his method and high reputation con- 
firming the ancient proverb, primus discendi ar- 
dor nohilitas est magistri (the example of the mas- 
ter is the greatest incentive to improvement.)— 
Stanzioni was highly respected by the King, who, 
among other marks of his favor, conferred upon 
him the honor of knighthood. Lanzi says "he 
studied perfection during his celibacy, and fin- 
ished his paintings very highly, but afterwards, 
marrying a woman of rank, in prder to maintain 
her in an expensive style of living, he painted 
many hasty and inferior pictures ; therefore it was 
not without reason that Cocchi took occasion to 
warn all artists against the perils of the wedded 
state." He died in 1656. 

STAREN, or STERN, Dirk or Theodore 
VAN, a Dutch engraver, about whom there is much 
discrepancy. Like many of the old engravers, lit- 
tle is known of him except by his works. His 



prints are said to be numerous, and dated from 
about 1520 to 1550. But Bartsch has described 
only nineteen; a hw others are mentioned by 
other writers, though doubtless some of them are 
the same as those given by Bartsch, under another 
name. Most of them are copper plates of small 
size, hence he is classed with the little masters. 
Only one wood cut, mentioned by Ottley, is known 
by him. Some of these are marked simply with 
his initials, and others with the same with a star 
between them, and the date sometimes on a tablet. 
There are other similar prints, bearing similar 
marks, except that a bird or starling is substitu- 
ted for the star, which are generally attributed to 
him, but some give them to Dirk Verster, an ar- 
tist unknown in the history of art. The following 
are the titles and dates given by Bartsch, P. G. 
torn. viii. : 







1. Eve and the little Cain, 1522, A. G. (Augusti) 19- 

2. The Deluge (L. 14 p. 61.; H. 10 p. 5 I.) 1544. 3. Christ 
calling Peter and Andrew, 1523, Met/ 30. 4. St. Peter 
walking on the Water, 1525, Des. 30. 5. Christ tempted 
by the Demon, 1525, Z) * F. April II. 6. Christ and the 
Woman of Samaria, 1523. 7. The Virgin and St. Anne, 
1522, D. C. (Decembris) 31. 8. St. Bernard, 1524, Oct 

3. 9. St. Luke painting the Portrait of the Virgin, 1526, 
In Juli, 28. 10. St. Elisabeth, 1524, Nove. 15. 11. 
Venus, 1524, Oct. 20. 12. The Faun, 1522. Sept. 14. 
13. The Man with a chimerical Fish, 1522, A. G. {Au- 
gusti) 16. 14. The Goldsmith, no date. 15. The Maa 
asleep, 1532, Oct. 10. 16. The Drunken Drummer, 1525, 
Mert. 8. 17. The Drummer and a Child, 1523, Oct. 14. 
18. The Man holding a Shield, with armorial bearings, 
1522. 19, The Woman holding an Escutcheon, of lozengtf 
form, 1525. 

FROM OTTLEy's CATALOGUE NOT MENTIONED BY BAKTSCH 

20. St. Christopher, date not mentioned. 21. A wood 
cut of an Interior, with a Gallery, and numerous Figures 
The mark near the middle, 1526 on the left. 

STARNINA, Gherardo, an old painter born 
at Florence in 1354. He was a disciple of Anto- 
nio Veneziano, and painted history in the dry, stiff 
style, which prevailed at that early period, though 
he improved over the immediate followers of Giot- 
to. Vasari says that he was invited to the court 
of Spain, where he executed several grand pictures 
for the King, who hberally rewarded him, and load- 
ed him with presents. Few of his works have es- 
caped the ravages of time. There is a picture by 
him in the church of S. Croce at Florence, repie- 
senting the dying St. Jerome exhorting his disci- 
ples, some of whom are listening to his discourse, 
others writing down his precepts. Another pic- 
ture by him is a Descent from the Cross, of which 
Rosini has given an etching by Gatti, which proves 
him to have been an able designer. Lanzi says he 
painted in a gay style, and that his works are 
among the last efforts of the school of Giotto, 
whiclT succeeding artists abandoned to adopt a bet- 
ter manner. The time of his death is not exactly 
known ; it is generally placed in 1403, but it is 
certain that he was living in 1406, and Zani says 
he died in 1415. 

STARRBNBERG, John, a Dutch painter, who 
was born, according ' to Descamps, at Groningen, 
where he flourished from about 1650 to 1670. He 
painted in fresco, and executed some considerable 
historical works, chiefly on ceilings, which were 
well composed, and executed with facility. 



STEE. 



920 



STEE. 



STAVEREN, John Adrian van, a Dutch paint- 
er who flourished from about 1660 to 1680. He 
was a close imitator of Gerard Douw, and is sup- 
posed to have been his pupil. He chiefly excelled 
in painting subjects representing a saint or hermit 
contemplating a skull, reading a book, or at his 
devotions. The scene is generally a grotto, in a 
wild locality, and he usually introduced the trunk 
of an old tree, covered with ivy or moss. His ex- 
ecution is as elaborate as that of Douw, but his 
pencilling is not so soft and clear. There is one 
of his pictures in the Louvre, representing a Geo- 
grapher in his Study. He is also said to have 
painted familiar scenes, conversations, and groups 
of family portraits ; many such are attributed to 
him, but it is very doubtful whether they were ex- 
ecuted by the painter of hermits, or another van 
Staveren, as none of the van Staverens appear 
to have signed their works with their christian 
names. 

The Dutch writers mention three other van 
Staverens, Paul, Jacob, and E. ; all of whom flour- 
ished about the same time with the preceding. 
Paul and E. are said to have studied with Douw, 
whose manner they followed. Jacob was a paint- 
er of fruit and flowers. Laborde mentions a mez- 
zotinto print of a man counting money, a half- 
length, signed P. Straverenus^ and asks Que sig- 
nifie ce nom 7 



X'^ 



or 




STEEN, Jan, (James, not John, as frequently 
written), an eminent Dutch painter, born at Ley- 
den in 1636. When we consider the great num- 
ber and excellence of this master's works, which 
betray no want of diligence and care, it is impossible 
to credit the accounts given of his debauched and 
dissipated course of hfe. He was the son of a 
wealthy brewer at Leyden, who, perceiving his 
passion for painting, first placed him with Nicho- 
las Knufer at Utrecht. Descamps, probably from 
similarity of subjects and character, asserts that 
he afterwards studied with Adrian Brower, and 
his account has been followed by Pilkington and 
others; but Brower died in 1640, when Jan Steen 
was only four years old. It seems very probable 
that he received instruction from John van Goyen, 
w^hose daughter he married, and who died in 1656, 
when Jan Steen was twenty years old. The rest 
of his life, if we are to believe his biographers, 
is soon told. His father, apprehending that he 
could not procure a comfortable subsistence by the 
exercise of his pencil, established him in his own 
business at Delft, where, instead of attending to his 
affairs, he gave himself up to dissipation, and soon 
squandered his means and ruined his establish- 
ment; his indulgent parent, after repeated at- 
tempts to reclaim him, was compelled to abandon 
him to his fate. He opened a tavern, which proved 
more calamitous than the former undertaking. 
He gave himself up entirely to reveling and in- 
toxication, wrought only when his necessities com- 
pelled him, sold his pictures to satisfy his imme- 
diate wants, and often for the most paltry prices to 
escape arrest. 

The pictures of Jan Steen usually represent 
merry-makings, and the frolics and festivities of 
the ale-house, which he treated with a character- 
istic expression of humorous drollery, that com- 



pensates for the vulgarity of his subjects. He 
sometimes painted interiors, domestic assemblies, 
conversations, mountebanks, &c., which he gener- 
ally accompanied with some facetious trait of wit 
or humour, admirably rendered. Some of his 
works of this description are little inferior to the 
charming productions of Gabriel Metzu. His com- 
positions are ingenious and interesting, his design 
is correct and spirited, his coloring chaste and clear, 
and his pencil free and decided. He also had a 
good knowledge of the chiaro-scuro, which enabled 
him to give his figures a fine relief. His works 
are invariably finished with care and diligence, and 
do not betray any haste or infirmity of hand or 
head. It is evident that, from some untoward 
circumstance, his works were not appreciated in 
his day, but after his death, they rose amazingly 
in value, and have continued to increase ever 
since, — a true test of a master's merit — till now 
they are scarcely to be found except in royal and 
noble collections and the public galleries of Europe. 
Plis pictures were, for a long time, scarcely knowij| 
out of Holland, but now they are deservedly placed 
in the choicest collections. His works are very 
numerous, suflicient to have continually occupied 
the life time of not only a sober and industrious 
artist, but one possessing great facility of hand. 
Smith, in his Catalogue raisonne, vol. iv. and Sup- 
plement, gives a descriptive account of upwards of 
300 genuine pictures by Steen. many of them com- 
positions of numerous figures, and almost all of 
them executed with the greatest care. It cannot 
be believed that a man living in a state of con- 
tinued dissipation and inebriety, could find time 
to produce so many admirable works, displaying, 
as they do, a deep study of human nature, and a 
great discrimination of character ; or that the hand 
of an habitual drunkard could operate with such 
beauty and precision. Nor is it probable that a 
mind besotted by drink, and debased by low inter- 
course, could moralize so admirably as he has done 
on the evil consequences of intemperance and the 
indulgence of evil passions. Dr. Ktigler, a judi- 
cious critic, thus sums up his character as an ar- 
tist : " The works of Jan Steen imply a free and 
cheerful view of common life, and he treats it with 
a careless humour, such as seems to deal with all 
its daily occurrences, high and low. as a laugha- 
ble masquerade and a mere scene of perverse ab- 
surdity. His treatment of the subjects diifered es- 
sentially from that adopted by other artists. Fre- 
quently, indeed, they are the same jolly drinking 
parties, or the meetings of boors ; but in other 
masters, the object is, for the most part, to depict 
a certain situation, either quiet or animated, whilst 
in Jan Steen is generally to be found action more 
or less developed, together with all the reciprocal 
relations and interests between the characters 
which spring from it. This is accompanied by 
great variety and force of individual expression, 
such as evinces the sharpest observation. He is 
almost the only artist in the Netherlands who has 
thus-, with true genius, brought into full play all 
these elements of comedy. His technical execu- 
tion suits his design ; it is carefully finished, and 
notwithstanding the closest attention to minute 
details, it is as firm and correct as it is light and 
free." There is a single etching attributed to 
him, representing a woman seated, apparently in a 
drunken sleep, holding a small glass in her left 
hand, and a bottle in her right, with other figures 
in a chamber. It is signed Pinxit J, Steen, the J 



STEE. 

and S interlaced on the left, and on the right H. 
Stee7i. It is a poor affair, and is regarded spuri- 
ous by the best judges. Jan Steen died in 1689. 

STEEN, Francis vander, a Flemish painter 
and engraver, who flourished at Antwerp about 
1604, Little is known of his works as a painter, 
but he distinguished himself by the plates he exe- 
cuted for the collection of prints known as the 
Teniers' Gallery. He was much employed by the 
Archduke Leopold, who assigned him a pension. 
He engraved quite a number of plates, besides 
those he executed for the Teniers' Gallery, among 
which are the following. A complete list of his 
works may be found in Nagler's Lexicon. 

PORTHAITS. 

Cornelius Cort, Engraver, of Antwerp. Theodore Coom- 
haert, Engraver, of Amsterdam. Andrew del Vaulx, Pro- 
fessor of the University of Louvain. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Holy Family ; after Titian. The Holy Family, 
called La Madonna del Sacco ; after A. del Sarto. Mi- 
chael Angelo's Dream; after M. Angela. Soldiers play- 
ing at Cards ; after Manfredi. The Martyrdom of the 
Eleven Thousand Virgins ; from a drawing by van Hoy, 
after the picture by Albert Durer, in the imperial collec- 
tion. Silenus drunk, supported by Satyrs and Bacchante ; 
after Vandyck. {Rubens?) Cupid shaping his Bow; 
after Correggio. Jupiter and lo ; do. ; Ganymede ; do. 

iAji STEENWYCK, Henry, the Elder, a 
|_J_J Flemish painter, born at Steenwyck in 
X3TI 1550. He studied under John de Vries, 
an artist who excelled in perspective and architec- 
ture. Steenwyck painted similar subjects, but he 
far surpassed his instructor, and in neatness and 
accuracy, he has hardly been surpassed by suc- 
ceeding artists. He settled at Antwerp, where 
he met with good encouragement. His pictures 
usually represent interiors of churches, and Gothic 
edifices, designed with surprising accuracy and 
precision. He frequently represented those su- 
perb edifices by torch-light, and by his perfect 
knowledge of the chiaro-scuro, he was enabled to 
produce a mysterious grandeur of efiect, extreme- 
ly picturesque. He did not succeed so well in 
his figures, and frequently employed other artists 
to insert them. His pictures are frequently dec- 
orated with figures by Franck. The time of his 
death is not exactly known ; some say he died in 
1603, and others that he was living in 1604. His 
name is also variously written Steenwyck, Slen- 
wyck, and Steinwyck. 

STEENWYCK, Henry, the Younger, the 
son of the preceding, was born at Antwerp in 
1589. He was instructed by his father, and paint- 
ed similar subjects, though he usually designed 
them on a larger scale. He acquired a high repu- 
tation, and lived in habits of intimacy with Van- 
dyck, who painted his portrait among the distin- 
guished artists of his country, which was engraved 
by Pontius. At the recommendation of Vandyck, 
Charles I. invited him to England, for whom he 
executed some of his choicest works, ten of which 
are described in the Catalogue of King James. He 
sometimes painted the backgrounds of Vandyck's 
pictures with ornamental architecture. He is said 
to have died in London, at what time is not known. 
There is a picture by him in the Museum at Ber- 
lin, dated 1642. 

STEENWYCK, or STEINWYCK, Nicholas, 
a Dutch painter, born at Breda, according to Des- 
camps, in 1640. He excelled in painting vases, 



921 



STEF. 



musical instruments, books, and other objects of 
still life, which he composed in a pleasing manner, 
and represented with great truth and precision. 
He also painted fish, dead game, &c,, in an admira- 
ble style. He wrought with a bold, free pencil, 
yet his pictures are well finished. 

STEFANESCHI, Giovanni Battista, a paint- 
er born at Ronta, in the Florentine state, in 1582. 
He was a monk, and is generally called VEremita 
di Monte Senario. Having a taste for painting, 
he studied with Andrea Comodi, and afterwards 
with Pietro da Cortona ; he became an excellent 
miniature painter, and was very conspicuous among 
the portrait painters and copyists of his time. 
He was much employed by the Grand Duke Fer- 
dinand II. in copying in small, some of the works 
of the great Italian masters, as RafFaelle, Correg- 
gio, Titian, and Andrea del Sarto. His coloring 
was lovely, his touch delicate, and his chiaro-scuro 
excellent. He died in 1651. 

STEFANI, Tommaso de, an old painter, born at 
Naples about 1230. Dominici, in his Lives of the 
Neapolitan Painters, attempts to show that the 
art was practiced at Naples long before the time 
of Cimabue, even in the Dark Ages, and that this 
artist was equal, if not superior to Cimabue ; but 
he signally fails to prove it, and his works will 
not bear him out in his assertions. Marco da Si- 
ena, who is the father of the history of painting 
in Naples, declares that, in respect to grandeur of 
composition, Cimabue was entitled to the prefer- 
ence. He however acquired great distinction in 
his time, and enjoyed the favor of King Charles of 
Anjou, and of Charles II., who employed him at 
Naples, as did also the principal personages of the 
city. He formed his style by studying the rem- 
ains of Grecian art which had been preserved in 
the churches and public edifices. He had painted 
several pictures for the churches of S. Francesco 
and S. Maria della Grazie previous to 1260, at 
which time he was employed by the Archbishop 
of Naples to decorate the chapel of his palace with 
several pictures of the Passion of our Saviour. Sev- 
eral of his works still remain, which are particu- 
larly described by Dominici. He died in 1310. 

STEFANI, Pietro de', the oldest sculptor of 
the Neapolitan school, and brother of the preceding, 
was born at Naples about 1228. He was fre- 
quently employed by Charles of Anjou and his son 
Charles II. He acquired some reputation as a paint- 
er, but was more celebrated as a sculptor. Among 
his principal works, are still preserved in the arch- 
iepiscopal palace, the tombs of Pope Innocent IV., 
and the Archbishop Filippo Minutolo. Stefani 
died about 1310. 

STEFANI, Benedetto, an Italian engraver and 
printseller, who flourished at Verona about 1575. 
Little is known of him or his works. There is a 
print by him representing the battle of the Lapi- 
th£e, copied from Marc' Antonio. The style of 
engraving resembles that of .^neas Vico. 

STEFANINI, Giovanni, an Italian engraver 
and perhaps painter, who flourished at Florence 
about 1760. There is an etching by him, repre- 
senting the Purification of the Virgin, after Bar- 
tholomew Sprangher. 

STEFANO, called II Figrentino, an old Flor- 
entine painter, born in 1301. He was the grand- 
son and disciple of Giotto, whom, according to 
Vasari, he greatly excelled in every department 



STEP. 



922 



STEF. 



of art. He was the first artist who attempted to 
show the naked under his draperies, which were 
loose, easy, and delicate. He established the rules 
of perspective, little known at that early period, 
on more regular principles. He was the first to 
attempt the difficult task of foreshortening. He 
also succeeded better than any of his cotemporaries 
in giving expression to his heads, and a less Gothic 
turn to the attitudes of his figures. He acquired 
a high reputation, and executed many works for 
the churches and public edifices at Florence, Rome, 
and other places, all of which have perished, accord- 
ing to Lanzi, except a picture of the Virgin and In- 
fant in the Campo Santo at Pisa. He died in 1350. 

STEFANO, ToMMASo, was the son and scholar 
of the preceding, born at Florence in 1324. Ac- 
cording to Vasari, he adhered so closely to the 
style of Giotto, that his fellow citizens called him 
R Giottino, and used to say that the soul of Giotto 
had transmigrated and animated him. There are 
some frescos by him still remaining at Assisi, and 
a picture of the dead Christ with the Virgin and 
St. John, in the church of S. Remigio at Florence. 
He died at Florence in the flower of his life, in 
1356. 

STEFANO, NiccoLO di, a painter born at Bel- 
luno, who flourished about 1530. He was an im- 
itator, and perhaps a disciple of Titian. Lanzi says, 
" Niccolo di Stefano, a cotemporary with the Ve- 
celli (the family of Titian), was a painter deserving 
commendation, no less for his having competed 
with the family of Titian, than for the reputation 
he acquired by such competition. His rivals among 
the Vecelli, were Francesco, the brother, and Ora- 
zio, the son of Titian, who approached him pretty 
nearly in point of style." 

STEFANO, DA Verona, or da Zevio, an old 
painter, who flourished at Verona about the com- 
mencement of the 15th century. There is a good 
deal of uncertainty and contradiction about him, 
though he was an eminent artist in his time. He 
studied with Angiolo Gaddi at Florence. Lanzi 
says that Vasari sometimes calls him Stefano da 
Verona, and at others, Stefano da Zevio, a territo- 
ry adjacent to the former; he is also of opinion 
that the artist mentioned by Vasari under the 
name of Sebeto, must be the same as Stefano da 
Verona. He says, "Vasari makes honorable men- 
tion of him in several places, exalting him above 
the best disciples of Angiolo Gaddi, to whose style 
(judging from what I have myself observed of 
his works at San Fermo and elsewhere), he added 
a certain dignity and beauty of form, while such 
was his excellence in fresco, that Donatello ex- 
tols him beyond any of the artists who were then 
known in those parts for similar compositions. 
Del Pozzo brings his labors down as late as 1463 ; 
an incredible assertion, as applied to a scholar 
of Gaddi (who was born in 1324, and died in 
1387, though to this period might perhaps be re- 
ferred Vincenzio di Stefano, apparently one of his 
sons, of whom nothing survives but his name, and 
the tradition of his having conferred the first les- 
sons of the art upon Liberale da Verona." 

STEFANONE, Maestro, a Neapolitan painter, 
who was born, according to Dominici, at Naples 
about 1325, and studied with Gennaro di Cola, in 
conjunction with whom he painted some grand 
frescos for the church of S. Restituta. He also 
says he painted in oil, and cites a beautiful picture 



still preserved in the church of S. Maria della 
Pieta, representing the Virgin Mary and Mary 
Magdalen weeping over the dead Christ. From 
this, and similar statements, authors have at- 
tempted to prove that oil painting was practiced 
in Italy before the time of the van Eycks. Lanzi, 
however, throwing aside all national pride, cites 
abundance of evidence to prove that all claims set 
up by the Italians to the invention of painting pic- 
tures in oilj are unfounded. Lanzi says also that 
Stefanone studied under Maestro Simone, and 
that Cola was his fellow pupil, which is the more 
probable, as they were nearly of the same age, and 
wrought much together. On the death of Simone, 
they executed in conjunction, several large pictures 
in fresco, from the life of S. Lodovico, in the church 
of S. Giovanni da Carbonara, which had only been 
commenced by Simone when he died. They also 
painted in the same edifice some histories of the 
Virgin, which were preserved for a long time. 
The styles of Cola and Stefanone were very simi- 
lar, and Lanzi says, "notwithstanding the simi- 
larity of their styles, we may perceive a difference 
in the genius of these two artists; Cola was more 
studied and correct, anxious to overcome all dif- 
ficulties, and to elevate the art, on which account 
he appears occasionally somewhat mannered Stef- 
anone discovers more genius, more confidence, and 
a greater fi-eedom of pencil, and he gave a spirit 
to his figures that might have assured him a dis- 
tinguished place, if he had been born at a more ad- 
vanced period of art." Stefanone died about 1390. 
See Gennaro di Cola and John van Eyck. 

STEFANONI, Giacomo AntOxMO, a painter, 
and engraver, who flourished at Bologna about 
1630. Little is known of him as a painter, but 
he executed quite a number of spirited etchings, 
among which are the following : 

The Virgin, with the Infant Christ, St. .John, and two 
Angels ; after Lod. Caracci. The Holy Family, with 
8t. John ; after An. Caracci. 1632. Another Holy Fam- 
ily, with St. John presenting Cherries ; do. The Virgin 
and infant Christ, with St. John ; after Agos. Caracci. 
The Murder of the Innocents ; after Guido. The Mar- 
tyrdom of St. Ursula ; after L. PasslnellL 

STEFANONI, Pietro, an Italian engraver and 
printseller, who flourished about 1620. There is 
a set of fort}'- etchings by him, after the designs of 
the Caracci, intended as a drawing-book. He 
usually marked his plates P. S. F. 

STEIDNER, D., a German engraver of little 
note, w^ho died at Augsburg in 1760. He engraved 
some plates of devotional subjects. 

STELLA, Fermo, a painter of the Milanese 
school and a native of Caravaggio. He studied 
under Gaudenzio Ferrari, whose style he followed 
with considerable success. Lanzi says there are 
some of his works in the chapels at Varallo. He 
flourished in the first part of the 16th century. 

STELLA, Francis. This painter was born at 
Mechlin, in Flanders, in 1563. After acquiring a 
knowledge of the art in his own country, he visited 
Rome for improvement, and afterwards settled in 
France, in the city of Lyons. He executed a con- 
siderable number of works for the churches and pri- 
vate collections, among which are his frescos of the 
Virgin, St. Sebastian, St. Roch, and St. Anthony, 
in the church des Minimes ; the Entombment, 
in the church of St. John ; the grand altar-piece 
I at the Celestines, representing a Descent from the 



STEL. 



923 



STEL. 



Cross ; and the Seven Sacraments at the Corde- 
liers, considered his master-piece. Stella died in 
1605. 

STELLA, Jacques, an eminent French painter, 
was the son of the preceding, born at Lyons in 1596. 
His father taught him the rudiments of design, and 
though he died when Jacques was only nine years 
old, he had made such proficiency that he was 
enabled to complete his education without the as- 
sistance of any other master. At the age of twen- 
ty he went to Italy, and first stopped at Florence, 
where he was employed by the Grand Duke to 
assist in the decorations for the solemnization of 
the marriage of his son Ferdinand II. The Grand 
Duke was so much pleased with his abilities 
that he took him into his service, assigned him 
apartments in his palace, and gave him a pension 
equal to that of Callot, who was at that time in 
his service. After a residence of seven years at 
Florence, he proceeded to Rome in 1623, where he 
formed an intimacy with Niccolo Poussin, by 
whose direction and advice, he particularly devo- 
ted his attention to a diligent study of the an- 
tique and the works of Raffaelle, by which means 
he acquired that remarkable correctness of design 
which distinguishes his subsequent works. He ex- 
ecuted several works at Rome, which gained him 
so much reputation that he was invited to the court 
of Madrid. Having determined to accept this invi- 
tation, he resolved to first visit his native country, 
and after a residence of eleven years at Rome, he 
proceed<3d in 1634 to Paris, whither his reputation 
had preceded him. His talents recommended him 
to the patronage of Cardinal Richelieu, at whose 
solicitation he was induced to abandon his intended 
visit to Spain and settle at Paris, where, through 
the influence of the Cardinal, he was appointed 
painter to the King, with apartments in the Louvre 
and a pension of one thousand livres. The King 
also honored him by conferring upon him the Or- 
der of St. Michael. Stella executed many works for 
churches and public edifices, but succeeded best in 
easel pictures, particularly those of pastoral sub- 
jects, though he showed great skill in painting 
cherubs and boys, or dancing cupids. He had an 
extensive genius, which enabled him to paint all 
kinds of subjects with equal ease. His invention 
is noble ; his design rigidly correct, and his atti- 
tudes natural ; but his works appear cold and in- 
animate, and we look in vain for that sentiment and 
expression which characterize the admirable pro- 
ductions of his friend Poussin. He was however 
a perfect master of perspective, and often enriched 
his pictures with noble architecture. His princi- 
pal works in the churches at Paris are the Baptism 
of Christ in St. Germain le Vieux ; the Annun- 
ciation, in the chapel of the Nuns of the Assump- 
tion ; and Christ with the Woman of Samaria at 
the Carmelites. He executed some spirited etch- 
ings, marked with a star, the rebus of his name, 
among which are the Descent from the Cross ; the 
Ceremony of doing Homage to the Grand Duke of 
Tuscany on St. John's Day, dated 1621 ; a Madon- 
na, a St. George, and some dancing children. There 
are also some wood cuts after his designs, marked 
with a star, but they were executed by Paul Mau- 
pain. He died at Paris in 1657, aged 61, accord- 
ing to Bardon; and not in 1647, as generally 
stated. 

STELLA, FRAN901S, was the younger brother 
of the preceding, born at Lyons in 1601. He was 



instructed by Jacques, accompanied him in his 
travels, and settled with him at Paris. He paint- 
ed history, but never acquired any great distinc- 
tion. He painted some works for the churches at 
Paris, among which is an altar-piece at the Angus 
tines, representing the Dead Christ with the Vir- 
gin and St. John. It is generally stated that he 
died at Paris in 1661, though Felibien says on 
the 26th of July, 1647, in his forty-fourth year, 
which changes the time of his birth. 

STELLA, Antoine Bousonnet, was the ne- 
phew of Jacques Stella, and born at Lyons in 
1630. He was instructed by his uncle, and ac- 
quired sufficient reputation as an historical painter 
to procure his election as a member of the Roy- 
al Academy at Paris, where he died in 1682. He 
also etched some plates, among which is one of 
Moses defending the Daughters of Jethro, after 
Poussin. 

STELLA, Claudine Bousonnet, was the sis- 
ter of the preceding, born at Lyons in 1636. She 
studied design under her uncle Jacques S., and 
afterwards applied herself to engraving, in which 
she became greatly distinguished. Her plates are 
chiefly after the works of Jacques Stella and Nic- 
colo Poussin. Her prints after the latter have 
hardly been surpassed by other artists, and she 
greatly excelled Jean Pesne. Her drawing is very 
correct, and the character of the heads is ad- 
mirably expressed. She died at Paris in 1697. 
The following are her best prints : 

A set of seventeen plates of pastoral subjects, including 
tlie title ; after James Stella. Fifty plates of the Sports 
of Children, and rural subjects ; do. The Marriage of St. 
Catherine ; do. Moses found in the Bulrushes, in two 
plates ; after N. Poussin. Moses striking the Rock ; 
do.; very fine. St. Peter and St. John curing the Lame 
Man ; do. The Crucifixion, called the Great Calvary; do ; 
very fine. The Holy Family, with St. Elizabeth and St. 
John ; do. Another Holy Family, with children bringing 
flowers ; do. 

STELLA, Antoinette Bousonnet, was the 
sister of Claudine, born at Lyons about 1637. 
She was also instructed by her uncle, and though 
she did not equal her sister, she handled the 
graver with judgment and taste, her drawing is 
correct, and her prints possess considerable merit. 
She executed some plates after Jacques Stella, 
Giulio Romano, and other masters. She died at 
Paris in 1676. 

STELLA, FRAN901SE Bousonnet, another sis- 
ter of Claudine. She engraved a set of sixty-six 
plates of antique ornaments, and a set of fifty-six 
vases, after her uncle Jacques Stella. Finding 
she could not equal the reputation of her sister 
Claudine, she afterwards assisted that distinguish- 
ed lady in many of her productions. 

STELZER, John Jacob, a German engraver, 
who flourished about 1730. He engraved a part 
of the plates for the collection of prints after the 
antique marbles in the Dresden Gallery, pub- 
lished in 1733. He also executed some other 
plates after various masters. Nagler says he ope- 
rated as late as 1780. 

STEMPSIUS. See Sempelius. 

STENDARDO, or STANDARD. See Peter 

VAN BlOEMEN. 

STENREE, or STEENREE, G., was a nephew 
of Cornehus Poelemburg, with whom he studied, 
and whose style he followed. His name is called 



STEN. 924 

George by some, and William by others. His birth 
is placed at Utrecht in 1600, and his death in 1648. 

STENT, Peter, an English engraver and print- 
seller of little note, who flourished at London from 
1640 to 1663. Only one print, a portrait of An- 
drew Willet, marked P. S., is certainly the work 
of his hand ; other prints bearing his name, with 
ea^c, only indicate him as the publisher. 

STERN, Dietrich van. See Staren. 

STERN, Ignazio, a painter born in Bavaria 
about 1698. Probably he learned the rudiments 
of design in his own country, but he went young 
to Bologna, where he entered the school of the 
Cav. Carlo Cignani. While in Lombardy, he 
painted some pictures for the churches, possessing 
great merit ; particularly an Annunciation in the 
Nunziata at Piacenza, which Lanzi describes as a 
graceful and elegant composition, executed in a 
style peculiar to himself. He afterwards went to 
Rome, where he acquired a high reputation, and 
executed several works, both in oil and fresco, for 
the churches and public edifices, the most consid- 
erable of which are some frescos in the Sacristy 
of S. Paolino, and some oil paintings in S. Eliza- 
betta. He however, excelled more in painting 
easel pictures from profane history, conversations, 
musical parties, and what the Italians call Bam- 
bocciate, as fairs, rural festivals, markets, mas- 
querades, &c., which were greatly admired, and 
Lanzi says they are to be found even in royal col- 
lections. He died in 1746. 

STETTLER, William, ^ Swiss painter, born 
at Berne, according to Fiiessli. He studied with 
Felix Meyer at Zurich, and afterwards went to 
Paris, where he learned miniature painting of Jo- 
seph Werner, He settled in that city, and was 
much employed in designing historical and other 
subjects for the publishers. He accompanied 
Charles Patin as draughtsman, in his travels through 
Holland and Italy, and made the greater part of, 
the designs for the plates in his publications on 
medals and antiquities. He died in 1708. 

STEUDTNER, Mark Christopher, a German 
engraver, born at Augsburg in 1698, according to 
Nagler ; though this is doubtless an error, as there 
is a print bearing his signature, representing St. 
Catherine carried to Heaven by Angels, dated 1696. 
He engraved both on copper and wood, and scraped 
in mezzotinto. His works embrace a variety of sub- 
jects, the chief of which are a set of etchings, repre- 
senting the Loves of the Gods, and other my thologi- 
cal subjects, from his own designs, which evince con- 
siderable talent. He died in 1736. He is some- 
times called Steudener, but he signed his prints 
M. C. Steudtner. 

STEVENS, Alexander, an able English archi- 
tect and engineer, was born in the early part of 
the eighteenth century. He distinguished him- 
self by a great number of excellent works, among 
which are Carlisle Bridge, over the Liffey, in Dub- 
lin ; the locks and docks on the Grand Canal in 
Ireland j and the aqueduct over the Lune, at Lan- 
caster. He died at an advanced age, in 1796. 

STEVENS, or STEPHANUS, John, a German 
engraver, and probably painter, who flourished at 
Strasburg about 1585. He engraved a variety of 
plates from his own designs, which prove him to 
have possessed considerable genius. His prints 
are chiefly slight etchings, executed almost en- 



STEV. 



m 



tirely with dots, and are frequently little more 
than outlines. He sometimes marked his prints 
with his name, but generally with his initials, 
J. and S., with the date= 

STEVENS, John, an English landscape painter, 
supposed by Lord Orford to have been a scholar of 
Vandiest, whose style he imitated. He was prin- 
cipally employed in painting pieces for chimney or- 
naments. He died in 1722. 

STEVENS, STEEVENS, or STEPHANS, a 
Flemish painter, born at Mechlin about 1540. Lit- 
tle is known of him. He painted both history and 
landscape, and was employed by the Emperor Ro- 
dolphus II. at Pras:ue, where he died, at what time 
is not known. Several of his pictures, chiefly land- 
scapes, were engraved by the Sadelers and H. Hon- 
dius. 

STEVENS, or STEEVENS, Peter, another 
artist born at Mechlin, who flourished about 1650. 
He was a painter and engraver, but devoted him- 
self chiefly to the latter art. He engraved several 
portraits, among which are John TIL, King of Po- 
land; Lodovic, Marquis of Brandenburg; the King 
of Prussia; Philip, Duke of Orleans; Count Em- 
eric Tekely, and other distinguished personages. 

STEVERS. See Staevarts. 

STIEGLITZ, Christian Ludwig, a distinguish- 
ed German writer on architecture, was born at 
Leipsic in 1756. After receiving a liberal educa- 
tion, he studied the legal profession, but devoted 
his leisure hours to the study of architecture. In 
1792, he published his '' History of the Architec- 
ture of the Ancients," and in 1798, completed his 
" Encyclopedia of Civil Architecture." In 1804 
he began to publish, under the title of Zeichnun- 
genaus der schonen Baukunst, a series of engra- 
vings of select specimens of modern architecture, 
which was exceedingly well received. After pro- 
ducing two or three treatises on ancient coins and 
medals, he published, in 1820, his excellent work 
on '' Ancient Germar Architecture,"" entitled Alt 
Deutsche Baukunst, which has had considerable in- 
fluence towards inspiring and directing the present 
German taste for the monuments of mediaeval art. 
His next work was his Geschichte der Baukunst, 
a valuable compendium of the history of architec- 
ture from the earliest periods, among all nations, 
published in 1827. Stieglitz 'died in 1836. His 
works evince profound research, and an intimate 
acquaintance with his subject. 

STIGLMAYER, Johann Baptist, an eminent 
German sculptor, and the distinguished director 
of the Royal JBrass Foundry at Munich, was the 
son of a blacksmith, born in 1791, at Furstenfeld- 
bruck, a small town near Munich. Manifesting a J 
strong inclination for art, he was apprenticed to a I 
goldsmith at Munich, named Streissel ; and he 
also attended the holiday school, where by his in- 
dustry and good conduct he gained the first prize 
of 100 florins. This success} attracted the notice 
of M. Leprieur, Director of the Bavarian Mint, 
who encouraged the young artist, and in 1810 pro- 
cured him admission as a student at the Academy. 
From this time, Stiglmayer pursued the regular 
course of study in sculpture, and also practiced 
seal and medal engraving. In 1814, he executed 
an admirable medal, representing, on the obverse, 
von Langer, a Director of the Academy, and on the 



STIG. 



925 



STIM. 



reverse, Moses striking the Rock, which gained 
him the appointment of engraver to the Mint. 
In 1819 he was sent to Italy at the king's ex- 
pense, to complete his studies. At Rome, Lud- 
wig, then ci'own prince and subsequently king of 
Bavaria, became cognizant of Stiglmayer's great 
abilities; and he seems to have iirst directed the 
sculptor's attention to those great undertakings 
which he had alreadj^ projected. Accordingly, 
Stiglmayer visited Naples, to witness the opera- 
tion of casting the colossal equestrian statue in 
bronze of Charles III., by Francesco Righetti and 
his son Luigi, from the model by Canova ; but 
some petty jealousy prevented him from accom- 
plishing his purpose. Undismayed by difficulties, 
after considerable trouble he obtained permission to 
erect a smelting oven in his own cellar ; and, having 
procured the assistance of Beccari, an experienced 
founder, he undertook the casting of several works. 
The first wholly failed ; but the second, a cast 
from Thorwaldsen's bust of Prince Ludwig of Ba- 
varia, was so completely successful that the jour- 
neyman Pasquali, in his ecstacy kissed the lips of 
the bust before they were cool, and seriousl}'' burnt 
his own ! After casting a few other works, and 
perfecting his acquaintance with the practical de- 
partment of the art, he returned to Germany in 
1822. During the succeeding two years, he was 
chieliy employed as engraver to the Mint, and in 
the execution of seveial works in sculpture, for 
the Glyptothek or Sculpture Gallery at Munich. 
Among his busts of this period, are those of Max- 
imilian I., Queen Theresa. Count Dorring, and 
Bishop Streber. In 1824. he commenced making 
preparations for his great series of metal castings ; 
and from this time he was exclusively employed 
in founding the numerous monumental works 
erected by the king of Bavaria, some of which are 
after his own models, and others after those of 
Schwanthaler, Thorwaldsen. and other eminent 
sculptors of the present century. Impelled by 
great energy and caution — qualities rarely united 
— he visited Berlin in 1824, to witness the casting 
of Ranch's statue of Blucher by Reisinger, who, 
influenced by liberal and generous sentiments, 
showed him everything in his power. 

Stiglmayer's great activity commenced in 1826, 
at the accession of his patron, Ludwig I. His 
works are too numerous to admit the inser- 
tion of a complete list. Among the principal are, 
the monument of Maximilian I., in Bad Kreuth ; 
and the Parting of Otto, king of Greece, from his 
mother Theresa, queen of Bavaria, at Aibling — 
both after his own designs 5 the twelve colossal fire- 
gilded statues of the ancestors of the king of Ba- 
varia, in the palace at Munich ; the colossal statues 
of Jean Paul in Bayreuth, Mozart in Salzburg, the 
Margrave Frederick of Brandenburg in Erlangen, 
and the Grand Duke Ludwig of Darmstadt — all 
after Schwanthaler ; the statue of Schiller at Stutt- 
/gard ; and the colossal statue of Maximilian I. of 
Bavaria at Munich — both after Thorwaldsen ; the 
Obelisk, 100 Bavarian feet high^ in commemoration 
of the 30,000 Bavarians who fell in the allied war ; 
the bronze gates of the Glyptothek and the Wal- 
halla ; and the grand constitutional column at 
Gaibach. Stiglmayer was honored, in 1830, with 
the knighthood of the Bavarian order of St. Mi- 
chael. He died in 1844, leaving a number of im- 
portant works in progress, which have since been 
completed. Among them are the colossal statue of 



Goethe, for Frankfort, cast on theday of Stiglmay- 
er's death ; the enormous colossal impersonification 
of Bavaria, nearly sixty feet high, placed before 
the Bavarian Rumeshalle. or Temple of Fame, and 
the largest statue in the world, measuring with its 
pedestal about eighty feet ; the monument of the 
Grand Duke of Baden — all after the designs of 
Schwanthaler. 



f-zKry^ fj STIMMER, Tobias, a Swiss 
^ or x/ P^^"^^^ ^"^ designer, born at 
^K * ^L^ Schafl"hausen in 1534, according 
to Bartsch and Nagler, and not in 1544, as stated 
by others. It is not known under whom he stud- 
ied, but he had acquired considerable celebrity by 
decorating the principal mansions of his native 
city, Strasburg, and Frankfort, with historical sub- 
jects painted in fresco, when he was invited to the 
court of the Marquis of Baden, to paint a series 
of portraits of the ancestors of that prince, which, 
according to Huber, he executed in a grand style. 
All his frescos, however, have perished ; but he 
designed a set of small wooden cuts for a Bible, 
published at Basle in 1586, entitled A^ofte Tohi(B 
Stimmeri sacr^orum Bibliorum figures versibus 
Latmis et Germanicis expositce^ and another 
set of cuts for the New Testament, printed at 
Strasburg in 1588. These cuts are numerous, and 
prove him to have possessed a ready and fertile 
invention. It is no mean proof of his ability that 
they were commended by Rubens, who declared 
that he had studied them with attention, and de- 
rived much instruction from them. The cuts in 
the Bible before mentioned, marked with the above 
monogram of his initials, have heretofore been at- 
tributed to him ; yet Bartsch says that he made 
the designs, but never engraved on wood. This, 
however, rests upon conjecture, and as John C. 
Stimmer certainly executed a part of these cuts, 
and doubtless learned the art of his brother, it 
seems more than probable that Tobias engraved 
those bearing his monogram ; otherwise, why 
should not his mark be found on all the prints, if 
it only indicates him as the designer? The title 
page clearly shows that he designed them all. 
The time of his death is not known, but he is sup- 
posed to have lived to an advanced age. 

^^^ STIMMER, John Christopher, was 
f^^A the younger brother of the preceding, 
VxXlborn at SchaflPhausen, in 1552. _ He is sup- 
posed to have been instructed by Tobias. He is 
said to have distinguished himself as an engraver 
on wood, and to have executed many cuts in a 
clear, neat style, from his own designs, and after 
those of his brother, which he marked with a mo- 
nogram composed of the initials C. S. T. M., as 
above. The accounts of him. however, are involv- 
ed in much intricacy, confusion, and uncertainty. 
Those fond of vainly attempting to unravel such 
perplexities, are referred to Nagler's Lexicon, and 
Bartsch's P. G., tom. ix. Besides some of the cuts 
in the Bible mentioned in the preceding article, the 
following are attributed to him : A set of cuts 
for the New Testament, printed at Strasburg in 
1588. A set of prints of learned persons and the- 
ologians of Germany, published by Bernard Jobio, 
at Strasburg. in 1587. A set of Emblems, enti- 
tled Icones AfabrcB, published by B. Jobio, at 
Strasburg, in 1591. 
STOCCADE, Nicholas db Helt, a Dutch 



STOC. 



926 



STOC. 



painter, born at Nimeguen in 1614, He studied 
at Antwerp under Martin Ryckaert, whose daugh- 
ter he married. He first practiced landscape paint- 
ing in the style of his instructor, but his genius 
leading him to historical painting, he applied with 
great assiduity to that branch, and had acquired 
considerable reputation, when he went to Italy for 
improvement. He passed eight years at Rome, 
with unremitting application, where his talents 
soon recommended him to public attention, and he 
was employed to paint several pictures for the pal- 
aces and private collections, particularly for Chris- 
tina, Queen of Sweden. From Rome he went to 
Venice, to improve his coloring by studying the 
works of the great Venetian masters. After a 
residence of several years at Venice, he set out for 
his own country ; but visiting Paris on his way, 
he met with such distinguished encouragement 
that he was induced to establish himself for many 
years in that city, where he was appointed one 
of the painters to the king. It is said that he did 
not long survive his return to the Netherlands, 
where he died, according to Immerzeel, in 1669. 

The historical pictures of Stoccade are generally 
of large dimensions, and his design bears the char- 
acter of the Roman school. His compositions 
evince a ready and fertile invention, his figures are 
correctly designed, his manner of penciling broad 
and free, his coloring sweet and harmonious, and 
he sometimes showed a singularity of manner in 
expressing the actions and passions of his charac- 
ters, different from other painters. Thus in the 
story of Andromeda, while many painters have 
represented her almost dying with fearful appre- 
hension of her danger, Stoccade. on the contrary, 
depicted her in modest confusion, rather blush- 
ing from the consciousness of being exposed na- 
ked, than terrified at the horrors with which she 
was threatened. This picture, and those of Clelia 
passing the Tiber, and Joseph distributing Corn to 
his Brethren, were celebrated by the poets of his 
country. His principal works are at Rome, Ve- 
nice, and Paris. He executed a few etchings, 
among which are Cephalus and Aurora, and Su- 
sanna and the Elders, from his own designs ; and 
a portrait of A. van Opstat. after Vandyck. 

STOCK, Ignatius vander, a Dutch painter 
and engraver, who flourished from about 1620 to 
1660. Little is known of him as a painter, though 
he is said to have painted landscapes with ability. 
There are some spirited etchings by him, from his 
own designs, and after other masters, which evince 
considerable talent. 

STOCK, Andrew, a Dutch engraver, born at 
the Hague, in 1590. He went to Antwerp, where 
he seems to have chiefly resided. He is supposed 
to have studied under James de Gheyn the Elder, 
whose style he imitated. He engraved several 
plates for the Academie de IJEspee, published at 
Antwerp by Thibeau, in 1625 ; he inscribed them 
Andreas Stokius Hagcc Comitis, sculp. Among 
others, are the following by him : 

rSORTKAITS. 

Albert Durer, Effigiee Alherti Dnreri. And. Stock, sc, 
1629. Hans Holbein ; Effigies Holbeini, Pictoris cele- 
berrimi, se ipse pinx. And. Stock, fecit. Lucas of Ley- 
den ; from a picture by himself. Peter Sneyers, Painter ; 
after A. Vandyck. 

SUBJECTS, 

The Sacrifice of Abraham; after Rubens. Twelve 



plates of the Months in the Year ; after Wildens. A set 
of eight Landscapes ; after Paul Brill. 

STOCK, H., an English engraver, who flourish- 
ed about 1635. Only one print is mentioned by 
him — a portrait of Robert Cecil, Earl of Salisbury. 

JR STOER, Lawrence, a German artist, who 
Ilk flourished at Augsburg, about 1567. Accord- 
-*-^ing to Prof. Christ, he was a painter, and an en- 
graver on wood. He executed several cuts, which 
are marked with the above monogram. 

STOFFE, J. V. D., a Dutch painter of battle- 
pieces and skirmishes of cavalry, of whom nothing 
is known except by his pictures, signed with his 
name. They are of small size, painted on panel, 
and rarely exceed thirty-six inches b}'^ about twentj'-- 
four. His pictures are well designed, spirited in 
action, strongly colored, and highly finished. — 
They bear some resemblance to those of Stoop, or 
Esaias Vandervelde, to whom they are sometimes 
attributed. He flourished about 1650. 

STOLKER, John, a Dutch painter, and an en- 
graver in aquafortis and mezzotinto. born at Am- 
sterdam in 1724. He studied painting under J. 
M. Quinkhard, with whom he remained till he 
was twenty-three years of age. He then went to 
the Hague, where he resided nine years, painting 
portraits and family groups. He next removed to 
Rotterdam, where he settled permanently, and ac- 
quired considerable reputation. He also painted 
cabinet pictures of familiar subjects, one of which, 
called Rhynlande. is highly commended for its ad- 
mirable design, composition, expression, chiaro- 
scuro, and elaborate finishing. He also engraved 
quite a number of prints after Rembrandt, Adri- 
an van Ostade, Jan Steen, Frank Hals, Terburg, 
Schalcken, and other masters. He died in 1786. 

STOM, or STOOM, Matthew, a painter, sup- 
posed to have been of Flemish origin, who died at 
Verona in 1702. He painted landscapes and battle- 
pieces with considerable reputation. There was 
another artist of this name who flourished about 
1650. He painted sacred subjects, and there is an 
altar-piece by him in the church of St. Cecilia at 
Messina. 

STOMME,a Dutch painter of still-life, supposed 
to have been a scholar of John David de Heem, 
whose style he imitated. There is a fine picture 
by him in the Museum at Brussels, representing 
a table covered, on which are a pitcher, a plate of 
broiled fish, and other objects. Nothing more is 
known of him. . 

STONE, Nicholas, an English sculptor and ar- | 
chitect, born in 1586. He served his time with 
Isaac Jones, for whom he worked a considerable 
time. He afterwards went to Holland, where he 
was employed by one Peter de Heyser, whose 
daughter he married. On his return to England, ■ 
he was much employed in executing monuments | 
for persons of distinction. In 1616. he was em- ' 
ployed at Edinburgh, in the King's chapel. In 
1619, he was engaged in the Banqueting House at 
Whitehall, and in the beginning of the reign of | 
Charles T. he received his patent as master mason. | 
The following are a few of his principal works, 
given by Vertue ; A tomb, for the Earl of Or 
mond, set up at Kilkenny, Ireland ; a superb tomb 
for Lord Northampton, in Dover Castle j anothei 
for the Earl of Bedford, for which the artist re- 
ceived £1020 J a monument to Spenser, the poet, 



STON. 



927 



STOO. 



in "Westminster Abbey : four statues for the old 
Koyal Exchange, London, of Edward IV., Richard 
III., Henry VII., and Queen Elizabeth, which were 
afterwards removed to Guildhall Gate. He execu- 
ted many works at Windsor for Charles I., and 
built the front of St. Mary's church at Oxford. 
According to Stone's private memoranda, he re- 
ceived about £11.000 for his monuments. He 
died in 1647. 

STONE, Henry, was the son of the preceding, 
and usually called Old Stone, to distinguish him 
from his brother John. The time of his birth is 
not known. He probably studied with Michael 
Cross, an excellent copyist of the works of various 
masters, employed by Charles I. He made ma- 
ny excellent copies from the portraits of Van- 
dyck, and many portraits now to be found in vari- 
ous collections, attributed to Vandyck, are sup- 
posed to have been painted by him. He also cop- 
ied the Italian masters with great success. Stan- 
ley sa3's that the picture of the Cornaro family, 
said to be by Titian, formerl}'- at Northumberland 
House, and now at Hampton Court, is a copy by 
Stone. He died at London in 1653. 

STONE, John, was the brother of Henry. He 
chiefly followed the profession of his father as a 
statuary. He also copied some of the most es- 
teemed works of the old masters with considera- 
ble success. He is said to have studied with Thom- 
as Cross, an engraver ; but it was more proba- 
bly Michael Cross, mentioned in the foregoing 
article. He is said to have designed and engraved 
some plates, but only one is known. He died in 
1653. 

STONE, Nicholas, an English statuary, was 
the third son of Nicholas S. After receiving some 
instruction from his father, he visited Italy to com- 
plete his education, and modelled many excellent 
copies of celebrated foreign works, among which, 
according to Walpole, were the LaocoOn, and Ber- 
nini's Apollo and Daphne, in terra-cotta. after- 
wards in the possession of the sculptor Bird. — 
He returned to England in 1642, and died in the 
same year as his father, in 1647. 

STOOP, Dirk or Theodore, and Peter. 
There is a great deal of contradiction and confu- 
sion among writers, especially the English, with 
regard to the Stoops. According to Bartsch and 
the best authorities, Theodore, Thierry, Dierick, 
Dirk, and Roderigo are one and the same artist. 
Roderigo in Portuguese is the same as Theodorus 
in Latin, from which the other names are derived. 
Dirk being the diminutive, or rather a corruption, 
of Theodore, used by the Dutch. Dirk Stoop 
was a designer and engraver, and probably a 
painter, born in Holland about 1610. There 
is a set of twelve plates of Horses, and a set of 
twelve masterly etchings of figures and animals, 
signed D. Stoop, which he engraved before he left 
Holland. He went to Lisbon, where he resided 
some time, and was patronized by Catherine of 
Braganza, whom he accompanied to England. 
"While in Lisbon, he engraved a set of eight views 
in that city, from his own designs, which he dedi- 
cated to his patroness. They are signed Eo. 
Stoop./., and are dated 1661 and 1662. It is sup- 
posed by some that these were from pictures paint- 
ed by himself, though this rests entirely on con- 
jecture. On his arrival in London, he engraved 
and published a set of seven prints, representing 



the Queen's Journey from Lisbon to London. 
These are marked Bo. Stoop, f. Some time after- 
wards he engraved, conjointly with Hollar, the 
plates for the first part of Ogilby's translation of 
-^sop's Fables, after designs bj'- Barlow, though 
several of those by Stoop are from his own de- 
signs. He engraved several other plates while in 
England, some of which he signed Ro.. and others 
T. Stoop. It is therefore evident that these prints 
are all by the same artist, and that he varied his 
signature according to the custom of the country 
in which he happened to be located when he pub- 
lished them. There are several other prints by 
him ; and others are attributed to him. but they 
are of very doubtful authenticit3\ Some of his 
prints are extremely rare. Lord Orford. Pilking- 
ton, and Bryan, who call him Peter and Roderigo, 
say he died at London in or about 1685 ; others, 
that he returned to his own countr}^ about 1678. 

STOOP, Peter, is supposed to have been the 
brother of Dirk, and born about 1612. He was a 
cotemporaiy of Peter de Laer. whose style and 
subjects he imitated with great success, and his 
best works are said to be little inferior to the pro- 
ductions of that admirable master. Bryan says, 
in his life of Dirk S., that '-his pictures represent 
hunters and sportsmen on horseback, the halts of 
travelers, farriers' shops, &c., which are composed 
and designed with a spirit and taste which has 
scarcely been surpassed by Philip Wouwerman, 
for whose works the pictures of Stoop are not un- 
frequently taken." He then goes on to describe 
Peter S. as an engraver, and says that he painted 
battles, huntings, and sea-ports with considerable 
success. Pilkington gives nearly the same account. 
It is evident, however, that the imitator of Bam- 
boccio was Peter, for such pictures are frequently 
met with, signed P. Stoop. The Dutch writers 
describe Jaii Pieter Stoop, as a painter of simi- 
lar subjects as those attributed by the English to 
Dirk Stoop. It seems very probable, too, that 
Dirk was also a painter as well as an engraver, 
and that he painted the battles, huntings, and 
halts of travelers. The Dutch writers also men- 
tion a J. Stoop, who they say imitated van Bloem- 
en and Michael Carre, and he is commended for 
his good coloring, spirited penciling, and excellent 
chiaro-scuro. The reader who wishes to pursue 
this subject further, must be referred to Bartsch's 
Peintre Graveur. torn, iv., Weigel's Supplement to 
Bartsch, Nagler's Lexicon, and Robert Dumesnil 
Le Peintre Graveur Fran^ais. torn. v. 

STOOPENDAAL, or STOOPENDAEL, B., a 
Dutch engraver, who flourished from about 1700 to 
1720. He imitated the style of Cornelius Visscher, 
and copied some of his prints. He generally signed 
his plates B. Stoopendaelfec, but sometimes with 
the contraction, B. Stoop., which has caused some 
confusion. There was another engraver who flour- 
ished about the same time, named D. Stoopendael, 
probably his brother. The following are by him : 

Sixty Views in Holland, entitled Les Delices du Dicmer 
Meer; engraved frovi his own designs. A set of twenty- 
four Views near the Hague. Four plates, represeating the 
Departure of King William from Holland for England, 
his Arrival, his meeting the Parliament, and his Corona- 
tion • insGTihed B. Stoopendaal, fee. The Robbers; cf- 
ttr Bamboccio ; B- Stoopendaal, sc. The Attack of a 
Military Convoy ; do. ; do. A Lime-kiln ; do. Ihe last 
three plates are very finely copied from the prints by Viss- 
cher. 



STOR. 



928 



STOT. 



STOR ALT, Giovanni, a Bolognese painter, who 
flourished about 1600. He studied with Cesare 
Baglioni, whose style he followed with considera- 
ble reputation. He painted landscape, fruit, flow- 
ers, and still-life. 

STORCK, or STORK, Abraham, an eminent 
Dutch marine painter, born at Amsterdam in 1650. 
It is not known by whom he was instructed, but 
he studied nature with great assiduit};-, and care- 
fully sketched every scene, vessel, and object which 
he intended to introduce into a picture ; hence his 
works have a strong character of truth. His pic- 
tures usually represent views on the Y, or the 
Arastel, near Amsterdam, with a variety of ship- 
ping and boats, decorated with small figures, cor- 
rectly drawn, and touched with great neatness and 
spirit. He also painted sea-ports, calms at sea 
with fishing smacks, and sometimes storms at sea, 
which he represented with great truth and fidelity. 
His pictures are ingeniously composed, his vessels 
and rigging are drawn with precision and accura- 
cy, his coloring is clear and transparent, his skies 
light and floating, and his chiaro-scuro excellent. 
One of his most celebrated pictures was a repre- 
sentation of the reception of the Duke of Marlbo- 
rough in the river Amstel, with a procession of 
vessels, yachts, and barges, superbly decorated, and 
crowded with figures in a variety of habits, adap- 
ted to their different dignities, ranks, and condi- 
tions, yet so ingeniously disposed and arranged 
that there is no appearance of confusion or want 
of room. His pictures are little inferior to those 
of Backhuysen and Vandervelde, and are now held 
in high estimation. Bartsch describes six etch- 
ings, which, he attributes to him, signed J., Storck. 
His name is often written Stork, but he signed his 
pictures A. Storck. He died at Amsterdam in 
1708. 

STORCK, Jan, or Jacob, is supposed to have 
been the elder brother of the preceding. He 
painted similar subjects, but his works are far in- 
ferior to the admirable productions of Abraham 
Storck. His pictures are numerous, usually of 
small dimensions, and are signed J. Storck, or 
simply Storck. Jan or Jacob is merely conjectural. 

STORER, John Christopher, a Swiss painter, 
born at Constance in 1611. He went to Milan, 
and studied in the school of Ercole Procaccini. 
Lanzi says that he produced some works of a sohd 
taste, but subsequently he fell into mannerism, 
and not unfrequently adopted gross and common 
ideas. In other points he displayed much spirit, 
and was a good colorist. He was one of the art- 
ists employed on the decorations at Milan, on the 
occasion of the Entry of Philip IV. and Maria of 
Austria. There are many of his pictures in the 
churches and collections of Germany. Several of 
his pictures have been engraved by Bonacina, dal 
Sole, M. Kiisel, B. Kilian, and Ph. Kilian. He also 
etched several plates of subjects from sacred and 
profane history, from his own designs, some of 
which are signed Joan. Christ. Storer. and others 
Giov. Christ. Storer. His name is sometimes er- 
roneously written Stoer and Stora. He died at 
Constance in 1671, though Lanzi and others say at 
Milan. 

V^ JL r\ STOSS, Francis, an old German 
T"«11 V^ engraver, who is supposed to have 
I \1. ^ flourished as early as 1460, and to 
^ have practiced engraving before the 

time of Martin Schoen and Israel von Mecheln. 



He is said to have engraved a set of small plates, 
representing the Life and Passion of Christ, which 
were copied by Schoen, who is believed to have 
been his pupil, as he imitated his style. He mark- 
ed his plates with the initials F. and S., in old Ger- 
man characters, with a kind of cross between 
them, as above. Much of this, however, is merely 
conjectural. Bartsch (P. G., torn, vi.) describes 
only three prints bearing this mark, viz., the Re- 
surrection of Lazarus, the Dead Christ, and the 
Holy Virgin. He says " the engraver who used 
this mark is very ancient, and absolutely un- 
known ; for as to the names of Francis Stoss, 
Stoltzhirs, and Stolzius, which different writers 
have given him, they have as little foundation as 
the opinion that he was the master of Martin 
Schongauer." Nagler, however, is of a different 
opinion, and regards this artist of so much im- 
portance that he devotes eight closely printed pa- 
ges concerning him and his supposed works, which, 
though interesting to the connoisseur, elicits no- 
thing beyond conjecture. 

STOTHARD, Thomas, an eminent English 
painter of historical, poetical, and fancy subjects, 
was born at London in 1755. His father was a 
coachmaker, and as Thomas was an only and a 
sickly child, he sent him to Acomb, a small village 
near York, when he was five years old, and placed 
him with an old Scotch lady, whose motherly care, 
with the healthy locality, soon restored him to 
strength. It was here that his natural genius for 
painting exhibited itself at a very tender age, and 
the artist used to relate, in his old age, an inci- 
dent that induced him to adopt a profession 
which had afforded him pleasure full seventy 
years. '■ My Scotch friend had two sons in the 
Temple, London, who had sent her some of Houbra- 
ken's heads, with an engraving of Blind Belisarius 
and other prints from the graver of Strange ; as 
the)'- were framed, she had them hung up in a sort 
of drawing room, and rarely allowed any one to 
look at her treasures, as she called them. One 
day I ventured to follow her into her sanctuary. 
She was pleased with the earnestness with which I 
viewed the heads and groups, patted me on the 
head, and said I should see them often, since I 
seemed to like them so much. I became almost a 
daily visitor to her room, and I began to wonder 
how such things were done. I was told they were 
made with pencils. Though the old lady told me 
this, she little expected the result. In short she 
missed me one day, and found me standing on a 
chair, trying to imitate with a pencil one of the 
heads before me. She smiled, patted me on the 
head, and bade me go on, adding, ' Thomas, ye are 
really a queer boy.' I did little else now but 
draw, and I soon began to make tolerable copies. 

" I lived at Acomb till I was eight years old, 
when I left my old Scottish dame with tears in my 
eyes, and went to school at Stretton, the birth-place 
of my father. I continued drawing, and even at- 
tempted to make sketches from life. Some one 
told me that engravings were made from paint- 
ings in oil colors. I longed to see a painting, and 
shall never forget the delight with which for the 
first time I looked upon one. I resolved to paint 
in colors, and wrote to my father to send me some 
materials ; I was, however, too impatient to wait 
their coming ; but going to a cart and plow 
wright, I begged black, red, and white oil colors 
from him, and commenced to make a picture. I 



STOT. 



929 



STOT. 



painted a man in black paint, and then tried with 
red and white to work it into the hues of Yii'e. 
It was a sad daub ; but I still persevered, and soon 
learned to handle my brush with more skill, and to 
lay on m}'- colors with better taste." Such are the 
simple and instructive circumstances which often 
lead men of genius to excellence and renown. His 
father dying about this time, his rel atives apprenticed 
him to a weaver of brocades, but at his master's 
death, which happened when he was about seven- 
teen years of age, he devoted his whole time to his 
favorite art. which he had never neglected. To 
improve himself, he became a student of the Roy- 
al Academy. He had already, by the force of his 
own genius and application, made great progress in 
art. He had, too, adopted the right path to excel- 
lence, which he ever pursued — a diligent study of 
nature. He delighted to roam over the fields, and 
sketch on the spot, in water colors, every curious 
and beautiful object that met his view, whether 
tree, plant, flower, or insect. In town, too, he was 
not less diligent in drawing every beautiful and 
pleasing form. Cunningham says, " His first re- 
corded work is a Holy Family, painted in small, 
like almost all his pictures ; it was exhibited in the 
Royal Academy in 1778 ; he was then twenty- 
three years old, and though an early beginner, 
his modesty equalled his talents, and he did 
not hurry, as many do, his first crude gropings 
after beaut}' before the public. In the following 
3-ear. he exhibited a little picture of Banditti, and 
afterwards the retreat of the Greeks with the 
body of Patroclus ; the Death of Sir Philip Sid- 
ne}'- King Richard returning from Palestine; 
King Richard's treatment of Isaac, King of Cy- 
prus; and Britomart, from Spenser. The last of 
these intimates the commencement of that series 
of works, from our poetic and prose literature, 
which extend to several thousands, and exhibit 
the heroism, the pathos, the humor, and the spirit 
of the island genius, in a manner as easy, as grace- 
ful, and as brightly, as it shines in the purest prose, 
or the most vivid verse. In 1792, he was elect- 
ed an associate of the Royal Academy, and two 
years afterwards he was admitted into the ranks 
as a Royal Academician. He moved at the same 
time from 39 East street to 28 Newman street — a 
neighborhood much frequented by brethren of the 
art. 

" Of all our poets, Spenser was his favorite, and 
from his pages, and those of Chaucer and Shak- 
speare. he has embodied scenes and groups suffi- 
cient for his fame. To ensure the presence of na- 
ture in his compositions, it was his custom to walk 
frequently in the streets, and observe the men and 
women, girls and boys, the rich and the poor, the 
high and the humble, as they hurried or loitered 
along. He used to say that he transcribed their 
looks or their air from his memory into his stud- 
ies, and that he never met with two faces or two 
forms exactly alike. He loved to extend his walks 
to the Tower, and often further, to study the heads 
of foreign mariners, who crowd the Thames from 
every point of the compass : and of these he loved 
the seamen from the Mediterranean most, for their 
ancient Grecian cast of countenance ; and the Chi- 
nese and low Irish least, from their coarse looks 
and unpoetic airs. In all his pictures there is a 
natural action and a classic grace — the fruit of 
these studies, and his fine poetic talents. This is 
visible in his numerous scenes from the Grecian 



and Italian poets, over which the air of antique 
beauty is warmly, sometimes too glowingly, 
breathed ; these consist chiefl}'- of nymphs wan- 
dering in shady forests, reposing by faUing streams, 
singing to the lute by silent fountains, walking 
with their favorite knights, or bathing singly or 
in clusters in lonel}!^ streams, with nothing save a 
song-bird or a wild fawn to see them. 

" The Pilgrim's Progress and Robinson Crusoe 
were the sources from which he frequently drew 
his inspiration ; Christiana and her Children was 
in the exhibition of 1797 ; Christian, the Pilgrim, 
followed, and both were admired for their simpli- 
city and beauty ; while Robinson Crusoe on his 
lonely isle, scared by the print of a man's foot 
in the sand, can never pass away from the memo- 
ry. The illustrations of these romantic composi- 
tions tell the stor}^ of themselves ; in a small com- 
pass, and at a glance of the eye, we find the bloom 
and essence of the great originals. There is scarce- 
ly an author of an};' mark whose pages he has left 
unembellished ; nor is there a poet whose peculiar 
excellence he can be accused of not perceiving and 
feeling. In his scene from the Canterbury Pil- 
grimage, where he musters at sun-rise his motley 
yet select devotees, and directs their march to the 
shrine of Thomas a Becket, at Canterbury, we read 
in their looks the various characters described by 
Chaucer ; and no man who has seen that fine pic- 
ture, glowing with truth and life, can say he is un- 
acquainted with the poet; though he only knows 
him by name. The same may be said of those 
fine pictures which he has hung, like summer gar- 
lands, on the Muse of Rogers ; and of his illustra- 
tions to the Tales of Boccacio ; in both of which 
he has shown a fancy teeming with images of in- 
nocence and loveliness. The sun never shone on 
more pure and lovel}- creatures ; yet now and 
then, here and there, he has exhibited a touch of 
what the Puritans call the old Adam, and has just 
intimated, in some of his Nymphs, that they feel 
their steps unsteady, and the grass under their feet 
a little slippery. 

" The chief excellence of Stothard lies in express- 
ing virgin innocence and matronly grace — in depict- 
ing images of female loveliness, and rural or chival- 
rous life. He has humor of a quiet kind, and deep 
sensibility ; he is without labored shapes or con- 
strained postures ; all, with him, is easy, graceful, 
and unaffected. He is the painter of thought, 
rather than form ; and yet, where are fairer forms 
to be found than in his clusters of nymphs and 
bevies of ladies ? His coloring is often bright and 
clear. He is very unequal, and what is called man- 
nered ; his smaller pictures are his best, and lucki- 
ly they are very numerous." 

Stothard's chief fame rests upon his almost in- 
numerable designs and water-colored drawings, 
which he executed to embelhsh almost all the 
beautiful publications of his day. It is said that 
he made upwards of five thousand, more than 
three thousand of which were engraved by Charles 
Heath, and many other eminent engravers, by 
w^hich means his fame w^as spread all over the 
world, even in his life- time. Among his largei' 
works may be enumerated the pictures he palm- 
ed for the Shakspeare Gallery, the Canterbury 
Pilgrims, the Flitch of Bacon, and the Wellington 
Shield. He also painted in fresco the staircase ; c 
Burleigh House, the seat of the Marquis of Ex'.- 
ter. the fi^^ures of which are seven feet high, and 



STOT. 



930 



STKA. 



occupied him near four years; aud he executed the 
desis^ns for the ceiling of the Advocates' Library, 
at Edinburgh. He made many excellent designs 
for workers in gold, silver, and other metals, to or- 
nament rich services of plate, urns, vessels, &c., 
and drew the outlines of many celebrated works 
by the English sculptors, for the engravers. His 
designs are now highly esteemed, and eagerly 
sought after by collectors ; and though they are so nu- 
merous, they are constantly rising in value — a sure 
proof of their merit. Some of his aquarel draw- 
ings are almost as valuable as his oil paintings. 
Of his numerous oil paintings, his cabinet pictures 
are the best, and less mannered than his larger 
productions. It is admitted that he succeeded bet- 
ter in illustrating domestic scenes and the poets of 
his own country, than the heroic subjects of anti- 
quity ; for he was a close observer of men and man- 
ners. In representing the sports, humors, and in- 
nocence of children, he is without a rival among 
modern artists. It is said that he gave the pre- 
ference, before all his other works, to fifteen small 
pictures which he painted to illustrate the Pilgrim's 
Progress. He was very simple and unassuming in 
his deportment, and an unfortunate deafness pre- 
vented him from associating with his brother art- 
ists and men of genius as much as he otherwise 
would have done. He was a self-made man, aud 
by the force of his genius, and untiring persever- 
ance and industry, raised himself to a distinguish- 
ed position, at a period when so many English art- 
ists jBourished as to cause it to be designated 
" the golden era of English art." The history of 
such a man is full of instruction and encourage- 
ment to young artists. He died in 1834, aged 79 
years. 

STOTHARD, Charles Alfred, was the son of 
the preceding, born in London in 1787. His fa- 
ther gave him a liberal education, and instructed 
him in art ; he afterwards studied in the Royal 
Academy, where he soon attracted attention for 
his chaste drawings, and the accuracy with which 
he drew from the ancient sculptures. In 1802. he 
accompanied his father to Burleigh, the seat of the 
Marquis of Exeter, and during the four years he 
was occupied there, young Stothard employed much 
of his time in making drawings from the monu- 
ments and antiquities in the various churches of 
that region. This awakened in him a predilection 
for a pursuit in which he distinguished himself. 
In 1811 he exhibited at the Royal Academy a 
spirited picture, representing the Murder of Rich- 
ard II. at Pomfret Castle, in which the costume of 
the time was strictly observed, and the portrait of 
the monarch taken from his eflBgy in Westminster 
Abbey. In the same- year he commenced and fin- 
ished the first number of his great work, '• The 
Monumental Effigies of Great Britain," under the 
auspices of the Society of Antiquaries, of which 
he became a member. This work required im- 
mense labor and research, as it was intended to 
bring together and preserve correct representations 
of the best historical illustrations extant, from the 
Norman Conquest to the time of Henry VIII., to 
bj found in the cathedrals and churches. He there- 
fore de oted his whole time to its prosecution, 
with great assiduity. He executed the designs 
v.ith the utmost accuracy and precision, the herald- 
ic emblazonry is of the highest order for correct- 
iii'ss and beauty, and he etched all the plates him- 
self, with a delicacy and fidelity before unknown 



in English art. The work is now considered in- 
dispensable to antiquaries, artists, and to every 
person who is desirous of being acquainted with 
the costumal history of those times, and the her- 
aldic bearings of all those illustrious persons whose 
names are recorded for valorous achievements, or 
other deeds beneficial to their country. In 1816, 
he was sent by the Society to Bayeux, to make 
drawings from the famous tapestries preserved in 
that city. While thus engaged, he visited the Ab- 
bey of Fontevraud, where he discovered the effi- 
gies of the Plantagenets, the existence of which, 
after the revolutionary tempest, was considered 
doubtful. These were added to the work, and in 
the edition published by Bohn, are superbly illu- 
minated in imitation of the originals. In 1818, he 
married Miss Kempe, a very ingenious lady, who 
accompanied him in his second visit to' France, and 
wrote an interesting account of their tour through 
Normandy and Brittany, which was subsequently 
published, illustrated with twenty-one engravings 
from designs b}'- her husband. In 1819, he made 
drawings for the Society, from the pictures discov- 
ered on the walls of the Painted Chamber. In 
prosecuting this work, he recovered the long lost 
art of embossing gold on the surface of the mate- 
rial, as practiced by the old Italian and German 
illuminators, and which contributes so much to 
the splendor of ancient missals and other manu- 
scripts. His last undertaking, which cost him his 
life, was for illustrating Lysous' account of Devon- 
shire in the Magna Britannia. He left London in 
May 1821, and after traversing some portion of 
that interesting county, came to Bere Ferrers on 
the 27th of the month. The next day he ascend- 
ed a ladder, and began to make tracings of the 
stained glass window in the church, when his feet 
slipping, he fell, and his head striking against 
a monument in the chancel, he was instantly killed, 
aged 34 years. 

STRAATEN, John Joseph Ignatius van, a 
Dutch painter, born at Utrecht in 176G. He stud- 
ied under C. van Geelen, and painted fruit, flowers, 
dead game, and other objects of still life, in a style 
somewhat resembling that of J. Weenix. His 
pictures are well composed and highly finished; 
they are sometimes enriched with landscape back- 
grounds by his countryman Swagers. He died 
in 1808. 

STRADA, or STRADANUS, John, an emin- 
ent Flemish painter, born at Bruges in 1536. He 
was first instructed in art by his father, an artist 
of little celebrity, and next studied under Peter 
Aertsen. He afterwards went to Rome, where he 
diligently studied the antique, and the works of 
the great Italian masters. He there became ac- 
quainted with Francesco Rossi, called II Salviati, 
whose style he in some measure adopted. In 
conjunction with that master and Daniello da Vol- 
terra, he was employed in decorating the pontifi- 
cal palace of Belvidere, where he acquired consider- 
able reputation. From Rome he proceeded to Na- 
ples, at the invitation of Don John of Austria, to 
represent his military achievements, in which he 
gave entire satisfaction to the monarch, and proved 
himself one of the ablest artists of his time. Va- 
sari next engaged him to assist him at Florence, 
and in conjunction with that artist, he executed 
several considerable works for the Ducal palace, 
and the churches and public edifices. In that city 
are still to be seen some noble performances of 



STRA. 



931 



STRA. 



Strada. In the Nunziata is a grand picture by 
him, representing Christ on the Cross with the 
Virgin Mary, Mary Magdalen and St. John, with a 
number of other figures larger than life. Lanzi 
says this is considered his most capital perform- 
ance. In S. Croce, is a fine picture of the Ascen- 
sion, and in S. Maria Nuova, the Baptism of Christ. 
In the chapel of the Palazzo Pitti, are two small 
altar-pieces of the Nativit}^, and the Adoration of 
the Magi, which are much admired. He did not 
confine himself to sacred history, but painted bat- 
tles, huntings, and processions, with great ability; 
and these are his most numerous works, executed 
in a noble and spirited style, with a ready hand 
and a free, firm pencil. He also made many de- 
signs for tapestry. He was an indefatigable artist, 
and his constant practice gave him an uncommon 
facility of hand, both in oil and fresco. He had a 
fertile invention, and his design was generally cor- 
rect, though occasionally heavy and somewhat 
mannered, for notwithstanding his long residence 
in Italy, he could never entirely divest himself of 
his Flemish manner. His coloring was vigorous 
and effective, and sometimes very brilliant, espe- 
cially fn his cabinet pictures. His works are very 
numerous, and there are upwards of 400 engravings 
after pictures by him, many of them by Sadeler, 
Goltzius, Collaert, Wierix, Galle, and 0. de Passe. 
In 1578, a work was published at Antwerp, enti- 
tled. Stradani Venationes Ferarum. Avium, Pis- 
cium,^'' &c., illustrated with 94 plates of all kinds 
of huntings and fights of animals, engraved by 
several of the above named artists. Lanzi says 
that he imitated the design of Salviati, and the 
coloring of Vasari, in whose employment he re- 
mained two years at Florence. He died in that 
city, according to Baldinucci, in 1605. He is called 
by the Italians Giovanni Stradano. 

STRADA, Vespasiano, a painter who was born 
at Rome, according to Baglioni, of Spanish pa- 
rents. It is not known whether he had any other 
instructor than his father, who was an artist of lit- 
tle note. He wrought chiefly in fresco, and had 
decorated several of the churches at Rome with 
bis works, when his promising career was cut 
short by death in the prime of his life. His prin- 
cipal works are a series of pictures in the monas- 
tery of S. Onofrio, representing the history of that 
saint ; the Visitation of the Virgin, and the Ado- 
ration of the Shepherds in S. Maria Maddalena al 
Corso. Bartsch describes twenty-one etchings by 
him, which he believes to be a complete list. Fif- 
teen of these have his name in full, and one only 
is marked V. S. I. F. Others say that he usually 
marked his prints V. S. F., or V. S. I. F., and some- 
times, VES. ST, I. FE., or VESP. STRA. I. F. 
There is great discrepancy as to the time of his 
birth and death. Baglioni and Lanzi say that he 
died in the pontificate of Paul V., aged 36 ; Malpe 
that he was born in 1591, and died in 1624 ; others 
that he died about 1615 and 1620. One of his 
prints is dated 1595 ; on which Bartsch remarks 
(P. G. tom. xvii). that supposing this print, which 
exhibits his greatest power, was done by him at 
the age of twenty, he must have been born about 
1575. 

STRAETEN, Henry vander, a Dutch paint- 
er, born about 1665. It is not known under 
whom he studied. Bryan says that, by an at- 
tentive study of nature, without the help of a 



master, he reached an eminent rank as a land- 
scape painter. He went to England about 1690, 
where he painted landscapes in a style resembling 
those of Ruysdael and Hobbema, and might have 
found abundant and profitable employment had it 
not been for his dissipated habits. He is probably 
the same artist mentioned by Balkema, under the 
name of Nicholas vander Straeten, who, he says, 
was born at Utrecht in 1680, and went to London, 
where he died in 1722. The accounts of him are 
contradictory and exaggerated, and it is doubtful if 
there are any authentic pictures by him. Hou- 
braken says he painted ten landscapes in a day, 
" each of them full of pleasing variety, with views 
of mountains, forests, water-falls, and other pleas- 
ing incidents " ! 

STRANGE, Sir Robert, an eminent Scotch 
engraver, born at Pomona, in the Orkneys, in 
1721. He was a descendant of the family of the 
Stranges of Balcasky, in the county of Fife, who 
had settled in the Orkneys at the time of the Refor- 
mation. He was educated for the law, but having 
a passion for drawing, in which he evinced uncom- 
mon talents, his friends were induced to place him 
under the instruction of Mr. R. Cooper at Edin- 
burg. His progress to fame, was. however, arrest- 
ed for a time by the rebelHon, for he joined the 
Pretender, Charles James Edward Stuart, and after 
the ruin of his affairs, he wandered for some time a 
fugitive in the Highlands, and had a narrow escape 
with his life, the incidents attending which, are 
in the highest degree romantic. After the bat- 
tle of CuUoden, being pursued by a party of the 
King's troops, he fled into a cottage, where, ob- 
serving a young lady dressed in the full costume of 
the period, he besought her protection. As the 
soldiers were close at his heels, no time was to be 
lost, she raised her hoop and directed him to seek 
shelter under the ample folds of her petticoat, and 
there, "patulae sub tegumine recubans," he re- 
mained undiscovered, though the soldiers ransacked 
the house. After their departure, she concealed 
him till the troublous times were past. Filled 
with gratitude and admiration at her conduct, the 
youth begged her to wait for him till he should 
prove himself worthy of her hand. As soon as his 
fortunes were sufficiently prosperous, he married 
his protectress, and never was there a more devo- 
ted husband, or a more afi"ectionate wife. When 
tranquillity was restored, he returned to Edin- 
burg, and thence proceeded to London. Shortly 
afterwards he set out for Italy, but stopping at 
Rouen, he entered the academy there and drew the 
first prize for a design, though his competitors 
were numerous. He next went to Paris, where 
he became the pupil of le Bas, from whom he 
learned the use of what is called the dry point, 
which he afterwards improved, and used with such 
distinguished success. He now abandoned for the 
present, his projected visit to Rome, and returned 
to London, where he soon distinguished himself 
as an historical engraver. In 1761, he gratified 
the wish he had long entertained of visiting Italy 
for the purpose of making designs, and engravmg 
some of the most celebrated pictures of the great 
Itahan masters of the different schools. He was 
every where received with marked attention and 
respect, and elected a member of the academies 
of Rouen, Florence. Bologna, Parma, and Paris j 
he was also appointed Professor in the academy 



STRA. 



932 



STRA. 



at Parma. The Royal Academy of London did 
not show him any favor, though it could not have 
added to his honor; yet the King thought him 
worthy of knighthood for the honor he had con- 
ferred upon the arts of his country, and according- 
ly knighted him in 1787. The works of Sir Rob- 
ert Strange consist of about one hundred plates, 
more than one-half of which are after the most em- 
inent Italian painters. They are distinguished by 
a bold and intelligent execution, exhibiting an ad- 
mirable union of the point and the graver, pro- 
ducing a vigorous and harmonious effect. It is 
said that he retouched Dorigny's plates of the 
Transfiguration, and the cartoons of Raffaelle, in 
Hampton court; also that about 1790, he had 80 
copies of selected proofs of his own works, bound, 
to which he prefixed a dedication to the King, and 
an introduction on the progress of the art of en- 
graving, with remarks on the pictures he had en- 
graved. There are three states of almost all the 
prints by Strange ; 1st. the pure aquafortis, or 
single etching; 2d. the proof before the letter, or 
the plate finished with the graver; 3d. do. with 
the letter. The first are extremely rare, as they 
were only trial proofs; the second also are rare, 
as he never struck more proofs than were sub- 
scribed for. As an author, he published "An In- 
quiry into the Rise and Establishtnent of the Roy- 
al Academy of Arts," to which is prefixed a letter 
to the Earl of Bute, and " A descriptive Catalogue 
of a Collection of Pictures, and of thii-tj^-two Draw- 
ings collected by him in Ttal3^" He died at Lon- 
don in 1792. The following is a complete list of 
his works, except a few of his earlier productions : 

PORTRAITS. 

After Vandyck. — Charles I., whole-length, 1770; 
Charles, with a page and his equerry holding his horse, 
1782; Charles I., half-length, 1775; Henrietta Maria, 
Queen of Charles I , with the Prince of Wales and the 
33uke of York ; the Children of Charles I. ; the Marquis 
of Montrose ; the Earl of Stafford. 

After various Masters. — A Bust of Raffaelle, after a 
picture by himself; inscribed llle hie est Raphael, &c. 
1787. A portrait of himself ; ./■ro?n a design by J. B. 
Greuze. The Apotheosis of Octavius and Alfred, chil- 
dren of George III, who died in their infancy; after West. 
1787. Charles James Edward Stuart, called the young • 
Pretender. Mary Stuart, Queen of Scotland. Parmiggi- [ 
ani Arnica, or the Mistress of Parmiggiano ; after Par- \ 
miggiano. 1774. Thomas Cromwell, Earl of JEssex ; af- '. 
ter Holbein. AVilliam Hamilton, Poet, 1760 ; for an edi- ! 
tion of his Poems. Robert Leighton, Archbishop of Glas- 
gow, for a selection from his works. 1758. Archibald Pit- , 
cairn Physician and Poet ; a bust in medallion. [ 

SUBJECTS AFTER VARIOUS MASTERS. I 

After Raffaelle. — St. Cecilia ; after the picture formerly 
in the church of S. Giovanni, at Bologna. 1771. Justice ; 
1765. Meekness; 1765. 

After Guido. — Mary Magdalene penitent. 1762. Do., 
another. 1773. The Death of Cleopatra. 1777. Fortune, 
a figure flying over a Globe. 1778. Venus attired by the 
Graces. 1759. The Chastity of Joseph. 1769. The Holy 
Virgin. 1756. The Angel of the Annunciation. 1756. 
The Annunciation. 1787. The Offspring of Love; from 
the picture in the collection of the Marquis of Westmin- 
ster. 1766. The Magdalen. 1753. The Death of Cleopa- 
tra. 1753, Cupid sleeping. 1766. Liberality and Mod- 
esty. 1755. 

After Correggio. — The Virgin and infant Christ, with 
Mary Magdalene, St. Jerome, and two Angels ; from the 
famous picture in the Academy at Parma. 1768. Do., an- 
other. 1771. The xMagdalen. 1780. 

After Titian. — Venus reclining; after the famous pic- 
ture" in the Florentine Gallery. Danae; from the picture 
in the collection of the King of Naples. 1768. Venus and 
Adonis; do. 1762. Venus binding Cupid. 1769. 

After Carlo Maratti.—The Virgin with a Choir of An- 



gels, Te Deum Laudamus. 1760. The Virgin with St. 
Catherine, and Angels contemplating the infant Jesus sleep- 
ing. 1760. 

After Guercino. — Christ appearing to the Virgin after 
the Resurrection. 1773. Abraham sending Hagar away. 
1763. Do., another. 1767. Queen Esther before Ahasue- 
rus. 1767. The Death of Dido. 1766. 

After Domenichino — The Martyrdom of St. Agnes. 
1759. St. Agnes. 1759. 

After Pietro da Cortona. — Romulus and Remus. 1757. 
Cassar repudiating Pompeia. 1757. The Finding of Rom- 
ulus and Remus. 1757. 

After Salvator Rosa. — Belisarius. 1757. Laomedon, 
king of Troy, detected by Neptune and Apollo. 1775. 

After Carlo Dolci. — Sappho consecrating her Lyre to 
Apollo. 

After Niccolo Poussin. — The Choice of Hercules. 1759. 

After Philip Wouwermans. — The Return from Market, 
the first plate he engraved at Paris. 1750. 

After Murillo. — The infant Jesus platting a Crown of 
Thorns. 1787. 

After FancZycA;— The Infant Jesus asleep. 1787. 

After Artdrea Sacchi. — Apollo rewarding Merit. 1755. 

After Schidone.—CuT[)\d. 1774. The first of Duties. 
1781. 

After Fa»/oo.— Cupid. 1750. 

After the Antique. — Lips, an allegorical representation 
of the south-west wind ; Zephyr, do of the west wind ; from 
the bassi-relievi which ornament the tower of Andronicus 
Cyrrhestes at Athens, for the first volume of Stuart's " An- 
tiquities of Athens." 

STRASTER, Fray Geeonimo, a Franciscan 
monk, who lived in the convent of his order at 
Valladolid, where he practiced engraving. He en- 
graved the plates for a work entitled "Historia 
del Monte Celia de nuestra Senora de la Salceda," 
written hy D. Fr. Pedro Gonzalez de Mendoza, 
archbishop of Granada, published in 1613. The 
plates are executed with considerable ability. 

STRATEN, George vander, a Flemish paint- 
er, of whom little is known. He went to Lisbon, 
where he flourished in 1556, and painted the por- 
traits of some of the princes and principal nobility 
of Portugal. It is probable, from some docu- 
ments, that he was painter to the court. 

STRAUCH, LoRENZ. a painter born at Nu- 
remberg in 1554. He was a skillful por- 
trait and architectural painter, and also 
painted on glass. Bartsch describes only one 
etching by him, dated 1599, but Nagler gives a 
list of twenty-two ; some of which are signed with 
his name in full, and others marked with the above 
monogram, dated as late as 1614. There is some 
question whether the prints bearing this mark are 
really by him ; some writers interpret it Lorenz 
Schnitzner, and Lorenz Stoer, but the first is a 
supposed name, and the second used a mark com- 
posed of the same initials, but of a different form. 
The question can only be settled by a critical ex- 
amination and comparison. Bartsch and Zani 
place his death in 1630, and Nagler in 1636. 

STREATER, Robert, an English painter, born 
at London in 1624. He studied with a French 
painter, named du Moulin. He painted history, 
portraits, landscapes, and still-life, with such rep- 
utation, that at the Restoration, Charles II. ap- 
pointed him his serjeant painter. The King had 
a high respect for him, and when he was afflicted 
with the stone to such a degree as to render an 
operation necessary, the Monarch procured a sur- 
geon from France to perform it, but it proved fa- 
tal, in 1680. His principal works were the the- 
atre at Oxford ; some ceilings at AVhitehall, which 
were destroyed by fire; the Battle of the Giants 
at the Palace of Sir Robert Clayton j and two al- 



STRE. 



933 



STRO. 



tar-pieces of Moses and Aaron in the church of 
St. Michael, Cornhill. Some of his finest pieces 
are still preserved, and possess great merit. There 
are a few etchings hj him, indifferently executed. 
STREEK, JuRiAN VAN, a Dutch painter, 
born at Amsterdam in 1632. He painted 
portraits with reputation, but chiefly ex- 
celled in objects of still-life. He painted dead 
game, musical instruments, books, vases, and 
other objects, correctly designed after nature, agree- 
ably composed, finely colored, and finished with 
uncommon neatness. He had a good knowledge 
of the chiaro-scuro. and the effect of light and 
shadow in his works is very picturesque, giving 
his objects great force, relief, and truth. He fre- 
quently introduced a skull and sepulchral lamp 
into his compositions. He sometimes signed his 
pictures with his name, and at others with the 
above monogram. He died in 1678. 

STREEK, Henry van. was the son of the pre- 
ceding, born at Amsterdam in 1659. He first stud- 
ied with his father, and afterwards with Emanuel 
de AVit, whose manner he followed. His pictures 
generally represent the interiors of magnificent 
buildings, churches, temples, and palaces. He had 
perfect knowledge of the principles of perspective, 
which enabled him to design his works with great 
accuracy and precision. He did not succeed so well 
in figures, and frequently employed other able ar- 
tists to insert them in his pictures. He died in 
1713. 

STRESI, PiETRO Martire, a Milanese painter, 
who died in 1620. He studied under Gio. Paolo 
Lomazzo, and acquired some reputation as an his- 
torical painter, but chiefly e.Ycelled, according to 
Lanzi, in copying the works of Raffaelle. 

STRINGA, Francesco, a painter born at Mo- 
dena in 1635. according to Tiraboschi, and toOret- 
ti. in 1638. According to most writers, he studied 
with Lodovico Lana, an imitator of Guercino. but 
Lanzi says it is a question whether he was not ra- 
ther a pupil of Guercino himself. "All that is cer- 
tainly known is, that he formed himself upon this 
model (Guercino and Lana), and that of other ex- 
cellent masters, whose works, during his direction 
of the great Este Gallery, he might consult at 
his pleasure. Endowed with a rich imagination, 
spirited and rapid in his execution, he produced 
many works in the cathedral and other churches, 
which were greatly commended. His distinguish- 
ing character is the depth of his shades, the some- 
what disproportioned length of his figures, and an 
inchnation to the capricious in his composition, 
and in his actions. When he was advanced in 
years, he began to deteriorate in style, a case com- 
mon to most artists." He painted historj^, land- 
scape, and architecture, and engraved in aquafor- 
tis. He executed some spirited etchings from his 
own designs, which he signed F. Strinsra. In. F. 
He died in 1709. 

STRINGA, Ferdinando, an Italian engraver, 
who flourished at Naples about the middle of the 
18th century. He engraved a part of the plates 
for the Antiquities of Herculaneum, published at 
Naples in 1750. 

STROIFI, Don Erm ANNO, a painter born at Pa- 
dua in 1016. Lanzi says he studied with II Prete 
Genovese, and afterwards with Titian, whose style 
he imi tated with great success, although, owing to an 



excessive attention to chiaro-scuro, he deviated too 
much from the right path. According to Bos- 
chini, he traveled for the purpose of improving him- 
self by observing the practice of other schools, and 
on his return to Venice, he still continued to rise 
in the estimation of the Venetians. He executed 
several works for the churches and convents at 
Venice, and at Padua. He was a monk, and the 
founder of the order of S. Filippo Neri at Venice. 
He died in 1693. 

STROZZI, Zanobi, a Florentine painter of a 
noble family, born ir 1412. He studied under F. 
Giovanni da Fiesole, whose style he followed ; his 
frescos have all perished, and Lanzi says he does 
not know that an}^ of his works exist in the pub- 
lic collections. He was living in 1466. 

STROZZI, or STROZZA. Bernardo, called Tl 
Cappuccino, and sometimes II Prete Genovese, 
from his monastic and ecclesiastical character, was 
born at Genoa in 1581. He studied under Pietro 
Sorri, and at an early period of his life became a 
monk of the order of St. Francis. Lanzi gives the 
following admirable account of him. '"The other 
great colorist of this school, and the scholar of 
Sorri, was Bernardo Strozzi, better known under 
the name of II Cappuccino, or the Capuchin of 
Genoa, from his preferring that order. He is also 
called II Prete Genovese, because he left the cloister 
when a priest to support an aged mother and a 
sister ; but the one dying, and the other marrjnng, 
he refused to return to his order ; and when forcibly 
recalled, and sentenced to three years' imprison- 
ment, he contrived to effect his escape, and fled to 
Venice, where he passed the rest of his days as a 
secular priest. His larger compositions are only 
to be found at Genoa, in the houses of the nobility, 
and in S. Domenico,' where he executed the great 
picture of Paradise, one of his best woiks. There 
are too at Novi, and at Voltri, several altar pieces 
by him ; and above ail. an admirable picture of 
the Madonna in the Palazzo Reale, at Genoa. There 
are also some of his works in the churches at 
Venice, where he was preferred to every other 
artist to replace a Tondo (an oval), executed in the 
best age of Venetian art, in the Library of S. Mar- 
co, and he there painted a figure of Sculpture. He 
however left few public works. Whoever wishes 
to see admirable productions, must observe his 
pictures in eminent collections, as the Incredulity 
of St. Thomas in the Palazzo Brignole. When 
placed in a room of excellent colorists he eclipses 
them all by the majesty, copiousness, vigor, nature, 
and harmony of his style. His design is not very 
correct, nor sufficiently select ; in these respects 
we see a naturalist who follows neither Sorri nor 
any other master, but one who, after the example 
of that ancient master (Apelles), derives instruc- 
tion from the multitude. There is a deep expres- 
sion of force and energy in his heads of men, and 
of piety in those of his saints ; but in the counten- 
ances of his women and his youths, he has less 
merit ■ and I have seen some of his Madonnas and 
ano-els' vulgar and often repeated. He was accus- 
tomed to paint portraits, and in his compositions, 
derived all his knowledge from the study of nature , 
hence there is a want of ideality, and often a mean- 
ness in his heads. He often painted half-length 
figures in the style of Caravaggio. In the Royal 
Glillery at Florence, is a picture of Christ by hi in, 
called della Moneta ; the figures are half size, 



STRU. 



934 



STRU. 



and exhibit great vivacity. He is esteemed the 
most spirited artist of the Genoese school; and in 
strong impasto, in richness and vigor of coloring, 
he has few rivals in any other; or rather, in this 
style of coloring, he is original and without an 
example.'- There are two admirable works by 
him in the Louvre, St. Anthony of Padua caress- 
ing the infant Jesus, and the Virgin and Infant in 
the clouds, surrounded with a choir of angels. 
Strozzi also excelled in portraits. He died at Ven- 
ice in 1644, and his remains were deposited in the 
church of S. Fosca, with this inscription, ''Bernar- 
dus Strozzius, Pictorum splendor, Liguriae decus;" 
a high eulogium in the seat, and near the ashes, 
of the greatest colorists of the Venetian school. 

STRUDEL, Peter von, an eminent Tyrolese 
painter, the time of whose nativity is variously 
placed in 1648, 1660, and 1680, which last date is 
evidently erroneous. The best authorities place 
it in 1660. .He went to Venice, and studied with 
the Cav. Carlo Loti. On leaving the school of 
that master, he distinguished himself so much as an 
historical painter, that he was invited to Vienna 
by the Emperor Leopold, who appointed him his 
principal painter, and employed him to execute 
several grand compositions, which gave the mon- 
arch so much satisfaction, that he conferred upon 
him the title of a baron. The accounts of him are 
singularly brief. He is said to have executed many 
works for the churches, convents, and public edi- 
fices of Vienna, and other cities of Germany, which 
are correctly designed, warmly and vigorously col- 
ored, and evince great originality of taste and con- 
ception. He particularly excelled in the graceful 
airs he gave to his women and children. There 
are several of his works in the churches of St. 
Lawrence, and the Augustines at Vienna ; and an 
altar-piece in the cloister Neuburg. There were 
also three pictures by him in the Dusseldorf gal- 
lery — an Ecce Homo, St. John and a Holy Fam- 
ily. He died at Vienna in 1717. 

STRUTT, Joseph, an Enghsh engraver and a 
writer on art, was born at Springfield, in Essex, 
in 1749 ; died in 1802. At the age of fourteen he 
was apprenticed to Ryland the engraver, and af- 
terwards studied design and painting in the Royal 
Academy. He engraved a variety of plates in the 
crayon and dotted manner, in a very neat and del- 
icate style. In 1785 and 1786, he published his 
'' Biographical Dictionary, containing an Account 
of all the Engravers from the earliest period to the 
present time, illustrated by engravings," 2 vols, 
quarto ; a work very creditable to his industry 
and judgment. Strutt also published several 
works relating to the ancient and modern cus- 
toms ©f England. Among other plates, he en- 
graved twelve illustrations for the Pilgrim's Pro- 
gress, after T. Stothard; the Birth of Venus, 
1779 ; Pandora presenting the fatal Box to Epi- 
metheus, 1779 ; Candaules presenting his Queen 
to his favorite Gyges, after le Sueur ; and an 
allegorical picture of America, after R. E. Pine, 

STRY, Abraham van, a Dutch painter, born 
at Dort in 1753. His father was an ornamental 
painter, and brought his son up to his own busi- 
ness, but when he attained his majority, he aspired 
to a higher branch, in which he attained consider- 
able reputation. He painted interiors, with repre- 
sentations of various occupations of the middle 
class, particularly of shopkeepers and other deal- 



ers. He treated these subjects with much ability. 
He is also said to have painted landscapes with fig- 
ures and cattle, in the manner of Albert Cuyp, but 
probably he is confounded in this respect with Ja- 
cob van Stry. His pictures are well designed, and 
though his coloring is rather gay, his chi'aro-scuro 
is excellent. There are two of his works in the 
Museum at Amsterdam, and others are to be found 
in the best collections of the Netherlands. He 
was also a good portrait painter. Balkema places 
his death in 1824, and Nagler in 1830 ; but Im- 
merzeel says he died March 7th, 1826. 

STRY, Jacob van, a Dutch painter, born at 
Dort in 1756. He was doubtless the brother of the 
preceding. After receiving instructions from his 
father, he went to Antwerp, and studied with An- 
drew Lens, and afterwards in the Academy in that 
city. He also diligently studied nature, made rapid 
progress, and was considered one of the most pro- 
mising landscape painters of his time. He made 
the works of Albert Cuyp and Hobbema, particu- 
larly of the former, his model. Unfortunately for 
his reputation, instead of striking out into an origi- 
nal style, he imitated them so closely, that his 
name has been erased from many of his best works 
by unprincipled dealers, who have passed them 
upon the unlearned, for originals by those masters. 
The Dutch writers boast that his pictures have 
brought from four to seven hundred florins in Hol- 
land, and Stanley says they have been sold in Eng- 
land for as many pounds sterling. He was an 
artist of great ability, highly eulogized by several 
cotemporary writers, and was appointed corres- 
ponding member of the Royal Institute of the 
Nethei-lands. There are three capital landscapes 
with figures and cattle by him in the museum at 
Amsterdam. He died in 1815. 

STUART, Gilbert Charles. This preeminent 
portrait painter was born at Narraganset, Rhode Is- 
land, in 1756. He received his first instruction from 
a Scotch painter at Newport, named Alexander, who 
was so much pleased with his talents and lively 
disposition, that he took him with him on his re- 
turn to Scotland. His friend dying soon after, the 
youth found himself pennyless in a strange coun- 
try, but undismayed, he resolved to return home, 
and found himself obliged to work his passage 
before the mast. He had already made consider- 
able progress in art, and on his return commenced 
portrait painting, although without meeting with 
much encouragement. He was in Boston at the 
time of the battle of Lexington, but immediately 
left that city and went to New York, where he 
painted the portrait of his grand-mother from 
memory, though she had been dead about ten 
years, which is said to have been a capital like- 
ness, and gained him some business. About this 
time he painted his own portrait, the only one he 
ever took of himself, to the excellence of which, 
his friend Dr. Waterhouse, bears ample testimony. 
He says, "it was painted in the freest manner, 
and with a Rubens' hat," and in another place, 
that "Stuart, in his best days, said he need not be 
ashamed of it." Not meeting with any adequate 
encouragement, and the country being in a deplo- 
rable state, in the midst of the Revolution, he set 
sail for London in 1778, at the age of twenty-two, 
to try his fortunes in that city. Stuart was a way- 
ward and eccentric genius, proud as Lucifer withal ; 
and on his arrival in that metropolis, he found 
himself full of poverty, enthusiasm and hope, — 



STTJA. 



935 



STUA. 



often a painter's only capital. He expected to have 
found Waterhouse, who would have helped him 
with his advice, and purse if necessary, but he 
had j>;one to Edinburg;. Instead of going directly 
to West, as he should have done, he wandered 
about the "dreary solitude" of London, as John- 
son used to characterize the busy hum of that 
crowded city to the poverty-stricken sons of gen- 
ius, till he had expended his last dollar. He had 
cultivated a taste for music, and was an accom- 
plished musician. One day as he was passing a 
church in Foster-Lane, hearing the sound of an 
organ, he stepped in, and ascertaining that the 
vestry were testing the candidates for the post of 
organist, he asked if he might try. Being told 
he could, he did so, and succeeded in getting the 
place, with a salary of thirty guineas a-year ! Dr. 
Waterhouse at length returned to London, and 
procured for him better lodgings, and ''managed 
to keep him even with his landlord and washer- 
woman, which was better than he had done." All 
this time, for some unknown reason, he never once 
sought the acquaintance of West, but the moment 
that excellent man heard of the young painter and 
his circumstances, he immediately sent a messen- 
ger to him with money to relieve his necessities, 
and invited him to call at his studio. "Such was 
Stuart's first introduction," says Dunlap, "to the 
man from whose instruction he derived the most 
important advantages from that time forward ; 
whose character he always justly appreciated, but 
whose example he could not. or would not follow." 
Stuart himself says, " On application to AYest to 
receive me as a pupil, I was welcomed with true 
benevolence, encouraged and taken into the family, 
and nothing could exceed the attentions of the 
great artist to me. — they were paternal." He was 
twenty-four years old when he entered the studio 
of West. Before he left the roof of his benefactor 
and teacher, he painted a full-length portrait of 
him, which elicited general admiration. It was 
exhibited at the Royal Academy, and the young 
painter paid frequent visits to the exhibition rooms. 
It happened that one day as he stood near the pic- 
ture, surrounded by artists and students (for he 
had fine wit, and was an inimitable story-teller). 
West came in and joined the group. He praised 
the picture, and addressing himself to his pupil, 
said, " you have done well, Stuart, very well ; now 
all you have to do is to go home and do better." 
Stuart always expressed the obligations he was un- 
der to that distinguished artist. When West saw 
that he was fitted for the field, prepared for and 
capable of contending with the best portrait paint- 
ers, he advised him to commence his professional 
career, and pointed out to him the way to fame 
and fortune. But Stuart did not follow this wise 
counsel, preferring to indulge his own wayward 
fancy. He had a noble, generous, and disinterest- 
ed heart, but he was eccentric, improvident, and 
extravagant, and consequently he was alwaj'^s ne- 
cessitous. There are many amusing anecdotes 
told of him, some of which do not redound to his 
credit. He himself explains how he came to adopt 
a custom, which, where it can be adopted, com- 
mends itself to others. "Lord St. Vincent, the 
Duke of Northumberland, and Colonel Barre, came 
miexpectedly into my room one morning, shortly 
after my setting up an independent easel, and ex- 
plained the object of their visit. They understood 
that I was under pecuniary embarrassment, and 



offered me assistance, which I declined. They 
then said thej^ would sit for their portraits, — of 
course I was ready to serve them. They then ad- 
vised that I should make it a rule that half-price 
must be paid at the first sitting. They insisted 
on setting the example, and I followed the prac- 
tice ever after this delicate mode of their showing 
their friendship." 

Stuart married the daughter of Dr. Coates in 
1786. Soon afterwards, he was invited to Dublin 
by the Duke of Rutland, who promised him his 
patronage and influence, but he died while the art- 
ist was on his way. Miss Stuart, his daughter, 
says, ''he arrived in Dublin in 1788, and notwith- 
standing the death of his friendly inviter, he met 
with great success, painted most of the nobility, 
and lived in a good deal of splendor. The love 
of his own country, his admiration of General 
Washington, and the very great desire he had to 
paint his portrait, was his only inducement to turn 
his back upon his good fortune in Europe." Ac- 
cordingly, in 1793, he embarked for New York, 
where he took up his abode for some months, and 
painted the portraits of Sir John Temple, John 
Jay, Gen. Clarkson, John R. Murray, Colonel 
Giles, and other persons of distinction. In 1794, 
he proceeded to Philadelphia, for the purpose of 
painting the portrait of Washington, who receiv- 
ed him courteously. Stuart used to say that when 
he entered the room where Washington was, he 
felt embarrassed, and that it was the first time in 
his life he had ever felt awe in the presence of a 
fellow-man. Washington was then standing on 
the highest eminence of earthly glor3^ and the gaze 
of the world was steadily fixed upon the man 
whom Botta terms "the Father of Freedom." 
To leave to posterity a faithful portrait of the Fa- 
ther of his country, had become the most earnest 
wish of Stuart's life. This he accomplished, but 
not the first time; he was not satisfied with the 
expression, and destroyed the picture. The Presi- 
dent sat again, and he produced that head which 
embodies not only the features but the soul of 
Washington, and from which he painted all his 
other portraits of that great man. This picture 
in now in the Boston Athenaeum. 

After the removal of Congress to Washington, 
Stuart followed and resided there till 1806, when he 
went to Boston, and passed there the rest of his 
days. He painted a great many portraits, which 
are scattered all over the country. The last work 
he ever painted was the head of the elder John Quin- 
cy Adams. He began it a full-length ; but he was 
an old man, and only lived to complete the head, 
which is considered one of his best likenesses, and 
shows that the powers of his mind and the magic 
of his pencil continued brilliant to the last. The 
picture was finished by that eminent and highly 
gifted artist, Thomas Sully, who would not touch 
the head, as he said "he would have thought it lit- 
tle less than sacrilege." He died in 1828, in the 
seventy-fifth year of his age. 

As a painter of heads, Stuart stands almost un- 
rivalled in any age or country ; beyond this he 
made no pretensions, and indeed bestowed very lit- 
tle care or labor. He used to express his con- 
tempt for fine finishing of the extremities, or rich 
and elegant accessories, which he used to say was 
" work for girls." Whether these were his real 
sentiments, or affectation, it is difficult to deter- 
mine. He was, however, totally deficient in that 



STUA. 



936 



STUA. 



academic education which is necessary to success 
in the highest branch of the art— historical paint- 
ing. He had genius enough to have distinguished 
himself in any branch, but he could not, or would 
not, brook the necessary toil. All who have writ- 
ten about Stuart speak of his wonderful conver- 
sational powers. He read men's characters at a 
glance, and always engaged his sitters on some in- 
teresting topic, and while their features were thus 
lit up, he transferred them to the canvass. Hence 
his portraits are full of animation, truth and na- 
ture. This trait is well illustrated by the follow- 
ing anecdote. While he was in England, Lord 
Mulgrave employed him to paint his brother, Gen- 
eral Phipps, who was going out to India. When 
the portrait was finished, and the General had 
sailed, the Earl called for the picture, and on exam- 
ining it he seemed disturbed, and said, " This pic- 
ture looks strange, sir ; how is it ? I think I see 
insanity in that face." " It may be so," replied 
Stuart, " but I painted your brother as I saw him." 
The first account Lord Mulgrave had of his bro- 
ther, was that insanity, unknown and unappre- 
hended by any of his friends, had driven him to 
commit suicide. Washington Allston, in his eu- 
logiutn of Stuart, says, " The narratives and anec- 
dotes with which his knowledge of men and the 
world had stored his memory, and which he often 
gave with great beauty and dramatic effect, were 
not unfrequently employed by Mr. Stuart in a 
way, and with an address peculiar to himself. 
From this store it was his custom to draw large- 
ly, while occupied with his sitters, apparently for 
their amusement ; but his object was rather, by 
thus banishing all restraint, to call forth, if possi- 
ble, some involuntary traits of natural character. 
But these glances of character, mixed as they are 
in all men with so much that belongs to their age 
and associates, would have been of little use to an 
ordinary observer ; for the faculty of distinguish- 
ing between the accidental and the permanent, in 
other words between the conventional expression 
which belongs to manners and that more subtle 
indication of the individual mind, is indeed no 
common one ; and by few, if indeed by any, has 
this faculty been possessed in so remarkable a de- 
gree. It was this which enabled him to animate 
his canvass, not with the appearance of mere gen- 
eral life, but with that peculiar, distinctive life 
which separates the humblest individual from his 
kind. He seemed to dive into the thoughts of man 
— far they were made to rise and speak on the 
surface. Were other evidences wanting, this tal- 
ent alone were sufficient to establish his claims as 
a man of genius ; since it is the privilege of genius 
alone to measure at once the highest and the low- 
est. In his happier efforts, no one ever surpassed 
him in embodying, if we may so speak, these tran- 
sient apparitions of the soul. Of this, not the 
least admirable instance is his portrait of President 
Adams, whose bodily tenement at the time seem- 
ed rather to present the image of a dilapidated cas- 
tle, than the habitation of the unbroken mind ; 
but not such is the picture — called forth from its 
crumbling recess, the living tenant is there, still 
ennobling the ruin, and upholding it, as it were, 
by the strength of his inner life. In this venera- 
ble ruin, will the unbending patriot and the gifted 
artist speak of the first glorious century of the re- 
public. In a word, Gilbert Stuart was, in its wid- 
est sense, a philosopher in his art ; he thoroughly 



understood its principles, as his works bear witness 
— whether as to harmony of colors, or of lines, or of 
light and shadow — showing that exquisite sense 
of a whole which only a man of genius can embody. 
Jealousy was unknown to him, but where praise 
was due he gave it freely, and gave it with a grace 
too which showed that, loving excellence for its own 
sake, he had a pleasure in praising it. To young 
artists he was uniformly kind and indulgent, and 
most liberal of his advice, which no one ever prop- 
erly asked but he received, and in a manner no less 
courteous than impressive." 

STUART, James, called The Athenian, was an 
English architect, born at London in 1713. His 
father, a Scottish mariner, died while James was 
very young, and the latter materially assisted his 
mother in the support of her family, by the profits 
of his ingenuity in designing and painting fans for 
an engraver named Goupy. By great application, 
he acquired a knowledge of anatomy and geome- 
try, and also of the Greek and Latin languages. 
In 1742 he set out for Italy, by the way of Holland 
and France, defraying his expenses by exercising 
his talents on the route. At Rome, he formed 
an intimate acquaintance with Nicholas Revett, a 
painter and architect; and, after several years' 
study, they formed a plan for visiting Athens, and 
published proposals, soliciting assistance to carry 
it into execution. Having received from England 
the necessary aid, they quitted Rome in March 
1750, proceeded to Venice, and thence to Pola in 
Tstria, to examine the interesting remains of anti- 
quity at that place. Returning to Venice, they 
sailed to Zante in the beginning of 1751, and thence 
to Corinth. In the month of March they reached 
Athens, and remained there about two years and a 
half, making drawings and exact measurements of 
the architectural remains. Stuart there became 
acquainted with Sir Jacob Bouverie, and Mr. Daw- 
kins, the latter of whom proved a most liberal 
patron. From Athens, they visited Salonica, and 
several islands of the iEgean Sea, returning to 
England in the beginning of 1755. The result of 
their labors appeared in 1762, when the first vol- 
ume was published of their work in folio, entitled, 
'' The Antiquities of Athens, measured and deline- 
ated, by James Stuart, F. R. S., and S, A., and 
Nicholas Revett, Painters and Architects." In the 
drawings and measurements of this work, their 
labors were doubtless united ; but the letter-press 
appears to have been Stuart's. It was received 
with great applause by the lovers of art and anti- 
quity ; and although anticipated by Leroy's Ru- 
ines, which surpassed it in picturesque beauty, yet 
its superior truth and depth of research gave it a 
more solid and permanent value. Stuart, on his 
return to England, was patronised by several per- 
sons of rank and influence, in the practical depart- 
ment of his profession. Lord Anson procured for 
him the appointment of surveyor to Greenwich 
Hospital. Among his principal works were, the 
seat of Lord Eardle}^, near Erith, Kent ; Mrs. 
Montague's House, Portman Square ; the chapel 
and infirmary at Greenwich Hospital ; and the 
seat of Lord Anson, in Staffordshire. Stuart died 
in 1788. The second volume of the Athenian An- 
tiquities was published by Mr. Newton, in 1790 ; 
the third by Mr. Revely, in 1794. 

STUBBS, George, an eminent English painter 
of animals, was born at Liverpool in 1724. It is 



STUB. 



937 



STUV. 



not known under whom he studied, but he went to 
Eome at the age of thirty for improvement, and on 
his return settled in London, where he soon dis- 
tinguished himself as a painter of animals, particu- 
larly the horse, which he designed with the great- 
est anatomical accuracy, to ensure which he prac- 
ticed dissection. In 1766, he published " The Anat- 
omy of the Horse," all the plates of which he 
etched himself, from his own designs Though he 
chiefly devoted his attention to this branch of the 
art, he was capable of higher exertions, as is proved 
by his picture of Phaeton with the Horses of the 
Sun. His pictures of the Lion and the Horse, the 
Lion and the Stag. &c., were highly applauded. 
He was the inventor of a method of painting large 
landscapes in a kind of enamel, on plates of iron, 
of little value. He etched and engraved in mezzo- 
tint© some fine plates of animals, from his own 
designs. Other pictures by him were engraved by 
Woollett, Earlom, Green, Hodges, and other emi- 
nent engravers. At the time of his death, he was 
employed upon a work entitled " A Comparative 
Anatomical Exposition of the Structure of the 
Human Body, with that of the Tiger and the Com- 
mon Fowl." He was 'elected an associate of the 
Royal Academy, and died in 1806. 

STUBBS, George Town ley, was the son of 
the preceding, born in 1756, and died in 1815. He 
engraved some plates of animals, after his father's 
works, and other subjects after other English paint- 
ers. 

STUERBOUT. See Dirck van Haerlem. 

STURMIO, Hernando, a Spanish painter, who 
flourished at Seville, according to Bermudez. about 
the middle of the 16th century. He painted the 
altar-piece of the Four Evangelists, for the chapel 
of the Evangelists, and another grand picture in the 
Cathedral, in several compartments, representing 
the Resurrection, St, Gregory saying mass, the 
patron saints of Seville, and other subjects. These 
works are well designed and colored. 

STURMIUS, Leonard Christopher, an emi- 
nent German writer upon architecture, was born 
at Altorf in 1669. After receiving a liberal edu- 
cation, he studied divinity, but soon quitted it for 
the mathematics. In 1714 he published " Prodromus 
Architecturse Goldmannianae," and afterwards, in 
separate treatises, a new edition of Goldmann ; the 
whole forming a " Complete Course of Civil Ar- 
chitecture/' printed at Augsburg, in 16 vols. fol. 
His next work was '' Sciagraphia Templi Hieroso- 
lymitani," in folio. In 1697, he started on a tour 
through France and the Netherlands, and publish- 
ed, in 1719, the result of his observations in a 
work in folio, illustrated with numerous plates 
from his own designs. At Mecklenburgh he erect- 
ed the palace of Neustadt, on the Elde. He also 
made an unsuccessful attempt to form a sixth or- 
der of architecture. Sturmius was successively hon- 
ored with the appointments of Professor of JVIathe- 
matics at Wolfenbuttel, and in the University of 
Frankfort on the Oder ; also of Counsellor of the 
Chamber of Finances, and Director of Buildings at 
the court of Frederick William, Duke of Mecklen- 
burgh. He died in 1719 

STURT, John, an English engraver, born at 
London in 1658, and died there in 1730, He was 
a pupil of Robert White, and his chief excellence 
consisted in engraving ornamental letters. His 



principal work is a Book of Common Prayer, pub- 
lished in 1717, The top of every page is orna- 
mented with a small scriptural vignette, neatly ex- 
ecuted, 

STUVEN, Ernest, a German painter, born at 
Hamburg in 1657, He learned the rudiments of 
art in his native city, of an obscure painter named 
Hins, and at the age of eighteen went to Amster- 
dam, and studied with John Voorhout, a reputable 
painter of history. The fruit and flower pieces of 
Abraham Mignon were then held in the highest 
estimation, and Stuven having a taste for that 
branch of the art, he became the pupil of that 
master, and imitated his manner with considerable 
success. Though his works are not so exquisite- 
ly finished and delicately colored as those of Mig- 
non, they are held in considerable estimation. He 
died in 1712. 

SUARDI, Bartolomeo. See Bramantino. 

SUAREZ, or JUAREZ, Lorenzo, a Spanish 
painter who was born at Murcia, and flourished 
there about 1600. In conjunction with Cristobal 
Acebedo, he executed several works for the con- 
vent of the Shod Carmelites in his native city, 
which are said to display considerable ability. 

SUAVIUS. See Suterman. 

SUBLEYRAS, Pierre, an eminent French 
painter, born at Usds in Languedoc, in 1699. After 
acquiring the elements of design from his father, 
Matthieu S., an artist of little note, he entered the 
school of Antoine Rivalz, at Toulouse, at the age 
of fifteen. In 1724, he went to Paris, and fre- 
quented the Royal Academy, where he obtained, 
two j'ears after, the grand prize in painting, for his 
fine picture of the Brazen Serpent. He visited 
Rome for improvement, with the royal pension. 
According to Lanzi, when Subleyras entered the 
French Academy at Rome, it was distinguished 
for a certain mannerism, designated spiritoso by 
Mengs, which had brought it into disrepute, con- 
sisting in transgressing the limits of propriety and 
beaut}^, overcharging both the one and the other, 
and aiming at fascinating the eye rather than sat- 
isfying thejudgment. Suble5^ras, though instruct- 
ed in this false taste, had sufiicient discrimination 
to reject it entirely ; he reformed the prevailing 
manner, retaining the good, avoiding the feeble 
part, and added from his own genius what was 
lacking to make a truly original style. His pic- 
tures are distinguished for admirable fidelity of 
representation, an engaging variety in the airs of 
the heads and the attitudes of the figures, and 
great skill in the distribution of the chiaro-scuro, 
which gives them a fine general effect. His fig- 
ures and drapery have a certain fullness and gran- 
deur, which in him appears easy, because natural ; 
but it was never emulated by his scholars. Upon 
leaving the Academy, he was already an accom- 
plished artist ; and he was commissioned, in pre- 
ference to Masucci, to paint the portrait of Bene- 
dict XIV., which, according to Lanzi, established 
his reputation as the first painter at Rome. He 
was soon afterwards chosen to paint the History 
of St. Basil, for the purpose of being copied in mo- 
saic, for the church of the Vatican. The original 
is at the Carthusians, and is a most admirable pro- 
duction, remarkable for the august representation 
of the Sacrifice solemnly celebrated by that Saint, 
in the presence of the Emperor Valens, who is 
offering bread at the altar. Lanzi says, " the coun- 



SUEU. 



938 



SUEU. 



tenances are very animated ; there is great truth 
in the drapery and accompaniments ; and the silks, 
in their light and lucid folds, appear absolutely 
real." Subleyras settled permanently at Rome, 
and executed many altar-pieces for the churches in 
that city, and other places in Italy, among which 
his St. Benedict resuscitating an Infant, in the 
Olivetani at Perugia, is accounted his masterpiece. 
He also painted many portraits and easel pictures, 
which are highly prized, even in the choicest col- 
lections. He was chosen a member of the Acade- 
my of St. Luke about 1740. and presented a sketch 
of his picture of Mary Magdalene washing the 
feet of Christ ; it was afterwards executed in oil 
for a monastery at Turin, and is now in the Lou- 
vre, with two other of his productions, Subleyras 
was subsequently received into the Academy of 
the Arcadi, with his wife (formerly Maria Fe- 
lice Tibaldi, a paintress in miniature), under 
the names of Protogenes and Asteria. He died 
at Rome in 1749. There are two of his works in 
the Academy of the Brera at Milan ; and one rep- 
resenting the Fall of Simon Magus, in England, at 
Alton Tower, the seat of the Earl of Shrewsbury. 
There are a few spirited and ta?steful etchings by 
Subleyras, among which are the following, from his 
own designs : The Brazen Serpent. The Martyr- 
dom of St. Peter. Mary Magdalene washing the 
Feet of Christ. A set of four plates from La Fon- 
taine's Fables. The Holy Family, in an oval. St. 
Bruno restoring a Child to life. Martyrdom of 
St. Peter. 

SUBTERMANS. See Sustermans. 

SUEUR, EusTACHE LE, an eminent French 
painter, born at Paris in 1617. He was the son 
of an obscure sculptor, who, discovering in hira a 
talent for painting, placed hira under the tuition of 
Simon Vouet. He was, however, more indebted 
to a diligent study of the antique marbles, and the 
fine pictures of the Roman school which Francis I. 
had caused to be brought into France, and to which 
he had free access, than to the precepts of his in- 
structor. Though he never visited Italy, and had 
not the advantage of studying the works of Rafifa- 
elle at Rome, he was an enthusiastic admirer of 
that great master, and in his laudable ambition of 
emulating him. he threw aside the frippery and 
affected style then prevalent in his country. The 
simplicity and grandeur of his compositions, and 
the purity of his design procured for him, among 
his countrymen, the honorable appellation of the 
French Raffaelle. The French biographers do 
not hesitate to compare his talents with those of 
Raffaelle, and M. Watelet, one of the least preju- 
diced of the French critics, elevates his talents to 
nearly a level with those of the illustrious head of 
the Roman school. Making every allowance for 
national partiality, it must be allowed that no 
painter of his country, N. Poussin only excepted 
(who ought to be regarded as a Roman rather 
than a Parisian), approached so nearly to the dig- 
nity and grandeur of the Roman school ; yet there 
can be no justice nor advantage in comparing him 
to Raffaelle. He had an easy and fertile inven- 
tion, his compositions are noble and elevated, his 
draperies are simple and grand, and in the manner 
of his folds he observed the order of the antique. 
Yet his close attention to his models, without a 
sufficient study of nature, contributed to give a 
hardness and dryness to his works. He never di- 
vested himself entirely of the manner of coloring 



which he had acquired under Vouet, and he knew 
but little either of chiaro-scuro, or of local colors. 
Though he had extraordinary merit, it M^as blend- 
ed with great imperfections, so that in some parts 
of all his pictures he was unequal to himself. His 
taste of design and the airs of his heads are justly 
to be admired, but his nude figures are faulty in ■ 
their disposition, as well as in the action of the I 
muscles. His coloring is tender and delicate, yet ■ 
it wants vigor and force, and the distribution of his 
lights and shadows is far from judicious. His 
attitudes, however, are noble, simple, and natural, 
his expression great, and well adapted to his sub- i 
ject, and he was ingenious in the choice of his ob- 
jects. Upon the whole, he may be said to have 
had an uncommon mixture of the perfections and | 
imperfections of the art; he excelled in the supe- t 
rior and most difficult parts, and erred in those 
which are least important, yet necessary to form 
a perfect whole. 

Le Sueur never received that patronage and con- 
sideration to which his talents and great merits 
eminently entitled him. His dignified and unpre- 
tending style was less captivating than the gaudy 
and fantastic productions of some of his cotempo- 
raries. In 1640 he was received into the Acade- 
my, and painted, for his reception piece, St. Paul 
casting out a Demon. He was soon afterwards en- 
gaged in his celebrated series of twenty-two pic- 
tures, representing the Life of St. Bruno, for the 
monastery of the Carthusians at Paris. These 
pictures were afterwards purchased by the king, 
and arranged in one of the apartments of the Lux- 
embourg ; they are now in the Louvre, with twenty 
other works by him of different subjects, among 
which are the famous pictures of St. Paul preaching 
at Ephesus, painted for the church of Notre Dame, 
and the Descent from the Cross, formerly in the 
church of S. Gervais. There is a single etching 
by le Sueur, representing the Holy Family, half- 
length figures, from his own design. He died in 
1655. 

SUEUR, Pierre le, called the Elder, a 
French engraver on wood, born at Rouen in 
1636, and died there in 1716. According to 
Papillon, he studied with an artist named du Bel- 
lay, whom he greatly surpassed. He generally 
marked his prints with a monogram composed of 
his initials, P. L. S., as above. 

SUEUR, Pierre le. called the Younger, was 
the son of the preceding, born at Rouen in 1663. 
He was instructed by his father, whom he sur- 
passed. His drawing is tolerably correct, and his 
cuts are executed with great neatness and delicacy. 
He went to Paris, where he settled, and engraved 
some devout subjects, biblical prints, and other 
subjects, which he usually marked with his initials, 
P. L. S. 

SUEUR, Vincent le, was a younger brother 
of the preceding, born at Rouen in 1668. After J 
receiving instruction from his father, he went to I 
Paris, and studied with Jean Papillon. He dis- 
tinguished himself as an engraver on wood, and 
executed a variety of cuts, from his own designs 
and after other masters, some of which are print- 
ed in chiaro-scuro. He marked his prints V. L. S. 

SUEUR, Nicholas le. was the son of Pierre le 
S. the Younger, born at Paris in 1690. He stud- 
ied with his father, excelled as an engraver on 
wood, and was the most eminent of the family. 



SUGG. 



939 



SURR. 



He executed some beautiful cuts, mostly in chiaro- 
scuro, for the Crozat collection, which gained him 
great reputation. He also engraved in a very- 
tasteful manner, the embellishments for an edition 
of La Fontaine's Fables, from the designs of Bach- 
elier. The following are among his best prints, 
executed for the Crozat collection. He died at 
Paris in 1764. 

Eishermen drawing their Nets; after Giulio Romano. 
The Mass ; after Polidoro da Caravaggio. The Egyp- 
tians overwhelmed in the Red Sea ; after Gio. Fran. 
Penni, called II Fattore. Christ with the Apostles ; after 
Eaffaelle del Colle. The Man and the Lion ; after Bal. 
Peruzzi. The Death of St. Francis Xavier ; after Lod. 
Giniignani. The Descent of the Holy Ghost ; after G. 
B. Lenardi. The Annunciation ; after G. M. Morandi. 
The Virgin appearing to St. Philip Neri ; after L. Garzi. 
The Virgin on a Throne, surrounded by Saints ; after P. 
Pieiri. 

SUGGER. This architect was an abbot of St. 
Denis, and flourished about the middle of the 12th 
century. In 1140, he rebuilt the church of St. 
Denis, near Paris, with magnificent additions. Its 
length is 335 feet, and its width from the middle 
nave 39 feet. The vault is of an equal elevation in 
every part, and supported by slender columns ; 
the entire edifice is lighted by three orders of win- 
dows. 

SUISSE, Le, an engraver on wood mentioned by 
Papillon, who executed several cuts, particularly a 
large one representing a Turkish army arrayed in 
order of battle. He is probably the same as Chris- 
topher Stimmer, which see. 

SUIZER, John, a Dutch engraver, who flour- 
ished about 1650. and executed some book plates. 
He is doubtless the same as John Schweizer, which 
see. 

SULIVAN, Luke, an Irish miniature painter 
and engraver, of little note. He went to London, 
where he learned engraving of Thomas Major. As 
an engraver, he was principalh'- employed by Ho- 
garth, to engrave from his pictures, and he some- 
times worked conjointly with that artist. 

SUNMAN,or SOUMANS, William, a Dutch 
portrait painter, who went to London in the reign 
of Charles 11.. where, after the death of Lely, he ac- 
quired considerable practice. He was employed to 
paint several large pictures of the founders of the 
University of Oxford, which are preserved there 
in the picture gallery. He died about 1707. 

SUPPA, Andrea, a Sicilian painter, born at 
Messina, according to Hackert, in 1628. He stud- 
ied with Bartolomeo Tricorni, whom he excelled, 
particularly in portraits, which he executed with 
great truthfulness. Lanzi says " he studied land- 
scape and architecture under Abraham Casem- 
brodt ; but he formed himself principally upon 
the antique, and by constantly studying Rafiaelle 
and the Caracci, and other select masters, he ac- 
quired a most enchanting style of countenances, 
and indeed of every part of his composition. His 
works are as fine as miniature, and are perhaps too 
highly finished. His subjects, in unison with his 
genius, are of a pensive and melancholy cast, and 
are always treated in a pathetic manner. He ex- 
celled in frescos, and painted the vaults in the 
Suore in S. Paolo ; he excelled equally in oils, as 
may be seen from the picture of S. Scolastica. 
there also. He died in 1671. 

SURCHI, Giovanni Francesco, called Die- 



LAi, a painter born at Ferrara. He was a 
disciple of the Dossi, whom he assisted in some 
of the principal works in the palaces Belri- 
guardo, Belvidere, Giovecca, and Cepario. Lanzi 
says, " Thus instructed by both brothers, he be- 
came, perhaps, the most eminent figurist among 
his fellow-pupils, and beyond question, the be^t or- 
namental painter. He left many specimens in the 
first branch, but few in the second. In rapidity, 
vivacity, and grace in his figures, he approaches 
Dosso Dossi ; also in his easy and natural mode of 
draping. In the warmth of his coloring, and in 
his strong lights, he eyen aimed at surpassing him ; 
but, like most young artists who carry to excess 
the maxims of their schools, he became somewhat 
crude and inharmonious, at least in some of his 
works. Two of his Nativities at Ferrara are high- 
ly extolled, one at the Benedettini and the other at 
S. Giovannino, to which he added the portrait of 
Ippolito Riminaldi, a distinguished civilian of his 
age; both possess great merit." Barotti notices 
several other works by him in the churches at 
Ferrara, particularly the Marriage of St. Cathe- 
rine in S. Anna, and the Adoration of the Shep- 
herds in S. Giovannino. He died in 1590. 

SURRUGUE, Louis, a French engraver, born 
at Paris in 1695, He was instructed in design and 
engraving by Bernard Picart, whose style he fol- 
lowed with success, and, like his instructor, uni- 
ted the point and the graver in a very agreeable 
manner. Though his drawing is not very correct, 
he acquired distinction, and was elected a member 
of the Academy of Paris. , His prints are very nu- 
merous, and are after some of the greatest masters 
of the Italian, French, and Flemish schools. The 
following are among his best prints ; for a full 
list the reader is referred to Nagler's Lexicon. He 
died in 1769. 

PORTBAITS. 

Louis de Boullongne, Painter to the King ; after Mat- 
thieu. Joseph Christopher Veirier, Sculptor. 

SUBJECTS AFTER VABIOUS MASTERS. 

St. Margaret ; after Raffaelle ; for the Crozat collec- 
tion. St. .Jerome in the Desert ; after Bal. da Siena ; en- 
graved by N. Chateau, and finished hy L. Surrugue ; do. 
, Christ curing the ten Leprous Men ; after Girol. Genga ; 
do. Abraham sacrificing Isaac ; after A. del Sarto. The 
Birth of the Virgin ; after P. da Cortona. Abraham 
! sending away Hagar; after le Sueur. Venus nursing 
Love ; after Rubens. A Flemish Merry-making and the 
Fortune-Teller ; two plates; after Teniers. 

SURRUGUE, Pierre Louis, was the son of 
the preceding, born at Paris in 1717. He was in- 
structed by his father, whose style he followed, 
though he was inferior to him. He executed quite 
a number of plates after Correggio, Guido, Coypel, 
Latour, Teniers, Pater, Chardin, and other mas- 
ters. He died in 1771. 

SUSTERMANS, or SUBTERMANS, Justus, an 
eminent Flemish painter, born at Antwerp in 1597. 
He first studied under William de Vos. and after- 
wards with Francis Pourbus. He next traveled 
through Germany to Italy, in search of improve- 
ment, and after stopping some time at Venice, he 
proceeded to Florence, where his talents recom- 
mended him to the patronage of the Grand Duke 
Cosmo IL, who appointed him his painter. He 
continued in the service of that prince till his 
death, and was continued in his office by his suc- 
cessor, Cosmo III.j to the end of his reign. Sus- 



SUST. 



940 



SUVE. 



tcrmans painted history and portraits, and in the 
latter branch he was considered little inferior to 
Vand3'ck. When that distinguished painter visit- 
ed Florence, he expressed his admiration of the 
works of Sustermans, and painted his portrait, of 
which we have an etching by Vandyck himself. 
Rubens also esteemed him, and presented him with 
one of his own historical works, regarding him as 
an honor to his country. Lanzi says, " Suster- 
mans painted all the living members of the Medi- 
cean family in a variety of attitudes ; and when 
Ferdinand II. ascended the throne, he executed a 
stupendous picture, wholly composed of portraits. 
He represented in it the ceremony of swearing al- 
legiance to the new sovereign ; and portrayed with 
him his mother and grandmother, and the senators 
and nobility who were present. This picture is 
very large, has been engraved, and still remains in 
the Gallery. The artist had a neatness and ele- 
gance of pencil, extraordinary even in the school 
to which he belonged ; and he possessed a peculiar 
talent of ennobling every countenance, without in- 
juring the likeness. It was his custom to study 
the peculiar and characteristic air of the person, and 
to impart it to his work, so that when he would 
sometimes conceal the face of a portrait, by the 
bystanders it could certainly be told whom it rep- 
resented, from the figure, and the disposition of 
the hands." 

Sustermans was also employed by several other 
princes of Italy and Germany, as well as the no- 
bility, who were ambitious of having their portraits 
painted by an artist scarcely less famous, or infe- 
rior to Vandyck. His historical works are com- 
posed in a grand style, and his design, refined by 
his studies in Italy, is elegant and correct. His 
coloring possesses all the clearness, brilliancy, and 
strength of his countrj^, and he had an excellent 
knowledge of the chiaroscuro, which enabled him 
to give his figures, and every object, a surprising 
relief. His name is called b}'- the Italians Suhter- 
mans 5 and he is sometimes confounded with Su- 
terman, an entirely different artist, from similari- 
ty of names. His real name was Sustermans. 
He died in 1681. 

SUSTRIS, or SUSTER, Lanzi says, is the sur- 
name of Federigo di Lamberto, called also F. del 
Padovano, a Fleming who flourished in 1568, at 
Florence, of which place he had become a citizen. 
Vasari also commends him, and says he was an 
ornament to the Academy there. This artist can- 
not be the same as Lambert Lombard, as some 
have supposed, from similarity of names, for that 
artist had returned many years before to Liege, 
where he is supposed to have died about 1565. 
See Lambert Lombard and Suterman. 

SUTERMAN, Lambert, called also Suavius, a 
Flemish painter and engraver, born at Liege, where 
he flourished about the middle of the 16th centu- 
ry. He was a disciple of Lambert Lombard. 
Nothing is known of him with certainty as a paint- 
er, but there are quite a number of prints by him, 
after the works of his instructor, and from his own 
designs. He generally marked his plates with his 
initials, L. S., and the date. 

The history of three Flemish artists, viz., Lam- 
bert Lombard, Lambert Suterman, and Justus 
Sustermans, has been mixed up, by some careless 
writers, in the most admirable confusion, under 
the names of Lambert Suterman, or Sutermans, 
or Sustermans, Suavius, Suster, or Sustris. — 



There is a picture in the Louvre attributed to 
Lambert Suster, who it is said was a pupil of 
Christopher Schwartz, and afterwards of Titian, 
and died at Munich in 1600. (See Lambert Lom- 
bard, Sustermans, and Sustris., Among others 
are the following prints by Suterman : 

SUBJECTS AFTER LAMBERT LOMBARD, 

The Resurrection of Lazarus ; Lambert Lombard, inv. 

I LS. 1544. Christ with the Disciples at Emmaus. The 

: Entombing of Christ. St. Peter and St. John healing the 

i Lame Man at the Gate of the Temple. The taking down 

from the Cross. 

SUBJECTS FROM HIS OWN DESIGNS. 

I The Twelve Apostles; dated 1545, 1547, and 1548. The 
Head of Christ ; circular. 1559. The Head of the Virgin ; 
i do. Some portraits, among which is that of M. Angelo 
j Buonarotti. 

STTV.^E, Joseph Ben git, a distinguished paint- 
er of the French school, was born at Bruges in 
1743. After acquiring the elements of design un- 
der Matthew de Visch, he visited Paris, and en- 
tered the school of Bachelier, where he made such 
rapid progress that, at the age of twenty-three, he 
was appointed to superintend the free school of de- 
sign in that city. In 1771 he gained the grand 
prize, and went to Rome with the royal pension, 
by the way of Bruges, where he was honored 
with a public banquet by the city magistrates. 
After studying for seven years the antique and the 
works of the great masters, he returned to Pari.«;, 
and in 1780 was chosen a member of the Acade- 
my. He exhibited several pictures at the Louvre, 
which were much admired. His compositions are 
more distinguished for graceful express^ion and 
harmonious effect, than for vigorous coloring and 
spirited touch. Among the principal are the De- 
scent from the Cross, and the Adoration of the 
Magi, in a church at Ypres ; the Origin of Paint- 
ing, in the Academy at Bruges, and the Resur- 
rection, in the church of S. Donat. Most of his 
pictures are to be found in France. In 1792, Su- 
vee was appointed Director of the French Acade- 
my at Rome, but was prevented by the civil com- 
motions from entering upon the duties of his 
office until 1801, when he proceeded to Rome. 
Finding the institution almost entirely abandoned, 
he labored several \^ears with great assiduity to 
restore its reputation and prosperity, and had 
finally succeeded in establishing it with compara- 
tive stability, in the Villa de' Medicis, when he 
died suddenly, in 1807. 

SUYDERHOEF, Jonas, an eminent Dutch de- 
signer and engraver, born at Leyden, the times of 
whose birth and death are not exactly known ; 
several writers variousl}^ place his birth about 
1600 and 1613 ; Zani says he operated from 1631 
to 1668. He studied with Peter Soutman, whose 
style he followed, but excelled him in the delicacy 
and harmony of his execution. Although his 
plates are finished with uncommon neatness, ihey 
produce a vigorous and harmonious effect, and ex- 
hibit great knowledge of the principles of chiaro- 
scuro. He advanced his plates with the point, and 
finished them with the graver, in a very pictu- 
resque and pleasing style. He executed a conside- 
rable number of plates of portraits and other sub- 
jects, after the Flemish masters, and some from 
his own designs, which are deservedly held in 
high estimation. The following are his best 
prints : 



SWAG. 



941 



SWAN. 



PORTRAITS. 

The Emperor Maximilian ; after Lucas of Leyden. 
The Empress Maria, his consort ; do. Maximilian. Arch- 
duke of Austria; after Rubens. Philip III. King of 
Spain; do. Albert, Archduke of Austria, Governor of the 
Netherlands; do. Isabella Clara Eugenia, Infanta of 
Spain, his consort ; do. Charles I., King of England ; 
after Vandyck. Henrietta Maria, his Queen ; do. Fran- 
cis de Moncade, Count d'Ossonne ; do. John the Bold, 
Duke of Burgundy ; after P. Soutman. Charles the 
Warlike, Duke of Burgundy; do. Aldus Swalmius, the 
old Man with the Beard ; after Rembrandt. Bene Des- 
cartes, Astronomer ; after i<'. Hals. Anna Maria Schur- 
mans ; after J. Lievens. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Fall of the Angels ; after Rubens. The Virgin 
embracing the infant Jesus ; do. A Bacchanalian sub- 
ject ; do. A Drunken Bacchus, supported by a Satyr and 
a Moor ; do. The Hunting of the Lion and Tiger ; do. 
The Peace of Munster, containing the Portraits of the 
Plenipotentiaries; after G, Terburg ; one of his finest 
plates. Dutch Peasants quarreling; do. The Burgo- 
masters of Amsterdam ; after T/ieod. de Keyser. Three 
old Women regaling; after Ostade. Three Boors, one 
playing on the Violin ; do. The Tric-trac Players ; do, 
Dutch Boors fighting with Knives ; do, Dutch Boors 
dancing, called the Ball ; do. 

SWAGERS, Francis, a Dutch painter, born at 
Utrecht in 1756. It is not known under whom 
he studied, but after acquiring considerable repu- 
tation in his native city as a painter of landscapes 
and marines, he went to Paris, where he resided 
till his death. His works are numerous, and con- 
sist mostly of views in Holland, in the vicinity of 
Utrecht, Haerlem, Rotterdam, and Dort, and ma- 
riners off the coast, with fishing smacks, &c. From 
his long residence in Paris, he imbibed much of the 
French taste, and his pictures executed there ex- 
hibit a mixture of the Dutch and French schools. 
They are, however, pleasing compositions, and are 
held in considerable estimation. He died in 1836. 

SWAINE, Francis, an English marine painter, 
who lived in London from about 1770 to 1780. 
He painted small sea-pieces in the style of the 
elder Vandervelde, for the dealers. Stanley says, 
" he earned his bread, but got no reputation, 
though a clever painter. His very name is held in 
abhorrence when pronounced before one of his own 
pictures, as it deprives old Vandervelde of the hon- 
or, and endangers the dealer's profits. Many Eng- 
lish Fa72C?eriWc/es are certainly by Swaine." Stan- 
ley ought to have known, as hewasoneof the craft. 

SWANENBURG, William van, a Dutch en- 
graver, born at Leyden about 1581. Little is 
known of him except by his works. Huber says he 
was a disciple of John Saenredam, but his style 
has a greater resemblance to that of Henry Golt- 
zius. He had a great command of the graver, and 
his plates are executed in a bold, free style, but 
his drawing is not very correct. The following are 
his mcst esteemed prints : 

PORTRAITS. 

Maurice, Prince of Orange Nassau. Ernest Casimir, 
Count of Nassau. John William, Duke of Cleves. Dan- 
iel Heinsius, Historian. 1608. Abraham Bloemaert, 
Painter. 

SUBJECTS AFTER VABIOCS MASTERS. 

Esau selling his Birth-right to Jacob ; after P. Morel- 
sen. The Resurrection ; do. The Adoration of the Shep- 
herds ; after Ab. Bloemaert. The six Penitents ; do. 
St. Jerome in the Desert ; do. St. Peter penitent ; do. 
Lot and his Daughters ; after Rubens. Christ with the 
Disciples at Emmaus ; do. The Judgment of Paris ; after 
M. Mireveldt. Perseus and Andromeda ; after J. Saen- 
redam. A Village Festival ; after D. Vinckenbooms. 



A set of fourteen Plates, entitled The Throne of Justice; 
after Joachim Uytenwael. 1605. 1606. 

SWANEVELT, Hermann, a very emi- 
nent Dutch painter, born at Woerden in 
Holland, in 1620. He is said to have first 
studied with Gerard Douw, but this is very doubt- 
ful. He went young to Italy, where he passed 
the re?t of his life, and from his studious and re- 
tired life was called the Hermit nf Italy. On his 
arrival at Rome, he was indefatigable in the pur- 
suit of his studies ; he was seen to frequent the 
most sequestered places, and he designed the most 
interesting views and the most remarkable vesti- 
ges of antiquity in the vicinity of that metropolis. 
In 1640, he is said to have become the pupil of 
Claude Lorraine, whose productions he had con- 
templated with wonder and delight ; this however, 
though highly probable, seems to rest merely on 
conjecture and assertion. At all events, he made 
the works of that great painter his model, and 
followed his precepts. He became one of the most 
celebrated landscape painters of his time, and his 
works were held in such estimation that he could 
scarcely supply the demand for them. Though 
the scenery of Swanevelt is less extensive and se- 
lect, and his coloring less warm and glowing than 
that of his inimitable model, yet he nearly equalled 
him in the suavity and tenderness of his tints, in 
aerial perspective, in the delicate degradation ot 
his distances ; and he excelled him in his figures 
and animals. His pictures are usually enriched 
with the choicest relics of antiquity, as edifices, 
ruins, and monuments, and he decorated them 
with groups of figures and cattle, tastefully com- 
posed, and designed with elegance and correctness. 
Swanevelt approached Claude nearer than any oth- 
er master ; hence his pictures are held in the high- 
est estimation, and are only to be found in the 
choicest collections, and mostly in Italy. 

Hermann Swanevelt produced a large number ot 
etchings from his own designs, executed in a free, 
spirited, and masterly style. Bartsch describes 

I 116 (P.' G.. tom. ii.). He handled the point with 
uncommon neatness and dexterity, and his prints 
are held in the highest estimation. The following 

i are the principal : 

! A set of eighteen small oval plates, representing Views 

I in Italy, and rural subjects ; entitled VaricB campestri 

j fantasice a Hermano Swanevelt, invent, etin lucem edited. 

A set of thirteen Italian Landscapes, including the title ; 

dedicated to Gideon Tallement. A set of twelve Views in 

and near Rome ; entitled Diverses Vues dedans et dehors 

de Rome, &e. 1653. A set of seven Plates of Animals, 

j with landscape back-grounds and figures. A set of four 

1 Arcadian Landscapes, with Nymphs and Satyrs. A set of 

four Landscapes, with Biblical subjects. A set of fou' 

Mountainous Landscapes, with different representations of 

I the Flight into Egypt. A set of four Views of the Appe- 

' nines, with pastoral subjects. A set of six grand Land- 

1 scapes, with the history of Venus and Adonis. A set of 

four Landscapes, with different Saints and Mary Magdalene. 

SWEBACH, James, called also Fontaines, a 
Belgian painter, who.se life has not yet been writ- 
ten. He flourished from about 1800 to 1824, and 
resided chiefly at Paris. He painted battles, 
: marches, encampments, landscapes, and huntings, 
with ability. All his compositions of military 
subjects and huntings are remarkably spirited, and 
prove that he was well acquainted with the ma- 
noeuvres of the field, either as a soldier or a sports- 
man. His pictures are numerous, and held in con- 
siderable estimation. Some of his works were en- 
graved by Couche, Beauvinet, and Bertaux ; and 



SYBR. 



942 



TACC. 



since his death many have been executed in mez- I 
zotinto, aquatinto, and lithography. Swebach 
etched a great number of his own compositions, ! 
which were published collectively at Paris, in five j 
vols, quarto, under the title. " Encyclopedic Pitto- j 
resque ; ou, Suite de compositions, caprices, et I 
etudes utiles aux Artistes." He died at Paris about i 
1824. He left a talented son, Edward Swebach. , 
whom he instructed in the art, and who painted | 
and designed similar subjects. j 

SWEERTS, or SWERTS, Michael, a Dutch 
painter and engraver, who flourished about 1G55. I 
Little is known of his history. He is said to have | 
been a good portrait painter, but he is only knov.n ', 
by his prints, of portraits and other subjects, chiefly 
from his own designs. Bartsch describes sixteen 
prints b}^ him, some of which are signed Michael \ 
Sweerts Eques pin. et fecit. \ 

SWELINCK, John, a Dutch engraver, who | 
flourished at Amsterdam from about 1620 to 1635. j 
Among other plates, he engraved a set of emblem- | 
aticai subjects, after A. vander Venne ; some sub- 
jects of the Life of the Virgin, the Resuscitation i 
of Lazarus, and St. John the Evangelist. His 
plates are executed with the graver, in a style re- 
sembling that of the Wierixes, and he marked 
them with his initials, J. S. 

SWIDDE, William, a Dutch engraver, who 
flourished in the latter part of the 17th century, j 
Little is known of him, except by his works. There 
are some large marines by him, dated about 1680 ; 
also a set of six landscapes, with figures and cat- 
tle, after Dirk Dalens. He went to Stockholm, 
where he resided about 1690. He engraved seve- 
ral plates for a work entitled Suecia Antiqua et 
Hodierna, containing views of the principal build- 
ings in Sweden, and the plates for Puffendorf's 
Life of Charles Gustavus. 

SWITZER, Christopher, a German engraver 
on wood, who resided in England about 1614. He 
was employed by Speed to cut the coins and seals 
for his History of Great Britain, from the origi- 
nals in the Cottonian collection. Speed calls him 
the most exquisite and curious hand of that age. 
He had a son, also named Christopher, who assist- 
ed him, and whose works are confounded with 
those of his father. Stanley says he is the same 
as Christopher Stimraer — a very doubtful asser- 
tion. 

SWITZER, Joseph, a Swiss pamter, born at 
Berne in 1570. He went to Rome, where he is 
said to have studied with John van Achen, whose 
style he followed with considerable success. He 
died at Rome in 1629. 

SYBRECHT, John, a Flemish painter, born at 
Antwerp in 1625. He was the son of an obscure 
painter, who instructed him in the art. He after- 
wards improved himself by studying nature, and 
the works of Berghem and Karel du Jardin, both 
which painters he is said to have imitated with 
great success. He painted both in oil and water- 
colors, and the latter are the most numerous. He 
paiuted landscapes with figures and cattle, and 
views on the Rhine. He went to England at the 
invitation of the Duke of Buckingham, who em- 
ployed him at Cliefden. He died at London in 
1703. His name is variously written, Sybrecht, 
Sijbrechts, Sibrecht, and Sibrechts. 

SYDER, Daniel, called by the Italians, II 



Cavaliere Daniello, a German painter, born at 
Vienna in 1647. After receiving instruction in his 
native city, he went to Venice, and studied under 
Carlo Loti, whose style he emulated with so much 
success, that some of the works which he executed 
for the churches and private collections in that 
city have been mistaken for those of his instruct- 
or. He next proceeded to Rome, to improve him- 
self by a study of the antique and the works of 
the great masters. Carlo Maratti was then at the 
height of his reputation, and Syder entered his 
school, where he distinguished himself so much 
that Maratti procured him the commission to paint 
two pictures — the Children of Israel gathering 
Manna, for the Chiesa Nuova. and the Last Sup- 
per, for the church of S. Filippo Neri. These 
works established his reputation, and his instruct- 
or recommended him to the patronage of the Duke 
of Savoy, who invited him to his court, appointed 
him his painter, conferred on him the honor of 
knighthood, and presented him with his own walk- 
ing stick, richly set with diamonds. Syder also 
excelled in portraits. He died at Rome in 1721. 
The Italians apply the history of this painter to 
an artist variously called Saiter, Seiter, Sauter, 
Seutter, and Schutcr. The accounts nearly agree, 
and they are doubtless one and the same painter. 
Zani, difi'ering from others, says he was born at 
Vienna in 1642, and died in l/'05. See Seiter. 

SYLVESTRE. See Silvestre 

SYMMACHUS, a learned Roman, who flour- 
ished in the early part of the 6th centur3^ under 
the reign of Theodoric. the Ostrogoth. He was 
employed by that monarch, according to Cassiodo- 
rus, in superintending the erection and restoration 
of various edifices in Rome, which had been rap- 
idly going into decay during the foreign and civil 
wars, particularly the famous Theatre of Pompey. 

SYMPSON. See Simpson. 

SYSANG, John Christopher, a Danish engra- 
ver, who flourished about 1746. He engraved 
several plates of portraits, in a neat, clear style, 
for a work entitled, "Portraits Historiques des 
Hommes Illustres de Danemark," pubhshed in 
that year. 

SYTICUS. SeeSERiccus. 



T. 



TACCA, PiETRO GiACOMO, a sculptor of Carrara, 
who flourished in the first half of the 17th cen- 
tury. He studied under Giovanni da Bologna, and 
subsequently traveled into Spain and France, where 
he acquired great celebrity. He executed, among 
other works, a statue of Henry IV. at Paris, one 
of Jane of Austria, and a statue of Ferdinand HI. 
of Tuscany, with four slaves chained at his feet, at 
Leghorn ; his master-piece is said to be an eques- 
trian statue of Philip IV. at Madrid. Tacca after- 
wards returned to Florence, and died there in 
1640. His son Ferdinand, was esteemed an able 
sculptor. 

TACC ONI, Innocenzio, a Bolognese painter 
who, according to Baglioni, was a relative and 
disciple of Annibale Caracci, whom he accompanied 
to Rome, and assisted in many of his works. 
Lanzi says, '' whether he was really the kinsman 
of Annibale or no, he certainly enjoyed his confi- 
dence, and he received from him designs and re- 



TAFF. 



943 



TALA. 



touchings, tendir)^>; to make him appear a greater 
artist than he really was. To judge from some of 
his histories of St. Andrew, painted for S. Maria 
del Popolo and S. Angiolo, he may be said to have 
rivalled the best of his fellow pupils. But abusing 
his master's goodness, and alienating himself fi-oin 
Agostino, from Albano and from Guido, by mis- 
representations, he received the usual recompense 
of slanderers. Annibale withdrew from him his 
support, deprived of which, he became gradual- 
ly more and more insignificant." His principal 
works are the histories of St. Andrew, above men- 
tioned; and three large frescos, representing the 
Coronation of the Virgin, Christ appearing to St. 
Peter, and the Vision of St. Paul in the third Hea- 
ven, in the vault of the church of S. Maria del 
Popolo. He died at Rome in the prime of life, in 
the pontificate of Urban VHl. 

TAFFI, or TAFT, Andrea, an old Florentine 
painter, born in 1213, who was the first to intro- 
duce mosaic painting into his native city. Accord- 
ing to Vasai'i, he went to Venice, where he learned 
the art of one Apollonius, a Greek, w^hom he in- 
duced to accompany him to Florence, where they 
executed in concert some scripture histories in 
mosaic, in the church of S. Giovanni, which the 
author above cited says " are without invention 
and without design." Lanzi says "he improved 
as he progressed, so that his last works were not 
so despicable as at the beginning." His most fa- 
mous work was a Dead Christ, executed entirely 
by his own hand. He died in 1294. 

TAGLTASACCHI, Gio. Battista, a painter 
born at Borgo S. Donnino, near Piacenza. He 
studied with Giuseppe dal Sole. Lanzi says "he 
displayed a fine genius for elegant subjects, which 
induced him, after he left the school of dal Sole, to 
study the works of Oorreggio, Parmiggiano, and 
Guido, He was particularly ambitious of adding 
RafFaello to the list, but his parents would not 
permit him to visit Rome. He resided and chiefly 
employed himself at Piacenza, where there is a 
much admired Holy Family by him in the cathe- 
dral, which in its ideal cast of features, partakes 
of the Roman style, and is not inferior to-' the 
Lombards in point of coloring. He was an artist 
of far greater merit than fortune." He painted 
easel pictures for the collections, and excelled in 
portraits. He died, according to the GurdU di 
Piacenza, in 1737. 

TAILLASSON, Jean Joseph, a French paint- 
er, was born at Blaye, near Bordeaux, in 1746. He 
early manifested a strong inclination for art, and 
though opposed by his parents, he finally obtained 
their consent to his entering the school of Vien at 
Paris, where he arrived in 1764, at the age of 
eighteen. After studying with assiduity for sev- 
eral years, he visited Italy about 1773. He re- 
turned to Paris four years afterwards, and gained 
considerable reputation for his picture of the Birth 
of Louis XIII. The works of Taillassou are dis- 
tinguished for sensibility and expression, and poss- 
ess considerable merit; but they often exhibit a 
labored appearance, which impairs their vigor. He 
was chosen a member of the Royal Academy, for 
his picture of Ulysses bearing to Philoctetes the 
arrows of Hercules. Among his other principal 
works were, Virgil reading the ^neid to Augus- 
tus ; Timoleon visited at Syracuse by strangers ; 
the Death of Seneca; and Hero and Leander. 



Taillasson wrote a work of considerable merit, en- 
titled Observations sur quelques grands peintres, 
1807, 8vo. He died in 1809. 

TALAMI, Orazio, a painter born at Reggio. 
according to Tiraboschi, in 1625, and died in 1705! 
He first studied with Pietro Desani, in his native 
city, and afterwards traversed Italy for improve- 
ment. Lanzi says " he studied the models of the 
Caracci with unwearied care, and succeeded so well, 
that he might be mistaken for one of their scholars. 
While at Rome, which he visited twice, he devo- 
ted himself particularly to the study of perspec- 
tive, and very scrupul<^usly observed its rules in 
the noble and extensive edifices and ruins, with 
which he enriched his compositions. On his re- 
turn to his native city, he executed many works 
for the churches and public edifices, as well as for 
individuals, w^hich prove him an able artist. His 
works are more distinguished for solidity and cor- 
rectness of design, than for amenity." 

TALPINO, II. See Salmeggia. 

TALMAN, William, a distinguished English 
architect of the 17th century, was a native of West 
Lavington, in AViltshire. Although he was Comp- 
troller of the Works during the reign of William 
III., little is known of him, except by a few pri- 
vate edifices, erected for the nobility, among which 
are Dynham House, in the county of Gloucester, 
commended for its elegant taste ; Thoresby House, 
for the Duke of Kingston, in the county of Not- 
tingham, erected in 1671, which has a basement 
of rusticated stone work, and a tetrastyle portico 
of the same material, in the Ionic order. In 1681, 
according to Walpole. Talman designed Chatsworth 
House, in the county of Derby, for the Duke of 
Devonshire. On the ground plan are the offices, 
a large hall, and a chapel, with a spacious court 
and two noble porticos in the centre ; a magnifi- 
cent staircase leads to the first range of state 
apartments, in which is a superb gallery, and a 
library; over these is a suite still more noble. 
The western facade is in the richest and best style 
of architecture, a rustic basement surmounted by 
an order of Ionic pilasters, with a tetrastyle por- 
tico in the centre, over which is a rich pediment. 
The whole edifice is crowned with balustrades, on 
the solid divisions of which are vases, producing a 
better effect than statues. There are a few of Tal- 
man's drawings in the library of the Antiquarian 
Socnety. His son, John Talman, was esteemed a 
good artist. 

TAMBURINI, Gio. Maria, a Bolognese painter 
who flourished about 1640. He first studied with 
Pietro Faccini, and afterwards entered the school 
of Guido, whose manner he adopted. He acquired 
considerable reputation, and executed several works 
for the churches of Bologna, the most esteemed of 
which are the pictures representing the history of 
St. Anthony of Padua in the church of La Morte, and 
the Annunciation in S. Maria della Vita. He also 
etched some plates from his own designs, and after 
other masters. Lanzi says he died old, at what 
time is not known. 

TANCREDI, FiLiPPO, a Sicilian painter, born at 
Messina, according to Hackert in 1655, and died at 
Palermo in 1725 ; but Zani says in 1722. He first 
studied at Naples, and afterwards proceeded to 
Rome where he entered the school of Carlo Ma- 
ratti. ' On leaving this master, he returned to Si- 



TAND. 



944 



TARA. 



cily, where he acquired a great reputation, and 
executed many works for the churches at Messina 
and Palermo, particularly in the latter city, where 
he settled. Hackert says he possessed a ready 
and fertile invention, a tolerably correct design, 
and a very sweet and agreeable st3'-Ie of coloring. 
He painted both in oil and fresco, and his best 
works are the ceilings of the churches of the Tea- 
tini, and of II Gesu Nuovo at Palermo. 

TANDINO, a painter of whom little is known, 
born at Bevagna, a place near Assisi. In the 
church of S. Giacomo at Spello, there is an altar- 
piece by him, representing that saint and St, Cath- 
erine before the Madonna, which is inscribed Tan- 
dini Mevanatis^ 1580. This work is highly com- 
mended by Orsini, and Lanzi says, "it is a picture 
not to be passed over." 

TANJE, Peter, a Dutch engraver, born at Am- 
sterdam about 1700. It is not known under whom 
he studied, but he was a very industrious artist, 
and engraved a great number of plates of por- 
traits and other subjects, as well as many vignettes 
and other book plates. His most considerable 
works are five large plates from the famous paint- 
ings on the windows of the church of St. John of 
Gouda, and several plates for the Dresden gallery. 
Zani says he was born in 1706, and died in 1760. 

TANTERI, Vale RIO, a Florentine painter, who 
flourished in the first part of the 17th century. He 
studied with Cristofano Allori, and was an excellent 
copyist of his works, Lanzi says, " To Valerio 
Tanteri, F. Bruno Certosino, and Lorenzo Oerrini, 
we owe numerous duplicates of Allori's most cele- 
brated pictures, scattered through Florence, and 
over all Italy ; more especially of that Judith, so 
beautifully and magnificently attired, a portrait of 
his mistress, while that of her mother appears 
as Abra, and the head of Holofernes is that of the 
painter himself, who permitted his beard to grow 
for the purpose." There is a Visitation of the 
Virgin by Tanteri, inscribed with his name, with 
the date 1606, in the church of S. Antonio of Pisa, 
executed in a weak style. He was also a good 
portrait painter. 

TANZI, Antonio, a painter born at Alagna, 
near Novara, in 1574. It is not known with 
whom he studied, but Lanzi says he was an able 
and skillful designer, and distinguished himself 
by several public works at Milan, painted in com- 
petition with Carloni ; and others for the churches 
at Yarallo and Novara. He particularly com- 
mends his Battle of Sennacherib in the church of 
S. Gaudenzio, in the latter city, a work full of 
spirit and intelligence. He also painted much for 
the collections, and there are several of his histo- 
ries and perspectives in the galleries at Naples, 
Venice, and Vienna. He died in 1644. He had 
a brother, named Giovanni Melchiore, who prac- 
ticed the art, but there is nothing remaining by 
him worthy of notice. 

TAPIA, Don Isidoro de, a Spanish painter, 
born at Valencia in 1720, and a scholar of Evaris- 
to Munoz. In 1743 he went to Madrid, where he 
improved himself by studying the works of the 
best masters in that capital. He acquired con- 
siderable reputation, and executed several works 
for the churches and convents in his native city, 
which, according to Berraudez, are well designed 
and colored. The principal are a grand altar- 
piece in the church of San Bartolome, and the Ora- 



tory of the convent of the Carmelites, where he * 
represented St. Teresa and the Four Doctors of 
the church. He died young at Madrid in 1755. 

TARABOTI, Caterina, a Venetian paintress, 
who studied, according to Lanzi, with Chiara Va- 
ratori, and painted history and portraits with 
considerable reputation. She was living in 1660. 
Others say that she was a native of Vicenza, and 
was instructed by Alessandro Varatori, the bro- 
ther of Chiara. Pilkington says she was born 
at Venice in 1582, and died there in 1631 ; Zani, 
that she operated in 1659. She is also called 
Tarabotti, and Tarabotta. She was doubtless 
a pupil of Chiara V., who is highly extolled by 
Ridolfi, for the beauty of her portraits, and who 
is known to have instructed several Venetian la- 
dies in the art. 

TARASCIII, GiDLTo, a painter of Modena, who, 
according to Tiraboschi, was a pupil of Pellegrino 
da Modena, whose style he followed with consid- 
erable success. Lanzi says he executed many 
works for the churches at Modena, entirely in the 
Roman taste, particularly some sacred subjects in 
S. Pietro. He had two younger brothers, whom he 
instructed in the art. He was living in 1546. 

TARAVAL, Thomas Raphael, a Swedish paint- 
er, who resided at Paris some time ; and on his re- 
turn to Stockholm, he painted portraits with rep- 
utation. He died there in 1750. He had two sons, 
the first, John Hughes T., was born at Paris in 1728. 
He painted portraits and familiar subjects. He was 
also a designer, employed in the Gobelin manu- 
factory, and died about 1785. Louis Gustavus 
T., was born at Stockholm in 1737. His father 
sent him to Paris, where he learned the art of en- 
graving. Among other things, he engraved some 
architectural subjects from the designs of Dumont. 
He was living in 1790. 

TARDIEU, Antoine FRAN901S, an eminent 
geographical engraver, born at Paris in 1757, and 
died there in 1822. His principal works are:' 

Les Cartes marine de 1' Atlas de Commerce. Les Plans 
des Capitales del' Europe. Cartes in the Atlas de Men- 
telle. Several plans in " le Voyage pittoresque en Gr^ce," 
by Choiseul Gouffier. Les Palatinats de Cracovie, Plack, 
Lublin, et Sandomir. The folio Atlas for the quarto edi- 
tion of the " Voyage du jeune Anacharsis." Atlas du 
Voyage aux Torres Australes. Atlas for I'Histoire des 
Guerres des Frangais en Italic ; after Lapie. A grand 
map of Russia in Europe, in six sheets, 

TARDIEU, Jean Baptiste Pierre, probably 
a brother of the preceding, was born at Paris in 
1746, and died in 1816. He executed many valua- 
ble geographical works, the principal of which are 
the following : 

Cartes des Pays Bas,53 plates, engraved for the Empress 
Maria Teresa. Cartes de Chasses du Roi, by direction of 
Louis XVI. Cartes du Voyage de Sonini en Grlce et en 
Turquie. Cartes de 1' edition de Volney. Cartes Topo- 
graphiques de la Saxe-Gotha, 25 plates. 

TARDIEU, Pierre, was the son of Antoine 
Fran9ois, born at Paris in 1784, and died in 1837. 
He engraved several maps and plans after Hum- 
bolt, de Buch and Brousted ; the Atlas for "P His- 
toire Ancienne," of M. Segur; "La Carte des 
Routes de Poste de P Empire," in 1811, by order 
of the Emperor Napoleon, and many other im- 
portant works. 

TARDIEU, Nicholas Henri, an eminent 
French engraver, born at Paris in 1674. He first 
studied with P. le Pautre, and afterwards with Jean 



TARD. 



945 



TARD. 



Audran. He acquired distinction, and was elected 
a member of the Academy at Paris in 1720. He 
was engaged on some of the most important pub- 
h'cations of his time, and engraved some of the 
plates for the Crozat Collection, the Gallery of 
Versailles, and other works. He is ranked among 
the most eminent engravers of his country. His 
design is correct, and by a judicious union of the 
point and the graver, he finished his plates in a 
very tasteful and effective style. He died at Paris 
in 1749. The following are among his most es- 
teemed prints : 

PORTRAITS. 

Louis Anthony, Duke d' An tin ; after Rig aud ; engrav- 
ed for his reception plate at the Academy, in 1720. John 
Soanon, Bishop of Senez ; Nic. Tardieu ad vivum fecit. 
1716. 

SUBJECTS AFTER DIFFERENT MASTERS. 

Four subjects of Roman History, in the form of friezes ; 
xfter Giulio Romano. Jupiter and Alcmena ; after a 
cartoon hy the same. The Annunciation ; after Carlo 
Maratti. The Holy Family, with Angels presenting Flow- 
ers and Fruit; after Andrea Luigi d'' Assisi. Adam and 
Eve ; after Domenichino. The Scourging of Christ ; af- 
ter le Brun. The Crucifixion ; do. An Emblematical 
subject, representing the principal qualifications of a perfect 
Ministei', Secresy, Fortitude, and Prudence ; after le Sueur, 
This print is scarce, Christ and the Woman of Samaria ; 
after N. Bertin. Christ appearing to Mary Magdalene ; 
do. The Martyrdom of St. Peter ; after Seb. Bourdon. 
The Crucifixion ; after Joseph Parrocel. The Conception ; 
after Anthony Coypel. Apollo and Daphne; do. The 
Wrath of Achilles ; do. The parting of Hector and An- 
dromache ; do. Vulcan presenting to Venus Armor for 
iEneas; do. Venus soliciting Jupiter in favor of ^neas; 
do. Juno directing JEolus to raise a Tempest against the 
Fleet of iEneas ; do. 

TARDIEU, Elizabeth Clara, was the wife 
of the preceding. Her maiden name was Tour- 
nay. She engraved some plates in a neat and 
tasteful style, among which are the following : — 
The Concert, after J. F. de Troy ; the Mustard 
Merchant, after Charles Hutin ; two plates of the 
charitable Lady and the Catechist, after P. Du- 
mesnil ; the Old Coquet, do. ; the Repose, after 
Jeaurat. 

TARDIEU, Jacques Nicolas, was the son 
of Nicolas Henry T., born at Paris in 1718. He 
was instructed by his father, but in his mode of 
operating, he u.sed the point less, and the graver 
more, than that master; hence his prints have a 
neater appearance, but they are much inferior in 
spirit and picturesque effect. His prints how- 
ever, possess considerable merit. He was admit- 
ted into the Academy. He engraved a part of the 
plates for the Gallery of Versailles, after the works 
of le Brun, and a considerable number of por- 
traits and other subjects, among which are the 
following : 

PORTRAITS. 

Louis XIV. ; after Vanloo. His Queen ; after Nattier. 
Maria Henrietta of France ; do. The Archbishop of Bor- 
deaux ; after Resiout. Robert Lorraine, Sculptor to the 
King; his reception plate at the Academy. 1749. Bon 
BouUongne, Painter to the King ; the companion. 

VARIOUS SUBJECTS. 

Christ appearing to the Virgin ; after Guido. Mary 
Magdalene penitent ; after Paolo Pagani. The Pool of 
Bethesda ; after Restout. Diana and Acteon ; after P. 
Boucher. The Miseries of War; after Tenters. A pair 
of Landscapes ; after Cochin the younger. 

TARDIEU, Louisa, was the wife of the prece- 
ding. She was the daughter of the celebrated 



medalist du Vivier. She executed several plates 
of portraits and other subjects, in a neat style. 

TARDIEU, Jean Charles, an eminent French 
historical painter, was the son of Jacques Nic- 
olas T., born at Paris in 1765. He painted a 
great many pictures by order of the government, 
for the galleries of the Luxembourg, Versailles, 
St. Cloud, and Fontainbleau, and seems to have 
been fully employed during the reigns of Napoleon, 
Louis XVIIL, and Charles X. There are several 
of his works in the Museum and the cathedral at 
Rouen. He also painted many poetical and clas- 
sical subjects for individuals. He was living in 
1831, and continued still to exercise his pencil. 

TARDIEU, Pierre Fran90is, was the ne- 
phew of Nicolas Henry T., by whom he was 
instructed in engraving. He was born at Paris 
in 1720, and died in 1772. He engraved quite a 
number of plates, which, though inferior to those 
of his relative, possess considerable merit. He 
engraved a set of architectural Views after Pan- 
nini; a set of plates for La Fontaine's Fables, 
after the designs of Oudry, and some plates for 
Buffon's Natural History ; also some large plates 
after various masters, among which are the Judg- 
ment of Paris, and Perseus and Andromeda, after 
Rubens. His wife, Marie Anne Tardieu, whose 
maiden name was Roussellet, was also an engraver, 
and executed some plates. 

TARDIEU, Pierre Alexandre, an eminent 
French engraver, was a nephew of Jacques Nic- 
olas T.. born at Paris in 1756. He studied with 
J. G. Wille. whose style he followed. He execu- 
ted some historical subjects, and a great many 
portraits of eminent persons. He was the succes- 
sor of Bervic in the Institute of France, and was 
made Chevalier of the Legion of Honor in 1825. He 
instructed several pupils, among whom were Des- 
noyers, Bertonnier, and Aubert. Among his prin- 
cipal plates are the following : 

Three of Henry IV. of France ; after Janet and Pour- 
bus. Two of Voltaire ; after Largilliere and Houdon. 
The Earl of Arundel ; after Vandyck. Mareschal Ney ; 
after Gerard. Napoleon (for the Coronation) ; after Isa- 
bey. Marie Antoinette; after Dumont. Montesquieu, 
Paul Barras, and others. St. Michael overcoming Lucifer ; 
after Raffaelle. The Communion of St. Jerome ; after 
Domenichino. Judith and Holofernes ; after Allori. 
Psyche abandoned ; after Gerard. 

TARICCO, Sebastiano, a painter born at Che- 
rasco, in the Piedraontese, in 1645. The Padre 
Delia Valle commits an extraordinary error with 
regard to this painter, into which others have fallen. 
After mentioning the time and place of his nativity, 
he says, " it clearly appears from his works that he 
studied with Guido and Domenichino in the great 
school of the Caracci," whereas not only the Ca- 
racci, but both Guido and Domenichino were 
dead before he was born. The probability is that 
he studied at Bologna, where he made the works of 
the Caracci his models. He acquired considerable 
reputation, and executed some works both in oil 
and fresco for the churches and palaces of Turin, 
Cherasco, and other places in the vicinity. Some 
sa3^ that he imitated Guido and Domenichino in 
his design and coloring. Lanzi, though he admits 
he has not seen his best productions, says that, 
judging from his works which he saw at Turin, 
he was rather a follower of Guido; "he is select 
in the heads and sufficiently pleasing in general, but 
i of too great facility, and without that refinement 



TARL 



946 



TASS. 



which distinguishes the classic painters ; others 
of his works in his native city and elsewhere, are 
said to inspire a higher opinion of his talents." 
His name is sometimes erroneously spelled Tar- 
rico. He died in 1710. 

TARILLIO, Giovanni Battista, a Milanese 
painter, who, according to Lanzi, was an artist of 
great merit, as is evinced by his altar-piece painted 
for the church of S. Martino, dated 1575. 

TARUFFI, Emilio, a painter born at Bologna, 
according to Crespi, in 1633, and assassinated in 
1696 ; others place his birth in 1632, and his death 
in 1694. He was a fellow student with Carlo 
Cignani, under Francesco Albano. He assisted 
Cignani in decorating the Palazzo Pubblico at Bo- 
logna, and next at Rome, in his frescos in the 
church of S. Andrea della Valle, and others for 
private houses. After a residence of three years 
at Rome he returned to Bologna, where he was era- 
ployed to execute several works for the churches, 
the most esteemed of which is the Virgin present- 
ing the Rosary to St. Domenico, in S. Maria Nuova, 
and the Virgin with a glory of angels appearing to 
St. Celestino, in the church of that saint. Lanzi says, 
•' no artist there better conformed to Oignani's style, 
than Taruffi. and he could at least second him in 
painting histories. But his genius lay more in 
minor compositions for the collections. He was 
an excellent copyist of any ancient master ; a por- 
trait painter of great spirit ; and in landscape, one 
of the best pupils formed by Albano. In these 
three branches, he obtained his usual commissions, 
which he ever discharged with credit. He also con- 
ducted some altar-pieces, and that of S. Pier Ce- 
lestino, yields to few of that period." 

TASCA, Cristoforo, a painter born at Berga- 
mo in 1667. After studying in his native city, he 
went to Venice, where he settled, and adopted the 
manner of Carlo Loti. He found considerable 
employment in painting for the churches and pub- 
lic edifices. His works most deserving of notice 
are the Birth of the Virgin in dell' Assunzione; 
the Death of St. Joseph, in SS. Filippo e Giacomo ; 
the Nativity and the Baptism of Christ in S. Mar- 
ta. He also painted much for the collections. He 
died in 1737. 

TASNIERE, G., an engraver who, according to 
Basan, flourished at Turin about 1670. He en- 
graved a part of a set of plates of huntings and 
portraits of the nobility, after the works of John 
Miel, in the palace of the .Duke of Savoy, published 
at Turin in 1674, under the title of La Venaria 
reale Palazzo di piacere, &c. He also engraved 
some plates after other masters, some of which 
are signed G. Tasniere Bourgundus scu. Medio- 
lano, or G. Tasniere sculps. Taurini, and dated 
as late as 1703. His plates are executed with the 
graver in a coarse, heavy style. 

TASSART, Peter Joseph, a Flemish painter 
and engraver, born at Brussels in 1736. He is lit- 
tle known as a painter, though he painted some por- 
traits. He etched some plates from his own designs, 
and after other masters, among which are the fol- 
lowing, after Rubens; Jonas thrown into the Sea ; 
the Parting of Venus and Adonis; the Woman 
taken in Adultery ; the Martyrdom of St. Law- 
rence ; and the Virgin and Child, with St. Eliza- 
beth and St. John. 

TASSI, AgostinOj a painter born at Perugia, 



according to Lanzi and the best authorities, in 
1566, and died at Rome in 1642; some place his 
birth in 1565, and his death in 1644. His real 
name was Buonamici. There is considerable con- 
tradiction as to his history, but none as to his > 
works. He studied with Paul Brill at Rome, , I 
though Lanzi says he was ambitious of being ■ 
thought a pupil of the Caracci. He however 
founded his style on that of Brill, and had al- 
ready acquired a high reputation for the beauty 
of his landscapes, — which are elegantly designed, 
enriched with noble architecture, and exquisite 
figures, touched with a free and spirited pencil. — 
when iie was condemned to the galleys at Leg- 
horn for some unknown cause, though Passed 
intimates that it was assassination. Lanzi says he 
was a man of infamous character, but the incidents 
recorded of him in the lives of his pupils, parti- 
cularly that of Claude Lorraine, (whom he took 
into his house, when he was in poverty and ob- 
scurity, instructed him and treated him as his son,) 
show that he possessed a kind and generous heart. 
It seems more than probable that the crime which 
stigmatized his character, was a fatal duel, or the 
slaying of an antagonist in the heat of passion. 
At all events, his reputation had gained him 
friends sufficiently powerful to procure the remis- 
sion of the laborious part of his sentence, and 
ultimately, his pardon. Lanzi says, ''in this sit- 
uation, he prosecuted his art with such ardor 
that he soon obtained the first rank as a painter 
of sea views, representing ships, storms, fishing 
parties, and the dresses of mariners of various 
countries with great spirit and propriety. He ex- 
celled in perspective, and in the papal palace of the 
Quirinal, and in the palace de' Lancellotti, he dis- 
played an admirable style of decoration, which his 
followers very much over charged. He painted 
many pictures at Genoa in conjunction with Sa- 
limbeni and Gentileschi." Tassi. after his libera- 
tion, confined himself mostly to marine subjects 
and sea-ports, which last he enriched with noble 
edifices and abundance of shipping, and figures 
decked in the costume of all nations. He did not 
succeed so well in storms, as in scenes of tranquilli- 
ty and repose. He painted both in oil and fresco 
equally well, and his works adorn the choicest 
collections of Italy. There are some spirited etch- 
ings by this artist from his own designs, of ma- 
rines, storms and shipwrecks. 

TASSINARI, Giovanni Battista, a painter 
born at Pavia, whom Orlandi supposes to have 
studied with II Rosso of Pavia. He executed some 
works for the churches of that city, two of which 
are dated 1610, and 1613. He was a reputable 
artist. 

TASSONE, Carlo, a painter of Cremona, born 
about 1640. He studied under Carlo Natal i, and 
became an eminent portrait painter. Lanzi says 
'•he flourished about 1690, and was much em- 
ployed at Turin and other courts, where his por- 
traits were much admired." Zaist says he died 
aged 70, but he does not mention the time or 
place. 

TASSONI, Giuseppe, a painter born at Rome, 
according to Dominici, in 1653. It is not known 
by whom he was instructed, but he went to Na- 
ples, where he distinguished himself as a painter 
of animals. He died there in 1737. 

TATTI, Jacopo, called Sansovino, an emine.ut 



TATT. 



947 



TATT. 



Italian sculptor and architect, was born at Flor- 
ence in 1479. He was the son of Antonio Tatti. 
whose surname he exchanged for that by which 
he is more generally known, assumed out of com- 
pliment to his master, Andrea Contucci da Monte 
Sansovino. Contucci had just returned from Por- 
tugal, where he had acquired great reputation as 
a sculptor, when Jacopo, then twenty-one years 
of age, became his pupil, and afterwards greatly 
surpassed him ; but his superior talents served 
only to increase his instructor's attachment. At 
this time Jacopo profited greatly by his intimacy 
with Andrea del Sarto; they almost pursued their 
studies in common, and both of them copied Mi- 
chael Angelo's famous cartoon of Pisa. Becom- 
ing acquainted with Giuliano Sangallo, then ar- 
chitect to Julius II., he was taken by him to Rome, 
where his talents procured for him the notice of 
Bramante and other eminent artists, and also that 
of the Pope himself. He was probably indebted 
to Sangallo for instruction in architecture, which 
he did not commence practicing until some years 
afterwards. On returning to Florence, he pro- 
duced his Bacchus, a master-piece of modern sculp- 
ture, which is now only known by copies and 
drawings, it having been destro3^ed by a fire that 
broke out in 1762, in the Florentine Gallery, where 
it had been placed. AVhile residing at Florence at 
this time, Jacopo displayed his talents in design- 
ing several triumphal arches, and erecting a tem- 
porary fa9ade to the church of S. Maria del Fi- 
ore, in honor of the entry of Pope Leo X., in 
1515. On a very large base he arranged coup- 
lets of columns in the Corinthian order, between 
which were niches with figures representing the 
apostles ; the columns supported a cornice and 
pediment with various projections. Del Sarto 
painted several historical subjects in chiaro-scuro, j 
and Jacopo executed the statues and bas-reliefs ; | 
the whole work, according to Milizia, was ex- I 
tremely well conceived, and the Pope complimented 
him by saying that the design ought to be execu- j 
ted in marble. [ 

On returning to Rome, besides executing a num- | 
ber of statues, he erected a loggia on the Via Fla- 
minia without the Porta del Popolo, for Marco 
Coscia; the church of S. Marcello ; and a beau- 
tiful and convenient palace near Banchi, for the 
Gaddi family, which afterwards passed into that of 
Niccolini, His greatest work in Rome was the 
design for the church of S. Giovanni dei Fiorentini, 
which he commenced erecting upon some ground 
near the Tiber. Not succeeding in laying firm 
foundations in the water, he transferred the works 
to Sangallo, who completed the foundations at im- 
mense expense, and erected the edifice after the 
original design. At the sacking of Rome in 1527. 
Sansovino quitted the cit}^, and went to Venice; 
after which he visited France, whither he had 
been invited some years before by the King, but 
it does not appear that he executed any works in 
that country. Returning shortly after to Venice, 
he was appointed by the Doge, Andrea Gritti, to I 
the post of principal architect to the Procurazie. 
One of his first works was the repairing of the 
cupolas of St. Mark's, which he performed with 
great credit, and afterwards erected many other pub- 
lic and private edifices, among which are the Scuo- 
la della Miseracordia, consisting of two magnificent 
halls, one above the other ; the Palazzo Cornaro j 
a S. Maurizio, one of his best works ; the church 



of S. Giorgio de' Greci ; the Loggia del Campa- 
nile ; Palazzo Delfino ; the Fabbriche Nuove, or 
New Buildings, in the quarter of the Rialto ; the 
admired church of S. Francesco della Vigna; and 
the celebrated Zecca, or Mint, a magnificent work, 
built of Istrian stone, and one of his finest designs. 
The Library of St. Mark is perhaps the most highly 
esteemed of all his works ; it has two orders, the first 
a highly ornamented Doric, the second an elegant 
Ionic with a grand frieze and noble partition. Over 
the cornice is a balustrade, with beautiful statues 
above, by the ablest scholars of the architect ; on 
the ground floor is a portico, raised three steps from 
the level of the piazza : it has twenty-one arches, 
supported by pilasters, to which there are exter- 
nal columns, with other arches corresponding to 
the interior, sixteen of which, with their internal 
rooms, are used for shops. The centre arch con- 
ducts to the noble staircase, divided into two 
branches; at the top of this staircase is a hall, 
used as a museum for ancient statues ; beyond 
this is the Library, occupying seven arches in 
length, by three in width. Scarcely was the 
vaulted ceiling of the Library completed, when it 
fell down ; in consequence of which Sansovino was 
deprived of his office, imprisoned, and fined 1000 
crowns ; but through the active exertions of his 
friends Pietro Aretino, and Mendoza, the Spanish 
ambassador, combined with his former exalted rep- 
utation, he was restored to his office, and his fine 
was remitted. The edifice, when completed, was 
the most highly ornamented building, according to 
Palladio, in the world ; to its exquisite style of 
architecture is added every variety of elegant col- 
umns, bas-reliefs, stuccoes, and statues. 

There are some inconsistencies in the works of 
Sansovino, as in those of all the great architects. In 
the Loggia del Campanile, the sculptures on the 
exterior represent heathen deities, while the Vir- 
gin Mary occupies the niche within ; and in a mag- 
nificent bronze door in the sacristy of St. Mark's, 
the two principal compartments represent the 
Savior's death and resurrection, while the smaller 
panels are decorated with the heads of the Evan- 
gelists, and those of Sansovino's friends, including 
Pietro Aretino. Notwithstanding these errors, he 
possessed a fertile invention, and his architecture, 
though sometimes deficient in solidity, was full of 
elegance and grace. His ornaments are exceeding- 
ly correct, and he very frequently introduced the 
Doric and Composite orders; he sculptured the 
members of the cornices, and often introduced bas- 
reliefs and statues, thus adding much to the dec- 
oration and majesty of his buildings. In sculp- 
ture, Sansovino executed many works, most of 
which were for the decoration of his edifices ; his 
design for the sepulchre of Sig. Podacataro, in the 
church of S. Sebastiano, is greatly admired for its 
simplicity and elegance ; and that of the Doge Ve- 
niero, in S. Salvatore, is still more beautiful. He 
executed the two statues between the lateral 
niches of this sepulchre at the age of eighty, and 
five years before, he sculptured the two colossal 
statues of Mars and Neptune, which adorn the 
Giants' Staircase in the Ducal palace. Sansovino 
was held in such high esteem, that when an ex- 
traordinary tax was raised by the Senate, he and 
Titian alone were exempted ; thus the architect 
was accounted equal in his department to the head 
of the Venetian school of painting. He enjoyed, « 
according to Vasari, unimpaired health and strength 



TAUN. 



y48 



TAVE. 



to the gieat a,2;e of ninety-one, when he died, No- 
vember 27, 1570. Scamozzi mentions a useful 
work by Sansovino, relating chiefly to the con- 
struction of floors, which is now unfortunately 
lost. 

TATORAC, v., an old engraver on wood, who 
executed, according to Papillon, a set of one hun- 
dred and fifty cuts for an edition of Ovid's Meta- 
morphoses, published in 1537, and a print of the 
Annunciation for a prayer book, dated 1530. 

TAUNAY, Nicolas Antoine, a French paint- 
er, born at Paris, and died there in 1830. He 
studied with Casanova, but he painted more in the 
manner of the French school. He was a universal 
painter. He painted several large pictures of the 
battles and victories of Napoleon, among which 
are the Passage of the Alps, the Battle of Lodi, 
the Battle of Ebersberg, the Triumphal En- 
try of the Imperial Guard into Paris, and many 
others. He also painted history, landscapes, sea- 
ports, pastoral and poetical subjects, sentimental 
and humorous pieces, games and village festivals. 
His cabinet pictures are the most esteemed out of 
France. 

TAURINI, R., a French artist, born at Rouen. 
According to Papillon. he was a disciple of Albert 
Durer, and a skillful engra^ er on wood, but none 
of his prints are mentioned. He was called Mon- 
sieur Richard and Ricardus Gallics. He is also 
said to have been a skillful carver in wood and 
stone, and an architectural designer. 

TAURISOUS. See Apollonius. 

TAVARONE, Lazzaro, a painter born at Ge- 
noa, according to Soprani, in 1556, and died in 1641, 
aged 85, though some place his death in 1631. He 
studied with Luca Cambiaso, and was his most 
distinguished disciple. He accompanied that mas- 
ter to Spain in 1583, at the invitation of Philip 
II., assisted him in his great works in the Escu- 
rial, and on the death of Cambiaso, he completed 
his unfinished picture^ . He continued several 
years longer in the service of Philip, and after- 
wards returned to Genoa, rich in the designs of 
his instructor, which he inherited, and loaded with 
riches and honors. Lanzi says. " Luca seemed to 
live again in his scholar, so fully did he possess 
his style. He moreover distinguished himself by 
a method of coloring in fresco, which if I mistake 
not, raised him above all his predecessors in this 
school (the Genoese), and above all who succeeded 
him, except Oarloni. This peculiarity consisted in 
a richness, brightness, and variety of color, which 
brings distant objects vividly to the sight, the 
wliole composition appearing brilliantly illumin- j 
ated, and the tints splendidly and harmoniously ! 
blended. One may, perhaps, occasionally wish ! 
them more soft, but in general they have all the 
richness of oil paintings." He executed many 
works for the churches, public edifices and palaces 
of Genoa, of sacred and profane histories, fables, and 
imaginary compositions, often so well preserved as 
to appear fi-eshly painted. The principal of these 
are in the tribune of the cathedral, where he re- 
presented the patron saints of the city, and sev- 
eial subjects from the life of St. Lorenzo, which 
Lanzi says are the chef d'oeuvres of his public 
works. Also the fa9ade of La Dogana or the Cus- 
tom House, where he represented St. George slay- 
ing the Dragon ; " around it and above are nu- 
merous figures, portraits of eminent citizens, typi- 



fying the Virtues ; of genii, with nautical weap- 
ons and the spoils of the enemy, some of which 
might pass for the work of Pordenone. It would 
have been fortunate, had his works been fewer 
and finished with equal care." 

TAVELLA, Carlo Antonio, an eminent paint- 
er, born at Milan in 1668, and died at Genoa in 
1738. Lanzi gives the following account of him. 
" The most justly celebrated landscape painter of 
this epoch (in the Genoese school), is Oarlantonio 
Tavella, the scholar of Tempesta (Peter Molyn), 
at Milan, and of Gruenbrech, a German, who from 
the fires he introduced into his landscapes, was 
called II Solfarolo. Heat first emulated the last 
named artist ; he then softened his style by study- 
ing the works of Castiglione, Poussin, and the 
best Flemish painters. Among the Genoese land- 
scape painters, he ranks next after II Sestri. His 
works are easily distinguished in the collections 
of Genoa, particularly in the Palazzo Franchi. 
which had more than three hundred pictures by 
his hand, and acquired for him the reputation of 
one of the first painters of the age. We are there 
presented with warm skies, beautiful distances in 
the landscape, and pleasing efiects of light ; the 
trees, flowers, and animals are gracefully touched, 
and with wonderful truth of nature. In his fig- 
ures, he was assisted by the two Pioli, father and 
son, and often by Magnasco. with whom he was 
associated in the work. He sometimes inserted 
them in his pictures himself, copying them indeed 
from the originals, designed by his comrades, but 
identifying them by a style peculiarly his own. 
Tavella had a daughter, named Angiola, of feeble 
invention, but a good copyist of her father's de- 
signs. He also had many imitators, among whom 
Niccolo Micone, commonly called Lo Zoppo, most 
nearly resembles him." 

TAVERNER, William, an English amateur 
painter, who was a proctor in the Doctors' Com- 
mons. Lord Orford mentions some pictures by him, 
in the possession of the Earl of Harcourt and Mr. 
Fauquier, which he says might have been mistaken 
for the works of Caspar Poussin. He died in 
1772. 

TAVERNIER, FRAN901S.. a French painter, 
born at Paris in 1659, and died in 1725. There 
are no particulars recorded of his life, but he is 
said to have painted history with considerable abil- 
ity. 

TAVERNIER, Melchior, a French engraver 
and printseller, who flourished at Paris about 1630. 
He engraved some portraits; also a few plates of 
ornaments, from his own designs. On an eques- 
trian portrait of Henrj^ IV. of France, he signs 
himself engraver and printer to the king. 

TAYLOR, Simon, an English painter of botan- 
ical subjects. He was much employed by Lord 
Bute and Dr. Fothergill. The collection of the 
latter, painted on vellum, was sold after the death 
of that eminent physician, to the Empress of Rus- 
sia, for £2.000; but they cost the Doctor much 
more, as Taylor's charge was the round sum of 
three guineas for drawing a single plant. He died 
about 1794. 

TAYLOR, T., an obscure English engraver, who 
flourished about 1735. He engraved some plates 
of portraits and other subjects, after various mas- 
ters, which are indifferently executed. 



TAYL. 



949 



TELF. 



TAYLOR, Sir Robert, an English sculptor and 
architect, was born in 1714. He was the son of a 
London stone-mason, who bestowed upon him only 
a common school education, and then placed him 
under Sir Henry Cheere, a sculptor. He was next 
sent to Rome, whence he was soon obliged to re- 
turn, on the death of his father. He then com- 
menced as a sculptor, and first attracted notice by 
Cornwall's monument; after which he executed a 
number of other works in sculpture, among which 
the principal are Guest's monument, near the north 
door of Westminster Abbey; the figure of Brit- 
tania, at the Bank of England ; and the bas-relief 
in the pediment of the Mansion House, London. 
After this he abandoned sculpture for architecture. 
In 1756-58, he was emploj-ed in the alterations of 
the Old London Bridge, in connection with Dance, 
and he executed, among other works, the Stone 
Buildings at Gray's Inn, and Lord Grimston's seat 
at Gorhambury. He also obtained several lucra- 
tive appointments, andsurveyorships to the Admi- 
ralty, Foundling Hospital, Greenwich Hospital, 
and the Bank of England. In 1783, he was ap- 
pointed Sheriff of London, when he received the 
honor of knighthood. Taylor died in 1788, leav- 
ing a fortune of £180.000. which he left to his son, 
the late Michael Angelo Taylor, M. P., with the 
exception of a legacy to the University of Oxford, 
to accumulate for a term of years, and then to be 
applied to founding an institute for the study of 
the modern languages. This bequest having been 
incorporated with a similar one by Dr. Randolph 
for a picture and statue gallery, a building was be- 
gun in 1841, under the name of the " Taylor and 
Randolph Institute." 

TAYLOR, William Sarsfield. This painter 
was born in Ireland in 1780, and inearly life was at- 
tached to the Commissariat department of the Brit- 
ish army. He afterwards devoted himself to art. and 
having been present at the siege of St. Sebastian, 
made that engagement a frequent subject of his 
pencil. His pictures, however, did not rise above 
mediocrity, and he is better known by his valuable 
writings, which consist of a Description of Trinity 
College, Dublin, in quarto, with plates after his 
own designs ; a translation from the French of 
Merimee's Practice of Painting; a History of the 
Fine Arts in England, in two vols. ; and a History 
and Practice of Fresco Painting. Taylor was for 
manv years Keeper of the Model Academy in St. 
Martin's Lane. He died Dec. 23d, 1850. 

TECT^US, an ancient sculptor, who is invaria- 
bly named in connexion with his coadjutor, Ange- 
lion. The}'- were of the Sicyonian school, and are 
supposed by Sillig to have flourished about B. 0. 
548. The ancient writers particularly mention a 
statue of Apollo by these artists, and Miiller says 
they imitated a very ancient statue of the Delian 
Apollo, made, as Plutarch states, in the time of Her- 
cules. 

TEDESCO, II. See Alzheimer. 

TEISSIER, John George, a Dutch artist, born 
at the Hague in 1750. He painted portraits and 
landscapes with reputation, but was more celebra- 
ted for his faculty of imitating and copying the 
works of the old masters, for which reason he was 
much employed in repairing old paintings, which 
had sustained injury. He was a Director in the 
Academy of Design at the Hague, and a sub-director 



of the Museum. He was an excellent teacher, and 
instructed several pupils, who have distinguished 
themselves ; among them are Besanger, Valois, 
Harry, and Carbenthus, He died in 1821. 

TEISSIER, Jean, a French engraver of little 
note, who flourished at Paris about 1770. He 
studied under Philip le Bas, and engraved a few 
plates after Benard and other masters. 

TELFORD, Thomas, an eminent Scottish ar- 
chitect and civil engineer, was the son of a shep- 
herd in the pastoral district of Eskdale, in Dum- 
friesshire, and was born in the parish of Wester- 
kirk, in 1757. He losi; his father while yet an in- 
fant, and at the age of fourteen was apprenticed to 
a stone-mason in the neighboring town of Lang- 
holm. In 1780, he visited Edinburgh, and devoted 
much attention to drawing and architecture for two 
years, after which he removed to London, and was 
employed upon the quadrangle of Somerset House, 
then erecting by Sir William Chambers. About 
1784 he was engaged to superintend the erection 
of a house for the resident commissioner in Ports- 
mouth dock-yard, from the design of Mr. S. Wy- 
at : and in 1787 he was invited by Sir William 
Pulteney to take the superintendence of some ope- 
rations at Shrewsbury Castle. At Shrewsbury, 
he was also employed to erect a new gaol ; and he 
was subsequently appointed to the office of county 
surveyor, which he retained until his death. In 
Shropshire, upwards of forty bridges were erected 
under his direction. In 1793, he was engaged to 
construct the Ellesmere Canal — a series of chan- 
nels intended to unite the Severn, the Dee, and the 
Mersey, and extending altogether to a length of 
over one hundred miles. In 1801 he was deputed 
by government to make a survey of the coasts and 
interior of Scotland, and to report generall}^ upon 
desirable public works for the improvement of the 
countrj^ In consequence of his reports, commis 
sions were formed to construct the celebrated Cal- 
edonian Canal, which was opened throughout in 
1823. Several other important canals in England 
and Scotland, were constructed either wholly or 
partially under his superintendence, besides the 
Gotha canal in Sweden, at the completion of which 
Telford received the Swedish order of knighthood, 
and other honors. Under the commissioners of 
Highland Roads and Bridges, he constructed many 
works. His already elevated reputation was 
greatly increased by the ingenious alteration of 
Glasgow old Bridge, the erection of the new bridge 
aff Glasgow, the light and elegant Dean Bridge at 
Edinburgh, the arch of 112 feet span over the Dee 
near Kirkcudbright, and the celebrated Menai Sus- 
pension Bridge. The latter work alone would be 
sufficient to establish his reputation. In 1803, 
Telford was elected a fellow of the Royal Society 
of Edinburgh ; in 1820, president of the Institu- 
tion of Civil Engineers ; and in 1827, a fellow of 
the Royal Society of England. He wrote several 
valuable articles "in Brewster's Edinburgh Ency- 
clopsedia, under the titles ^Architecture, Bridge. 
Civil Architecture, and Inland Navigation. Tel- 
ford never married, and had no fixed habita- 
tion until late in life. He died at his residence in 
Abingdon street, Westminster, in 1834, and was 
buried in Westminster Abbey. 

TELLIER, Jean le, a reputable French painter, 
the nephew and residuary legatee of N. Poussin. 
born at Rouen in 1614. He painted history and 



TEMA. 



950 



TEMP. 



portraits, and his works are much esteemed for 
their correct perspective, simplicity of style, and 
truthful imitation of nature, although they have 
little vigor of coloring. He executed many works 
for the churches and private collections of Kouen. 
Seventeen of his pictures wer'^ in the Museum of 
that city, among which were the Adieus of Paul 
and Silas ; two Annunciations ; two Assumptions ; 
and St. Joseph carrying the infant Jesus in his 
arms, with the figures of life-size. In the church 
of S. Augustine are two pictures of great merit ; 
a Hoi 3^ Family, and the Miracles performed at the 
Tomb of St. Augustine. Le Tellier died in 1676. 

TEMANZA, ToMMASo, an Italian architect, and 
an eminent writer on the art, was born at Venice 
in 1705. Having studied mathematics in the 
school of Padre Niccolo Comini and the eminent 
Marchese Poleni, he was appointed at the early 
age of twent3'--two, one of the assistants in the 
commission of Engineers, and in 1742 became the 
chief of that body, at the resignation of Bernardi- 
no Zendrini. During the time of Temanza, there 
were few great architectural works erected in Ve- 
nice, and he had little opportunity for displaying 
his abilities, except in the fine church of La Mad- 
dalena, in the Ionic order. His other principal 
works are the fagade of St. Margherita, at Padua ; 
the Rotonda, at Piazzolo, built at the expense of 
the Contarini family ; and the bridge over the 
Breuta at Dolo. As a writer on the art, Temanza 
is more extensively known, especially by his Vite 
de' put Eccellenti Architetti e Scultori Venezi- 
ani. 4to., Venice, 1778 ; considered one of the most 
copious and best-written works of the kind ever 
produced. He also published the Antichitd di 
Rimini, folio, 1741 ; and left behind him another 
work, Degli Archi e delle Volte, e delle Regole 
generali deW Architettura Civile, which was first 
edited in 1811. Temanza died at Venice in 1789. 

TEMINI, Giovanni, an Italian engraver, and 
probably a painter, who flourished about 1622. 
There is a portrait by him of Carlo Gonzales, 
Duke of Mantua ; it is slightly etched, and finished 
with the graver. 

TEMPEL. Abraham vander, a Dutch painter, 
born at Leyden in 1618. He studied under George 
van Schooten, and painted small pictures of histo- 
rical subjects and conversations, which are held in 
considerable estimation. He holds a respectable 
rank among the artists of his country who distin- 
guished themselves by their high finishing, neat- 
ness of penciling, and delicacy of coloring. lie 
particularly excelled in portraits, and in this branch 
few of his cotemporaries equalled him. He in- 
structed several pupils, the most distinguished of 
whom was Francis Mieris the Elder. He died at 
Amsterdam in 1672. 

TEMPERELLO, II. See Caselli. 

TEMPESTA, Tl, called also Oav. Tempesta, and 
PiETRO MuLiER. See Peter Molyn the Young- 
er. 

TEMPESTA, Antonio, a very eminent painter 
and engraver, born at Florence in 1555. He first 
studied with Santo di Titi, and afterwards with 
John Strada. Lanzi gives the following admira- 
ble account of him. " Antonio Tempesti, of Flor- 



ence, a scholar both of Titi and Stradano, was 
among the first to acquire a celebrated name in 
Italy for landscapes and battles. He practiced en- 
graving, prepared cartoons for tapestry, and gave 
scope to his genius in the most fanciful inventions, 
in grotesques and ornamental work. He surpass- 
ed his master in spirit, and was inferior to none, 
not even the Venetians. In a letter on Painting, 
by the Marchese Giustiniani. he is adduced as an 
example of great spirit in design, a gift conferred 
by nature, and not to be acquired by art. He at- 
tempted few things on a large scale, and was not 
so successful in these as in small pictures. The 
Marchese Niccolmi, the Order of the Nunziata, and 
several Florentine families, possess some of his 
battles, painted on alabaster, in which he appears 
the precursor of Borgognone, who studied his 
works attentively. He most frequently painted in 
fresco, as at Caprarola, in the Este Villa at Tivoli, 
and in some of the palaces at Rome, from the time 
of Gregory XIII., who employed him in the gal- 
lery of the Vatican, where most of the historical 
pictures are his work ; in these the figures, a palm 
and a half high, displa}^ astonishing variety and 
spirit, accompanied by beautiful architecture and 
landscapes, with every species of decoration. He 
is not, however, very correct, and his tints are 
sometimes inclined too much to a brownish hue; 
but all such faults are pardonable in him, as being 
occasioned by the pictoric fury which mspired 
him, that fancy which hurried him from earth, and 
conducted him through novel and sublime regions, 
unattempted by the vulgar herd." Tempesta not 
only painted history, battles, and landscapes, but 
animals, huntings, cavalcades, 'processions, and gro- 
tesque ornaments, in all which he showed a won- 
derful fertility of invention ; but his greatest ex- 
cellence lay in his skirmishes and battles of caval- 
ry, which are full of fire and spirit. One of his 
most celebrated works is the Murder of the Inno- 
cents, in the church of S. Stefano Rotondo at Rome. 
The extent of his genius, the variety of his pow- 
ers, the fertility of his invention, and the vivid- 
ness of his imagination, are evinced by the aston- 
ishing number of his etchings from his own de- 
signs, which his biographers say amounted to more 
than eighteen hundred. Bartsch (Peintre Gra- 
veur, tom. xvii.), gives a descriptive catalogue of 
fourteen hundred and sixty pieces by him. which 
he believes to be a complete list ; Gori makes them 
amount to fifteen hundred and nineteen, according 
to the reports of difi'erent writers ; but Brulliot 
inclines to the side of Bartsch. The earliest of his 
known etchings is dated 1589. and the latest 1627. 
With the exception of an occasional extravagance 
and incorrectness in design, they are very spirited 
and masterly performances, which both artists and 
connoisseurs may study with advantage. The prin- 
cipal are, a set of one hundred and fifty prints from 
Ovid'S Metamorphoses ; a very numerous set of 
subjects from the Bible, called Tempesta's Bible; 
a set of twenty-four plates from the life of St. An- 
thony ; a set of thirteen plates of the Labors of 
Hercules, with a frontispiece ; the four Ages of 
Man, in four plate.s ; a great variety and number 
of huntings of diiferent animals ; many plates of 
battles, cavalcades, processions, and many from 
sacred and profane history. He sometimes sign- 
ed his plates Ant. Tempestes, but usually mark- 
ed them with one of the preceding monograms. 
His name is generally written Tempesta, but 



TEMP. 



951 



TENl. 



sometimes by the Italians, Tempesti, Tempestes, 
and Tempestino. He died in 1630. 

TEMPESTI, or TEMPESTINO, Dorienico, a 
painter and enfjraver, born at Florence, according to 
Orlandi, in 1652. He studied with Vo]terrano,and 
afterwards traveled through Europe, and finally set- 
.tled at Rome, where he painted landscapes, and en- 
graved some views from sketches he had made dur- 
ing his travels. Lanzi says it would appear that 
he was the same as Domenico dei Marchis, called 
Tempestino. 

TEMPESTINO, II, a Roman painter who, ac- 
cording to Pascoli, flourished at Rome about 1680. 
All that is known of him is, that he assisted Peter 
Molyn in his numerous works at Rome, in which 
he followed his manner so closely that he was call- 
ed after him, Tempestino. Molyn married his 
sister, and afterwards assassinated her for the love 
of another woman. Lanzi says he not only assist- 
ed Tempesta, but often exercised his genius in land- 
scape, in the style of Niccolo Poussin. 

r|-N. j-^ TENIERS, David, the Elder, 
H lor I T| a Flemish painter, born at Ant- 
i \ ^ I J werp in 1582, and educated in the 
school of Rubens, who highly esteemed him for 
his assiduity and promising talents. For some 
time he applied himself to historical painting, and 
visited Italy for the purpose of studying the works 
of the most celebrated masters of the Italian 
school, but his genius leading him rather to land- 
scape, he placed himself under the instruction of 
Adam Alzheimer, at Rome, with whom he con- 
tinued six years. Lanzi says he was one of the 
best imitators of Jacopo Bassano, in small, and 
that by his exquisite skill he acquired the surname 
of Bassano. Between the styles of his two mas- 
ters, he formed an original one of his own, which, 
on his return to Antwerp, he practiced with great 
success. He painted cabinet pictures of rural 
sports, merry-makings, fairs, festivals, fortune-tell- 
ers, mountebanks, conversations, chemists' labora- 
tories, &c., which he treated with such humor and 
ingenuity that they were greatly admired, and pur- 
chased with avidity. His works would have been 
considered among the happiest efforts of the art in 
that particular branch, had they not been so much 
surpassed by the inimitable productions of his son. 
His design is correct and tasteful, his coloring 
clear and harmonious, his touch light and delicate, 
and his chiaro-scuro excellent. He executed some 
spirited etchings from his own designs, which are 
not easily distinguished from those of the younger 
Teniers, as they are similar in style, and both used 
the same monogram. He died in 1649. 

TENIERS, David, the Younger. This celebra- 
ted painter was the son of the preceding, born at 
Antwerp in 1610. There is a good deal of contra- 
diction about his early history, as with many oth- 
er eminent painters. It is a remarkable fact in the 
history of art, that there is a vast deal more con- 
tradiction in the lives of the most eminent artists, 
as Raffaelle, Rubens, and Claude Lorraine, than 
with artists of less note, such is the disposition of 
the human mind to romance. Young Teniers ear- 
ly showed a genius for painting, and he was care- 
fully instructed by his father, whose style of de- 
sign he always followed. It is said that he after- 
wards studied with Adrian Brower, and Rubens. 
That he was a pupil of Brower is in the highest 



degree improbable, because the latter was only two 
years his senior, and could not have been in A»t- 
werp till Teniers had become an accomplished art- 
ist. Yet it is probable that he lived on friendly 
terms with him, frequented his studio, and profited 
by his example, for it is certain that he imitated 
that master's style in some of his pictures. It is 
also very certain that he frequented the school of 
Rubens, and probably received lessons from him 
in the principles of coloring; though he did not 
assist him in any of his works, he is known to 
have copied some of them. It is also said that 
his merit was so little regarded at first that he 
could not find sale for his works at Antwerp, and 
was obliged to make frequent visits to Brussels to 
dispose of them ; and that he had the mortification 
to see the works of inferior artists, even of his pu- 
pil Tilburg, preferred to his own, till the Arch- 
duke Leopold, Governor of the Netherlands, chanc- 
ing to see some of his productions, was so captivated 
with them that he took him into his service. Then 
it was that he became distinguished, and his works 
were appreciated and sought after. The absurdi- 
ty of this story is sufficiently evident ; his father 
was then a distinguished artist, whose works were 
sought after with avidity by the most distinguish- 
ed persons, till he was eclipsed by his son. The 
probability is that his extraordinary talents had 
already excited universal admiration when the 
Archduke took him under his protection. At all 
events, the Governor conferred upon him extraor- 
dinary honor. He appointed him his principal 
painter, made him a gentleman of his bed-chamber, 
presented him with a gold medal and chain, and 
gave him the direction of his gallery, which con- 
tained the works of the most eminent mas- 
ters of the Italian, Dutch, and Flemish schools. 
He copied, in small, the principal pictures of this 
collection, in which he imitated the style of each 
particular master so exactly that he was called 
the Proteus of painting. The powers of his pen- 
cil in this respect were incredible ; he knew how 
to adapt it to the style of every eminent master, 
no matter how varied the touch and coloring, and 
he gave to these pasticci so strong a character of 
originality, that it was impossible to distinguish 
them, by sight alone, from the works of the very 
artists whose manner of thinking, composing, and 
pencilling he only imitated. These copies he 
caused to be engraved and published in a folio yol- 

, ume, dedicated to his patron. The first edition, 
containing about 200 engravings, was published 

I at Brussels in 1660, and forms what is now called 
the Teniers'^ Gallery. He did not limit his mimic 
powers to merely copying, but he painted pasitcct, 
or compositions of his' own, so exactly in the styles 
of Rubens, Titian, Tintoretto, Bassano, and other 
eminent painters, that they have frequently been 
mistaken for original works by those masters. 
It was not, however, by his imitative faculties that 
he obtained his greatest celebrity. He was a con- 
stant and faithful observer of nature, which is dis- 
cernible in all his works. His favorite subjects 
were landscapes with small figures, village festi- 
vals and merrymakings, Flemish fairs and ker- 
messes. shooting at butts, playing at bowls, and 
other diversions, sports, and occupations of low 
life. That he might have an opportunity of stu- 
dying from life the rustic character of the peasant- 
ry, their sports, rejoicings, quarrels, and combats, 
he' established himself in a retired situation in the 



TENI. 



952 



TENI. 



Tillage of Perk, between Antwerp and Mechlin, 
where he could mingle with the people, and observe 
with a painters eye their character under the im- 
pulse of the various passions ; and it is surprising 
that he was able to give such an admirable variety 
to representations which, in their nature, appear 
confined and uniform. His landscapes, though 
perfect representations of nature, have an appear- 
ance of sameness and monotony, because he copied 
his scenery from the country where he resided, 
which was flat ; but he amply compensates for this 
want of variety by the truth and simplicity of 
these homely views. His pencil is free and deli- 
cate, his trees are touched with a spirit and taste 
for which he is remarkable, his skies are light and 
floating, and there is a silvery charm in the color- 
ing of his best works peculiar to himself. He is 
not less admirable in his interiors of cabarets, with 
peasants smoking, dancing, and regaling them- 
selves, corps-de-garde, and chemists' laboratories, 
in which he surpassed Ostade in perspective, and 
equalled him in the chiaro-scuro. In all his woi'ks 
he shows a lively and fertile invention, and great 
facility of execution. It was not unusual for him 
to paint a landscape in a single day; and he used 
jocosely to observe, that to contain all the pictures 
he had painted, it would require a gallery two 
leagues long. Notwithstanding this facility, his 
pieces are always well finished in every part, his 
figures correctly drawn, and the passions remarka- 
bly expressed. His pictures are generally clear in 
all their parts, with a beautiful transparency; he 
had the art of relieving his lights, b}^ the disposi- 
tion of others, without the use of deep shadows, 
which produced a happy effect. This practice he 
is supposed to have learned of Rubens, who re- 
marked that strong oppositions of light and shad- 
ow were not always necessary to produce effect in 
a picture, as is evinced by the coloring and tints 
of Titian. 

David Teniers acquired an immense reputation, 
and his works were eagerly sought after by the 
princes and most distinguished personages of all 
Europe, even of Italy. The Archduke having 
sent some of his pictures to the king of Spain, 
that rfionarch was so much delighted with them 
that he employed his pencil for several years, and 
had a gallery built expressly as a repository for 
his paintings. He also received commissions from 
Don John of Austria, and Christina, Queen of 
Sweden. Lanzi says that the Duke of Savoy had 
a collection of near four hundred choice specimens 
of the Flemish masters, in which were many pic- 
tures by Teniers. His works, though exceedingly 
numerous, are justly held in the highest estima- 
tion, and, wheneverthey are offered for sale, com- 
mand enormous prices. Many of them have been 
sold at public sale in Europe, at sums varying 
from 300 to 1500 guineas, and some in royal and 
public collections are estimated at 2000 and up- 
wards. Teniers was also of great service to the 
landscape painters of his time, in decorating their 
works with his admirable figures, and the value of 
some of the pictures of Artois, Vanuden, and oth- 
ers, is greatly enhanced by such embellishment. 
Some critics have accused Teniers of representing 
his figures too short and clumsy, with too much 
sameness in their costumes and countenances; but 
it ought to be considered that he designed every 
object from life, and formed his ideas from the 
scenes with which he was conversant, and that his 



forms are exactly those of his models. Though he 
generally painted small cabinet pictures, he was 
capable of executing works on a large scale. Des- 
camps mentions an altar-piece by him of the Temp- 
tation of St. Anthony, in the church of Meerbeck, 
near Mechlin, in which the figures are of life size. 
Some of them are not only of a large size, but 
contain a multitude of figures ; thus a Fair at 
Ghent has 340 figures, a village festival 150, an- 
other 93, and his great picture at Schleissheim, 13 
feet C inches by 10 feet, contains 1138 figures, those 
in the foreground being 12 inches high. Smith, in 
his Catalogue raisonne of the works of the Dutch 
and Flemish masters, vol. iii. and supplement, gives 
a descriptive account of 900 pictures by him, which 
are doubtless authentic ; but this must befiir short 
of the real number of his genuine woiks, as there 
are 100 in the galleries of Schleissheim and Mu- 
nich, and sixty-five in the royal collection at Mad- 
rid, not described by Smith, besides many others 
mentioned by vaiious writers. There are also a 
multitude of spurious pictures attributed to him ; 
Stanley saj^s at least 500, which are considered 
genuine by the possessors. Some of his pupils 
imitated him very closely, and the rapacit}^ of deal- 
ers has induced them to convert every picture 
having a sufficient resemblance in style, into an 
original Teniers. by erasing the name of the 
painter, and substituting the signature or mono- 
gram of that master. See Ahshoven. The young- 
er Teniers also etched some plates from his own 
designs, but it is difficult to distinguish them from 
those of his father, as they both used the same 
marks, and etched similar subjects. As far as 
the merits of the etchings are concerned, it is of 
no consequence ; but G. du Vivier and Coryn Boel 
etched some imitations after pictures by Teniers, 
and marked them with his monogram. He died 
at Brussels in 1694, though some say in 1690. 

TENIERS, Abraham, was the younger brother 
of the preceding, born at Antwerp about 1618. 
He was instructed in the art by both his father and 
brother, and painted Flemish festivals and conver- 
sations in the style of David Teniers the Younger, 
though not with equal excellence ; yet they pos- 
sess sufficient merit to pass with the inexperienced 
for the productions of his brother. He died in 
1691. 

TEODOLI, Marchese Girolamo, a distin- 
guished Roman architect, was born in 1677. De- 
scended from a noble Roman family, he was well 
versed in belles lettres and the sciences ; he was 
fond of the study of architecture, and by attention 
to the best books, became an architect both in 
theory and in practice. At Rome he erected the 
admirable church of Sts. Pietro and Marcellino; 
the facade is an order of Ionic pilasters ; the inter- 
nal plan is a beautiful Greek cross, covered in the 
centre with an elegant cupola, and decorated most- 
ly with the Ionic order. Among the other works 
of Teodoli are the theatre of Argentina ; the church 
of Vicovaro, and the Casa della Madonna de' Mira- 
coli, on the Corso at Rome. His private character 
is highly eulogized by Milizia. He died in 1766. 

TEOSOOPOLI. See THEOTocopuLr. 

TERASSON, H., an English artist mentioned by 
Strutt as the engraver of some plates of Insects. 

TERBRUGGEN. See Verbruggen. 



TERB. 



953 



TERL. 



^rr^ <rT~x /^^ terbi 



TERBURG, Ge- 

erninent 
painter, born 

at Zwoll in 1608. He was the son of a painter, 
who instructed him in the art, of whom little more 
is known, except that he had studied at Rome. 
Some writers suppose that he perfected himself 
under another master at Haerlem, but others as- 
sert that he had no other instruction. At all 
events, after acquiring considerable reputation, he 
traveled through Germany, Italy, and France. He 
resided some time at Paris, where his works were 
greatly admired. On his return to Holland, he 
met with the most flattering encouragement, and 
was one of the most popular painters of his time. 
He attended the Congress assembled at Munster 
in 1648, for the negociation of peace, on which oc- 
casion he painted his celebrated picture represent- 
ing the portraits of the plenipotentiaries and prin- 
cipal personages assembled there, regarded as his 
masterpiece. At the invitation of Count Pigoran- 
do. the Spanish ambassador, he visited Madrid, 
where he was much employed by the court and 
the principal nobility. The King conferred on him 
the lionor of knighthood, presented him with a 
gold chain and medal, and munificently rewarded 
him. He afterwards returned to his native coun- 
try, and settled at Deventer, where he died in 
1681. 

The pictures of Terburg generally represent 
conversations, musical parties, ladies at the toilet, 
and similar domestic subjects. He particularly ex- 
celled in portraits Though he had the most am- 
ple opportunities of studying the productions of 
the most eminent masters, he did not much im- 
prove his taste of design, which is neither correct 
nor elegant, nor did he change his manner of com- 
position. He finished his pictures exquisitely, 
with a light and agreeable touch ; his coloring is 
lively and transparent, and he shows a pleasing 
and skillful management of the chiaro-scuro. His 
greatest excellence lay in his draperies, and he was 
remarkable for introducing white satin in all his 
compositions, which he represented in an inimita- 
ble manner. The genuine works of Terburg are 
exceedingly scarce, and are only to be found in 
public, royal, and noble collections, where they 
are estimated enormously. Such was the la- 
bor he bestowed upon his pictures, that his 
known works, omitting portraits, do not exceed 
one hundred. Though he received high prices for 
his productions, their value has constantly in- 
creased ; thus the Music Lesson was sold in 1767 
for £112, and in 1826 it was bought by Sir Rob- 
ert Peel at 920 guineas. Another, called the Let- 
ter, or Female Curiosity, was sold in 1762 for 
£144, and in 1837 it brought £640. The famous 
Congress of Munster, a picture only seventeen 
inches by twenty-two, in 1804 sold for £640, and 
in 1837 for £1890. For the fullest account of this 
master's works, the reader is referred to Smith's 
Catalogue raisonne, vol. iv. and Supplement. 

TERENZT, Terenzio, called II Rondolino, a 
painter born at Urbino, who flourished about 
1600. He studied under Federigo Baroccio in his 
native cit)'^, and afterwards, according to Baglioni, 
visited Rome, where he obtained the patronage of 
Cardinal Montalto. He possessed an extraordi- 
nary facult}'- of imitating the works of the old 
masters, so as to deceive the best judges. Bagli- 
oni says he was a noted cheat, and that, " after hav- 



ing sold to inexperienced persons many of his own 
pictures for those of ancient masters, he attempt- 
ed to practice the same deception upon Cardinal 
Peretti, the nephew of Sixtus V., and his own pat- 
ron, oifering to his notice one of his own pieces as 
a Raflfaelle ; but the fraud was detected, and Te- 
renzio in consequence banished from the court — a 
circumstance which he took to heart, and died 
while yet young.'- Others place his death in 1620. 
Zani says there were two artists of this name: 
Terenzio d' Urbino, the scholar of Baroccio, whose 
history is recorded above ; the other was a native 
of Pesaro, called II Rondolino (the Swallow), an 
eminent artist, who flourished about 1550, which 
date is evidently an error, for Lanzi says " the Gui- 
da di Pesaro assigns Terenzio Terenzi called II 
Rondolino to the school of Baroccio, whom it char- 
acterizes as an eminent painter, four of whose 
works are in public, and many more in the neigh- 
borhood of the city. It is also mentioned that he 
went to Rome, where he was employed by the 
Cardinal della Rovere. and that he painted a pic- 
ture in the church of S. Silvestro. The picture in 
S. Silvestro in capite, which represents the Ma- 
donna attended by Saints, is ascribed by Titi to a 
Terenzio of Urbino, who, according to Baglioni, 
served the Cardinal Montalto." Lanzi then goes 
on to give his opinion that they are one and the 
same artist, and that at Rome he took his name 
from Urbino, the capital of Pesaro, though he was 
a native of the latter place. 

TERLEY, N. van, a Dutch painter, born at 
Dort in 1636, and died there in 1687. Little is 
known of him. It is said that he was a scholar 
of Rembrandt, and that his pictures exhibit a fine 
taste in design and composition, and agreeable col- 
oring. 

TERMISANO, Dezic, a Neapolitan painter, 
who, according to Dominici, studied with Gio. Fi- 
lippo Criscuolo. " There is a picture of the Last 
Supper by him, in the church of S. Maria Chiazza 
at Naples, signed with his name, and dated 1597. 

TERRY, G., an English engraver, who flourished 
from 1770 to 1788. He scraped some portraits in 
mezzotinto for the book publishers. 

TERSAN, CoMTE DE. See Campion. 

TERWESTEN. Augustine, an eminent Dutch 
painter, born at the Hague in 1649. He had a 
natural genius for painting, and without any in- 
struction he had made sufficient progress in design 
to be employed by goldsmiths as a chaser on gold 
and silver, which business he followed till he was 
twenty years of age. He then studied two years 
with Nicholas Wieling, till that artist was invited to 
the court of the Elector of Brandenburg, when he 
placed himself under the tuition of William Dou- 
dyns. He next traveled through Germany and 
Italy, studying with great assiduity the works of 
the best masters, particularly at Rome, Florence, 
and Venice. At Rome, he applied himself to de- 
signing after the antique, and the works of Raffaelle, 
and at Venice he made the works of Titian and 
Tintoretto the especial objects of his study. After 
a residence of six years in Italy, he returned to 
Holland, where he distinguished himself as one of 
the ablest artists of his time. His talents were 
chiefly employed in decorating the ceilings and 
apartments in fresco, of the mansions of the no- 
bility at the Hague, Amsterdam, and Dort. His 
subjects were usually taken from Ovid, but he 



TERW. 



954 



TERZ. 



painted many from sacred and profane history. 
He possessed a lively genius, a ready invention, and 
a wonderful facility of hand ; his design is correct, 
his draperies well cast, and his coloring chaste, 
natural, and brilliant. One of his most admired 
performances was a saloon he painted for the Bur- 
gomaster van Slingelandt at Dort, which Descamps 
commends in the highest terms. He was the prin- 
cipal reviver of the Academy at the Hague, which 
had fallen into decadence, and by his abilities and 
influence, he restored it to its former lustre. In 
1690 he was invited to the court of the Elector of 
Brandenburg, afterwards king of Prussia, who 
appointed him his principal painter, and made him 
Director of the Academy at Berlin, He continued 
in the service of that monarch during the rest of 
his life, and decorated the royal palaces with many 
of his best works. He died at Berlin in 1711. 

TERWESTEN, Elias, was the brother of the 
preceding, born at the Hague in 1651. He studied 
with Augustine, and for some time devoted him- 
self to historical painting, but not succeeding to 
his expectations, he turned his attention to ani- 
mals, fruit, flowers, and still-life, in which he was 
more successful. He painted birds admirably, 
for which reason he was called "The Bird of Par- 
adise." He traveled to Italy, and settled at Rome, 
where he acquired considerable reputation, and 
was employed by the Elector of Brandenburg to 
procure the finest casts from the antique statues 
and sculptures for the Academy at Berlin ; he pur- 
chased for that prince the valuable cabinet of 
gems, medals, and curiosities collected by the cele- 
brated Bellosi, He died at Rome in 1724. 

TERWESTEN, Matthew, was the younger 
brother of the two preceding artists, born at the 
Hague in 1670, He was first instructed by Augus- 
tine T,,and afterwards studied with Daniel Mytens 
and William Doudyns, Possessed of a decided 
{genius, and aided by the instruction of such able 
masters, he had made such progress, that at the age 
of twenty years, he was entrusted by his broth- 
er to finish some considerable works when the lat- 
ter set out for the court of Berlin. He acquitted 
himself on this occasion with so much ability, that 
he received several important commissions, and 
met with the most flattering success. One of his 
earliest patrons was M. Schuilenberg, prime min- 
ister of the King of Holland, for whom he painted 
a ceiling, representing Diana and her Nymphs, 
which gained him great reputation. This encour- 
agement, so far from rendering him self-suflScient 
and conceited, only inspired him with more ardor 
in cultivating his talents. He accordingly went 
to Italy, and arrived at Venice in 1694, where he 
frequented the school of Carlo Loti, and studied 
the works of Titian, Tintoretto, and Veronese with 
the greatest assiduity. He next went to Rome, 
where he found his brother Elias, and passed three 
years in designing after the antique, and the works 
of the great Roman masters. On his return to 
his native country in 1699, he was received with 
distinction, admitted into the Academy at the 
Hague, and found abundant employment. He 
was soon after appointed director of the Academy, 
which office he filled till his death, with great 
credit to himself and advantage to the students. 
Though he was chiefly occupied in decorating ceil- 
ings and grand apartments of the principal man- 
sions of the city, with historical and fabulous sub- 



jects in fresco, he frequently painted altar-pieces 
and other sacred subjects for the churches, one of 
the best of which represents Christ's Agony in 
the Garden, in the Church of the Jansenists at the 
Hague. He also occasionally painted portraits, and 
there is one of the Princess Mary, afterwards 
Queen of England, and consort of William III., 
in the Museum at Amsterdam. He died in 1735. 

TERZI, Cristoforo, a painter born at Bologna 
in 1692, He studied under Giuseppe Maria Crespi, 
and afterwards improved himself by a residence 
of several years at Rome. On his return to Bo- 
logna, he acquired considerable reputation as an 
historical painter, and executed several works for 
the churches, but wrought mostly for the collec- 
tions. One of his most esteemed works is a pic- 
ture of St. Petronio kneeling before the Virgin, 
in the church of S, Giacomo Maggiore, Lanzi 
says that from the outset, he boasted a decision 
of hand, and with a few bold strokes of the pen- 
cil, was able to sketch very spirited heads, though 
he did not often practice in this manner, but fin- 
ished his pictures with sufficient care. " Many 
collections at Bologna possess some of his half- 
length figures, and heads of old men, which are 
mistaken by less experienced judges for those of 
Lana." He died there in the prime of life in 1743. 

TERZI, Francesco, a painter born at Berga- 
mo about 1520. He studied under Gio. Battista 
Morani, and according to Tassi, he distinguished 
himself by two pictures he painted for the church 
of S. Francesco at Bergamo, representing the Na- 
tivity of Christ, and the Assumption of the Vir- 
gin. Lomazzo mentions two noble histories of 
our Lord with his Apostles, in the church of S. 
Sempliciano. in his native city. He was invited to 
Vienna by the Emperor Maximilian II., who ap- 
pointed him his painter, and retained him in his 
service for many years. Lanzi says he also dis- 
tinguished himself by his works in most of the 
capitals of Italy. He is said to have engraved a 
set of portraits of the princes of the House of 
Austria, but they were executed by Gaspar ab 
Avibus, who signed them Gaspar Patavinits, 
incisor, 1569. Terzi died at Rome in 1600, at 
an advanced age. 

TESAURO, FiLippo or Pippo, an old Neapo- 
litan painter, born about 1260, and died in 1320. 
According to Dominici, he was a disciple of Tom- 
maso de Stefani, whom he assisted in his works, 
and became one of the ablest artists of that pe- 
riod. The author above cited describes several of 
his works in the public edifices at Naples, but they 
have all perished except some frescos in the church 
of S. Restituta, representing the life of St. Niccolo, 
the Hermit. 

TESAURO, Bernardo. This old artist of the 
Neapolitan school is supposed to have been a de- 
scendant of the preceding ; born about 1440. He 
was a disciple of Silvestro Buono, and was an ar- 
tist of great reputation in his time. Though his 
works have mostly perished, there are sufficient 
remaining in the churches of Naples to show that 
he was a man of extraordinary genius. Lanzi 
says, " he is supposed to have been descended from 
that Filippo who is commended as the second of 
the Neapolitan school, and the father or uncle of 
Raimo. He made nearer approaches to the mod- 
ern style than any of the preceding artists, more 
judicious in his invention, more natural in his 



TESA. 



955 



TESS. 



figures and drapery ; select, expressive, harmon- 
ized, and displaying a knowledge in gradation and 
relief, beyond what could be expected in a painter 
who is not known to have been acquainted with 
any other schools, or seen any pictures beyond 
those of his own country. Luca Giordano, at a 
time when he was considered the Coryphaeus of 
painting, was struck with astonishment at the 
painting of a sojfitto by Tesauro at S. Giovanni 
de' Pappacodi, and did not hesitate to declare that 
there were parts in it which no one could have 
surpassed in his own age. so fruitful in fine works. 
It represents the Seven Sacraments, and the por- 
traits of Alfonso IL, and Ippolita Sforza, whose 
espousals he represented in it, affords some light in 
fixing the date of the picture about 1480." Ano- 
ther fine work by him is an altar-piece of the 
Assumption of the Virgin in S. Giovanni Mag- 
giore, 

TESAURO, Raimo Epifanio. This painter was 
the son and disciple of the preceding, according to 
Dominici, and flourished about 1490. He was much 
emplo3^ed in decorating with frescos, the churches 
and public edifices of Naples, and some pictures 
by him still remain in S. Maria Nuova, Monte Ver- 
gine, S. Lorenzo, and the Nunziata, particularly 
the Visitation of the Virgin to St. Elizabeth in the 
Nunziata, and the great altar-piece in S. Lorenzo, 
representing the Virgin and Infant Christ, with 
St. Anthony, St. Jerome, and St. John the Bap- 
tist, dated 1494. He was living in 1501. 

TESI, Mauro, a painter born in the state of Mode- 
na in 1730. He studied under an obscure painter at 
Bologna, but possessing strong natural genius, he 
greatly improved himself by studjnng the archi- 
tectural works of Mitelli and Colonna, and others 
at Bologna, by which means, says Lanzi, "he re- 
stored the art of architectural painting, which had 
degenerated at Bologna, to a judicious and solid 
style, sparing in decoration as it had formerly 
been, and in some parts still more philosophical 
and learned." His principal patron was the learned 
Count Algarotti, who made him his companion in 
his tours, and encouraged him to stud)^ and make 
excellent observations on the works of the ancients. 
He executed some beautiful works for his patron, 
for the Marchese Zambeccari, and others, but 
he died at Bologna in the flower of life in 1766, 
and his friends erected a marble monument to his 
memory in the church of S. Petronio, with this in- 
scription, " Mauro Tesi elegantiae veteris in pin- 
gendo ornatu et architectura restitutori." 

TESIO, a Piedmontese painter, who flourished 
at Turin in the latter part of the last century. He 
is supposed to have studied with the Oav. Beau- 
mont. Lanzi says, " whether Tesio was instruct- 
ed by Beaumont or others I cannot state ; but I 
know that he repaired to Rome, and there became 
one of the best scholars of Mengs ; and at Mon- 
calieri, a delightful residence of the royal family, 
are to be seen some of the finest specimens of his 
talents." He died about 1800. 

TESSIN, NicoDEMUS Valentinson, an eminent 
Swedish architect, was born at Stralsund in 1619. 
There is little recorded of his history, but he was 
appointed crown architect by Queen Christina, in 
1645 ; visited Italy for improvement, and was 
honored with a patent of nobility in 1674 by 
Charles XL Among his principal works are the 



mausoleum of Charles Gustavus, the Royal Villa 
of Stromsholm ; and the palace of Drottningsholm, 
completed by the following artist. Tessin died 
about 1688. 

TESSIN, Count Nicodemus, an eminent Swed- 
ish architect, the son of the preceding, was born 
at Nykoping in 1654. After completing his stud- 
ies, first at Stockholm, afterwards at Upsala, he 
was sent to Italy, at the age of eighteen, in the 
suite of the Marquis del Monte. He studied four 
j^ears at Rome, under Bernini, and, after making 
the tour of Italy, received from Charles XL the 
appointment of future crown architect. On re- 
turning to Sweden, he was allowed by the King 
to prosecute his travels, conformably with his earn- 
est wish for further improvement, and he spent 
three or four years in France and England. On 
finally settling in his native country, he received, 
in addition to his former appointment, that of city 
architect to the magistracy of Stockholm. In 
1697, the royal palace was destroyed by fire, and 
Tessin availed himself of this highly favorable op- 
portunity to erect one of the noblest edifices of 
the kind in Europe. His talents were frequently 
employed upon splendid decorations for festivals, 
and works of a similar nature. The Queen-dowa- 
ger Hedwig Eleonora employed him to complete 
the palace at Drottningsholm, and to lay out the 
gardens both there and at Ulriksdal. Besides the 
cathedral at Calmar, and Oxenstiern's monument, 
Tessin executed or designed a great number of 
other buildings, including a project for rebuilding 
the palace at Copenhagen, which was partly carried 
into effect, many years after his death, when it 
w^as curtailed, and injured in other respects. Ele- 
vations of the original design were published by 
his son under the title of RegicB Hafniensis Fa- 
des,^ &c. In addition to his professional occupa- 
tions, Tessin was engaged in several offices at 
Court, and took a considerable share in public 
and political affairs. In 1714 he received the title 
of Count, and in 1728, at the time of his death, he 
was Chancellor of the University of Lund. His 
son, Count Charles Gustavus Tessin, born at Stock- 
holm in 1695, possessed considerable architectural 
talent, but did not practice the art, except in com- 
pleting the palace at Stockholm, after his father's 
death. He was chiefly distinguished as a states- 
man and diplomatist, and exercised his extended in- 
fluence for the encouragement of arts and manu- 
factures, particularly in the foundation of the Swed- 
ish Academy of Painting and Sculpture, which he 
first established in 1735. He died in 1771. 

nr% TESTA, PiETRO, a painter born at Lucca, 
V-^ and hence called at Rome, II Lucchesino. 
i f There is a great deal of discrepancy about 
the history of this painter and his real merits as 
an artist. Passeri and the best authorities place 
his birth in 1617, others in 1611 ; but all are agreed 
that he died in 1650. Lanzi gives the following 
account of him. "It is highly probable that he 
learned the principles of the art from Pietro Paolini 
at Lucca before he came to Rome. He there had 
several masters, but chiefly Pietro da Cortona, from 
whose school he was expelled because he treated 
the maxims of his master with contempt. He 
then put himself under Domenichino, on whose 
principles, says Passeri, he gloried to rely, but his 
style, in despite of himself, approached nearly to 
that of Cortona. He has also some resemblance 



TEST. 



956 



TEST 



to his friend Poussin, in his figures (which at one 
time he made too slender), in his landscapes, and 
in his stud}^ of the antique, of which he was deep- 
ly enamored, having applied himself to designing 
the finest specimens in architecture and in sculp- 
ture that Rome afforded. The Death of St. An- 
gelo, in the church of S. Martino a Monti, a pic- 
ture of great force, is the only piece in public at 
Rome, though he is frequently recognized in the 
galleries ; there is a Joseph sold to the Ishmaelites, 
by him, in the Capitol, and a Murder of the Inno- 
cents, in the Palazzo Spada ; but there are not 
many of his pictures elsewhere, for he engraved 
more than he painted. He left some oil paintings 
at Lucca, in the church of S. Romano, and S. Pa- 
olino, in the Buonvisi Gallery, and in other places ; 
also two works in fresco ; viz., an allegorical pic- 
ture of Liberty, in the Senate House, and the 
small, but very elegant cupola of the Oratory in 
the Lippi palace. He settled at Rome, where he 
lived unhappily, and either from despair or some 
affront, drowned himself in the Tiber. His fate 
may teach young artists of genius, not to overrate 
their own talents, nor to despise those of others. 
By these failings he alienated the minds of his co- 
temporaries, so that neither in reputation nor em- 
ployment, was he so successful as many others, 
and his perpetual complaints occasioned doubts 
even of his sanity." 

Others say that he had a passion for art from 
infancy; that he studied under Paolini ; that in or- 
der to see the works of the great masters, he trav- 
eled on foot to Rome, disguised as a pilgrim ; that 
he there first studied with Domenichino, and last- 
ly with Cortona, till he was expelled for speaking 
disrespectfully of the talents of that master, when 
he devoted himself with the greatest assiduity to 
designing after the marbles and the remains of ar- 
chitecture; and it is said there was scarcely a ves- 
tige of antiquity in or about that capital, which he 
had not designed, and with which he was so famil- 
iar, that he could not draw from memory alone. He 
was also attentive in designing after the works of 
the most celebrated painters. Sandrart relates 
that he gave himself up entirely to these studies, 
suffering extreme povert)^ destitute of all assist- 
ance and means, except what he could procure 
for his sketches and designs, which were not ap- 
preciated; that he found him in this condition, 
sketching among the ruins in the vicinity of Rome, 
when he took him home, fed, clothed, and lodged 
him, procured him employment in the gallery of 
the Prince Giustiniani, and recommended him to 
other persons of rank. Some writers do not hesi- 
tate to declare that Testa never produced any thing 
worthy of commendation ; that his pencil was hard, 
his coloring crude, his genius licentious, his compo- 
sitions crowded and confused, and his figures ex- 
■■^.ravagant in their proportions. 

Much of this discrepancy doubtless arises from 
the prejudice of his cotemporaries, for it is con- 
ceded that he was of a melancholy and unsocial 
character, and probably this natural disposition 
was aggravated by disappointment and want of 
appreciation. Sandrart, himself a noted artist, 
and an excellent writer and critic on art, consider- 
ed him an extraordinary genius ; Passeri was a 
great admirer of his works, and thought that his 
tints and coloring, like those of Poussin, harmonised 
with his subjects. Whoever will examine his nu- 
merous prints, all of them from his own de- 



signs, must acknowledge that he possessed an ex- 
traordinary imagination, a perfect knowledge of the 
antique, and a wonderful facility of hand. His style 
of etching is bold, free, and masterly, resembling 
that of Antonio Tempesta, but of superior execution. 
Passeri says of his engravings, that he was a per- 
fect master of invention, " such vigor of conception, 
such novelty, and such variety, were never the gift 
of any other artist. He is a poet in all his his- 
toric pieces ; his composition is full of fancy ; this 
however is not equally commended by all who 
look for the simple action without other accesso- 
ries." Strutt says, " Pietro Testa drew with great 
taste, and marked the extremities of his figures 
in a very masterly manner. The characters of his 
heads are finely expressed, and the female faces 
are often very beautiful. "When the extravagance 
of his fancy did not hurry him beyond the bounds 
of nature, his outlines are correct and elegant. 
The draperies of his figures are flowing and easy, 
and so contrived as to show the form of the figure 
very distinctly, yet these beauties are often ob- 
scured by ill chosen attitudes. He seems to have 
paid no attention to the management of the chiaro- 
scuro ; his lights are scattered, without forming 
any great masses, and so produce little effect." 

In the collection of Mariette, there were ninety- 
two etchings by this master. He sometimes signed 
them with his name, and at others Avith the above 
monogram. The following are among his rarest 
and best prints. He was drowned in the Tiber 
in 1650, some say accidentally, while he was sketch- 
ing, and others, that he threw himself into the 
river in a fit of despair; Sandrart says that while 
endeavoring to recover his hat, blown off by a 
sudden gust of wind, as he sat sketching on the 
bank, he slipt and fell in. 

Abraham sacrificing Isaac ; P. Testa, fee. The Holy 
Family, with Angels presenting refreshments ; rare. The 
Virgin and Infant, who is embracing the Cross ; rare. The 
Adoration of the Magi. The Crucifixion. Four plates of 
the History of the Prodigal Son; P. Testa, fe. Romas. 
The Martyrdom of St. Erasmus. St. Jerome praying. St.' 
Eoch and two Bishops interceding for the Cessation of the 
Plague. Thetis directing the infant Achilles to be plunged 
into the river Styx ; P. Testa, fecit. Achilles dragging 
the Body of Hector round the walls of Troy ; P. Testa, 
aq. for. Socrates at Table with his Friends : P. Testa. 
1648. The Death of Cato ; do. The Sacrifice of Iphi- 
genia. Four plates of the Seasons of the Year, with the 
Signs of the Zodiac. The Triumph of Bacchus. Faith, 
Hope, and Charity ; one of his rarest prints. Magdalene 
in the Desert ; very rare. A young Woman in a Swoon, 
surrounded by Cupids ; exceeding rare. 

TESTA, Giovanni Cesare, was the nephew 
of the preceding, born at Rome about 1630, and 
practiced both painting and engraving. Little is 
known of him, however, as a painter. He execu- 
ted quite a number of plates, chiefly after his un- 
cle's designs, though some of them are from his 
own, and after the works of other masters. From 
resemblance of style, he is supposed to have stud- 
ied with Pietro. His prints are usually signed 
with his name. Among others, are the following 
by him. Zani says he died young, in 1655. 

The Portrait of Pietro Testa ; J. Cesar Testa, sc. The 
Death of Dido ; after P. Testa. The Centaur Chiron in- 
structing Achilles to throw the Javelin ; do. The Empe- 
ror Titus consulting Basilides respecting his expedition 
against Jerusalem ; do. The Communion of St. Jerome ; 
after the celebrated picture by Domenichino. 

TESTANA, Giovanni Battista, an Italian 
engraver, born at Genoa about 1645. He resided 



TEST. 



957 



TEUC. 



chiefly at Rome, where he engraved, in conjunc- 
tion with William Vallet and Stephen Picart, the 
plates from medals and antique gems for the work 
of Canini. He also engraved some plates after 
Pietro da Cortona, Agostino Caracci, and other 
masters. He was living in 1700. 

TESTANA, GiosEFFO. an Italian engraver, 
probably a relative of the preceding, born at Ge- 
noa about 1650. He established himself at Rome, 
where he engraved a part of the plates for a work 
entitled Effigies of the Cardinals now living, da- 
ted 1680. He subsequently engraved some plates 
after the Italian masters. 

TESTELIN, Louis, a French painter and engra- 
ver, was born at Paris in 1615. He studied under 
Simon Vouet, and was elected one of the original 
members of the French Academy at its establish- 
ment in 164:8, although he was then only 33 years of 
age. His presentation picture was a historical 
portrait of Louis XIV. In 1650, he was chosen a 
professor of the Academy. He painted, in 1652, a 
picture of the Resuscitation of Tabitha by St. Paul. ' 
which is considered one of the master-pieces of the | 
French school ; it is now in the church of Notre 1 
Dame, where is also another celebrated picture by j 
him, of the Flagellation of Paul and Silas. His I 
picture of St. Louis attending a sick Man, in the \ 
Hospital de la Charite, is also greatly admired. ' 
Testelin was a very intimate friend of le Brun, I 
who highly esteemed his knowledge of the princi- ; 
pies of the art. He died in 1655, aged 40 ; conse- 
quently his works are scarce. He engraved a 
plate of the Holy Family, after his own design. | 

TESTELIN, Henri, a French painter and en- 
graver, the brother of Louis T., was born at Paris 
in 1616. He studied under Simon Vouet. and at- | 
tained sufficient reputation in portrait and histori- I 
cal painting, to be elected a member of the Acade- | 
my. He was also appointed Secretary of that in- 
stitution, and at the death of his brother, succeed- 
ed him as Professor of Painting. He wrote a 
work in folio, highly esteemed in his time, entitled 
" Sentimens des plus habiles peintres sur la pra- 
tique de la peinture et de la sculpture," &c., pub- 
lished in 1696, and embellished with plates engrav- 
ed by himself There are also about fifty plates. 
in sets, which D'Argenville attributes to this art- 
ist, although another authority says they were en- 
graved by Louis Ferdinand, after Testelin's designs. 
The following are among his principal plates : 

Studies of expression in Heads, in outline. Studies of 
antique Statues, with proportions. Studies of expression 
in Heads ; after le Brun. The Israelites gathering Man- 
na ; after N. Poussiii. The Holy Family ; after Raffa- 
elle. This is from the picture in the Louvre, in which there 
are angels scattering flowers ; also engraved by Edelinck. 
St. Michael vanquishing the Evil Spirit ; after Raffaelle. 

TESTORINO, Brandolino, an old painter of 
Brescia, whose name is placed in competition with 
Gentile da Fabriano, and, according to Morelli, '' per- 
haps preferred to him." He is supposed to have 
assisted Altichiero in decorating the great hall in 
Padua, called Sala de' Giganti. His works have 
mostly perished, and the exact time he flourished 
is not known, though it must have been in the last 
part of the 14th, and the first part of the 15th 
centuries. 

TEUCHER, John Christopher, a German en- 
graver of whom little is known. He resided at 



Paris about 1750. He engraved a print called the 
Virgin of the Rose, after Parmiggiano, for the 
collection called the Dresden Gallery. 

TEXIER, G., a French engraver, born at Paris 
about 1760. He studied with Jacques Philippe le 
Bas, and engraved some plates of landscapes, con- 
versations, and serenades ; also views in Switzer- 
land, vignettes, and other book-plates. His plates 
are executed with the graver, in aneat, clear style. 
He was living in 1824. 

TEXIER, Victor, was the son of the preced- 
ing. He was one of <he engravers employed on 
the Musee Frangais and Musee Royal. He also 
engraved some views of the Alhambra, chemists' 
laboratories, and other subjects. He wrought 
with the graver, in a very neat and pleasing style. 

TEXIS, Jerome, an old engraver, by whom 
there is a print of Mount Calvary, with Christ 
upon the Cross, signed Hieronimus Texis^ Car- 
magnolie. 1561. 

THACKER, Robert, an English artist, who 
flourished in 1670. There is a large print by him, 
in four sheets, representing the Cathedral at Salis- 
bury, signed Avith his name, with the title of De- 
signer to the King. 

THELOTT, Jacob Gottlieb, a German en 
graver, who flourished about 1730. He engraved 
some portraits, and a part of the plates for a work 
entitled '' Representation des Animaux de la Me- 
nagerie de Prince Eugene, 1734." His plates are 
executed with the graver, in a neat, but formal 
style. 

THEODORE, A., a Dutch artist, mentioned by 
Strutt as the engraver of a print representing a 
procession in Holland, dated 1636. 

THEODORE, an artist who, according to Ba- 
san, was a scholar of Francis Mile, painted land- 
scapes in the style of that master, and etched some 
plates from his designs, which are signed with his 
name. There is also a set of twenty-eight etch- 
ings after Mile, attributed to him, but Bartsch and 
Dumesnil say that they have a great resemblance 
to the prints of vander Cabel ; Houbraken and 
Mariette attribute them to Gerard Hoet. It is 
probable that Theodore is the baptismal name of 
some unknown artist. The curious in such mat- 
ters are referred to Bartsch, Peintre Graveur, torn. 
v., and to Robert Dumesnil, Peintre Graveur Fran- 
9ais, torn, i., for full descriptions of the prints, and 
their opinions on the subject. 

THEODORE CASPAR, Baron de Fursten- 
BERGH, one of the earliest mezzotinto engravers, 
of whom nothing is known with certainty, not 
even his family name. There are three or four 
prints by him. signed with his name, and a few 
others of very doubtful authenticity, attributed to 
him. He is variously called by writers Theodore 
Caspar, Theodore Caspar a Furstenbergh, and The- 
odore Caspar, Baron de Furstenbergh. His prints 
are not worth any disquisition, nor is it pretended 
that he was the inventor of the art, or that he im- 
proved it. He flourished in 1656, as appears from 
the date of one of his prints. See Siegen. 

THEODORUS. There were several Grecian 
painters of this name, mentioned by Pliny, and Dio- 
genes Laertius. The principal was an Athenian 
painter of considerable eminence. Among his most 



THEO. 



958 



THEW. 



important works were the following : Clytemnestra 
and jEgisthus slain by Orestes; a picture of Cas- 
sandra, preserved formerly in the Temple of Con- 
cord ; and several pictures of the events of the 
Trojan War, which were afterwards taken to Rome, 
and placed in the Philippian portico. 

THEODORUS. There were two ancient Gre- 
cian artists of this name, who flourished between 
the years 800 and 700 B. 0. One of them was 
the son of Rhoecus of Samos, a sculptor and archi- 
tect, who executed a statue impersonating Night, 
in the temple of Diana at Ephesus, and erected, in 
concert with his son Theodorus, the famous Doric 
temple of Juno at Samos. According to the re- 
searches detailed in the '' Antiquities of Ionia," it 
appears to have been a decastyle and dipteral tem- 
ple, like that of Apollo Didymeius, 344 feet by 
166. Vitruvius mentions a description of this 
temple by Theodorus, who, according to Pliny, 
constructed, in concert with Zmilus and Rholus, 
the labyrinth at Lemnos, supported by fifty im- 
mense columns, and so ingeniously contrived as to 
surpass, in the opinion of Pliny, both the Candian 
and Egyptian labyrinths. These two artists de- 
serve everlasting remembrance for having invented 
the art of modeling in clay. 

The second Theodorus was the son of Telecles, 
and invented, according to Pausanias, the mode of 
casting statues in iron. He is said to have been 
the sculptor of one of two magnificent vases, which 
were presented to the temple at Delphi, by Croesus, 
king of Lydia. Pliny mentions by him a work 
of great delicacy and minuteness — a brass statue 
of himself, holding in one hand a file, probably in 
allusion to his profession, and in the other a quad- 
riga, or four-horse chariot, so small that a fly 
might cover it with its wings. 

THEOLON, Etienne, a French painter, born 
at Paris in 1739. He studied with Joseph Vien, 
and painted interiors and conversation pieces with 
great reputation. His pictures are highly finish- 
ed, and very rare, as he bestowed great labor upon 
them, and died young. He was admitted into the 
Academy at Paris in 1774, and died in 1781. 

THEON, an eminent Greek painter, was a na- 
tive of Samos, and flourished about the time of 
Philip and Alexander of Macedonia. According 
to Quintilian, he was considered among the first 
masters of the age, on account of his powers of 
invention, and the gracefulness of his execution, 
^lian mentions an admirable picture by Theon, 
representing a youthful warrior, animated by mar- 
tial spirit, and eagerly hastening to the fight. Pli- 
ny speaks of two, representing Thamyris playing 
the cithara, and Orestes in the act of killing his 
mother. 

THEOTOCOPULT, or TEOSCOPOLI, Domen- 
ico, called delle Greche, II Greco, and El 
Griego. This eminent painter, engraver, sculptor, 
and architect, was a native of Greece, according to 
Palomino, and born in 1548. He quitted his na- 
tive country, and visited Italy, where he studied 
painting under Titian, and also practiced wood en- 
graving. Little is known concerning his works in 
the latter art, but Lanzi briefly mentions his name 
in such a manner as sufficiently shows his emi- 
nence, thus : '• the art of wood engraving contin- 
ued gradually to advance, and was cultivated by 
many distinguished men ; such as Albert Durer in 
Germany j in Italy by Mecherino di Siena, by Do- 



menico delle Greche, by Domenico Campagnola," 
&c. That author also says that he was employed 
by Titian to engrave some of his designs, and that 
his print after that master, representing the Sub- 
mersion of Pharaoh, is a sufficient proof of his 
ability in wood engraving ; also that Palomino was 
wrong in citing the date on this print as 1549, 
when Theotocopuli was only one year old. Zani, 
following Palomino's date, makes two artists ; but 
Lanzi's correction explains the discrepancy. 

None of the paintings of Theotocopuli have been 
certainly identified in Italy ; but there are many 
in Spain, whither he went in company with Titian, 
at the invitation of Charles V. He remained in 
that country many years, during the rest of his 
life, and executed a large number of works in 
painting, sculpture, and architecture. His por- 
traits and altar-pieces, in the style of Titian, Pal- 
omino says appeared to be from the hand of that 
master himself. He afterwards attempted a difier- 
ent style, but failed entirely. In 1577, when he 
settled at Toledo, Theotocopuli painted for the ca- 
thedral, a remarkable picture of the Parting of 
Christ's Raiment, which has received very high 
commendation from Bermudez, and others, being 
entirely in the style of Titian, and scarcely inferior to 
that master. His picture of the Interment of Don 
Gonsalvo Ruiz, in the church of Santo Tome at To- 
ledo, is commended as the finest picture in that 
city, and one of the noblest productions of Span- 
ish art. He painted portraits in an admirable 
style, some of which are in the Royal Gallery at 
Madrid, and would do honor to Velasquez ; his 
own portrait, and that of his beautiful daughter, 
are in the Spanish collection at the Louvre, where 
they are very highly valued. 

As a sculptor and architect. El Greco gained 
considerable eminence, practicing both these arts 
in the same works, according to the general custom 
of his time. He designed the Casa del Ayunta- 
miento, or mansion house, of Toledo ; also the 
churches La Caridad, and of the Franciscan con- 
vent at Tllescas ; for which edifices he executed a 
great part of the paintings and sculptures. T^a 1590, 
he designed the church of the Augustines at Mad- 
rid, called De Donna Maria de Arragon. He de- 
signed, also, several admirable monuments ; but 
his grandest work, according to Milizia, was the 
church and monastery of the Bernard monks at 
San Domenico di Silos, of which he executed the 
whole — painting, sculpture, and architecture. Ac- 
cording to Palomino, he died at Toledo in 1625, 
and was buried with great pomp, in the church of 
St. Bartholomew. His son, George Manuel Theo- 
tocopuli. was also distinguished in sculpture and 
architecture, and practiced both these arts in the 
Cathedral of Toledo, in 1625 and the following 
years. Among his other works, is an octagon edi- 
fice attached to the Cathedral, termed the ochavo , 
it is decorated with precious stones, and is used as 
the treasure-house of the Virgin. He died at To- 
ledo in 1631. 

THEW, Robert, an eminent English engraver, 
was born in the small town of Patrington. in the 
East Riding of Yorkshire, in 1758. At an early 
age he was apprenticed to a cooper, and continued 
at that business for a number of years ; Chalmers 
states that during the war of American Independ- 
ence, he served as a private in the Northumberland 
militia. According to the " Gentleman's Maga- 
zine," his attention was first directed to engraving 



THIB. 



959 



THIE. 



a"bout the age of twenty-six, when it is said he 
happened to see an enj^raver at work, and although 
destitute of any practical knowledge of drawing. 
he pi-ocured a copper-plate, and engraved an old 
woman's head, from a picture by Gerard Douw, 
with such extraordinar}-- skill, that he was appoint- 
ed historical engraver to the Prince of Wales, at 
the recommendation of Charles Fox, Lad}'^ Ducan- 
non, and the Duchess of Devonshire. This story, 
however, is highly improbable, since considerable 
mechanical dexterity is indispensable to producing 
a good copper-plate engraving. A more credible 
account is, that about 1783 Thew settled at Hull, 
and commenced engraving shop-bills, cards, etc. 
Chalmers states that he engraved and published a 
plan of Hull, which is dated May 6, 1784 ; and 
that shortly afterwards he solicited subscriptions 
for two views of the Dock at that place. The lat- 
ter are large aquatint plates, drawn and engraved 
by Thew, with the assistance of F. Jukes in the 
aquatinting department ; and they were published 
in London, by Thew himself in May, 1786. Cop- 
ies of them are now preserved in the British Mu- 
seum. In 1788, Thew was introduced to Alder- 
man Boydell by the Marquis of Caermarthen, af- 
terwards duke of Leeds, whose patronage he had 
obtained b}'' the construction of a camera-obscura 
on a new principle ; and Boydell immediately com- 
missioned him to engrave Northcote's picture of the 
Interview between the young Princes, from Richard 
III,, act iii., scene 1. This plate was published in 
1791. at which time Thew held the appointment 
above alluded to, of engraver to the Prince of Wales. 
He subsequently engraved eighteen other plates 
for the Shakspeare Gallery, and part of a nine- 
teenth; several of these are among the best in the 
collection, displaying an unusual amount of spirit 
and expression, as well as a high degree of me- 
chanical skill. That of Cardinal Wolsey entering 
Leicester Abbey (Henry VIII., act iv., scene 2), 
from a picture by Westall, is particularly and de- 
servedly celebrated as a line specimen of stipple en- 
graving ; and in consequence of its superior beau- 
ty, proof impressions were charged double the 
price of any other in the entire work. Thew re- 
ceived but little instruction, and owed his success, 
according to Chalmers, to his native genius, aided 
by an industrious application, by which he rapidly 
attained great excellence in the art. The distin- 
guishing characteristics of his practice consisted in 
most faithfully exhibiting the true spirit and style 
of each master ; a most minute accuracy, a certain 
polish, and exquisite delicacy of manner; with 
the appropriate character given to all objects, 
while a mildness of tone and perfect harmony per- 
vaded the whole piece. Thew died at Stevenage^ 
in Hertfordshire, in 1802. 

THIBOUST, Benoit, a French engraver, born 
at Chartres about 1655. It is not known under 
■whom he studied, but he went young to Italy, 
where he seems to have passed the rest of his life. 
He engraved a set of thirty-five plates, represent- 
ing the life of St. Turribius, after Gio. Battista 
Gaetano. entitled Vita Beati Turribii, Archie- 
piscopi Limani in Indiis, published at Rome in 
1679. He also engraved a number of other plates, 
after the Italian masters, among which are the 
Crucifixion, after Gaetano; St. Teresa, and St. 
Bibiena, after Bernini ; St. Tommaso d'Aquinas, 
after Calandrucci; St. Rosa kneeling before the 



Virgin, the Martyrdom of St, Peter, and St. Peter 
of Alcantara, after A. Baldi. His plates are exe- 
cuted with the graver, in a slight, open style, re- 
sembling that of Claude Mellan, though very infe- 
rior to those of that master. He was living in 
1699. 

THIELE, John Alexander, a German paint- 
er, born at Erfurt, in Saxony, in 1685, though some 
say in 1695. He is said to have first studied with 
an obscure landscape painter, named Manyoky, and 
afterwards with C. L, Agricola. He however 
chiefly owed his saccess to his own genius, and a 
diligent study of nature. His pictures^ represent 
the beautiful scenery on the banks of the Sala and 
the Elbe, which he depicted in a very natural and 
pleasing manner. He acquired considerable celeb- 
rity, and was appointed painter to the king of Sax- 
ony. He executed quite a number of spirited etch- 
ings from his own designs, consisting of views in 
Saxony, which are dated 1726 to 1743 ; those of the 
later dates are far superior to his earlier prints. He 
was the instructor of the celebrated Dietricy. and 
died at Dresden in 1752. 

THIELEN, John Philip van, an eminent Flem- 
ish painter of flowers, born at Mechlin in 1618. 
He was descended of a noble family, and was 
Seigneur or Lord of Cowenberg, on which account 
he usually signed his pictures J. P. Cowenberg. 
After receiving a liberal education in every branch 
of polite literature, a passion for painting induced 
him to place himself under the instruction of Dan- 
iel Seghers, the celebrated painter of flowers, un- 
der whose able instruction he became one of the 
most famous painters of his time in that branch 
of the art. He usually composed his subjects in 
the manner of Seghers, in garlands of flowers 
around some historical designs, or in festoons that 
encircled vases enriched with bas-reliefs. He cop- 
ied every object after nature, cultivated the most 
beautiful flowers, selected them when they ap- 
peared in their fullest bloom, and grouped them 
with elegance and taste. His pictures are well 
composed, and very highly finished, and though 
they are less spirited and brilliant than those of 
his instructor, his touch is as light, his pencil as 
neat, and his coloring as transparent. He was 
much employed by the king of Spain, and most of 
his works are in the royal collections at Madrid. 
In competition with Seghers, he was employed to 
paint a picture in the Abbey of St. Bernard, near 
Antwerp, on which occasion he exerted all his 
abilities, and his performance was judged little in- 
ferior to that of his master. Weyerman highly 
extols a garland of flowers by him. encircling a 
sleeping Nymph, with a Satyr watching her, by 
Poelemburg. There are two capital pictures by 
him at Mechlin, representing St. Bernard and St. 
Agatha, surrounded by garlands of flowers, with 
insects, as natural as life. He sometimes painted 
landscapes, huntings, and architectural pieces, but 
he was not so successful in these subjects. He 
died in 1667. 

THIELEN". Maria Theresa, Anna Maria, and 
Francis Catherine van, were the daughters of 
the preceding, who carefully instructed them in the 
art, and they all excelled in the same branch. Ma- 
ria Theresa, the eldest, was born in 1640. She 
painted portraits and flowers in such an excellent 
manner, that Weyerman says her pictures were 
worth their weight in gold. Anna Maria was 



THIE. 



960 



THOM. 



born in 1641, and Frances Catherine in 1645 ; they 
were not inferior to their sister in elegance of com- 
position, delicacy of penciling, or softness of color- 
ing — commendation too gallant and uniform to be 
of much value. 

THIELENS, John, a Flemish painter, who 
flourished at Antwerp, in the latter part of the 
17th century. He painted the interiors of chem- 
ists' laboratories, workshops of sculptors, studios 
of painters, &c., in which he imitated the manner 
of David Teniers. 

THIEMON. otherwise Diethmak, a painter, 
sculptor, founder, and gilder of the Middle Ages, 
was born in Bavaria, of noble parentage, about 
1045. He was as well versed in mechanics as in 
the Fine Arts, agreeably to the custom of his time. 
He executed many works in painting and sculp- 
ture for the churches, particularly for that of St. 
Blaise, near the city of Ems. In 1079, Thiemon 
was appointed abbe of the diocese of Saltzburg ; 
in 1090. he was chosen archbishop of that city. 
About the year 1099, he started for the Holy Land, 
where he died in 1101. It is said that he was ta- 
ken prisoner by the infidels, who, on learning his 
skill in sculpture, commanded him to restore the 
arms of a brazen idol. Upon his refusing to do 
it, on account of religious scruples, he was put to 
death ; and the Catholic church has placed him 
among the martyrs. 

THIERS, Baron de, a French amateur artist, 
who flourished about 1760. He etched a few 
plates of landscapes and other subjects, of small 
size, after Boucher. 

THIM, Moses, a German 
irtist, who flourished at Wit- 
tenberg about 1613. He is 
said to have practiced both painting and engraving, 
and to have used the above monogram, but none 
of his works are specified. Zani saj^s he was a 
printer, and denies that he ever engraved either on 
wood or copper. 

THOM AN, or THOM ANN, Christian Ray- 
mond, a German engraver, who was living in 1733. 
He engraved some of the plates for the collection 
of prints from the antique marbles in the Dresden 
Gallery. 

THOMANN, Jacob Ernest, a German painter, 
born at Landau in 1588. After learning the rudi- 
ments of art in his native city, he went to Italy at 
the age of seventeen, and spent fifteen years at 
Rome, Naples, and Genoa. At Rome, he studied 
with Adam Alzheimer, whose style he imitated 
with such success that it is sometimes difficult to 
distinguish their works. He acquired considera- 
ble reputation at Rome, and his works were much 
sought after. He afterwards visited Naples and 
Genoa, where his pictures were held in equal esti- 
mation. On the death of his friend and precep- 
tor, he returned to Germany, and established him- 
self at Landau, where he was appointed painter to 
the Emperor, and found abundant employment. 
Like the works of iElzheimer, his subjects were 
usually landscapes of small size, decorated with 
.small figures, from sacred and profane history ; and 
he entered so completely into the spirit of that 
master in design, handling, and coloring, that his 
works have often been mistaken for those of his 
instructor. The German writers call him Jacob 



^"ivT-i 



Ernest Thoman von Hagelstein. He died at 
Landau in 1653. 

THOMANN, Philip Ernest, was the grand- 
son of the preceding, born at Augsburg in 1657, 
and died in 1726. Little is known of him. He is 
said to have painted some works for the churches, 
and to have engraved some plates of portraits and 
other subjects in mezzotinto. 

THOMAS, John, a Flemish painter, born at 
Ypres, in or about 1610. He studied in the school 
of Rubens, and afterwards went to Italy, in com- 
pany with his fellow pupil Diepenbeck, where he 
studied the works of the great masters with assi- 
duity, and greatly improved himself. On his re- 
turn to his own country, he distinguished himself, 
and executed several works for the churches, one 
of the best of which is an altar-piece in the church 
of the Barefooted Carmelites at Antwerp, repre- 
senting St. Francis kneeling before the Virgin and 
Infant. He was invited, in 1662, to the court of 
the Emperor Leopold, who appointed him his prin- 
cipal painter, with a liberal pension, and retained 
him in his service till his death. This artist execu- 
ted some spirited etchings from his own designs, 
and engraved several plates of portraits and other 
subjects in mezzotinto, among which are the por- 
traits of the Emperor Leopold and Titian. He 
died at Vienna in 1673. 

THOMASIN, Philip, a French engraver, born 
at Troyes. in Champaigne, about 1536. He went 
young to Rome, where he resided the greater part 
of his life. Huber says he there studied under 
Cornelius Cort, whose style he followed with con- 
siderable success. He wrought entirely with the 
graver, in a clear, firm style. His prints are nu- 
merous, and amount to more than two hundred ; 
about fifty of them are after the antique statues 
at Rome. He was living in 1613. The following 
are his most esteemed prints: 

The Portrait of Philip Emanuel of Lorraine, Duke de 
Mercoeur. A set of fourteen plates, with the title, " Christ 
and the Twelve Apostles ;" after Rqffaelle. St. Marga- 
ret ; do. St. Cecilia ; do. The School of Athens ; do. 
The Dispute on the Sacrament ; do. The Defeat of the 
Saracens in the Port of Ostia ; do. The Conflagration of 
the Borgo Vecchio ; do. The Holy Family ; after Fede- 
rigo Zuccaro. The Adoration of the Magi ; do. The 
Miracle at the Marriage of Cana ; after Taddeo Zucca- 
ro. The Nativity ; after Ventura Salimheni. The Pu- 
rification of the Virgin ; after F. Baroccio. The Last 
Judgment ; after F. Vanni. Apollo and the Muses ; af- 
ter Bal. Peruzzi ; a frieze. 

THOMASSIN, Simon. This artist is said to 
have been of the same family as the preceding, 
born at Troyes in 1638, though Zani places his 
birth in 1652, and his death in 1732. After learn- 
ing the rudiments of design at Paris, he went to 
Rome, and studied in the French Academy in that 
city. He devoted himself to engraving, and ac- 
quired distinction. He was elected a member of 
the Academy at Paris, and appointed one of the 
engravers to the king. His plates are executed 
entirely with the graver, in a neat, clear style, but 
without much intelligence in the efiect of light 
and shadow. His drawing is generally correct, 
though somewhat mannered, and his extremities 
are not marked with that freedom and lightness 
which distinguish the hand of a great master. 
His most considerable work is a folio volume of 
plates, from the statues and other marbles in the 
palace and gardens of Versailles. He also en- 



TIIOM. 

graved a number of portraits and other subject 
among which are the following: 

PORTRAITS. 

Louis, Duke ot Burgundy. 1698. Maria Adelaide of 
Savoy, Duchess of Burgundy. Paul Beauvillier, Duke of St. 
Aignou. 1695. Charles XII. of Sweden. Peter Corneille ; 
after le Brun. 

SUBJECTS AFTER VARIOU.S MASTERS. 

The Miraculous Draught of Fishes; after Rqfaelle. 
The Transfiguration ; do. St. Paul taken up into the third 
Heaven; after N. Poussin. Christ praying on the 
Mount ; after le Brun. 

THOMASSIN, Henri Simon, was the son of 
the preceding, born at Paris in 1688. After re- 
ceiving instruction from his father, he became the 
pupil of Bernard Picart, and accompanied that 
master to Amsterdam, where he engraved several 
plates. On his return to Paris, he acquired con- 
siderable reputation, and was admitted into the 
Academy in 1728. His plates are executed with 
more freedom and spirit than those of his father, 
and he availed himself more of the assistance of 
the point. His prints are quite numerous, and 
some of them are considered very masterly pro- 
ductions. Among others are the following by 
him. He died at Paris in 1741. 

PORTRAITS. 

The Portrait of Louis XIV. presented to the Arts by 
Minerva; after L. de Boidlongne ; engraved for his recep- 
tion into the Academy. 1728. Louis, Dauphin of France ; 
after Tocque. The Bust of Cardinal de Fleury, support- 
ed by Diogenes, who had at length found an honest man ; 
after Rigaud. John Thierry, Sculptor to the King ; after 
is. Largilliere. Carlo Cignani, Painter ; after a picture 
by himself. 

SUBJECTS AFTER VARIOUS MASTERS. 

Christ with the Disciples at Emmaus; after P. Vero- 
nese; for the Crozat collection. Adam and Eve driven 
from Paradise ; after D. Feti ; do. Melancholy ; do. ; 
do. The Magnificat., or Song of the Virgin ; after Jouve- 
net. Coriolanus overcome by the solicitations of his Fam- 
ily ; after la Fosse. The Piague at Marseilles ; after J. 
F. de Trorj. 

THOMOND, Thomas, a French architect, born 
at Paris in 1759. He had scarcely acquired a 
knowledge of his profession, when the civil com- 
motions obliged him and his famil}'-, with many 
other royalists, to quit France. He settled at St. 
Petersburg, and commenced practicing the art of 
painting, to which he was much attached, particu- 
larly in architectural and perspective pieces. The 
taste he displayed in those subjects, led at length 
to his being employed by the government in that 
department of art which he originally intended to 
follow, and he was commissioned in 1804, to improve 
and partly remodel the great Theatre, first erect- 
ed by the German architect Tischbein, in 1783. 
Although not altogether free from the peculiarities 
of the French school, the fa9ade and octastyle 
Ionic portico which he added to that structure, is 
one of the noblest pieces of architecture of the 
kind and date in Europe ; and had the architect exe- 
cuted nothing else, that alone would have entitled 
him to rank higher in his profession than many 
who owe their celebrity as much to the number as 
the merit of their works. Thomond also erected 
several private mansions and other buildings at 
St. Petersburg, the mausoleum of the Emperor 
Paul at Pavlovska, the theatre at Odessa, and the 
Pultava monument. His second important work 
was the grand Imperial Exchange, erected during 



961 THOM. 

the years 1804-1810, an insulated structure of the 
Roman Doric order, 256 by 300 feet, peripteral and 
decastyle at each end, though without pediments, 
and embellished with forty-four columns. Situa- 
ted at the southern point of the Vassilievskii Is- 
land, immediately facing the Neva, it stands in the 
centre of a spacious square, upon a rich architec- 
tural terrace, which sweeps out so as to form a 
semi-circular esplanade in front, at each extremity 
of which is a flight of steps leading down to the 
river, and a massive rostral column, one hundred 
and twenty feet high. The architectural combi- 
nation is exceedingly picturesque, and may be 
said to be unique. In 1808, Thomond published 
some of his buildings and designs, in a quarto 
volume ; and he also wrote a treatise on painting. 
He died in 1813. 

THOMPSON, Henry, an English historical and 
portrait painter, born at Portsea in 1773. Little 
is recoi-ded of him. He was a member of the Roy- 
al Academy, and filled the office of keeper of that 
institution for several years. In 1828, owing to 
ill health, he retired to his native place, where he 
died in 1843. 

THOMSON, William, an Irish portrait paint- 
er, born at Dublin. He settled in London, where 
he practiced with some reputation, and died there 
in 1800. His pictures are said to posse.ss the mer- 
its of faithful likeness and a natural tone of col- 
oring. 

THOMSON, James, an excellent English en- 
graver, was born at Mitford, in Northumberland, 
in 1789. He was the fourth son of the Rev. James 
Thomson. M. A., of Nunriding Hall, and as he 
evinced at an early age considerable talent for 
drawing, he was articled to Mr. Mackenzie, an en- 
graver residing in Margaret street. Cavendish 
Square, London. After spending seven years un- 
der the latter. Thomson wrought for two years un- 
der Mr. Garden, after which he received commis- 
sions on his own account, and practiced the art in 
London for many years. He lived universally re- 
spected, and died in 1850, regretted by a large cir- 
cle of friends. Among the principal works of 
Thomson, are the Three Nieces of the Duke of Wel- 
lington, after Sir Thomas Lawrence; Lodge's 
Portrait Gallery; an equestrian portrait of Her 
Majesty, attended by Lord Melbourne, the Mar- 
quis of Conyngham, &c., after Grant; the Mu- 
seum Towniey Marbles; the Bishop of London, 
after Richmond ; Prince Albert, after Sir W. C. 
Boss ; Portraits of Louis Philippe and his Queen. 

THORNHILL, Sir James, an eminent Eng- 
lish painter, born at Weymouth, in Dorsetshire, 
in 1676. He was descended of an ancient family, 
but his father being in reduced circumstances, was 
compelled to sell his paternal estate, and young 
Thornhill was obliged to take care of himself. He 
accordingly set out for London, and having a gen- 
ius for painting, his uncle Sydenham, the celebra- 
ted physician, rendered him assistance, and pro- 
cured him instruction in art. The name of his 
master is not mentioned, but he was indebted more 
to his own talents and application, than to the 
precepts of his instructor. After acquiring some 
celebrity as an historical painter, he traveled 
through Holland and Flanders to France, and 
greatly improved himself. On his return to Lon- 
don his abilities soon attracted public attention, 
and his reputation rose to the greatest height. 



THOR. 



962 



THOR. 



He was commissioned by Queen Anne to decorate 
the cupola of St. Paul's cathedral, where he repre- 
sented the principal events in the life of that apos- 
tle, in eight compartments, designed and executed 
in a grand style; these subjects were engraved in 
eight sheets by du Bosc, Beauvais. Baron, G. Van- 
dergucht and Simonneau. These works gave so 
much satisfaction that the Queen appointed him 
her first painter of history. He was afterwards 
employed to execute several public works, parti- 
cularly an apartment at Hampton Court, which 
he embellished with subjects emblematic of the 
history of Queen Anne, and her consort George, 
Prince of Denmark. He painted some altar- 
pieces for the churches, and was much employed 
in decorating the palaces of the nobility and gen- 
try. Among his principal productions are the 
great saloon and the refectory in Greenwich Hos- 
pital. He was particularly patronized by George 
II., who conferred upon him the honor of 
knighthood. He sat in parliament several years, 
from his native town, and was elected a Fellow of 
the Royal Society. He copied the cartoons of 
Raffaelle in Hampton Court of the same size as 
the originals, which occupied him three years ; he 
also made another set of one-fourth the size ; he 
also made numerous studies of the heads, hands, 
and feet, which he intended to publish for the use 
of students, but the work never appeared. At the 
sale of his effects after his death, the small set 
brought 75 guineas, and the large one more than 
£200 ; the latter was purchased by the Duke of Bed- 
ford, and many years afterwards, was presented to 
the Royal Academy. Sir James had a genius for 
portrait and landscape, though he did not practice 
those branches much ; he had a good knowledge 
of architecture, and erected several private edifices; 
he also etched some plates from his own designs, 
executed in a bold, free style. Though he received 
only moderate compensation for his services, he 
acquired a handsome fortune. His demands were 
contested for his paintings at Greenwich Hospital, 
and while la Fosse, the French painter, received 
£2500, for his work at Montague House, Thornhill 
could obtain only forty shillings the square yard, 
for the cupola of St. Paul's, and the same for the 
apartments at Greenwich ! He had a son named 
James, whom he instructed in the art, and for 
whom he procured the appointment of sergeant 
painter to the King, but he did not acquire any 
distinction ; also a daughter, who ran away and 
married the inimitable Hogarth. He died in 1734. 

THORWALDSEN, Albert. This preeminent 
Danish sculptor was born at Copenhagen, Novem- 
ber 19, 1770. He was the son of Gottschalk 
Thorwaldsen, a native of Iceland, and his wife, 
Karen Gronlund, the daughter of a priest of Jut- 
land. He was descended from the most renowned 
warriors and princes, — it beingawell authenticated 
fact that his family goes back to the fabulous pe- 
riod of Danish history, as far as King Harold Hil- 
detand (Harold of the Tooth of Gold), who was 
killed in 735, at the Battle of Bravalla. The de- 
scendants of Harold removed to Norway, from 
whence a part of the race emigrated to Iceland. 
One among them, named Olaf Paa, was distin- 
guished for the wise and magnificent use he made 
of his fortunes, in the encouragement of painting 
and architecture; the Savan Finn Magnussen al- 
ludes to him with great commendation in his Re- 



searches on Danish Archaeology. A tradition had 
long been preserved, that "the gods had pro- 
mised Harold a descendant whose fame should 
spread from the extremities of the North, even 
to the sunny regions of the South." This tradi- 
tion was at length fulfilled in the birth of the il- 
lustrious subject of this sketch. Almost the first 
things that drew his attention while an infant, 
were a sculptor's chisel, and a few pieces of work 
that bore resemblance to sculpture. He went tc 
school but a short time during boyhood, and learned 
ver}' little while there. He assisted his father at a 
very early age, and when only eleven years old com- 
menced attending the free school of the Academy 
of Arts at Copenhagen. In two years he made 
such progress that he was enabled to improve his 
father's carvings, and he undertook to execute the 
head pieces of ships. At the age of 17, he obtained 
the silver medal of the Academy, for a bas-relief 
of Cupid reposing ; and in 1791, when 20 years 
old, the small gold medal for a sketch of Helio- 
dorus driven from the temple. At this time he 
was remarkably modest, and diflSdent of his own 
abilities. Two years after, he drew the grand 
prize, which entitled him to the royal pension ; but 
as the latter privilege was then being enjoyed 
by another, he was obliged to wait three years, 
during which time he continued his professional 
pursuits, devoting also considerable time to gen- 
eral study, as he had much both to read and learn. 
On the 20th May, 1796, Thorwaldsen set out 
for Italy in the Danish frigate Thetis, and after a 
voyage of almost interminable length, he reached 
Malta, where, losing all patience, he quitted the 
ship, and embarked in a vessel for Palermo, whence 
he sailed in the packet boat to Naples, arriving ther? 
in Januar)-, 1797. Without friends, and ignorant 
of the Italian language, the young sculptor's heari 
failed him, and he longed to return to Denmark 
which according to his own account he would havi 
done, if he had found a Danish vessel about to 
leave Naples at that time. However, after a little 
while, he gained courage sufficient to engage a place 
in the coach of a vetturino for Rome, where he ar- 
rived March 8th. He brought letters of introduc- 
tion to his distinguished countryman Zoega. who 
however did not give him much encouragement, 
nor did he estimate his abilities very highly. The 
first years which Thorwaldsen passed in Rome, 
were frequently saddened bj'- painful experiences! 
All Europe was agitated to such a degree that 
none escaped the shock — not even the savant in his 
retreat, nor the artist in his studio. The rough 
spirits of war invaded the realms of art. Notwith- 
standing this, the young sculptor prosecuted his 
art devotedly and enthusiastically, but without 
that encouragement which he had a right to ex- 
pect. The term of his annuity was rapidly pass- 
ing away, and he had not yet learned to depend 
on the strength of his own genius. In 1801, he 
prepared to return to Denmark ; but before setting 
out he wished to complete a work designed as a gift 
to his country — Jason's Conquest of the Golden 
Fleece. He had already made the model, but be- 
coming dissatisfied with it, he destroyed the work, 
and commenced another of larger dimensions 
When it was completed, and shown to Canova — 
then arbiter in the art — he exclaimed, "Questa apera 
di quel giovane Danese e fatta di uno stilo nuovo 
e grandioso !" The work was also highly praised 
even by Zoega ; but Thorwaldsen, feeling that mere 



THOR. 



963 



THOR. 



admiration, however g-ratifying, would not supply 
the place of ducats, determined to proceed imme- 
diately home ; he made all necessary preparations, 
and the vetturino had already arrived at the door, 
when suddenly the sculptor Hageman of Berlin, 
his traveling companion, came to say that, in con- 
sequence of an informality in his passport, he could 
not yet begin his journey. This delay was followed 
by another, and not long afterwards the liberality 
of Thomas Hope relieved him from embarrassment. 
That English connoisseur having heard of Canova's 
praise of Thorwaldsen's work, visited his studio, 
and after regarding the model for a long time, 
asked the artist, " How much do you require to 
complete that statue in marble?" "Six hundred 
ducats," was the answer. " You shall have eight 
hundred," said the generous patron of art. Thor- 
waldsen remained in Rome. 

From this time (1803), his star was in the as- 
cendant ; the statue of Jason was not indeed fin- 
ished till many years after, but many celebrated 
works were done meanwhile ; as the bas-reliefs of 
Summer and Autumn, and the Dance of the Mu- 
ses on Helicon ; Cupid and Psyche, and Venus with 
the Apple. His fame spread far and wide, and 
Christian, (then crown-prince), of Denmark, wrote 
him a pressing invitation to return to Copenha- 
gen, communicating at the same time the discovery 
of a white marble quarry in Norway. Thorwald- 
sen was eager to return, but his numerous com- 
missions rendered it impossible. During these 
busy years, he was accustomed to recreate at Leg- 
horn during the summer seasons, at the beautiful 
villa of Baron Schubart, the Danish minister at 
Florence ; he also executed some of his works 
there. In 1812, when arrangements were being 
made for Napoleon's entry into Rome, the archi- 
tect Stern, who superintended the preparations, re- 
quested Thorwaldsen to prepare a plaster frieze 
for one of the large apartments in the Quirinal 
Palace, He undertook the commission, and in 
three months completed his plaster model, sixty 
feet in length, of his celebrated bas-relief of the 
Triumphal Entry of Alexander into Babylon. The 
Danes opened a subscription to enable him to re- 
produce this master-piece in marble, and their ef- 
forts were warmly seconded ; it has been twice 
executed in marble, with slight variations, and is 
engraved in a series of plates by S. Amsler, of Mu- 
nich, after drawings by Overbeck and others. Du- 
ring the course of his rapid and brilliant career, 
Thorwaldsen was occasionally disturbed by spells 
of deep melancholy, and it was in a single one of 
these sombre days that he modeled his celebrated 
bas-reliefs of Night and Morning, in 1815. At length, 
in July 1819, the entreaties of his countrymen 
determined Thorwaldsen to visit his native land. 
His progress through Italy and Germany was 
marked by many honors, and on arriving at Co- 
penhagen, the 3d of October, he was received with 
acclamations by a vast multitude of his fellow 
citizens, and lodged in the palace of Charlottenburg. 
For a year he was entertained with public feasts 
and other demonstrations of gratitude from his 
countrymen ; after which he started for Rome, 
visiting Berlin, Dresden, Warsaw, and Vienna, 
everjj-where welcomed enthusiastically and over- 
whelmed with marks of distinction. At Warsaw 
he received several commissions, and executed a 
bust of the Emperor Alexander. 

Thorwaldsen executed his principal works after 
his return to Rome — as Christ and the Twelve 



Apostles, and the large majestic statue of Coper- 
nicus, both placed in the church of Notre Dame 
at Copenhagen ; also the monuments of Pius VII., 
Maximilian of Bavaria, the Poniatowski monu- 
ment, and others. In 1823, he had a narrow es- 
cape of his life; a young lad, the son of his land- 
lad3^ contrived to get hold of one of his pistols, 
which he had carelessly hung up loaded ; ig- 
norant of the danger, the boy discharged it at 
Thorwaldsen, but the ball, after grazing two of 
his fingers, passed through his dress without cau- 
sing further injury. In 1838, the statues of Christ 
and the Apostles, the group of St. John preaching, 
and other works for the church of Notre Dame at 
Copenhagen, besides others for the palace of Chris- 
tianburg, were finally completed, and the Danish 
government sent the frigate Rota to convey them 
and their sculptor to Denmark. Though enriched 
by the proceeds of his works, surrounded with 
every luxury of life, and enjoying at will all the 
advantages to be derived from a people who truly 
appreciated his genius, Thorwaldsen yet resolved 
to return to Copenhagen. Having transferred the 
above mentioned works and the original plaster 
models of all his sculptures, which he had carefully 
preserved, he bade adieu to the metropolis of art, 
which had so long witnessed the triumphs of his 
genius. On arriving at the port of Copenhagen, 
as the frigate sailed up towards the city, the ves- 
sels in the harbor were decked with flags, the can- 
non thundered from the batteries, and when the 
illustrious sculptor had landed and entered his car- 
riage, the people detached the horses, and drew 
their much loved artist, amid the enthusiastic cheer- 
ing of the excited multitude, through the streets 
to the palace of Charlottenburg, where his studio 
was already prepared, decked with wreaths and 
garlands of flowers. After this princely ovation, 
festival succeeded festival, until Thorwaldsen at 
length withdrew from the city to the beautiful 
villa of Nyso, the seat of his friend Baron Stampe, 
who showed him the greatest attention and kind- 
ness. During his absence on an excursion to the 
island of Moe, a studio was built for him in the 
garden of the villa, directly facing the sea. Here 
he finished some of his last compositions, Christ 
bearing his Cross ; the Entry into Jerusalem ; Re^ 
becca at the Well ; his own statue ; the busts of 
the poets Oehlenschlager and Holberg; and those 
of his friends the Stampe family. In 1841, find- 
ing the climate disagree with him, he returned to 
Italy in company with the Stampe family, and he 
executed at this time his group of the Graces for 
the king of Wurtemberg. He returned however, 
to Denmark and Nyso the following year, and 
executed two bas-reliefs— Christmas Joys in Hea- 
ven, and the Genius of Poetry; the latter he pre- 
sented to his friend Oehlenschlager, saying "It is 
your medallion." He intended to return to Rome 
in the summer of 1844, but was prevented by his 
death, which occurred very suddenly, on the 24th 
of March in that year, just after he had entered 
the theatre. The cause was subsequently ascer- 
tained to be disease of the heart. His remains lay 
in state in the Academy, and were interred with 
regal honors, beneath his own greatest produc- 
tions in the cathedral church of Copenhagen. The 
news of his death was received with the deepest re- 
gret throughout Europe, and funeral honors were 
celebrated to his remembrance at Berlin and at 
Rome. 

Thus ended the glorious career of Thorwaldsen, 



THOR. 



964 



THOR. 



Fortune had favored hira with her choicest honors. 
The great were proud to have him in their halls ; 
and the people, knowing that he sprang from their 
ranks, were proud of his fame. His prosperity 
did not alter in the least his genuine native mod- 
esty and simplicity of character. He was gener- 
ous to all who needed assistance ; he had a ten- 
der and compassionate heart ; and his genius was 
alhed to a gentleness and sweetness of disposition 
which charmed all who had access to him. Age 
had conferred upon him beauty of a most impres- 
sive character ; " his face," said the poet Holberg, 
" had the plastic characteristic of one of his ad- 
mirable statues ; when he moved in the midst of 
a crowd, it would separate as if it felt the pres- 
sure of a superior being." 

There has much been written, and much more 
been said, respecting the artistic merits of Thor- 
waldsen. His warmest admirers consider him 
the greatest of modern sculptors, and many have 
not hesitated to place hira above Canova, and even 
to compare him with the antique. On the other 
hand, some question his power or fertility of in- 
vention, consider his style monotonous, and even 
rank him inferior to Canova in heroic vigor or ro- 
bust strength of character. Amid such contra- 
dictory opinions, it is perhaps difficult to arrive at 
a satisfactory conclusion ; but it would be very 
difficult indeed to coincide with the latter opinion. 
Power of expression, was Thorwaldsen's peculiar 
excellence. He distinguished his smallest medal- 
lion by peculiar force, and from the minutest treat- 
ment his mind could at once rise to colossal com- 
position, without exhibiting the least trace of lit- 
tleness of style. Not so with Canova ; although 
he frequently excelled the Dane in beauty of the 
female forms, many of his works are enfeebled 
by aflfectation and excessive finesse — defects no- 
where to be found in those of Thorwaldsen, whose 
chief characteristic was that energetic enunciation 
in his figures which claims at once all the senses 
of the spectator. His imagination was inexhaus- 
tible ; and the exquisite feeling which he threw in- 
to his works, is nowhere better exemplified than in 
his basso-relievos, " Night" and " Morning." Con- 
trary to poetical usage, he characterized Night as 
the Mother of Humanity : for her gemmy crest is 
substituted the fillet of poppies, her star-studded 
mantle is also cast aside, and she has gathered to 
her bosom her vSleeping children. The figures 
are floating rather than flying through tlie air; 
and an aspect of repose is given to the whole com- 
position by the quiet attitudes, even to the lower 
limbs of the principal one, crossed as at rest ; 
the companion of their shadowy flight is the ''bird 
that loves darkness." Morning is equally beauti- 
fully described as a buoyant winged figure, speed- 
ing gracefully through the air, and strewing roses 
over the earth, accompanied by a torch-bearer, who 
does not rest upon his associate, although poised 
on her shoulder; his own wings are bearing him 
forward through the freshening air, which expands 
and moves the draperies by its gentle influences. 
Both these master-pieces of art are in the Chats- 
worth Gallery of the Duke of Devonshire. 

Thorwaldsen was the greatest master of his age 
in basso-relievo ; his highest excellence in statues 
is surpassed by the learning he displayed in low- 
relief— the most difficult part of sculptural com- 
position. It was therefore his favorite style, and 
a great proportion of his works are executed in 



this manner. Of this class, some of his minor 
works are most expressive ; besides those above 
mentioned, are his admirable versions of Death, 
Justice, Power, and Wisdom ; but the largest 
are — the Triumph of Alexander, and the Proces- 
sion to Golgotha, which is the frieze of the cathe- 
dral church of Copenhagen ; immediately below is 
the numerous group of St. John preaching in the 
Wilderness, in full relief, in the pediment: in the 
vestibule are the four great Prophets ; Christ and 
the Twelve Apostles are above and around the al- 
tar. The Triumph of Alexander, of which there 
is a copy in marble in the palace of Christianburg, 
(the first marble copy was made for Count Soraa- 
riva's villa on lake Como), is a long triumphal 
procession in two divisions, one meeting the other. 
In the centre, Alexander, in the chariot of Victory, 
and followed by his army, is met by the goddess 
of Peace, followed by Mazasus and Bagophanes 
with presents to the conqueror. The subject is 
taken from the work of Quintus Curtius; the 
frieze is mostly symbolical, and perspective is no- 
where introduced. The whole arrangement is 
admirable, especially that portion represented as 
coming from Babylon, comprising the General 
Mazaeus with his family; female figures strew- 
ing flowers; Bagophanes placing silver altars 
with burning incense; musicians and attendants 
leading horses, sheep, wild animals, and other 
presents for the conqueror ; next to these are 
symbolical representations of the river Euphra- 
tes, and the peaceful occupations of the Baby- 
lonians. The horses are inferior to the other fig- 
ures, but the human forms are admirable, as is 
also the management of the costumes. His vast 
Swiss Lion at Lucerne, was carved from a rock 
near Berne of between sixty and eighty feet in 
height. The Poniatowski monument, in the great 
square at Warsaw, is a beautiful allusion, wrought 
out in a vein of the most graceful poetry ; it is an 
equestrian composition, surmounting a fountain, 
by the water of which the horse is terrified, as if 
at the current of the river Elster. In England. 
Thorwaldsen is chiefly known by the statues of 
Jason and Lord Byron. Many years ago some 
admirers of the poet raised a subscription for a 
monument to be erected to his memory in West- 
minster Abbey. Chantrey was requested to erect 
it, but declined on account of the smallness of the 
sum subscribed ; Thorwaldsen was then applied 
to, and cheerfully undertook the work. About 
1833, the finished statue arrived at the London 
Custom House, but to the astonishment of the 
subscribers, the Dean of Westminster, Dr. Ireland, 
declined giving permission to its being set up in 
the Abbey ; and as his successor entertained the 
same views, the statue remained upwards of 
twelve years in the Custom House, and was fi- 
nally removed in 1845 to the library of Trinity 
College, Cambridge. The poet is represented of 
life size, seated on a ruin, with his left foot rest- 
ing on the fragment of a column ; in his right 
hand he holds a style up to his mouth ; in his 
left is a book inscribed '' Childe Harold :" he is 
dressed in a frock coat and cloak. Beside him on 
the left is a skull, above which is the Atlienian 
Owl. The likeness is of course posthumous. 

Thorwaldsen bequeathed all works of ait in his 
possession, including plaster casts of his own works, 
to the city of Copenhagen, for the purpose of form- 
ing a distinct museum, to be called after his own 



THOU. 



9G5 



THTJR. 



name, on condition that the city famished an ap- 
propriate building for their reception. The re- 
quisite sum was speedilj'- raised, and the building 
nearly completed before his death. Besides the 
casts of his numerous works, which alone would 
constitute an imposing collection, the Thorwald- 
sen Museum contains many works of ancient and 
modern sculpture, numerous paintings by old and 
recent masters, casts, \ ases, engraved gems, cameos, 
terracottas, bronzes, medals, curiosities, engrav- 
ings, prints of all descriptions, drawings, and books 
on the fine arts. With the exception of 12.000 
dollars to each of his grandchildren, and the life- 
interest of 40.000 to their mother, Madame Poul- 
sen (his natural daughter, born at Rome), to de- 
scend to her children, the whole of his person- 
al estate, estimated at nearly 1,000,000 dollars, 
was to be converted into capital, and to be add- 
ed to the 25,000 dollars already presented for 
the purpose by Thorwaldsen, to form a museum 
perpetual fund ; for the preservation of the museum, 
and to add to the collection ; for the purchase of the 
works of Danish artists, and for the encourage- 
ment of Danish art generally. On the day before 
his death, his monument was located, at his ex- 
press desire, in the centre of this museum. His 
unfinished works were to have been completed by 
Prof. Bissen, of the Academy of Copenhagen, who 
was also appointed Superintendent of the Thor- 
waldsen Museum. The government is under five 
trustees, two of whom are always to be professors 
in the Academy, one a magistrate of the city, and 
one a lawyer. The president of the council is to 
be the senior trustee, and all questions are to be 
decided b}^ a majority of voices. 

ftTHO[JRNEYSER, John James, 
, a Swiss engraver, born at Basle 
in 1636. He received his first 
instruction from Peter Aubry at Strasburg, and 
next went to Paris, where he resided many years. 
He engraved some portraits of distinguished per- 
sonages and other subjects, some of which are ex- 
ecuted in the style of Francis de Poilly, and others 
with single strokes, in the manner of Claude Mel- 
Ian. He engraved a part of the plates for a set of 
prints from select pictures published by Catherine 
Patin in 1691 ; also a variety of vignettes and other 
book plates. There are several of his plates in 
the Academy of Sandrart, among which are La- 
tona, the LaocoOn, and Antinous. He usually 
marked his plates with one of the above mono- 
grams. His name is sometimes written Thour- 
neysen. He died in 1718. He had a son, called 
also John James, whom he instructed in the art, 
and who assisted him in his works. He was liv- 
ing in 1736. 

THUFEL, or TEUFEL, John, a German wood 
engraver, who, according to Professor Christ, was 
a native of Saxony, flourished about 1570, and ex- 
ecuted some cuts marked with the initials I. T. F. 
He is also called the master of the picklock and 
the trefoil, and his prints date from about 1540 
to 1568. 

THULDEN, Theodore van, an eminent Flem- 
ish painter, born at Bois-le-Duc in 1607. He was 
educated in the school of Rubens, and was one of 
his most distinguished disciples. He assisted that 
master in some of his works, and is said to have had 
a considerable share in forwarding the famous pic- 
tures for the gallery of the Luxembourg. He went 



to Paris in 1633, where he was employed to paint a 
series of twenty-four pictures for the church of the 
Mathurins, representing the life of St. John of Ma- 
tha, M'hich he etched and published. On his re- 
turn to Flanders, he painted many works for the 
churches and public edifices of Antwerp, Mechlin, 
Bruges, Ghent, and other cities, so much in the 
style of Rubens, that some of them have been 
mistaken for the works of that master. He also 
painted much for individuals. He did not confine 
himself to historj'', but sometimes painted village 
festivals and the pastimes of the peasantry, in 
which he excelled. He painted small figures with 
great spirit and vigor, and frequently inserted 
them in the works of his cotemporaries, as Peter 
Neefs, Wildens, Mompers, and even in the hunt- 
ing pieces of Snj-ders. Among his most celebra- 
ted works are the Martyrdom of St. Sebastian in 
the church of the Bernardines at Mechlin ; the 
Martyrdom of St. Adrian, in the church of St. 
Michael at Ghent, and the Assumption of the Vir- 
gin, formerly in the church of the Jesuits at Bru- 
ges, which is considered his master-piece. He ex- 
ecuted a large number of etchings in a clear, firm, 
and painter-like style, the principal of which are 
a set of twenty-four plates of the life of St. John 
of Matha, from his pictures before mentioned, at 
Paris, 1633 ; a set of 58 plates of the history of 
Ulysses, after the pictures by Primaticcio at Fon- 
tainbleau, 1640; a set of eight plates of Trium- 
phal Arches designed by Rubens, for the Entry of 
Cardinal Infant Ferdinand into Antwerp, and a 
set of eight plates of the Prodigal Son, from his 
own designs. His name is sometimes erroneously 
written T\tlden. He died, according to the best 
authorities, in 1676, but Balkema says in 1686. 

THURMER, Joseph, a reputable German ar- 
chitect, was born at Munich in 1789. In 1817, 
at the age of twenty-eight, he commenced ap- 
plying himself professionally to architecture, and 
studied under Prof. Fjscher, with Gartner, Zieb- 
laud, Oehlmuller, and many others for fellow 
students. The following year he visited Rome, 
and afterwards joined Hubsch, Heger, and Koch 
in a professional excursion to Greece, where he 
spent five months in studying and drawing the 
Athenian antiquities, some few of which he pub- 
lished on his return, with the title of Ansichten 
von Athen und seine Denkmaler. 1823-6. Un- 
like some others, he was not such a prejudiced 
admirer of the Grecian style as to have no relish 
for any other, and he considered the Italian style 
of the time of Leo X., as equally worthy of the archi- 
tect's attention. Accordingly, he united with Gu- 
tensohn in bringing out the Sammlung von Denk- 
maler, &c., or a "Collection of Architectural Stud- 
ies and Buildings at Rome, of the fifteenth and 
sixteenth centuries." The first number appeared 
in 1826 ; but not meeting with the encouragement 
it deserved, the work was discontinued. Its pub- 
lication, however, was advantageous to Thurmer, 
since it recommended him to notice, and led to his 
receiving in 1827, at the same time, two different 
invitations, one from Frankfort, the other from 
Dresden, the latter of which he accepted, and was 
appointed professor-extraordinary, in the school of 
architecture. In 1832 he was promoted to the 
first professorship of architecture, in which post 
he effected much for the advancement of the art 
and the improvement of taste. He erected but 



THUR. 



966 



TIAR. 



few edifices in Dresden, the only public building 
there entirely by him being the Post-office ; the 
Hauptwache or Guard House, was erected by 
him after Schinkel's designs. Thurmer died in 
1833. In 1838 his friends and pupils erected a 
bronze bust and monument to his memory, in the 
Academy of Arts. 

THURSTON, John, an English designer, born 
at Scarborough in 1774, and died at London 
in 1822. It is not known by whom he was in- 
structed, but he was a tasteful and elegant de- 
signer, much employed by the booksellers in em- 
bellishing numerous editions of the British Poets 
and Novelists. 

THYS, Gysbrecht, a Flemish painter, born at 
Antwerp about 1625. He studied with Adrian 
Hanneman, and according to Descamps, was one 
of the ablest portrait painters of his time, in 
which he imitated the style of Vandyck so suc- 
cessfully, that his works have sometimes been 
mistaken for the productions of that master. He 
also excelled in painting landscapes, decorated with 
small figures in the manner of Poelemburg. Bal- 
kema says he died in 1684. 

THYS, Peter Joseph, a Flemish painter of 
flowers, born at Lier in 1749. He first studied in 
the Academy at Antwerp, where he gained several 
prizes, and afterwards with Koeck the flower paint- 
er, at whose house he became acquainted with 
Spaendonck, whom he accompanied to Paris. On 
his return he settled at Brussels, where he acquired 
considerable reputation. He was employed to 
paint some flower-pieces to decorate the orangery 
of the palace of Laeken, which possessed sufficient 
merit to induce the French to carry them to Paris 
in 1792. He was very skillful in imitating the 
touch and coloring of various masters, for which 
reason he was much employed in restoring old 
paintings. He died in 1823. 

TIARTNI, Alessandro, an eminent painter, 
born at Bologna in 1577. He first studied with 
Fontana, and next with Cesi, when he was obliged 
to fly from his native city on account of a fatal 
quarrel. He sought refuge at Florence, and 
became the pupil of Passignano, who conceived so 
high an opinion of his abilities, that he subsequent- 
ly became his associate in several works in Flor- 
ence, Pisa, and other cities in the state. After an 
absence of seven years, he was enabled to return 
to Bologna, through the influence of Lodovico Ca- 
racci, who highly esteemed him, leaving behind 
him a few paintings executed in his first easy style, 
resembling that of Passignano. The following ad- 
mirable account is condensed from Lanzi : " In such 
a style (of Passignano) he conducted his first work at 
Bologna, of St. Barbara, in the church of S. Petro- 
nio, which failed to please the public. To give it 
greater attractions, he next proceeded to copy 
from, and to consult Lodovico Caracci — not to at- 
tain his manner, but to improve his own ; for, 
though he sprung from another school, he profited 
as much by his example and advice as if Lodovico 
had really been his master. This was a short 
task to a man of genius, well grounded in the 
theory of his art, and perhaps more philosophical 
than any other artist in Bologna. He soon be- 
came a different painter, and in his novel taste of 
composing, of distributing his lights, and of ex- 
pressing the passions, he shone like a disciple of 
the Caracci j still, he preserved a character dis- 



tinct from the rest, grounded upon his naturally 
severe and melancholy disposition. With him, all 
is serious and moderate ; the airs of his heads, his 
attitudes, and his draperies, varied with few but 
noble folds, such as excited the admiration of 
Guido himself. He avoided, moreover, very gay 
and animated colors, chiefly contenting himself 
with light violets or yellows, and tawny colors, 
tempered with a little red ; but so admirably laid 
on and harmonized, as to produce the finest feeling 
of repose to enchant the eye. His subjects, too, 
were well adapted to his taste, generally pathetic 
or sorrowful, such as Magdalens penitent, St. Pe- 
ters and Madonnas in grief, some of which drew 
tears from the beholders, and are held in high es- 
teem. Subsequently he became expert in fore- 
shortening, and in all the intricacies of the art, more 
particularly in point of invention. There is scarce- 
ly one of his works that does not exhibit a certain 
novelty and originality of idea. When he repre- 
sented the Virgin in grief, in the church of S. Ben- 
edetto, he drew her seated together with St. John 
and the Magdalen ; the one upright, the other kneel- 
ing, and intently contemplating the Redeem- 
er's crown of thorns ; other incidents of the 
Passion are alluded to ; all are silent indeed, but 
every eye and attitude is eloquent in its silence. 
In his altar-piece of St. John and St. Jerome, in 
S. Maria Maggiore, he shunned the trite expression 
of drawing them in a glory ; but he feigned an 
apparition, through which the holy doctor, intent 
on his studies, appears to receive lectures in theol- 
ogy from the beatified Evangelist. His most dis- 
tinguished production, however, is a picture of St. 
Domenico raising a Man from the Head, in the 
church of that Saint, painted in competition with 
Lionello Spada, a work abounding in figures varied 
in point of feature, attitude, and dress, and every- 
thing highly select. Lodovico expressed his aston- 
ishment at it, and declared that he knew no master 
then to compare with Tiarini. As he survived to 
his ninetieth year, his works are exceedingly nu- 
merous. He dwelt a long time at Reggio, whence 
he often proceeded to other cities of Lombardy, 
which possess many of his altar-pieces and cabi- 
net pictures. The Modenese Gallery abounds 
with them, among which his St. Peter struck with 
remorse, as he stands outside of the prae tori um, is 
more particularly extolled; the superb architec- 
ture, the depth of night lighted up by torches, 
Christ's judgment beheld in the distance, all con- 
spire to raise the tragic interest of the scene. He 
was also employed by the Duke of Parma to dec- 
orate his garden with frescos from Tasso's Jerusa- 
lem Delivered, which were much extolled, but no 
longer exist. In short, Tiarini, next to the Carac- 
ci, was one of the most eminent artists of the Bo- 
lognese school, at least in point of composition, 
expression of the features and of the passions, per- 
spective, power and durability of coloring, if not 
of the most exact elegance." 

Other admirable works by this artist in the 
churches at Bologna are the Marriage of St. Cath- 
erine, and the Annunciation, in S. Agnes ; the Na- 
tivity, in S. Salvatore ; St. Catherine kneeling be- 
fore a Crucifix, in S. Maria Maddalena ; and a Dead 
Christ in the lap of the Virgin, in S. Antonio. 
Tiarini was also an excellent portrait painter, was 
several years in the service of the Duke of Man- 
tua, who sat to him, and appointed him to paint 
all the members of his family, which gained him 



TIBA. 



967 



TIBA. 



so much applause that all the nobility of Mantua 
flocked to him to be commemorated by his pencil. 
He died in 1668. 

TIBALDI, Pellegrino, called Pellegrino da 
Bologna, an eminent Italian painter and architect, 
was born, according to Lanzi, at Valdelsa, in the 
Milanese, in 1527. He was taken to Bologna at a 
very early age, and was subsequently placed under 
the instruction of Bartolomeo Ramenghi, called II 
Bagnacavallo. After copying some pictures of 
Giorgio Vasari in S. Michele in Bosco, and a few 
other select pieces, he went to Rome in 1547, and 
devoted his principal attention to the works of Mi- 
chael Angelo. According to Baglioni, he executed 
a picture of the Archangel Michael, for the Castel 
St. Angelo, which gained him great reputation. 
He afterwards painted the ceiling of the chapel of 
St. Denis, in the church of S. Luigi de' Francesi, 
representing a battle, composed in a grand style; 
also, in concert with Marco da Siena, he painted 
the ceiling of the Capella Rovere, in the church of 
La Trinita de Monti, from the cartoons of Daniello 
da Vol terra. The Cardinal Poggi was so highly 
pleased with these works, that he employed Tibal- 
di to ornament his villa near the Porta del Popo- 
lo, with some admirable works in fresco, and after- 
wards sent him to Bologna, to employ his archi- 
tectural talents upon his own palace, now the Pa- 
lazzo dell' Instituto, which is considered one of 
Tibaldi's principal works. Within this palace he 
executed several subjects from the Odyssey, which 
are more highly commended by Vasari than the 
works he executed in the chapel of his patron in S. 
Giacomo Maggiore, although the latter were most 
esteemed by the Caracci, particularly his pictures 
of St. John in the Desert, and the Division of the 
Just and the Unjust, upon which those eminent 
artists and their pupils bestowed a great deal of 
study. Ihey evince the greatest art of composi- 
tion, and form a most admirable school of design 
and expression. He painted almost entirely in 
fresco ; consequently his oil pieces are very rare. 
His style was principally formed upon the models 
of Michael Angelo — vast, correct in drawing, bold 
and happy in tlie foreshortenings, yet at the same 
time tempered with so much mellowness and soft- 
ness, as to induce the Caracci to denominate him the 
" Reformed Michael Angelo." Lanzi says, '* at the 
great merchants' hall at Ancona Tibaldi exhibited, 
in his picture of Hercules, the true method of imi- 
tating the terrible in the style of Michael Angelo, 
which consisted in a fear of too nearly approach- 
ing him. At Loretto, and different other adjacent 
cities, he produced other histories, less celebrated 
perhaps, but all nearly as deserving of the burin 
as those at Bologna. Such is the Entrance of Tra- 
jan into Ancona, in possession of the Marquis of 
Mancinforte ; and various exploits of Scipio, which 
decorate the halls of Marchese Ciccolini. It is a 
work conceived in a more refined and graceful taste 
than we meet with in other compositions of Tibal- 
di ; and of the same composition I have seen some 
of his pictures on a very small scale; but rare, 
like all his pieces in oil ; wrought with the exqui- 
site finish of a miniaturist ; mostly rich in figures, 
full of fine spirit, vivid coloring, and decorated 
with all the pleasing perspectives that architecture 
could afford." 

According to Lanzi and others, Tibaldi relinquish- 
ed painting about 1566, and did not touch the easel 
for twenty years. It is not known who instructed 



him in architecture, but he gained great distinction 
in that art, first at Bologna, in erecting the Pahiz- 
zo deir Instituto, for the Cardinal Poggi. He af- 
terwards designed the Palazzo della Sapienza, or 
Collegio Borromeo, at Pavia ; erected the church 
of S. Lorenzo, and that of the Jesuits, at Milan; 
the famous Loggia, at Ancona ; the church of the 
Madonna, near S. Celso, at Bologna ; restored the 
Archi episcopal palace at Milan ; and was appoint- 
ed chief architect of the Cathedral in 1570 ; also 
engineer of the Milanese State, He designed the 
fa9ade of that celebrated edifice, combining the 
Gothic and Greek styles, which has obtained for 
him about an equal amount of praise and blame. 
Tibaldi visited Genoa, and erected a number of ex- 
cellent works in that city, among which the house 
of the Jesuits, called the " Casa Professa," with 
its church, is esteemed his best performance. A 
Genoese critic thus praises this work. " A more 
than irregular situation, surrounded by narrow 
streets, was the area presented to Tibaldi, although 
the society required vast and commodious arrange- 
ments. Such, however, was the ability of the ar- 
chitect, that, in devoting the best part of the ground 
to a very elegant church, he did not omit the least 
convenience with regard to the other parts. Eve- 
ry difficulty disappeared before him, and in such a 
manner that it seemed as if he had chosen the sit- 
uation himself. Commodious offices, a large and 
light refectory, noble corridors, with excellent and 
well arranged rooms, a beautiful internal chapel, 
a large hall for recreation, and a magnificent libra- 
ry; an ample and commodious surgery, with a 
court and other conveniences, are unanswerable ar- 
guments that he not only possessed an uncommon 
genius, with an exquisite taste in decoration, but 
that he had a thorough knowledge of all that is 
required for the comfort and convenience of a great 
society. The building of the church is the most 
conclusive evidence of the sublimity of his talents, 
and his singular knowledge of decoration and pro- 
portion. It is divided into three naves. The large 
lateral chapels of the cupola are preceded by two 
others on each side, with smaller cupolas ; as has 
also the other beyond the large chapel opposite 
the small door which leads to the side aisles. 
The proportions between the heighth, width, and 
length, are superior to any in Genoa. The princi- 
pal decorations consist of the pilasters being en- 
crusted with marbles, the base of which rests on 
the pavement at the presbytery, and the others on 
a simple plinth. What, however, is most aston- 
ishing, is the ingenious manner in which the prin- 
cipal entablature, with a majestic pediment, form- 
ing a portion of a circle, supported by six columns 
of black and yellow marble of Porto Venere, is 
continued over the great altar. These columns 
are each of a single block, and though lower than 
the pilasters, are beautifully proportioned, together 
with the architrave, frieze, and cornice, which is 
continued over the pilasters with admirable effect. 
The exterior facade is in equally good taste, and 
is carried up, perhaps judiciously, only to the first 
order, since the narrowness of the street would 
have prevented the second from being seen to ad- 
vantage." 

The fame of Tibaldi gained him, in 1586, an in- 
vitation from Philip II. of Spain to visit that coun- 
try. He was employed both in architecture and 
painting; Milizia briefly states that he rebuilt the 
old royal palace, and several other works. Having 



TIBA. 



968 



TIDE. 



expun;2;od the unsuccessful productions of Federigo 
Zuccaro, in the lower cloister of the Escurial, by 
order of the king, he proceeded to paint several 
subjects in fresco, representing the Purification, 
the Fh'ght into Egypt, the Murder of the Inno- 
cents, Christ tempted in the Wilderness, the Elec- 
tion of the Apostles, the Resurrection of Lazarus, 
the Expulsion of the Money-changers from the 
Temple, and the Resurrection of Christ. These 
works completely satisfied the king, being compo- 
sed in a grand and copious sty]e, the figures models 
of correctness, designed in a free and masterly 
style, with great attention to truth and nature. 
In the great church at Madrid are several pictures 
by Tibaldi, representing St, Michael with the Fall 
of the Angels, the Mart3^rdom of St, Lorenzo, and 
two very grand compositions of the Nativity and 
the Adoration of the Magi, executed to replace 
those of Zuccaro, His most esteemed work in 
Spain, however, is the ceiling of the library, some- 
what resembling Raffaelle's School of Athens, 
where he has personified the Arts and Sciences, 
the four Doctors of the Church, with the ancient 
philosophers Socrates, Plato, Aristotle, and Sene- 
ca, accompanied with their characteristic attributes 
and insignia, with beautiful groups of children and 
figures supporting the cornice and festoons, in a 
variety of attitudes and foreshortenings ; the whole 
designed with such grandeur and expression as 
prove him a worthy follower of jMichael Angelo. 
After remaining nine years in Spain, Tibaldi re- 
turned to Italy, richl}'- rewarded by Philip, who 
conferred upon him the title of Marquis of Val- 
delsa, his native place. The time of his death is 
variously stated ; Zanotti makes it as early as 
1591, but he did not return from Spain till 1595. 
It is therefore probable that Tiraboschi is correct, 
who says he died at Milan in 1598, aged 71. 

TIBALDI, DoMENico. This artist was the 
younger brother of Pellegrino T,, born at Bologna 
in 1540 ; died in 1583. He acquired the elements 
of design in that city, and is said to have practiced 
the art of painting, but on very slender authority, 
as not even a single portrait is exhibited from his 
hand. As an architect and engraver, however, he 
attained great excellence. At Bologna he erected 
the Magnani palace, of two orders, without entab- 
latures between, producing an harmonious unity : 
although the edifice is rather diminutive, it is ar- 
ranged with such skill as to appear much larger 
than it really is. His chapel in the Cathedral was 
so greatly admired by Clement VIIL. that he ac- 
counted it superior to any similar edifice in Rome. 
Among his other works at Bologna, are the great 
door of the city palace ; the small church of the 
Madonna del Borgo ; and the admired Dogana, or 
custom house, praised by Milizia as surpassing 
any other similar work. 

As an engraver, Tibaldi executed a number of 
spirited etchings ; Bartsch mentions only nine, as 
follow, but thinks there must be many more, as 
these exhibit such a skillful management of the 
burin as is only acquired by long practice, 

1. The Repose in Egypt ; from his own design. 2. The 
Holy Trinity ; after Samacchini. 1570, 3, The Virgin 
with a Rose ; after Parmiggiano. 4. St. Francis of As- 
sisi ; copied frora two prints by C. Cort ; the landscape 
from one with the date 1567, and the figure from another 
with the date 1568, both after pictures by Girolamo Mu- 
ziano. 5. The Penitent Magdalene ; after T'itian. 6, 
Peace ; properly the Triumph of Peace ; after his own 
design. 7. Portrait of Pope Gregory XIII. ; after Pas- 



sarotti. 1572, 8. View of the grand Fountain in the Pi- 
azza ScaflSeri at Bologna, 1570. 9, The Palace, This 
view of a magnificent palace, ornamented with columns and 
statues, is from a design of G. Alghisi. It is in two plates, 
with the date 1566; but Bartsch is of opinion that there 
should be a third plate to complete the composition, as only 
the left wing and centre are shown, and there are bor- 
ders to the tops and bottoms and the left side, but none to 
the right. 

TIDEMAN, or TIEDEMAN, Philip, an omi- 
nent painter, born at Hamburg in 1657. His la- 
ther being in opulent circumstances, intended 
him for one of the learned professions, and gave 
him a liberal education ; but Philip having a pas- 
sion for painting, he permitted him afterwards to 
follow the bent of his genius, and placed him 
with Nicholas Raes, arespectablepainter of history, 
with whom he studied eight years. The fame of Ge- 
rard Lairesse next drew him to Amsterdam, where 
he became his disciple, and assisted him in the exe- 
cution of some of his most important works. 
The talents he displayed recommended him to 
public notice, and on his leaving Lairesse, he soon 
acquired a high reputation at Amsterdam, and was 
much employed in decorating the public edifices 
and the principal mansions of the nobility with 
historical and mythological subjects. In the com- 
position and handling of his subjects, he followed 
the style of Lairesse, and having had a classical 
education, he treated them with so much learaing. 
judgment, and skill, that some of his compositions 
were regarded as models for the historical painters 
of his country. Among his most admired works 
was a saloon at Hoorn, painted for the family of 
Verschuur, in which he represented the leading in- 
cidents in the History of iEneas, with classical 
propriety, and great originalit}'- of invention. As 
he passed most of his life in Holland, he is ranked 
among the painters of the Dutch school. He died 
at Amsterdam in 1705, 

TIEPOLO, Giovanni Battista, an eminent 
painter, born at Venice in 1697. Lanzi says, " he 
was the last of the Venetian artists who acquired 
for himself a great reputation, and became celebra 
ted in Italy, in Germany and in Spain." He stud- 
ied under Gregorio Lazzarini, whose careful and 
academic style served to curb the natural impetu- 
osity of his genius ; he next studied the works of 
Gio, Battista Piazzetta, whose style he imitated for 
some time, as seen in his pictures of the Shipwreck 
of St, Satiro, in the church of S. Ambrogio at Mi- 
lan. Lanzi says, " he subsequentlj'- became an as- 
siduous imitator of Paul Veronese, whom, though 
inferior to him in the airs of his heads, he very 
nearly approached in his drapery and in his color- 
ing. From the engravings also of Albert Durer, 
that store-house of composers, he derived no little 
advantage ; he also diligently studied nature, in 
observing all the accidents of light and shade, and 
the contrasts of color best adapted to produce ef- 
fect. In this branch he succeeded admirably, par- 
ticularly in his frescos, for which he seems to have 
been endued by nature, with promptness, rapi- 
dit}^ and facility in great compositions. While 
others were accustomed to display the most vivid 
colors, he only availed himself in his frescos of 
what are termed low and dusky colors ; and by 
harmonizing them with others of a common kind, 
but more clear and beautiful, he produced a species 
of effect, a sun-like radiance, unequalled perhaps 
by any other artist. Of this the grand vault of 
the Teresiani at Venice, presents a fine specimen. 



d- i 
[id I 

!V 1 



TIER 



969 



TILB. 



He there represented the Santa Casa (Heaven), ac- 
companied by numerous groups of angels iinely 
foreshortened and varied, surrounded by a field 
of light, that appears to rise into the firmament. 
An artist who could produce such vrorks on so 
grand a scale would have been truly great, had he 
succeeded in observing equal correctness in every 
part; in the whole, he always produces an agree- 
able effect. He is more correct and careful in his 
oil pieces, which are scattered throughout the me- 
tropolitan city, as well as the state." 

Tiepolo acquired an immense reputation, and ex- 
ecuted many works for the churches and public edi- 
fices at Venice, Rome, Milan, Padua, and other cities. 
He was also invited to the courts of Vienna and Mad- 
rid. He decorated the New Palace in the latter city 
with several splendid frescos, which were so much 
admired by the public, as to excite the jealousy of 
Mengs, then the popular court painter at Madrid, 
in the height of his celebrity, who severely criti- 
cised his works as defective in design, fantastical 
in composition, and meretricious in coloring. He 
was also attacked by Cochin and others, but he 
was ably defended by his friends Rossetti and Al- 
garotti. " Where there is smoke there must be 
fire," and we may doubtless take the account of 
the ever candid and judicious Lanzi as just and 
true. There are about sixty etchings by this 
master, executed with taste, neatness, and spirit, 
from his own designs, among which are a set of 
twenty-four fancy subjects, another of ten fancy 
subjects of smaller size, besides single plates after 
his principal works, of which the Adoration of the 
Magi is esteemed the best. An admirable account 
of his works at Madrid may be found in Cumber- 
land's Catalogue of Paintings in the royal palaces 
at Madrid. He died at Madrid in 1770. Zanetti 
says he died in 1769, aged 77 ; others place his 
birth in 1693. * 

TIEPOLO, Giovanni Domenfco, was the son 
of the preceding, born at Venice about 1725. He 
was instructed by his father, whose manner he fol- 
lowed. He painted some works of his own for 
the churches of Brescia and other places, but chief- 
ly wrought in conjunction with his father, whom 
he accompanied to Spain, and assisted in his 
works in the Palace at Madrid. He is supposed 
to have died there in or about 1795. We have 
about 100 spirited etchings by this artist, mostly 
from his own designs, and after the works of his 
father, executed in a style resembling that of Ben- 
edetto Castiglione. among which are the following : 

A set of twenty-seven plates of the Flight and Repose of 
the Holy Family in Egypt. The Passion of Christ ; in 
fourteen plates. A set of twenty-six Heads ; in the style 
of Benedetto. The Virgin appearing to St. Theresa ; af- 
ter Gio. Bat. Tiepolo. St, Ambrose preaching to the 
People ; do. A set of eight pieces of Satyrs, Turks, and 
Arabs. 

TIEPOLO, Lorenzo, was the youngest son of 
Gio. Battista T., by whom he was instructed in 
art, and whose style he followed both in painting 
and engraving. He etched quite a number of 
plates from his own designs, and after the works 
of his father. No farther particulars are recorded 
of him. 

TIERENDORFF,Jerem[a VAN, aFlemish paint- 
er, of whom little is known. He flourished at Ypres 
about 1626, where are two pictures by him ; one 
representing Christ delivering the Keys to St. 



Peter, in the church of St. Peter, and another of 

the Nativity, in the church of St. James. 

) I V I TILBURG, Egidius or Giles van, called 

l-C THE Elder, a Flemish painter, born at 

JLI Antwerp in 1570, according to Balkema. 
He was a cotemporary of David Teniers, the Old, 
and painted similar subjects, as village wakes and 
festivals, conversations, and peasants regaling them- 
.selves, which were esteemed in his day. He set- 
tled at Brussels, where he died in 1622. 

TILBURG, Giles van, the Younger, was the 
son of the preceding, born at Brussels in 1625. 
It is said that he received his first instruction 
from his father, at whose death he became the 
scholar of the younger Teniers, at the same time 
that Francis du Chatel studied with that master; 
and that he followed the style of Teniers with such 
success, that the latter had for some time the mor- 
tification to see the works of his pupil preferred 
to his own. The last assertion is probably as 
correct as the first, for his father died when he 
was only seven years old, David Teniers was fif- 
teen years his elder, and one of his pictures is now 
worth more than a dozen of Tilburg's. It is more 
probable that he studied with Brower, or rather, his 
pupil, Craesbecke, whose style he more closeh' 
followed. He painted similar subjects to Teniers, 
as assemblies of boors, fairs, feastings, cabarets, 
conversations, corps-de-garde, &C.5 but they bear 
no resemblance to his style. In his coloring he 
approached nearer the manner and tints of Brow- 
er, but in his pencil and touch he was infinitely 
less spirited and delicate. He had a good know- 
ledge of the chiaro-scuro, and gave his figures and 
objects a fine relief, though some of his pictures 
are too dark. His works however are held in 
high estimation in his own country, and are ad- 
mitted into the choicest collections. His name is 
sometimes written Tilborch and Tilborgh. He 
died in 1678. 

TILIUS, John, a Dutch painter, born at Bois- 
le-Duc. He painted portraits and conversations 
in the highly polished manner of Terburg. There 
are no particulars recorded of him. 

TILL, John Charles van, a German engraver, 
whose prints date as early as 1644, and who died 
in 1676. He was chiefly employed in engraving 
small portraits and other book-plates. 

TILLARD, Jean Baptiste, a French engrav- 
er, born at Paris in 1740. He studied with Fes- 
sard, whom he greatly surpassed. His works are 
very numerous, chiefly book plates, executed in a 
very neat, pleasing style. The following are among 
his principal illustrative prints. He was living 
in 1786. 

A portion of the views in Choiseul-Gouffier's Voyage de 
la Grece. The Vignettes for an edition of Tasso ; after 
Cochin. The figures for the quarto edition of Telemachus ; 
after Monnet. The greater part of the prints for the Trav- 
els of the Abbe Chappe in Siberia, A suite of Savoyards, 
with the title '• Mes Commissionnaires, mes Gens," &c. A 
Portrait of Pope Clement XIV. ; after D. Porta. Hagar 
in the Desert ; after J. Vernet. Russian Shepherds ; 
after le Prince. 

TILLEMANS, Peter, a Flemish painter, born 
at Antwerp in 1684. He is said to have excelled in 
copying the works of other masters, particularly 
the battles of Borgognone, and the landscapes of 
Teniers, in which last he preserved much of the 
freedoni and spirit of the originals. He also 



TILL. 



970 



TIMO. 



painted landscapes with small figures, sea-ports, 
and views of his own composition or from nature, 
which were esteemed. He went to England in 
1708, where he found considerable employment 
in painting views of country seats, huntings, and 
races, in which last he excelled, as he painted 
horses in great perfection. He was much pat- 
ronized by the Duke of Devonshire and Lord By- 
ron. He died at Norton, in Suffolk, in 1734. 

TILLEMANS, Simon Peter, a German painter, 
born at Bremen in 1602. Little is known of his 
earl}^ history. He went to Italy, where he ac- 
quired so much reputation as a landscape and por- 
trait painter, that he was invited to Vienna by the 
Emperor Ferdinand, whose portrait he painted, 
as well as other members of the Imperial family, 
and the most distinguished personages of the court. 
He died there in 1670. 

TILLIARD, F., a French engraver, who flour- 
ished at Paris about 1760. He engraved some 
portraits, executed with the graver, in a neat, fin- 
ished style. 

TILSON, Henry, an English painter, who 
studied, according to Lord Orfbrd, with Sir Peter 
Lely, till the death of that master, when he went 
to Rome in company with Dahl. After a resi- 
dence there of seven years, he became an excellent 
painter of portraits in oil arid crayons, but unhap- 
pily he went crazy, and shot himself. This hap- 
pened about 1687, in the 36th year of his age. 

TIMANTHES, an eminent Grecian painter, a 
native of S icy on or Cythnos, was co temporary with 
Zeuxis and Parrhasius, and flourished about B. C. 
400. His works were distinguished particularly 
for their invention and expression, and it was one 
of the chief merits of his invention, that it sug- 
gested much to be supplied by the imagination of 
the spectatoi*. Pliny says that, though in execu- 
tion always excellent, his execution is invariably 
surpassed by his conception. As an instance of 
the ingenuity of his invention, that author men- 
tions a picture of a Sleeping Cyclops, painted up- 
on a small panel, but in which the painter had 
conveyed a perfect idea of the giant's huge size, 
by adding a few satyrs measuring his thumb with 
^a thyrsus. Another work by Timanthes was the 
Stoning of Palamedes, the victim of Ulysses' re- 
venge for having proclaimed his apparent insanity 
to be feigned ; it was painted with such powerful 
expression, that Alexander shuddered when he be- 
held it at Ephesus. His most celebrated work, 
however, was that in which he bore away the 
palm from Colotes of Teos — the Sacrifice of Iphi- 
genia. The tender and beautiful virgin was repre- 
sented standing before the altar, awaiting her doom, 
and surrounded by her afflicted relatives. Much 
has been written concerning the propriety of Aga- 
" memnon's face being covered with his mantle in 
this picture. Quintilian, Cicero, and some modern 
critics, have supposed that the artist, having repre- 
sented Calchas sorrowful, Ulysses much more so, 
and having expressed intense sorrow in the coun- 
tenance of Menelaus, was in consequence compelled 
to conceal the face of the father. This criticism, 
however, can hardly be received, since Timanthes, 
whose greatest forte was expression, would cer- 
tainly not have omitted such an admirable oppor- 
tunity of displaying his powers, had he not been 
aware of the manifest impropriety of representing 
the father in any other manner than precisely that 



described. It is well known that the ancients 
considered the expression of severe grief indeco- 
rous, and that when they found themselves unable 
to repress their emotions at severe affliction, they 
concealed the face with the mantle. Moreover, not- 
withstanding many things might combine to ren- 
der his presence indispensable at the sacrifice, it 
would be unnatural to suppose that Agamemnon 
could be an eye witness to his own daughter's 
immolation ; although firmly convinced that his 
presence was necessary to sanction the dreadful 
deed, he could not look upon it. Timanthes' pic- 
ture of a Hero, in the Temple of Peace at Ron)e, 
was so perf%ct in its proportions, and so majestic 
in its expression, that it appeared to reach the ut- 
most height of the ideal. He competed with Parrh- 
asius at Samos, and gained the victory ; the sub- 
ject of the painting was the Contest of Ajax and 
Ulysses for the Arms of Achilles. 

TIMBRELL, H. This sculptor was born at 
Dublin in 1806. He studied under John Smith, 
and went to London in 1831, where he worked 
as an assistant in the studio of E. H. Baily for 
many years ; at the same time studying his art in 
the Royal Academy, having become a student of 
that institution. In 1837 he obtained the gold 
medal for the best work in sculpture, "Mezentius 
tying the Living to the Dead," and in 1843 was 
elected travelling student, which he gained by his 
group of •' Hercules throiving Lichas into the 
Sea." In 1845 he executed a beautiful group of a 
mother and two children, life-size, representing 
" Instruction." He was also engaged upon several 
important commissions, when he died at Rome, 
in 1849. 

TIMOMACHUS, an eminent Greek encaustic 
painter, and a native of Byzantium. In the com- 
mon texf of Pliny, he is said to have flourished in 
the time of Julius Caesar ( Julii Cesaris agtate) ; 
but Durand, in his Histoire de la Peinture An- 
cienne^ &c., expresses an opinion that the word 
(Btate is an addition of the copyist. According to 
Pliny, Caesar purchased two pictures in encaustic 
by this artist, for eighty Attic talents (about $80,- 
000), one representing Ajax the son of Tel anion 
brooding over his misfortunes ; the other, Medea 
about to destroy her children ; both were dedica- 
ted in the temple of Venus Genetrix. The latter 
work was unfinished, which puts it beyond a doubt 
that it was not purchased of the painter himself; 
from a passage in Cicero (In Verr., i. iv. c. 60), it 
seems equally clear that both were purchased of 
the city of Cyzicus ; and the enormous price of 
the pictures is only paralleled by the sums paid 
for the works of artists long before deceased. Pli- 
ny elsewhere mentions him, together with the 
more ancient and celebrated painters of Greece, 
with Nicomachus, Apelles, and Aristides ; and it 
is quite probable that Timomachus lived cotempo- 
raneously with Pausias, Nicias, and other encaus- 
tic painters, about B. C. 300. The two pictures 
above mentioned have been much celebrated by 
the poets ; there are several epigrams upon them 
in the Greek Anthology, and in Ovid (Trist., ii. 
525). 

Utque sedet vultu fassus Telamonius iram, 
Inque oculis facinus barbara mater habet, 

" Ajax the son of Telamon is seated, showing his 
anger by his countenance ; and the barbarous mo- 
ther betrays by her eyes the intended crime." The 



TINE. 



971 



TINT. 



unfinished picture of Medea was admired more 
than any of the finished works of Timomachus, as 
was the case with the Iris of Aristides, the Tyndaridae 
of Nicomachus, and a Venus of Apelles. Pliny 
mentions also the following works by this artist : 
an Orestes ; an Iphigenia in Tauris ; Lecythion, a 
gymnasiast ; a " cognatio nobilium" ; two philoso- 
phers or others, with the pallium, about to speak, 
one standing, and the other sitting ; and a very 
celebrated picture of a Gorgon. 

TIMOTEO, DA Urbino. See Vite. 

TINELLI, Cav. Tiberto, an eminent painter, 
born at Venice in 1586. He first studied with 
Giovanni Contarini, and afterwards with Leandro 
Bassano, whose style he imitated. According to 
Eidolfi, he not only copied the works of Bassano, 
but imitated him so successfully in design, color- 
ing, and handling, that some of his works are at- 
tributed to that master. He, however, abandoned 
historical painting for portraiture, in which branch 
he became the most eminent artist of his time. 
Lanzi says that he eclipsed his master Contarini, 
so famous in portraits, and that Pietro da Cortona, 
on beholding one of them, exclaimed that Tiberio 
bad not merely infused into it the whole soul of 
the original, but added his own. He acquired an 
immense reputation, and found abundant employ- 
ment at Venice, Rome, and Florence, among per- 
sons of the highest distinction, at his own prices. 
He treated his subjects in a novel manner, different 
from any other painter of his time. He generally 
represented his sitters under characters selected 
from sacred and profane history, and the classic 
poets, which, without injuring the likeness, gave 
interest to his pictures. Thus he represented Spi- 
nelli as Mark Antony, and his wife as Cleopatra, 
about to drink the dissolved pearls ; young and 
beautiful females he portrayed as Aurora, Diana, 
Hebe, and other poetical deities and nymphs. He 
sometimes left his pictures unfinished, except the 
heads, or enveloped a part of the bust in clouds or 
wrapt it in drapery, at the desire of the parties, 
to diminish the price. He settled at Florence. 
where he lived, greatly respected, till some domes- 
tic calamity deprived him of his reason, when he 
opened a vein and expired, in 1638, aged 52. Among 
his historical works are mentioned, the Salutation 
of the Virgin, the Last Supper, and a Paradiso 
(Heaven), with a multitude of figures, executed so 
much in the style of Jacopo Bassano that they 
might be attributed to that master. 

TINGHIUS, A. M., an artist who flourished 
about 1760, mentioned by Basan and Strutt as 
the engraver of a print of the Temptation of St. An- 
thony, from a drawing by Callot. Zani says he 
is the same as Antonio Meitinghius^ a Florentine 
engraver, who flourished in 1627. 

TINTI. Camillo, an Italian engraver, born at 
Rome about 1738. He engraved several plates af- ! 
ter the Italian masters. He was employed by | 
Gavin Hamilton, during his residence at Rome, to | 
engrave several plates for his Schola Italica Pic- \ 
turcB. 

TINTI. Giovanni Battista, a painter born at 
Parma, according to Afi'6. about 1550. He stud- 
ied with Orazio Samacchini, at Bologna, but form- 
ing an acquaintance with the younger Caracci, he i 
became attached to the school of Lodovico. He 
afterwards accompanied Annibale to Rome, where 
he resided some time. Lanzi says that he studied 
Tibaldi with great assiduity, and painted upon his 



model at S. Maria della Scala at Bologna, not 
without marks of plagiarism. " He subsequently 
established himself in his native city, where he se- 
lected for his chief model the works of Correggio, 
and next proceeded to study those of Parmiggia- 
no. The city contains many of his productions, 
both in public and in private, among which the 
Assumption, abounding with figures, in the Ca- 
thedral, and the Catino (Dome) at the Old Capu- 
chin Nuns, are accounted some of the last grand 
works belonging to the old school of Parma." 

TINTI, Lorenzo, a painter born at Bologna, ac- 
cording to Zani, in 1626, and died in 1672 ; others 
place his birth in 1634, and his death about 1700. 
He studied with Gio. Andrea Sirani. in whose st3'le 
he executed several altar-pieces and other works, 
for the churches at Bologna, the principal of which 
are the Scourging of Christ, in La Madonna del 
Piombo ; and the Virgin and Infant, with several 
Saints, in S. Tecla. He etched several plates after 
the works of Elizabeth Sirani, Guido, Francesco 
Stringa, and others. 

TINTORE. Cassiano, Francesco, and Simone 
DEL, three painters of Lucca, brothers, who were 
scholars of Pietro Paolini, and flourished in their 
native city in the latter part of the 17th century. 
Lanzi says, '■ Cassiano did not rise above mediocri- 
ty, and when one meets with an indilEFerent pic- 
ture of the school of Paolini, it is usual to ascribe 
it to Cassiano. Francesco is recognized as an able 
artist in the Visitation of the Virgin, in the apart- 
ments of the Gonfaloniere, and pieces in the Mo- 
troni collection. Simone was expert in depicting 
birds, fruit, flowers, and other objects in the infe- 
rior walks of the art." 

TINTORELLO, Jacopo, a painter of Vicenza, 
who flourished in the 15th century. Little is 
known of him. There are some of his works in 
the public edifices of Vicenza. Lanzi says he 
strongly resembles Vittore Pisanello in his style 
of coloring, though inferior to him in point of de 
sign, and that his picture of the Savior crowned 
with Thorns, at Santa Corona, reflects credit upon 
his school. 

TINTORETTO, lL,or Giacomo Robusti. The 
name of this distinguished painter was Giacomo or 
Jacopo Robusti, but he was called II Tintoretto 
because he was the son of a dyer. He was born at 
Venice, according toRidolfi, in 1512. From his in- 
fancy, he discovered a passion for painting, which 
exhibited itself by his sketching upon the walls, 
with a piece of charcoal, everything that struck 
his fancy. His father, though very poor, far from 
curbing this propensity, encouraged him, had him 
instructed in the rudiments of design, and at length 
placed him as a disciple of Titian. How long he 
remained with that master is not known ; Ridolfi 
says only ten days, which is evidently an error, as the 
best authorities agree that he studied with him 
long enough to thoroughly imbibe his principles 
of coloring, and to make such progress in design 
as to qualify him to pursue his studies without 
any further instruction. It is generally stated that 
he made such rapid progress, and showed such ex- 
traordinary genius, that Titian soon became jeal- 
ous of his talents and banished him from his 
studio. Tintoretto had then arrived at man- 
hood, and this unworthy treatment, instead of 
disconcerting him, only inspired him with the am- 
bition and determination to rival his instructor. 
Lanzi gives the following admirable account of his 



TINT. 



972 



TINT 



course after this event. " He did not aspire, like 
many of his fellow- pupils, to the name of a follow- 
er of Titian ; he burned with the ambition to be- 
come the head of a new school, which should car- 
ry^ the manner of that artist to perfection, adding 
to it all that was yet wanting ; a vast idea, the off- 
spring of a grand and fervid genius, as bold as 
it was great. Not even banishment from his mas- 
ter's school could damp his ardor. Constrain- 
ed by circumstances to confine himself to an in- 
commodious apartment, he ennobled it with speci- 
mens of his early studies. Over the door he 
wrote, ' Michael Angelo's design, and the coloring 
of Titian- ; and as he was an indefotigable imita- 
tor of the latter, so he was equally studious, both 
day and night, in copying the models taken from 
the statues of the former at Florence. To these 
ho added many more of ancient statues and bassi- 
rilievi. In a catalogue of ancient pieces of sculp- 
ture, cited by Morelli, is recorded a head of Vi- 
tellius, upon which he says Tintoretto was always 
employed in designing and learning. He was fre- 
quently in the habit of designing his models by 
lamp-light, the better to obtain strong shades, and 
thus acquire skill in the use of a bold chiaro- 
scuro. With the same view, he wrought models 
m wax and plaster, and having draped them care- 
fully, he adapted them to little houses made of 
paste-board and pieces of wood, supplying them 
through the windows with small lights, by which 
he might thus regulate his own lights and shades. 
He suspended the models themselves froui the 
ceihng by means of cords, placing them in a vari- 
et)'' of positions, and designing them from different 
points of view, the better to acquire a mas- 
tery of foreshortening as seen from below — a 
science then not so familiar to his school as to that 
of Lombardy. Nor did he neglect the study of 
anatom}'- by dissection, to obtain a thorough know- 
ledge of the muscles and the structure of the hu- 
man frame. He designed also the naked parts 
from life, as much as possible, in various shorten- 
ings and attitudes, in order to render his composi- 
tions as diversified as nature herself. By these 
studies he prepared himself to introduce the true 
method to be pursued by his followers, beginning 
with designing from the best models, and after hav- 
ing obtained the idea of a correct style, proceeding 
to copy the naked parts, and to correct their de- 
fects. To similar aids, he united a genius which 
extorted the admiration of Vasari, one of his se- 
verest critics, who pronounced it the most terrible 
of which the art could boast — an imagination fer- 
tile in ideas, and a pictorial fire which inspired 
him with vigor to conceive well the boldest char- 
acter of the passions, and continued to support 
him till he had given full expression to them upon 
his canvass. 

'•'Yet, what is the noblest genius, what are all 
the rarest qualities meeting in a single artist, with- 
out diligence, a virtue which of itself, says Cice- 
ro, seems to include all the rest ? Tintoretto pos- 
sessed it for a period, and produced works in which 
the most captious of critics could not find a shade 
of defect. Such is the Miracle of the Slave, adorn- 
ing the college of St. Mark — a piece he executed in 
his 36th year, and which is held up as one of the 
wonders of Venetian art ; the colors are Titian's, 
the chiaro-scuro extremely strong, the composi- 
tion correct and sober, the forms select, and the 
draperies studied j while equally varied, appropri- 



ate, and animated beyond conception, are the atti- 
tudes of the men assisting at the spectacle, in par- 
ticular of the saint who flies to succor, giving an 
idea of the swiftness of an aerial being. There, 
too, he painted other beautiful pieces, whose merit 
extorted from the lips of Pietro da Cortona these 
words : ' Did I reside in Venice, not a festival 
should pass without still resorting to this spot, to 
feast my eyes vrith such objects, and above all 
with the design !' His picture of the Crucifixion, 
in the College of S. Rocco, engraved by Agostino 
Caracci, is also esteemed a picture of extraordi- 
nary merit, displaying so much novelty upon a 
hackneyed subject. Nor are other examples want- 
ing of his surpassing powers in the same place, 
filled with pictures as various as new ; but for 
brevity, I shall only record the Supper of our 
Lord, now at the Salute, having been removed 
from the refectory of the Crociferi, for which it 
was painted. Those who beheld it in its place, 
write of it as a miracle of art, inasmuch as the 
construction of the place was so well repeated in 
the picture, and imitated with such knowledge of 
perspective, as to make the apartment appear 
double its real size. Nor are these three works, to 
which he affixed his name as his favorite produc- 
tions, the only ones worthj-- of his genius ; Zanetti 
enumerates many more, conducted with the most 
finished care, all exhibited to the Venetian public, 
without including those dispersed throughout the 
cities of Europe. 

'' But diligence is rarely found long united to a 
rage for achieving much ; the true source in this 
instance, as in numerous others, of false, or at 
least, inferior composition. Hence Annibale Ca- 
racci observed that in many pieces Tintoretto was 
inferior to Tintoretto, w^hile Paul Veronese, an ar- 
dent admirer of his talents, was in the habit of re- 
proaching him with doing injustice to the profes- 
sors of the art, by painting in every manner, a plan 
that went far, says Ridolfi, to destroy the reputa- 
tion of his profession. Similar exceptions will be 
found to apply to such of his works as, conceived 
at a heat, executed hy habit, and in great part 
left imperfect, betray certain errors, both in point 
of judgment and design. Sometimes there appears 
a crowd of superfluous or badly grouped figures, 
and most generally all in the most energetic ac- 
tion, without any spectators regarding them in 
quiet, as was practiced b)'- Titian, and all the best 
composers. Neither in these figures are we to look 
for that senatorial dignity which some discover in 
the works of Titian. 

" Tintoretto aimed rather at liveliness than at 
grace, and from the studied observation of the peo- 
ple of his native state, perhaps the most spirited in 
Italy, he drew models for his heads as well as his 
attitudes, sometimes applying them to the most 
important subjects. In a few specimens of his Sup- 
pers, the apostles might easily be taken for gondo- 
liers, just when their arm is raised, ready to strike 
the oar, and with an air of native fierceness, they 
raise the head to ridicule or dispute. He likewise 
varied Titian's method of coloring, making use of 
primary grounds no longer white and composed 
of chalk, but shaded, owing to which his Venetian 
pictures have felt the efiects of time more than the 
rest. Neither was the choice nor the general tone 
of his coloring the same as Titian's ; the blue or 
the ash-colored being that which predominates ; 
one which assists the effect of the chiaro-scuro as 



TINT. 



973 



TINT. 



much as it diminishes the amenity of the whole. 
In his fleshes there appears a certain vinous color, 
more particularly in his portraits. The propor- 
tions of his bodies are also different ; he does not 
affect the fulness of Titian ; he aims more at lively 
action than the latter, and sometimes attenuates 
his figures too much. The least correct portion 
of his pictures is the drapery, few of them being 
free from those long and straight folds, or flying 
abroad, or in some other way too common and 
obvious. It would be useless to insist on his want 
of judgment, or rather his pictorial extravagance." 

Lanzi, after having animadverted upon Vasari's 
terrible criticisms and wholesale condemnation of 
his works, proceeds : •' He ought to have tempered 
the severity of his criticisms, however, by admit- 
ting that, if the author of that great work (the 
Universal Judgment at S. Maria dell' Orto) had 
bestowed as much pains upon the several parts as 
upon the whole, it would have been a magnificent 
production. Even in those pictures in which he 
wished to display the talent, as it were, of an im- 
provisatore, he still vindicated his title to the name 
of a great master, in the command and rapidity of 
his pencil, in the manifestation of original powers, 
where he seems to triumph in his play of light, 
in the most difficult foreshortenings, in fanciful in- 
ventions, in relief, in harmony, and in the best sup- 
ported of his pieces, even in the beauty of his tints. 
But his sovereign merit consisted in the animation of 
his figures, it being a universal opinion, that has 
almost acquired the force of a proverb, that the 
power of action ought to be studied by artists in 
Tintoretto. Upon this point, Pietro da Cortona 
used to say that, if we observe the whole of those 
pictures which have been engraved, no artist will 
be found equal to him in the pictoric fire which he 
infused into his forms. He flourished for a long 
period, exerting his talents till he could with difii- 
culty make a catalogue of his works, still giving 
the rein to his divine ardor in many pieces of 
great size, or abounding with a great variety of 
actors." 

Few artists have encountered such a storm of 
criticism as Tintoretto, and yet his best works 
have always extorted the admiration of his sever- 
est critics. The impetuosity of his genius, and 
the extraordinary promptness of his hand, togeth- 
er with an ardent desire of embracing every op- 
portunity of distinguishing himself, induced him 
to paint several large works for the convents and 
churches of Venice almost gratuitously, as on 
several occasions, the prices he received were little 
more than enough to defray the expense of the 
materials. It is therefore not to be wondered at 
that he gave Annibale Caracci occasion to observe 
that Tintoretto was sometimes equal to Titian, and 
at others inferior to himself. Of the merits of his 
works he was fully sensible, as he particularly dis- 
tinguished three of them, which he and others re- 
garded as his masterpieces, viz., the Crucifixion in 
S. Rocco ; the Last Supper, now at S. Maria della 
Salute ; and II Servo, or the Venetian Slave, con- 
demned to Martyrdom by the Turks, invoking the 
protection of St. Mark. The last is regarded as 
his masterpiece ; it was carried to Paris by the 
French, but restored in 1815. Some of his works 
are of enormous size ; the Crucifixion is forty feet 
in length ; and two others, the Israelites worship- 
ping the Golden Calf, and the Last Judgment, are 
each about sixty feet high, filled with figures 



drawn in a grand style, with powerful coloring 
and masterly execution. Tintoretto also excelled 
in landscape and portraiture. He painted both in 
oil and fresco ; most of his great works are execu- 
ted in fresco. A just idea of his merits can only 
be formed by contemplating his numerous pictures 
in the churches, convents, public edifices, and pala- 
ces at Venice. Most of his works elsewhere only 
exhibit his infirmities. Ridolfi asserts that he 
finished some of his oil paintings almost as highly 
as miniatures, and Lanzi says there are not want- 
ing at Venice specimens to prove so improbable a 
story. He retained his powers to a great age. One 
of his last productions was his Paradiso in the 
hall of the Great Council Chamber of S. Marco, 
an immense composition, abounding in figures, 
which Lanzi says was greatly esteemed by the 
Caracci. He was probably the most expeditious 
painter that ever appeared : of this a memorable 
instance is related. The members of the confra- 
ternity of S. Rocco, at Venice, desired Paul Vero- 
nese, Tintoretto, Salviati, and Zuccaro to prepare 
each a design for a picture to represent the Apothe- 
osis of their patron Saint, or as some say of the 
Crucifixion, for their selection. On the day ap- 
pointed for their decision, instead of a design, Tin- 
toretto sent in a finished picture, so admirably ex- 
ecuted as to extort the commendation of his com- 
petitors, who termed him H furioso Tintoretto, 
unfulmine di Pennello (the furious Tintoretto and 
the lightning of the pencil). Sandrart says that 
he frequently painted without any preparatory de- 
sign, as if he only sported with his pencil, and he 
seems to have executed his ideas almost as quickly 
as he conceived them. He wrought so fast, and at 
so low a price, that few of the other painters at 
Venice could get employment. The churches and 
halls of the different communities are overloaded 
with his productions. That of St. Roch alone 
contains above sixty pictures of sacred subjects by 
him, exhibiting such an extraordinary combina- 
tion of beauties and defects as sets all criticism at 
defiance. There is a single etching by this great 
painter, from his portrait of the Doge Pacale Ci- 
conia. He died at Venice in 1594, aged 82 years. 

TINTORETTO, Domenico Robusti, usually 
called DoMENTCo Tintoretto, was the son and 
disciple of the preceding, born at Venice in 1562. 
Lanzi says that none conferred greater credit upon 
the school of Tintoretto than his son Domenico. 
" He trod in the steps of his father, but like Asca- 
nius following ^neas, ' non passibus aequis.' 
Still he boasts much resemblance in his counten- 
ances, in his coloring, and in harmony, but there 
is a wide distinction in point of genius, though 
some of his most spirited pieces have been as- 
cribed to his father, or at least suspected of hav- 
ing been chiefly indebted to his hand. ^Many works, 
however, upon a large scale, are attributed to the 
son ; those which he filled with portraits are by 
far the most commended, his merit in that branch 
having been thought by Zanetti equal to that of 
his father. One of these is to be seen in the col- 
lege of S. Marco, where, as in the rest of his com- 
positions, the figures are disposed with more so- 
briety than those of Jacopo, as well as finished 
with more care, and with more enduring colors. 
As he grew older, his style degenerated somewhat 
into that of a mannerist, which at that time much 
prevailed. By these distinctions, his productions 
may be frequently known from those of his father, 



TIOD. 



974 



TISO. 



and we may be able to refute the assertions of 
dealers, who, to obtain a higher price, indiscrimi- 
nately attribute them to Jacopo. Yet Domenico 
produced many pieces, more especially portraits, 
for different collections, besides some mythological 
and scriptural histories, which he sometimes sign- 
ed with his name, as in his picture of a penitent 
Magdalen, boasting such exquisite tints, adorning 
the Campidoglio." His principal works are in the 
Sala di Oonsiglio, and in the Scuola di S. Marco at 
Venice. He was very eminent in portraits, and 
painted many of the most distinguished persona- 
ges of his time. His works must be numerous, 
as he continued to exercise his pencil till his deathj 
in 1637, aged 75. 

TINTORETTO, Marietta Robusti, was the 
daughter of Jacopo, born at Venice in 1560. She 
was instructed by her father, and displayed great tal- 
ents in portraiture. She painted many of the 
principal personages of Venice, and acquired so 
much distinction that she was invited to the courts 
of both Vienna and Madrid, which honors she 
declined on account of her attachment to her fa- 
ther, who idolized her, and could not bear to be 
separated from her. She died in the flower of her 
life, in 1590. 

TIG, Francesco, called Francesco Tig da 
Fabriano. See Fabriano. 

TIODAS, a Spanish architect, very eminent and 
meritorious for his time, who flourished in the 9tli 
century, in the reign of Alphonso the Chaste. About 
A. D. 840, by order of that monarch, he erected at 
Oviedo, the basilica of S. Salvador, with two other 
churches at the sides, one to the Madonna, the oth- 
er to St. Miguel. The basilica was demolished in 
1380, to make room for the present Cathedral, but 
the two others remain. That of Santa Maria is 
one hundred feet wide, divided into three naves, 
with six arches, all on pedestals ; the great chapel 
and the two collateral ones are well proportioned, 
and adorned with famous marbles. The entrance 
to S. Miguel is from the Cathedral, by a flight of 
twenty-one steps, to a hall twenty feet high ; from 
which twelve steps descend to a church ornament- 
ed with many delicate works, twenty-five feet long 
and sixteen wide, the vault of which, although 
resting on the walls, appears supported by six col- 
umns of different marbles, over which are the 
twelve Apostles, two to each column. Tiodas also 
built the royal palace at Oviedo, thus highly 
praised by King Alphonso in his Chronicles : " Cu- 
jus operis pulchritudo plus prassens potest mirari 
quam eruditus scribalaudare." The church of S. 
Julius, erected by him without the walls, is said 
by Milizia to be a magnificent edifice, more re- 
sembling modern Greek than Gothic. Among the 
other works of this celebrated architect, were the 
churches of S. Maria and S. Miguel, at a short 
distance from Oviedo, erected by the desire of Don 
Kamiro, successor of Alphonso the Chaste. They 
are very highly praised by Milizia, particularly the 
latter, which he commends for its harmonious ar- 
rangement, and beautiful proportions. Tiodas 
was very highly honored, and richly rewarded by 
King Alphonso. 

TISCHBEIN, John Henry, called the Elder, 
one of the most eminent painters of the last century, 
was the fifth son of a baker of Hayna, near Gotha, 
where he was born in 1722. He was first ap- 



prenticed to an uncle on his mother's side, who 
was a locksmith ; but he displayed so much talent 
for drawing, that an elder brother, John Valentine, 
took him away from his uncle and placed him, in 
his fourteenth year, with a paper stainer and deco- 
rator of Cassel, named Zimmermann. He received, 
also, some instruction from van Freese, the court 
painter at Cassel, and soon gave proof of his abil- 
ity. Tischbein met with an early and valuable 
patron in Count Stadion, through whose assist- 
ance he was enabled, in 1743, to visit Paris, where 
he remained five years with Charles Vanloo, and 
acquired his style of painting. From Paris he 
proceeded to Venice, and there studied eight 
months with Piazzetta ; from Venice he went to 
Rome, where he remained two years ; he again vis- 
ited Piazzetta in Venice, and after a short time, in 
1751, he returned to Cassel, where, in 1752, he 
was appointed cabinet painter to the Landgrave. 

Tischbein excelled in historical and mythologi- 
cal subjects, which are his best pictures, paint- 
ed from about 1762 to 1785. Many of his sub- 
jects are taken from the ancient poets, and some 
from Tasso ; several of which are now in the Gal- 
lery at Cassel. He painted also a collection of 
female portraits, selected chiefly for their beauty, 
which is now in the palace of Wilhelmsthal, near Cas- 
sel. He also frequently copied his own pictures ; but 
nearly all his works remain in his own country, on 
which account he is little known out of it. Of all the 
great galleries in Germany, the Pinacotheca at Mu- 
nich is the only one that possesses a specimen of 
his works, and that is only a portrait. He painted 
very slowly, but was very industrious ; generally 
commencing work at five o'clock in the morning, 
in the summer-time, and remaining at his easel 
until four o'clock in the afternoon. He painted in 
the French style ; his coloring was a mixture of 
the French and Venetian, and in large composi- 
tions very gaudy ; but his drawing and chiaro- 
scuro were excellent. In costume, like many of 
the Venetian painters, he was extremely incorrect ; 
according to the critics, he generally contrived, in 
his ancient subjects, to make his actors look much 
more like Frenchmen and Germans than Greeks 
or Romans. In his religious pieces he was more 
successful : he was no follower of Lessing's theory 
of beauty, and considered beauty of little conse- 
quence. 

Tischbein was chosen a member of the Acad- 
emy of Bologna, and Director of the Academy of 
Cassel, which office he held at the time of his 
death, in 1789. In 1797, a biographical notice, 
with criticisms on his works, was published at 
Nuremberg, containing a list of one hundred and 
forty-four historical pictures by him, among which 
the following have been considered the best : the 
Resurrection, very large figures, painted in 1763, 
for the altar of St. Michael's church at Hamburg ; 
the Transfiguration, in the Lutheran church at 
Cassel, 1765 ; Hermann's Trophies after his Vic- 
tory over Varus, in the palace of Pyrmont, 1768 ; 
ten pictures of the life of Cleopatra, painted in the 
palace of Weissenstein, 1769-70 ; sixteen from the 
life of Telemachus, in the palace of Wilhemsthal ; 
an Ecce Homo, in the Roman Catholic chapel of 
Cassel. 1778 ; a Deposition from the Cross, and an 
Ascension, altar-pieces in the principal church of 
Stralsund, 1787 ; Christ on the Mount of Olives, 
an altar-piece presented by him to the church of 
his native place Hayna, 1788 ; the Death of Alces- 



TISO. 



975 



TISI. 



tis, 1780 ; and the restoration of Alcestis to her 
husband by Hercules, 1777. 

Tischbein was a man of very domestic habits : 
he had an old servant named Conrad Otto, with- 
out whom he used to say he would be perfectly 
helpless ; he had a cook, also, who lived with him 
twentj^-one years. Although twice married, he 
was a husband scarcely four years ; he married 
his first wife in 1756, by whom he had two daugh- 
ters ; he lived with her three years, when she 
died ; in 1759 he married her sister, with whom, 
however, he lived only a few months. His elder 
daughter Amalia, was a talented paintress; she 
was accustomed to sit to her father for many of 
the females in his historical works ; the Academy 
of Cassel elected her a member of their body in 
1780. After Tischbein's death, the Landgrave of 
Cassel purchased all the works that were in his 
house, and placed them together in the palace of 
Wilhelmshohe. There are a few etchings by this 
artist from his own designs, among which are the 
following. Venus and Cupid ; Cupid stung by a 
Bee, complaining to Venus ; Nymphs bathing ; 
Hercules and Omphale ; Menelaus and Paris ; 
Thetis and Achilles ; The Resurrection, after the 
picture he painted for the church of S. Michael 
at Hamburg. 

TISCHBEIN, John Henry William, called 
THE Younger, the youngest son of John Conrad 
Tischbein, and nephew of the preceding, with 
whom he is sometimes confounded, was born at 
Hayna in 1751. He was instructed in historical 
painting by his uncle John Henry of Cassel ; af- 
ter which he studied landscape painting three 
years with his uncle John Jacob at Hamburg; 
in 1770 he went to Holland, where he remained 
two years, and in 1772 returned to Cassel and 
painted portraits and landscapes ; he visited also 
Hanover and Berlin, and painted many portraits 
in both places. In 1779 he left Cassel, by the 
desire of the Landgrave, for Italy, but he spent 
about two years in Zurich, where he painted many 
portraits, and made the design of his celebrated 
picture of Conradin of Suabia, playing, after his 
sentence to death, a game of draughts with Fred- 
erick of Austria. In 1781, Tischbein arrived at 
Rome, where his first studies were some copies in 
oil after RafFaelle and Guercino, and some drawings 
after Raffaelle, Domenichino, and Leonardo da Vin- 
ci. His first original picture was Hercules choos- 
ing between Vice and Virtue ; after which he paint- 
ed his picture of Conradin of Suabia, now in the 
palace of Pyrmont. In 1787 he went to Naples, 
and the next year painted the portrait of the crown 
prince for the queen, who presented Tischbein with 
a valuable snuflf-box and 200 ducats, expressing 
her complete satisfaction with the picture. His 
reputation rapidly increased, and in 1790 he was 
appointed director of the Neapolitan Academy, 
with a salary of 600 ducats. In 1799, at the break- 
ing out of the French Revolution, he lost his post. 
but was allowed by the French authorities to re- 
turn to Germany with his eifects, consisting prin- 
cipally of the plates of his illustrations of Homer, 
his designs for Sir W. Hamilton's second collection 
of Vases, and some other works of art ; and after 
a troublesome journey of four months, he reached 
Cassel in safety. 

After his return to Germany, Tischbein resided 
principally at Hamburg, and at Eutin, in Olden- 
burg, near Lubec. His drawing was correct, and 



his expression and coloring good ; he chiefly ex- 
celled in drawing animals. Most of his pictures 
are in the possession of the Grand Duke of Old- 
enburg ; the following are three of his most cele- 
brated works: Ajax and Cassandra, painted in 
1805; "Let the little children come unto me," 
painted in 1806, for the altar of the church of S. 
Angari at Bremen; and Hector taking leave of An- 
dromache, painted in 1810. He also painted the 
portraits of Klopstock, Heyne, and Blucher. — 
While residing at Naples, he published in 1796, a 
remarkable work on animals, in two parts, folio, 
entitled Tetes des differents Animaux, dessines 
d'apres Nature^ pour donner une idee plus ex- 
acte de leurs caracteres. The first part contains 
sixteen designs of animals, and the first plate of 
this part is the celebrated design called in Italy, 
Tischbein's Laocoon, of remarkable power and 
spirit, representing a large snake attacking and 
destroying a lioness and her young in their den ; 
the second part contains eight plates only, con- 
sisting of characteristic heads of men and gods — 
Correggio, Salvator Rosa, Michael Angelo, Raf- 
faelle, Scipio Africanus, Caracal la, Jupiter, and 
Apollo. 

Tischbein's drawings for Sir W. Hamilton's col- 
lection of Vases, published at Naples in 1791, in 
4 vols, folio, amount to 214 : the work is entitled 
" A Collection of Engravings from Ancient Vases, 
mostly of pure Greek workmanship, discovered 
in Sepulchres in the kingdom of the Two Sicilies, 
but principally in the environs of Naples, du- 
ing the years 1789 and 1790; now in the pos- 
session of Sir W. Hamilton, published by William 
Tischbein, Director of the Royal Academy of 
Painting at Naples." The text, which is in French 
and English, is by Italinsky. In Gottingen, in 
1801 — 4, he published in royal folio, his fevorite 
work on Homer, with explanations by Heyne — 
Homer, nach Antiken gezeichnet von Heinrich 
Tischbein, Direcktor, &c., mit erlauterungen von 
Chr. Gottl. Heyne, i. vi. ; each number contain- 
ing six plates, the portraits of the Homeric heroes 
being engraved by Morghen. Tischbein also pub- 
lished other works, and etched several plates, after 
Paul Potter, Roos, Rosa da Tivoli, Rembrandt, 
&c. He died in 1829. There were several other 
artists of this family, of various degrees of merit ; 
but they are unknown out of their own circles. 

TISCHLER, Anthony, a German engraver, 
who flourished from abo#t 1750 to 1775. He en- 
graved among others, a part of the plates for the 
collection of prints, from the pictures in the collec- 
tion of Count Bruhl. 

TISIO, or TISI, Benvenuto, called II Garo- 
FOLO. This eminent painter, ranked at the head 
of the Ferrarese school, was born in 1481. There 
is a good deal of discrepancy about him, which is 
thus explained by Lanzi : " Besides Benvenuto 
Tisio, surnamed Garofolo, from the place of his 
nativity, in the Ferrarese territory, there flourished 
at the same period, Gio. Battista Benvenuto, said 
by some to have been also a native of Garofolo, but 
called from ,his father's occupation, Ortolano (the 
Gardener) ; hence mistakes have been made as to 
his name, and our dilettanti have often been be- 
trayed into errors, both from resemblance of nai!)!j 
and style, so far as even to mistake the portiivit 
of Ortolano for that of Tisio, and as such it is in- 
serted in the edition of Vasari, published at Bo- 



TIST. 



976 



TITI. 



logna. Several of the altar-pieces of the former 
have been transferred into the Koman galleries, 
where they are attributed to the latter, whose first 
manner, being more careful than soft and tasteful, 
may easily be mistaken for that of Ortolano. 

" Tisio received his first education under Dome- 
nico Panetti, from whose school he went to Cre- 
mona and studied with Niccolo Soriani, his mater- 
nal uncle, and next under Boccaccio Boccaccino. On 
the death of Niccolo in 1499, he proceeded to Rome, 
where he resided fifteen months with Gian Bal- 
dini, a Florentine. Thence he traveled through 
various Italian cities, remained two years with 
Lorenzo Costa in Mantua, and then returning for 
a short time to Ferrara, finally proceeded back to 
Rome. These circumstances I relate, because there 
are a number of Benvenuto's works to be met with 
at Ferrara and elsewhere, which partake little or 
nothing of the Roman style, though not excluded 
as apocryphal, but attributed to his earlier age. 
After remaining a few years with Rafifaello, (about 
two years according to most authors, and Lanzi 
himself says in another place, ' only a short time, 
but sufficient to enable him to become the chief 
of the Ferrarese school,') his domestic afiairs re- 
called him to Ferrara. Having arranged these, 
he prepared to return to Rome, but at the solici- 
tations of Panetti, and still more, by the commis- 
sions of Duke Alphonso, he remained in his native 
place and engaged with the Dossi in immense un- 
dertakings at Belriguardo and other places. It is 
observed by Baruffaldi, that the degree of Raf- 
faellesque taste to be traced in the two Dossi, is 
to be attributed to Tisio. He conducted a great 
number of other paintings both in oil and fresco. 

" The most happy period of Tisio dates from 
1519. when he painted the Murder of the Inno- 
cents in S. Francesco at Ferrara ; availing himself 
of earthen models, and copying draperies, land- 
scapes, and in short, everything from the life. In 
the same church, is his Resurrection of Lazarus, 
and his celebrated Taking of Christ, commenced 
in 1520. and finished in 1524. No finer works ap- 
peared from his hand ; nor better composed, more 
animated, or conducted with more care and softness 
of coloring ; there only remains some slight traces 
of the fourteenth century in point of design, and 
some little affectation of grace, — if the opinion of 
Vasari be correct. The district formerly abound- 
ed with similar specimens of his works in fresco ; 
and they are also met wi^h in private, as that frieze 
in a chamber of the Seminary, which in point of 
grace and Raflfaellesque taste is worthy of the 
burin. Many of his works in oil remain in the 
churches and private collections of Ferrara, at once 
so numerous and so beautiful as alone to suffice for 
the decoration of a city. His St. Peter Martyr, 
in the church of the Dominicans, supposed by 
some to have been painted in competition with 
Titian's great picture of the same subject, and in 
case of its loss, to have been able to supply its 
place, is a picture remarkable for its force; his 
Helen too, of a more elegant character, at the same 
place, is greatly admired, this gracefulness forming 
one of Benvenuto's most peculiar gifts. And in- 
deed, not a few of his Madonnas, his Virgins, and 
his boys, which he painted in his softest manner, 
have occasionally been mistaken for the works of 
Rafifaello. His picture of the Princes Corsini de- 
ceived good judges, as we are informed by Bot- 
tari, and the same might have happened with the 
portrait of the Duke of Modena, and others scat- 



tered throughout the Roman galleries, where are 
many of his pieces on a large scale, particularly 
in the Chigi palace. All these must be kept in 
view, in forming an estimate of the merits of Garo- 
falo. His little pictures, consisting of scripture 
histories, are very abundant in difi'erent cabinets, 
the Prince Borghese alone being in possession of 
about forty ; and although they bear his mark, a 
gilly-flower or violet, they were, I suspect, the pro- 
ductions of his leisure hours. Those in his style 
without this mark, are frequently the works of Pa- 
nelli, who was employed along with him ; others are 
copies or repetitions by his pupils, who must have 
been numerous during so long a period." Lanzi 
in again briefly noticing him under the head of the 
Roman school says, "He imitated Rafifaello in 
design, in the character of his faces, and in expres- 
sion, and also considerably in his coloring, al- 
though he added something of a warmer and 
stronger cast, derived from his own school. — 
Rome, Bologna, and other cities, abound with 
his pictures from the lives of the Apostles. They 
are of various merit, and not wholly painted by 
himself. In his large pictures he stands more 
alone, and many of these are to be found in the 
Chigi Gallery. The Visitation of the Virgin, in 
the Palazzo Doria, is one of the finest pieces in 
that rich collection. This artist was accustomed, 
in allusion to his name, to mark his pictures with 
a violet (clove pink), which the common people 
of Italy call garofolo. It does not appear from 
Vasari, Titi, and Taj a, that Garofolo had any 
share in the works executed by Rafifaello and his 
scholars." 

Tisio, though he devoted himself mostly to sa- 
cred history, was an universal painter. He was 
almost equal to Rafifaelle in portraits, and he oc- 
casionally painted landscapes in the highest excel- 
lence, two specimens of which are in the Palazzo 
Zampieri at Bologna. His works are extreme- 
ly valuable, and scarcely to be found out of Italy. 
There is a fine specimen of his easel pictures in the 
English National Gallery, called the Vision of St, 
Augustine. He is generally called by the Italian 
writers 7Z Garofolo^ from his mark, though some 
say, da Garofolo^ from the place of his nativity, 
near Ferrara. It is generally stated that he was 
born at Ferrara. He had the misfortune to lose 
the sight of one of his eyes, yet he contrived to 
paint with as much beauty and correctness as 
ever, till his sixty-ninth year, when he became to- 
tally blind. He survived nine years, and died in 
1559. 

TITI, Santo di, an eminent Italian painter and 
reputable architect, was born at Citt^ San Sepol- 
cro, in the Florentine state, in 1538. According 
to Lanzi, he studied under Agnolo Bronzino and 
Cellini. He visited Rome, where Baldinucci says 
he entered the school of Baccio Bandinelli, and 
studied for a long time in that city. While resi- 
ding there, he was employed upon some subjects in 
the chapel of the Palazzo Salviati, and painted a 
St. Jerome in S. Giovanni dei Fiorentini, besides exe- 
cuting several works in the Belvidere of the Vati- 
can. By designing with great assiduity after the 
antique, and the works of the best masters, he re- 
turned to Florence with a style full of science and 
grace. Lanzi says '• his beautiful is without much 
of the ideal; but his countenances exhibit a cer- 
tain fullness, an appearance of freshness and healtli, 
that is surpassed by none of those who took na- 
ture for their model. Design was his characteris- 



TITI. 



977 



TITI. 



tic excellence, and for this he was commended by 
his imitator, Salvator Rosa. In expression he 
had few superiors in other schools, and none in 
his own. His ornaments are judicious, and he in- 
troduced perspectives that imparted a dignity and 
a charm to his compositions. He is esteemed the 
best painter of this epoch, and belongs to it rather 
from the time in which he lived than his style ; if 
we except his coloring, which was too feeble, and 
without relief." He seems to have devoted his 
chief attention to design and expression, and Bor- 
ghini says that he was not deficient in coloring 
when he chose to exert his powers, as in the Feast 
of Emmaus, in the church of S. Oroce at Flor- 
ence, and in the Resurrection of Lazarus, in the ca- 
thedral at Volterra, There are also several of his 
works in the private collections at Florence, among 
which is his greatly admired Baptism of Christ 
by St. John, in the Palazzo Oorsini, commended 
for its elegant and graceful composition, correct 
design, and vigorous coloring. Lanzi says that 
his picture of the Faithful receiving the Holy 
Spirit by the laying on of the Apostles' hands, 
may be viewed with pleasure, even after the three 
by Raffaelle, which adorn that city. 

It is not mentioned who was the instructor of 
Titi in architecture, but as Lanzi says he studied 
under Benvenuto Cellini, it is probable that he ob- 
tained a knowledge of the art from that master, 
although the latter principally employed his tal- 
ents in sculpture. Titi's architectural works were 
principally distinguished for correctness in the 
proportions. Among the principal were the Villa 
Spini at Peretola ; his own house, and the Casa 
Dardanelli at Florence. He was frequently en- 
gaged upon the decorations of splendid festivals, 
particularly those celebrated at the nuptials of the 
Duke de Bracciano. Titi was honored by the 
Florentines with the freedom of the city. He 
died in 1603. 

TITI, TiBERio, was the son of the preceding, 
born at Florence in 1578. He studied with his 
father, but chiefly devoted himself to portraiture, 
which he practiced with success. He had a singu- 
lar talent for painting small portraits in Vermil- 
lion (some say red lead), and was continually em- 
ployed by Cardinal Leopold de Medici, who ad- 
mitted them into his collection, which now forms 
a single cabinet in the Florentine Gallery. He 
was, however, capable of exercising his talents in 
a higher branch ; he finished a picture of the 
Last Supper, began by his father and left incom- 
plete at his death, in which he imitated the man- 
ner, touch, and tone of coloring so exactly, that it 
gained him general applause. He died in 1637. 

TITIAN. The name of this illustrious painter 
was Tiziano Yecellio or Vecelli. and he is called 
by the Italians. Tiziano Vecellio da Cadore. He 
was descended of a noble family, and born at the 
castle of Cadore in the Friuli in 1477. and died in 
1576, according to Ridolfi ; though Vasari and San- 
drart place his birth in 1480. Lanzi says he died 
in 1576, aged 99 years. He early showed a pas- 
sion for the art, which was carefully cultivated 
by his parents. Lanzi says in a note, that it is 
pretty correctly ascertained that he received his 
first instruction from Antonio Rossi, a painter of 
Cadore ; if so, it was at a very tender age, for 
when he was ten years old he was sent to Trevigi. 
and placed under Sebastiano Zuccati. He subse- 
quently went to Venice, and studied successively 



under Gentile and Giovanni Bellini. Giorgione 
was his fellow-student under the last named mas- 
ter, with whom Titian made extraordinary pro- 
gress, and attained such an exact imitation of his 
style that their works could scarcely be distin- 
guished, which greatly excited the jealousy of Bel- 
lini. There is some little discrepancy among au- 
thors as to this period of Titian's history. It is 
universally stated that Giorgione was the first of 
the Venetian painters who broke through the dry 
and Gothic style that prevailed at that time in the 
Venetian school, and introduced a freedom of out- 
line, a boldness of handling, a force of coloring, 
and a vigorous effect of chiaro-scuro before un- 
known ; that Titian followed the manner of the 
Bellini till he saw the works of Giorgione, when 
he immediately changed his style; that when he 
was only eighteen years of age, he painted the por- 
trait of the head of the noble family Barbarigo in 
so admirable a style that it excited universal ad- 
miration ; that, soon afterwards, he was em- 
ployed in conjunction with Giorgione to paint the 
two fronts of the Fondaco de Tedeschi, and that 
his portion of the undertaking was preferred to 
his competitor, and established his reputation. 
Now Giorgione was certainly Titian's fellow-pupil 
under Gio. Bellini, whom Durer pronounced the 
best painter of his time ; and he was of the same 
age if Ridolfi's statement is correct, both being 
born in 1477. It is also stated by Ridolfi and 
others, that Titian painted in the labored style 
characteristic of the school in which he was bred, 
until, seeing the works of Giorgione, he resolved to 
change his style, and accordingly formed an ac- 
quaintance with that master, and painted in con- 
junction with him till the friendship was dissolved 
by jealousj^, never afterwards to be renewed ; that 
Titian's first works in his own original st3'^le were a 
picture of the angel Raphael conducting the young 
Tobias, and another of the Presentation in the 
Temple ; and that on the death of Giorgione in 
1511, he succeeded him in several important com- 
missions in which he was employed. One of his 
most extraordinary early performances was a pic- 
ture of Christ and the Tribute Money, painted in 
competition with Albert Durer. finished in the 
minute style of that master. Lanzi says that all 
his earliest productions were executed in a more 
minute and labored style than that of Durer. He 
further says that a few of his early portraits can- 
not be distinguished from those of Giorgione. — 
He also says that, " the first specimen he is known 
to have produced altogether in the Titian manner 
is preserved in the sacristy of St. Marziale, repre- 
senting the Archangel Raphael with Tobias at his 
side, painted in the 30th year of his age." Here then 
we have a key to some important facts. Durer was 
in Italy twice— first in 1495, and next in 1506, in 
which year the Tribute Money must have been 
painted, and the Angel and Tobias in the following 
year 1507, or in 1510, according to the time of his 
birth. These facts are important, because they 
show that Titian did not manifest that precocity 
of genius claimed for him, except in imitation. 
He did not, like Giorgione, on leaving Bellini, 
strike out into a new, bold, and original style, but 
he followed in his course ; and his own origi- 
nal manner was the result of a diligent study of 
nature, of patient labor, and mature judgment. 

On the death of Giorgione, Titian rose rapidly 
into lavor. He was soon afterwards invited to the 
court of Alphonso, Duke of Ferrara^ for whom he 



TITI. 



978 



TITI. 



painted his celebrated picture of Bacchus and Ari- 
adne, and two other fabulous subjects, which still 
retained somewhat of the style of Giorgione. It 
was there that he became acquainted with Ariosto, 
whose portrait he painted, and in return the poet 
spread abroad his fame in the Orlando Furioso. 
In 1523, the Senate of Venice employed him to 
decorate the Hall of the Council Chamber, where 
he represented the famous Battle of Cadore, be- 
tween the Venetians and the Imperialists — a grand 
performance, that greatly increased his reputation. 
This work was afterwards destroyed by fire, but 
the composition has been preserved by the burin 
of Fontana. His next performance was his cele- 
brated picture of St. Pietro Martire, in the church 
of SS. Giovanni e Paolo, at Venice, which is gene- 
rally regarded as his master-piece in historical 
painting. This picture was carried to Paris by the 
French, and subsequently restored by the Allies. 
Notwithstanding the importance of these and other 
commissions, and the great reputation he had acquir- 
ed, it is said, though with little probability of truth, 
that he received such a small remuneration for his 
works, that he was in actual indigence in 1530, 
when the praises bestowed upon him in the writ- 
ings of his friend Pietro Aretino, recommended 
him to the notice of the Emperor Charles V., who 
had come to Bologna to be crowned by Pope Clem- 
ent VII. Titian was invited thither, and painted 
the portrait of that monarch, and his principal 
attendants, for which he was liberally rewarded. 
About this time, he was invited to the court of the 
Duke of Mantua, whose portrait he painted, and 
decorated a saloon in the palace with a series of 
the twelve C^sars, beneath which Giulio Romano 
afterwards painted a subject from the history of 
each. In 1543, Paul HI. visited Ferrara where 
Titian was then engaged, sat for his portrait and 
invited him to Rome, but previous engagements 
with the Duke of Urbino, obliged him to decline 
or defer the invitation. Having completed his un- 
dertakings for that prince, he went to Rome at the 
invitation of the Cardinal Farnese in 1548, where 
he was received with marks of great distinction. 
He was accommodated with apartments in the 
palace of the Belvidere, and painted the pope, Paul 
III., a second time, whom he represented seated 
between the Cardinal Farnese and Prince Ottavio. 
He also painted his famous picture of Danae, 
which caused Michael Angelo to lament that Ti- 
tian had not studied the antique as accurately as 
he had nature, in which case his works would have 
been inimitable, by uniting the perfection of color- 
ing with correctness of design. It is said that 
the Pope was so captivated with his works that he 
endeavored to retain him at Rome, and offered him 
as an inducement the lucrative office of the Lead- 
en Seal, then vacant by the death of Fra Sebas- 
tian© del Piombo, but he declined on account of 
conscientious scruples. Titian had no sooner re- 
turned from Rome to Venice, than he received so 
pressing an invitation from his first protector, 
Charles V., to visit the court of Spain, that he 
could no longer refuse, and he accordingly set out 
for Madrid, where he arrived at the beginning of 
1550, and was received with extraordinary honors. 
He was appointed a gentleman of the Emperor's 
bed-chamber, who conferred upon him the order of 
St. Jago, and made him a Count Palatine of the 
Empire. He did not grace the great artist with 
splendid titles and decorations only, but showed him 



more solid marks of his favor, by bestowing upon il 
him life rents in Naples and Milan of two hundred J 
ducats each, annually, besides a munificent com- i| 
pensation for every picture he painted. He also 'i 
frequented his studio, and treated him with extra- ' 
ordinary familiarity. On one occasion, the pencil 
falling out of Titian's hand, Charles picked it up 
and presented it to the astonished painter, saying, 
" It becomes Caesar to serve Titian." After a resi- 
dence of three years at Madrid, he returned to 
Venice, whence he was shortly afterwards invited 
to Inspruck, where he painted the portrait of 
Ferdinand, king of the Romans, his queen and 
children, in one picture. Though now advanced 
in years, his powers continued unabated, and 
this group was accounted one of his best pro- ,, 
ductions. He afterwards returned to Venice, 
where he continued to exercise his pencil to the 
last year of his long life. 

Such is the contrariety of opinion among the 
most eminent critics as to the real powers and 
merits of this illustrious painter, that the learned 
Lanzi himself, accustomed to contemplate his 
works all his days, modestly declines entering the 
contest, but gives the following admirable summa- 
ry from the best authorities. He says : " From 
the works he painted in the zenith of his fame, his 
critics have gathered the general idea of his style, 
and the greatest contest they have among them- 
selves relates to his design. In this contest of 
opinion between true judges of the art, I shall de- 
cline interfering with my own, observing only, in 
justice to so extraordinary a genius, that if happier 
combinations had led him to become familiar with 
more profound maxims of design, he would prob- 
ably have ranked as the very first painter of the 
world. For he would have been allowed to be the 
first and most perfect in design, as he is by all 
allowed to have no equal in coloring. 

'•' By Mengs he is denied the title to rank among 
good designers, considering him in this respect an 
artist of ordinary taste, by no means familiar with 
the antique, however well he might have succeed- 
ed in its study, had he devoted his attention to it, 
possessing so very exact an eye in copying objects 
from nature. Vasari appears to be of the same 
opinion, where he introduces Michael Angelo ob- 
serving, after viewing the Danae of Titian, ' that it 
was a great pity the Venetian artists were not earlier 
taught how to design." The judgment formed of 
him by Tintoretto, though placed in competition 
with him, was less severe, namely, ' that Titian had 
produced some things which it was impossible to 
surpass, but that others might have been more 
correctly designed.' And among these more ex- 
cellent pieces he might indisputably have included 
his St. Pietro Martire, in SS. Giovanni e Paolo, a 
piece, says Algarotti, ' which the best masters 
have agreed in pronouncing free from every shade ot 
defect' ; besides that fine Bacchanal, and a few 
others, ornamenting a cabinet of the Duke of Fer- 
rara, and declared by Agostino Caracci prodigies 
of art, and the finest paintings in the world. 
Fresnoy was of opinion that in the figures of his 
men he was not altogether perfect, and that in his 
draperies he was somewhat insignificant ; but that 
many of his women and boys are exquisite, both in 
point of design and coloring. This commendation is 
confirmed by Algarotti in respect to his female forms, 
and by Mengs in those of his boys. Indeed, it is 
almost universally admitted that in such kind of fig- 



TITI. 



979 



TITI. 



ures no artist was ever comparable to him ; and 
that Poussin and Fiammingo, who so greatly ex- 
celled in this particular, acquired it only from Ti- 
tian's pictures. Sir Joshua Reynolds also affirms, 
that 'although his style may not be altogether as 
chaste as that of other schools of Italy, it never- 
theless possesses a certain air of senatorial digni- 
ty ; and that he shone in his portraits as an artist 
of the highest character' ; and he concludes by ob- 
serving that he may be studied with advantage 
even by the lovers of the sublime. 

''Zanetti assigns him the first rank in design 
among all the most distinguished colorists ; assert- 
ing that he was much devoted to the study of anat- 
omy and copying from the best antique ; but sup- 
poses that he was not ambitious of affecting an 
extensive knowledge of the muscles, nor aimed at 
displaying an ideal beauty in his contours. For 
the rest, he adds that the Titian manner was uni- 
formly elegant, correct, and dignified in its female 
forms and in its boys ; elevated, great, and learned 
for the most part, in those of its men ; while in 
testimony of his naked figures, he adduces the his- 
tory pieces in the sacristy of La Salute, whose 
beauty of design appears to triumph, even in the 
extremities, while it boasts the rare merit of a 
striking acquaintance with the science of foreshort- 
ening, both appearing blended together. Had the 
historian been desirous of extending his notice to 
such works as are to be found in foreign parts, he 
might have added much valuable matter upon the 
subject of his bacchanals, and his pictures of Ve- 
nus, one of which in the Florentine Gallery, was 
justly thought to vie with that of the Medici her- 
self, the most exquisite triumph of Grecian art. 
For his skill in draperies, Zanetti further cites the 
example of his St. Peter, painted on an altar of 
the Casa Pesaro, with a very artificially wrought 
mantle, adding, that he occasionally sacrificed the 
appearance of the drapery, purposely to give relief 
to some neighboring object. 

*' Many critics have pushed the inquiries from 
the artist, into the peculiar character of his 
chiaro-scuro, and the most copious among these 
is Signor Zanetti, who devoted years to its ex- 
amination. I select some of his observations, 
premising however that he left a large portion of 
them to the m.ore studious, desirous themselves 
of developing them, in the works of Titian. And 
in truth, his pictures are the best masters to direct 
us in the right method of coloring, but like the an- 
cient classics, that are equally open and equally 
the subjects of commentary to all, they are only 
of advantage to those who are accustomed to re- 
flect. I have already mentioned the lucid clear- 
ness predominating in Venetian paintings, more 
especially in those of Titian, whom the rest adopt- 
ed for their model. I then pronounced it to be 
the result of very clear prim.ary groundmg. upon 
which a repetition of colors being laid, it produces 
the effect of a transparent veil, and renders the 
tints of a cast no less soft and luscious than lucid. 
Nor did he adopt any other plan in his strongest 
shades, veiling them with fresh color when dry ; 
renewing, invigorating them, and warming the 
confines that pass into the middle tints. He avail- 
ed himself very judiciously of the powers of shade, 
forming a method not altogether that of a mere nat- 
uralist, but partaking of the ideal. In his naked 
forms, he cautiously avoided masses of strong 
shade and bold shadows, although they are some- 



times to be seen in nature. They certainly add to 
the relief, but they much diminish the delicacy of 
the fleshy parts. Titian for the most part affected 
a deep and glowing light ; whence, in various gra- 
dations of middle tints, he formed the work of the 
lower parts; and having very resolutely drawn 
the other parts, with the extremities stronger per- 
haps than nature, he gave to objects that peculiar 
aspect which presents them, as it were, more live- 
ly and pleasing than the truth. Thus, in his por- 
traits he centres the chief power in the eyes, the 
nose, and the mouth, leaving the remaining parts in 
a kind of pleasing uncertainty, extremely favora- 
ble to the spirit of the heads, and to the whole 
effect. 

" But since the variations of depth and delicacy of 
shades are insufficient, without the aid of colors, 
in this branch he likewise found for himself an 
ideal method, consisting of the use, in their respec- 
tive places, of simple tints, copied exactly from 
life, or of artificial ones, intended to produce the 
illusion required. He was in the habit of employ- 
ing only few and simple colors, but they were such 
as afibrded the greatest variety and contrast ; he 
knew all their gradations, and the most favorable 
moments for their application and opposition to 
each other. There appears no effort, no degree of 
violence in them, and that striking diversity of 
colors which seems to strive, one above another, for 
the mastery, as it were, has all the appearance of 
nature in his pictures, though really an effect of 
the most bold and arduous art. A white dress, 
placed near a naked figure, gives it all the appear- 
ance of being mingled with the warmest crimson, 
while he employed nothing beyond simple terra 
rossa, with a little lake in the contours, and to- 
wards the extremities. Certain objects, in them- 
selves dark and even black, produce a similar ef- 
fect upon his canvass ; and which, besides enliven- 
ing the adjacent color, give force to the figures, 
wrought, as before stated, with gradual middle 
tints. It is said to have been his favorite maxim, 
transmitted to us by Boschini, that whoever as- 
pires to become a painter, must make himself ac- 
quainted with three colors, and have them ready 
upon his palette, namely — white, red, and black; 
and that an artist, while attempting the flesh parts, 
must not expect to succeed at once, but by repeat- 
ed application of opposite tints, and impasting of 
his colors. 

" Here I shall subjoin some observations by the 
Cav. Mengs, who entered so deeply into the Titian 
manner. He pronounces him the first who, sub- 
sequently to the revival of painting, knew how to 
avail himself of the ideal, as it were, of difierent 
colors in his draperies. Before his time, all colors 
had been applied indifferently, and artists used 
them in the same manner for the clear and for the 
obscure. Titian was aware, if indeed he did not 
acquire this knowledge of Giorgione, that red 
brings objects nearer to the eye, that yellow retains 
the rays of light, that azure is a shade, and adapt- 
ed for deep obscure. Nor was he less intimate 
i with the effects of juicy colors, and was thus ena- 
i bled to bestow the same degree of grace, clearness 
of tone, and dignity of color, upon his shades and 
middle tints, as upon his lights, as well as to mark 
with great diversity of middle tints, the various 
complexions and various superficies of bodies. No 
other artist, likewise, was more accurately ac- 
quainted with the mutual power or equipoise of 



TITI. 



980 



TITI. 



the above three colors, upon which the harmony 
of pictures so much depends ; an equipoise, too, so 
difficult in practice, to which not even Rubens, 
however excellent a colorist, perfectly attained. 

" Both Titian's inventions and compositions par- 
take of his usual character ; he produced nothing 
in which nature was not consulted. In the num- 
ber of his figures he is inclined to be moderate ; and 
in grouping them, he displays the finest unshackled 
art — an art he was fond of exemplifying by com- 
parison with a bunch of grapes, where a num- 
ber of single ones compose the figure of a whole, 
agreeably rounded, light through the openings, dis- 
tinct in shades, in middle tints, and in lights, ac- 
cording as it receives more or less of the solar 
rays. No contrasts are to be met with in his com- 
positions that betray a studied efiect ; no violent 
action that is not called for by the incidents of the 
story ; the actors in general preserve their digni- 
ty, and a certain composure, as if each seemed to 
respect the assembly of which he formed a part. 
Whoever is attached to the taste of the Greek 
bassi-rilievi, in which all is nature and propriety, 
will invariably prefer the sober composition of 
Titian to the more fiery one of Paul Veronese 
and Tintoretto. Neither was Titian ignorant of 
those strong contrasts of limbs and action, then in 
such high vogue with his countrymen ; but these 
he reserved for his bacchanals, his battle-pieces, 
and other subjects which called for them. 

" It is admitted on all hands that as a portrait 
painter, he was quite incomparable ; and to this 
species of excellence he was in a great part indebt- 
ed for his fortune, smoothing, as it did, his recep- 
tion into some of the most splendid courts of Eu- 
rope. He was not less successful in depicting the 
passions of the mind. The Death of S. Pietro 
Martire, at Venice, and that of a devotee of St. An- 
thony, at Padua, display scenes than which I know 
not whether painting can afford us anything more 
terrific in the ferocity of those who strike, or more 
full of compassion in the whole attitude of the 
falling saint. And thus the grand picture of the 
Coronation of Thorns, in the Grazie at Milan, 
abounds with powers of expression that enchant 
us. He has also left us not a few examples of cos- 
tume, and of erudition in the antique, every way 
worthy of imitation, as we may observe in the 
Coronation above mentioned, where, desirous of 
marking the precise period of the event, he insert- 
ed in the Praetorium a bust of Tiberius, an idea that 
could not have been better conceived either by Raffa- 
ello or Poussin. In his architecture, he sometimes 
availed himself of other works, particularly those 
of Rosa of Brescia; but his perspectives, like 
that of his Presentation, are extremely beau- 
tiful. He was equalled by none in landscape ; and 
he was careful not to employ it as a mere embel- 
lishment, like some artists, who esteem them- 
selves so highly in this particular, that they hard- 
ly scruple to present us with cypress trees grow- 
ing out of the sea. But Titian always makes his 
landscapes subservient to history, as in that hor- 
rific wood, whose dreary aspect adds so much to 
the solemnity of St. Peter's death ; or to give force 
to his figures, as we perceive in those pieces where 
the landscape is thrown into the distance. His nat- 
ural manner of representing the various effects of 
light, may be best gathered from the Martyrdom of 
St. Lorenzo, belonging to the Jesuits at Venice, in 
which he displayed such an astonishing diversity 



in the splendor of fire, in that of torch-lights, and 
in that of a supernatural light falling upon the 
martyr. He likewise expressed, with the utmost 
felicity, the time of the day in which the event is 
supposed to have taken place, and he frequently 
selected night-fall, drawing forth all its most beau- 
tiful attributes for the canvass. 

" From the whole of this it may be inferred that 
Titian is not to be included in that class of Vene- 
tian artists whose rapidity of hand overpowered 
their judgment, rendering them somewhat care- 
less and inaccurate ; though at the same time we 
must speak of his celerity with some degree of 
reservation. A freedom of pencil must doubtless 
be granted him, and he thus applied it without 
failing in point of design, to his paintings in fresco, 
as they are to be seen at Padua, and which in 
some measure compensate us for the loss of those 
in the Venetian capital, in which city there is no- 
thing of the same kind preserved, except, perhaps, 
his St. Christopher in the Ducal palace, a majestic 
figure, both in character and expression. We are 
not, however, to look for the same degree of free- 
dom in his oil paintings. Indeed, he was by no 
means ambitious of displaying it, but rather en- 
countered much painful labor to arrive at a per- 
fect knowledge of his subjects. With this view, 
after throwing ofi" a rough draught of his intend- 
ed works, with a certain freedom and resolution, 
he was in the habit of laying them aside for some 
time, and again returned to them with an eye pre- 
pared to detect the least defect. The noble Casa Bar- 
barigo, among a fine collection of his most highlj'- fin- 
ished pictures, preserves also a few of these first 
sketches. It is well known that he underwent ex- 
treme labor in the completion of his works, and at 
the same time was very solicitous to conceal the 
pains he bestowed upon them. Yet in some of his 
pieces, such spirited and resolute strokes of the pen- 
cil are to be met with, as seem to imprint upon 
every object the true character of nature, attain 
at once the points that have been long laboriously 
aimed at, and perfectly delight professors. To this 
practice he adhered in the zenith of his fame ; nor 
was it till near the close of his life, that both his 
hand and his eyes failing him, his style became 
less elegant, being compelled to paint with re- 
peated efforts of the brush, and with diflSculty 
mingling his tints. Vasari. who saw him once 
more in 1566, even then was no longer able to re- 
cognize Titian in Titian, and it must have been 
more difficult in the few following years. Yet, as 
is customary with old age, he was not at all aware 
of his failings, and continued to receive commis- 
sions to the last year of his life. There remains 
at St. Salvatore one of these pictures, of the An- 
nunciation, which attracts the spectator only from 
the name of the master. Yet when he was told 
by some one that it was not, or at least did not 
appear to have been, executed by his hand, he was 
so much irritated, that in a fit of senile indigna- 
tion, he seized his pencil and inscribed upon it, 
" Tizianus fecit fecit." Still the most experienced 
judges are agreed that much may be learned, even 
from his latest works, in the same manner as the 
poets pronounce judgment upon the Odyssey, the 
product of old age, but still by Homer. Several 
of these last specimens, distributed throughout 
private collections, are nevertheless doubtful, as 
well as some copies made by his pupils, but re- 
touched by his hand ; and in particular some Ma- 



TITI. 



981 



TITI. 



donnas and Magdalens which I have seen in vari- 
ous places, displaying little or no variety. Upon 
this point we ought not to omit the account given 
by Ridolfi, of his having purposely left his studio 
open for the free access of his disciples, in order 
that they might secretly take copies of such pic- 
tures as he had placed there ; that afterwards, 
when he found such copies became vendible, he re- 
touched them with little trouble, and passed them 
for originals. The reporter of this incident added 
in a marginal note, ' behold what a degree of fore- 
cast !' and to this I might rejoin one of my own, 
'note that the worth of Titian ought not to be es- 
timated, as is too often the case, by this multipli- 
cation of originals.' 

'* Titian was by no means so excellent a master 
as an artist. Whether disliking the interruption 
and tediousness attaching to such a character, or ap- 
prehensive of meeting a rival, he was always averse 
to affording his instructions. He was extremely 
harsh with Paris Bordone, and even entered into 
decided hostility against him, an artist who burn- 
ed with an ambition to resemble him. He ban- 
ished Tintoretto from his studio, and artfully di- 
rected his own brother to mercantile pursuits, 
though he displayed uncommon talents for paint- 
ing. ' Hence,' observes Vasari, ' there are few 
who can really be called his disciples, inasmuch as 
he taught little ; but each learned more or less, 
according as ho knew how to avail himself of the 
productions of Titian.' This great artist fell a vic- 
tim to the plague in 1576, when within one year of 
completing a century." 

In forming an estimate of Titian's design, it will 
be of service to compare the difierent systems 
practiced by different schools at the time he flour- 
ished. The system of the Venetian school was to 
paint everything from nature without the prepa- 
ration of a cartoon ; this method, though well cal- 
culated to give the painter greater promptness of 
execution, and a more commanding facility of 
hand, was also the means of introducing a want of 
correctness in design and purity of forms. On 
the contrary, the Roman and Florentine painters 
never painted a picture without having first pre- 
pared a model or cartoon, and corrected every fig- 
ure by the antique. Titian, following the system 
of his countrymen, painted immediately from na- 
ture, and satisfied with its exact imitation, he was 
little sensible to ideal beauty of form, or to that 
elevated and dignified expression so essential to the 
higher order of historical painting. Tintoretto, on 
being banished from his school, immediately threw 
this in his teeth, by affixing over his door this inscri p- 
tion, '■ The coloring of Titian, and the design of Mi- 
chael Angelo." Sir Joshua Reynolds says, in his 
Discourses, "Raffaelle and Titian seem to have look- 
ed at nature for different purposes ; they both had 
the power of extending their view to the whole ; but 
one looked for the general effect produced by form, 
the other, as produced by color. We cannot re- 
fuse to Titian the merit of attending to the gene- 
ral form of his object as well as color, but his defi- 
ciency lay — a deficiency, at least, when compared 
with Raffaelle — in not possessing the power, like 
him, of correcting the form of his model by any 
general idea of beauty in his own mind," In short, 
it may now be considered an established fact, that 
Titian justly ranks as the greatest colorist of mod- 
ern times, but in design he was far inferior to many 
other painters of the Roman, Florentine, and even 



of his own school. In fact, he has been accused 
of occasional anachronisms in his historical works. 
He neither presents us, like Raffaelle and Poussin, 
as a faithful historian, the precise locality of the 
scene, the strict costume of the time or country, 
nor the accessories best suited to the development 
of his subject. See Raffaelle. 

Most writers observe that Titian had four dif- 
ferent manners, at as many different periods of his 
life ; first that of Bellini, somewhat stiff and hard, 
in which he imitated nature, according to Lanzi, 
with a greater precision than even Albert Durer, 
so that '• the hairs might be numbered, the skin of 
the hands, the very pores of the flesh, and the re- 
flection of objects in the pupils seen :" secondj an 
imitation of Giorgione, more bold and full of force ; 
Lanzi says that some of his portraits executed at 
this time, cannot be distinguished from those of 
Giorgione: third, his own inimitable style, which 
he practiced from about his thirtieth year, and 
which was the resul t of experience, knowledge, and 
judgment, beautifully natural, and finished with 
exquisite care : and fourth, the pictures which he 
painted in his old age. Sandrart says that, " at 
first he labored his pictures highly, and gave them 
a polished beauty and lustre, so as to produce their 
effect full as well when they were examined closely, 
as when viewed at a distance; but afterwards, he 
so managed his penciling that their greatest force 
and beauty appeared at a more remote view, and 
they pleased less when they were beheld more 
nearly ; so that many of those artists who studied 
to imitate him, being misled by appearances which 
they did not sufficiently consider, imagined that 
Titian executed his work with readiness and mas- 
terly rapidity ; and concluded that they should 
imitate his manner most effectually by a freedom 
of hand and a bold pencil ; whereas Titian in reali- 
ty took abundance of pains to work up his pic- 
tures to so high a degree of perfection, and the 
freedom that appears in the handling was entirely 
effected by a skillful combination of labor and 
judgment, and a few bold, artful strokes of the 
pencil to conceal his labor." 

The works of Titian, though many of his great- 
est productions were destroyed by terrible confla- 
grations at Venice and Madrid, are numerous, 
scattered throughout Europe, in all the royal col- 
lections, and the most celebrated public galleries, 
particularly at Venice, Rome, Bologna, Milan, Flo- 
rence, Vienna, Dresden, Paris, London, and Mad- 
rid. The most numerous are portraits, Madonnas, 
Magdalens, bacchanals, Venuses, and other mytho- 
logical subjects, some of which are extremely vo- 
luptuous. Two of his grandest and most celebra- 
ted works are the Last Supper in the Escurial, and 
Christ crowned with Thorns at Milan. It is said 
that the works of Titian, to be appreciated, should 
be seen at Venice or Madrid, as many claimed to 
be genuine elsewhere are of very doubtful authen- 
ticity. He painted many of his best works for 
the Spanish court, first for the Emperor Charles 
v., and next for his successor, Philip IL, who is 
known to have given him numerous commissions 
to decorate the Escurial and the royal palaces at 
Madrid. Palomino reports that when the palace 
of the Prado was burned, the king on learning the 
disaster, earnestly demanded if the Titian Venus 
had escaped, and on being told that it was one of 
the few that had been saved, he exclaimed, " then 
every other loss may be supported." There are 



TIZI. 



982 



TOBL 



numerous duplicates of some of his works, con- 
sidered genuine, some of which he is supposed to 
have made himself, and others to have been care- 
fully copied by his pupils and retouched by him- 
self; he frequently made some slight alterations 
in the backgrounds, to give them more of the look 
of originals ; thus the original of his Christ and 
the Pharisees, or the Tribute Money, is now in 
the Dresden Gallery, yet Lanzi says there are nu- 
merous copies in Italy, one of which he saw at St. 
Saverio di Rimini, inscribed with his name, which 
is believed to be a duplicate rather than a copy. 
There are more than six hundred engravings from 
his pictures, including both copper-plates and 
wooden cuts. He is said to have engraved both 
on wood and copper himself, but Bartsch considers 
all the prints attributed to him as spurious, though 
a few of them are signed with his name, only eight 
of which he describes. There are two of his works 
in the English National Gallery, namely, the Bac- 
chus and Ariadne, and the Rape of Ganymede ; 
the Gallery of the Louvre boasts about twenty of 
his compositions, including portraits. Although 
Titian spent much time abroad, he was exceedingly 
attached to Venice, where he lived in great splen- 
dor, and maintained the rank due to his genius and 
reputation. For the lives of Titian's son, brother, 
and relatives, see Vecelli. 

TITO, PoMPiLio, an Italian engraver, who flour- 
ished at Rome, according to Prof. Christ, about 
1685, and marked his plates with the initials P. 
T., and the date. He does not specify any of his 
prints. 

TIVOLI, Rosa da. See Roos. 

TIZIANELLO. See Tiziano Vecslli. 

TIZIANO II. See Girolamo Dante. 

TIZIANO, Marco di. See Marco Vecelli. 

TOBAR, Don Alonso Miguel de, an eminent 
Spanish painter, born at Higuera. near Aracena, 
in 1678. According to Bermudez, he went to Se- 
ville, and studied with Juan Antonio Faxardo, a 
painter of little note. He afterwards diligently 
studied and copied the works of Murillo, and be- 
came so exact an imitator of his style, in compo- 
sition, heads, expression, coloring, handling, and 
every other peculiarity, that not only his copies, 
but his own compositions, have frequently been at- 
tributed to that master. One of his most celebrated 
copies is in the church of Santa Maria la Blanca 
at Seville, representing the Virgin, St. Joseph, and 
the Infant Jesus and St. John, which was consid- 
ered a genuine production by Murillo till it was 
discovered that the original was in the Royal Pal- 
ace at Madrid. In the church of S. Isidora at 
Seville, are two pictures representing the Good 
Shepherd and the Infant St. John, which Stanley 
says " are copies by him with variations, of the 
two originals by Murillo, so well known in Eng- 
land, formerly in the collection of Sir Simon Clarke, 
but now in those of the Baroness Rothschild, and 
the National Gallery." Probably the fathers of 
St. Isidora would dispute this assertion. It is 
said that he copied many of the easel pictures of 
Murillo, and that many of them, even in his time, 
were passed for originals. Of his original com- 
positions, the most deserving of notice are the Vir- 
gin enthroned, holding the Infant in her lap, at- 
tended by Sts. Francisco and Antonio, called Our 
Lady of Consolation, in the cathedral of Seville, 



and the Divine Shepherdess, in the Queen of Spain's 
gallery, in which the Virgin is represented as a 
shepherdess feeding lambs with roses. He ex- 
celled in portraits, and painted many of the most 
distinguished personages of his time. In 1729 he 
succeeded Teodoro Ardemans as painter to Philip 
v., when he removed to Madrid, where he prac- 
ticed his profession with great distinction till his 
death in 1758. 

TOBIN, J., an English artist, who flourished 
about 1770. He etched some plates of landscapes, 
and executed some tinted plates after Both, Os- 
tade, and other masters. 

TOCQUE, Jean Louis, a French painter, born 
at Paris in 1696. He first studied under Nicholas 
Bertin, and afterwards with Hyacinth Rigaud. 
He acquired distinction as a portrait painter, was 
made a member of the Academy at Paris, and in- 
vited by the Empress Eliz^eth, to the court of 
St. Petersburg, where he met with the most flat- 
tering encouragement. The Empress appointed 
him her painter, and he painted her portrait and 
those of the most distinguished personages of her 
court. He died in 1772. 

TOEPUT, Louis, a Flemish painter, born at 
Mechlin in 1550. According to Descamps, he 
went young to Italy, where he passed the rest 
of his life. He was a versatile artist, and parti- 
cularly excelled in landscape ; he also painted Italian 
fairs, markets, and similar subjects, which were 
well designed, spiritedly touched, and finely col- 
ored. He was called in Italy Lodovico di Trevigi, 
after the place where he chiefly resided. He was 
living in 1604. 

TOGNONE, Antonio, called also Antonio da 
ViCENZA, a painter of Vicenza, who studied with 
Zelotti. He is highly commended by Ridolfi for 
his uncommon talents, but he died in the flower 
of his life. There are several frescos by him in 
the churches at Vicenza. 

TOL, DoMiNicK VAN, was the nephew and dis- 
ciple of Gerard Douw, and one of the most suc- 
cessful imitators of his style and subjects. He 
copied some of the works of his uncle so closely, 
that they might easily be mistaken for the origi- 
nals, by the inexperienced. Stanley says that 
some of these copies, under his own name, have 
brought at public sale in England, prices varying 
from £150 to £350 sterling. He was not so suc- 
cessful in his original compositions, though some 
of his interiors, conversations, and domestic sub- 
jects, are highly wrought up and well colored. 
He was living in 1680. The Dutch writers men- 
tion David and Peter van Tol, but they are doubt- 
less identical with Dominick, as he seems to be 
called by some simply van Tol, and by others, va- 
riously, Dominick, David, and Peter van Tol, the 
same history being applied to each. 

TOLEDO, Juan de, a Spanish painter, born at 
Lorca, in Murcia, in 1611. According to Palo- 
mino, he was the son of Miguel de Toledo, an ob- 
scure artist, who instructed him in the rudiments 
of the art. Bermudez however says that he served 
in the army in his youth, distinguished himself 
for his gallantry, and was made a captain of dra- 
goons. He went to Italy, and first studied un- 
der Aniello Falcone at Naples, afterwards proceed- 
ing to Rome, where he became the disciple and 
friend of Angelo Cerquozzi, called delle Battaglie. 



I 



TOLE. 



983 



TOMM. 



On his return to Spain, he established himself at 
Granada, where he distinguished himself as a paint- 
er of battles and sea-fights, executed in the man- 
ner of Cerquozzi. His small easel pictures are 
numerous, spiritedly executed and highly esteemed. 
He also painted history, and there are some of his 
works in the churches at Granada, Murcia, Madrid, 
and Alcaic de Henares, the most esteemed of which 
is the Assumption of the Virgin, in the Colegio de 
San Esteban at Murcia, and the Conception, in the 
church of las Monjas, at Madrid. He was not so 
successful in his sacred subjects as in his battle- 
pieces. He died in 1665. 

TOLEDO. See Giovanni Battista 

TOLMEZZO, DoMENico di, a painter of Udine, 
who flourished in the latter part of the 15th cen- 
tury. There is an altar-piece, painted in several 
compartments, and a picture of the Madonna, in 
the cathedral of that city, signed with his name, 
and dated 1479. Lanzi says they are executed so 
much in the Venetian style, that one might be- 
lieve him to have been a disciple of that schooL 

TOLOSANO. See Jean Baron. 

TOMBE, Nicholas la, a Dutch painter, born 
at Amsterdam in 1616. It is not known under 
whom he studied, but he went young to Italy, and 
passed several years at Rome, diligently studying 
nature, and designing after the beautiful remains 
of antiquity, which abound in that city and its en- 
virons. He painted landscapes and architectural 
pieces, but his usual subjects were conversations 
and assemblies of both sexes habited in the Italian 
costume. He was fond of introducing into his de- 
signs the ruins and remains of ancient edifices, 
caves, grottos, and antique sepulchres, whenever 
his subject would admit of them. His situations 
are agreeably chosen, his distances recede with a 
pleasing degradation, his coloring is lively, his pen- 
cil free and spirited, and he decorated his pictures 
with numerous small figures, correctly designed 
and spiritedly touched. He also painted small 
portraits with success. On returning to his own 
country, he settled at Amsterdam, where he ac- 
quired considerable reputation and employment. 
He died there in 1676. 

TOMKINS, Peltro William, an English en- 
graver, born at London in 1760. He studied un- 
der Bartolozzi, whose manner he followed with dis- 
tinction. He engraved several plates of portraits 
and other subjects after the eminent English paint- 
ers of his time, but his best plates are those he 
executed for the publications, entitled " The Brit- 
ish Gallery of Pictures," being a selection of the 
choicest pictures of the old Dutch and Italian mas- 
ters in the possession of the English nobility and 
gentry ; and that of the " Stafford Gallery." Some 
of these were printed in colors, and for beauty and 
delicacy of tint, are almost equal to highly fin- 
ished drawings. He also engraved the illustra- 
tions for a splendid edition of '• Thomson's Sea- 
sons," and other similar publications. His prints 
are beautifully and tastefully executed in the chalk 
and dotted manner. He died in 1840. 

TOMKINS, William, an English landscape 
painter, born in London about 1730. He was 
much employed in painting views of gentlemen's 
seats in England. His principal patron was the 
Earl of Fife, for whom he painted several views of 
his estate in Scotland. He also copied some of the 
landscapes of Hobbema, and other Dutch painters. 



In 1763. he obtained the second prize of twenty- 
five guineas for a landscape, from the Society for 
the Encouragement of Arts, &c., and on the insti- 
tution of the Royal Academy, he was elected an 
Associate. He died in 1792. He had two sons 
who were reputable painters in the same line. 

TOMMAZI, Tommaso, a fresco painter, born at 
Pietra Santa, who flourished about the middle of 
the 18th century. He was a scholar of the Me- 
lani. Lanzi says he was a man of vast concep- 
tions, worthy of his masters, whom he succeeded, 
after their death, in several important commis- 
sions. One of his finest works is the ceiling of the 
church of S. Giovanni in Pisa. 

TOMOLIUS, Luca, an Italian engraver, whose 
name is affixed to a small portrait of F. Laelius 
Contesino, executed with the graver in a coarse 
style. 

TOMS, W. H., an English engraver of little 
note, who flourished about 1740. He engraved 
several views and architectural subjects, a few 
portraits, and some book plates, indifferently ex- 
ecuted. 

TOMS. Peter, an English painter, supposed to 
have been a son of the preceding. He studied 
under Hudson, was elected one of the first forty 
Royal Academicians, and held a situation in the 
Herald's Office. His chief excellence lay in his 
drapery, for which reason he was much employed 
in that department by Sir Joshua Reynolds. He 
went to Dublin, to practice portrait painting, but 
not meeting with any success, he put an end to his 
life, in a fit of despondency, in 1776. 

TONDUZZI, GiULio,.a painter born at Faenza, 
who flourished in the first half of the 16th cen- 
tury. He was a pupil of Giulio Romano, whose 
style he followed with distinction. There is a 
fine picture by him, of the Stoning of St. Stephen, 
in the church of S. Giovanni at Faenza, which has 
been attributed by some to his master ; and ano- 
ther large altar-piece of the same subject, in the 
church of S. Stefano at Ravenna. He executed 
several works for the churches and public edifices 
of his native city, in competition with all the most 
distinguished artists of Faenza, who flourished at 
that time. 

TONELLI, Giuseppe, a painter born at Flor- 
ence, who flourished from about 1668 to 1718. 
He first studied with Jacopo Chiavistelli in his na- 
tive city, and then went to Bologna, and became 
the disciple of Tommaso Aldrovandini. He ac- 
quired considerable distinction as a painter of per- 

i spective and architecture, and was employed in 

I decorating several of the churches and public edi- 

! fices at Florence and elsewhere. 

I TONI, Michael Angelo, a painter born at 
Bologna in 1640, and died there in 1708. He 
acquired considerable reputation for his copies and 
imitations of the great Italian masters, painted in 

'\ small, for which he had a happy talent. 

TONNO, a Sicilian painter, born in Calabria. 
According to Hackert, he was originally a ser- 
vant to Polidoro da Caravaggio, who, perceiving 
in him a genius for painting, instructed him in the 
art. He painted a picture representing the Epiph- 
any, in the church of S. Andrea, at Messina, in 
which he introduced the portrait of his master, 
and which evinces uncommon talent. His name 
is rendered infamous by the foulest ingratitude 



TOPI. 



984 



TORE. 



and the blackest crime — he murdered his bene- 
factor to possess himself of his money, and was 
executed in 1543. 

TOORNVLIET, James, a Dutch painter, born 
at Leyden in 1641. It is not known under whom 
he studied, but after acquiring considerable repu- 
tation as a portrait painter, he was induced to ac- 
company his friend^ Nicholas Rosendael to Italy in 
1670. On his arrival at Rome, he was inspired 
by a desire to distinguish himself as a painter of 
history. He made the works of Raffaelle his model 
in design, and studied them with enthusiasm. He 
next proceeded to Venice, where he was equally 
assiduous in contemplating the works of Titian, 
Tintoretto, and Veronese. After a residence of six 
years in Italy, he returned to his native city, where 
he commenced his new career with the most san- 
guine expectations ; but he was sadly disappoint- 
ed, for though he wrought in the Italian style, de- 
signed correctly, and colored sweetly, his works 
were not agreeable to his countrymen, so that he 
was obliged to return to portraiture. He frequent- 
ly painted family groups in conversation, in which 
he was remarkable for judicious disposition of his 
figures, correctness of design and agreeable style 
of coloring. His name is sometimes erroneously 
written Torenjiiet. He died in 1719. 

TOPINO-LEBRUN, FRAN901S Jean Baptiste, 
a French historical painter, was born at Marseilles 
in 1769. His first master is not mentioned, but 
he visited Rome, and studied painting for some 
time. He there formed an intimacy with David, 
imbibing his political opinions ; and on returning 
to Paris, he entered the school of that master. 
He made excellent progress until the Revolution 
broke out, and then, like his instructor, forsook 
the easel for the stormy career of politics and vio- 
lence. His operations for several years after, are 
a matter of French political history ; but in 1797 
he resumed the pencil for a short time, and pro- 
duced his admirable picture of the Death of Caius 
Gracchus, which gained a prize at the exhibition, 
and was purchased by government for the Museum 
of Marseilles. He subsequently figured among the 
Jacobins, and in 1800, when the conspiracy against 
Bonaparte's life was discovered, he was accused 
and condemned to death, but probably unjustly, 
since the Biographic Universelle states that all the 
charges against him were reduced to a single one, 
namely, that the sculptor Ceracchi had previously 
said that Topino possessed a poniard intended to 
kill the First Consul ; and Ceracchi, when brought 
before the judges, revoked his declaration. The 
career of the accused, however, marked him as 
dangerous to the ambition of Bonaparte, and he 
accordingly suffered death in the year 1801. His 
large picture of the Siege of Lacedaemon, he did 
not live to complete. 

TORBIDO, Francesco, called II Moro, a paint- 
er generally stated to have been born at Vero- 
na, about 1500, Zani says in 1504 ; but he was 
probably born earlier, as it is agreed that he 
studied a short time with Giorgione, who died in 
1511. He afterwards became the pupil of Libe- 
rale da Verona. Lanzi says he was a distinguished 
follower of the tints of Giorgione, and a true imi- 
tator of the diligence and design of Liberale, and 
that he was deficient in nothing, except perhaps we 
could wish to see somewhat greater freedom of hand. 
He was a severe critic upon himself, and spared no 



labor to perfect his works in every part ; hence they 
are very rare. He painted a few altar-pieces and 
other pictures for the churches, the most remark- 
able of which are several frescos representing the 
Life of the Virgin, and the best of these is the 
Assumption, which Lanzi pronounces truly ad- 
mirable ; but the designs are not his, Giulio Ro- 
mano having prepared for him the cartoons. 
There is an admired picture by him in the church 
of S. Maria Maggiore at Venice, representing the 
Transfiguration. His easel pictures of sacred sub- 
jects are more frequently to be met with in the 
collections at Verona and Venice. He also ex- 
celled in portraits. He finished all his works with 
extraordinary neatness and precision, was one of 
the best colorists of his time, and had an excellent 
knowledge of the chiaro-scuro. He lived to a 
great age, and died about 1581, though the ac- 
counts are contradictory on this point; Fuseli 
says he died in 1522, aged 82 years, a palpable er- 
ror, as Giulio Romano would have been only 32 
at his death. Others say he died in or about 
1581, aged 81. 

TORELLI, Cesare, a Roman painter, who 
studied under Giovanni de' Vecchi, and was one 
of the numerous artists employed in the Vatican 
in the pontificate of Sixtus V., about 1585. Lanzi 
briefly notices him as a second class artist. He 
executed several works in fresco, in the Vatican, 
in the Scala Santa, and in St. John of Lateran. 
There are two Sibyls by him, larger than life, in 
the church of La Madonna del Orto, which are 
considered his finest works. He also wrought in 
mosaic. He died in 1615. 

TORELLI, Felice, a painter born at Verona, 
according to Zanotti, in 1667, or to Zani in 1670. 
He first studied under Santo Prunato in his native 
city, and afterwards with Gio. Gioseffo dal Sole at 
Bologna. Lanzi says he followed the style of 
Prunato in a great measure. He became a painter 
of strong character, fine chiaro-scuro, and no com- 
mon merit in oil paintings for altars, which are to 
be found at Rome, Milan, Turin, and other cities 
of Italy. The most celebrated is one at the Dom- 
inicans of Faenza, representing St. Vincenzio cast- 
ing out a demon from a female possessed. He 
died the 12th June 1748. 

TORELLI, Lucia, was the wife of the preceding, 
born at Bologna, according to Crespi, in 1677, and 
died in 1762. Her maiden name was Casalini. 
She painted some altar-pieces for the churches, but 
her chief excellence lay in portraits, in which 
branch she gained so much distinction, that her 
portrait was placed among those of celebrated ar- 
tists in the Florentine gallery. 

TORELLI, or TONELLI, Maestro. Accord- 
ing to Ratti, he was a native of Milan, and a pupil 
of Correggio, whom he assisted in some of his 
I works. Lanzi says that in conjunction with Ron- 
I dani he painted the frieze at San Giovanni in Parma, 
I from the designs of Correggio, and adorned the 
first cloister in the same monastery with singular 
felicity. 

TORELLI, GiACOMO, an Italian architect, was 
born at Fano in 1608. He first gained considera- 
ble reputation in theatrical architecture, and invent- 
ed a variety of scenic machines at Venice, and else- 
where, which were greatly admired. He visited Par- 
is, where his talents gained him the favor of Louis 
XIV., and he was engaged as royal architect and 



TORE. 



985 



TORR. 



machinist. He erected the famous theatre Le Petit 
Bourbon, and evinced so many novel and ingenious 
ideas in this and many other works, that he ac- 
quired fame and fortune. Havin<? married Madame 
de Suez, a lady of noble birth, Torelli returned to 
Italy in 1662, and erected the theatre of Fortune 
at Fano, greatly admired for the size of its scene- 
ry, and the elegance of its architecture. Among 
his other works, was the Santa Casa at Fano, af- 
ter the model of that at Loreto, presented by him 
to his native city. The King of France sent him 
repeated invitations to erect a theatre at Versailles, 
and other buildings ; but he died in 1678, without 
performing the commission. 

TORENBURG, Gerard, a Dutch painter, born 
at Amsterdam in 1737. He first studied under J. 
Ten Compe, and afterwards with C. Pronck. He 
painted landscapes and views of cities in the style 
of his instructor wi th considerable reputation. His 
drawings are also held in high estimation. There 
is a fine picture by him, in the Museum at the 
Hague, representing a View on the Amstel, near 
Amsterdam. He died at Nykerk. in 1785. 

TORESANI, Andrea, a painter born at Brescia 
about 1727. Lanzi says he painted some pictures 
for the churches of his native city, of Venice, and 
Milan. " His chief merit, however, lay in an in- 
ferior branch, that of painting animals, sea views, 
and landscapes, in the Titian manner, often accom- 
panied by figures in tolerably good taste." He 
died in 1760. 

TORNIOLI, NiccoLO, a painter of Siena, who 
flourished, according to Malvasia, about 1640. He 
resided some time at Bologna, where he painted 
two pictures for the church of S. Paolo, represent- 
ing Jacob wrestling with the Angel, and the Death 
of Abel. He had a method of painting, or rather 
staining marble, with some chemical preparation, 
which struck into the stone, so that by sawing it 
in slabs, he duplicated his works, as is done in 
modern mosaic work. 

TORRE, Bartolomeo. a painter of Arezzo, 
who flourished about 1600. According to Orlandi, 
he was much employed in decorating the houses 
and halls of the principal citizens of Arezzo and 
other places in its vicinity, with fresco histories, 
which he praises for the excellence of their color- 
ing. He was assisted by his pupil Teofllo Aretini 
Torre. 

TORRE, Flaminio, called Dagli Ancinelli, a 
painter born at Bologna in 1621, and died in 1661. 
He first studied under Jacopo Cavedone, next with 
Guido Reni^ and afterwards with Simone Canta- 
rini. His chief talent consisted in an easy and 
perfect imitation of every style. He copied the 
works of the most distinguished masters with 
such precision, that it was difficult to distinguish 
them from the originals, and he received a higher 
price for his copies, than many eminent artists 
could obtain for their productions. Though not 
learned in the theory of art, he painted some orig- 
inal compositions, designed in the manner of Can- 
tarini, but colored more in the style of Guido. 
He was employed for some time at Modena as 
court painter, and executed some works for the 
churches at Bologna, the best of which is a Depo- 
sition from the Cross in S. Giorgio. He also 
painted some works for the collections, which 
Lanzi says are in better preservation than his 
church pictures, which he injured by an exces- 



sive use of rock oil. He executed some spirited 
etchings. Bartsch describes seven prints by him 
which he says are in great request among con- 
noisseurs, being engraved with a fine point, in 
the taste of a designer who was consummate in 
his art, approaching the manner of Cantarini. — 
They are as follow : 

1. Sampson; after Guido. 2. The Virgin, accompa- 
nied by the infant Jesus and St. John ; his own design ; 
dated 1639. 3. The Virgin, with St. Jerome and St. Fran- 
cis ; after Lodovico Caracci. 4. The Virgin and patron 
Saints of Bologna ; after Guido. 5. St. John the Evan- 
gelist ; from his own design ; signed F. T. F. 6. Three 
Children bearing a Plateau, on which are two vases and a 
glass ; signed G. R. T. Pan conquered by Love ; after 
Agos. Caracci. 

TORRE, Gig. Battista della, a painter, born 
at Rovigo, and a disciple of Carlo Bononi. He 
painted history in the style of his master. Lanzi 
says he was a man of genius, and his works 
are held in high estimation in the collections at 
Ferrara. where he chiefly resided. He died young 
in 163L 

TORRE, Giovanni Paolo della, a painter born 
at Rome. According to Baglioni, he was at first 
an amateur, and a pupil of Girolamo Muziano, but 
he showed such talents, and attained such profi- 
ciency, that he was employed by Cesare Nebbia to 
assist in the great works in the Vatican, and other 
places. See Nebbia. 

TORREGIANI, Bartolomeo, a Roman paint- 
er, who studied under Salvator Rosa. Lanzi says 
he excelled in landscape, but failed in his figures ; 
therefore he usually employed some other artist 
to assist him in his pictures. He died young, ac- 
cording to Passeri, about 1673. 

TORRIGIANO, Pietro, an eminent Italian 
sculptor, was born at Florence about 1472. He 
studied the antiquities in the gardens of Lorenzo 
the Magnificent, in company with Michael Angelo, 
but becoming jealous of the rising distinction of 
the latter, he one day assaulted him, and inflicted 
so severe a blow upon his nose, as to crush and 
disfigure that feature for life. Being obliged to 
quit Florence in consequence, Torrigiano went to 
Rome, where he was employed by Pope Alexander 
I VI. ; but he afterwards threw up his profession, 
I and enlisted as a soldier, first under the Duke 
j Valentino in Romagna, next under Vitelli and Pie- 
I ro de' Medici. According to the accounts of Va- 
I sari and Cellini, he was well suited to his new pro- 
fession, being a large, handsome, and powerful 
man, gifted with great audacity, with more the air 
of a rough soldier than of an artist. But though 
he gained distinction by his prowess, and was pro- 
moted to the rank of an ensign, he entertained lit- 
tle expectation of rising higher, and accordingly 
returned to his original profession. He executed 
several bronze figures for some Florentine mer- 
chants, whom he accompanied to England. Hav- 
ing gained the favor of Henry VIIL. he was em- 
ployed in a variety of works, particularly the tomb 
of Henry VII., in Westminster Abbey, completed 
in 1519, for which he received the sum of £1.000. 
The tomb of Margaret, Countess of Richmond, in 
Henry VII.'s chapel, is also supposed to have been 
executed by him. While engaged upon Henry's 
tomb, he returned to Italy to procure assistants, 
and endeavored to prevail upon Benvenuto Cellini 
to accompany him ; but the latter declares that h© 
was so disgusted with Torrigiano, upon learning 



TORR. 



986 



TORR. 



from him how brutally he had treated Michael An- 
gelo, that he could not endure the sight of him. 

After finally quitting England in 1519. Torrigi- 
ano visited Spain, where he executed several pie- 
ces of sculpture for convents, &c., and among oth- 
ers, a group of the Virgin and Infant, so beautiful 
that the Duke d'Arcos commissioned him to make 
a copy of it, at the same time promising a liberal 
recompense. When the work was finished, the 
Duke sent him two servants, bearing two bags of 
maravedis ; but Torrigiano, on ascertaining that 
the vast heap of copper coin amounted to only 
thirty ducats, was so highly exasperated that he 
seized a mallet, and shivered his beautiful work into 
a thousand pieces. The Duke, filled with rage and 
shame, immediately accused him to the dreaded 
Inquisition, as a sacrilegious heretic, who had im- 
piously destroyed a figure of the Holy Virgin. 
The unfortunate sculptor was accordingly con- 
demned by that tribunal, but avoided the ignomin- 
ious end which awaited him, by starving himself in 
the dungeon. Thus perished, in 1522, an artist of 
more than ordinary talent — a victim to the malice 
of an infamous noble, and the mercilessness of a 
most odious and sanguinary tribunal. 

TORRENTITJS, John. There is considerable 
discrepancy about this artist ; but the following is 
condensed from Houbraken, who obtained his infor- 
mation from authentic accounts at Haerlem, where 
Torrentius was born in 1589. It is not known 
under whom he studied, but he excelled in painting 
conversations, domestic subjects, and still-life, 
which were so admirably designed, exquisitely fin- 
ished, and delicately colored, that they were ea- 
gerly sought after. While he continued to paint 
these subjects, he lived in affluence, and was high- 
ly respected. At length he became exceedingly 
licentious, was a leader in the infamous sect called 
Adamites, and prostituted his pencil to the most 
lascivious and indecent subjects. He was at length 
arrested, condemned to the torture, and finally 
sentenced to twenty years' imprisonment, and his 
obscene pictures to be burnt by the executioner. 
He was subsequently released, at the instigation 
of the English ambassador, when he went to Lon- 
don, but the profligacy of his conduct soon brought 
him into disrepute, and he returned to Holland, 
and died at Amsterdam in 1640, in obscurity and 
misery. Sandrart and others, say that he was 
born at Amsterdam, and died under the torture in 
1640. 

TORRES, Clemente de, a Spanish painter, born 
at Seville in 1665. According to Palomino, he was 
a disciple of Don Juan de Valdes. He acquired 
considerable reputation, and executed many works, 
both in oil and fresco, for the churches and monas- 
teries at Seville and other places, besides many 
easel pictures for the collections. He went to 
Madrid in 1724, where he formed an acquaintance 
with Palomino, whom he praised in a sonnet, and 
the latter returned the compliment by describing 
him as a distinguished painter and a laurelled schol- 
ar of the Muses- He afterwards went to Cadiz, 
where he died in 1730. It is said that he was a 
skillful draughtsman, and that his drawings so 
strongly resemble those of Murillo as to pass 
for the productions of that master. 

TORRES, Matias de, a Spanish painter, born 
at Espinosa de los Monteros, in 1631. No cor- 
rect opinion can be formed of his style or mer- 



its from the bombastic account of his biographer. 
He studied first with his uncle, an obscure painter 
at Madrid ; next in the Academy ; and afterwards 
received lessons in coloring from the younger Her- 
rera. He executed several works for the chuiches 
and convents at Madrid, in which he attempted to 
emulate the daring style of Caravaggio, but miss- 
ing his principles, he produced little more than 
blackness and obscurity. He, however, succeeded 
better in his easel pictures of landscapes and battle- 
pieces, executed in a free and graceful manner. 
'• He challenged the arrogant Bocanegra to a trial 
of skill in an}^ public place, the subjects to be se- 
lected by the spectators ; but that boaster, after 
accepting the challenge, was fearful of the en- 
counter, and slunk away from Madrid." He 
died in the public hospital in 1711. Stanley says 
there are some of his pictures in the Hermitage at 
St. Petersburg. 

TORRI, or TORRE, Pietro Antonio, a Bo- 
lognese painter, who studied under Francesco Al- 
bano. According to Malvasia, he distinguished 
himself as an architectural and perspective painter, 
and executed some works, in conjunction with oth- 
er artists, for the churches and public edifices at 
Bologna, Venice, and other places. In the Guide 
to Venice, he is called Torrigli. In the church of 
S. Giuseppe, in the latter city, in conjunction with 
Ricchi, he executed some frescos, in which he paint- 
ed the architectural parts, and the latter the fig- 
ures. 

TORRICELLI, or TORRICELLA, II. See Bn- 

ONFANTI. 

TORTEBAT, FKANgois, a French painter and 
engraver, born at Paris in 1610, though some say 
in 1600, and 1626. He studied under Simon Vou- 
et, whose daughter he married. He was an excel- 
lent painter of portraits, to which branch he chiefly 
devoted his talents. He etched a few spirited 
plates, after the works of Vouet, and from his own 
designs. Dumesnil describes twenty- five, twelve 
of which are anatomical plates. He died in 1690. 

TORTEBAT, Jean, was the son of the preced- 
ing, born at Paris in 1652, and died in 1718. He 
studied with his father, and was a good painter of 
portraits. 

TORTELLI, GrosEFFO, a pamter born at Bres- 
cia, who. according to Orlandi, was a disciple of 
Francesco Paglia, whose style he followed. He 
painted easel pictures of historical subjects for the 
collections, in a very spirited manner, designed and 
colored in the Venetian style. 

TORTIROLT, Gio. Battista, a painter of Cre- 
mona, who flourished in the first part of the 17th 
century. He studied with Andrea Mainardi in his 
native city ; afterwards proceeded to Rome, and 
thence to Venice, where Lanzi says he formed a 
style which partakes most of that of the younger 
Palma, with an evident imitation of Raffaelle. He 
executed some works for the churches at Venice, 
the best of which is the Murder of the Innocents, 
in S. Domenico, He possessed excellent abilities, 
but died young. Zaist says he was born in 1621, 
and died aged 30 ; but Lanzi thinks he must have 
been born earlier, as he painted well in 1632. 

TORTOREL, Jean. See jAcauEs Perisin. 

TOSS, J. The name of this artist is affixed to 



TOSS. 



987 



TRAM. 



a spirited etching: of the Adoration of the Shep- 
herds, after C. Hoclifield. 

TOSSICANI, Giovanni, an oldpainter of Arez- 
zo, who was a disciple of Giottino. He was an 
eminent artist in his time, and was emplo3^ed in 
painting for the churches at Pisa, and over all Tus- 
cany. His works have mostly perished ; but his 
St. Philip and St. James still remain on the bap- 
tismal font in the church dedicated to those Saints 
at Arezzo. Lanzi says. " with him perished the 
best branch of the stock of Giotto." 

TOURNIER, Robert, a distinguished French 
painter, was born at Caen in Normandy, in 1676, 
After acquiring the elements of the art under Lu- 
cas dela Haye, a Carmelite friar, he visited Paris, 
and entered the school of Bon Boullongne. He 
practiced the art with success for many years, and 
painted history and portraits, but generally pre- 
ferred to exercise his talents upon smaller subjects, 
following the styles of Gerard Douw and Godfrey 
Schalcken. He was patronized by several persons 
of distinction, whose portraits he painted, particu- 
larly the regent Duke of Orleans, who took delight 
in seeing him paint. Tournier was chosen a mem- 
ber of the Academy in 1721, and professor in 
1735. He painted several pictures for the church- 
es, and some of his portraits and other works have 
been engraved by Chereau, Drevet, Sarrabat, 
DauUe, and others. Late in life, Tournier returned 
to his native place, where he died in 1752. Some 
writers notice him under the name of Tourniere, 
and Tournieres. There was also an engraver of 
this name, a native of Toulouse, who studied in It- 
aly under Moses Valentin. He followed the style 
of his instructor for some time, and etched several 
plates after Guido, and Polidoro da Caravaggio. 

TOWNLEY, Charles, an English engraver in 
mezzotinto, who flourished in the last part of the 
18th, and first part of the present century. He 
engraved some plates of portraits and other sub- 
jects, from his own designs, and after other mas- 
ters, among which are Leonardo da Vinci, Annibale 
Caracci, Domenichino, Peter Paul Rubens, and 
Rembrandt. 

TOZZO, Giovanni del, a painter of Siena, who 
flourished about 1530. He was a cotemporary of 
Marco Bigio, and Lanzi says that they had such an 
extraordinary similarity of style that it is not easy 
to distinguish their respective performances. They 
both painted histories with small figures. 

TRABALLESI, Francesco, a Florentine paint- 
er, who, according to Baglioni, was a pupil of Ri- 
dolfo del Ghirlandaio, and flourished at Rome in 
the pontificate of Gregory XIIL, who employed 
him in the Chiesa de' Greci (Greek church), which 
he had founded, where he painted two altar- pieces, 
representing the Annunciation, and Christ disput- 
ing with the Doctors. He died young. He had a 
brother, named Bartolomeo, who painted the fable 
of Danae on the writing desk in the same edifice, 
and afterwards became the assistant of Vasari. 

TRABALLESI, Giulio, an Italian designer and 
engraver, born at Florence about 1728. He made 
the greater part of the designs for the collection of 
portraits of the Illustrious Men of Florence, en- 
graved by Allegrini and others. He executed 
some spirited etchings after the Caracci, Guido, 
Cavedone, F. Brizzio. and other eminent painters. 
He was living in 1808. 



TRAIN!, Francesco, a Florentine painter, who 
was the most distinguished disciple of Andrea Or- 
cagna. He flourished in the latter part of the 14th 
century, perhaps as late as 1400, or even later. He 
could not have painted in 1341, as Orcagna was 
born, according to Vasari, in 1329, and died in 
1389. He was far superior to his master as a paint- 
er, which is shown by his picture of St. Thomas 
Aquinas, in the church of S. Caterina at Pisa. It 
is a large composition, and the Saint stands in the 
middle of the picture, under the Redeemer, who 
sheds a glory on the Evangelists and him ; and 
from them, the rays are scattered on a crowd of 
listeners, composed of popes, cardinals, bishops, 
doctors, and clergy. Arius and other innovators 
are at the feet o* the Saint, as if vanquished by 
his divine doctrine ; and near him appear Plato 
and Aristotle, with their volumes open — a circum- 
stance not to be commended in such a subject. 
Lanzi says that though it exhibits httle skill in 
grouping or knowledge of relief, abounding in atti- 
tudes too tame or too constrained, yet it pleases by 
a marked expression in the countenances, an air of 
the antique in the draperies, and a certain novelty 
in composition. Rosini has given a print of this 
picture in his " Storia della Pittura Italiana,*' plate 
20. There are no other authentic works by Traini 
remaining. His name is sometimes written Tri- 
ano and Triani. 

TRAMAZZINO, Francesco, an Italian engra- 
ver, who flourished about 1561. Florentle Comte 
mentions a rare print by him, representing a sol- 
emn Entry into the city of Rome. 

TRAMULLES, Francisco, a Spanish painter, 
born at Barcelona about the commencement of the 
18th century. He was the son of a sculptor, who 
was employed in the Cathedral of Perpignan. He 
first studied under Don Antonio Viladomat, in his 
native city, and afterwards went to Paris, and from 
thence to Madrid, in each of which places he resi- 
ded some time. In his style, he made the works 
of Luca Giordano his model, which he found at 
Madrid. On his return to Barcelona, he opened 
an academy, and had a great number of scholars. 
He executed some works for the churches and con- 
vents at Barcelona and Gerona, and others for the 
Cathedral of Perpignan, which gained him consid- 
erable reputation. He died at Barcelona in the 
56th year of his age. 

TRAMULLES, Manuel, was the younger bro- 
ther of the preceding, born at Barcelona in 1715. 
He practiced both painting and sculpture. He 
studied painting under Viladomat, whose manner 
he at first imitated so closely that their works 
may be confounded. He afterwards adopted a 
style of his own, which was less agreeable in point 
of coloring. Like his brother, he opened a school, 
to study from the living model, which was much 
frequented. He decorated the Opera House, and 
the Chapter of Barcelona commissioned him to 
paint six pictures for the sanctuary in which re- 
pose the ashes of St. Olegario ; also a large picture, 
with many figures, representing Charles III. tak- 
ing possession of the Canon's stall in the Cathe- 
dral, which pertains to the kings of Spain. He 
also distinguished himself by his perspectives, in 
the church of Santa Maria del Mar; and his mon- 
uments in Santa Semana de S. Pedro de las Puel- 
las. His principal works are in the churches and 



TRAV. 



988 



TREM. 



convents at Barcelona, but there are a few in those 
of Tarragona and Gerona. He died in 1791. 

TRASI, LoDovico, a painter born at Ascoli, in 
1634. He was for several years a fellow pupil 
of Carlo Maratti, under Andrea Sacchi at Rome. 
He afterwards became the disciple of Maratti him- 
self, and after frequenting his Academy for some 
time, he returned to Ascoli, where he executed a 
great number of works, both for the churches and 
for individuals, in various styles. In his easel pic- 
tures he emulated Maratti, and in his frescos and 
altar-pieces, he adopted the less labored and more 
spirited manner of Sacchi, in which Lanzi says 
we may discover traces of that of Cortona, Such 
are his fine pictures of St. Nicholas and the En- 
franchisement of a Christian youth from servitude, 
in the church of S. Cristoforo. There are some re- 
markable pictures by him in the Cathedral, paint- 
ed in distemper, particularly that of the Martyr- 
dom of St. Emidio. He died in 1694. 

TRAVERSE, Charles FRAN901S de la, a 
French painter, born at Paris, was a scholar of 
Boucher. He gained the grand prize in tiie Acad- 
emy, which entitled him to go to Rome with a 
pension from the crown, where he passed six years. 
He afterwards went to Naples to explore the exca- 
vations at Herculaneum. He next accompanied 
the Marquis D'Osson to Madrid, where he resided 
many years, and obtained considerable employ- 
ment in painting small pictures of landscapes and 
flower-pieces. He afterwards returned to Paris, 
where he continued to practice his profession with 
reputation till his death, in 1778. 

TRAVI, Antonio, a painter born at Sestri, in 
the State of Genoa, in 1613. When a boy, he was 
employed as a color-grinder in the studio of Ber- 
nardo Strozzi, who, perceiving in him a gen- 
ius for painting, gave him lessons, and his taste 
inclining to landscape, he procured for him the 
instruction of his friend, Godfrey de Waal. Lanzi 
says he soon emulated both his instructors. From 
Waal, he learned the art of painting landscapes, 
with buildings in perspective and ruins, and from 
Strozzi to decorate them with spirited figures. He 
afterwards copied from nature, the beautiful coun- 
try of the Riviera, with avenues of trees, rich 
fields, and fine orchards, which he embellished 
with beautiful and spirited figures, not so much 
painted as sketched by a few bold strokes of a mas- 
ter's pencil, to gratify the eye when viewed at a 
little distance. Although his pictures are not 
highly finished, they please us by their agreeable 
disposition, and degradation of distances ; by their 
azure skies, the verdure of the trees, and their 
freedom of touch. Lanzi says his pictures abound 
in the State, and are found in all the best collec- 
tions ; but there are many bearing his name which 
were executed by his son Antonio, and are very 
inferior to his own productions. He is gene- 
rally called II Sestri, or II Sordo di Sestri, on ac- 
count of his deafness. He died in 16G8. 

TREBATTI, Paolo Ponzio, a Florentine sculp- 
tor, who flourished in the first half of the 16th 
century. He is said to have studied under Mi- 
chael Angel o, and afterwards visited France, where 
he passed the greater part of his life. Yasari, in 
his life of Primaticcio, says that Trebatti was em- 
ployed to execute many figures in stucco, in high 
relief, for the palace at Fontainbleau. There is 



much contradiction among various writers, as t« 
the dates of his birth and death, and the authenti- 
city of some of his works ; but the researches of 
Sauval {Antiq. de Paris), have indicated him as the 
artist of several sculptures now deposited in the Mu 
see d'Angouleme. Among them are the bronzo 
tomb of Alberto Pio da Carpi, with a rechning fig- 
ure of that prince, in high relief, executed in 1535, 
and evincing considerable ability. The monuments 
of Charles de Magny and Andre Blondel de Ro- 
quancourt, in the same museum, are likewise attri- 
buted to him, although their authorship is not cer- 
tain. Trebatti seems to have wrought mostly in 
concert with other artists, particularly with Jean 
Goujon, in his works at the Old Louvre. His 
death is placed with much probability in 1562. 

TREMOLLIEBE, Pierre Charles, a French 
painter, born at Chollet in Poitou, in 1703. He 
went to Paris when young, and became the schol- 
ar of J. B. Vanloo, under whom he made remarka- 
ble progress. He gained the grand prize at the 
Academy, and went with the ro3'^al pension to Rome, 
where he studied six years. On his return from 
Italy, he stopped at Lyons, where he was employ^ 
to paint three pictures for the church of the Cm- 
melites, representing the Nativity, the Presenta- 
tion, and the Adoration of the Magi, which in- 
creased his reputation. In 1734 he returned to 
Paris, and in 1737 was elected a member of the 
Academy, on which occasion he painted for his 
reception picture, Ulysses shipwrecked on the Is- 
land of Calypso, which was admired. He painted 
several histories and fabulous subjects for the Ho- 
tel de Soubise, and was engaged in preparing a set 
of cartoons for tapestry for the king, representing 
the Four Ages of the World, but he died of con- 
sumption before their completion, in 1739. Tre- 
molliere was considered one of the most promis- 
ing artists of his country. He had an extensive 
genius; his compositions were noble and judicious, 
his design graceful and correct. He etched a set 
of studies after Watteau, and commenced the Sev- 
en Works of Mercy, from his own designs, but 
only lived to finish two of them. 

TRENTO, Antonio da. This artist was born 
at Trent, in the Venetian States, about 1508. He 
first studied painting under Parmiggiano, but by 
the recommendation of that master, devoted him- 
self to engraving on wood in chiaro-scuro. He is 
supposed to have learned the art from Ugo da Car- 
pi, to whom the invention is attributed. He exe- 
cuted quite a number of cuts, mostly after the de- 
signs of Parmiggiano, though some of them are 
after the works of Andrea del Sarto, Beccafu- 
mi, Salviati, and others. He generally used three 
blocks to each print ; the first for the outline, the 
second for the dark shadows, and the third for the 
demitints. 

Bartsch is of opinion that Antonio da Trento 
and Antonio Fantuzzi are one and the same artist; 
Zani is of a contrary opinion. We cannot enter 
into the discussion further than to say that it is 
agreed that both flourished about the same time 
(from about 1530 to 1545), though it is contended 
that one was a native of Trent, and the other of 
Viterbo or Bologna. It is said that Fantuzzi. who 
worked under the direction of Parmiggiano, ab- 
sconded from his master, taking with him many 
of his drawings, etchings, and woodcuts; and that 
he went to Prance, and connected himself with Pri- 



TRES. 



989 



TREV. 



niaticcio at Fontainbleau, who engaged hira to en- 
grave some of his works on copper. Among the 
thirty-seven prints described by Bartsch, and at- 
tributed by him to Fantuzzi, are several that go 
to corroborate his statement, could he prove them 
to have been executed by him. On the other hand, 
there are several strong circumstances against the 
supposition. Those who are fond of such disquisi- 
tions are referred to Zani, '- Enciclopedia delle belle 
Arti," and to Bartsch. " Peintre Graveur," tomes 
xii. and xvi. 

TRESHAM, Henry, an English painter and 
distinguished connoisseur, was a native of Ireland, 
and acquired the elements of design in West's 
academy at Dublin. He subsequently visited Eng- 
land, and painted small portraits for some time, 
after which he was favored with the patronage of 
Lord Cawdor, and was invited to accompany that 
nobleman in his travels to Italy. During a resi- 
dence of fourteen years on the continent, he stud- 
ied with great assiduity the antique, and the pro- 
ductions of the Roman school, and attained great 
correctness and elegance of design. He had a re- 
dundant invention, and great facihty of composition, 
but paid less attention to coloring than to design. 
Tresham had already distinguished himself by 
several designs for the principal publications of his 
time, when Mr. Boydell projected his well known 
Shakspeare Gallery, and that liberal patron of art 
employed him to paint three scenes from the play 
of Antony and Cleopatra, which received the de- 
served approval of the public. Unfortunately for 
the art, his health became much impaired soon 
after this time, and prevented him from accom- 
plishing much in the art. His long acquaintance 
with the works of the Italian masters, rendered him 
familiar with their merits and defects ; consequent- 
ly he was esteemed one of the ablest critics of his 
day, and his opinion was sought with eagerness by 
the connoisseur as well as the artist. His draw- 
ings with pen and ink. and in black chalk, evince 
uncommon ability ; the latter, in particular, are 
executed with a spirit, boldness, and breadth not 
often found in such productions. During his lat- 
ter years. Tresham superintended the publication 
of a collection of beautiful engravings, entitled 
'• The British Gallery," from pictures by the old 
masters, of which he wrote the descriptions. 
The following tribute to his professional abilities 
and private character, is from the pen of an emi- 
nent cotemporary English connoisseur. " He was 
not less distinguished by the amiable qualities of his 
heart, than for the elegance of his taste as an art- 
ist ; and he was equally beloved by a large circle 
of friends, as he was respected by his brother 
academicians." He died in 1814. 

TREU, Catherine, a paintress of whom little is 
known. It is said that she was a daughter of Mar- 
quard Treu, an obscure painter, and born in 1747. 
She painted fruit and flower pieces in a beautiful 
style. There are some of her pictures in the Dus- 
seldorf Gallery. 

» ,-— -< ■ ^ »-|-. TREU, Martin, a 

cording to Prof. Christ, about 1540. He was co- 
temporary with John Sebald Beham, and Henry 
Aldegrever, and from the small size of his prints, 
is ranked among the little masters. His plates 
are engraved from his own designs, and prove him 
to have been a man of genius. His prints, though 



! inferior to the productions of the above named 
artists in clearness and precision of execution, are 
spirited, and possess much merit. They are some- 
times marked with the initials M. T., and some- 
times with one of the above monograms. Bartsch 
describes forty-two pieces by this artist ; but Brul- 
liot considers the list incomplete, and Malpe at- 
tributes to him thirteen large pieces of Christ 
and his Apostles, which are marked with the second 
or gofhic monogram. Bartsch says also that there 
is no account of an artist of this name, and that it is 
a mere conjecture of Prof. Christ, and he supposes 
I the prints to have been executed by an artist who 
I flourished at the period mentioned, whose name 
\ is now lost. Some of the prints he describes are 
! marked with the gothic monogram, so that it is 
not improbable that the prints in question were 
executed by two different artists. 

TREVIGI, Antonio da, an old painter of Tre- 
vigi, of whom there are notices from 1402 to 1414. 
In the church of S. Niccolo in that city, is a pic- 
ture of St. Christopher of gigantic stature, which 
Lanzi says is tolerably w^ell executed. 
! TREVIGI, Dario da, a painter of Trevigi, who 
I flourished about 1474. He was a pupil and imita- 
I tor of Andrea Mantegna. There are some of his 
works in the church of S. Bernardino, at Bassano, 
placed opposite those of Mantegna, as if, says 
Lanzi, to exhibit their inferiority ; elsewhere they 
would appear more respectable. 

TREVIGI, Giorgio da, an old painter, who 
flourished about 1437. According to Rossetti, he 
was an artist of considerable note in his time. He 
was invited to Padua in 1437, to paint the cele- 
brated tower of the Horologe. 

TREVIGI, Girolamo da, a painter of Trevigi, 
whose pictures date from 1470 to 1492. Accord- 
ing to Pederici, he was a pupil and imitator of 
Squarcione, and his family name, Aviano. Lanzi 
says he found several of his works at Trevigi, 
signed Hieronymus Tarvisio, and judging from 
his style, " he was a very doubtful pupil of Squar- 
cione." His pictures are very well designed, but 
poorly colored. 

TREVIGI, Girolamo da, a painter of Trevigi, 
born, according to Ridolfi, in 1508, and died in 
1544. His family name was Pennacchi. Zani 
says he was the son of Pier Maria Pennacchi, a 
painter of little note, and was born in 1496. He 
has been confounded by some writers with the 
preceding artist of the same cognomen. He went 
to Rome while young, where he studied the 
works of Raffaelie, and became a correct and 
graceful designer. He afterwards went to Venice, 
where little remains from his hand. He next went 
to Bologna, where about 1530 he was an assist- 
ant of Pupini. He afterwards painted a series of 
pictures in the church of S. Petronio, represent- 
ing the life of St. Anthony of Padua, and the Pre- 
sentation in S. Salvatore. Lanzi says that in these 
works he happily succeeded in uniting the excel- 
lencies of the Roman and Venetian schools, but 
did not live long enough to mature them, as he de- 
voted himself to the occupation of a military en- 
gineer, to which service he fell a victim in England, 
in 1544. According to Ridolfi. he went to Eng- 
land in the reign of Henry VIII., who employed 
him as a painter, architect, and military engineer. 
He attended the King in his expedition into JPicar- 
dy, and was killed at the siege of Boulogne in 1544. 



TEEV. 



990 



TREZ. 



Stanley says there is a picture by him in the col- 
lection of Lord North wick, representing the Vir- 
gin with the Infant on a throne, surrounded by 
saints and angels, formerly in the church of S. 
Salvatore, at Bologna j it is signed Hieronymus 
Trevisius, p. 

TREVILIO, or TRIVIGLIO, Bernardo da. 
See Zenale. 

TREVILLIAN, William. The name^of this 
engraver is afSxed to a portrait of Oliver Crom- 
well's Porter, dated 1650. 

TREVISANI, Angelo, a painter born at Tre- 
vigi, according to Lanzi, though some sa}^ at Ven- 
ice. He was educated at Venice, where he passed 
the rest of his days, and is ranked among the 
Venetian painters. It is not known under whom 
he studied, but he painted history with reputation, 
as is evinced by his fine altar-piece in the church 
of La Carita, and other pictures in the churches 
at Venice ; but he particularly distinguished him- 
self as a painter of portraits, in which branch he 
acquired both fame and fortune. Lanzi says he 
formed a style of his own. not sublime, but very 
select, founded upon nature, and in part conforma- 
ble to the schools then in vogue. His pencil dis- 
plays diligence and research, especially in his man- 
agement of the chiaro-scuro. He was living in 
1753. 

TREVISANI, Cav. Francesco, was born at 
Trevigi in 1656, according to Lanzi and the best au- 
thorities, though some say at Trieste, Castel Franco, 
Capo d'lstria, Venice, and Rome. He was the son 
of an architect named Antonio Trevisani, who in- 
structed him in the rudiments of art. He then 
became the disciple of Antonio Zanchi at Venice, 
whose principles he at first followed. Lanzi says 
he was called in Venice, II Trevisani Romano, to 
distinguish him from Angelo T., the subject of the 
preceding article. After having acquired consid- 
erable reputation at Venice, a Venetian lady of 
noble family fell in love with him, and married 
him, but the lovers, fearing the displeasure of her 
parents, retired to Rome. Trevisani, possessing a 
happy talent of imitating the style of every mas- 
ter, soon abandoned his first principles, and adopt- 
ed those of the most popular artists then resident 
in that city. At one time he appears a follower 
of Cignani, at another of Guido, or of other mas- 
ters, and Lanzi says he was alike successful in all. 
He obtained the patronage of Cardinal Chigi, who 
employed him in several considerable works, and 
recommended him to the protection of Pope Cle- 
ment XL That pontiff commissioned him to 
paint one of the Prophets in St. John of Lateran, 
and afterwards employed him to decorate the 
cupola of the cathedral at Urbino, where he re- 
presented in fresco, subjects emblematical of the 
Four Quarters of the "World, which Lanzi pro- 
nounces truly estimable for design, fancy, and col- 
oring. After the death of Cardinal Chigi, he met 
with another powerful friend in Cardinal Otto- 
buoni, who employed him to adorn his gallery, 
for which he painted his celebrated picture of the 
Murder of the Innocents. The Duke of Modena 
employed him to copy several pictures by Cor- 
reggio, Parmiggiano, and Paul Veronese, which he 
executed in such an exact and admirable manner, 
that he conferred upon him the honor of knight- 
hood. He acquired an immense reputation, and 
abounded in commissions, more than he could exe- 



cute ; almost every person of distinction, passing 
through Rome, endeavored to procure a specimen 
by his hand. Lanzi says his pictures abound in 
the churches and collections at Rome. The Al- 
biccini family in Forli, possess many of his works 
in various styles, among them a small picture of 
the Crucifixion, an exquisite picture, which the 
artist considered his master- piece, and subsequent- 
ly offered a large sum to obtain it back again. 
His works generally exhibit much elegance of de- 
sign, a fine pencil, and a vigorous tone of color. 
It is not a little remarkable, that, notwithstanding 
his numerous commissions, he always wrought 
with diligence and care. He possessed an extra- 
ordinary talent of imitating the works of other 
great masters, and frequently copied them on com- 
mission. He was also a universal painter, and 
could paint almost equally well, history, architec- 
ture, portraits, landscape, animals, fruit and flow- 
ers. Among his best works at Rome are, the 
Death of St. Joseph, at the Collegio Romano ; the 
Virgin contemplating the Instruments of the Pas- 
sion in S. Maria in Vallicella; and his picture of 
Antony and Cleopatra, in the Spada palace, paint- 
ed as a companion to Guide's Rape of Helen. There 
are many of his works in the various cities in the 
state, as Foligno, Camerino, Perugia, and Forh. 
He died in 1746. at the great age of 90 years, and 
is said to have still retained his energies, working 
to the last year of his life. 

TREZZO, GiACOMO da, a famous painter in mo- 
saic, of the Milanese school, who died in 1595. Ac- 
cording to the Abbe Conca, he was invited to the 
court of Philip 11. of Spain to execute the Taber- 
nacle for the church of the Escurial, which is es- 
teemed the most beautiful and magnificent work of 
the kind in Christendom. For this, and other sim- 
ilar works, he was munificently rewarded, and ac- 
quired so much reputation, that the name of one 
of the principal streets, in which he lived, was 
changed to Jacome Trezzo. 

TRIBOLO, Niccolo di. an able Italian sculp- 
tor, was born at Florence in 1500. He was orig- 
inally bred to the trade of a carpenter, but be- 
coming acquainted with Sansovino, he commenced 
studying with him. On leaving that master, he 
was employed to execute two statues of Sibyls for 
the fa9ade of S. Petronio at Bologna, which at once 
established his reputation. The}^ have been en- 
graved in Cicognara's Storiadella ScuUura. He 
also executed several bas-reliefs for the doors of 
that church, w^hich possess great merit. In 1525 
Tribolo was obliged to quit Bologna, on account 
of the plague, but he soon returned and continued 
practicing the art until the death of his patron 
Bartolomeo Barbazzi, when he visited Pisa, and 
was employed by the sculptor Pietrosanta. While 
at Pisa, he was commissioned by Gio. Battista della 
Palla, who was collecting works of art for Francis 
I., to execute a statue of Nature, which, on being 
sent to Fontainbleau, was admired as a choice pro- 
duction of art. He seems afterwards to have prac- 
ticed in his native city, for when Florence was be- 
sieged by Pope Clement VII., in 1529, he treach- 
erously furnished that pontiff with plans and mod- 
els of the city and its outworks. His services on 
that occasion obtained him Clement's patronage, 
who, among other things, employed him to assist 
Michael Angelo in the sculptures intended for the 
chapel of S. Lorenzo ; and he had begun two fig- 
ures, one representing Earth, and the other Heaven, 



TRIG. 



991 



TROG. 



•intended to decorate the tomb of Giulio de' Medici, 
when he was disabled from proceeding further by 
an attack of ague ; and he had hardly recovered. 
when the Pope's death put a stop to the work. 
He was subsequently employed by the Grand 
Duke Cosmo I., in laying out gardens and design- 
ing the fountains and statues of the Villa di Cas- 
tello, near Florence. Vasari, his friend and bio- 
grapher, gives a minute account of this extensive 
scheme of embellishment, but partly on account 
of Tribolo's remissness it was prosecuted slowly, 
and never completed. On purchasing the Palazzo 
Pitti, the Grand Duke engaged Tribolo to improve 
the gardens and decorate them with various works 
in sculpture ; but he had hardly commenced his 
labors, when he was seized with an illness that 
caused his death, September 7th 1550. 

TRICOMI, Bartolomeo, a Sicilian painter, 
who flourished at Messina about 1650, Accord- 
ing to Hackert, he studied with Domenichino, 
though Lanzi says with Barbalunga. He devoted 
himself chiefly to portraiture in which branch he 
greatly excelled. 

TRIERE, P., a French engraver, who flourished 
about 1780. He engraved some plates of histori- 
cal subjects and conversations, after various mas- 
ters, which are executed with the graver in a neat 
and pleasing style. 

TRINGHAM, an obscure English artist, men- 
tioned by Strutt, as the engraver of a few por- 
traits and other subjects for the booksellers. He 
flourished about 1750. 

TRIPPEL, Alexander. This able sculptor 
was born at Schaflfhausen, in Switzerland, in 1747. 
After acquiring the elements of design, he visited 
Copenhagen, and studied sculpture under Prof. 
Wiedevelt. He remained eight years in Denmark, 
and then went to Berlin, but meeting with little 
encouragement. 'he returned to Copenhagen, and 
gained several prizes at the Academy. He sub- 
sequently spent three years in Paris, and executed 
a fine model of his allegorical group of Switzer- 
land, after which he settled at Rome in 1777, and 
practiced the art in that city for many years with 
good success. His works are distinguished for their 
noble simplicity, and beautiful execution. He was 
most successful in bas-reliefs and busts, among 
which last he executed one of Goethe for the Prince 
of Waldeck, which is praised by the poet for the 
excellence of its style. Another of his works is 
the monument to Salomon Gessner, at Zurich. 
Trippel died at Rome in 1793. 

TRISTAN, Luis, a Spanish painter, born, ac- 
cording to Palomino, near Toledo, in 1594, and 
died at Toledo in 1649 ; Bermudez places his birth 
in 1586, and his death in 1640. He studied under 
Domenico Theotocopuli, called El Greco, whom he 
surpassed in design and the purity of his taste. 
El Greco, then somewhat advanced in years, far 
from being jealous of his talents, was the first to 
applaud his works, and to commend him to the 
public. He executed many works for the churches 
and convents of Toledo, the most esteemed of which 
are in the Cathedral, and in Santa Clara. There 
are some of his works at Madrid. He also ex- 
celled in portraits. It is no mean proof of his abil- 
ity, that Velasquez professed himself his admirer, 
and quitting the precepts of Pacheco, his instruct- 
or, formed his style from the works of Tristan. 



TRIVA, Antonio, a painter born at Reggio in 
1626. He was a disciple and imitator of Guercino, 
and acquired considerable reputation for several 
works he executed for the churches at Reggio, 
Venice, and other cities in Italy, which were cele- 
brated by his friend, the poet Boschini. He was 
invited to the court of the Elector of Bavaria, in 
whose service he died in 1699. He was remarka- 
ble for using both hands with equal facility. He 
executed a few spirited etchings from his own de- 
signs, and after other masters. Bartsch describes 
four, and Fiiessli mentions five more. He had a 
sister named Flamifiia, who possessed considerable 
genius, and executed some good works, even for 
the churches. 

TROGER, Paul, a German painter, born at 
Zell in the bishopric of Brixen, in 1695. After 
learning the rudiments of design in his own coun- 
try, he went to Fiume, in the Venetian territory, 
and studied under Giuseppe Alberti. He estab- 
lished himself at Vienna, where he acquired con- 
siderable reputation as an historical painter, and 
was made Director of the Imperial Academy. He 
also executed some spirited etchings of historical 
subjects and landscapes from his own designs. He 
died at Vienna in 1777. 

TROGLI, Giulio, a painter born at Bologna, 
according to Malvasia, in 1613, and died in 1685.' 
He first studied under Francesco Gessi, but pre- 
ferring perspective and architecture, he afterwards 
became the pupil of Agostino Metelli. He acquired 
considerable reputation, and published a work en 
titled ''Paradossi della Prospettiva"; hence he 
was ever afterwards called II Paradosso (the Para- 
dox.) He died in 1685. 

TROMBA, II. See Rinaldl 

TROMPETTA, II. See Pesaro. 

TRONCHON, A. R., a French engraver, who 
flourished from about 1740 to 1760. He engraved 
some plates after Coypel and other masters. 

TROOST, Cornelius, a Dutch painter, born at 
Amsterdam in 1697. He studied under Arnold 
Boonen, and improved himself by a diligent study 
of nature. He painted history, comedies, conver- 
sations, and gallant subjects, in a very pleasing 
style, and was called the Dutch Watteau. His 
greatest excellence, however, lay in portraiture, 
and he was much employed in painting large pic- 
tures for the halls of the difierent societies and 
companies of Amsterdam, containing the portraits 
of the principal ofiicers of the institutions. He 
there painted the Directors of the College of Physi- 
cians at Amsterdam, as large as life, and at full length, 
in one piece, which picture established his reputa- 
tion. His most capital performance is a large pic- 
ture in the Surgeons' Hall, representing the prin- 
cipal persons of that profession in Amsterdam, 
sitting round a table, on which is placed a subject 
prepared for dissection, while a professor appears 
as if explaining the parts previous to an operation. 
He was much applauded for his admirable por- 
trait of Boerhaave, which is placed in the Anato- 
mical Hall. His conversations, though occasional- 
ly broad, are true to nature, and faithfully portray 
the enjoyments of the high and the low, according 
to the manners and customs of the people of Hol- 
land in his day. His pictures are correctly de- 
signed and well colored. He painted in crayons 
as well as in oil, and his works are highly esteemed 



TROO. 



992 



TROS. 



in his own country. The late Baron Verstolk 
de Soelen, Minister of State, possessed a large col- 
lection of his works, which were sold at public 
sale at Amsterdam in 1847, and brought large 
prices. Troost also engraved some prints in mez- 
zotinto from his own designs. He died in 1750. 
He had a daughter named Sara, whom he instruct- 
ed in the art. She painted portraits with reputa- 
tion, both in oil and crayons, and made drawings 
of several of her father's works. She died in 
1793. 

TROOST, William, a Dutch painter, born at 
Amsterdam in 1G84. He first studied with John 
Glauber in his native city, and next went to Dus- 
seldorf, where he became a disciple of J. van Nik- 
kelen, painter to the court, whose daughter he 
married. At Dusseldorf, he is said to have painted 
the portraits of many persons of distinction. He 
afterwards returned to Amsterdam, where he set- 
tled, and devoted his talents chiefly to landscape, 
both in oil and India ink; the latter are consid- 
ered the most valuable. His style in landscape 
resembles that of his first master, Glauber. His 
wife, Jacoba Maria van Nikkei en, excelled in paint- 
ing fruit and flower pieces, which art she learned 
of vander Myn. 

TROOST WYCK, Walter John, a Dutch paint- 
er, born at Amsterdam in 1782. He studied both 
with Anthony and Juriaan Andriessen, and after- 
wards improved himself by copying the works of 
the best Dutch landscape and cattle painters, as 
Paul Potter, Adrian Vandervelde,, and Karel du 
Jardin, He painted landscapes and cattle in the 
manner of those masters, which are much es- 
teemed. He died in 1810. 

TROPHONIUS. See Agamedes. 

TROSCHEL, James, a German painter and en- 
graver of little note, born in 1583, and died in 1624. 
Prof. Christ attributes to him some indifferent 
prints marked with the initials I. T. F. 

^ TROSCHEL, Hans, a German engraver, 
born at Nuremberg about 1592. He stud- 
ied under Peter Isselburg, and gained con- 
siderable reputation by several plates, particular- 
ly a Set of Landscapes, the Court House at Nurem- 
berg, and the portrait of Ferdinand II. In 1622, 
he went to Rome, and assisted Francesco Villame- 
na in executing several important works. The 
Biographie Universelle praises him for his facility 
and delicacy of execution ; Bryan says his style is 
greatly inferior to that of Villamena, both in de- 
sign and execution, and that his plates, though 
neatly engraved, are stiff and labored. Troschel 
died at Rome in 1633, and was honorably interred 
in S. Maria del Popolo. His plates are generally 
marked with the above monogram, sometimes with 
the figure of a thrush added, in allusion to his name ; 
among them are several emblematical subjects, por- 
traits and frontispieces ; also the following. The 
Conception of the Virgin, after Bernardo Castelli. 
A large Thesis, dedicated to Cardinal Prince Mau- 
rice of Savoy. The Emperor Julian, with a figure 
showing the heart of a Bull, upon which appears 
a cross surmounted by a crown, after Antonio Cir- 
cignano. A portrait marked Fortunius Licetus, 
Philosoph. The portrait of Louis XIV., consid- 
ered his best work. 

TROSCHEL, Peter. This engraver was the 
son and scholar of the preceding, born at Nurem- 
berg about 1620, and flourished until about 1661. 



His plates were chiefly engraved for the booksel- 
lers ; among them are several frontispieces and 
other book ornaments, executed with the graver, 
in an indifferent style, usually marked with the 
initials P. T. 

«r-t TROST, Andrew, a German painter of 
4V^» familiar subjects, was a native of Car- 
^ ^^ niola. Little is known of him as a paint- 
er. He engraved some plates, which he marked 
with the above monogram. He was living in 1695. 
TROST. See Troost. 

TROPPA, Cav. Girolamo, a painter who is sup- 
posed to have studied with Carlo Maratti. Laiizi 
says he was certainly his imitator, and a success- 
ful one too. He executed some works for the 
churches at Rome, both in oil and fresco, the best 
of wliich are in S. Giacomo delle Penitenti, where 
he painted in competition with Romanelli. There 
are also some of his works scattered in the churches 
throughout the state, particularly at S. Severino. 
He died in the prime of life. 

TROTTI, Cav. Gio. Battista, called II Ma- 
losso, an eminent painter, born at Cremona in 
1555. He was the most distinguished disciple of 
Bernardino Campi, whose niece he married, and 
inherited his valuable studio. He acquired a bril- 
liant reputation, and executed many works for the 
churches and public edifices of Cremona, Parma, 
Piacenza, and other cities of Italy. He was em- 
ployed by the court of Parma to paint in compe- 
tition with Agostino Caracci, on which occasion, 
says Lanzi, Trotti being most applauded, Agostino 
with pleasantry observed, " that they had given 
him a hard bone to crack ;" hence he was called 
II Malosso, which name he adopted, and transmit- 
ted as an hereditary appellation to his nephew; 
he also sometimes made use of it in signing his 
name, thus. Jo. Baptista Trottus dictus Malos- 
sus Cremon. faciebat. 1594. '■' Thus, he convert- 
ed into a source of applause the satire, launched 
at him by Caracci, meant to convey that the peo- 
ple of Parma had preferred to him an artist of 
inferior worth ; nor indeed was Malosso his equal 
in design or in solid judgment, though he could 
boast pictoric attractions which made him appear 
to advantage when opposed to other artists. He 
displayed little of Campi's taste except in a few of 
his first efforts; he afterwards studied Correggio, 
and most of all, emulated Sojaro, whose gay, 
open, and brilliant style, varied shortenings, and 
spirited attitudes, he exhibited in the chief part 
of his works. But he carried it too far, making 
an extravagant display of his white and other clear 
colors, without sufficiently tempering them with 
shade, insomuch that I have heard his paintings 
compared to those on porcelain, while he has been 
accused of want of relief, or, according to Baldi- 
nucci, of some degree of harshness. His heads, 
however, are very beautiful, smiling with loveli- 
ness, and of a graceful roundness, not unlike 
those of Sojaro, though he is apt to repeat them 
on the same canvass, nearly alike in features, col- 
ors, and attitudes. Here his rapidity of hand was 
alone at fault, for he was no way deficient in fertil- 
ity of ideas. When he pleased he could give vari- 
et}' to his lineaments, as is seen in his Beheading 
of St. John, in the church of S. Domenico at Cre- 
mona, as well as to his compositions, for he re- 
peated his Conception of the Virgin in S. Fran- 
cesco at Piacenza, on several occasions, abounding 



TROT. 



993 



TROY. 



with fresh ideas in every instance, nor do we often 
meet with any of his paintings throughout the nu- 
merous cities in which he was employed, that have 
much resemblance in point of invention. He was 
equally varied in his imitations when he pleased." 

Trotti wrought with extraordinary facility, and 
executed a multitude of works, both in oil and 
fresco : hence he frequently laid himself justly 
open to the accusation of incorrectness, want of 
harmony, and mannerism. His most esteemed 
works in fresco, for which he was honored with 
knighthood, are in the Palazzo del Giordani, at 
Parma. His labors in the cupola of S. Abbondio 
at Parma, are on a magnificent scale, though de- 
signed from Giulio Oampi ; but they display, says 
Lanzi, a masterly hand and a strength of coloring 
fully equal, if not superior, to the design. Among 
his other works, most deserving of notice, are the 
Crucifixion, executed in the best Venetian taste 
in the cathedral at Cremona; his St. Maria Egi- 
ziaca, in the church of S. Pietro, in the same city, 
much in the Roman style, and a Pietd,. in S. Ab- 
bondio, in which he emulated the Caracci. He 
died in 1612. 

TROTTf, EucLiDE, called also II Malosso, was 
the nephew of the preceding, assisted him in his 
works, and was an able imitator of his style. The 
only works known, executed entirely by him. are 
two pictures of the history of St. James, in the 
church of S. Gismondo, at Cremona, and an altar- 
piece of the Ascension, in the church of S. Antonio 
at Milan, which Lanzi says displays much beauty, 
and a more serious and dignified manner, than is 
generally found in the works of the elder Malosso. 
Unfortunately he fell into extravagant and dis- 
sipated habits while young, committed a felony, 
was condemned to death, and died in prison, by 
poison, as is supposed, administered by his friends, 
to avoid the disgrace of a public execution. He is 
sometimes called U Cav. Euclide Trotti. 

TROUVAIN, Antoine. a French engraver, born 
at Montdidier in 1666. He is supposed to have 
been a pupil of Bernard Picart, whose style he im- 
itated. His plates are executed entirely with the 
graver, which he handled with great neafness and 
dexterity, and his prints produce a very pleasing 
effect. He was living in 1707. Among others, 
are the following by him : 

PORTRAITS. 

Peter Daniel Huet, Bishop of Avanches. 1695. Fran- 
cis le Bouthellier. Bishop of Troyes. John Pesne. Painter 
and Engraver. 1698. Rene Anthony Houasse, Painter; 
after Tortebat, John Jouvenet, Painter; after a picture 
by himself. 



The Annunciation ; after Carlo Maratti. Christ re- 
storing Sight to the Blind ; after Ant. Coypel. The Mar- 
riage of Mary of Medicis with Henry IV., and the Minori- 
ty of Louis XIII. ; after the pictures by Rubens in the 
Luxembourg Gallery. Silenus drunk ; after Ant. Coypel, 

TROY, FRAN901S DE, an eminent French paint- 
er, born at Toulouse in 1645. He was the son of 
Nicolas de Troy, a painter of little note, by whom 
he was instructed in the rudiments of the art. He 
went to Paris while young, and studied under Ni- 
cholas Loir, where he made rapid progress, and soon 
distinguished himself Jn 1674 he was admitted 
into the Academy, on which occasion he presented 
a picture of Mercury and Argus, which gained him 
so much reputation, that he received immediately 
several commissions for sacred and profane sub- 



jects. The brilliant success of Claude le Fevre as 
a portrait painter, induced him to devote himself 
more particularly to that branch, in which he be- 
came one of the most celebrated artists of the 
French school. He was sent by Louis XIV. to the 
court of Munich to paint the portrait of Maria Chris- 
tiana of Bavaria, afterwards Dauphiness of France, 
which was subsequently placed in the gallery of 
Apollo, as an exquisite specimen of coloring and 
finishing. He also painted the portraits of many 
of the most distinguished personages of his time. 
His portrait, painted by himself, is in the Floren- 
tine gallery. His greatest historical work is in 
the church of St, Genevieve, representing the Ma- 
gistrates of Paris invoking the protection of that 
saint, pronounced a grand performance. There 
is a very rare etching by him representing the 
Catafalque for the obsequies of Maria Teresa, 
Queen of Louis XIV. He died at Paris in 1730. 

TROY, Chevalier Jean FRAN901S de, was the 
son of the preceding, born at Paris in 1676. Af- 
ter receiving instruction from his father, he went 
to Italy, where he resided several years, diligently 
studying the works of the best masters. On his 
return to Paris, he soon gained a distinguished 
reputation, and was elected a member of the Acad- 
emy. On the first exhibition of his works, they 
were generally admired, and the best judges of the 
art commended the taste, invention, coloring, neat- 
ness of finishing, and happy union of simplicity 
and grandeur, which appeared in his compositions. 
He was employed by Louis XIV. to paint a series 
of cartoons for tapestry, representing the history 
of Queen Esther, and to decorate the Hotel de 
Ville with several large emblematical subjects, 
which gave so much satisfaction to the monarch, 
that he conferred on him the order of St. Michael, 
and honored him with other marks of his pecu- 
liar esteem. He subsequently appointed him di- 
rector of the French Academy at Rome, where he 
resided the greater part of his life, and discharged 
the duties of his office with much dignity and credit. 
He had a fruitful invention, and an extraordinary 
readiness of handling; his touch was firm and 
free, and his coloring extremely pleasing ; and in 
all his works he showed a just and natural expres- 
sion of the passions in his countenances, as well 
as in the attitudes and motions. He was not less 
distinguished as a painter of portraits thaii of his- 
torical subjects, and his own likeness, painted by 
himself, is in the Florentine Gallery. He died in 
1752. 

TROYA, Felix, a Spanish painter, born at San 
Felipe, near ^lencia, in 1660. He studied with 
Gasparo de la Huerta, at Valencia, and painted 
history with considerable reputation. His works 
are numerous, and may be found in almost all the 
churches, convents, and public edifices at Valencia, 
San Felipe, and other places in that region of coun- 
try, where he resided. He acquired a high repu- 
tation for the richness of his coloring, and the grand 
and imposing effect of his pictures, though his de- 
sign is frequently incorrect. His best works are 
in the church of S. Agostino at Valencia, where 
he died in 1731. 

TROYEN, John van, a Flemish engraver, who 
flourished about 1650. He engraved some of the 
plates from the pictures in the collection of the 
Archduke Leopold, called the Teniers' Gallery, 
among which are, the Daughter of Herodias with 
the Head of St. John, after L. da Vinci ; the 



TROY. 



994 



TRUM. 



Magdalene penitent, after Correggio ; Christ heal- 
ing the Sick, and the Adoration of the Magi, after 
P. Veronese j and the Entombment, after Porde- 
none. 

TROYEN, RoMBOUT van, a Flemish painter, 
born at Antwerp about 1600. It is not known 
under whom he studied, but Harms, in his Chro- 
nological Tables, states that he went to Italy, and 
resided there some time ; others say that he never 
left his own country. He distinguished himself as 
a painter of the ruins of ancient architecture, and 
other interesting objects in the neighborhood of 
Rome, which he embellished with figures repre- 
senting subjects of sacred or profane history or fa- 
ble. His style resembles that of Cuylenburg, and 
his pictures, like those of that master, have become 
much darkened in parts by age, from the use of im- 
proper colors. His cabinet pictures are the most 
esteemed. Balkema says he lived at Amsterdam, 
where he died in 1650. 

TRUCHI, Dominic and L., two engravers, said 
to be French, but probably Italians, who flourished 
in London about 1730. They engraved some book 
plates. 

TRUCHOT, a French painter of landscapes and 
architectural views, who lived in England some 
time, and died about 1823. Little is known of him 
except by his works, among which are a view of Can- 
terbury Cathedral ; a View of St. Michael's Mount ; 
Abelard reading a Letter from Eloisa ; Eloisa in 
Prayer before an Altar; the grand Staircase of the 
Palais Royal ; Henry, Count de Bouchange, in a 
Cloister; also several interiors of churches and 
chapels, and views of ancient ruins in various 
parts of France. Some of his pictures are em- 
bellished with figures by Xavier le Prince. 

TRUMBULL, John. This eminent American 
painter was born at Lebanon, Conn., June 6th, 
1756, and died in New York. November 10th, 1843, 
aged eighty-seven. His father was the first gover- 
nor of Connecticut as an independent State, and the 
advantages of his birth gave to young Trumbull 
one of the best educations the country could af- 
ford. He graduated at Harvard College in the class 
of 1773, at the early age of seventeen ; and hav- 
ing seen at Boston the works of Smybert and 
Copley, he determined to devote his time and tal- 
ents to the profession of painting. 

Boston and its environs had at this time become 
the seat of war ; and the young artist, fired with 
a spirit which animated his countrymen, enrolled 
himself, at the age of nineteen, as an adjutant in 
the American Army, and marched to join the un- 
disciplined forces which were assembling around 
the head quarters of General Gage. On the 17th 
-of June, 1775, was fought the memorable battle 
of Bunker's Hill, at which time the young adjutant 
pvas stationed with his regiment at Roxbury. In 
July, General Washington arrived at Cambridge 
to take command of the troops which were be- 
sieging Boston ; and being informed of the talent 
of Trumbull, he employed him to make a draft of 
the enemy's works, which he completed to the 
satisfaction of the commander-in-chief. In Au- 
gust, 1775, Trumbull was appointed aid to Wash- 
ington ; in the autumn of this year he was pro- 
moted to the oflBce of brigade major, and in the 
succeeding year, 1776, he held the post of Deputy 
Adjutant General of the Northern Department 
under General Gates. Owing to some informality 



I respecting the date of his commission, Trumbull 
became, at this time, dissatisfied with the service, 
and having witnessed many of the chief occur- 
rences of the Revolution, he resolved to terminate 
his military career, and become the historiographer 
of these great events and of his early comrades. 

AVith this view, he resided some time at Boston, 
studying the works of Copley and others, until 
1780, when he embarked for France, and having 
made a short stay in Paris, proceeded to London, 
where he was kindly received by West, with whom 
he pursued his studies uninterruptedly till about 
the middle of November, when the news of the 
death of Major Andre was received, and a violent 
irritation was occasioned in the public mind. It 
was Trumbull's misfortune to lodge in the same 
house with another American gentleman, who had 
been an oflScer, and against whom a warrant had 
been issued to apprehend him for high treason. 
Instructions had been given to the oflBcer who was 
to execute the warrant, to arrest, meanwhile, the 
painter, and secure his papers in expectation of 
finding something of importance ; and in accord- 
ance with this order, Trumbull was arrested on 
the night of the 19th of November, and committed 
to prison. Immediately upon hearing of the ar- 
rest, West waited upon the king ; represented the 
circumstances of his pupil's former and present 
situation ; the long time which had intervened be- 
tween his quitting the rebel army and his coming 
to England ; and his present entire devotedness to 
the study of the fine arts. George the Third, after 
a moment's hesitation, replied, " this young gentle- 
man is in the power of the laws, and I cannot at 
present interfere ; but go to him. and assure him 
from me, that in the worst possible legal result, 
he has my royal word that his life is safe." This 
assurance, of course, softened in a great degree the 
rigor of an eight months' imprisonment, during 
which period he made the fine copy from West's 
picture of Correggio's St, Jerome, now in the gal- 
lery at New Haven. 

In June, 1781, a change had taken place in the 
affairs of the two countries ; the English govern- 
ment had begun to relax their severity, and Trum- 
bull was admitted to bail by a special order of the 
king, in council, on condition of quitting the king- 
dom within thirty days, not to return during the 
war. Making the best of his way to Ostend, and 
from thence to Amsterdam, he embarked for his 
native country, where he arrived, after much de- 
tention, about the middle of January, 1782. Fa- 
tigue, vexation, and disappointment brought on a 
fever, which confined him to his father's house the 
principal part of the ensuing winter. 

In the spring of 1783, the news arrived of the 
preliminaries of peace having been arranged, and 
Trumbull immediately formed the resolution of 
again visiting England ; he arrived there in the 
early part of 1784, and recommenced his studies 
with West, by whom he was again kindly received. 
In the year 1786, he produced his first considera- 
ble historical work, the Death of General Warren 
at the Battle of Bunker's Hill. This his first pat- 
riotic work of art, having been seen and apprecia- 
ted by both Adams and Jefferson, the former of 
whom was residing at that time as American min- 
ister at London, and the latter at Paris, he com- 
municated to them his project of painting a series 
of national pictures, in commemoration of the 
principal events of the Revolution, preserving, as 
far as practicable, faithful portraits of those who 



TRUM. 



995 



TRUM. 



had been conspicuous actors in the various scenes, 
as well as accurate details of the arms, dresses, 
and manners of the times, with all of which he 
had been familiar. 

Finding: that the Death of General Warren had 
given offence in London, and being desirous to con- 
ciliate, Trumbull determined to paint, before leav- 
ing England, a subject from British history ; and 
selected the Sortie of Gibraltar, which was finish- 
ed in the spring of 1789. In the autumn of this 
year, Trumbull returned to America, and devoted 
himself with great assiduit}- to the task of pro- 
curing portraits of all the distinguished characters 
in New York, then the seat of government, and in 
the summer of 1790, he was commissioned by the 
Corporation to paint a full-length of Washington, 
now in the Common Council room of the City 
Hall. It represents the General in full uniform, 
standing by a white horse, leaning his arm upon 
the saddle ; in the background, a view of Broad- 
way in ruins, as it then was, the old fort at the 
termination, and Staten Island in the distance. 
He passed the winter of 1790-1. in traveling 
through various parts of the country, to take por- 
traits of illustrious individuals, and in the spring 
returned to New York, where he painted for the 
Corporation the whole length portrait of General 
Clinton, also in the Common Council room of the 
City Hall. In 1792, he was again at Philadelphia, 
and there painted the portrait of General Wash- 
ington, now in the gallery at New Haven. 

In May, 1794, he returned to England as Secre- 
tary to Mr. Jay, who had been appointed minister 
to Great Britain ; and, in a residence of ten years, 
produced several pictures, the most celebrated of 
which are the Madonna au Corset rouge, from Raf- 
faelle ; the Infant Saviour and St. John ; and a 
Holy Family, all of which are now in the New 
Haven gallery. He returned to the United States 
again in 1804, but in consequence of the embarrass- 
ments of trade, and the unsettled state of the 
countr}'-, the fine arts were but illy supported here ; 
and in 1808, he returned again to London, and re- 
mained abroad until his final return to the United 
States in 1816. 

During his last absence, a change had taken 
place in the state of the arts in this country. Stu- 
art, Sully, and Jarvis were each enjoying a high 
and deserved reputation ; and although Allston had 
not yet arrived, the fame of his success had prece- 
ded him. The Capitol at Washington was rebuild- 
ing, and Congress, during the session of 1816-17, 
appropriated thirty-two thousand dollars for the 
purchase of four pictures, each eighteen feet by 
twelve, to be placed on the walls of the Rotunda. 
They selected for their subjects the Declaration of 
Independence, signed on the 4th of July, 1776 ; 
the Surrender of Burgoyne, on the 17th of Octo- 
ber, 1777, to the American forces under General 
Gates, at Saratoga ; the Surrender of Cornwallis 
at Yorktown in Virginia. Oct. 19, 1781 ; and the 
Resignation of General Washington, at Annapolis, 
Dec. 23. 1783. They authorized Trumbull to execute 
the work, which he performed in the space of sev- 
en years. These pictures are in the style of his 
master. West; and although some critics have 
found fault with the grouping of the figures, and 
the apparent stiffness of the principal officers, their 
merit in many particulars is of a high order, and 
they will ever be valuable for the faithful portraits 
they have handed down to us. 



The last picture was scarcely finished in 1824, 
when Trumbull had the misfortune to lose his wife, 
the faithful and beloved companion of all the vi- 
cissitudes of twenty-four years. In his own 
words, " my best friend was removed from me, 
and I had no child. A sense of loneliness began 
to creep over my mind, yet my hand was st^dy, 
and ray sight good ; then why sink into premature 
imbecility?" He therefore resolved to begin a 
new series of his revolutionary subjects, on canvas 
six feet by nine, for the purpose of solacing his 
weary hours by occupation. The expenses neces- 
sarily incident to such an undertaking, soon dimin- 
ished his pecuniary resources, and the thought oc- 
curred to him, that, although there was little prob- 
ability of his being able to dispose of his pictures, 
either to individuals or to the State, it might be 
that some literary institution would be desirous 
of possessing them. An arrangement was finally 
concluded with Yale College at New Haven — afire- 
proof gallery was erected, in which the pictures 
were arranged under his direction, and an annuity 
of one thousand dollars for the remainder of his 
life was settled upon the artist, who made one no- 
ble condition in this final disposition of his works^ 
that, after his death, the entire proceeds of the ex- 
hibition should be perpetually appropriated to- 
wards defrajn'ng the expense of educating indigent 
scholars in Yale College. " I thus," says he, "have 
the happy reflection that when I shall have gone 
to my rest, these works will remain a source of 
good to many a poor, perhaps meritorious and ex- 
cellent young man." 

Among other valuable productions,the Trumbull 
Gallery contains, besides the small copies of the pic- 
tures at the Capitol, fifty three pictures by him, the 
principal of which are, the Battle of Bunker Hill ; 
the Death of Gen. Montgomery, in the attack of Que- 
bec ; the Battle of Princeton, partly finished ; the 
Capture of the Hessians at Trenton ; the Death of 
Gen. Mercer, at the Battle of Princeton ; Portrait of 
General Washington, painted at Philadelphia in 
1792, for the city of Charleston, S. C. ; a copy of 
Correggio's celebrated St. Jerome of Parma; and 
a copy of the Transfiguration, the master-piece of 
Raffaelle. Five copies of his historical pictures, 
the Declaration of Independence, the Death of 
General Montgomery, the Death of General War- 
ren, the Death of Gen. Mercer, and the Rout of 
the Hessians at Trenton, were purchased by the 
Wadsworth Athenaeum at Hartford, and now 
adorn the walls of that institution. The Sortie of 
Gibraltar, and Priam receiving the Body of Hec- 
tor, are the property of the Athenaeum at Boston. 

An association had been early formed in New 
York for promoting the Fine Arts, and Chancellor 
Livingston elected President. For a considerable 
period, the institution was sustained with some 
vigor, but it finally lost its vitality, and in 1816 it 
had nearly ceased to exist. During that year De 
Witt Clinton, who was then President of the Asso- 
ciation, originated a plan, by which it was revived, 
under the name of the American Academy of Fine 
Arts. Delicacy required him to resign the presi- 
dency, and at his nomination, Trumbull was elect- 
ed to occupy the chair, which he continued to do 
with great ability until the formation of the Na- 
tional Academy of Design, which went into opera- 
tion in 1825, with Samuel F. B. Morse as Presi- 
dent. During this period it may be said, no artist 
in this country gave instruction to so many schol- 



TSCH. 



996 



TURA. 



ars, and certainly no one displayed a warmer zeal 
in the cause of Art. 

In the year 1837, Trumbull removed to New 
Haven, and resided there till 1841 ; when he re- 
turned to New York, in order to receive the advice 
of his favorite physician. Dr. Washington. He re- 
mained there until his death, in November, 1843. 
By his own request, his remains were interred in a 
sepulchre, built by himself, beneath his Monumen- 
tal Gallery, at New Haven. 

TSCHERNINGK, David, a German engraver, 
who flourished about 1639. He engraved some 
frontispieces and other book plates, executed with 
the graver, in a poor style. 

TSCHERNINGK, John. There were two Ger- 
man engravers of this name ; the elder was living 
in 1634, and the younger in 1685. They engraved 
some portraits and other book plates. There was 
a portrait painter named Andrew T., who flour- 
ished about 1660. Little is known of them. 

TUAIRE, FRAN901S, a French painter, born at 
Aix in Provence, in 1794. He studied under Prud- 
hon with the greatest assiduity, and being obliged 
also to give lessons in the art, to gain a subsist- 
ence, his constitution was injured by incessant ap- 
plication. The Empress Josephine commissioned 
him to paint a picture of Venus and the Loves, 
which was greatly admired, and gained him con- 
siderable reputation. In 1821 he executed a pic- 
ture for the palace at Fontainbleau, representing 
Psyche in prison, condemned to separate grains of 
corn, and succored by Cupid. It was much ad- 
mired for its design, coloring, and expression, and 
gained the gold medal at the exhibition in 1822. 
Tuaire finally ruined his health by excessive labor, 
and died in 1823. 

TUBI, Gig. Battista, a reputable Italian sculp- 
tor, was born at Rome about 1630. He visited 
Paris, and was elected a member of the Academy 
of Painting and Sculpture. He was employed in 
copying works from the antique ; and his excel- 
lent talents in this respect are evinced by the Lao- 
coon in the Versailles Park. There are also a 
number of original compositions by him at Ver- 
sailles, representing the Fountain of Flora, Cupid, 
Galatea ; and also a marble vase, with bas-reliefs, 
illustrating the victories of Louis XIV. in Flan- 
ders. At Paris he executed a number of works, 
among which are a statue of Immortality, on the 
tomb of la Chambre, and that of Religion, on the 
tomb of Colbert ; both in the church of S. Eus- 
tache. Tubi also executed the mausoleum of Tu- 
renne, after the designs of le Brun. with the ex- 
ception of the statues impersonifying Wisdom 
and Valor, which are by Marsy. This mausoleum 
was formerly in the church of the Abbey of St. 
Denis, but was transferred in 1800 to the church 
of the Invalides. Tubi died at Paris in 1700. 

TUCCART, Giovanni, a Sicilian painter, born 
at Messina, according to Hackert. in 1667, and 
died there in 1743. He studied with his father, 
Antonio T., who was a feeble disciple of Barba- 
lunga. Though he painted much in other branch- 
es^ he chiefly distinguished himself as a painter 
of battles and skirmishes of cavalry, and by the 
extraordinary facility of his pencil, •' he multiplied 
these subjects almost beyond number. Many of them 
were sent to Germany, where they were engraved." 



His name is frequently written Tucarri. He died 
in 1743. 

TULDEN. See Thulden. 

TUNCOTTO, Giorgio, an old Piedmontese 
painter, who was living, according to Count Du- 
rando, in 1473, when he painted in the church of S. 
Domeuico at Alba. His works have mostly per- 
ished. 

TURA, CosiMO, called Cosme da Ferrara, an 
old painter, born at Ferrara in 1406, and died in 
1469. He was a disciple of Galasso Galassi, and 
painted sacred subjects in the dry, gothic style 
which prevailed at that time. Several of his works 
are still preserved in the churches and public edi- 
fices of Ferrara. He was court painter in the time 
of the Duke Borso d' Este, and Tito Strozzi wrote a 
poetic eulogy upon him. His figures are treated in the 
style of Andrea Mantegna, the muscles clearly ex- 
pressed, the architecture drawn with care, the bassi- 
rilievi highly ornamented, and the whole labored 
in the most minute and exact taste. This is re- 
markable in his miniatures, which embellish the 
choral books in the Cathedral and the Certosa, 
which are shown to foreigners as extreme rarities. 
He painted both in oil and fresco ; his oil paintings 
are executed in the same labored manner, as seen 
in his Annunciation and Nativity, in the Cathe- 
dral, the Acts of St. Eustace in the monastery of 
S. Guglielmo, the Virgin with various Saints 
in the church of S. Giovanni, and Christ praying 
in the Garden at the Cappuccini. He decorated 
the palace of Borso, Duke of Ferrara, with a se- 
ries of twelve frescos, emblematical of the months 
of the year, which are mentioned by Baruffaldi as 
very remarkable productions for that early period. 
The month of the year was scientifically indicated 
in each picture by astronomical symbols, and clas- 
sical deities, adapted to each. In each month he 
introduced the Duke in his usual employment at 
such season ; in the judgment hall, in the chase, at 
spectacles, &c., with a great variety of circumstan- 
ces, full of poetry in the execution. There is a pic- 
ture by him. representing the Madonna with Saints, 
under splendid but overloaded architecture, in the 
Berlin Museum. Rosini, in his Storia delta Pit- 
tura Italiana, tom. iii., gives an outline of a Ma- 
donna and Child by him, which is a chaste and 
beautiful composition. His name is sometimes 
written Turrai 

TURCHI. Alessandro, called L'Orbetto, an 
eminent painter, born at Verona, according to Poz- 
zo, and died at Rome in 1648, aged 66 ; though 
Passeri places his birth in 1580, and his death in 
1650. D'Argenville, and other French biogra- 
phers, followed by Pilkington, place his birth erro- 
neously in 1600, as his instructor died in 1605. 
Pozzo says that he was surnamed Orhetto because 
when he was a child he guided an old blind mendi- 
cant about the streets, but Passeri declares that he 
derived it from a defect in one of his own eyes, 
which Lanzi says is confirmed by his portrait, 
blind in the left' eye. At all events, Felice Riccio, 
called II Brusasorci, perceiving in him a fine gen- 
ius for painting when a lad, took him into his stu- 
dio and carefully instructed him in the art, so that 
in a few years, says Lanzi, he encountered a rival 
rather than a disciple. On leaving the school of 
Riccio, he went to Venice, where he studied some 
time with Carlo Cagliari, and acquired a chaste 



TURO. 



997 



TURC. 



and natural style of coloring. He next proceed- 
ed to Rome, where he diligently studied the works 
of the great masters, and formed a style wholly 
his own, in which he attempted to combine the 
Roman taste of design with the coloring of the 
Venetian school. He established himself at Rome, 
where he painted some altar-pieces and other pic- 
tures for the churches, in competition with the 
best followers of the Caracci, with Sacchi and 
Pietro da Oortona, the most esteemed of which 
are in the church of La Concezione, executed 
in competition with Sacchi and Cortona, in 
which he displayed talents not unworthy of his 
rivals. Among his other principal works at Rome, 
are the Flight into Egypt, in S. Romualdo ; the 
Holy Family, in S. Lorenzo ; and St. Carlo Borro- 
meo, in S. Salvatore. His best works in public, 
however, are at Verona, and of these the most 
worthy of notice are his pictures of the Forty 
Martyrs in S. Stefano, and a Pieta in La Misericor- 
dia, in which last he emulated the grand style of 
the Caracci in composition, expression, and color- 
ing. He was chiefly employed in painting easel 
pictures for the collections. Lanzi says that the 
Marchese Girardini, who was his principal patron, 
possesses, in his gallery at Verona, enough to en- 
rich several collections, in which it is amusing to 
trace his progress from the inferior to the most 
correct specimens. Some writers have not hesita- 
ted to rank Turchi with Annibale Caracci, but Lan- 
zi says such assertions " ought not to be listened 
to anywhere." However, he admits that he suc- 
ceeded in emulating the design of Caracci on sev- 
eral occasions, with great success ; though generally 
in his naked figures, which in Annibale approach 
the ancient Greeks, he was far from equalling him. 
In conclusion he says, '' Still he exhibits so many 
attractions that he never fails to please us in ev- 
ery subject. He seems to have aimed at forming a 
union of various schools, and added to it a certain 
originality in giving dignity to the portraits intro- 
duced into his histories with the most animated, 
yet the most delicate complexions. He excelled 
in the choice and distribution of his colors, among 
which he introduces a reddish tint, which much 
enlivens his pictures, and is one of the indications 
by which we may recognize him as the author. 
He is said to have exercised exquisite care in the 
application of his tints, and to have possessed some 
secret art, by means of which they continue to at- 
tract the envy of posterity ; but the truth is, he 
selected, purified, and kneaded well his colors, be- 
sides consulting chemists upon the subject. (How 
few artists seriously consider the importance of 
this subject ; and how many noble works, by great 
masters, have been lost to the world by the use of 
injudicious colors, particularly those which chemi- 
cally react, and in a few years entirely change the 
original harmonious effect to a discordant mass !) 
His Passion of the Forty Martyrs, in the church 
of S. Stefano. in regard to depth of color and fore- 
shortening, partakes much of the Lombard ; in 
point of design and expression, of the Roman ; and 
in its coloring, of the Venetian school. It is one 
of the most studied, finished, and animated pieces 
he produced ; there is a choiceness in the heads that 
approaches Guido's ; and a skill in composition that 
throws into the background of the picture a great 
portion of the multifarious history, as appearing 
in a field of vast extent, where his figures were 
admirably varied, according to the distances in 



which they are supposed to appear. Yet he does 
not belong to that class of artists who go about in 
search of personages to fill their histories with fig- 
ures. On the contrary, he seems to take more pleas- 
ure in introducing a smaller number. Thus, in his 
Pieta at La Misericordia, he exhibits only a dead 
Christ, the Virgin, and Nicodemus, but the whole 
is so well designed, arranged, and animated, as well 
as colored, that it is esteemed by many his master- 
piece, and is certainly one of the best paintings in 
Verona." 

TTJRCO, Cesarf.. a Neapolitan painter, born, 
according to Dominici, about 1510. He studied 
first with Antonio d'Amato, and afterwards with 
Andrea Sabbatini. He was a good painter in oil, 
but unsuccessful in fresco. There are some of his 
works in the churches of Naples, the most esteem- 
ed of which are the Baptism of Christ in S. Ma- 
ria delle Grazie. and the Circumcision in del Gesu. 
He died in 1560. 

TURESTIO, Francesco, a Venetian mosaic 
worker, who, according to Zanetti, was living in 
1618. He executed some beautiful pieces from the 
designs of Tintoretto, the younger Palma, Leandro 
Bassano, and other eminent painters. 

TURK, THE. See Liotard. 

TURNER, Joseph Mallard William, R. A. 
This eminent English painter of landscapes and 
marines, so highly distinguished during the pres- 
ent century, was born in Maiden Lane, Covent 
Garden, London, in 1775. His father, who carried 
on a respectable business as a hair-dresser, per- 
ceiving in him a strong inclination for art, per- 
mitted him to follow the bent of his desires. 
Young Turner was indebted for much sound ad- 
vice, and the use of many valuable copies, to Dr. 
Munro, a distinguished connoisseur and amateur. 
In company with Girtin, he copied many water- 
colored drawings in his patron's collection ; and 
they also produced at that time man)^ admirable 
works in this branch of the art. so closely resem- 
bling each other in style, that their respective per- 
formances can hardly be distinguished, although 
Turner's exhibit more elaborateness of detail, yet 
no less breadth and richness of effect. It is said 
that the present elevated position of English 
painting in water colors is due in a great meas- 
ure to the efforts of these two artists. In 1789, 
Turner entered as a student of the Royal Acade- 
my, and exhibited in the following year a View 
of the Archbishop's palace at Lambeth, executed 
in water colors. In 1793, he exhibited his first 
painting in oil ; from 1790 to 1800, when he was 
elected Associate, he contributed to the exhibition 
of the Academy nearly sixty pictures. In 1802, 
he sent several works to the Academy, among 
which were the Tenth Plague of Egypt, and the 
Fall of the Clyde. In the same year he was cho- 
sen a Royal Academician, and for many years af- 
terwards he painted a large number of pictures, by 
which he gained both fame and fortune. 

Perhaps there is not a more difficult task for a 
writer on art, than to compose a criticism upon an 
eminent painter, a few months after his death ; and 
from the novel course of Turner's genius, so many 
various opinions have been advanced by his de- 
tractors and admirers, that his true merits and de- 
merits can hardly be ascertained. The points he 
most aimed at in his works were light and space ; 
and their highly luminous qualities are their grand 



TtJRN. 



998 



TURP. 



characteristics. He scarcely ever placed an impor- 
tant object in his foregrounds, but generally in the 
centre of his pictures, where also is the greatest 
mass of light ; and opposed to the point of sight 
is the darkest and largest quantity of shade. 
These peculiarities are admirabl}' illustrated in the 
•' Golden Bough," an Italian landscape composi- 
tion, engraved for the London Art Journal from the 
picture in the Vernon Gallery ; while the effect of 
space and air in the same work, produced by the 
most delicate application of touch and tint, carries 
the eye over many miles of distance, where the ex- 
act character of the whole landscape can be dis- 
cerned, till it is lost in the harmonious blending of 
earth and sky, into which fancy alone can pene- 
trate. 

Turner's breadth of effect and of shadow, and 
his brilliant representation of light, are often carried 
to extremes, which, though they may fascinate 
the eye of the uninstructed, can by no means sat- 
isfy the judgment of the connoisseur. His admi- 
rers ascribe the erratic course of his genius to his 
redundant imagination ; they say that " great gen- 
iuses are always great experimentalists, and Tur- 
ner's vast and comprehensive mind disdained to 
follow in the track marked out by others, however 
distinguished ; hence he broke away from the 
trammels which the dogmas of schools would have 
interposed between him and his genius, and hewed 
out a way for himself through the world of na- 
ture, which none had ever passed before, and which 
few can hope to follow." Perhaps the true inter- 
ests of art would have been better promoted, if his 
genius had been subjected to more severe discipline. 
Moreover, it is also said that '' his mind was too 
poetically constituted to permit him to treat even 
the most commonplace subject in a common way ; 
his faculty of conception was too expansive, his 
power of invention or creation too fertile, to per- 
mit him to become a- mere imitator of nature ; the 
pencil of the artist is like the pen of the poet, and 
we seem to be reading an epic when studying one 
of his pictures." Turner's abundant imagination 
is nowhere better exemplified than in his Venetian 
and other Italian views- These landscape compo- 
sitions exhibit scenes of his own creation, decora- 
ted with every conceivable accessory, and invested 
with such a beauty and glory as they might have 
possessed in the Golden Age of the Poets. " In his 
Italian compositions," saj's Burnet, " the works of 
Virgil and Ovid were ransacked to people the scenes 
restored from the remains of ancient Roman ar- 
chitecture. If the sea-ports of J^ngland spring 
from his pencil, the heroes of Nelson, or of the 
songs of Dibdin, rise before the spectator, enlisting 
his feelings in the scene." His skies have been 
greatly admired ; the variety of forms in the 
clouds, their perspective elongation and diminution ; 
the bursts of sunshine from the azure openings ; 
the black masses, "charged with deluges of rain," 
pouring their burdens through the enshrouding 
prismatic curtains, all combine to produce an effect 
of the most enchanting variety and original it}'-. 

Turner's early compositions arc of a simple 
character, containing fewer parts than his later 
works; which arose not only from his being en- 
gaged in representations of extensive scenery— such 
as the embellishment of engraved subjectsdemand- 
ed, where a multitude of objects was required to 
be given in a small space — but also from his chang- 
ing his conduct of light and shade from a breadth 



of shadow to a bi'eadth of light, which gradually 
expanded to almost a want of solidity in his last 
paintings ; this was also the reason for adopting a 
more brilliant style of color, since objects could 
not be rendered suffiiciently distinct wiihout cut- 
ting up the breadth of light, except by the contact 
of warm and cold color. The works of lurner 
indicate three distinct styles. The first shows the 
closest attention to the most minute detail of na- 
ture, and a sober, unaffected application of color. 
He afterwards launched into a bolder and broader 
use of his pencil, still adhering closely to form, 
and using the colors of his palette with great vig- 
or and richness. In his last manner, he appears 
to have paid his entire attention to color, neglect- 
ing form altogether. The second class of his works 
arc probably those upon which his future reputa- 
tion must rest. 

During the unusually long career of this artist, 
he produced so many pictures that it is quite im- 
possible to insert a catalogue.. His marines are 
generally signed in the trough of the sea, each let- 
ter flowing into the motion of the element. It is 
probable that his coloring will change in the course 
of time, as many of his pictures were commenced 
in water color, which renders the oil portion lia- 
ble to crack and peel off the canvass. His later 
productions have much less oil in the vehicle than 
the earlier ones. Many of his works have been 
engraved, generally under his own supervision ; 
and no pictures lose less of their beaut}'- in this 
process than Turner's. Several engraved publica- 
tions have emanated from his pencil, among which 
is the Liber Siudiorum, published in 1808, and 
now very rare, consisting of a large number of 
studies or sketches, made in a remarkably free and 
powerful manner, in imitation of Claude's Liber 
VeHtatis. His " Rivers of England" were en- 
graved after a very beautiful collection of draw- 
ings in his possession at the time of his death. 
Among the other most admired works of this kind, 
are the '• Rivers of France," " England and Wales," 
'' The Southern Coast," and his beautiful illustra- 
tions of the Poems of Scott, Byron, and Rogers. 

The private life of Turner was quite eccen- 
tric, and many curious anecdotes are related of 
him, which cannot properly be recorded in this 
work. Notwithstanding his wealth, he lived on a 
very contracted scale; but the noble use to which 
he finally devoted his property — that of erecting 
an asylum for decayed and destitute artists — will 
cause his name to be remembered with blessings 
to the end of time. The annals of art contain the 
record of many a noble spirit, that has gone to ru- 
in for the lack of such an institution, but who with 
its protection might have been the pride and delight 
of his countr3^ All honor to the name of Turner, 
for his expansive benevolence ! He bequeathed to 
the nation the whole of his finished pictures, on 
condition that a suitable gallery be erected for 
their reception within ten years. Turner died at 
London on the 19th of December, 1851, and was 
buried in the crypt of St. Paul's Cathedral, by the 
side of Sir Joshua Reynolds. Those who wish 
a more extended notice of the style and character 
of his works, are referred to the editorial remarks 
in the London Art Journal for February, 1852, to- 
gether with a subjoined critique by the engraver 
Burnet ; from which the materials of this sketch 
have been drawn. 

TURPILIUS, a Roman Knight, who painted 



TURK. 



999 



TUTI. 



several pictures, formerly preserved at Verona. 
Pliny gives no information concerning him, except 
that he painted with his left hand. 

TURPIN, Pierre Jean FRAN901S, an emin- 
ent French painter of natural history in water- 
colors, born in 1775. He made upwards of 6000 
drawings in water-colors, beautifully executed on 
vellum, which were engraved to ilhistrate various 
works, among which maybe mentioned the Travels 
of Humboldt and Bompland ; the great works on 
Egypt; the Plants of New Caledonia; Les Icones 
de M. Decandolle ; L'Iconographie Vegetale ; L- At- 
Ris du Dictionnaire des Sciences Naturelles ; and 
Duhamel's beautifully illustrated treatise on Fruit 
Trees. He was living in 1831. 

TURRITA, Era Mino da, or Fra Jacopo Tur- 
RiTA, SO called from the place of his nativity in 
the Sienese territory, an old painter in mosaic, 
about whose history, and the time he flourished, 
there is much discrepancy. Suffice it to say that 
Lanzi says it is now clearly ascertained that he 
was not a painter, but a worker in mosaic, and 
that he far surpassed the Greek artists of his time. 
The first work known to have been executed by 
him is in the tribune of the church of St. Giovan- 
ni at Florence, and is dated 1225. '-'On examin- 
ing what remains of his mosaics in S. Maria Mag- 
giore at Rome, one can hardly be persuaded that 
it is the production of so rude an age, did not his- 
tory constrain us to believe it." This work is dated 
1495, but Lanzi says this must refer to the time 
when it was repaired, for it was finished in 1289, 
and Turrita died soon afterwards ; he had com- 
menced another work in St. John of Lateran, 
which was finished by Gaddo Gaddi in 1292. This 
explains much of the discrepancy as to the time 
he flourished, yet Lanzi says he was the most 
celebrated mosaic painter of his time in 1225, when 
he executed his work at Florence, which would 
prolong his life and faculties to more than one hun- 
dred years. There was another Sienese painter 
called Maestro Mino, or Minuccio, who flourished 
at Siena in 1289, as is shown by a manuscript in the 
Library of Siena of that date, in which is found 
the following memorandum. " P.aid, on the 12th 
of August, nineteen lire to Master Mino, the paint- 
er, who painted the Virgin Mary and other SS. 
in the council-room of the public palace, the bal- 
ance, &c." Thus, says Lanzi, we discover another 
eminent painter of the name of Mino, who flour- 
ished at Siena at the same time that Fra Mino was 
employed at Rome. " The picture alluded to re- 
mained in the Council Chamber even within my 
memory, with others, dated down to 1298. He there 
represented the Virgin and Child surrounded by 
angels, under a canopy supported by apostles and 
the patron saint of the city, a surprising produc- 
tion for the age." All these works are attributed 
by other writers to the one artist, Fra Mino, who, 
they say, was both a painter and a worker in 
mosaic. Granting that there were two, as seems 
evident, the discrepancy of dates is not obviated, 
unless we suppose that Maestro Mino also wrought 
in mosaic. 

- TUSCHER, Marcus, a German painter and en- 
graver, born at Nuremberg in 1706. He studied 
with J. D. Preisler, and afterwards went to Italy, 
where he resided about ten years. He painted 
conversations and dramatic subjects, and engraved 
some plates of historical subjects, vignettes, por- 



traits, and other book plates, from his own de- 
signs, and after other masters. He is said to have . 
visited France. Holland, England, and Denmark, 
in all which countries he practiced his profession. 
Fiiessli describes him as an universal artist, painter, 
engraver, sculptor, carver in wood, architect and 
gem engraver. Lord Orford says he was a painter, 
architect, and engraver. He sometimes signed his 
plates with his name, and at others with his ini- 
tials, M. T. fecit. He is supposed to have died 
in Denmark about 1755. 

TUTIANI. Bartolomeo, an engraver on wood, 
who is said to have executed some cuts marked 
with a gothic monogram of his initials. Bartsch 
describes only one cut with this mark, repre- 
senting Christ scoffed at by the Jews, which oc- 
curs in a book printed at Nuremberg in 1515 ; 
but there is no evidence that it was engraved by 
Tutiani. 

TTJTILO, a celebrated monk of the convent of 
St. Gall in Switzerland, who flourished in the lat- 
ter part of the 9th century. Tutilo, and Notker, 
of the same convent, were the most celebrated 
painters, sculptors, and goldworkers of their time 
in Germany. The former made for the Abbot 
Salomo of St. Gall, a golden crucifix, richly orna- 
mented with bas-reliefs and precious stones. He 
also made a celebrated image of the Virgin Mary, 
in gold, for a church at Metz, by which he ac- 
quired great celebrity. In the church of St. Ot- 
mahr, also at St, Gall, the altar of St. Gall was 
decorated with some copper plates, on which the 
life of that saint was engraved or carved by Tu- 
tilo. He is said to have died in 896. 

TYN, Lambert de, a Belgian painter, born at 
Antwerp in 1770. He studied with P. van 
Regemorter. and painted interiors with conversa- 
tions by candle light, landscapes by moonlight, 
and familiar subjects, with considerable reputation. 
He died in 1816. 

TYROFF, Martin, a German engraver and 
publisher, who flourished at Nuremberg about 
1750. He engraved a considerable number of 
portraits and other book plates. 

TYSON, Michael, a fellow of Bennet College, 
Cambridge, was born in Stamford in 1740. His 
principal researches were in history, biography, 
and antiquities, which he very ably illustrated, ac- 
cording to Chalmers, both as a draughtsman and 
engraver. He painted for amusement, and etched 
several plates, particularly the portrait of Arch- 
bishop Parker, taken from an illumination by T. 
Berg, preserved in the library of Bennet College. 
Strutt mentions two prints by Tyson, the portrait 
of Sir William Paulet, and that of Jane Shore, 
from an original picture at King's College, Cam- 
bridge; Chalmers also says he engraved the por- 
traits of Michael Dalton, Jacob Butler, and several 
other of his private friends. Tyson died in 1780. 

TYSSENS, Peter, a Flemish painter, born at 
Antwerp in 1625. It is not known under whom he 
studied, but he emulated Vandyck, and approaches 
so near the correct design, and chaste coloring which 
characterize the productions of that eminent mas- 
ter, that it is not easy to discriminate between 
their respective performances. He greatly distin- 
guished himself both in portraits and history, and 
after the death of Rubens and Vandyck, was con- 
sidered one of the ablest painters of his time. He 



TYSS. 



1000 



UBER. 



was made director of the Academy at Antwerp in 
1661. His compositions are copious and ingenious, 
his design more correct than is usual with the 
painters of his country, his coloring is strong, 
clear, and harmonious, and he usually enriched his 
backgrounds with magnificent architecture. He 
executed some altar-pieces and other works for the 
churches in Flanders, which sustain his reputation 
in the vicinity of the works of the greatest masters 
of the Flemish school. Among those most wor- 
thy of notice, are the Martyrdom of St. Benedict, 
in the church of the Capuchins at Brussels; the 
Crucifixion at the Barefooted Carmelites, and the 
Assumption of the Virgin, in the church of St. 
James at Antwerp ; the last mentioned has fre- 
quently been mistaken for a work by Vandyck. 
He died, according to the best authorities, in 1692, 
though Balkema says in 1682. 

TYSSENS, AuGUSTiNEj was the son of the pre- 
ceding, born at Antwerp about 1660, some say 
about 1655 ; Zani places his birth in 1660, and his 
death in 1710 ; Balkema says he was born in 1662, 
and died in 1722. He studied with his father, but 
his genius leading him to landscape, he made the 
works of Nicholas Berghem his model, and became 
one of the most successful followers of his style. 
His landscapes are embellished with ruins, figures, 
and cattle, correctly designed and neatly touched ; 
they are highly esteemed, and admitted into the 
choicest collections. He was director of the Acad- 
emy at Antwerp in 1691. 

TYSSENS, Nicholas. This artist is various- 
ly said to have been the elder and the younger 
son of Peter Tyssens, but it is agreed that he was 
born at Antwerp in 1660. After receiving in- 
struction from his father he went to Italy, and 
passed some time at Venice, Rome, and Naples. 
He devoted himself to still-life, but he does not 
seem to have met with any great encouragement, 
though his pictures are said to be well composed 
and executed ; they represent fruit, flowers, ar- 
mor, sabres, and other military weapons, which 
he rendered interesting by a correct and faithful 
delineation, picturesque and ingenious arrangement, 
and an intelligent conduct of the chiaro-scuro. He 
was an excellent judge of the authenticit}'- of old 
paintings, and was frequently commissioned to 
purchase valuable paintings. The Elector Pala- 
tine sent him through the Low Countries to pur- 
chase rare works for his gallery at Dusseldorf, 
which commission he executed to the entire satis- 
faction of his employer. Balkema says he died at 
London in 1719. 



u 



UBERTI, PiETRO, an eminent Venetian por- 
trait painter, who flourished, according to Zanetti, 
about 1733. He was the son of Domenico U.. an 
artist of httle note. He is celebrated in the Guida 
di Venezia. for his portraits, particularly for eight, 
representing the Avogadori of his time, painted 
for the Avogaria (Court House) ; which was con- 
sidered a very honorable commission, formerly be- 
stowed upon Domenico Tintoretto, Tinelli, Bom- 
boll i, and other artists, all celebrated in the same 
branch. 

UBERTINT, Francesco, called II Bachiacca, 
or Bachicca, a Florentine artist, who flourished 



from about 1530 to 1557. He painted history 
with considerable reputation, and excelled in gro- 
tesque and ornamental subjects. One of his best 
historical works is the Martyrdom of St. Arcadio, 
in the church of S. Lorenzo at Florence. The lat- 
ter part of his life was passed in the service of the 
Grand Duke, for whom he painted some historical 
works for his gallery, and executed some beautiful 
designs for tapestry. His historical pictures are 
generally of small size, with numerous figures, 
many of which, according to Lanzi, were sent to 
England. He also decorated various articles of 
rich furniture. Vasari says his best work was a 
cabinet, "ornamented divinely with flowers and 
birds in oil colors, for the Grand Duke." 

UBERTINI, Antonio, was the brother of the 
preceding. He was a celebrated weaver of tapes- 
try and embroidery. He executed some exquisite 
works from his brother's designs for the Grand 
Duke. He was also employed by the Prince Doria 
at Genoa. 

UBERTINI, Baccio, another brother of Fran- 
cesco U. He was a scholar of Pietro Perugino. 
Lanzi says " he was a great colorist, and on that 
account was employed as an assistant to his mas- 
ter." 

UCCELLO, Paolo Mazzocghi, an old painter, 
born at Florence in 1349, and a disciple of Anto- 
nio Veneziano. He was one of the first who cul- 
tivated perspective ; before his time, buildings had 
not a true point of perspective, and figures ap- 
peared sometimes as if falling or slipping off the 
canvass. He made this branch so much his hob- 
by, that he neglected other essential parts. To 
improve his knowledge, he studied with Giovanni 
Manetti, a celebrated mathematician. He distin- 
guished himself as a painter of animals, and par- 
ticularly excelled in depicting all kinds of birds, 
of which he formed a large collection of the most 
curious ; hence he was called Uccello (bird.) He 
acquired great distinction in his time, and some of 
his works still remain in the churches and con- 
vents of Florence. In the church of S. Maria No- 
vella, are several subjects from the Old Testament, 
vvhich he selected for the purpose of introducing 
his favorite objects of beasts and birds; among 
them are Adam and Eve in Paradise, Noah enter- 
ing the Ark, the Deluge, &c. He painted battles 
of lions, tigers, serpents. &c., with peasants flying 
in terror from the scene of combat. He also painted 
landscapes, with cattle, figures, and ruins, possessing 
so much truth and nature, that Lanzi says he may 
be justly called the Bassano of his age. He some- 
times painted figures of a colossal size; in the ca- 
thedral is a gigantic equestrian portrait of Giovan- 
ni Aguto, painted in green earth, and at Padua he 
painted several figures of giants in the house of 
Vitali. He was much employed in ornamenting 
articles of furniture, and in the Florentine gallery 
are the Triumphs of Petrarch, painted on small 
cabinets, which are attributed to him. Some of 
his pictures are signed Pauli Uccelli Opus. Ro- 
sini, plate 30, gives an outline of his picture of the 
Deluge. He was living in 1436. 

UCHTERVELT. See Ochtervelt. 

UDEN, Lucas van. See Vandden. 

UDINE. Giovanni da, a painter born at Udine 
in 1494. His family name is variously called Man- 
ni; Nanni. and Ricamatore. Lanzi says that in 



UDIN. 



1001 



[JDIN. 



the Carte Antiche of Udine, signed by him, there 
appears only the family name of Ricamatore, and 
that Nanni or Nani, are contractions of Giovanni, 
used by the common people in some parts of Italy, 
which have again been corrupted by historians in- 
to Manni and Mani. He is however, usually known 
in the history of art as Giovanni da LTdine. Ac- 
cording to Baldinucci, he was born in 1494, and 
died in 1564 ; but Renaldis, with better authority, 
places his birth in 1489, and his death in 1561. 
Discovering an early passion for painting, his fa- 
ther sent him to Venice, and placed him under the 
instruction of Giorgione. He had already acquired 
considerable reputation at Venice, when the fame 
of RafFaelle inspired him with a desire to visit 
Rome, to enjoy the benefit of his instructions. 
Through the influence of his protector, the patri- 
arch Grimani, and Count Baldassare Castiglione, 
he was admitted into Raffaelle's studio, and was em- 
ployed by him in painting the ornamental acces- 
sories in many of his works, consisting of animals, 
birds, fruit, and flowers, in whicli he particularly 
excelled. At the time he was thus engaged, the 
discovery was made of the precious remains of an- 
tiquity in the Baths of Titus, and Raffaelle select- 
ed him to make designs from the beautiful gro- 
tesque ornaments in stucco, found in the different 
apartments. He not only succeeded in this to the 
entire satisfaction of his instructor, but he dis- 
covered a process of compounding stucco, which 
had the same appearance, and probably the 
same durability as that used by the Romans. He 
was now employed by Raffaelle to execute the 
greater part of the arabesque and grotesque orna- 
ments in stucco in the Loggie, and apartments of 
the Vatican, which he finished in so tasteful and 
masterly a style, that they have ever since been 
the objects of universal admiration. After the 
death of Raffaelle he was employed by Clement 
VII., in conjunction with Pierino del Vaga, to dec- 
orate that part of the Vatican called La Torre di 
Borgia, where they represented the Seven Planets ; 
the emblematical figures were designed by Vaga, 
and the grotesque ornaments and symbolical dec- 
orations by Udine. On the sacking of Rome in 
1527, he fled to his native city, where he was em- 
ployed some time. He was afterwards engaged 
by the family of the Medici at Florence, for whom 
he executed some considerable works. He also 
visited other cities of Italy, and everywhere left 
exquisite specimens of his hand. He returned to 
Rome in the pontificate of Pius IV., where he died, 
in 1561, and was buried, by his own request, in the 
church of La Rotonda, near the tomb of Raffaelle. 
Giovanni da Udine chiefl}'- excelled in painting 
in fresco every species of arabesque and grotesque 
ornament, fruit, flowers, foliage, shells, aviaries, 
birds, animals, and all kinds of objects of still-life, 
which he imitated so exquisitely, as to deceive the 
eye ; in animals and birds particularly, he is said 
to have reached the highest point of excellence. 
He was remarkable for counterfeiting with his 
pencil ever)^ species of furniture, and a story is 
told that a groom in the service of the Pope 
mistook one of his imitations of a carpet for a 
real one, and stooped down to take it up. He 
also painted occasionally these subjects in oil, and 
pictures claimed to be originals by him are to be 
found scattered in many collections in Italy, though 
Lanzi considers many of them of very doubtful 
authenticity ; " not indeed, that he produced no 
iSpecimens in oil, although it is extremely difficult 



to discover any that are certain ; nor that he was 
incapable of drawing larger figures than such as 
are seen in his satj'^rs, in his boys and nymphs, 
with which he diversified the little landscapes, 
and the tracery of his grotesques." Vasari men- 
tions some of his Standards, one of which, execu- 
ted at Udine for the Fraternity of Castello, pre- 
sents in large proportions, the Holy Virgin with 
the Infant Christ, and an angel making her an of- 
fering of the same castle. The original is still 
preserved in the ch?pel, though much defaced, with 
a copy made by Pini in 1653. There likewise re- 
mains in the archiepiscopal palace at Udine, among 
some grotesques, two scripture histories drawn in 
half-length figures, which, though not so perfect 
as the ornamental parts, are valuable for their ra- 
rity. 

UDINE, GiROLAMO DA, a painter of Udine, who 
I flourished about 1540. Little is known of him ; 
i there is an altar-piece, representing the Coronation 
I of the Virgin, in the church of S. Francesco at 
1 Udine, bearing his signature. Lanzi says it exhib- 
its novel invention, though rather strained, with a 
i vigorous and effective style of coloring. 

UDINE, Martino da, called Pellegrino di 
I San Daniello. There is some discrepancy about 
j the name of this painter, and the place of his na- 
j tivity ; some say that he was born at Udine about 
i 1480, and others at the castle of San Daniello, 
I about ten miles distant from Udine. Lanzi says 
that his name was Martino da Udine, but his in- 
structor. Bellini, in honor of his rare genius, be 
stowed upon him the name of Pellegrino, to which 
the name of the country where he afterwards long 
resided and executed many of his best works was 
j attached, so that he came to be called Pellegrino 
di San Daniello. He studied with Giovanni Belli- 
ni during that artist's residence at Udine, and, ac- 
cording to Vasari, had for his fellow-pupil Giovanni 
Martini, also a native of Udine. They were both 
men of genius, emulous to excel each other, and 
afterwards executed many works in competition 
at Udine, which proved of advantage to the repu- 
tation of both. According to his biographer, Re- 
naldis, he executed many works for the churches 
and public edifices at Udine and San Daniello, both 
in oil and fresco, which raised his reputation near- 
ly to a level with that of his instructor, whose 
works were then held in the highest estimation. 
In the Cathedral at Udine is his picture of St. Jo- 
seph with the infants Christ and St. John, which 
was esteemed not infenor to the picture of St. 
Mark in the same edifice by Bellini. His most 
celebrated performance is an altar-piece in S. Ma- 
ria de Battuti, representing the Virgin with several 
female saints and St. John the Baptist, which dis- 
plays a dawning of that breadth of style and mel- 
lowness of coloring afterwards carried to such per- 
fection by Giorgione. In the church of S. Antonio 
at San Daniello, are several frescos of the Life of 
Christ by him, which are highly commended. The 
Duke of Ferrara invited him to his court, held 
him in the highest esteem, not only for his profes- 
i sional talents but for his various accomplishments, 
! and loaded him with favors. He is allowed to 
i have had a fine genius, a fertile invention, and in 
! many respects to have been superior to Bellini. 
I He died about 1545. 

I UGGIONE, or OGGIONE, or DA OGGIONE, 

I Marco, a painter born at Oggione, near Milan, 

about 1480. He was a favorite disciple of Lion- 



UHLI. 



1002 



ULIV 



ardo da Vinci, and may justly be regarded one of 
the ablest artists of the Milanese school. Lanzi 
says he was celebrated for his frescos, and his 
works in the church and refectory of S. Maria 
della Pace, still retain the outline entire and 
the colors bright. " Some of them are in the 
church, and a very magnificent picture of the Cru- 
cifixion is to be seen in the refectory, surprising 
for the variety, beauty, and spirit of the figures. 
Few Lombard artists attained the degree of ex- 
pression that is here manifested, and few to such 
mastery of composition and novelty of costume. 
He aimed at elegance of proportions ; but in those 
of his horses, he is seen to be the disciple of Vin- 
ci. For the refectory of the Certosa at Pavia, he 
copied the Last Supper of Lionardo, and in such 
a manner as to supply in a measure the loss of 
the original. Milan boasts two of his altar-pieces 
in oil — one at S. Paolo in Compito, and the other 
at S. Eufemia — both excellent performances, in the 
style of his master, though the manner which he 
observed in his frescos, is more soft and analogous 
to modern composition." Stanley says that Uggi- 
one's copy of the Last Supper, painted for the Re- 
fectory of the Carthusians at Pavia, is now in the 
Royal Academy of Arts at London ; it was im- 
ported into that country by a foreigner, in conjunc- 
tion with Mr. Jones, a dealer in old pictures, and 
it was placed in that institution, mainly through 
Stanley's influence. The original, in the refectory 
of the Padri Dominicani at Milan, was painted in 
distemper, and Lanzi, thouch he does not expressly 
state it, strongly conveys the idea that the copy by 
Oggione was painted in fi-esco, for while he com- 
mends this work, he speaks of his oil pictures as 
being far inferior to his frescos. 

UHLICK, an obscure German engraver, who 
flourished from about 1719 to 1740. He engraved 
some portraits in a neat, but stiff' and formal style. 

ULDERICO, Hans. See John or Hans Ul- 
Ric, John Ulric Pilgrim ; Pasti, and Preface, 
p. xiii. 

ULFT, Jacob vander, a Dutch painter, born at 
Gorcum, about 1627. It is not known with whom 
he studied, but his first occupation was painting 
on glass, and there are some of his windows in 
the churches of Gorcum and in Guelderland, which 
are little inferior to the works of the celebrated 
Dirk and Wouter Crabeth. He afterwards devo- 
ted himself to painting cabinet pictures of histori- 
cal subjects, in which he acquired distinction. His 
pictures represent subjects from Roman history, 
processions, and markets, in which he introduced 
the most remarkable views in Rome and its vicini- 
ty ; hence it has been supposed by some that he 
visited Italy, but the Dutch biographers have 
proved that he was never out of his own country. 
He had a perfect acquaintance with perspective 
and architecture, and copied his seen ry from the 
prints and drawings of others, which he selected 
with judgment and taste. His woiks are gene- 
rally crowded with figures, tastefully grouped, and 
he observed a marked attention to the propriety 
of costume. His pictures are very highly finish- 
ed,, and so labored as to appear like paintings on 
glass ; yet they are highly esteemed in his own 
country, out of which they are scarcely known. 
His works are very rare, as he bestowed great la- 
bor upon them, and much of his time was occu- 
pied in discharging the duties of his office as one 
of the Burgomasters of the city. He died at 




Gorcum, some say, in 1679, though there is no 
certainty as to the exact time of his birth or death. 

ULIVELLT, CosiMO,a painter born at Florence 
in 1625, and died in 1704. He studied under Bal- 
dassare Franceschini, whose style he emulated so 
closely that Lanzi says his works have sometimes 
been mistaken for those of his master, though to 
the intelligent observer they will appear less elc 
gant in the forms, less chaste and effective in the 
coloring, and somewhat mannered and labored in 
the execution. Some of his best works are in the 
cloister of the Carmine, and prove him to have 
been an artist of ability. 

ULRIC, Hans or John, a real or sup- 
posed German artist, mentioned by 
Strutt as a skillful engraver on wood in 
chiaro-scuro. Baron Heineken conjectures that he 
flourished before the time of Ugo da Carpi. He Is 
said to have marked his prints with the above mo- 
nogram, composed of the initials I. and V. on a tab- 
let, separated by two swords. But there is no 
certainty about him, either as to name, country, or 
the time he flourished, and a long dissertation, with- 
out further critical research, would amount to no- 
thing. The monogram is very similar to that used 
by John Ulric Pilgrim, and it seems very probable 
that they are one and the same artist. See Pil- 
grim. 

ULRICK, Henry, a German engraver, who 
flourished at Nuremberg from about 1590 to 1628. 
He engraved some portraits and other subjects, 
among which are twelve circular prints, one of 
them of the Crucifixion. They are executed with 
the graver, in a stiff", formal style. 

UMBACH, Jonas, a German painter and en- 
graver, born at Augsburg in 1624, and died in 
1680, according to Zani ; but Brulliot says in 1700. 
He painted history with reputation, and executed 
a great number of small but spirited etchings from 
his own designs. Some of these are marked with 
his name, and others with a monogram composed 
of his initials. He had a son, also named Jonas, 
but there are no particulars recorded of him, ex- 
cept that he painted portraits. 

UNTERBERGER, Ignatius, a distinguished 
German painter, was born in 1744, at Karales in 
the Tyrol. The Blographie Universelle states 
that his family has produced many artists, but 
none of them are mentioned. After acquiring the 
elements of design from his father, he visited 
Rome at the age of twenty, and studied under the 
direction of his brother. He designed the remains 
of Greek and Roman antiquity, composed several 
good historical subjects, and was among the art- 
ists employed to copy the Loggie of Raffaelle in 
the Vatican, for the Empress of Russia. In 1776 
he settled at Vienna, and exhibited several histori- 
cal pictures, and representations of cameos and 
arabesques, which were greatly admired. From 
this time, Unterberger became the favorite painter 
of the minister Kaunitz, and his works were in 
great demand. They are distinguished for an ele- 
vated style of composition ; and the management 
of the groups and masses of light, the drapery, and 
the coloring, are highly praised. His figures are 
full of animated expression, and he enriched his 
subjects of history with landscapes, decorated with 
animals and vestiges of ancient architecture, — 
Among the principal works of Unterberger are, 



URBA. 



1003 



URBI. 



the Descent of the Holy Spirit, in the principal 
church of Koenigsgratz ; and an allegorical sub- 
ject irnpersonif\'ing Peace and Love, as a young 
girl caressing a lamb. His picture of Hebe pre- 
senting ambrosia to Jupiter under the form of an 
Eagle, was purchased by the Emperor Francis II. 
for ten thousand florins, and placed in his own 
chamber. Unterberger practiced the art for many 
years, and died in 1797. 

URBAIN, Ferdinand de St., an eminent 
French medalist, was born at Nancy in Lorraine, 
according to the Biographie Universelle, in 1654. 
His family had been ennobled by the Dukes of 
Lorraine. The accounts of his early life are very 
imperfect ; he is said to have acquired a knowledge 
of design and painting without an instructor, and 
then to have left his native country for Germany. 
In 1671, he visited an uncle who was residing at 
Munich, and afterwards traveled through Ger- 
many and Italy for improvement. During this 
time, he must have attained considerable excellence 
as a medalist; for after arriving at Bologna he 
was received into the Academy, and appointed en- 
graver to the municipal counsellor, who entrusted 
him with the direction of his cabinet of medals. 
After remaining in this position about ten years, 
Urbain was invited to Romeby Pope Innocent XL, 
who appointed him his medalist, and he discharged 
the duties of his office under that pope, and his 
successors Alexander VIII. and Innocent XII.. ex- 
ecuting many admirable medals and designs for the 
mint. He is also said to have been employed by 
the popes as an architect, but none of his edifices 
are mentioned. Finally, after twenty years spent 
at Rome, Duke Leopold I., wishing to recall him to 
Lorraine, succeeded in obtaining the pope's consent 
to his departure; and on Urbain's arrival, he re- 
ceived him with marks of great distinction, assign- 
ing him a liberal pension, with apartments in the 
mint at Nancy. During a period of thirty-five 
years spent in the service of dukes Leopold I. and 
Francis III., he executed a large number of medals 
for the royal houses of Spain and of Orleans, for 
the Elector Palatine, for the Italian princes, for 
cardinals, prelates, and illustrious men. He com- 
menced a set of medals of the popes, which he did 
not succeed in completing ; but his set of the 
Dukes of Lorraine was entirely finished by his 
own hand. It is said that all the matrices from 
his burin are in the Imperial Cabinet of Medals at 
Vienna. During a very long career, Urbain exe- 
cuted a large number of beautiful works, and in 
1735, he was honored by Clement XII. with the 
order di Cristo. He died at Nancy in 1738, aged 
eighty-five. 

URBANI, Michael Angelo, an eminent paint- 
er on glass, born at Cortona, who flourished about 
1564. He was employed in painting the windows 
of the churches in Tuscany, and other parts of 
Italy. 

URBANIS, GiuLio, a painter of San Daniello, 
who studied with Pomponeo Amalteo, and followed 
his manner. Lanzi mentions a fresco by him 
at San Daniello, representing the Virgin with the 
infant Christ, seated upon a throne, surrounded by 
St. Thomas the Apostle, St. Valentine, and other 
Saints, signed Opus Julii Urbanis. 1574 ; it par- 
takes of the taste of Amalteo and Pordenone. 

URBANO, PiETRO, a painter of Pistoja, who 
flourished in the first half of the 16th century. 



He was a disciple of Michael Angelo, whose style 
he emulated. Lanzi says he was a man of genius, 
but Yery indolent. There are some of his works 
in the churches of his native city. 

URBINELLI, a painter who flourished at TJrbi- 
no in the first part of the 17th century. His 
works are found in the public edifices and private 
collections in that city. Lanzi says, " he was a 
vigorous painter, an excellent colorist, and partial 
to the Venetian school." 

URBINI, or URBINO, Carlo, a painter of Cre- 
ma, who flourished there in the last half of the 
16th century. His will is dated 1585. He execu- 
ted some works for the churches and public edi- 
fices of his native city, as well as others for the 
collections. He was employed at Milan and else- 
where. Lanzi sa5's he was one of the least celebra- 
ted, but one of the most deserving artists of his 
age. Some of his principal works are in a public 
hall in his native city, which he decorated witk a 
series of national battles and victories. 

URBINO, Raffaelle Sanzio di. See Raf- 

FAELLE. 

URBINO, II Prete, or Timoteo and Pietro 
DI. See ViTE. 

URBINO, Terenzio dl See Terenzi. 

URBINO, Crocchia di, a painter of UrbinOj 
whom, according to Baldinucci. the citizens of Ur- 
bino claim to have been a scholar of Raffaelle, and 
assign to him a fine picture at the Capuchins in 
that city. He is a difi'erent artist from Delia Vite. 

URBINO. Giovanni and Francesco di, two 
painters of tJrbino, whom Lanzi thinks were schol- 
ars of Federigo Baroccio, and though he is not pos- 
itive, he says he feels a pleasure in restoring them 
to the glorious country from which they had been 
separated. " In the Descrizione odeporica delta 
Spagna, we find Giovanni and Francesco di Urbi- 
no mentioned, who, about 1575, were both engaged 
by the court of Spain to decorate the Escurial. 
The latter came early in life to Spain, and being 
endowed with a noble genius, soon became an ex- 
cellent artist, and is extolled by his cotemporary, 
P. Siguenza, and by all who have seen the Judg- 
ment of Solomon and his other pictures, in a 
choir in that magnificent place. He died young." 

URBINO, Luca di, an Italian engraver, by 
whom there is a set of prints for a Drawing Book, 
from the designs of Michael Angelo, the Caracci, 
and other masters. On one of the plates in the 
book above mentioned he inscribed his name Lu- 
cas de Urbino, F. 

URIA. Pedro de. a Spanish architect of the 16th 
century, by whom Milizia mentions onlj^ one work, 
the Bridge of Almaraz, over the Tagus, a few miles 
distant from Plasencia. It is a structure that may 
compare with the boldest efforts of this descrip- 
tion. Two large Gothic arches form the bridge, 
580 feet long, 25 feet wide, and 134 feet high. The 
piers are lofty towers, and that in the centre 
stands on a high rock. Another pier has a semi- 
circular projection between the arches, forming a 
piazza at the top, on which is an inscription, im- 
porting that the work was erected in 1552, at the 
expense of the city of Plasencia, under Charles V., 
by Pedro de Uria. 

UROOM, Enrico, called also by the Italians, 
Enrico di Spagna, and Enrico delle Marine. 
See Henry Cornelius de Vroom. 



UTRE. 



1004 



VAAR. 



USTAMBER, Pedro de, an architect who flour- 
ished in Spain during the eleventh century. Ac- 
cording to Milizia, by order of King Ferdinand of 
Oastile, he took down the old church of St. John 
the Baptist, of Leon ; and erected another of stone, 
dedicated to St. Isidorus. whose remains were re- 
moved from Seville. Within this church is the 
sepulchre of the architect, a lofty tomb of polished 
stone, which imports that he also built the bridge 
called Ustamber. 

UTRECHT, Adrian van, an eminent Flemish 
painter of subjects of still-life, was born at Ant- 
werp in 1599. He painted fruit, flowers, shell- 
fish, dead game, birds, &c.. sometimes together, and 
sometimes separate, with such elegance of compo- 
sition, and remarkable truth and freedom of touch, 
that he received many more orders than he could 
execute. He frequently assisted other artists by 
painting the fruit and flowers in their pictures, and 
according to Houbraken and Descamps, he excelled 
all the other Flemish painters of still-life, except 
Francis Snyders. His best pictures were purcha- 
sed by the kingof Spain. His works are now very 
scarce, and command high prices. Van Utrecht 
visited Spain, where he was much employed by 
Philip IV. ; and it was there he painted the mag- 
nificent assemblage of fruit in the large picture by 
Rubens of Pythagoras and his Disciples, which is 
now placed in Buckingham Palace. He died 
wealthy, at Antwerp, in 1651. 

UYTENBROECK. Moses, called Little Mo- 
ses, from the small size of his prints. He was a 
native of the Low Countries, and according to the 
dates on his prints, flourished from about 1615 to 
1646 ; some say he died in 1650, but this is un- 
certain. He painted small landscapes, embellished 
with subjects from history or fable, so much in the 
style of Cornelius Poelemburg that it is supposed 
that many of his works are now attributed to 
that master, and that he was his pupil. Of his 
etchings and engravings. Bartsch gives a descrip- 
tion of fifty-eight (Le Peintre Graveur. tom. v.), to 
which Weigel, in his Supplement to Bartsch, has 
added nine more, with full particulars of the varia- 
tions of those described by his predecessor. From 
some whimsical fanc}'. he variously signed his 
prints Uytenbroeck, Utenbroeck, Vytenbrouck, 
Vtenbrouck, Wtenbrouck, Wtenbroeck. Veit van- 
der Broeck, Van Brouck, Brouck, and various oth- 
er contractions, for which see jMonograms, plate 
xxiii. 

UYTENWAEL. Joachim, a Dutch painter, 
born at Utrecht in 1566. He was the son of a 
painter on glass, who brought him up to his 
own business till he was eighteen years of age, 
when he became the scholar of Joseph de Beer, 
with whom he studied three years, and then went 
to Italy, where he resided some time. At Padua, 
he became acquainted with the Bishop of St. Malo, 
whom he accompanied to France, and remained in 
his employment two years, when he returned to 
his native city, where he passed the rest of his life. 
He painted history in the manner of Bartholomew 
Sprangher, and though his pictures are well color- 
ed and elaborately finished, his design, like that of 
his model, is generally incorrect, and his draperies 
often fantastical. His cabinet pictures of mytho- 
logical subjects are the best. Van Mander com- 
mends two small pictures by him in the collection 
of the Elector Palatine, representing the Feast of 



the Gods, and Mars and Venus, 
rately finished and well colored. 



They are elabo- 
He died in 1624. 



V. 



VAART, John Vander, a Dutch painter, born 
at Haerlem in 1647, and studied under Thomas 
Wyck. He went to England in 1674, where he 
painted landscapes, objects of still-life, and dead 
game, with considerable reputation, particularly 
the latter, in which he excelled. He also scraped 
a few indifferent portraits in mezzotinto. He died 
at London in 1721. 

YACCA, Flaminio, a Roman sculptor of the 
latter part of the 16th century. He is less known 
as a statuary, than as a restorer of statues, al- 
though many «f his own works adorn the churches, 
squares, and fountains of Rome. He wrought in 
that capital in the pontificate of Sixtus V., and was 
also invited into Tuscany. In 1594. he completed 
his manuscript entitled Memorie di varie Anti- 
chitd di Roma, which was published by Ottavio 
Falconieri at Rome in 1704. It is inserted in Mont- 
faucon's Iter Italicum, in a Latin translation, and 
has gained considerable celebrity for its author. 

VACCARINI, Bartglomeo, an old painter of 
Ferrara, who flourished, according to Baruffaldi, 
about 1450. There are some of his works at Fer- 
rara signed with his name, executed in the dry and 
gothic style of his time. 

VACCARO, Andrea, a painter born at Naples, 
according to Dominici, in 1598, and died there in 
1670. He was a disciple of Cav. Massimo Stan- 
zioni, on leaving whom, he adopted the style of 
Michael Angelo da Caravaggio, which he followed 
for some time, with such success, that some of his 
earlier works, especially his cabinet pictures, have 
been frequently mistaken by good judges for the 
productions of that master. Lanzi says " he was 
the rival of Massimo, but at the same time, his 
admirer and friend; possessing great imitative 
powers, he was afterwards induced by the advice 
of Stanzioni, to adopt the style of Guido, in which 
he succeeded in an admirable manner, though not 
equal to his friend. In this style he executed his 
most celebrated works at the Certosa, at the Tea- 
tini, and at the Rosario, without enumerating his 
numerous productions in the collections." After 
the death of Massimo, he was considered the ablest 
artist of the Neapolitan school, and was without a 
rival until the return of Luca Giordano from Rome 
with a new style, from the school of Pietro da Cor- 
tona. Both artists were competitors for the large 
altar-piece in the new church of S. Maria del Pianti, 
representing the Virgin liberating the city from 
pestilence; the designs were submitted to Cortona 
as umpire, who decided against his own scholar, 
in favor of Vaccaro, observing that, as he was first 
in years, so he was first in design and expression. 
Giordano, however, soon carried all before him, 
and Vaccaro. now advanced in years, in attempting 
to compete with him in fresco, which he had not 
studied in his youth, lost his reputation. 

Vaccaro, Francesco, an Italian painter and 
engraver, said to have been born at Bologna in 
1636, though probably at an earlier date, as Zani 
says he operated as early as 1650. He studied un- 
der Francesco Albano, but devoted himself chiefly 
to painting perspective and architectural pieces. He 
published a treatise on perspective, illustrated with 



VACC. 



1005 



VAGA. 



plates engraved from his own designs. There is 
also a set of twelve perspective views of ruins, 
fountains, and other edifices in Italy by him, in- 
scribed Fr. Vaccaro fee. He died in 1687. 

VACC ARO, DoMENico Antonio. This artist 
was born at Naples in 1680, and is said by Milizia 
to have been a painter, sculptor, and architect ; but 
he probably did not practice the first to any ex- 
tent, as his name is not mentioned by Lanzi. Af- 
ter receiving a good education, he studied archi- 
tecture, and attained considerable eminence. At 
Naples he built the church of the monastery of 
the Concezione, called di Monte Calvario, of nearly 
a circular form, interrupted by four arches, sup- 
porting four tribunes. He also constructed the 
Teatro Nuovo ; modernized the church Monte Ver- 
gine near that of Gesu Vecchio ; and built that of S. 
Michele Arcangelo, without the gate Spirito Santo. 
Vaccaro erected a number of other works at Na- 
ples and in other parts of the kingdom, among 
which are the Tarsia palace, the little palace of Ca- 
ravita, at Portici ; and the church of S. Giovanni 
at Capua. 

VACOELLINI, Gaetano. See Vascellini. 

VADDER, Louis de, a Flemish painter, born 
at Brussels in 1560. It is not known under whom 
he studied, but he is ranked among the ablest land- 
scape painters of his country. From the gran- 
deur of his style and the picturesque beauty of his 
scenery, it is supposed that he visited Italy, where 
he appears to have made the works of Titian the 
particular objects of his study, a^ his best works 
have a striking resemblance to the admirable land- 
scapes of that great master. His touch is uncom- 
monly firm and free, and his coloring, though vig- 
orous, is tender and chaste. He had a good know- 
ledge of perspective, and proportioned every object 
to its distance ; his grounds are pleasingly broken, 
the forms of liis rocks and trees are noble and se- 
lect, and his pictures are usually distinguished by 
a vapory degradation, which is only to be found 
in the works of the most faithful observers of na- 
ture. It was his custom to frequent the fields be- 
fore sunrise, to observe the gradual diffusion of light 
and its effects in unfolding the hills and mountains 
by the gradual dispersion of the mists and vapors. 
His works are not much known out of his own 
country, where they are deservedly esteemed, and 
found in the choicest collections. He executed 
some spirited etchings from his own designs, in 
a style resembling that of Lucas van Uden. He 
died at Brussels in 1623. 

VAFFLARD, Pierre Antoine Augdstin, a 
French painter of the present century, whose career 
is now probably terminated, was born at Paris 
in 1777. He studied under J. B. Regnault, and 
subsequently practiced the art with reputation for 
many years. Most of his works are poetical sub- 
jects, well chosen, and ably executed; besides 
which he painted portraits, and subjects from the 
history of his country. The government pur- 
chased many of his productions, and employed 
him in restoring many of the decorations of the 
galleries at the Tuileries and Versailles. Among 
the principal works of VaflBard are, the Barricades 
in July, 1830; Moliere reading his Tartitffe; and 
subjects from the lives of Henry IV. and Napo- 
leon. 

VAGA, PiERiNO DEL. The name of this artist 



was Pietro Buonaccorsi, but he was called Pierino 
del Vaga, after one of his instructors, who con- 
ducted him to Rome, and was the means of in- 
troducing him into the school of Raffaelle, and 
thus leading him to distinction. He was born at 
a small village near Florence, in 1500, and having 
the misfortune to lose his parents during infancy, 
he was taken under the care of Andrea de Ceri, 
whose house was much frequented by the young 
artists of Florence. At an early age, he discovered 
a decided genius for art, and was placed under the 
instruction of Ridolfo Ghirlandaio, with whom he 
made great progress. In 1515, he accompanied 
del Vaga, a Florentine painter of some note, to 
Rome, where he had the advantage of studying 
the antique, and the works of Michael Angelo. 
His merits becoming known to Giulio Romano 
and Gio. Francesco Penni, two of the principal 
disciples and assistants of Raffaelle, they recom- 
mended him to the notice of that illustrious mas- 
ter, who received him into his academy, and em- 
ployed him in the Loggie of the Vatican. Such was 
the versatility of his powers, that he was equally 
successful in assisting Giovanni da Udine in the 
stuccos and grotesque ornaments, and Polidoro da^ 
Caravaggio in his antique subjects in chiaro-scuro, 
as well as in executing several scriptural histories 
from the designs of Raffaelle, the principal of which 
are, Abraham preparing to sacrifice Isaac, Jacob 
wrestling with the Angel, Joseph and his Breth- 
ren, the Battle of Joshua, the Passage of the Jor- 
dan, and the Capture of Jericho. On the death of 
Raffaelle, he was employed by Leo X. and Clement 
VII., in conjunction with Giulio Romano and Gio. 
Francesco Penni, to finish the great works in the 
Vatican. Lanzi says that he was a relation, as 
well as a fellow citizen of Penni. One of the ear- 
liest works which he exhibited at Rome from his 
own composition was the Creation of Eve, in the 
church of S. Marcello, designed in the grand style 
of Michael Angelo, which Lanzi characterizes as a 
" most finished performance." 

Pierino del Vaga was in full possession of pub- 
lic esteem, when the dreadful sacking of Rome by 
the Spaniards in 1527, so disastrous to the arts and 
artists in Italy, compelled him to fly from that 
capital, and having lost all his property, he ar- 
rived at Genoa in a state of distress in 1528, where 
he was liberally welcomed by the Prince Doria, 
who employed him for several years in the dec- 
orations of his magnificent palace, situated without 
the gate of S. Tommaso. It was here that he dis- 
played the extent of his powers, and the fecundity 
of his invention ; so that it has been a matter of dis- 
pute whether Giulio Romano, in the Palazzo del 
Te at Mantua, or Pierino, in the Palazzo Doria at 
Genoa, has done most honor to the great school 
in which they were educated. Lanzi says, " Pie- 
rino nowhere displayed his talents to such advan- 
tage as in the Doria Palace. He superintended the 
exterior decorations of the sculptures, as well as 
the interior ornaments of the stuccos, the gilding, 
the arabesques, the paintings in fresco and in oil. 
This place in consequence, breathes all the taste 
of the halls and loggie of the Vatican, the cele- 
brated works of which attracted universal admi- 
ration, and in the execution of a part of which, Pie- 
rino had a considerable share. We find in the 
Doria Palace some small histories of celebrated 
Romans, of Codes, for example, and of Scaevola, 



VAGA. 



1006 



VAIA. 



which might pass for the compositions of Raffael- 
lo ; a group of Boys at play, likewise, has all the 
air of that master ; and on a ceiling, in the War of 
the Giants against the Gods, we seem to behold 
in conflict, the same persons whom Raffaello had 
represented as banqueting in the Casa Chigi. If 
the expression be not so noble, nor the grace so 
rare, it is because that grand specimen of art may 
be emulated by many, but equalled by none. It 
may be added that his style is less finished than 
Raffaello's, and that in his drawing of the naked 
figure, he, like Giulio Romano, partakes of the 
style of Michael Angelo." Pierino also decorated 
several apartments with subjects taken from Ro- 
man history, and the Metamorphoses of Ovid ; he 
also designed for tapestry a series of cartoons of the 
history of ^neas. All these works are not, how- 
ever, executed with equal care, and Lanzi says that 
his avidity for gain drew down upon him merited re- 
prehension, for while Raffaelle and Giulio Romano 
were indefatigable in their application, selecting only 
the best artists for their assistants, Pierino content- 
ed himself with preparing his cartoons, and en- 
trusted their execution mostly or entirely to his 
pupils or assistants, some of whom were artists of 
inferior talents, — a practice which, though it added 
materially to his pecuniary advantage, was detri- 
mental to his reputation. Vasari informs us that 
four of the chambers in the Doria palace were ex- 
ecuted from the designs of Vaga by Luzio Romano, 
and some Lombards, his assistants. Nevertheless, 
Vasari considers him the best designer of the Flor- 
entine school, after Michael Angelo, and his par- 
tiality placed him at the head of all those who as- 
sisted Raffaelle. Lanzi says, "It is certain that 
no one could, like Pierino, compete with Giulio in 
that universality of talent so conspicuous in Raf- 
faello ; and the subjects from the New Testament, 
which he painted in the Papal Gallery, were praised 
by Taj a above all others. In his style there is a 
great mixture of the Florentine, as may be seen 
at Rome in the Birth of Eve, in the church of S. 
Marcello, where there are some children painted 
to the life, a most finished performance." Del 
Vaga also executed some works for the churches 
and public edifices at Lucca, Pisa, Genoa, and else- 
where. In the convent at Tivoli is one of his 
best works, representing St. John in the Desert, 
with an admirable landscape. Towards the close 
of his life, he returned to Rome, where, Lanzi says, 
•' he might have effected the restoration of art, if 
his magnanimity had corresponded with the sub- 
limity of his mind, but he did not inherit the gen- 
ius of his master." Lanzi then goes on to accuse 
him of making a traffic of art. contriving always 
to abound in commissions and money, and that 
he employed the best artists to paint from his de- 
signs in order to make them dependent upon him, 
and thus prevent them from interfering with his 
commissions and emoluments. He was much em- 
ployed by Paul III., who granted him a life pen- 
sion of 25 ducats monthly. About 1543. Vaga 
undertook the direction of the paintings in the Sala 
Regia; he ornamented the ceiling, and directed the 
preparatory operations, all in the style of a great 
master; after which he applied himself to design 
the subjects for his pencil, when he died in 1547. 

VAGNUCCI, Francesco, a painter of Assisi, 
who flourished there in the first part of the 16th 
century. There are some of his works in the 



churches of that city, which Lanzi says are "exe- 
cuted in the spirit of the old masters," i. e., some- 
what dry and hard. 

VAIANI, Anna Maria, an Italian lady who 
flourished at Rome about 1650. She painted flower 
pieces, and engraved a part of the plates for the 
Justinian Gallery. Bartsch describes five prints 
by her, but with no great commendation. 

VAIANO, or VAJANO, Orazio, sometimes 
called II Fiorentino, a painter born at Florence, 
who flourished about 1600. He resided a long 
time at Milan, where he executed many works for 
the churches and for individuals, which Lanzi says 
display diligence and judgment, though they are 
somewhat feeble in point of coloring. According 
to Orlandi, some of his pictures have been con- 
founded with those of the elder Palma, "for what 
reason," says Lanzi, "it is difficult to conjecture, as 
there is little resemblance of style. In the distri- 
bution of his lights he much resembles the Cav. 
Roncalli." Some of his best works are in the 
churches of S. Carlo, and S. Antonio Abate at 
Milan. There are also several of his works in the 
churches and public edificeji* at Genoa. Bartsch 
says his name was Alessandro, and that he flour- 
ished about 1628. He describes a print by him 
of a Dead Christ, and another of a Magdalen, en- 
graved from his design, by Sebastian Vajano ; 
but these were doubtless different artists, of whom 
little is known. The name is sometimes written 
Vaiani. 

IVAILLANT, Wallerant, a Flemish 
[painter and engraver, born at Lisle in 
1623. After studying in his native city, 
he went to Antwerp, where he became the disci- 
ple of Erasmus Quellinus. Finding his genius 
best adapted to portraiture, he applied himself to 
that branch, and met with great encouragement. 
He went to Frankfort af the time of the coronation 
of the Emperor Leopold, whose portrait he had the 
honor to paint, which gained him great reputation, 
and abundant employment. At the invitation of 
Marshal Grammont, the French ambassador, he 
accompanied him to the court of France, where he 
added to his reputation by his portraits of the 
Queen Mother, and the Duke of Orleans. He now 
met with such constant employment and liberal 
prices, that in a few jei\rs, he was enabled to re- 
turn to Flanders with a competent fortune. He 
painted equally well both in oil and crayons. He 
is said to have visited England in the suite of 
Prince Rupert, who communicated to him the then 
newly discovered process of mezzotinto engraving. 
He engraved quite a number of plates in that man- 
ner, from his own designs and after other masters, 
which he usually marked with one of the accompa- 
nying monograms. His brother and pupil, John V., 
was born at Lisle in 1624. and followed painting 
for some time with great success ; but having mar- 
ried a rich lady of Frankfort, he devoted himself 
to commerce. Among other prints by Wallerant 
v., are the following. He died at Amsterdam in 
1677. 



Or 






portraits. 



Prince Rupert. His own Portrait. The Portrait of his 
Wife. Desiderius Erasmus. John Frobenius. the celebra- 



VAIL. 



1007 



VALD. 



ted printer of Basle. Sir Anthony Vandyck. Barent 
Graat, Painter. 

SUBJECTS AFTER VARIOUS MASTERS. 

St. Barbara ; after Rqfaelle. Judith ; after Guido. 
The Holy Family ; after Titian. The Temptation of St. 
Anthony ; after Cam. Procaccini. The Bust of a War- 
rior; after Tintoretto. Venus lamenting the Death of 
Adonis'; after Eras. Quellinus. The Prodigal Son ; af- 
ter Mark' Gerard. Judith and Jael; after Gerard Lai- 
resse, 

VAILL ANT, Bernard, was the bro- 
ther of the preceding, born at Lisle in 
1625, though some say in 1627. The 
success of his brother induced him to adopt the 
same profession, and he received his principal in- 
struction in art from him. He chiefly excelled 
in painting portraits in crayons, and accompanied 
his brother to Frankfort and Paris, and found con- 
siderable employment in that branch. On his re- 
turn to the Low Countries, he settled at Rotter- 
dam, where he passed the rest of his life. He also 
engraved several plates of portraits from his own 
designs, and after W. Vaillant and other masters, 
which he sometimes signed with his name, and at 
others marked with the above monogram. 

VAILLANT, James, was also the brother and 
scholar of Wallerant V., born at Lisle in 1628. 
He went to Italy while young, and passed two years 
at Rome. On his return to Flanders, he was in- 
vited to the court of the Elector of Brandenburg 
at Berlin, where he practiced both historical and 
portrait painting with considerable reputation. 
The Elector sent him to Vienna to paint the por- 
trait of the Emperor, who presented him with a 
gold chain and medal. There is some discrepancy 
as to the time of his death ; some say that he died 
young, without giving the date, others place his 
death in 1670 ; but Laborde and Zani, in 169L 
This latter date may apply to the fourth brother, 
John v., mentioned in the second preceding article. 

VAILLANT, Andrew, was the youngest bro- 
ther of Wallerant V., born at Lisle in 1629. He 
was instructed by him both in painting and en- 
graving, and engraved some portraits after pic- 
tures by his brothers, one of which is dated 1689. 

VAL, Du, an artist mentioned by Papillon as 
an engraver on wood, who flourished about 1650. 
His prints are remarkable for neatness and delica- 
cy of execution ; they are chiefly after the designs 
of James Stella and Nicholas Cochin. There is a 
set of twenty cuts by him, engraved for a work 
entitled " The Miraculous History of Notre Dame 
de Liesse," which are highly esteemed. 

VAL. Mark Du, an engraver on wood, who flour- 
ished from about 1560 to 1580. His cuts are very 
indifferently executed. 

VAL, Sebastiano D'. Little is known of this 
artist. There are two spirited etchings by him, 
one of which is dated 5558, which Zani conjectures 
to stand for the age of the world ; this would 
make the artist to have flourished, he says, in 
1558. It represents Prometheus tormented by the 
Vulture, inscribed Sebastiano Z>' Val, Ut. 5558 ; 
the other, representing the Repose in Egypt, is in- 
scribed on a tablet, Sebastiano Z>.' VL. ; and on an- 
other tablet held by an angel, is written, Piu alto 
non so dir che Mater Dei. Zani interprets the 
signatures, Sebastiano de Valentini Utinense. 

VAL, Du. See Duval. 



VALDELVIRA, Pedro de, a Spanish architect, 
who flourished about the middle of the 16th cen- 
tury. According to Milizia, between the years 
1540 and 1556. he erected in Ubeda the famous 
chapel del Salvador, by order of the Comendador, 
Don Francisco de los Cobos. He also erected a 
palace for that nobleman, which, like the chapel, 
is profusely ornamented. Among his other edi- 
fices, is the hospital and chapel of S. Giacomo in 
Baeza. erected in 1562. and considered one of the 
best buildings in Andalusia. 

VALDES, Don Juan de Leal, a Spanish paint- 
er, descended from an ancient family of Asturia, 
and born at Cordova in 1630. He studied in the 
school of Antonio del Castillo, and afterwards re- 
moved to Seville, where he became one of the most 
distinguished painters in that city, and lived on 
terms of intimacy with Murillo, who was a great 
admirer of his works. He was one of the found- 
ers of the Academy there, and succeeded Murillo 
as president of that institution. At the death of 
that master, he was esteemed at the head of his 
profession. His works are numerous in the church- 
es at Seville, among which is the Triumph of the 
Cross, in La Caridad ; there are also a number at 
Cordova, as the Martyrdom of St. Andrew, in the 
church of S. Francisco ; and the history of the 
Prophet Elias. in the church of the Carmelites. 
Valdes is said to have distinguished himself as a 
sculptor and architect, but none of his works are 
specified. There are two prints attributed to him. 
one marked with his monogram, and the other 
with his name in full. He died in 1691. 

VALDES, Don Lucas de, was the son of the 
preceding, born at Seville in 1661. He was in- 
structed in art by his father, and painted history 
and portraits with considerable reputation. There 
are some of his works in the churches and public 
edifices of his native city. He also engraved seve- 
ral plates from his own designs. He died in 1724. 
He had a son named Juan, who engraved some 
plates of devotional subjects, and a few portraits, 
mostly for the booksellers. 

VALDES, Don Sebastian Llanosde, a Span- 
ish painter, who flourished at Seville about 1660. 
He studied under Francisco d' Herrera the Elder, 
and attained a high reputation among the artists 
of his time. His works are characterized by cor- 
rectness of design and beauty of coloring, although 
they manifest some degree of mannerism. He 
aided greatly in establishing the Academy of Se- 
ville, and succeeded Murillo and Juan de Valdes in 
the presidency of that institution. Many of his 
pictures are to be found in the Spanish private 
collections. Among his large historical subjects, 
are a Magdalen, in the church of the Recollets at 
Madrid ; and a picture of the Virgin surrounded 
by Saints and Angels, painted in 1669, for the 
church of St. Thomas at Seville. 

VALDOR, John, a Flemish engraver, born at 
Liege, who flourished from about 1620 to 1649. 
He went to Paris, where he chiefly resided, and 
engraved a considerable number of plates for the 
booksellers, representing Saints and devotional 
subjects, which are executed with remaikable 
neatness and precision. He also engraved a part 
of the plates for a book published at Paris in 1638, 
entitled Les Triomphes de Louis le Juste, which 
are his best performances. 



VALE. 



1008 



VALE. 



VALENCIA, Fray Matias de, a Spanish paint- 
er, born at Valencia in 1696. His name was Lo- 
renzo Chafrion. After acquiring some knowledge 
of the art in his native city, he went to Rorne, 
where he became the disciple of Corrado Giaquin- 
to, whose style he adopted. On his return to Va- 
lencia he did not meet with much encouragement, 
and afterwards went to Granada, in hopes of being 
able to obtain some assistance from an uncle resid- 
ing there, but being disappointed in his expecta- 
tions and reduced to distress, he took refuge in a 
convent. There are some of his cabinet pictures 
in the collections at Valencia, and a picture of the 
Last Supper, in the refectory of his convent. He 
was drowned in 1749. 

VALENCIENNES, Pierre Henri, an eminent 
French landscape painter, was born at Toulouse in 
1750. His parents intended him for the study of 
music, but as he manifested a strong inchnation 
for art, he was sent to Paris, and placed in the 
school of Doyen. Under that master, he acquired 
that historical style which forms the chief charac- 
teristic of his productions ; but being more inclined 
to landscape painting, he visited Rome, and stud- 
ied the works of N. Poussin and Claude Lorraine. 
On returning to Paris, he was chosen a member 
of the Academy, and formed a school which has 
produced the best French artists in landscape of 
the present day. He was an associate of the Acad- 
emy at Toulouse, and a member of the Legion of 
Honor. The talents of Valenciennes, though une- 
qual to those of his great models, were of a supe- 
rior order ; and he first, after Poussin, gave to his 
department in art that grandeur of style which 
elevates it to the rank of history. Among his best 
works are, OEdipus found on the island Cythera ; 
OEdipus before the Temple of Eumenides ; Philoc- 
tetes in the Isle of Lemnos ; the Vale of Tempe ; 
a View of the ancient city Trezina ; the Dance of 
Theseus ; and his masterpiece in the Louvre, ac- 
cording to the Biographie Universellc, represent- 
ing Cicero, while questor in Sicily, discovering the 
tomb of Archimedes. Valenciennes wrote an ad- 
mirable work on perspective, entitled Traite de 
'perspective et de I'art du paysage, 1800, 4to. He 
died at Paris in 1819. 

VALENTIN, Pierre, a French painter, born at 
Oolommiers en Brie, near Paris, in 1600. It is 
generally stated that he acquired a knowledge of 
design under Simon Vouet, in his own countrj'-, 
but Vouet quitted France in 1602, and did not re- 
turn until 1627. Valentin therefore probably 
studied under some other master, as he visited 
Rome while still young, where he passed the rest 
of his life. He was one of the most judicious fol- 
lowers of Michael Angelo da Caravaggio. He ac- 
quired a high reputation at Rome, and enjoyed 
the protection of the Cardinal Barberini, nephew 
of Urban VIII., through whose influence he ob- 
tained the commission to paint a picture of the 
Martyrdom of Sts. Processo and Martiniano, for 
the Basilica of St. Peter, which is esteemed his 
best performance. He also j)ainted for his patron 
the Decollation of St. John, in the Barberini pal- 
ace, and St. Peter denying Christ, in the Corsini 
palace, which Lanzi says is a " delightful picture." 
His other principal historical works are, Judith 
with the Head of Holofernes, the Judgment of 
Solomon, and Susanna and the Elders, in the Lou- 
vre. His easel pictures are his best works, and 



Lanzi says they are frequently to be met with in 
the collections at Rome ; they usually represent 
concerts of music, corps-de-gardes, fortune-tellers, 
card-players, and similar subjects. He was an art- 
ist of great promise, but died in the flower of his 
life, in 1632. The Italians call him Pietro Valeiir 
tino. 

VALENTINA, Jacopo di, a painter of the Ve- 
netian school, born at Serravalle. There are some 
altar-pieces and other pictures by him in the church- 
es of his native place, Ceneda, and elsewhere, paint- 
ed in the style of Squarcione of Padua. He flour- 
ished about 1500. 

VALERIANI, Padre Giuseppe, a painter 
born at Aquila, who flourished at Rome, according 
to Baglioni, in the pontificate of Clement VIII. 
It is not known under whom he studied, but he 
imitated Sebastiano del Piombo, though Lanzi 
says he was too heavy in his design, and too dark 
in his colors. He afterwards entered the Society 
of the Jesuits, and much improved his first man- 
ner. His best works are in the Chiesa del Ges&, 
where he painted a fine picture of the Annuncia- 
tion, and several subjects from the life of Christ. 

VALERIANI, DoMENico and Giuseppe, two 
painters, brothers, born at Rome, who studied un- 
der Marco Ricci, and flourished about 1730. Ac- 
cording to Zanetti, Domenico excelled in landscape 
and perspective, and Giuseppe in figures ; they 
wrought conjointly, each in his respective depart- 
ment, and were much employed in decorating the 
churches and public edifices, but more particularly 
the theatres, " in Venice, and indeed throughout 
Italy and other parts of Europe." 

VALESIO, Francesco, an Italian painter and 
engraver, who flourished at Venice about 1612. 
Little is known of his works as a painter, but he en- 
graved a variety of frontispieces and other book plates 
from his own designs, and some portraits and other 
subjects after Pietro Faccini and other masters. His 
most considerable work is a set of plates of Hermits, 
engraved for a work entitled Illustrium, Anachore- 
torum Elogia, written by Jacobus Cavacius, a Ben- 
edictine monk, published at Venice in 1612, His 
plates are executed with the graver, in a neat but 
formal style. He sometimes marked his plates 
Franciscus I Tz legius, f. 

VALESIO, GiACOMo, an Italian engraver, born 
at Verona, who flourished in the latter part of the 
16th century. His prints are dated from about 
1574 to 1587. He engraved some plates after Paul 
Veronese and other masters, executed with the 
graver, in a style resembling that of Cornelius 
Cort. He also carried on the business of a print- 
seller. 

VALESIO, NiccoLO, another engraver of Ve- 
rona, probably a brother of Giacomo V. He flour- 
ished about the same time, engraved some book 
plates, and was also a publisher. 

MO T /^ VALESIO, Giovanni Lu- 
^ or \/U iGi, an Italian painter and en- 
-^ Id-J graver, born at Bologna in 
1561. He studied in the school of the Caracci, 
and, according to Malvasia and Lanzi, acquired a 
greater reputation than he deserved. He execu- 
ted several works for the churches of his native 
city, the principal of which are, the Scourging of 
Christ, in S. Pietro ; the Annunciation, at the 



I 



VALK. 



1009 



VALK. 



Mendicant! ; and St. Roch curing the Sick of the 
Plague, in S. Rocco. Lanzi says these works have 
nothing of the grandeur of the school of the Ca- 
racci ; they are dry in composition, and have little 
relief, yet they are executed in the exact method 
of the miniaturists. He afterwards vrent to Rome, 
where by his assiduity, ready wit, convivial and 
social qualities, he acquired much reputation and 
abundant employment. He was much patronized 
by the Lodovisi family, and his praise was sung 
by Marini and other poets of the day. " By 
means like these," says Lanzi, "he maintained his 
equipage in Rome, where Annibale Caracci, during 
many years, obtained no other stipend for his hon- 
orable toils than a bare roof for his head, daily 
pittance for himself and servant, with an annual 
payment of 120 crowns !" Bartsch, however, 
highly commends him as an engraver. He de- 
scribes (P. G. torn, xviii.), one hundred and eleven 
prints by him. and mentions sixteen more on the 
authority of Malvasia. He approaches nearer to 
Agostino Caracci in his engravings, than any other 
artist of that school. He died at Rome in 1640. 

VALET, or VALLET, Guillaume, a French 
engraver, born at Paris in 1636. He is supposed 
to have studied with Fran9ois de Poilly. He after- 
wards went to Italy, and resided many years at 
Rome. He engraved a considerable number of 
plates after the Italian and French masters, which 
are executed chiefly with the graver, in the style 
of de Poilly, and though his prints are inferior to 
the works of that master, they possess considera- 
ble merit. He died in 1704. The following are 
among his principal prints : 

PORTEAITS. 

Charles Emanuel, Duke of Savoy. Louis, Duke of Man- 
tua. Alessandro Algardi, Sculptor. Andrea Sacchi, 
Painter ; after C. Maratti. The Bust of Peter Corneille, 
crowned by Melpomene and Thalia ; after Paillet. Olym- 
pia Maldachini, Roma, 1657. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Nativity ; after Rqfaelle. The Holy Family ; do. 
Melchisedec bringing presents to Abraham ; do. The Last 
Supper ; do. The Holy Family ; after Guido. Cornelius 
Bloemaert has engraved the same subject. The Holy Fam- 
ily ; after Albano. A Repose in Egypt ; after C. Marat- 
ti. The Virgin, with the infant Christ and St. John ; after 
An. Caracci. The Annunciation ; after Courtois. The 
Resurrection; after N. Loir. St. John the Baptist before 
Herod ; after le Brun. The Adoration of the Magi ; af- 
ter Poussin. The Assumption of the Virgin ; after J. 
Miel. The Holy Family ; after James Stella. The Cru- 
cifixion ; do. 

VALK, or VALCK, Gerakd, a Dutch engraver, 
born at Amsterdam about 1626. He studied with 
Abraham Blooteling, whose sister he married, and 
was afterwards taken into partnership with him. 
He went to England, where he was employed by 
David Loggan for some time. He also assisted 
Peter Schenck in his large Dutch Atlas, in 2 vols, 
folio, published in 1683. He wrought both with 
the graver and in mezzotinto, and some of his 
prints possess considerable merit. The following 
are among the best : 

PORTRAITS WITH THE GRAVER. 

Hortensia, Duchess of Mazarin ; after Lely ; one of his 
best plates. Robert, Lord Brooke. John, Duke of Lau- 
derdale. Eleanor Grwyn ; after Lely. 

PORTRAITS AND SUBJECTS IN MEZZOTINTO. 

William, Prince of Orange ; after Lely. Mary, Prin- 
cess of Orange ; do. Louisa, Duchess of Portsmouth ; do. 



Mary Davis, Actress ; do. A Girl holding a Lamp ; after 
G. Douw. David and Bathsheba ; after B. Graat. A 
Trumpeter presenting a letter to a Lady; after Terhurg. 
A Death's Head crowned with Laurel. Cupid asleep ; af- 
ter Guido. A Woman searching for Fleas. 

VALK. Peter, a Dutch painter and engraver, 
born at Leuwarde in 1584. It is not known under 
whom he studied, but he at first imitated Abra- 
ham Bloemaert. He afterwards went to Italy, 
and passed several years at Rome. On his return 
to Holland, he acquired considerable reputation as 
a painter of history, portraits, and landscapes. 
He also engraved a few plates in the manner of 
Philip Galle, which are chiefly copied from the 
prints of that master. 

VALKAERT, Waernaert vander, a Dutch 
painter and engraver, whose birth is variously 
placed at Amsterdam in 1572, 1575. and 1580. 
He studied under Henry Goltzius, and became a 
good painter of history and portraits, in the man- 
ner of his master. There are some pictures by 
him in the churches at Utrecht. He also etched 
some plates from his own designs, in a bold and 
spirited style. He died in 1625. His name is va- 
riously spelled, Warner^ Warnard, and Waer- 
naert Valker, Valkert, and Valkaert. 

VALKENBURG, Lucas van, a Flemish paint- 
er, born at Mechlin in or about 1530. He painted 
landscapes and portraits in small, with considera- 
ble reputation. He was patronized by the Duke 
of Lintz, for whom he executed many works. His 
death is variously placed in 1582 and in 1625. His 
name is sometimes written Valckenhurg. 
.--. VALKENBURG, Martin van, was the 
IVl younger brother of the preceding, born at 
W' Mechlin about 1533, though some say in 
1542. He accompanied his brother in his travels, 
and is said to have painted many pictures from the 
beautiful scenery in the vicinity of Liege and Aix- 
la-Chapelle. He frequently enriched his pictures 
with llgures from ancient history or mythology. 
He sometimes marked his pictures with the above 
monogram. He died at Frankfort in 1574, though 
some say in 1636. 

VALKENBURG, Dirk or Theodore, a Dutch 
painter, born at Amsterdam in 1675. He studied 
successively under Cuylenberg, Michael van Muss- 
cher. and John Weenix. He painted animals, 
huntings, and dead game, in the manner of Weenix ; 
and his pictures, particularly of dead game, are 
accounted little inferior to the productions of that 
admired master. He was also an excellent por- 
trait painter. In 1696, he set out to travel 
through Germany to Italy. He stopped some 
time at the court of Baden, where his pictures were 
greatly admired ; he next proceeded to Vienna, 
with letters to the Prince of Lichtenstein, who re- 
ceived him in the most gracious manner. He soon 
acquired a distinguished reputation at that capital, 
and received so many commissions from the most 
distinguished persons, that he abandoned his pro- 
jected visit to Italy, and in the course of a few 
years amassed a handsome fortune. The desire of 
revisiting his native country, induced hiiu to aban- 
don his brilhant and flattering career at Vienna, 
and he returned to Amsterdam, where his works 
were not less esteemed. He was employed by 
William HI. to paint several pictures for his pal- 
ace at Loo. He died of apoplexy in the prime of 
life, in 1721. 



VALL. 



1010 



VALP. 



VALKENBURGH. Frederick, a German paint- 
er, born at Nuremberg in 1555. After studying 
in his native city, under an obscure artist, he went 
to Venice, where he studied the works of Titian 
and Paul Veronese, and formed a style of his own, 
agreeable and elegant, with rich and harmonious 
coloring, a light and clean pencil, and a delicate 
touch. His usual subjects were fairs, markets, 
sports, and dead game, though he sometimes paint- 
ed history. He was also very successful in repre- 
senting perspective views of public edifices and 
places in cities. He usually introduced a large 
number of small figures into his pictures, which 
he designed with tolerable correctness. His works 
are little known out of Germany, where they are 
held in considerable estimation. He died in 1623. 
His name is sometimes erroneously called Vallen- 
hurgh. 

VALLE, Giovanni da, an old painter who 
flourished at Milan about 1460. According to Lo- 
mazzo, he made great improvements in perspective. 
'•' He was one of the great inventors in the art of 
correctly viewing: objects." He had a brother, 
named Carlo, also a painter, who was sometimes 
called Carlo Milanese. Their works have mostly 
perished. 

VALLE, Andrea della. This architect was 
a native of Padua, and flourished in the 16th cen- 
tury. From the high commendation of Milizia, 
it would appear that he deserved greater reputa- 
tion than he attained. His principal work was 
the Cartbusian monastery, two miles from Padua, 
which is admirably constructed, and of such a 
beautiful design that it has been attributed to Pal- 
ladio. Della Valle published an edition of the un- 
printed works of Palladio, in which he inserted 
five plates. 

VALLEE, or VALEE, Simone, a French engra- 
ver, who is said to have been born at Paris about 
1700,Hlthough a print is mentioned with his signa- 
ture, dated 1706. He studied under P. Drevet, and 
executed several plates, which are etched and fin- 
ished with the graver, in a neat, tasteful style. 
Among them are the following : 

f PORTRAITS. 

John de Troy, Painter to the King; after Fras. de 
Troy, John Francis Savery, Curate of St. Menehoult ; 
do, 

SUBJECTS AFTER VARIOUS MASTERS. 

The Transfiguration ; after Rqfaelle. St. John in the 
Desert ; do. The Flight into Egypt ; after Carlo Marat- 
ti. The Resurrection of Lazarus ; after Girolamo Muzi- 
ano. The Finding of Moses ; after Francesco Roma- 
nelli. Christ bearing his Cross; after Andrea Sacchi. 
The Death of the Virgin ; after M. Angelo da Caravag- 
gio. The Sacrifice of Abraham ; after Ant. Coypel. Christ 
calling to him the little Children ; after P. J. Cazes. The 
Descent of the Holy Grhost ; do. 

VALLET, Pierre, a French designer and en- 
graver, who flourished at Paris in the first half of 
the 17th century. According to Dumesnil, he en- 
graved one hundred and twenty-four plates for a 
work entitled " Las Aventures amoureuses de 
Theagene'et Chariclee," published in 1613 ; a Plan 
of the City of Paris ; and the Flowers in a work 
entitled '' Le Jardin du Roy tres Chrestien Henri 
IV. Roy de France et Navarre. Dedie a la Royne." 
His prints are executed in a neat and beautiful 
style. He was living in 1642. 
VALLORY, Chevalier de, a French amateur 



engraver, who flourished about 1760. He etched 
some plates of landscapes, after Boucher 

VALPUESTA, Pedro, a Spanish painter, born 
at Osma, in Old Castile, in 1614. According to 
Palomino, he was a disciple of Eugenio Caxes, and 
the most successful follower of his style. His 
principal works are in the churches and convents 
of Madrid ; the most worthy of notice are a series 
of pictures representing the life of the Vii-gin, in 
the church of San Miguel ; the Holy Family, in 
the Chapel of the Hospital del Buensuceso; and 
six pictures of the history of St. Clara, in the con- 
vent of the Franciscan Nuns. He died at Madrid 
in 1668. 

VAN, VANDE, VANDEN, VANDER, and 
VON, are only articles prefixed to Flemish, Dutch, 
and German names, and when artists are not found 
in letter V. under one of these heads, they will be 
met with by referring to the proper initial letter, as 
Van Balen, see Balen ; Vander Berg, see Berg ; 
Vander Borcht, see Borcht ; Von Miiller, see Mul- 
ler. 

VANBRUGH, Sir John, an eminent English 
architect, of Dutch extraction, was born in 1666. 
His grandfather was a citizen of Ghent, and re- 
moved to England at the time when Alva persecu- 
ted the Protestants. His son Giles married Eliza- 
beth, youngest daughter and co-heir of Sir Dudley 
Carleton, and had a family of eight sons, among 
whom was the subject of this sketch. Little is 
known of John until he commenced writing for 
the stage, and it appears rather doubtful if he was 
ever regularly educated in architecture. He was 
sent by his father to France at the age of nine- 
teen, and is said to have studied the art in that 
country ; he subsequently entered the French mili- 
tary service for a short time, and his professional 
progress for several years after remains in obscu- 
rity. It is evident, however, that he had attained 
considerable skill previously to 1695, for he 
was then appointed one of the commissioners for 
completing the palace at Greenwich, when it was 
about to be converted into an hospital. In 1702, 
Vanbrugh was employed by Charles, the third 
Earl of Carlisle, to erect a mansion for him in 
Yorkshire, on the site of the ancient Castle of 
Hinderskelf; and he erected the palace of Cas- 
tle Howard, an extensive and noble pile, 660 
feet in length ; although, like all his other works 
of this class, more satisfactory in its general char- 
acter than when examined in detail. H:s patron 
Carlisle, then earl marshal of England, signified 
his approbation by bestowing on him the honora- 
ble and not unprofitable appointment of Claren- 
cieux king-at-arms, in 1703. His work of Castle 
Howard also recommended him as architect to 
many persons of rank or wealth, for whom he 
erected stately mansions in different parts of the 
kingdom. Among these were King's Weston, near 
Bristol, greatly admired for the effect produced by 
its chimneys ; Duncombe Hall, Yorkshire ; East- 
bury in Dorsetshire, built for Bubb Doddington, 
but subsequently demolished by Earl Temple; 
Seaton Delaval, Northumberland ; Oulton Hall, 
in Cheshire ; and Grinisthorpe, Yorkshire, consid- 
ered one of his most important works. Most of 
his edifices appear to have been country seats and 
mansions, except a theatre in the Hay market, 
which afterwards became the original Opera House. 

About 1706, the nation voted, as a monument of 



VAND. 



1011 



VAND. 



gratitude to the first Duke of Marlborough, a pal- 
ace, to be named after the victory at Blenheim. 
Yanbrugh was appointed the architect, but al- 
though this high distinction and the excellence of 
his performance have greatly increased his posthu- 
mous fame, he was involved in great difficulties, in 
consequence of no specific appropriation having 
been provided by parliament, and being afterwards 
refused. During the queen's life, she furnished 
the necessary funds ; but difficulties increased af- 
terwards, and, to complete the architect's vexation, 
after the Duke's death, his wife Sarah discharged 
Vanbrugh from his post, and refused to pay him 
the amount due on his salary ! The edifice was 
however completed according to the original mod- 
el, and forms an honorable monument to the gen- 
ius of the architect. Although Yanbrugh was 
greatly ridiculed by Swift and Pope, so that his 
merits were not appreciated in his day, posterity 
has at length accorded him full justice. Sir Josh- 
ua Reynolds was the first who ventured to bear 
testimony to the picturesque magnificence of Blen- 
heim, besides which, the testimony of Sir Uvedale 
Price and others removed the prejudices against 
the architect. His works are distinguished for 
great variety of outline, although his style is occa- 
sionally somewhat heavy, as solidity and massive- 
ness are its chief characteristics. The massive 
grandeur of the palace of Blenheim, is esteemed a 
fitting type of the talents of the hero for whom it 
was erected. 

Yanbrugh evinced great talent as a dramatic 
writer, and his masterly powers in comedy are so 
well evinced in several plays, that, were it not for 
their strong libertine tendencies, which have prop- 
erly banished them from the stage, and almost 
from the closet, he would be regarded as a stand- 
ard classic author in English dramatic literature. 
His private character seems to have been amiable, 
and his conduct tolerably correct. He died at his 
own house in Whitehall, in 1726. 

YANDAEL, John Francis, an eminent Flem- 
ish painter of fruit and flowers, born at Antwerp 
in 1764. He went early to Paris, where he gieat- 
ly distinguished himself On one occasion he drew 
the grand prize of 4.000 francs, and on two others, 
the large gold medal. He was patronized by the 
empresses Josephine and Maria Louisa, the Duch- 
ess de Berri, and other distinguished personages. 
Many of his pictures were to be seen in the cha- 
teaux of St. Cloud and Trianon. He was made a 
Chevalier of the Legion of Honor, and a member 
of the academies at Antwerp, Amsterdam, and 
Paris, as well as of several learned societies. His 
pictures are elegantly composed, and executed with 
all the truth and brilliancy of nature. He did not 
strictly confine himself to fruit and flowers, but 
often painted other subjects, into which he could 
introduce these with propriety as accessories ; thus, 
two of the pictures which he painted for the Em- 
press Josephine, now at Munich, represent the 
Tomb of Julia, and an Offering to Flora. He died 
at Paris in 1840. See, also, the article Dael. 

YANDEN DYCK. See Dyck. 

YANDERBURG. See Burg. 

VANDERGUCHT. See Gucht. 

YANDERLYN, John. This eminent Amer- 
ican painter was born in 1776, in the town of 
Kingston, Ulster county, of the State of New 
York. After receiving an academical education in 



his native place, he visited the city of New York 
at the age of sixteen, in company with his brother ; 
and while there, he was offered by Mr. Thomas 
Barrow, an extensive dealer in engravings, a place 
as clerk in his store. Young Vanderlyn ac- 
cepted the off*er, and remained two years in his 
employment, acquiring and impijoving a taste for 
the Fine Arts, and also taking drawing lessons in 
moments of leisure. During this period, he made 
the acquaintance of Stuart, who allowed him to 
copy some of his portraits ; also of Colonel Burr, 
who advanced him the means of prosecuting his 
studies under the direction of Stuart, and subse- 
quently of going to France. 

In 1796, Yanderlyn went to Paris, where he 
continued his studies under the most eminent 
French artists, and made the acquaintance of seve- 
ral distinguished men, who predicted from his ear- 
lier efforts the highest success. After a residence 
of five years, he returned to his native country, 
and soon obtained plentiful patronage. He paint- 
ed two fine views of Niagara Falls, which were 
engraved, and gained him the warm friendship of 
Washington Irving, Allston, Monroe, and others. 
Notwithstanding this success, Yanderlyn revisited 
Europe in 1803, to purchase a large collection of 
pictures, and while sojourning at Paris, he execu- 
ted his first historical composition, a work of great 
originality and vigor, representing the Murder of 
Miss McCrea by the Indians, during the early bor- 
der wars of the State of New York. He then vis- 
ited Rome, and applied himself to improvement 
with great assiduity, making copies after the Ital- 
ian masters, which evinced considerable excellence, 
particularly a picture of Danae from Titian, Anti- 
ope from Correggio, and a female figure from Raf- 
faelle's Transfiguration, which was retained for a 
long time in the collection of the late Philip Hone, 
Esq., but has recently passed into other hands. 
Among his original works, executed about this 
time, were his Ariadne, an original picture of sin- 
gular beauty, which was greatly admired ; and 
his large historical subject, " Marius on the Ruins 
of Carthage," which is considered his master- 
piece. The strength, dignity, and truthfulness of 
the solitary general, as he sits baffled and disap- 
pointed, but not overcome, amid the fallen columns 
of the old African city, his wild eyes glaring 
around the desolation, but his face full of the great 
heart of the exiled Roman consul, — evinced a 
power of conception on the part of the painter, 
which gained the universal applause of his broth- 
er artists, while the depth and purity of the color- 
ing excited their admiration. This grand work of 
art was removed to the Louvre, and in 1808 it 
drew the gold medal, and was honored by the 
praises of Napoleon, who highly complimented the 
author upon his genius. 

Yanderlyn returned to this country in 1815, 
where his reputation was undoubtedly much high- 
er than when he left it ; and he soon received nu- 
merous commissions for portraits, among which 
were some of our most eminent men — Madison, 
Calhoun, Monroe. Clinton, &c. But he became 
interested in. a plan for the introduction of pano- 
ramic exhibitions into the United States, and hav- 
ing obtained a privilege from the Corporation in 
New York city, he erected a building in the Park, 
to which he gave the name of the Rotunda. He 
exhibited there many fine views of the cities of 
Paris. Mexico, Yersailles, Athens. &c. ; but the pro- 
ject proved an unsuccessful speculation, and the Cor- 



VAND. 



1012 



VAND. 



poration resumed possession of the building. The 
effect upon Vanderlyn's finances was not less disas- 
trous than upon his energies, and he never completely 
recovered himself in either respect. Had he de- 
voted himself from the first to his proper depart- 
ment in art, doubtless his reputation and success 
would have been.much greater than they were. ^ 

In 1832. Vanderlyn was commissioned to paint 
a full-length portrait of Washington, for the Hall 
of Representatives ; and as soon as it vras com- 
pleted, he was voted $1500 additional compensa- 
tion. In 1839 he was chosen to fill one of the 
vacant panels in the Rotunda of the Capitol, with 
a great national picture; he accordingly removed 
to Paris, and returned with his Landing of Colum- 
bus. The last work exhibited from his pencil was 
the portrait of President Taylor, at the National 
Academy of Design, in 1851. He died at his native 
place, Kingston, Ulster Co., Sept- 23, 1852. 

VANDERMTNE, VANDERMYNE, or VAN- 
DERMYN. See Myn. 

VANDERYELDE, VANDENVELDE,or VAN- 
DEVELDE. See Velde. 

VANDERVENNE. See Venne. 

VANDERVERT, Henry, called by the Italians 
Enrico Van der vert, and in the Catalogue of the 
Colonna Gallery, Enrico Wandervert. All that 
is known of this painter is, that he was a native of 
Flanders, and went to Rome, where he became the 
disciple and imitator of Claude Lorraine. It is 
probable that he spent the rest of his life in Italy, 
as he is not mentioned by the writers of his coun- 
try. Lanzi briefly notices him among the disci- 
ciples and followers of Claude, as an artist deserv- 
ing of commendation. 

VANDERWERF. See Werf. 

VANDI, Sante, sometimes called Santino da' 
RiTRATTi, a painter born at Bologna, in 1653. Ac- 
cording to Orespi, few persons could compete with 
him in portraiture, and he was constantly em- 
ployed by princes and persons of distinction. He 
was much employed by the Grand Duke of Tus- 
cany, and Ferdinando Duke of Mantua invited 
him to his court and appointed him his painter, 
with a liberal salary, which situation he held till 
the death of that prince, when he returned to Bo- 
logna, and died there in 1716. He had the faculty 
of giving to his female sitters all the beauty, and 
to his male, all the dignity they possessed without 
injuring the likeness. " With him," observes 
Crespi, "disappeared the manner of producing 
portraits at once so soft and powerful, combined 
with such natural expression." 

VAN DIEST. See Diest. 



%J. 



* VANDYCK, Sir Anthony. This 
eminent Flemish painter was born at 
Antwerp, March 22, 1599. His father was a glass- 
painter of Bois-le-Duc, in good circumstances, and 
early gave him instruction in drawing ; he was also 
instructed by his mother, who painted landscapes, 
and was very skillful in embroidery. He studied af- 
terwards under Henry van Balen, and made rapid 
progress in the art ; but attracted by the fame of 
Rubens, he entered the school of that master, and 
showed so much ability as to be soon entrusted 
with the execution of some of his instructor's de- 
signs. Some writers, among whom D'Argenville 
was the first, assert that Rubens became jealous 



of Vandyck's growing excellence, and therefore 
advised him to devote himself to portrait painting: 
assigning the following anecdote as the immediate 
cause of this jealousy. During the short absences 
of Rubens from his house, for the purpose of recre- 
ation, his disciples frequently obtained access to his 
studio, by means of bribing an old servant who 
kept the keys; and on one of these occasions, 
while they were all eagerly pressing forward to 
view the great picture of the Descent from the 
Cross (although later investigations concerning 
dates, seem to indicate that it was some other pic- 
ture). Diepenbeck accidentally fell against the can- 
vass, eft'acing the face of the Virgin, and the Magda- 
len's arm, which had just been finished, and were 
not yet dry. Fearful of expulsion from the school, 
the terrified pupils chose Vandyck to restore the 
work, and he completed it the same day with such 
success that Rubens did not at first perceive the 
change, and afterwards concluded not to alter it. 
Walpole entertains a different and more rational 
view respecting Rubens' supposed jealousy ; he 
thinks that Vandyck felt the hopelessness of 
surpassing his master in historical painting, and 
therefore resolved to devote himself to portrait. 
One authority states that the above mentioned in- 
cident only increased Rubens' esteem for his pu- 
pil, in perfect accordance with the distinguished 
character for generosity and liberality, which that 
great master so often evinced, and which forms 
very strong presumptive evidence against so base 
an accusation. Besides, his advice to Vandyck to 
visit Italy — where his own powers had been, as 
his pupil's would be, greatly strengthened, — may 
be considered as sufficient to refute it entirely. 
They appear to have parted on the best terms ; 
Vandyck presented Rubens with an Ecce Homo, 
Christ in the Garden, and a portrait of Helen For- 
man, Rubens' second wife ; he was presented in 
return by Rubens, with one of his finest horses. 

At the age of twenty, Vandyck set out for Italy, 
but delayed some time at Brussels, fascinated by 
the charms of a peasant girl of Saveltheim, named 
Anna van Ophem, who persuaded him to paint 
two pictures for the church of her native place — 
a St. Martin on horseback, painted from himself, 
and the horse given him by Rubens ; and a Holy 
Family, for which the girl and her parents were 
models. On arriving in Italy, he spent some time 
at Venice, studying with great attention the works 
of Titian ; after which he visited Genoa, and paint- 
ed many excellent portraits for the nobility, as 
well as several pictures for the churches and pri- 
vate collections, which gained him great applause. 
From Genoa he went to Rome, where he was also 
much employed, and lived in great style. His 
portrait of Cardinal Bentivoglio, painted about 
this time, is one of his master-pieces, and in every 
respect an admirable picture; it is now in the Pa- 
lazzo Pitti at Florence, hanging near Raflaelle's 
celebrated portrait of Leo X. Vandyck was known 
at Rome as the Pittore Cavalieresco ; his coun- 
trymen there being men of low and intemperate 
habits, he avoided their society, and was thence- 
forward so greatly annoyed by their criticisms and 
revilings, that he was obliged to leave Rome about 
1625, and return to Genoa, where he met with a 
flattering reception, and plentiful encouragement. 
Invited to Palermo, he visited that city, and paint- 
ed the portraits of Prince Philibert of Savoy, the 
Vfceroy of Sicily, and several distinguished per- 



VAND. 



1013 



VAND. 



sons, among whom was the celebrated paintress 
Sophonisba Anguisciola. then in her 92d year; 
but the plague breaking out, he returned to Genoa, 
and thence to his own country. 

On returning to Antwerp, Vandyck was speedi- 
ly employed by various religious societies, and his 
picture of St. Augustine for the church of the Au- 
gustines in that city, established his reputation 
among the first painters of his time. He painted 
other historical pictures, for the principal public 
edifices at Antwerp, Brussels. Mechlin, and Ghent ; 
but acquired greater fame by his portraits, partic- 
ularly his well-known series of the eminent artists 
of his time, which were engraved by Vorstermans, 
Pontius, Bolswert, and others. His brilliant repu- 
tation at length roused the jealousy of his cotempo- 
raries, many of whom were indefatigable in their 
intrigues to calumniate his works. In addition to 
these annoyances, the conduct of the canons of the 
Collegiate church of Courtray, for whom he painted 
an admirable picture of the Elevation of the Cross, 
proved too much for his endurance. After he had 
exerted all his powers to produce a master-piece of 
art, the Canons, upon viewing the picture, pro- 
nounced it a contemptible performance, and the 
artist a miserable dauber; and Vandyck could 
hardly obtain payment for his work. When the 
picture had received high commendation from good 
judges, they became sensible of their error, and 
requested him to execute two more works ; but the 
indignant artist refused the commission. Dis- 
gusted with such treatment, Vandyck readily ac- 
cepted an invitation to visit the Hague, from Fred- 
erick, Prince of Orange, whose portrait he painted, 
and that of his family, the principal personages of 
his court, and the foreign ambassadors. Hearing of 
the great encouragement extended to the arts by 
Charles I., he determined to visit England in 1629. 
While there, he lodged with his friend and coun- 
tryman, George Geldorp the painter, and expected 
to be presented to the King ; but his hopes not be- 
ing realized, he visited Paris ; and meeting no bet- 
ter success there, he returned to his own coun- 
try, with the intention of remaining there du- 
ring the rest of his life. Charles, however, having 
seen a portrait by Vandyck, of the musician Nic. 
Laniere. director of the music of the King's chapel, 
requested Sir Kenelm Digby to invite him to re- 
turn to England. Accordingly in 1631, he arrived 
a second time at London, and was received by the 
King in a flattering manner. He was lodged at 
Blackfriars, among the King's artists, where his 
majesty frequently went to sit for his portrait, as 
well as to enjoy the society of the painter. The 
honor of knighthood was conferred upon him in 
1632, and the following year he was appointed 
painter to the King, with an annuity of £200. 

Prosperity now flowed in upon the Fleming in 
abundance, and although he operated with the 
greatest industry and facility, painting single por- 
traits in one day, he could hardly fulfil all his 
commissions. Naturally fond of display, he kept 
a splendid establishment, and his sumptuous table 
was frequented by persons of the highest distinc- 
tion. He often detained his sitters to dinner, 
where he had an opportunity to observe more 
of their peculiar characteristics, and retouched 
Iheir pictures in the afternoon. Notwithstand- 
ing his distinguished success, he does not appear 
to have been satisfied with eminence in portrait 
painting ; and not long after his marriage with 



Maria Ruthven, grand-daughter of Lord Gowrie, 
he went to Antwerp with his lady, on a visit to 
his family and friends, and thence proceeded to 
Paris. The fame which Rubens had acquired by 
his celebrated performances at the Luxembourg, 
rendered Vandyck desirous to execute the deco- 
rations at the Louvre; but on arriving at the 
French capital, he found the commission disposed 
of to Nicholas Poussin. He soon returned to Eng- 
land, and being still desirous of executing some 
great work, proposed to the King through Sir 
Kenelm Digby, to decorate the walls of the Ban- 
queting House (of which the ceiling was already 
adorned by Rubens), with the History and Pro- 
cession of the Order of the Gai*ter. The sum de- 
manded was £8000. and while the King was treat- 
ing with him for a less amount, the project was 
terminated by the death of Vandyck, December 
9th, 1641, aged 42 years. He was buried with 
extraordinary honors, in St. Paul's cathedral. His 
high living had brought on the gout during his lat- 
ter years, and luxury had considerably reduced 
his fortune, which he endeavored to repair by the 
study of alchymy. He left property amounting 
to about £20,000. In his private character, Van- 
dyck was universally esteemed for the urbanity 
of his manners, and his generous patronage to all 
who excelled in any science or art, many of whose 
portraits he painted gratuitously. 

According to Fuseli, Vandyck deserves the 
next place after Titian in portrait painting. In- 
ferior to that master in richness and warmth of 
coloring, he surpassed him in almost every other 
respect. He is unrivalled for the delicate drawing 
and beauty of his hands ; he was a perfect mas- 
ter of drawing and chiaro-scuro ; he was admira- 
ble in draperies ; with simplicity of expression 
and graceful attitudes, he combined both dignity 
and individuality ; his heads are full of life and 
expression, without anything of the coldness and 
insipidity which are frequentl}?- found in the pro- 
ductions of the portrait painter. Although they 
are but little flattered, his portraits generally im- 
press us with the feeling that he has not only se- 
lected the most suitable attitude for the figure, 
but that he has chosen the best view of the coun- 
tenance. There are many fine portraits by him 
of distinguished personages, besides those of the 
King and royal family, in the mansions of the 
English nobility. 

Although Vandyck acquired his great fanpe in 
portraits, he painted also many historical pieces, 
and he never at any time ceased operating in this 
department. Inferior to Rubens in boldness of 
conception and fertility of invention, he never could 
have equalled him in historical painting; but his 
compositions are arranged with judgment and pro- 
priety; he surpassed him in correctness of de- 
sign, the delicate expression of his heads, and the 
truth, purity, and harmony of his coloring. His 
picture of St. Augustin, in the church of the Augus- 
tines at Antwerp, gained him great celebrity soon 
after his return from Italy; Reynolds observes 
that "it is of great fame, but that it in some mea- 
sure disappointed his expectations ; that it has no 
eifect, from the want of a large mass of light, the 
two angels making two small masses of equal 
magnitude, while the figure of the saint is dressed 
in black." This is satisfactorily accounted for by 
the fact that Vandyck originally painted the dra- 
pery white, but was reluctantly obliged to alter 



VAND. 



1014 



VAND. 



it to black, on account of the prejudices of the 
monks, before he could obtain payment for the 
work ; in P. de Jode's print of this picture, the 
idea of the artist is correctly followed, and the 
figure of the saint makes the principal light. His 
admirable picture of the body of Christ in the 
arms of the Virgin, with St. John and two An- 
gels, is now in the Louvre, and is scarcely infe- 
rior to the Pieta of Annibale Caracci, in the ex- 
quisite expression of the head of the Virgin. Van- 
dyck's best historical picture however, in the 
opinion of Reynolds, is the Crucifixion, in the 
church of the RecoUets at JNIechlin, of which he 
sa3'S, "This perhaps is the most capital of all his 
works, in respect to the variety and extensiveness 
of the design, and the judicious disposition of the 
whole. In the efforts which the Thieves make to 
detach themselves from the cross, he has success- 
fully encountered the difficulty of the art; and the 
expression of grief and resignation in the Virgin 
is admirable. This picture, on the whole, may be 
considered one of the first pictures in the world, 
and gives the highest idea of Vandyck's powers : 
it shows that he had truly a genius for history 
painting, if he had not been taken off by por- 
traits." 

The works of Vandyck are very numerous, not- 
withstanding the shortness of his career ; Smith 
describes upwards of 950 in the Catalogue raison- 
ne, vol. HI., and Supplement. Many of the best 
are at Windsor Castle, Hampton Court, Wilton 
House. Blenheim, &c. Walpole thinks his master- 
piece is the dramatic portrait of the Earl of Straf- 
ford, and his secretary. Sir Thomas Mainwaring, 
at Went worth House ; there is also one of this 
subject at Blenheim, which is highly praised by 
Dr. Waagen. At Wilton House there are twenty- 
five pictures by him — ''here," says Walpole, "Van- 
dyck is upon his throne, and the great portrait of 
Philip, Earl of Pembroke, with his family, though 
damaged, would serve alone as a school of this 
master." Charles I. was painted several times by 
Vandyck, sometimes on horseback. The superb 
head of Gevartius. in the National Gallery, though 
attributed to Vandyck, is by some critics assigned 
to Rubens. His series of one hundred portraits 
of the most eminent artists and others his cotem- 
poraries at Antwerp, were painted in small upon 
panels, in chiaro-scuro, before he left that city for 
the Hague. Walpole states that thirty-five of them 
were in his time in the collection of the Countess 
of Cardigan at Whitehall ; the whole of the 
originals have been thrice published ; the first 
edition by vander Enden, contains eighty plates; 
the second by Giles Hendricks, one hundred; tho 
last edition is by Verdussen, who effaced the names 
and letters of the original engravers. The title is, 
*' Tcones Virorum doctorum, pictorum, chalcogra- 
phorum, &c., numero centum, ab Antonio Vandyck 
pictore ad vivum expressae. et ejus sumptu aeri in- 
cisse Antverpise." Vandyck etched some of the 
plates himself, besides a few other subjects, in a 
style of wonderful spirit and energy. Among 
them are the following : 

Christ crowned with Thorns ; A. Vandyck, inv. A Ho- 
ly Family. A Bust of Seneca ; and others. 

PORTRAITS OF ARTISTS. 

Adam van Oort, Painter ; Ant. Vandyck, fecit aqua 
forti. Justus Suttermang, Painter of Antwerp. Peter 
Breughel, Painter. Lucas Vorstermans, Engraver. Jo- 



docus de Momper, Painter. Paul du Pont, or Pontius, En- 
graver. John Breughel, Painter. Francis Frank, Paint- 
er. Jon de Wael, Painter. John Snellinx, Painter. Ti- 
tian, with his Mistress, who is leaning on a casket, with a 
skull; Titiano, pinx. A. Vandyck, fee. Anthony Cor- 
nelissen, Amateur. Erasmus Rotterdamus. Anthony Van- 
dyck. Philip le Roy, Eques. Francis Snyders, Painter. 
Anthony Triest, Bishop of Ghent. William de "Vos, Paint- 
er. Paul de Vos, Painter. John Waverius, or Vanden 
Wouwer. 

VANDYCK, Philip, a Dutch painter, born at 
Amsterdam in 1680. He was a scholar of Ar- 
nold Boonen, with whom he continued till he sur- 
passed him, and then improved himself by study- 
ing the works of Mieris and Metzu. He painted 
small portraits in the style of his master, but his 
best pictures are his conversations, gallant assem- 
blies, and ladies at their toilet, or playing on mu- 
sical instruments. In 1710 he established him- 
self at Middleburg, where he was much employed. 
He was afterwards invited to the Hague, where 
he soon acquired an immense reputation, and his 
works were so much sought after, that he could 
scarcely supply the demand. His fame spread 
throughout Holland, Flanders, and Germany, and 
he was considered one of the ablest artists of that 
day in his line. He was also an excellent con- 
noisseur ; the Prince of Hesse Cassel commis- 
sioned him to paint several pictures, and em- 
ployed him to purchase some of the choicest works 
of art he could find in Holland and Flanders, for 
the rich collection he was then forming at Cassel, 
all which he executed with judgment and taste, 
fo the entire satisfaction of his patron. His cabi- 
net pictures, though inferior to the admirable pro- 
ductions of Mieris and Metzu, are highly finished 
and agreeably colored, and they are admitted in- 
to the choicest collections of his country. Two 
of his happiest productions, representing a young 
lady at her toilet, and another playing upon a 
guitar, were esteemed by the French connoisseurs 
worthy of a place in the gallery of the Louvre. 
These pictures were restored in 1815, and are now 
in the Museums at the Hague, and at Brussels. 
There are, however, two of his pictures in the 
Louvre, relating to the history of Abraham and 
Hagar. He also excelled in portraits, especially 
in those of a small size ; he frequently painted 
family pictures, in which he introduced all the 
members of the family, even to the cats and dogs ; 
he sometimes gave these subjects a historical turn; 
thus he painted a ceiling for M. Schuylenberg, re- 
presenting the story of Iphigenia. into which he 
introduced the portraits of the whole family. He 
died at the Hague in 1752. 

VANDYCK, Floris van, a Dutch painter, born 
at Haerlem in 1577. Schrevelius mentions him as 
an admirable painter of flowers, which he says 
would even deceive the birds. He was also dis- 
tinguished for his subjects of history, but they 
are extremely rare, even in Holland. Two of 
them were in the Louvre, representing Hagar pre- 
sented to Abraham, and Hagar sent into the Wil- 
derness. 

VANDYCK, Daniel, called by the Italians 
Daniele Vandyck. See Dyck. 

VANETTI, Marco, a painter born at Loreto, 
who flourished about 1720. He was a disciple of 
the Cav. Carlo Cignani, and a reputable follower 
of his style. He wrote the life of Cignani, which 
was published at Bologna. 



VANG. 



1015 



VANL. 



VAN EYCK, John, called by the Italians, Gio- 
vanni VAN Eyck, and Giovanni da Brdggia, or 
DE Bruges, and by Facio, who wrote his eulogy, 
Jo. Gallicus. See Eyck. 

VANGELISTI, Vincenzio, an Italian engraver, 
born, according to Zani, in 1738. He went to 
Paris when young, where he became the pupil of 
J. G. Wille. He acquired considerable reputa- 
tion as an engraver, and executed some plates af- 
ter Raffaelle, Caracci, Guido, and other masters, 
in a neat and finished style. He instructed sev- 
eral pupils, who distinguished themselves, among 
whom were Longhi and F. Anderloni. He was 
the first director of the school of engraving, in- 
stituted at Milan in 1790, by Leopold II., and 
Longhi succeeded him. According to Ferrario, he 
went crazy, and after having defaced all his plates, 
he killed himself, in 1798. 

VANGHELS, Nicholas, a French historical 
painter, born at Paris in 1674. Little is known of 
him. though he must have been an artist of dis- 
tinction, as he was appointed director of the French 
Academy at Rome, where he died in 1737. His 
works are said to be correctly designed, ingeni- 
ously composed, and agreeably colored. 

VANLOO, James, a Dutch painter, born at 
Sluys in 1614. He was the son of John Vanloo, 
a painter of little note, who instructed him in the 
rudiments of art. He afterwards went to Amster- 
dam, where he greatly improved himself. He 
then went to Paris, where he settled, and acquired 
considerable reputation as a painter of portraits 
and fancy pictures ; he was admitted into the acad- 
'emy there, on which occasion he painted as his 
reception piece an admirable portrait of Michael 
Corneille, the elder. Houbraken mentions seve- 
ral fine pictures by him. representing Diana in 
the Bath, the discovery of the Pregnancy of Calisto, 
and a young lady playing on the Lute. He was a 
correct designer and an agreeable colorist. He 
died in 1670. He had a son, Louis Vanloo. whom 
he instructed in the art, and who was a good paint- 
er of portraits and history. He settled at Aix, in 
Provence. 

VANLOO, Jean Baptiste, was the son of 
Louis Vanloo, born at Aix in 1684. His father 
perceiving in him a genius for painting, carefully 
instructed him in the art. He went to Toulon, 
and executed several works for the churches, when 
the siege of that place in 1707, compelled him to 
return to Aix, where he continued five years, and 
found considerable employment in painting for the 
churches and convents, as well as for individuals, 
but he received so small a compensation that he 
could barely defray his expenses. The Prince of 
Carignan now took him under his protection, and 
enabled him to gratify his desire of visiting Rome^ 
where he studied the antique and the works of the 
great masters with unremitting assiduity, and that 
he might not omit anything conducive to his ad- 
vantage, he placed himself under the instruction 
of Benedetto Luti, one of the ablest artists of his 
time. He acquired considerable reputation at 
Rome, and executed several works for the church- 
es and palaces, the most esteemed of which is the 
Scourging of Christ in S. Maria in Monticelli. He 
was invited to the court of Turin, where he dis- 
tinguished himself by many works both in oil and 
fresco, for the royal palaces, the churches, and the 
palaces of the nobility. He also painted the por- 



traits of the King and of the principal personages of 
his court. After realizing a handsome fortune, he 
went to Paris, where he lost it all in the famous 
Mississippi scheme. He was elected a member of 
the Academy, painting for his reception piece, 
Diana and Endymion; he was also chosen pro- 
fessor in that institution in 1735. He execu- 
ted several works for the churches, the princi- 
pal of which were, the Entry of Christ into Je- 
rusalem, in St. Martin des Champs, and St, Peter 
delivered from Prison, in St. Germain des Pres. In 
1737, he went to London, where he painted the 
portraits of the Prince and Princess of Wales, and 
several other persons of distinction. In 1742, the 
state of his health compelled him to return to Aix, 
where he died in 1746. He had a lively genius, a 
ready invention, and great facility of hand ; his col- 
oring was excellent, his touch light and spirited, and 
he gave his carnations a freshness and warmth, 
not much inferior to the tints of Rubens. 

VANLOO, Charles Andre, called the Cava- 
LiERE Carlo Vanloo. was the younger brother of 
the preceding, born at Nice in 1705. He was first 
instructed by his brother, whom he accompanied 
to Rome, and studied some time under Benedetto 
Luti. He visited Paris in 1723, where he gained 
the first prize for historical composition, and was 
employed with his brother in repairing the paint- 
ings of Primaticcio in the palace of Fontainbleau. 
In 1727 he again went to Italy, and passed some 
time at Rome, diligently studying the works of 
the best masters. In that year, he drew the prize 
in design at the Academy of St. Luke, and after- 
wards painted his magnificent composition in a 
vault of the church of S. Isidoro, representing the 
Apotheosis of that Saint. He also studied sculpture 
for some time, and gained a prize by his proficiency 
in that art. His pictures of St. Francis and St. Mar- 
tha gained him a pension from the Duke d'Antin, 
and the Pope conferred on him the honor of knight- 
hood. Thus elevated to distinction, he was invi- 
ted to the court of Turin, where, according to 
Lanzi, he executed more works than his brother 
had done ; the principal of these were a series of 
subjects from the Jerusalem of Tasso, in the royal 
palkce. In 1734 he returned to Paris, and was 
admitted into the Academy the year following, on 
which occasion he painted his picture of Apollo 
and Marsyas as his reception piece. He soon ac- 
quired great distinction, and was one of the most 
popular artists of his time. After his admission to 
the Academy, he was successively appointed assist- 
ant professor, professor, and afterwards director. 
In 1752. Louis XV. conferred upon him the honor 
of knighthood, and appointed him his principal 
painter, with a liberal pension, which situation he 
enjoyed till his death. He executed some works 
for the churches and public edifices at Paris, but 
wrought more for individuals ; the principal are 
in the church of the Augustines. One of his most 
esteemed productions is the Marriage of the Vir- 
gin, in the gallery of the Louvre. By an atten- 
tive study of the antique and the works of the 
great masters during his long residence at Rome, 
he acquired a correctness of design and a simpli- 
city of style, which had a useful influence in re- 
forming the affected and gaudy manner then preva- 
lent in the French school. His countrymen, in 
their enthusiasm and admiration of his talents. 
have not hesitated to attribute to him the desitni 
of Raflfaelle, the grace of Correggio, and the color- 



VANL. 



1016 



VANN. 



mg of Titian ; but a juster homage would have been 
to compare him with the best of the more modern 
Italian painters. He often varied his style of 
painting, finishing some of his pictures with a 
bold, free pencil; others, with softness and deli- 
cacy; he sometimes imitated the coloring and 
touch of Guido, of Carlo Maratti, or some other 
master. His imagination was lively and fertile, 
and he composed his subjects with care, judg- 
ment, and taste ; his coloring is exceedingly na- 
tural, and his power in penciling enabled him to 
produce a pleasing effect, as well when his touch 
was strong and vigorous, as when it was tender 
and delicate. He died in 1765. 

VANLOO, Louis Michel, was the son of Jean 
Baptiste Vanloo, born at Toulon in 1707. After 
studying under his father, he visited Borne for 
improvement, and gained the prize in design at the 
Academy of St. Luke. On returning to France, 
he went to Paris, where he was admitted into the 
Academy, and painted for his reception piece, a 
picture of Apollo and Daphne. He acquired con- 
siderable reputation as an historical painter, though 
he was more distinguished by his excellence in 
portraiture. Philip V. invited him to the court of 
Madrid, and appointed him his principal painter. 
After the death of that Monarch, he returned to 
Paris, where he continued to practice his profes- 
sion with great success till his death in 1771. 

VANLOO, Charles Amedee Philippe, the 
brother of Louis Michel V., was born at Turin in 
1718, and was honored in infancy by receiving the 
baptismal rites while in the arms of the Prince of 
Piedmont and the Princess Carignan. The Bio^- 
raphie Universelle states that he accompanied his 
uncle Carlo, and his brother Louis Michel, to 
Rome, and there attained similar success. On re- 
turning to France, he was invited to Berlin, where 
he resided a long time, sustaining the honor of his 
family as a painter of history and portraits. 

VAN MANDER, Charles, a Flemish painter, 
born at Meulebeke, near Oourtray, in 1548. He 
was descended of a noble family, and received an 
education suitable to his rank. He early discov- 
ered a genius for painting, and after studying suc- 
cessively under Lucas de Heere at Ghent and Peter 
Vlerick at Courtray, he went to Italy and spent 
three j^ears in assiduously designing the vestiges 
of antiquity in the environs of JElome. and study- 
ing the works of the best masters. He there formed 
an intimate acquaintance with Bartholomew Spran- 
gher, in conjunction with whom he executed sev- 
eral works for the public edifices, as well as for 
individuals. At Terni, he painted one of his best 
pictures, representing the Martyrdom of St. Bar- 
tholomew. He accompanied his friend Sprangher 
to Vienna, where he met with the most flattering 
encouragement. The Emperor would gladly have 
retained him in his service, but he declined the 
honor and returned to his native place. One of 
his first productions at Courtray, was a picture of 
Adam and Eve m Paradise, which gained him great 
reputation ; the figures were elegantly designed, 
and finely colored, the landscape enchanting, and 
the animals executed with great spirit. He next 
painted a picture of the Deluge, which was highl}'- 
:ipplauded for the excellence of its composition, 
and the affecting manner in which he described 
the horrors of the scene, depicting in the most 
striking and pathetic manner the varied expres- 
sions of terror, grief, and despair. 



Van Mander acquired a high reputation, had 
married, and was passing his days in tranquil 
prosperity, when the dreadful wars, which deso- 
lated the Low Countries, broke out and compelled 
him to seek refuge in Holland, which country had 
just shaken off the Spanish yoke, and he settled at 
Haerlem, where he formed an intimacy with Henry 
Goltzius, in conjunction with whom, he established 
j an Academy in that city, into which he introduced 
the style of design which he had acquired in Italy. 
In 1604 he removed to Amsterdam, where he died, 
in 1606. Among the principal works he executed 
for the churches in Holland were, St. John preach- 
ing in the Wilderness ; the Adoration of the Magi, 
and Christ bearing his Cross. His works are well 
designed, agreeably colored, and full of spirit, 
though somewhat mannered, especially his later 
productions; he also excelled in landscape. He 
distinguished himself not only as a painter, but 
as a writer. He wrote an account of the painters 
of antiquity, and the lives of the painters of the 
Italian and Flemish schools from the year 1366 to 
1604. He was also a poet, and composed several 
tragedies and comedies, some of which were acted 
with applause. 

VANNI, Cav. Francesco, an emment painter, 
born at Siena, according to Baldinucci and Lanzi, 
in 1565, though Malvasia, on the authority of 
Ugurgieri, places it in 1555, and others, in 1563. 
There is also considerable discrepancy about him 
in other respects, which we cannot enter into fur- 
ther than to say that, according to the best autho- 
rities, he received his first instruction from his 
father, a paiqter of little note, who dying when he 
was a child, his mother married for her second 
husband, Arcangiolo Salimbeni, (though there is 
some dispute on this point, and Niccolo Pio as- 
serts that he was the uterine brother of the 
Cav. Ventura Salimbeni, who was born in 1557, 
see Salimbeni), who gave him further instruc- 
tions, till he was twelve years old, when he 
went to Bologna, and became the pnpil of Passa- 
rotti. At about sixteen he went tx) Rome, where 
he entered the school of Giovanni de' Vecchi, 
under whose direction he studied the antique, 
and made such rapid progress as to excite the 
jealousy of his fellow pupil Arpino. The works 
of Federigo Baroccio particularly attracted his at- 
tention ; he made them his model, and imita- 
ted them with great success. On leaving Rome, 
he traveled through Lombardy, and improved his 
taste by studying the works of Correggio and Par- 
miggiano at Parma. On his return" to Siena, he 
obtained much employment, and executed several 
works for the churches and convents, which gained 
him so much reputation, that he was invited to 
Rome by Clement VIIL, who commissioned him 
to paint his admirable picture representing St, 
Peter rebuking Simon Magus. He painted this 
I work on a slab of marble, for the church of St. 
i Peter. It is designed and colored in the manner 
I of Baroccio, and was prepared expressly to stand 
j the humidity of the place. Lanzi says that, though 
I somewhat injured by injudicious cleaning, it is still 
in good preservation, and an object of admiration. 
His works gave so much satisfaction to the Pope 
that he made him a knight of the Order of Christ. 
He painted several other works for the churches 
at Rome, the principal of which are St. Michael 
vanquishing the Rebel Angels, in S. Gregorio, a 
Piet^. in S. Maria in Vallicella, and the Assumj)- 
tion, in S. Lorenzo in Miranda. His best works 



VANN. 



1017 



VANN. 



however, are to be found at Siena, where he paint- 
ed many pictures for the churches and public edi- 
fices, as well as for individuals, in which he ap- 
proached nearer the elegant and graceful style of 
Barocci^. Lanzi says, " Vanni attached himself to 
the elegant and florid manner of Baroccio, in which 
he was eminently successful ; this is to be seen not 
only in his works at Rome, but at Siena, and in other 
Italian cities, where he approaches the manner of 
that master, more closely than Viviani or any other 
of his pupils. His Marriage of St. Catherine, with a 
numerous group of angels, at the Refugio, is much 
praised in Siena ; as is the Madonna surrounded 
by saints in Monna Agnese. and St. Raymond 
walking on the Sea, at the Dominicani, considered 
by some to be his best picture at Siena, where his 
works are very numerous. Among the finest 
pictures in the cathedral at Pisa, is the Dispute 
about the Seven Sacraments, painted in imitation 
of his brother Ventura Salimbeni. who had sur- 
passed himself in his altar-piece of the angels. At 
the Umilta of Pistoja, in the convent of the Cam- 
aldules of Fabriano, and at that of the Capuchins 
of S. Quirico. are some of his most exquisite per- 
formances ; and they are so numerous in other 
places, that I do not imagine a full catalogue 
has ever been made out. He is generally a fol- 
lower of Baroccio, as before observed, and amateurs, 
deceived by his coloring and the heads of his boys, 
which appear to be cast in the mould of Baroccio, 
frequently confound the works of Vanni with those 
of that master ; but one acquainted with Federigo, 
will observe in him more grandeur of design, and 
a greater freedom of penciling. The pictures of 
Vanni, executed negligently, or at low prices, of 
which there are several at Siena, can scarcely be 
recognised for his. By his example and lessons, 
for he taught many pupils, the honor of painting 
was long supported at Siena." He died at Siena 
in 1610. He executed a few correct and spirited 
etchings from his own designs, which are highly 
esteemed. 

VANNI, Cav. Michael Angelo, was the eldest 
son of the Cav. Francesco V., by whom he was 
instructed in the art, and whose style he followed, 
though he chiefly acquired his reputation from the 
invention of a new process of painting on marble, 
or rather staining it, in imitation of mosaic. Lan- 
zi says, '• the secret of coloring marble was dis- 
covered by Michael Angelo Vanni, who has trans- 
mitted the memory of the invention to posterity. 
He erected a monument to his father, with col- 
umns, ornaments, festoons, and figures of children ; 
accompanied by a genealogy of the family, all de- 
signed on a white slab, and every part carefully 
and appropriately colored, so as to resemble mosaic 
of different marbles. It is supposed that the col- 
ors were imparted to the marble by some mineral 
essences, because they penetrated a considerable 
way. He entitles himself the inventor of the art, 
in the monumental inscription." There are some 
of his works in the churches and convents of Sie- 
na, but they are much inferior to the best produc- 
tions of his father. He was living in 1656. at 
which time the monument above referred to was 
erected. 

VANNI; Cav. Raffaelle, was the second son 
of Francesco V., bom at Siena in 1596. He re- 
ceived his first instruction from his father, whom 
he had the misfortune to lose when he was four- 



teen years old. He afterwards went to Rome, 
where, according to Mancini, he entered the school 
of Antonio Caracci, under whose instruction he 
made such progress as even to surpass his father, 
— " an assertion," says Lanzi. " not sustained by 
the opinion of posterity." He is generally allowed 
to have been a bold and correct designer, and to 
have possessed an excellent knowledge of the chi- 
aro-scuro. He imitated the style of Pietro da Cor- 
tona in the greater part of his works, which are 
numerous, and are to be found in the churches and 
public edifices at Rome, Siena, Florence, Pisa, and 
other cities. Lanzi says he not only strongly re- 
sembles Cortona in the fine taste of his shadows 
and in coloring, but several of his pictures have 
no small portion of the ideas of that master. — 
Among his finest productions are the Birth of the 
Virgin, in La Pace, and the cupola of S. Maria del 
Popolo, at Rome ; the Martyrdom of St, Cathe- 
rine, in the church of that Saint at Pisa ; and the 
Procession of our Saviour to Calvary, in S. Gior- 
gio, at Siena. He was elected a member of the 
Academy of St. Luke, in 1655, and both he and 
his brother were honored with knighthood. 

VANNI, Giovanni Battista, an Itahan paint- 
er and engraver, born at Florence, according to the 
inscription on his monument, in 1599. The Pi- 
sans claim him as a native of their city. Lanzi 
says that, " after taking lessons from Empoli and 
other masters, he studied with Cristofano Allori, 
and was superior to any other scholar of his school ; 
he imitated his master admirably in his coloring, 
and rivalled him in design ; he also imbibed from 
him his lessons of intemperance. Had he con- 
ducted himself with more propriety, and adhered 
to fixed principles, the genius he possessed might 
have raised him to more celebrity. He visited the 
schools of Italy, and copied, or at least designed, 
the choicest productions of each. Many praise 
his copies of Titian, of Veronese, and of Correggio." 
He, however, soon degenerated into mannerism, so 
that Lanzi says he did not leave one truly classical 
work. His masterpiece is his picture of St. Lorenzo, 
in the church of S. Simone, at Florence. He execu- 
ted some masterly and spirited etchings, which are 
highly esteemed, although the drawing is not very 
correct. The principal are a set of fifteen plates 
from the paintings by Correggio, in the cupola of 
S. Giovanni at Parma; the Martyrdom of St. 
Placido, after the same j and the Marriage at Cana, 
after Paul Veronese. He died at Florence, in 
1660. 

VANNI, Andrea di, an old painter of Siena, of 
whom there are notices from 1369 to 1413. He 
was an eminent artist in his time, and executed 
many works for the churches and public edifices 
at Siena, Naples, and in other cities of Italy. 
There is a St. Sebastian in the convent o? S. Mar- 
tino, and a Madonna surrounded by Saints, in that 
of S. Francesco, at Siena, by him. Lanzi says, 
"He was likewise employed in public embassies, 
and like another Rubens, was a magistrate and 
ambassador of the republic to the pope." 

VANNI. There were several artists of this 
name, who were natives of Pisa. From one Van- 
ni, who flourished in 1300, sprung Turino di Van- 
ni, who lived about 1343; also Nello di Vanni, 
who was employed, in conjunction with other 
artists, in decorating the Campo Santo. Bernardo 
di Vanni was the son of Nello, and a disciple of 



VANN. 



1018 



VANU. 



Orcagna. He painted many pictures for the pal- 
ace of the Primate at Siena, as well as others for 
the public edifices. 

VANNI; Gig. Antonio and Gio. Francesco 
DEL, were the disciples, and probably relatives, of 
the Cav. Francesco Vanni. Some of their works 
are mentioned in the Guida di Roma. 

VANNINI, Ottavio, a painter born at Flor- 
ence, in 1585. After studying four years with Gio. 
Battista Mercati, in his native city, he went to 
Rome, where he became the disciple of Anastagio 
Fontebuoni ; he also diligently studied the works 
of Raflfaelle and other great masters. On his re- 
turn to Florence, he entered the school of Passig- 
nano, with whom he lived many years, and assist- 
ed him in his numerous works. Lanzi says he 
also painted many works for the collections, from 
his own designs, which, though well colored, are 
feeble in design, and labored in execution. He 
died in 1643. 

VANNUCCHI. See Sarto. 

VANNUCCI. SeePERUGiNO. 

VAN OBSTAL, Gerard. This sculptor was 
born at Antwerp, in 1597, but seems to have gained 
his chief reputation at Paris. The Biographic 
Universelle states that he was chosen rector of the 
Academy of Painting and Sculpture. His bas- 
reliefs and works in ivory gained him considerable 
reputation, and his statue of Louis XIV., which 
was placed over the Porte St. Antoine, is esteemed 
his most remarkable work. 

VANONE, Andrea, a Lombard architect of the 
16th century. According to Milizia, he removed 
from his native country, Lancio, in the Comasco, 
to Genoa, where he built the ducal palace — a state- 
ly structure, fortified with chains of iron. He 
was employed by the government in fortifications 
and other works, and led a long and honorable life. 
Milizia does not mention the time of his birth or 
death. 

VANSOMER, or VAN SOMEREN, Paul, a 
Flemish painter, born at Antwerp about 1576. 
According to Van Mander, he resided in Amster- 
dam in 1604, with his brother Bernard, where they 
practiced portrait painting with great success. 
The accounts of them are contradictory. Balke- 
ma says that both Paul and Bernard established 
themselves in Amsterdam, where they died — the 
former in 1641, and the latter in 1632. Paul Van- 
somer certainly visited England at the commence- 
ment of the 17th century, and died in London, 
January 5th, 1621, and was buried in St. Martin's- 
in-the-Fields. He acquired a high reputation in 
that country, and painted the portraits of many 
persons of distinction, which are dated from 1606 
to 1620. Bryan says he was one of the ablest 
portrait painters who visited England before Van- 
dyck. It appears that there were several artists 
named Vansomer. There was a Paul Vansomer, 
an engraver, who flourished at a much later date ; 
he engraved a few prints in mezzotinto, an art not 
known in the time of the elder Paul. 

VANTE, or ATT AV ANTE, Fiorentino, an 
old painter of Florence, who was living in 1484, 
and was much employed in ornamenting books 
with miniatures, for Matthias, king of Hungary, 
which were afterwards preserved in the Medicean 
and Estensean libraries at Florence. Lanzi men- 



tions one he saw in the Library of St. Mark at 
Venice. " It is a work of Marziano Capella, where 
the subject is poetically treated by the painter. 
The Assembly of the Gods, the emblems of the 
Arts and Sciences, the grotesque ornam^ts, set 
off with little portraits, discover in Vante a genius 
that admirably seconded the ideas of the author; 
the design resembles the best works of Botticelli ; 
the coloring is gay, lively, and brilliant, and the 
excellence of the work ought to confer on the art- 
ist greater celebrity than he enjoys." 

VANUDEN, Lucas. This eminent artist 
wrote his name Lucas van Uden, but he is gene- 
rally called by English writers, Vanuden. He 
was born at Antwerp in 1595, and learned the art 
of painting from his father, an artist of little note, 
but he derived his chief excellence from an inde- 
fatigable study of nature. He passed all his leis- 
ure hours in the fields, where he designed the most 
beautiful scenes and picturesque objects with re- 
markable precision ; he was particularly attentive 
to note the appearances and changes of the atmos- 
phere, perpetually occurring from the time the ris- 
ing sun dissipates the vapors, till it sinks beneath the 
horizon. He watched the effects of light on differ- 
ent objects, and suffered no incident which might 
prove of advantage to his art to escape his notice, 
not even those almost instantaneous beauties seen 
in the forms and colors of clouds and vapors, 
which are lost almost the moment they are be- 
held. All these he sketched on the spot, and after- 
wards introduced them into his pictures with the 
happiest effect. His manner is soft, tender, and 
delicate ; his coloring natural and pleasing ; his 
skies clear, often with light, floating clouds, beau- 
tifully adapted to, and harmonizing with the 
scene, and every object beautifully reflected and 
mirrored in the water; the forms of his trees se- 
lect, and his foliage apparently in motion. His 
pictures represent views in Flanders ; and, though 
the flatness of the country does not admit 
the extensive vistas so much admired in the works 
of Claude Lorraine and Niccolo Poussin, yet his 
scenery is always pleasing, the degradation of his 
distances admirable, and his prospects as extensive 
as his design would admit. In short, he was con- 
sidered one of the most delicate and natural land- 
scape painters of the Low Countries. His extra- 
ordinary merit recommended him to the particu- 
lar notice of Rubens, who not only approved but 
admired his style, and often employed him to in- 
sert the backgrounds in his pictures, which Vanu- 
den adapted to the rest of the composition with 
such harmony and taste that the whole seemed to 
be the work of one artist. Rubens, in return, 
used also to enrich the landscapes of Vanuden with 
historical figures. Vanuden's small landscapes are 
esteemed his best works ; some of them bear so 
strong a resemblance to those of Rubens that 
they are scarcely distinguishable from those of 
that master, except by their size, and a less daring 
execution; they have the effect of those of Ru- 
bens viewed through a diminishing glass. Some 
of the later works of Vanuden are decorated with 
the figures of the younger Teniers, and, though he 
designed small figures well, these embellishments 
by other eminent masters greatly enhance the 
value of his pictures. His works are justly held 
in the highest estimation, and are found in the 
choicest collections. There are some admirable 



VANU. 



1019 



VANV. 



pictures by him on a larger scale than he usually 
painted, in the chapels belonging to the Cathedral 
of Ghent. 

Vanuden executed some admirable etchings of 
landscapes, from his own designs, and after the 
works of Rubens, Titian, and others, which he 
usually marked L. or Lucas van Uden. Bartsch 
describes fifty-nine etchings which he attributes to 
him ; but he acknowledges that several of these 
have so strong a resemblance to those of Louis de 
Vadder, that the most experienced connoisseurs 
find it difficult to distinguish them. Dumesnil at- 
tributes some of them to Jean Bonnecroy. For 
further particulars, the reader must be referred to 
Bartsch, Peintre Graveur, tom, v., and Weigel's 
Supplement, and to Robert Dumesnil, Le Peintre 
Graveur Fran9ais, tom. iii. He died in 1660. 

VANUDEN. James, was the brother and schol- 
ar of the preceding, whose manner he imitated. 
He was very inferior to Lucas, though his works 
have often passed with the unlearned for the pro- 
ductions of his brother. 

VANVITELLI, Gaspare, called Dagli Occht- 
ALi. This artist was born at Utrecht in 1647. but he 
went to Italy while young, where he passed the rest 
of his life, and is ranked among the Italian paint- 
ers. His family name was Witel, or Vanvitel, 
which he Italianized to Vanvitelli. It is not 
known under whom he studied, but he painted ar- 
chitectural subjects, perspective pieces, and views 
of sea-ports, in the manner of Canaletto ; and, 
though his works are inferior to the productions 
of that master in the spirit and animation of his 
touch, and in the lustre and brilliancy of his col- 
oring, yet his drawing and perspective are correct, 
and his tints natural and agreeable. As Canaletto 
was the painter of modern Venice, so Vanvitelli 
may be called the painter of modern Rome ; 
his pictures represent the magnificent edifices in 
that city, to which he added landscapes when the 
subject admitted of it. He also painted views of 
other cities, sea-ports, villas and farm-houses. He 
painted a few large pictures, but most of his works 
are of small size ; and these are the best. Lanzi 
says, '* He was correct in his proportions, lively 
and clear in his tints, and there is nothing left to 
desire, except a little more spirit and variety in 
his landscape or in the sky, as the atmosphere is 
always of a pale azure, or carelessly broken by a 
passing cloud." The greatest merit in his works 
consists in the accuracy of his design, and the ex- 
cellence of his perspective, which Lanzi says made 
his works alike useful to painters and architects. 
He died at Rome in 1736. 

VANVITELLI, Luigi. This eminent architect 
was of Dutch origin, and the son of the preced- 
ing artist, Caspar van Witel, who, settling in Ita- 
ly, was called Vanvitelli. Luigi was born at Na- 
ples, in 1700, and early manifested a strong incli- 
nation for art. At the age of twenty, he was em- 
ployed by Cardinal Acquaviva to paint some fres- 
cos in the chapel of St. Cecilia ; and he afterwards 
made some of the cartoons from celebrated pictures, 
preparatory to their being copied in mosaic on a 
larger scale, for St. Peter's at Rome. About this 
period also, he began tp study architecture under 
Filippo Ivara, an eminent architect of that day. 
His first work in this art, was the restoration of 
the Palazzo Albani at Urbino, for the Cardinal di 
San Clemente; besides which he erected two 



churches in that city — S. Francesco and S. Do- 
menico — that led to his obtaining the appointment 
of architect to St. Peter's at the age of twenty-six. 
He was also associated with Niccolo Salvi, in the 
undertaking for conducting the water Vermicino to 
Rome. About this time, there was a competition 
between all the most eminent architects of the 
day, for a facade to the church of St. John of Lat- 
eran ; Salvi and Vanvitelli sent in designs, each of 
which were approved with an equal number of 
votes above all others, by the academicians of St. 
Luke ; but, according to a memorial of Vanvitelli, 
the pope adopted the design of Galileo, not so 
much on account of superior merit, but rather for 
private reasons. However, neither Salvi or Van- 
vitelli was overlooked ; the former was employed 
upon the Fountain of Trevi, and the latter was 
sent to Ancona, where he planned the Lazzaretto 
of a pentagonal form with a bastion, having first 
studied those at Leghorn. Genoa, and Venice. He 
also repaired and altered some churches and chap- 
els in that city, and was occupied in a number of 
similar employments at Macerata, Perugia, Pesa- 
ro, and Siena. In 1745, according to Milizia, he 
went to Milan to design the fagade for the Cathe- 
dral, which he intended to be of a style between 
the Gothic and the Greek j but the breaking out 
of the war prevented its execution. At Milan, he 
erected the archducal palace; at Rome, the con- 
vent of S. Agostino — his most important work in 
that city, ^nd a most superb edifice — also an admi- 
rable chapel for the Portuguese ambassador, which 
was removed, and placed in the church of the Je- 
suits at Lisbon. In 1750. he arranged the orna- 
ments of the tribune of St. Peter's, the illumina- 
tion of the Cupola in a new style, the preparations 
for a consecration, the obsequies of the queen of 
England, and the removal of the Piet^ of Michael 
Angelo. 

By this time his reputation had increased to so 
great a degree, that when the king of Naples, after- 
wards Charles III. of Spain, determined to erect a 
palace at Caserta, that should be upon a scale 
hardly inferior to that of any other edifice of the 
kind in Europe, he at once made choice of Vanvi- 
telli as the architect, and the corner-stone was laid 
with great pomp, in presence of all the court, Jan. 
28th, 1752. This vast pile is an unbroken paral- 
lelogram of uniform design, all its fronts being 
nearly similar in their elevations ; those facing the 
north and south are 730 feet, the others 570 feet 
in length ; and the general height of the building 
is 102 feet, which is however increased to 162 feet 
at the angles, where there is a square pavilion en- 
closing a second order. The elevations consist of 
a very lofty basement, comprising a ground floor 
and mezzanine ; and above that an Ionic order 
with two series of windows, and mezzanine win- 
dows in the frieze. Although it may be consid- 
ered in some respects as the principal front, since it 
faces a spacious semi-elliptical piazza, enclosed by 
a uniform range of buildings for lodgings and sta- 
bles, the south front is less decorated than that to- 
wards the gardens, for it has columns only in the 
centre and at the extremities ; while in the other 
the order is continued throughout in pilasters, as 
well as in columns; yet the degree of unity thus 
kept up is attended with a very great drawback, 
for the narrower intercolumns between the centre 
and end breaks, cause the others to appear offen- 
sively wide, and those parts of the composition 



VARC. 



1020 



VARI. 



« 



where there ought to have been greater richness, 
to look poor and straggling : this is particularly 
the case with regard to the centre, which is only- 
three intercolumns in width ; therefore that and 
its pediment become insignificant in comparison 
with the entire mass, a defect which is still further 
increased bj the end pavilions being so much lofti- 
er. Owing to the great height of the basement, 
the cornice of the order forms no adequate finish 
to the general elevation. The interior of the edi- 
fice is divided into four courts, 162 by 244 feet; 
the depth of building which surrounds these 
courts, in which are the rooms, passages, &c., is 80 
feet ; in this dimension is comprehended the thick- 
ness of the walls, which are in some instances 15 
feet. The courts are formed by other ranges of 
building crossing from north to south and from 
east to west, at the intersection of which there is 
a large and lofty octagon vestibule, crowned by a 
dome. On one side of this vestibule is the grand 
staircase — a most magnificent structure — and the 
chapel on the other, decorated with isolated Cor- 
inthian columns on pedestals. The chambers 
throughout the whole edifice are vaulted, and ad- 
mirably arranged. Milizia characterizes this stu- 
pendous edifice as " a rare assemblage of vastness, 
regularity, symmetry, richness, ease and elegance." 
Vanvitelh published in 1757, a large folio volume 
of the plans, &c., under the title of Dichiarazione 
de* Disegni del Reale Palazzo di Caserta. 

Vanvitelli erected the great ranges of aqueducts 
for supplying the palace with water, forming one 
of the most stupendous works of the kind ever 
undertaken in modern times. He was also em- 
ployed upon many other works at Naples, the prin- 
cipal of which are the cavalry-barracks, near the 
Ponte Maddalena, and the three churches of S. 
MarcellinOj Delia Rotonda, and La Nunziata. 
Among his works at other places, besides those 
already mentioned, are the public hall at Brescia, 
and the bridge at Benevento. For many years, 
Vanvitelli enjoyed a very prosperous career, and 
finally died March 1st, 1773. 

VARCO, Alonso de, a Spanish painter, born at 
Madrid in 1645. He studied under Don Jose 
Antolinez, and painted landscapes in the style of 
that master with considerable reputation. He died 
there in 1680. 

VARELA, Francisco, a Spanish painter, said 
to have been born at Seville in 1606, though pro- 
bably earlier, as Bermudez says he was employed 
by the convent of the Carthusians of Santa Maria, 
in 1618, and his Last Supper, in the Church of 
San Bernardo, one of his best works, is dated 1622. 
He was a disciple of Pablo de las Roelas, and ac- 
quired considerable reputation as an historical 
> painter. He executed many works for the church- 
es and convents, as well as for individuals at Se- 
ville, where he died in 1656. 

VARGAS, Andres de, a Spanish painter, born 
at Cuenca in 1613. He went early to Madrid, and 
became the disciple, friend, and imitator of Fran- 
cisco Camillo. He executed some works for the 
churches and convents of Madrid, Cuenca, and Hi- 
niesta, but wrought more for individuals. He in- 
jured his reputation, by regulating the quality 
of his work by the price received. He died in 
1674. 

VARGAS. Luis de, an eminent Spanish painter, 
the accounts of whom are very contradictory. Ac- 



cording to Palomino, he was born at Seville fn 1528^ 
and died in 1590 ; he says that, after learning the 
rudiments of the art in his native city, he went to 
Rome, where he studied some years, and directed 
his attention particularly to the works of Pierino 
del Vaga. On his return to Seville, finding him- 
self unable to compete with Pedro Campana, whose 
works were then held in great esteem, he again 
went to Rome, and devoted seven years more to 
a diligent study of the works of Rafiaelle and other 
great masters. He then returned to Seville, and 
soon gave proof of extraordinary abilities. Cean 
Bermudez gives an entirely difierent account. He 
places his birth in 1502, and his death in 1568. 
He went to Italy in 1527, where he resided many 
years, and by a diligent study of the works of the 
great masters, he became one of the most correct 
and skillful designers of his time. Pacheco says he 
resided in Italy 28 years, and returned to Seville 
about the middle of the 16th century. All, how- 
ever, agree that on his return to Seville he great- 
1}'^ distinguished himself by several admirable 
works on a grand scale, painted in fresco, for the 
churches and convents, which have perished, or so 
little remains of them, that little opinion of their 
merits can now be formed. Bermudez says, •' De 
Vargas executed many works both in oil and fresco, 
equal to the productions of the best masters in Ita- 
ly. Nothing can be more correct than his contours, 
grander than his forms, or better understood than 
his foreshortenings ; for in these particulars he 
was superior to the most renowned of his coun- 
trymen who have followed him. If, in his smaller 
oil pictures, painted on panel, the aei-ial effect and 
gradations of light and tints had been equal to 
the splendor of his principal colors, the beautiful 
foldings of his draperies, the nobleness of the ex- 
pression and of the attitudes, the graceful air of 
the figures, and the strict imitation of nature in the 
accessories, he would have been the best painter 
of Spain ; but these defects were common in his 
time, and the greatest artists were not free from 
them," Among his chief performances were Adam 
and Eve in Paradise, Christ bearing his Cross, in 
the cathedral, and the Virgin holding a Rosary, in 
the church of the convent of San Pablo ; produc- 
tions said to be worthy of the hand of Raffaelle. 
He was accustomed to inflict scourgings and mor- 
tifications upon his body, and following the exam- 
ple of the Emperor Charles V., he used to lay him- 
self in his coffin, to meditate on death. 

VARIN, Jean, a sculptor and medalist, was 
born at Liege in 1604. During his earlier years, 
he served as a page in the employment of Comte 
de Rochefort, but having a strong inclination for 
design, he devoted his leisure moments to its study. 
He at length attained so much excellence in en- 
graving, that he was invited to Paris and com- 
missioned to engrave the seal of the French Acad- 
emy, then recently established, in 1635. The merit 
of this performance gained him the friendship of 
Cardinal Richelieu, and he was soon after appoint- 
ed keeper of the mint. He executed a set of medals, 
commemorating various events in the reign of Louis 
XIII. ; and after the death of that monarch, he 
was appointed, in addition to his former office, 
Intendant of Buildings to the Crown. Among his 
principal works in sculpture, are mentioned a Bust 
of Cardinal Richelieu ; a marble statue of Louis 
XIII., placed in the palace at Versailles ; and two 
colossal busts of that prince, one in marble, and 



VARI. 



1021 



VARO. 



the other in bronze, Yarin was chosen one of 
the first members of the Academy of Painting and 
Sculpture, established in 1664. He died in 1672. 

VARIN, Joseph, a French engraver, mentioned 
by the Biographie Universelle, who appears to 
have attained considerable celebrity. He was born 
at Chalons-sur-Marne, in 1740, and studied under 
his father, who was a graver on metals, descended 
from Jean Varin, and who taught a free school of 
design at Chalons. In 1755, Joseph assisted in ex- 
ecuting a large map of the province of Burgundy, 
which gained him the honor of a medal. He visit- 
ed Paris in 1760. in company with his brother, 
whose name is not mentioned, and found patrons 
in Crozat, Caylus, and others. They were en- 
gaged for many years upon various works, parti- 
cularly the Voyage pittoresque de Naples et de 
Sidle, published by the Abbe de St. Non. The 
talents of Joseph Varin were also employed upon 
the Voyage en Grece. by Ohoiseul Gouffier ; the 
Voyage pittoresque de Syrie, de Phenicie, et de 
Palestine, by Cassas ; and the Tableau de V Em- 
pire Othoman, by Chev. Ohsson Mouradja. He 
also executed many views of cities and public build- 
ings in France. This laborious artist unhappil)'' 
lost the fruits of his labors during the civil com- 
motions in France. He died in 1800. 

VARLEY, John, an eminent English painter 
in water colors, was born at London about 1777. 
He was about to be apprenticed to a silver-smith, 
when the death of his father left him at liberty to 
choose his own profession, and he at first obtained 
employment with an obscure painter at Holborn. 
Afterwards, when about fifteen or sixteen, he re- 
ceived some instructions from a drawing master 
named Barrow, and they went in company on a 
sketching excursion, which was of material advan- 
tage to Yarley, as a view that he then made of 
Peterborough Cathedral brought him into notice. 
He next became acquainted with Arnold, the land- 
scape painter, with whom he made a tour through 
North Wales about 1799. On returning from 
that excursion, he was for some time emplo3'ed 
by Dr. Munro in making sketches for him of the 
scenery in the neighborhood of his residence at 
Fetcham, in Surrey. Two other excursions through 
Wales, in 1801 and 1802, produced him numerous 
subjects, which occupied his pencil many years in 
London, and established his reputation as the first 
in that department of art he had chosen. He was 
certainly among; the first, if not the very first, 
wlio began to advance the art of water-color draw- 
ing to that of water-color painting, and to give 
that mode of execution a solidity and force, a free- 
dom and breadth, which it had not before attained, 
and of which it was not supposed capable. Up to 
that time, scarcely anything had been produced 
beyond washed or tinted drawings, very little su- 
perior to the colored prints of the same period — 
raw and feeble in effect. On the other hand, Yar- 
ley gave to his paintings nearly all the vigor of 
oil pictures, and by a mode peculiar to himself, 
for he wrought with great rapidity, and does not 
appear to have produced his effects by repeated 
sponging and other processes now in use, or by 
admixture of body-color ; his colors look as if 
they had been laid on at once, and hardly re- 
touched. Yarley was not an original member of 
the Water Color Society (established in 1804,) but 



he afterwards joined it, and sent many pictures to 
its exhibitions. Although he derived a good in- 
come from the sale of his works, and from his 
practice as a teacher, his numerous family, and 
want of either management or economy, kept him 
in continual embarrassment. He devoted much 
time to the study of judicial astrology, and is said 
to have made many extraordinary predictions. He 
was married twice, and died in 1842. 

YAROTARI, Dario, a reputable painter and 
architect, was born at Yerona, according to Ridolfi, 
in 1539. He studied under Paul Veronese, and 
subsequently established himself at Padua, where 
he laid the foundation of a very flourishing school. 
According to Lanzi, his design is very chaste, and 
though his works occasionally resemble those of 
his instructor, his taste seems to have been formed 
on other models, particularly Titian, whom he 
frequently imitated in the airs of his heads. Al- 
though his coloring cannot boast the Venetian 
strength or beauty, it possesses great truth and 
harmony. He painted in the Polesine, at Venice, 
and at Padua, particularly in the church of S. 
Egidio in the latter city. 

As an architect. Yarotari erected a number of 
works, among which Milizia mentions a villa at 
Dola, for the Signori Mocenighi ; a Casino on the 
Brenta for the famous Medico Acquapendente ; 
and the graceful Montecchia de' Caodelista, not 
far from Praglia and Padua. While engaged in 
painting in this Casino, he accidentally fell from the 
first scaffold to the second, but without injury. 
His preservation appearing to him miraculous, he 
immediately went to Padua, and took the habit of 
the Santa Virgine. He died in 1596. 

YAROTARI, Alessandro, called II Pado- 
VANiNO. This eminent painter was the son of 
the preceding, born at Padua in 1590. His father 
dying when he was only six years old, he was 
instructed by some artist, not mentioned. He 
however, derived his principal improvement by 
studying the works of Titian, which were at Pa- 
dua, and some of his juvenile copies excited the 
surprise and admiration of artists. He was sent 
young to Venice, where he pursued his studies 
with unremitting diligence, and soon began to dis- 
tinguish himself. He was called II Padovanino, 
by which name he is generally known in Italy. 
Lanzi gives th^ following admirable account of 
him : " He first studied Titian's works in fresco, 
such as he found in Padua, and his copies still 
continue to attract the admiration of the greatest 
professors. In Venice he persevered in his assi- 
duous attention to the same incomparable master, 
I penetrating so far by degrees, into his peculiar 
j characteristics, as to be preferred by many to any 
i of Titian's other disciples. But comparison is al- 
j ways disagreeable, and I am inclined to think 
! those who personally receive from the lips of great 
i artists a few brief and sound rules as to what ought 
I to be avoided, or achieved, in order best to resem- 
'■ ble them, are entitled to a high degree of respect ; 
all the speculations of the finest geniuses upon 
i their works are not half so valuable ; for the se- 
! cond century is fast passing away, since the oral 
I traditions of the best colorists wholly ceased, and 
we have been attempting to attain their method, 
in which we cannot succeed. Padovanino was 
always equal to the task of handling any sub- 
ject that had been before treated by Titian ; his 



VARO. 



1022 



VASA. 



softer ones with grace, his more powerful with 
strength, his heroic pieces with dignity, in which 
last, if I mistake not, he surpassed any other dis- 
ciple of this great master. Women, cavaliers, 
arms, and the Loves (gli Amori), and let us add, 
boys, were the favorite subjects of his pencil, which 
he exhibited to the most advantage, and which he 
most frequently introduced into his compositions. 
And he knew how to treat landscape as well, in 
which he has succeeded admirably in some of his 
small pictures. He was familiar with the science 
of the sotto in su (foreshortening on a ceiling, so 
as to produce a correct point of view, as seen from 
below), of which he gave the most favorable speci- 
mens in the church of S. Andrea di Bergamo, in 
three admirable histories of that saint. It is a 
work embellished with beautiful architecture and 
replete with graces in every part. He has ap- 
proached agreeably near his model in the sobriety 
.of his composition, in the very difficult use of his 
middle tints, in his contrasts, in the color of his 
fleshes, and in smoothness and facility of hand. 
But Titian was still to remain unequalled in his 
art ; and Varotari is not a little inferior to him in 
animation and in truthfulness of expression. Nor 
can I believe that his method of preparing his can- 
vass, and of coloring it, was the same as that pur- 
sued by Titian's scholars, many of his pieces be- 
ing much darkened, with the shades either deep- 
ened or altered. This is very perceptible even in 
his Dead Christ at Florence, a painting which the 
prince not very long since purchased for his gal- 
lery there. In other points, he appears to me to 
have observed the same method, in regard to his 
model, as Poussin did, who aimed at Raffaello's 
manner without reaching it, either from want of 
ability or a dread of falling into servility. His 
master piece is said to be the Supper at Oana, for- 
merly in Padua, now in the chapter of La Carita, 
at Venice, engraved by Patina, among the Select 
Paintings. It has few figures in proportion to 
the place, a rich display of costume and ornament, 
dogs that appear like those of Paul Veronese, full 
of life ; grand attendance of women of the most 
exquisite forms, warmed with more ideal beauty 
than those of Titian, and drawn in the most grace- 
ful attitudes; still, not every one will approve of 
his introduction of them for the s^vice of such a 
table, in preference to men, as is the general cus- 
tom. The above picture, however, does not boast 
such fresh and lucid tints as his four histories of 
the life of S. Domenico in the Refectory of S. S. 
Giovanni e Paolo, containing, as it were, the flower 
of Padovanino's best style. This very elegant ar- 
tist spent his time between Venice and his native I 
province, where alone his pictures abound in pub- j 
lie ; in other cities, they are rarely to be met with, 
and are scarce even in private collections. In 
forming a correct opinion of his merits, it is neces- 
sary to be upon our guard against a variety of 
copies, many of his disciples having so happily im- 
itated him, that Venetian professors themselves 
with difficulty distinguish their hand from that of 
their master." He died in 1650. 

VAROTARI, Chiara, was the sister of Alessan- 
dro. and is said to have learned the rudiments of 
the art from her father. She is extolled by Ri- 
dolfi for the beauty of her portraits, and as fully 
deserving of the extraordinary honors conferred 
upon her by the Grand Duke of Tuscany, who 
invited her to his court, and placed her portrait, 



painted by herself, in the Florentine gallery. The 
poet Boschini also celebrated her beauty, talents, 
and accomplishments. She was living in 1660, 
according to Borghini and Lanzi, though some say 
she died at Verona in 1639. 

VAROTARI, Dario, called Gigvane, or the 
Younger, was the son and scholar of Alessandro 
V. According to Boschini, he was a physician, 
poet, painter, and engraver, but he seems to have 
practiced the fine arts merely for his amusement. 
Lanzi says, " In the index to the Carta del Nave- 
gar, we find him ranked with the Dilettanti, from 
the circumstance of his producing little in art, and 
this more with the object of presenting his pictures 
as gifts than of gain. Nevertheless, we meet with 
an encomium upon them sufficient to satisfy his 
claims, evenof a good professor; besides which some 
of his portraits, and pictures emblematic of the vir- 
tues, with an excellent body of coloring, are equal- 
ly extolled for the spirit of the attitudes and ex- 
quisite taste, in the manner of Giorgione." Bartsch 
describes two prints by him — the portrait of his 
grandfather, Dario V., and of Vincentius Gus- 
sonus, Eq., both signed with his name. 

VASARI, Lazzaro, an old painter of the Flo- 
rentine school, who flourished about the middle 
of the 15th century. According to Lanzi, he was 
the intimate friend of Pietro della Francesca, and 
the imitator of his paintings ; he was also the great- 
grandfather of Giorgio Vasari, the first biographer 
of Italian artists. There was another Giorgio V., 
uncle of the latter, who modeled admirable va.ses 
in plaster, reviving the forms of the antique, in 
their basso-relievos, and their brilliant coloring. 
There are specimens of his skill now in the Floren- 
tine Gallery. 

VASARI, Giorgio. This eminent painter and 
writer on art, was born at Arezzo. according to 
Bottari, in 1512. He was descended from a family 
attached to the fine arts, and the great-grandson 
and nephew of the two artists mentioned in the 
preceding article. According to Lanzi's account, 
he was instructed in design by Michael Angelo 
and Andrea del Sarto; in painting by Rosso and 
Guglielmo da Marcilla, an eminent glass painter of 
that age. His chief improvement, however, was at 
Rome, whither he was brought by Cardinal Ippo- 
lito de' Medici, and introduced by that nobleman 
to his family, who afterwards loaded him with 
riches and honor. According to Lanzi, "after 
having designed all the works by Michael Angelo 
and RafFaelie at Rome, and much after other 
schools and the antique marbles, he formed a style 
in which we discover traces of his studies ; but 
his predilection for Buonarotti is apparent. After 
acquiring skill in painting figures, he became one 
of the most excellent architects of the age ; and 
united in himself the various branches which were 
known to Pierino del Vaga. Giulio Romano, and 
their scholars, who followed the example of Raffa- 
elle. He could unaided direct the construction of 
a grand fabric, adorn it with figures, grotesques, 
landscapes, stuccos, gilding, and whatever else was 
required to ornament it in a princely style." By 
this means he became known in Italy ; and was 
employed to exercise his talents in various cities. 
He painted a number of pictures in the Vatican ; 
also in the Hall of the Chancery, where he execu- 
ted a series of historical frescos from the life of 
Paul III., at the desire of Cardinal Farnese. 



VASA. 



1023 



VASA. 



In 1544, according to Lanzi, Vasari was invited 
to Naples, to paint the refectory of the P. P. Oli- 
vetani, upon which he also exerted his talents in 
architecture, converting it from the Gothic into a 
better form ; he altered the vault, and ornamented it 
with modern stuccos, which were the first seen in 
Naples. He remained in that city about a year, 
and painted a considerable number of subjects, 
with that rapidity and mediocrity which character- 
ize the greater part of his works. In his own life, 
Yasari gives the idea of his being the restorer of 
taste in Naples; but, as Lanzi justly remarks, "it 
is not easy to conjecture wh}'- he should overlook 
many eminent painters, and even the illustrious 
Andrea da Salerno himself," The Neapolitan 
writers have always, and, as it seems, justly, com- 
plained of this neglect in his Lives of Italian Art- 
ists. 

Besides his works at Kome and Naples, Vasari 
executed many others, among which are the Ado- 
ration of the Magi, in the Conventuali at Rimini ; 
the Feast of Ahasuerus, in the church of the Ben- 
edictines at Arezzo ; and three sacred subjects in 
the refectory of S. Michele in Bosco, at Bologna. 
Brought into public notice by these works, honored 
by the esteem and friendship of Buonarotti, and 
recommended by his multifarious abilities, he was 
invited to the court of Cosmo I. at Florence, 
whither he went with his family in 1553. He was 
employed by the Grand Duke in superintending 
the important works in the Palazzo Vecchio, 
among which the most considerable was the apart- 
ment of Clement VII., on the ceiling of which he 
represented that pontiflT, in the act of crowning 
Charles V.. and all around disposed the emblems 
of his virtues, his victories, and his most remarka- 
ble actions. The following criticism on his artistic 
merits is condensed from Lanzi. "Vasari aimed 
at too much, and for the most part preferred expe- 
dition to accuracy. Hence, though a good designer, 
his figures are not always correct ; and his paint- 
ing appears languid, from his meagre and superfi- ! 
cial coloring. In his writings, he recommended ! 
the acquirement of compendious methods, and the I 
'expedition of practice'; in other words, to make ' 
use of former exercises and studies. This method 
is highly advantageous to the artist, because it in- 
creases his profits ; but is prejudicial to the art, 
which thus departing from nature, degenerates in- 
to mannerism. Vasari often fell into this error, 
especially in his hasty productions, or where he 
borrowed the hand of others ; as in the Hall of 
the Chancery at Rome, which he completed in one 
hundred days, to please the Cardinal, notwith- 
standing the admonitions of his friends, among 
whom Caro did not fail to remind him of the in- 
jury his reputation might sustain." Notwith- 
standing this, Vasari conducted several works with 
sufficient care to evince abilities of an uncommon 
order. Bottari does not scruple to compare some 
of his portraits to Giorgione ; Borghini extols his 
Conception, in S. Apostolo, at Florence ; Lanzi 
praises his Decollation of St. John, in the church 
at Rome dedicated to that Apostle, and says that 
if all his works had perished but the above, and 
some of those in the Palazzo Vecchio at Florence, 
his reputation would have been much greater. 

As an architect. Vasari attained greater excel- 
lence than as a painter. At Rome, he erected a 
great part of the palace for Julius III., without 
the Porta del Popolo, and near the Arco Scuro. 



According to Milizia, the exterior parts of this 
edifice, taken separately, are not very correct ; but 
as a whole, the proportions are elegant. He was 
engaged for many years at Florence on. various 
works, particularly the Palazzo Vecchio, of which 
he improved the form, and made several alterations 
in the internal arrangements. His best edifice, 
and in Milizia's opinion the most elegant in Flor- 
ence, is the Palazzo TJffizi, commenced in 1561 by 
order of the Grand Duke, and completed after Va- 
sari's death by Alfonso Parigi. The fa9ade has a 
portico, with openings alternately circular and 
level ; the centre opening is supported by double 
insulated columns, and the others by large piers 
with niches. Over the entablature of this porti- 
co, which is Doric, with a plain frieze, and dentels 
above the cornice, is a lofty attic; the windows are 
small. This idea evinces an improved taste. Ac- 
cording to Mafiei, the archivolts on the arches are 
managed with so great skill, that, although the in- 
terior fa9ade rests upon them, even an experienced 
eye cannot perceive any settlement, nor is this ar- 
rangement in any degree prejudicial to the firmness 
of the building; and although another story has 
been added, containing an immense collection of 
busts, marble statues, &c., not a stone has moved 
from its original position. Vasari was of opinion 
that all archivolts, both ancient and modern, were 
fractured in the centre ; he therefore took care to 
avoid this in his own work, by adopting the same 
plan as in the amphitheatre at Verona, where the 
key-stone is dove-tailed into the two lateral stones, 
which are so long and deep that they extend to 
the pilasters, and entirely through the walls. Va- 
sari executed many other architectural works in 
various parts of Italy, among which were the de- 
signs for the palace and church of the cavaliers of 
Santo Stefano, at Pisa; and the beautiful cupola 
of the Madonna dell' Umilta, at Pistoja ; he also 
restored the ancient church della Pieve, at Arezzo, 
besides many others. He was for many years em- 
ployed to superintend the decorations in Florence, 
that were ordered by Cosmo I., and Prince D. 
Francesco. Lanzi says that the Florentine Acade- 
my of Design was reestablished about 1561, prin- 
cipally through the exertions of Vasari. Accord- 
ing to Bottari, he died in 1574, although his death 
is elsewhere placed in 1576. 

As a writer on art, Vasari deserves considera- 
ble attention. He entered upon his work at the 
suggestion of Cardinal Farnese ; and, according to 
Lanzi, his first intention was merely to collect an- 
ecdotes of artists, to be extended by Giovio ; but 
when it was discovered that he could write better 
than the latter, the whole task devolved upon him, 
although he had the assistance of various literary 
characters, in order to render the work more wor- 
thy of the public. Lanzi says that " he reckoned 
Buonarotti the greatest painter that ever existed, 
exalting him above the ancient Greeks ; and from 
his practice, held a bold and vigorous design as the 
summit of perfection, compared to which beauty 
and coloring were nothing. From such fundamen- 
tal principles proceeded some of his obnoxious 
criticisms on Bassano, Titian, and even Raffaelle 
himself. But this was the effect of his education, 
and we may observe on a few passages of his 
work, that, while we condemn his principles, we 
admire his history. He was the father of the 
history of painting, and has transmitted to us its 
most precious materials. Educated in the most 



VASO. 



1024 



VASI. 



auspicious era of the art, he has in some measure 
perpetuated the influence of the golden age." 
There are many chronological errors in Yasari's 
work, and no writer on art has endured such a 
storm of criticism and hostility ; but he has 
doubtless rendered greater service to art than any 
other. Had it not been for his indefatigable study, 
and his researches in various parts of Italy, the most 
valuable information concerning the old masters 
of the Venetian, Bolognese, and Lombard schools, 
would have been lost to us forever, unless indeed 
some other able writer had devoted his talents to 
produce so elegant and finished a history. It was 
published at Florence in 1550, in two volumes, en- 
titled Vite de' piu eccellenti Pittori, Scultori, e 
Architetti. In 1566, Vasari undertook a new tour, 
to prepare for the second edition, which was pub- 
lished in 1568. The best subsequent editions are, 
that of Bottari, Rome, 1759, 3 vols., 4to. ; those 
printed at Leghorn, 1767, 7 vols. 4to. ; at Siena, 
1791-98, 11 vols., 8vo. ; at Milan in 1807, 16 vols. 
Svo. Mr. Bohn has also recently published an 
English edition at London, in his Standard Li- 
brary. 

VASCELLINI, Gaetano, an Italian engraver, 
born at Castello S. Giovanni in the Bolognese 
state, in 1740. He was instructed in design by 
Ercole Graziani, and in engraving by Carlo Faucci 
at Florence. He engraved some portraits from 
those in the Florentine Gallery, and some histori- 
cal and sacred subjects after Titian, Andrea del 
Sarto, Sebastiano Oonca, Volterra, and other mas- 
ters. 

VASCO, Pereyra, a Portuguese painter, who 
flourished at Seville in the latter part of the 16th 
century, where he practiced with considerable dis- 
tinction. He painted the Decollation of St. Paul, 
for the convent of that order, in competition with 
Alonso Vasquez and Mohedano. He was employ- 
ed in the Cathedral of Seville in 1598. He is said 
to have executed many works, both in oil and fres- 
co, for the churches and convents in Spain and Por- 
tugal. He died about 1600. 

VASCO, called by the Portuguese Gran-Vasco, 
or the Great Vasco. The accounts of this artist 
are very contradictory and uncertain. Whether he 
was the same as the preceding, or another artist 
is not known. It is said that his works are to be 
found in the churches and convents of Portugal, 
and that they are very numerous and held in the 
highest estimation. It would appear, also, that he 
had many imitators, whose works are frequently 
attributed to him. According to Berardo, who 
made diligent inquiries on the subject, but the re- 
sult of whose researches has not yet been fully 
made known, he was the son of Francisco Fernan- 
dez, a painter of the city of Vizeu, where Vasco 
was born and baptized, on the 18th of September, 
1552. For an account of his works, the reader is 
referred to " Les Arts en Portugal," by Count 
Raczynski. 

VASCONI, FiLiPPO, an Italian engraver, who 
flourished at Venice about 1720. He engraved 
some plates of views in Venice and its vicinity. 

VASCONIO, Giuseppe, a Roman painter, who 
flourished about the middle of the 17th century. 
He is commended by Orlandi and the Guida di 
Roma. He executed some works for the churches, 
and was elected a member of the Academy of St. 
Luke in 1657. 



VASELLI, A LES SAN ORG, a painter born at 
Rome, who flourished in the latter part of the 17th 
century. He was a scholar of Giacinto Brandi, 
whose style he followed, according to Orlandi, 
with considerable success. Some of his works 
are mentioned in the Guida di Roma. 

VASI, Cav. Giuseppe, a Sicilian designer and 
engraver, was born in that island in 1710. His in- 
structor in the art is not mentioned. He visited 
Rome, and passed most of his life in that city, 
where he was much patronized by Benedict XIV. 
He published several views of the port of Ancona, 
and afterwards engraved for Charles III., king of 
Naples, the decorations of the festival in honor of 
the birth of his eldest son, which pleased that 
monarch so highly, that he assigned Vasi apart- 
ments in the Farnese palace at Rome. Encour- 
aged by this distinction, he applied himself to en- 
graving the finest ancient and modern edifices, 
fountains, and other monuments in the metropolis 
of art, which he published in one grand collection 
of ten volumes in 1761, under the title Delle ma g- 
nijicenze di Roma, &c. The success of this work 
determined him to proceed further, and he pub- 
lished in six sheets a View of Rome in perspective, 
from Mount Janiculum, dedicated to Charles III., 
which was greatly admired, and is now to be 
found in most European cabinets. Among the 
other works of Vasi, are his collection of plates in 
two volumes, entitled Tesoro sacro, cioe : le Ba- 
siliche. le Chiese, i Cimiterj ei Sanctuarj di Roma^ 
&c., published in 1778. In 1777 he published a 
guide book, entitled Itinerario istruttivo di Roma 
nella pittura, scultura, e architettura , &c., con- 
taining a catalogue of all his plates up to that 
date. According to Bassano, Vasi died at Rome in 
1785 ; although the Biographic Universelle places 
the date in 1782. Gio. Battista Piranesi, the cel- 
ebrated architectural engraver, was his pupil. 

VASQUEZ. Alonso, a Spanish painter, born at 
Ronda. according to Palomino, in 1589, and died 
in 1650. These dates, however, are doubtless in- 
correct, as Bermudez says he was one of the art- 
ists employed in the magnificent decorations for the 
obsequies of Philip II. in 1598, and he died before 
Pacheco published his work in 1649. He studied 
at Seville, under Antonio Arfian, a scholar of Luis 
de Vargas, and acquired considerable reputation as 
an historical painter. He also excelled in painting 
fruit, flowers, and subjects of still-life. He was 
particularly distinguished for his intimate acquaint- 
ance with anatomy ; his works are correctl}^ de- 
signed, and executed with freedom and facility. 
The principal are in the monaster}^ of the Bare- 
footed Carmelites at Seville. He died about 1645. 
Juan Batista Vasquez, probably a relative of the 
preceding, was born at Seville in the 16th century, 
and practiced both painting and sculpture. His 
best performance in the former art is a picture of 
the Virgin and Infant, at the altar of the church 
of Our Lad}' of Granada. 

VASSALLO, Antonio Maria, a Genoese paint- 
er, who flourished about 1670. He studied under 
Vincent Male of Cambray, the scholar of Rubens. 
He painted landscapes and animals, but chiefly ex- 
celled in flowers and fruit, which he colored admi- 
rably, and touched with great freedom and spirit. 
He also designed the human figure correctly, and 
gave proofs of much talent for historical painting ; 
but he died young. 



VASS. 



1025 



VAST. 



VASSEUR, Jean Charles le, a French en- 
graver, born at Abbeville in 1734. He studied 
first with Daulle, and afterwards with Beauvarlet. 
He engraved a considerable number of plates after 
the works of the French, Dutch, and German ■ 
masters. Among others are the following by him. I 
He died in 1816. [ 

The Triumph of Venus ; after Boucher. The Death i 
of Adonis ; do. The Continence of Scipio ; after Le 
Maine. Diana and Endymion ; after J. B. Vanloo, 
Apollo and Daphne ; after Luca Giordano. The Tri- 
umph of Galatea ; after J. F. de Troy. The Parting of i 
Hector and Andromache ; after Restout. Alexander and i 
his Physician ; do. Tarquin and Lucretia ; after A. Pe- i 
ters. The Milkmaid; q/i(er J. S. Gretize. Thais, or the 
beautiful Penitent; do. The Step-Mother; do. The : 
Widow and the Curate ; do. The Will destroyed ; do. \ 
Lionardo da Vinci expiring in the arms of Francis I. ; af- \ 
ter Menageot. The Four Seasons ; after Gallet. A Ho- | 
ly Family ; after R. Mengs. \ 

VASSILACCHI, Antonio, called L'ALiENSE,or 
Aliense daMilo, a painter born in the island of 
Milo, in the Archipelago, in 1556. According to 
Ridolfi, who wrote his life, he was sent to Venice 
when young, and placed under the instruction of 
Paul Veronese, under whom he made such pro- 
gress and showed such a genius for historical paint- 
ing, particularly for works of vast and imagina- 
tive character, as to excite the jealousy of that 
master, who dismissed him from his studio, at the 
same time advising him to confine himself to small 
pictures. Aliense, confident in his own powers, 
and suspecting that Veronese was practicing to- 
wards him the same disgraceful illiberality which 
Titian had shown to Tintoretto, followed the 
example of the latter, and redoubled his eftbrts to 
attain excellence. He designed from the antique, 
day and night; he exercised himself in acquiring 
a knowledge of the human frame ; he modeled in 
wax ; copied Tintoretto with the utmost assiduit}^ ; 
and, as if wholly to forget what he had learned of 
Paolo, he sold all the designs he had made in his 
academy. He acquired great distinction, was pat- 
ronized by the Doge and principal nobility of Ve- 
nice, was invited to the court of Spain by Philip 
II., and Sigismond, king of Poland, earnestly soli- 
cited him to enter his service ; but preferring to 
remain in Venice, he declined these honors and 
emoluments. He executed many works for the 
churches and public edifices of Venice ; also in 
other cities of Italy, particularly Perugia, gene- 
rally on a grand scale. At first, Aliense could not 
entirely divest himself of the style of Veronese, 
and his earlier productions in the church of La 
Vergine, display much of that master. He after- 
wards formed a style of his own, founded on that 
of Tintoretto, which in boldness and energy of de- 
sign, freedom and spirit of pencil, and vigor of 
coloring, approaches the best productions of that 
master. Such are his pictures in the church of 
the Holy Apostles at Venice, representing Abra- 
ham sacrificing Isaac, Cain slaying Abel, and the 
Brazen Serpent. In the Sala dello Scrutinio are 
several of his best productions, particularly the 
Destruction of Troy, which prove him to have pos- 
sessed a very fertile and inventive genius. 

Lanzi says, " Aliense has been accused by his- 
- torians of having abandoned the style of Veronese 
for one less adapted to his genius ; and moreover, 
of having been misled by the innovations of the 
mannerists. Sometimes, however, he painted with 
extreme care, as in his Epiphany for the Council 



of Ten ; though in general he abused the facility 
of his genius, without fear of risking his credit, in- 
asmuch as his rivals, Palraa and Corona, pursued 
the same plan. In order to oppose his great ene- 
my, Vittoria, he attached himself to another ar- 
chitect who possessed great influence, named Giro- 
lamo Campagna. the disciple of Sansovino ; he 
moreover enjoyed the favor of Tintoretto. In this 
manner he obtained many commissions, both for 
the public palace and for the churches of Venice, 
besides being engaged in many works for other 
cities." He died at Venice in 1629. 

VAST, Vander. The name of this artist is 
affixed to some etchings of landscapes, executed in 
a spu'ited and tasteful style. Some writers con- 
jecture, with little probability, that he is the same 
as Adrian de Weerdt, or Veert, which see. 

VAU, Louis le, or Levad, a distinguished 
French architect, was born, according to D'Argen- 
ville. in 1612. Little is known of him, except by 
his works, but he acquired sufficient eminence to 
be appointed, in 1653, first Architect to Louis XIV., 
and Superintendent of Buildings to the Crown ; 
and he discharged the duties of that office during 
the rest of his life. Milizia says, " his talents 
were of the highest class, and he practiced his pro- 
fession with that assiduity and activity which are 
requisite to undertake and execute great projects." 
He was occupied upon the enlargement of the Tuil- 
eries, and ornamented the great gallery with a 
Composite order. Among his other works were, 
various alterations in Cardinal Mazarin's Chateau 
de Vincennes ; the Chateau de Vaux, erected for 
M. Fouquet ; the Chateau of Livry, for M. Bor- 
dier; and the hotels Pons and Colbert. Le Van 
died in 1670. The College des Quatre Nations 
was afterwards erected from his designs, by his 
pupil Fran9ois d'Orbay. 

VAUGHAN, Robert, an English engraver, who 
flourished about 1650. He was chiefly employed 
in engraving portraits of distinguished personages, 
for the booksellers, which are more praised for the 
characters they represent, than for the merit of 
the prints. 

VAUGHAN. William, an English engraver, 
probably a brother of the preceding. He flour- 
ished about 1660, and, like Robert Vaughan, was 
probably employed in engraving portraits and 
other subjects for the booksellers. He also en- 
graved a set of thirteen plates of animals. His 
prints are poorly executed. 

VAUQUER, a French designer and engraver, 
by whom there is a set of plates of flowers and 
ornamental foliage for goldsmiths. 

VAYMER, Giovanni Enrico, a painter born 
at Genoa in 1665, and died in 1738. He studied 
under Gio. Battista Gaulli. He painted history 
with reputation, but he chiefly excelled in por- 
traits, in which branch he was yGTy celebrated. 
Lanzi says he abounded in commissions, and that 
Genoa is full of his portraits. " He was called 
three times to Turin to paint the King and royal 
family, and was invited by very considerable ofiers 
to remain there, which, however, he always de- 
clined." So great was his reputation, that every 
foreigner of distinction, passing through Genoa, 
sat to him for his portrait. 

VEAU, Francesco, a painter born at Pavia in 
1727, and died in 1768. He was an excellent paint- 



VECO. 



1026 



VECC. 



er of perspective and architecture in the decora- 
tive style. 

VEAU, Jean le, a French engraver, born at 
Rouen about 1736. He went to Paris when young, 
and studied under J. P. le Bas. He engraved 
quite a number of plates of landscapes and other 
subjects after the French, Dutch, and German mas- 
ters, which are executed in the neat and spirited 
style of his instructor. Zani mentions Jean Jac- 
ques le Veau, a French designer and engraver of 
landscapes, born in 1729, and died in 1785, per- 
haps the same artist. 

VECCHI, Giovanni de', a painter born at Borgo 
San Sepolcro in 1536. He went to Rome when 
he was young, and first studied under Raffaellino 
delle Colle, and afterwards with Taddeo Zuccaro, 
who was at that time employed by the Cardinal 
Alessandro Farnese in the embellishment of his pal- 
ace at Oaprarola, where, in conjunction with his 
instructor, Vecchi executed several considerable 
woiks. Lanzi says he was rather a competitor, 
than a scholar, of Zuccaro, that he was an eminent 
master, and that from the time he was employed by 
the Farnese family, he was considered a first rate 
artist. "He painted much for the churches at 
Bome, but chiefly excelled at Caprarola, when 
contending with Taddeo Zuccaro, and in the church 
of S. Lorenzo in Damaso, where he painted vari- 
ous histories of that martyr." Among his other 
principal works are the cupola of the Chiesa del 
Gesu, where he painted in fresco, the Four Doctors 
of the Church, and several histories of St. Jerome 
in the church of S. Maria d'Aracaeh. He died at 
Rome in 1614. 

VEOOHIA, PiETRO, a painter born at Venice in 
1605. He was educated in the school of Alessan- 
dro Varotari, called Padovanino, but he did not 
follow the style of that master. He applied him- 
self to an imitation of the works of Giorgione and 
Pordenone, with such success that his works have 
frequently been mistaken for the productions of 
those masters, even by connoisseurs. He also im- 
itated Titian and other masters very accurately. 
Lanzi says he inherited from his master an admi- 
ration of the old masters, as well as the art of im- 
itating them. His powers were better adapted to 
familiar and fancy subjects, than to the dignity of 
history, and his best pictures represent armed 
soldiers, banditti, corps-de-garde, which he painted 
with great vigor and effect in the manner of Gior- 
gione, though often bordering on caricature. Lanzi 
mentions one of some soldiers, in the possession 
of the senator Rezzonico at Rome, so exquisitely 
beautiful, that Giordano painted a companion to it, 
and Sandrart mistook another, in possession of 
the Count Palatine of the Rhine, for a genuine 
work by Giorgione, till he examined it, very criti- 
cally. Lanzi says, '• though his humor pleases us 
in some of his pieces, it disgusts in others, parti- 
cularly in the Passion of our Saviour, in which the 
spectator ought never to be presented with cause for 
mirth ; but Vecchia forgot this, and like Callot, 
introduced certain caricatures in his sacred pieces, 
of which specimens are to be seen in the church 
of the Ognissanti at Venice, and m various other 
places. In other points, with a style rather strong 
and loaded with shade, than pleasing, he showed 
himself an excellent artist, both in the naked parts 
and in his draperies, which he designed and col- 
ored at the same time, in the Academy. His 



fleshes are dark red, his handling easy, his color 
thick and heavy, the eflect of his lights new and 
studied, and his whole taste so far from any ap- 
pearance of mannerism and of such a composition, 
that to one unversed in pictorial history, he would 
appear to have flourished at least two centuries 
before his real time." His talent in imitating the 
works of the old masters, induced the Doge and 
Senate of Venice to employ him to copy in oil, 
some of the historical works in mosaic in the 
church of St. Mark, which he performed with 
great ability. He also painted two altar-pieces 
from his own designs, in the same edifice, repre- 
senting the Crucifixion, and Christ driving the 
Money-changers out of the Temple, both accounted 
excellent performances. Melchiori bestows upon 
him particular commendation for his talent of re- 
storing ancient paintings, as he could happily imi- 
tate the touch and color of any master ; hence he 
conjectures that he acquired the appellation of 
Vecchia ; his family name was Muttoni. He is 
variously called Pietro Vecchia, or Pietro da or 
della Vecchia. He died in 1678. 

VECCHIETTA, Lorenzo di Pietro, called also 
DA Siena, was a Sienese painter and sculptor, 
born, according to Vasari, in 1424. His pictures 
are characterized by that hardness of style, so 
common among the Sienese painters of that age ; 
there are a few of them remaining at Siena, and one 
is mentioned by Lanzi, in the Medicean Gallery, dated 
1457. He probably studied sculpture under Dona- 
tello, in which he attained much more distinction, 
and his superior talents gained him the commission 
to execute the bronze Tabernacle of the grand al- 
tar in the cathedral at Siena, with the marble or- 
naments. The beauty of this work excited the 
admiration of his co temporaries, and gained him 
commissions for various works in sculpture in the 
edifices of Siena, among which were two statues of 
St. Peter and St. Paul, in the Loggia del Banco, 
tastefully designed, with great delicacy of execu- 
tion; a statue of Christ, in the hospital of the 
Scala; and several works in bronze for the Bap- 
tistery of S. Giovanni. Vecchietta completed the 
latter edifice, and is said to have finished some of 
the works of Donatello, He died, according to Va- 
sari, in 1482. The Biographic Universelle places 
the birth of this artist in 1482, and his death in 
1540 ; but this is doubtless an error. 

VECCHIO, II, di San Bernardo. See Fran- 
cesco MiNZOCCHT. 

VECELLI, or VECELLIO, Tiziano. See Ti- 
tian. 

VECELLL or VECELLIO, Francesco, was 
the brother of Titian, born at Cadore, in the Friuli, 
in 1483. He was instructed by his brother, and 
is said to have shown such extraordinary talents 
as to excite the jealousy of his brother, who per- 
suaded him to engage in other pursuits. Be this 
as it may, he entered the army, and followed the 
career of arms for many years, till the restoration 
of peace in Italy, when he returned to Venice, and 
resuming his pencil, he executed several altar- 
pieces and portraits in the style of Titian, possess- 
ing so much merit as to excite the alarm of that 
master, who, dreading a powerful competitor in 
Francesco, artfully contrived to induce him to de- 
vote his attention to the decoration of cabinets with 
small historical pieces and other subjects, for which 
at that time, there was a great demand. In 1531 



VECE. 



1027 



YEOE. 



he wholly relinquished painting and devoted him- 
self to mercantile pursuits. Though Titian was 
exceedingly jealous of the secrets of his art, and 
carefully withheld his instruction from those whom 
he might fear to educate as rivals ; it is hardly 
credible that he could have treated his own brother 
with such duplicity and illiberality, and such a 
charge ought not to be tolerated without undeni- 
able evidence. Titian was only six years older 
than Francesco, and if we are to believe his bio- 
graphers, notwithstanding all his talents, he re- 
ceived such paltry remuneration for his works, till 
he was almost fiftj^ years old, that he was not 
only poor, but in embarrassed circumstances ; — 
grant this, and he could have little cause of jeal- 
ousy. Francesco, moreover, was evidently an er- 
ratic and wayward genius, not apt to practice 
a profession long that merely afforded him his 
bread, he joined the army ; when disbanded, he 
returned to painting for a time ; then became a 
merchant, and finally, he threw away his time 
and money in the idle pursuit of alchemy, a chi- 
mera at that time thought attainable, in which 
many great minds were engaged. As to decora- 
ting cabinets, Titian and other great artists did 
not disdain such employment. His principal works 
are the Transfiguration, in the church of S. Salva- 
tore at Venice, and the Nativity, in that of S. 
Giuseppe at Belluno, a picture frequently attribu- 
ted to Titian. Some of his cabinet pieces are still 
preserved, and are generally attributed to Titian. 
The time of his death is not known. 

VECELLI, Orazio. was the son of Titian, born 
at Venice in 1540. He studied with his father, 
and followed his style with great success. He 
particularly excelled in portraits, in which branch 
he was esteemed little inferior to his father. He 
accompanied his father in his travels to Rome, 
Madrid, and Germany. He painted in the palace 
of the Doge at Venice, in conjunction with Tinto- 
retto and Paul Veronese, some excellent works, 
which were all destroyed in the conflagration of 
that edifice. Little is known of him, the glory of 
the father having entirely eclipsed the son ; and 
none of his historical works are particularly re- 
corded. The paucity of his works is accounted 
for by his untimely death ; yet he lived to the age 
of Raffaelle, and enjoyed the advantages of early 
and most excellent instruction ; therefore it is rea- 
sonable to suppose that his works are now mostly 
attributed to his father. He died in 1576. the 
same year as his father, which contradicts the sto- 
ry that, after the death of the latter, he devoted 
his life to pleasure, and squandered his patrimony 
in the ridiculous pursuit of the philosopher's stone. 
It were to be wished that historians would confine 
themselves to facts, dates, and probabilities, and 
not relate fables and suppositions for truths ; the 
history of art would not then be so full of contra- 
dictions. 

VECELLI, Marco, called Marco di Tiziano, 
was the nephew and scholar of Titian, born at Ve- 
nice in 1545. He was the favorite disciple of his 
great instructor, and approached nearer to his 
style, both in composition and color, than any of 
his other relatives. He accompanied him in his 
journies to Rome and Germany, and assisted him 
in his works. There are some of his pictures in 
the Palazzo di S. Marco at Venice, one of the most 
esteemed of which is an allegorical subject on the 



Peace of Italy, in the ante-chamber to the Sal a del 
Consiglio; another admired work by him repre- 
sents the Doge Leonardo Donato, kneeling before 
the Virgin and Infant, in the Sala della Bussola. 
He also executed some considerable works for the 
churches at Venice, Trevigi, and in the Friuli, one 
of the most remarkable of which represents Christ 
fulminating the World, and the Virgin with seve- 
ral Saints interceding, in SS. Giovanni e Paolo at 
Venice. Another admired production is in the 
parish church of Cadore ; it represents the Cruci- 
fixion, with two laterals of the Controvers}'- and 
Martyrdom of St. Catherine. Lanzi says, " In 
simple composition and mechanism of the art, he 
was a good disciple of his master, but he had not 
the genius to inspire his figures and interest the 
eye of the beholder, like his great cotemporary." 
Marco also excelled in portraits. His known 
works are not numerous, and doubtless many of 
his productions are attributed to Titian, as he lived 
to the good age of 66 years, and died in 1611. 

VECELLI, Tiziano, called Tizianello to dis- 
tinguish him from his father, was the son of Mar- 
co. The time of his birth and death are not 
known. Lanzi says, *' He flourished about the be- 
ginning of the 17th century, when mannerism be- 
gan its innovation upon the Venetian school of 
painting. And those specimens by him. possessed 
by Venice at the Patriarchal church, at the Servi, 
and elsewhere, exhibit him in a very opposite taste 
to that of his predecessors ; his forms are larger, 
but less imposing ; his pencil full and free, but des- 
titute of softness of hand ; — so powerful is the in- 
fluence of prevailing taste, over even family descent 
and education. In portraits, nevertheless, and in 
heads, very capriciously varied and ornamented, I 
find him to be in much esteem among artists." 
He died about 1650. 

VECELLI, Fabrizio. was the son of Ettore 
Vecelli of Cadore, a relative and probably a bro- 
ther of Titian. Lanzi says, " his name had hith- 
erto been confined to his native place, Cadore, un- 
til brought to light by Renaldis, who traced his 
origin to another branch of the Vecelli, and gives 
an account of a fine picture he executed for the 
Council Hall of the parish, and for which he was 
paid sixteen gold ducats, no despicable price for 
the period when he flourished. He died in 1580.'- 

VECELLI, Cesare, was the brother of FabriziOj 
and flourished towards the close of the 16th cen- 
tury. The accounts of him are very contradicto- 
ry, which Lanzi reconciles and explains. " He was 
the brother of Fabrizio, and like him. long un- 
known to pictorial history, although his produc- 
tions are pointed out at Lintiai, at Vigo, at Candi- 
de, and at Padola. His name is more familiar to 
engravers, inasmuch as he gave to the world two 
works of etchings, during his residence at Venice. 
One of these, which is very scarce, contams Og77i 
sorte di mostre dipunti iag-liati, punti m aria,&c.. 
the other De gli Hahiti Antichi e Moderni di di- 
verse parte del mondo, Libri due fatti da Cesare 
Vecellio; this last has been several times republish- 
ed, and once in 1664, with a false title, where Cesare 
IS mentioned as a brother of the great Titian. '- 
The false title above referred to is as follows : JRac- 
colta di figure delineate dal gran Tiziano, e da 
Cesare Vecellio suo fratello diligentemente intag- 
liate. There is a fine picture by him in the I. R. 
Pinacoteca of Milan, representing the Father sup- 



VECE. 



1028 



VELA. 



porting the crucified Son, with the Holy Spirit 
hovering above, to complete the triad. 

VEOELLT, ToMMASo. This artist was also a 
kinsman of Titian, brought to light by Renaldis, 
who highly commends his picture of the Annun- 
ciation, in the parish church of Lozzo ; and an- 
other of the Last Supper, which he pronounces es- 
timable. He died in 1620. 

VECQ, James la, a Dutch painter, born at Dort 
in 1625. He studied with Rembrandt, whose style 
he followed for some time with considerable suc- 
cess, but he afterwards abandoned it for that of 
John de Baan. He painted history and portraits, 
particularly the latter, with reputation. He died 
at Dort in 1674. 

VEEN, Martin van. See Hemskirk. 
VEEN, Otho and Gilbert van. SeeVENius. 

VEENHUYSEN, J., a Dutch engraver, who 
flourished at Amsterdam, about the middle of the 
17th century. He engraved a set of views of the 
public edifices in that city, published with descrip- 
tions in Dutch and French, in 1656. They are 
executed in a neat but slight style. He was living 
in 1677. 

VEGLIA, Marco and Piero, two painters of 
Venice, brothers, who flourished, according to Za- 
netti, in the first part of the 16th century. They 
were reputable painters, though their works par- 
take much of the dry and gothic style of the Bel- 
lini. 

VELA, Cristobal, a Spanish painter, born at 
Jaen in 1598. He studied successively under Pa- 
blo de Cespedes and Vincenzio Carducci. He set- 
tled at Cordova, where he was chiefly occupied in 
painting for the churches and convents. He was 
esteemed a correct designer, though he was lan- 
guid and feeble in his coloring. His works have 
mostly perished, or been injured by unskillful res- 
toration. In the cloister of the convent of San 
Augustin at Cordova is a series of the Prophets by 
him, designed in a grand style. He was drowned 
by falling into the well of his own house, at Cor- 
dova, in 1658. 

VELASCO, Don Acisclo Antonio Palomino 
DE Castro y, an eminent Spanish painter, was 
born at Bujalance in Valencia, in 1653. He is usu- 
ally called Palomino by foreign writers. His par- 
ents afterwards removed to Cordova, where young 
Palomino was educated for the church, but having 
a passion for painting, which he had cultivated to 
some extent, he placed himself in 1672, under the 
instruction of Juan de Valdes, on the return of that 
painter from Seville to Cordova, under whom he 
made rapid progress. In 1675, he formed an inti- 
macy with Juan de Alfaro,and in 1678 accompanied 
him to Madrid, where he assisted him in some of 
his works. He next formed a friendship with Ju- 
an Carreno, and with Coello ; the latter employed 
him to assist him in painting the ceiling of the 
Queen's Gallery at the Alcazar ; in which he dis- 
played so much ability that Coello, having other 
works in hand in the Escurial, left him to complete 
the work, which he did so much to the satisfaction 
of the king that he named him one of his painters, 
but without a salary. On the marriage of Charles 
IT. to Donna Maria Ana de Neoburg in 1690, 
he designed the arches and other decorations for the 
bridal entry into the city, which confirmed him in 
his office with its emoluments. The arrival of 



Luca Giordano at Madrid in 1692, according to 
Bermudez, caused some consternation among the 
Spanish painters, but Palomino maintained his 
position, and Luca not being so well versed in 
Christian theology as in heathen mythology, Palo- 
mino was able to instruct him in the subjects he 
was called upon to paint, which he did with such 
delicacy and perspicuity that the great Italian 
painter, embracing him, exclaimed, '• the work is 
already finished" — a very improbable story. In 
1697 he went to Valencia, where he executed some 
important works, the principal of which were 
some frescos in the presbytery of the church of 
San Juan del Mercado. In 1705, he was employed 
to decorate the convent of S. Esteban at Salaman- 
ca with some frescos, representing the Church Mil- 
itant and Triumphant, accompanied with many al- 
legories. On his return to Madrid, he was em- 
ployed on many works for the churches and con- 
vents. In 1715, he published the first volume of 
his " Museo Pictorico," on which he had been en- 
gaged many years, and in 1724 the second volume 
appeared. He painted the Chartreuse of Granada, 
where he represented St. Bruno supporting the 
World, with a Glory of Angels and Saints ; also 
five pictures for the grand altar at Cordova, and 
the hieroglyphics which adorned the funeral of 
Donna Maria Luisa de Saboya. He died at Mad- 
rid in 1726, and was buried with great pomp in 
the church of S. Francisco. 

Palomino has not inaptly been termed the Va- 
sari of Spain ; like that artist, he abounded in com- 
missions and degenerated into mannerism, and he 
was the first writer of any note on Spanish art. 
His employment was incessant, and he left the ex- 
ecution of many of his designs to his scholars, par- 
ticularly to Dionisio Vidal. Palomino is better 
known out of his own country as a writer on art. 
than as a painter. 

VELASCO, Luis de, a Spanish painter, who 
flourished at Toledo from 1564 to 1606, when he 
died. Little is known of him. He painted history 
and portraits, and there are some of his works in 
the Cathedral at Toledo, though most of his pro- 
ductions are attributed to other masters. His de- 
sign is said to be noble, his drawing correct, and 
his coloring harmonious : his style exhibits 
a knowledge of the antique and of the best Ital- 
ian masters. 

VELASCO, Cristobal de, was the son of the 
preceding. He was instructed by his father, and 
followed his precepts. In 1598, he painted the 
portrait of the Archduke Albert. He also paint- 
ed seven views of cities in Flanders for Philip III., 
to decorate his hunting residence in the woods of 
Valsain. He had a son, Matias de Velasco, whom 
he instructed in the art, and who accompanied the 
court of Philip III. to Valladolid, where he was 
employed to paint several histories of the Virgin, 
for the royal nunnery of the Carmelites. 

VELASQUEZ, Don Diego Rodriguez de Sil- 
va y. This most eminent painter of the Spanish 
school, was born at Seville in 1594. He was de- 
scended from a noble family, originally of Portu- 
gal, which had been reduced by the troubles of 
their country, and had settled in Andalusia. Al- 
though his parents were in very narrow circum- 
stances, they gave Diego a liberal education ; and, 
as he manifested an extraordinary genius for art, 
he was placed under the tuition of Francesco Her- 



VELA. 



1029 



VELA. 



rera the elder. The principles of that master, 
whose chief ambition was to obtain effects true to 
nature, are to be traced in all the works of his pu- 
pil. Herrera being of a very violent temper, he 
treated Velasquez so cruelly that he quitted him, 
and entered the school of Francisco Pacheco. The 
latter was learned in the theor}'- of art, and an 
able designer ; but he exercised no influence over 
the style of his pupil ; and the reason why Velas- 
quez remained five years in this school, was per- 
haps explained at the end of that time, when he 
married Pacheco's daughter. Meanwhile, he de- 
voted himself faithfully to studying the theory of 
the art, and to the imitation of nature. Like Car- 
avaggio, the leader of the naturalist school in Ita- 
ly, he determined to represent things as they are, 
and not as they ought to be ; he accordingly pro- 
cured a peasant lad as a model, and painted his 
commonplace form, rags, and nakedness, under 
every aspect and attitude. He also made many 
designs from nature of peasants and ordinary peo- 
ple, in peculiar habits and occupations, and pro- 
duced many faithful and striking representations 
of the manners and characters of the lower 
orders of the people, designed and painted with 
great fidelity and spirit. Like Murillo. Velas- 
quez was taught to draw and color at the 
same time, beginning with subjects of still-life, 
and those the most ordinar}^, such as meat, vege- 
tables, and kitchen utensils; hence the generic 
term Bodegones. by which they are still known. 
Thus he obtained an early mastery over his mate- 
rials, a habit of close imitation, and a marvellous 
power of representing nature and texture. One 
of the most celebrated of these early productions 
is his picture, now in the new palace at Madrid, of 
the Old Water-Carrier at Seville, whose tattered 
garment exposes parts of his body through the 
rents, giving drink to a Boy out of his barrel ; ex- 
hibiting considerable science in muscular anatomy, 
and a wonderful degree of nature and expression. 

After painting subjects of this familiar descrip- 
tion for a few years, his thoughts were turned to- 
wards the higher branches of the art by the con- 
templation of the paintings of Luis Tristan, whose 
style was a compound of Titian and El Greco ; and 
he visited Madrid in 1622, for the purpose of see- 
ing the treasures of art in the rich collections of 
that city. He was welcomed by Don Juan de 
Fonseca, and other Sevillians, and painted a por- 
trait of the poet Gongora — a commission from Pa- 
checo — after which he returned to Seville. Mean- 
while, the influence of Fonseca was not idle, and 
Velasquez was recalled to Madrid the following 
year, by the Conde Duque de Olivarez. the prime 
minister of the tastes and pleasures of King Philip 
IV. Velasquez having painted the great man's 
portrait, immediately rose to that fortune which 
never deserted him during a long career of pros- 
perity. As soon as the King saw the portrait of 
his favorite, he sat for his own, and the young 
painter, exerting all his powers, produced a pic- 
ture of the King in armor, mounted on a magni- 
ficent steed, with a background of beautiful scene- 
ry. The picture was exhibited at Madrid in the 
open air ; the connoisseurs joined in exalting Ve- 
lasquez above all his predecessors ; and the King — 
a true judge of art — ordained that none but the 
new Apelles should paint him. He was next em- 
ployed to paint the infants Don Carlos and Don 
Fernando, and the equestrian portrait of Olivarez. 



He was appointed principal painter to the King^ 
with a liberal salary, besides a munificent remune- 
ration for his pictures. 

Although thus greatly honored by his own and 
foreign princes (among the latter was Charles 
I. of Engla-nd,)* Velasquez had not" yet attempt- 
ed any great historical composition; and as Vin- 
cenzio Carducci and Eugenio Caxes, his predeces- 
sors in royal favor, had distinguished themselves 
by painting the expulsion of the Moors by Philip 
TIL. he determined to depict that important event 
of Spanish history, and produced a magnificent 
composition, representing the King armed in the 
centre, commanding a party of soldiers, who are 
escorting a company of Moors of different ages 
and sexes, to an embarkation which awaits them 
in one extremity of the picture ; on the other side 
is represented an impersonification of the king- 
dom of Spain, as a majestic matron in armor, with 
part of a stately edifice. It is signed Didacus Ve- 
lasquez Hispalensis Philip IV. Regis Hispan. pic- 
tor ipsiusque jiissu fecit, anno 1627. This celebra- 
ted performance established the fame of Velasquez, 
and he was appointed one of the King's chamber- 
lains, with an additional stipend to support his new 
dignity. In the same year, 1627, Rubens visited 
Madrid, to discharge the duties of his embassy; and 
the two great masters formed an intimate friend- 
ship. Rubens associated with no other artist but 
Velasquez, and was accustomed to walk with him 
alone to the Escurial. His frequent dissertations 
upon Italian art, inspired the Spaniard with the 
greatest desire to visit that country, and he had 
no sooner expressed his wish to that effect, than 
the King directed Olivarez to supply him with a 
plentiful sum of money, and the warmest letters 
of recommendation. 

Velasquez embarked at Barcelona in 1629, and 
on landing at Venice was lodged in the hotel of the 
Spanish ambassador. He contemplated with sur- 
prise and admiration the works of Titian and Tin- 
toretto, and after a few months went to Rome, 
where he was very kindly received by Cardi- 
nal Barberini, nephew to Urban VIII., who pro- 
cured him apartments in the Vatican. Here he 
had constant access to the works of Ratfaelle and 
Buonarotti, which he studied with the greatest 
assiduity. From the Vatican he removed to the 
Villa de' Medici, but falling a victim to malaria, was 
soon carried down an invalid to the Piazza de 
Spagna below, and lodged in the palace of the Conde 
Monterey, the ambassador of Spain, who watched 
over his patient, and restored him to health. Du- 
ring his residence at Rome, he painted his two 
celebrated pictures of Jacob with the Garment of 
Joseph, and Apollo at the Forge of Vulcan ; which 
he sent home to the King. 

From Rome Velasquez passed to Naples, where 
he felt at home amid the works of Caravaggio, 
Stanzioni, and Ribera. With the last he lived in 
the closest intimacy, but preferred the flowing 
style and cheerful composition of Stanzioni. be- 
tween whose manner and his own the resemblance 
cannot be mistaken, as is evident from comparing 
their works in the gallery at Madrid. He painted 
the portrait of Donna Maria of Austria, consort 

* Velasquez painted a portrait of Charles I., which for 
many years was supposed to be lost ; but it has been dis- 
covered within a few years, and in 1850 was in the posses- 
sion of Mr. John Snare of Reading, England, who exhibit- 
ed it in that year in the city of Edinburgh. 



VELA. 



1030 



VELA. 



i 



of Ferdinand III., and after an absence of a year 
and a half, returned to Spain. Philip IV. had 
meanwhile remained true to his promise of sitting 
for his portrait to no other painter, and he now- 
appointed Velasquez one of the gentlemen of his 
wardrobe, with a studio in his palace, of which 
the King kept a private key, for the purpose of 
visiting him daily unceremoniously, as Charles V. 
had done to Titian. 

Thus enjoying the sunshine of royal favor, Ve- 
lasquez went on rapidly producing many admira- 
ble works. He painted the magnificent eques- 
trian portrait of Philip IV., from which the great 
carver Montanez made a model in wood, in order 
to be sent to Florence, where it was cast in bronze 
by Pietro Tacca, and is now placed in the gardens 
of the Buon Retiro. This success led to new hon- 
ors ; Velasquez was appointed to an office about 
the King's person, and in that capacity followed 
Philip into Arragon and Catalonia in 1643 and 
1644. In the former of these years the Conde 
Duque de Olivarez was disgraced, but Velasquez 
had the honesty and boldness to continue to show 
respect to his original patron, nor did Philip IV. 
resent this uncourtier-like gratitude. In Novem- 
ber, 1648, he made a second journey to Italy on 
a particular embassy to the Pope ; also to purchase 
modern pictures for the King, and to procure 
moulds from the best antique statues for the pro- 
jected Academy. He embarked at Malaga, landed 
at Genoa, passed rapidly to Milan, Venice, Flor- 
ence, and Parma, and thence hastened to embrace 
his friend Ribera at Naples. Returning to Rome, 
he was presented to Innocent X.. and painted his 
portrait, which is now the gem of the Doria col- 
lection, and the only real specimen of his art in 
Rome. Lanzi says, "he renewed in this portrait 
the wonders which are recounted of those of Leo 
X. by Raffaelle, and Paul III. by Titian ; for this 
picture so entirely deceived the eye as to be taken 
for the Pope himself" He was elected a member 
of the Academy of St. Luke, and received many 
flattering attentions and honors, among which 
were a gold medal, presented him by the Pope. 
He persuaded Michael Angelo Colonna and Agos- 
tino Mitelli to visit Spain, to assist in the deco- 
rations of the royal palaces. 

The Inquisition had always persecuted nudity, 
and Spain was deficient in models from the an- 
tique. The lax and voluptuous Philip IV. pro- 
tected the license of Greece and Italy, and Velas- 
quez, feeling the value of exquisite form, — in which 
he was very deficient — and knowing that the op- 
portunity might never again occur, collected a large 
number of casts from the antique, besides many 
admirable works by eminent modern masters. Af- 
ter three 3'^ears' absence, he returned to Spain with 
his cargo, and was received by the King with his 
usual favor. He was now in his full power, and 
painted his finest pictures. In 1656 he received 
the much coveted cross of Santiago, which the 
King drew in with his own hand, upon a por- 
trait of Velasquez, painted by the artist himself. 
The nobles resented this profanation of a decora- 
tion hitherto given only to high birth ; nor were 
the difficulties removed without a papal dispensa- 
tion, and a grant of Hidalguia. About this time, 
he was raised to the lucrative and honorable post 
of Aposentador Mayor, the duties of which were 
to superintend the lodgment of the King in his 
frequent migrations. Much of his precious time 



was thus taken from art. In 1660 he was sent to 
prepare the royal quarters during the journey from 
Madrid through the Castiles to the Bidassoa, when 
he erected on the island of Pheasants the tempo- 
rary saloons for the conferences which terminated 
in the marriage of the Infanta Maria Teresa with 
Louis XIV. Velasquez appeared here for almost 
the last time, remarkable among the noble crowd 
for his tasteful costume and the arrangement of 
his diamonds. He returned to Madrid July 31, 
worn out with fatigue by preparations which any 
lord of the bed-chamber might have superintend- 
ed. He died one week after, on the 7th of August, 
1660, and was buried with the most distinguished 
funeral honors in the church of San Juan. Seven 
days after, his wife died, broken-hearted at the 
loss of her gentle and excellent husband, and was 
laid by his side in the same grave. In his pri- 
vate character he was most highly esteemed and 
beloved by all who knew him. 

It is somewhat remarkable that the best Eng- 
lish dictionaries of painting contain no criticism 
upon the characteristics of this great painter, at 
all commensurate with his extraordinary merits, 
and his position at the head of the Spanish school. 
The critical remarks in this article are derived from 
the various authorities of Mengs, Pacheco, Cardu- 
cho, and Bermudez. 

Velasquez drew nothing from the antique, and 
his visit to Italy produced no change in his style. 
He held up the mirror to his own age alone — all 
was his own, original, national, and idiosyncratic : 
he shrunk from any change by which loss might 
be risked ; and notwithstanding the truth, char- 
acter, and powerful painting of his works, they are 
singularly marked with the most ordinary forms, 
copied from nature as he observed her from daj"- 
to day. His style was based on Herrera, Caravag- 
gio, Ribera. and Stanzioni — a compound of all, not 
a servile imitation of any. His drawing was ad- 
mirable, correct and unconstrained ; his mastery 
over his materials unequalled ; his coloring was 
clear and clean ; he seldom used mixed tints ; he 
painted with long brushes, and often as coarsely 
as floor-cloth ; but the effects when seen from the 
intended distance were magical, everything com- 
ing out into its proper place, form, and tone. He 
painted with a rapid, flowing, and certain pencil, 
with the greatest ease, and absence of art or eflbrt. 
There was no showing off of the artist; — loving Art 
for itself alone, he passed his whole soul into his 
subject, without one disturbing thought of self: 
having conceived his idea, he worked it" rapidly 
out, taking advantage of everything as it turned 
up, correcting and improving it as he went on. 

He pursued every branch of painting excepting 
the marine, and excelled almost equally in all. His 
portraits baffle description and praise; — they must 
be seen to be known. He depicted the minds of 
men ; they live, breathe, and seem about to walk 
out of their frames. His power of painting cir- 
cumambient air, his knowledge of lineal and aerial 
perspective, the gradation of his tones in light, 
shadow, and color, give an absolute concavity to 
the flat surface of his canvass, — we look into space, 
into a room, into the reflection of a mirror. The 
freshness, individuality, and identity of every person 
are quite startling ; nor can we doubt the anecdote 
related of Philip IV., who, mistaking for the orig- 
inal the portrait of Admiral Pareja in a dark cor- 
ner of Velasquez's room, exclaimedj as he had been 



VELA. 



1031 



VELA. 



ordered to sea, " "What ! still here ?" He was in- 
ferior to Vandyck in representing female beauty, 
partially because he had not his advantages ; the 
oriental jealousy of the Spaniards revolted at any 
female portraiture, and still more at any display 
of beauteous form: his talents, moreover, were 
most decidedly for depicting the man. He caught 
the high bred air of the Hidalgo, his grave de- 
meanor and severe costume, with perfect truth- 
fulness, never flattering any, not even royalty. In 
landscape he is said to surpass all other Spanish 
artists ; his scenes are full of local color, fresh- 
ness, and daylight, whether verdurous court-like 
avenues, or wild rocky solitudes. The animals in 
his pictures are perfectly admirable, and his beg- 
gars, urchins, and drunkards, are ranked with the 
performances of Murillo and Teniers. 

Unlike most of the artists of Spain, Velasquez 
was patronized little by the church ; his patrons 
were knights and kings. Consequently he com- 
paratively neglected the religious and legendary ; 
but his Crucifixion, painted in 1638, and now in 
the convent of S. Placido at Madrid, would be 
sufficient, if he had done nothing else, to have im- 
mortalized his fame. It is designed with his usual 
nature and simplicity, but with an expression in 
the features, an affecting air in the reclining of the 
head, and an harmonious tone of coloring, at once 
so tender, and of such eifect, that it cannot be sur- 
passed. In historical performances, Velasquez was 
most eminent. Mengs describes his famous pic- 
ture of General Pescara receiving the keys of a 
Flemish citadel from the governor of the place. 
The group of generals, soldiers, citizens, and hor- 
ses, &c., and the striking effect of the town and 
landscape in the background, have established the 
fame of this great work, and Mengs calls it his 
master-piece, pronouncing it faultless in every re- 
spect, except that the lances are too long — a tri- 
vial remark, not to have been expected from such 
an authority, but tending rather to enhance than 
depreciate the merits of this celebrated perform- 
ance. 

The genuine and finest works of Velasquez re- 
main at Madrid ; in other cities of Spain they are 
quite as rare as in other parts of the world. This 
remarkable fact results from the unusual character 
of his career ; he commenced in the royal service, 
and so continued to the end, rarely condescending 
to work for the church or for private patrons. All 
his great pictures were thus monopolized, and hung 
up in the royal palaces, not to be purchased, and 
nearly inaccessible to travelers. Unlike the works 
of the other Spanish masters, they were not scat- 
tered abroad in the French wars, and only two — 
the Jacob and the equestrian portrait of Philip 
IV. — were sent to Paris. The great gallery at 
Madrid contains a sufficient number of the pic- 
tures of Velasquez, to give the connoisseur a cor- 
rect idea of his extraordinary power and univer- 
sality of talent. Of his portraits and landscapes, 
quite a number have been transferred to the pri- 
vate collections in England, and the grand land- 
scape with a representation of a Boar-hunt, ac- 
cording to the old Spanish fashion, is now in the 
National Gallery. It was formerly in the great 
palace at Madrid, but was presented by Ferdinand 
VII. to Sir H. Wellesley, afterwards Lord Cowley, 
and was purchased for the National Gallery for 
X2200. 



VELASQUEZ, Alexandro Gonzalez, a Span- 
ish painter and architect, was the son of a sculptor 
of little distinction, born at Madrid in 1719. He 
studied in the Academy of that city, and made 
such rapid progress, that at the age of nineteen he 
was commissioned to paint, in concert with his 
brother Luis, the decorations of the theatre of the 
Retiro. In 1744 he was entrusted to superin- 
tend all the works of painting and sculpture exe- 
cuted at St. Ildefonso. and was afterwards occupied 
during three years in making the plans and ele- 
vations of the palace at Aranjuez. In 1752, Ve- 
lasquez was elected by the Academy sub-director 
in the department of architecture ; and in 1762 he 
was chosen for the same office in that of painting. 
The Biog-raphie Universelle states that there are 
a number of architectural works by Alexandro at 
Madrid, which do honor to his talents, and Mili- 
zia specifies only one, the modernizing of the church 
las Ballecas, where he ornamented the inferior part 
with Ionic pilasters, and placed Corinthian columns 
to the altars. He instructed many pupils, and 
died in 1772. 

VELASQUEZ, Antonio Gonzalez, a distin- 
guished Spanish painter of the last century, the 
brother of the preceding, was born at Madrid in 
1729. He visited Italy with the King's pension, and 
studied in the school of Corrado Giaquinto, where 
he made rapid progress, and was commissioned to 
paint the frescos which adorn the church of la Tri- 
nity, de Castelli. He returned to Spain in 1753, 
and painted the cupola of the chapel of Our Lady 
of the Pillar, in the cathedral at Tarragona, which 
gained him considerable reputation. At Madrid 
he also executed a number of works, in concert 
with his two brothers, Luis and Alexandro, in the 
monastery de las Salesas, the convent of the In- 
carnation, and various other edifices, by which he 
gained so much reputation that Charles III. ap- 
pointed him court painter in 1757. In 1765 he 
was chosen director of the Academy of Painting, 
and discharged the duties of that office until 1785. 
During this period he executed many fine works, 
particularly in fresco, which were greatly admired. 
Fqw pajlters of his country have possessed the 
qualitiel^)f grace and facility, in so high a degree 
as Antonio Velasquez, and his abundant imagina- 
tion enabled him to produce a large number of 
sketches and drawings of all kinds, among which 
his beautiful sketch of the Foundation of the Order 
of the Golden Cross, has been engraved by Salva- 
dor Carmona. He died in 1793, leaving three sons, 
who practiced the Fine Arts with success. 

VELASQUEZ, Luis Gonzalez, the brother of 
the two preceding artists, was born at Madrid in 
1715. After acquiring the elements of design from 
his father, a sculptor of little note, he studied in the 
Academy at Madrid, and was afterwards commis- 
sioned to execute the decorations of the theatre of 
the Eetiro, in concert with his brother Alexandro. 
About 1752, he painted the cupola of the church 
of St. Mark in fresco, which occupied him several 
years, and was so greatly admired, that the King 
appointed Luis a sub-director of the Academy, 
and subsequently painter to the royal cabinet. He 
died in 1764. 

VELDE, Adrian van de, an eminent Dutch 
painter, born at Amsterdam in 1639. The history 
of his brief life is very similar to that of Paul Pot- 



VELD. 



1032 



VELD. 



tor. Discovering a passion for the fine arts, even 
in his infancy, which exhibited itself by his sketch- 
ing upon walls, or whatever else came to hand, all 
kinds of animals and objects that struck his fan- 
cy, his father was induced to place him under 
the instruction of John Wynants, with whom he 
made extraordinary progress, and continued several 
years. Wynants was one of the ablest landscape 
painters of his time, accustomed to draw every- 
thing from nature, and he educated his pupil in 
the same excellent system. Young van de Velde's 
application was incessant, and he was accustomed 
to pass the greater part of his time in the fields, 
studying and sketching every object and appear- 
ance that could prove of advantage to his pursuit. 
The scenes and situations of his landscapes, his 
trees, skies, clouds, animals, &c., were all sketched 
from nature, a practice he continued as long as he 
lived, nor did he neglect to study the human figure, 
which he designed with great accuracy, and was 
soon able to embellish the landscapes of his in- 
structor. Wynants did not design the figure well, 
and had heretofore employed Philip Wouwerman 
or John Lingelbach to insert them in his works. 
Some of the finest landscapes by Wynants are 
adorned with the figures and cattle of Adrian van 
de Velde, which greatly adds to their value. Such 
was his excellence in these auxiliary embellish- 
ments, that many of his cotemporaries applied to 
him for similar assistance; the pictures of vander 
Heyden, Hackaert, Hobbema. Ruysdael, Verboom, 
and Moucheron, are frequently decorated with his 
figures and animals. 

The pictures of van de Velde are full of truth 
and nature ; in the choice of his subjects, the agree- 
ableness of his scenes, and the excellence of his 
coloring, he has hardly been surpassed by any of 
his countrymen. Though his landscape is con- 
fined to the pasture in which cattle are grazing, 
it captivates by its truth and simplicity. His trees 
are natural and well formed, the leafing sharply 
and accurately marked, his herbage and plants 
fresh and juicy ; his skies clear and brilliant, and 
his pictures exhibit a sparkling glow of sunshine 
almost peculiar to himself; he was carqfiil to de- 
pict the effects of light upon every partifcilar ob- 
ject, and happily expressed its effects through the 
branches of the trees, on the surface of water, on 
his cattle, and every part of his scenery. His fig- 
ures and animals are designed with remarkable 
correctness and precision, with great life and spirit 
in the actions and attitudes; he particularly ex- 
celled in the representation of cows, oxen, sheep, 
and goats. His touch is light and delicate, yet 
free and full of spirit. Though he had not the 
advantage of a regular education in the higher 
branch of historical painting, yet he executed sev- 
eral works for the Roman church at Amster- 
dam, which prove that he possessed an extensive 
and varied genius, and that he would have shone 
in that branch, had he devoted his attention more 
to it. These represent several subjects taken from 
the Life and Passion of Christ, the chief of which 
is the Descent from the Cross, the figures being 
half life size. His pictures are deservedly held in 
the highest estimation, and are only to be found 
in the choicest collections. He wrought with great 
facility and unceasing application, as is evident 
from the large number of his genuine works, exe- 
cuted entirely by himself, besides the many pic- 
tures of Wynants, and others, which he decorated 



with figures and animals. Smith, in his Cata- 
logue raisonne of the works of the Dutch and 
Flemish masters, vol. v., and Supplement, gives a 
descriptive account of about 180, which are con- 
sidered authentic. The value of his works has 
increased amazingly within 70 or 80 years. Thus, 
No. 2. A Mountainous Landscape, in which Jacob, 
his family, and his servants, appear conducting 
their flocks and herds, sold in 1765 for £130 ; 
in 1811 it brought at M. le Brun's sale at Paris, 
£960. 
No. 5. Watering Cattle, sold in 1754, for £135 ; 
in 1810. it brought £688 j it is now in her Ma- 
jesty's collection. 
No. 8. Peasants with cattle fording a Stream, 
sold in 1771 for £280. In Sir Simon Clark's 
sale in 1840, it was bought by Sir Robert Peel 
for 760 guineas. 
No. 15. A Landscape, with peasants, cattle, and 
sheep, sold in the famous Braamcamp collection 
in 1771, for £218 ; in 1822, it brought £746 ; 
it is now in the Museum at Amsterdam. 
No. 26. La Chasse Royale was sold in the Lormier 
collection in 1763, for £53, and at the Count 
Perregaux's sale in 1841, it was purchased by 
the Baron Rothschild for £1125 ! 
Adrian van de Velde executed quite a num- 
ber of charming etchings, from his own designs. 
Bartsch describes 21, to which Weigel, in his Sup- 
plement to Bartsch, has added four more. They 
are usually marked A. V. V. /., or A. V. Velde, /., 
though sometimes A. V. V., or A. V. V. F., or Adrian 
Van de Velde f.. and one A. V. V. His name is 
variously written by English writers, Vandevelde, 
Vandervelde^ and Van de Velde. He died at 
Amsterdam in 1672, in the flower of his life. 
/^ VELDE, EsAis VAN de, a Dutch 

/V tj 1/ painter, born at Leyden in 1597. ac- 
/■*« ]/ d cording to the best authorities, though 
some say about 1590. He studied under Peter 
Denyn, an artist of little note, and painted land- 
scapes with figures and cattle, but his principal 
subjects, in which he excelled, were battles, skir- 
mishes of cavalry, marchings of soldiers, attacks 
of banditti, &c. His pictures are usually of small 
size, ingeniously composed, agreeably colored, and 
touched with a light, neat, and spirited pencil. 
His expertness in small figures procured him al- 
most constant employment from his cotempora- 
ries, who were anxious to have their landscape or 
perspective views adorned by his pencil. He was 
remarkable for his fondness of draping his figures 
in the Spanish costume. His works, during his 
life time, were highly esteemed, and brought high 
prices, but they subsequently sunk considerably 
in value. He executed a number of neat and spir- 
ited etchings of landscapes and other subjects from 
his own designs, which are usually marked with 
his initials, or Esijas Vander Velde, invent. He 
died at Leyden in 1648. 

VELDE, James van de, was the younger bro- 
ther of the preceding, born at Leyden in 1598, ac- 
cording to the best authorities, though some say 
about 1595. He painted landscapes and merry- 
makings, but was chiefly distinguished as an en- 
graver. He engraved a great number of land- 
scapes, views, and other subjects, chiefly from his 
own designs, which are executed in two entirely 
different styles, directly opposite to each other. 
His landscapes and views are chiefly etched, and 



VELD. 



1033 



VELD. 



his point, is free and spirited; his lights are broad 
and clear, and though his shadows occasionally 
want strength, they generally produce a pleasing 
and masterly effect. His other prints are execu- 
ted with the graver, sometimes assisted by the dry 
point, in a highly finished style, resembling that 
of Count Goudt ; these chiefly consist of night 
pieces, or scenes by candle-light, and such sub- 
jects as require a great depth of shadow. He 
is generally called John Vande Velde. or Vander- 
velde, but usually signed his prints Jan (James) 
van der Velde. The time of his death is not known, 
but his prints are dated from about 1615 to 1645. 
The following are the principal : 

A set of Thirty-six Landscapes, entitled Playsante 
Landschappen, door Jan van der Velde. Twelve plates 
representing the Twelve Months, 1616; another set of the 
Twelve Months, larger. The Four Seasons, in four plates ; 
after Valck. 1617. Four plates of the History of Tobit; 
after Uytenbroeck. The Four Elements ; after Buyten- 
wegh. The Four Times of the Day. A set of six Land- 
scapes with ruins, figures, and cattle ; after G. vander 
Horst. A series of plates representing the Spanish Troops, 
marching in the Low Countries in the years 1638, 1641, 
and 1645, with other military scenes; after Jacob Martss 
de Jonge. Also a great variety of landscapes, viows, por- 
traits, and other subjects, from his own designs, and after 
other masters. 

VELDE, William van de, the Elder, generally 
called the Old, an eminent Dutch marine painter, 
was born at Leyden in 1610. He is said to have been 
bred to the sea ; this report, however, is very doubt- 
ful, and probably arose from circumstances con- 
nected with his profession. It is not known by 
whom he was instructed ; but before he was twen- 
ty years of age, he had acquired considerable rep- 
utation as a painter of marine subjects, which he 
usually represented in black and white, in imita- 
tion of drawings in India ink. He drew every- 
thing after nature, and became one of the most 
spirited, correct, and admirable designers of marine 
subjects of his country. He made an incredible 
number of drawings on paper, heightened with 
India ink, all of them sketched from nature with 
uncommon elegance and fidelity. His talents re- 
commended him to the notice of the States of Hol- 
land, and Descamps says, they furnished him with 
a small vessel to accompany their fleets, that he 
might design the different manoeuvres and engage- 
ments 5 that he was present in various sea-fights, 
in which he fearlessly exposed himself to the most 
imminent danger, while making his sketches ; he 
was present at the severe battle between the Eng- 
lish and Dutch fleets, under the command of the 
Duke of York and Admiral Opdam, in which the 
ship of the latter, with five hundred men, was 
blown up, and in the still more memorable engage- 
ment in the following year, between the English 
under the Duke of Albemarle, and the Dutch Ad- 
miral de Ruyter, which lasted three days. It is 
said that during these engagements he sailed alter- 
nately between the fleets, so as to represent mi- 
nutely every movement of the ships, and the most 
material circumstances of the actions with incredi- 
ble exactness and truth. So intent was he upon 
his drawing, that he constantly exposed himself 
to tlie greatest danger, without the least apparent 
anxiety. He wrote over the ships their names 
and those of their commanders ; and under his 
own frail craft V. Veldt's GalUjodt or Myn Gal- 
lijodt. After having executed many capital pic- 
tures for the States of Holland, he was invited to 
England by Charles IT., who had become acquaint- 



ed with his talents during his residence in Holland. 
He arrived in Louden about 1675, well advanced 
in years, and the king settled upon him a pension 
of an hundred pounds per annum until his death, 
in 1693, as appears from this inscription on his 
tomb-stone in St. James's church. •* Mr. William 
van de Velde, senior, late painter of sea-fights to 
their Majesties, King Charles II. and King James, 
died in 1693." He was accompanied by his son, 
who was also taken into the service of the king, as 
appears from an order of the privy seal as follows : 
" Charles the Second, by the grace of God, &c., to oui* 
dear Cousin, Prince Rupert, and the rest of our 
commissioners for executing the place of Lord 
High Admiral of England, greeting. Whereas, we 
have thought fit to allow the salary of one hun- 
dred pounds per annum unto William van de 
Velde the Elder, for taking and making draughts of 
sea-fights ; and the like salary of one hundred 
pounds per annum unto William van de Velde the 
younger, for putting the said draughts in color for 
our particular use ; our will and pleasure is, and we 
do hereby authorize and require you to issue your 
orders for the present and the future establish- 
ment of said salaries to the aforesaid William van 
de Velde the Elder and William van de Velde the 
Younger, to be paid unto them, or either of them, 
during our pleasure, and for so doing, these our 
letters shall be your sufficient warrant and dis- 
charge. Given under our privy-seal, at our pal- 
ace of Westminster, the 20th day of February, in 
the 26th year of our reign." 

Many of the large pictures of sea-fights in Eng- 
land, and doubtless in Holland, bearing the signa- 
ture, W. van de Velde, and generally attributed to 
the son, were executed by him from the designs of 
his father. Such are the series of twelve naval en- 
gagements and sea-ports in the palace at Hampton 
Court, though signed like the best works of the 
younger van de Velde ; they are dated 1676 and 
1682. 

VELDE, William van de, the Younger, was 
the son qf the preceding, born at Amsterdam in 
1633. He received his first instruction from his 
father, "but afterwards studied with Simon de 
Vlieger, an eminent painter of sea-pieces, whose 
works were then held in the highest estimation. 
He possessed extraordinary talents, and not only 
surpassed his father, and all his cotemporaries, but 
he arrived at a perfection in the particular branch 
to which he devoted himself universally allowed 
to be unequalled. " The palm," says Lord Orford, 
" is not less disputed with Raffaelle for history, 
than with van de Velde for sea-pieces." He had 
already acquired a distinguished reputation in his 
native country for his admirable cabinet pictures, 
when he accompanied his father to England, 
where his talents not only recommended him to 
the notice of the king, who settled upon him a 
pension of one hundred pounds, but to the princi- 
pal nobility and personages of his court, for whom 
he executed many of his most beautiful works. 

Like his father, the younger van de Velde de- 
signed everything from nattire. and his composi- 
tions are distinguished by a more elegant and 
tasteful arrangement of his objects, than is to be 
found in the productions of any other painter of 
marines. His vessels are designed with the great- 
est accuracy, and from the improvements which 
had been made in ship-building, they are of a more 
graceful and pleasing form than those of his pre- 



VELD. 



1034 



VELL. 



} 



decesfiors; the cordage and rigging are finished 
with a delicacy, and at the same time with a free- 
dom almost without example; his small figures 
are drawn with remarkable correctness, and touck- 
ed with the greatest spirit. In his calms the sky 
is sunny and brilliant, and every object is reflected 
in the glassy smoothness of the water, with a lu- 
minous transparency peculiar to himself. In his 
fresh breezes and squalls, the swell and curl of the 
waves is delineated with a truth and fidelity 
which could only be derived from the most at- 
tentive and accurate study of nature ; in his 
storms, tempests, and hurricanes, the tremendous 
conflict of the elements and the horrors of ship- 
wreck are represented with a truthfulness that 
strikes the beholder with terror. 

The works of the younger van de Velde are 
very numerous, and the greater part of them are 
in England, where Houbraken says they were so 
highly esteemed that they were eagerly sought 
after in Holland, and purchased at high prices to 
transport to London ; so that they are rarely to be 
met with in his native country. Smith, in his 
Catalogue raisonne, vol. vi. and Supplement, de- 
scribes about three hundred and thirty pictures by 
him, the value of which has increased amazingly, 
as may be seen by a few examples. The marines 
now in the Earl of EUesmere's collection, one a 
View of the Entrance to the Texel, sold in 1766 
for £80, now valued at £1.000 ; the other sold in 
1765 for £84, now valued at £500. A Sea- View for- 
merly in the collection of Sir Robert Peel sold in 
1772 for only £31 ; brought in 1828, £300. The 
Departure of Charles II. from Holland in 1660, 
sold in 1781 for £82 ; it brought recently, at pub- 
lic sale, £800. A View off" the Coast of Holland 
sold in 1816 for £144 ; it brought, in Sir Simon 
Clarke's sale in 1840. £1,029. A View on the 
Sea-Shore, 16 inches by 12, sold in 1726 for £9, 
and in 1835 for £108. The picture known as 
Le Coup de Canon, sold in 1786 for £52, in 1790 
for only £36, but in 1844 it brought 1,380 guineas. 

The drawings, and especially the sketches and 
studies of the younger van de Veld« are very nu- 
merous, and prove the indefatigable pains he took in 
designing his vessels, their appurtenances, and the 
ordonnance of his compositions. His sketches are 
executed in black lead only ; his more finished 
drawings with the pencil or pen, and shaded with 
India ink. He executed these with wonderful fa- 
cility ; it is recorded that he was so rapid in his 
sketching, that he frequently filled a quire of pa- 
per in an evening. Stanley says that during the 
years 1778 and 1780, about 8,000 of his drawings 
were sold in London at public auction. Some of 
his choicest drawings in India ink, brought at the 
sale of M. GoU de Frankenstein at Amsterdam, 
in 1833, and at that of the late Baron Verstolk de 
Soelen, in the same city in 1847, prices varying 
from £27 up to £144 each. He inherited his 
father's drawings, and all these seem now to be 
attributed to him. He died in 1707. 

VELDENER, John, a German book publisher, 
supposed to have been a designer and engraver on 
wood, who flourished about 1480. All that is 
known of him with any certainty is that he pub- 
lished at Louvain two works entitled " Fasciculus 
Teraporum," 1474, and " Caroli Viruli formulae Epis- 
tolare," 1476 ; also at Culembourg, " Speculum Hu- 
manae Salvationis," 1483 ; and " Historia Santae 



Crucis," in the same year ; all of them in Latin, 
and embellished with wood-cuts, executed in the 
rude style of the age. Whether he really designed 
and engraved the cuts which embellish these books, 
is a question that has exercised the industry and 
ingenuity of several able writers to maintain or 
refute, without eliciting anything positive. The 
cuts, not being the earliest specimens of the art, 
are not worth the disquisition, and those fond of 
such intricacies must be referred to the works of 
Heineken, Santander, Ottley, Zani, Jackson, and 
others, who have written learnedly and elaborately 
on the subject. His name is sometimes written 
Veldner, and the Italians call him Giovaimi di 
Westfalia. 

VELI, Benedetto, a Florentine painter who 
flourished about 1650. Little is known of him. 
Lanzi says he painted in the Cathedral of Pistoja, 
the Ascension of Christ, placed at the entrance of 
the presbytery. It is the companion to one of the 
Pentecost by Gregorio Pagani, which sufficiently 
proves that it possesses uncommon merit. Zani 
calls his name Velli, and says he operated in 1588. 

VELLANI, Francesco, a painter born at Mo- 
dena in 1688, and dip-^ in 1768. According to Ti- 
raboschi, he stiiCI^T*linder Francesco Stringa. 
whose style he followed, though Lanzi says he was 
not a very accurate designer. He executed many 
works 
State. 

VELLETRI, Andrea da, an old painter, born 
at Velletri. There is a picture by him in the Mu- 
seo Borgia at Rome, representing the Virgin sur- 
rounded with Saints, signed with his name, and 
dated 1334. Lanzi says that in execution it ap- 
proaches the Sienese school. There was a Lello 
da Velletri, who painted an altar-piece in several 
compartments in a church at Perugia, about 1487. 
It is signed Lellus de Velletro, pinsit. 

VELTRONI, Stefano, a painter born at Monte 
Sansovino, who was living in 1568. Lanzi says he 
was a man of slow parts, but very respectable in 
art. He assisted Vasari in some of his works at 
Rome, and afterwards accompanied him to Naples. 
Bologna, and Florence, 

VENANZI, Antonio, a painter about whose 
Christian name and place of nativity there is much 
discrepancy ; he is variously called Giovanni. 
Giovanni Battista, and Francesco. Suffice it to 
say that Oretti read on hi^ picture of St. Onofrio, 
in the Carmine at Pesaro, Ant. Venantius Pisau- 
riensis, 1688 ; and on his tomb, that he d'ed on 
the 2d of October, 1705, aged 78. Lanzi says, 
" Gio. Venanzi (or Francesco) had been already 
instructed by Guido, when he entered the school 
of Simone Cantarini, though he resembles neither 
of these masters so nearly as he does the Gennari. 
When we inspect his two beautiful histories of St. 
Anthony, in the church of that Saint at Pesaro, 
we might pronounce him their disciple." In the 
church of SS. Gervasio and Protasio at Bologna, 
is a fine picture by him, representing the Descent 
of the Holy Ghost. It is said that he was em- 
ployed at the court of Parma. 

VENDRAMINI, Giovanni, an Italian engraver, 
born at Roncade, near Bassano, in 1769. After 
studying in his native country, he went to Eng- 
land, where he became the pupil of Bartolozzi. In 
1805 he went to St. Petersburg, where he remained 



VENE. 



1035 



VENE. 



qp. 



about two years, and was patronized by the Em- 
peror. An accident is said to have hastened his 
return. Being employed by the Emperor to en- 
grave a design upon a very valuable antique gem, 
representing Alexander and Olympia, the laurel 
that encircled the brow of Alexander was bro- 
ken, and although it was privately repaired, he 
soon after returned to England, where he died 
in 1839. Among his principal plates are the Vis- 
ion of St, Catherine, after Paul Veronese ; St. 
Sebastian, after Spagnoletto ; Leda, after Lionar- 
do da Vinci : and the Raising of Lazarus, after 
Sebastiano del Piombo. 

VENENTI, GiuLio Cesare, a Bolog- 
^kJ T^nese amateur artist, born about 1609, 
/ -'- f and died, according to Zani, in 1697. He 
studied painting under Filippo Brizio, and is said 
to have studied and practiced art with the zeal of 
a professor. He executed a few spirited etchings 
after Ann, Caracci. Parmiggiano. Canuti. and oth- 
ers, which he marked with the above monogram. 

VENEZIA, Jacometto da, a painter born at 
Venice, who flourished, according to Morelli, in 
1472. He was very celebrated in his day for his 
small cabinet pictures of historical subjects for 
private ornament, as well as for portraits and min- 
iatures. 

VENEZIA. Maestro Giovanni da, an old Ve- 
netian painter, who was living in 1227. He 
wrought in the old Greek style ; little remains 
from his hand. 

VENEZIA, Lorenzo da, a Venetian painter, 
who was living about 1358. He is commended by 
Zanetti for his altar-piece in the church of St, An- 
thony of Castello, signed Laurentius de Venetiis, 
1358, for which he was paid 300 gold ducats. 
There are several other pictures bearing his sig- 
nature — one in the possession of the noble family 
of Ercolani at Bologna, signed Manu Laurentii 
de Venetiis, 1368, Lanzi attributes to him a fres- 
co, representing Daniel in the Lion's Den, in the 
church of Mezzaratta. near Bologna, inscribed Lao- 
rentius^ P. The work bears no resemblance to 
the style of Giotto, and appears to have been com- 
pleted about 1370. 

VENEZIA, NiccoLO da, called also Niccolo 
DA Veneziano, an eminent Venetian artist in em- 
broidering tapestry. He flourished in the time of 
Fieri no del Vaga, and was in the service of the 
Prince Doria at Genoa when that artist arrived 
there, and he introduced him to the court, 

VENEZIA, Maestro Paolo da, an old Vene- 
tian painter of whom, according to Morelli, there 
are notices from 1333 to 1346. In the great church 
of St, Mark at Venice is a very curious Ancona 
(tablet) divided into several compartments, repre- 
senting the figure of a dead Christ, with some of 
the Apostles, and various historic incidents record- 
ed by the Evangelist, which is thus noticed by Za- 
netti. "Among the specimens of simple painting 
in St, Mark's, the ball centre of the great altar is 
remarkable for several small tablets of gold and 
silver, on which are painted several figures, in the 
ancient Greek manner, San Pietro Urseolo had it 
constructed about the year 980 at Constantinople, 
and it was removed to this place in the time of the 
doge Ordelafo Faliero, in 1102, though it was af- 
terwards renovated by the command of the doge 
Pietro Ziani, in 1209." Lanzi says this was cer- 
tainly the work of Paolo and his two sons ; under- 



neath, it bears this inscription, which escaped the 
notice of Zanetti : Magister Paulus cum Jacobo et 
Johanne filiis fecit hoc Opus. He mentions an- 
other work by him in the church of the Padri Con- 
ventual i at Vicenza, signed Paulus de Venetiis 
pinxit hoc opus, 1333. " He is the earliest of the 
Venetian painters in the national manner (i.e. the 
old Greek style improved), of whom there exists a 
work with the indisputable name of the author " 

VENEZIA, Fra Santo da, a Capuchin monk, 
who, according to Ijanzi, flourished in 1640. Lanzi 
commends him as an artist worthy of notice, and 
says he was much employed in painting for the 
churches and convents within the Venetian ter- 
ritory. 

VENEZIANO, Agostino. See Musis. 
VENEZIANO, Carlo. See Saracini. 
VENEZIANO, Sebastiano. See Piombo. 

VENEZIANO, Antonio, a painter born at 
Venice, according to Vasari, in 1310, and a scholar 
of Angiolo Gaddi ; although Baldinucci, an excel- 
lent authority, asserts that he was a native of 
Florence, and acquired the surname of Veneziano 
from his long residence at Venice, where he execu- 
ted many works, among which were several in the 
Ducal Palace, The latter were destroyed by fire 
in 1573, It is probable, however, that he was a 
scholar of some other master, as Angiolo Gaddi 
was not born until 1324, Baldinucci also states 
that he afterwards quitted Venice, on account of 
the intrigues of the painters in that city. His 
style was less dry and formal than the generality 
of his cotemporaries, and he is said to have at- 
tained a higlier degree of perfection in fresco 
painting than the artists of that day. The prin- 
cipal works of Veneziano are at Pisa and at Flor- 
ence, among which are several subjects from the 
history of St. Ranieri, in the Campo Santo at 
Pisa ; and his most celebrated performance at 
Florence, representing the Miracle of the Loaves 
and Fishes, He died in 1384. The supposed por- 
trait of him in the Florentine gallery, is considered 
by Lanzi as being in too modern a style for this 
age ; and he thinks it represents another Antonio 
Veneziano, who flourished about 1500, and painted 
a picture of St, Francesco at Osimo, in the manner 
of the time. It was originally inscribed with his 
name, which has been erased, and that of Pietro 
Perugino inserted. 

VENEZIANO, Domenico, an eminent Vene- 
tian painter, born in 1420. He was a favorite 
scholar of Antonio da Messina, who had learned 
the art of oil painting from John van Eyck, and 
communicated the secret to his pupil. He after- 
wards resided some time at Loreto and Perugia, 
and finally settled at Florence, where his works 
were greatly admired, both on account of their merit 
and the novelty of the process. He unfortunately 
formed a connexion with Andrea del Castagno, an 
eminent Tuscan painter, who treacherously mur- 
dered him, in order that he might be the sole poss- 
essor of the secret, Castagno artfully concealed 
the atrocious deed till he was upon his deathbed, 
when he confessed the crime, for which innocent 
persons had suffered. This catastrophe happened 
in 1476. His principal works are in the church 
of S. Lucia and the monastery degli Angeli at 
Florence. See Antonio da Messina, and Andrea 
del Castagno. 



VENI. 



1036 



VENT. 



VENIER, PiETRO, a painter born at Udine, who, 
according to Renal dis, died at an advanced age in 
1737. He studied at Venice, and executed many 
works both in oil and fresco. His best works are 
some frescos in the ceiling of the church of S. Ja- 
copo at Undine, which are commended by Lanzi, 
who says he there appears to great advantage, 

VENIER, Nicholas, an engraver, who execu- 
ted a set of twelve plates, representing the months 
of the year, after Bassano. 

VENITJS, or VAN VEEN, Otho. an eminent 
Dutch painter, born at Leyden in 1556. His pa- 
rents being persons of distinction, gave him a 
classical education, and to gi-atify his passion for 
painting had him instructed in design by Isaac 
Nicholas, and in painting by Jodocus van Winghen, 
Being compelled to leave his own country on ac- 
count of the civil wars, he retired to Liege to pur- 
sue his studies, where his talents recommended 
him to the notice of Cardinal Grosbeak, who ad- 
vised him to go to Rome, and gave him letters of 
commendation to Cardinal Masuccio, who received 
him with the greatest kindness, and entertained 
him at his palace. He entered the school of Fe- 
derigo Zuccaro, and at the same time studied the 
antique and the works of the great masters with 
assiduity. After a residence of several years in 
Italy, he set out to return to his own country, 
and passing through German}^ he stopped some 
time at Vienna in the service of the Emperor, who 
endeavored to retain him by flattering offers, which 
he declined, and passing on to Munich and Cologne, 
he executed several works for the Duke of Bava- 
ria and the Elector. On his arrival at Brussels, 
Alessandro Farnese, Prince of Parma, then Gov- 
ernor of the Netherlands, took him into his ser- 
vice, and appointed him principal painter to his 
court. He painted the portrait of his protector, 
and executed several historical works, which estab- 
lished his reputation as one of the ablest artists 
of his time. On the death of the Prince he went 
to Antwerp, where he established himself, and was 
employed to execute some works for the churches 
and public edifices. He also opened an Academy, 
and had the honor of instructing Rubens. When 
the Archduke Albert, who succeeded the Prince of 
Parma in the government of the Low Countries, 
made his public entry into Antwerp, Venius de- 
signed the triumphal arches erected on the occa- 
sion, which displayed so much ingenuity and taste, 
that the Prince invited him to Brussels, appointed 
him his principal painter, and master of the mint, 
which offices he filled with great reputation till his 
death. 

Otho Venius had a lively and fertile invention ; 
his compositions are learned and judicious, and his 
design, founded on that of the Roman school, was 
more elegant and correct than that of any of his 
cotemporaries of the Flemish school. The airs 
of his heads are graceful and expressive, his dra- 
peries are cast with ease and propriety, and he 
was one of the earliest artists of his country who 
had a thorough knowledge of the principles of the 
chiaro-scuro. Among his principal works are. the 
Last Supper, in the cathedral at Antwerp; the 
Marriage of St. Catherine, in the church of the 
Capuchins at Brussels ; the Resurrection of La- 
zarus, in the church of St. Bavon at Ghent, and 
the Adoration of the Magi, in the cathedral at 
Bruges. He also distinguished himself in litera- 
ture as well as in the arts, and published several 



works, embellished with plates from his own de- 
signs, engraved by his brother Gysbert Venius ; the 
principal are, a History of the War of the Batavians 
against Claudius Civilis and Cerialis, from Taci- 
tus ; Horace's Emblems, with Observations ; the 
Life of Thomas Aquinas ; and the Emblems of 
Love, divine and profane. He died at Brussels 
in 1634. 

VENIUS, or VAN VEEN, Gertrude, was the 
daughter of Otho V., born at Brussels about 1600. 
She was instructed b)^ her father, and painted 
cabinet pictures of historical subjects, and por- 
traits, in which last branch she chiefly excelled. 
Her coloring was clear and lively, and her touch 
delicate. The portrait of her father, painted by 
herself, was engraved by Rucholle. 

VENIUS, or VAN VEEN, Gysbert, was the 
younger brother of Otho V,, born at Leyden in 
1558. It is not known under whom he studied, 
but his style resembles that of Cornelius Cort. 
He engraved several plates after the Italian mas- 
ters, for which reason some suppose that he ac- 
companied his brother to Rome. His plates are 
executed entirely with the graver, his drawing is 
tolerably correct, and the character of his heads 
is well expressed. He engraved a gi'eat number 
of plates from the designs of Otho V., chiefly em- 
blematical subjects, and some portraits which 
possess considerable merit. He died at Antwerp 
in 1628. The following are his best prints : 

PORTRAITS. 

Ernest, Duke of Bavaria ; in a medallion, supported bv 
Fame. Cardinal Alessandro Farnese; after Otho Ven- 
ius. Giovanni da Bologna. 1589. 

SUBJECTS AFTER VARIOUS MASTERS, 

The Four Seasons: after Rqfaelle del Colle. 1589- 
These have been incorrectly stated to be from the designs 
of Raffaelle d'Urbino. The Espousal of Isaac and Rebec- 
ca; after Bal. Peruzzi; in five sheets, in the form of a 
frieze ; fine and scarce. The Visitation of the Virgin to 
St. Elizabeth ; after F. Baroccio. The Crucifixion ; do. 
The Emblems of Horace ; after Otho Venius. The Em- 
blems of divine and profane Love ; do. The Life of St. 
Thomas Aquinas; a set of several plates ; do. 

VENIUS, or VAN VEEN, Rochus, a Flemish 
painter, born at Antwerp in 1650, and died at 
Ilaerlem in 1706. He excelled in painting live 
and dead game, and birds, which he finished with 
great care. 

VENNE, Abraham vander, a Dutch portrait 
painter, born in 1586, and died in 1650. There is 
a portrait of William I. by him in the Museum at 
Amsterdam, 



■ VV fl) / ■ 




W^ 



VENNE, Adrian vander. a Dutch painter, 
born at Delft in 1589, and died at the Hague in 
1662. He studied under Jerome van Diest. He 
possessed a lively imagination, and executed many 
beautiful designs to embellish the various Dutch 
publications of his time. He also painted history, 
battles, and portraits. As he wrought with great 
facilitj', his works are very numerous and are said 
to possess considerable merit. The subjects of 
some of the most interesting are the famous bat- 
tles fought in Flanders, painted on canvass of im- 
mense size. His pictures are generally marked 
with one of the preceding monograms. There 



VENT. 



1037 



VERA. 



was a Hubert vander Venne. supposed to have 
been a relative of Adrian, who flourished at the 
Hague about the same time. He painted bas- 
reliefs, groups of children, vases, and other orna- 
ments. Also a John vander Venne, who flourished 
at Brussels. He painted landscapes, which were 
sometimes decorated with figures by Bout. 

VENTURINI, Angelo, a Venetian painter, who 
flourished in the first part of the 18th century. 
According to Zanetti, he was a pupil of Antonio 
Balestra, and painted both in oil and fresco. His 
principal works are in the church of Gesu e Ma- 
ria at Venice, of which he decorated the ceiling, 
and various portions of the walls with frescos. 

VENTURINI. Gasparo, a painter of Ferrara, 
who flourished about 1594. After having studied 
under Domenico Mona. as is conjectured by Ba- 
ruffaldi, he went to Genoa, and became the dis- 
ciple of Bernardo Castelli, whose style he fol- 
lowed. He executed some works for the church- 
es, but wrought mostly for individuals. Lanzi 
says his coloring partakes of that ideal taste so 
pleasing in the works of Castelli. 

VENTURINI, Giovanni Francesco, an Ital- 
ian engraver, and probably a painter, born at Rome, 
in or about 1619. His style of engraving strong- 
l)"- resembles that of Gio. Battista Galestruzzi, and 
it is supposed that he was a disciple of that mas- 
ter. He etched a number of plates after the 
works of the Italian masters, among which is a 
set after Polidoro da Caravaggio, from the de- 
signs of Galestruzzi. 

VENUSTI, Marcello, a painter born at M m- 
tua in 1515. According to Baglioni, he first studied 
under Pierino del Vaga in his native city, and af- 
terwards went to Rome, where his talent recom- 
mended him to the notice of Michael Angelo, who 
employed him to execute many works from his de- 
signs. Lanzi says, '' he was a young man of great 
talents, but diffident, -and probably standing in 
need of more instruction than Pierino afforded 
him ; this he afterwards received from Michael 
Angelo, whose style he adopted, without affecta- 
tion, and executed his designs in an excellent man- 
ner. He thus colored two Annunciations for al- 
tar-pieces, one of which was set up in the church 
of St. John of Lateran. and the other in Delia 
Pace. He is also said to have painted some cabi- 
net pictures after the designs of Buonarotti, as the 
Limbo* in the Colonna palace, Christ going to 
Mount Calvary, and some other pieces in the 
Palazzo Borghese, also the celebrated copy of the 
Last Judgment, which he painted for the Cardinal 
Farnese, that still exists at Naples. Although a 
good designer, and the author of many pieces, he 
obtained greater celebrity by clothing the inven- 
tions of Michael Angelo in exquisite beauty, es- 
pecially in small pictures, of which Vasari says 
he executed a great many." These copies were ex- 
ecuted on a much larger scale than the originals, 
and the beauty of his coloring and neatness of his 
finishing, won the admiration of Buonarotti, which, 
together with the fact that he employed Sebas- 
tian© del Piombo to assist him in competing with 

* Limbo, among theologians of the Koman church, is the 
place where the souls of just men, who died before the 
coming of our Saviour, and of unbaptized children, are 
eupposed to reside, and the word means here, Christ preach- 
ing to the spirits in prison, or Hades. 



Raffaelle, shows that that great artist was not so 
insensible to the advantages of fine coloring, as 
some have pretended. Venusti executed many 
works for the churches at Rome, both in oil and 
fresco, from his own designs, which are greatly ad- 
mired for the grandeur of their composition, cor- 
rectness and elegance of design, excellence of col- 
oring, and neatness of finishing. He is some- 
times called by the Italians, Mantuano. Vasari 
and Orlandi erroneously call him Raffaelle Ven- 
usti. He died in 1576. 

VERAT, Da RIDS, an engraver mentioned by 
Strutt as the engraver of a print signed Alex. Ve- 
rat, jpinx. Darius jilius sculp. These names sig- 
nify Alessandro and Dario Varotari, which see. 

VERACINI, Agostino, a Florentine painter, 
who studied under Sebastiano Ricci, whose style 
he followed. He executed some works for the 
churches at Florence and elsewhere, which, accord- 
ing to Lanzi, gained him considerable reputation. 
He died in 1762. 

VERALLI, FiLippo, a painter of Bologna, who 
was living in 1678. According to Malvasia, he 
was a disciple of Francesco Albano, in whose style 
he painted landscapes, which were greatly admired. 
Lanzi also commends him as an excellent painter 
of rural views, which are much prized in the col- 
lections. 

VERBEECK, or VERBEECQ, Philip, a Dutch 
painter and engraver, born at Haerlem, who flourish- 
ed about 1620. Little is known of him, except that 
he engraved some plates, in a style said to so near- 
ly resemble that of Rembrandt, that his prints have 
sometimes been mistaken, even by connoisseurs, 
for the productions of that master. If this be the 
case, Rembrandt was the imitator, as Verbeeck 
flourished before him, and it would seem probable 
that he was one of the several masters from whom 
Rembrandt derived instruction. There were sev- 
eral artists whose names are variously spelled as 
above, of whom little is known, but who seem to 
have flourished in the first half of the 17th cen- 
tury, and were probably of the same family. 

VERBEECK, or VERBEECQ, Peter, a Dutch 
painter born at Haerlem, who flourished about 
1640. He painted landscapes, hunting parties, 
halts of travelers, conversations, &c. He is said 
to have been one of the instructors of Philip Wou- 
werman, whose early pictures bear some resem- 
blance to his style. There are a few etchings signed 
P. C. Verbeecq, which are dated from 1619 to 1639, 
perhaps the same artist. His style is also said to 
resemble that of Rembrandt. There are also some 
prints signed G. Verbeeq. 

VERBIUS, or VERBUIS, Arnold, a Dutch 
painter, born at Dort, in or about 1646, and died 
in Friesland in 1704. He painted history, por- 
traits, and lascivious subjects, from which last cir- 
cumstance, he was called the Ldbertine. 

VERBOOM, a Dutch painter, of whom little 
is known, except from his works. He flourished 
about the middle of the 17th century, and painted 
landscapes in a style partaking of those of Water- 
loo and Both, but not so warm as the latter. His 
pictures are very rare, and little known out of his 
own country. Bartsch describes two etchings by 
him, one of which is signed F' Boom /., which 
are extremely rare. It is supposed that there are 
others, which do not bear his signature. There 



VERB. 



1038 



VERB. 



is a set of six landscapes engraved after him by 
Gronsvelt. Bartsch calls him A. H. V. Boom; 
others Abraham Verboom. He sometimes signed 
his pictures A. Verboom. His landscapes are oc- 
casionally enriched with the figures of Wouwer- 
man, or Lingelbach. There is a fine landscape by 
him, with figures preparing for the chase by Lin- 
gelbach, in the Museum at Amsterdam. 

VERBRUGGE, Andriesz Gysbert, a Dutch 
painter, born at Leyden, according to Immerzeel, 
in 1633 ; Fiiessli says he died at Delft in 1730, in 
his 77th year, which makes his birth twenty years 
later. He was a scholar of Gerard Douw, whose 
style he followed with considerable success. He 
passed some time in England, and afterwards set- 
tled at Delft, where, it is said, many of his por- 
traits and cabinet pictures are to be found in the 
collections. 

VERBRIJGGEN, or TERBRUGGEN, Henry, 
a Dutch historical painter, born at Utrecht in 
1588. After studying under Abraham Bloemaert, 
he went to Italy, where he resided ten years, chief- 
ly at Rome and Naples. His talents recommend- 
ed him to the patronage of several persons of dis- 
tinction, and he executed several works for the 
churches, one of the best of which, was a Deposi- 
tion from the Cross, in one of the principal church- 
es of Naples. On his return to his native country, 
he settled at Middleburg, where he acquired a high 
reputation. When Rubens made his tour through 
Holland, he was particularly struck with the works 
of Verbruggen. and pronounced him one of the 
ablest artists of his country. His pictures are 
well composed, correctly designed, finely colored, 
and executed with a bold and spirited pencil. His 
name is generally written Terbruggen, and the 
best authorities agree that he died at Utrecht in 
1629, but some say at Middleburg in 1640. 

VERBRUGGEN, Gaspar Peter, a Flemish 
painter of fruit and flowers, born at Antwerp in 
1668. He was the son and scholar of Peter Ver- 
bruggen, a painter of whom little is known ex- 
cept that he was director of the Academy at Ant- 
werp in 1659. After having acquired considera- 
ble reputation in his native city, he established 
himself in 1706 at the Hague, where he was em- 
ployed in conjunction with Matthew Terwesten in 
decorating the mansion of the Greffier Fagel, in 
which the figures were painted by Terwesten, and 
the festoons of flowers, fruit, and other ornaments, 
by Verbruggen. In 1708, he was elected a member 
of the Academy at the Hague. His works were 
greatly admired, and he found such abundant em- 
ployment, that in the course of a few years, he 
amassed a competent fortune, with which he re- 
turned to Antwerp, where he is said to have de- 
voted most of his time to company and amuse- 
ments, painting chiefly at night, so that he be- 
came careless, and his later productions are infe- 
rior to his earlier ones. In his manner he exhi- 
bits the loose, free, and spirited touchings of 
John Baptist Monnoyer, rather than the polished 
finishing of van Huysum, and his coloring had 
more of brilliancy than of truth and nature. He 
particularly excelled in frescos, for which his style 
and great facility of hand were adapted. His man- 
ner of painting ceilings and saloons with festoons 
of flowers and fruit, was truly grand ; and his 
coloring and grouping of objects, showed extraor- 



dinary skill and judgment, 
in 1720. 



He died at Antwerp 



^ VERBRUGGEN, Peter and Henry Francis. 
There were two sculptors and wood carvers of this 
name, who executed various excellent works, ac- 
cording to Stanley, in the cathedral and churches 
at Antwerp, as pulpits and confessionals, and 
also many of the carved decorations in numerous 
noble mansions in Belgium. The time when they 
flourished is not stated, nor has the author been 
able to obtain any definite information concerning 
them. It is probable that their works were all 
of a decorative character, and executed in wood. 
During the civil commotions, some of them were 
sold, and sent to England. 

VERCELLESI, Sebastiano, a pamter born at 
Reggio, who was living in 1650. According to 
Tiraboschi, he was a disciple of Lionello Spada, 
and executed some works for the churches of his 
native city, but was mostly employed by indivi- 
duals. He was a reputable follower of his mas- 
ter's style. 

VERCELLI, Fra Pietro da, an old painter of 
the Milanese school, who, according to Delia Valle, 
flourished at Vercalli about 1466. There is aii 
altar-piece by him in the church of S. Marco, in 
that city. 

VERCHIO. See Civerchio. 
VERCRUYS. See Kruger. 

VERDIER, FRAN901S Du, a French historical 
painter, designer, and engraver, born in 1651, and 
died in 1730. He studied under Charles le Brun, 
and copied many of the works of his master, by 
which he is better known than by his original 
compositions. His drawings in black and red 
chalk, heightened with white, in which he appears 
to have copied or imitated those of his master, are 
numerous in France. He also engraved some 
plates after le Brun, and others after his own de- 
signs. He is sometimes called van Hawken, for 
what reason is not mentioned. 

VERDIZZOTTI, Giovanni Maria, a Venetian 
painter, poet, and disciple of Titian, was born at 
Venice in 1525, and died there in 1600. According 
to Ridolfi, he was an intimate friend of Titian, who 
instructed him and took every pains to make him 
a proficient in the art. He excelled in painting 
landscapes in the style of his master, usually of 
small size, which he enriched with figures repre- 
senting some subject of history or fable. He 
showed Titian every mark of respect and affec- 
tion, and acted as his secretary when he had oc- 
casion to correspond with persons of high rank. 
He translated the ^neid and Ovid's Metamorpho- 
ses into Italian, and on the death of Titian, wrote 
a Latin poem in honor of his memory. Lanzi 
says, "he was one of Titian's literary friends, who 
painted, under his direction, several landscapes 
which are much esteemed in different collections, 
where they are extremely rare." 

VERDOEL, Adrian, a Dutch painter, born at 
a small village on the Meuse, in or about 1620. and 
died at Flushing in 1681. He is said to have first 
studied under Leonard Bramer ; next one of the 
de Wittes, and lastly Rembrandt, whose manner 
he followed. His design was more correct, and 
his compositions more elevated, than those of 
Rembrandt, but in harmony of coloring, and in 



VERB. 



1039 



VERG. 



the eifect of the chiaro-scuro, he was far inferior 
to him. His works are very rare, as he quitted 
painting for commercial pursuits. 

VERDUSSEN, John Peter, a painter who 
flourished from about 1743 to 1763, when he is 
supposed to have died. He painted hunting pieces, 
cavalcades, horse-fairs, and other subjects, in which 
animals form the principal objects, in a style of ex- 
cellence. There are some of his works in the Mu- 
nich collection, 

VERELST, Simon, a Flemish painter, born at 
Antwerp in 1664. It is not known under whom 
he studied, but he painted flowers and fruit ex- 
quisitely. He went to England earl)'^ in life, in the 
reign of Charles H., where his works were ex- 
tremely admired, and he gained abundant employ- 
ment. He sometimes painted history, and oftener 
portraits ; in which the beauty of the flowers al- 
ways so entirely eclipsed the figures that they 
passed for flower-pieces. His conceit was un- 
bounded. He called himself the king of painters, 
and used to exhibit an historical piece on which 
he had labored many years, and to boast that '• it 
contained all the several manners and excellencies 
of Rafiaelle, Titian, Rubens, and Vandyck." He 
died in 1710. 

VERELST, Hermann, is said to have been the 
elder brother of the preceding. He also excelled in 
painting fruit and flower-pieces. He went to Rome, 
and afterwards settled at Vienna, where he appears 
to have resided many years, till 1683, when that 
city being besieged by the Turks, the success of 
his brother induced him to go to England, where 
he remained till his death in 1700. 

VERELST, Cornelius, was the son of Her- 
mann, born at Vienna in 1667. He studied with 
his father, accompanied him to England, and paint- 
ed similar subjects with success. 

VERELST, Maria, was the daughter of Her- 
mann, and is said to have been born at Vienna in 
1630, evidently an error of more than forty years. 
She studied with her father, but was chiefly in- 
debted to the instruction of her uncle Simon, with 
whom she chiefly resided, for her proficiency in 
art. She excelled in painting portraits of a small 
size, which were admired for the delicacy of her 
touch; and the neatness of her finishing. She was 
an accomplished musician, performed on several 
instruments, and spoke and wrote the German, 
Italian, French, English, and Latin languages with 
fluency and elegance. 

VERELST. See Verhelst. 

VERENDAEL, N., a Flemish painter, born at 
Antwerp in 1659. It is not known under whom he 
studied, but he painted fruit and flower pieces in an 
exquisite manner, in which he appears to have emu- 
lated the delicate finishing of Abraham Mignon. 
His compositions exhibit both genius and judg- 
ment, and show that he studied everything after 
nature. His works are esteemed next to those of 
Mignon and van Huysum, and are to be found in 
the choicest collections of his country. His flower 
pieces are preferred to his pictures of fruit. He 
died in 1717. 

VEREYCKE, Hans, a Flemish painter, born at 
Bruges in 1510. He painted landscapes in an 
agreeable and masterly style, and also portraits 
with considerable reputation. He was called by 



his cotemporaries Little John. He is supposed to 
have died in or about 1569. 

VERGARA. Nicolas de, the Elder, a Spanish 
painter and sculptor, born at Toledo about 1510. 
His works are chiefly to be found in the cathedral 
of Toledo, where he directed the works in paint- 
ing and sculpture for thirty-two years, after 1542; 
and they are commended for an elevated taste of 
design, good taste in the accessories, and beauty 
of the forms. Vergara also executed a part of 
the paintings on glass in the same edifice, which 
were continued and completed by his sons, Nicolas 
and Juan, after his death in 1574. 

VERGARA, Juan de, the son and scholar of the 
preceding, was born at Toledo about 1540. He dis- 
tinguished himself as a painter, sculptor, and archi- 
tect, and assisted his father and brother in executing 
the glass paintings in the cathedral, which occupied 
about forty years. He succeeded his father as di- 
rector of the works in painting and sculpture in 
that edifice. Vergara contracted a close intimacy 
with El Mudo, who is said to have expired in his 
arms. He died at Toledo in 1606. 

VERGARA, Jose, a Spanish painter, was born 
at Valencia in 1726, At a very early age he man- 
ifested a strong inclination for art, and the Bio- 
graphie Universelle states that he competed in 
the school of Evaristo Munoz for the prize offered 
for the best drawing after the living model, when 
only seven years old. He formed his style from 
the prints of Spagnoletto, and is also said to have 
studied the works of Coypel and Paolo de Matteis. 
His portraits are very numerous, and he painted 
many pictures for the churches of Valencia and 
the cities of that province, in oil, fresco, and dis- 
temper, generally characterized by correct design 
and excellent coloring. Among the most remarka- 
ble, are mentioned the Conception of the Virgin, in 
the Library of the convent S. Francisco at Valencia j 
and a picture of Telemachus and Mentor, placed 
in the Academy of that city, and afterwards trans- 
ferred to the Academy of S. Ferdinando. Vergara 
was chosen director of the Academy of San Carlos 
at Valencia, and discharged the duties of that oflfice 
until his death in 1799. 

VERGAZON, Henry, a Dutch painter of land- 
scapes and ruins, who went to England in the 
reign of William III., where he was chiefly em- 
ployed by Sir Godfrey Kneller, in painting the 
backgrounds to his pictures. He sometimes paint- 
ed portraits of a small size. 

VERHAECHT, Tobias, a Flemish painter, born 
at Antwerp in 1566. After studying in his na- 
tive city and acquiring considerable reputation, he 
went to Italy for improvement. He resided some 
time at Florence, where his talents recommended 
him to the patronage of the Grand Duke of Tus- 
cany, for whom he painted several large landscapes 
and views. He next went to Rome, where his works 
were much admired. On his return to Flanders, 
he acquired a brilliant reputation, and was con- 
sidered one of the ablest landscape painters of his 
time, Rubens testified to his merit, and used to 
say that Verhaecht was his first and best instruc- 
tor in that branch of the art. His scenery is 
grand and extensive, and he exhibited a more per- 
fect acquaintance with aerial perspective than any 
of his cotemporaries. He frequently embellished 
his pictures with the ruins of ancient edifices, which 
he had designed during his residence in Italy. As 



VERH. 



1040 



VERH. 



he was not so successful in designing figures, he 
usually employed the eminent painters of his 
time, particularl}" Franck, to insert them in his 
pictures. He died in 1631. 

VERHAGHEN, Peter Joseph. This historical 
painter was born at Aerschot, in South Brabant, in 
1728, according to Immerzeel ; although Balkema 
places his birth in 1720. The account of his life is 
contradictory, since it is stated that he studied 
under Kerckhove and Besschey, whereas the for- 
mer died in 1724, and the latter was born in 1739. 
Verhaghen applied himself with great assiduity, 
and attained sufficient excellence to gain the pat- 
ronage of Prince Charles of Lorraine. It would 
appear that he practiced the art for a number of 
years at Louvain, a city not far from his native 
place, and painted many pictures remarkable for 
their coloring. At the expense of the government 
he visited France, Sardinia, and Italy ; and while 
sojourning at Rome he painted two pictures which 
attracted much attention, representing Christ 
crowned with Thorns, and Christ with the Dis- 
ciples at Emmaus. The latter was greatly ad- 
mired for its rich composition and beautiful col- 
oring, and gained for the artist an audience with 
the Pope, Clement XIV., who presented him with 
two gold medals. Verhaghen afterwards visited 
Vienna, and was patronized by the Empress 
Maria Theresa, to whom he presented his pic- 
ture of Christ at Emmaus, placed in her Majes- 
ty's bed-chamber. She presented him with a gold 
snuff-box, and appointed him her principal painter; 
but these favors did not induce him to remain 
long at Vienna, and he accordingly returned to 
Louvain in 1773, where the citizens honored him 
with a general reception. Verhaghen painted with 
great rapidity, and executed many works for the 
churches and convents of his country, which, though 
finely colored, were often defective in drawing and 
finishing. He died in 1811. 

VERHELST, orVERELST, Egidius or Giles, 
a German sculptor and engraver, was the son of a 
Bavarian sculptor, and born in that kingdom in 
1742. He is said to have followed the profession 
of a sculptor for several years in various German 
cities ; but none of his works are mentioned, and 
he probably gained greater distinction in the theo- 
retical branch of the art, as he was appointed Pro- 
fessor of Design in the Academy at Manheim. It 
appears that he also practiced engraving, but being 
desirous of further improvement, he visited Paris, 
and studied under J. G. Wille. On returning to 
Germany, he settled at Munich, and engraved va- 
rious portraits and other subjects, in the neat and 
finished style of his instructor. Among them are 
the portraits of the Electors of Bavaria and of 
Treves ; a set of five plate's for a translation of 
Tasso's Jerusalem ; and Two Heads, characteris- 
tic of Innocence and Simplicity, for the work of La- 
vater. 

VERHELST, Peter or Paul, a Dutch painter, 
born about 1614. Little is known of him. He 
painted familiar subjects, in which he imitated the 
styles of Douw, Mieris, and Slingelandt, with con- 
siderable success. One of his pictures is signed 
P. Verhelst, 1659. 

VERHEYDEN, Francis Peter, a Dutch paint- 
er, born at the Hague in 1659. He followed the 
profession of a sculptor till he was about forty 



years old, and was one of the artists employed 
In modeling the figures and ornaments for the 
triumphal arches erected on the public entry of 
William III. into that city in 1691. Soon after 
this, while associating with some artists who 
were employed with him at the King's palace at 
Breda, he tried his hand at painting, and with such 
success that he was induced to abandon sculpture 
and devote himself entirely to painting, against the 
advice of all his friends. Being captivated by the 
works of Francis Snyders. he made them his 
model, and by assiduous application was soon able 
to paint similar subjects, such as huntings of wild 
boars, stags, and other animals, in a style of such 
excellence as surprised ever}^ body. His pictures 
are ingeniously'' composed, correctl}^ designed, and 
executed with a freedom and spirit little inferior 
to the distinguished artist he adopted as his model. 
His coloring was good, and he acquired a freedom 
of touch and a boldness of penciling that is sur- 
prising when we consider the late period of life 
at which he commenced painting. He also excel- 
led in painting fowls and dead game in the man- 
ner of Hondecooter, and he touched the plumage 
with a lightness and truth almost equal to that 
master. His pictures are scarcely known out of 
his own country, where they are found in the 
choicest collections. He died in 1711. 

VERHEYDEN, Matthew, was the son of the 
preceding, born at Breda in 1700. His father 
dying when he was eleven years old, he studied 
successively under Michael Carre, Terwesten, and 
Netscher. He afterwards went to the Hague, and 
studied portraiture under the Chev. Karel de Moor. 
Little more is known of him, except that he is said 
to have practiced portrait painting with a success 
that enabled him to live in comfort, and to acquire 
a competent fortune. 

VERHOEK, Peter Cornelius, a Dutch paint- 
er, born at Boodegraven in 1642, according to the 
best authorities, though some say in 1633, which 
last date is evidently an error, as he studied under 
Abraham Hondius at Rotterdam, who was born 
in 1638. Orlandi calls his name Verhuik, say- 
ing that he was born at Rotterdam in 1648, and 
that he was living in 1718. After acquiring 
considerable reputation as an able designer of 
animals, he went to Italy, and stopping at Bo- 
logna, he was so captivated with the works of 
Borgognone, that he studied them incessantly, 
and distinguished himself as a painter of battles 
and skirmishes of cavalry in the style of that 
master. He afterwards visited Rome, Naples, and 
other cities, and his works were everywhere great- 
ly admired. He painted both in large and small 
size ; his figures and horses are correctly designed, 
and touched with great spirit and animation ; his 
coloring is lively and full of force. He also painted 
landscapes in a pleasing style, which he decorated 
with small figures in the manner of Callot. Lanzi 
says, •• Cornelio Verhuik of Rotterdam was also 
a pupil of Cortese (Borgognone), and resided sev- 
eral years at Bologna. Besides his battle-pieces 
in his master's manner, displaying strong and vivid 
coloring, he painted in the Flemish style, markets, 
fairs, and landscapes, which he enlivened with small 
figures like those of Callot." It is evident that 
Cornelio Verhuik of the Italians is the same as 
Peter Cornelius Verhoek of the Dutch, and not a 



VERH. 



1041 



VERM. 



different artist, as some have supposed. He seems 
to have passed most of his life in Italy. 

VERHOEK, Gysbert (Gilbert), was the bro- 
ther of the preceding, born at Boodegraven in 
1644. He first studied under Adam Pynaker, but 
he did not follow his style. He is said to have 
studied afterwards with his brother, and to have 
painted similar subjects with success, though it is 
not known that he ever went to Italy. He painted 
battles, marches of cavalry, and encampments. 
He particularly excelled in drawing the horse in 
every action and attitude, and his pencil was very 
animated and peculiarly adapted to the subjects 
he painted. He was remarkably studious to im- 
prove himself, and took great pains to make nu- 
merous sketches of men and horses in ditterent 
motions, actions, and attitudes, to introduce into 
his compositions. His works are little known out 
of his own country, where they are frequently met 
with in the collections. He died in 1690. 

VERHULST. Peter, a Dutch painter, born at 
Dort. Little is known of him. He is said to 
have studied under William Doudyns, and to have 
painted fruit, flowers, and insects, in the style ol 
Otho Marceliis. 

VERKOLIE, John, a Dutch painter and en- 
graver, born at Amsterdam in 1650. He was the 
son of a locksmith, who brought him up to his 
own business till he was twelve years of age, 
when he met with an accident which confined him 
to his bed for three years. It was during this 
painful and tedious confinement that he discover- 
ed a genius for painting by amusing himself in 
copying prints, in which he showed great talent. 
After his recovery he was placed under the instruc- 
tion of John Elevens, but he remained with him 
only about six months, and further improved him- 
self by studying and copying the works of Gerard 
Pietersz van Zyl, whose works were then held in 
high estimation, and whose style he imitated so 
successfully as to be able to complete some of the 
unfinished works of that master. He painted his- 
torical subjects and conversations, which, though 
somewhat defective in design and deficient in ele- 
gance and grace, are well colored and executed 
with a neat, tender, and delicate pencil. He how- 
ever chiefly excelled in painting portraits of small 
size, which were admired. Verkolie was one of 
the earliest engravers in mezzotinto in Holland, 
and executed some portraits and other subjects 
from his own designs, and after other masters. 
He died in 1693. 

VERKOLIE, Nicholas, the son of the pre- 
ceding, born at Delft in 1673. He studied un- 
der his father, and for some time painted small 
portraits and domestic subjects in his style, but 
afterwards applied himself to historical painting, 
and distinguished himself as one of the ablest ar- 
tists of his time. Among his most esteemed works 
are three pictures formerly in the collection of M. 
de Neufville at Amsterdam, representing Moses 
rescued from the Nile, David and Bathsheba, and 
Peter denying Christ. His composition is simple 
and judicious, his design is more correct and 
graceful than is usual with the artists of his coun- 
try ; his coloring is tender and harmonious, and 
his pencil is firm, though delicate. His works are 
found in the choicest collections of his country, 
where they are deservedly admired. He some- 
times painted night pieces, to which he gave a sur- 



prising effect. He also excelled in designing and 
drawing in India ink. He likewise distinguished 
himself as an engraver in mezzotinto, and carried 
that art to a much higher degree of perfection than 
his father. He engraved quite a number of por- 
traits and other subjects from his own designs and 
after the Dutch masters. He died at Amsterdam 
in 1746. 
VERMEER, John. See Meer. 

VERMEULEN, Cornelius, a Flemish engrav- 
er, born at Antwerp in 1644. It is not known 
under whom he studied, but he went young to 
Paris, where he passed some time. He afterwards 
returned and settled in his native city, where he 
executed with the graver in a neat clear style, a con- 
siderable number of portraits. He also engraved 
some historical subjects, but these are inferior to 
his portraits, as the drawing is incorrect. The fol- 
lowing are his most esteemed prints : 

PORTRAITS. 

Anne Boleyn, Queen of Henry VIII. ; engraved for 
Larrey's History. Catherine Howard ; do. Catherine 
Parr ; do. Lady Jane Grey ; do. Robert, Earl of Leices- 
ter ; do. Oliver Cromwell ; do. William III. ; do. Maria 
Louisa of Orleans ; after Rigaud. Philip V. of Spain ; 
after Vivien. Maximilian Emanuel, Elector of Bavaria ; 
do. Louis de Luxembourg, Marshal of France ; after 
Rigaud. Maria Louisa de Tassis ; after Vandyck. Pe- 
ter Mignard, Painter ; from a picture by himself. Nich- 
olas vander Borcht. Painter ; after Vandyck. 

SUBJECTS, 

Bacchus and Erigone ; after Guido ; for the Crozat 
Collection. Mary of Medicis escaping from the city of 
Blois ; after the picture by Rubens, in the Luxembourg 
Gallery. 

VERMEULEN, Cornelius, a Dutch painter 
of little note, born at Dort in 1732, and died there 
in 1813. He was a good colorist, and chiefly oc- 
cupied himself in copying the works of the Dutch 
masters. He was also a restorer and dealer in 
old paintings. 

VERMEULEN, Andrew, the son of the pre- 
ceding, born at Dort in 1763, was instructed by 
his father, and painted landscapes with figures, 
horses, and cattle, in a lively and pleasing style. 
He also painted winter scenes with figures skating 
and amusing themselves on the ice. He died in 
1814. 

y^ VERMEYEN, or MAYO, John Cornelius, 
(Lja Dutch painter, born at Beverwyck, near 
'^ Hacrlem, in 1500. He was the son of an 
obscure painter named Cornelius V., who proba- 
bly instructed him in the art. The Emperor 
Charles V. appointed him his principal painter, 
and honored him with many marks of his parti- 
cular esteem. He attended that monarch in all 
his expeditions, was present at all his battles and 
sieges, and designed on the spot all the fortified 
places attacked, the different encampments of the 
army, and every memorable action of the whole 
war by sea and land. In 1535 he was present at 
the siege and capture of Tunis, and made designs 
of the principal events, from which he afterwards 
executed cartoons for the tapestry to adorn the 
Escurial. He was remarkable for having a long 
beard, which he is said to have cultivated with 
such care that it grew down to his feet, and the 
Emperor in his merry moods would tread upon 
it ; hence he was called Johannes Barbatus, Bar- 
balonga, BarbatOj and other significant names. 



VERM. 



1042 



VERN. 



He is said to have been skilled in mathematics, 
geometry, and architecture. Most of the works he 
executed while in the service of the Emperor, are 
supposed to have perished in the conflagration of 
the Prado. He passed the latter part of his life 
at Brussels, where he executed several works for 
the churches and public edifices, which are highly 
commended by Vanmander. There are two pic- 
' tures by him in the church of St. Gery, represent- 
ing the Nativity and the Resurrection. He was 
likewise a good portrait painter. 

Vermey en was ateo an engraver. Brulliot claims 
the credit of being the first to notice him as such, 
and he describes four prints by him, marked with 
the above monogram, which he says properly sig- 
nifies Joh7i Cornelisz. They are of small size ; 
three are dated 1545, and one, 1546. They repre- 
sent the Virgin and Child, accompanied by an an- 
gel ; a Man duped, a composition of several half- 
length figures ; a young Woman with a Cat, half- 
length profile ; a young Woman seated on a Couch, 
apparently sewing. He died in 1559. 

VERMIGLIO, Giuseppe, a painter born at Tu- 
rin, who was living in 1675. Little is known of 
him except by his works. Lanzi regards him as 
one of the ablest artists of the Piedmontese school. 
He highly commends his picture of Daniel in the 
Lion's Den, in the Library della Passione at Mi- 
lan, and says that " for correctness of design, beau- 
tiful forms, expression highly studied, and colors 
warm, varied and lucid, it is one of the most valu- 
able pictures painted at Milan since the time of 
Gaudenzio Ferrari. From the imitative style of 
the heads it is evident that he studied the Caracci, 
and was not a stranger to Guido, but in coloring 
he seems to have imitated the Flemish artists. It 
is improbably reported at Milan, perhaps from re- 
semblance of style, that he instructed Daniello Cres- 
pi. I consider him as the finest painter in oil that 
the ancient state of Piedmont can boast, and as one 
of the best Italian artists of his day. Why he 
painted so near Turin, and yet had no success in 
that city, and why he was not distinguished by 
his own sovereign, though well received at the 
court of Mantua, I have not been able to discover." 
He executed several other fine works for the 
churches at Milan. Mantua, Alessandria, and No- 
vara. He enriched the backgrounds of his pic- 
tures with beautiful landscapes, or magnificent 
architecture. Thus, his Daniel in the Lion's Den 
is enriched with architecture in the style of Ve- 
ronese, and his Christ and the Woman of Sama- 
ria, in the Refectory of the P. P. Olivetani at Al- 
essandria, is decorated with a beautiful landscape 
and a magnificent view of the city of Samaria in 
the distance. The latter is supposed to be one of 
his last works, and is dated 1675. 

VERNET, Claude Joseph, a celebrated French 
marine and landscape painter, was born at Avig- 
non in 1714. According to Fiorillo, at the age 
of five years he manifested great skill in drawing. 
After receiving instructions from his father An- 
toine Vernet, he visited Rome at the age of eighteen, 
afid commenced studying under Adrian Manglard. 
The beautiful views of Genoa, Naples, and other 
parts of Italy, served to develope his talent, and 
are said to have determined him to fix upon ma- 
rine landscape as his principal study. He subse- 
quently studied with Bernardino Fergioni, and 
soon attained a high degree of excellence. For 



some time he lived in great poverty, glad to paint 
for the slightest remuneration ; he executed a piece 
for a suit of clothes, which brought 5000 francs at 
the sale of the collection of M. de Julienne. He also 
painted several panels for coach-builders, which 
were subsequently taken out, and framed as works 
of great value. Vernet remained in Italy twenty 
years, including some time spent in Greece and the 
Greek islands ; and made elaborate sketches of 
many of the most interesting and beautiful spots 
on classic ground. He painted a great variety of 
landscapes, sea-views, and other marine subjects, 
which gained him great reputation. They possess 
the beauty and freshness of nature, and are excel- 
lent in every respect, but mostly in the admira- 
ble management of light and shade, and aerial per- 
spective. He was deficient only in a knowledge 
of the rigging and construction of ships ; his fig- 
ures are arranged with unusual taste, remarkably 
well drawn, and touched with great neatness and 
spirit. His moonlight effects are admirable, and 
likewise his representations of water, particularly 
when agitated and boisterous. The pictures paint- 
ed by Vernet in Rome, for the palaces Rondanini, 
Borghese, and Colonna, are among his best works ; 
those in the Palazzo Rondanini were executed 
much in the style of Salvator Rosa, whom he im- 
itated with great success ; but he afterwards for- 
sook Salvator's manner for one as conspicuous for 
its delicacy of coloring as the other was for its 
force. 

In 1743, Vernet was chosen a member of the 
Academy of St. Luke ; and about the same time 
he married Miss Parker, the daughter of an Eng- 
lish Roman Catholic, who was an officer in the 
Pope's marine. His reputation at length reached 
France, and he was invited to Paris in 1752, by 
Louis XV. Embarking at Leghorn in a small 
felucca, he sailed to Marseilles. A violent storm 
happened on the way, which terrified some of the 
passengers J but Vernet, struck with the grandeur 
of the scene, requested the sailors to bind him to 
the mast-head ; and there he remained, absorbed 
in admiration, and endeavoring to transfer the 
scene to his sketch-book. His grandson, Horace 
V=. painted an excellent picture of this scene, and 
exhibited it at the Louvre in 1816. About 1753, 
Vernet was chosen a member of the French Acad- 
emy, and presented for his reception piece a Sea-port 
at Sunset, which is now in the Louvre. In the 
same year he was commissioned to execute pic- 
tures of the principal sea-ports of France, of which 
he painted fifteen views, occupying him ten or 
twelve years. These works are of large size, and 
are now in the Louvre; but he was only paid 
7500 francs each, including his traveling expenses. 
In 1766 he was elected one of the Council of the 
Academy, and Louis XV. gave him apartments in 
the Louvre. From 1752. when he returned to 
France, until his death in 1789, Vernet painted up- 
wards of 200 pictures, mostly from his designs 
made in Italy, which were held in the highest es- 
timation. His extraordinary talents enabled him 
to surpass every landscape painter in Europe, 
Richard Wilson being the only one who disputed 
the palm with him. They had become acquainted 
in Rome, and exchanged pictures ; Vernet kept 
Wilson's in his studio at Paris, and is said to have 
remarked to English connoisseurs who visited hira, 
that they had no occasion to come to him for pic- 
tures when they had such a painter at home. 



VERN. 



1043 



VERN. 



There are a few neat and spirited etchings by him, 
among which are a Landscape, with a Bridge and 
part of a Village; a Shepherd and Shepherdess; a 
View of a market-place ; and a Canal, with Fish- 
ermen. 

VERNET, Antoine Charles Horace, a dis- 
tinguished French painter, the son of Claude Jo- 
seph v., was born at Bourdeaux in 1758. He 
studied the art under his father, and at the age 
of seventeen gained the second prize in the Acad- 
emy of painting. In 1782 he gained the grand 
prize, which entitled him to a residence in Italy, 
with the royal pension. After spending some 
time in Rome, he returned to Paris, and in 1787 
was made a member of the Academy. Vernet 
excelled chiefly in battle and parade pieces of large 
dimensions, in which he commemorated the bat- 
tles of Rivoli, Marengo, Austerhtz, Wagram, the 
Departure of the Marshals, and many other events 
of French history, which occurred during his ar- 
tistical career. More pleasing to many are his 
smaller scenes, mostly referring to battles and 
camps ; and there are also numerous small eques- 
trian portraits b}'' him, showing unusual skill in 
depicting the horse. His studies from nature, and 
his hunting pieces, especially the lithographical 
ones, are much sought after by connoisseurs, poss- 
essing a vivacity and boldness of conception, in 
which his only rival was his eminent son Horace, 
the following artist. The twenty-eight plates in 
folio, illustrating the campaign of Bonaparte in 
Italy, are esteemed among his most successful ef- 
forts. Vernet was made a Chevalier of the Legion 
of Honor, and the Order of St. Michael. He died 
in 1836. Many of his pictures have been lith- 
ographed. 

VERNET, Horace. This eminent French bat- 
tle painter of the present century, the son of 
Antoine Charles Horace V., was born at Paris, in 
the Louvre, in 1789. In early youth he manifest- 
ed a strong inclination for art, and received his 
chief instruction from his father. He was obliged 
for some time to perform all kinds of illustrative 
work, in order to obtain a subsistence, and having 
failed in obtaining the grand prize, he turned his 
attention to that department of art for which he 
felt himself best adapted — the incidents of the 
camp and field. His pictures of the Taking of a 
Redoubt, the Dog of the Regiment, the Battle of 
Tolosa, the Barrier of Clichy, or Defence of Paris 
in 1814, (both of which last, exhibited in 1817, 
now hang in the Luxembourg gallery), besides 
many more, followed in quick succession, keeping 
up continually and incessantly, the public admira- 
tion. The critics violently opposed him, but the 
truth and spirit of his productions gained great ad- 
miration from the people. His pictures of the 
Battles of Jemmapes, Valmy, Hanau, and Mont- 
mirail, executed about 1820, were more satisfac- 
tory as works of art. than some others of his ear- 
lier works, particularly the Massacre of the Mame- 
lukes, and they approach much nearer to historical 
painting. The details are executed rapidly, but 
with care and fidelity, the generals and personages 
in the front are speaking portraits, the whole scene 
is full of appropriate life and action, impressing 
the beholder with a most accurate and vivid con- 
ception of the event. 

Vernet, from the first, paid little attention to 
the antique, and united his influence with that of 
the innovators against the school of David. It 



was perhaps for these reasons that his works were 
refused admission into the Louvre in 1822. Ac- 
cordingl}'-, he made an exhibition room of his ate- 
lier, and admitted the public to a numerous col- 
lection. In 1826, however, he was chosen a mem- 
ber of the Institute, and in 1830, director of the 
Academy at Rome. In the latter capacity he vis- 
ited Italy for the first time, and resided five years 
among the works of the best masters. Inspired 
with ideas which he had not hitherto been able to 
gratify, he commenced studying those great pro- 
ductions, and sent a Jndith and Holofernes to the 
Paris exhibition of 1831 ; but it obtained little suc- 
cess. His picture of the Arresting of the Princes 
at the Palais Royal, by order of Anne of Austria, 
was much better received, and was placed in the 
Palais Royal by order of the King. Vernet also 
produced various other works while at Rome, but 
on returning to Paris in 1835, he found the public 
favor still turning to his usual and best subject, 
the French soldier life. Accordingly he recurred 
to his original study, and exhibited in the follow- 
ing year his battle pieces of Friedland, Wagram. 
Jena, and Fontenoy, in which were apparent all 
his usual excellencies. The Algerian war at this 
time afforded him an admirable opportunity of ex- 
hibiting his talents, and a whole gallery at Ver- 
sailles was set apart to be decorated by his pencil, 
called the Constantine Gallery, after the most im- 
portant feat yet performed by the French troops 
in Africa, the capture of the town of Constantine. 
For this he depicted many scenes from the Alge- 
rian war, besides various military events which 
occurred in Europe during the reign of Louis 
Philippe, such as the Occupation of Ancona, and 
the Entry of the Army into Belgium. The Ta- 
king of the Smalah, from the Algerian war, pre- 
served in this gallery among many other of his 
works, is said to be the largest canvass in exist- 
ence. There are also in the Gallery of French His- 
tory at Versailles, several others by him, as the 
Battle of Bouvines, Charles X. reviewing the Na- 
tional Guard, and Marshal St. Cyr. These latter 
works are said to illustrate the peculiar excellen- 
cies of the artist, as well, if not better, than any 
others, being full of that vivacity, energy, and 
truthfulness, which he so eminently displays, 
Vernet's powers of memory were most remark- 
able, so that he rarely employed the model, and 
generally wrought out his subject at once in the de- 
finitive size, without making a smaller sketch be- 
forehand, and painting with a rapidity that is truly 
wonderful. His knowledge of military tactics is 
unmistakeable. particularly in giving prominence 
to the chief aim of the victorious army, and for 
indicating the event of the battle by the move- 
ments of the lines. His domestic scenes, rural 
feasts, huntings, and caverns of robbers, are also 
much esteemed, and all his works are the more im- 
pressive on account of their perfect freedom from 
afiectation. There are many of them in the pub- 
lic galleries and private collections throughout Eu- 
rope, and the sketches for Dupont's magnificent 
edition of the Henriade, published in 1824, were 
also from his fertile pencil. 

In 1850, Vernet started to Rome, for the purpose 
of making the necessary sketches for a finished 
picture of the siege of that city, which was intend- 
ed to be much larger than any of his former works. 
He is living at this time, (1852,) aged 63. 

VERNICI, Giovanni Battista, a Bolognese 



VERN. 



1044 



VERO. 



painter, who was brought up, according to Malva- 
sia, in the school of the Caracci. He painted history 
with considerable reputation, and was appointed 
principal painter to the Duke of Urbino, in whose 
service he died in 1617. His principal works are 
in the churches of Pesaro and Urbino. He was 
also a good portrait painter. 

VERNIGO, GiROLAMO. a painter born at Vero- 
na, who died of the plague in that city in 1630. It 
is not known under whom he studied, but Lanzi 
ranks him among the eminent landscape painters 
of the Venetian school. He says " he was parti- 
cularly celebrated in his native city for the beauty 
of his landscapes, for which reason he was called 
Girolamo da' PaesV^ See PaesL 

VERNIQUET, Edme, a French architect, was 
born at Chatillon on the Seine, in 1727. After 
completing his studies at Dijon, he commenced 
practicing his profession, and erected many church- 
es, chateaux, bridges, and various other works 
throughout Burgundy, which surpass in taste and 
solidity all the other works in the province of 
that period. He also executed various works in 
Maine and Poitou, and finally settled at Paris in 
1774. Appointed architect of the Royal Gardens, 
he carried out the projects conceived bj'- Buffbn, 
elevating them to their subsequent height of mag- 
nificence. Verniquet was engaged for many years 
upon a plan of the city of Paris, which was pub- 
lished in 1796, in a grand atlas of seventy -two 
sheets. It is a work of great beauty and merit, 
highly praised by Lalande, (Bibliogr. Astrono- 
mique, 694.) He died in 1804. 

VEROCCHIO, Andrea, a celebrated Italian 
painter, sculptor, and goldsmith of the fifteenth 
century, was born at Florence in 1432. Vasari 
says he had little genius, but was the most labo- 
rious man of his time ; Baldinucci makes him a 
scholar of Donatello. He first distinguished himself 
as a goldsmith, both at Florence and Rome ; he 
then devoted himself solely to sculpture in bronze 
and marble. His first work in marble was a monu- 
ment in the Minerva at Rome, to the wife of Fran- 
cesco Tornabuoni, which is now in the Floren- 
tine Gallery, and exhibits good expression in 
the figures, but very imperfect execution. His 
next work was a colossal bronze figure of David, 
now also in the Florentine Gallery. Verocchio 
executed several other works in metal, by which 
he acquired great reputation ; the principal were 
the monuments in San Lorenzo, of Giovanni and 
Pietro, the sons of Cosmo de' Medici ; and the In- 
credulity of St. Thomas, in the church of Or 
San Michele at Florence, finished in 1483 ; it is a 
colossal group of two figures, weighing 3981 
pounds, and for which, according to Baldinucci, he 
was paid 476 gold florins, although Manni, in a 
note appended to that authority, says 800 heavy 
florins. According to Vasari, Verocchio left nothing 
to be wished for in this work ; and having attain- 
ed perfection in sculpture, he began to turn his at- 
tention to painting. 

His practice in sculpture had made Verocchio an 
able designer ; his academy was frequented by 
many disciples, among whom were Pietro Perugino 
and Lionardo da Vinci. He painted very few pic- 
tures, however, and finally relinquished painting 
upon finding himself surpassed by Lionardo da 
Vinci, whom he had ordered to paint the figure of 
an angel, in a picture of the Baptism of Christ by 



St. John. The work of the j^outh so greatly ex- 
celled that of Verocchio, that the latter thencefor- 
ward devoted himself to sculpture. Vasari men- 
tions many designs and cartoons by him, some of 
which were copied and imitated by da Vinci. 

Verocchio's fame having reached Venice, he was 
called to that city to cast an equestrian statue ot 
Bartolomeo CoUeoni, the celebrated general, but 
having completed the model of the horse, he 
was informed that Vellano of Padua was to exe- 
cute the figure of the general ; whereupon he was 
so greatly ofiended, that he immediately broke the 
head and feet of his horse, and quitted Venice 
without giving any notice to his employers. This 
independent spirit so exasperated the signory of 
Venice, that they wrote to Verocchio, and told him 
he had better not return to Venice, if he valued his 
head ; and the artist replied that he should be 
mindful of their admonition, for they were as little 
capable of restoring him his head as they were of 
finding another head sufficiently beautiful for his 
horse ! They now earnestly solicited his return, jj 
promising him twice the remuneration formerly I 
agreed to ; he therefore returned and cast his mo- ^' 
del, but caught cold in the casting, and died a few 
days afterwards, before the statue was quite com- 
pleted, in 1488. This work was finished by Ales- 
sandro Leopardi, who cast the pedestal, and fixed 
it in its present position in the Piazza di Santi 
Giovanni e Paolo, in the year 1495. Verocchio's 
remains were taken by his favorite scholar Lorenzo 
di Credi to Florence, and were deposited in the 
vault of Michele di Clone, in the church of S. Am- 
brogio. The following inscription is over the vault : 
S. (for Sepulchrum) Michaelis de Cionis et Suo- 
rum etAndrae Verocchi,Jilii Dominici Michaelis, 
qui ohiit Venetiis m. cucc. lxxxviii. 

Verocchio had many distinguished scholars in 

sculpture, as well as in painting ; among them 

I were Lorenzo di Credi, Nanni Grosso, and Fran- 

' cesco di Simone. According to Bottari, he was one 

of the first who made plaster casts from the human 

body ; but not the first, as Vasari states, for Pliny 

(Hist. Nat. XXXV. 12, 44.) says it Avas invented by 

Lysistratus, the brother of Lysippus, in the time of 

Alexander the Great. It is probable that Vasari 

referred only to the artists of modern times. 

I VERONA, Battista da. See Zelotti. 

VERONA, Stefano da, called also Stefano da 
Zevio (Piacenza). See Stefano. 

VERONA, Fra Giovanni da, a monk of Oliveto, 
born in 1469 and died in 1537. He was very cele- 
brated in the art of decorating the choirs and sa- 
cristies of churches with inlaid work of wood. 
Lanzi says, " he surpassed all his predecessors, and 
practiced the art in various cities of Italy, and at 
Rome itself, in the service of Pope Julius II., but 
still more successfully in the sacristy of his own 
order, where his works are still to be seen in the 
best condition." At first woods of different colors 
were employed, and large edifices, temples, colon- 
nades, and architectural views were represented ; 
the art was afterwards improved by using artificial- 
ly stained, as well as natural woods, and by adding 
figures. Many of the old churches in Italy and in 
other countries of Europe, are decorated in this 
manner, and many artists acquired distinction in 
the art. See Lendinara. 

VERONA, Jacopo da, an old painter, born at 
Verona, who was living in 1397. Lanzi says he is 



VERO. 



1045 



VERS. 



only known by his numerous paintings in fresco, in 
the church of St. Michel e at Padua, executed in the 
style of Giotto, some of which still remain entire. 

VERONA, Maffeo da, a painter born at Vero- 
na in 1576. He studied under Luigi Benfatto, but 
derived his chief improvement from studying and 
copying the works of Paul Veronese, whose style 
he adopted. According to Ridolii he painted both 
in oil and fresco, and particularly excelled in the 
latter ; he wroui2;ht with great facility and executed 
many works for the churches and public edifices of 
Venice. He also painted several works for the 
churches of his native cit_y, and for the cathedral at 
Udine, Among his principal vvorks at Venice 
are two altar-pieces, representing the Descent from 
the Cross, and the Resurrection, in the church of S. 
Marco; and Christ bearing his Cross and the Cru- 
cifixion, in the chapel of St. Isidore in the same 
church. He died in 1618. 

VERONA. Padre Massimo da, a painter born 
at Verona in 1599 and died in 1679.aged 80. He was 
a Capuchin monk ; hence he is sometimes called II 
Padre Massimo Cappuccino. According to Mel- 
chiori, he was a disciple of Marc' Antonio Bassetti, 
whose careful style he followed, and executed many 
excellent works for the different churches of his 
order. He particularly commends four large pic- 
tures by him in the Cathedral at Montagnana. 

VERONA, FhaSempltce da, a Capuchin monk, 
born at Verona about 1574, who, according to 
Melchiori, studied first under Brusasorci. and next 
with Fra Santo of Venice. He became a good ar- 
tist, and executed some works for the churches and 
; convents within the Venetian territory. He was 
also employed at Rome. Lanzi says there is a fine 
picture of St. Felice, by him, at Castel Franco, 
which was engraved in 1712. He died in 1654. at 
an advanced age. 

VERONESE, Alessandro. See Turchi. 
VERONESE. Claudio. See Ridolfi. 
VERONESE, Paolo. See Cagliari. 
VERRIO, Antonio, a painter born at Naples in 
1634. It is not known under whom he studied. 
He went to France and settled at Toulouse, where 
he was probably employed in designing or direct- 
ing the manufacture of tapestry, as he was invited 
to England by Charles II. to take charge of his 
manufactory of tapestry at Mortlake, but instead 
of engaging him in this business on his arrival, he 
employed him in decorating the ceilings of "Windsor 
Castle. He was also employed by King James and 
Wilham III., as well as by some of the nobility. 
Though he found much employment at liberal 
prices, he was a very indifferent artist, and his 
I performances are not worth recording. He died at 
' Hampton Court in 1707. 

VERRYKE, Hans. See Vereycke. 

VERSCHAFFELT, Chevalier Pieter, a Fle- 
' mish sculptor, known among the Italians as Pietro 
Fiammingo, was born at Ghent in 1710. After 
acquiring the elements of the art from an obscure 
carver in wood, he visited Paris and entered the 
school of Bouchardon. In 1737 he went to Rome, 
where Benedict XIV. commissioned him to execute 
various works in sculpture, particularly a bust and 
a marble statue of himself, of life size. His works 
are found at Rome, Bologna, Naples, and Ancona, 
and are highly esteemed by the Italians. After 



leaving Italy, Verschafielt went to London, and 
was invited by the Elector of Manheim to fill the 
oifice of sculptor to his court, and also to assume 
the directorship of the Academy of Fine Arts in 
that cit3\ During the forty years of his subsequent 
career, he enriched Manheim and Schwetzingen 
with various works in sculpture, and also superin- 
tended the architectural operations carried on by 
the government. He died at Manheim in 1793. 

VERSCHURING, Henry, an emment 
Dutch painter, born at Gorcum in 1627. 
His father was a captain of infantry in 
the Dutch Service, and intended him for the 
profession of arms, but his naturally delicate con- 
stitution, with a genius for painting, induced him 
to place him under the instruction of Theodore 
Goverts, a portrait painter, with whom he con- 
tinued till he was thirteen years old, when he went 
to Utrecht, and became the scholar of John Both. 
After studying six years under that eminent mas- 
ter, he went to Rome, where he frequented the 
Academy, to design from the living model, and 
diligently studied the antique, and the works of 
the best modern masters. He also designed the 
ruins and vestiges of superb architecture, not only 
in and about Rome, but in every part of Italy that 
he visited. His landscapes are copied from nature 
and generally show a judicious and agreeable choice 
of scenery. These he enriched with architecture, 
ruins, figures and animals, which always corres- 
pond to the locality of the scene, the time, manners 
and customs of the country. He also had a genius 
for painting huntings, battles, and animals, in 
which last he particularly excelled. His works 
were much admired at Rome, Florence and Venice, 
in all which places he passed some time. After a 
residence of ten years in Italy, he returned to hi« 
own country and settled at Dort, where he distin- 
guished himself as a painter of landscapes, and more 
particularly of battle-pieces, attacks of banditti, 
plundering and sacking of villages, &c. The deso- 
lating wars which ravaged his country at this time, 
gave him frequent opportunities of designing his 
subjects on the spot. He followed the armies into 
the field, and was very curious in observing the 
actions, movements and attitudes of horses, and the 
engagements, retreats, and encampments of armies. 

Verschuring possessed a fertile and inventive ge- 
nius, and .as he always designed every thing from 
nature, there is no appearance of mannerism in his 
works, but all looks like reality and truth. His 
landscapes are admirable, his scenery beautiful, his 
figures correctly designed and touched with spirit, 
his coloring remarkably transparent, his penciling 
neat, and he finished his pictures very highly. 
His battle-pieces are full of fire and truth, and his 
figures and horses are correctly designed and 
touched with lightness and spirit. He was a man 
of estimable character, much beloved by his fellow- 
citizens, who chose him one of their Burgomasters. 
He was drowned near Dort in 1690, by the upset- 
ting of a boat. He also executed a few spirited 
etchings of battles, dogs, and other subjects from his 
own designs. 

VERSCHURING, William, was the son of the 
preceding, born at Gorcum in 1657. He was first 
instructed by his father, but having a taste for a 
different branch of the art, he was allowed to fol- 
low his inclination, and he became the scholar or 
John Verkolie. He painted small portraits, con- 



VERS. 



1046 



VERT. 



versations and domestic subjects, in the pleasing 
style of that master. After acquiring considerable 
reputation, he abandoned painting for commerce. 
He died in 1715. 

VERSCHUUR. LiEVEN, a Dutch painter, of whom 
little is known. He was born at Rotterdam, pro- 
bably about 1630, as he was the companion of John 
vander Meer in his travels to Italy. He excelled 
in painting sea-pieces, river views, and moonlight 
scenes ; his style somewhat resembles that of Si- 
mon de Vlieger, equally free in execution, and per- 
haps more lively in color. There are two fine pic- 
tures by him in the museum at Amsterdam, one of 
which represents Charles TI. of England entering 
the port of Rotterdam. He had a brother named 
Albert, who was a good portrait painter. They 
both died in the same year, 1691. 

VERSTEEG, or VERSTETGH, Michael, a 
Dutch painter, born at Dort, in 1756. It is not 
recorded by whom he was instructed, but he at 
first painted landscapes with figures and cattle in 
a very pleasing style, somewhat resembling that of 
Janson, though evidently aiming at the older 
and greater masters. His coloring though verdant 
is yet warm, and his pictures are elaborately finish- 
ed^ even to the foliage of his trees. He afterwards 
abandoned landscape, and painted interiors and 
conversations by candle-light, in which he distin- 
guished himself. In his pictures of this class, 
without reaching the excellence of Schalcken in 
penciling, he often equals him in the effects of his 
light and shadow, and his works are found in the 
best collections of his country. He acquired dis- 
tinction, and was elected a member of the Royal 
Institute of the Netherlands and of the Academy 
of Painting at Antwerp. His works are found in 
the best collections of his country. He lived to an 
advanced age, and died about 1840. 

VERSTRAELTN, J., a Dutch engraver, who 
flourished about 1620. He engraved several plates, 
among which is one representing Maurice, Prince 
of Orange, lying dead, surrounded by his officers 
and guards. 

VERTANGEX. Daniel, a Dutch painter, born 
at the Hague, in 1598. He studied under Corne- 
lius Poelemburg, whose style he closely imitated. 
He painted landscapes with small figures, of 
Nymphs bathing, Bacchanals, and other subjects 
taken from Ovid. Though his pictures are far in- 
ferior to those of his instructor in force and beauty 
of coloring, yet they are so well composed, 
agreeably colored and highly finished, that they 
readily pass with the inexperienced for the genuine 
works of Poelemburg. 

VERTUE. George, a distinguished English en- 
graver and antiquary, was born at London in 1684. 
According to Walpole, he was placed at the age of 
thirteen with a French engraver of arms on plate, 
who had the chief business of London. Three or 
four years afterwards, his master left the country 
for France, and Vertue returned to his parents. 
After studying drawing for two years longer, he 
formed an engagement with Michael Vandergucht, 
the engraver, and remained with him seven years, 
acquiring a good knowledge of copper-plate engrav- 
ing. He received instruction and advice from several 
painters, and commenced business on his own ac- 
count in 1709. After operating for the booksellers 
about one year, he gained the patronage of Kneller, 



when his works began to draw attention, and Lord 
Somers employed him to engrave a plate of Arch- 
bishop Tillotson, which was much admired, and 
proved the ground-work of his reputation. In 
1711, an Academy of Painting was institntt^d by 
Kneller and other artists of the day, and Vertue 
was among the first members. In 1717, at the re- 
vival of the Society of Antiquaries, he was ap- 
pointed its engraver. For many years, the uni- 
versity of Oxford employed him to engrave their Al- 
manacs ; and in 1730, he published his twelve 
heads of poets, esteemed one of his capital works. 
In 1740, he published his proposals for the com- 
mencement of a valuable work, his historical 
prints, drawn with extreme care and fidelity, and 
executed in a most satisfactory manner. 

Vertue deserves great credit for his industrious 
and protracted researches concerning the history of 
the arts and artists in England, which he con- 
tinued for about forty years, and collected a large 
amount of information in many volumes of manu- 
script. These were purchased after his death by 
Horace Walpole, who compiled and digested from 
them his Anecdotes of Painting in England. Ver- 
tue died in 1756. and was buried in the cloisters of 
Westminster Abbey. His works are extremely 
numerous, and consist of portraits, copies from old 
pictures, and antiquities of every kind. Walpole 
has given a complete list of them, among which 
are the following : — 

PORTHAITS. 

King Eichard II. ; from the painting in the Westminster 
Abbey. Queen Elizabeth ; after Isaac Oliver. Mary, 
Queen of Scots ; after Zuccaro. Queen Anne ; after Knel- 
ler. King George I.; 1715; very large. The same; 
smaller ; 1718 ; a better print. George, Prince of Wales. 
The Princess of Wales, with an Angel bringing a Crown ; 
after Amiconi. Frederick, Prince of Wales ; after Boit. 
Princess Anne. William, Duke of Cumberland ; after 
Jervas. Princess Mary. William Seymour, Duke of 
Somerset. Henry Somerset, Duke of Beaufort. William 
Cavendish, Duke of Newcastle. John, Duke of Marlbo- 
rough. John, Duke of Buckingham. Philip, Duke of 
Wharton ; after Jervas Lionel, Duke of Dorset. Hen- 
ry Howard, Earl of Surrey. Francis, Earl of Bedford. Ed- 
ward, Earl of Dorset. Heneage, Earl of Winchilsea. Ed- 
ward, Earl of Oxford, sitting ; with many pieces of his col- 
lection round him. Sarah, Duchess of Somerset. Eliza- 
beth, Countess of Shrewsbury. Dorothy, Countess of Sun- 
derland. Sophia, Countess of Granville. Archbishop 
Warhara. Archbishop Cranmer. Archbishop Parker. 
Archbishop Tillotson. John Robinson, Bishop of London. 
Edward Chandler, Bishop of Durham. Gilbert Burnet, 
Bishop of Salisbury. William Loyd, Bishop of Worcester, 
sitting in his library ; one of his best prints. John Spen- 
cer, Dean of Ely. Humphrey Prideaux, Dean of Nor- 
wich. Sir Thomas More. Sir Nicholas Bacon. Sir 
Francis Bacon. Sir Joseph .] ekyll, Master of the Rolls, 
sitting; fine. Sir John Vernay, Master of the Rolls; fine. 

HISTORIC PRINTS, AND PRINTS WITH TWO OR MORE 
PORTRAITS. 

Henry VII. and his Queen, with Henry VIII. and Jane 
Seymour. Three Children of Henry VII. Charles Bran- 
don, Duke of Suffolk, and Mary, Queen of France. Fran- 
ces, Duchess of Suffolk, with Adrian Stoke, her first hus- 
band. Thomas, Earl of Arundel, his Countess and Child- 
ren : a private plate. Thomas, Earl of Suffolk, and his 
Secretary. The Earl of Stafford's three Children. Wil- 
liam, Duke of Portland, his Duchess, and Lady Mary 
Wortley. The Procession of Queen Elizabeth to Hunsdon- 
house. The Tomb of Lord Darnley ; James I. when a 
child, Earl and Countess of Lenox, &c., praying by it. 
The Battle of Carberry-hill. Edward VI. granting the 
palace of Bridewell for an hospital. The Court of Wards, 
with an explanation. 

VERVEER, Ary Hubertsz, a Dutch painter, 



VERW. 



1047 



VIAN. 



born at Dort in 1646. He was much esteemed by 
his countrymen for his historical compositions, in 
which he usually designed the figures naked. In 
attempting to imitate the magical coloring of Rem- 
brandt, his tints became gloomy and obscure. His 
best performances are painted in a rough, unfinish- 
ed manner, and appear to be the productions of 
negligence and despatch. 

VERWILT, Francis, a Dutch painter, born at 
Rotterdam in 1598, He first studied under Cor- 
nelius de Bois, a landscape painter of little note, 
and afterwards became the disciple of Cornelius 
Poelemburg, whose style and subjects he imitated 
successfully. His pictures are correctly designed 
and highly finished ; his coloring is brilliant and 
clear, and though his works are much inferior to 
those of his master, they possess considerable 
merit, and readily pass with the unlearned for the 
genuine productions of Poelemburg. He died in 
1655. 

VERZELLT, Tiburzio, a painter born at Recan- 
ati, and died there about 1700, Lanzi commends 
him as an excellent painter of perspective and ar- 
chitectural pieces, little known beyond his native 
place. " The noble family of Calamini, of Recanati, 
possess, perhaps his best picture, the Elevation of 
S. Pietro in Vaticano. one of the largest and most 
beautiful works of this kind that ever I saw, which 
occupied him several years in finishing." 

VEYTH. See Vyth. 

VIA, Agostino a., an Italian engraver, by 
whom there is a print of Daniel in the Lions' Den, 
after Pietro da Cortona. 

VIA, Alessandro della, an Italian engraver, 
who flourished at Venice about 1730. He engrav- 
ed some portraits and other subjects, in an indif- 
ferent style, among which is one of the Virgin and 
infant Christ, with St. Sebastian and other saints, 
after Paul Veronese. 

VIANEN, John van, a Dutch engraver, born at 
Amsterdam about 1660. He was chiefly emploj^ed 
in engraving frontispieces and portraits for the 
booksellers. His plates are executed with the 
graver in a neat style, though without much effect. 

VEANI, Antonio Maria, called II Vianino, an 
Italian painter, was a native of Cremona, according 
to Zaist, and flourished in the latter part of the 
16th century. After acquiring a knowledge of 
the art from the Oampi, eminent painters of Cre- 
mona, he was invited to Mantua by the Duke, Vin- 
cenzio Gonzaga, and commissioned to execute sev- 
eral pictures for the churches, among which were 
his St. Michael in S. Agnese, and the representation 
of Heaven, at the Orsoline ; both in the style of his 
instructor. He was also employed in the ducal 
palace, and Lanzi mentions a group of most beau- 
tiful boys playing amidst luxuriant festoons of 
flowers, painted in chiaro-scuro on a golden ground, 
in the frieze surrounding the gallery of the court. 
This work also is in the style of the Oampi, and is 
probably from the hand of Viani. It is said that 
he was employed by the Duke in the capacity of 
an architect, but none of his edifices are mentioned. 
After the Duke's death Viani was employed by his 
three successors. He was hving in 1582. 

VIANI. Giovanni Maria, an eminent painter, 
born at Bologna in 1637. He was a fellow stu- 
dent with Pasinelli in the school of Flaminio Torre. 
Lanzi says, '• he was a learned painter, not inferior 



in design to any cotemporary of the Bolognese 
school, and added to his powers by assiduous 
drawing from the living model in the Academy, 
and the study of anatomy as long as he lived. 
To such knowledge, he united elegance of forms, 
softness of coloring, engaging attitudes, lightness 
of drapery, studying much from nature, and giv- 
ing it an air of grace, in the manner of Torre, or of 
Guido. That exquisite picture of St. John di Dio, 
at the hospital of the Buonfratelli, is such a speci- 
men of his art. In the Portico of the Servi, he 
represented, in a Lunette, St. Filippo Benizi borne 
up to Heaven by two angels ; a figure which, both 
in countenance and action, breathes an expression 
of beatitude, conspicuous, even at the side of ano- 
ther history by Cignani. In other Lunettes of the 
same portico, he does not excite equal admiration, 
and gives us an idea of an artist able to com- 
pete with the best masters, though obliged to 
work with a larger share of study." Viani exe- 
cuted many works for the churches and public 
edifices of Bologna. He opened a school opposite 
to that of Cignani, and instructed several pupils. 
He also executed several spirited etchings from his 
own designs, and after the Caracci. He died in 
1700. 

VIANI, DoMENico Maria, was the son of the 
preceding, born at Bologna in 1668. After re- 
ceiving a thorough education in the art from his 
father, he went to Venice, where he diligently 
studied the works of the great Venetian masters. 
Guidalotti, who wrote his life, prefers him to his 
father. Lanzi says. " few will subscribe to this 
opinion, he not having attained to that exactness, 
much less that dignity of design exhibited by his 
father. He was also inferior to him in the nature, 
truth, and clearness of his coloring. Still, he poss- 
essed a grand character in his outline, a stronger 
execution, like Guercino's, and more splendid orna- 
ments, like the Venetians. His St. Antony in the 
church of S. Spirito at Bergamo, in the act of con- 
vincing a skeptic by a miracle, is a surprising pic- 
ture, extolled by Rotari and Tiepolo." He suc- 
ceeded his father in the school which he had estab- 
lished at Bologna, and instructed several pupils. 
He executed many works for the churches at Bo- 
logna, and the adjacent cities, particularly Ber- 
gamo and Pistoia. The principal at Bologna are 
a series representing the Prophets and Evange- 
lists in the church of the Nativity ; and a legen- 
dary story of Christ healing a pilgrim, in the 
church of the Servi. Bartsch describes a single 
etching by him, of St. Joseph with the infant Sa- 
viour. He died at Pistoia in 1711. Some place 
his birth in 1670, and his death in 1716, but Lan- 
zi and the best authorities, give the dates as above. 

VICARO, Francesco, an engraver to whom a 
set of etchings of landscapes are attributed. He is 
the same as Francesco Vaccaro, which see. 

VICENTE, Bartolome, a Spanish painter, 
born at Saragossa in 1640. He studied under 
Juan Carreno at Madrid. He was a reputable 
painter both in oil and fresco, and executed some 
works for the churches and convents of his native 
city. He is said to have chiefly employed himself 
in painting landscapes of a small size, and teach- 
ing' mathematics, a proof that he did not acquire 
any great reputation, notwithstanding the high 
commendations of Bermudez. He died at Sara- 
gossa in 1700. 



VICE. 



1048 



VICI. 



VICENTINT, Antonio, a Venetian painter, who 
excelled in painting perspective, architectural pieces, 
and views in Venice, in the style of Canal etto. 
He was born in 1688, and died in 1782, at the great 
age of 94 years. Lanzi says his views are fre- 
quently ornamented with the figures of Zucca- 
relli and Tiepolo. 

VICENTINO. Andrea, a painter born at 
Venice in 1539, and died in 1614. He was a 
scholar of the elder Palma, whose style he fol- 
lowed. Lanzi says, that though not excelling in 
point of taste, he was very skillful in handling his 
colors, and showed great power of invention. He 
was a great plagiarist, and seldom painted a pic- 
ture without borrowing in his perspective, ar- 
chitecture, or figures, or some ideas from others, 
though he had the judgment to select those 
of the best masters. He was one of the most 
popular artists of his time, and found abun- 
dant employment in painting for the churches and 
public edifices of Venice and other cities in the 
state, and even beyond the bounds of the Repub- 
lic. He was also employed to paint several his- 
tories of the Republic, which still adorn the halls 
of the Palazzo Grande. Lanzi says, •' he bestowed 
upon his plagiarisms a beauty of composition and 
a grand effect that does honor to his talents, ap- 
plicable to every variety of subject. He could 
also use a very delicate, tasteful, and effective pen- 
cil whenever he chose. In his grounds he was less 
successful, many of his pictures being already de- 
faced. In collections, always more favorable to 
the duration, than in public places, we find them 
in good preservation, and deserving of much com- 
mendation, as seen in his Solomon anointed King 
of Israel, in the Royal gallery at Florence." 

VICENTINO, Marco, was the son and scholar 
of the preceding, born at Venice, where he prac- 
ticed, according to Zanetti, with considerable rep- 
utation. He executed manj'- works for the church- 
es and for the collections. Lanzi says he acquired 
some celebrity by his imitations, but more by his 
father's name. 

VICENTINO, Battista, an Italian engraver, 
born at Vicenza, who flourished at Venice about 
1540. In conjunction with Gio. Battista del Moro, 
he engraved a set of fifty plates of landscapes, with 
ruins and architecture, which are executed in a 
bold, spirited style. He marked his prints Bat- 
tista P. V. F. He is probably the same as Gio. 
Battista Pittoni, which see. 

VICENTINO, Francesco, a Milanese painter, 
highly commended by Lomazzo for the excel- 
lence'of his landscape, in which "he imitated 
nature so accurately as to show the dust blown 
about by the wind." Lanzi conjectures that he 
was a disciple of Bernazzano, and says that he was 
also a good figure painter, several specimens of 
which may be seen at the Grazie, and in other 
churches at Milan. He flourished about 1550. 

VICENTINO. Francesco Maffei, a painter 
born at Vicenza about 1600. He studied under 
Santo Peranda at Venice, and afterwards im- 
proved himself by studying the works of Paul 
Veronese. He settled at Padua, where he execu- 
ted many works for the churches and public edi- 
fices. He died there in 1660. 

VICENTINO, GrovANNi Nicoolo, called Ros- 
RiGLTANi, an Italian painter and engraver, born at 
Vicenza about 1510. Little is known of him as a 



I painter, but he executed some wooden cuts after 
Raffaelie, Caravaggio. and other masters, in chiaro- 
scuro, in which he made use of three blocks. — 
Bartsch says he variousl}'- signed his prints Jo- 
seph Nicolaus Vicentini, and Nic. S. Vicentino, I.; 
for the names of Giovanni and JRossigliani, he 
thinks there is no good foundation. He is also 
called Gioseffo Scolari Vicentino, which is evi- 
dently an error, as the signature simply means, 
Joseph, the scholar of Vicentino. It would seem 
that there were two or more engravers of Vicenza, 
who signed their prints Vicentino. Niccolo Bol- 
drini flourished about the same time, and was 
called Vicentino. See Boldrini. 

VICI, Andrea del, architect to the Grand Duke 
of Tuscany, was born at Arcevia. in the Marca 
d'Ancona, in 1744. Having gone through the 
usual course of education at Perugia, he was sent 
to Rome to study painting and architecture, the 
first under Stefano Pozzi, the other under Carlo 
Murena, and it was the second of these arts that 
he decided on following as a profession. It would 
appear that he gave promise of more than ordin- 
ary talent, from the circumstance of Vanvitelli en- 
gaging him as his assistant, when he was about to 
commence the palace at Caserta ; yet the latter 
part of this statement is evidently incorrect, be- 
cause Vici could not have been more than eight 
or nine years old at that time. It is certain, how- 
ever, that he was connected for some time with 
Vanvitelli, for he was commissioned by him to 
attend to matters of business connected with the 
Mola di Pontano; in consequence of which he 
became known at Rome as a skillful engineer. 
In 1780, the court of Tuscany appointed him hy- 
draulic architect and engineer for the Val di Chia- 
na, and in 1787, he was employed in a similar 
capacity by the papal government, in the work of 
draining the Pontine marshes, and preventing the 
inundations of the Teppia. In 1810 he erected the 
embankment to support the left bank of the Anio. 
His architectural works are considerable in num- 
ber and importance ; among them are the Palazzo 
Lapri at Bevagna; the church and monastery 
delle Salesiane at Oflfagna ; the seminary at Osi- 
mo ; the church of S. Francesco at Foligno ; the 
Capella Gozzoli at Terni ; the villa and casini at 
Monte Gallo ; and the superb cathedral at Ca- 
marino. Vici died Sept. 10, 1817. 

VICINELLI, Odoardo, a painter born at Rome 
in 1684. According to Pascoli, he studied under 
Gio. Maria Morandi, and was his ablest scholar. 
He does not hesitate to assert that he conferred 
more honor on his master, than any other of his 
scholars, and that Pietro Nelli alone could dispute 
precedence with him. He died in 1755. 

VICINO, an old painter in mosaic, who was a 
native of Pisa, and flourished about 1321. Vasari 
says that he finished a mosaic commenced by 
Turrita, in which he was assisted by Taffi and 
Gaddi, and adds that he was also a painter. 

iVICO, VIGHI, or VICUS, Enea, an 
Zk V/ eminent engraver and medalist, was 
— "^ • — I born at Parma, according to Bartsch 
and Zani, about 1520. He studied under Giulio 
Romano, and afterwards visited Rome, where he 
entered the school of Marc' Antonio Raimondi. 
He made rapid progress, and was invited by the 
Grand Duke Cosmo I. to Florence, where he en- 
graved several plates after Michael Angelo, also 



VIGO. 



1049 



VICT. 



the portraits of Henry IT. of France, Giovanni 
de' Medici and his son, Bembo, Ariosto, &c. 
From Florence, Vico went to Venice and Ferrara. 
On returning to Parma in 1554, he engraved and 
published the medals of gold, silver, and bronze, 
of the Twelve Caesars, with explanations. In 1555, 
he published at Venice his Discorsi soprd le Me- 
daglie, which was reprinted at Venice in 1558, at 
Paris in 1619, at Parma in 1691. Vico is esteemed 
as the first who wrote in Italy upon the science 
of Numismatics, or at least the first who attempted 
to reduce it to rules. His last work, Imagine delle 
donne Augusie. appeared at Venice in 1557 ; and 
a work in folio by him was published at Rome 
without a date, containing a number of plates af- 
ter ancient gems. Vico was of a very ardent dis- 
position, and although perfectly acquainted with 
design, his plates do not equal those of Raimondi, 
either in correctness of outline or beauty of finish. 
They are, however, held in considerable estimation. 
He is said to have executed some wooden cuts, 
among which is mentioned one of Charles V., Em- 
peror of Germany, which evinces great ability, 
both in design and execution ; but Bartsch and 
Zani are decidedly of opinion that he never en- 
graved on wood. Bartsch describes about 500 prints 
by Vico. generally marked with his name in full, 
or with the initials JE. V., sometimes upon a ta- 
blet, and sometimes without it. Among them are 
the following. He probably died about 1570. 

POKTHAITS, 

Charles V., surrounded by emblematical figures, in- 
scribed, Inventum sculptumque ab Aenea Vico Par- 
MENSE, MDL. Bust of Giovanni de Medici, in a border. 
1550. Bust of Cosimo de Medici, when young. Bust of 
Alfonso II., Duke of Ferrara. 

VARIOUS SUBJECTS. 

The Army of Charles V. passing the Elbe ; from his 
men designs. The Battle of the Amazons ; inscribed, 
Bellum Amazonum. 1543. A Female Figure, with her 
arms extended, over which appears an Owl flying in the 
air ; after Parmiggiano. 1548. A free subject of Vul- 
can and Venus ; do. 1643. The Battle of the Lapithae 
and Centaurs; after II Rosso. 1542. The Dispute of 
Apollo with Cupid ; after Baccio Bandinelli. The Acad- 
emy of Baccio Bandinelli; do. The Conversion of St, 
Paul ; after F. Salviati. J udith with the Head of Holo- 
fernes ; after M. Angela Buonarotti. The Entombing of 
Christ ; after Raffaelle. 1548. The Death of Lucre tia. 
1541. Jupiter and Leda ; dfter M, Angela Buonarotti. 
A Bacchanalian Subject ; do. The Annunciation ; after 
Titian. A set of twelve Vases ; from the designs of Poli- 
dora da Caravaggio. A set of fifty plates of the Habili- 
ments of different Nationd ; from his own designs. 

VICOLUNGO, Di Vercelli, a painter born at 
Vercelli, who flourished there in the first part of 
the 17th century. He was an imitator of Ber- 
nardino Lanini. There are some of his works in 
his native city, which, according to Lanzi, have 
little to recommend them except the coloring. 

VICTOR, or FICTOOR, Jan. a Dutch painter, 
supposed to have been born about 1600, and died 
about 1670. All that is known of him is that he 
painted subjects taken from the Old Testament, so 
much in the style of Rembrandt, that they have 
frequently been mistaken for the works of that 
master. Stanley says that there are pictures in 
the rich collections of England, considered the 
genuine productions of Rembrandt, which really 
owe their paternity to Jan Victor. His name is 
variously written, Victor, and Fictoor, and one 
of his pictures in the Louvre, is signed Jan Fictoor, 
1650. Some say he was a pupil of Rubens, and 



others of Rembrandt. There were several othei 
artists of this name who flourished about the mid- 
dle, or last half of the 17th century, probably the 
sons of Jan Fictoor. F. Fictoor, is said to have 
painted familiar subjects ; Jacob, animals, and 
Lodovick. still-life. There are a variety of sub- 
jects signed with their names, such as village 
sports, rural occupations, travelers refreshing at 
inns, fish-markets, fruit-stalls, dead poultry and 
game, landscapes and animals, with objects of still- 
life, &c. 

VICTORIA, Vicente, a Spanish painter, born 
at Valencia in 1658. He went young to Rome, 
where he entered the school of Carlo Maratti, and 
distinguished himself so much that he was taken 
into the service of the Grand Duke of Tuscany, 
who placed his portrait in the Florentine gallery. 
He is said to have painted some works for the 
churches and convents of his native city, which 
were doubtless executed in Italy, as he appears 
to have passed most of his life in that country. 
In his style, he emulated Maratti. He was also 
an engraver, and executed a great many etchings 
and engravings in a neat style. He died at Rome 
in 1712. 

VIDAL, Diego, called the Elder, a Spanish 
painter, born at Valmaseda in 1583. According 
to Bermudez, he studied at Rome, and was a rep- 
utable artist. He commends two of his pictures 
in the cathedral of Seville, of which he was a pre- 
bendary, representing a naked Christ, and the 
Virgin with the Infant in her arms. Pacheco 
also speaks of his drawings in terms of eulogy. He 
died at Seville in 1615. 

VEDAL DE LIENDO, Diego, called the Young- 
er, was the nephew of the preceding, born at Val- 
maseda in 1602. Like him, he studied theology 
and painting at Rome, and was a canon of the ca- 
thedral of Seville. There are some of his works 
in the sacristy of the cathedral of Valencia, which 
evince considerable skill. He died at Seville in 
1648. 

VIDAL, DiONisio, a Spanish painter, born at 
Valencia about 1670. He studied under Antonio 
Palomino, and assisted him in some of his works 
in difierent cities. On his return to Valencia, he 
was employed to paint the ceiling of the church 
of St. Nicolas, from the designs of Palomino. He 
also executed some works of his own composition 
in fresco, for various churches, some of which, ac- 
cording to Bermudez, have perished, and others 
are of little account. He died at Tortosa, while 
painting the chapel of the Virgin of the Girdle, at 
what time is not recorded. 

VIDAL, Gerald, a French engraver, born at 
Toulouse in 1742. He settled at Paris, where he 
engraved a variety of plates p,fter the modern 
French masters, among which are Jupiter and lo, 
Venus and Adonis, Jupiter and Antiope, Rinaldo 
and Armida, after Ch. Monnet; and Paris and 
Helen, after David. 

VIDAL, Jose, a Spanish painter of battle- 
pieces and familiar subjects, who flourished at 
Valencia about the middle of the 17th century. 
He was a disciple of Esteban March, whose free, 
vigorous and effective style he successfully follow- 
ed. He had a son also named Jose, whom he in- 
structed in the art, but he did not equal his fa- 
ther. 



VIEH. 



1050 



VIEN. 



VIDALj L., a Dutch painter, of whom nothing 
]S known except by his works. He painted fruit, 
flowers, dead birds, and other objects of still life. 
His manner of composition resembles that of the 
Elder van Os, though he appears to have been an 
earlier painter. His drawing is very accurate, his 
penciling delicate, and his pictures are highly 
finished, though his tone of coloring is sometimes 
too low for efiFect. The dew-drops on his leaves are 
as transparent as those of van Huysum, and his 
bird's nests with eggs almost equal him. 

VIEHL, Pierre, a French engraver, born at 
Paris in 1755. He studied under B. L. Prevost, 
and executed some plates after the French and 
Dutch masters, in the clear, neat, finished style of 
his master ; among them are a pair of landscapes, 
after Buysdael, the Judgment of Paris, after Rot- 
tenhammer, and the Bath of Diana, after Mettai. 

VIEIL, Pierre le, an eminent French painter 
on glass, born at Paris in 1708. He was the son 
and scholar of Guillaume le V., a reputable artist 
in this branch. In 1734 he executed several excel- 
lent works for the church of S. Etienne du Mont, 
at Paris ; and afterwards restored the glass paint- 
ings in the Cathedral of Notre Dame. Among his 
other productions are the paintings in the church 
of S. Victor. Le Vieil employed fifteen years in 
collecting materials for a work relative to the his- 
tory and practice of glass painting, entitled, Traite 
historique et pratique de la peinture sur verve. 
He also wrote several other works of a similar na- 
ture, and a treatise on the art of Mosaic, entitled, 
Essai sur la peinture en mosaique, Paris, 1768. 
He died in 1772. 

VIEIRA, Francisco, a Portuguese painter, born 
at Lisbon in 1699. When a boy he went to Rome, 
in the suite of the Marquis of Abrantes, where he 
entered the school of Trevisani, and improved him- 
self by copying the works of Annibale Caracci in 
the Farnesian Gallery. After a residence of seven 
years at Rome, and gaining the first prize in the 
Academy of St. Luke, he returned to Lisbon, 
when only 16 years old, where, according to Count 
Raczynski, he astonished the people, by several 
youthful performances, the most remarkable of 
which was an elopement with a beautiful young 
lady of rank, whose heart he had won, but whose 
cruel parents had forbidden the bans. The lovers 
first fled to Spain, and thence to Italy, where they 
passed several years, during which time Vieira 
greatly improved himself by the constant exercise 
of his pencil. At length he was invited back to 
Portugal by the king, and during a residence of 
forty years at Lisbon, he executed a great many 
admirable works for the royal palace, the churches 
and convents of that city. In 1744 he entered the 
religious order of San Santiago ; in 1755, on the 
death of his wife, he relinquished the pencil and re- 
tired to spend the rest of his days in pious medita- 
tion. It is said that many of his best works were 
destroyed in the great earthquake at Lisbon in 
1755 ; no great loss, if any opinion of his merits 
can be formed from the bombastic account of 
his biographer. He died in 1783. 

VIEIRA, Francisco, the Younger, was the 
son of the preceding, born at Lisbon. He probably 
was instructed by his father ; he went to Italy, and 
thence proceeded to England, where he exhibited 



in the Royal Academy, in the years 1798 and 1799. 
During his residence in England, he lived with 
Bartolozzi, who is said to have instructed him in 
engraving. He married and returned to Lisbon, 
where he died in 1805. 

VIEL, Charles FRAN901S, a French architect, 
was born at Paris in 1745. After completing his 
studies at the College of Beauvais, he entered the 
school of Chalgrin, to acquire a knowledge of ar- 
chitecture. The first work that brought his name 
before the public, was a project for a monument, 
reviving in a superb colonnade the pomp of Greek 
and Roman architecture, to be erected to Na- 
tural History. During a long career, he erected 
many works, among which were the Bicetre ; the 
grand amphitheatre of the Hotel Dieu ; and the 
Mont de Piete with an imposing fa9ade of beauti- 
ful proportions. Viel held the office of architect 
to the hospitals of Paris, for a period of forty years, 
and also wrote various estimable dissertations on 
the art. He died in 1819. 

VIEN, Joseph Marie, one of the most eminent 
French painters of the iSth century, and the re- 
generator of art in France, was born at Montpel- 
lier, June 18, 1716. Being very sickly in youth, 
his parents endeavored to lead him to other pur- 
suits, but his enthusiastic devotion to art overcame 
all obstacles, and he studied painting under several 
masters, among whom were A. Rivalz of Toulouse, 
and finally C. Natoire at Paris, whither he repair- 
ed in 1740. In 1743 he competed successfully for 
the grand prize of the Royal Academy, by his pic- 
ture of the Plague of the Israelites in the time of 
David. In 1744 he departed for Rome, and passed 
several years in designing from the antique and 
the best masters of the Roman school. Besides 
numerous studies, he painted there many excellent 
pictures, including several altar-pieces of great me- 
rit, as the Slaughter of the Innocents, and the only 
two pictures by him now in the Louvre, a Sleeping 
Hermit, and St. Germain and St. Vincent receiving 
the Crown of Glory from the hands of an Angel. 

Vien returned to Paris in 1750, and was chosen 
a member of the Academy in 1754, when he pre- 
sented a picture of Daedalus attaching his wings. 
He painted a large number of works at Paris, many 
of them compositions of great excellence, and indi- 
cating a decided revival in the French school of 
painting, from the insipid and puerile state to 
which it had been reduced by Vanloo and Boucher. 
It was his object to restore the study of the antique, 
and of nature as represented in the works of the 
best Italian masters, and he succeeded to a con- 
siderable extent in both respects. His preference 
for the antique was carried to the extreme by 
his pupils Vincent and David. His pictures 
approach the style and artistic excellence of the 
scholars of the Caracci, although for some time 
they were much maligned by the scholars of Bou- 
cher and Vanloo, among whom was his former in- 
structor Natoire. They pronounced Vien's picture 
of St. Denis preaching to the Gauls, (one of his best 
works.) inferior to Doyen's picture representing 
the tradition of St. Genevieve arresting the Con- 
flagration of Paris ; both of which are now placed 
in the church of St. Roch. A few years after, 
however, Vien was justified by his cotemporaries, 
and his reputation rose to a great height. His 
works are very numerous, considering that many 
of them are of large proportions. In 1775, after the 



VIEN. 



1051 



VIGN. 



completion of his picture of St. Denis, which was 
exhibited at the Louvre the previous year, he was 
decorated with the order of St. Michael, and was 
appointed director of the French Academy at 
Rome, where he resided from that time until 1781, 
and was meanwhile elected a member of the Acade- 
my of St. Luke. After returning to Paris, he was 
chosen one of the rectors and director of the Royal 
Academy, and was finally appointed principal 
painter to the king in 1789. At the Revolution, 
he of course lost this last post, but at the organiza- 
tion of the French Institute, he was chosen one of 
the original members. Napoleon also created him 
a member of the Senate, a count of the Empire, 
and a commander of the Legion of Honor. He 
died at Paris, March 27th. 1809, having nearly 
completed his ninety-third year ; and was buried 
in the Pantheon. 

Vien's subjects are chiefly taken from the Scrip- 
tures, from ancient and modern history, and from 
Greek mythology. Among the most celebrated 
are, Julius Caesar contemplating the Statue of 
Alexander at Cadiz, and regretting that he was 
still unknown at an age when Alexander was al- 
ready crowned with glory ; the Consecration of 
the Equestrian Statue of Louis XV. ; Marcus Au- 
relius causing Provisions to be distributed among 
the People ; St. Louis vesting the Regency of the 
Kingdom in his Queen, Blanche of Navarre ; St. 
Jerome ; the Embarkation of St. Martha ; Christ 
breaking Bread ; the Resurrection of Lazarus ; the 
Virgin attended by Angels ; St. Gregory ; Briseis 
in the Tent of Achilles ; the Parting of Hector and 
Andromache ; Hector exhorting Paris to go out to 
Battle ; Venus wounded by Diomed ; ^neas pur- 
suing Helen during the burning of Troy ; Andro- 
mache showing the Arms of Hector to her Son ; 
Mars forcing himself from the Arms of Venus ; 
Cupid and Psyche ; Sappho playing on her Lyre ; 
Proserpine adoring the Statue of Ceres ; Cupid 
flying from Slavery ; and a Young Greeis Girl 
comparing her Bosom with a Rose-bud. There 
are also many drawings by Vien, some in series, 
as the Sports of Nymphs and Cupids, in 20 pieces ; 
and the Union of Cupid and Hymen, in 38 pieces. 
He executed a few etchings, among which are a 
set from a series of de Troy's designs of the Adven- 
tures of Lot and his Daughters ; the same after j 
his own designs ; five Bacchanalian subjects ; and 
32 pieces representing a Fete or Masquerade given 
by Vien and other students of the French Acade- 
my at Rome, to the Cardinal de la Rochefoucauld, 
in 1748. It is entitled, " Caravane du Sultan a la 
Mecque, Mascarade Turque donnee a Rome par 
Messieurs les Pensionnaires de 1' Academic de 
France et leurs Amis, au Carnaval de I'Annee 
1748." Jos. Vien, inv. et. sc. 

VIEN, Madame, was the wife and pupil of the 
preceding artist. Her maiden name was Marie 
Reboul. She painted flowers, birds, and still-life, 
with distinguished reputation, and was chosen a 
member of the Royal Academy. She died in 1805, 
oged 77. 

VTEN, Joseph Marie, the son of the preceding 
artists, was boru at Paris in 1761. He was a dis- 
tinguished portrait painter, but practiced onh'- 
as an amateur. He exhibited several pictures at 
the Louvre until within a few years. 

VIENOT, Nicolas, a French engraver, who 
flourished about 1630. He was probably a pupil 
of Paul Pontius, and he imitated his style with 



considerable success, and copied some of his por- 
traits after Rubens, on a small scale. He also en- 
graved some landscapes after John Both, Pellerin, 
and other masters. There was another engraver 
of this name, who flourished about 1680. 

VIEUX, Renaud le, a French historical painter, 
who flourished in the latter part of the 17th cen- 
tury. He visited Rome for improvement, and on 
returning to France, produced several pictures ot 
considerable merit. His works are distinguished 
for correctness of design, and truth and brilliancy 
of coloring, particularly in the carnations. He 
painted several pictures for the church des Peni- 
tents at Avignon, of subjects from the history of 
St. John the Baptist ; two of which were taken to 
Paris in 1793 ; two are in the Gallery at Nismes ; 
and the rest are at Avignon. 

VEGEE, Marie Louise Elizabeth. See Le- 

BRUN. 

VIGHL See Vice. 

VIGNALI, Jacopo, a painter born at Florence 
in 1592. He was a disciple of Matteo Rosselli. 
Lanzi says, " his stjde has some resemblance to 
that of Guercino, but less in the forms than in the 
dark shadows and the grounds. He is among those 
scholars of Rosselli, who are seldom mentioned, 
though he painted more than any of the rest for 
the Prince and the state ; he is often weak. especially 
in attitudes ; often, however, he appears praisewor- 
thy, as in his two pictures at S. Simone, and in 
the S. Liborio. He is most conspicuous in his 
frescos, as seen in the chapel of the Buonarotti. 
He painted good historical pictures in the palaces 
of many of the nobility, and he even boasts noble 
pupils, none of whom did so much honor to his 
memory as Carlo Dolci." He died at Florence in 
1664. 

VIGNERIO, Jacopo, a Sicilian painter, who. 
according to Hackert. flourished at Messina about 
the middle of the 16th century. He studied under 
Polidoro da Caravaggio, whose style he followed. 
There is an excellent picture by him of Christ 
bearing his Cross in S. Maria della Scala, dated 
1552. 

VIGNOLA, Girolamo da. a painter of Modena, 
who flourished in the first half of the 16th century. 
Lanzi conjectures that he was a pupil of Pellegrino 
da Modena; at all events, he was a professed fol- 
lower of the style of Raffaelle. Some of his frescos 
still remain in the church S. Piero, in his native 
city. 

VIGNOLA, Giacomo. See Barozzi. 

VIGNON, Claude, a French painter and en- 
graver, was born at Tours in 1590, and died in 
1670. He visited Italy for improvement, and 
studied there several years, following the style of 
Caravaggio with considerable success, although 
equally ignoble in the selection of his forms and 
lacking his excellence of coloring. Dumesnil 
mentions twenty-seven spirited and masterly 
etchings by him, among which are, St. John in the 
Desert ; thirteen plates from the life of Christ ; the 
Martyrdom of St. Andrew; Philip baptizing the 
Eunuch ; and the Coronation of the Virgin. 

VIGNON. PHiLippE,wastbeson of the preceding, 
born at Paris in 1634, and died in 1701. He was 
instructed in the art by his father, and painted 
history with reputation. 

VIGNON, Claude FRANgois, was the second 



VILA. 



1052 



VILL. 



son of Claude V., born at Paris in 1635, and died 
in 1703. He was also instructed by his father and 
confined himself to history with considerable suc- 
cess. 

VIGRI, Oaterina. a paintress born at Bologna 
in 1413, and died in 1463. Her father was a painter 
of little note and a native of Ferrara, and probably 
instructed her in the art. She was principally 
employed in illuminating missals and in painting 
miniatures. She was a nun, and from the sanctity 
of her life was called Santa Caterina da Bologna. 
She is also sometimes called Beata Caterina 
Vigri. 

VILA, Senen, a Spanish painter, born, according 
to Palomino, at Valencia, and a disciple of Esteban 
March. He resided chiefly at Murcia, where he 
executed many works for the churches, convents, 
and public edifices, which are more remarkable for 
correctness of design and great expression in the 
heads, than for beauty of coloring. He died in 
1708.' 

VILA, Lorenzo, was the son and scholar of the 
preceding: born at Murcia in 1682. He painted 
history in the style of his father, and gained con- 
siderable reputation by several works which he 
executed for the churches, when he became an ec- 
clesiastic. He died in 1713. 

VILADOMAT, Don Antonio, a Spanish painter, 
born at Barcelona in 1678, and died in 1755. It is 
not known by whom he was instructed, but at the 
age' of twenty-one he had made such progress that 
he was employed to paint a series of pictures from 
the life of St. Bruno, for the monastery of the Car- 
thusians, at Monte xillegri. He afterwards painted 
a similar set from the life of St. Francis for the 
monastery of the Franciscans, at Barcelona. He 
painted many other works for the churches and 
public edifices of Barcelona. He also painted land- 
scapes, battle-pieces, and portraits with equal suc- 
cess. Mengs regarded Viladomat as the principal 
Spanish painter of his day, and his works are 
commended by several excellent critics. 

VILADOMAT, Don Jose, was the son and 
scholar of the preceding. He was a reputable 
painter, though far inferior to his father. There 
are some of his works in the churches and convents 
at Barcelona. 

VILLACIS, Don Nicolas de, a Spanish painter, 
born of a noble family of Murcia. After receiving 
some instruction in design, in his native city, he 
was sent to Madrid, and placed under the instruc- 
tion of Don Diego Velasquez. He afterwards went 
to Italy for improvement, and on his return to 
Murcia, executed some considerable works for the 
churches and convents, which are highly commend- 
ed by Palomino. The chief of these are a series of 
pictures of the life of San Bias in the convent of 
la Santissima Trinidad de Calzados, and the Mar- 
tyrdom of St, Lorenzo in the church of the Do- 
minicans. Being a nobleman and rich, he painted 
only for amusemen't ; his works arc therefore very 
rare. His correspondence with Velasquez is said to 
be still preserved. He died in 1690. 

VILLAFRANCA,Mai.agon, Pedro de, a Span- 
ish painter and engraver, whose prints date from 
about 1640 to 1676. He was born at Alcolea in La 
Mancha, and studied at Madrid under Vincenzio 
Carducci. Little is known of him as a painter, except 
that ho was employed to execute some pictures for 



the church of San Felipe el Real, at Madrid. He 
chiefly devoted himself to engraving, and executed 
a great number of vignettes, title-pages, portraits, 
and other book-plates. He engraved the illustra- 
tive plates for the Books of Official Rules of the 
Orders of Santiago, Calatrava, and Alcantara, 
which are embellished with portraits of Philip 
IV. He was appointed engraver in ordinary to 
the King, with a pension of 100 ducats. His last 
print is a portrait of Calderon, dated 1676. 

VILLAIN, Gerard Renard, a French engraver, 
who flourished about 1760, and executed a few 
portraits. 

VILL AMEN A, Fran- 
„,-,, ^ — -\ CESco, an eminent Ital- 
C_/^l IJ "^^ ■'^*^'^~^^^^='ian designer and engra- 
ver, born at Assisi, about 1566. According to 
Baglioni. he went to Rome in the Pontificate of 
Sixtus v., where he applied himself to designing 
from the antique, and the works of the great mas- 
ters, with great assiduity. He is supposed to 
have been a fellow-student with Agostino Caracci, 
under Cornelius Cort, whose style he emulated. 
His plates are executed entirely with the graver, 
in a bold, open and masterly style, and he handled 
the burin with uncommon facility. The eifect 
of his prints is more clear than powerful, from the 
lights being too equally diff'used over the whole 
subject. This defect, however, discernible in most 
of the productions of his time, is compensated in a 
great measure, by the correctness of the drawing 
and the admirable expression of the heads. His 
prints are numerous, and are sometimes marked 
with the above monogram, sometimes with his 
initials, F. V. F., and occasionally with his name in 
full. He died about 1626. The following are his 
principal works. 

portkaits. 
Caesar Baronius Soranus. Cardinal. 1602. Christopho- 
rus Clavius, Bambergensis e Societ. Jesu. 1606. Rober- 
tus Bellarminus Politianus. Christiern IV., King of Den- 
mark. Galilee Galilei, of Pisa, famous Mathematician. 

SUBJECTS FROM HIS OWN DESIGNS. 

St. Theresa meditating in her Cell. Mary Magdalene 
penitent, crowned hy an Angel. St. Francis praying be- 
fore a Crucifix. A set of six grotesque Figures, one of 
which is a Monk begging, accompanied by two Children. 
A print called The Boxers, representing a Man fighting 
against a crowd of people. Another print, called The An- 
tiquary, representing John Alto standing in one of the 
streets of Rome. 

SUBJECTS AFTER VARIOUS MASTERS. 

Moses showing the Brazen Serpent to the Israelites ; 
after Ferrau da Paenza. The Virgin and infant Christ, 
with St. Francis ; do. The Holy Family, with St. John, 
St. Elizabeth, and St. Anne ; q/iJer i?a/ae/Ze. 1602. The 
same subject; engraved at Rome in 1611. St. Bruno, 
with his companions, doing penance in the Desert ; after 
Lanfranco. The taking down from the Cross ; after Ba- 
Toccio. The Presentation in the Temple ; after Paolo 
Veronese. This plate was begun by Agostino Caracci, and 
was finished by Villamena; it is scarce. St. Bernard, 
with the Virgin in the clouds ; after Vanni. A set of 
twenty Scriptural subjects, from the paintings by Raffaelle, 
in the Vatican, called Raffaelle's Bible. 

VILLAVICENCIO, Don Pedro Nunez. See 

Nunez. 

VILLEGAS MARMOLEJO, Pedro de, a Span- 
ish painter, born at Seville in 1520. It is not known 
under whom he studied, but it is supposed that 
he received his education in Italy. There is much 
discrepancy as to his merits among the Spanij-h 



VILL. 



1053 



VINC. 



writers. He executed a few works for the church- 
es and public edifices of Seville, which, according 
to Bermudez, partake of the manner of Pedro 
Campana, and his best works are equal to the 
finest productions of that master. His Visitation 
of the Virgin Mary to St. Elizabeth, in the cathe- 
dral, has often been attributed to Campana. Others 
\ however, do not speak of him in terms of such 
high commendation. He died in 1597. 

VILLEGUAIN, Etienne, a French painter, 
born at Ferriere in 1599, and died at Paris in 
1668. Little is known of him. He is said to 
have painted history and portraits with consid- 
erable reputation. His name is also written Vil- 
leguin and Villequin. 

VILLEREY, Antoine Claude FRAN9013, a 
French engraver, born at Paris in 1768. He 
studied under Antoine Louis Romanet. He en- 
graved part of the plates for the Musee Filhol; 
twenty-six plates for the Galerie de St. Bruno, 
after le Sueur ; a great part of the vignettes for 
the edition of Voltaire published by Renouard, and 
some single plates after the French masters. His 
plates are executed' with the graver in a neat, fin- 
ished style. He was livmg in 1831. 

VILLOLDO, Juan de, a Spanish painter, who, 
according to Bermudez, practiced his profession 
with great credit at Toledo, in the first part of the 
16th century. In 1508, he was employed by the 
chapter of the cathedral, to paint several pictures 
for the Muzarabic chapel, which, with the assist- 
ance of Juan de Borgona and Amberes, he finished 
in 1510. Nothing more is heard of him till 1547, 
when he was employed by the bishop of Plasen- 
cia to adorn a chapel which he had rebuilt in the 
parish of St. Andrew at Madrid, with a series of 
forty-five pictures of sacred history, from the fall 
of Adam to the death of Christ. These works are 
commended by Bermudez for correctness of de- 
sign, and for "purity in the antique style." He 
finished the chapel in 1548. " a proof of the fecun- 
dity of his imagination, and the extraordinary 
rapidity of his pencil." He is supposed to have 
died about 1551. 

VIMERCATT, Carlo, a painter born at Milan 
in 1660. Some say his family name was Donelli j 
by others he is called 11 Vimercati. He studied 
under Ercole Procaccini ; but Lanzi says, "he 
owed his success to the most pertinacious study 
of the works of Danielle Crespi at the Certosa ; he 
exhibited few of his pictures in public at Milan ; 
he painted more at Codogno, and in his best man- 
ner, as well as others in a new one, in which he 
was greatly inferior." He died in 1715. 

VINCENT, Hubert, a French engraver who 
went to Rome, where he flourished about 1690. 
He engraved some plates after Correggio, Paul 
Veronese, and other masters, which are indifferent- 
ly executed. 

VINCI, Gaudenzio. This painter, according to 
a MS. cited by Lanzi, was a native of Novara, in 
Piedmont. There is an altar-piece by him at 
Arona, executed entirely in the manner of Lio- 
nardo da Vinci, signed Gaudenzio Vinci, 1511, 
which Lanzi says is pronounced by all an aston- 
ishing performance. This is all that is known of 
him with any certainty, though some say he was 
a pupil of Pietro Perugino, and several works par- 
taking of the style of that master, are attributed 



to him. It seems very probable that he is the 
same as Gaudenzio Ferrari, which see. 

VINCI, LiONARDo DA. This illustrious artist, 
denominated by Lanzi, "the Father of Modern 
Painting," was also an eminent sculptor, archi- 
tect, and engineer, the natural son of Pietro da 
Vinci, notary to the Florentine Republic. Vasari 
and his annotators, place his birth in 1445 ; but 
Durazzini, in his Panegyrics on Illustrious Tuscans, 
satisfactorily proves that he was born in Lower Val- 
darno, at the castle of Vinci, in 1452. At an early age 
he evinced remarkably quick abilities for everything 
he turned his attention to, but more particularly 
for arithmetic, music and drawing. His drawings 
appeared something wonderful to his father, who 
showed them to Andrea Verocchio, and that cele ■ 
brated artist, greatly surprised at seeing produc- 
tions of such merit from an uninstructed hand, 
willingly took Lionardo as a pupil. He was soon 
much more astonished when he perceived the 
rapid progress his pupil made; he felt his own in- 
feriority, and when Lionardo painted an angel in a 
picture of the Baptism of Christ, in S. Salvi at 
Vallombrosa, so much superior to the other fig- 
ures that it rendered the inferiority of Verocchio 
apparent to all, he immediately relinquished the 
pencil for ever. This picture is now in the Acad- 
emy at Florence. The first original work by Lio- 
nardo, mentioned by Vasari, was the so-called 
Rotella del Fico, a round board of a fig-tree, upon 
which his father requested him to paint something 
for one of his tenants. Lionardo, wishing to as- 
tonish his father, determined to execute something 
extraordinary, that should produce the effect of the 
head of Medusa ; and having prepared the rotella 
and covered it with plaster, he collected almost 
every kind of reptile, and composed from them a 
monster of most horrible appearance; it seemed 
alive, its eyes flashed fire, and it appeared to 
breathe destruction from its open mouth. The 
picture produced the desired effect upon his fa- 
ther, who thought it so wonderful that he carried 
it immediately to a picture-dealer in Florence, sold 
it for a hundred ducats, and purchased for a trifle 
an ordinary piece for his tenant. The talents of 
Lionardo soon attracted public attention at Flor- 
ence. He was endowed by nature with a genius 
uncommonly elevated and penetrating, eager after 
discovery, and diligent in the pursuit, not only in 
what related to sculpture and architecture, but in 
mathematics, mechanics, hydrostatics, music, poe- 
try, botany, astronomy, and also in the accom- 
plishments of horsemanship, fencing, and dancing. 
Unlike most men of versatile talent, he was so 
perfect in all these, that when he performed any 
one, the beholders were ready to imagine that it 
must have been his sole study. To such vigor 
of intellect he joined an elegance of features and 
of manners, that graced the virtues of his mind ; 
he was affable with strangers, with citizens, with 
private individuals, and with princes. This ex- 
traordinary combination of qualities in a single 
man, soon spread his fame over all Italy. 

Lanzi divides Lionardo's life into four periods, 
the first of which includes the time he remained 
at Florence, until 1494. He says, " Lionardo re- 
tained traces of his early education through his 
whole life. Like Verocchio, he designed more 
readily than he painted ; he assiduously cultiva- 
ted mathematics ; in his design and in his coun- 
tenances he prized elegance. and vivacity of expres- 



VINO. 



1054 



VINC 



sion, more than dignity and fulness of contour; 
he was very careful in drawing his horses, and in 
representing the skirmishes of soldiers ; and was 
more solicitous to improve the art than to multi- 
ply his pictures. By his knowledge of sculpture, 
he gave that perfect relief and roundness, in which 
painting was then wanting ; he imparted to it sym- 
metry, grace, and spirit, and these and his other 
merits, gave him the title of the Father of Modern 
Painting, though some of his works participate in 
the meanness of the old school. He had two 
styles, the one abounding in shadow, which gives 
admirable brilliancy to the contrasting lights ; the 
other more quiet, and managed by means of mid- 
dle tints. In each style, the grace of his design, 
the expression of the affections, and the delicacy 
of his pencil, are unrivalled. Everything is lively, 
the foreground, the landscape, the adventitious 
ornaments of necklaces, flowers, and architecture ; 
but this gaiety is more apparent in the heads. In 
this he apparently repeats the same idea, and 
gives them a smile which delights the mind of a 
spectator. To this first period of Lionardo's life 
may be referred the Medusa, and the few pictures 
mentioned by Vasari ; others also, less powerful 
in the shadows, and less diversified in the folds of 
the drapery, present heads more delicate than se- 
lect, apparently derived from the school of Ve- 
rocchio. Such is the Magdalen in the Florentine 
Gallery, and that of the Aldobrandini palace at 
Rome ; some Madonnas and Holy Families in the 
Giustiniani and Borghese Galleries ; and some 
heads of the Redeemer and the Baptist in va- 
rious places, although the multitude of his imi- 
tators must render all decision on their originali- 
ty ambiguous. Of a difierent class, and without a 
doubt by his hand, is the picture of a Child play- 
ing on an ornamented bed, richly dressed and 
adorned with necklaces, which is in the apartment 
of the Gonfaloniere at Bologna." Lionardo also 
executed several excellent works in sculpture, 
among which are the statue of St. Tommaso, in Or 
San Michele at Florence, the Horse, in the church 
of Sts. Giovanni and Paolo, at Venice, and the 
superior models for the three statues cast in bronze 
by Rustici, for S. Giovanni at Florence. 

The second period of Lionardo's life commences 
with his residence at Milan. About 1490, he 
presented a memorial to the duke Lodovico Sforza, 
in which he set forth at considerable length his 
abilities in painting, sculpture, architecture, and 
engineering. Accordingly, in 1494, the Duke in- 
vited him to Milan, and appointed him director of 
the Academy of Painting and Architecture, which 
he had recently revived with additional splendor 
and encouragement. During his residence there, 
he painted but little, with the exception of his 
celebrated picture of the Last Supper, a descrip- 
tion of which will be found in the latter part of 
this article. As director of the Academy, he ban- 
ished all the dry, Gothic principles established by 
his predecessor, Michelino, and introduced the 
beautiful simplicity and purity of the Grecian and 
Roman style. Lanzi says that in this capacity, 
" he left a degree of refinement at Milan, so pro- 
ductive of illustrious pupils that this period 
may be reckoned as the most glorious era of his 
life." The Duke engaged Lionardo in the stu- 
pendous project of conducting the waters of the 
Adda, from Mortesana, through the Valteline, and 
the valley of the Chiavenna, to the walls of Milan, 



a distance of nearly two hundred miles. Sensible 
of the greatness of this undertaking, Lionardo 
applied himself more closely to those branches 
of philosophy and mathematics which are most 
adapted to mechanics, and he finally accomplished 
this immense work, greatly to the astonishment 
and admiration of all Ital}^ He executed the 
model for a colossal bronze equestrian statue of 
the Duke's father, Francesco Sforza. and would 
have completed it, but the Duke's afi'airs were be- 
coming greatly embarassed, so that the necessarj- 
metal, (200,000 lbs.), was not furnished. In 1500, 
Lodovico Sforza was overthrown in battle by the 
French, made prisoner, and conducted to France, 
where he soon after died in the castle of Loches. 
The Academy was suppressed, the professors dis- 
persed, and Lionardo, after losing all, was obliged 
to quit the city and take refuge in Florence. 

The third period of Lionardo's life commences 
at the time of his return to Florence, about 1500. 
He was well received by Pietro Soderini the 
Gonfaloniere, who had him enrolled among the 
artists employed by government, and settled upon 
him a pension. In 1502, Cesare Borgia, captain- 
general of the Pope's army, appointed him his 
chief architect and engineer, and Lionardo visited 
many parts of the Roman states in his ofiicial 
capacity. In 1503, however, after the death of 
Pope Alexander VI., he was again at Florence, and 
was emplo3^ed by Soderini to paint one side of the 
Council-hall of the Palazzo Vecchio, while Michael 
Angelo, then in his twenty-ninth year, and already 
rising into eminence, was fixed upon as the artist 
to paint the other side. Lionardo selected the 
battle in which the Milanese general, Niccolo Pic- 
cinino, was defeated by the Florentines at Anghiari, 
near Borgo San Sepolcro. This composition, of 
which he only made the cartoon of a part, was 
called the Battle of the Standard; it represents 
a group of horsemen contending for a standard, 
with various accessories. Vasari praises the beau- 
ty and anatomical correctness of the horses, and the 
costumes of the soldiers. Lanzi says it was never 
executed, after his failing in an attempt to paint 
it in a new method upon the wall, but Lucini af- 
terwards represented it in a painting which is in 
the Ambrosian Library at Milan, esteemed one of 
the finest works in that collection. The fame of 
this contest between the two great artists, caused 
great excitement, and induced Raflfaelle, who had 
recently quitted the school of Perugino, to visit 
Florence. The grace and delicacy of Lionardo's 
style, compared with the dry and Gothic manner 
of Perugino, excited the admiration of the young 
j painter, and inspired him with a more modern 
taste. In 1507, Lionardo again visited Milan, and 
painted in that year, in an apartment of the palace 
of the Melzi at Vaprio, a large Madonna and 
Child, which in part is still extant. 

During this period of Lionardo's life, having at- 
tained his highest skill, and mostly unoccupied 
with other pursuits, he painted in his best manner. 
" Such," says Lanzi, " is the specimen that was 
preserved at Mantua, but which was stolen, and 
after many vicissitudes, was sold for a high price to 
the court of Russia; the subject is a Holy Fam- 
ily, and in the background is a woman of beauti- 
ful and majestic countenance, in an upright posi- 
tion. It bears the cipher of Lionardo, consisting 
of a D interlaced with an L and a V. His own 
portrait, in the Ducal gallery at Florence^ sur- 



VINC. 



1055 



VINC. 



passes every other in that room for energy of ex- 
pression ; also another head in a different cabinet, 
called a portrait of Raffaelle ; the half-length fig- 
ure of a young min, so much commended by Bot- 
tari, and which he points out as one of the great- 
est treasures in the splendid mansion of Marchese 
Niccolini. In the same rank we may include the 
much admired specimens in the possession of 
some of the noble families of Rome ; as the picture 
of Christ disputing in the Temple, and the sup- 
posed portrait of Queen Giovanna. ornamented 
with fine architecture, in the Doria Palace ; the 
Vanity and Modesty in the Barberini Palace, the 
tints of which no pencil has been able to imitate ; 
the Madonna of the Albani Palace, that appears to 
be requesting the lily which the infant Jesus holds 
in his hand, drawing back as if unwilling to part 
with it — a picture of exquisite grace, and preferred 
by jMengs to every other painting contained in that 
fine collection." Lionardo's cartoon of St. Anna, 
for the church of the Servi at Florence, is also 
esteemed among his most remarkable productions ; 
and also his celebrated portrait of Mona Lisa, the 
wife of Francesco Giocondo. which occupied him 
four years. It was purchased by Francis I. for 
4000 gold crowns, and is now in the Louvre at 
Paris. Lionardo visited Milan about 1512, and 
painted two portraits of the young duke Maxim- 
ilian, the soQ of Lodovico, his former patron. In 
1514 he quitted it again with, several of his com- 
panions, and returned to Florence. The patronage 
extended to the arts by Pope Leo X.. then recent- 
ly elevated to the papal throne, inclined him to 
visit Rome, and accordingly he went thither in 
that year, in the train of the Duke Giuliano de 
Medici, by whom he was introduced to the Pope, 
who soon after signified his intention of employ- 
ing Lionardo's pencil. Upon this, the painter began 
to distil his oils and prepare his varnishes, which 
the Pope seeing, he exclaimed with surprise, that 
"nothing could be expected of a painter who 
thought of finishing his works before he had begun 
them." This want of courtesy in the Pope of- 
fended Lionardo, and according to Vasari, was the 
reason why he immediately quitted Rome in dis- 
gust. It is probable, however, that the talents 
and fame of Buonarotti and Rafiaelle had more to 
do with producing the dissatisfaction of this great 
painter, who was then declining into the vale of 
years. 

Lionardo's final departure from Rome marks 
his relinquishment of the art of painting, and the 
commencement of the fourth period of his life. He 
set out for Pavia at the invitation of Francis I. 
of France, who received him with the greatest 
kindness, and took him into his service, with a sal- 
ary of 700 crowns annually. Lionardo accom- 
panied him to Bologna, where he went to meet 
Leo X., and afterwards, in the beginning of 1516, 
he accompanied him to Florence. The health of 
this great painter was so much enfeebled after leav- 
ing Italy, that he executed little or nothing more. 
The king could not prevail upon him even to color 
his cartoon of St. Anna, which he had brought 
with him; nor did he seem disposed to commence 
any new work which would require the exertion 
of his energies. During an indisposition of five 
years, he continued to receive marks of that mon- 
arch's esteem. His health gradually grew worse, 
and he finally expired at Fontainbleau on the 2d 
of May, 1519, aged sixty-seven. Vasari relates 



that he died in the arms of Francis I., who hap- 
pened to be visiting him at his chamber. 

This great artist is esteemed the most eminent 
Italian of the 15th century. Says Hallam, "the 
discoveries which made Galileo and Kepler. Maest- 
lin, Maurolicus. Castelli, and other names illus- 
trious, the system of Copernicus, the very theories 
of recent geologists, are anticipated by Lionardo 
da Vinci, within the compass of a very few pages, 
not perhaps in the most precise language, or on 
the most conclusive reasoning, but so as to strike 
us with something like the awe of preternatural 
knowledge. In an age of so much dogmatism, he 
first laid down the grand principle of Bacon, that 
experiment and observation must be the guides 
to just theory in the investigation of nature." His 
scientific knowledge proved the means of confer- 
ring incalculable benefits upon the art of painting, 
one of the most important of which was the in- 
vention of the chiaro-scuro. His intimate ac- 
quaintance with mathematical studies enabled him 
to develope greatly the knowledge of optics, and 
no one was better acquainted with the nature of 
aerial perspective, which became a distinctive and 
hereditary characteristic of his school. Lanzi 
says, '' being extremely well versed in poetry and 
history, it was through him that the Milanese 
school became one of the most accurate and observ- 
ing in regard to antiquity and to costume. Mengs 
has noticed that no artist could surpass Vinci in 
the grand effect of his chiaro-scuro. He instruct- 
ed his pupils to make as cautious a use of light as 
of a gem, not lavishing it too freely, but reserving 
it always for the best place. And hence we find 
in his, and in the best of his disciples' paintings, 
that fine relief, owing to which the pictures, and 
in particular the countenances, seem as if starting 
from the canvass." 

'• For a long period before the time of Lionardo 
da Vinci, the art had become gradually more re- 
fined, and considered its objects more minutely; 
in which Botticelli, Mantegna, and others had ac- 
quired great reputation. As minuteness, however, 
is opposed to sublimity, it ill accorded with that 
elevation in which the supreme merit of the art 
would seem to consist. In my opinion, Lionardo 
succeeded in uniting these two opposite qualities, 
before any other artist. In subjects which he un- 
dertook fully to complete, he was not satisfied 
with only perfecting the heads, counterfeiting the 
shining of the eyes, the pores of the skin, the 
roots of the hair, and even the beating of the ar- 
teries ; he likewise portrayed each separate gar- 
ment and every accessory with minuteness. — 
Thus, in his landscapes also, there was not a sin- 
gle herb, or leaf of a tree, which he had not taken 
like a portrait, from the select face of nature ; and 
to his very leaves he gave a peculiar air, and fold, 
and position, best adapted to represent them rust- 
ling in the wind. While he bestowed his attention 
in this manner on the minutiae, he at the same 
time, as is observed by Mengs, led the way to a 
more enlarged and dignified style; entered into 
the most abstruse inquiries as to the source and 
nature of expression, the most philosophical and 
elevated branch of the art ; and smoothed the way, 
if I may be permitted to say so, for the appear- 
ance of Rafiaelle. No one could be more curious 
i in his researches, more intent upon observing, or 
j more prompt in catching the motions of the pas- 
sions. as exhibited either in the features or the 



VINC. 



1056 



VINC. 



actions. He frequented places of public assembly, 
and all places in which man gave free play to his 
active powers ; and there, in a small book always 
ready at hand, he drew the attitudes which he 
selected ; and these designs he preserved that he 
might apply them, with expressions more or less 
powerful, according to the occasion, and the de- 
gree of expression he wished to introduce. For it 
was his custom, in the same manner as he gra- 
dually strengthened his shadows until he reached 
the highest degree, so also in the composition of 
his figures, to proceed in heightening them until 
he attained the perfection of passion and of mo- 
tion. The same kind of gradation he observed in 
regard to elegance, of which he was perhaps the 
earliest admirer; since previous artists appeared 
unable to distinguish grace from beauty, and still 
more so to adapt it to pleasing subjects in such a 
way as to rise from the less to the more attractive 
points, as was practiced by Lionardo. He even 
adhered to the same rule in his burlesques, always 
throwing an air of greater ridicule over one than 
another, insomuch that he was heard to say, that 
they ought to be carried to such a height, if pos- 
sible, as even to make a dead man laugh. The 
characteristic, therefore, of this incomparable ar- 
tist, consists of a refinement of taste, of which no 
^qual example, either preceding or following him, 
is to be found ; if indeed we may not admit that 
of Protogenes, who wrought seven years upon 
the picture of Jalysus and his Dog. It is prudent 
counsel that teaches us to aspire to the best, but to 
rest satisfied with attaining what is good. Vinci was 
never pleased with his labors if he did not execute 
them as perfectly as he had conceived them ; and 
being unable to reach the high point proposed with 
a mortal hand, he sometimes only designed his 
work, or conducted it only to a certain degree of 
perfection. But as there was no limit to the dis- 
covery of fresh beauties in the work of Protogenes. 
so, in the opinion of Lomazzo, it happens with the 
perfections of Vinci's paintings, including even 
those which Vasari and others allude to as left 
imperfect. In regard to the reported imperfection 
of many of his works, it is certain that he left a 
number only half finished, but the report is most 
generally grounded upon his having left some por- 
tions of his pieces less perfectly finished than 
others ; a deficiency, nevertheless, that cannot al- 
ways be detected, even by the best judges. The 
portrait of Mona Lisa, upon which he wrought 
four years, and then, according to Vasari, left it im- 
perfect, was examined by Mariette, in the collection 
of the King of France, and was decided to be car- 
ried to so high a degree of finish that it was im- 
possible to surpass it. Lomazzo has remarked 
that, excepting three or four, he left all the rest 
of his heads imperfect. But imperfections and 
faults like his would have been accounted distin- 
guishing qualities in almost any other artist." 

"Even his grand Supper has been stated in his- 
tory as an imperfect production, although at the 
same time all history is agreed in celebrating it 
as one of the most beautiful paintings that ever 
proceeded from the hand of man. It was painted 
for the Refectory of the Dominican fathers at Mi- 
lan, and may be pronounced a compendium, not 
only of all that Lionardo taught in his books, but 
also of what he embraced in his studies. He 
here gave expression to the exact point of time 
best adapted to animate his history, which is the 



moment when the Redeemer addresses his disci- 
ples, saying, 'One of you will betray me.' Then 
each of his innocent followers is seen to start as if 
struck with a thunderbolt ; those at a distance 
seem to interrogate their companions, as if they 
think they must have mistaken what he had said ; 
others, according to their natural disposition, ap- 
pear variously affected ; one of them swoons away, 
one stands lost in astonishment, a third rises in 
indignation, while the very simplicity and candor 
depicted upon the countenance of a fourth, seem 
to place him beyond the reach of suspicion. But 
Judas instantly draws in his countenance, and 
while he appears as it were, attempting to give it 
an air of innocence, the eye rests upon him in a 
moment, as the undoubted traitor. Vinci himself 
used to observe, that for the space of a whole year he 
employed his time in meditating how he could best 
give expression to the features of so bad a heart ; 
and that being accustomed to frequent a place where 
the worst characters were known to assemble, he 
there met with a physiognom.y to his purpose ; 
to which he also added the features of many others. 
In his figures of the two saints James, presenting 
fine forms, most appropriate to the characters, he 
availed himself of the same plan, and being una- 
ble with his utmost diligence to invest that of 
Christ with a superior air to the rest, he left the 
head in an unfinished state, as we learn from Va- 
sari, though Armenini pronounced it exquisitely 
complete. The rest of the picture, the table-cloth 
with its folds, the whole of the utensils, the table, 
the architecture, the distribution of the lights, the 
perspective of the ceiling, (which, in the tapestry 
of S. Pietro at Rome, is changed almost into a 
hanging garden), all was conducted with the most 
exquisite care ; all was worthy of the finest pen- 
cil in the world. Had Lionardo desired to follow 
the practice of his age in painting in fresco, the 
art at this time would have been in possession of 
this treasure. But being always fond of attempt- 
ing new methods, he painted this master-piece 
upon a peculiar ground, formed of distilled oils, 
which was the reason that it gradually detached 
itself from the wall. About half a century sub- 
sequent to the execution of this wonderful work, 
when Armenini saw it, it was already half de- 
cayed : and Scanelli, who examined it in 1642, 
declared that it ' was loith difficulty he could dis- 
cern the history as it had been.- Nothing now 
remains except the heads of three apostles, which 
may be said to be rather sketched than painted." 
This great loss is in some measure compensated 
by several excellent copies, some of which are by 
Lionardo's most eminent disciples ; the best are, 
that by Marco LTggione, at the Carthusians of Pa- 
via ; another in the Refectory of the Franciscans 
at Lugano, by Bernardino Luini ; and one in La 
Pace at Milan, by Gio, Paolo Lomazzo. Fuseli, 
lecturing on the copy by Marco Uggione, says, 
" the face of the Saviour is an abyss of thought, 
and broods over the immense revolution in the 
economy of mankind, which throngs inwardly on 
his absorbed eye — as the Spirit creative in the be- 
ginning over the water's darksome wave — undis- 
turbed and quiet. It could not be lost in the 
copy before us; how could its sublime expression 
escape those who saw the original ? It has survi- 
ved the hand of time in the study which Lionar- 
do made in crayons, exhibited with most of the at- 
tendant heads in the British Gallery, and even in the 



VINC. 



1057 



VINC. 



feeble transcripts of Pietro Testa. I am not afraid 
of being under the necessity of retracting what I 
am going to advance, that neither during the splen- 
did period immediately subsequent to Lionardo, 
nor in those which succeeded to our own time, has 
a face of the Redeemer been produced, which, I 
will not say equalled, but approached Lionardo's 
conception, and in quiet and simple features of 
humanity, embodied divine, or what is the same, 
incomprehensible and infinite powers." In 1825, 
Prof. Phillips examined the remains of this pic- 
ture, and says, '' Of the heads, there is not one un- 
touched, and many are totally ruined. Fortu- 
nately, that of the Saviour is the most pure, being 
but faintly retouched ; and it presents, even yet, a 
most perfect image of that Divine character. — 
Whence arose the story of its not having been fin- 
ished it is now difficult to conceive, and the history 
itself varies among the writers who have men- 
tioned it. But perhaps a man so scrupulous as 
Lionardo da Vinci, in the definement of charac- 
ter and expression, and so ardent in his pursuit 
of them, might have expressed himself unsatis- 
fied, where all others could only see perfection." 

Lionai'do wrote several works on various sub- 
jects, the principal of which is a Treatise upon 
Painting, published in folio at Paris in 1651, en- 
titled. Trattato delta Pittura di Lionardo da 
Vinci. Novamente dato in Luce; con la vita 
delV istesso autore, scritta da Raffaelle du Fresne, 
&c., Parigi, 1651, with figures designed by Nicholas 
Poussin. It was translated into English, and pub- 
lished by John Senex, London, 1721 ; there are 
also several other later editions of this work, which 
Count Algarotti held in such high esteem, that he 
thought it the only one necessary to be placed in 
the hands of a student of art. Besides this, Lio- 
nardo wrote five Treatises, on Hydraulics, Ana- 
tomy, Perspective, Light and Shadow, and the 
Anatomy of the Horse. 

Lionardo left the whole of his designs, instru- 
ments, books, and manuscripts, to his friend and 
disciple, Francesco Melzi, who accompanied him 
on his last visit to France. His designs and 
writings were collected into thirteen volumes, 
which have been dispersed in various royal and 
noble collections. Several volumes of his MSS. 
are preserved in the Ambrosian Library, and 
Lanzi remarks that, as long as they exist, '• the 
world must admit that he was one of the chief 
revivers, not only of painting, but of statics, hy- 
drostatics, optics, and anatomy." The extracts 
upon which Hallara grounds the eulogium above 
cited, were published at Paris in 1797, by Venturi, 
in an essay entitled, Essai siir les ouvrages Phy- 
sico-Mathematiques de Leonard da Vinci, avec 
des Fragmens tires de ses Manuscrits apportes 
de Vltalie. The original MSS. were subsequently 
restored to the Ambrosian Library. One volume 
of his drawings has found its way into the Eng- 
lish Roj'^al collection, and contains a variety of 
lieads, portraits, caricatures, single figures, horses, 
and animals ; botany, optics, perspective, mechan- 
ics, and anatomical subjects. 

it has been attempted to prove that Lionardo 
engraved a few prints on copper ; m the British 
Museum are three prints attributed to him, the 
Bust of a young and beautiful Female, a study of 
the Heads of three Horses, and a Lady in a rich 
dress. The first two are much in the style of his 
drawings, and Ottley is quite confident that the 



former was designed and engraved by him. A 
print representing a species of ornament, is also 
mentioned, formerly in Sir Mark Sykes' collection, 
inscribed in Roman capitals, Accademia di Leo- 
nardo Vinci. 

VINCK, J., a Dutch portrait and landscape 
painter, of whom nothing is known except by his 
works. His landscapes are in a mixed manner, 
partaking of the styles of Paul Brill and John 
Breughel. His portraits are only known by en- 
gravings that bear his name. He flourished in 
the first part of the 17th century. 

y^ O VINCKENBOOMS. David, a Flemish 
1^ painter, born at Mechlin in 1578. He 
\/ was the son of Philip V., an obscure 
painter in distemper, who instructed him in 
the art. He painted landscapes of a small size, 
in the style of Roland Saver}^ and John Breughel. 
These he decorated with subjects taken from the 
Bible, with fairs, merrymakings, rural festivals, 
conversations, &c., which are ingeniously com- 
posed, and designed with tolerable correctness, 
though his touch is dr}^ and hard. One of his 
most considerable works is a picture in the hos- 
pital of the Old Men at Amsterdam, representing 
a crowd of people attending the drawing of a 
lottery by torch-light. He occasionally painted 
historical subjects, in which the landscape serves 
as the background. Such is his picture of Christ 
bearing his Cross, in the collection oi the Elec- 
tor Palatine, and another at Frankfort, represent- 
ing Christ restoring blind Bartimeus to sight. 
Some of his pictures are decorated with the figures 
of Rottenhammer. He excelled in making draw- 
ings with the pen, washed with India ink, several 
of which are in the British Museum, representing 
the story of the Prodigal Son. Some of his land- 
scapes were engraved by N. de Bruyn and others. 
He also engraved some plates of landscapes from 
his own designs, which he usually marked with 
the above monogram. His name is sometimes 
written Vinkoboon. He died at Amsterdam in 
1629. 

VINKELES, Renier, a Dutch engraver, born 
at Amsterdam in 1741. He studied under J. 
Punt, and engraved some portraits and other sub- 
jects after the works of the Dutch masters. 

VINNE, John vander, a Dutch engraver who 
flourished at Haerlem about 1730. He engraved 
a set of twelve plates of views in the environs of 
Haerlem, executed in a very neat style, after Pe- 
ter Bout. There was also an Isaac Vinne, who 
was an engraver and publisher, and flourished at 
Haerlem about the same time. He engraved some 
plates after T. Wyck. 

VINNE, Vincent Lawrence vander, a Dutch 
painter, born at Haerlem in 1629. He showed an 
early inchnation for art, and had made considera- 
ble progress without any other assistance than his 
own genius, when he was placed under the in- 
struction of Francis Hals, one of the ablest artists 
of his time. On leaving his master, he traveled 
through Germany, Switzerland, and France. In 
1657, he returned to his native city, where he set- 
tled for life, and found abundant employment. He 
painted history, portraits, landscapes, and drolls, 
in the style of his instructor, and in each of these 
branches, he discovered a lively imagination, a 
fruitful invention, an admirable tone of coloring, a 
faithful imitation of nature, and an uncommon fa 



VINN. 



1058 



VIOL. 



cility of hand. His best performances are his por- 
traits, and some of these are accounted little infe- 
rior to those of Hals. Towards the latter part of 
his life, he neglected his fame, in his eagerness for 
gain, and accepted every commission offered him, 
which he dispatched with negligence and haste. 
He died in 1702. 

VINNE, Lawrence vander, was the son of 
the preceding, born at Haerlem in 1658, and died 
in 1724 ; though Immerzeel says in 1729. He 
studied with his father, whose precepts he followed, 
but never rose above mediocrity. His chief merit 
consisted in painting flowers and plants, and he 
was much employed by the botanists of his time. 
He had two brothers, John and Isaac, who prac- 
ticed the art, but they did not acquire any distinc- 
tion. John studied under John van Hugtenburg, 
and painted landscapes and hunting-pieces. He 
went to England, where he resided some time. He 
died at Haerlem in 1721, and Isaac in 1740. There 
was also a John vander Vinne, an engraver, who 
flourished at Haerlem about 1730. 

VINNE, Vincent vander, was the son of John 
vander Vinne (probably the engraver), born at 
Haerlem in 1736, and died there in 1811. He first 
painted fruit and flower pieces, and afterwards 
landscapes and cattle, with considerable success. 

VINI, Sebastian 0, a painter of Verona, who 
settled at Pistoja in the first part of the 16th cen- 
tury. Lanzi says, "his reputation and his pic- 
tures did honor to the country that adopted him. 
He left many works both in oil and fresco, but his 
most extraordinary production was in the sup- 
pressed church of St. Desiderio. The fa9ade over 
the great altar was storied with the Crucifixion of 
the Ten Thousand Martyrs, a work abounding 
with figures and invention." 

VINSAC, Claude Dominick, a French en- 
graver, born at Toulouse in 1749. He engraved 
a few portraits, and a set of plates of ornaments 
for goldsmiths, neatly executed in the dotted man- 
ner. 

VIOLA, Giovanni Battista, a painter born at 
Bologna, according to Lanzi and the best authori- 
ties, in 1576, though some say in 1572. He stud- 
ied several years with Annibale Caracci, whose 
admirable manner of painting landscapes he suc- 
cessfully adopted. He accompanied his fellow pu- 
pil Albano to Rome, where, in conjunction with 
him, he was much employed in decorating the 
palaces of the nobility with landscape-frescos, in 
which Albano painted the figures. One of the 
works which first brought him into repute was 
a large landscape painted for the villa of Cardinal 
Montalto, in competition with Paul Brill, whose 
pictures were then highly esteemed. The gran- 
deur both of style and subject of Viola's land- 
scape, greatly excelled that of the Fleming, and 
gained him great reputation. Some of his finest 
works are in the Villa Pia, and the Villa Aldo- 
brandini. Fresnoy, who was an able judge, con- 
sidered the pictures of Viola " wonderfully fine 
and well colored." Lanzi says that he painted 
mostly in fresco, and that his portable works are 
rarely to be met with at Rome; "his landscapes 
however, were frequently introduced into the pic- 
tures of Albano, and may be recognized in that city 
by judges, as those of Viola, like Mola's in other 
pieces of Albano at Bologna." He died at Rome 
in 1622. 



VIOLA. Gig. Battista, a painter of Bergamo, 
of little note, who flourished in the first part of 
the 17th century, and should be distinguished from 
the preceding. 

VIOLA, DoMENico, a Neapolitan painter, who, 
according to Dominici, died old, in or about 1696. 
He was a disciple and imitator of the Cav. Mattia 
Preti (Calabrese). He executed some works for 
the churches and collections, but did not pass the 
bounds of mediocrity. 

VIRLOYS, Charles FRAN901S Roland le, a 
French architect and writer on the art, was born 
at Paris in 1716. During the period of youth, he 
applied himself to the study of philosophy and ju- 
risprudence; after which he studied architecture, 
and made rapid progress. He successfully compe- 
ted for the erection of the theatre of Metz, and 
constructed that edifice in 1751. His reputation 
extended into foreign countries, and he was ap- 
pointed architect to the King of Prussia, and sub- 
sequently to the Empress Maria Theresa ; but no 
mention is made whether he accepted either of 
these honors. The principal production from the 
pen of Virloys, is his Dictionnaire d^ architecture, 
civile, militaire et navale. ancienne et moderne, 
&c., Paris, 1770, 3 vols, grand quarto, with 101 
plates. The Biographic Universelle commends 
it as superior to the work of Aviler, but adds, that 
it leaves much to be desired. 

VISACCI, Antonio, called also, II Visacci, 
a painter of Urbino-, who, according to Lazzari, 
was a pupil of Federigo Baroccio, and flourished 
about 1600. His real name was Antonio Cima- 
tori. In conjunction with the younger Viviani, 
Mazzi, and L^rbani. he was employed to paint the 
arches, pictures, and other decorations, in honor 
of Giulia de' Medici, married to the Duke of Ur- 
bino. Lanzi says, " his forte lay in pen-drawing 
and in chiaro-scuro, as may be seen in his pro- 
phets, designed in a grand style, which were trans- 
ferred from the cathedral to the Apostolic Palace. 
He did not leave many works in his native place, 
but among them is his fine picture of St. Monica 
at S. Agostino. His copies from Baroccio are to 
be found in various places, particularly at the ca- 
thedral of Cagli. He resided and practiced a long 
time at Pesaro, where he instructed several pu- 
pils." 

VISCH, Matthias de, a Flemish painter, born 
at the village of Reningen in 1702. He studied 
under Joseph vander Kerkhove at Bruges; he 
also entered the Academy there and obtained the 
first prize in 1721. He went to Paris in 1723 ; 
and thence to Italy, where he resided nine years, 
and diligently studied the antique and the works 
of the great masters. On his return to Bruges, he 
executed several works for the churches, and open- 
ed a school of design. He distinguished himself 
more by his love of the art, the zeal he took in its 
advancement, and the instruction of youth, than by 
any superior talents he showed in its practice. 
He was a correct and able designer, and was ap- 
pointed director of the Academy at Bruges. He 
collected materials for a history of painting in Bel- 
gium, which ne gave to Descamps. who made use 
of them in his Lives of the Flemish Painters. He 
died in 1765. 
I VISOHER, Peter, a celebrated old German 
I sculptor and founder, was probably born about 
1460. He studied in Italy, and resided there sev- 



VISI. 



1059 



VISS. 



eral years. On returning to his native country, 
he first distinguished himself by his monument 
to the Archduke Ernest of Magdeburg, erected in 
the cathedral of that place in 1497. Vischer ulti- 
mately settled at Nuremberg, and lived in the 
same house with his five sons, Peter, Hermann, 
Hans, Paul, and Jacob, vrith their wives and child- 
ren. His master-piece is the tomb of St. Sebald, 
in the church of that saint at Nuremberg, which 
is esteemed worthy of any time or nation. It 
is beautifully designed and richly ornamented : 
among other figures are twelve small statues, 
eighteen inches high, of the apostles, remarkably 
well drawn, and conspicuous for their fine expres- 
sion. In one part of it, Vischer introduced his 
own portrait in his working dress. Notwith- 
standing he was employed with his sons upon 
this monument from 1506 to 1519, he received 
only 2402 florins for the whole work. He execu- 
ted some other excellent works at Nuremberg, 
and died, according to Doppelmayer,inl530. 

His son Hermann Vischer studied likewise in 
Italy, and was scarcely inferior to his father. Ac- 
cording to Sandrart, no prince or gentleman that 
visited Nuremberg, left the place without having 
seen and conversed with Vischer. During these 
visits, he received many orders, and executed nu- 
merous works, which were sent to Bohemia, Po- 
land, and other neighboring countries. He was 
killed by a sledge, while going home at night with 
a friend, in 1540. 

VISENTINI. See Vicentini. 

VISING, II, a Florentine painter, who. accord- 
ing to Lanzi, was the best scholar of Mariotto 
Albertinelli. Little is known of his works, as he 
went to Hungary, where he was much employed. 
He died there in the prime of life about 1512. 

VISO, Fray Cristobal del. a Spanish painter, 
who died at Madrid about 1700. He resided 
there at that time, and held the office of commis- 
sary-general of the Indies. He was a monk of the 
order of San Francisco, and painted all the Saints 
of his order for the chapter house of the convent 
of S. Francisco at Cordova, which are said to dis- 
play considerable ability. 

VISPRE, Francois Saverio, a French painter 
and engraver of little note, born at Paris about 
1730. "He engraved a few portraits in mezzotinto. 
He went to London about 1765, where he resided 
some time. 

VISSCHER, Cornelius, a celebrated designer 
and engraver, born at Haerlem about 1610. He 
studied under Peter Soutman, but he did not 
follow the style of that master ; he adopted one 
of his own, formed by a combination of the point 
with the graver, in which he has hardly been 
equalled. His drawing is correct, and his execu- 
tion is clear, delicate, and admirably harmonized. 
His works are very numerous, and those from his 
own designs are the most esteemed. Basan re- 
marks that no master can be studied by young 
engravers with more advantage. His plates of 
the portrait of Gellius Bouraa, the Pancake- woman, 
the Rat-catcher and the Bohemian Woman, may be 
cited as models of perfection in his style of en- 
graving. He was less successful in his plates of 
historical subjects after the Italian and Spanish 
masters ; those in particular which he engraved 
after Rubens, are inferior to the productions of 
Bolswert. Vostermans, and Pontius. There were 



two portrait painters of this name, who flourished 
at an earlier date. One of them was drowned 
about 1550, in his passage from Hamburg to 
Amsterdam. There are no particulars recorded of 
the other. Cornelius Visscher, the engraver, died 
in 1670. The following is an ample list of his 
best works. For a complete catalogue, the reader 
is referred to Bartsch and Nagler. 

PORTRAITS. 

A Portrait, supposed to be that of himself, ■with a high- 
crowned hat, and his hand on his breast ; inscribed Corn, 
Visscher, fecit, anno 1649. Another Portrait of Corne- 
lius Visscher, with a similar hat, and enveloped in his 
cloak; Corn. Visscher, fecit, anno 1651. Andreas De- 
onyszoon "Winius, called the Man with the Pistol. The 
scarcest and most voluable of his portraits. [A proof o'" 
this portrait sold at M. Debois' sale in 1845 for 1660 fra: cs.] 
Gellius de Bouma. Minister of the Gospel, at Zutphen ; 
fine. "William de Ryck, Oculist, of Amsterdam ; fine. 
This portrait and the preceding one are commonly called 
the great Beards. [A proof of this sold in Debois' sale 
for 1020 francs.] Cornelius Vosbergius, pastor of Spaer- 
wouw, with a book in his hand. 1653 ; fine and scarce. 
William vanden Zande, Theologian; after Soutman; 
fiine ; and very rare. David Peiterz de Vries, Grand-mas- 
ter of Artillery to the States of Holland ; scarce. Ja- 
cob Westerbaen, Lord of Brandwyck, Ac ; very rare. Cop- 
penol, called the Writing-master. 1658. Constantine Huy- 
gens. Lord of Zuylichem ; inscribed with his motto, Con- 
William, Prince of Orange; af- 
Mary, daughter of Charles I., 
Charles II., King of England; 



stanter. 1657 ; scarce, 
ter G. Honthorst. 1649 
his consort; do. 1649. 
do. 1650. 



SUBJECTS FROM HIS OWN DESIGNS. 

The Pancake-woman. The first impressions are before 
the address of Clement de Jonghe. The Ratcatcher. 
The best impressions of this plate are before the name of 
Clement de .1 onghe, and without the title. The Bohemian 
Woman, with three children, one of which she is suckling. 
In the first impressions the name of Visscher is upon the 
margin, at the bottom of the print. It was afterwards ef- 
faced to make room for the inscription, and placed upon 
the upper part of the plate. A boy holding a Candle, and 
a Girl with a Mouse-trap. A Cat sleeping on a iS^apkin ; 
fine, and extremely rare. A Cat sleeping, with a Rat be- 
hind her. The Coronation of Carolus Gustavus and the 
Queen of Sweden. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Angel directing the Departure of Abraham ; after 
Basiano. Abraham's Arrival at Sichem ; do. Susanna 
and the Elders ; after Guido. Magdalen penitent ; supposed 
to be after Harmiggiano ; very fine. The Entombment of 
Christ ; after Tintoretto. The Resurrection ; after P. 
Veronese. The Holy Family, with St. John presenting a 
Pear to the infant Christ ; without the name of the paint- 
er. The Last Judgment ; after Rubens. The best im- 
pressions of this plate are before the address of Soutman. 
The Virgin and Infant, crowned by Angels ; do. Achilles 
discovered by Ulysses at the court of Lycomedes ; do. The 
traveling Musicians ; after A. Ostade ; very fine. Two 
Men, and a Woman holding a Glass ; do. The Skaters ; 
do. The Surgeon; after A. Brower. A Man playing 
on the Violin, others singing; do. A Landscape, called 
the Attack of the Convoy ; after P. de Laer. Another 
Landscape, called the Coach robbed; do. The Lime- 
kiln ; do. A set of four Landscapes ; after Berghem. 
Another set of four Landscapes ; do. 

VISSCHER. John, was the younger brother 
of Cornelius V., born at Amsterdam in 1636. He 
was probably instructed by his brother, w^hose 
style he followed, though his plates are more for- 
warded with the point, and his style of etching is 
uncommonly picturesque and effective. Although 
he did not possess the extensive talents of Cor- 
nelius in design and in historical engraving, he 
equalled him in landscape, and some indeed prefer 
him before his brother in this branch ; his land- 
scapes after Berghem, Ostade. and Wouwerman, 



VISS. 



1060 



VITA. 



are among the happiest productions of the art, and 
rank him among the most eminent engravers of 
his country. He also engraved some portraits, 
which show that he handled the graver with abi- 
lity and facility. Of his numerous prints, the 
following are the most deserving of notice : 

PORTRAITS. 

John de Uytenbogaert ; Joh. de Visscher, sc. Peter 
Proelius, Minister of the Gospel at AmsterJam. Abra- 
ham vandsr Hulst, Vice- Admiral of Holland. Peter Paul 
Rubens ; after Vandyck. Michael de Ruyter, Admiral of 
Holland ; after Berchmans. Portrait of a Negro, hold- 
ing a Bow and Arrow in his hand ; after a design by Cor- 
nelius Visscher. 

SUBJECTS AND LANDSCAPES AFTER VARIOUS MASTERS. 

Peasants playing at Trictrac; after A. Ostade. A 
"Woman spinning and Man reeling ; do. Peasants dancing ; 
called Ostade's Ball ; do. - Peasants re^^aling at the door 
of an Ale-house ; do. A Country Wedding, called Ostade's 
Bride ; do. Several Peasants dancing in a Cottage, called 
Berghem's Ball ; after Berghem. A set of four Land- 
scapes, the Four Times of the Day ; do. Several sets of 
Landscapes with figures and animals ; do. A set of six 
plates of Figures and Animals ; after K. du Jardin. A 
set of four plates of various Subjects ; after P. van Laer. 
These prints have been sometimes incorrectly attributed to 
Cornelius Visscher. Several landscapes, &c. ; after Ph. 
Wouwerman. A set of twelve Landscapes and Views ; 
after P. van Goyen. A set of twelve Landscapes and 
Sea-ports; after Herm. SwaneveU.. 

VISSCHER, Lambert. According to Huber, 
this artist was a brother of the preceding, and 
nourished about 1664. He went to Italy, and re- 
sided some years at Rome and Florence. In con- 
junction with Cornelius Bloemaert and Francis 
Spierre, he engraved several plates from the paint- 
ings of Pietro 5a Cortona, in the Florentine Gal- 
lery. He also engraved a few portraits, among 
which is one of Maria Theresa of Austria, Queen 
of France, after Vanloo. 

ip VISSCHER, Nicholas John, was of the 
"tM' 7*same family as the preceding, and flour- 

\[/ ished at Amsterdam about 1600. He en- 
graved some portraits and other subjects after the 
Dutch masters. We have by him also a variety 
of etchings of small landscapes and views, with 
figures and animals, which are executed in a spir- 
ited manner. He usually marked his prints with 
the above monogram, composed of the initials 
C. I. v., the first letter signifying Class, an ab- 
breviation of Nicholas. 

VISSCHER, Theodore, a Dutch painter, born 
at Haerlem in 1650. He studied under Nicholas 
Berghem, whose style he imitated. He went to 
Italy, where he resided some years, and was called 
by his countrymen, from his dissipated habits, 
Slempop. His best pictures are painted in a supe- 
rior manner, and much resemble the admirable 
works of Berghem ; others appear to be the pro- 
ductions of inebriety and negligence. His death 
is variously placed in 1699 and 1707. 

VISSELLET, M., an engraver who flourished 
about 1600. Dumesnil describes forty-three wood- 
en cuts by him of subjects taken from the New 
Testament. They are executed in a coarse manner, 
resembling the wood cuts of J. Stella, from which 
they seem to have been copied. Some of them are 
marked MV. F., and one is signed M. Vissel- 
let, F. 

VITALBA, Giovanni, an Italian engraver, who 
studied under Joseph Wagner at Venice. He 



went to England in 1765, where he was employed 
by Boy dell to engrave several plates, among which 
are Cupid with two Satyrs, after Agostino Carac- 
ci; a pair, Spring and Summer, after Filippo 
Lauri; Herodias with the Head of St. John,q/- 
tej' L. Pasinelli. He was living in 1790. 

VITALI, Alessandro, a painter born at Ur- 
bino in 1580, and died in 1630. He was the 
scholar and imitator of Federigo Baroccio. Lanzi 
says he copied the Annunciation of Loreto by Ba- 
roccio in such a manner that it might be easily 
mistaken for the original picture. " Baroccio was 
pleased with his talents, and willingly retouched 
some of his pictures, and probably favored him in 
this way in his St. Agnes in the cathedral, and 
St. Augustine, in the church of the Eremitani, at 
Urbino, in which he may be said to have surpassed 
himself." 

VITALI, Can DIDO, a painter born at Bologna 
in 1680. He was brought up in the school of Car- 
lo Cignani, and by the advice of his instructor, 
who was always attentive to the particular genius 
of his disciples, he devoted himself to painting ani- 
mals, birds, flowers, and fruit. His pictures of 
these subjects were greatly admired at Bologna, 
and throughout all Italy, for his tasteful compo- 
sition, beauty of coloring, and delicacy of penciling. 
He died in 1753. 

VITALI, GrusEPPE, a painter of Bologna, who 
flourished about 1700. He studied under Giovan- 
ni Gioseffo dal Sole, and painted history with some 
reputation. He executed some works for the 
churches of Bologna, the principiil of which are, 
the Annunciation, in S. Antonio ; St. Petronio, in 
S.S. Sebastiano e Rocco ; and the Martyrdom of 
St. Cecilia, in the church dedicated to that saint. 
He was living in 1720. 

VITE, Antonio, a painter of Pistoja, who flour- 
ished in 1463. He executed some works for the 
churches of his native city, and of Pisa, in the dry 
style of the time. 

VITE, TiMOTEO, called also Timoteo della 
ViTE Di Urbino, a painter born at L^rbino, ac- 
cording to Vasari, in 1470. and died in 1524. Lanzi 
says. •' Timoteo della Vite of Urbino, after some 
years spent in studying under Francesco Francia 
at Bologna, (he remained there till he was twenty- 
six years old), returned to his native city, and 
thence repaired to the Academy, which his coun- 
tryman and relative Raffaello had opened in the 
Vatican. He assisted Ratfaello at the Pace, in the 
fresco of the sibyls, of which he retained the car- 
toons; and after some time, for some cause or 
other, he returned to Urbino, and there passed the 
rest of his days. He brought with him to Rome 
a method of painting which partook much of the 
manner of the early masters, as seen in some of 
his Madonnas at the Palace Bonaventura, and the 
Chapter of Urbino ; and the Discovery of the 
Cross in the church of the Conventuali at Pesaro. 
He improved his style under Raffaello, and ac- 
quired from him much of his grace, attitudes and 
colors, although he always remained a limited in- 
ventor, with a certain timidity of touch, more cor- 
rect than vigorous. His best works are the Con- 
ception at the Osservanti, at Urbino ; and the Noli 
me Tangere. in the church of S. Angelo at Cagli." 
He died in 1524. His name is sometimes written 
Viti and Vita. 



VITE. 



1061 



VITU. 



VITE, PiETRO BELLA, IS supposed to have been 
the brother of the preceding, in whose style he 
painted, though in a very inferior manner. Lanzi 
conjectures that he is the same as II Prete di Ur- 
bino, mentioned by Baldinucci, as a relative, and 
one of the heirs of Baifaelle. 

VITE, Giovanni della. See Miel. 

VITERBO, Era Mariotto da, an old painter, 
born at Viterbo, of whom little is known. Ac- 
cording to Della Valle, he was employed in the 
cathedral at Orvieto in 1444. Little now re- 
mains from his hand. 

VITERBO, Tarquinio da, a painter of Viterbo, 
who, according to Baglioni, flourished at Rome in 
the pontificate of Pope Paul V. He excelled in 
landscapes, which were decorated with figures 
I by his friend Giovanni Zanna, a Roman. They 
j wrought in conjunction, and their works were held 
in considerable estimation. 

VITO, NiccoLA DI, an old Neapolitan painter, 
who studied under Antonio Solario, called Zinga- 
ro. Lanzi says he may be called the Buffalmacco 
of his school, from his singular humor and eccen- 
tric invention, though otherwise an artist deserving 
little commendation. He flourished about 1440. 

VITTORIA, Alessandro, a distinguished Ital- 
ian sculptor and architect, was born at Trento in 
1525. He studied at Venice under Sansovino, 
and afterwards practiced for many years in the 
Venetian states. In statuary and modelling, Mi- 
lizia says he attained such excellence as yielded 
only to that of Michael Angelo. In Venice he 
executed many works both in public and private, 
especially the statues and ornaments on the stair- 
case of the Library of St. Mark, in the Ducal 
Palace, the Council Hall, and different churches. 
Vittoria also executed many busts, and various 
sculptures in other cities, among which is the mon- 
ument of General Contarini. in the church del San- 
to at Padua. As an architect, he completed the 
church of S. Giuliano at Venice, the chapel of S. 
Fantino, and other works of Sansovino ; also the 
ohapel and altar of the Rosario. in S. Giovanni e 
Psiolo ; the monument of Priuli in S. Salvatore ; 
the Oratory of S. Girolamo, with superb statues 
in bronze and in marbles ; and the magnificent 
Palazzo Balbi, near the grand canal. He died in 
1608. 

VITRINGA, Wigerus, generally called Wil- 
liam, a Dutch painter, of whom little is known, 
except that he painted marines in the manner of 
Backhuysen, who is supposed to have been his in- 
structor. Some of his storm pieces are excellent. 
He also excelled in drawings in India ink, washed 
with bistre ; some of these are signed with his 
name and dated about 1652. The accounts as to 
the time of his birth and death are very contradic- 
tory. Immerzeel and Balkema, say he was born at 
Leeuwarde in 1657, the latter that he died in 1721 ; 
others say he was living in 1744. 

VITRUVIUS. See Pollio. 

VITRULIO, a Venetian painter, of whom nothing 
is known except by his works, which are highly 
commended by Lanzi, who says that " several of 
his works bearing his signature, are the ornament 
(rf Monte Novissimo at Venice. He must be re- 
ferred to the age of Titian, and seems to have lived 
in the time of Bonifazio, and to have been his com- 



petitor." Some of his pictures are mentioned in 
the Guida di Venezia. 

VITUS, DoMENico, an Italian engraver, ol 
whom little is known. He is said to have been 
born about 1536, and to have become a religious 
of the monastery of Vallombrosa, in the Appenines, 
in the prime of life. He engraved some plates, in 
which he imitated Agostino de Musis, called Vene- 
ziano, from which circumstance he is supposed to 
have studied with that master. This however is 
an error, as Veneziano died about 1536. His 
prints possess considerable merit. Among others 
are the following: 

St. Bartholomew ; inscribed, Dom. Vitus ordinis Valis- 
umbrosce Monachus excidit Romce. 1576. St. Joachim 
holding a Censer ; after A. del. Sarto. Jupiter and Calis- 
to ; inscribed, Dominicus V. F. A River God ; after 
the antique. A set of small plates, representing the Pas- 
sion of our Saviour, with borders, ornamented with birds, 
beasts, &c. A set of plates from the Antique Statues ; 
Dom. Vitus, fee. 

VIVARES, Francis, a French engraver, born 
at Montpellier about 1712. After studying in his 
own country he went to London, where he became 
the pupil of J. B. Chatelain. Being a man of ge- 
nius, he improved upon the style of his instructor, 
and became one of the most eminent landscape en- 
gravers of his time. He was particularly success- 
ful in his plates after Claude Lorraine, in which he 
preserved much of the air and picturesque beauty 
which distinguish the productions of that great 
painter. He died in London in 1782. His prints 
amount to about 150 \ among them are the fol- 
lowing : 

A set of four Views of Buins ; after J. Smith. Eight 
Views in Derbyshire ; after Thos Smith of Derby. A 
Landscape, called the Hop-gatherers ; after Geo. Smith. 
A Landscape ; after Gainsborough. A View in Holland, 
by moonlight ; after vander Neer. A Land-storm ; after 
Gaspar Poussin. A Tempest, with the history of Jonas ; 
do. A Landscape, Morning ; ajter Claude Lorraine. 
The Companion, Evening ; do. The Enchanted Castle ; 
do. A View in the Environs of Naples ; do. 

VIVARINI, DA MuRANO. There was a family 
of artists of this name who flouris.ied at Murano, 
about whom there is considerable discrepancy 
among writers. We shall, therefore, condense Lan- 
zi's account. " The first among the Vivarini men- 
tioned by historians is Luigi, by whom a painting 
is cited in the church of S. Giovanni e Paolo, at 
Murano, representing our Redeemer bearing his 
Cross, dated 1414. 

" Next to this artist, according to Ridolfi and 
Zanetti, are Giovanni and Antonio Vivarini, who 
flourished about 1440. The authority they ad- 
duce for this is another piece in S. Pantaleone, in- 
scribed, Zuane e Antonio da Muran pense 
1444. But this Giovanni, if I mistake not, is the 
same who signs on another picture at Venice, 
Joannes de Alemania, et Antonius de Muriano, 
pinxit, or as it is written on another at Padua, 
Antonio de Muran e Zohan Alamanus pinxit. 
This Giovanni, therefore, was a German by birth, 
and the companion of Antonio, and traces of a 
foreign style are perceptible in his paintings. The 
reason for his omitting to insert his country in the 
picture in S. Pantaleone, arose, I suspect, from the 
fact, that his name and acquaintance with Antonio, 
were too well known to admit of doubt. 

" After the year 1447 there is no more mention 
made of Giovanni, but only of Antonio, sometimes 
alone, and sometimes together with some other of 



VIVA. 



1062 



VIVI. 



the Vivarini. Thus, his name is subscribed alone 
in the church of S. Antonio Abate at Pesaro, 
upon an altar-piece of the Titular Saint, surround- 
ed by the figures of three young martyrs, with 
some smaller paintings attached, the production of 
a very animated colorist and displaying forms in- 
ferior to none in the school of Murano. I have 
seen two other specimens, in which he is mentioned 
together with a second Vivarini. The least excel- 
lent of these is in the church of S. Francesco 
Grande at Padua, consisting of a Madonna with 
some saints in several compartments, inscribed 
Anno 1451, Antonius et Bartholomeus fratres 
de Murano finxerunt hoc opus. Similar to this, 
the two brothers had produced another in the pre- 
ceding year in the Certosa at Bologna, where it is 
still in a high state of preservation, beyond any 
other specimen I have seen belonging to the family. 
There is much in each figure in the whole piece, 
which is worthy of c"ommendation ; features digni- 
fied and devout, appropriate dresses, care in the 
disposition of the hair and beards, united to a 
warm and brilliant coloring. 

" It would appear that Bartolomeo was held in 
less account than Antonio, until the discovery of 
oil painting ; on its being introduced into Venice, 
he was one of the first to profit by it, and towards 
the period when the two Bellini appeared, was 
held in pretty high repute. The first specimen by 
him in oil, exists at the church of S. Giovanni e 
Paolo, and exhibits among other saints, P. San 
Agostino, with the date 1473. From that period 
he continued to distinguish himself, producing a 
great number of pieces, both in oil and in water 
colors, sometimes with more, and at others with 
less care, but always in the ancient taste for sub- 
dividing the altar-piece into several compartments, 
in each of which he represented separate heads or 
entire figures. These he often signed Vivarino, 
with the date, and occasionally added a finch or 
linnet in allusion to his name. In his last work, 
representing Christ risen from the dead, in the 
church of S. Giovanni, at Bragora, the date 1498, 
which Boschini read, is no longer apparent, but it 
is a piece which vies in every part with the best 
Venetian artists of that period. 

'' Cotemporary with Bartolomeo was Luigi (the 
younger,) Vivarini, one of whose productions was 
seen by Zanetti, in a collection of paintings dated 
1490, and appeared to him strongly approaching, 
in point of taste, to the best style of the former. 
Tlfere is a half-length figure of the Saviour in the 
E. Pinacoteca, at Milan, a work finished with 
such care that it may challenge comparison with 
the productions of the cotemporary painters; it is 
inscribed Alovisius Vivarinus de Muriano pinxit, 
1498. To Luigi, also, must undoubtedly be ascrib- 
ed the altar-piece bearing his name in the 
church of S. Francesco, at Trevigi. There is also 
another at the Battuti, in Belluno, representing 
Sts. Piero, Girolamo and others, which cost that 
school 100 ducats, besides the expenses of the art- 
ist who attached his name to it. But superior to 
every other of his existing specimens, is that fine 
picture in the school of San Girolamo, at Venice, 
in which he represented a history of the Titular 
Saint, in emulation with Giovanni Bellini, whom 
he here equalled, and of Carpaccio, whom he sur- 
passed." 

VIVIANI, II. See Codagora. 



VIVIANT, Antonio, called II Sordo, a painter 
born at Urbino or Ancona, (for writers disagree,) 
who, according to Baglioni, was a scholar and imi- 
tator of Pederigo Baroccio, and flourished at Rome 
in the pontificate of Paul V. There are also no- 
tices of him at Genoa, but there is considerable 
contradiction and uncertainty about him. 

VIVIANI, LoDovico, a painter of Urbino, who, 
according to the Guida di Urbino, flourished in 
1650. Lanzi says, there is a tradition at Urbino,that 
he was a brother or cousin of Antonio V. ; and 
that he sometimes imitates Baroccio, as in his St. 
Girolamo, in the Cathedral, and sometimes ap- 
proaches the Venetian style, as in his Epiphany 
at the monastery della Torre, at Urbino. 

VIVIANT, Ottavio, a painter born at Brescia 
in 1599, and died in 1674, though there is some 
discrepancy on this point.and some uncertainty whe- 
ther these dates should applj?- to him, or to Viviano 
Codagora, with whom he is very generally confound- 
ed. They both painted perspective and architectural 
pieces and landscapes, enriched with superb ruins 
and architecture, but Codagora studied in the 
Roman school, and was far superior to Viviani, 
who was educated in the Venetian. His instructor 
in architecture and perspective was Tommaso San 
drini, at Brescia, and in landscape, Agostino Tassi 
at Genoa. His pictures usually represent the re- 
mains of ancient edifices, selected and arranged for 
picturesque effect in a pleasing landscape, and 
generally show judgment and taste, though the 
composition is sometimes too much crowded, and 
perhaps overloaded with ornament. He was ex- 
cellent in figures, and used them to great advan- 
tage in showing the relative size and height of his 
buildings and objects. There is a great variety in 
his coloring, too much for harmony, but producing 
a striking effect ; and such pictures being intended 
for decoration, the richness does not offend. He 
had an excellent knowledge of perspective and 
chiaro-scuro, which he exhibited on all occasions, 
but time has darkened his shadows and given too 
solemn a gloom to his temples and arcades. 

VIVIEN, Joseph, an eminent French painter, 
born at Lyons in 1657. He studied under Charles 
le Brun, and for some time painted portraits in 
oil with considerable success; but he afterwards 
adopted the method of painting in crayons, which 
he carried to a perfection unknown before his 
time. He not only obtained an excellent like- 
ness, but his heads exhibited uncommon life, na- 
ture, and truthfiulness of expression ; his carna- 
tions were fresh and pure, his touch vigorous and 
spirited, the general tone of his pictures tender 
and harmonious, and he gave his figures an ex- 
traordinary relief. He particularly excelled in 
female portraits, to which he gave great grace and 
elegance in the airs of the heads and attitudes and 
an exquisite velvety softness in his tints. He fre- 
quently painted his portraits in the historical 
style, and the back-grounds decorated with 
agreeable vistas, or embellished with fabulous or 
mythological figures. He acquired great reputa- 
tion, and was called by his countrymen, the French 
Vandyck. In 1701 he was chosen a member of 
the French Academy of Painting. He passed the 
latter part of his life in the service of the Elector 
of Bavaria, for whom he painted some of his 
choicest works. His portrait by himself is placed 



VIVI. 



1063 



VLIE. 



in the Florentine Gallery. His famous portrait of 
Fenelon is in the Louvre. He died in 1735. 

VIVIER, Jean du, a French medalist, who 
flourished at Paris in the first half of the 18th 
century. In 1718 he was chosen a member of the 
Academy, and was appointed medalist to Louis 
XV. in 1735. 

VIVIER, G. DU, a Dutch engraver, who flourished 
about 1666. Little is known of him except by a 
few prints bearing his signature, of which the fol- 
lowing are described by Dumesnil in Le Peintre 
Graveur, torn iii. 

1. Christ in the Sepulchre ; Anton, van Heuvel invent. ; 
G. de Vivier, fecit. Four verses in Dutch, beginning, 
" Hier is het leven soet.'^ 

2. The Four Evangelists, in one piece, no mark. 

3. The Temptation of St. Anthony ; Anton, van Heuvel 
invent. ; G. de Vivier fecit. 

4. Thetis and Chiron ; the Centaur holding the infant 
Achilles in his arms ; no mark. 

5. A Flemish Kitchen ; Ant. V. Heuvel pin xit ; G. du 
Vivier fecit. 

6. The Flageolet Player ; i.o mark. 

7. The Tippler ; in the manner of Rembrandt ; no mark. 

8. A Landscape outside of a fortified city ; a winter scene. 
Many figures are skating, and otherwise amusing 
themselves on the ice ; persons of condition, in coach- 
es and on foot, dressed in the costume of the time of 
Louis XIII., or the minority of Louis XIV. , are look- 
ing on ; no mark. 

VIVIO, Jacopo. This Italian artist flourished 
in the latter half of the 16th century, and dis- 
tinguished himself by his models in colored wax. 
Fiorillo records a model by him in that style, of 
the Last Judgment, by Michael Angelo. 

VLENGHELS, Philip, a Flemish painter, born 
at Antwerp, in 1620. Little is known of him. 
He is said to have painted history with reputation. 
He went to Paris, where he died in 1694. 

VLERICK, Peter, a Flemish painter, born at 
Courtray in 1539. He was the son of a lawyer, 
who, perceiving in him a genius for painting, placed 
him under the instruction of William Snellaert, a 
painter in distemper. He afterwards became the 
disciple of Charles d'Ypres, a historical painter of 
some note who had studied in Italy, with whom 
he continued two years, but whose capricious dis- 
position constrained him to quit his studio sooner 
than he intended. He had, however, made such 
progress that he was able to live on the proceeds of 
his talents. He traveled through France and met 
with such encouragement during a short residence 
at Paris, that he was enabled to proceed to Italy. 
At Venice he had the good fortune to secure the 
friendship and instruction of Tintoretto. After a 
residence of four years in that city, he went to 
Rome, where he designed after the antique and the 
works of the great masters, and sketched the 
beautiful scenery and views on the banks of the 
Tyber, and proceeding to Naples he designed the 
prospects about that city and Puteoli. During 
his residence in those cities, he executed some his- 
torical pictures both in oil and distemper, which 
gained him considerable reputation. In 1568 he 
returned to Flanders and settled at Tournay, where 
he resided the remainder of his life. He distin- 
guished himself by many excellent works, the 
principal of which, according to Van Mander, were 
the Brazen Serpent, Judith with the head of Holo- 
fernes, the Four Evangelists, and the Crucifixion. 
In all his works the manner of Tintoretto is ob- 
servable. He was skilled in perspective and ar- 



chitecture, with which he enriched his back- 
grounds. His design is correct, his coloring rich 
and harmonious, and his execution prompt and 
vigorous. He died in 1581. 

VLIEGER, Simon de, a Dutch painter, born at 
Amsterdam about 1612. It is not known by 
whom he was instructed, but he acquired consid- 
erable reputation in his time as a painter of ma- 
rine subjects and landscapes. He was the instruc- 
tor of the younger Vande Velde, and though his 
fame was eclipsed by the brilliant talents of his 
disciple, his works possess great merit, and are 
found in the choicest collections. He executed 
some spirited and masterly etchings from his own 
designs, a description of twenty of which may be 
found in Bartsch (Peintre Graveur, torn, i.), repre- 
senting views in Holland, rivers, canals, and ani- 
mals ; some of them approach the style of Water- 
loo. He died in or about 1670. 

VLIET, William van, a Dutch painter, born at 
Delft in 1584, and died there in 1642. Little is 
known of him, but he is said to have painted his- 
tory and portraits with considerable reputation. 
His touch was firm and facile, and his coloring ex- 
cellent. 

VLIET, Henry van, was the nephew of the 
preceding, born at Delft in or about 1608. He 
learned the principles of the art from his uncle, 
but afterwards studied with Mirevelt, the eminent 
portrait painter. For some time he practiced por- 
traiture, in the style of that master, but he gradu- 
ally abandoned it for another branch, in which he 
distinguished himself He painted perspective 
views of the interiors of churches and temples, in 
the style of Emanuel de Wit, and his best pieces 
in this line are accounted little inferior to the ad- 
mirable productions of that master. He frequent- 
ly represented these subjects by torch-light, pro- 
ducing a picturesque and pleasing effect. He de- 
corated his pictures with a great number of small 
figures, correctly drawn, and touched with neat- 
ness and spirit. He also painted moonlight scenes 
in a very agreeable manner. The times of his birth 
and death are not certainly known. Some say he 
died in 1646. 



)t Del 



VLIET, John George van, a 
itch painter and engraver, born at 
Delft, in 1610. He was one of the 
lJ numerous disciples of Rembrandt. Of his 
works as a painter, little is known, but there are 
about ninety prints by him, mostly from his own 
designs, and after Rembrandt, with a few after J. 
Lievens. They are executed in the manner of his 
mstructor, and produce a surprising eifect ; the 
lights are broad and clear, and the shadows dark. 
His drawing, however, is very incorrect, and his 
draperies clumsy and mannered, but notwithstand- 
ing these defects, his prints are held in considera- 
ble estimation. He sometimes signed them with 
his name, at others marked them with the above 
monogram of his initials, J. G. V. The following 
are his best prints ; for a complete list, the reader 
is referred to Bartsch and Nagler : 

portraits and heads; after bembhandt. 
Bust of a Man, with his face in shadow, 1634. Bust 
of an old Man, with a turban and aigrette. The Head 
of a Warrior. An old Man with his hands joined, ap- 
parently in great aflliction. 1634. Bust of an Oriental 
Character, with a fur cap. An old Woman reading. One 
of his best prints. 



VOER. 



1064 



VOGE. 



SUBJECTS AFTER REMBRANDT. 

Lot and his Daughters ; very fine. The Baptism of the 
Eunuch. St. Jerome praying in a cavern, with a book 
and crucifix. This is the finest print. 

gUBJECTS AFTER J. LIEVENS. 

Jacob obtaining his Father's Blessing instead of Esau. 
Susanna and the Elders. The Resurrection of Lazarus. 

SUBJECTS FBOM HIS OWN DESIGNS. 

An Assembly of Peasants regaling. The Rat-catcher. 
A set of twenty-two plates of the Arts and Trades. 

VOEIRIOT. See Woeiriot. 

VOERST. Robert vander, a Dutch engraver, 
born at Arnheim, about 1596. though Zani places 
his birth in 1610, and his death in 1669. The first 
of Zani's statements is evidently erroneous, as he 
resided in England several years, where he execu- 
ted quite a number of plates of portraits, mostly 
after Vandyck, the latest date found on which is 
1635. He acquired so much reputation in that 
country that he was appointed engraver to the 
king. His plates are executed with the graver, in 
a clear, neat style, resembling that of Giles Sade- 
ler, with whom he probably studied. The follow- 
ing are the principal plates he engraved in Eng- 
land: 

Charles T. and his Queen ; on one plate ; after Vandyck. 
Prince Rupert. James Stewart, Duke of Lennox ; after 
Geldorp. Robert, Earl of Lindsey ; after Mirevelt. — 
Philip, Earl of Pembroke ; after Vandyck. Ernest, 
Count Mansfeld ; do. Simon Vouet, Painter ; do. His 
own Portrait ; do. Edward, Lord Littleton. James, 
Marquis of Hamilton. Henry Rich, Earl of Holland. 
William Fielding, Earl of Denbigh. Sir Kenelm Digby ; 
after Vandyck. InigoJones; very fine; do. Christian, 
Duke of Brunswick; do. Sir George Carew ; do. Eliza- 
beth, Queen of Bohemia ; after Gerard Honthorst. 

VOET, Alexander, a Flemish engraver, born 
at Antwerp in 1613. He executed quite a number 
of plates after the Flemish masters, in which he 
emulated the style of Paul Pontius ; hence he is 
supposed to have been the disciple of that master. 
Though he handled the graver with ease and fa- 
cility, his drawing is incorrect, and the general ef- 
fect of his prints is far inferior to that of his mo- 
del. The following are some of his best prints : 

Judith with the Head of Holofernes ; after Rubens. 
The Holy Family returning from Egypt ; do. The Virgin 
and Infant, to whom Angels are presenting Fruit; do. 
The Martyrdom of St. Andrew ; do. Seneca in the Bath ; 
do. The Entombing of Christ ; after Vandyck. Folly, 
holding a Cat ; after Jordaens. The Card-players ; af- 
ter De Vos. 

VOET, Charles Boschaert. a Dutch painter, 
born at Zwolle in 1670. He was instructed in the 
rudiments of the arts by his elder brother, who 
was a Burgomaster of the city, and though not a 
professional artist, had learned drawing, and paint- 
ing in water-colors, to assist in his studies of 
botany and natural history, and was a correct 
designer of flowers, plants, birds, and insects. 
Charles greatly improved himself by an attentive 
study of nature, and became one of the ablest art- 
ists of his time in painting flowers, fruit, plants, 
birds, and objects of still-life. His pictures are in- 
geniously composed, and exquisitely finished ; his 
coloring is extremely natural, and his pencil deli- 
cate ; some of his birds are esteemed scarcely infe- 
rior to those of Hondekoeter. He studied every- 
thing from nature, and cultivated in his garden the 
most beautiful flowers and exotics for models. 
Descamps asserts that he had made such profi- 
ciency, and acquired so high a reputation, at the 



age of nineteen, that the Earl of Portland, the fa- 
vorite of William III., took him under his protec- 
tion to England, where he was much employed by 
that nobleman, and patronized by the king. Bry- 
an, however, doubts the truth of this story, as his 
name is not mentioned in Lord Orford's Anecdotes. 
It is certain, however, that he was much employed 
by William III. in decorating his palace at Loo. 
He died at the Hague in 1745. 

VOGEL, Bernard, a German engraver, born at 
Nuremberg in 1683, and is said to have died in 
1737. He resided chiefly at Augsburg, and execu- 
ted a number of plates, with the graver and in 
mezzotintOj among which is the portrait of John 
Kupetzky, dated 1737 ; and that of Christopher 
Weigel, after Kupetzky, dated 1735. 

/^•"X-^ VOGHTER, Henry, a German en- 
//^Zm graver on wood, who, according to 
^^^^_^^W Professor Christ, was born at Stras- 
burg about 1507. Zani says he was 
born in 1497, and died in 1537. He is said to 
have imitated the style of Albert Durer with con- 
siderable success. He executed the cuts for a 
Drawing Book, entitled, " A book of the extraor- 
dinary and marvellous Art, very useful to all 
painters, sculptors, and goldsmiths," &c., printed 
at Strasburg in 1540. He marked his prints with 
the above monogram. Some say there was a 
Henry Voghter the Younger, who was born at 
Strasburg in 1513, and operated in 1545. There 
does not seem any good ground for such a suppo- 
sition. 

VOGLAR, Carlo, a Dutch painter, born, ac- 
cording to Pascoli, at Maestricht in 1653, and died 
at Rome in 1695. He excelled in painting flow- 
ers^ fruit, and dead game, particularly the latter, 
and his works were greatly admired. He is some- 
times called Carlo da' Fiori, from the beauty of 
his flowers. He is not mentioned by the Dutch 
writers, as he passed his artistic life in Italy. 

VOISARD, Etienne Claude, a French engra- 
ver, born at Paris in 1746. He engraved some 
plates after the French masters, which are execu- 
ted with the graver, in a neat and pleasing style. 

VOLANT, Antoine, a French artist, mentioned 
by Papillon as an engraver on wood, who operated 
in 1564. He does not specify any of his works, 
(ffhere was also a George Volant, a wood engraver, 
who was living in 1600. 

VOLCKAERT, Nicholas, an old Dutch paint- 
er, born at Haerlem in 1450, and died there in 
1519. He excelled in distemper, and designed in 
the dry, Gothic style of his time and country. It 
is said that he was much employed in making de- 
signs for painters on glass. Little or nothing re- 
mains from his hand. Some say he had a son 
named Klaas, who flourished from about 1480 to 
1500 ; doubtless an error. Klaas, Klaus, and Class 
being merely contractions of Nicholas. 

VOLIGNY, DE ToNNEREs, a French engraver, 
of whom little is known, except that he died m 
1699. Florent le Corate mentions an engraver 
named Voligny, but whose principal talent, he 
says, was in drawing portraits with a pen, which 
he afterwards washed with India ink in a soft and 
delicate manner, that was greatly admired — pro- 
bably the same artist. 

VOLLERDT. or VOLLAERT, John Chris- 
tian, or Christopher, a German painter, born at 



\ 



VOLP. 



1065 



VOLT. 



Leipsic in 1708, and died in 1769. He was a pu- 
pil of Alexander Thiele, and painted small land- 
scapes, and views on the Khine and in Switzer- 
land, in a pleasing style. 

VOLLEVENS, John, a Dutch painter, born at 
Gertruydenberg in 1649. He first studied under 
Nicholas Maas, and afterwards with John de 
Baan, one of the most eminent portrait painters 
of his time, with whom he continued eight years, 
and whom he nearly equaled. On the death of 
that master, he succeeded to most of his practice. 
The prince of Courland was his first patron, and 
procured him the advantage of painting all the 
oflBcers of his regiment. The Prince of Nassau 
next employed him to paint a full-length portrait 
of himself, as large as life, which he executed in 
such an admirable manner as to efiectually estab- 
lish his reputation, and he soon became one of the 
most popular and most employed artists of his 
time. He gave to his portraits a striking resem- 
blance, and life-like air and expression ; his coloring 
was clear and chaste, and his touch bold and free. 
He died at the Hague in 1728. He had a son of 
the same name, whom he instructed in the art, 
and who was a good portrait painter, but there 
are no particulars recorded of him, except that he 
is supposed to have passed some time in England. 

VOLPATI, Giovanni Battista, a painter born 
at Bassano, in 1633, and died there in 1706. Ac- 
cording to Lanzi, he executed many works for his 
native state, in a style closely resembling that of 
Giullo Carpioni. He also left several MS. treat- 
ises on the pictoric art, which are preserved in the 
rich and select library of Count Giuseppe Remon- 
dini, and prove him an able theorist. 

VOLPATO, Giovanni, a distinguished modern 
Italian designer and engraver, was born at Bassa- 
no, in 1738. Having learned from his mother the 
mode of tapestry embroidery, he at first practiced 
that art ; but at the same time he occasionally oc- 
cupied himself with engraving, without any regu- 
lar instruction, and published some prints under 
the assumed name of Renard. The success of 
these attempts determined him to adopt engraving 
as a profession ; he accordingly settled at Venice, 
and entered the school of Bartolozzi. According 
to Huber, he engraved many good prints, after 
Piazzetta, Maiotto. Amiconi, M. Ricci, Zuccarelli, 
and others. He afterwards visited Rome, and was 
employed as its principal engraver by a society of 
Dilettanti, who undertook to re-engrave all the 
works of Raftaelle in the Vatican. Volpato en- 
graved, on a large scale, seven of the great works 
of Raffaelle in the stanze of the Vatican ; an 
eighth, the Mass of Bolsena, was engraved by his 
son-in-law and pupil, Raphael Morghen. The 
prints were published colored, as well as plain ; 
they are a very splendid and valuable set of en- 
gravings. Skilful in designing, and expert in the 
use of the graver and dry point, he gave to his 
prints great precision and powerful effect. He 
and Morghen were the best engravers in Italy, at 
the end of the 18th century. Volpato was em- 
ployed by Gavin Hamilton, upon his Scuola Pit- 
ture d' Italia, and also published many prints af- 
ter the celebrated Italian masters, among which 
are the Farnese Gallery, after Annibale Caracci; 
two Prophets and two Sibyls, after the paintings 
by Michael Angelo in the Sistine chapel. He also 
pubhshed many colored landscape etchings of Ro- 



man views, &c., in partnership with P. du Cros ; 
and a set of fourteen views of the galleries of the 
Museo Clementine, with all its works of art. Vol- 
pato died at Rome in 1803. Huber, who wrote 
before his death, enumerates, as his principal works, 
166 engravings. Among others, are the following : 

PLATES engraved FOR THE COLLECTION OF G. HAMILTON. 

The four Sibyls ; from the paintings by Raffaelle, in the 
church of S. Maria della Pace. The Marriage of Alexan- 
der and Roxana ; after Raffaelle. Modesty and Vanity ; 
after L. da Vinci. Perseus and Andromeda ; after Poli- 
doro da Caravaggio. Christ praying on the Mount ; af- 
ter Correggio. Mary Magdalene at the feet of Christ, in 
the house of Simon the I'harisee; after P. Veronese. 
The Marriage of Cana ; after Tintoretto. The Game- 
sters ; after M. Angelo Caravaggio. 

SUBJECTS AFTER GAVIN HAMILTON. 

The Death of Lucretia. Innocence. Juno. Hebe, Mel- 
ancholy. Gaiety. 

ILLUMINATED PRINTS AFTER THE PAINTINGS BY 
RAFFAELLE. 

The School of Athens. The Dispute on the Sacrament. 
Heliodorus driven from the Temple of Jerusalem. Attila 
stopped by the appearance of St. Peter and St. Paul. St. 
Peter delivered from Prison. Mount Parnassus. The 
Burning of the Borgo Vecchio. The Miracle of the Mass 
at Bolsena. This plate was engraved by his disciple Ra- 
phael Morghen. 

VOLPI, Stefano, a painter of Siena, who flour- 
ished there in the first part of the 17th century. 
Lanzi supposes that he was a scholar of Cristofa- 
no Casolani, as he executed some frescos from the 
designs of that master, for the churches in his na- 
tive city. 

VOLTERRA, Fkanc-esco di. This architect, 
according to Milizia, was originally a carver in 
wood, but devoted himself to architecture, and 
erected, among other edifices, the church of ,S. Gi- 
acomo degli Incurabili, at Rome ; the Lancillotti 
palace ; and the nave of the church della Scala, 
which has a stately appearance, but a number of 
defects in the details, such as the projeeting of en- 
tablatures, and the carving of pilasters. He died 
in 1588. 

VOLTERRA, Daniele di. See Ricciarelli. 

VOLTERRANO, II. See Franceschini. 

VOLTRI, NiccoLo da, an old painter, born at 
Voltri in the Genoese territory, who flourished in 
1401. He was a follower of Giotto, and an artist 
of distinction in his time ; but Lanzi says there is 
no known surviving work by him. 

VOLVINO, a Milanese artist of the 10th centu- 
ry, who produced the celebrated Palliotto d' Oro, 
or gold pallium or mantle. Lanzi says, '• he pro- 
duced the very celebrated altar-piece, wrought in 
gold, in the church of S. Ambrogio, at Milan ; a 
work which may be pronounced, in point of style, 
equal to the finest specimens of the dittici, or 
small ivory altar-pieces, that the museums of sa- 
cred art can afford." 

VONCK, or VONK, C, a Dutch painter, who 
flourished in the last half of the 17th century. 
Nothing is known of him, except by his works. He 
painted birds, animals, and objects of still-life, in 
the manner of Melchior Hondekoeter and Francis 
Snyders, which are said to possess extraordinary 
merit, and are found in the choicest collections. 
There was another painter of this name, of less 
merit, who resided at Middleburg about 1750. He 
painted the same subjects, in the manner of Artus 



VOOR. 



1066 



VORS. 



Schouman, of whom he was probably a pupil. 
He was living in 1778. 

VOOGD, Hendrick, a Dutch painter, born at 
Amsterdam about 1766. He studied under Juri- 
aan Andriessen, with whom he made such pro- 
gress that M. D. Versteeg took him under his pro- 
tection, and furnished him the means of visiting 
Italy. He designed the beautiful scenery in the 
environs of Rome with great assiduity. He sent 
one of his pictures to the " Societe des Sciences," 
at Haerlem, which procured him a pension of fifty 
ducats per annum, for three years. Thus encour- 
aged, he prosecuted his studies with ardor, and ac- 
quired so much distinction for his beautiful land- 
scapes of Italian scenery, which he enriched with 
ruins, and ancient temples and edifices, and peo- 
pled with appropriate figures from ancient history 
or mythology, that he was called the Dutch 
Claude. He frequently sent his pictures to the 
exhibitions in his native city, where they were 
admired greatly, but whether he ever revisited his 
own country is not mentioned. He died at Rome, 
m 1839. 

VOORHOUT, John, a Dutch painter, born at 
Amsterdam in 1647. He first studied six years 
under Constantine Verhout, or Verbout (probably 
Voorhout, and his uncle), of Gouda, a painter of 
conversations and gallant assemblies. He next 
became the disciple of John van Noort, at Am- 
sterdam, a reputable painter of history and por- 
traits, with whom he continued five years more. 
He had already begun to distinguish himself, when 
the French army entered Holland, in 1672, and he 
sought refuge at Hamburg, where he met with 
the most flattering encouragement. On the resto- 
ration of peace, he returned to Amsterdam, where 
he found abundant employment till his death. 
He painted both history and portraits, and is 
ranked by Descamps among the ablest artists of 
his country. His historical subjects are usually 
selected from the Greek or Roman history, and he 
treated them with propriety and judgment. His 
works are highly esteemed, and are to be found 
in the choicest collections. He died at Amster- 
dam in 1710. The Dutch writers mention an- 
other John Voorhout, who painted similar sub- 
jects, and died in 1749 — probably his son. 

VOORT, Cornelius vander, a Dutch painter, 
born at Amsterdam in 1580, and died there in 
1632, though some say he was a native of Ant- 
werp. He excelled in portraits, which were ad- 
mired for skillful arrangement, excellent likeness, 
and a fresh and natural tone of coloring. 

VORONIKHIN, Andrei Nikophorovitch. a 
Russian architect, was born in 1760, among the 
peasantry of Count Alexander Stroganov. That no- 
bleman, having heard of his talents in drawing, sent 
him to Moscow in 1777,in order to be properly edu- 
cated as an artist ; and he there received some in- 
struction from Bazhenov and Kasakov, two emi- 
nent architects. He was then sent to travel with 
his patron's son, Count Paul Stroganov, and after 
visiting the southern provinces of Russia, Ger- 
many, and Switzerland, resided some time at Pa- 
ris, laboring diligently to profit by this opportu- 
nity of pursuing his architectural studies. In 
1790, he returned to St. Petersburg, and the pro- 
tection of Stroganov soon brought hira into notice 
and employment. In 1800, the Emperor Paul 



conceived the idea of building a magnificent Ca- 
thedral in the '• Nevskii Prospect," to be dedicated 
to Our Lady of Kazan ; and Voronikhin, who 
was then Professor in the Academy of Arts, was 
appointed architect. In the following year the 
first stone was laid by the Emperor Alexander ; 
the edifice was completed and consecrated in 1815. 
and forms one of the finest architectural monu- 
ments in the city of the Czars. Voronikhin also 
erected many other edifices, public and private, 
among which were several villas at Gatchina and 
Pavlovsky. He died in 1814. 

VORSTERMANS, John, a Dutch painter, born 
at Bommcl in 1643. He was the son of a portrait 
painter, who instructed him in the rudiments of 
art, but having a genius for landscape, he studied 
under Hermann Zachtleven at Utrecht, and became 
one of the most admired landscape painters of his 
time. But great as his merit was, it fell short of 
his vanity. He went to Paris, where he assumed 
the title of Baron, and for a short time kept up 
the establishment of a person of rank. This ex- 
travagant course, however, could not last long, 
and his necessities soon compelled him to return 
to Holland. In 1672, on the approach of the 
French army, he removed to Nimeguen, where his 
talents recommended him to the patronage of the 
Marquis of Bethune, who employed him to collect 
some of the best works of art that could be ob- 
tained in Holland, and to paint several landscapes 
and views on the Rhine. Soon after the Restora- 
tion, he went to England, where he was employed 
by the king to paint a view of Windsor, and seve- 
ral other pieces, for which he demanded such an 
exorbitant price that he not only lost his patron, 
but the king's commissioners refused to allow him 
a moiety of what he demanded. Unable to sup- 
port his extravagance, he was at length arrested 
for debt, and thrown into prison, where he re- 
mained till he was released by a contribution of 
some of his countrymen. On the accession of 
James II., Sir William Soames, being appointed 
ambassador to the Ottoman court, took Vorster- 
mans in his train, with a view to employ him in 
painting the most remarkable scenes in the East. 
but that minister dying on the voyage, put an end 
to the project. Nothing more is known of Vors- 
termans, though he is supposed to have gone to 
Poland, whither he had been invited by his for- 
mer patron, the Marquis of Bethune, before he left 
England. 

Had Vorstermans been a prudent man, and his 
industry equal to his genius, he would have be- 
come one of the most famous painters of his coun- 
try. He surpassed, by many degrees, all the land- 
scape painters of his time, in neatness of touch 
and delicacy of finishing. His taste was Flemish ; 
but he worked up his pictures in an exquisite 
manner, and enriched them with small figures, 
correctly designed, and touched with great neat- 
ness and spirit. His scenery is always well cho- 
sen, frequently taken from the borders of the 
Rhine, in which he constantly represents a large 
extent of country, diversified with hills, lawns, 
groves, and lovely windings of the river. His 
coloring is chaste and agreeable, and he was a per- 
fect master of aerial perspective. The time of his 
death is not certainly known ; some place it in 
1699. His name is often written Vosterman 2knd 
Vostermans. 



VORS. 



1067 



VOS. 



Wi-^'lLn 



VORSTERMANS, Lucas, 
called the Elder, an eminent 
Flemish engraver, born at Ant- 
werp about 1580. He first studied painting in the 
great school of Rubens, but by the advice of that 
master (who was quick to perceive the particular 
genius of his pupils, and careful to give it the right 
direction), he afterwards devoted himself entirely 
to engraving. No painter ever had the satisfaction 
of seeing so great a number of his best works en- 
graved in so admirable a manner, as Rubens. He 
was surrounded by engravers of the greatest abil- 
ities, who worked immediately under his eye, and 
who had the advantage of his assistance and ad- 
vice, which contributed in no small degree to the 
beauty and excellence of their prints. Of these, 
no one was more successful than Vorstermans. 
His drawing is correct, and his heads are full of ex- 
pression. His plates are executed entirely with the 
graver, which he handled with great facility, though 
he was alwa3's more attentive to the general effect, 
than to neatness and regularity of execution ; in 
his best prints he has transcribed, with surprising 
fidelity, the life and spirit of the original paint- 
ings. His plate of the Adoration of the Magi, af- 
ter Rubens, is regarded as one of the finest produc- 
tions of the art. He visited England in the reign 
of Charles L, where' he resided eight years, from 
1623 to 1631, and was employed by that monarch 
and the Earl of Arundel. The time of his death 
is not known. He usually signed his plates with 
his name in full, but he sometimes marked them 
with the above monogram of his initials, L. V. 
His prints are very numerous, of which the fol- 
lowing is an ample list of the most esteemed. A 
full catalogue may be found in Bartsch : 

PORTRAITS AFTER VANDYCK. 

Charles I., King of England. Thomas Howard, Earl 
of Arundel. Isabella Clara Eugenia, Infanta of Spain. 
Gaston, Duke of Orleans. Ambrose Spinola, Governor of 
the Low Countries. Wolfgang William, Duke of Bavaria. 
Francis de Moncade, Count of Ossone. Nicholas Rockox, 
a Magistrate of Antwerp. Anthony Vandyck, Painter. 
Peter de Jode, the elder, Engraver. Charles de Mallerie, 
Engraver. James Callot, Engraver. Theodore Gal le. En- 
graver, Wenceslaus Koeberger, Painter. Deodatus Del- 
mont, Painter. Peter Steevens, Amateur, of Antwerp. 
John van Mildert, Statuary. Hubert vanden Enden, 
Painter. Lucas van Uden, Painter. Cornelius Sachtle- 
ven, Painter. Orazio Gentileschi, Painter^ John Lievens, 
Painter and Engraver. 

PORTRAITS AFTER VAHIOITS MASTERS. 

Thomas Howard, Duke of Norfolk ; after Holbein. Sir 
Thomas More ; do. Erasmus ; do. The Emperor, Charles 
v.; after Titian. Charles, Duke of Bourbon ; do. Charles 
de Longueval, Count of Busquoi ; after Rubens. 

SUBJECTS AFTER RUBENS. 

The Fall of the Evil Angels. Lot and his Daughters 
leaving Sodom. Job tempted by his Wife, and tormented 
by Demons. Susanna and the Elders. The Nativity, or 
Adoration of the Shepherds. The Adoration of the Magi. 
One of his finest prints. The same subject, differently com- 
posed. The Holy Family, with St. Anne. Another Holy 
Family, in which the infant Christ is embracing the Virgin. 
The Heturn from Egypt. The Virgin and infant Christ, 
with St. John playing with a Lamb. The Tribute-Money. 
The Descent from the Cross. The first impressions of this 
fine print are before the address of Corn, van Merlen. 
The Angel appearing to the Holy Women at the Sepulchre. 
St. Francis receiving the Stigmata. The Martyrdom of 
St. Lawrence. Mary Magdalene renouncing the Vanities 
of the World. The Battle of the Amazons ; a large print, 
on six sheets. 

SUBJECTS AFTER VARIOUS MASTERS, 

The Holy Family ; after Rafaelle. The Entombing 
of Christ ; do. St. George : do. Christ praying in the 



Garden; after An. Caracci. Lot and his Daughters; 
after Orazio Gentileschi. The Virgin and infant Christ, 
with two Pilgrims ; after M. Angela da Cararaggio. — 
Christ dead, supported on the lap of the Virgin, with An- 
gels weeping; after Vandyck. St. Theresa; do. Christ 
bound to the Pillar ; after G. Segers. The Death of St. 
Francis ; do. St. Ignatius ; do. The Fable of the Sal^yr, 
with the Peasant who blows hot and cold ; after J. Jor- 
daens. A Bear-hunt ; after F. Snyders. A Concert, 
consisting of five persons, one of whom is a Girl playing on 
a Guitar; after Adam de Coster, being a companion to 
the Concert, engraved by Bolswert ; after Theodore 
Rombouts. 

VORSTERMANS, Lucas, the Younger, was 
the son of the preceding, born at Antwerp about- 
1605. Although he had the advantage of his fa- 
ther's instructions, his prints are far inferior in 
every respect, to the admirable productions of the 
elder Vorstermans. The following are considered 
his best prints : 

PORTRAITS. 

Lucas Vorsterman the elder ; after Vandyck. Sir Hugh 
Cartwright ; after Diepenbeck. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Trinity ; after Rubens. Part of the ceiling of 
Whitehall ; do. The Virgin in the Clouds, surrounded by 
Angels ; after Vandyck. The Satyr, and the Peasant 
blowing hot and cold ; after J. Jordaens. This print 
greatly resembles that of the same subject engraved by his 
father. The Triumph of Riches ; q/i!erl/o/6eui. The great- 
er part of the Plates for the book on Horsemanship, by the 
Duke of Newcastle. Several of the Plates in the collection 
called the Gallery of Teniers. Various other subjects from 
other masters, and some portraits from his own designs. 

VOS, Peter de, a Flemish painter, who flourished 
at Antwerp in the first part of the 16th century. He 
painted history and portraits with reputation, and 
was elected a member of the Academy at Ant- 
werp in 1519. He had two sons, whom he in- 
structed in the art — Peter and Martin. Peter did 
not rise above mediocrity ; Martin is the subject 
of the following article. 

VOS, Martin de, was the son 
of the preceding, born at Antwerp, 
according to the best authorities, in 
1520, and died in 1604, aged eighty- 
four years ; though some say he 
was born in 1531, and died in 1603. After re- 
ceiving instruction from his father, he frequented 
the school of Francis Floris till he was twenty- 
three years old, when he went to Italy, and spent 
seven years at Rome, where he greatly improved 
his design by attentively studying the works of 
Raffaelle, and other great masters of the Roman 
school. He next went to Venice, to improve his 
coloring, where he had the good fortune to obtain 
the esteem and friendship of Tintoretto, who is 
said to have disclosed to him all the secrets relative 
to coloring, which he had either derived from Ti- 
tian, or acquired by his own skill and experience, 
and to have explained to him the rules and princi- 
ples on which he had founded his own practice. 
He also employed de Vos to paint the landscape 
in some of his works. Under the direction of his 
able instructor, de Vos soon became an excellent 
colorist, and he gained so much reputation, that he 
was employed by the illustrious family of the 
Medici, to paint several portraits. He also execu- 
ted several historical works, which added to his 
reputation. After an absence of about eight 
years, he returned to his own country, whither 
the fame he had acquired in Italy had preceded 
him. He was received into the Academy at Ant- 
werp in 1559, and executed several works for the 




M^Vcs. <t 



vos. 



1068 



VOS. 



churches, which established his reputation as one 
of the ablest artists of his time. He also excelled 
in portraits, in which branch he was much em- 
ployed. He also received commissions for pictures 
to adorn the churches of other cities in the Nether- 
lands. His principal works at Antwerp are the 
Marriage at Cana ; the Incredulity of St. Thom- 
as; the Miracle of the Loaves and Fishes ; the 
Temptation of St. Anthony, in the Cathedral ; and 
a fine picture of the Last Supper, in the church 
of St. James. He had a fruitful invention, com- 
posed with readiness, and wrought with facility ; 
his manner resembled that of Tintoretto, but his 
composition had less variety, fire, and energy. 
His figures are often forced and exaggerated in 
their attitudes. Notwithstanding his long resi- 
dence in Italy, he could never entirely divest him- 
self of the peculiar characteristics of his native 
school. His works, both in portraiture and his- 
tory, were numerous, and exerted considerable in- 
fluence on the art in his time. In portraiture, he 
was the precursor of Rubens and Vandyck, who 
perhaps owe more to him than their admirers are 
willing to allow. 

VOS, William de, was the nephew and scholar 
of Martin de Vos, whose style he followed, both 
in history and portraits, with distinction. His 
portrait was painted by Vandyck, among the emi- 
nent artists of his country, which he also etched, 
and it was finished with the graver by Bolswert. 
The times of his birth and death are not known. 

VOS, Paul de, a Flemish painter, born at Aelst, 
about 1600. He is supposed to have been a disci- 
ple of Francis Snyders, as he painted battles, and 
huntings of the wild boar and other animals of the 
chase, in the style of that master ; and his best 
works are esteemed little inferior to the admirable 
productions of that eminent artist. He traveled 
through Italy and Spain, and his works were every- 
where admired, and he found abundant patron- 
age. He was much employed by the King of 
Spain, and the Emperor of Germany ; there are 
several of his finest works in the royal collection 
at Madrid, and in the palace of Bueno Retire, 
which are deservedly held in the highest estima- 
tion. His animals, especially his dogs, are drawn 
with uncommon correctness and spirit, and his 
coloring is clear and harmonious. As he usually 
painted in a large size, his pictures were mostly 
the ornaments of magnificent halls, in the palaces 
of great personages. He died in 1654. He had 
a son named Paul de Vos, whom he instructed in 
the art, and who flourished at Aelst, in the latter 
part of the 17th century. He did not acquire 
much distinction. 

VOS, Cornelius de, was the son of Paul de 
Vos, born at Aelst in 1690, and died there in 
1751. After being instructed in the art, he went 
to Italy, where he resided some time. On his re- 
turn to Aelst, he painted history and portraits 
with reputation. There was another Cornelius de 
Vos, who was a scholar and imitator of Vandyck. 

VOS, Simon de, a Flemish painter, born at 
Antwerp in 1603. He studied in the school of 
Rubens, under whom he became an eminent paint- 
er of history and portraits. He painted so much 
in the manner of his instructor, that some of his 
works in the churches at Antwerp have frequent- 
ly been mistaken for the works of Rubens. Such 
ftre his picture of the Resurrection, in the Cathe- 



dral ; the Descent from the Cross, in the church oi 
St. Andrew ; and St. Norbert receiving the Sacra- 
ment, in the abbey of St. Michael. Sir Joshua 
Reynolds highly commends this last picture, and 
speaks of him as a portrait painter, in the follow- 
ing terms : " De Vos was? particularly excellent in 
portraits. There is, at Antwerp, his own portrait 
painted by himself, in black, leaning on the back 
of a chair, with a scroll in his hand, so highly fin- 
ished in the broad style of Correggio, that nothing 
can exceed it." Simon de Vos was very diligent, 
and occupied himself continually in studying every- 
thing that might promote his knowledge, and he 
was one of the few who took pains to make the 
deepest researches into the true principles of the 
art. He painted equally well in large and in small 
size ; his pencil is free, his touch light and firm, 
and his coloring lively and agreeable, producing a 
good effect. His figures are correctly designed, 
though sometimes a little too much constrained in 
the attitudes ; and he often wanted dignity and ele- 
gance in his ideas, as well as grace in the airs of 
his heads. He sometimes painted pictures of the j 
chase, in which he showed extraordinary power j 
and truth. There is a fine specimen of his skill ! 
in this branch, in the collection of the Elector Pal- 
atine. The time of his death is not known ; he 
was living in 1662. 

VOS, Lambert dk. Little is known of this « 
painter, except that he visited Turkey in 1574, and 
made many excellent water-color drawings of 
Turkish costume. A volume of these drawings 
was formerly preserved in the Gymnasium Libra- 
ry at Bremen, and it is probably there still. 

VOS, DE. There were several other painters 
of this name, of little note, apparently of the same 
family, which continues down to the present day. 

VOSMEER, James Wouters, a Dutch painter, 
born at Delft in 1584, and died there in 1641. It 
is not known under whom he studied, but he visit- 
ed Italy, and on his return to Flanders painted 
landscapes, and especially fruit and flowers, with 
considerable reputation. 

VOSTERMANS. See Vorstermans. 

VOU, I. DE, a Dutch engraver, who flourished at 
Amsterdam about 1700, and engraved some plates 
of views and edifices in that city, which are etched 
and finished with the graver in a neat, clear style. 

VOUET, Simon. This eminent painter, gene- 
rally considered the founder of the French school, 
was born at Paris in 1582. He was the son of 
Laurent Vouet, an obscure painter; and without 
the aid of better instruction than he could derive 
from his'father, he made rapid advances in the art. 
The Biographic Universelle states that at the age 
of fourteen he was commissioned to visit England 
for the purpose of painting the portrait of a French 
noble, then residing in London. This performance 
gained Vouet considerable patronage. Baron de San- 
cy, French Ambassador to the Porte, took him, sev- 
eral years after, in his suite to Constantinople. — 
While there, he painted an excellent portrait of the 
Sultan, Achmet I., from memory, after seeing him at 
the ambassador's audience ; which performance 
gained Vouet the munificent patronage of the 
Turkish nobles. From Constantinople he went to 
Venice, where he was attracted b}^ the works of 
Paul Veronese; but he visited Rome in 1613, and 
adopted the style of Caravaggio. Some of his 



VOUL 



1069 



VOYS. 



biographers assert that he chose Valentin as a 
model, but the latter was not born until 1600, The 
talents of Vouet gained him the patronage of Pope 
Urban VIII., and his nephew, the Cardinal, by 
whom he was employed to paint several pic- 
tures for St. Peter's and the Palazzo Barberini, 
which are among his best works, and are termed 
by Lanzi "charming productions." Louis XIII. 
hearing of his talents, allowed him a pension of 
400 francs. He was also patronized by Prince 
Doria of Genoa, whither he went, and painted the 
portraits of the royal family. On returning to 
Rome he was chosen president of the Academy of 
St. Luke, in 1624. 

In 1627, after a residence of fourteen years at 
Rome, Vouet returned to Paris, by invitation of 
the king, and was appointed his principal painter, 
with apartments in tho Louvre. He was em- 
ployed in decorating the palaces of the Louvre, the 
Luxembourg, and St. Germain's ; also in many 
other commissions, so numerous that he was 
obliged to entrust nearly the entire execution of 
many of them to his scholars. He painted ceilings, 
galleries, altar-pieces, small religious subjects and 
other easel pictures, as well as portraits in oil and 
crayons. The multiplicity of his engagements in- 
duced Vouet to abandon the careful and vigorous 
style which he followed while in Italy, and during 
the first years after returning to France ; after 
which he adopted a manner distinguished by sur- 
prising facility, and gay but inharmonious color- 
ing. He was mannered likewise in his drawing, 
especially in the hands and the heads ; his genius 
was unequal to grand compositions, he was also 
deficient in invention and expression. Had Vouet 
followed his Italian style, his reputation would 
have been much greater ; but he nevertheless 
greatly improved the French school, and he is al- 
lowed by the French historians to have done as 
much for painting in France as Corneille did for 
the drama. The improved taste which he intro- 
duced, was still further exalted by his numerous 
disciples, among whom were le Brun. le Sueur, 
Mignard, du Fresnoy. Testelin, and others. Among 
his principal works in the churches of Paris, are 
the Assumption of the Virgin in S. Nicolas des 
Champs ; and the Martyrdom of St. Agnes, in S. 
Eustache. He died in 1641. Dumesnil mentions 
an etching by Vouet, of the Holj'- Family, dated 
1633. Aubin Vouet, the brother of Simon, painted 
in his style with tolerable success. 

VVOUILLEMONT, Sebastian, a French 
engraver, born at Bar-sur-Aube, about 1620. 
He studied under Daniel Rabel, at Paris, on 
leaving whom he went to Rome, where he resided 
several years. He engraved quite a number of 
plates after the Italian and French masters, as 
well as others from his own designs. His simple 
etchings are the best ; when he attempted to finish 
them with the graver, he was less successful. He 
sometimes signed his plates with his name, and 
sometimes marked them with the above monogram. 
The following are among his best prints. 

The Murder of the Innocents ; after Rafaelle. 164L 
fJhrist with his Disoiples at Emmaus; do. Mount Par- 
nassus ;cZo. The Holy Family ; a/)fer iV. Poussin. The 
Virgin and Infant Christ ; after Parmiggiano. The Mar- 
riage of St. Catherine ; after Albano. A young Man 
presenting Money to a Fortuneteller. 

VOYEZ, Nicholas Joseph, a French engraver, 
born at Abbeville in 1742. He went to Paris 



when very young, and became the pupil of Beau- 
varlet, his fellow-citizen. He engraved some por- 
traits and other subjects, mostly after the French 
masters, in the neat style of his instructor. He 
had a brother named Fran9ois, born at Abbeville 
in 1746, who was also an engraver. 

VOYS, Ary de, a Dutch painter, born at Ley den 
in 1641. He first studied under Nicholas Knufer, 
at Utrecht, with whom he continued two years, 
when he returned to Leyden and became the dis- 
ciple of Abraham vander Tempel ; but he did not 
adopt the manner of either of his instructors. He 
formed an intimacy with Peter van Slingelandt, 
whose highly finished style he followed with the 
greatest success. Although he occasionally paint- 
ed small cabinet pictures of history, his best 
and most numerous works are portraits, conver- 
sations, and domestic subjects, which are account- 
ed little inferior to the productions of Metzu or 
Mieris. His pictures are exquisitely finished, his 
drawing is correct, his coloring is clear and 
transparent, and his conduct of the chiaro-scuro 
admirable. He acquired a high reputation, and his 
pictures were so much sought after that he could 
not supply the demand. It is said that he was 
naturally indolent, and that having married a lady 
of considerable fortune, he passed several years of 
his life in idleness and dissipation. His works are 
rare, and only to be found in the choicest collec- 
tions. He died at Leyden in 1698. 

VREE, or VREEM, Nicholas de, a Dutch 
painter, born at Utrecht in 1650, and died at Alk- 
maer in 1702. He was a good painter of land- 
scapes, and excelled in flower-pieces, which were 
admired for the freedom and lightness of his pen- 
cil, and the fresh and natural tone of his coloring. 

VRIESj John Fredeman de, a painter born at 
Leeuwarde, in East Friesland, in 1527. He was 
sent to Amsterdam when young, and placed under 
the instruction of Renier Gueritsen, with whom he 
continued five years. He afterwards studied per- 
spective and architecture under another master, 
whose name is not mentioned. In 1549, he went 
to Antwerp, where, in conjunction with other ar- 
tists, he was employed in painting the triumphal 
arches and other decorations for the celebration of 
the Entry of the Emperor Charles V. and his son 
Philip into that city, on which occasion he dis- 
played so much ability, as to give him consider- 
able employment in decorating the mansions of 
some of the principal nobility with perspective 
views, which he designed and painted with such 
truth and effect, as to produce complete illusion. 
He traveled through Germany and Italy, and 
everywhere met with abundant employment. He 
afterwards returned to Antwerp, where he settled, 
and continued to practice his profession till his 
death. His works are dispersed through Ger- 
many and the Low Countries, and some of them are 
in the English collections. They are frequently 
enriched with the figures of other celebrated paint- 
ers of his time, which adds to their value. He 
was much employed in making designs of architec- 
tural and other subjects for the printsellers, par- 
ticularly for Jerome Cock, who published a great 
variety of prints from his designs. He published 
a treatise on perspective, which was afterwards en- 
larged by Samuel Marolois. It is said that he 
was also an architect and engraver, and the same 
as John Vredeman Frisius, which see. This is 



VRIE. 



1070 



VUIB. 



very probable, as the date of their births is the 
same. There have been pubhshed twenty-six 
books of prints by Vries, illustrating various styles 
of architecture, with views of buildings, villas, &c. 

VRIES, Paul de, was the son of the preceding, 
born at Antwerp in 1554, and died in 1598. He 
was instructed by his father, and followed his 
style with success. It is also said that he visited 
Prague, in Germany, and executed some extensive 
works in that city. 

VRIES, Solomon de, was also the son and 
scholar of John F. de Vries, born at Antwerp in 
1556, and died at the Hague in 1604. He painted 
landscapes and ruins much in the style of his fa- 
ther, except that his coloring is too dark. 

VRIES, Adrian de, is supposed to have been 
a son or relative of John F. de V. Little is known 
of him, except that there is a set of large etchings 
of theatrical decorations by him, executed in a 
coarse, hasty style. He is said also to have been 
a painter of perspective and architecture. 

VRIES, Peter de, was the son of Solomon de 
v., born at the Hague in 1587, and died in 1642. 
He painted the same subjects as his father, and 
followed his style completely. 

VRIES, John Renier de, a landscape painter, 
who is supposed to have been a scholar of Jacob 
Ruysdael, whose style he followed. He painted a 
great number of small pictures on panel, generally 
woodland scenery, into which he generally intro- 
duced a cottage or a mill. His manner of handling 
resembles that of Ruysdael, but his coloring has 
the sombre hues of Decker. His pictures are 
usually signed with a monogram, bearing so strong 
a resemblance to that of Ruysdael, that many have 
been deceived by it. He flourished in the latter 
part of the 17th century. There were several 
other painters of this name of less note. 

VROMANS, or VROOMANS, Nicholas, a 
Dutch painter, born in 1660. He painted ser- 
pents, toads, lizards, and other disgusting rep- 
tiles, with such truth that he was called "the 
painter of serpents." 

VROOM, Henry Cornelius, a Dutch painter, 
born at Haerlera in 1566. He was the son of a 
sculptor, who dying when he was young, his mo- 
ther afterwards married Cornelius Henricksen, a 
painter on china, who instructed him in the first 
principles of art. He visited Spain, Italy, and 
various other countries, and painted marines with 
considerable reputation. He executed the designs 
for tapestry illustrating the defeat of the Spanish 
Armada, for the Earl of Nottingham, Lord High 
Admiral of England. His works are now held in 
little estimation. His name is often written Vroon. 
He died in 1619. 

VRYE, Thierry de, a Dutch painter, born at 
Gouda in 1530. He went to Paris, where he 
painted portraits and history with considerable 
reputation, and died there in 1582. 

VUEZ, Arnold. This painter was born at 
Oppenois, near St. Omer, in 1642. He was the 
son of a turner in metals, who, when obliged by 
poverty to enlist as a soldier, placed him under a 
Jewish painter of St. Omer. Young Vuez here 
manifested so much ability that his instructor re- 
commended him to visit Paris, and gave him a let- 
ter to an artist named Frere Luc, in whose school 



he remained three years, and then went to Italy 
On arriving at Venice, he sought out his uncle, a 
canon of St. Mark, who advanced him the means 
necessary to visit Rome. He studied the grand 
works of art in that city, and carried off the first 
prize at the Academy. A copy of Rafifaelle's School 
of Athens, which he took to Venice, gained him 
new favors from his generous relative, and on re- 
turning to Rome, he recommenced his studies with 
new ardor. The Prince Pamfili took him under 
his protection, and procured him many commis- 
sions ; but this success awakened envy among 
other artists, and various plots were formed for his 
destruction. At length, in a personal encounter, 
Vuez killed his intended assassin in self-defence. 
About this time, he received an invitation from 
le Brun to visit Paris, which he accepted, and was 
received by that painter with the greatest kind- 
ness. The King gave him a pension, and he exe- 
cuted many good works. He was patronized by 
the Duchess of Bouillon, and also by Louvois, who 
commissioned him to visit Lille to paint a picture 
of the Presentation in the Temple, for the church 
of the Hospital in that city. During his sojourn 
at Lille, Vuez received so many commissions, that 
he concluded to remain there permanently; and 
during the rest of his life, he executed numerous 
works for the churches of Lille, Cambray, and 
Douay. The pictures of Vuez evince great ferti- 
lity of invention ; and although the coloring is 
quite defective, they are correctly designed, and 
embellished with rich architecture. He drew his 
figures before draping them ; his groups are ad- 
mirably distributed, and he made nature his model. 
Among his principal works are mentioned the 
Resurrection ; the Martyrdom of St. Andrew ; the 
Judgment of Solomon ; Daniel in the Den of Lions ; 
the Discovery of the Promised Land, and the De- 
scent from the Cross. Vuez was chosen an alder- 
man of the city of Lille. He died in 1724, aged 82, 

VUIBERT, Remi, a French painter and en- 
graver, born at Paris in 1607. He is supposed to 
have studied under Vouet. He went to Italy, and 
passed many years at Rome, and probably died 
there. He executed quite a number of plates after 
Raifaelle, Domenichino, Poussin, Pietro da Cortona, 
Duquesnoy, and others from his own designs; 
which are dated from 1635 to 1663. His name is 
sometimes written Wibert, but he signed his prints 
Remigius Vuibert Gallus. Little is known of 
his works as a painter. Bartsch describes twenty- , 
nine prints by him. 

VYL, J, Den. There are some etchings of cows, 
oxen, bulls, sheep, and dogs, variously signed, /, 
or J. den Vyl, UU, or Uyl, probably the work of 
one artist. 

VYTH, or VEYTH, John Martin, a Swiss 
painter, born at Schatfhausen in 1650. After 
learning the rudiments of art in his native city, 
he went to Italy, and passed several years at Rome 
and Venice, and attached himself to the grand 
style of Michael Angelo, which is discernible in 
all his works. On his return to his native coun- 
try, he acquired a high reputation as a painter of 
history, and executed many works for the collec- 
tions of Berne, Basle and Schaffhausen, which 
are held in high esteem. Though his works prove 
him to have been one of the ablest artists of his 
country, his merits were not appreciated in his 
day, and he lived in poverty. He died in 1717. 



WAAL. 



1071 



WAEL. 



W. 



WAAL. See Wael. 

WAARD, or WAERD, Anthony de, a Dutch 
painter, born at the Hague in 1689. He first stud- 
ied under Simon vander Does, and afterwards at 
Paris. He is said to have painted history, por- 
traits, landscapes, and animals, with considerable 
reputation. His works are little known out of his 
own country, where they are esteemed. He died 
about 1752. 

WAAS, or WAES, Aart van. a Dutch paint- 
er, a native of Gouda, was a scholar of Wouter 
Crabeth. He went to Italy, where he resided 
some time. On his return to his native city, he 
painted conversations and familiar subjects with 
considerable reputation. He died at Gouda, ac- 
cording to Balkema, in 1646, and to Immerzeel, in 
1650. There are nine etchings of grotesque sub- 
jects attributed to him in Hazzard's Catalogue of 
Prints. 

WACH, Karl Wilhelm, a Prussian painter, 
was born at Berlin in 1790, of highly respectable 
parentage. He commenced studying under Kretsch- 
mer, and executed a number of pictures which, 
compared with the average productions of that 
period, displayed superior talent. His studies 
were interrupted by the events of 1813, which oc- 
casioned him to serve as an oflBcer in the Prussian 
militia. Even then, he did not entirely relinquish 
the pencil, and after the general peace he remained 
some time at Paris, studying the works of art 
then collected in that capital, and next visited Ita- 
ly, where he allied himself with Overbeck, Scha- 
dow, and others who have since become famous in 
German art. On returning to Berlin in 1819, 
Wach immediately rose into high credit and favor 
with the public, more especially as a portrait 
painter, in which character he stood preeminent 
among his countrymen and cotemporaries. He 
also became highly distinguished in historical 
painting, and was one of those reformers who have 
contributed to establish the present German 
school. This eminent artist was chosen Professor 
of the Academy at Berlin, and discharged the du- 
ties of that office until his death, in November, 
1845. His labors and researches in respect to the 
important subject of the chemical preparation of 
colors and varnishes, are said to have been attend- 
ed by some valuable results. 

WACHSMUTH, Jerome, a German engraver, 
who flourished at Vienna about 1730. He en- 
graved several prints, among which are the Ele- 
ments, and the Seasons, from his own designs, 
evincing an humble imitation of the style of Ber- 
nard Pi cart. 

WAEGMAN, Henry, a Swiss painter, bom at 
Zurich, according to Fiiessli, in 1536. He is little 
known as a painter, but he executed many draw- 
ings, in a vigorous and spirited style, resembling 
that of Paolo Farinato, which possess great merit. 
He was also an engraver. 

WAEL, or WAAL, John de, a Flemish paint- 
er, born at Antwerp in 1557. He was a disciple 
of the elder Frank, in whose style he painted his- 
tory with considerable reputation, as is evident 
from two circumstances, namely, that he was elec- 
ted a member of the Academy in his native city, 



and that Vandyck painted his portrait among the 
eminent artists of his country. His works are 
said to be very rare. He died, according to the 
best authorities, in 1602, in the prime of life ; 
though Zani and Fiiessli say he died in 1633. aged 
75 years. Bartsch says that John de Wael the 
Old, went to Paris in company with John de May- 
er, where he acquired a fortune, and died in 1633. 
It is very probable that there were two artists of 
this name. (See JohQi Baptist de Wael.) His 
name is variously written Wael, Waal, and M^eel, 
but he wrote it Wael. 

WAEL, or WAAL, Lucas de, was the son of 
the preceding, born at Antwerp in 1591. He re- 
ceived his first instruction from his father, but his 
genius leading him to landscape, he was placed un- 
der the tuition of John Breughel, with whom he 
made rapid progress, and adopted his style with 
great success. On leaving this master, he went to 
Italy, where he resided several years, and distin- 
guished himself by some admirable works, both 
in oil and fresco, particularly at Genoa, where his 
works were highly esteemed, and he met with 
very flattering encouragement. Although he some- 
times painted battle-pieces and attacks of cavalry, 
well composed, correctly designed, and touched 
with great spirit and animation, yet his most es- 
teemed works are his mountainous landscapes, re- 
presenting a great variety of precipices, craggy 
rocks, torrents, waterfalls, and other picturesque 
scenery, extremely pleasing ; his coloring is chaste 
and natural, and his pencil neat and spirited. He 
died in 1676. 

WAEL, or WAAL, Cornelius de, was the 
younger brother of Lucas de Wael, born at Ant- 
werp in 1594. He studied with his father, and 
accompanied Lucas to Italy, where he distinguish- 
ed himself as a painter of battles, skirmishes of 
cavalry, marches, processions, and landscapes. He 
appeared most eminent in his battles and sea- 
fights, in which the fury of the combatants, the 
joy and exultation of the victors, the dejection and 
terror of the vanquished, and the sufferings of the 
wounded, are depicted with great force. His land- 
scapes were also admired for the agreeable choice 
of his scenery, pleasing degradation of his dis- 
tances, and for excellent keeping. His composi- 
tions are ingenious and abundant, his figures and 
horses are correctly designed, his coloring chaste 
and natural, his pencil free and masterly, and his 
touch peculiarly adapted to his subject. Though 
his taste was entirely Flemish in the forms, hab- 
its, character, countenances and airs of his heads, 
in his figures, as well as in his horses and cattle, 
he nevertheless acquired a high reputation in Italy, 
and was much patronized by princes and the no- 
bility. The Duke d'Arschot (probably a Span- 
iard), appointed him his principal painter, for 
whom he executed many of his choicest works. 
He was also much patronized by Philip HI., king 
of Spain, who held his works in the highest esti- 
mation ; but whether he ever visited the Spanish 
court is not mentioned. The particulars of his 
life are too briefly recorded. It would seem that 
both Cornelius and Lucas passed most of their ar- 
tistic lives in Italy. Cornelius is said by most 
writers to have died in 1662, but where, is not 
stated. Soprani and Lanzi say that he was living 

I at Genoa in 1665. He executed some spirited 

I etchings from his own designs. 



WAES. 



1072 



WAIL. 



WAEL, or WAAL, John Baptist de. This 
artist, according to Huber, was the nephew of Cor- 
nelius de Wael, but he does not say whether he 
was the son of Lucas, or of another brother. He 
executed some slight etchings from the designs of 
his uncle, among which are a set of eight prints, 
representing the History of the Prodigal Son. 
Bartscb, on the contrary, is of opinion that there 
were two artists of this name. He says. (Peintre 
Graveur, torn, v.,) " We have a series of five prints, 
representing the life of the Prodigal Son, which | 
are engraved after the designs of Cornelius de | 
Wael. T/iree of these plates are anonymous ; the 
other two are by John Baptist de Wael, who has 
marked them with his name, and the date 1658. 
This artist, cotemporary with Cornelius de Wael, 
or perhaps his son, is absolutely unknown. In 
comparing the two signed prints, with the four- 
teen pieces of which we have given the description, 
and which also bear the name of John Bap- 
tist de Wael, it becomes evident that these latter 
cannot be the work of the John of 1658, so much 
difference is there in the composition, drawing, and 
point. There is, therefore, no doubt that the au- 
thor of them is John Baptist de Wael, who, ac- 
cording to Descamps, was the father of Cornelius." 
Bartsch then goes on to give an account of John 
de Wael, whom he designates the Old, as above re- 
lated, in the life of that artist. Be this as it may, 
there is no account of John de Wael ever having 
been in Italy, and the title page of the fourteen 
prints in question, clearly shows that they were 
engraved and published in Rome. 

WAESBERGE, Isaac, a Dutch engraver, whose 
prints date from about 1650 to 1660, He engraved 
some portraits, among which is one of Admiral de 
Ruyter, after H. Berckmans, executed in a style 
resembling that of Cornelius Visscher. 

O 7~^ \)(/' (\J7\JT WAGNER, Hans 
Jp ^ or p JXj W Erhard, a German 
v-/ i ,i engraver, who was 

a native of Strasburg, according to Professor 
Christ, and flourished about 1690. He engraved 
a considerable number of plates of various subjects, 
which he marked with a monogram of his initials, 
as above. 

WAGNER, James, a German engraver, proba- 
bly of the same family as the preceding. Accord- 
ing to Prof. Christ, he engraved some prints, which 
he usually marked J. Wa.fec. 

WAGNER, John George, a German painter, 
born at Dresden in 1732. He was a disciple of 
the celebrated Dietrich, whose manner and sub- 
jects he imitated with such success, that his works 
frequently pass for the genuine productions of his 
master, especially in foreign countries. Stanley 
says his pictures have frequently been sold in 
England as the works of Dietrich. His drawings 
in water-colors are highly esteemed. He is some- 
times called the Younger, to distinguish him from 
another artist of the same name, who painted por- 
traits and history with some reputation, and flour- 
ished in the previous century. He died in 1767. 

WAGNER, Joseph, a Swiss engraver, born at 
Thalendorf, on Lake Constance, in 1706. He first 
studied painting at Venice, under Jacopo Amiconi, 
who, perceiving that he had a better genius for en- 
graving than for painting, advised him to devote 
himself to that art. He accordingly accompanied 
his preceptor to Paris, where he studied some time 



under Lawrence Cars. He also went with Ami- 
coni to London in 1733, where he resided some 
time, and engraved several plates, among which 
were three of the princesses Anne. Amelia, and 
Caroline, daughters of George II. He afterwards 
returned to Venice, and established himself as an 
engraver, also carrying on a considerable com- 
merce in prints. He instructed several pupils, 
who distinguished themselves ; among them were 
Bartolozzi, Flipart, and Berardi. His plates are 
numerous, and possess considerable merit. The 
following are the most esteemed. He died at Ve- 
nice in 1780. 

portraits after amiconi. 

Peter the Great, Emperor of Russia, conducted by Mi- 
nerva. Anne, Empress of Russia. Elizabeth Petrowna, 
Empress of Russia. Carlo Broschi, called Farinelli, Mu- 
sician. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Education of the Virgin; after Amiconi. The in- 
fant Christ sleeping ; do. The Holy Family ; after P. 
Veronese. The Inter .lew between Jacob and Rachel ; af- 
ter L. Giordano. Rebecca receiving the presents from 
Eliezer; do. The Death of Abel ; after Benedetto Luti. 
Mary Magdalene in he House of the Pharisee ; do. The 
Virgin and infant Christ; after Solimena. The Assump- 
tion of ihe Virgin ; after Plazzetta. St. John in the Des- 
ert ; after C. Va7iloo. Twelve Landscape:^ and Pastoral 
subjects ; after Zuccherelli ; engraved by Wagner and 
his pupils. 

WAILLY, Charles de, a distinguished French 
architect, was born at Pans in 1729. He early 
manifested a strong inclination for art, and stud- 
ied successively under Blondel and Lejay ; after 
which he completed his course under Servandoni, 
and gained the grand academical prize in architec- 
ture in 1752. This entitled him to three years' 
residence in Italy, at the expense of government, 
but he generously desired and obtained permission 
to divide this advantage with Moreau, one of his 
competitors, who drew the second prize. While 
residing in Italy, he attained sufficient reputation 
to be chosen a member of the Institute at Bologna. 
After his return to Paris, he was admitted to the 
Academ}^ of Architecture in 1767, and in 1771 to 
the Academy of Painting, on which occasion he 
presented a perspective design of the staircase to 
the new theatre then projected, afterwards called 
the Odeon. Wailly was much employed in the 
distribution and ornamenting of the interiors of 
edifices, and he executed many elegant designs of 
this description, among which were the interiors 
of the Hotel d'Argenson at Paris, the chateau des 
Ormes, the Odeon Theatre, and the Palazzo Spi- 
nola at Genoa. The Landgrave of Hesse Cassel 
invited him to his court, and the magnificent plans 
which he made for the embellishment of the Capi- 
tal and the State of that prince, are preserved in 
two folio volumes, in the Library at Cassel. He 
was an indefatigable designer, and gained such 
high reputation, that the Prince of Nassau invited 
him to his court, and the Empress Catherine of- 
fered him the presidency of the Academy of Ar- 
chitecture at St. Petersi)urg. After the conquest 
of the Low Countries, he was sent to select the 
finest works of art by the Dutch and Flemish 
masters, which were placed in the Louvre ; and he 
was one of the original members of the Institute. 
Wailly died at Paris in 1798. 

\"y"7" yv WALCH, Jacob, an old German 

\hj ^Y engraver, who flourished about 1480, 

Hr and is thought by some to have been 



WALC. 



1073 



WALL. 



the master of Michael Wolgemut — a supposition 
that is extremely questionable. Walch engraved 
on copper, whereas the greater part of the works 
of Wolgemut are wooden cuts, and his few copper 
plates are very unlike those by Walch, whose 
style bears a great resemblance to that of Israel 
von Mecheln. Besides, Wolgemut was probably 
the oldest, as he was born in 1434. The prints at- 
tributed to Walch are characterized by all the 
stiffness and formality of the primitive produc- 
tions of the German school. They are usually 
marked with a W. and a kind of Gothic cross, 
as above. There are a few prints marked with a 
similar cross alone, which some attribute to him, 
but they are very rudely engraved, and resemble 
the more bold and determined style of Martin 
Schoen, of whom the artist was probably a cotem- 
porary 

WALCH, George, a German engraver, who 
flourished from about 1650 to 1678. There are 
some portraits by him. executed with the graver 
in a very indiiferent style, and also several in mez- 
zotinto. He appears to have resided chiefly at 
Nuremberg. 

WALCH, Sebastian, a Swiss engraver in mez- 
zotinto. who executed a series of portraits of the 
burgomasters of Zurich, from 1336 to 1740, from 
the designs of /. C. Fuessli. He was living in 
1756. 

WALDIE, Jane. See Watts. 

WALE, Samuel, an English artist, born in Lon- 
don, who served an apprenticeship with an engra- 
ver on plate. He afterwards studied design in the 
Academy in St. Martin's Lane, and was chiefly 
employed in designing for the booksellers. He 
also practiced decorative painting, in which he imi- 
tated the manner of Francis Hayman. He was 
one of the first fortj'' members of the Royal 
Academy, was appointed professor of perspective, 
and on the death of Wilson, was also made Libra- 
rian, both which situations he held till his death, 
in 1786. He etched a few vignettes from his own 
designs. 

WALES, James, a Scotch artist, probably an 
amateur, born at Peterhead in 1748. He was edu- 
cated in the University College, at Aberdeen. In 
1791, he went to the East Indies, in what capaci- 
ty is not mentioned, and died there in 1796. He 
designed twenty-four views of the Mountains of 
Ellora and the Hindoo Excavations, which were 
afterwards published in T. and W. Daniell's '-Ori- 
ental Scenery." He is also said to have painted 
many portraits in India, some of them of Indian 
princes. 

WALKER, Robert, an ^^ .glish portrait paint- 
er, who flourished in the time of the Protectorate, 
and died at London in 1660. He painted the por- 
trait of Cromwell four times, and was much em- 
ployed by the chiefs of the Republican party. He 
imitated Vandyck. 

WALKER, Anthony, an English engraver, 
who flourished about 1760. He was chiefly em- 
ployed in engraving vignettes, frontispieces, and 
other plates for the booksellers, some of which 
are from his own designs. He also engraved some 
plates for Alderman Boydell, among which are 
Curius Dentatus refusing the Presents of the 
Samnites, after P. da Cortona; the Village Law- 
3'er and his Clients, after Holbein ; and the Angel 



departing from the house of Tobit, after Rem- 
brandt. 

WALKER, William, was the brother of the 
preceding. He was much employed in engraving 
for the collection of Boydell, after the Italian, 
Dutch, and Flemish masters. Some of his prints 
possess considerable merit. 

WALL, William Rutgaart vANDER,a Dutch 
painter, born at Utrecht in 1756, and died there in 
1813. He painted landscapes with considerable 
reputation. His figures and animals are correctly 
designed, and touched with neatness and spirit. 

WALLINT, Francesco, a Flemish painter, who 
appears to have passed his artistic life in Italy, 
and flourished at Rome in the first part of the 18th 
century, perhaps as late as 1750. Lanzi says. 
" Francesco Wallint, called Monsieur Studio, lived 
at Rome at the same time as Francis van Bloemen. 
He painted small landscapes and sea-views, orna- 
mented with beautiful figures, in which he imita- 
ted Claude, He was, however, devoid of that sen- 
timent which is the gift of nature, and that deli- 
cacy which charms in the Italian school." He 
had a son called Francesco Wallint the Younger, 
who attached himself to the same manner, with 
success, but he did not equal his father. See Hen- 
ry van Lint. 

WALMSLEY, John, an English landscape 
painter, born in 1763, and died at Bath in 1805, 
He was the son of Major Walmsley, who was sta- 
tioned in Ireland with his regiment. Having a 
serious dispute with his friends, he went to Lon- 
don, where he was employed as scene painter, first 
at the King's Theatre, and afterwards at Covent 
Garden. He resided at Bath the last ten years of 
his life, where he painted landscapes of a small 
size,which Cunningham says are " truly excellent." 

WALRAYEN, Isaac, a Dutch painter, born at 
Amsterdam in 1686, and died there in 1765. He 
first studied under Gerard Rademacker, and after- 
wards went to Dusseldorf, where he improved 
himself by copying the best works in the Gallery. 
He painted history and fancy pieces with conside- 
rable reputation. His pictures are well composed 
and colored, and he had a good knowledge of the 
chiaro-scuro. but his drawing is incorrect, and his 
pencil lacks precision and firmness. His pictures, 
however, are said to have brought good prices ; 
two small pieces of Children sporting, brought, at 
the sale of his effects after his death, 800 florins 
each, and another, an historical subject, 1500. He 
also etched some small plates from his own de- 
signs, in which he appears to have imitated Ste- 
fano Delia Bella. 

WALSCAPELLE. Jacob, a Dutch painter of 
flowers, of whom little is known. He is supposed 
to have been a cotemporary, and perhaps a scholar 
of John David de Heem, whose style he imitated. 
His pictures are found in the best collections of his 
country, where they are held in high estimation. 
He particularly excelled in representing groups of 
flowers in glass bottles. His pictures are taste- 
fully arranged, his coloring is fresh and transpa- 
rent, his foliage and flowers sparkle with dew- 
drops, and the butterflies, moths, and other insects 
give them additional interest. His name is some- 
times written Waltskapelle. ^ 

WALTER, Henry, an English painter of the 
present century. His subjects were chiefly land 



WAND. 



1074 



WASS. 



scapes and cattle. He exhibited occasionally at 
the Royal Academy, and the British Institution. 
He left quite a number of drawings, which are de- 
serving of credit. He died in 1849. 

WANDELAAR, John, a Dutch designer and 
engraver, born at Amsterdam in 1692. He stud- 
ied under the elder Polkema, and became eminent 
in the art. He engraved some portraits, besides a 
variety of vignettes and other subjects, for the 
booksellers ; but his best productions are a set of 
thirty-four plates for the great anatomical work of 
Albinus, entitled, Tabulce sceleti et musculorum 
corporis humani, which he designed from the sub- 
jects, under the direction of the great anatomist 
himself. They are drawn with the greatest accu- 
racy, and executed in a spirited and masterly man- 
ner. There is an English translation of this capi- 
tal work, in which the plates were copied, of the 
same size as the originals, by Grignion, Ravenet, 
Scotin, and others. Wandelaar is also said to 
have painted portraits, some of which are said to 
have been engraved by Houbraken. He died at 
Leyden in 1759. 

WANS, or WAMPS, a Flemish painter, who 
flourished in the first half of the 17th century. 
He was accounted a good landscape painter. He 
also copied some of the works of Vandyck. 

WARD, William, an English engraver in mez- 
zotinto, who flourished in the latter part of the 
18th, and the first part of the present century. 
He was the brother-in-law of George Morland, 
and engraved many plates from his pictures, which 
had an extensive sale. He also executed many 
portraits after Reynolds, and other English paint- 
ers, which display considerable talent. He was 
elected an Associate of the Royal Academy. He 
had a brother named James, who excelled in paint- 
ing animals. There was also a Captain Ward, 
who held a commission in the service of the East 
India Company. He painted some landscapes 
and views in the East Indies, several of which 
were exhibited at the Royal Academy in 1772 and 
1773. 

WARD, William James, was the son of Wil- 
liam Ward, born at London in 1801. He was in- 
structed by his father, and engraved quite a num- 
ber of portraits and other subjects, after Reynolds 
and other English painters. His prints were ad- 
mired for their depth and richness of color, and ar- 
tistic effect. He died in 1840. 

WARNIR, John, a German engraver, who flour- 
ished about 1636, and is supposed to have died 
very young. He copied some prints after the 
old German masters, which, though neatly execu- 
ted, have all the appearance of servile imitation. 
He copied the print of Albert Durer, representing 
St. Jerome seated before a crucifix, with a city in 
the background, which is inscribed Jh. IVarnir, 
jE. 16, 1636 ; also the Twelve Apostles, after the 
same master, in the following year, when he was 
.<;eventeen, Jh. W. JE. 17. 

WARREN, Charles, an English engraver, who 
died in 1823. He engraved a great number of 
small plates, neatly executed, after Stothard, Wes- 
tall, Smirke, and others, to illustrate the various 
editions of the British poets and novelists, pub- 
lished by Harrison, Bell. Cadell, and other enter- 
prising booksellers of his day. 

WASSEMBERG, John Abel^ a Dutch painter, 



born at Groningen in 1689. He was the son of 
a lawyer, who intended him for the same profes- 
sion, and gave him a classical education, but his 
passion for painting induced the father to place 
him under the instruction of John van Dieren, a 
painter of httle note. After remaining with the 
latter till the age of twenty-three, he went to Rot- 
terdam, and became the disciple of Adrian vander 
Werf, who aided him with friendly counsel, and 
took particular pains to instruct him in his meth- 
od of coloring and penciHng. On returning to his 
native city, Wassemberg soon gave proof of his 
abilities, and received many commissions to deco- 
rate the saloons and ceilings of the principal in- 
habitants. He was also much employed in por- 
traiture, in which he excelled. His talents recom- 
mended him to the patronage of the Prince of 
Orange, who employed him to paint the portraits 
of himself and family, and the principal personages 
of his court. He was not less celebrated for his 
cabinet pictures from sacred and profane history, 
in which he imitated the polished style of vander 
Werf with such success, that his works of this 
class were accounted little inferior to the admira- 
ble productions of that master. It is not a little 
remarkable, that an artist who was accustomed 
to large works, both in oil and fresco, which must 
be viewed at a distance, to produce the desired ef- 
fect on the eye, could adapt his touch, tints, and 
handling to such small pieces as required the near- 
est view, and even the use of the glass, to perceive 
their beauties. He died in 1750. 

WASSEMBERG, Elizabeth Gertrude, was 
the daughter and pupil of the preceding. She 
painted cabinet pictures, similar to those of her 
father, finished in such an exquisite manner, that 
some of them are said to closely approach the pro- 
ductions of Gerard Douw. She died in 1782. 

WASSER, Anna, an eminent Swiss paintress, 
born at Zurich in 1679. She early discovered a 
lively genius, so that before the age of twelve, she 
could speak and write the Latin and French lan- 
guages correctly, and had made considerable pro- 
gress in the Belles Lettres. She showed such a 
taste for painting, and had made such progress in 
design at thirteen years of age, that her father, who 
was a man of some distinction, and a member of 
the Common Council of the city, was induced to 
place her under the instruction of Joseph Werner 
of Berne, one of the most eminent artists of Swit- 
zerland, with whom she made surprising progress. 
At first she painted some pictures in oil, but mani- 
festing peculiar talents for miniature, she applied 
herself entirely to that branch, and soon arrived 
at such perfection as almost rivalled Werner him- 
self. Her fame spread throughout all Germany, 
and there w^as scarcely a court in Europe from 
which she did not receive commissions. The D uke 
of Wurtemburg and the Margrave of Baden-Dur- 
lach, were among her most distinguished patrons. 
Her talents were not confined to portraits, though 
she was mostly employed in this branch ; she ex- 
celled in painting pastoral and rural subjects, com- 
posed with great ingenuity, and finished with un- 
common delicacy. She died unmarried in 1713. 

WATELET, Claude Henry, an eminent French 
amateur engraver and writer on art, born at Paris 
in 1718. His father was receiver-general of the 
finances, to which post he succeeded after his 
death. After receiving a liberal education, he 



WATE. 



1075 



WATS. 



traveled through Germany to Italy, and passed 
some time at Rome, where he made the acquaint- 
ance of M. Pierre, an eminent French painter, with 
whom he contemplated the most remarkable works 
of art in that metropolis. On returning to Paris, he 
devoted much of his time to an assiduous cultiva- 
tion of the fine arts. He executed upwards of a 
hundred etchings after the Italian, French, and 
Flemish masters, some of which possess uncommon 
merit. In 1761 he published his poem on th« Art 
of Painting; embellished with plates from the de- 
signs of M. Pierre, etched by himself, and finished 
with the graver by Lempereur. He was the prin- 
cipal author of a very laborious work published 
in 1792, four years after his death, with additions 
by M. Levesque, entitled Dictionnaire des Arts de 
Peinture, Sculpture, et Gravure. He died in 1788. 

WATERLOO, Anthony, an eminent Dutch 
painter and engraver, of whose early history no- 
thing is known, and whose birth is variously 
placed at Amsterdam and Utrecht, about 1618. 
This much is certain, that he passed his artistic 
life in the latter city, and the scenery of his pic- 
tures is generally taken from its environs. His 
landscapes are characterized by the most interest- 
ing simplicity, sometimes representing the en- 
trance into a forest ; a broken road, with a few 
trunks of trees; a solitary cottage, or a water- 
mill; all evidently the transcripts of simple na- 
ture, as he saw it, without any attempt at improve- 
ment. Yet he treated these subjects in such an 
admirable manner as to entitle him to rank among 
the best landscape painters of his country. His 
skies are light and floating, his coloring chaste and 
natural, the foliage of his plants and trees is touched 
with great spirit, as well as with a marked atten- 
tion to their different species, so that they can be 
readily distinguished, and the reflection of his ob- 
jects in the water is wonderfull}* transparent and 
natural. He did not design the human figure cor- 
rectly; therefore he frequently employed Weenix 
and other eminent artists of his time to insert the 
figures and cattle in his pictures, which are some- 
times found without these accessories. His pic- 
tures are exceedingly rare, as he devoted much of 
his time to engraving, and he is said also to have 
led a dissipated hfe. It is reported that he never 
signed his pictures with his name. 

As an engraver, the works of Waterloo have 
long been the admiration of artists and connois- 
seurs. They are etched with great spirit and fa- 
cility, in a very masterly style, and usually re- 
touched with the graver, to harmonize the lights 
and invigorate the shadows. They consist of 
landscapes from his own designs, frequently em- 
bellished with figures from sacred and profane his- 
tory, and mythology. He etched the whole de- 
sign with equal strength, but slightly, and then 
finished in a bold manner those parts which he de- 
sired to be most effective. Therefore as the plates 
were worked off, the etching grew imperceptibly 
fainter, while that part executed with the graver, 
suffered little change; which accounts for the nu- 
merous poor impressions. Bartsch regards his 
prints of so much interest and importance, that 
he minutely describes one hundred and thirty- 
six, which he believes to be a complete catalogue. 



For further information on this subject, the reader 
must be referred to Bartsch, Peintre Graveur, 
tom. ii., and Weigel's Supplement to Bartsch. 
He usually marked his prints with one of the 
above monograms, but sometimes with the ini- 
tials A. W. f. ; and Stanley mentions one in the 
British Museum signed A. Waterlo fee. Some 
writers say that he died in the prime of life from 
dissipation, but Houbrakeu and Weyermans as- 
sert that he died in the hospital of St. Job at 
Utrecht, in 1679, which is doubtless correct. 

UY'7"WATMAN, Henry, a Dutch or Ger- 
i I iA/ man engraver, of whom little i s known. 
M^ 3l ^ According to Professor Christ, he en- 
graved some landscapes, which are marked with 
the above monogram. 

WATSON. Caroline, an English lady, born at 
London in 1760, who distinguished herself as an 
engraver in the dotted manner, and in mezzotinto. 
She was instructed by her father, and executed 
quite a number of plates which possess great merit. 
Among others are the following by her : 

PORTRAITS. 

Prince "William of Gloucester ; after Reynolds. Lord 
Malmsbury ; do. Mrs. Stanhope ; do. Sir Joshua Reyn- 
olds ; do. Earl of Bute ; after Gainsborough. Ozias 
Humphry, Painter ; do. Mrs. Drummond and Children ; 
after Shelley. Mrs, Siddons, as the Grecian Daughter ; 
after Shirr if. Miss B over ; after Hoppner. Benjamin 
West, Esq., P. E. A. ; after Stuart. William WooUett ; 
do. Sir Robert Boyd, Governor of Gibraltar ; after 
Smart. 

WATSON, Thomas, an eminent English en- 
graver in mezzotinto, born at London in 1750. 
He was probably of the same family as the 
preceding. Though he died at comparatively an 
early age, he is regarded as one of the ablest Eng- 
lish artists in his particular branch. He died 
in 1781. The following are his most esteemed 
prints : 

portraits. 

Six, of the Windsor Beauties ; after Lely, Lord Aps- 
ley and his Brother ; after N. Dance. Frances, Countess 
of Jersey ; after Gardner. Alderman Sawbridge, in the 
character of a Roman Senator ; after West. 

PORTRAITS AFTER SIR JOSHUA REYNOLD^ 

Henry Frederick, Duke of Cumberland. Lady Bam- 
fylde. Lady Melbourne. James Hay, Earl of ErroL 
Lady Broughton. Dr. Newton, Bishop of Bristol. War- 
ren Hastings. Mrs. Sheridan, as St. Cecilia. Georgina. 
Countess Spencer. Lady Townshend, and her two Sisters. 
Mrs. Crewe. 

SUBJECTS AFTER VARIOUS MASTERS. 

Jupiter and Mercury, with Philemon and Baucis ; after 
Rembrandt. The Virgin, with the infant Jesus and St. 
John ; after Correggio. The Death of Mark Antony ; 
after N. Dance. 

WATSON, James. This artist was of the same 
family as the preceding. He greatly distinguished 
himself as an engraver in mezzotinto. His plates 
are very numerous, and are held in high estima- 
tion, particularly those after Keynolds. The fol- 
lowing are the principal : 

PORTRAITS AFTER SIR JOSHUA REYNOLDS, 

Anne, Duchess of Cumberland, Elizabeth, Duchess of 
Buccleugh, with her daughter. The Duchess of Manches- 
ter, with her son, as Diana and Cupid, The Countess of 
Carlisle. Sir Jeffrey Amherst, Commander-in-Chief in 
America. Jemima, Countess Cornwallis. Robert Drum- 
mond, Archbishop of Tork. Barbara, Countess of Coven- 
try. Sir John Cust, Speaker of the House of Commons. 
John, Marquis of Granby. John Hely Hutchinson, Secre- 



WATS. 



1076 



WATT. 



tary of State in IrelanJ. Doctor Samuel Johnson. Lord 
and Lady Pembroke, with their son. Vice-Admiral Sir 
George Bridges Rodney. Lady Scarsdale, with her Son. 
Isabella, Countess of Sefton. Frances, Marchioness of 
Tavistock. Miss Price. Henry Woodward, Comedian. 
Mrs. Abington, as Thalia. 

PORTRAITS AFTER VARIOUS MASTERS. 

Paul Pontius, Engraver ; after Vandyck. Dr. Busby ; 
afier RiJey. Charles, Duke of Richmond; after Romney, 
The Duchess of Leinster; do. John, Duke of Argyle ; 
after Gainsborough. Miss Lascelles, with a Greyhound ; 
after Cotes 

SUBJECTS AFTER VARIOUS MASTERS. 

A Madonna ; after Reynolds. The Children in the 
Wood ; do. Rubens and his Family ; dfter J. Jordaens. 

WATSON, Mdsgrove Southwatte, an English 
sculptor, born near Carlisle, in 1804. When quite 
young he went to London, and was advised by 
Flaxman to visit Italy. After remaining in that 
country about three years, studying and copying 
the sculptures of the best masters, he returned to 
London, where he was employed by Chantrey as a 
modeller. His merit now began to be known, and 
after a few years of persevering endeavors, he was 
commissioned to execute the magnificent group of 
Lords Eldon and Stowell, which gained him great 
reputation. He soon had plenty of employment, 
and executed a number of fine works, among which 
may be mentioned the colossal statue of the Earl of 
Lonsdale, the statue of Queen Elizabeth in the Royal 
Exchange, also two bas-reliefs of the Battle of !St. Vin- 
cent, and Dante and Beatrice. The two latter works 
have been very much admired. He modelled and 
cast in plaster his beautiful Flaxman monument, 
but it was not completed till after his death. He 
exhibited at the Royal Academy a bas-relief monu- 
ment to the memory of Allan Cunningham, en- 
titled "Literature;" also another, "Death and 
Sleep bearing off the Body of Sarpedon ;" and a 
bas-relief monument of Dr. Cameron. The three 
latter works have been highly praised by the 
critics. Watson died in 1847, at the age of 43. 

WATTE AU, Anthony, an eminent French 
painter, born at Valenciennes, in 1684. He early 
discovered a passion for painting, but his parents 
being ^ry poor, were unable to give him an edu- 
cation suitable to his genius. They however pro- 
cured him the instruction of an obscure artist in 
his native city, with whom he continued until the 
latter could render him no further assistance. In 
1702, he connected himself with a scene painter, 
and went to Paris, where they obtained employ- 
ment for a short' time, but Watteau soon found 
himself solitary and destitute in that great city, 
and he was compelled to work for the shops, for a 
scanty maintenance. While in this situation, he 
became accidentally acquainted with Claude Gillot, 
a painter and engraver of grotesque and fabulous 
subjects, who conceived such a friendship for Wat- 
teau that he took him into his house, communica- 
ted to him all the information he possessed, the 
observations he had made, and the precepts by 
which he had formed his own style. It was not 
long before Watteau surpassed his friendly in- 
structor. Shortly after this, he was employed by 
Audran to make some designs from the pictures 
in the Luxembourg Gallery, where he was so 
strongly impressed by the splendid works of 
Rubens, that he was fired with the ambition to be- 
come an historical painter, and he studied them 
with great assiduity, by which means he acquired 



an admirable system of coloring, and a good 
knowledge of chiaro-scuro. He also entered the 
Academy, designed from the living model, and 
drew the first prize for a historical piece. Fortu- 
nately for his fame, he discovered that history was 
not his forte, and he struck out into a new and 
original style, in which he acquired a lasting repu- 
tation, and which gave rise to a host of imitators, 
without ever producing a rival. His subjects are 
usually comic conversations, musical parties, balls, 
masquerades, gallant and pastoral subjects, which 
he designed correctl}^, and with admirable finesse, 
ease, and natural grace. His coloring is fresh and 
splendid, and he is equally admired in the tender- 
ness of his carnations, the brilliancy of his habili- 
ments, and the verdure of his landscapes. His 
pencil is free and flowing, his touch neat and spir- 
ited, and his pictures are carefully finished in eve- 
ry part. The figures which he introduces into 
his compositions, in whatever character he designs 
them, have a peculiar naivete and grace in the 
airs of the heads, in the attitudes and actions. 
The national taste of his country, however, pre- 
vails in all his productions. Watteau also paint- 
ed the marchings, halts, and encampments of ar- 
mies, with great success. Lord Orford makes the 
following admirable criticism' upon his works. 
" Watteau painted imaginary nymphs and swains, 
and described a kind of impossible pastoral, a rural 
life, led by those opposites of rural simplicity, peo- 
ple of rank and fashion. His shepherdesses, nay, 
his very sheep are coquettes ; yet he avoided the 
glare and clinquant of his countrymen ; and, 
though he fell short of the dignified grace of the 
Italians, there is an easy air in his figures, and 
that more familiar species of the graceful which 
we call genteel. His nymphs are as much below 
the forbidding majesty of goddesses, as they are 
above the hoyden awkwardness of country girls. 
In his halts and marches of cavalry, the careless 
slouch of the soldiers still retain the air of a na- 
tion that aspires to be agreeable, as well as victo- 
rious." 

Watteau found abundant employment, and was 
indefatigable in the exercise of his pencil. His 
works, though numerous, are rarely to be met 
with out of the collections of his own country, 
where they are held in great estimation. His rep- 
utation abroad has been injured by a multitude 
of imitations, many of which have been sold for 
his genuine works. He executed a few spirited 
etchings, from his own designs. He also left be- 
hind him a great number of drawings, in red and 
black chalk. Having injured his health by his in- 
tense professional application, he went to England, 
to consult the celebrated Dr. Meade, and resided 
there about one year. He died shortly after his 
return to France, in 1721. 

WATTS, Jane. This highly gifted lady was 
the daughter of George Waldie, of Hendersyde 
Park, Scotland, where she was born in 1789. Al- 
most in her infancy, she exhibited a passion for 
drawing. She painted landscapes in oil, which 
were greatly admired, and many of them were ex- 
hibited at the Royal Academy and the British In- 
stitution, with universal applause. She was also 
accomplished in literature, in which she displayed 
equal talent. She died in 1826. 

WATTS, William, an English engraver, was 
born in 1752. His father was a master silk-wea- 



WAUM. 



107i 



WEBB. 



ver in the neighborhood of Moorfields, and placed 
him under the tuition of Paul Sandby and Thomas 
Rooker. While with the latter, Watts assisted 
in some of Woollett's plates ; and after his instruc- 
tor's death, he continued the publication of a pe- 
riodical "work commenced by Rooker, entitled, 
" The Copperplate Magazine," being the first Eng- 
lish magazine ever embellished with copper plates. 
In 1779, he commenced a work entitled '•' Views 
of Gentlemen's Seats," published by subscription 
during the succeeding years, until completed in 
1786. He then sold the plates to Boy dell, and 
visited Naples in the same year, where he re- 
ceived much kindness from Sir Wm. Hamilton 
and his lady. After spending nine months in Ita- 
ly, he returned to England, and published, about 
1791, his twelve Views of the city of Bath, which 
are esteemed beautiful specimens of line engrav- 
ing. For several years he relinquished the art 
but having invested the greater portion of his pro- 
perty in French funds, he was compelled to return 
to it, in consequence of an act confiscating the 
property of British subjects. Between 1801 and 
1805, he published his last work, containing sixty 
views in Turkey and Palestine, from drawings 
made by Luigi Mayer during the Embassy of Sir 
Robert Ainslie to the Sublime Porte. In 1814, 
he purchased a small property at Cobham, in Sur- 
rey, and at the peace of 1815 recovered about half 
of his investment in the French funds. He died 
at his residence, in 1851, aged about 100 years. 
Watts was formerly intimate with Bartolozzi, 
Middiman, Milton, and other eminent engravers 
of his day. His plates are esteemed for their beau- 
tiful selection, truth, simplicity, and fine artistic 
execution. 

WAUMANS, Conrad. This Flemish engra- 
ver flourished at Antwerp, his native place, about 
1642. He studied under Peter Bailliu, and execu- 
ted a number of plates of portraits and historical 
subjects after the painters of his country, which 
are little inferior to those of his instructor. — 
Among them are the following : 

POBTRAITS. 

Frederick Henry, Prince of Orange ; after Vandyck. 
Emilia de Solms, Princess of Orange ; do. Don Antonio 
de Zuniga ; do. John Both, Landscape painter ; after 
Willaerts. Herman Zachtleven, Painter; after a pic- 
ture by himself David Bailli, Painter ; do. Cornelius 
Jansen, Painter; do. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Descent from the Cross ; after Rubens. The As- 
sumption of the Virgin ; do. The Virgin and infant Je- 
sus ; after Vandyck. Mars and Venus ; do. 

WEBB, Westfield, an English painter, who 
died at London in 1772. He usually painted por- 
traits, and sometimes flower-pieces ; but he never 
rose above mediocrity. 

WEBBER, John, an English painter, designer, 
and engraver, born in London in 1752. His fa- | 
ther, a Swiss sculptor of Berne, sent him to Paris j 
while young, where he received a part of his artis- ' 
tic education, and, on returning to London, he fre- | 
quented the Royal Academy. Having acquired ; 
considerable reputation as a designer, he was ap- | 
pointed draughtsman to the last expedition made | 
by Captain Cook round the world. On his return j 
in 1780, he was employed by the Lords of the Ad- 
miralty to superintend the engraving of the prints 
made from his designs by Bartolozzi, and other 



eminent artists. When this work was completed, 
he published on his own account a set of views of 
the principal places he had visited, which he etch- 
ed and aquatinted, and afterwards colored, produc- 
ing a very pleasing effect. He afterwards devoted 
himself to landscape painting, usually represent- 
ing scenes in the South Sea Islands, which, though 
gaudily colored, are well finished, and produce a 
pleasing effect. He was elected an Associate in 
1785, and a Royal Academician in 1791. He died 
in 1793. 

WEBBERS, J., a Dutch engraver, who flourished 
at Amsterdam about 1656, in which year hepublish- 
ed a set of indifferently executed views of the church- 
es and public edifices in that city, engraved by him- 
self, with descriptions in Dutch and French. — 
There was a painter named Zachariah Webber, 
who flourished at Amsterdam, and died in 1697. 

WEELING, Anselm, a Dutch painter, born at 
Bois-le-Duc in 1675. He was the son of an offi- 
cer in the service of the States General, and was 
intended for the profession of arms ; but discover- 
ing a passion for painting, he was placed under the 
instruction of one Delang, an obscure painter in 
his native city, with whom he continued till he 
had the satisfaction of being acknowledged his su- 
perior. He then went to Middleburg, to com- 
mence business for himself, where he became ac- 
quainted with Jacob Bart, an eminent picture 
dealer, who had a fine collection of the works of 
the most eminent masters of the Dutch school. 
The sight of these fine works made Weeling per- 
ceive his own inferiority, and in a fit of desponden- 
cy, he resolved to go to the East Indies ; but en- 
couraged by Bart, who received him into his own 
house, he devoted two years, with great assiduity, 
in studying and copying the fine collection. His 
improvement equalled his industry ; some of his 
pictures were highly commended, and sold for high 
prices. He was particularly attached to the pro- 
ductions of Godfrey Schalcken and Adrian vander 
Werf, whose styles he followed with great suc- 
cess. His most esteemed pictures are his candle- 
light scenes, in which he imitated Schalcken so 
closely that some of his works have been mista- 
ken for the productions of that master.. In his 
best works, his design is tolerably correct, his col- 
or is warm and glowing, and he evinced an excellent 
knowledge of the efiects of light and shadow. In 
the latter part of his life, he became a slave to in- 
temperance and debauchery, which destroyed his 
powers, and reduced him to poverty and wretch- 
edness, so that his later performances are greatly 
inferior to his earlier ones. He died in 1749. 

WEENIX, or WEENINX, John Baptist, 
called the Elder, an eminent Dutch painter born 
at Amsterdam in 1621. He was the son of John 
Weenix. an architect of considerable note, who in- 
tended him for the same profession ; but the lat- 
ter dying while he was young, his mother allowed 
him to follow the bent of his genius. He first 
studied with John Micker. a painter of little note, 
and next with Abraham Bloemaert. under whose 
able instruction he made surprising progress, and 
in a short time surpassed his instructor, by the 
facility and precision with which he designed the 
principal buildings, castles, and ruins about Am- 
sterdam. He drew with equal spirit and accura- 
cy all kinds of animals, as well as the human fig- 
ure. On leaving the school of Bloemaert, he 



WEEN. 



1078 



WEEK. 



studied two years under Nicholas Moyaert, till he 
could imitate his sij\e so closely that it was al- 
most impossible to distinguish the works of the 
master from those of his pupil. At the age of 
eighteen, he went to Italy, and on his arrival at 
Rome, he was struck with the sublime edifices and 
ruins of ancient grandeur, and he applied himself 
to designing them with his wonted assiduity. His 
great talents recommended him to the patronage 
of the Cardinal Parafili, who not only favored him 
with many commissions, and liberal remunera- 
tions, but also settled upon him a considerable pen- 
sion, that he might pursue his studies without in- 
terruption. This prelate was very desirous to re- 
tain Weenix at Rome, and offered to engage him 
in the service of the Pope, but the solicitations of 
his family, and his love of country, induced him 
to forego the brilliant prospects before him, and he- 
returned to Holland, after an absence of four years. 
He soon found abundant employment, and ac- 
quired the reputation of one of the ablest artists 
of his country. 

Weenix possessed extraordinary and varied tal- 
ents. He painted history, portraits, landscapes, 
sea-ports, animals, and dead game, in all which 
branches he showed uncommon ability ; but his 
greatest excellence was in painting Italian sea- 
ports, of large size, enriched with noble edifices, 
and decorated with figures representing embarka- 
tions, and all the activity of commercial industry. 
In these subjects he has scarcely been surpassed, 
except by his pupil, Nicholas Berghem. His fig- 
ures and objects are correctly designed, his color- 
ing clear and harmonious, his pencil free and flow- 
ing, his touch bold and animated, and though he 
wrought with wonderful facilitj^he did not neglect 
to finish his pieces well. His portraits are vigor- 
ously executed, and he obtained excellent likeness- 
es. Houbraken mentions several instances of his 
admirable facility of hand. He frequently paint- 
ed a large landscape, and inserted the figures in 
a single day, and on one occasion, he commenced 
and completed three portraits on canvass, of three- 
quarters size, with heads as large as life, from sun- 
rise to sunset, in a summer's day. He executed a 
few spirited etchings from his own designs ; Bartsch 
describes two, to which Weigel has added five 
more, and doubtless there are others. The signa- 
tures on these are Batta. Weenix ; J. B. Weeninx^ 
the J. and B. interlaced ; Gio. Batta. Weenin ; 
and /. Weenix ; the one with the last signature 
was doubtless executed by his son. He died in 
1660. aged 39 years. 

WEENIX, or WEENINX, John, called the 
Younger, was the son of the preceding, born at 
ximsterdam in 1644. He studied with his father 
until the age of sixteen, when his instructor died ; 
yet he had made such progress that he was able 
to prosecute his studies, by the attentive study 
of nature, without any further assistance. Though 
of less universal talent than his father, he painted 
with great ability, landscapes, huntings, animals, 
dead game, flowers, and fruit. He particularly ex- 
celled in the representations of huntings and dead 
game, in which he may be said to have surpassed 
every artist of his country. His talents in this 
branch recommended him to the patronage of the 
Elector Palatine, who invited him to his court, ap- 
pointed him his painter with a liberal pension, 
and emploj^ed him to decorate his palace at Berns- 
berg with many of his choicest works. Weenix 



painted in one gallery a series of pictures repre- 
senting the hunting of the Stag, and in another 
the Chase of the Wild Boar, which gained him the 
greatest applause. There are also many of his 
best works in the Dusseldorf Gallery. He was 
equally successful in representing every species of 
animal, whether alive or dead. He painted all 
kinds of birds and fowls in an inimitable manner ; 
the soft down of the duck, the glossy plumage of 
the pigeon, the splendor of the peacock, the mag- 
nificent spread of an inanimate swan, producing a 
flood of light, and serving as a contrast to all 
around it, are so attractive that it is impossible to 
contemplate one of his pictures of these objects 
without feeling admiration and delight at the 
painter's skill in rivaling nature. His living 
hounds and other dogs, as well as his dead game, 
are not less true, and his objects of still-life, such 
as sporting instruments, vessels, fruit, flowers, 
and other accessories with which he embellishes 
his principal subject, are all depicted with the same 
fidelity and beauty. It has been said that he did 
not equal his father in landscape, but it should be 
recollected that his landscape is always accessory 
to the principal subject with which it accords, and 
no more was required. In his large pictures, his 
compositions are ingenious, abundant, and pictu- 
resque, his touch is bold and animated, his color- 
ing clear and brilliant, and he always exhibits a 
perfect intelligence of the chiaro-scuro. His works 
of a cabinet size are exquisitely finished, without 
impoverishing the spirit of his touch, or diminish- 
ing the breadth of his light and shadow. His 
works are numerous, and deservedly held in the 
highest estimation ; and they are only to be found 
in the choicest collections. He continued to prac- 
tice his profession to the last year of his life, with- 
out any apparent diminution of his powers. One 
of his finest pictures, in the collection of the king 
of Holland, is dated the year before his death. It 
is signed J. Weenix,/.^ 1718. He died in 1719. 

WEERDT, Adrian de, a Flemish painter, born 
at Brussels in 1510. He first studied under Chris- 
tian Queburgh, at Antwei-p, a landscape painter of 
httlenote; but he afterwards went to Italj'-jandmade 
the works of Parmiggiano the particular objects of 
his study. On his return to Brussels, he painted 
history in the graceful stj^le of that master with 
considerable success, till the troubles in the Low 
Countries compelled him to take refuge at Cologne, 
where he died, in or about 1566. There is consid- 
erable discrepancy among writers as to his name, 
and the time and place of his death. He is vari- 
ously called Adrian., Andrea, and Abraham de 
Weerdt, and some say his family name was Hoste. 

WEERT, J. DE, an engraver, supposed to have 
been a native of Flanders, who flourished at Paris 
about 1605. He engraved some frontispieces, vig- 
nettes, and other book plates, in a neat, though 
tasteless style ; also a set of plates from his own 
designs, representing the Life and Passion of 
Christ.' 

WEESOP. This painter, who was probably a 
native of the Low Countries, visited England, ac- 
cording to Walpole, in 1641. shortly before the 
death of Vandyck, whose style he imitated with 
such success, that several of his pictures have 
passed for the productions of that master. He 
quitted England in 1649. 

WEIGEL, Hans or John, a German designer 



WEIG. 



1079 



WEIN. 



and engraver on wood, who is said to have opera- 
ted in 1535, and to have died at Nuremberg in or 
about 1590. He was also a printer. He engraved 
some ornamental book plates and a book of cos- 
tumes, which are indifferently executed. He 
marked his cuts with his initials, H. W. His 
name is written on his book titles, Hans Wey- 
gel. 

WEIGEL, Christopher, a German engraver, 
born at Redwitz, in Bohemia, in 1654. After vis- 
iting various cities in Germany, he settled at Nu- 
remberg, where he died in 1725. He engraved a 
set of Bible plates, from his own designs, entitled 
Sacra Scripttcra loquens in imaginibus, &c., 
published at Nuremberg in 1690. They are exe- 
cuted with the graver, and each plate contains four 
prints ; the plates amount to one hundred from 
the Old Testament, and one hundred and ten from 
the New. According to M, Heineken, he also en- 
graved in mezzotinto. There is a portrait of 
Charles V. in mezzotinto, signed C. Weigel, f. et 
ex., 1688. He is said to have carried on an exten- 
sive commerce in prints. 

WEINBRENNER, Friedrich, an eminent 
German architect, was born at Carlsruhe in 1766. 
He was the son of a carpenter and builder, who 
died before the destination of Friedrich was fixed ; 
and his studies thereafter were rather irregular, 
but having obtained from his elder brother suffi- 
cient insight into the practical routine of the art, 
he started on a tour for improvement in the spring 
of 1788. Arriving at Zurich, he was employed 
there a considerable time, in superintending some 
timber constructions ; but though his stay in that 
city was rendered very agreeable by the society of 
several artists and literary men, — among the lat- 
ter Lavater, — he hastened as soon as engagements 
would permit to Vienna, and after examining the 
architectural monuments in that capital, he pro- 
ceeded to Dresden and Berlin. This he had pro- 
posed to himself as the extent of his travels, but 
in Berlin he became acquainted with the brothers 
Genelli, architects of considerable repute and tal- 
ent, who urged him to visit Italy. This advice 
was so strongly seconded by Weinbrenner's in- 
clination, that he resolved to adopt it, and accord- 
ingly set out for Rome in June 1792, in company 
with Carstens, and another young artist named 
.Cabot. 

Soon after arriving at Rome, when he had view- 
ed with delight the great monuments of art, 
Weinbrenner felt, if not disheartened, most anx- 
iously conscious that the study he had imposed 
upon himself required system and perseverance, 
and also more historical and antiquarian know- 
. ledge than he then possessed. The time that was 
not occupied in examining and drawing buildings, 
was devoted to books and literary research ; yet 
not entirely, as the state of his finances obliged 
him to give instruction in architecture. For some 
time, numerous strangers of distinction took les- 
sons of him. but the commotions of 1793 drove 
many strangers and artists from the city. Never- 
theless, Weinbrenner remained there until 1797, 
with the exception of a considerable interval spent 
by him at Naples. On returning to Carlsruhe, 
he was appointed Inspector of Buildings, and soon 
, after had the opportunity of displaying his ability 
in the erection of the new synagogue, and one or 
two private mansions. Notwithstanding this fa- 



vorable commencement, he relinquished his office 
two years after, and went to settle at Strasburg, 
where the relations of his wife (Margaretha Ar- 
nold, whom he had shortly before married) resi- 
ded, and were many of them artists. The change 
proved imprudent: Strasburg became menaced by 
hostilities, and Weinbrenner found himself with- 
out other occupation or resource than teaching a 
few pupils. At this juncture, he was invited by 
the Hanoverian government, through the recom- 
mendation of Prince Augustus, to inspect and im- 
prove the prisons of that country ; but his wife 
and her family dissu^ided him from accepting the 
proposal, and on receiving the offer of his former 
appointment at Carlsruhe, he accepted it, and re- 
turned to that city. 

From this time, Weinbrenner was continually 
employed on various improvements and embel- 
lishments in the capital of Baden, and other parts 
of its territory. His numerous works exhibit va- 
rious degrees of merit, according to the respective 
opportunities afforded him ; but taken collectively, 
they manifest a great improvement in style, with 
individuality of character, and fresh and masterly 
combinations, instead of the mere routine of de- 
sign. He applied himself to his art with higher 
views of it than were entertained by the general- 
ity of his countrymen, and diffused a similar feel- 
ing for it through the next generation of the pro- 
fession, having instructed a great number of the 
eminent living architects of Germany. Wein- 
brenner deserves to rank among the most eminent 
modern architects of his country, not only on ac- 
count of the numerous edifices erected and pro- 
fessional works published by him, but for his ex- 
tensive influence in founding a better school of the 
art. Among his principal edifices are many at 
Carlsruhe, among others the Catholic church, the 
Lutheran church, Theatre, Ettlinger gate, Standes- 
haus, Museum, Mint, and the Hochberg palace. 
At Baden he erected the Conversation-haus or As- 
sembly Rooms, baths, and Antiquitaten-halle or 
Museum, &c., besides the Leopold summer palace, 
and various private houses and smaller buildings. 
There are also a very considerable number of church- 
es, mansions, villas, &c., erected or designed by 
him in other places within the territory of Baden ; 
and not a few in various other parts of Germany, 
Leipsic, Strasburg, Dusseldorf, and Gottingen. 
Notwithstanding his numerous engagements, Wein- 
brenner published treatises on different branches 
of architectural study, viz., two on the orders of 
architecture, Zeichnung-slehre, 1810 ; Optik, 
1811; Perspectivlehre, 1817-24:; Ueber Form 
und Schonheit, 1819; Ueber ArcMtektonische 
Verzierungen, 1S20 ; besides a work on theatres, 
and a variety of papers on architectural and artis- 
tical topics in the Morgenblatt, and other literary 
journals. Weinbrenner continued his professional 
pursuits and studies almost to the last, and died 
March 1st, 1826. 

T lY/WEINHER, Hans or John, a German 
I — ii^ painter and engraver who flourished in 
■^ ^ '^ the first part of the 17th century. Lit- 
tle is known of him, but he is said to have been 
employed during boyhood in the service of the 
Duchess Maximilienne of Bavaria, in the capacity 
of valet de chambre. He learned engraving of 
Frederic Sustris, and executed some plates which 
are marked with the above monogram. 



WEIN. 



1080 



WELL. 



WEINHER, Petee, a German designer and 
engraver, was also the assayer of the mint of the 
Duke of Bavaria, and lived at Munich in 1580. 
Bartsch describes only twelve prints by him, but 
Brulliot mentions many more. They are usually 
marked with his name, to which he sometimes 
adds Monachij and the date. 

WEIROTTER, Francis Edmund, an eminent 
designer and engraver, born at Inspruck in 1730. 
After learning the rudiments of design, he went 
to Paris, and became the pupil of J. G. Wille. He 
traveled to Italy, where he resided some time, 
and returned to Paris with a large collection of 
designs, of the most beautiful and picturesque 
scenery and views in that delightful country. In 
1767, he was invited to the court of Vienna, where 
he was appointed professor of the Academy of 
Design. We have by him a great number of 
charming etchings from his own designs, execu- 
ted in a free, spirited and masterly style, and con- 
sisting of landscapes, views of ruins, bridges, edi- 
fices, cottages, &c., which are admired for their cor- 
rectness of design and harmonious distribution of 
light and shadow. He usually published them in 
sets of twelve. He died at Vienna in 1773. The 
following are among the most esteemed of his nu- 
merous prints : 

A set of twelve Views in Normandy, with a Dedication. 
Twelve Views in Italy ; dedicated to the Prince of Kaunitz. 
A set of twelve Views in Italy ; dedicated to the Prince 
of Starember?. Twelve Views in Italy ; dedicated to the 
Duke Albert of Saxe-Teschen. A set of twelve Views in 
Italy ; dedicated to the Archduchess of Austria. 

WEISBROD, Charles, a German engraver, 
born at Hamburg in 1754. He went to Paris, 
and became the disciple of J. G. Wille. He en- 
graved a great number of landscapes, in the neat, 
clear style of his instructor, after Ruysdael, 
Pynacker, Adrian vande Velde, Poullain, Choiseul, 
Praslin, and others. 

WEISHUN, Samuel, a German engraver, who 
flourished at Dresden from 1630 to 1650. He en- 
graved a considerable number of portraits, which 
are executed with the graver, in a neat, but stiJQT 
and formal style. According to Professor Christ, 
he engraved a set of portraits of the princes of Sax- 
ony, some of which are marked with his initials 
S. W. Zani says he was a goldsmith, as well as 
a designer and engraver. 

WEISSE, GoTTHELF William, a German en- 
graver, born at Dresden about 1750. He studied 
under Giuseppe Canale, and executed quite a num- 
ber of plates of portraits, historical subjects, and 
landscapes, which display considerable ability. — 
He was invited to the court of Hesse Cassel, where 
the Landgrave appointed him his principal engrav- 
er. He engraved the portraits of the Landgrave 
and Landgravine. 

WELBRONNER, Nicholas, a German engrav- 
er, who flourished, according to Professor Christ, 
about 1536. He engraved some plates of orna- 
mental foliage and small figures in the manner of 
Hans Sebald Beham, which he marked with a mo- 
nogram of his initials. Bartsch describes eighteen 
etchings supposed to be by him, and Brulliot says 
he is acquainted with fourteen more by the same 
artist, one of which is signed Nicolas Wilborn, 
1536. his real name. Brulliot remarks that Pro- 
fessor Christ has not only misnamed this artist, 
but erroneously explained the monogram, as sig- 
nifying Nicolas Manuel Deutsch. 



WELL, Arnold van. a Dutch painter, born at 
Dort in 1772, and died in 1818. He studied un-' 
der Andrew Vermeulen, in whose manner he paint- 
ed landscapes by moonlight, and winter scenes, 
with figures skating and amusing themselves on 
the frozen rivers and canals of Holland, with con- 
siderable success. His pictures are admitted into 
good collections. 

WENCESLAUS, of Olmutz, an old German 
engraver, of whom nothing is known except by 
some prints attributed to him. There is a great 
deal of contradiction and uncertaintj'- about him, 
which we cannot discuss further than to say, that 
some writers maintain the opinion that Wences- 
laus d'Olmutz, and Michael Wolgemut, are one 
and the same artist ; but that eminent critic, I 
Bartsch, is of a contrary opinion. He describes | 
fifty-six prints which he attributes to him. and 
one more which he considers doubtful. Some of 
these are copies from the prints of Martin Schoen 
and Israel von Mecheln, and others from his own 
designs. His print of the Death of the Virgin from 
that of Schoen, is signed Wenceslaus de Olo- 
Mucz Ibidem, 1481. Others are marked with a 
gothic W., and some have no mark at all. Those 
who wish to examine into the merits of the con- 
troversy, are referred to Bartsch, Peintre Graveur, 
tom. vi. ; Zani's Enciclopedia Metodica delle belle 
Arti, parte prima, letters 0. and W., vols. xiv. and 
xix. ; and Ottley's Enquiry into the History of 
early Engraving. See Wolgemut. 

WENG, J. G., an engraver, and probably a 
painter, who flourished about 1630. There is an 
etching by him of Minerva visiting the Muses, 
neatly executed, in the manner of de Hooghe. 

WERDMULLER, Rudolf, a Swiss painter, 
born at Zurich in 1639. He studied under Con 
rad Meyer, and had given promise of uncommon 
ability, both in history and portraits, when he 
was unfortunately drowned in 1668. The Bio- 
graphie Universelle states that he also manifest- 
ed considerable talents in sculpture, and modelled 
two busts of Apollo and Minerva, besides a figure 
of Milo of Crotona. 

WERENFELS, Rudolf, a Swiss painter, boru 
at Basle in 1629. According to Fiiessli, he stud- ' 
ied first at Amsterdam, and afterwards in Italy. 
He excelled in portraits, and was much employed 
at several of the courts of Germany. He died in 
1673. 

WERE, Adrian vander, an eminent Dutch 
painter, born at Kralinger-Ambacht, near Rotter- 
dam, in 1659. He early showed a genius for paint- 
ing, and first studied for two years under Corne- 
lius Picolett, a painter of portraits and conversa- 
tions; he afterwards became the scholar of Eglon 
vander Neer, with whom he continued four years. 
He had made great progress under this master, 
when a picture by Francis Mieris being brought 
to vander Neer to copy, he entrusted it to his pu- 
pil, who executed the task so admirably, as to de- 
ceive the best judges. At the age of eighteen, he 
commenced his professional career at Rotterdam, 
and met with the most flattering encouragement. 
He formed an intimacy with M. Flink, who pos- 
sessed an extensive collection of drawings by the 
best Italian masters, to which he had access at all 
times, and by a diligent study of these treasures, 
and designing after the best casts of the antique, 



WERF. 



1081 



WERN. 



he greatly improved himself, and formed a correct 
and elevated taste of design. 

Vander Werf had already acquired a distin- 
guished reputation, vrhen the Elector Palatine, 
visiting Holland, and passing through Rotterdamj 
vras captivated with his works, invited him to his 
court, and commissioned him to paint a picture of 
the Judgment of Solomon, and his own portrait, 
which last he intended to send to the Grand 
Duke of Tuscany, to be placed in the Florentine 
Gallery. Having finished his pictures, he went 
to Dusseldorf the following year, where he was 
received in the most flattering manner, and his 
pieces greatly admired. The Elector conferred 
on him the honor of knighthood, presented him 
with a gold medal and chain, and his portrait set 
with diamonds. That prince was desirous of retain- 
ing him in his service at Dusseldorf, but vander 
Werf excused himself, urging other engagements, 
and the necessit}- of his returning to his family 
and friends ; but he engaged to devote six months 
in the year in painting for him, for which he 
received a liberal pension, besides liberal pay- 
ment for his works. The same prince, on being 
presented with a picture of Diana and Callisto by 
the wife of vander Werf, gave her a magnificent 
toilet of silver, and presented her husband with 
six thousand florins. He continued to be em- 
ployed by the Elector till the death of that prince 
in 1717, for whom he painted many of his most 
capital works. 

Few painters have carried finishing to so high a 
pitch as vander Werf, yet his pictures produce a 
less pleasing effect than those of Gerard Douw 
and Francis Mieris. Sir Joshua Reynolds, in his 
Journey to Flanders and Holland, gives the fol- 
lowing admirable critique upon the works of this 
eminent artist in the Dusseldorf Gallery. " The 
most distinguished pictures in this room are the 
vander Werfs, which are twenty-four in number, 
three of these are as large as life ; a Magdalen, 
whole-length, and two portraits. The Magdalen 
was painted as a companion to the St. John of Raf- 
faelle, but it was not thought, even by his friends 
and admirers, that he had succeeded : however, he 
has certainly spared no pains ; it is as smooth and 
as highly finished as his small pictures ; but his de- 
fects are here magnified and consequently more ap- 
parent. His pictures, whether great or 'small, cer- 
tainly afford but little pleasure. Of their want of 
(effect, it is worth a painters while to inquire the 
cause. One of the principal causes appears to me, 
his having entertained an opinion that the light 
of a picture ought to be thrown solely on the fig- 
ures, and little or none on the ground or sky. 
This gives great coldness to the effect, and is so 
contrary to nature and the practice of those paint- 
ers with whose works he was surrounded, that 
we cannot help wondering how he fell into the 
mistake. 

"His naked figures appear to be of a much 
harder substance than flesh, though his outline is 
far from cutting, or the light not united with the 
shade, which are the most common causes of hard- 
ness ; but it appears to me that in the present in- 
stance, the hardness of the manner proceeds from 
the softness and union being too general ; the light 
being everywhere equally lost in the ground or its 
shadow. 

" In describing vander Werfs manner, were I 
to say that all the parts everywhere melt into 



each other, it might naturally be supposed that 
the effect would be a high degree of softness ; but 
it is notoriously the contrary, and I think for the 
reason that has been given; his flesh has the ap- 
pearance of ivory or plaster, or some other hard 
substance. What likewise contributes to this 
hardness is a want of transparency in his coloring, 
from his admitting little or no reflections of light. 
He had also the defect which is frequently found 
in Rembrandt, that of making his light only a 
single spot. However, to do him justice, his fig- 
ures and his heads are generally well drawn, and 
his drapery is excellent ; perhaps there are in his 
pictures as perfect examples of drapery as are to 
be found in any other painter's works whatever." 
Vander Werf bestowed so much labor on his 
pictures, that they are exceedingly rare, and are 
consequently purchased at high prices, though 
they do not seem to excite the admiration they 
did in his hfetime. Smith, in his Catalogue rai- 
sonne, of the works of the Dutch and Flemish mas- 
ters, vol. iv. and Supplement, gives a descriptive 
account of about 150 pictures by this master. He 
died in 1722. 

WERF, Peter vander, was the younger bro- 
ther of the preceding, born at Kralinger-Ambacht, 
near Rotterdam, in 1665. He was instructed by 
his brother, whose works he copied for some time, 
in the same tone of coloring and delicate manner 
of penciling. He afterwards painted small por- 
traits and conversations, and occasionally history, 
from his own designs, in which he imitated his 
brother so closely, that his pictures have some- 
times passed for Adrian's works, though they are 
inferior to them. One of his best works is in the 
Hall of the Dutch East India Company at Rotter- 
dam, representing the portraits of the Directors at 
that time. He died in 1718. 

WERNER, Joseph, an eminent Swiss painter, 
born at Berne in 1637. He was the son of a paint- 
er of little note, who instructed him in the rudi- 
ments of art, and afterwards sent him to Frankfort, 
where he became the disciple of Matthew Merian 
the Younger, under whom he made such progress, 
and showed such talents, that his instructor ad- 
vised him to complete his education in Italy, and 
procured for him the protection of M. Muller, an 
amateur of fortune, who took him with him to 
Rome. During his residence in that city, Werner 
was indefatigable in designing from the antique, 
and the works of the great masters, and made an 
incredible number of designs. He painted both in 
oil and fresco, but having a predilection for high 
finishing, he afterwards devoted himself to min- 
iature painting, which he carried to such a height 
of perfection, as has seldom been surpassed or 
equalled. His historical works are ingeniously 
composed and correctly designed, his coloring is 
clear and forcible, his heads have a fine expression, 
and the whole has great harmony, neatness, and 
elegance. His chief excellence lay in portraits, 
which he finished in an exquisite manner, and ob- 
tained a correct likeness. In returning from 
Italy, he passed through France, where his talents 
recommended him to the patronage of Louis XIV., 
who invited him to Versailles. He painted the 
portrait of the King, and those of the principal 
personages of his court ; he was also much em- 
ployed in painting historical and emblematical 
subjects, which were so much admired, that the 



WESE. 



1082 



WEST. 



most flattering proposals were ojBfered to induce 
him to establish himself in France, but he had 
already accepted an invitation from the court of 
Inspruck, whither he proceeded. He painted the 
portrait of the Archduchess, for which he was lib- 
erally rewarded, and honored with a gold medal 
and chain. He resided some time at Augsburg, 
where he was incessantly employed by the princes 
and nobility of Germany. In 1696. Frederick, 
Elector of Brandenburg, and the first King of Prus- 
sia, invited him to Berlin, and appointed him di- 
rector of the Academy there, with a liberal pen- 
sion. He died at Berlin in 1710. 

WESEL, Telman van, a German engraver of 
whom little is known. It appears from an in- 
scription on one of his plates that he was a gold- 
smith, as well as an engraver. His prints are 
chiefly copied from the works of Albert Durer and 
other German masters ; they are indifferently ex- 
ecuted, and sometimes signed with his name, and 
at others T. W., or T. M. W. 

WEST, Benjamin. This preeminent Ameri- 
can painter was born at Springfield, in Pennsylva- 
nia, Oct. 10, 1738, and was the tenth child of John 
and Sarah West. His life is so full of interest 
and instruction, not only to the young artist, but 
to the public generally, that a more extended 
notice of it will be given, than the limits of 
this work will admit in most instances. Cunning- 
ham says, " John West, the father of Benjamin, 
was of that family settled at Long-Crendon, in 
Buckinghamshire, which produced Colonel James 
West, the friend and companion in arms of John 
Hampden. Upon one occasion, in the course of a 
conversation in Buckingham palace, respecting his 
picture of the Institution of the Garter, West 
happened to make some allusion to his English 
descent, when the Marquis of Buckingham, to the 
manifest pleasure of the king, declared that the 
Wests of Long-Crendon were undoubted descend- 
ants of the Lord Delaware, renowned in the wars 
of Edward the Third and the Black Prince, and 
that the artist's likeness had therefore a right to a 
place amongst those of the nobles and warriors, 
in his historical picture." The warlike propen- 
sities of this branch of the family, however, had 
long been extinguished ; in 1669 they embraced 
the peaceful tenets of the Quakers, and emigrated 
to America. John West only remained behind 
till his education was completed, in the Quakers' 
Seminary at Uxbridge, when he followed his fami- 
ly to Philadelphia. He there married Sarah Pier- 
son, whose grand-father was the confidential friend 
of William Penn, and aided him in founding the 
State of Pennsylvania. They settled at Spring- 
field, where he carried on the mercantile business. 
One part of the marriage portion of his wife was 
a negro slave, an affectionate and faithful creature ; 
but John West, in his intercourse as a merchant 
with the West Indies, witnessing the cruelties to 
which the unhappy Africans were frequently sub- 
jected, liberated his bondsman, and retained him 
as a hired servant. His example was followed by 
others, and the charitable feeling spread far and 
wide, till it came to be established as one of the 
tenets of the Quakers, that no person could re- 
main a member of their Society, who held a hu- 
man being in slavery. Benjamin's birth was 
brought on prematurely by a vehement sermon, 
preached in the fields, by Edward Peckover, on 



the corrupt state of the Old World, which he pro- 
phesied was about to be visited with the tempest 
of God's judgments, the wicked to be swallowed 
up, and the terrified remnant compelled to seek 
refuge in happy America. Mrs. West was so af- 
fected that she swooned away, was carried home 
severely ill, and the pains of labor came upon her ; 
she was. however, safely delivered, and the preach- 
er consoled the parents by predicting that "a child 
sent into the world under such remarkable cir- 
cumstances, would assuredly prove a wonderful 
man," and admonished them to watch over their 
son with more than ordinary care. The first re- 
markable incident recorded of the infant prodigy 
occurred in his seventh year, when being placed to 
watch the sleeping infant of his eldest sister, he 
drew a sort of likeness of the child, with a pen, 
in red and black ink. His mother returned, and 
snatching the paper which he sought to conceal, 
exclaimed to her daughter, " I declare, he has 
made a likeness of little Sally!" She took him 
in her arms, and kissed him fondly. This feat ap- 
peared so wonderful in the eyes of his parents, 
that they recalled to mind the prediction of Peck- 
over. When he was about eight years old, a par- 
ty of Indians, who were always kindly treated by 
the followers of George Fox, paid their summer 
visit to Springfield, and being struck with the rude 
sketches which the boy had made of birds, fruit, 
and flowers, they taught him to prepare the red 
and yellow colors with which they stained their 
weapons and ornamented their skins ; his mother 
added indigo, and thus he was possessed of three 
primary colors. The Indians also instructed him 
in archery. The wants of the child increased with 
his knowledge ; he could draw, and had colors, 
but how to lay them on skillfully he could not 
conceive ; a pen would not answer, and he tried 
feathers without any better success ; a neighbor 
informed him that it was done with a camel's hair 
pencil, but as such a thing was not to be had. he 
bethought himself of the cat, and supplied himself 
from her back and tail. The cat was a favorite, 
and the altered condition of her fur was attributed 
to disease, till the boy's confession explained the 
cause, much to the amusement of his parents and 
friends. His cat's tail pencils enabled him to 
make more satisfactory efforts than he had before 
done. Soon after this, when he was only eight 
years old, a merchant of Philadelphia named Pen- 
nington, and a cousin of the Wests, was so much 
pleased with the sketches of little Benjamin, that 
he sent him a box of paints and pencils, with can- 
vass prepared for the easel, and six engravings by 
Gribelin. The child was perfectly enraptured with 
his treasure ; he carried the box about in his arms, 
and took it to his bedside, but could not sleep. He 
rose with the dawn, carried his canvass and colors 
to the garret, hung up the engravings, prepared a 
palette, and commenced work. So completely was 
he under this species of enchantment, that he ab- 
sented himself from school, labored secretly and 
incessantly, and without interruption, for several 
days, when the anxious inquiries of his school- 
master introduced his mother into his studio, with 
no pleasure in her looks. He had avoided copy- 
ism, and made a picture, composed from two of 
the engravings, telling a new story, and colored 
with a skill and effect which, to her eyes, appeared 
wonderful. Gait, who wrote West's life, and had 
the story from the artist's lips, says, " She kissed 



WEST. 



1083 



WEST. 



him with transports of affection, and assured him 
that she would not only intercede with his father 
to pardon him for having absented himself from 
school, but would go herself to the master, and 
beg that he might not be punished. Sixty-seven 
years afterwards, the writer of these memoirs 
had the gratification to see this piece, in the same 
room with the sublime painting of Christ Reject- 
ted (West's brother had sent it to him from 
Springfield), on which occasion the painter de- 
clared to him that there were inventive touches 
of art in his first and juvenile essay, which, with 
all his subsequent knowledge and experience, he 
had not been able to surpass." A similar story is 
told of Canova, who visited his native place to- 
wards the close of his brilliant career, and looking 
earnestly at his youthful performances, sorrow- 
fully said, "I have been walking, but not climb- 
ing." In the ninth year of his age, he accompa- 
nied his relative Pennington to Philadelphia, and 
executed a view of the banks of the river, which 
so much pleased a painter named Williams, that 
he took him to his studio, and showed him all his 
pictures, at the sight of which he was so affected 
that he laurst into tears. The artist, surprised, de- 
clared like Peckover that Benjamin would be a re- 
markable man ; he gave him two books, Du Fres- 
noy, and Richardson on Painting, and invited him 
to call whenever he pleased, to see his pictures. 
From this time, Benjamin resolved to become a 
painter, and returned home with the love of paint- 
ing too firmly implanted to be eradicated. His 
parents also, though the art was not approved by 
the Friends, now openly encouraged him, being 
strongly impressed with the opinion that he was pre- 
destinated to become a great artist. His notions of 
a painter at this time werealsovery grand, as the fol- 
lowing characteristic anecdote will show. One of 
his school-fellows allured him, on a half holiday 
from school, to take a ride with him to a neighbor- 
ing plantation. " Here is the horse, bridled and 
saddled," said the boy, " so come, get up behind 
me." '' Behind you !" said Benjamin ; " I will 
ride behind nobody." " Oh, very well." replied 
the other ; " I will ride behind you, so mount." 
He mounted accordingly, and away they rode. 
'• This is the last ride I shall have for some time," 
said his companion ; " to-morrow I am to be ap- 
prenticed to a tailor." " A tailor," exclaimed 
West ; '' you will surely never be a tailor ?" " In- 
deed but I shall," replied the other ; ''it is a good 
trade. What do you intend to be, Benjamin?" 
'• A painter." " A painter ! what sort of a trade 
is a painter ? I never heard of it before." '• A 
painter," said West, " is the companion of kings 
and emperors." " You are surely mad," said the 
embr^^o tailor; '-there are neither kings nor em- 
perors in America." " Aye, but there are plenty 
in other parts of the world. And do you really 
intend to be a tailor ?" "Indeed I do; there is 
nothing surer." " Then you may ride alone." 
said the future companion of kings and emperors, 
leaping down ; "I will not ride with one who is 
willing to be a tailor !" 

West's first patron was Mr. Wayne, the father 
of General Anthony Wayne, who gave him a dol- 
lar a piece for two small pictures he had made on 
poplar boards, which a carpenter had given him. 
Another patron was Mr. Flower, a justice of Ches- 
ter, who took young West to his house for a short 
time, where he was made acquainted with a young 



English lady, governess to Mr. Flower's daugh- 
ters, who had a good knowledge of art, and told 
him stories of Greek and Roman history, fit for a 
painter's pencil. He had never before heard of the 
heroes, philosophers, poets, painters, ^nd histori- 
ans of Greece and Rome, and he listened while 
the lady spoke of them, with an enthusiasm which 
he loved to live over again in his old age. His 
first painting which attracted much notice was a 
portrait of Mrs. Ross, a very beautiful lady, the 
wife of a lawyer of Lancaster. The picture was 
regarded as a wonderful performance, and gained 
him so much reputation, says Gait, " that the citi- 
zens came in such crowds to sit to the boy for 
portraits, that he had some trouble in meeting the 
demands." At the same time, a gunsmith, named 
Henry, who had a classic turn, commissioned him 
to paint a picture of the Death of Socrates. West 
forthwith made a sketch, which his employer 
thought excellent, but he now began to see his dif- 
ficulties, and feel his deficiencies. "I have hither- 
to painted faces," said he, " and people clothed. 
What am I to do with the slave who presents the 
poison? He ought, I think, to be painted naked." 
Henry went to his shop, and returned with one 
of his workmen, a handsome young negro man, 
half naked, saying, " There is your model." He 
accordingly introduced him into his picture, which 
excited great attention. West was now fifteen 
years old. Dr. Smith. Provost of the College at 
Philadelphia, happened to see him at Lancaster, 
and perceiving his wonderful talents, and that his 
education was being neglected, generously pro- 
posed to his father to take him with him to Phila- 
delphia, where he proposed to direct his studies, 
and to instruct him in all the learning most im- 
portant for a painter to know. The art of paint- 
ing being regarded by the Quakers as not only 
useless, but pernicious, " in preserving voluptuous 
images, and adding to the sensual gratifications of 
man," Mr. West determined to submit the matter to 
the wisdom of the Society, before giving a positive 
answer. He accordingly sent for his son to attend 
the solemn assembly. The Friends met, and the 
spirit of speech first descended on John Williamson, 
who, according to Gait, thus spake: "To John 
West and Sarah Pearson, a man-child hath been 
born, on whom God hath conferred some remark- 
able gifts of mind; and you have all heard that, 
by something amounting to inspiration, the youth 
has been induced to study the art of painting. 
It is true that our tenets refuse to own the utility 
of that art to mankind, but it seemeth to me that 
we have considered the matter too nicely. God 
hath bestowed on this youth a genius for art — 
shall we question his wisdom ? Can we believe 
that he gives such rare gifts but for a wise and 
good purpose ? I see the Divine hand in this ; we 
shall do well to sanction the art, and encourage 
this youth." The Quakers gave their unanimous 
consent, and summoned the youth before them. 
He came, and took his station in the middle of the 
room, his father on his right hand, his mother on 
his left, while around hhu gathered the whole as- 
sembly. One of the women first spake, but the 
words of Williamson, says Gait, are alone remem- 
bered. "Painting," said he, "has hitherto been 
employed to embellish life, to preserve voluptuous 
images, and add to the sensual gratifications of 
men. For this we classed it among vain and mere- 
ly ornamental things,and excluded it from amongst 



WEST. 



1084 



WEST. 



us. But this is not the principle but the mis- 
employment of painting. In wise and pure hands, 
it rises in the scale of moral excellence, and dis- 
plays a loftiness of sentiment, and a devout digni- 
ty, worthy of the contemplation of Christians. I 
think genius is given by God for some high pur- 
pose. What the purpose is, let us not inquire — it 
will be manifest in His own good time and way. 
He hath in this remote wilderness endowed with 
rich gifts of a superior spirit this youth, who has 
now our consent to cultivate his talents for art ; 
may it be demonstrated in his life and works, 
that the gifts of God have not been bestowed in 
vain, nor the motives of the beneficent inspiration, 
which induces us to suspend the strict operations 
of our tenets, prove barren of religious and moral 
effect!" At the conclusion of this address, says 
Gait, the women rose and kissed the young artist. 
and the men, one by one, laid their hands on his 
head. The scene made so strong an impression 
on the mind of West, that he looked upon himself 
as expressly dedicated to art, and considered this 
release from the strict tenets of his sect, as enjoin- 
ing on his part a covenant to employ his powers 
on subjects pure and holy. The grave simplicity 
of the Quaker continued to the last in his looks, 
manners, and deportment ; and the moral recti- 
tude and internal purity of the man were diffused 
through all his productions. 

West now proceeded to Philadelphia, where he 
studied till he was eighteen, except a short time, 
when he accompanied Major Sir Peter Halkert, 
as a volunteer to search for the remains, and bury 
the bones of the army which had been lost under 
General Braddock. He returned home from this 
expedition just in time to receive the welcome of 
the eyes and the mute blessing of his dying mo- 
ther, whom he tenderly loved and honored ; even 
when he was old and gray, he loved to recall her 
looks, and to dwell on her expressions of fondness 
and of hope, with a sadness which he wished nei- 
ther to subdue nor conceal. 

After this bereavement, he again proceeded to 
Philadelphia, where he commenced his profession. 
His extreme youth, the peculiar circumstances of 
his history, and his undoubted merit, brought him 
many sitters. His prices were very humble — 
$12.50 for a head, and ^25 for a full-length ; all 
the money he thus laboriously earned, he care- 
fully treasured, to secure, at some future period, 
the means of travel and study ; for his sagacious 
mind perceived that travel not only influenced pub- 
lic opinion, but was absolutely necessary for him 
if he wished to excel, especially in historical paint- 
ing. There were no galleries in America ; he 
knew that the masterpieces of art were in Italy, 
and he had already set his heart on visiting that 
delightful country. He made a copy of a picture 
of St. Ignatius, by Murillo, which had been cap- 
tured in a Spanish vessel, and belonged to Gover- 
nor Hamilton ; he also painted a large picture for 
Mr. Cox, from the history of Susanna, the Elders, 
and Daniel, in which he introduced no less than 
forty figures. This work gained him great repu- 
tation, and West always considered it the mas- 
terpiece of his youth ; it was afterwards unfortu- 
nately destroyed by fire. After having painted 
the portraits of all who desired it in Philadelphia, 
he proceeded to New York, where he opened a 
studio, and Dunlap says for eleven months he had 
all the portraits he could execute, at double the 



prices he had charged in Philadelphia. An oppor- 
tunity now presented itself, which enabled him to 
gratify his long cherished desire of going to Italy. 
The harvest had. partially failed in that country, 
and Mr. Allen, a merchant of Philadelphia, was 
loading a ship with wheat and flour for Leghorn. 
He had resolved to send his son as supercargo, to 
give him the benefit of travel, and West^fe invalua- 
ble friend. Provost Smith, made arrangements for 
the young painter to accompany the young mer- 
chant. It happened that a New York merchant, 
of the name of Kelly, was sitting for his portrait 
when this good news arrived, and West with joy 
spoke to him of the great advantage he expected 
to derive from a residence of two or three years 
in Italy. The portrait being finished, Mr. Kelly 
paid him ten guineas, and gave him a letter to his 
agent in Philadelphia, which, on being presented, 
proved to be an order from the generous merchant 
to pay him fifty guineas, as "a present to aid in 
his equipment for Italy." 

West arrived at Rome on the 10th of July, 
1760, in the 22d year of his age. Cunningham 
thus describes his reception : " When it was known 
that a young American had come to study Raffa- 
elle and Michael Angelo, some curiosity was exci- 
ted among the Roman virtuosi. The first fortu- 
nate exhibitor of this lion from the western wil- 
derness was Lord Grantham, the English ambas- 
sador, to whom West had letters. He invited 
West to dinner, and afterwards took him to an 
evening party, where he found almost all those 
persons to whom he had brought letters of intro- 
duction. Among the rest was Cardinal Albani, 
who. though old and blind, had such delicacy of 
touch that he was considered supreme in all mat- 
ters of judgment regarding medals and intaglios. 
' I have the honor,' said Lord Grantham, ' to pre- 
sent a young American, who has a letter for your 
Eminence, and who has come to Italy for the pur- 
pose of studying the Fine Arts.' The Cardinal 
knew so little of the New World, that he conceived 
an American must needs be a savage. ' Is he black 
or white?' said the aged virtuoso, holding out 
both hands, that he might have the satisfaction of 
touching, at least, this new wonder. Lord Gran- 
tham smiled and said, • He is fair — very fair.' 
• What ! as fair as I am ?' exclaimed the prelate. 
Now the complexion of the churchman was a deep 
olive — that of West more than commonly fair ; 
and as they stood together, the company smiled. 
' As fair as the Cardinal,' became for a while pro- 
verbial. Others, who had the use of their eyes, 
seemed to consider the young American as at most 
a better kind of savage, and accordingly were cu- 
rious to watch him. They wished to try what 
effect the Apollo, the Venus, and the works of 
Raffaelle would have upon him, and thirty of 
the most magnificent equipages in the capital, 
filled with some of the most erudite characters in 
Europe, says Gait, conducted the young Quaker 
to view the masterpieces of art. It was agreed 
that the Apollo should be first .submitted to his 
view ; the statue was enclosed in a case, and when 
the keeper threw open the doors. West uncon- 
sciously exclaimed, ' My God ! a young Mohawk 
warrior I' The Italians were surprised and morti- 
fied with the comparison of their noblest statue 
to a wild savage ; and West, perceiving the unfa- 
vorable impression, proceeded to remove it. He 
described the Mohawks, the natural elegance and 



WEST. 



1085 



WEST. 



admirable symmetry of their persons, the elastici- 
ty of their limbs, and their motions free and uncon- 
strained. ' I have seen them often.' he continued, 
standing in the attitude of this Apollo, and pursu- 
ing with an intense eye the arrow which they had 
just discharged from the bow.' The Italians 
cleared their moody brows, and allowed that a 
better criticism had rarely been made. West was 
no longer a barbarian. 

"West, however, soon attracted other attention 
than mere curiosity. He had shown his drawings 
to Mengs and Hamilton, but they were, as he con- 
fessed, destitute of original merit ; nor could they 
be commended for neatness or accuracy. He there- 
fore waited on Lord Grantham, and said, ' I can- 
not produce a finished sketch, like the other stu- 
dents, because I have never been instructed in 
drawing ; but T can paint a little, and if you will 
do me the honor to sit for your portrait, that I 
may show it to Mengs. you will do me a great 
kindness.' His lordship consented, and the name 
of the artist being kept secret, the picture was 
placed in the Gallery of Crespigni, where artists 
and connoisseurs were invited to see it. ' It was 
known.' says Cunningham, ' that Lord Grantham 
was* sitting to Mengs, and to him some ascribed 
the portrait, though they thought the coloring sur- 
passed his other compositions.' Dance, an English- 
man of sense and acuteness, looked at it closely; 
' the coloring surpasses that of Mengs,' he ob- 
served, 'but the drawing is not so good.' The 
company eagerly engaged in the discussion ; Cres- 
pigni seized the proper moment, and said, ' It is 
not painted by Mengs.' 'By whom, then?' they 
exclaimed, 'for there is no other painter in Rome 
capable of doing any thing so good.' ' By that 
young gentleman,' said the other, turning to West. 
who sat uneasy and agitated. The English held 
out their hands ; the Italians ran and embraced 
him." 

Mengs himself was surprised at the excellence 
of this performance, complimented the young art- 
ist highly, and advised him to " examine everything 
at Rome worthy of attention, making drawings of 
some half dozen of the best statues ; then go to 
Florence and study the galleries ; from there to 
Bologna, and study the works of the Caracci. and 
then proceed to Venice, and view the productions 
of Tintoretto, Titian, and Paul Veronese. When 
all this is accomplished, return to Rome, paint a 
historical picture, exhibit it publicly, and then the 
opinion which will be expressed of your talents, 
will determine the line of art which you ought 
to follow.'' West had previously entered the 
Academy, and he immediately proceeded to follow 
this common but sensible advice. The excitement 
to which he was subjected, and his anxiety to dis- 
tinguish himself, brought on a fever, and for a 
time interrupted his studies; by the advice of his 
physicians, he returned to Leghorn, where, after a 
lingering sickness of eleven months, he was com- 
pletely cured. But he found his funds almost ex- 
hausted, and he began to despair of being able to 
prosecute his studies according to the proposed 
plan. He called on his agents, to take up the last 
ten pounds he had in the world, when to his as- 
tonishment and joy, he was handed a letter of un- 
limited credit from his old friends in Philadelphia, 
Mr, Allen and Governor Hamilton ; they had 
heard of his glorious reception at Rome, and his 
success with the portrait of Lord Grantham. At 



a dinner, one day, with Governor Hamilton, Mr, 
Allen said. ''I regard this young man as an honor 
to his country, and as he is the first that America 
has sent out to cultivate the Fine Arts, he shall 
not be frustrated in his studies, for I shall send 
him whatever money he may require." " I think 
with you. sir," replied Hamilton, " but you must 
not have all the honor to yourself; allow me to 
unite with you in the responsibility of the credit." 
Those who befriend genius when it is struggling 
for distinction, are public benefactors, and their 
names should be held in grateful remembrance. 
The names of Hamilton, Allen, Smith, Kelly 
Jackson. Rutherford, and Lord Grantham, must 
be dear to all the admirers of West ; they aided 
him in the infancy of his fame and fortune, cheered 
him when he was drooping and desponding ; and 
watched over his person and purse with the vigi- 
lance of true friendship. West always expressed 
his deepest obligations to these generous men, and 
it was at his particular request that Gait recorded 
their names, and their deeds. 

West now proceeded with redoubled alacrity, to 
execute the plan recommended by Mengs. He visit- 
ed Florence, Bologna, Parma, and Venice, and dili- 
gently examined everything worth studying. He 
everywhere received marked attention, and was 
elected a member of the Academies of Florence, 
Bologna, and Parma. In the latter city, he paint- 
ed and presented to the Academy, a copy of the 
famous St. Jerome by Correggio, '• of such excel- 
lence," says Gait, " that the reigning prince de- 
sired to see the artist. He went to court, and to 
the utter astonishment of the attendants, appeared 
with his hat on. The Prince was familiar with 
the tenets of the Quakers, and was a lover of Wil- 
liam Penn ; he received the young artist with com- 
placency, and dismissed him with many expres- 
sions of regard." West returned to Rome, where 
he painted two pictures which were highly com- 
mended, one of Cimon and Iphigenia, and the oth- 
er of Angelica and Medora. At Venice, he par- 
ticularly studied the works of Titian, and Cun- 
ningham says " he imagined he had discovered his 
principles of coloring." We can only record one 
more of the interesting incidents which occurred 
to him while in Italy. ' He was conversing one 
evening with Gavin Hamilton, in the British Cof- 
fee House, when an old man with a long and flow- 
ing beard, and a harp in his hand, entered and of- 
fered his services as an improvisatore bard. " Here 
is an American," said the wily Scot, " come to 
study the fine arts in Rome ; take him for your 
theme, and it is a magnificent one." The minstrel 
casting a glance at West, who never in his life 
could perceive what a joke was, commenced his 
song. " I behold in this youth an instrument 
chosen by heaven to create in his native country a 
taste for those arts which have elevated the nature 
of man — an assurance that his land will be the 
refuge of science and knowledge, when in the old 
age of Europe they shall have forsaken her shores. 
All things of heavenly origin move westward, and 
Truth, and Art, have their periods of light and 
darkness. Rejoice, Rome, for thy spirit immor- 
tal and undecayed now spreads towards a new 
world, where, like the soul of man in Paradise, it 
will be perfected more and more," The predic- 
tions of Peckover, the ftnd expressions of his be- 
loved mother, and his solemn dedication to art, 
rushed upon West's memory, and he burst into 



WEST. 1086 

tears : and even in his riper years, he was willing 
to consider the poor mendicant's song as another 
prophecy- 
Having seen everything in Italy which he re- 
garded as essential to his success, West set out for 
his native country, but resolved first to visit the 
land of his ancestors; he accordingly traveled 
through France in the company of Dr. Patoun, an 
eminent Scotch physician, whose acquaintance he 
had made in Italy, and who took a lively interest 
in his welfare. He arrived at London in August, 
1763, where he was warmly received by several 
eminent artists and persons of distinction, to 
whom he had letters of introduction from Mengs 
and others ; Dr. Patoun also spoke so highly of 
his works as to excite general curiosity among the 
admirers of the Fine Arts, to see his two pictures 
of Cirnon and Iphigenia, and Angelica and Medo- 
ra, which he had painted at Rome. Among oth- 
ers who visited him at this time was Mr. Re3''nolds, 
(afterwards Sir Joshua.) who, instead of looking 
upon him as a rival, at once acknowledged his 
merit, offered him his friendship, and urged him to 
exhibit his two pictures at the Society Rooms in 
Spring Gardens. They were accordingly exhibit- 
ed there, and the praises which they elicited, far 
surpassed the most sanguine expectations of the 
artist. He also had the good fortune to meet with 
three of his best friends — Dr. Smith, Governor 
Hamilton, and Mr. Allen — who then happened to 
be in London, and who strongly recommended him 
to set up his easel. He now abandoned the idea 
of returning to America, at least for the present, 
although there was a powerful attraction to draw 
him thither. While he resided in Philadelphia, 
he had formed an acquaintance with Miss Eliza- 
beth Shewell, the daughter of a merchant of that 
city. The intimacy had ripened into one of deep 
affection, but the intended marriage had hitherto 
been delayed by prudential motives. The sacred 
engagement was, however, never forgotten on ei- 
ther side ; and no sooner had West formed the 
resolution of settling in England, and felt assured 
of success, than he wrote to his father, requesting 
him to accompany the young lady to London, that 
their union might take place. Miss Shewell accord- 
ingly sailed from Philadelphia with Mr. West, 
senior, and soon after their arrival, the nuptials 
were solemnized. 

The paintings which West exhibited at Spring 
Gardens, and his love of serious and solemn sub- 
jects, attracted the notice of some of the dignita- 
ries of the church, and other persons of distinc- 
tion. He painted for Dr. Newton the Parting of 
Hector and Andromache ; and for the Bishop of 
Worcester, the Return of the Prodigal Son. His 
reputation rose so much with these produc- 
tions, that Lord Rockingham offered him a per- 
manent engagement, with a salary of £700 a year, 
to embellish with historical paintings his palace in 
Yorkshire. West consulted with his friends, who 
advised him to confide in the public, and he fol- 
lowed for a time this salutary counsel. In 1765, 
the Society of Artists was incorporated by royal 
charter, and West became both a member and a 
director. The same year he exhibited two pic- 
tures, one of Jupiter and Europa, and the other 
of Venus and Oupid.' The ibllowing year he had 
four pictures, viz, : the Continence of Scipio, Pyla- 
des and Orestes, Cimon and Iphigenia, and Diana 
and Endymion. The merit of West now became 



WEST. 



lij 



more extensively known, by the patronage and 
friendship of Dr. Drummond, Archbishop of 
York, a great admirer of painting, who invited 
him to his house, and commissioned him to paint 
a picture of Agrippina landing with the ashes of 
Germanicus. That liberal prelate was so much 
pleased with the performance, that he made an ef- 
fort to procure the painter an annuity by subscrip- 
tion, so as to enable him to desist from portraiture, 
and confine himself to historical subjects. He 
proposed to raise £3,000; himself and friends 
subscribed £1,500, but the public coldly refused 
to cooperate, and the scheme was abandoned. 
The Archbishop, however, regarding the failure 
of his plan as a stigma on the country, sought and 
obtained an audience of the king, then a young 
man, and a lover of the fine arts ; he informed him 
that " a devout American, and a Quaker, had paint- 
ed, at his request, such a noble picture, that he 
was desirous to secure his talents for the throne 
of his country." The king was so much pleased 
with the story, that he desired he would send the 
young painter with his picture to him. West was 
well received by the king, who presented him to 
his Queen, and commissioned him to paint a pic- 
ture of the Departure of Regulus from Rome. 
The king treated West, on this occasion, with ex- 
traordinary condescension ; he took from the shelf 
a copy of Livy, and read to him that part of the 
history which describes the departure of Regulus. 
The talents, simplicity, candor, and dignity of the 
artist completely won his heart, and this was the 
commencement of a remarkable intimacy of near- 
ly forty years' duration. The palace doors now 
seemed to open to him of their own accord, and 
the domestics attended with an obedient start to 
the wishes of him whom the king delighted to 
honor. 

There are other minor matters,says Cunningham, 
which help a man on to fame and fortune. West 
was a skillful skater, and in America had formed an 
acquaintance on the ice with Colonel Howe. One 
day, the painter having tied on his skates at the Ser- 
pentine, was astonishing the timid practitioners of 
London by the rapidity of his motions.and the grace- 
ful figure which he cut. Some one shouted '• West ! 
West 1" It was Colonel Howe. •' I am glad to see 
you," said he, "and not less so that you came in good 
time to vindicate my praises of American skating." 
He called to him Lord Spencer Hamilton, and some 
of the Cavendishes, to whom he introduced West 
as one of the Philadelphia prodigies of skating, 
and requested him to show them what was called 
" the Salute." He performed this feat so much to 
their satisfaction that they spread the praises of 
the American skater all over London. West was 
exceedingly fond of this invigorating amusement, 
and used frequently to gratify large crowds by 
cutting the Philadelphia Salute. Cunningham 
says, " Many to the praise of his skating, added 
panegyrics on his professional skill, and not a few 
to vindicate their applause, followed him to his 
easel, and sat for their portraits." 

While West was painting the Departure of Reg- 
ulus, the Royal Academy was planned, and ht 
was one of the principal founders. The Society 
of Artists had grown rich by the yearly exhibi 
tions, and how to lay out this money, became the 
subject of vehement contention. The architects 
were for an edifice, the sculptors for statues, and the 
painters for a gallery of historical works. West, 



WEST. 



1087 



WEST. 



who was one of the directors, approved of none of 
these notions, and with Reynolds withdrew from 
the association. The newspapers denounced these 
indecent bickerino;s, and the king learning the cause 
from the lips of West, declared that he was ready 
to patronize any association formed on principles 
calculated to advance the interests of art. A plan 
was accordingly drawn up by some of the dissen- 
ters, and submitted to the King, who corrected it, 
and drew up some additional articles with his own 
hand. The Royal Academy was accordingly 
founded in 1768, and in the first exhibition ap- 
peared the Departure of Regulus. 

A change was now to be effected in the charac- 
ter of British art. Hitherto, historical painting 
had appeared in a masking habit ; the actions of 
Englishmen, says Cunningham, had all been per- 
formed, if costume were to be believed, by Greeks 
or Romans. West dismissed at once this ped- 
antry, and restored nature and propriety in his 
noble work of '• the Death of Wolfe." The multi- 
tude acknowledged its excellence at once, on its be- 
ing exhibited at the Royal Academy ; but the lov- 
ers of old art, or of the compositions called clas- 
sical, complained of the barbarism of boots, but- 
tons, and blunderbusses, and cried out for naked 
warriors, with bows, bucklers, and battering rams. 
Lord Grosvenor was so pleased with the picture, 
that, disregarding the frowns of amateurs, and the 
cold approbation of the Academy, he purchased it. 
Gait says that the king questioned West concern- 
ing this picture, and put him on his defense of this 
new heresy in art. " When it was understood," 
said the artist, " that I intended to paint the char- 
acters as they had actually appeared on the scene, 
the Archbishop of York called on Reynolds, and 
asked his opinion ; they both came to my house 
to dissuade me from running so great a risk. 
Reynolds began a very ingenious and elegant dis- 
sertation on the state of the public taste in this 
country, and the danger which every innovator in- 
curred of contempt and ridicule, and concluded 
by urging me earnestly to adopt the costume of 
antiquity, as more "becoming the greatness of my 
subject than the modern garb of European war- 
riors, I answered that the event to be commemo- 
rated happened in the year 1758, in a region of 
the world unknown to the Greeks and Romans, 
and at a period of time when no warriors who 
wore such costume existed. The subject I have 
to represent is a great battle fought and won, and 
the same truth which gives law to the historian, 
should rule the painter. If instead of the facts 
of the action, I introduce fiction, how shall I be 
understood by posterity? The classic dress is 
certainly picturesque, but by using it, I shall lose 
in sentiment what I gain in external grace. I 
want to mark the place, the time, and the people, 
and to do this. I must abide by truth. They went 
away, and returned again when I had finished the 
painting. Reynolds seated himself before the pic- 
ture, examined it with deep and minute attention 
for half an hour; then rising, said to Drummond, 
' West has conquered ; he has treated his subject 
as it ought to be treated ; I retract my objections. 
I foresee that this picture will not only become 
one of the most popular, but will occasion a revo- 
lution in art.' " " I wish," said the king, " that I 
had known all this before, for the objection has 
been the means of Lord Grosvenor's getting the 
picture ; but you shall make a copy for me." 

West had now obtained the personal confidence 



of the King, and the favcr of the public — his com- 
missions were numerous, but of course the works for 
the palace had the precedence. The King employed 
him to paint the Death of Epaminondas, as a com- 
panion to the Death of Wolfe, which he copied ; 
the Death of the Chevalier Bayard ; Cyrus libera- 
ting the Family of the King of Armenia ; and 
Segestus and his Daughter brought before Ger- 
manicus ; all of which gave great satisfaction to the 
monarch. The success of West, and the royal fa- 
vors bestowed upon him, not only began to excite 
the envy of artists generally, but even of Reyn- 
olds himself, who, says Cunningham, thought a 
few rays of the royal sunshine, at least, should 
have fallen upon him. " The President was not 
fool enough to complain — but his friends did so 
for him, while West, too prudent to carry himself 
loftil)'-, because of his good fortune, enjoyed his 
success in secret, and continued in the outward 
man submissive and thankful. To Reynolds had 
fallen the whole portrait department, of church and 
state, which lay without the gates of the Palace ; 
while within, West reigned triumphant." The 
King now commissioned West to paint a series 
of eight pictures to decorate St. George's Hall in 
Windsor Castle; all the subjects except one, were 
taken from the victorious reign of Edward IIL, as 
follows : 1. Edward the Third, embracing the 
Black Prince after the Battle of Cressy. 2. The 
Instalment of the Order of the Garter. 3. The 
Black Prince receiving the King of France and his 
Son prisoners at Poictiers. 4. St. George van- 
quishing the Dragon. 5. Queen Philippa defeat- 
ing David of Scotland in the Battle of Neville's 
Cross. 6. Queen Philippa interceding with Ed- 
ward for the Burgesses of Calais. 7. King Ed- 
ward forcing the passage of the Somme. 8. King 
Edward crowning Sir Eustace de Ribaumont at 
Calais. These works are of very large size. — 
They were the fruit of long study and much labor, 
and are among his best and most carefully pre- 
served works. Cunningham says their lustre is 
fresh and unfaded, the coloring natural and har- 
monious, and they present a lively image of the 
times and the people. 

After the completion of these works, West pro- 
posed to the King to paint a great series upon the 
Progress of Revealed Religion, to decorate the 
Royal chapel at Windsor ; but the King, before 
consenting to the proposal, summoned some of the 
dignitaries of the church to consider the proprie- 
ty of introducing paintings into a place of worship. 
" When I reflect that the Reformation condemned 
religious paintings in churches, and that the Par- 
liament, in the unhappy days of Charles the First 
did the same. I am fearful of introducing anything 
which my people might think popish. Will you 
give me your opinion on the subject ?" After 
some deliberation, bishop Hurd delivered, in the 
name of his brethren and himself, the unanimous 
opinion, that "the introduction of religious paint- 
ings into your Majesty's chapel, will in no respect 
whatever violate the laws or the usages of the 
Church of England. We have examined, too, 
thirty-five subjects, which the painter proposes for 
your choice, and we feel that there is not one of 
them that may not be treated in a way, that even 
a Quaker might contemplate with edification." 
The King conceiving this to be an impertinent 
and ironical allusion to West, replied, '• the Qua- 
kers are a body of Christians, for whom I have a 
high respect. I love their peaceful tenets and 



WEST. 



1088 



WEST. 



their benevolence to one another and the world, 
and but for the obligations of birth, I would be a 
Quaker." The bishop bowed submissively and 
retired. 

To the thirty-five subjects approved by the 
bishops, West subsequently added another, ma- 
king thirty-six in all. He divided the series 
into four departments — the Antediluvian, the Pat- 
riarchal, the Mosaic, and the Prophetic. Half of 
the subjects were from the Old Testament, and 
half from the New. They were all sketched, and 
twenty-eight of them executed, for which the ar- 
tist received £21.705. He painted, in the mean- 
time, nine pictures of portraits of the Royal Fam- 
ily, for which he received 2000 guineas. 

The war which broke out between Great Britain 
and her colonies, says Gait, was a sore trial to the 
feelings of West; his early friends and his pres- 
ent patrons, were involved in the bloody contro- 
versy. He was not, according to his own account, 
silent; he was too much in the palace, and alone 
with the King, to evade some allusion to the sub- 
ject. After the death of Reynolds in 1792, West 
was unanimously elected President of the Royal 
Academy, on which occasion, the King sent his 
brother, the Duke of Gloucester to him, to enquire 
whether the honor of knighthood would be ac- 
ceptable to him ; he declined in so respectful and 
dignified a manner, that the Duke took him 
warmly by the hand and said, ''you have justified 
the opinion the King had of you ; he will be de- 
lighted with your answer." 

In 1801, during the illness of George III., West 
met with a severe reverse. Mr. Wyatt, the royal 
architect, called upon him and told him. without 
any further explanation, that he was directed to 
inform him, that the pictures painting for the 
chapel at Windsor, must be suspended until fur- 
ther orders. " This extraordinary proceeding," 
says Gait, " rendered the studies of the best part 
of the artist's life useless, and deprived him of that 
honorable provision, the fruit of his talents and 
industry, on which he had counted for the repose 
of his declining years. For some time, it affected 
him deeply, and he was at a loss what steps to 
take. At last, however, upon reflecting on the 
marked friendship and favor which the King 
had always shown him, he addressed to his Ma- 
jesty a letter, on the 26th of September." This 
letter was carried to the court by Wyatt, but he 
received no answer to it. When the King re- 
covered, West sought and obtained a private au- 
dience, and he found that the King did not know 
of the order to suspend the paintings, and that he 
had not received any letter from him ; he spoke 
very kindly to the troubled artist, and said *' go 
on with your work. West ; go on with the pic- 
tures, and I will take care of you." This was 
West's last interview with the King. "But he 
contrived," says Gait, " to execute the pictures, and 
in the usual quarterly payments, received his sal- 
ary of £1000 per annum, till his Majesty's final 
superannuation ; when, without any intimation 
whatever, on calling to receive it, he was told it 
had been stopped, and that the paintings for the 
chapel had been suspended ! He submitted in 
.silence — he neither remonstrated nor complained." 
The story of his dismissal from court was spread 
abroad with many exaggerations, and the malev- 
olent enemies, whom his success had created — for 
there are always such reptiles — circulated papers 



stating that the fortunal') painter had received 
from the King the enormous sum of £34,187; so 
that the public imagined that he must have amassed 
a fortune. This notion was dispelled by an accu- 
rate statement from the painter, by which it ap- 
peared that he had toiled incessantly during thirty- 
three years of the prime of his life in the service 
of the King, for this sum, giving an accurate list 
of the works executed, and the prices paid, by which 
it appeared that he had received but a poor com- 
pensation, and that his income was much less than 
would satisfy any successful portrait painter of 
the day. 

After the peace of Amiens, West visited Par- 
is, for the purpose of viewing the world's gems 
of art, which Bonaparte had collected togeth- 
er in the Louvre, He was received in that capi- 
tal with the most marked respect, not only by 
distinguished artists, connoisseurs, and literary 
men, but by the officials of the government. Cun- 
ningham, who, while he takes his favorites by the 
beard, as if to kiss them, seldom fails to jerk them 
under the ribs, attributes all this courtesy and 
hospitality to the cunning of "the wily politicians 
who surrounded the future Emperor. In a se- 
ries of entertainments, in which wine and flat- 
tery were poured out abundantly, the enemies of 
his country succeeded in persuading the simple 
Benjamin, that they were the most philanthropic 
of all nations, and their master the kindest and 
worthiest of men." The truth is, West was too 
liberal in his sentiments to please the court under 
the Prince Regent; hence his rude dismissal from 
court. That he was highly gratified with the 
tributes of respect which the French know so well 
how to bestow upon a man of genius, cannot be 
doubted. West had already conceived a project 
for establishing in England a national institution, 
for the encouragement of art, similar to that of 
the Louvre, and he took occasion one day, while 
strolling about the Louvre in company with Mr. 
Fox and Sir Francis Baring, to point out to them 
the advantages of such an institution, not only in 
promoting the Fine Arts, by furnishing models of 
stud}'- for artists, but he showed the propriet}^ even 
in a mercantile point of view, of encouraging to a 
seven-fold extent, the higher department of art in 
England, Fox was so forcibly struck with his 
remarks, that he said, "'I have been rocked in the 
cradle of politics, but. never before was so much 
struck with the advantages, even in a political 
bearing, of the Fine Arts, to the prosperity, as well 
as the renown of a kingdom ; and I do assure you, 
Mr, West, if ever I have it in my power to in- 
fluence our government to promote the Arts, the 
conversation which we have had to-day shall not 
be forgotten." Sir Francis Baring also promised 
his hearty cooperation. Cunningham also sagely 
attributes this to his opinion that the " wily poli- 
ticians," had wheedled the ''simple Benjamin." into 
the behef that the " views of Napoleon were sublime 
and benevolent, and that he only conquered king- 
doms out of love of liberty, and collected pictures 
in the towns which he stormed, to furnish models 
of study for the artists of all nations." He forgets 
that the Royal British Institution was mainly es- 
tablished through the influence and energy of 
West ; that he battled for years against coldly calcu- 
lating politicians for its accomplishment; and that 
at length his plan was adopted, with scarcely an 
alteration. These things are mentioned here, be- 



WEST. 



1089 



WEST. 



cause Cunningham, perhaps unwittingly, has de- 
tracted from the great renown of West, more than 
any other writer. His criticisms too. not only on 
West, but on all the artists whose biography he 
has written, are frequently more poetical than just, 
more flippant than erudite. 

Soon after West's return to England, he re- 
signed the President's chair in the Academy, 
owing to stormy opposition among its members ; 
he also fancied that the government looked coldly 
upon him for his admiration of Bonaparte. Wyatt, 
the royal architect, was put in his place, but the 
Academicians soon became wearied of the latter, 
and having displaced him in the following year, 
1803, they restored West, almost unanimously. 
There was but one dissenting voice, supposed to 
be that of Fuseli, who voted for Mrs. Moser. When 
Fuseli was taxed by some of the members with 
having given this vote, says his biographer Knowles, 
he answered, '' well, suppose I did ; she is eligible 
to the office — and is not one old woman as good as 
another?" The impatient extravagance of Fuseli ac- 
corded little with the dignity and diligence of West. 

West was sixty-four years old when he lost 
the patronage of the court, having in a great 
measure thrown away thirty-three years of the 
prime of his life, for a paltry pittance, when his 
talents are taken into estimation ; for while Reyn- 
olds, in the inferior branch of portraiture, realized 
some £12.000 a year, the first historical painter of 
the 18th century, was toiling incessantly for £1000. 
His blameless and temperate life had preserved his 
strength unimpaired, and he had still the same 
composed and determined mind, by which he was 
distinguished in youth. He therefore commenced 
a series of great religious works, on a larger scale 
than any he had previously painted. The first 
was Chri.st healing the Sick, a picture painted for 
the Pennsylvania Hospital, an institution found- 
ed by the Quakers, who had solicited his assist- 
ance, and as he was far from being rich, he had 
promised them a picture. When this picture was 
exhibited in London, it was so highly commended, 
that the British Institution offered him 3000 guin- 
eas for it, which he accepted, on condition that 
he should be allowed to make a copy, with some 
alterations. He did so, and when the copy was 
exhibited in the United States, the profits ($20- 
000,) enabled the committee of the hospital to 
enlarge the building and receive more patients. It 
has since continued to add to their resources about 
$500 per annum. " The success of this picture," 
says Cunningham, "impressed West with the be- 
lief that his genius appeared to most advantage in 
pictures of large dimensions, and that royal com- 
missions had interposed between him and fortune.* 



* Who can doubt it? Three of his most capital works 
are, Christ healing the Sick, Christ rejected by the Jews, 
and Death on the Pale Horse. The exhibition of either of 
these pictures would have brought him more money an- 
nually than his royal salary. There was very little en- 
couragement for historical painters at that time in Eng- 
land, as the following extract from the Percy Anecdotes 
will .show. Speaking of West and the excitement which 
his superb picture of Pylades and Orestes produced among 
the higher circles of London, the writer says, " But the most 
wonderful part of the story is, that notwithstanding all this 
vast bustle and commendation bestowed upon that justly 
admired picture, by which West's servant gained upwards 
of thirty poumds for showing it (it was exhibited gratui- 
tously at West's house), no mortal ever asked the price of 
the work, or so much as offered to give him a commission 
to paint any other subject." 



His mind, from long contemplation, was familiar 
with subjects of gigantic proportions, and he had 
soon sketched out several and finished some ; but 
the sunn}^ and comfortable houses of England could 
not contain this colossal progeny ; the doors of our 
churches are generally opened to art with reluctance; 
our palaces had already admitted moieof the Pres- 
ident's works than perhaps were welcome ; and the 
owners of our galleries were unwilling to make 
room for such enormous pieces of scripture sub- 
jects. There was ro market for the manufacture." 
The next picture he painted was the Crucifixion, 
sixteen by twenty-eight feet ; followed by the De- 
scent of the Holy Ghost on Christ at the Jordan, 
Christ rejected hy the Jews, the Ascension, and 
the Inspiration of St. Peter, all of very large di- 
mensions. In 1817, he exhibited his sublime pic- 
ture of Death on the Pale Horse, painted when he 
was seventy-nine jeara old ! On the 6th of De- 
cember of the same year, he. lost his beloved wife ; 
they had tenderly loved each other some sixty 
years, and had seen their children's children ; the 
world had no consolation to offer, and he began 
to sink ; though still to be found at his easel, his 
mind had lost its wonted alacrity, and it was evi- 
dent that all this was to cease soon ; that he was 
suffering a slow, general, and easy decay. The 
venerable old man sat in his study among his fa- 
vorite pictures, a breathing image of piety and con- 
tentment, calmly awaiting the hour of his dissolu- 
tion. Without any fixed complaint, his mental 
faculties unimpaired, his cheerfulness undisturbed, 
and with looks serene and benevolent, he expired 
on the 11th of March, 1820, in the eight3'-second 
year of his age. He was buried with great pomp 
in St. Paul's cathedral, beside Reynolds, Opie, and 
Barry. 

As West's fife was long and laborious, his pro- 
ductions are very numerous. He painted and 
sketched upwards of 400 pictures in oil. mostlj^ 
taken from sacred and profane history; he also 
left more than 200 original drawings in his port- 
folio. The following is Cunningham's critique. 
'' His works were supposed by himself, and for a 
time by others, to be in the true spirit of the 
great masters, and he composed them with the se- 
rious ambition and hope of illustrating scripture, 
and rendering gospel truth more impressive. No 
subject seemed to him too lofty for his pencil j 
he considered himself worthy to follow the sub- 
limest flights of the prophets, and dared to limn 
the effulgence of God's glory, and the terrors of 
the Day of Judgment. (Have not many great mas- 
ters attempted the same ?) The mere list of his 
works makes us shudder at human presumption — 
Moses receiving the Law on Sinai ; the Descent of 
the Holy Ghost on the Saviour in the Jordan ; 
the Opening of the Seventh Seal ; St. Michael and 
his Angels casting out the Great Dragon; the 
Mighty Angel with one foot on the Sea and the 
other on the Earth ; the Resurrection ,• and there 
are many others of the same class. With such 
magnificence and sublimity, who but a Michael 
Angelo could cope ? 

'• In all his works, the human form was exhibit- 
ed in conformity to academic precepts — his figures 
were arranged with skill ; the coloring was va- 
ried, and often harmonious ; the eye rested pleased 
on the performance, and the artist seemed, to the 
ordinary spectator, to have done his task like one 
of the highest of the sons of genius. But below 



WEST. 



1090 



WEST. 



all this splendor, there was little of the true vi- 
tality ; — there was a monotony too, of human char- 
acter, — the groupings were unlike the happy and 
careless combinations of nature, and the figures 
frequently seemed distributed over the canvass by 
line and measure, like trees in a plantation. He 
wanted fire and imagination to be the true resto- 
rer of that grand style, which bewildered Barry, 
and was talked of by Reynolds. Some of his 
works — cold, formal, bloodless, and passionless. — 
may remind the spectator of the sublime vision 
of the valley of dry bones, when the flesh and 
the skin had come upon the skeletons, and be- 
fore the breath of God had infused them with 
life and feeling. 

" Though such is the general impression which 
the works of West make, it cannot be denied that 
many are distinguished by great excellence. In 
his Death on the Pale Horse, and more particular- 
ly in the sketch of that picture, he has more than 
approached the masters and princes of the calling. 
It is indeed, irresistibly fearful, to see the tri- 
umphant march of the terrific Phantom, and the 
dissolution of all that earth is proud of beneath 
his tread. War and Peace, Sorrow and Joy, Youth 
and Age, all who love and all who hate, seem 
planet-struck. The Death of Wolfe, too, is na- 
tural and noble, and the Indian Chief, like the 
Oneyda warrior of Campbell, 

A stoic of the woods, a man without a tear, 

was a happy thought. The Battle of La Hogue, 
I have heard praised as the best historic picture 
of the British school, by one not likely to be mis- 
taken, and who would not say what he did not 
feel. Many of his single figures also are of a high 
order. There is a natural grace in the looks of 
some of his women that few painters have ever 
excelled." 

West emulated the great head of the Roman 
school, or the combined excellencies of the antique 
and modern schools. In his Journal kept in Italy, 
he says, " Michael Angelo has not succeeded in giv- 
ing a probable character to any of his works, the 
Moses, perhaps, excepted. The works of Raffaelle 
grow daily more interesting, natural, and noble." 
It is allowed that he drew correctly, that many 
of his works are finely composed, and that he has 
frequently shown great power of invention; but it 
is said that he was deficient in coloring, lacked ex- 
pression in his heads, was monotonous in his fea- 
tures and countenances, and that his pictures want 
effect. In his grand historic pictures he doubtless 
considered, like Raffaelle and Poussin, that splen- 
did coloring would detract from the dignity of his 
subject ; since in some of his pictures, when the sub- 
ject allowed it, and particularly in his female forms, 
his tints are clear, and very beautiful. This is il- 
lustrated in his Death on the Pale Horse, and 
Christ healing the Sick, in which less attention is 
paid to coloring than to expression. He always 
avoided having recourse to any meretricious tricks 
to catch the eye and raise admiration. It is a well 
known fact, that the great works of Raffaelle are 
not striking^ but they grow^ with contemplation. 
There has not yet appeared a learned, just, and 
academic critique upon the works of West, but 
there can be no doubt that such an one would 
pronounce him the greatest historical painter of 
the 18th century. 

Benjamin West in person was above the middle 



size, of very fair complexion, and firmly and com- 
pactly built ; his lofty brow beamed with good- 
ness and benevolence. He was polished, but sim- 
ple and unostentatious in his manners, and affable 
to all. Intercourse with courts and the world, 
which changes so many, made no change in him. ^l 
His kindness to young artists was great, and he I 
aided them as freely with his advice and his purse, 
as though they were his own children ; so gene- 
rous was he, that his liberality seriously impaired 
his income. He had no secrets in his profession, 
whatever he knew in art, he readily imparted, and 
was happy to think that art was advancing ; and 
no mean jealousy of other men's good fortune 
ever invaded his repose. He was so regular and 
simple in his habits, and careful to improve his 
time, that to describe one day of his life, is to de- 
scribe years. He rose early, studied before break- 
fast, wrought upon one of his large pictures from 
ten to four, dressed and saw visitors, and having 
dined, recommenced his studies. For further in- 
formation of this distinguished artist, the reader 
must be referred to Gait's " Life and Studies of 
Benjamin West." London, 1816 and 1820; Cun- 
ningham's "Lives of eminent British Painters," 
and to Dunlap's " History of the Rise and Pro- 
gress of the Arts of Design in the United States," 
2 vols.. New- York, 1834. 

WESTALL, Richard, an excellent English his- 
torical painter, and an eminent designer, was born 
in 1765, probably at London. At the age of four- 
teen, he was apprenticed to an engraver of heral- 
dry on silver, named Thompson; but excelling his 
fellows in this humble department of the arts, he 
aspired to a higher order of distinction. By work- 
ing an additional time in the mornings, he obtained 
the permission of his employer to draw at the 
I Royal Academy in the evenings. He commenced 
I his career as an artist in 1786, and first attracted 
I public attention by a number of highly finished 
j historical paintings in water colors, which manifest- 
I ed a brilliancy and vigor before unknown. In com- 
pany with his friend Mr. Lawrence (afterwards Sir 
Thomas), he took a house in Soho Square, which 
they occupied for several years, until their success 
I justified their forming separate establishments. 
j Westall's book illustrations were very popular, and 
he was much employed by the publishers, particu- 
larly Alderman Boydell, for whom he executed 
the designs in the superb edition of Milton. He 
also designed the illustrations for Moore's Loves 
of the Angels, Crabbe's Poems, and many other 
works. His earlier works display considerable in- 
telligence of chiaro-scuro, and elegance of coloring, 
but from the great facility with which his ready 
talent enabled him to produce book designs, he was 
led into a greater degree of mannerism than any 
of his CO temporaries, which detracted not a little 
from his reputation ; but many of his works evince, 
notwithstanding, the possession of very uncommon 
taste and judgment. 

As a painter of history, Westall deserves much 
higher commendation than seems to be generally 
accorded to him. He produced many excellent 
historical subjects, some of them to fulfil the com- 
missions of Boydell, for his great work of the Il- 
lustrations of Shakspeare. Among these, his pic- 
ture of Cardinal Wolsey entering Leicester Ab- | 
bey, is perhaps deserving of the highest praise. | 
This picture is finely composed, the light and I 
shadow are admirably' managed, the horses are full 



WEST. 



1091 



WET. 



of fire and spirit, which, with the expression of child- 
ish wonder and compassion in the face of the little 
page at viewing the stricken Wolsey, are sufficient 
proofs of Westall's ability in this branch. This 
performance has been preserved to the world by 
the admirable plate of Thew, esteemed the master- 
piece of Boydell's collection. His Lady Macbeth, 
and the Ghost of Caesar appearing to Brutus in 
his tent, both portraits, are noble pictures, full of 
dignity and expression. In 1794, Westall was 
elected a member of the Royal Academy, at the 
same time as Lawrence and Stothard. In 1808, 
he published a volume of poems of considerable 
merit, entitled "A Day in Spring, and other 
Poems, embellished with four plates engraved by 
James Heath, A. E. R. A., and Charles Heath, 
from designs by R. Westall." By his professional 
exertions. Westall attained a handsome compe- 
tence, but he became involved in an unsuccessful 
speculation in foreign pictures, and some improvi- 
dent partnership engagements. During the latter 
part of his life, he was aided by the assistance 
which the Royal Academy assigns to its reduced 
members. His last occupation was in giving les- 
sons in drawing and painting to the present Queen, 
while Princess Victoria. He died in 1837. 

WESTALL, William, an English painter in 
water-colors, and an engraver in aquatinta, born in 
1781. In 1801, through the influence of West, he 
was appointed draughtsman to the voyage of dis- 
covery to Australia, made by Capt. Flinders in H. 
M. y. Investigator. He also visited China, and 
made many drawings of landscapes, particularly a 
View of the Canton River, representing an inci- 
dent he had witnessed, of which he afterwards 
painted a large picture, exhibited in 1814, at the 
Royal Academ3^ He also resided for about a year 
in the island of Madeira, whither he went during 
the delay of the expedition at the island of Mauri- 
tius ; and he executed a number of landscapes, with 
views of the planters' villas, which realized a hand- 
some return. In 1810, he was employed to prepare 
many designs for the engravers, for the publication 
of the discoveries of the expedition ; and also in 
painting pictures, by order of the Admiralty, of 
several important incidents which occurred during 
the voyage. In 1812 he was elected an Associate 
of the' Royal Academy. In 1816 he engraved, in 
aquatinta, a work descriptive of the noted caves in 
Yorkshire ; and for many years subsequently, he 
produced a number of similar works, among which 
was one of the Isle of Wight ; and he also execu- 
ted several large paintings, among which was the 
Commencement of the Deluge, exhibited in 1848. 
He died in 1850. 

WESTERHOUT. Arnold van, a Flemish en- 
graver, born at Antwerp, in 1666. After having 
studied in his native city, he went to Italy, and es- 
tablished himself at Rome. He engraved quite a 
number of plates after the Italian masters, and 
from his own designs, executed with the graver, in 
a neat, clear style, resembling that of his country- 
man, Robert van Audenarde. He also engraved 
sotne portraits in mezzotinto. He died about 
1725. 

WESTMACOTT, Richard, a distinguished 
English sculptor, the eldest son of an artist in the 
same branchy was born at London about 1774. 
After completing his preliminary studies, he visit- 
ed Italy for improvement, in 1792, and studied the 
antique, and the works of the great masters. The 



first work of importance which he was engaged 
upon after returning to England, was a statue of 
Addison, which was placed in Westminster Abbey 
about 1806. In 1809, he was elected an Associate 
of the Royal Academy, at which time he comple- 
ted and erected in St. Paul's cathedral, the monu- 
ment of Sir Ralph Abercrombie, and subsequently 
that of Lord Collingwood, in the same church. On 
his engagement to execute the bronze statue of the 
Duke of Bedford, in Russell Square, he personally 
attended to the whole management of the casting, 
and thereby acquired so much skill that, after 
erecting the statue of Lord Nelson at Birming- 
ham, and of Mr. Fox in Bloomsbury Square, he 
was able to accomplish the immense bronze colos- 
sal statue of Achilles, erected in Hyde Park. In 
1811 he was elected a Royal Academician, and sub- 
sequently a fellow of the Society of Antiquaries, 
and a member of the Dilettanti Society. In 1814, 
he completed his national monument to William 
Pitt, in Westminster Abbey, which is a work of 
great talent. Among the other works of West- 
macott, are the beautiful statue of a Peasant Girl, 
exhibited at the Royal Academy in 1819, which 
is part of a monument erected to Lord Penrhyn ; 
the Hindoo Girl, for a work to be erected at Cal- 
cutta, in memory of Alexander Colvin ; and the 
statue of King George III. at Liverpool. The au- 
thor has not been able to procure further informa- 
tion concerning Westmacott, since the year 1832, 
when his bronze colossal statue of Canning was 
erected in Palace Yard. 

WET, Gerard de, a Dutch painter, born at 
Amsterdam in 1616, and died there in 1679. He 
was a disciple of Rembrandt, whose style he fol- 
lowed with some success; he also painted land- 
scapes, and was accounted a good colorist. The 
Dutch writers mention a Jacob de Wet or Weth, 
who painted cabinet pictures of sacred subjects in 
the manner of Rembrandt ; probably they are the 
same artist. There was also a John de Wet, who 
flourished at Haerlem, and was more noted as a 
dealer in old pictures than as a painter. 

WET, P. F., a Dutch engraver, who flourished 
in the latter part of the 17th century. He etched 
a set of plates of ornamental foliage for goldsmiths 
and jewelers, executed in a slight style. 

WEYDE, Roger vander, a Flemish painter, 
born at Brussels, according to Van Mander and 
Descamps, about 1480 ; and died there in 1529. 
His instructor is not mentioned, but he was one of 
the first painters of the country who improved 
the national taste, by divesting it of the dry, gothic 
manner, and introducing a more graceful style of 
design, and abetter expression in the heads. Among 
his principal works were four pictures in the Town 
House at Brussels, representing subjects connected 
with the administration of justice. He painted a 
picture of the Descent from the Cross, for the 
church of St. Gertrude at Louvain, which was 
greatly admired. It was afterwards sent to the 
! King of Spain, and a copy of it, by Michael Cox- 
I cis, substituted in its place. 

I There has been much disquisition among wri- 
j ters as to whether Roger vander Weyde and Roger 
I of Bruges were the same or different artists. The 
I dispute is of little consequence, as there is not a 
I single well authenticated work by the former, and 
I little remains by the latter, and that little of no 
I importance. Roger of Bruges was certainly a 
' scholar of the Van Eycks j his birth is variously 



WEYD. 



1092 



WEYN. 



■(k-(W\ 



placed in or about 1366, and 1390, the latter hav- 
ing: the best authorities ; and his death in 1418 
and 1464. It is known that he was employed by 
the Town House of Brussels, and that he visited 
Italy. Now, in the Archives of the city of Brus- 
sels, the name of Meester Rogieren vander Wey- 
den occurs in two or more instances ; once in 
1436, and again in 1449. In 1450, the year of Ju- 
bilee, he went to Italy, where he practiced some 
years, and was called Ruggiero da Bruggia or 
da Bruxelles. He died at Brussels, June 16th, 
1464, and was buried in the church of St. Gudule ; 
his name appears in the church register MagisterRo- 
gerus vander Wyden, excellens pictor cum uxore, 
&c. From these dates, it is contended that Roger of 
Bruges and Roger vander Weyde are but one art- 
ist. If this supposition be correct, then Van 
Mander and Descamps have made an error of 
about one hundred years in the dates. The dis- 
cussion, at best, is '• stale, flat, and unprofitable." 
See Roger of Bruges. 

WEYDEMANS, Frederick William, a Dutch 
portrait painter of some distinction, born in 1668, 
and died in 1750. There was also a Charles Emi- 
lius Weydemans, born in 1685, and died in 1735. 
He painted portraits, and is said to have been a 
cousin or nephew of the former. Besides these, 
there was also a N. Weydemans, an engraver, of 
whom nothing is known, except by a few indiffer- 
ent prints. 

WEYER, Ga- 
briel, a German 
painter and engra- 
ver, who flourished at Nuremberg from about 
1610 to 1640, when he died. He is said to have 
painted some pictures, of which nothing is known ; 
but he executed a great number of wooden cuts 
from his own designs, which are marked with one 
of the above monograms of his initials. It is dis- 
puted whether he engraved all the cuts, or merely 
furnished the designs and employed others to en- 
grave them ; a question of no importance, which 
applies to nearly all the old German designers and 
wood engravers. 

WEYER, Hans, or John, a German painter 
and engraver, who was a native of Cobourg, ac- 
cording to Professor Christ, and flourished about 
1610. He engraved some plates in an excellent 
style, admirably designed, and marked with the 
initials H. E, W. There is some question wheth- 
er he really engraved all the plates attributed to 
him. 

WEYER, Nicholas, an engraver to whom 
Professor Christ attributes some prints marked 
with his initials, and the date, thus, N. 1567 W. 
He gives no particulars of the artist, nor does he 
specify any of his subjects. 

WEYERMAN, John, a Dutch painter of fruit 
and flower pieces, was born in 1636, and died in 
1681. There are no particulars recorded of him, 
except that, after studying in his own country, he 
went to Italy. 

WEYERMANS, Jacob Campo, a Dutch paint- 
er, born at Amsterdam, in 1679. He studied un- 
der Ferdinand van Kessell, and painted fruit, flow- 
ers, and still-life, but his productions are not above 
mediocrity. He published the Lives of the Dutch 
painters, in three volumes, poorl}'- compiled and 
abridged, from Houbraken. He died in 1747. 



WEYNERS, JoHANSSEN, a German engraver, 
who flourished about 1611. According to Profi 
Christ, he engraved some plates after the designs 
of Christopher Schwartz, which he marked with 
a bunch of grapes, in allusion to his name. He is 
the same as Hans Weinher, which see. 

WHEATLEY, Francis, an English painter, 
born at Loudon in 1747. He received his first 
instruction in Shipley's Drawing School ; he 
evinced much talent, and while young, drew seve- 
ral premiums from the Society for the Encourage- 
ment of Arts, &c. Having afterwards improved 
himself by diligent study, and by associating with 
artists of distinction, he acquired considerable re- 
putation as a historical painter. After practicing 
some time in London, he went to Dublin, where he 
painted a large picture, representing the Irish 
House of Commons, in which he introduced the 
portraits of the most distinguished political char- 
acters of the day. This work increased his repu- 
tation, and gained him considerable employment. 
On his return to London, he was employed by Al- 
derman Boydell to paint several pictures for the 
Shakspeare Gallery. There being little encour- 
agement for historical painting at that time in 
England, he chiefly devoted himself to rural and 
domestic subjects, for which he had a happy tal- 
ent : and his productions of that description are 
highly esteemed. He was elected a member of 
the Royal Academy, and died in 1801. 

! WHITE, Robert, an English designer and en- 

I graver, born at London in 1645, and died in 1704. 

I He was a pupil of David Loggan, for whom he de- 

j signed and engraved several architectural views. 

I He engraved an immense number of portraits of 

' distinguished personages, from his own designs, 

and after Kneller, Vandyck, and other eminent 

painters. Most of his plates are executed with the 

graver, in a neat, clear style. They are chiefly valued 

for their subjects and their excellent likeness. — 

He also engraved a few heads in mezzotinto, 

but they are far inferior to his other prints. He 

excelled in drawing portraits with black lead upon 

vellum, in which he was much employed. White 

was busily employed for about forty years, and 

amassed about £5,000, according to Walpole ; but 

from some cause he died indigent. At his death, 

a printseller purchased his plates, and realized a 

fortune from them. The following are his most 

esteemed prints : 

James I. ; after C. Jansen. George, Earl of Cumber- 
land, habited for a tournament ; fine. Charles I. ; after 
Vavdyck. Anotherof Charles I. ; after van Vorst. Prince 
Rupert; after Kneller. Charles it. ; do. 1679. Another 
of Charles II., whole length, in the robes of the Garter. 
J ames II. under a canopy, with Archbishop Sancroft and 
the Chancellor JefiFeries. James II. when Duke of York, 
in the robes of the Garter. Maria Beatrix of Este, his 
I consort; after Kneller. 1686. Henry, Uuke of Glouces- 
I ter. Lady Mary Joliife ; scarce. Heneage. Earl of Not- 
tingham. Thomas, Duke of Leeds. Sir Edward Ward, 
: Chief Baron. 1702. Sir George Treby, Chief Justice of the 
j Common 1 leas. 1694. Samuel Pepys, Secretary to the 
I Admiralty ; after Kneller. George, Earl of Melvil ; af- 
j ter Sir John Medina. James, Earl of Perth ; after Knel- 
ler. Another Portrait of the same ; after Riley ; fine. 
Bishop Burnet ; after Mrs. Beale. Sir Alexander Tem- 
ple. Lady Susanna Temple. Lady Anne ClifiFord. Thomas 
Elatman ; after Hayls. Sir John Fenwick ; after Wis- 
sing. The Seven Bishops ; seven small ovals in one plate. 
The Seven Bishops who suffered Martyrdom ; five ovals in 
one plate. Duke of Norfolk, Mezzotinto; after Kneller. 
John, Earl of Pvandor. do. ; do. 



WHIT. 



1093 



WIEB. 



WHITE, George, was the son of the preceding;, 
who instructed him in art. After the death of 
his father, he finished the plates left imperfect by 
him ; he also engraved some portraits in the same 
style ; but his best prints are in mezzotinto. in 
which he frequently etched the outline before the 
ground was laid upon the plate, which sometimes 
adds to the firmness of the efiect. He also paint- 
ed portraits, both in oil and miniature. His prints 
are dated from about 1700 to 1732, when he is 
supposed to have died. The following are his best 
prints : 

PORTRAITS IN MEZZOTINTO. 

Sir l^ichard Blackmore, M. D. ; after J. vander Bank. 
Sylvester Petyt, Principal of Bernard's Inn ; fine. Nich- 
olas Sanderson, Professor of Mathematics, of Cambridge. 
John Baptist Monnoyer, Painter ; after Kneller. John 
JJryden ; do. Alexander Pope ; do. Thomas Bradbury ; 
after Gibson. George Hooper, Bishop of St. Asaph ; af- 
ter Hill. Colonel Blood, who stole the Crown. William 
Dobson, Painter ; from a picture by himself. A Man 
playing on the Violin ; after Prank Hals. 1732. Henry 
Purcell; after Frank Hals? 1732. 

PORTRAITS IN THE STYLE OF HIS FATHER. 

James Gardiner, Bishop of Lincoln; after Dahl. Charles 
II.. King 0^ Spain; begun by Robert White, and finished 
by George White, whose name is afiixed. The Duke of 
Ormond. Lord Clarendon. 

WHITE, Charles, an English engraver, born 
at London in 1751. He studied with Franker, on 
leaving whom he quitted stroke engraving, and 
wrought chiefly in the chalk style. He was chiefly 
employed by the booksellerSj and died young in 
1785. 

WHITE, Thomas, an English engraver, who 
died at London about 1776. He was much em- 
ployed by Ryland, to assist him in his plates. He 
afterwards engraved the greater part of the archi- 
tectural plates for the continuation of the " Vitru- 
vius Britannicus," by Wolf and Gandon. 

WIBERT. See Vuibert. 

WICHMAN, J., a German engraver, and prob- 
ably a painter, who flourished about 1683. There 
is a large print by him, etched in a slight, coarse 
style, representing the Besieging and Taking of 
Stadticien by the Emperor of Germany. At 
the bottom of the print are represented the por- 
traits of the Emperor of Germany, and the Grand 
Sultan ; at the top, those of the generals of the 
German and Turkish armies. 

WTCKENBERG, M. This Swedish painter 
was born in 1812. After acquiring a knowledge 
of art in his own country, he visited Paris in 
1837. where he obtained considerable success. 
His pictures consist chiefly of winter scenes, de- 
lineated with great truthfulness to nature ; one of 
his best performances is in the Luxembourg Gal- 
lery. He exhibited annually at the Louvre, until 
1846, when he died of consumption, on the 19th 
of December. 

WIDEMAN, Elias, a German designer and en- 
graver, who flourished at Augsburg about 1648. 
He engraved a great number of portraits, title- 
pages, vignettes, and other plates for the book.sel- 
lers, executed with the graver, in a stiff, formal 
style. His chief work is a set of plates of illus- 
trious personages, published at Augsburg in 1648, 
entitled, Comitium GloricB centum qua Sanguine 
qua Virtute illustrium Heroum Iconihus instruc- 
tum. <^c. E. Wideman, del. et scidp. 



WIDITZ, a German engraver on wood, who 
flourished at Strasburg, according to Professor 
Christ, about 1570. There are no reliable partic- 
ulars recorded of him. 

WIEBEKING, Chevalier Carl Friedrich. 
This eminent German engineer, and writer on hy- 
draulic and civil architecture, was born at Wollin 
in Pomerania, in 1762. He attained very great 
eminence as a practical engineer, and was employ- 
ed many years by the Prussian, Austrian, and 
Bavarian governments, until 1818, when he retired 
from the service of the latter, with a pension. He 
is chiefly mentioned here on account of his large 
work on a general course of Civil Architecture and 
its History, entitled Theoretisch-practische Bur- 
gerliche Baukunde, 4 vols. 4to., with a very large 
folio atlas of plates, 1821-6. This is esteemed a 
very valuable contribution to architectural study, 
particularly on account of the fund of fresh informa- 
tion it supplies relative to the architecture of Germa- 
ny, Holland, Poland, Russia, and some other parts 
of Europe. The Chevalier von Wiebeking, as he 
was usually called, (being knight of several Ger- 
man and foreign orders.) was also a member of 
nearly all the academies and learned societies in 
Europe. He died at Munich in 1842. There is 
by him a work entitled, Analyse Historique et 
Raisonnedes Monumens de V Anti quite., des Edi- 
fices les plus remarkables du Moyen Age, &c.. 
published in 1840, and dedicated to Queen Victo- 
ria, of England. 

WIEDEMANN, Ludwig, a German sculptor 
and founder, was born at Nordlingen in 1690. 
His principal work mentioned in the Biographic 
Universelle, is the equestrian statue of Augustus 
II. of Poland, placed in 1735 near the river Elbe 
at Dresden. The king is represented in Roman 
costume, and the likeness is good ; but the horse 
is better executed than any other part of the com- 
position. In 1738, Wiedemann was invited to 
London by the Duke of Cumberland, to take charge 
of a foundry. He made an improvement in the 
manufacture of muskets, and afterwards went to 
Vienna, in 1750, where he was made a colonel of 
artillery. His last work in sculpture was the 
statue of the king of Denmark, executed at Co- 
penhagen. He died in 1754. 

WIELANT, or WILL ANT, an engraver who is 
said to have executed several portraits. The name 
is probably a corruption of VaiUant, which see. 

WIELING, Nicholas, a historical and portrait 
painter, supposed to have been a native of Holland. 
Little is known of his history, except that he was 
invited to the court of Frederick William, Elector 
of Brandenburg, who appointed him his court 
painter in 1671. He died at Berlin in 1689. His 
style is said to resemble that of Vandyck. He 
had a son of the same name, whom he instructed 
in the art, but there are no particulars recorded of 
him. 

WIENBROUCK, M. V. The name of this 
artist is affixed to a few slight etchings, executed 
in a painter-like style, among which is one repre- 
senting an Old Man seated, to whom a Youth is 
relating a Message. 

WIERENGEN, Cornelius Nicholas van, a 
Dutch painter, born at Haerlem about 1600. He 
excelled in painting sea-pieces and storms, which 



WIER. 



1094 



WIER. 



he represented with great truth and effect. He 
was also a good painter of landscapes, fourteen of 
which were engraved by Nicholas John Visscher. 
He etched many plates of sea-pieces and landscapes 
from his own designs, in a neat and spirited style. 
He died at Haerlem, according to Balkema, in 
1658. 

WIERINGA. Gerard, a Dutch painter, born 
at Groningen, probably about 1770. After learn- 
ing the rudiments of the art from his father John W., 
an ornamental painter of little note, he went to Dus- 
seldorf, to study the pictures in the Gallery there., 
In 1790 he returned to his native place, where he 
painted landscapes, sunsets, and winter-pieces, 
with considerable success. For one of his pic- 
tures, he obtained the gold medal from the Acade- 
my at Leyden. He died in 1817. 

WIERIX, John, an eminent Dutch designer 
and engraver, born at Amsterdam in 1550. His 
name is variously written Wierix, Wierx, and 
Wierinx, but he wrote it Wierix. It is not 
known by whom he was instructed, but he appears 
to have formed his style by an attentive study of 
the works of Albert Durer, as he copied several 
of the prints of that master with great precision. 
His plates are executed with the graver, in a neat 
and highly finished, though somewhat stiff and 
formal style, and his drawing is generally correct. 
His prints are very numerous, and are held in con- 
siderable estimation by the curious collector ; 
some of them are from his own designs, but those 
after other masters are the best. He rarely signed 
his plates with his name, but usuallj'" marked them 
with the initials, I. W. F., and sometimes I. H. W. 
F,, with the date. He was living in 1601. The 
following are among his most esteemed works : 

PORTRAITS. 

Rodolphus II., Emperor of Grermany. Philip William, 
Prince of Orange. Eleanora de Bourbon, Princess of Orange. 
James I., King of England, and his Queen ; scarce. Philip 
II., King of Spain. Catherine de Medicis, Queen of Hen- 
ry II. of France. Henry III., King of France. The 
Countess de Yerneuil. 

SUBJECTS PROM HIS OWN DESIGNS. 

The Resurrection ; inscribed Insanus Miles. Mary 
Magdalene seated at the entrance of a Grot ; J. Wiev, inv. 
ct fee. An allegorical subject, representing the Redemp- 
tion of Mankind. The Four Elements ; Wierix. 1601. 

SUBJECTS AFTER VARIOUS MASTERS. 

The little Satyr ; copied from the print of Albert Durer, 
when he was only twelve years of age. Adam receiving 
the forbidden fruit from Eve ; copied from the celebrated 
print of the same subject by Albert Durer ; upon a tablet 
is inscribed Albert Durer, inventor, Johanes Wierix, fee. 
cet. 16. Sr„ Hubert kneeling before the Stag, with a Cru- 
cifix on its forehead ; a copy, reversed, from the print by 
Albert Durer, marked with the cipher of that artist. St. 
Jerome in meditation ; copied from Albert Durer. The 
Marriage of St. Catherine ; after D. Calvart. The Sacrifice 
of Abraham ; after M. de Vos. Christ tanem down from 
the Cross; after Otho Venius. The Last .Judgment; 
finely copied from the print of that subject by Martin Ro- 
ta, after M. Angela Buonarotti. Christ taken down from 
the Cross ; after Bern. Passeri.. 

tTt ti/T - T WIERIX, Jerome, 

IM \X/ or "pJp'TTjT' was the younger bro- 
1. JL VV JL lAyw ther of the preceding, 
born at Amsterdam in 1552. He is supposed to 
have learned the art of engraving from John W., 
whose style he followed so closely that it would 
be difficult to distinguish their works, were it not 
that they are differently marked. His prints are 
more numerous than those of his brother, and 



chiefly consist of devout and allegorical subjects, 
saints, and fathers of the church, many of which 
are from his own designs. He sometimes signed 
his prints Hieronimus Wierix, but usually with 
one of the above monograms, or simply with his 
initials, HI. W.. or HI. W. F., or J. Hieronimus 
W. Fe. The following are among his best prints : 

PORTRAITS. 

The Emperor Charlemagne. Henry of Bourbon, King 
of Navarre. Queen Elizabeth, Sigismund III., King of 
Poland. Alessandro Farnese, Duke of Parma. Sir Fran- 
cis Drake. 

SUBJECTS FROM HIS OWN DESIGNS. 

St. Cecilia. The Temptation of St. Anthony. St. Bru- 
no, the founder of the Carthusians. St. Charles Borromeus. 
The Virgin and infant Christ, with St. Francis and St. An- 
thony. The Virgin and Infant, with a Glory of Angels. 
The Crucifixion. The Death of Lucretia. 

SUBJECTS AFTER VARIOUS MASTERS. 

Christ dead, supported on the knees of the Virgin ; after 
J. Mabuse. Christ calling to him the little Children ; af- 
ter C. van de Broeck. The Death of the Virgin ; after 
Otho Venius. Christ at Table, in the house of Simon the 
Pharisee; do. Christ crowned with Thorns; after G. 
Mostaert. The Four Doctors of the Church ; after M. 
Lucas Romanus. The Scourging of Christ ; do. O.ne of 
his best prints. The Baptism of Christ by St. John ; after 
H. Hondius ; fine. The Vision of Daniel ; after van 
JJaeckt. Jupiter and Danae ; do. Christ expiring on the 
Cross ; after P. Aquila, considered his be.^t piece for pu- 
rity of engraving. The Resurrection of Christ ; after JL. 
Romanus ; a large and capital print. 

WIERIX, Anthony, was the brother of the 
two preceding artists, and the youngest of the fam- 
ily, born at Amsterdam in 1554. His small plates 
are executed in the neat, finished st^de of his bro- 
thers, but his larger prints exhibit more freedom 
and facility. He engraved similar subjects, and 
frequently wrought in conjunction with them. 
The works of the Wierixes are exceedingly nu- 
merous ; M. de Marolles had in his collection up- 
wards of 1200 pieces by them, Anthony gene- 
rally signed his prints with his name in full. The 
following are among his best prints : 

PORTRAITS. 

Pope Clement VII. ; Ant. Wierix. Philip Emanuel 
of Lorraine, Duke de Mercoeur. Isabella of Austria, 
Daughter of Philip II. of Spain. Margaret, Queen of 
Philip III. of Spain. Cardinal Bellarmin. Albert of 
Austria, Archbishop of Toledo, Governor of the Low Coun- 
tries. 

SUBJECTS FROM HIS OWN DESIGNS. 

St. Theresa. St. Sebastian. St. Dominick receiving 
the Rosary from the Virgin. The Marriage of St. Ca- 
therine. The Entombing of Christ. St. Jerome pray- 
ing, accompanied by two Angels ; dated 1584 ; fine. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Adoration of the Magi ; after M. de Vos. The 
History of the Prophet Jonas ; in four plates ; do. The 
Holy Family reposing in Egypt; after Cmm. Procaccini. 
The Death of St. Francis ; do. A set of sixty-nine plates, 
representing the Life and Passion of Christ, with the Death 
and Assumption of the Virgin ; in which he was assisted 
by his two brothers. 

WIGMANA, Gerard, a Dutch painter, born at 
"Workum in Friesland, in 1673. It is not known 
by whom he was instructed, but after learning the 
rudiments of the art in his own country, he went 
to Italy, where he is said to have studied the works 
of Titian, Raffaelle, and Giulio Romano. On his 
return to his own country, he painted a great ma- 
ny cabinet pictures of subjects taken from sacred, 
Grecian, Roman, and fabulous histories, which are 
as remarkable for patient and laborious finishing 
and brilliant coloring, as for the vulgarity of the 



WILD. 



1095 



WILH. 



characters and the incorrectness of the design. 
His studies in Italy, instead of improving his 
' taste and elevating his style, appear to have only 
served to render his affectation of the sublime 
more clumsy and preposterous. His pictures are 
sometimes tolerably well composed, his coloring is 
remarkably transparent and brilliant, and his pen- 
cil neat and delicate : but his figures are badly 
grouped, the expression of his heads very indiffer- 
ent, his drawing incorrect, and he was an outra- 
geous violator of costume. Yet, with all these 
imperfections, his vanity was unbounded ; he 
styled himself the Raffaelle of Friesland, and ask- 
ed such enormous prices for his pictures that he 
could not sell them. He demanded 300 pounds 
for his picture of the Death of Alexander, which 
in consequence was not sold till aYter his death. 
Not meeting with much success in his own coun- 
try, he went to England, where he resided some 
time without receiving much encouragement. He 
returned to his own country, disappointed, and 
died at Amsterdam in 1741. 

WILBORN, Nicholas. See Welbronner. 

WILDE, Francis de, a Dutch engraver, who 
flourished at Amsterdam about 1705. He etched 
some small plates of views and historical subjects, 
with great neatness and spirit, apparently from his 
own designs, among which are the Angel appear- 
ing to Abraham, Venus rising from the Sea, and a 
View of the city of Chalons. He signed his plates 
Fr. de Wilde, fee, with the date. 

WILDE, Maria de. This lady was probably 
a relative of the preceding artist. She engraved a 
set of fifty plates of antique gems, which were 
published at Amsterdam in 1703. 

WILDENS, John, an eminent Flemish painter, 
born at Antwerp in 1584. It is not known by 
whom he was instructed, but it is generally sup- 
posed that he was more indebted to his own gen- 
ius, and a diligent study of nature, than to the pre- 
cepts of a master. He was constantly in the 
fields and forests, carefully designing after nature 
every object which pleased his fancy, or appeared 
picturesque or remarkable. His skies, trees, 
grounds, and water, are all true imitations of wliat 
he had observed in his walks through the country. 
He had already acquired a distinguished reputa- 
tion as a landscape painter, when his talents re- 
commended him to Rubens, who employed him to 
assist in his numerous commissions, by painting 
the landscapes in the backgrounds of his pictures, 
which he did so much to the satisfaction of that 
great master, that he highly commended him for 
his skill, not only in imitating nature, but in adapt- 
ing the freedom of his touch and the harmony of 
his coloring to the rest of the design, so that the 
whole appeared to be the work of one master. 
He had a good genius, an excellent choice of 
scenery, a pleasing and natural tone of coloring, 
and a free and spirited pencil. He also designed 
the human figure correctly. There are several 
grand landscapes by Wildens in the public edifices 
at Antwerp, several of which are embellished 
with figures by some of the ablest of his cotera- 
poraries ; two of the most capital are in the chapel 
of St. Joseph, representing the Holy Family and 
the Repose in Egypt, with figures by John Bronck- 
horst. Vandyck painted his portrait among the 
eminent artists of his country. 

BruUiot and Zani say that Wildens was an en- 



graver, as well as a landscape painter, and Brulliot 
attributes to him the following views of chateaux in 
Holland ; Teylingen,Egmont opde Hoeff, T'Clooster 
tot Rynsburch, T'huys te Cleef by Haerlem. Wer- 
denburch and Rossum. They are signed J. W. fecit. 
Robbertus de baudous excudit Amsteloaami, 
1616. The same letters, J. W., with inv., are 
found on prints engraved after his designs by Pe- 
ter Nolpe, consisting of six allegorical subjects re- 
lating to the House of Orange, and its connection 
with Great Britain by marriage. The name Joan. 
Wild., and J. Wild, inv., are found on two prints 
of a series of twelve subjects, representing the 
Months of the Year, engraved by Andrew Stock, 
and J. Matham. Wildens died in 1644. 

WILHELM, VON OoELN, called Meister Wil- 
HELM, a painter of Cologne, of whom little is 
known with certainty. He is thus noticed in the 
annals of the Dominican monks of Frankfort. 
" In that time (1380), there was at Cologne a most 
excellent painter, to whom there was not the like 
in his art ; his name was Wilhelm, and he made 
pictures of men which almost appeared to be alive." 
The German writers have made profound research- 
es concerning him, without eliciting anything be- 
yond conjecture. There are several pictures in 
the Cathedral and churches of Cologne, painted, 
as is supposed, in the latter part of the 14th and 
first part of the 15th centuries, which are attribu- 
ted to Wilhelm. and to Meister Stephan, his pupil ; 
but they are of very doubtful authenticity, and 
possess little interest out of Germany. 

WILKIE, Sir David, a British historical paint- 
er, and a very eminent delineator of scenes from 
common life, was born at the Manse of the parish 
of Cults, on the banks of Eden- water, in Fifeshire, 
Scotland, the 18th of November, 1785. He was 
the third son of David Wilkie, minister of Cults, 
and Isabella Lister, his third wife. During early 
childhood he manifested a strong love for art, and 
was afterwards heard to say that he could draw 
before he could read, and paint before he could 
spell. When seven years of age he was sent to 
the grammar school of Pitlessie, near his father's 
house, but he there learned little or nothing. From 
Pitlessie he was removed in his twelfth year to the 
grammar school of Kettle, but he there paid little 
attention to anything but drawing, and it became 
evident to his father that David would be nothing 
but a painter, greatly to his regret, for he did not 
see how a livelihood could be obtained by such a 
course. Accordingly, in 1799, at the age of four- 
teen, he was sent to the Trustees' Academy of 
Edinburg for the Encouragement of Manufactures, 
with a letter of introduction from the Earl of Leven 
to the Secretary, Mr. Thompson. The latter ex- 
amined some of the young artist's drawings, and 
not being satisfied refused to admit him, but he 
afterwards did so at the particular request of the 
Earl of Leven. At this time John Graham was 
master of the Academy, and John Burnet, Alex- 
ander Fraser, and Sir William Allan, were among 
Wilkie's fellow pupils. The latter says of him, 
" The progress Wilkie made at this time, was mar- 
velous. Everything he attempted showed a know- 
j ledge beyond his years ; and he soon took up 
that position in art which he maintained to the 
last." In that description of drawings which re- 
quires academic taste and knowledge, he made lit- 
tle attainment compared with many others ; his 
grand forte then, as ever after, was the delineation 



WILK. 



1096 



WILK. 



of character in scenes of humble life ; he frequent- 
ed trysteSj fairs, and market-places, in order to 
observe the diversified specimens of humanity ; and 
his works were distinguished for admirable truth 
and simplicity. He invariably painted slowly, and 
required models on all occasions. In 1803, he 
won the premium of ten guineas awarded to the 
painting of Oallisto in the Bath of Diana, and iu 
the same year made the sketch of his celebrated 
picture of the Village Politicians. In 1804, in his 
19th year, he left the Academy, and returned home, 
where he painted for Kinnear of Kinloch, a pic- 
ture of Pitlessie Fair, in which he inserted about 
140 iigures, many of them sketched while at 
church, as he had no other means of procuring 
them. For this picture he received only £25. At 
this time he painted many portraits in small and 
in miniature, and the picture called the Village 
Recruit. 

About this time, Wilkie went to London, and 
entered the Ro3''al Academy as a student. His 
first patron was Stodart, a piano-forte maker, who 
had married a lady named Wilkie. He sat for 
his portrait, and commissioned "Wilkie to paint 
two pictures for him, introduced him to a valua- 
ble connexion, and procured him several sitters. 
The Earl of Mansfield, whose acquaintance he 
made through Stodart, commissioned him to paint 
a picture from his sketch of the Village Politi- 
cians, which was exhibited at the Academy in 
1806, and excited universal admiration. This 
work indicated a branch of the art quite new to 
the painters of that day, and various comments 
were made upon it by the Academicians. North- 
cote termed it the "pauper style," and Fuseli, 
when he met Wilkie after he had seen it, said, 
" Young man, that is a dangerous work. That pic- 
ture will either prove the most happy or the most 
unfortunate work of your life." It apparently 
proved the most fortunate; and although Wilkie 
was only twenty-one when he painted it, as a paint- 
ing he never surpassed it afterwards, although in 
subject he produced several happier pictures. From 
this time commissions were abundant, and instead 
of returning to Scotland, as he had always intended, 
he found it necessary to establish himself in Lon- 
don. He received commissions from Mr.Whitbread, 
Lord Mulgrave. and Sir George Beaumont, who 
until his death proved a most valuable and sincere 
friend to Wilkie. His next works were the Blind 
Fiddler, for Sir George Beaumont, Alfred in the 
Neat-herd's Cottage, for Mr. Davidson ; the Card 
Players, for the Duke of Gloucester ; and the Rent- 
Day, for the Earl of Mulgrave, painted in 1807 
and 1808. After these came the sketch of the 
Reading of the Will, the Wardrobe Ransacked, 
the Game-keeper, and the Ale-house door, after- 
wards called the Village Festival, painted for Mr. 
Angerstein for 800 guineas, and now in the Na- 
tional Gallery ; all in the three succeeding years. 
In 1809 he was elected an Associate of the Royal 
Academy, and a member in 1811. 

Wilkie's incessant application to his profession 
obliged him about this time to suspend all exei- 
tion, being naturally of a weak constitution ; and 
he made a short visit to his native place in Scot- 
land. In 1812, he opened an exhibition of his own 
pictures in London, which extended his reputation, 
but was not very profitable. In December of the 
same year he lost his father, and invited his mo- 
ther and sister to come and live with him in Lon- 



don, where he engaged a commodious house m 
Kensington for their reception. In 1813, he ex- 
hibited his picture of Blindman's Buff, painted 
for the Prince Regent. In 1814 he visited Paris, 
in company with his friend Mr. Haydon, where he 
studied the great collection of the gems of Euro- 
pean art then gathered in the Louvre, particularly 
the pictures of the Flemish school. Some idea of 
the character of his taste may perhaps be gathered 
from the following remark in his journal. " I was 
especially struck with the pictures of Ostade and 
Terburg, the latter of whom has risen greatly in 
my estimation from what I have seen here. He 
possessed a most perfect style of coloring, and 
represents his objects with a manner of handling 
the most beautiful and least artificial of any I 
ever saw. I observed, to-day, that a number of 
pictures which did not strike at first, begin to gain 
upon me exceedingly. The Ostades and the Rem- 
brandts improve greatly ; the Tenierses and others 
in that style rather lose. The picture of the Mar- 
riage at Cana, which struck me so much at first, 
now begins to look common, and does not bear to 
be dwelt upon like the other pictures painted with 
more care and thinking." After his return to 
London, he painted the Distraining for Rent, pur- 
chased by the proprietors of the British Institu- 
tion for 600 guineas. In the summer of 1816, he 
visited Belgium, in company with Raimbach the 
engraver; and on his return continued to produce 
various works, a catalogue of which would be too 
long for insertion. In 1820, he finished the Read- 
ing of the Will, for the king of Bavaria, which is 
now in the gallery at Schleissheim, and in point 
of character and composition is one of Wilkie's 
masterpieces, though inferior to many of his works 
in execution. His Chelsea Pensioners, painted 
for the Duke of Wellington for 1200 guineas, is 
esteemed Wilkie's masterpiece. The character, 
composition, and execution are exquisite, the draw- 
ing good, and the coloring sober and true; it is 
said to be the finest work of its class in England, i 
and gives Wilkie rank among the celebrated artists 
of the Dutch school. 

After this time, Wilkie changed his subjects, 
and his style of execution, but.it is generally al- 
lowed that he did not add anything to his reputa- 
tion. In his own peculiar style he was without a 
rival, but in historical painting he had many. One 
of the worst and earliest of these new productions 
was the Entrance of George IV. into Holyrood. 
At the death of Sir Henry Raeburn, in 1823, he was 
appointed limner to the king in Scotland. Two 
years after he started for the Continent, on account 
of ill-health, and passed eight months in Italy ; 
after which he made the tour of Germany, and at 
Vienna had the honor of dining en famille with 
Prince Metternich. Returning to Italy, a public 
dinner was given him at Rome, by the Scotch art- 
ists and amateurs, at which the Duke of Hamil- 
ton presided. During his second visit to Italy, 
his health began to revive, and he painted three 
pictures at Rome. Passing through the south of 
France, he entered Spain in October, 1827, and 
painted his Defence of Saragossa, with the portrait 
of Gen. Palafox inserted, the defender of the 
place. He returned to England in the following 
year, and exhibited seven pictures painted while 
abroad, five of which were purchased by George 
IV. Some of these pictures were much admired 
by his friends, but less so by the public. The 



WTLK. 



1097 



WILK. 



principal characteristics are effect of color, and of 
light and shade; which, with breadth and facility, 
he seems to have considered the proper objects of 
what is termed " high Art," and an advance on 
the truth, simplicity, and character of his earlier 
wo ks ; thus voluntarily enrolling himself among 
tl^se who allowed themselves to be engrossed by 
technicalities, and. to use his own words, "seem to 
have painted more for the artist and connoisseur, 
than for the untutored apprehensions of ordinary 
men." 

After the death of Lawrence in 1830, "Wilkie 
was appointed in his place, painter in ordinary to 
iiis Majesty. Two years after, he exhibited his 
picture of John Knox preaching the Reformation 
in St. Andrew's, painted for Sir Robert Peel for 
1200 guineas, which is a work of very high class, 
though a less glowing color and more careful style 
of execution are necessary to constitute it a work 
of first-rate excellence ; it has been well engraved 
by Mr. Doo. In 1836, Wilkie received the honor 
of knighthood from King William IV. Various 
other works came from his pencil during the suc- 
ceeding years, among them, Columbus submitting 
to the Spanish authorities the Chart of his Voy- 
age for the Discovery of the New World, is a work 
of much fine character, and very richly colored. 
His greatest historical effort, however, is the pic- 
ture of Sir David Baird discovering the body of 
the Sultan Tippoo Saib, after storming Seringapa- 
tam, painted for Lady Baird for 1500 guineas. In 
1840, Wilkie started for the East, in company 
with his friend Mr. Woodburn, on account of 
some reason, which probably is not certainly 
known, although various rumors were circulated 
at the time. He went by Holland and the Rhine 
to the south of Germany, and thence to Constan- 
tinople, where he painted a portrait of the young 
Sultan, said to have been done at the suggestion of 
Queen Victoria. After visiting the Holy Land, 
he went to Alexandria, and painted the portrait of 
Mehemet Ali. Wilkie's health had never been 
vigorous, and he had felt unwell for three months 
before arriving at Alexandria. On the 21st of 
May, 1841, he embarked on board the Oriental for 
England ; on the 26th he arrived off Malta, where 
he indulged imprudently in fruit and iced lemon- 
ade ; and he finally expired off Gibraltar, on the 
1st of June. 

Sir David Wilkie was tall and of sandy com- 
plexion, with sharp eyes; was polite and mild in 
his manners, and a staunch lover of everything 
Scotch. His works are well known to the world 
through the excellent engravings of Raimbach, 
Burnet, Cousins, Doo, and C. Fox. At the sale 
of his effects, which realized several thousand 
pounds, there were many unfinished works, which 
sold at high prices. In August, 1841, a public 
meeting of his friends was held in London, at 
which Sir Robert Peel presided. The result of 
this meeting was. that a subscription was started 
for the purpose of erecting a suitable monument 
to his memory : £2,000 were collected, and it was 
agreed that a statue of Sir David Wilkie, by the 
sculptor Joseph, should be placed in the National 
Gallery. The statue is now in the inner hall of 
that institution. 

WILKINS, William, a distinguished English 
architect, was born at Cambridge in 1778. He 
was the son of a builder, and received an academic 



education in the university of that place. Xn 
1801, he obtained a traveling bachelorship, and 
visited Italy and Greece. On returning to Eng- 
land, he published his Antiquities of Magna 
Grecia, folio, 1807, which, containing little of par- 
ticular interest to professional students, was rath- 
er coldly received by architects ; but it was well 
calculated lo recommend the author to scholars, 
and obtain the patronage of the University. Ac- 
cordingly, in the same year of its publication, 
Wilkins w^as appointed architect of Downing Col- 
lege, and the buildiiigs were begun forthwith. In 
this work, instead of adopting the Grecian style 
as far as it could be used, and adding for the occa- 
sion what the style would not admit of, he merely 
applied it just as he found it; and the result is 
quite unsatisfactory, both in the exterior architec- 
ture, and the interior accommodations, 

Wilkins was afterwards appointed architect to 
the East India Company, at the resignation of Mr. 
Cockerell. and erected the East India College at 
Haileyburg, Herts, also in the pure Grecian style. 
He subsequentl}^ succeeded better in the additions 
and alterations which he executed for the three 
colleges of Trinity (1823), Corpus (1823), and 
King's (1828), at Cambridge. In these works he 
was obhged to use the Gothic style, and he had 
moreover seen the necessit}'- of treating the Gre- 
cian with freedom, as is evident from the fagade 
which he subsequently erected to Universitj^ Col- 
lege, Gower^street, originally called the University 
of London, exhibiting a dome in combination with 
a Grecian portico, the latter being elevated upon a 
substructure the height of the basement flooi-, and 
forming a most picturesque arrangement of flights 
of steps. This is esteemed Wilkins' best per- 
formance, and has gained for him the most praise, 
both from critics and professional architects. His 
next work was the National Gallery, which has 
been criticised perhaps more than an}' of his edi- 
fices. He was made a member of the Royal 
Academy in 1834. and at the death of Sir John 
Soane in 1837, he was chosen to succeed him as 
Professor of Architecture. His talents would 
doubtless have conferred honor upon that institu- 
tion, but he died in 1839, before the term (two 
years) allowed to a new professor to prepare lec- 
tures had expired. Besides the above mentioned 
edifices, he erected among others, the Nelson Pil- 
lar, in Dublin, 1808; and St. George's Hospital, 
Hyde Park Corner, which is pleasingly remarka- 
ble for the tetrastyle portico of square columns 
in its east front. 

WILLAERTS, Adam, a Flemish painter, born 
at Antwerp in 1577. He distinguished himself as 
a painter of marines, coast scenes, and sea-ports, 
with a variety of shipping and boats. His pic- 
tures are generally embellished with groups of nu- 
merous small figures, correctly drawn, and touched 
with neatness and spirit. He also painted confla- 
grations, representing villages and ships on fire ; 
his works of this description are well colored, and 
produce a striking effect. He obtained considera- 
ble reputation in his da}^, but his works are not .so 
much esteemed as they were formerly ; for, though 
his coloring is clear and transparent, his manner 
is somewhat drj' and hard, and his figures are de- 
ficient in elegance. In 1600 he left Antwerp, and 
settled at Utrecht, where he died, according to the 
best authorities, in 1640. Balkema. differing frojji 



WILL. 



1098 



WILL. 



all other writers, says he was Regent of the Hos- 
pital of St. Job, in that city, from 1639 to 1660, 
but doubtless he has confounded him with the fol- 
lowing artist. 

WILLAERTS, Abraham, was the son of the 
preceding, born at Utrecht in 1613. After receiv- 
ing instruction from his father, he studied some 
time with John Bylert, and afterwards went to 
Paris, where he became the pupil of Simon Vouet. 
On returning to his own country, he acquired con- 
siderable reputation as a painter of history and 
portraits. He was taken into the service of Prince 
Maurice of Nassau at Brussels, in whose employ- 
ment he continued some years. He afterwards 
went to Africa, and made numerous sketches of 
the scenery of that country, as well as the man- 
ners and costumes of the inhabitants. He died 
at Utrecht in 1671. 

WILLE, John George, an eminent German en- 
graver, born at Koningsberg in 1717. After 
learning the rudiments of design in his native city, 
he went to Paris at the age of nineteen, where he 
applied himself to stroke engraving, which he af- 
terwards carried to such a high state of perfection 
that few engravers have equalled him in the clear- 
ness and beauty of his execution. He particularly 
excelled in representing the brilliancy and softness 
of silk and satin draperies, and the delicacy of his 
burin was admirably adapted to express the pol- 
ished finishing of the most celebrated Dutch pain- 
ters. He engraved several charming plates from 
the pictures of Douw, Mieris, Metzu, Schalcken, 
Netscher, and other eminent painters, which give 
a very perfect idea of the style of the original 
paintings. He also executed some admirable por- 
traits after the French masters. He acquired 
great distinction, and was elected a member of the 
academies of Paris, Rouen. Augsburg, Vienna, 
Berlin, and Dresden ; was appointed engraver to 
the king of France, the Emperor of Germany, and 
the King of Denmark. Several sovereigns sent 
pupils to him to be instructed in the art ; he also 
had many other scholars, some of whom followed 
his style with considerable success. Among the 
most distinguished may be named Schultze, 
Schmutzer, J. G. Miiller, Bervic, Ohevillet. the bro- 
thers Guttenberg. Halm, and Dennel. Charles le 
Blanc, in his valuable work entitled '• Le Graveur 
en Taille Douce," gives a detailed account of one 
hundred and seventy-five engravings, with all their 
variations, by Wille. Very full lists may also be 
found in Nagler's Kunstler Lexicon, and Bartsch's 
Peintre Graveur. He died in 1807. The follow- 
ing are among his most esteemed prints : 

PORTRAITS. 

James Francis Edward Stuart, called the old Pretender. 
Charles James Edward Stuart, called the young Chevalier. 
Henry Benedick Stuart, Cardinal York. Prospero, Car- 
dinal Colonna; after Pompeo Battoni. Frederick II., 
King of Prussia ; after Pesne. Marshal Saxe ; after Ri- 
gaud. Wolderaar de Loevendael, Marshal of France ; af- 
ter de la Tour. Louis Philipeaux, Count de St. Florentin ; 
after Tocque. Abel Francis Poisson, Marquis de Marig- 
liy ; do. C. B. Briseux ; Architect. Margaret Elizabeth 
de Largilliere ; after N. de Largilliere. Elizabeth de 
Gouy, wife of H. Rigaud ; after Rigaud Joseph Par- 
rocel. Painter ; do. John de Boullogne, Comptroller-gen- 
eral of Finance ; do. 

SUBJECTS AFTER VARIOUS MASTERS. 

The Death of Cleopatra ; after Netscher. The Death 
of Mark Antony ; after Homp. Battoni.. Le Marechal- 



des-Logis; afihr P. A. Wille. LesbonsAmis; after Os- 
tade. Le Menagere Hollandoise ; after G. JDouw- La 
Liseuse ; do. L' Instruction Paternelle ; after Terburg. 
La Gazettiere Hollandoise ; do. La Tricoteuse ; after Mie- 
ris. L' Observateur Distrait; do. La Cuisiniere Hol- 
landoise ; after Metzu. Le Concert de Famille ; after 
Schalken. Les Musiciens Ambulans ; after Dietricy. 
The first impressions of this plate are before the letter e, 
in the word electorale in the dedication. Les OfFres Reci- 
proquos ; do. La Petite Ecoliere ; after J. E. Schenau. 
La Maitresse d'Ecole; after P. A. Wille. Les Soins Ma- 
ternelles ; do. Les Delices Maternelles ; do. 

WILLE, Peter Alexander, was the son of 
the preceding, born at Paris in 1748. His father 
intended him for his own profession, and instruct- 
ed him in the rudiments of art, but the son mani- 
festing a genius for painting, was permitted to 
study that branch. He accordingly frequented 
the Academy, and afterwards studied with Vien 
and Greuze. He distinguished himself as a paint- 
er of domestic and familiar subjects, conversations, 
&c., and was elected a member of the Academy. 
A good idea may be formed of his abilities, from 
the prints engraved after his pictures by his father. 
He also etched a few plates from his own designs, 
and after other masters. 

WILLEBORTS. See Boschaert. 

WILLEMANS, or WILLMAN, Michael, an 
eminent German painter, born at Lubec in 1630. 
Desirous of procuring better instruction than he 
could obtain in his native city, he went to Am- 
sterdam, and first studied with Jacob Backer ; but 
he afterwards became the disciple of Rembrandt, 
with whom he continued several years. On re- 
turning to Germany, he acquired distinction as an 
historical painter, and found abundant employ- 
ment. He was much patronized by the Elector 
of Brandenburg, for whom he executed several 
considerable works, particularly a large picture of 
Vulcan forging the Arms of Mars, which is high- 
ly commended. He was also employed at several 
other courts of Germany, where his works are 
highly esteemed ; and many of the churches and 
the palaces of the nobility in Germany, are adorn- 
ed with his productions. He died in 1697. 

WILLEMS, Mark, a Flemish painter, born at 
Mechlin about 1527. He studied with Michael 
Coxcis, and became a very eminent painter of his- 
tory in his time. He painted with great facility ; 
his pictures are well composed, and agreeably col- 
ored ; his figures are correctly designed. When 
Philip, king of Spain, made his public entry into 
Mechlin, Willems, then but twenty-two years of 
age, was employed to paint the triumphal arch, 
which gained him great credit. There is a fine 
picture by him, representing the Decollation of St. 
John, in the cathedral at Mechlin. He died in 
1561. 

WILLIAMS, Robert, an English engraver born 
in Wales, who flourished at London about 1715. 
He distinguished himself as an engraver in mez- 
zotinto, and executed a great number of portraits 
of distinguished personages, after Wissing. Van- 
dyck, Kneller, and others, which are interesting as 
illustrations of Enghsh history. Some of them 
are finely executed, and are accounted excellent 
likenesses. Among others are the following: 

Charles I. ; after Vandyck. Edward, Lord Littleton, 
Lord Keeper ; do. Charles II. ; two plates ; after Lely 
and Kneller. James II., when Duke of York; after 
Cooper. Mary Beatrix, his Queen ; after Wissing. Wil- 
liam III., when Prince of Orange ; do. Mary, Princess 



WILL. 



1099 



WILS. 



I 



of Orange ; do. Henry Somerset, Duke of Beaufort ; do. 
William Russell, Duke of Bedford ; do. James Fitzroy, 
Duke of Monmouth. James Butler, Duke of Ormond ; do. 
Charles Somerset, Marquis of Worcester ; do. The Coun- 
tess of Derby. Sir Charles Cotton ; after Riley. Theo- 
philus, Earl of Huntingdon ; after Kneller. George, 
I'rince of Denmark ; after Wissing. Anne. Princess of 
Denmark ; do. Lord Cutts, when Mr Cutts ; do. George 
Fitzroy, Duke of Northumberland ; do. Charles Lennox, 
Duke of Richmond; do. Sir George Rook; after Dahl. 
Sir John Houblon, Alderman of London ; after Closter- 
man ; scarce. Sir Edmund King, M. D ; after Lely. 
Barbara Villiers, Duchess of Cleveland ; after Kneller. 
Ann Scott, Duchess of Monmouth; after Wissing. Cathe- 
rine Sedley, Countess of Dorchester ; inscribed Mrs. Sid- 
ley ; do. Dorothy Cressy ; after Kneller ; scarce. Thomas 
Betterton, Actor ; do. John Campbell, Duke of Argyle ; 
after Closterman. Sir Richard Blackmore, M. D., and 
Poet ; do. ; fine and scarce. William, Earl of Portland ; 
after Simon de Bois. 

WILLIAMS, John, an English portrait painter, 
who flourished about 1775. He is supposed to 
have been a scholar of Richardson. He was an 
excellent artist, and his portraits are deservedly- 
admired. 

WILLIAMS, William, an English engraver, 
who was probably an amateur. His name is 
affixed to two slight etchings of views of the town 
of Halifax. 

WILLIAMSON, P., an English engraver and 
printseller, who flourished at London about 1667. 
He engraved a few portraits, and some small plates 
illustrating the Concealment of Charles II., dated 
in that year. 

WILLINGEN, Peter vander, a Dutch pamt- 
er, born at Bergen-op-Zoom in 1607. He painted 
subjects of still-life — vases of gold and silver, 
books, and musical instruments, ingeniously com- 
posed, agreeably colored, and very highly finished, 
producing a very natural and pleasing effect. He 
died in 1665. There was another artist of this 
name, who flourished about the same time, and 
painted interiors of churches and other edifices. 
Nothing is known of him except by his pictures. 

WILS, or WILTS, John, a Dutch landscape 
painter, who flourished at Haerlem about 1650. 
Little is known of him, except that Nicholas 
Berghem married his daughter, and is said to have 
frequently embellished his landscapes with cattle 
and figures. Such are now attributed entirely to 
the latter. 

WILSON, Richard. R. A., aneminem; English 
landscape painter, was born of a respectable fam- 
ily at Pinegas, in Montgomeryshire, in 1714. He 
was the third son of seven children; at the time 
of his birth, his father was a clergyman in Mont- 
gomeryshire, but he was shortly afterwards colla- 
I ted to the living of Mold, in Flintshire. Young 
Wilson early manifested a taste for drawing, and 
gave such promise that his relative, Sir George 
Wynne, took him to London, and placed him un- 
der an obscure portrait painter, named Thomas 
Wright, who lived in Covent Garden. With this 
master he made great progress, but nothing is 
known of his earlier studies; he must, however, 
have attained some rank as a portrait painter, for 
in the year 1748 he painted a large picture of the 
Prince of Wales and his brother the Duke of 
York, for their tutor Dr. Hayter, bishop of Nor- 
wich. 

After practicing for some time with success in 
Lon(]on as a portrait painter, Wilson went to Ita- 



ly in 1749. to study the great works of the Italian 
masters. He had as yet tried little,' if anything, 
in landscape painting, and seems not to have 
known his abilities in that branch ; but while 
stopping at Venice, he paid a visit to Zuccarelli, 
the landscape painter, who happened to be from 
home, and Wilson, to pass the time until he came, 
made a sketch in oils of the view from the paint- 
er's window. ZuccarelH thought so highly of this 
sketch, that he recommended Wilson to relinquish 
portrait, and take to landscape painting. Another 
occurrence which happened to him in Rome, in- 
duced him to follow this advice. Vernet, the cel- 
ebrated French landscape painter, visited him in 
his studio at Rome, and was so much struck with 
a landscape by Wilson which he saw there, that 
he offered one of his best pictures in exchange for 
it ; the proposal was readily accepted, and the 
picture delivered to Vernet, who placed it in his 
exhibition room, and often spoke highly of Wil- 
son's talents. Years after, when established in 
Paris, Vernet would frequently tell his English 
patrons that they had no need of coming to him 
for pictures, while they possessed such a painter 
as Wilson. 

From this time, Wilson devoted himself to land- 
scape, and soon acquired so great a reputation that 
he had many scholars, even while in Rome ; and 
Mengs painted his portrait, receiving a landscape 
in return from Wilson. He did not follow the ex- 
ample of many, in copying the works of celebra- 
ted masters ; but he went immediately to the 
source of all art, and confined his studies to nature. 
After an absence of six years, Wilson returned 
to England in 1755. In 1760 he exhibited, in the 
great room at Spring Gardens, his celebrated pic- 
ture of Niobe, which was purchased by William, 
Duke of Cumberland, This work established his 
reputation in England, as one of the first land- 
scape painters of his time. In 1765, he exhibited 
in the same place a View of Rome from the Villa 
Madam a. which was purchased by th6 then Mar- 
quis of Tavistock. He was one of the first mem- 
bers of the Royal Academy, founded in 1768 ; and 
at the death of Hay man in 1776, he was appoint- 
ed librarian in his place. This appointment brings 
a very small emolument with it, yet small as it is, 
Wilson solicited the place ; for although a few 
discriminating connoisseurs purchased some of his 
best pictures, he was neglected by the public, and 
was in a state of indigence compared with the ma- 
jority of his fellow members of the Academy. 
Many of the Academicians had a personal ^dislike 
to him, among whom the president, Reynolds, was 
the foremost. The friends of the latter attribute 
this to Wilson's unprepossessing appearance, 
and uncouth manners, but these unfavorable cir- 
cumstances do not account for the active and per- 
severing animosity of the president. Wilson's 
uncouthness, however, was seemingly only exter- 
nal, according to the account of Northcote, who 
says that " his mind was as refined and intelligent 
as his person and manners were coarse and repuls- 
ive; and discernment and familiarity with him 
were necessary to discover the unpolished jewel 
beneath its ferruginous coat." Like many other 
talented artists, he received no adequate encour- 
agement during his life-time ; but the prophecy of 
Peter Pindar (Dr. Wolcott) has been abundantly 
verified, and the pictures for which Wilson re- 
ceived only a few pounds, have since been sold for 



WILS. 



1100 



WILS. 



as many hundreds. During the last two or three 
years of his life he lived in affluence, owing to 
some property which he inherited from a brother. 
He retired to the house of his relative, Mrs. C. 
Jones, called Colomondio, in Wales, where he died 
in 1782. 

The style of Wilson is altogether original. Fol- 
lowing nature as his guide, he adopted a varied 
and interesting manner, distinguished for its bold- 
ness and fidelity to nature, yet entirely classical. 
He avoided the acquisition of all adventitious 
beauties, and escaped the mannerism which gene- 
rally arises from the too partial study of favorite 
masters. His views in Italy are selected with 
judgment and taste. In the words of a just criti- 
cism which appeared at London many years ago, 
in the " Sun" paper : " In many of these pictures 
Italy is realized, and at one glance we are enabled 
to enter into all the great and powerful feelings 
which are awakened by the recollection of what 
our earlier studies taught us respecting that land 
of heroes, that seat of stupendous empire which 
virtue raised and luxury withdrew, till it present- 
ed those melancholy scenes in the representation 
of which Wilson so preeminently excels. They 
are fine compositions, mingling the loveliest ap- 
pearances of nature, where nature is most beauti- 
ful, with dreary and dark desolation, and every 
touching image which decaying grandeur in the 
noblest works of art could suggest to a classical 
imagination." It has also been observed, in a 
similar strain, that " in his pictures the waving 
line of mountains, which bound the distance in 
every point of view, the dreary and inhospitable 
plains, rendered solemnly interesting by the moul- 
dering fragments of temples, tombs, and aque- 
ducts, are all indicated in a masterly manner, ex- 
hibiting that local character which cannot but be 
considered as peculiarly grand and classical." In his 
representations of scenes from his native country, 
Wilson was frequently employed to paint partic- 
ular views, which were less picturesque than he 
would have selected, and consequently partake of 
the formality of portraiture ; but they are invari- 
ably treated with taste and ingenuity, and are dis- 
tinguished for their fresh and dewy brightness of 
verdure. 

In 1814, about seventy of Wilson's pictures 
were exhibited with some other works, at the Bri- 
tish Institution. Among his principal works are, 
Niobe ; Phaeton ; a large View of Rome ; Villa 
of Maecenas at Tivoli ; Hadrian's Villa ; Temple 
of Bacchus, near Rome ; View on the Tiber ; Cice- 
ro at his Villa ; Ceyx and Atalante; View from 
Wilton House; St. James's Park; Carnarvon 
Castle ; and many others. Some of them he re- 
peated several times with little variation, particu- 
larly the Villa of Maecenas at Tivoli, which he re- 
peated five times ; and this circumstance has some- 
times given rise to a suspicion of the originahty 
of some of his works, which are really the produc- 
tions of his pencil. Many of them have been en- 
graved by Woollett, Byrne, Elliott, Hodges, Middi- 
man, Earlom, and others ; and many yet remain 
tp be engraved. 

WILSON, Benjamin, an English portrait paint- 
er, born at Leeds in Yorkshire. He went early to 
London, where Dr. Berdmore, Master of the Char- 
ter House, took him under his protection. He 
became a reputable painter of portraits, and was 



one of the first who endeavored to introduce into 
his pictures a better style of relief and of the 
chiaro-scuro. His heads are colored with more 
warmth and nature than those of the generality 
of his cotemporaries. He had considerable know- 
ledge of natural philosophy, and was a member 
of the Royal Society. He executed a few etch- 
ings, among which are two or three in imitation 
of Rembrandt. He was appointed master-painter 
to the Board of Ordnance, and died in 1788. 

WILSON, Andrew, a distinguished Scottish 
landscape painter in water colors, was born at 
Edinburgh in 1780. After acquiring some know- 
ledge of painting under Nasmyth, he went to 
London at the age of seventeen, and entered the 
Royal Academy. When he had completed his 
studies there, he went to Rome about 1799, and 
studied the great works of art in that city, be- 
sides designing the finest views in the vicinity, 
and making close investigations into the ancient 
modes of painting at Pompeii and the Neapolitan 
Museum. After returning to London, he was in- 
duced to revisit Italy in 1803, for the purchase of 
works by the old masters ; and while in Genoa he 
purchased fifty-four, among which was Rubens' 
picture of the Brazen Serpent, now in the Nation- 
al Gallery. He was also elected a member of the 
Ligurian Academy. 

In 1806, Wilson returned to England, and ex- 
hibited several admired pictures at the Royal Acad- 
emy. In 1808 he married, and subsequently ac- 
cepted one of the Professorships in the Royal 
Military College at Sandhurst ; he resigned his 
appointment after a time, and returning to Scot- 
land, became master of the Trustees' Academy, a 
post which he held for some years, during which 
time he was the instructor and warm friend of a 
number of young men who have since done honor 
to Scottish Art. Guided by Wilson's knowledge 
and taste, the Board of Manufacturers extended ' 
their collection of casts, which is now one of the 
finest in the kingdom. As Manager of the Royal 
Institution, he was employed to purchase the col- 
lection of engravings now preserved in their gal- 
leries ; and his opinion was consulted on all mat- 
ters relating to the collection of works of art and 
the promotion of taste. During this period he 
painted many fine pictures, which found a ready 
sale. His morning and evening scenes were great- 
ly admired for their truth and beauty; his pic- 
tures were distinguished for their classic forms 
and arrangement, correct and elegant drawing, and 
vigorous touch. 

Aided by a small accession of fortune, Wilson | 
determined to revisit Italy in 1826; and during 
the succeeding twenty years he lived alternately 
at Rome, Florence, and Genoa, painting many pic- 
tures, some of which were purchased for the royal 
and noble collections. He also purchased many 
fine works of art for the English private galleries, 
and formed the collection in Edinburgh which was 
subsequently intended to occupy the National 
Gallery of Scotland, and is probably located there 
at the present time. In 1847, Wilson returned to 
England, and died at Edinburgh in the following 
year. 

WILSON, W., an English mezzotint© engravci 
of little note, who executed a few portraits, among i 
which is one of the Countess of Newburg ; after 
Dahl. 



WILT. 



1101 



WIND. 



WILSON, William, an English engraver, who 
executed with the graver, in a neat, clear style, 
several landscapes after Claude Lorraine. Poussin, 
and other masters. 

WILT, Thomas vander, a Dutch painter 
and engraver, born, according to BruUiot. 
at Piershil in 1659. He studied under John 
Verkolie, and settled at Delft, where he paint- 
ed portraits and familiar subjects. He also exe- 
cuted a few portraits in mezzotinto, marked with 
the above monogram. There is some discrepancy 
about him; Laborde quotes Brulliot, saying that 
his name was F. vander Wilt ; Zani calls him Fer- 
dinand ; but the monogram would indicate Thomas. 
He was living in 1729. 

WILTON, Joseph, R. A., an eminent English 
sculptor, was born at London, according to Allan 
Cunningham, in 1722. His father, though a com- 
mon plasterer, acquired a fair fortune by manu- 
facturing ornaments for ceilings and furniture, and 
as Wilton manifested a strong incHnation for 
sculpture, he sent him over the channel to Bra- 
bant, and placed him under Laurent Delvaux. At 
the age of 22, Wilton proceeded to Paris, where 
he entered the school of Pigalle, learned the art of 
working marble, and drew the silver medal at the 
Academy. In 1747 he removed to Rome, where 
he distinguished himself so much to the satisfac- 
tion of the Academy of St. Luke, that in 1750, 
Pope Benedict XIV. presented him with the Ju- 
bilee Gold Medal. During a residence of eight 
years in Italy, Wilton was chiefly occupied in 
copying the antique statues. He returned to Lon- 
don in com})any with Cipriani the painter. Cham- 
bers the architect, and a skillful modoller named 
Capizzoldi. 

About this time the Duke of Richmond formed 
a gallery in Spring Gardens for students in art, 
offering premiums to the most meritorious, and 
appointed Wilton and Cipriani directors. Before 
the termination of Wilton's engagement he was 
appointed State ('oach Carver to the King, and he 
made the coronation coach for George III. Ac- 
cording to Cunningham, the English sculptors be- 
fore this time were employed by the architects, and 
Wilton was the first who had passed through a re- 
gular course of instruction and travel. His father 
having left him a considerable fortune, he was en- 
abled to follow his own inclinations, and he suc- 
ceeded at length in elevating British sculpture to 
its proper footing as an independent art. The 
first public work of importance from his chisel 
was the monument to Gen. Wolfe, in Westmin- 
ster Abbey ; after which he executed many other 
works, among which were the monuments to Ad- 
miral Holmes, the Earl and countess Montrath, 
and Stephen Hales. He also executed a large num- 
ber of busts, particularly those of Swift, Wolfe, 
Chesterfield, Chatham, Cromwell, Bacon, and New- 
ton. His design was tolerably good, he was in- 
timatel}"- acquainted with anatomy, and notwith- 
standing the defects in his composition, which was 
frequently ill-conceived, too crowded, and too mi- 
nute in accessories, his execution was excellent, 
and all his productions were admirably worked in 
the marble. Wilton acquired a large fortune, and 
h'ved in great style. He had a very beautiful 
duugliter, who was married to Sir Robert Cham- 
bers. He was one of the founders of the Royal 
Academy, and when he retired from his profession, 
accepted the office of Keeper of that institution. 



He died in 1803. There is a bust of him in the 
Royal Academy, executed by Roubilliac, and pre- 
sented by his daughter, Lady Chambers. 

WINCKEL, Theresa Emilia Henrietta, a 
German paintress, was born at Dresden in 1784. 
She studied in the gallery of her native city, and 
attained gi-eat excellence in copying after the old 
masters. In 1806 she visited Paris in company 
with her mother, and remained there about two 
years and a half Her talents were highly es- 
teemed by David, who said that no artist could 
equal her in copying Correggio. Her mother 
having lost her fortune, the daughter employed 
her talents in music and painting for their com- 
mon support. Several of her paintings have been 
used as altar-pieces. The time of her death is not 
recorded. 

WINDHAM, Joseph, an English artist, anti- 
quary, and writer on art, was born at Twicken- 
ham in 1739. After his educational course at 
Eton, and Christ's College, Cambridge, he visited 
the Continent, and traveled through France, Ita- 
ly, Istria, and Switzerland, in 1769. While re- 
siding at Rome, he studied and measured the re- 
mains of ancient architecture there, particularly 
the baths ; and his numerous plans and sections of 
them were engraved in Mr. Cameron's great work 
on the Roman Baths. To this he also furnished 
a considerable and valuable portion of the letter- 
press ; he also drew up the greater part of the 
letter-press of the second volume of the Ionian 
Antiquities, published by the Society of Dilet- 
tanti ; and Mr. Stuart received material assistance 
from him in the second volume of his Athens. For 
many years Windham was a member of the Roj'^al 
and Antiquarian Societies ; and in the latter was 
for many years one of the council. He died in 
1810. 

WINDTER, J. W., an engraver, who died at 
Nuremberg in 1765. There is much contradiction 
about his name, but he signed his prints /. W. 
Windter del. et sculps.^ or J. W. W. He en- 
graved a ^Qv}- portraits and other subjects. 

WINGANDORP, F., a German engraver, who 
flourished about 1672. He engraved some fron- 
tispieces and other book plates, indifferently ex- 
ecuted with the graver. 

WINGHEN, JoDocus, or Josse van, a Dutch 
painter, born at Brussels in 1544. He went young 
to Italy, and studied four years at Rome. On re- 
turning to his native city, he was appointed paint- 
er to the prince of Parma. In 1584 he went to 
Frankfort, and painted history with considerable 
reputation till his death, which happened, accord- 
ing to Fiiessli and Brulliot, in 1603, and Zani, in 
1613. His pictures are marked with one of the 
following monograms ; he is sometimes called the 
Old, to distinguish him from his son Jeremiah, 
called the Young. 



or 



WINGHEN. Jeremiah van, was the son of the 
preceding, born at Brussels in 1578. He showed 
an early genius for art, and after receiving instruc- 
tion from his father, he went to Ital)^, where he 
painted history with great reputation.and his works 
obtained him great applause in every city that he 






WINS. 



1102 



WIT. 



visited. He afterwards returned to his own coun- 
try, and settled at Frankfort, devoting himself 
chiefly to portraits, in which he was truly excel- 
lent. He obtained a striking likeness, his coloring 
was clear and natural, and his pictures were fin- 
ished with diligence and care. He died in 1648. 

WINSTANLEY, Henry, an English architect 
of considerable distinction. He was the projector, 
designer, and builder of the first Eddy-stone light- 
house, and perished with his edifice in the great 
storm of 1704. 

WINSTANLEY, Hamlet, an English painter, 
was the son of the preceding. After studying 
under Sir Godfrey Kneller, he went to Italy, where 
he resided some years. On returning to England, 
he abandoned painting and devoted himself en- 
tirely to engraving. He etched a set of twenty 
plates from pictures in the collection of the Earl 
of Derby by Titian, Tintoretto, Paul Veronese, 
Bassano, Guido, Castiglione, Spagnoletto, Carlo 
Maratti, Rubens, Vandyck, Rembrandt, and other 
eminent masters. He also engraved a set of plates 
from the paintings of Sir James Thornhill in the 
cupola of St. Paul's cathedral. He died about 
1760. 

WINTER, Giles db, a Dutch painter, born at 
Leeuwarde in 1650. He studied under Renier 
Brakenburg, whose style he followed with con- 
siderable success. He painted similar subjects to 
those of his master, representing the amusements 
and recreations of the peasantry, Dutch boors 
regaling themselves, interiors of cabarets, &c. — 
His pictures are ingeniously composed, and his 
coloring is clear and brilliant, but his design is 
often very incorrect, as his imagination was so 
strong, that he never gave himself the trouble 
to study after nature, or make any preparatory 
designs, but composed and painted at once on 
his canvass, and wrought with the negligence and 
despatch of a mannerist. His pictures are little 
known out of his own country. He died at Am- 
sterdam in 1720. 

WINTER, or WINTNER, Joseph George, a 
German designer and engraver, who flourished 
about 1787. He engraved and published a large 
number of plates from his own designs, and after 
the works of Teniers, Berghem, Wouwerman, Mel- 
chior Roos, Peter de Laer, and other masters, fif- 
ty-three of which were in the Rigal collection. 
There were several other painters and engravers of 
little note, named Winter. Zani mentions a Gio. 
Guglielmo Winter, a painter of animals, and an en- 
graver, who flourished in 1764. 

WIRZ, John, a Swiss painter and engraver, born 
at Zurich in 1640. He studied under Conrad 
Meyer, and painted portraits with considerable 
success ; but he is chiefly known out of his own 
country by his engravings. He designed and 
etched a set of forty-two plates for a book written 
by himself, entitled Johannis Wirzii Romcc Ani- 
male Exemplium, &c., 1677. They are etched in 
a neat, spirited style, resembling that of John 
William Baur. He also etched a few plates of 
portraits, and other subjects, after Holbein, Meyer, 
and others. He died in 1710. 

WISCHER, Theodore. See Visscher. 

WISSING, William, a Dutch painter, born at 
Amsterdam in 1656. He studied under William 
Doudyns, a painter of history at the Hague, but 



his genius leading him to portraiture, he adopted 
that branch of the art. On leaving his instructor, 
he went to Paris, and soon afterwards to England, 
where he was employed by Sir Peter Lely to as- 
sist him in his numerous works, and on the death 
of that master, he succeeded to much of his busi- 
ness. He imitated the style and coloring of Lely 
very successfully. He painted the portrait of the 
Duke of Monmouth several times, which ingra- 
tiated him with the King, and procured him the 
commission to paint all the members of the Royal 
Family, as well as the principal ladies and nobility 
of the court. Although he found a formidable ri- 
val in Sir Godfrey Kneller, he was still extensively 
employed, and at the death of Charles II., was ap- 
pointed principal painter to his successor, James 
II., who sent him to the Hague to take the like- 
ness of William and Mary, Prince and Princess 
of Orange. He died at Burleigh, the seat of the 
Earl of Exeter, in 1687. 

WIT, or WITTE, Pieter de, called by the Ital- 
ians, Pietro Candido, a Flemish painter, sculp- 
tor, and architect, born at Bruges in 1548. After 
studying in his native city, under some unknown 
master, he went young to Italy, and formed an 
intimacy with Giorgio Vasari, who employed him 
to assist in his works in the Vatican. He painted 
equally well both in oil and fresco, and was after- 
wards employed to execute several considerable 
works for the palace of the Grand Duke of Tuscany ; 
also some cartoons for tapestry. He was invited 
to Munich by the Elector of Bavaria, who appoint- 
ed him his painter, and he remained there during 
the rest of his life. He was the intimate friend of 
John Sadeler, who engraved some of his principal 
works, among which are the Annunciation, the 
Last Supper, the Holy Women at the Tomb of 
the Saviour, and Christ with, the Disciples at 
Emmaus. De Wit painted, under the arcade of 
the long galler}'- of the Hof-garten at Munich, a 
series of frescos, representing the deeds of Otto 
of Wittelsbach, and the Departure of the Emperor 
Ludwig I. from Rome, in 1327. The paintings 
are now defaced, but the designs are preserved in 
the tapestries worked from them, and in the prints 
engraved by Amling from the tapestries. These 
are thirteen in number, marked with the name of 
Pietro Candida^ as the painter. He was a monk, 
and most of his works are of a religious char- 
acter. 

De Wit probably acquired the knowledge of 
sculpture and architecture under Vasari. He 
practiced those arts at Munich, where the Elector. 
Maximilian I., employed him in the great palace, en- 
trusting to him the embellishment of the interior, 
and probably the principal part of the whole work. 
Milizia praises the staircase as a master-piece of 
architecture. As a sculptor, he executed, amons; 
other works, the mausoleum of the Emperor Lud- 
wig. in the church of Our Lady at Munich, deco- 
rated at the four angles with four statues of sol- 
diers, larger than life, with lances and various in- 
signia. Milizia says this work is worthy of being 
placed in St. Peter's. There is some confusion in 
the difl'erent accounts of this painter, and that 
part of his history connected with the Elector of 
Bavaria, is attributed in the Biographie Univer- 
selle, to one Lievin Wit, an historical and glass 
painter, whose birth is placed at Ghent, about 
1510 ; but this is most probably erroneous, as the 



WIT. 



1103 



WIT. 



artist of this name who visited Munich, was em- 
ployed by the Elector Maximilian I., who suc- 
ceeded to the government in 1596. His death is 
placed by some in 1599, but this probably refers 
to some other artist ; as the works he executed 
for Maximilian would seem to have occupied at 
least ten or fifteen years, if not longer. Others 
place it after 1620, which is the most reliable ac- 
count. 

WIT, or WITTE, Cornelius de, was a younger 
brother of the preceding, but the accounts of him 
are strangely confused. He is said to have been 
very eminent as a landscape painter. 

WIT, or WITTE, Gaspar de, a Flemish 
painter, born at Antwerp in 1621. After study- 
ing in his native city he went to Italy, and gained 
considerable reputation for his landscapes of small 
size, designed in the Italian manner, and enriched 
with ancient ruins and edifices, also with small 
figures, correctly designed. His pictures were 
exquisitely finished, in the Flemish style. After 
several years he returned to the Low Countries, 
and painted numerous pictures, many of them from 
designs he had made in Italy, which were much 
admired. He died at Amsterdam in 1673. 

WIT, or WITTE, Peter de, sometimes called 
Junior, or the Younger, to distinguish him from 
the elder Peter de Wit, was the brother of Gaspar 
de Wit. He was born at Antwerp in 1620, and 
died in or about 166&. He was a good landscape 
painter, and acquired considerable reputation. 

WIT, or WITTE, Emanuel de, an eminent 
Flemish painter, born at Alkmaer in 1607. He 
studied under Evert van Aelst at Delft, a painter 
of still-life, but did not adopt the style of his in- 
structor. He applied himself to portraits, and occa- 
sionally to history, for some time ^ but not meeting 
with much encouragement, he studied perspective 
and architecture, and became one of the most em- 
inent artists of his country in this branch. His 
best pictures represent the interiors of churches, 
temples, and magnificent edifices, which he embel- 
lished with numerous figures, correctly drawn, and 
touched with great neatness and spirit. He fre- 
quently gave a striking and picturesque appear- 
ance to his pieces, by representing the sun shin- 
ing through the windows on part of the building, 
which is finely contrasted with that which is in 
shadow, and produces a natural and pleasing ef- 
fect. The difierent ornaments of the buildings 
are designed with the greatest precision, and every 
object is touched with a bold and masterly pen- 
cil. Wit resided most of his life at Amsterdam, 
and his pictures usualh^ represent the interiors 
of churches in that city, with every object correct- 
ly delineated, as the organs, monuments, pulpits, 
clergymen, and seats crowded with the audience. 
His style of composition is so peculiar, that his 
pictures once seen, can be instantly recognized. His 
best works are highly esteemed, and are to be 
found in the choice collections of his country. He 
died in 1692, aged 85 years. 

The fair fame of this talented artist has proba- 
bly been grossly libeled, for some unaccountable 
reason. He is said to have been dissipated in his 
habits, of a sour and morose disposition, and too 
much inclined to depreciate the works of his bro- 
ther artists, which procured him universal hatred 
and contempt, and reduced him to poverty. It is 



also related that he was found drowned in a canal 
at Haerlem, with a rope about his neck, in 1692. It 
is not very likely that a debauchee would live to 
the age of 85 years; and his style was so different 
from any of his cotemporaries, that he could have 
little fear of competition from them, or they from 
him. The following anecdote, however, would 
indicate that he was of a passionate temper. He 
had received a commission from the son of Admi- 
ral de Ruyter to paint a View of the choir of the 
new church at Amcterdam, where the monument 
of the famous Dutch commander was erected. — 
Young de Ruyter dying before the work was fin- 
ished, the family refused to pay the stipulated 
price, but ofiered a moietj^. As the artist had 
exerted all his energies to produce a capital work, 
he was so exasperated, that he destroyed the pic- 
ture. 

WIT, Jacob de. a Dutch painter, born at Am- 
sterdam in 1695. He first studied with Albert 
van Spiers for three years, after which he went to 
Antwerp, to improve himself by studying the 
works of Rubens and Vandyck. While there, he 
studied some time with Jacob van Halen, a paint- 
er of little note ; but he derived his principal im- 
provement from a diligent study of the works of 
the great Flemish masters. In 1712 and 1713, he 
made designs from the famous paintings by Ru- 
bens, on the four ceilings in the church of the 
Jesuits in that city, in thirty-six compartments ; 
and we are indebted to him for the preservation of 
those admirable compositions, as the originals were 
destroyed with the church by lightning, in 1718. 
The engravings by John Punt, were executed 
from the designs of de Wit, He was principally 
employed in painting ceilings, and decorating the 
mansions of the nobility with historical, emblem- 
atic, and allegorical subjects, which he composed 
with great ingenuity, designed correctly, and col- 
ored agreeably. He was particularly successful 
in designing children, and some of his pictures of 
Cherubs, or Cupids sporting, painted in chiaro- 
scuro, are remarkably fine, and are held in the 
highest estimation. In 1736, he was employed 
by the magistrates of Amsterdam, to embellish 
the great Council Chamber with several subjects 
from the Old Testament, in which he discovers 
great inventive genius, and uncommon facility of 
execution. He also painted many works for the 
churches in Holland. He died in 1744. 

WIT, or WITTE, de. There were several oth- 
er painters and engravers of this name, but they 
were of little note, and the accounts are so con- 
fused that little reliance can be placed upon them ; 
such are Anthony, Francis, E, and B. de Wit. 

WITDOECK, Hans or John, an eminent Flem- 
ish engraver, born at Antwerp about 1600. His 
name is variously inscribed on his plates ; gene- 
rally Witdoeck, sometimes Withouck, and occa- 
sionally Witdouck. His talents recommended him 
to the notice of Rubens, and he engraved several 
plates from the pictures of that great painter un- 
der his immediate inspection. His plates, though 
less correct in drawing, and less admirable in the 
mechanical part of the execution than those of 
Vorsterman, Bolswert. and Pontius, are still esti- 
mable for their powerful effect, and they are in 
several instances the only prints existing of the 
capital pictures from which they were engraved. 
He also executed some plates from the works of 



WITH. 



1104 



WITS. 



Cornelius; Schufc. and other masters. The follow- 
ing!; are his most esteemed prints : 

SUBJECTS AFTER RUBENS. 

Melchisedeck presenting Bread and Wine to Abraham. 
The Nativity. This pWite has undergone several altera- 
tions, chiefly to add to the effect. The first impressions 
are without the address of Corn. Coeberchs ; the second 
are with that address. The plate afterwards came into 
the possession of S. Bolswert, who retouched it, by which 
it was greatly improved. He also effaced the name of 
Coeberchs, and inserted his own. The Adoration of the 
Magi; engraved in 1683. There are also different impres- 
sion! of this plate. The Elevation of the Cross, in three 
sheets. His most capital print. Christ with the two Disciples 
at Emmaus. There arc some impressions of this plate 
printed in chiaro-scuro, under the direction of Rubens, 
which are very scarce. The Assumption of the Virgin. 
The impressions of this plate with the address of Corn, van 
Merlen, are retouched. The Holy Family, with .St. John. 
The first impressions of this plate are before the address of 
Moermans. Another Holy Family, with St. Elizabeth and 
St. John The best impressions have the address of R. J. 
de Bert. St. Cecilia. This plate was retouched and im- 
proved by Bolswert. 

WITHOOS, Matthew, a Dutch painter, born 
at A.mersfort in 1627. After studying six years 
under Jacob van Campen, a painter of history 
and an architect, he went to Italy in company 
with Otho Marcellis. Observing that the works 
of the latter were eagerly sought after from their 
novelty, he abandoned history, and applied himself 
to the same branch, in which he greatly excelled. 
He painted fruit, flowers, curious plants, insects, 
serpents, lizards, toads, and other reptiles to the life. 
He drew everything from nature with wonderful 
precision, truthfulness, and beauty of penciling, 
that procured him many admirers. During a resi- 
dence of two years at Rome, he was much em- 
ployed by the Cardinal de' Medici to paint a great 
variety of subjects of that description, for which 
he was liberally rewarded. He returned to Hol- 
land in 1650, and found abundant employment, at 
high prices, his pictures bringing him five or six 
hundred florins each. On the approach of the 
French army in 1672, he retired to North Holland. 
and settled at Hoorn, where he died in 1703. See 
Otho Marcellis. 

WITHOOS, John, was the son of the preced- 
ing, born at Amersfort in 1648. After receiving 
instruction from his father, he went to Italy, and 
diligently studied nature ; he made an immense 
collection of highly finished water-colored draw- 
ings of the beautiful scenery, and views in the en- 
virons of Rome. Avhich were greatly admired, and 
readily sold at high prices. He also painted land- 
scapes in oil, from these drawings, with equal suc- 
cess. Though he met with very flattering en- 
couragement at Rome, he was induced after seve- 
ral years to return to Holland, at the solicitation 
of his friends. His works were not less admired 
in his own country, and he was invited to the 
court of the Duke of Saxe-Lawenburg, in whose 
service he continued till his death, in 1695. 
T\l oj "^^ITHOOS, Pbter. was the second 
I vHy ^^" °^ Matthew W., born at Amers- 
•/-./. yy- fort in 1654. He studied with his fa- 
ther, and painted similar subjects in water-colors 
on vellum. His works are very highly and deli- 
cately finished, correctly designed, and colored af- 
ter nature ; they are highly esteemed in Holland 
by the curious collector, still commanding consid- 
erable prices and admitted into choice collections. 
He died at Amsterdam in 1693. 



WITHOOS, Francis, was the youngest son of 
Matthew W., by whom he was instructed. He 
painted the same subjects as his brother, in water- 
colors, on vellum, but with much less ability. He 
made a voyage to Batavia. in the island of Java, 
where he executed a great many drawings of the 
plants, insects, and reptiles peculiar to that cli- 
mate and country, but on returning to Holland, 
his performances were thought inferior to his ear- 
lier productions. He died at Hoorn in 1705. 

WITSEN, Nicholas, an engraver, probably a 
native of Holland, who flourished about 1659. — 
He engraved a few landscapes after the Dutch 
masters. 

WITTIG, Bartholomew, a German painter, 
born at Oels in Silesia, about 1620. He excelled 
in painting festivals and concerts of music. In the 
gallery of the Louvre is a fine picture by him, 
representing a sumptuous banquet. He died in 
1684. 

WIVELL, Abraham, an English portrait 
i painter, born at London in 1786. He devoted but 
I little attention to the art until 1820. when lie 
sketched a portrait of Queen Caroline, at the bal- 
cony where she appeared to receive the congratu- 
lations of the public. The sketch was much ad- 
mired, and, on being shown to the Queen, she ex- 
pressed a desire to have it completed, and sat for 
it accordingly. Soon after, Wivell was engaged 
by Kelly to draw the portraits of the principal 
personages on the trial of the Queen, to be en 
graved for a work then publishing. He gained ad- 
mittance to the court, and sketched several por- 
traits of the judges and other honorable members, 
which were handed around, and pleased the par- 
ties so well, that most of them gave him a sitting 
or two after the trial, to enable him to finish their 
j portraits. Among these were the Attorney Gen- 
eral. Mr. Brougham ; the Solicitor General, Mr. 
Denman ; Mr. Copley, the son of John Singleton 
C, now Lord Lyndhurst, and others. He now 
advanced rapidly in public favor, and was commis- 
sioned to execute the portraits of many of the no- 
j bility, among whom were the Duke of York, the 
i Duke of Clarence, Lord John Russell, Lord Suf- 
i field, Lord Holland, and others. He also painted 
portraits of about 200 members of the House of 
Commons, for a view of the interior of the House, 
published by Bowyer and Parkes. Most of his 
; portraits have been engraved. He died in 1849. 

! t ^ WOERIOT, or WOEIRIOT, Pierre, 
nX^S"^ a French designer and engraver, born at 
y^^ Bar-le-duc in Lorraine in 1532. He 
chiefly resided at Lyons, and is said to have fol- 
lowed the business of a goldsmith as well as that 
of an engraver ; but from his numerous prints it 
is probable that he devoted his attention chiefly to 
engraving. Robert Dumesnil gives a descriptive 
account of four hundred and one pieces by him. 
His prints are chiefl}'' from his own designs, and 
are executed in a neat style, though the drawing 
is not very correct, and there is little effect, from 
{ the lights being scattered, and a want of depth 
j in the shadows, Woeriot engraved both on cop- 
! per and wood, and usually marked his copper 
I plates with the above monogram, composed of the 
I initials P. W. D. B. His wooden cuts, which are 
I executed with great neatness and delicacy, are 
marked with a double cross, called the Cross of 
i Lorraine. The Biographic Universelle mentions 



WOLF. 



1105 



WOLK. 



a print by him in the Royal French Cabinet, mark- 
ed P. Woeriotius Bozoius ; from which it is sup- 
posed ihat he was a native of the town of Boze, 
or Bouz\^ 

WOLFAERTS, Arthur, a Flemish painter, 
was born at Antwerp in 1625. His instructor is 
not mentioned, bat he gained considerable reputa- 
tion among the artists of his time as a painter of 
history. His compositions are grand and simple, 
evincing a thorough knowledge of the principles 
of design and coloring, and his backgrounds are 
decorated with rich architecture; his sacred sub- 
jects are distinguished for their elevated character, 
and appropriate landscapes, and he was scrupu- 
lously attentive to costume. Wolfaerts also rep- 
7-esented allegorical subjects, which evince that he 
was no stranger to literature, and he occasionally 
painted small compositions in the manner of Te- 
niers, remarkable for their gayety and originality. 
He died at Antwerp in 1687. 

WOLFGANG, George Andrew, a German 
designer, engraver, and goldsmith, born at Chem- 
nitz in Saxony, in 1631. He engraved a few por- 
traits, historical and other subjects, which are exe- 
cuted with the graver, in a dry, stiff", and formal 
style, and possess little merit. He also scraped 
some mezzotints. He died in 1716. 

WOLFGANG. Andrew iMatthew, was the 
son of the preceding, born at Augsburg in 1662, 
and died there in 1736. He was instructed by 
his father, and engraved some indifferent portraits 
of distinguished personages of Germany. 

WOLFGANG, John George, was the young- 
est son of George Andrew W., born at Augsburg 
in 1664. He was instructed in the art by his fa- 
ther, whom he greatly surpassed. He had ac- 
quired considerable reputation, when he was invi- 
ted to the court of Berlin in 1704. and appointed 
engraver to the king. He engraved a considera- 
ble number of portraits of distinguished persona- 
ges, executed with the graver, in a much neater 
style than those of his father and brother ; be- 
sides a set of plates for a work in folio, published 
at Frankfort in 1707, entitled Notitia Universi- 
talis FrancofurtancB. He died in 1743. 

WOLFGANG, Gustavus Andrew, was the son 
of Andrew Matthew W., born at Augsburg in 
1692. and died in 1774. He studied with his un- 
cle John George, and engraved some portraits in 
the neat style of his instructor. 

WOLGEMUT, or WOL- 
lEL, an old 
painter and engraver, 
born at Nuremberg in 1434. He has been the 
subject of deep research and much disquisition, 
yet little has been elicited beyond conjecture. As 
a painter, many works executed in the dry, gothic 
style which characterized the German school pre- 
vious to the time of Albert Durer, are attributed 
to him, most of which, if not all, are of very 
doubtful authenticity. Two pictures attributed 
to him, which connoisseurs generally consider au- 
thentic, are Christ brought before Pilate, now in 
the Louvre, and St. Jerome, in the Imperial Galle- 
ry at Vienna, painted in 1511, when the artist was 
a very old man ; the latter is considered his mas- 
terpiece. There are five others at Munich, repre- 
; '.'iting the Nativity, the Agony in the Garden. 
t ij Crucifixion, the Descent from the Cross, and 



W^ V / WOLGEMUT, I 
or \ A/ GEMUTH. Michai 
V V German painter anc 



the Resurrection, which are variously attributed 
to Wolgeraut, to Hugo vander Goes, and to Jus- 
tus of Ghent. 

As an engraver, the accounts and opinions of 
Wolgemut are exceedingly contradictory. He 
flourished soon after the commencement . of en- 
graving in Germany, and is supposed to have been 
instructed by Jacob Walch. This supposition, 
however, is very improbable, as Walch was proba- 
bly born many years after Wolgemut. and never 
engraved on wood, (See Walch) Strutt says he 
engraved both on wood and copper, and attributes 
to him some cuts marked with a W. surmounted 
with a small o. ; but Bartsch is decidedly of the 
opinion that he only engraved on wood, and that 
the copper plates marked with the letter W. be- 
long rather to Wenceslaus d' Olmulz. Zani, on 
the other hand, expresses great surprise that 
Bartsch should deprive Wolgemut of the honor 
of engraving on copper, and stoutly affirms that 
he never engraved on wood. It is very generally 
considered that he designed and executed a part 
of the wooden cuts for the large folio work com- 
piled by Hermann Schedel, usuallj^ known by the 
appellation of the Nuremberg Chronicle, publish- 
ed in 1493. Ottley attributes to him the inven- 
tion of cross-hatching^ but Jackson says that 
"Ottley is wrong in attributing this material im- 
provement in the art to Michael Wolgemut,-' and 
goes on to say that Wolgemut " has too long been 
decked out with borrowed plumes" ; also that "'he 
considers it extremely questionable if either he or 
Albert Durer ever engraved a single block !" — 
This much appears certain, that he was a painter 
and a designer, and probably an engraver on wood ; 
that Albert Durer studied with him for some time, 
and painted his portrait three years before his 
death, which happened in 1519, at the age of 85 
years. His portrait is in the gallery at Munich. 
The reader who wishes to pursue this subject fur- 
ther, must be referred to Strutt's Dictionary of 
Engravers, Ottley's Notices of Engravers and their 
Works. Jackson's Treatise on Wood Engraving. 
Bartsch's Le Peintre Graveur, and Zani's Enciclo- 
pedia delle belle Arti. See also, Jacob fValchy 
Wenceslaus of Olmutz, Martin Schoen, and Al- 
bert Durer. 

WOLKOW, F., a Russian architect of the last 
century, who studied in the Academy at St. Pe- 
tersburg, and afterwards visited Paris for improve- 
ment. While in that city, he was employed by 
Duval in the construction of the Theatre Fran- 
caise. He subsequently returned to St. Peters- 
burg, where he was employed in constructing nu- 
I merous works, and in designing some plans for 
! the Prince Potemkin. He died in 1803. 

WOLTERS, Henrietta, a celebrated Dutch 
paintress, born at Amsterdam in 1692. She was 
the daughter of Theodore van Pee, a painter of lit- 
tle note, who. perceiving in her a genius for paint- 
ing, instructed her in the rudiments of the art, and 
then placed her under the tuition of James Chris- 
topher le Blond, a miniature painter. It was not 
long before she surpassed her preceptor in delicacy 
of touch and beauty of coloring. She afterwards 
greatly improved herself by studying the works 
of Vandyck, which she copied on a small scale 
with surprising accuracy, preserving not only the 
likeness, but the suavity of coloring and freedom 
of touch, which characterize the originals. Her 



WOOD. 



1106 



WOOL. 



extraordinar}^ talents soon attracted public admi- 
ration, and she was employed to paint the por- 
traits in miniature of many of the first families of 
Amsterdam. When Peter the Great visited that 
city, he sat to her for his portrait, and invited her 
to his court, with the most flattering o£Pers of pro- 
tection and favor ; but she declined. The King 
of Prussia also invited her to Berlin, with no bet- 
ter success, bhe resided in her native city, highly 
respected, until her death, in 1741. 

WOOD, John, an English architect, commonly 
spoken of as "Wood of Bath," who flourished 
during the second quarter of the eighteenth cen- 
tury, in the time of King George 11. His taste 
and abilities were little if at all inferior to his co- 
temporaries, although he has obtained less notice 
than some of them, and little is now known con- 
cerning him, except some incidental facts in his 
" Description of Bath." That city is indebted to 
him for its architectural fame, and he may be con- 
sidered as having there introduced a style of 
street architecture till then quite unknown in 
England, by combining a number of private houses 
into one general design ; and although this mode 
of producing continuous fa9ades was afterwards 
adopted by the Adams, was followed by Nash, 
and has since become very general, yet Wood still 
continues to be nearly the first in point of merit, 
as he is of date. 

About the year 1726^ Wood began his erections 
at Bath, which he carried on uninterruptedly for 
about twenty years, within which time he entire- 
ly changed the architectural character of the place, 
and conferred upon it even a degree of magnifi- 
cence, at least as^is displayed in such parts as the 
Parades, the Circus, the Royal Crescent, Queen 
Square.and some of the public edifices. These works 
have several faults, but a part of them were in- 
jured by alteration of the original designp and 
Mitford says that notwithstanding the errors in 
parts of the Crescent at Bath, he " must reckon it 
among the finest modern buildings at this day 
(1809) existing in the world." Although AVood 
distinguished himself rather as the founder of a 
general system than as the author of any indi- 
vidual structures of importance, yet he produced 
some works of the latter class that alone would 
save his name from oblivion. Among them are 
the noble mansion at Prior Park ; that of Buck- 
land, for Sir John Throckmorton ; and the Ex- 
change at Bristol, first opened in September, 1743. 
The last is a very handsome structure, and the 
principal front presents a very tasteful specimen 
of the Palladian style. Wood wrote a philoso- 
phical treatise on his art, entitled The Origin of 
Buildinfr, or the Plagiarism of the Ancients, folio, 
1741. He died in 1754. 

WOOD, John, an English engraver, who flour- 
ished at London about 1745. He engraved some 
plates of landscapes after Claude Lorraine, Gas- 
par Poussin, Salvator Rosa, Wilson, and other 
masters, which possess considerable merit. 

WOODCOCK, Robert, an English marine 
])ainter, born in 1691. He first practiced the art 
merely for amusement, and held a place under the 
rrovernment, which he quitted, to devote himself 
entirely to art. He began to paint in oil in 1723, 
and in two years had copied above forty pictures 
by Vandervelde. The Duke of Chandos gave 
him thirty guineas for one of his pictures. He 



died in 1728. Woodcock possessed great natural 
abilities, and would have attained eminence, had 
he early received proper instruction. 

WOOLLETT, William, a preeminent English 
engraver, was born at Maidstone, in Kent, in 1735. 
He studied under John Tinney, an obscure engra- 
ver in London ; but he soon adopted an original 
style, from the resources of his own genius. He 
early acquired a great reputation as a landscape 
engrkver, and was appointed engraver to George 
III. Woollett stands at the head of the artists in 
that branch ; by a skillful union of the etching 
needle and burin, he produced the most admirable 
effect of depth and vigor in his foregrounds, and 
of tenderness and delicacy in his distances. In 
the latter part of his life, he practiced historical 
engraving, and in this department he also pro- 
duced some of the finest plates of which the Eng- 
lish school of engraving can boast, particularly 
the Death of Gen. Wolfe, and the Battle of the 
Hogue, which are considered his best historical 
pieces. In figures, and especially in flesh, he was 
not so successful as in the varied departments of 
landscape. Woollett was the first who conceived 
and embodied in practice the great improvement of 
uniting in one plate the three methods of engrav- 
ing — aquafortis, the burin, and the dry point — 
constituting a great advance in the art. Longhi 
remarks that he ''exhibited so much artistic accu- 
racy, so much vivacity and boldness of touch, so 
much force and harmon}'- of chiaro-scuro, so much 
variety of tint, so much intelligence in aerial per- 
spective, so much truth, in fact, and so much pic- 
torial illusion, that he was, for all cotemporary en- 
gravers, and is for those of the present time, the 
marvel and the example." 

The private character of Woollett is highly 
praised for its modesty and amiability. He never 
censured the works of others, or omitted pointing 
out their merit. The following anecdote, related 
by Benjamin West, evinces an extraordinary de- 
gree of patience and perseverance : Woollett, 
when he had finished his plate of the Battle of the 
Hogue, took a proof to West for his inspection : 
at first the president expressed himself perfectly 
satisfied with the plate, but upon a longer exami- 
nation, he observed that in some parts alterations 
might be made, and in others additional color 
might be added, which would, in his opinion, im- 
prove the effect of the plate ; and taking a port- 
crayon, with white and black chalk in it, showed 
in a few minutes the effect that he wished to be 
produced, remarking at the same time that it was 
of no great consequence, but it might improve the 
appearance of the plate. Woollett, however, im- 
mediately consented to make the alterations and 
additions pointed out, "But how long will it 
take you, Mr. Woollett ?" said the President. ''Oh, 
about three or four months." said the engraver. 
" And the patient creature," said Mr. West, in re- 
lating the circumstance, '''actually went through 
the additional labor without a murmur." His ad- 
mirable prints are rendered much more valuable 
by the careful supervision which he exercised over 
the printing, destroying all impressions that ex- 
hibited any imperfection. His plates after the 
landscapes of Richard Wilson are among his mas- 
terpieces, presenting the very mind and feeling of 
that classic painter ; he also engraved after Claude, 
Zuccarelli, the Smiths of Chichester, and others; 
and he executed some plates after views drawn 



WOOT. 



1107 



WORS. 



from nature by himself. He died in 1785. The 
following list comprises WooUett's best works : 

PORTRAITS. 

George Til., King of Great Britain ; after Ramsay. 
Peter Paul Rubens ; after Vandyck. 

LANDSCAPES AND SUBJECTS AFTER VARIOUS MASTERS. 

A View of the Hermitage of Warkworth ; after Hearne. 
The Merry Villagers ; after Jonef. A Landscape, with 
Jineas and Dido; after Jones and Mortimer. A Land- 
scape, with Buildings ; after John Smith. Another Land- 
scape ; after George Smith; the first premium print. 
The Hay- makers; do. The Apple-gatherers ; The Rural 
Cot; do The Spanish Pointer ; after Stuhhs. A View 
of Snowden ; after Wilson. Celadon and Amelia ; do. 
Ceyx and Alcyone ; do. Cicero at his Villa ; do. Soli- 
tude ; d,o. : by Woollett and Ellis. Niobe ; do. Phaeton ; 
do. Meleager and Atalanta ; do. The Jocund Peasants 
and Merry Cottagers ; after C Dusart ; a pair. The 
Fishery; after Wright. The Boar-hunt; after Pille- 
ment. Diana and Acteon ; after Fil. Lauri. A pair, 
Morning and Evening ; after Swanevelt. A Landscape, 
with figures and a Waterfall; after An. Caracci. Mac- 
beth and the Witches ; after Zuccarelli. The Enchanted 
Castle ; after Claude, by Woollett and Vivares. The 
Temple of Apollo ; do. Roman Edifices in ruins ; do. A 
Landscape, with the Meeting of Jacob and Laban ; do. 
The Death of Gsneral Wolfe ; after West. The Battle 
of La Hogue ; do. 

WOOTTON, John, a celebrated English paint- 
er of landscapes and animals, who flourished about 
1720. He is said to have studied with John Wyck. 
He particularly excelled in paintinaf horses and 
dogs, and distinguished himself in designing field 
and turf sports, in which he was much employed. 
His animals are correctly designed, and touched 
with uncommon spirit. Among his most esteemed 
works were seven pictures of fox-hunting, en- 
graved by Canot. Wootton's talents were not 
confined to this branch ; he painted portraits and 
landscapes with considerable success, in the lat- 
ter sometimes imitating Claude Lorraine and Gas- 
par Poussin. He died in 1765. 

WORLIDGE, Thomas, an English painter 
and engraver, who flourished about 1760. He 
first practiced miniature painting, and afterwards 
attempted portraits in oil, but not meeting with 
much encouragement, he devoted himself entirely 
to engraving. He adopted a style resembling that 
of Rcml»randt, and finished his plates with the 
point of the graver, or the scratchings of the dry 
point. His prints are very numerous, consisting 
chiedy of heads and portraits, in the manner of 
Rembrandt, which possess considerable merit. — 
He also engraved quite a number of antique gems, 
from which he struck some proofs on satin, and 
a complete set of these now command a high price. 
His drawings on vellum in India ink and black 
lead are highly esteemed. He died at Hammer- 
smith in 1766, or 1768, aged about 65. 






<S\- WORMS, Anthony von, a 
German engraver, who flour- 
ished about 1530. He was 
a native of Worms, in the Palatinate of the Rhine, 
from which city he derived his name. Florent 
le Comte miscalls him Vuormace. He executed 
some wooden cuts, which, though in the old gothic 
style, possess considerable merit. Bartsch de- 
scribes eleven prints by him. marked with the 
first monogram, except one. which is signed Colo- 
niae. per Anthonium de Vormacia Pictorem. — 
Brulliot says he engraved both on wood and cop- 



per, and that some of his prints are marked with 
the second monogram. 

WORSDALE, James, an English painter of 
little note, who studied with Sir Godfrey Kneller, 
and married his wife's niece. His works are now 
unknown. He died in 1767, at an advanced age. 

WORST, John, a Dutch landscape painter, 
born in 1625, and died in 1680. After studying 
in his own country, he went to Italy, where he 
resided some time. After returning to Holland, 
he painted many pictures from his drawings made 
from Italian scenery, which gained him consider- 
able employment. 

WORTMAN, Christian Albert, a German 
engraver, who was a native of Pomerania, accord- 
ing to Huber, and flourished about 1730. He 
studied with Wolfgang, and at the age of twenty- 
five, was invited to the court of Hesse-Cassel, and 
appointed engraver to the Landgrave. In 1727, 
he went to St. Petersburg, where he engraved 
some portraits of the Imperial Family, and the 
principal personages of the court. 

WOUTERS, Francis, an eminent Flemish 
painter, born at Liere, in Brabant, in 1614. After 
receiving some instruction in his native city, he 
went to Antwerp, and entered the school of Ru- 
bens. He devoted himself chiefly to landscape, 
and became one of the most eminent artists of his 
time in that branch. His pictures usually repre- 
sent the most picturesque views in the Forest of 
Soignes, near Brussels, and woodland scenes with 
vistas, through which the eye was agreeabl}'' de- 
luded to an immense distance. These subjects he 
embellished with figures taken from mythological 
or fabulous history, as Pan and Syrinx, Venus 
and Adonis, Venus attended by Cupids, Nymphs, 
Satyrs, &c., generally naked, correctly designed, 
delicately pencilled, and freely touched. His pen- 
cil is bold and free, his coloring clear and bril- 
liant, and his style resembles that of his instruct- 
or. He sometimes painted history on a large 
scale, but in these subjects he was less successful, 
than in those of a smaller size. He was much 
patronized by the Emperor Ferdinand II., who 
appointed him his principal painter, and for whom 
he executed many of his choicest works. He ac- 
companied the Imperial Ambassador to England, 
where he was well received by Charles I., and ap- 
pointed principal painter to the Prince of Wales, 
afterwards Charles II. When the Royal Familj'- 
fell into misfortune, he returned to Antwerp, 
where he passed the rest of his days, and was 
appointed director of the Academy. He was 
killed by the accidental discharge of a gun in 1659. 
There are some altar-pieces by Wouters in the 
churches in Flanders, the best of which are Christ 
giving the Keys to St. Peter, in the church of that 
saint at Louvain, and the Visitation of the Virgin, 
in the church of the Augustines at Antwerp, He 
also etched a few plates of landscapes, in a free and 
masterly style, among which is a set of four, da- 
ted 1649. His name is sometimes erroneously 
written Wauter. 

WOUTERS, GoMAR, a Flemish historical and 
landscape painter, of whom little is known, except 
by some pictures bearing his name. He went to 
Italy, and is said to have passed much of his ar- 
tistic life at Rome. He flourished towards the 
end of the 17th century. There are some large 



wouw. 



1108 



WOUW. 



prints representing views in and near Rome, exe- 
cuted in a spirited and masterly style, resembling 
that of Callot, inscribed G. Woulers, Cavalier, del. 
et sculp., doubtless by this artist. 

WOUTERS, James, called also Vosmeer, a 
Dutch painter, born at Delft in 1584. Little is 
known of him. He is said to have excelled in 
landscape; but he afterwards quitted that branch 
for fruit and flowers, in which he displayed great 
talents. He went to Italy, but returned to his 
native place, where he died in 1641. 

/0~ , J, WOUWERMAN, Philip, one of 

C-f^W/* ^^6 most popular of the Dutch 
C/ -a-/ Y V landscape painters, was born at 
Haerlem in 1620. He was the son of Paul Wou- 
werman, an obscure historical painter, from whom 
he received his first instruction in art ; but his 
genius inclining to landscape, he studied under 
John Wynants, and made very rapid progress, 
manifesting great ability in figure painting, as well 
as in landscape, and frequently decorating the 
works of Wynants with his admirable figures 
and animals. On leaving his instructor, he ap- 
plied himself to the study of nature with the 
gi-eatest assiduit3^ and attained a very high de- 
gree of excellence, so that he may unquestionably 
be reckoned one of the most masterly painters that 
ever lived, unless master}'- consists in something 
else than fully accomplishing the proposed end. 
It is reported that he never quitted Haerlem ; but, 
although he probably never went to Italy, the 
mountainous character of man)'^ of his landscapes 
constitutes almost a certain refutation of this asser- 
tion. The pictures of Wouwerman are held in 
the highest estimation ; they usually represent 
hunting and hawking parties, horse-fairs, encamp- 
ments, halts of travelers, and other subjects into 
which he could introduce horses, which he de- 
signed with a correctness and spirit that has never 
been equalled. It is commonly reported that he 
never painted a picture without introducing a 
white or grey horse ; but this is most probably 
incorrect. Some of his landscapes are simply 
composed, and others are enriched with architec- 
ture, fountains, or edifices of a beautiful construc- 
tion. His invention was so abundant that none 
of his pictures have either the same grounds or 
distances, varying perpetually, with inexpressible 
skill. His figures are admirably drawn, and 
grouped with uncommon taste and ingenuity. He 
had the perfect command of his pencil, so that he 
instantly and effectually expressed every idea con- 
ceived in his mind, and gave to his pictures aston- 
ishing force, by broad masses of light and shadow, 
contrasted with excellent judgment. The pencil 
of Wouwerman is firm, yet delicate; his distances 
recede with true perspective beauty, and his skies, 
atmosphere, trees, and plants, are all exact and 
lovely imitations of nature. Although his pic- 
tures exhibit the appearance of the most precious 
finishing, he must have painted with extraordin- 
ary facility, as between seven and eight hundred 
pictures are ascribed to him in Smith's catalogue, 
part 1., and Supplement. In his latter time, his 
pictures had too much of the grayish and blue 
tint; but in his best days he was not inferior, 
either in correctness, coloring, or force, to any of 
the artists of Italy. 

Very little is known with certainty concerning 
the events in the life of this eminent painter. Ac- 



cording to Nieuwenhuys, about fifty years after 
Wouwerman's death, Houbraken collected various 
anecdotes concerning him. derived, according to 
his own account, altogether from hearsay. Among 
other things, he states that Wouwerman destroy- 
ed all his drawings when near the close of his life, 
from the apprehension that his son, if left in pos- 
session of them, might be too indolent to study 
from nature ; while others, (Houbraken's verbal 
informants), have reported that, not being on friend- 
ly terms with his brother Peter, he destroyed 
them lest the latter should derive any advantage 
from them ; while there were yet other reports, 
stating that the drawings in question were not 
his own, but the work of other masters. D'Ar- 
genville, assuming the truth of the statement that 
the drawings were Wouwerman's own, draws the 
inference that the painter's talents were not ap- 
preciated during his life-time, that he died in in- 
digence, and destroyed the drawings in order to 
prevent his son from entering a profession in which 
he had made so signal a failure ! This gratuitous 
supposition has been adopted by various writers, 
and generally believed, notwithstanding Houbraken 
also states that, though his pictures rose immensc- 
1}'^ in value after his death, he was nevertheless a 
fortunate painter ; and in corroboration of this, 
he says that Wouwerman gave his daughter 20,000 
florins (about ^8,000), upon her marriage with the 
painter of flowers and fruit, Hendrick de Fromant- 
jou. The distinction he gained while in the 
school of Wynants, and the fact that he was employ- 
ed by that master to insert the figures and ani- 
mals in his pieces, would almost refute the asser- 
tion of D'Argenville ; but when we consider that 
he flourished in the best era of Dutch painting, 
and produced so many admirable works, we are 
astonished that such a report should have been 
credited. Wouwerman produced many grand bat- 
tle-pieces, and sporting pieces, almost all carefully 
finished, particularly when of large dimensions, and 
full of incident ; which would never be expected 
from a necessitous artist. His finished drawings are 
indeed very rare ; but it is probable, from his 
great facility, that he never bestowed much care 
upon them, and generally made only slight pre- 
paratory sketches of his works. The proof that 
he did not meet the encouragement which his 
merits deserved, amounts to very little, if indeed 
to anything at all, and there is every probability 
that this painter, one of the best that the world 
has produced, lived and died in affluence. 

Wouwerman died in 1663. Bartsch mentions 
two etchings by him, one of which represents a 
horse tied by the bridle to the stump of a tree. It 
is executed in a masterly style, and has been cop- 
ied ; the original is very rare, marked W. fee. 
1643, the letters being reversed. 

WOUWERMAN, Peter, was the brother of 
the preceding, born at Haerlem about 1625. He 
was instructed in the rudiments of the art by his 
father, and next studied under Roland Rogman, 
but afterwards with his brother, whose style he 
followed with so much success, that some of his 
best works have frequently been mistaken for the 
earlier productions of Philip. He painted similar 
subjects to those of his brother, representing hunt- 
ings, fairs, farriers' shops, &c. His figures are 
not so correctly drawn as those of Philip, his pen- 
cil is less spirited and delicate, and his coloring 



WRAY. 



1109 



WREN. 



less clear and transparent. His works, however, 
possess considerable merit, and are admitted into 
choice collections. He died in 1683. 

WOUWERMAN, John, was the younger bro- 
ther and scholar of Philip W., born at Haerlem 
in 1629. He painted landscapes, with figures and 
buildings, in a very pleasing style, with an agreea- 
ble tone of coloring, and a free and masterly pen- 
cil. His works are not numerous, as he died 
young in 1666. 

WRAY, RoBT. Bateman, an eminent English 
engraver on gems, was born at Broadchalk, in 
Wiltshire, in 1715, and was allied to several of the 
best families in that county. His uncle, Edward 
Byng, was a good pupil and assistant of Kneller, 
who directed in his will that the portraits which 
his sitters had contracted for should be finished 
by Byng. During the years occupied in his edu- 
cation, Wray learned of his uncle to draw the hu- 
man figure with grace and precision ; and acquired 
such a taste for the fine arts, that when it became 
necessary for him to choose a profession, he select- 
ed seal engraving — an art which at that time was 
scarcely advanced beyond the delineation of heral- 
dic figures, and was therefore open to great im- 
provement. He was placed under a seal engraver 
named Gosset, residing in Berwick street. Soho, to 
learn the mechanical part of the business, where 
his rapid progress excited a degree of jealousy 
that led to a speedy dissolution of the connection. 
Although his first works were engraving the types 
of ancient heraldry, yet his choicer hours were 
devoted to the deliueation of nature, and especially 
of the human figure, until he had succeeded in 
representing some of the most distinguished per- 
sonages of English history, or remains of ancient 
sculpture, or the ideal designs of modern cotem- 
porary artists. Before completing his twenty- 
fourth year, he had executed the front face and 
one of the profiles of Milton, and in another the 
second profile. Tassie, the inventor of a very per- 
fect method of copying ancient engraved gems, 
was so much impressed with the merits of Wray's 
works of the same kind, that he sold copies of 
them together with those of his own collection. 
In this manner the reputation of Wray became 
more widely extended, and his original produc- 
tions were sought after with avidity, even in Italy. 
In 1759, after residing over thirty years in the 
metropolis, Wray removed to Salisbury, where he 
produced some of his best works, and those on 
which his reputation with posterity will chiefly 
depend. The difficulty of engraving figures on 
hard stones, in the manner of the ancient Greeks, 
is evinced by its rarity in modern times ; and al- 
though it has been cultivated in Italy with great 
success, in England Wray scarcely had a rival. If 
some of the Italians have surpassed hitn in facility 
of execution, and in the number of their works, 
none have been his superiors in expressing the af- 
fections, and in female grace and beauty. That he 
never acquired more than a decent competence by 
his talents, is evident from the amount received 
for his best and most difficult work, the Head of 
the Dying Cleopatra, which was purchased by the 
Duke of Northumberland for £20. The follow- 
ing are the most remarkable of Wray's works, 
and they are here placed in the order in which 
they are supposed to rank by competent judges : 
Dying Cleopatra ; Head of Medusa, a copy from 
the Strozzi Medusa j a Magdalen ; Flora j the Ma- 



donna ; three ideal Female Heads ; Milton, front 
face ; two of Milton, profiles ; Cicero j Pope ; 
Shakspeare ; Zingara j Antinous. 

WREN, Sir Christopher. This eminent Eng- 
lish architect, born at East Knoyle, Wilts, Octo- 
ber 20th, 1632, was of good family, being the son 
of Dr. Christopher Wren, chaplain in ordinary to 
Charles I., and dean of Windsor ; and nephew to 
Dr. Matthew Wren, successively bishop of Here- 
ford, Norwich, and Ely. From the former he 
seems to have inherited a taste for scientific and 
literary studies, that of architecture included. 
Though in childhood of weak bodily constitution, 
Wren was of a most precocious mind, and early 
manifested a strong inclination for the paths of 
science and philosophy ; at the age of thirteen he 
invented an astronomical instrument, a pneumatic 
engine, and another instrument of use in gnomo- 
nics. When fourteen years old, he was entered 
as a gentleman commoner at Wadhara College, 
Oxford ; and during the period of his collegiate 
course he associated with Hooke (whom he as- 
sisted in his Micro^ra/J^ia), and other scientific 
men, whose meetings laid the foundation of the 
Royal Society. In 1653, he was elected a fellow 
of All Souls' College ; and by the age of twenty- 
four, he was known to the learned of Europe for 
his various theories, inventions, and improvements, 
a list of which would be too long for insertion. In 
1657, he was appointed to the professor's chair of 
astronomy at Gresham College, London, and three 
years after to that of the Savilian professor at Ox- 
ford, when he resigned the Gresham chair. On 
the establishment of the Royal Society, soon after 
the Restoration, Wren contributed not a little to 
the reputation of that body. 

Thus far. Wren had attained to high eminence 
among his cotemporaries, but it was such that he 
might have remained known only to a few j where- 
as at present his celebrity as an architect has swal- 
lowed up all his other titles to distinction. At 
that time his architectural genius had hardly 
dawned, and it was probably chiefly owing to his 
general reputation for scientific skill that he was 
appointed by Charles IL, in 1661, assistant to Sir 
John Denham, the surveyor-general, and was com- 
missioned, in 1663, to survey and report upon St. 
Paul's cathedral, with a view to its restoration, or 
rather the entire rebuilding of the fabric, so as to 
reconcile it with the Corinthian colonnade added 
by Jones. This scheme met with great opposi- 
tion from the clergy and citizens : dissensions and 
protracted discussions followed, and nothing was 
decided upon for three or four years. In the mean- 
time, however, Wren was employed upon the 
Sheldonian Theatre at Oxford, and the Library and 
Neville Court, at Trinity College, Cambridge ; he 
also visited Paris in 1665, where the works of the 
Louvre were then in progress. On returning to 
London, he found matters no nearer adjustment in 
regard to the proposed Cathedral ; but an event 
soon after happened, most calamitous in itself, 
which changed the face of affairs ; the Great Fire 
not only decided that St. Paul's should be rebuilt 
as one consistent whole, entirely of Wren's own 
idea, but also opened an extensive field for his tal- 
ents in various other metropolitan buildings. One 
immediate labor arising from the conflagration was 
to make a survey of the whole of the ruins, and a 
plan for laying out the devastated space in a regu- 
lar and commodious manner, with wide streets 



WREN. 



1110 



WREN. 



and piazzas at intervals, which Wren laid before \ 
Parliament. Yet so far was this plan from being 
adopted, that the proprietors refused to yield any | 
part of their ground, and the new streets arose in j 
that dense and intricate maze of narrow lanes, I 
which are even now but slowly disappearing before | 
the modern improvements. Furthermore, instead of ; 
the line of spacious quays along the Thames, which 
Wren proposed, the river is entirely shut out from i 
view by wharfs and warehouses, to such an extent j 
as to render any adequate scheme for the improve- , 
ment of its banks hardly practicable. London 
might have arisen from her ashes the finest city in 
the world, if Wren's plan had been followed. 

Thus frustrated in his idea for planning an en- 
tire city, Wren was compelled to confine the ex- 
ertion of his talents within narrower limits. — 
Among the earliest of his individual edifices were 
the Royal Exchange, Custom House (both since 
destroyed by fire and rebuilt), Temple Bar, the 
Monument, and several churches, including that 
of St. Stephen's, Walbrook; all of which were 
erected before St. Paul's was begun. Previous 
to that great event in his professional life, he re- 
ceived the honor of knighthood, in 1672; and in 
1674, he married a daughter of Sir John Coghill, 
after whose decease he took for his second wife a 
daughter of Viscount Fitzwilliam, an Irish peer ; 
and by both these ladies he had issue. During 
this time he had not been idle in regard to the pro- 
posed Cathedral, but had prepared various designs 
and models. That one, however, which he was 
solicitous to see adopted, was set aside for that 
now executed ; the composition of his favorite 
plan was compact and simple, forming a single 
general octagonal mass, surmounted by a cupola, 
and extended on its west side by a portico, and a 
short nave or vestibule withni ; and there is also a 
great deal of play" produced by the alternate curv- 
ed sides of the main body of the edifice. The plan 
which was finally adopted, exhibits an almost op- 
posite mode of treatment, both as to arrangement 
and proportions. While the first exhibits concen- 
tration and uniform spaciousness, the other is 
more extended as to length, but contracted in oth- 
er respects, and the diagonal vistas that would 
have been obtained in the other case are altogether 
lost. The first stone of the present edifice was 
laid June 21, 1675 ; the choir was opened for divine 
service in December, 1697 ; and the whole was com- 
pleted in thirty-five years, the last stone onthe sum- 
tnit of the lantern being laid by the architect's 
son Christopher, in 1710. Taken altogether, the 
present St. Paul's is a truly glorious work, and its 
cupola is matchless in beauty; yet all noble as it 
is. the spirit of criticism, as usual, has not failed 
to detract from its merit, particularly for the coup- 
ling of the columns, and other departures from the 
general application of the orders. There are few 
churches, however, of the past or present day, that 
can vie with it in richness of design ; and St. Pe- 
ter's, with its single order and attic, appearing of 
much smaller dimensions than it really is, cannot 
be put in comparison with it. Some parts of the 
design are of exquisite beauty, particularly the 
two semicircular porticos of its transepts, worthy 
models for church fagades. 

As an architect. Sir Christopher Wren possessed 
an inexhaustible fertihty of invention, combined 
with good natural taste, and profound knowledge 
of the principles of the art. His architecture is 



the perfection of that modern style, which, with 
forms and models essentially Gothic, adopts for 
the purpose of decoration, the orders and orna- 
ments of classical antiquity. The west front of 
St. Paul's consists of a noble portico of two or- 
ders, the lower Corinthian, composed of twelve 
columns, and the upper Composite, consisting only 
of eight ; all of which are coupled and fluted, and 
rest on a basement formed by a double flight of 
steps. The whole is surmounted by a spacious 
pediment, and along the other parts of the sum- 
mit of this front are statues of St. Peter. St. 
James, and the Four Evangelists, On the north 
and south sides of the Cathedral, at each end of 
the principal transept, placed upon a flight of steps, 
is a large semicircular portico, formed by six Co- 
rinthian columns, each four feet in diameter, sup- 
porting half a dome. The east end, or choir, is 
terminated semicircularly, and is of beautiful pro- 
portions. The whole of the outer walls are decorated 
with two stories of coupled pilasters, Composite 
above, and Corinthian below. The intervals be- 
tween the latter are occupied by large windows, 
which light the side aisles, and those between the 
Composite pilasters by ornamental niches ; the 
entire summit is surrounded by a regular balus- 
trade. The whole of this upper order is of no 
further use than to conceal the flying buttresses, 
which are constructed after the manner of a Gothic 
cathedral, for the purpose of counteracting the 
thrust of the vaulting of the roof The most con- 
spicuous feature of the building is the dome, which 
rises in great majesty at the junction of the cross. 
On a circular stylobate are placed thirty-two Co- 
rinthian columns, forming a circular peristyle, eve- 
ry fourth intercolumniation being closed with ma- 
sonry, and ornamented with a niche. Above the 
entablature of this colonnade, but not resting upon 
it, rises an attic story, with pilasters and windows 
over the cornice, on which springs the exterior 
dome, covered with lead, and ribbed at regular in- 
tervals. Round the aperture, or summit, is an- 
other gallery ; and from the centre rises the stone 
lantern, which is surrounded by Corinthian col- 
umns, and crowned by a majestic ball and cross. 
Few buildings can produce more grandeur of per- 
spective than St. Paul's, particularly as entered 
from the western door. The nave and choirs have 
on each side three arches, the transept one, resting 
on piers, decorated towards the middle aisle with 
Corinthian pilasters. The nave is further length- 
ened by the morning and corresponding chapel at 
the end. The central area below the dome is oc- 
tangular, formed by eight massive piers. The en- 
tire length of the edifice, including the porch, is 
500 feet ; breadth of the front, including the tur- 
rets, 110 feet ; breadth of the three naves, 130 
feet ; outward diameter of the cupola, 145 feet ; 
inward diameter of the same, 108 feet ; outward 
diameter of the lantern, 18 feet; the diameter of 
the ball six feet ; height from the ground without, 
to the top of the cross, 340 feet ; that of the tur- 
rets 222 feet ; the general depth of the foundations 
below the surface of the ground, is 22 feet, and in 
some places 35 feet. 

The other churches erected by Wren are by no 
means equal to this, his grand performance ; they 
are very numerous, but do not remind the behold- 
er of the architect of St. Paul's. Even in his 
campanili, the far-famed steeples of St. Bride's and 
Bow church, there is little to admire except the 



1 



WREN. 



1111 



WRIG. 



general outline, for they are strange compounds of 
incongrnous parts, oddly put together, and not 
particularly elegant in themselves. The church of 
St. Steplien's, Walbrook, has also been greatly 
overrated ; for, allowing all the merit that is 
claimed for it in regard to the dome and columns, 
the effect that would else be produced by them is 
sadl}" marred by the poverty and tastelessness of 
the rest. Among the other edifices erected by 
"Wren, were St. James's, Westminster ; St. Clem- 
ent's, Eastcheap ; St. Martin's, Ludgate ; Temple 
Bar ; Christ Church, Newgate ; Marlborough 
House, London ; and Westminster Abbey, towers 
of west front ; besides many more. One work 
which would probably have not a little augment- 
ed his fame, was a design for a magnificent mauso- 
leum to the memory of Charles T. ; yet, though 
parliament voted £70,000 for this purpose in 1678, 
the design was abandoned, and the money applied 
more conformably with the personal tastes of 
Charles IT. Wren had been thwarted in his ideas 
for another monument, namely, the Column so- 
called, which he had conceived very difierently and 
very characteristically, the shaft being adorned 
with gilt flames issuing from the loop-holes ; but 
that design was set aside for the very common- 
place affair which we see at present. He had re- 
signed the office of Savilian professor in 1673 ; he 
accepted that of President of the Royal Society in 
1680, and he also sat several times in Parliament ; 
but his numerous and important professional en- 
gagements left him little leisure for other pursuits 
or duties. Enjoying the favor of successive princes, 
he was employed by Queen Mary to complete the 
buildings at Greenwich, to be appropriated as a 
Royal Naval Hospital ; and Wren's additions to 
that noble pile are well worthy of the architect of 
St. Paul's, although less quoted as proofs of his 
genius than several of his inferior performances. 
In his additions to Hampton Court for William 
III., he was less successful ; perhaps unfortunate 
in being controlled by the taste of the king. If 
not actually a blot upon his fame, like his work at 
Windsor Castle, Hampton Court adds nothing to 
it, whereas he might perhaps have produced a 
piece of palatial architecture at Windsor, had his 
plan for erecting a distinct pile of building on the 
south side of the Upper Ward been adopted. — 
Still, palaces do not appear to have been Wren's 
forte, if an opinion may be formed from the speci- 
mens he has left us at Marlborough House, and 
some portions of St. James's. 

After the death of Anne, the last of his royal 
patrons, Wren was dispossessed of his office of 
surveyor-general (which he had held forty-nine 
years), very little to the credit of George I., and to 
the disgrace of "one Benson," the man who, by 
succeeding him in that capacity, has preserved a 
name from oblivion by perpetuating it for ever- 
lasting shame and contempt. To Wren himself, 
however, this discharge from office must have been 
rather a welcome release than otherwise; for, 
verging towards ninety, he could then have little 
further worldly ambition, even had he not already 
amply gratified it. The close of his life was not 
so much to be pitied as to be desired, for if he 
passed the last five years of his existence in re- 
tirement and comparative obscurity, he passed 
them in serenity of mind and placid content. The 
struggles of dissolution were spared him, for with- 
out any previous symptoms of approaching death 



he was found dead, reposing in his chair after din- 
ner, February 25, 1723, in the 91st year of his 
age. He received the tardy honor of a splendid 
funeral in St. Paul's, where his remains were de- 
posited in the crypt, with no other adornment to 
his tomb than the inscription on it, with the sub- 
limely eloquent legend — " Si Monumentum quce- 
ris, circumspiceJ'' 

Christopher, the architect's son by his first mar- 
riage, composed the chief part of the " Parentalia, 
or Memoirs of the family of the Wrens" ; it was 
completed by Steph^jn Wren, the grandson of Sir 
Christopher, and published in 1750. It forms a 
valuable and authentic record. In All Souls' Li- 
brary, at Oxford, there is a collection of Wren's 
original drawings. 

WRIGHT; Inigo, an English engraver in mez- 
zotint©, who flourished about 1770. He executed 
a few plates of portraits and other subjects, 
among which are the Family of van Goyen, after 
J. van Goyen ; and St. John preaching in the 
Wilderness, after F. Lauri. 

WRIGHT, Joseph, an eminent English painter, 
born at Derby in 1734, and hence called Wright 
of Derby. He studied under Thomas Hudson in 
London, on leaving whom, he returned to his na- 
tive place, and devoted himself chiefly to portrai- 
ture with great success. He also painted candle- 
lights and conflagrations, which were much ad- 
mired. In 1773 he went to Italy, where he dili- 
gently studied two years. During his residence 
there he had an opportunity of seeing a very me- 
morable eruption of Mount Vesuvius, and he de- 
picted the sublime spectacle with extraordinary 
effect. He returned to Derby in 1775, and devo- 
ted himself to history and landscape, chiefly the 
latter, in which he greatly excelled, and his best 
works of this description are ranked with the pro- 
ductions of Wilson. Among his historical pictures 
are the Dead Soldier, the Destruction of the Float- 
ing Batteries at Gilaraltar, Edwin at the Tomb 
of his Ancestor, Beishazzar's Feast, Hero and 
Leander, and the Storm Scene in the Winter's 
Tale, painted for the Shakspeare Gallery, a most 
spirited performance. His Eruption of Vesuvius 
and View of Ills water, are powerful examples 
of skill in representing nature under totally 
different aspects. He was a very modest and 
retiring man, and never would leave his native 
place to settle in London, although frequently 
recommended and solicited to do so, that his tal- 
ents might be brought more conspicuously before 
the public. His works, however, were appreciated 
even when he did not paint them by commission, for 
they were generally purchased as soon as finished. 
Many of his pictures were engraved by Middiman, 
James Heath, and other artists. He was elected 
an Associate of the Royal Academy in 1782, but 
having taken offence at Mr. Garvey's being chosen 
Academician before him, he resigned his Associate's 
diploma in disgust. He was a man of estimable 
character, much beloved by his fellow citizens. He 
died in 1797, of a disease brought on, as is supposed, 
by excessive professional application. 

WRIGHT. Richard, an English painter, born at 
Liverpool about 1735. He was originally a house 
painter, but devoting himself to marine subjects, ac- 
quired considerable distinction by the force of his 
talents, and an attentive study of nature. On two 
occasions, in 1764 and 1766, he gained the first prem- 



WULF. 



1112 



WYAT 



iurn of fifty guineas, for two marine subjects, from 
the Society for the Encouragement of Arts, &c. ; 
the latter, called the Fishery, was engraved by 
Woollett, whose print was afterwards copied by a 
French engraver, and the name of Vernet sub- 
stituted for that of Wright. He died in 1775. He 
had two daughters, whom he instructed in the art, 
and who painted fruit, landscapes, and still-life. 

"WRIGHT, Thomas, an English painter and en- 
graver of the present century. He attained some 
reputation in engraving by his portraits in a work 
published by Mrs. Jameson, entitled " The Beau- 
ties of the Court of Charles H." He afterwards 
went to St. Petersburg, where he was patronized 
by the Imperial family, many of whom sat to him 
for their likenesses, which he painted in water- 
colors, and in miniature. He was also employed 
by the eminent personages at that court, and en- 
graved several of their portraits, after his own 
paintings. On returning to England he commenced 
a plate of Reynolds' Infant Hercules, but did not 
live to complete it. He died in 1850. 

WULFHAGEN, Francis, a German painter, 
oorn at Bremen in 1620, and died there in 1678. 
He was a scholar of Rembrandt, whose style and 
subjects he is said to have imitated with consider- 
able success. 

WULFRAET, or WULFRAAT, Matthias, 
Mathys. or Matthew, a Dutch painter, born 
at Arnheim in 1648. He was the son of an em- 
inent physician, who intended him for that profes- 
sion ; but as he attended more to drawing than to 
his medical studies, his father yielded to his de- 
cided disposition for art. and placed him under 
the tuition of Abraham Diepraam, a painter of 
drolls and drunken frolics. The latter took great 
pains with him, but Wulfraet did not follow his 
style or subjects. On leaving Diepraam, he im- 
proved himself by a diligent study of nature, and 
painted histor3% portraits, and domestic subjects, 
which were held in great estimation throughout 
Germany and the Low Countries. He particular- 
ly excelled in painting portraits in small ; also 
conversations and assemblies of persons above the 
common rank, composed with taste, and delicately 
finished. He chiefly resided at Amsterdam, and 
died there in 1727. 

WURSCH, M., a Swiss painter, born at Stanz, 
in the canton of Underwalden, in 1718. He paint- 
ed history with considerable reputation, and there 
are some of his works in the Abbey of Engelberg, 
which are much admired for fine expression and 
beautiful coloring. He was for many years pro- 
fessor of painting in the Academy of Besan^on. 
Some time before his death he lost his eyesight, 
and retired to his native place, where he was killed 
by the French troops in 1798. 

WUST, Charles Louis, a German engraver, 
who flourished about 1760. He executed some 
plates of historical subjects with the graver, in a 
neat, but labored style, and incorrectly drawn. 

WYATT, R. J-, an English sculptor, born in 
1795. He studied under Charles Rossi, R. A., for 
seven years, during which time he gained two 
medals from the Royal Academy. When Canova 
visited England, Wyatt was introduced to him 
through the kindness of Lawrence, and by his ad- 
vice and instruction, the young artist gained great 
improvement. In 1821, Wyatt visited Paris, and 



studied for some time under the celebrated Bozio; 
after which he went to Rome, and remained there 
the rest of his life, except in 1841, when he made a 
short visit to his native land. During Canova's 
life-time, the closest intimacy subsisted between 
him and Wyatt, as also between the latter and 
Gibson, who was at that time a pupil of Canova. 
Wyatt was singularly industrious, rising constant- 
ly at five in the morning, and sometimes continuing 
his work until midnight ; consequently he produced 
a large number of works, which are distinguished 
for their exquisite purity of style. Among his 
best productions are, a group of Ino and the In- 
fant Bacchus ; a statue of Glycera ; a statue of 
Musidora ; two statues of Nymphs ; and an ad- 
mirable statue of Penelope, ordered by Her Majes- 
ty, in 1841. Wyatt died in 1850. 

WYATT, James, a distinguished English ar- 
chitect, was born in 1746, at Burton Constable, in 
Staffordshire, where his father was both a farmer 
and a dealer in timber. Little is known concern- 
ing his early life, but he manifested sufficient 
talents in architecture at the age of fourteen to 
gain the patronage of Lord Bagot. who took him 
with him to Rome, on an embassy to the Pope. 
Wyatt spent three or four years in the metropolis 
of art. examining and measuring the principal mon- 
uments of ancient architecture, but, as it would 
seem, without imbibing any taste for its modern 
ones, since no traces of it are discoverable in his 
own works. On quitting Rome, he proceeded to 
Venice, where he studied for about two years more 
under Vicentini, an architect and painter, and 
then returned to England, after being absent al- 
together about six years. His first work in Lon- 
don was the Oxford-street Pantheon, finished and 
opened in 1772. This edifice was remarkably at- 
tractive, as being the resort of the gay world, and 
was esteemed a master-piece of architecture, al- 
though it is impossible to say how far it merited 
the encomiums it received, as it has since been de- 
stroyed b)^ fire, and the original designs have 
never been published. The Pantheon, however, 
established the reputation of its architect, and com- 
missions poured in upon Wyatt in great abun- 
dance, chiefly for private residences in the coun- 
try, of which the majority hardly aspired to the 
character of mansions. These edifices exhibit more 
of clever mannerism and uniformly respectable me- 
diocrity, than of style or artist-like treatment, as 
they are nearly all variations of the same design. 
He seems to have devoted his attention mostly to 
i the useful department of the art, and England is 
' greatly indebted to him and Adam for the superior 
accommodation and refinement of comfort which 
they introduced into domestic architecture. Accord- 
ing to Lord Kames, this should be the chief con- 
sideration in country mansions ; but. accus.tomed 
to this mode of proceeding, Wyatt could scarcely 
rise above it when necessary, as is evinced in his 
design for Downing College, Cambridge, which 
was not executed. Neither did Chiswick inspire 
him with a desire to execute anything really noble, 
for though the wings which he added to the house 
rendered it more commodious as a residence, they 
sadly marred its original grace as a finished speci- 
men of Palladian architecture. 

About the time of the death of James Es^ex 
(1784), the only architect of the period who had 
shown any knowledge of Gothic architecture in 
regard to its details, if not its principles, WjMlt 



WYAT. 



1113 



WYCK. 



began to turn his attention to that style. As there 
were then no drawings or publications upon this 
subject, he was obliged to study it from the origi- 
nal examples ; and it is very greatly to his credit 
that, under such difficult circumstances, and en- 
gaged in many other avocations, he gained the in- 
sight into it which he did, attaining to correctness 
in his f^etails and individual features. His first 
essay in that style was Lee Priory near Canter- 
bury, in 1783, which gained for him great celebri- 
ty. Extolled by Horace Walpole, it served to 
bring thenceforward into vogue for modern resi- 
dences, a style of Gothic comparatively pure for 
the time. Although Wyatt did not attain to a 
correct perception of the spirit and true character 
of the Gothic style, he certainly effected very much 
for its practical revival, and he is allowed to have 
been preeminent as the restorer of ancient archi- 
tecture in England, standing as he did, singly, with- 
without equal or rival. He was also extensively 
employed in making alterations and restorations in 
the older edifices of that style, particularly in the 
Oxford Colleges, and the Cathedrals of Salisbury 
and Lichfield. In the latter, however, he was not 
very successful, and his splendid edifice of Font- 
hill Abbey is criticised as manifesting more mag- 
nificence than propriety of character. 

While employed upon the last mentioned edifice, 
Wyatt succeeded Sir W. Chambers, in 1796. as 
survej'Or-general ; which led to his being employ- 
ed at Woolwich and the House of Lords, and by 
George IH., in making alterations at Windsor 
Castle, and in erecting a Gothic palace at Kew, 
which has since been demolished. In 1802, on 
West's retiring from the office of President of the 
Royal Academy, Wyatt became his successor ; but 
in the following year, West was re-elected. Af- 
ter this time, scarcely any materials are recorded of 
his life. He died in 1813, in consequence of being 
overturned in a carriage, while travelling from 
Bath to London. He left a widow and four sons, 
one of whom. Benjamin, was the architect of Dru- 
ry Lane Theatre. 

WYATTVILLE, Sir Jeffry, an eminent Eng- 
lish architect, nephew of the preceding, and son of 
Joseph Wyatt. was born at Burton-upon-Trent, in 
Stafibrdshire, in 1766. During boyhood, he was 
bent upon going to sea, and made two attempts to 
do so, but was pursued and brought back on both 
of these occasions. At the age of seventeen, he 
was to have gone out with Admiral Kempenfeldt, 
in the Royal George ; hat being prevented from 
joining that vessel in time, he escaped the disaster 
at Spithead. Thus thwarted, he betook himself 
to the metropolis, in the hope of finding some op- 
portunity of engaging in the naval service, but as 
the American war had terminated, no such oppor- 
tunity offered. These disappointments finally 
threw him into that course which he followed 
with so much distinction ; his uncle Samuel, a Lon- 
don architect and builder of some distinction, (who 
erected Tatton Hall; Trinity House, London; 
Heaton House, Lancashire, &c.,) took him into his 
office for seven years. During this period he be- 
came fully acquainted with the routine and business 
of his profession ; and at its termination, he served 
a sort of second apprenticeship with his uncle, 
James Wyatt, from whom he doubtless imbibed 
his preference for the Gothic and old English styles. 
While with his uncle James, he was brought into 
contact with several persons of high rank and in- 



fluence, among whom was his future royal patron, 
the Prince of Wales. 

It would appear that no opportunities were at 
that time extended to him from the Prince, for in 
1799, he accepted the proposal made him by an 
eminent builder. John Armstrong, who had ex- 
tensive government contracts, to join in partner- 
ship with him. This line of business, though high- 
ly respectable and eminently lucrative, proved for 
about twenty years a bar to his being admitted to 
the Royal Academy, although he was very exten- 
sively employed as an architect by many noblemen 
and gentlemen in various parts of the countr}'^, either 
in improving and making additions to their man- 
sions, or erecting new ones. Nearl}^ all his works 
are of this class, excepting the new front of Sidney 
Sussex College, erected in 1833. 

Early in 1824, parliament granted £300,000 for 
the improvement of Windsor Castle. Four archi- 
tects were called upon for designs, Soane, Nash. 
Smirke, and Jeffry Wyatt. The first declined the 
affair altogether ; the designs of the second and 
third were rejected ; and it was probably unex- 
pected to himself, when Wyatt was summoned to 
Windsor Castle by King George IV., and com- 
missioned to remodel that celebrated edifice. This 
great work occupied him nearly all the rest of his 
life. The first stone was laid by the King himself, 
Aug. 12th, 1824, on which occasion the architect 
received the roj^al authority for altering his name 
to Wyattville ; and when "the King took posses- 
sion of the private apartments, about four years 
after, he received the further distinction of knight- 
hood. Until renovated and remodelled by Sir 
Jeffry, the exterior of Windsor Castle had very 
little of either architectural character or dignity, 
or even of picturesqueness, except that arising 
from situation; whereas it is now marked by 
many bold features and well-defined masses, pre- 
senting a series of parts all varied, yet more or 
less interesting. Though open to criticism in re- 
spect to details, and the intermixture in several 
parts of the earliest and latest styles of Gothic, it 
is still a noble specimen of architecture, and de- 
serves very high praise. A long and detailed 
critique uf)on this edifice may be found in the Penny 
Cyclopaedia, article Windsor Castle. Sir Jeffry 
beheld his great work brought to completion bj 
himself, and intended to publish the designs, which 
he directed to be done by his executors. He died 
at Windsor in 1840, and was buried in St. George's 
chapel. The designs were published on a magnifi- 
cent scale in two vols, large folio, in 1841. Du- 
ring the period of his work upon Windsor Castle, 
he made very extensive additions to the princely 
seat of Chats worth ; he was also employed at 
Longleat Castle, Wilts; Wollaton Hall, Notts; 
and completed Ashridge, Notts, the seat of the 
Earl of Bridgewater, commenced by James Wyatt. 

WYCK, Thomas, a Dutch painter, born at Haer- 
lem in 1616. After studying in his native city, he 
went to Italy, where he resided some years, and 
on returning to Holland, he distinguished himself 
as one of the ablest artists of the time. He paint- 
ed sea-ports, with a varietj'- of shipping, which fre- 
quently represent the ports in the Mediterranean, 
particularly those from Leghorn to Naples. They 
are usually embellished with a great number of 
small figures, decked in the costumes of different 
nations, correctly designed, and touched with great 
spirit, in a style resembling that of Peter de Laer, 



WYOK. 



1114 



WYKE. 



He also painted Italian markets, fairs, and mounte- 
banks J he represented the interior of chemists' 
laboratories, with their furnaces and utensils, in an 
admirable manner. His pictures are well com- 
posed, his coloring is warm and transparent, his 
pencil bold and free, and he had an excellent know- 
ledge of the chiaro-scuro, which enabled him to 
give his objects a fine relief; his distances show a 
charming truth of perspective, and the eye is agree- 
abl)^ deluded to a great distance. Wyck visited 
England about the time of the Restoration, where 
he found considerable employment. There are a 
few etchings of landscapes and views by him, exe- 
cuted with neatness and spirit, but they are now 
very scarce. He died in 1686. His name is often 
written Wycke. 

WYCK, John, was the son of the preceding, 
born at Haerlem about 1640. He was instructed 
by his father, and distinguished himself as a paint- 
er of battles, sieges, and huntings of deer and oth- 
er animals, processions, and landscapes, in which 
he appears to have imitated the style of Philip 
Wouwerman, but on a larger scale. Though infe- 
rior to his model in the neatness and delicacy of his 
finishing, his animals and figures are correctly de- 
signed, and touched with great spirit and anima- 
tion. His pictures are well composed, and his 
scenery very agreeably chosen. He sometimes 
painted pictures of a large size, as the Battle of the 
Boyne, and the Sieges of Naarden and Namur ; but 
they are inferior to his smaller productions. He 
accompanied his father to England, where he found 
considerable employment, and passed the rest of 
his life. He also etched some spirited plates from 
his own designs, which are very scarce ; Bartsch 
describes twenty-one, and says they are so ex- 
tremely scarce that few collections contain a com- 
plete set of them. Weigel, in his Supplement to 
Bartsch, has added four more, and pointed out the 
variations which occur in the others. Wyck made 
the designs for a book on hunting and hawking. 
He died at Mortlake in Surrey, in 1702. 

WYKEHAM, Wflliam de. This eminent Eng- 
lish bishop, distmguished also for his knowledge of 
architecture, was born in the village of Wykeham, 
according to Lowth, in 1324. His parents were 
poor, but of creditable descent, and of reputable 
character. Although he studied in the school of 
Winchester, aided by Nicholas Uvedale, Lord of 
"Wykeham, he did not obtain a scholastic educa- 
tion ; but after leaving school he acted as secretary 
to his patron, and subsequently to the Bishop of 
Winchester; after which he was presented at 
court to King Edward HI. His strength lay in 
his natural genius, in his knowledge of mankind 
and talents for business ; and probably the only 
art or science he had much cultivated, was archi- 
tecture. In the year 1356, he was successively ap- 
pointed clerk of all the King's works in his manors 
of Henle and Yethampstead, and surveyor of the 
King's works in the castle and park of Windsor. 
Wykeham seems to have progressed rapidly in 
the royal favor, and at his instigation the king 
gave orders to demolish a great part of Windsor 
Castle, which he afterwards rebuilt. Queenbor- 
ough castle, in the Isle of Sheppy, was also re- 
stored by him. He had probably taken orders at 
an early age, and being made an ecclesiastic, he 
was presented with a number of benefices. Many 
honors were successively heaped upon him, of 
which a long detail is given by Lowth ; he be- 



I came Secretarj^ of State, Bishop of Winchester, 
I and Lord High Chancellor of England. He held 
the two latter posts in the church and state at the 
same time, until 1371, when the Lords and Com- 
mons presented a petition to the king, complaining 
of the abuses which had resulted from this feature 
of state policy ; whereupon Wykeham resigned 
the latter ofiice. His first undertaking, after ob- 
taining possession of the see, was to thoroughly 
repair the twelve castles or palaces furnished and 
maintained for the bishops of Winchester ; he also 
proceeded to erect a preparatory college at Win- 
chester, and purchased the ground at Oxford for 
the New College. 

Wykeham's prosperity had not failed to excite 
jealousy, and during the last year of Edward's 
reign the parliament took possession of the super- 
annuated and dying king; a series of false charges 
were instituted against Wykeham in 1376, and he 
was deprived of his bishopric; but the clergy im- 
mediately took up his cause with such zeal that it 
was speedily restored. The benevolent bishop 
then went on with his architectural and educa- 
tional projects. The college at Oxford, still called 
New College, was completed in 1386, and that of 
Winchester in 1393. The chapel and hall of the 
latter edifice are beautiful specimens of Gothic ar- 
chitecture. As soon as these were erected, he en- 
tered upon another great work, which still remains 
a monument of his taste and magnificence. He re- 
built the Cathedral at Winchester in the greater 
part of its extent, commencing it in 1395, and 
completing the work just before his death, which 
occurred in 1404. This magnificent and interest- 
ing edifice is 545 feet long; from the west entrance 
to the choir is 356 feet ; the length of the choir is 
135 feet ; and the Lady chapel at the east end is 
54 feet, which makes the total length. As a dis- 
tinct part, the nave is 250 feet long, 86 feet wide 
including the aisles, and 78 feet high. The length 
of the transepts is 186 feet. The square of the 
tower is 48 feet by 50, and the height is 138 1-2 
feet, which is only about 26 feet above the roof. 
The tower, with part of the nave and transepts, 
was built in 1079 by Bishop Walkelyn ; but the 
grandeur of the west front is due to William de 
Wykeham. Viewed from the exterior, this is by 
far the most imposing part of the building ; the 
deeply recessed entrance doorway, with the orna- 
mental gallery above it ; the large and beautiful 
window, the rich effect of the mouldings, the but- 
tresses, the pinnacled towers, and the gable termi- 
nation surmounted by thf canopied statue of Wyke- 
ham, cannot be looked upon without great admira- 
tion. On entering the building, the view from the 
west end to the east is magnificent ; the vast length 
of the vista formed by the nave and choir, with the 
splendid ceiling, the columns and arches on each 
hand and overhead, and the eastern window cast- 
ing its dim, softened light from behind the choir, 
produce a combined result of solemnity and beau- 
ty equalled by few cathedrals in Europe. 

WYNANTS, John, an emi- 
^nent Dutch landscape painter, 
was born at Haerlem in 1600. 
His instructor is not mentioned, 
but he owed his excellence most- 
ly to his own abilities and perseverance. By an 
attentive study of nature, he formed an original 
style, and painted many admirable works, which 
gained him great reputation. They represent 




AVYNG. 



1115 



WYON. 



views in Holland, generally flat and confined, but 
distinguished for such simplicity and truthfulness 
to nature, that they are very highly esteemed, and 
are placed in the choicest collections. The follow- 
ing remarks on the works of Wynants, are to be 
found in Smith's Catalogue, with a list of about 
two hundred of his pictures. " His early works 
generally represent the picturesque habitation of 
the peasant, or the ruins of some ancient mansion, 
an adjacent road, and the surrounding country. — 
These are always painted in a neat and careful 
manner, in a tone of color tending to brown or 
blackish hues. In his second period he becomes 
more excursive, breaks into an open country, and 
encounters a wide expanse of landscape, composed 
of hill and dale, woods and rivers, embellishing the 
loveh' scene with a rich variety oif objects, such as 
sandy banks, winding roads, withered trees, and 
wild plants. Occasionally his views are more con- 
fined, and the eye is entertained with a faithful pic- 
ture composed of a clayey bank, a rugged road, an 
old tree, wild flowers, herbage, and a sedgy pool. 
Such, with few deviations, compose the views of 
the whole of his productions; but, notwithstand- 
ing the similarit}' of the scenes represented, there 
is great disparity in their quahty, those of his 
middle time being clear and luminous in effect, 
and delightfully delicate in the execution. No art- 
ist furnished more luxuriantly the foregrounds of 
his pictures, or gave greater variety of form and 
tint to the soil in which the dock, the thistle, and 
the bramble appear to be indigenous. In the lat- 
ter years of his life, his execution is frequently 
coarse, and his coloring brown and heavy ; defects 
by no means compensated by the great practical 
knowledge and masterly handling which such pic- 
tures always exhibit." 

Very little is known concerning the personal 
history of Wynants. He established an academy, 
which produced some of the ablest painters of 
the Dutch school, among whom were Adrian Van- 
dervelde, Philip Wouwerman, and other eminent 
masters. His landscapes are often embellished 
with figures and animals from their pencils. Bry- 
an places his death in 1670 ; but Dillis, in his Ge- 
malde zu Schleissheim, states that there is a pic- 
ture by him in the gallery at Schleissheim, dated 
1673 ; his name also is written in the book of the 
Company of Painters at Haerlem, for the year 1677. 
It is said that Wynants was addicted to indul- 
gence in debauchery, which carried him off long be- 
fore age would have enfeebled his talents ; but the 
facts above stated, show that he hved to the age of 
seventy-seven, and this piece of information may 
therefore be classed among the numerous apocry- 
phal anecdotes of Dutch artists. 

WYNGAERDE, Francis vander. a Flemish 
designer and engraver, who flourished at Antwerp 
about 1640. where he also carried on the business 
of a printseller. He executed some spirited etch- 
ings, principally after Rubens, which possess great 
merit, though the drawing is frequently incorrect. 

WYNTRANCK, or WYNTRACK, a Dutch 
painter of whom little is known, except that he 
flourished in the time of Wynants, Ruysdael. and 
other eminent landscape painters, whose works he 
often enriched with wild ducks, and other aquatic 
birds, painted in an exquisite manner, and adding 
much to the beauty and value of their compositions. 
His own landscapes represent marshy grounds. 



with pools, backed by willows and alders, serving 
merely as the scene in which to display his skill in 
painting water-fowl. His birds are full of life and 
activity, correctly designed, and their plumage has 
all the softness, delicac}'-, and brilliancy of nature. 
Pictures entirely by Wyntranck are very rare, 
though he may be frequently recognized in the 
works of his cotemporaries. 

WYON, William, R. A., an eminent English 
medalist, was born at Birmingham in 1795. In 
1809, he was apprenticed to his father, an engraver 
of some celebrity in his native place, under whom 
he evinced much taste and feeling, heightened con- 
siderably by his studies of the designs of Flax- 
man. In 1813 he received the gold medal of the 
Society of Ajrts for his die of the Head of Ceres, 
purchased by the Society, and used to strike the 
gold medal for the Agricultural prize; and he also 
received another gold medal from the same institu- 
tion, for his group of Victory in a Marine Car, 
drawn by Tritons. In 1815, Wyon visited Lon- 
don, for the purpose of asi^isting his uncle Thomas 
W. in engraving the public seals ; and in the fol- 
lowing year, at the age of twenty, he was appoint- 
ed second engraver at the Royal Mint, upon the 
judgment or recommendation of Sir Thomas 
Lawrence. In 1824, he entered upon the duties of 
chief engraver, though he did not receive his ofli- 
cial appointment until four years after. During 
the remainder of his career, he executed many 
works, which numbered up to 1837. according to 
the memoir of Carlisle, about eighty coins, nearly 
one hundred medals, and twenty public seals. His 
medals include the war medals of the Peninsula, 
Trafalgar, Jelallabad and Cabul ; the civic medals 
of the Royal Academy, the Royal Society, the 
Royal Institution, the Geological Society, the Geo- 
graphical Societ}--, the Bengal Asiatic Society, and 
indeed of almost every learned society of Great 
Britain. Some of these bear on the obverse, heads 
from the antique, from ' modern and from living 
personages. The Harrow School Medal given by 
Sir Robert Peel, bears a head of Cicero ; the Roy- 
al Institution Medal, the head of Lord Bacon ; the 
prize medal of the University of Glasgow, the 
head of Sir Isaac Newton ; the Art Union Medal, 
the head of Sir Francis Chantrey. His medal of 
Sir Walter Scott bears a reverse after Stothard, 
and his coronation .medal of William IV., a reverse 
of Queen Adelaide, after Chantrey. 

The great merit of all Wyon's portrait medals is 
their truth, force, and delicate execution; and 
his designs for the rewards of honorary medals 
are always to the purpose, and conceived in a pure- 
ly classic spirit. In 1831, he was elected an xAsso- 
ciate of the Royal Academy, and in 1836, Acade- 
mician, — an honor never before conferred upon one 
in his particular department of art. Wyon's high 
reputation extended across the Channel ; he was 
invited to Lisbon, to execute a medallion porti-ait 
of Queen Donna Maria ; and other foreign govern- 
ments also availed themselves of his services. 
Among his last works were the obverses of the ex- 
hibition medals, bearing the portraits of the Queen 
and Prince Albert. He died on the 29th of Octo- 
ber, 1851. 

WYTMAN, Matthew, a Dutch painter, born 
at Gorcum in 1650. He first studied under Henry 
Verschuring. and for some time painted landscapes 
in the style of that master; but he afterwards be- 



XAVE. 



1116 



XIME. 



came the scholar of John Bylaert, and applied 
himself to painting conversations and domestic 
subjects, in which he imitated the style of Gaspar 
Netscher with considerable success, though he 
differs from that master by introducing very ele- 
gant landscapes in his backgrounds, highly finish- 
ed, with a very agreeable tone of coloring. He 
also painted fruit and flowers in a style of excel- 
lence. He died in the prime of life, in 1689. 



X. 



XAVERY, Jacob, a Dutch painter, born at the 
Hague in 1736. He was the son of Jacob Xavery. 
the sculptor, and was instructed in painting by Ja- 
cob de Wit. Little is known of him, and the ac- 
counts of his life are contradictory. He is said to 
have painted history, portraits, landscapes, sea- 
ports, fruit, and flowers; in his landscapes he imi- 
tated Berghem, and painted bas-reliefs in chiaro- 
scuro, in the manner of his master. There was a 
Gerard Joseph Xavery, probably his brother, who 
flourished about the same time, and is said to have 
painted the same kind of subjects. 

XAVIN, Paul and Hubert, two French engra- 
vers on wood, born at Paris, according to Papillon, 
and flourished about' 1540. He does not specify 
any of their works. 

XENOPHILES, a Greek sculptor of uncertain 
age, by whom Pausanias cites a statue of Escula- 
pius at Argos, which was esteemed the most re- 
markable representation of that deity. The figure 
of the god in white marble, was accompanied by a 
statue of the goddess Hygeia, and two figures seat- 
ed, which were said to represent Xenophiles and 
Strato, the authors of the work; although M. 
Quatremere de Quincy supposes, and with conside- 
rable probability, that these figures were intended 
as statues of Machaon and Podalyrius, the famous 
sons of Esculapius, or some other mythological 
personages, and that the former tradition arose 
from the artists having sculptured several of their 
own features on the heads of the statues, to im- 
mortalize their own names. This was perhaps sug- 
gested by the contrivance of Phidias, who, when 
prevented from inscribing his name upon his great j 
statue of Minerva, introduced his own portrait as 
an old man throwing a stone, upon the shield, in 
the Battle between the Athenians and Amazons. 

XENOPHON, an Athenian sculptor, who flour- 
ished about B. C. 300. According to Pausanias, he 
executed, in concert with Cephisodotus, the throne 
of Jupiter at Megalopolis, where the god was repre- 
sented seated, on his right hand an impersonifica- 
tion of the city of Megalopolis, and a statue of 
Diana on the left. It was wrought in pentelic 
marble. Another more celebrated work was the 
statue of Fortune at Thebes, bearing in her arms 
the infant Pluto, of which he executed the head 
and arms of the goddess ; the rest was the work 
of Callistonicus, the Theban. There was another 
sculptor named Xenophoji, a native of the island 
of Paros. 

XIMENES, or ZIMENES, Juan Fernandez. | 
See MuDO. I 

XIMENES ANGEL, Jose, a Spanish painter, j 
who studied under Antonio Rubio at Toledo, and i 



succeeded Claudio Coello as painter to the Cathe- 
dral in that city, in 1695. He executed several 
works for the churches of Toledo, and a series of 
frescos representing incidents from the life of the 
Virgin, for the Hermitage of Fonseca. 

XIMENES DE ILLESCAS, Bernabe, a Span- 
ish amateur painter, born at Lucena in 1613. He 
was an officer in the Spanish army, and while serv- 
ing several years in Italy, he studied the works of 
the great masters. On his return to Spain, he ex- 
ecuted some works for various individuals. Count 
Raczynski mentions a picture by him, represent- 
ing the Battle of Santiago, in the collection of 
Count di Taroca at Lisbon. Leonard de Castro 
and Miguel Parrilla were his scholars. He died 
at Andujar in 1671. 

XIMENES DONOSO, Juan, a Spanish painter 
and architect, born at Consuegra in 1628. He was 
the son of Antonio X.. a painter of little note, and af- 
ter receiving his instructions, he studied under 
Francisco Fernandez at Madrid. At the death of 
the latter he went to Rome, and studied there 
seven years, applying himself particularly to pe? - 
spective and painting in fresco, and paying little at- 
tention to the antique, or the works of the great mas- 
ters. On returning to Spain, he formed an inti- 
macy with Claudio Coello. and executed some 
works in conjunction With him, for the Cathedral 
at Toledo ; he also painted some works entirely by 
himself. Ximenes' chief merit lay in the excel- 
lence of his coloring. According to Bermudez, he 
was much employed as an architect, but he exhib- 
ited inferior taste in all his designs. He died in 
1690. 

XIMENES, Don Francisco, a Spanish painter, 
born at Saragossa in 1598, After studying in his 
native city, he went to Rome, and resided there 
several years. After returning to Spain, he execu- 
ted many works for the churches, which, according 
to Bermudez, are more remarkable for excellence 
of coloring than for correctness of design. He 
painted two large pictures for the Cathedral of 
Saragossa, and an Adoration of the Kings for the 
chapter of the Cathedral of Teruel, which is bor- 
rowed from the performance of Rubens in the pal- 
ace at Madrid. The greater part of his works 
were executed in fresco or distemper, and have 
mostly perished. Ximenes, however, acquired 
considerable reputation in his time, and was much 
employed. He left his property to form a fund 
for the education of the orphan sons of painters, 
and for marriage portions to their daughters. He 
died at Saragossa in 1666. 

XIMENO, Jose, a Spanish designer and en- 
graver, who flourished at Madrid in the latter part 
of the last century. He designed and engraved 
the plates to illustrate the magnificent edition of 
Sol is' History of the Conquest of Mexico, pub- 
lished at Madrid in 1783, besides many vignettes 
and other plates for the booksellers. He was liv- 
ing in 1791. 

XIMENO, Matias. a Spanish painter, of Old 
Castile, who flourished about the middle of the 
17th century. He executed some works for the 
churches, among which are four lateral altar-pieces 
for the church of the Jeronymites of Siguenza, 
representing the Incarnation, the Nativity, the 
Epiphany, and the Presentation. 



YANE. 



1117 



ZAAG. 



Y. 



YANES, Hernando, a Spa.nish painter, born at 
Almedina. Littleisknownof himor his works, but 
he is said to have visited Italy, and studied under 
Raifaelle. On returning to Spain, he painted 
some altar-pieces for the churches at Cuenca, the 
principal of which are the Adoration of the Magi, 
and a Dead Christ in the Lap of the Virgin. — 
These pictures, according to Bermudez, resemble 
the works of Lionardo da Vinci more than those 
of Raffaelle; the same writer commends his 
works for the drawing, expression, coloring, and 
elaborate execution. He died about 1550. 

YANUS, an engraver on wood, mentioned by 
Papillon. He does not specify any of his cuts, but 
commends them for their delicate execution. 

YEATES, Nicholas, an English engraver, who 
nourished about 1680. He executed a few por- 
traits in a very indifferent style. 

YEPES, Thomas de, a Spanish painter, and a 
native of Valencia, who excelled in painting flow- 
ers, fruit, fish, and dead game. There are many 
of his works in the collections at Madrid, Seville, 
and Valencia, where they are highly esteemed. He 
died in 1674. 

YOUNG, John. This English engraver wrought 
in mezzotinto, but is better known bj'-his outlines 
of various celebrated galleries in England, which 
he published with descriptions. He held the of- 
fice of Keeper of the British Institution, and was 
an active promoter of the Artists' Benevolent 
Fund. He died in 1825. 

>■ YPRES, Karel van. a Flemish historical paint- 
er, was born at Ypres in West Flanders in 1510. 
He acquired a knowledge of art in his own coun- 
tr}^ but after practicing there for a number of 
years, he went to Italy for improvement, and stud- 
ied particularly the works of Tintoretto, On re- 
turning to his own country, he gained considera- 
ble reputation for his subjects of history, in the 
style of his model, among which are the Resur- 
j-ection, in the city of Tournay ; and the Last 
Judgment, in a church between Bruges and Ypres. 
He executed many designs with the pen, for the 
painters on glass, which are highly praised by 
van Mander for their excellence of composition 
and correctness of design. Van Ypres is said to 
have been of a melancholy temper, and he put an 
end to his own life in 1564. 

YUSO, Fkay Matias Antonio Trala, a Span- 
ish painter, born at Valencia in 1680. He became 
a monk of the order of St. Francis, and was prin- 
cipally employed in painting pictures of the Vir- 
gin, and Holy Families, for the church of his mon- 
astery, which, according to Bermudez, possess con- 
>i«lerable merit. He died in 1753. 

YVER, Peter, a Dutch engraver, who flourish- 
e 1 at Amsterdam about 1747. He executed a few 
portraits and other subjects. 

YVRART, Baudrin, a French painter, born at 
Tioulogne in Picardy in 1610, and died in 1690. 
l;ittle is known of him. but he is said to have been 
a good painter of history. 



ZAAGMOOLEN, Martin, a Dutch painter, who 
flourished at Amsterdam about 1670. He painted 
history with some reputation. Houbraken men- 
tions a picture of the Last Judgment by him, with 
a great number of figures, incorrectly drawn and 
feebly colored. He was the instructor of John 
Luyken and Michael van Musscher. 

ZAAL, J., a Flemish engraver, by whom there 
is a large etching of a Boar Hunt, after Snyders. 
It is executed in a bold, masterly style, and the 
masses are broad and powerful ; but the drawing 
is not very correct. 

ZABAGLIA, NiccoLO, an Italian architect and 
celebrated mechanician, was born at Rome in 1674, 
of obscure parentage. He was first employed as 
a common laborer on the works in the Vatican, 
but gained so much esteem by his talents, as to 
be finally appointed architect of St. Peter's. He 
invented some machines, and made various disco- 
veries in mechanics, of such value that Caylus 
commends him as approaching the ancients in 
genius. It would also appear that he constructed 
a number of castles and bridges. In 1743, Gio- 
vanni Bottari published a work at Rome, in grand 
folio, containing fifty-four plates with explanations, 
of which thirty-six represented machines and in- 
struments invented by Zabaglia. This work is 
highly esteemed by architects ; it is entitled Cas- 
telli e ponti di Niccolo Zabaglia^ con alcmie 
ingegnose pratiche e con la descrizione del 
traspo7'to del obelisco Vaticano e di altri del 
Dom. Fontana. Zabaglia died in 1750. 

ZABELLT, or ZABAGLIO, Antonio, an Ital- 
ian engraver, born at Florence about 1740. He 
engraved some portraits for the collection pub- 
lished by Allegrini, at Florence; also several sub- 
jects after Guido, Guercino, Caracci, and other 
masters. 
/\^^ ZABELLO, Giovanni Francesco, an Ital- : 
illlj^^ian engraver, who was a native of Bergamo, 

W according to Orlandi, and flourished about 
1546. He engraved some plates after the Italian 
masters, marked with a die and the date. 

ZACCAGNA, Tdrpino, a painter born at Cor- 
tona, of a noble family, who was a pupil of Luca 
Signorelli, according to Bottari, and executed some 
works for the churches in his native city, and other 
places in the vicinit}^, with considerable reputa- 
tion. He was living in 1537. 

ZACCHETTI, Bernardino, a painter born at 
Reggio, who flourished about 1523. Tiraboschi 
and others conjecture from his style that he was 
a scholar of Raffaelle. Lanzi says, " his picture in 
the church of S. Prospero, designed and colored in 
the taste of Garofolo, and others which partake of 
the style of Raffaelle, may probably have given 
rise to this opinion. But Italy then abounded 
with the disciples of that great master, who no 
longer instructed by his voice, but by his paint- 
ings and engravings. The works said to have been 
produced by him at Rome, and the assistance ho 
afforded to Michael Angelo in the Sistine chapel, 
are assertions of Azzari, which remain unques- 
tioned by any ancient writer.*' 



ZACC. 



1118 



ZAGE. 



ZACCHIA, Paolo, called il Vecchio (the El- 
der), a painter of Lucca, who flourished about 1527. 
Lanzi supposes he was educated at Florence. He 
painted history with considerable reputation, and 
there are several altar-pieces and other works in 
the churches and public edifices at Lucca, which 
display much study and elegance in design, though 
his outline is somewhat harsh and cutting. His 
principal works are, the Marriage of the Virgin. 
the Assumption of the Virgin, in the church of 
S. Agostino, and the Ascension in S. Sal va tore. 
Rosini has given an etching of the Marriage of the 
Virgin, which resembles the old Florentine school 
in simplicity of composition. 

ZACCHIA, Lorenzo, called il Giovane (the 
Younger), was probably a relative of the preceding, 
and flourished at Lucca about 1550. Lanzi says 
he showed more softness of contour, and more 
strength of coloring, than the elder Z., but in 
every other respect, he was held in less estima- 
tion. He is sometimes called Lorenzo di Ferro 
Zacchia. 

ZACCOLINT, Padre Matted. This artist, ac- 
cording to the best authorities, was born at Cese- 
na, in the Roman States, in 1590, and died at 
Rome in 1630. He was a reputable painter of his- 
tory, but chiefly excelled in painting architecture 
and perspective, in which he is said to have instruct- 
ed Domenichino and Niccolo Poussin. He be- 
came a monk of the order of the Theatines, and 
his principal works are in their church of S. Sil- 
vestro, on Monte Cavallo. Lanzi says he wrote 
some excellent treatises on perspective, the manu- 
scripts of which are preserved in the Barberini 
Library. 

ZACHTLEVEN. See Saftleven. 

Z AECH, Bernard, a German engraver, of whom 
nothing is known except by a few prints, the chief 
of which are a Set of Ruins after Jonas Umhach. 
They are etched and finished with the graver in a 
very neat style. Brulliot mentions twelve pieces 
of designs for goldsmiths, consisting of vases and 
goblets, marked B. Z., 1581, which he conjectures 
to be from his hand, but erroneously, as Umbach, 
after whom he engraved, was born in 1624. There 
was a Daniel Zaech, a painter, goldsmith, and en- 
graver of little note, who was living in 1613. 

ZAGANELLI. See Cotignola. . 

^^ ZAGEL, Matthias, an old 
A A f^t' or (T^^ German artist, of whom 
fy\ -^ ^^::|m little is known, and about 
-^ jiu vj/ ^4 whom there is a great deal 

of conjecture and discrepancy among writers. He 
is supposed to have been a painter, engraver, and 
goldsmith. There is a picture of the Crucifixion 
attributed to him in the Imperial Gallery at Vien- 
na. He is variously called Matthias and Martin 
Zagel, Zingler, Zasinger, Zatzinger, Zeyssin- 
ger, and Zinck. Bartsch describes about twenty 
prints by him, usually marked with one of the 
above monograms, and dated from about 1500 to 
1505. As an engraver, he may be ranked with 
Martin Schoen and Michael Wolgemut, ftnd from 
the style of his engraving, he is supposed to have 
been a goldsmith. Zagel's plates are executed 
with the graver in a neat, but stiff", formal, and 
Gothic style, and his composition and drawing are 
very indifferent. 



y^ZT^ ZAGEL, or ZAGHEL, Theodore, an 
J/^ engraver, who marked his plates with the 
vj^— ^ above monogram. He is mentioned by 
Orlandi, who only specifies by him one print, re- 
presenting an old Woman. 

ZAGNANI, Antonio Maria, a Bolognese paint- 
er, who excelled, according to Crespi, in painting 
fruit and flower pieces, which were so greatly ad- 
mired, that " he received numerous commissions, 
even from princely foreigners." He was living in 
1689. 

ZAGO, Santo, a Venetian painter, who flour- 
ished, according to Ridolfi, about 1550, and was 
educated in the school of Titian. He followed the 
style of that master with considerable success, and 
executed some works for the churches at Venice, 
which are highly commended, particularly an altar- 
piece, representing Tobit and the Angel, in S. Cat- 
erina. Lanzi also commends him as an able 
painter in fresco. 

ZAIS, Giuseppe, a Venetian painter, who stud- 
ied under Francesco Zuccarelli, during that artist's 
residence at Venice, and followed his style. Lanzi 
says, " in point of invention, he was more copious 
and varied than his master, but inferior to him in 
the mellowness of his tints. He had acquired from 
Simonini, who resided also a long time at Venice, 
the art of painting battle-pieces, in which he showed 
equal skill, but unfortunately he fell into dissipa- 
ted habits, and died a common mendicant in the 
hospital of Trevigi." Others say that he died at 
an advanced age in 1784, and Lanzi himself, in 
his index, says he died old in 1784. 

ZAIST, Giovanni Battista, a painter born at 
Cremona in 1700, and died in 1757. He studied 
under Giuseppe Natali, an eminent architectural 
painter, whose style he followed. Lanzi commends 
him as an able artist. He wrote the Lives of the 
Painters, Sculptors, and Architects of Cremona, 
which was published after his death in 1774, by 
his pupil Antonio Maria Panni at Cremona, in 
two quarto volumes. j 

ZAMBONI, Matted, a Bolognese painter, who 
was educated, according to Crespi, in the school of 
Carlo Cignani. He imitated the style of his in- 
structor with considerable success in two altar- 
pieces in the church of S. Niccolo at Rimini, repre- 
senting a history froui the Life of St. Pietro Celes- 
tino, and another from that of St. Benedetto. He 
also painted some pictures for the collections, but 
he died in the flower of his life. 

ZAMBONO, Michele, a celebrated Venetian 
worker in mosaic, who flourished about 1505. Ac- 
cording to Zanetti, he decorated the chapel of the 
Mascoli with histories of the Life of the Virgin, de- 
signed in the best style of the Vivarini, and execu- 
ted with such extraordinary care, that Vasari ob- 
served with surprise, " that it would not be possi- 
ble to effect more with colors." 

ZAMBRANO, Juan Luis, a Spanish painter, 
born at Cordova, according to Palomino, in 1599. 
He was a pupil of Pablo de Cespedes, whose style 
he followed with great success. His principal 
works are in the Cathedral at Cordova, and in the 
church of the convent of Los Martyros ; in the lat- 
ter he painted the Stoning of Stephen, and the 
Martyrdom of St. Acisclo, and St. Victoria. In 
the College of Santa Catalina are two fine pictures 



ZAMO. 



1119 



ZANA. 



of the Guardian Angel and St, Christopherj ^ 
which Palomino says are designed by him, in 
the grand style of Michael Angelo. He passed 
the latter part of his life at Seville, where he 
painted three large pitfcures for the church of St. 
Basil, representing the history of that saint, which 
are highly commended. Zambrano also painted 
easel pictures, which are highly esteemed ; his de- 
sign was correct, liis figures animated, and his col- 
oring warm and harmonious. He died in 1639. 
It is agreed by the Spanish writers, that he was 
instructed by Oespedes, who died in 1608 ; there- 
fore the date of his birth must be erroneous. 

ZAMORA, Diego, a Spanish painter, who flour- 
ished at Seville, according to Bermudez, in the lat- 
ter part of the 16th century, and executed some 
works in the cathedral of that city. There are no 
further particulars recorded of him. 

ZAMORA, Jtjan de, a Spanish painter, born at 
Seville, who flourished from about 1650 to 1671. 
He distinguished himself as a painter of landscapes, 
embellished with subjects taken from sacred and 
profane history, in which he imitated the highly 
finished style of the Flemish masters. Some of 
his best works are in the Episcopal palace at Se- 
ville. He also painted some sacred subjects ; but 
he was less successful in his large figure pieces, 
in which his landscape backgrounds were the best 
parts. 

ZAMPEZZO, Giovanni Battista, a painter 
born at Cittadella, near Bassano, in 1620. He 
studied under Jacopo Apollonio, the grandson and 
imitator of Jacopo Bassano. Zampeazo possessed 
great talents, and adhered tenaciously to the pre- 
cepts of his master. He copied and imitated the 
works of Bassano so closely that they now readily 
pass with the unlearned for the genuine produc- 
tions of that master. Lanzi says, " he devoted him- 
self to copying the works of Bassano. So well did 
he imitate his Santa Lucilla, baptized by Saint 
Valentine, in La Grazie at Bassano, that Scaligero 
pronounced it comparable to the original." There 
are some of his works in the churches at Bassano, 
which are esteemed little inferior to those of Apol- 
lonio. Though he lived to a great age, his works 
are scarce, being doubtless mostly attributed to 
Bassano, whose fame swallowed up all his imita- 
tors. He died at Bassano in 1700. See Bassano 
and Apollonio. 

ZAMPIERT, DoMENico. In the sketch of 
this great artist, given in this Dictionary^ under 
the head of Domenichino, it was omitted to men- 
tion his architectural distinction, excepting his ap- 
pointment by Gregory XV., as architect to the pon- 
tifical palace. Besides his superintendence of that 
edifice, he executed various other works, particu- 
larly two designs for the church of S. Ignazio at 
Rome. Instead of his being allowed to execute one 
of them, according to the principles of justice and 
propriety, the designs were combined by the Jesuit 
Grassi, who produced from them that which was 
executed. Upon this, Zampieri, indignant at such 
unworthy treatment, refused to design the fagade, 
and according to Milizia, the building was trans- 
ferred to Algardi. It is said that if his original 
design had been carried into effect^ Rome would 
have boasted of a temple which would have aston- 
ished succeeding generations. In S. Maria in 
Trastevere, he designed the rich and ingenious en- 
tablature, also the chapel, called della Madonna di 



Strada Cupa. Domenichino designed the greater 
part of the elegant Villa Belvidere at Frascati, and 
designed and erected the picturesque Villa Lodo- 
visi at Rome, the gardens of which he laid out with 
a number of verdant walks, and divided the grove 
in exquisite taste. His family name was Zam- 
pieri, but he is almost universally called Domeni- 
chino, to which name the reader is referred for his 
character as a painter. 

ZAN, Bernard, an engraver mentioned by Or- 
landi in his Abbecedario, who flourished about 
1571. He marked his plates with the initials B. Z., 
with the date, but his works are not specified. 

ZANARDI, Gentile, a Bolognese paintress, 
who flourished in the first part of the 18th cen- 
tury, and studied, according to Orlandi, with Cav. 
Marc' Antonio Franceschini. She possessed an ex- 
traordinary talent for copying the works of the 
principal Italian masters, with a softness of color 
and delicacy of outline, that surprised the best 
judges. She also painted historical subjects of 
her own composition. 

ZANATA, GiosEFFO, a Milanese painter who 
studied, according to Orlandi. under Carlo Fran- 
cesco Nu vol one, called the Guido of Lombardy, 
and followed his style with great success, being 
" extremely well versed in the art." There are 
some of his works in the churches at Milan, and 
other cities of Lombardy. He was living in 1718. 

ZANCARLI, PoLiPHiLos, an Italian designer 
and engraver, who flourished at Venice in the first 
part of the 17th century. Among other works, 
he engraved a set of twelve plates of antique fo- 
liage for friezes. Many of his designs were en- 
graved by Odoardo Fialetti, of which an account 
may be found among the prints of that artist, in 
Bartsch, P. G., tom. xvii. He is sometimes called 
Giancarli, Gian and Zan being synonymous in dif- 
ferent dialects. 

ZANCHI, Antonio, a painter born at Este, near 
Venice, in 1639. He was a scholar of Francesco 
Ruschi, and was more noted, according to Lanzi, 
for the number of his works than for their excel- 
lence. Lanzi says he belonged to the sect of nat- 
uralists called by the Italians Tenebrosi (darkcol- 
orists, or followers of Cortona and Oaravaggio). 
" Such at least appears the cast of his genius j 
common in iti forms, sombre in its colors ; but 
nevertheless exciting surprise by a certain fullness 
and felicity of handj by its picturesque spirit, by 
its efiect of chiaro-scuro, and by a grand general 
result which imposes upon us by its power. If 
we examine more particularly into his manner, 
we shall not unfrequently discover an incorrect- 
ness of design, along with that kind of indecision, 
and indistinctness of outline, which is mostly the 
resource of weak, or at least very hasty artists. 
He chiefly attached himself to Tintoretto, some 
traces of whom may be found in his style. In 
the college of S. Rocco, where that great master 
rendered his name immortal, we behold one of the 
best specimens of Zanchi. The subject, admira- 
bly fitted to his manner, contributed greatly to his 
success. He has there given a bold exhibition of 
the great plague that afiiicted Venice in 1630, n 
picture filled with a concourse of the sick, the dy- 
ing, and the dead, bound to one universal grave.'' 
There are several of his works in the church of S. 
Girolamo, the best of which are the Good Samari- 
tan and the Prodigal Son. He died in 1722. 



ZANE. 



1120 



ZANt. 



ZANCHF, FiLippo and Francesco, two paint- 
ers of Bergamo, brothers, of whom, according to 
Tassi, there are notices from 1544 to 1567. They 
were reputable artists, and executed some works 
for the churches. Filippo assisted Girolamo Col- 
leoni in some of his works. 

ZANELLA, Francesco, a painter of Padua, 
who was living in 1717. It is not known under 
whom he studied, but Lanzi says that he " deserves 
to be recorded as an artist of spirit, though not 
very diligent, nor very learned in the art. He is 
esteemed almost the Giordano of this city, from 
the great number of his works, conducted in a 
short time; and he may be considered almost as 
the last of the school of Padua." 

ZANETTI, Count Antonio xMaria, 
a Venetian nobleman, who was celebra- 
ted not only as the possessor of a rich 
//i2 D\j collection of rare works of art, but also 
as an engraver on wood and copper. He was born 
at Venice in 1680, and was taught drawing as an 
accomplishment ; but his inclination for art soon 
became strongly manifested, and at the age of four- 
teen he designed and etched a set of twelve plates, 
representing studies of heads and figures. As- 
sisted by his relative, Antonio Maria Zanetti, and 
others, he executed and published a great number 
of etchings and engravings on wood, in chiaro- 
scuro, from the drawings of Raflfaelle, Parmiggi- 
ano, and other celebrated painters, many of which 
he had purchased at the sale of the Arundelian 
collection. They are divided into two sets, con- 
sisting in all of ninety-nine prints on copper and 
wood, with the portrait of the artist, engraved by 
Faldoni, from a painting by Rosalba, in the front 
of the work. Zanetti executed numerous other 
works, the principal of which are a set of twelve 
etchings of animals and figures, after B. Castigli- 
one; a set of eighty prints of antique gems ; and a 
collection of the statues in the palace of St. Mark, 
and other public places in Venice, which are highly 
commended. Lanzi says " he revived the art of 
taking prints from wooden blocks, with more than 
one color, which was invented by IJgo da Carpi, but 
afterwards lost." He usually marked his prints 
with a monogram composed of his initials, A. M. 
Z., as above. His death is generally placed at Ve- 
nice, in 1757, but Lanzi says he was living at an 
advanced age, in 1765. 

ZANETTI, Antonio Maria, called the Young- 
er, was the nephew of the preceding, born at Ve- 
nice in 1716. Being well versed rn literature, he 
was appointed to the office of Librarian of St. 
Mark, and was not less distinguished than his un- 
cle for his zealous attachment to the art. In 1760 
he published a set of eighty plates, designed and 
etched by himself, from the works of the Venetian 
painters, entitled, Varie Pitture a fresco de prin- 
cipali Maestri Veneziani, &c. Lanzi says he al- 
so displayed considerable skill as a painter. He 
is known as a learned and able writer on art by his 
Pittura Veneziana, a work highly commended by 
Lanzi, treating of Venetian painting and the pub- 
lic works of the principal Venetian masters, in 
five books, published at Venice in 1771, 8vo. He 
died in 1778. 

ZANGRIUM, John Baptist, a Flemish en- 
graver, who resided at Lou vain about 1602, in 
which year he published a book of dresses, enti- 



tled, Album Amicorum habitibus Mulierum Om- 
nium nationum Europce. By the side of each 
figure is an ornamental mantle, with a helmet, and 
a blank left for a coat of arms. They are neatly 
executed, but without much taste. In the begin- 
ning of the work, he introduced the portraits of 
the Duke of Brabant, Isabella Clara his duchess, 
and Justus Lipsius. 

ZANI, Giovanni Battista, an Italian designer 
and engraver, who fiourished, according to Bartsch, 
in 1660 ; Zani says he operated in 1640. He 
formed the design of making a collection of etch- 
ings from the works of the most distinguished 
Bolognese painters, and for this purpose had com- 
pleted the drawings from those in the cloisters of S. 
Michele in Bosco, when he died young, before the 
etchings were finished. Bartsch describes only one 
print by him, a Glory, after L. Caracci. 

ZANIMBERTI, Filippo, a painter born at Bres- 
cia in 1585. He was educated in the school of 
Santo Peranda, with whom he continued ten years. 
He distinguished himself as an historical painter, 
and executed many works for thecTiurches of Bres- 
cia and Venice, besides being much employed in 
decorating the palaces of the nobilitj^ He had a 
fertile genius, and a lively imagination ; he designed 
correctly, and with facility ; his heads have a fine 
expression, and his coloring is very natural. Lan- 
zi says " he was never appreciated at Brescia ; but 
at Venice, where he resided many years, and where 
he painted with real genius and skill for the 
churches, he is very highly esteemed. In Santa 
Maria Nuova, is to be seen his grand picture of the 
Manna, so much commended by Ridolfi, by Bos- 
chini, and by Zanetti ; though he seems to have 
chiefly employed himself in ornamenting the pala- 
ces. He possessed a singular talent for drawing 
small figures, and composing histories and fables, 
•which were eagerly sought after, insomuch that the 
poet of the Venetian paintings affirms that who- 
ever possesses one of Zanimberti's pictures was 
sure of his money." 

ZANNA, Giovanni, a painter who flourished at 
Rome, according to Baglioni, in the pontificate of 
Paul V. He painted history with reputation, and 
was an excellent figurist. He formed an intimacy 
with Tarquinio di Viterbo, and they both wrought 
in conjunction, Tarquinio painting the landscape 
and architectural pieces^ and Zanna adorning them 
with figures. 

ZANNICHELLI, Prospero. a painter born at 
Reggio in 1698, and died in 1772. According to 
Tiraboschi, he was an excellent painter of perspec- 
tive, and was much employed in decorating thea- 
tres. 

ZANOBRIO, See Carlevariis. 

ZANOTTI, Giovanni Pietro. This artist 
was born at Paris, of Italian parents, who sent 
him while young to Bologna. He was educated in 
the school of Lorenzo Pasinelli, and became a 
correct designer, a good colorist, exhibiting also an 
excellent knowledge of the chiaro-scuro. He 
painted several altar-pieces for the churches at Bo- 
logna, the principal of which are the Incredulity 
of St. Thomas, in the church of that Saint ; the 
Resurrection, in S. Pietro ; and the Nativity, in 
La Purita. In the Palazzo Pubblico, is a large 
picture by him representing the Ambassadors of 
Rome swearing fidelity to the Bolognese. He re- 



ZAPP. 



1121 



ZEEM. 



sided a great part of his life at Cortona, where he 
distinguished himself by painting several pictures 
for the churches, particularly Christ appearing to 
JMary Magdalene, Christ bearing his Cross, and 
the Murder of the Innocents. Lanzi says he ex- 
celled in easel pictures of historical and mytholo- 
gical subjects, which are frequently to be met with 
in private houses, and are greatly admired. " They 
display much poetical imagination, this artist de- 
lighting in poetical compositions, very different 
from Lomazzo's and Boschini's, to an extreme old 
age." 

Zanotti is also well known as a laborious and 
intelligent writer on art ; of his numerous publi- 
cations, the most considerable is his Storia delV 
Accademia Clementina di Bologna, published in 
two volumes quarto in 1739. Lanzi says fewhave 
been more successful in wielding with equal excel- 
lence both pen and pencil. He died in 1765, at the 
great age of 91 years. 

ZAPPI. Lavinia, a name by which Lavinia 
Fontana is sometimes called, from a family of Imo- 
la, into which she married. See Fontana. 

ZARATO. See Luzzo. 

ZARINENA, Francisco, a Spanish painter, 
born at Valencia about 1550. According to Palo- 
mino, he went to Italy while young, and had the 
advantage of studying in the school of Titian. On 
returning to Spain, he executed some works for the 
churches and convents of his native city, the prin- 
cipal of which are in the monastery of San Miguel 
de los Reyes. " In composition and coloring, they 
are worthy of the school in which he was educa- 
ted." Bermudez says he was a scholar of the el- 
der Ribalta, and commends his works, but says no- 
thing of his studying under Titian. He died at 
Valencia in 1624. 

ZARINENA, Cristobal and Juan, were the 
sons and disciples of the preceding, in whose style 
they painted history with considerable reputation. 
There are some of their works in the public edifi- 
ces at Valencia. 

ZARLATTI, GiosEFPo, an Italian designer and 
engraver, was born at Modena about 1635, and died 
ver}'^ 3'oung. We have by him a few etchings of his- 
torical and fancy subjects, from his own designs, 
executed in so spirited and pleasing a style, and 
evincing so lively a genius, that his premature death 
is deeply regretted. 

ZATZINGER. See Zagel. 

ZAUNER, Francis von, a distinguished Ger- 
man sculptor, was born at Feldpatan in German 
Tyrol, in 1746. He early evinced a decided taste 
for sculpture, and went to Vienna in 1766, where 
he studied and wrought with great assiduity un- 
der Prof. Schletterer, for a period of five years. 
His talents were noticed by Prince Kaunitz, who 
ordered him to execute within fifteen days a model 
for a spring, representing the three largest rivers of 
Austria. The work was approved, and was after- 
wards executed on a large scale. The Empress 
Maria Theresa took Zauner into favor ; and, in 1776, 
he received assistance from the government to go to 
Rome, where he studied four years. In 1781 he was 
appointed Professor of Sculpture in the Academy at 
Vienna. He improved the manner of studying 
this art in the Austrian capital, and executed a 
number of works ; among others, the colossal 
statue of the Emperor Joseph II., which FrancisII. 



caused to be erected in honor of his uncle, in the 
Joseph Square, in 1807. It is one of the largest 
statues in Europe, and was cast by Zauner in a 
new method of his own invention, which succeeded 
perfectly. There are by this artist many busts, 
statues, and bas-reliefs ; also the monument of the 
Emperor Leopold II.,in whitemarble, in the church 
of St. Augustine. He died at Vienna, in 1822. 

ZE, De. The name of this artist is afiixed to a 
small print representing Christ dead in the Tomb, 
attended by an Angel. It is executed with the 
graver, in a style resembling that of John Sadeler, 
and is apparently from his own design. 

ZEExMAN, Remy. See No cms. 

ZEE MAN, Enoch, a Dutch painter, who resided 
many years in London, and died there in 1744. 
He painted portraits in the labored style of Den- 
ner, and met with considerable employment. He 
had a son named Paul, who followed the same pro- 
fession. Isaac Zeeman, the brother of Enoch, was 
also a portrait painter, and died in 1751, leaving a 
son, who pursued the same branch. 

ZEGHERS. SeeSEGHERS. 

ZEITBLOOM, Bartholomew, an ancient Ger- 
man painter of Ulra, to whom many pictures of 
the old German school are attributed. Dr. Kiigler, 
in his Hand-Book of the German and Flemish 
Painters, mentions several pictures of sacred sub- 
jects by him, two of which are in the Pinacothek at 
Munich, and others are dispersed in various churches 
and collections. They are designed in the old, dry, 
gothic style, but the coloring is strong and rich. 
Nothing is known of his history, or the time when 
he flourished. 

ZELOTTI, Battista, an eminent Italian paint- 
er, born at Verona in 1532. He was brought up 
in the school of Antonio Badile, and was the fel- 
low student and friend of Paul Veronese, with 
whom he cooperated in several important works 
in the public edifices at Venice. Vasari calls him 
Battista da Verona, and includes him among the 
disciples of Titian. Lanzi also thinks that he 
studied with Titian after he left Badile. '• His 
Holy Family in the Carrara collection, frequently 
extolled by us before, is entirely in the style of Ti- 
tian, and from such a studio it would appear we are 
to look for that warmth of tints in which for the 
most part he excels Veronese, as well as that pow- 
er of design in which Zanetti is of opinion that he 
also surpassed him, although others think very 
differently. He often surpasses him, likewise, in 
grandeur, and in what appertains to painting in 
fresco, a circumstance that Paolo was fully aware 
of, and for that reason sought to obtain his assist- 
ance in works of that kind. He possessed great 
fertility of invention, and a rapid hand, while he 
was profound and judiciotis in his compositions. 
Indeed, he might have been esteemed another 
Paolo, had he been able to compete with him in 
the beauty of his heads, in variety and in grace. 
In truth, his productions were frequently given to 
Veronese ; even those he painted for the grand 
hall of the Council of Ten, were engraved under 
the name of the latter by Valentine le Febre. He 
was doubtless one of the first artists of his time, 
though not estimated according to his merits, from 
his having worked chiefly in fresco, and at a dis- 
tance from capital cities, in villages, in country 
seats, and in palaces. One of his grandest works 



ZELT. 



1122 



ZENO. 



is seen at Cafcaio, a villa belonging to the Marchese 
Tornmaso Obizzi, where, about 1570, he represent- 
ed in different rooms, the history of that very an- 
•cient family.distinguished no less in the council than 
in arras. The place is continually sought after by 
foreigners, attracted thither by its splendor, by the 
fame of these pictures, and the valuable museum 
of antiquities collected by the Marchese. In his 
oil paintings, Zelotti could not compete with Cali- 
ari, though he approached him near enough in his 
Conversion of St. Paul, and Christ with his Disci- 
ples in the Fishing bark, which he executed for 
the cathedral of Vicenza, to merit the honor of 
having them attributed to the pencil of Veronese. 
This city was his chief theatre of action, where, 
together with Veronese, and the help of one of his 
best pupils, he established a school, which partook 
of the taste of both these masters." Zelotti died 
in 1592. 

ZELTER, Carl Friedrich, a German archi- 
tect, was born at Berlin in 1758. He received a 
liberal education, and at the age of seventeen was 
articled to his father, who was also an architect. 
During the succeeding eight years he was occupied 
in professional pursuits, and in 1783 was admitted 
as a master-builder. During this time, however, 
he conceived a passion for music, and devoted him- 
self to that art after completing his architectural 
course. He attained the position of Professor of 
Music to the University and the Royal Institute 
of Berlin ; and it does not appear that he erected 
any edifices. Zelter died in 1832. 

ZENALE, Bernardo, called also Bernardo da 
Trevilio, an Italian painter and architect, born at 
Trevilio in the Milanese. He was a pupil of Ci- 
verchio, and painted history and architecture, and 
excelled particularly in perspective. According to 
Lanzi, he was an eminent artist in his time, and 
the intimate friend of Lionardo da Vinci. Lomaz- 
zo relates that Vinci in his Last Supper had en- 
dued the countenances of both the saints James 
with so much beauty, that despairing of making 
that of the Saviour more imposing, he went to ad- 
vise with Bernardo Zenale, who to console him, 
said, '' Leave the head of Christ unfinished, as it is, 
for you will never be able to make it worthy of 
Christ, among those Apostles ;" and this Lionardo 
is said to have done. (See, however, Vinci.) Vasari 
calls Zenale Bernardino da Trevio, and says he was 
an engineer at Milan, in the time of Bramante, " a 
very able designer, and esteemed an excellent mas- 
ter by Vinci, though his manner was somewhat 
harsh and dry in his pictures ;" and he then goes 
on to cite his picture of the Resurrection in the 
cloister of the Grazie, among other works, as ex- 
hibiting some beautiful foreshortenings. 

As an architect, Zenale gained considerable dis- 
tinction, and was entrusted with the restorations 
in the Cathedral at Milan. In 1520 he was invi- 
ted to Bergamo by the magistrates of that city, 
to give his opinion concerning the proposed embel- 
lishments in the basilica of S. Maria Maggiore. 

In his old age. in 1524, he published a w^ork on 
perspective, containing many original and excellent 
observations. Few of his works now remain. He 
has been confounded by several Italian writers with 
Bernardo Butinone, a native of the same town, and 
his fellow-pupil. Tassi erroneously calls him 
Bernardino da Trevigi. Zani says he was born in 
1426. and died in 1526 ; if so, he was ninety-eight 



years old when he published his work on perspec 
tive. 

ZENCI, D OMEN ICO, an Italian engraver, who 
flourished about 1570. His style resembles that 
of Marco da Ravenna, and he is supposed to have 
been a disciple of that master, though his works 
are inferior, and incorrectly drawn. He engraved 
a set of portraits entitled Illustrium Jureconsul- 
torum Imagines. It is said that his name was 
Zenoi. or Zenoni, and that he engraved some prints 
after Raffaelle, and other masters. 

ZENOBRIO. See Carlevariis. 

ZENODORUS, a celebrated Greek sculptor, who 
flourished in the first century of the Christian era, 
during the reigns of Claudius and Nero. Invited 
to the province of Auvergne in Gaul, he was com- 
missioned by the prefect Vibius Avitus to execute 
a metallic colossal statue of Mercury. He was en- 
gaged ten years upon this work, and received for ^ 
it the sum of 40,000,000 sesterces ; but this amoun t 
probably covered also the cost of the materials. He 
also copied for Avitus the precious vases by Cala- 
mis the Greek sculptor, with such skill that they 
could scarcely be distinguished from the originals, 
which had been bequeathed by Germanicus to his 
instructor Cassius Silanus, and thence descended 
to Avitus, nephew of the latter. The works of 
Zenodorus gained him so much reputation, that he 
was employed by Nero to execute the colossal 
statue of that monarch, 110 or 120 feet high, erect- 
ed in the vestibule of his Golden Palace. This 
immense height can hardly be credited, however ; 
it is probably an error of some copyist. After the 
tyrant's death, the statue was overthrown, and 
Vespasian subsequently ordered a head with seven 
rays to be substituted for that of Nero, and conse- 
crated the statue to the Sun, in the fdurth quarter 
of the ci ty. There is a passage in Pliny's account of 
Zenodorus, which is translated thus : " This statue 
shows that the art of founding in bronze was lost : 
for Nero was ready to furnish all the necessary 
gold and silver ; and Zenodorus yielded to no ar- 
tist of antiquity in the art of chiseling and model- 
ing." It would appear from this, that the statue 
was composed of some other material than bronze, 
and probably of brass ; since not even the prodi- 
gality of Nero was able to revive the art of bronze 
casting. 

ZENONI, DucE, an Italian engraver, who flour- 
ished in 1634. He engraved some plates of por- 
traits, neatly executed with the graver, but in a stiff, 
and formal style. He was probably also a gold- 
smith, as he signed his prints Duce Zenoni Ore- 
Jice. 

ZENTNER, J. L,, a German engraver, who re- 
sided at Paris about 1780. and afterwards visited 
England, where he engraved some plates of land- 
scapes, animals, and dead game. His plates are 
etched and finished with the graver, in a neat, clear 
style. 

ZETTER, Paul be. This artist 
was a native of Hanover, and flour- 
ished about 1630. He was chiefly 
employea m engraving portraits from his own de- 
signs, executed in a neat, but stiff and tasteless 
style. He engraved several plates for Boissard's 
Collection of Portraits. He sometimes marked 
his prints with the above monogram, and at others 
with his initials P. D. Z. fee. 



JcuX^ 



ZEUX. 



1123 



ZEFX. 



ZEUXIS. This great artist, one of the most 
celebrated painters of antiquity, and the most em- 
inent of his time, was born at one of the ancient 
cities named Heraclea, between B. C. 460 and B. C. 
450. Pliny fixes the time when he flourished at 
B. C. 400 ; but he could scarcely have been born 
later than B. C. 450, as he was in the height of his 
reputation during the reign of Archelaus of Mace- 
don, which was from B. 0. 413 to B. 0. 399 ; and 
Harduin and others are therefore probably incor- 
rect in fixing upon Heraclea in Lucania, in Italy, 
as the birth-place of Zeuxis, since that city was not 
founded until after the destruction of Siris, B. 0. 
433 ; and the only reason that seems to be urged 
for their supposition, is a very insufficient one. 
namely, that Zeuxis was commissioned to paint a 
picture by the Crotoniats. When he had made 
himself rich by his profession, and must accord- 
ingly have been advanced in years, he gave away 
some of his works ; and Archelaus was then living, 
for he presented a picture of the god Pan to that 
king. From the complaint of Apollodorus, who 
lived at Athens, Zeuxis must also have been early 
in that city ; he was most likely a native of one 
of the Heracleas in Greece, and probably, from his 
connection with Archelaus, of Heraclea Lyncestis 
of Macedonia. 

Zeuxis was instructed in art by Demophilus of 
Himera, or Neseas of Thasos; artists of whom no- 
thing is known, except that one of them was his 
instructor. He soon far outstripped his master, as 
Apollodorus intimated, in verses expressive of his 
indignation that Zeuxis should have moulded to 
his own use all previous inventions, and stolen 
the graces of the best masters ; thus paying a fine 
involuntary compliment to his great rival. Apol- 
lodorus having first practiced chiaro-scuro, could 
not endure that his glory should be eclipsed by a 
younger artist, who availed himself of his own 
improvements to rise to a higher degree of excel- 
lence. The complaint of Apollodorus, that his rival 
had robbed him of his art, shows also that Zeuxis 
excelled in coloring, as effect of coloring and of light 
and shadow were the peculiar excellencies of Apol- 
lodorus. Lucian terms Zeuxis the greatest painter 
of his time,sa3''ing that he was immediately preceded 
by Apollodorus of Athens, whom he surpassed ; and 
he was immediately followed by Parrhasius of 
Ephesus, who surpassed him. Parrhasius how- 
ever, was defective in coloring and chiaro-scuro ; 
and it is quite doubtful whether the latter part 
of this assertion is correct. Unlike Polygnotus, 
Zeuxis did not employ himself upon large compo- 
sitions. He drew well, and in a grand stj'le; and 
the beauty and grandeur of his forms were so pre- 
dominant, that he was said by Aristotle to have 
failed in expressing mind, but Plinj'- says that in a 
picture of Penelope bewailing the loss of her hus- 
band, not only form, but character were vividly 
expressed ; he censures him, however, for the too 
great size of the heads and joints in comparison 
with the other parts of the figures. Quintilian 
says that Zeuxis followed Homer, who loved pow- 
erful forms, even in women; he likewise notices 
his excellence in light and shade. He was also 
distinguished for a dramatic effect of composition, 
and he made a peculiar choice of subject ; for he 
seldom or never, says Lucian, exerted his powers 
upon such hackneyed subjects as gods, heroes, 
and battles ; but he alwa3'S selected something 
new and unattempted. and when he had cho- 



sen a subject, he labored his utmost to render it 
a master-piece, painting very slowly, and with 
great care. Lucian instances, as an example, a 
picture of a family of Centaurs, of which he saw 
a copy at Athens, that excited his wonder at its 
extraordinary excellence. The original was lost 
at sea, on its way to Rome, whither it was sent 
by Sylla. He describes it as follows : " On a 
grass plot of the most glossy verdure lies the 
Centauress, with the who'le equine part of her 
stretched on the ground, the hind feet extending 
backwards, while the upper female part is gently 
raised and reclining on one elbow. But the fore 
feet are not equally extended, as if she lay on her 
side ; yet one seems to rest on the knee, having 
the hoof bent backwards, whereas the other is 
lifted up and pawing the ground, as horses are 
wont to do when they are going to spring up. Of 
her two young, one she holds in her arms to give 
it the breast, the other lies under her sucking like 
a foal. On an elevation behind her is seen a Cen- 
taur, who appears to be her mate, but is only visi- 
ble to the half of the horse ; he looks down upon 
her with a complacent smile, holding up in one 
hand the whelp of a lion, as if jocosely to fright- 
en his young ones with it. In the male Centaur 
all is fierce and terrific : his shaggy mane-like hair, 
his rough body, his broad and brawny shoulders, 
and the countenance, though smiling, yet wild and 
savage ; in short, everything bears the character 
of these compound beings. The Centauress, on the 
other hand, as far as she is brutal, resembles the 
finest mare of the Thessalian breed which is j-et 
untamed, and has never been mounted ; by the 
other moiety, she is a woman of consummate beau- 
ty, excepting only in the ears, which have some- 
what of the satyr shape. The blending, however, 
of the human and animal natures is so artificial, 
and the transition of one to the other so imper- 
ceptible, or rather they so gently lose themselves 
in one another, that it is impossible to say where 
the one ceases and the other begins. Nor in my mind 
was it less admirable that the young ones, notwith 
standing their tender age, have somewhat wild and 
fierce in their aspect, and that mixture of infantine 
timidity and curiosity with which they look up at 
the whelp, while at the same time they continue 
eagerly sucking, and cling as close as they can ta 
their mother." 

Zeuxis was not only successful in securing 
wealth, and the applause of the multitude, but 
was honored with the friendship of Archelaus of 
Macedon, for whose palace he executed several pic- 
tures, and received for them the sum of 400 minae — 
about ^8000 ; which, though a small sum, com- 
pared with what was paid the painters of the Al- 
exandrine period, and later, was probably at that 
time comparatively a large one. Cicero says that 
the inhabitants of Crotona prevailed on Zeuxis to 
visit their city, and to paint there a number of pic- 
tures for the Temple of Juno, for which he was to 
receive a large and stipulated sum. On his arrival 
he informed them that he intended only to paint 
the picture of Helen, with which they were satis- 
fied, as he was regarded peculiarly excellent in the 
delineation of women. He accordingly desired to 
see the most beautiful maidens of the city, from 
whom he selected five, copied all that was most 
beautiful and perfect in the forms of each, and 
thus completed a work of exquisite beauty. It was 
a very famous work in after times, and artists ap- 



ZEUX. 



1124 



ZEVI. 



parently traveled to Crotona to see it. The paint- 
er Nicomachus, seeing this picture, could not re- 
strain the expression of his surprise and admira- 
tion, when a bystander, not equally capable of ap- 
preciating its excellence, demanded what he saw 
in the picture to excite such sensations. "Ah," 
replied the painter, "take my e3'-es, and you will 
see a goddess"! This was his most celebrated 
work. It seems probable that he painted a pic- 
ture of Helen, besides that for the people of Cro- 
tona, which in the time of Pliny was in the Por- 
tico of Philip at Rome. Probably a greater work 
by Zeuxis, though less celebrated than his Helen, 
was his picture which he presented to the Agri- 
gentines, of the infant Hercules strangling the 
Serpents sent by Juno to destroy him, in the pres- 
ence of his panic-struck mother Alcmena, and of Am- 
phitryon. Other famous works by him were — 
Jupiter in the Assembly of the Gods ; Menelaus 
mourning over the fate of Agamemnon ; a Marsyas 
bound, in the Temple of Concord at Rome in Pliny's 
time; an Athlete inscribed with the line, "It is 
easier to find fault than to imitate"; and a Cupid 
crowned with roses, which was in the Temple of 
Venus at Athens. The time and place of Zeuxis' 
death are unknown. Festus relates, on the au- 
y^hority of Verrius Flaccus, that he died with 
' laughter at the picture of an old woman whom he 
had painted ; but this extraordinary circumstance 
is mentioned by no other writer, and is probably 
fictitious. 

Zeuxis is represented as having been very proud 
of his reputation, and ostentatious of his wealth. 
He appeared at the Olympic Games attired in a 
mantle on which his name was embroidered in 
letters of gold, a piece of most absurd display in 
one whose name was deeply impressed on the 
hearts and imaginations of those by whom he was 
surrounded. He does not, however, seem to be 
chargeable with avarice, or, at least, this passion, 
if it existed, was subservient to his pride; for, 
when he had attained the height of his fame, he 
refused any longer to receive money for his pic- 
tures, because he regarded them above all pecu- 
niary value. In the earlier part of his career, he 
was accustomed, however, to exhibit his produc- 
tions for money, especially his celebrated painting 
of Helen, whence the figure was denominated. " Hel- 
en the Courtezan." The truth seems to have been, 
that the ruling passion of Zeuxis was the love of 
pomp, an ever-restless vanity, a constant desire 
and craving after every kind of distinction. So far 
as money assisted in procuring this, he stooped to 
obtain it, and refused it when he could most suc- 
cessfully assume dignity by refusing further recom- 
pense. 

The story respecting the contest between Zeuxis 
and Parrhasius, has been frequently related. It is 
said that the former painted a cluster of grapes with 
such perfect skill that birds came and pecked them 
as they were exhibited on the table. Elated with 
so unequivocal a testimony of his excellence, he 
called to his rival to draw back the curtain which 
he supposed concealed his work, anticipating a cer- 
tain triumph. Now, however, he found himself en- 
trapped, for that which he took for a curtain, 
was only a painting of one by Parrhasius ; upon 
which he ingenuously confessed himself defeated, 
since he had deceived only birds, but his antag- 
onist had beguiled the senses of an experienced ar- 



tist. An anecdote is also related of a similar kind, 
in which he overcame himself, or rather one part 
of his work was shown to have been executed at 
the expense of another. He painted a boy with a 
basket of grapes, to which the birds resorted ; on 
which he acknowledged that the boy could not be 
well painted, since, had the similitude been equal 
in both cases, the birds would have been deterred 
from approaching. It was, perhaps, from the for- 
mer of these accounts that Lucian drew his asser- 
tion that Zeuxis was inferior to Parrhasius, and 
if so, it certainly proves very little. Regard must 
be shown to the description of objects represented, 
and the artist who could represent a curtain to per- 
fection, would not necessarily be the greatest paint- 
er of Greece. There are many testimonies, scat- 
tered through the writings of antiquity, to the 
transcendent genius of Zeuxis. 

Cicero remarks that the works of Zeuxis, of 
Aglaophon, and Apelles, are in diiferent styles, 
but they are all three perfect in their respective 
styles. Zeuxis also painted pictures in white, or 
mere chiaro-scuro, which the Greeks termed mono- 
chroms. It is remarkable that Pausanias does 
not mention the name of this artist, and we may 
infer from this that Zeuxis painted easel pictures 
only, or upon tabulae, wooden panels, which, from 
their perishable nature and facility of removal, are 
very easily lost, particularly if the works of em- 
inent artists, whose productions are best worth re- 
moval. Cicero states that Zeuxis used only four 
colors ; but this is probably an error ; or he may 
mean in his carnations, in which four are all that 
are necessary. In regard to the idea which has 
generally obtained in modern times, that the ancient 
painters really knew the use of only four colors, 
the anecdotes above related are almost sufficient 
to refute it entirely ; because, although the stories 
themselves may be valueless, the fact that they 
were circulated in ancient times, shows that the 
ancients believed that exact imitation could be ac- 
complished in colors, which result they could never] 
have arrived at except by the evidence of their] 
senses. For a further dissertation on this point,' 
see the article Apelles. 

There was another ancient artist named Zeuxis, 
a Greek statuary, who was a disciple of Silanion, 
and flourished from B. C. 316, to B. C. 296. 

ZEVIO. See Stefano da Verona and Alti- 

CHERIO. 

ZIARUKO, John. This artist was a native of 
Poland, and is supposed to have been a painter. 
He executed a set of large etchings in a slight, 
spirited style, from his own designs, representing 
the Coronation Ceremonies of Louis XIII. of 
France. 

ZIFRONDI, Antonio, a painter born at Clusone, 
in the Bergamese territory, according to Count 
Tassi, in 1657. After acquiring the rudiments of 
the art, he went to Bologna, and entered the school 
of Marc' Antonio Franceschini, under whose able 
instruction he became a reputable painter of histor3% 
There are many of his works in the churches and 
private collections of his native city, which show 
that he possessed a ready invention, and great fa- 
cility of hand. Lanzi says he had a genius and 
an imagination for grand compositions, and a won- 
derful facility and rapidity of hand, that enabled 
him to dash off a picture in two hours ; but his 



ZILO. 



1125 



ZOBE. 



works are seldom free from errors of over-haste 
and carelessness. His name is sometimes written 
Cifrondi. He died in 1730. 

ZILOTTI, DoMENico Bernardo, a painter 
born at Borso, near Bassano, about 1730. He 
painted landscapes, in which he imitated the style 
of Francesco Zuccarelli with great spirit and cor- 
rectness. He also executed quite a number of 
spirited etchings from his own designs and after 
other masters, which possess considerable merit. 

ZINANT, Francesco, a painter of Reggio, who 
flourished in 1755. According to Tiraboschi, he 
studied under Francesco Bibiena, and became one 
of the most skillful painters of perspective in Lom- 
bardy. He was much employed in decorating 
theatres. 

ZINCKE, Christian Frederick, an excellent 
painter in enamel, born at Dresden in 1685. He 
went to England in 1706, and studied under Boit, 
whom he surpassed ; and Cunningham states that 
he even rivaled Petitot, but Stanley says this is an 
error, that though he surpassed most artists of his 
time, and his works are still held in high estima- 
tion, he did not equal that master by many de- 
grees. He found abundant employment, was much 
patronized by George II. and Queen Caroline, and 
was appointed cabinet painter to the Prince of 
Wales. The Princess Amelia, daughter of George 
11.. had ten portraits of her illustrious family paint- 
ed by him. His works are numerous and highly 
esteemed. He died in 1767. 

ZING, or ZINGG, Adrian, a Swiss engraver, 
who flourished in the latter part of the 18th cen- 
tury. He first studied under John Rudolf Hol- 
zhalb, at Zurich, and then for two years with 
Louis Alberli at Berne, after which he went to 
Paris, and became the pupil of John George Wille. 
He executed several plates in that metropolis, 
which gained him considerable reputation, and 
after a residence there of seven years, he was in- 
vited to Dresden by the Elector" of Saxony, who 
appointed him his engraver. He was also elected 
a member of the Academy in that city. He en- 
graved quite a number of plates of landscapes, 
marines, sea-ports, views, and other subjects, af- 
ter Vernet, vander Neer, Dietricy, and other mas- 
ters, which are executed in a neat, clear style, re- 
sembling that of Wille. The times of his birth 
and death are not recorded. 

ZING, . See Zagel. 

ZINGARO, Lo. See Solario. 

ZINMERMAN, Michael, a German painter 
and engraver on wood, who flourished at Vienna, 
according to Papillon, about 1550. Nothingis known 
of his works as a painter. He executed the cuts 
of a large geographical chart consisting of ten parts 
which join together. It represents the kingdom of 
Hungary, with the arms of the provinces, and is 
described as a very fine performance. 

ZOAN, ANDREA, a real or supposed engraver, 
who flourished about 1516, There is a great deal 
of dispute as to his name, country, and works, 
which wc cannot enter into, further than to say 
that Bartsch, P. G. tom. xiii., describes thirty- 
three prints by him, most of which are marked 
with the initials Z. A., and quite a number more 
are described by other writers. Some of these are 
copied from Albert Durer. Zani says, " the ini- 
tials Z. A., stand for Zoan Andrea, which is the 



same as Giovanni Andrea, Zoan being the Venetian 
pronunciation of Gian, or Giovanni," hence he ar- 
gues that he was a Venetian. For further infor- 
mation the reader must be referred to Bartsch, 
Zani, and other voluminous writers. 

ZOBEL, Benjamin, the inventor of Marmo- 
tinto, was born in 1762, at Memmingen, in Bavaria. 
He received his education at the government school 
of that city, and acquired the rudiments of draw- 
ing from a monk belonging to the convent of Ot- 
tobeuern. In 1781, he went to Amsterdam, where 
he resided two years, chiefly occupied in portrait 
painting. In 1783, he visited London, where 
he formed an acquaintance with Mori and and 
Schweickhardt, the latter of whom was employed 
at "Windsor Castle, by George ITI.'s " table decker." 
It was then customary to ornament the royal din- 
ner table by having a silver plateau extending 
along the centre, on which were strewed various 
colored sands or marble dust, in fanciful designs 
of fruit, flowers, arabesque work, &c. For this 
an artist was required, possessing considerable tal- 
ent and great freedom of hand. On the retirement 
of Schweickhardt, Zobel was appointed ; and he 
continued to fill the office for a considerable pe- 
riod. As the sands were not cemented by any 
substance, this mode of ornamenting the table was 
a daily occupation ; but Zobel conceived the idea 
of producing a finished and permanent picture, 
by the use of some substance to fix the sands. Af- 
ter various experiments, a composition, consisting 
chiefly of gum-arabic and spirits of wine, was found 
to answer the best. The subject of the picture 
having been designed either on pannel or milled 
board, a coating of the glutinous substance was 
spread over it ; the different colored sands were 
then used in a similar manner as that employed 
in decking the royal table, namely, by strewing 
them from a piece of card held at various eleva- 
tions, according to the strength or softness of the 
tint required. Thus was formed a picture, not 
subject to decay, and permanent in all its parts ; 
and this the inventor called Marmotinto. Some of 
the best specimens of this peculiar art were formerly 
in the possession of the Duke of York, but were sofd 
at his death, a number of years ago, at Oatlands. 
Several are still among the collections of paintings 
belonging to the Duke of Northumberland, and 
Sir Willoughby Gordon. Zobel also practiced 
painting on gold and silver grounds in transpa- 
rent colors, for various purposes, with eminent 
success. He died in 1831. 

ZOBOLI, Jacopo, a painter born at Modena. 
who first studied under Francesco Stringa, and af- 
terwards at Bologna. From thence he went to 
Rome, where he settled, and "acquired," says 
Lanzi, " the reputation of a good artist. This he 
obtained in a high degree by his labors in the 
church of S. Eustachio, where he is distinguished 
among the more modern productions by his St. 
Girolamo, displaying .singular diligence, polish, and 
harmon)' of colors, by no means general in those 
times." " He died at Rome in 1761. 

ZOOCHI, Giuseppe, a painter and engraver, 
born at Florence in 1711. Lanzi says he displayed 
such talents when a boy, that the noble family 
of the Gerini took him under its patronage, and 
after his elementary studies at Florence, sent him 
to Rome, to Bologna, and to other parts of Lom- 
bardy for his instruction. "Zocchi had a genius 



zocc. 



1126 



ZOLA. 



fertile in invention, pliant in imitation, and judi- 
cious in selection ; hence at the conclusion of such 
a course of study, he was able to compose large 
works with skill, and to color beautifully. He 
painted four tolerably large frescos in the Villa 
Serristori, beyond the gate of St. Nicholas ; some 
apartments in the Rinuccini palace, and one in the 
Gerini gallery 5 and these are believed to be his best 
works of this sort. In small pieces he was still 
greater, as in his oil pictures of the festivals at Siena, 
on the arrival of the Emperor Francis I., a work true 
in perspective and graceful in the multitude of 
figures.'^ Zocchi also made drawings of the most 
remarkable views in Florence, and of the villas 
in its environs, which he caused to be engraved 
and published in sets; the figures in these were 
-etched by himself He also etched some plates af- 
ter Guido, P. da Cortona, Simone da Pesaro, Soli- 
mena, and others. He died in 1767. 

ZOCCHL See Zucchi. 

ZOCCOLI, Carlo, a distinguished Italian archi- 
tect and engineer, was born at Naples in 1718. 
Milizia does not mention his instructor, but at the 
age of seventeen he entered the corps of engineers. 
He attained great distinction, was appointed mas- 
ter of fortifications, and took precedence of many 
of the older officers ; but in consequence of delicate 
health, he devoted his talents to civil architecture, 
and was appointed Superintendent of Buildings to 
the city of Naples. The principal works by Zoc- 
coli are, the Cathedral, Seminary, and Episcopal 
Palace of Calvi ; the Convent of the Alcanterini, 
on the mountain of Pignatoro ; the church and 
Baronial palace in Cutignano. near Nola ; the Villa 
of the Prince of Supino at Portici ; and that of the 
Marquis Palomba at Cesa. Zoccoli also construct- 
ed two windmills at Capua, and nine others at Scil- 
la, in Calabria. He died in 1771, leaving a son 
named Raffaelle Z., who completed the restora- 
tions on the Castle at Scilla, commenced by his fa- 
ther. 

ZOPFANY, John, a German painter, born at 
Frankfort-on-the- Maine, in 1735 ; although Fiorillo 
places his birth at Regensburg, in Bavaria. It is 
said that his father, an architect of Bohemian de- 
scent, sent him to Italy while young ; and after re- 
turning to Germany, that he practiced portrait and 
historical painting at Coblentz for several years. He 
went to England when about thirty years of age, 
where he acquired considerable distinction by paint- 
ing the portraits of Garrick and several other em- 
inent performers in costume, also those of the Earl 
of Barry more, and several members of the Royal 
Family. At the formation of the Royal Academy, 
Zoflfany was chosen one of the original forty mem- 
bers, in 1768 ; and he painted a picture of the Acad- 
emicians of 1772, considered among his best works. 
He also painted conversation pieces with consid- 
erable success. On his expressing a wish to visit 
Italy, George III. gave him a letter to the Grand 
Duke of Tuscany, who received him well, and per- 
mitted him to study in the Florentine gallery, of 
which he painted a picture, now in the royal col- 
lection. In 1782, soon after his return to England, 
he went to the East Indies, and resided several 
years at Lucknow, where he painted the portraits 
of several native princes, and many European re- 
sidents. Three of his best performances were 
painted in the East Indies, and have been engraved 
in mezzotinto by Earlom : they represent an In- 



dian Tiger Hunt ; a Cock-Pight, with many fig- 
ures; and the Embassy of Hyderbeck to Lord 
Cornwallis at Calcutta, a rich display of Indian 
costumes, with about one hundred figures, and 
several elephants and horses. After acquiring a 
handsome fortune, ZofFany returned, in 1796, to 
England, where he passed the rest of his days, and 
died at Kew, in 1810. 

ZOLA, or ZOLLA, Giuseppe, a landscape paint- 
er, born at Brescia in 1675. Lanzi says, " he de- 
voted himself to no single master, but formed his 
style upon many. He was exceedingly rich in 
conception, and in expedients; his buildings are 
of a rustic kind, his ruins partake of the modern, 
and are picturesquely covered with creeping plants 
and ivy ; the back grounds are of an azure hue, 
and he inserts a great variety of objects and fig- 
ures, in which he was less happy than in his land- 
scape. His earlier works are held in most es- 
teem. When he obtained greater commissions, 
he executed them with a more mechanical hand, 
and with the exception of his coloring, which he 
always studied, he bestowed little care on the rest. 
Those pictures are in general most complete in 
which he introduced the smallest figures, and such 
may be seen even out of private houses, as in the 
Monte della Piett\, and in the sacristy of S. Lionar- 
do at Ferrara." In his best works, his figures are 
elegantly designed, carefully finished, and touched 
with spirit, though generally not equal to his 
scenery. He resided the greater part of his life 
at Ferrara, where he died in 1743. 

ZOMPINI, Gaetano, a painter born at Venice 
in 1702. According to Lanzi he was a pupil of 
the Cav. Niccolo Bambini, and afterwards b}^ study- 
ing the works of Sebastiano Ricci, he formed a 
mixed style not destitute of originality. "He re- 
ceived honorable commissions from the court of 
Spain, in which he displayed a rich fund of imagi- 
nation ; he also, in a measure, distinguished him- 
self by his engravings." He died in 1778. 

ZONCA, Victor, an Italian architect, and talen- 
ted mechanician, was born about 1580. In youth, 
he applied himself to the study of mathematics and 
architecture, and attained sufficient excellence to 
be appointed architect to the city of Padua. He 
seems, however, to have attained his chief distinc- 
tion b}^ the invention of many ingenious machines. 
entitled Nuovo teatro di machine ed edifizj per 
varie e sicure operazioni, in folio, Padua, 1607, or 
1621. There are said to have been other editions 
published in 1653 and 1656, but this is quite im- 
probable, as the volume is very rare. 

ZOOLEMAKER. See Solemacker. 

ZOPPO, Marco, a painter born at Bologna in 
1451. He first studied under Dalmasio Lippi, and 
afterwards at Padua, in the school of Francesco 
Squarcione, where Andrea Mantegna was his fel- 
low pupil. Lanzi says, "he also studied in the 
Venetian school, where he painted for the Osser- 
vanti at Pesaro, a picture of the Virgin on a throne. 
Clowned, with St. John the Baptist, St. Francis, 
and other saints, and signed it Marco Zoppo da 
Bologna Dip. in Vinexia, 1471. This is his most 
celebrated production, from which, and a few other 
pieces in the same church, and at Bologna, we m ay- 
gather some idea of his style. He formed an epoch 
in the Bolognese school, and rose to equal emin- 
ence with Plzzolo and Dario da Trevigi ; and. like 






ZOPP. 



1127 



ZUCC. 



them, vied with the genius of Mantegna, which 
gave a further spur to his exertions. His compo- 
sition is that common to the quattrocentisti (ar- 
tists of the 14th century), particularly the Vene- 
tians, and which he probably introduced into Bo- 
logna, a style which continued till the time of 
Francia and his school, for the most part unvaried, 
except in the addition of a church to the steps of 
the throne, sometimes with a harp, and sometimes 
without. It is not free and graceful, like that of 
Mantegna, but rather coarse, particularly in the 
feet; yet less rectilinear in the folds, and bolder 
and more harmonious perhaps, in the selections of 
the colors. The fleshes are as much studied as in 
Signorclli. and in others of the same age, while 
the figures and accessories are conducted with the 
most finished care. He was moreover a fine deco- 
rator of fa9ades." He died in 1517. 

ZOPPO, Paolo, a painter of Brescia, who flour- 
ished in the first part of the 16th century. There 
are some of his pictures in the churches of his na- 
tive city, which show that he had studied the 
works of the Bellini, and approached near the 
modern manner. Lanzi says he was present at 
the terrible sacking of the opulent city of Brescia, 
by the French army, under Gaston de Foix, in 
1512, and that he painted the desolation of the 
city in miniature, upon a large crystal basin, a 
work of immense labor, intended to be presented 
to the Doge Gritti ; but in transporting it to Ve- 
nice, the crystal was unfortunately broken, and the 
unhappy artist, overwhelmed with despair, died 
about 1530, though Ridolfi says about 1515. 

ZOPPO, Rocco, a Florentine painter, who flour- 
ished in the first half of the 16th century. He 
was a disciple of Pietro Perugino, in whose style, 
according to Lanzi. his Madonnas are frequently 
to be met with in private houses at Florence. 

ZOPPO, Lo, DE Gangi, a Sicilian painter, who 
flourished, according to Lanzi, in the 18th centu- 
ry. There are some of his works in the Cathe- 
dral at Castro Giovanni. 

ZOPPO, Lo, Di Genova. See Micone. 

ZOPPO, II, Di Lugano. See Discepoli. 

ZOPPO, Lo, DA VicENZA. See Pieri. 

ZORG. SeeRoKEs. 

ZOROTI, Dome Nice, an Italian engraver, who 
resided in Germany, according to Florent le Comte, 
and executed some portraits. 

ZOUST. See Soest. 

ZUBERLEIN, or ZIBERLEIN, Ja- 
cob, a German engraver on wood, was 
born at Tubingen, and flourished at 
Frankfort about 1595. He executed a considera- 
ble number of wooden cuts, usually marked with 
a monogram of his initials, I. Z., to which he some- 
times added a small tub. He is said to have been 
also a painter. 

ZUBOZ, Alexis, an engraver in mezzotinto, 
who went to St. Petersburg, where he resided ma- 
ny years, and engraved a series of portraits of the 
Emperors of Russia ; that of Peter the Great is 
dated 1729. 

ZUOCARELLI, or ZUCCHERELLI, Fran- 
cesco, an eminent landscape painter, born at Pi- 
tigliano, in Tuscany, according to Lanzi, in 1702. 
He studied first with Paolo Anesi, and afterwards 
successively with Gio. Maria Morandi and Pietro 



Nelli. For some time he applied himself to his- 
torical painting, but his natural genius leading him 
to landscape, he afterwards confined himself to 
that branch, in which he greatly excelled. His 
scenery is always pleasing, and usually embellish- 
ed with ruins, cottages, and figures, elegantly de- 
signed, and touched with great neatness and spirit. 
His pictures were greatly admired and extolled, all 
over Europe, His principal field in Italy was in 
Venice, until the British Consul, Smith, induced him 
to visit England in 1752, where he met with very 
flattering encouragement, and was elected one of 
the original forty members of the Royal Academy. 
About 1773, he returned to Italy, and settled at 
Florence, where he invested a considerable sum of 
money, the produce of his talents, in the security 
of one of the monasteries, intending to pass the 
rest of his days in tranquil repose, but the monas- 
tery was soon afterwards suppressed by Joseph 
II. of Austria, and the unfortunate artist being re- 
duced to indigence, was obliged to resume his pen- 
cil. He sometimes decorated the landscapes and 
architectural pieces of his cotemporaries with beau- 
tiful figures. He is said always to have marked 
his pictures with a pumpkin or squash, of 
large size, growing on a vine upon a shepherd's cot 
or fence, or stuck with a stick on a rustic's 
shoulder, as the rebus of his name, which in Ital- 
ian signifies little pumpkin. "We have a few 
spirited etchings by this artist from his own de- 
signs, and after other masters. He died at Flor- 
ence in 1788. 

ZUCC ARO, Taddeo. This painter is sometimes 
miscalled Zucchero, and by Vasari, Zuccheri, or 
Zuccari; but Lanzi says that in his epitaph, and 
in the books of his brother Federigo, the name is 
Zuccaro. He was born at S. Angiolo in Vado, in 
the Duchy of Urbino, in 1529, and was the son of 
an obscure painter, named Ottaviano Zuccaro. At 
an early age he manifested a precocious genius, and 
after receiving instruction from his father, and 
from Pompeo da Fano, he went to Rome when only 
fourteen j^ears old. Destitute of means, he was 
compelled to support himself by grinding colors 
for the shops; but he still devoted every available 
moment to the prosecution of art, and frequently, 
after parsing the day in designing from the works 
of Raffaelle, he was compelled by poverty to sleep 
under the loggie of the Chigi palace. After perse- 
verance under such difficulties, which would have 
daunted a less devoted lover of art, Taddeo was no- 
ticed by Daniello de Por, or da Parma, an artist 
then in repute, who favored him with his assist- 
ance and advice ; and Lanzi says he " accomplished 
himself" under Giacomoneda Faenza. His pro- 
gress from this time seems to have been rapid ; in 
1547, at the age of eighteen, he was employed to 
decorate the fagade of the Palazzo Mattei, wiih 
several emblematical subjects in chiaro-scuro. — 
Having acquired considerable reputation by this 
work, he was soon afterwards engaged by the 
Duke di Urbino to paint a series of frescos in a 
chapel of the Cathedral : Lanzi also mentions his 
picture of the Pentecost, in the church of S. Spii- 
ito at Urbino. During the pontificate of Julius 
HI., he returned to Rome, and was employed by 
that pontiff", and by his successor, Paul IV., in tho 
embellishment of the Vatican, and particularly of 
the apartments called 11 Torrione. He painted in 
various parts of the Ecclesiastical States, and was 
entrusted by Cardinal Farnese with the entire de- 



zuoc. 



1128 



zucc. 



coration of his palace at Caprarola, where he rep- 
resented the civil and military history of the Far- 
nese family, in a variety of compartments, evincing 
great powers of invention, and a judicious style of 
composition. Lanzi says that the history of the 
Evangelists, in the church of the Consolazione at 
Rome, is among the best of his large fresco works 
in that city, but that none of his performances 
have added so much to his celebrity as those at 
Caprarola, and that strangers who visit that place 
generally return with a higher opinion of his abili- 
ties than they took with them, Lanzi also adds 
that a number of young artists, fully equal, and 
perhaps superior to Taddeo, were employed upon 
the same works at Caprarola, both in conjunction 
with him and after his death, whose works ought 
not to be confounded with his, though it is not al- 
ways easy to distinguish them. 

Most of Taddeo's performances are his grand 
works in fresco. He painted few pictures in oil, 
and is most pleasing in his small cabinet pictures, 
which are finished in the first style of excellence. 
Lanzi srjs that " from Giacomone da Faenza, and 
other good artists, whom he assiduously studied, 
he acquired sufficient talent to distinguish himself. 
He adopted a style which, though not very correct, 
was unconstrained and engaging, and very attrac- 
tive to such as do not look for grandeur of design. 
He may be compared to that class of orators, who 
keep the attention of their hearers awake, not from 
the nature of their subject, but from the clearness 
of their language, and from their finding, or think- 
ing they find, truth and nature in every word. 
His pictures may be called compositions of por- 
traits; the heads are beautiful, the hands and feet 
negligently painted, nor yet labored, as in the Flo- 
rentine manner ; the dress and ornaments, and 
form of the beard, are agreeable to the times; the 
disposition is simple, and he often imitates the old 
painters in showing on the canvass only half fig- 
ures in the foreground, as if they were on a lower 
plain. He often repeated the same countenance, 
and his own portrait. In his hands, feet, and the 
folds of his drapery, he is still less varied, and fre- 
quently errs in his proportions." 

According to Vasari, Taddeo Zuccaro carried on 
a traffic in the art, similar to that of Pierino del 
Vaga before him, by contriving to abound in com- 
missions, and securing to himself the services of 
other artists, in order to make them dependent on 
him, that they might not interfere with his own 
commissions and emoluments. He died at Rome 
in 1566, in his thirty-seventh year, worn out with 
continual exertion, and some disposition to excess. 
His monument is to be seen by the side of that of 
Raffaelle, in the Rotonda. In 1748, there were 
published a set of forty-five plates, engraved by 
John Joseph Prenner, from Taddeo's great work 
in the palace at Caprarola. 

ZUCCARO, Cav. Federigo. This painter was 
the brother of Taddeo Z., and born at S. Angiolo 
in Vado, in 1543. He went to Rome at a very 
early age, and entered the school of his brother, 
where he had every advantage, and in a few years 
was so far advanced as to be able to assist Taddeo 
in his great wcrrks in fresco. In concert with Fed- 
erigo Baroccio,he was employed by Pius IV. to paint 
in the Belvidere palace the History of Moses and 
Pharaoh, and the Transfiguration,which gained him 
great reputation. He also assisted his brother in 
the works at the Vatican, and the Farnese palace 



at Caprarola ; and he was invited to Florence by 
the grand duke Francesco I., to paint the great 
dome of the metropolitan church S. Maria de' 
Fiori, commenced by Vasari, and left unfinished 
at his death. In this work Lanzi says there is 
little to admire, except vastness of conception ; he 
designed more than three hundred figures, fifty 
feet in height, without mentioning that of Lucifer 
so gigantic that the rest appeared like children. 

Federigo returned to Rome at the earnest solici- 
tation of his brother ; but the latter dying soon 
after, he was engaged to finish the various works 
upon which Taddeo had been engaged, in the Vati- 
can, the church la Trinita de' Monti, and various 
other places. He soon became the first artist in 
Rome, and every work on a large scale was assign- 
ed to him. Gregory XIII. engaged him to paint 
the vault of the Capella Paolina ; but about this 
time, in order to revenge himself upon some of the 
principal officers of the Pope, who had treated him 
with indignity, he painted and exposed to public 
view an allegorical picture of Calumny.* introduc- 
ing the portraits of all those individuals who had 
offended him, decorated with asses' ears. His ene- 
mies, upon this, made such complaints that he was 
compelled to quit the dominions of the Pope, and 
he traveled to France, where he was for some time 
employed by the Cardinal of Lorraine. Going "on 
to Flanders he painted several cartoons for tapestry, 
and then crossed the Channel, arriving in England 
in 1574, where he met a favorable reception, and 
painted a number of fine portraits, among which 
was that of Queen Elizabeth. Walpole also says 
that he painted the portrait of Mary, Queen of 1 
Scots, which was engraved by Vertue, and is now | 
at Chiswick. 

Federigo's stay in England was quite short, and 
on returning to Italy he was invited to Venice, to 
paint the Submission of the Emperor Frederick 
Barbarossa to Pope Alexander HI., in the Palazzo 
Pubblico, which is praised by Zanetti as one of his 
best works, copious, beautiful, and well sustained. 
Lanzi says he was highly esteemed, and constant- 
ly employed in Venice ; he was engaged, in concert 
with the most eminent Venetian masters of the 
day, to embellish the Grand Council Hall, where 
his performances were so much admired that he 
received the honor of knighthood. 

The pontifi" being by this time appeased, Fede- 
rigo returned to complete his work in the Capella 
Paolina, which Lanzi commends as the best of all 
he executed in Rome, without the assistance of his 
brother. During the pontificate of Sixtus V., he 
was invited to Madrid by Philip II. He executed 
some frescos in the lower cloister of the Escurial, 
which, not giving satisfaction to his royal patron, 
were effaced, and their places supplied by Pelle- 
grino Tibaldi. The king, however, compensated 
him liberally for his work, and sent him back to 
Italy with a pension. About this time, he was 
chosen by Gregory XIII. to put in execution the 
letters patent for the Academy of St. Luke,, which 
Lanzi says was first organized in November, 1593. 
according to the account of Signer Barone Vernazza, 
although the Artists celebrated the year 1695 as the 
centenary of the Academy. By common consent, 
FederigO' was declared the first president of this 

* This is not the large picture of the Calumny of Apel- 
les, painted in distemper for the Orsini family, and engra- 
ved, which is now to be seen in the Palazzo Lante, and is 
one of the most finished productions of Federigo, 



zucc. 



1129 



ZUOC. 



celebrated institution, of which he was one of the 
chief promoters. 

Later in life, as it would appear, Federigo Zuc- 
caro undertook a journey through the principal 
cities of Italy, everywhere leaving proofs of his 
abilities. Lanzi praises two of his pictures in a 
chapel at Loreto. representing scenes from the life 
of the Virgin, painted for the Duke of Urbi- 
nO; for their simple and graceful style ; he also 
mentions two large pictures in the library of the 
Cistercian monks at Milan, representing the Mira- 
cle della Neve, with a numerous assemblage of fig- 
ures, in his usual lively manner, the coloring varied 
and well preserved. Federigo resembled his bro- 
ther Taddeo in style; he possessed a ready and 
inventive genius, and his design is not incorrect : 
but his compositions are frequently incongruous 
and extravagant, and he was led into a greater de- 
gree of mannerism than Taddeo, by an affectation 
of grandeur, and a commanding facility, being 
more addicted to ornament, and more crowded in 
his composition. His works are frequently compo- 
sitions of portraits, and his coloring, though vigor- 
ous, clear, and brilliant, possesses neither mellow- 
ness or harmony. 

After executing various works in Milan, Pavia, 
and other Italian cities, Federigo went to Turin, 
where he painted several pictures for the churches, 
and commenced the decoration of a gallery for the 
Duke of Savoy. Here he published his treatise 
entitled, La Idea de' Pittori, Scultori, e Archi- 
tetti, which Lanzi says he appears to have written 
with the intention of rivalling and excelling Va- 
sari ; but he chose an abstruse mode of writing, 
and concocted a mass of sterile and ill-direc,ted spec- 
ulations ; for which reasons Lanzi says we derive 
more information from a single page of Vasari's 
plainly written work, than from the whole book | 
of Zuccaro. which tends rather to raise disputes 
than to convey knowledge. In 1609, while re- 
turning to his native place, Federigo fell sick in 
Ancona, where he died, aged sixty-six years. He 
left his entire property to the Academy of St. 
Luke. This artist is said to have been versed in 
sculpture and architecture, but none of his works 
are mentioned. Baglioni admires his versatility 
of talent, but more his good fortune, in which he 
exceeded all his cotemporaries. He was distin- 
guished for noble personal appearance, engaging 
manners, and great liberality ; all of which quali- 
ties gained him the esteem and attachment of ma- 
ny individuals, and contributed in no small de- 
gree to his success. 

ZUCOATI, Sebastian 0, an old painter who 
was living at Trevigi in 1490. He painted in the 
gothic style of the time, and had the honor of be- 
ing the first instructor of Titian. 

ZUCCATI, Valeric and Francesco, two cele- 
brated workers in mosaic, sons of the preceding, I 
who were living at Venice in 1573. Lanzi, speak- | 
ing of the perfection to which mosaic painting was I 
carried before and during the time of Titian, says. 
'• The same taste in mosaic work prevailed in the I 
time of Titian, and to this he gave a renewed spir- j 
it, and even furnished several of these artists with ; 
designs. Marco Luciano Rizzo and Vincenzio Bi- j 
anchini, are the first who, about 1517, succeeded ■ 
in effecting a complete reform in the art. To the i 
last is referred that celebrated Judgment of Solo- 
mon which adorns the portico or vestibule of San I 



Marco. Both these, however, were surpassed by 
Francesco and Valerio Zuccati, of Trevigi (or ra- 
ther of the Valtelline), sons of the same Sebastiano 
who initiated Titian in the first rudiments of art. 
By them there likewise appear, in the portico of 
San Marco, among various prophets and doctors of 
the church, two histories that may be pronounced 
the best mosaic works produced during the age of 
painting. I have seen altar-pieces for churches, and 
pictures for private ornament in the same taste. The 
Royal Gallery at Florence possesses a portrait from 
life of Cardinal Bembo. worked by Valerio ; and a 
St. Girolamo by Francesco, is known to have been 
presented by the Republic to the court of Savoy. 
Subsequently to these, about 1585, Arminio, a 
son of Valerio, flourished, and was held in much 
repute. Nor did this family only possess the art 
of coloring glass and stone with admirable skill, but 
they understood the principles of design, more 
particularly Francesco, who had practiced as a 
painter, before he entered upon mosaic works." 
Vasari erroneously calls these artists Zuccheri. 
and sometimes Zuccherini. See Bianchini. 

ZUCCHI. Andrea, an Italian engraver, born at 
Venice about 1675. He engraved a part of the 
plates for a collection of prints from the most cel- 
ebrated paintings at Venice, consisting of 57 plates, 
published by Lovisa. He also engraved a set of 
twelve plates of Venetian costumes. He died in 
1740. The following are among his best works : 

Tobit and the Angel ; after Titian. St. John the 
Evangelist ; do. St. John the Baptist ; after P. Veronese. 
The Martyrdom of Paolo Erizzo ; after P. Longki. The 
Birth of the Virgin ; after Niccolo Bambini. The Mi- 
racle of the Manna ; after G. Porta. The Goddess Cybele 
in a Car, drawn by Lions ; after Tintoretto. Aurora and 
Tithon; do. iEneas saving Anchises from the Burning of 
Troy ; after Seb. Ricci. 

ZUCCHI, Francesco, an Italian engraver, was 
the son and scholar of Andrea Z.. born at Venice 
in 1698. He was invited to Dresden, where he 
engraved several plates from pictures in the Elec- 
toral Gallery, among which are the following. He 
died in 1764. 

The Portrait of a Spaniard ; after Rubens ; in the Dres- 
den Gallery. The Portrait of a Lady, resembling one of 
Rubens' wives ; after the same ; in the same collection. 
St. Helena worshipping the Cross ; after Gio. Bettini Cig- 
narolL Two Allegorical Subjects ; after Antonio Bales- 
tra. 

ZUCCHI, Lorenzo, was the younger brother 
of the preceding, born at Venice in 1704. He was 
instructed by his father, and in 1738 was appoint- 
ed engraver to the Elector of Saxony, who em- 
ployed him to execute several plates from pictures 
m the Electoral Gallery, for the collection known 
as the Dresden Gallery, The following are by him. 
He died about 1779. 

The Seven Sacraments; after Spagnoleito. The Mar- 
tyrdom of St. Peter and St.* Paul ; after Nic. del AbaiL 
The Crowning of St. Catherine ; after Rubens. A Sacrifice 
to Venus ; after Ger. Lairesse. The Flaying of Marsy us ; 
after Langetti. St. Michael combatting the Dragon ; af- 
ter Torelli. The Tribute-Money ; after Titian. David 
with the Head of Goliah ; after Luc. Giordano. 

ZUCCHI, Antonio, an Italian fresco painter, 
who accompanied Robert Adam, the architect, to 
England. He was employed to decorate some of 
the mansions of the nobility, among others a ceil- 
ing at Buckingham House. His subjects were 
usually mythological, with ruins and other embel- 



zuco. 



1130 



ZUPE. 



lishraents, which he painted in a light and pleasing 
manner, though without much force. He died at 
Rome in 1795. 

ZUCCHT, Jacopo, called also Della Zucca, a 
painter born at Florence about 1541. He was a 
pupil of Giorgio Vasari, whom he assisted in some 
of his works. Lanzi says. " his works exhibit 
none of the carelessness of Giorgio. He some- 
times imitated him, but his style is better and 
more refined. He lived long at Rome, under the 
protection of the Cardinal de Medici, whose palace, 
and more especially the Palazzo Rucellai, he deco- 
rated with frescos, with incredible diligence. His 
picture of the Birth of the Baptist, in S. Giovanni 
Decollato, is esteemed the best picture in the 
church ; and he appears more a follower of An- 
drea del Sarto than of any other master. He usu- 
ally introduced portraits of distinguished charac- 
ters and men of letters into his compositions, and 
showed a peculiar grace in the figures of children 
and young people." There are several altar-pieces 
and other works by him in the churches at Rome, 
one of the best of which is the Descent of the 
Holy Ghost, in S. Spirit© in Borgo. He died in 
the pontificate of Sixtus V. He had a brother 
named Francesco, who was a good artist in mosaic, 
according to Baglioni, and Lanzi says he likewise 
excelled in painting fruit and flowers. 

ZUCCO, Francesco, a painter born at Berga- 
mo. According to Tassi, he first studied in the 
school of the Campi at Cremona, and afterwards 
under Pietro Moroni, the disciple of Paul Veronese. 
Lanzi says, '"From Moroni he acquired the art of 
giving a singular degree of spirit to his portraits, 
and from Veronese the mode of ornamenting them 
with most taste and fancy. Even in his larger com- 
positions, he sometimes adhered so closely to Paolo, 
that several of his works were ascribed, even by 
his fellow-citizens, to that artist, a circumstance 
that occurred to his pictures of the Nativity and 
of an Epiphany in the church of S. Gottardo at 
Bergamo. He adopted, moreover, a variety of 
manners, apparently ambitious of displaying to 
the public his power of imitating Cavagna or 
Talpino, as he pleased." He died in 1627. 

ZUGNI, Francesco, a painter born at Brescia, 
according to Ridolfi, in 1574, and died in 1636, 
aged 62; Zani says he was born in 1557, and died 
in 1621 ; and Lanzi places his death in 1621. — 
He studied under the younger Palma, and was 
his ablest disciple. Though inferior to him in 
beauty of forms and attitudes, he surpassed him in 
vigor and impasto of coloring, and in the spirit in 
which he conducted his works. He particularly 
excelled in fresco, and frequently embellished with 
his figures the architectural and perspective pieces 
of Tommaso Sandrini, with whom he was em- 
ployed in the hall of the Podesta, in that of the 
Capitano, and in several villas. Zugni displayed 
great excellence in his oil paintings, one of the 
most esteemed of which is the Circumcision, in S. 
Maria delle Grazie, at Venice. He was also much 
employed by individuals. 

ZUMMO, Gaetano Giulio, a celebrated Sici- 
lian modeler in colored wax, was born of a noble 
family, at Syracuse, in 1656. His name is often 
incorrectly spelt Zumbo, He early devoted him- 
self to the study of sculpture, and combining 
with it a careful investigation of the anatomy 
of the human body, he produced some good 



I 



works, and various anatomical preparations in color- 
ed waxjprepared after a method of his own. He ac- 
quired considerable reputation in various Italian 
cities — in Bologna, Genoa, and especially at Flor- 
ence, where the grand duke Cosmo III. took him 
into his service. Among other works which he 
executed for that prince, are two most repulsive 
but ingenious performances, one representing the 
effects of the Plague ; the other called " Corrup- 
tion" (La Corruzione), consisting of a group of 
five figures, in high relief, showing different stages 
of decomposition in the human body after death. 
De Piles mentions two beautiful works by him at 
Genoa, representing the Nativity, and the Descent 
from the Cross. From Genoa, Zummo went to 
Paris, where he died in 1701. 

ZUPELLI, Giovanni Battista, a painter of 
Cremona, who flourished about the close of the 15th 
century. He painted landscapes, usually embel- 
lished with figures representing subjects from sa- 
cred history. His style, though dry and gothic, 
exhibits much originality, and there is a graceful 
air in his figures, which distinguishes his works 
beyond the generality of his cotemporaries. In 
the church of the Eremitani, at Cremona, is a 
landscape with the Holy Farpily, by him, which is 
highly commended by Lanzi and others. Zani 
says he died in 1520, and others in 1536, aged 62. 
Lanzi says he flourished at the close of the 15th 
century. 

ZURBARAN, Francisco, an eminent Spanish 
painter, was born, according to Palomino, at Fu- 
ente de Cantos, near Seville, in 1596. His father 
was a husbandman, and intended him for the same 
employment ; but he manifested such a strong in- 
clination for painting, that he was placed in the 
school of Juan de las Roelas, under whose direc- 
tion he applied himself with such diligence and 
success, that he soon acquired the reputation of an 
eminent painter of history. He determined to 
copy nature in everything, and followed the style 
of Michael Angelo Caravaggio, at the same time 
discarding the extravagance and caprice of that 
master, whose bold effects and vigorous light and 
shadow he adopted with such great ability, that 
he was called the Spanish Caravaggio. In 1625, 
he was commissioned by the Marquis of Malazon 
to paint some pictures for the chapel of St. Peter, 
in the cathedral of Seville, representing scenes 
from the life of that Apostle, which he executed in 
a very able manner ; and about the same time he 
painted his famous picture of St. Thomas Aquinas 
for the altar of the church of the college of that 
saint at Seville. This is esteemed his best per- 
formance in respect of correct imitation of nature, 
and vigor of chiaro-scuro ; and it is said to equal 
the best productions of the Spanish school. He 
afterwards went to Guadaloupe, and painted eleven 
pictures from the life of St. Jerome, for the Hiero- 
nymite Friars in that city, besides various altar- 
pieces, which were greatly admired. On return- 
ing to Seville, he executed three admirable works 
for the Carthusians of S. Maria de las Cuevas, 
evincing great skill and close observance of nature ; 
also various other pictures in the churches and 
monasteries of that city, among which was a Cru- 
cifixion in the church of S. Pablo, remarkable for 
its boldness of relief, and dated in 1627. 

Zurbaran's merit gained him an invitation to 
Madrid about 1630. He was appointed painter 



ZQST. 



1131 



ZYL. 



to the King, and employed in the palace of the 
Buon Ketiro, where he painted a series of pictures 
representing the Labors of Hercules. It consti- 
tutes a high commendation of his abilities, that he 
was greatly favored by King Philip IV., (who is 
said to have frequently visited him while at work.) 
at the time when Velasquez was in his full ca- 
reer. Stirling places him in the first rank of the 
Spanish school, equal to Velasquez in coloring, 
though not in other respects ; and that writer 
commends him as " the peculiar painter of monks, 
as Raffaelle is of Madonnas and Ribera of martyr- 
doms." His picture of the History of San Pedro 
Nolasco, painted for the cloister of La Merced Oal- 
zada at Seville, was greatly admired, particularly 
for the infinite art and delicacy displayed in the 
white draperies of the monks. It would appear 
also that he excelled in the more agreeable de- 
partments of the art, for his picture of the Infant 
Jesus sleeping, in the gallery at Madrid, is said to 
equal in beauty and grace, the same subject by 
Guido and Murillo. Zurbaran died in the service 
of King Philip IV., in 1662, There are many of 
his works in the Casa de Campo, and other royal 
palaces, in the churches and monasteries of Seville, 
Cordova, Guadaloupe, and Madrid, besides many in 
the private collections. The best are said to be in 
the Museum at Seville. They are quite uncommon 
out of Spain ; but Marshal Soult brought away 
some, and others have been removed more recent- 
ly. In the Spanish Museum at the Louvre there 
is a room devoted chiefly to his works, and it con- 
tains, according to the catalogue, eighty-one pic- 
tures from his pencil ; but many of them are very 
indiflferent, and doubtless by some other artist. In 
the Duke of Sutherland's collection, is a picture by 
Zurbaran of the Virgin and Infant, with St. John, 
which is greatly admired. It is dated 1653. 

ZUSTRUS, or SUSTRIS, Lambert, a German 
painter, who flourished towards the close of the 
16th century After receiving at Munich the in- 
structions of Christopher Schwartz, he went to 
Venice, and became the scholar of Titian. He imi- 
tated successfully the style of that great master 
in coloring, and also in design, though not with- 
out some mixture of the Gothic style of his coun- 
try. There was an excellent work by Zustrus in 
the cabinet of the King of France, representing 
the Baptism of Christ by St. John ; and another 
is also mentioned in the Louvre, of Venus and Cu- 
pid, with Mars in the background. See Lambert 
Suterman. 

ZWOTT, or ZWOLL, J. Ancker 



<-Oa*A 



flourished about 1500. His name is usually spelt 
Zwoll, in English works, but Bartsch calls hira 
Zwott, and Zani expressly says that the other 
orthography is incorrect. His plates resemble 
the style of Israel von Mecheln. whence he is sup- 



posed to have been a pupil of that master, though 
very inferior to him, his compositions being crowd- 
ed and confused, and his drawing of the figure 
meagre and incorrect. They are quite interest- 
ing from their age and rarity. Bartsch describes 
eighteen as follow. Zwott is called the Master of 
the Shuttle, from the circumstance of his prints 
being marked with a shuttle. 

The Adoration of the Kings. The Last Supper. Christ 
at the Mount of Olives. Christ taken in the Garden. Christ 
crucified between two Thieves. The same subject differ- 
ently treated. The Entombment of Christ. The Saviour 
standing, holding an open Book in one hand, and giving 
benediction with the other. The Virgin with the Infant 
holding a Cross. The Virgin with the Infant, who is turn- 
ing the leaves of a Book. St. Augustine seated between 
Statues of SS. Jerome and Lawrence. St. Christo- 
pher on Horseback bearing the Saviour on his shoul- 
ders. St. George encountering the Dragon. St. Gregory- 
celebrating Mass. St. Anne with the Virgin, Infant, and 
figures of Angels. A youth in conversation with an aged 
Pilgrim. A Skeleton in a vaulted Tomb. A desiga of 
Gothic Architecture, resembling the upper part of an Altar, 
with statues and coats of arms. 

ZYL, Gerard Pietersz van, called also Ger- 
ard VAN Leyden. a Dutch painter, was born at 
Amsterdam in 1606. He acquired a knowledge 
of art in his native country, and seems to have 
attained there considerable excellence in portrait 
painting ; after which he went to England, in 1635, 
and formed an intimacy with Vandyck, who em- 
ployed him in his draperies and backgrounds. By 
this intercourse, Zyl greatly improved his own 
style, and after residing several years in London, 
he returned to Amsterdam, where he received plen- 
tiful encouragement. He painted many portraits, 
distinguished for their chaste and clear coloring, 
and the beauty of the hands, so that he acquired 
the appellation of the second Vandyck. There are 
also some conversations and familiar subjects at- 
tributed to him. He died in 1667. 

ZYLVELT, Adam van, a Dutch engraver, born 
at Amsterdam about 1635. He imitated the style 
of John Visscher with some success, and engraved 
a set of plates representing sea-ports, &c., from the 
designs of John Lingelbach ; also various portraits, 
several of which are from his own designs. Among 
them are the following : 

Dirk Volkhertz Coornhaert, or Cuemhaert, Engraver. 
Stephen le Moine, Doctor in Theology at Leyden. Chris- 
topher Wittiehius, Professor of the University of Leyden. 
Hermann Witsius, Professor of Theology at Franecker. 
John Hasius, Minister of the church of Haerlem. Cor- 
nelius Bosch. 

ZYNNDT, or ZTJNDT, Mathias, an engraver 
of little note, who flourished about 1566, and exe- 
cuted a few plates, among which Bartsch mentions 
three : a View of the city of Grodno, in Lithuania, 
1568 ; a portrait of John de Raleta, Grand Master 
of Malta, 1566 ; and a portrait of Louis HI. de 
Bourbon-Conde, 1568. 



PROSPECTUS 

FOR PUBLISHING AN AMERICAN EDITION, 



OF 

BOYDELL'S ILLUSTRATIONS OF SHAKSPEARE. 

(the whole work is now completed.) 

The subscriber having, by a train of fortunate circumstances, become possessed of all the original one 
hundred copper-plates of Boydell's folio Illustrations of Shakspeare, and believing that he would render the 
public a service by restoring them to their original beauty, applied himself with diligence to eiFectthis object. 
As a work of art, in design, in execution, in unlimited outlay of time and money, in the employment of the 
best talent in Great Britain, and in the patronage and cordial support of the king, nobility and gentry of Eng- 
land, Boydell's Illustrations of Shakspeare stands pre-eminent and wholly unrivalled. 

After having finished a number of the plates, the most worn and difficult to be restored, and taken proofs 
from them, all the most distinguished artists, engravers, and connoisseurs, in the city of New York, were 
rnvited to examine and scrutinize the work, and to compare critically these proofs with the best copies in 
America, some of which were engraver's proofs before the letter. The result of this trial has been most sat- 
isfactory; and the subscriber has, upon their decision, and by the advice of his friends and the lovers of the 
Fine Arts, determined to push the work to its entire completion as rapidly as the necessity for accuracy and 
care will admit. 

To those who may not be acquainted with this great work, the subscriber begs leave to saythat it con- 
tains 100 plates, all of which are perfect studies, having from ten to twenty full length figures in the fore- 
ground, rnost of which are genuine portraits, in every variety of grouping and composition, and every human 
passion faithfully delineated, forming a series of the most original pictures ever executed. It is also believed 
that nothing can be done that will have so great a tendency to cultivate a taste for the fine arts, in our country, 
as a general circulation of these splendid prints, illustrating as they do the genius of the treat poet, and ema- 
nating from the most distinguished British artists, as Sir Joshua Reynolds, Sir Benjamin West, Sir William 
Beechy, Fuseh, Romney, Northcote, Westall, Smirke, Opie, as pamters; and Sharpe, Bartolozzi, Earlorn, 
Thew, Simon, Middiman, Watson, Fyttler, Wilsou, and many others, as engravers. 'Vi^'e have few public 
galleries of paintings, and must therefore mostly form our taste for this branch of the fine arts, from engra- 
vings ; and these plates are fit to grace the drawing room or portfolio of any gentleman. Nothing, it is con- 
ceded, has a greater tendency to refine the mind, than the cultivation of the fine arts, and it certainly adds 
wreatly to our pleasure. If the subscriber can be instrumental in assisting to cultivate the growing taste for 
the fine arts, he will not consider his undertaking fruitless, even though he should fail in reaping the pecu- 
niary recompense, which he trusts a liberal pubhc will feel willing to bestow upon a project of this nature, 
involving as it does a very heavy outlay of capital in the commencement, and much risk of loss in its prose- 
cution. 

The subscriber pledges himself to spare no efforts or expense in perfecting the work, and making it in 
every way worthy of its magnitude, and of the subjects illustrated. He proposes to publish the work in 
monthly parts of two or more plates each, at the unprecedented low price of one dollar per plate, to subscri- 
bers. Boydell's subscription price was two guineas (^10) per plate, for the first 300 proofs, and one guinea 
per plate for the prints; besides, many noblemen and others made handsome donations, in addition to their 
subscriptions, to encourage the work ; and yet he failed for the enormous sum of two hundred and fifty 
thousand pounds sterling. During the lifetime of the Boydells it was never sold for less than one hundred 
ffumeas per set. Some of the proofs in former years have brought at public sales, fifteen guineas each iu 
London, and twenty-five dollars in New York. 

The work will be ijrinted on thick linen paper, 24 by 30 inches, weighing 140 lbs. to the ream. Each 
print will be accompanied with a stereotype letter-press description of the same, with quotations from the 
text which it illustrates, printed on the best hot-pressed linen paper, of the same size as the print, with tissue 
paper between, which will add greatly to the beauty and interest of the work. In Boydell's editions, there 
IS no description of the plates, nor tissue paper ; and only a list of the plates at the end of the volumes. The 
work, when completed, will form two volumes of surpassing beauty, far superior to any of the old copies 
now in the country. 

TERMS. 

To subscribers, $1,00 per plate, including the two vignettes whi^h embellish the title-page of each volume 

CERTIFICATES. 

" We, the undersigned, having examined some of the original copper-plates of ' Boydell's Illustrations 
OF Shakspeare,' and compared the proofs taken from them by Boydell himself, with these taken by Dr. S. 
Spooner, within the last few weeks, from a number of the plates restored by him, give .t as our deliberate 
opinion and judgment, that his efforts to restore this magnificent work, have, so far proved entirely suc- 
cessful, and we heartily recommend it to the American public as being in every re;jpect worthy ot their 
liberal patronage, and as eminently calculated, not only to gratify those who may beccme its possessors, but 
also, to encourage and promote the advancement of the Fine Arts in our country. New York, March 1848. 



J. Watson Webb, 
Jno. Inman, 
M. M. Noah, 
Geo. p. Morris, 
N. P. Willis, 
Horace Greeley, 
Stephen H. Tyn& (d.d.), 
Aaron Vanderpool, 
Valentine Mott (m.d.), 
George Potts (d.d.), 
C. Temple Emmet, 
David Graham, 
j. i. coddington, 
John W. Francis (m.d.), 
James R. Whiting, 
John McKeon, 
Campbell P. White, 



John Van Buren, 

JoNA. M. Wainwright, (d.d.), 

Wm. Berrian, (d.d.), 

John Doggett, jr., 

James W. Smith, jr., 

Washington Irving, 

Andrew H. Mickle, 

John Wiley, 

Geo. p. Putnam, 

Dan'l Appleton & Co., 

W. L. Ormsby, 

Hugh Maxwell, 

Theodore Sedgwick, 

Dudley Selden, 

Aaron Clark, 

Wm. T. Porter, 

Aaron Levy, 



David B. Ogden, 

DaNFORTH & HUFTY, 

Theo. Frelinghuysen, 

Prosper M. Wetmore, 

Robt. p. Morris, 

Harper & Brothers, 

G. & W. Endicott, 

Henry Brevoort, 

Gardiner G. Howxand, 

Wm. V. Brady, 

Ely Moore, 

Rawdon, Wright & Hatch, 

Ben J. F. Butler, 

S. De Witt Bloodgood, 

Eleazer Parmly, 

H. W. Hewet, 

D. D. Howard. 



THIS GEE AT WORK IS NOW COMPLETED ; 

And may be had of the Subscriber, or his Agents. Price in Nos. $100 ; bound, 2 vols, half 
Russia, extra gilt, !$125. The work bound weighs near 100 lbs., or 50 lbs. per vol. 

"A Curious Piece of History. — About the year 1785, Alderman J. Boydell, of London, conceived 
the project of establishing a ' Shakspeare Gallery,' upon a scale of grandeur and magnificence which 
should be in accordance with the fame of the poet, and, at the same time, reflect honor upon the state 
of the arts in Great Britain and throughout the world. Mr. Boydell was at this time a man bf great 
wealth and influence, and a patron of the fine arts, being an engraver himself, and having accumu- 
lated his fortune mostly by dealings in works of that character. 

He advertised for designs from artists throughout Great Britain, and paid a guinea for every one 
submitted, whether accepted or not ; and for every one accepted by the committee, a prize of one 
hundred guineas. The committee for selecting these designs was composed of five-eminent artists, 
Boydell himself being the president. The first painters of the age were then employed to paint these 
pictures, among whom were Sir Joshua Reynolds, Sir Benjamin West, Fuseli, Romney, Northcote, 
Smirke, Sir William Beechy and Opie. 

Allan Cunningham, in his ' Lives of Eminent British Artists,' mentions that Sir Joshua Reynold.s 
was at first opposed to Boydell's project, as impracticable on such an immense scale, and Boydell, to 
gain his approbation and assistance, privately sent him a letter enclosing a .£1000 Bank of England 
note, and requesting him to paint two pictures at his own price. What sum was paid by Boydell for 
these pictures was never known. A magnificent building was erected in Pall Mall to exhibit this 
immense collection, called the Shakspeare Gallery, and was for a long time the pride of London. 

The first engravers of England were employed to transfer these gems to copper, and such artists as 
Sharp, Bartolozzi, Earlom, Thew, Simon, Middiman, Watson, Fyttler, Wilson, and many others, 
exerted their talents for years in this great work. In some instances the labor of more than five years 
was expended on a single plate, and proof impressions were taken for subscribers at almost every 
stage of the work. At length in 1803, after nearly twenty years, the work was completed. The price 
fixed (which was never reduced) was two guineas each, for the first 300 impressions, and the sub- 
scription list was then filled up at one guinea each, or one hundred guineas a set, of one hundred plates. 

Besides these subscriptions, large donations were made by many of the noblemen of England, to 
encourage the undertaking and to enable Boydell to meet his enormous outlay. The cost of the whole 
work, from the commencement, is said to have been more than one million pounds sterling ; and 
although the projector was a wealthy man when he commenced it, he died soon after its completion, 
a bankrupt to the amount, it is said, of .£250,000, 

After these plates were issued, Boydell petitioned Parliament to allow him to dispose of his gallery 
of paintings by a lottery. The petition was granted, and the whole collection was thus disposed of. 
One of the finest of these pictures, King Lear, by Sir Benjamin West, is now in the Boston Athenagum. 

One fact in relation to these plates gives great value to them. All the principal historical charac- 
ters are genuine portraits of the persons represented in the play ; every picture-gallery and old castle 
in England was ransacked to furnish these portraits. 

By some means which cannot now be accounted fcr, all the plates have found their way to this 
country, and the one hundred, weighing nearly 4000 pounds, have been purchased by Dr. S. Spooner, 
of this city. This gentleman, who has long been conversant with works of art, has beeji for many 
months silently but steadily pushing on the work of restoring the plates, and has been peculiarly 
fortunate in securing the services of Mr. George Parker, an engraver of no ordinary merit. It is a 
little singular that this gentleman was a pupil of the celebrated " Thew," when the latter was engaged 
on these same plates originally, and as Thew was considered almost the inventor of the art of stipple 
engraving, it will be seen that there is every reason to suppose Mr. Parker well qualified to do justice 
to the work. Dr. Spooner spares no pains or money in the prosecution of the labor, and has succeeded 
in restoring a number of the plates to such perfection that proofs from them cannot be distinguished 
from the original impressions. Some two years will be consumed in accomplishing the entire resto- 
ration a^id publication, and although he will be obliged to expend a large sum of money, there can 
be no doubt that he will be compensated by the admirers of the arts in the United States." — Com- 
mercial Advertiser, Feb. 1, 1848. 

The magnitude of the enterprise will at once be perceived on reflecting that there are one hundred 
plates in the series, originally having from four to six years labor of the engraver on each and every 
plate. — That Boydell was twenty years in publishing the work, and employed thirtv-iwo master 
engravers and their subordinates most of that time. In restoring the plates, every lint, is recut, and 
the stippling, restippled, so that the restored plates are like ne% nes, and give as clear and distinct im- 
pressions. Ten engravers are now constantly employed on -. work. Many hundreds of the most 
distinguished anists and citizens of New-York have examine" 'C copper-plates, proofs, &c. and have 
declared the restoration entirely successful, and have recomn. ided the work in the strongest terms 
as every way worthy of public confidence and support. Ft. further information, see descriptive 
pamphlet, to be had of the Proprietor or his Agents, gratis, 

AGENTS,— IL Loomis, General Agent for New-England.— 5o5^on, Reddinpc & Co., No. 8 
State-st. ; Worcester, Edward Livermore ; Providence, S. Townsend Jr. ; Hartford, Brown & 
Parsons, 182 Main-st. ; New- Haven. Durrie & Peck, 70 Chapel-st. ; Albany, W. 0. Little & Co., 
53 State-st. ; Rochester. D. M. Dewey, Arcade ; Batavia, Wm. Seaver & Son ; Buffalo, Geo. 
H. Derby & Co., 164 Main-st. ; Cleaveland, Joseph Sargeant; Pittsburgh. John D. Davis ; 
Cincinnati, Post & Co. ; Loidsmlle, Maxwell & Co., 164 Main-st. ; >S^^. Louis, Hammond Og- 
den ; Newark, John L. Agnes, 2 Commerce-st. ; Baltimore and Washington, Robert Spring ; 
Richmond, A.. MoYTis, \ CAar/es^o^z, W. R. Babcock ; iVeii?- Orleans, Daniel Rice ; Tuscaloosa, 
F. A. P. Barnard ; Savannah, W. T, Williams ; Mobile, J. K. Randall & Co. ; Ohio (North 
of the Cumberland Road), Parsons &, Co., Elyria; Detroit, C. Morse & Son; Montreal, C. E., 
John McCoy ; Toronto, C. W. and A. H. Armour & Co. ; Hamilton, do., C. L. Helliwell. 

S. SPOONER Proprietor and Publisher, 

16 Greenwich Street, New-York. 



<i^ Hi*7^75 ^-.-S 



J 



I 







/v <^^ - . * . 

^ ^ o *' o ^ <>^ 








^o>^ 








,**'' .'i:;.°%'^^^ 





> 



v-^ 












^^--^ 









•* 




A 






-f. 



•n^o^ 



c°^ ,C^^', 




,<:y^ c ° " ° * "^ 



.0 














y c'A' 



0' 



4 c>^ 




0^ r\ 



A^^ 





o. -^^ 







V^ sLVl'^ O 










?!!¥•• „H^' 








WP/ ^^'\ '■: 



A 




1- ^^^^^ «- 



o V^ 





SJ,^ O^ * o « o ^ 



^°^*, 







■a? x^ 



><-'^ 
















f*^ ... ^^. "^ .y ... 






.<^^ 







^S^', 




P:^° .o^°-\ '-W /°-^. ^^•°' 0^°% '•^^- --^"^ 

^ V * . -^^ . \ 




















o " c 









.^ 









.♦^ 



V > 
















